My partner is about to finish her residency and applying to fellowship, so we figured we'd try and get one last trip in before fellowship as this is the last time she'll be able to take off for 2-3 weeks at a time for a while.
I have opened up so many cards to accrue points literally just for this purpose (it did help that we had that wedding last year so I wasn't spending anything I wasn't going to).
So this is the situation, I have 300k MR and 227k MB right now and will have 100K UR by the end of July.
I'm trying to get to get at least J to and from East Coast of the US to TYO.
I looked at ORD, NYC, and IAD for ANA and they all have just 1J/1F open at 9PM EST.
I am willing to fly out of the west coast, I would just prefer east coast since if a flight gets delayed or canceled, there are at least more likely for me to make another flight rather than the west coast to get there. There's not that much wiggle room for the flying out date of 5/31/2024 but a good amount of wiggle room for the return date of mid to mid/late June .
What would be the safest strategy to approach this to get 2?

1. I just book a J/F round trip ORD on ANA and just hope a when T-14 opens up on the same day?
2. Try to just book the 2J/F on west coast on ANA? Unsure if this is viable since I only ran across this post for ANA award info a couple of days ago and haven't actually confirmed the 2 seat availability for myself (did not know you could set it to both Japan region and English at the same time). This just worries me a bit since if I transfer my points and I can't make this happen, I would've just lost all of it. Also, I have a question with this strategy, if 2 seats become available for NYC or ORD, how easy is it to change the ticket?
3. Some other airline/award strategy that I'm unaware of. I considered JAL, but considering I have very little AA points left and none in Alaska Airlines, I didn't think this was the way to go.

Any advice or guidance is appreciated! If I left out anything necessary to facilitate effective evaluation of my situation, I do apologize.

Female Age 24 Height 5"3 Weight currently 145, varies between 120-150 Taking blisove female birth control pill; gabapentin 300 MG capsules, 4 capsules per day once a day at 9pm; prazosin 1mg capsules, 4 capsules per day once a day at 9pm. No health issues that have been properly diagnosed, but I have major stomach issues, lots of nausea, sensitive skin that sometimes gets covered (the backs of my hands and invetween my fingers) with blistered puss filled bumps.... horrible period cramps.... I do smoke, breeze pro vapes, I go through one every 2 weeks roughly. I smoke weed, but only dabs, not flower; not that that's any better or anything just specifying.. and I drink too much, almost daily. 4 drinks a day on average, some days i dont drink some days i drink 8.... I'm trying to find help. I also have had chronic pain since I was a teenager and had a Christian science mother who wouldn't bring me to the doctor to figure it out. My issue has been happening for maybe 6 months months a year?
Anyways, here's the issue, and idk how to explain it. I've been to four doctors In the past 6 months and nobody knows why my hands will go numb, like asleep fuzzy feeling type of numb, and make this shape that I cannot control? It last for at least a few minutes and happens seemingly out of nowhere, randomly, maybe 4-10 times/month. New doc tmrw though, low hope anyways. .

WILD MAN: Saint or Sinner Posted on May 2, 2021by Dana Rehn The Representation of Wild Folk During the German Renaissance The wild man was inspired in part by pagan hybrid woodland creatures like the satyr, however, much of the mythology of the wild man stems from barbarians of Europe.[i] For much of the Middle Ages, they were considered the antithesis of the civilised Christian society. They were cannibalistic, sexually deviant predators whose many characteristics were related to monstrous races as well as the insane. Despite the wild folk’s outsider status and the antithesis of Christian morality, the wild man and woman nevertheless became an icon of German nationalism. The image of the wild man and woman became a pervasive figure throughout the German Renaissance, depicted on a vast range of media from stained glass, woolen tapestry, playing cards (fig. 3), and ordinary household objects. The wild man and woman transitioned from a demonic brute beast to a romanticised image of the noble savage. They recall a simpler time in German history and became a part of the image of a united and strong German people. They also posed as an affront to the court culture of Rome and became associated with the virtues of the natural wilderness. Cleric, Johann Geiler von Kaysersberg, associated them with the image of the hairy saints who found redemption in the wilderness by categorising them as a type of wild man in Die Emeis.[ii] The German forests that the Wild Man was thought to reside were starting to be romanticised. Geographer, Johannes Rauw, praised the ancient forests that had long been demonised by Italians as a place of barbarians.[iii] From rapists of damsels, wild men were depicted with the virtues of the nuclear family in the Garden of Eden before ‘The Fall’ (Genesis 3). In this way, the wild man and woman became increasingly mythologised, merged with ancient Germans, ascetic saints as well as Adam and Eve. Although there were a growing number of romanticised images of the wild man and woman during the sixteenth century, negative representations persisted. Their depiction was not a simple shift from demonic woodland creature to the image of holy saints; many possessed both contradictory notions of sinner and sainthood. The multifaceted representation of wild folk reflected many of the contradictions of German Renaissance society. Man or Animal The reputation of the wild man stems from antiquity. Aristotle believed that people who lived outside the civilising influence of the urban city lacked the ability to reason.[iv] In this way, they were considered closer to animal than man, subjected to their impulses.[v] The wild man and woman were also believed to lack speech, used primitive tools such as the club, and lived away from civilisation.[vi] Even the food that the wild folk would eat – berries and uncooked food – was a mark of uncivilisation and thus associated them more with animals than man.[vii] Many were also thought to crawl on all fours, which is illustrated by the often bare knees of wild men and women.[viii] The wild man as well as the woman were characterised for their violence and unhinged rage. They both shared a love of combat and have even been depicted jousting against one another.[ix] It is not just appearance, but also behaviour that made someone bestial like peasants who were described with animal qualities. The wild man has also been associated with bears and mythology exists with bears who were able to transform into wild men.[x] Their unbridled sexuality was also more associated with animals. Wild men were thought to abduct pretty maidens, while the wild woman would transform herself into a beautiful woman and attempt to seduce men with her true ugliness only to be revealed during intercourse.[xi] In this way, they were also associated with other pagan and hairy woodland hybrid creatures from antiquity including satyrs and centaurs, who were also known for their immoral behaviour and insatiable sexual appetite.[xii] Albrecht Dürer combined classical mythology with German folklore in the engraving of the Abduction of Proserpine on a Unicorn (1516) (Fig. 1). The print recounts the mythology of the abduction of the goddess of fertility by Pluto (Hades), God of the underworld – the pagan equivalent to the Devil.[xiii] In place of the classical god is a wild man on the back of a unicorn. Although this wild man is not covered in think body hair, he has wild hair on top of his head and a large bushy beard. He is identified as a wild man by his riding of a unicorn where the wild man was believed to be the only creature strong enough to overpower it by force.[xiv] Unicorns were originally regarded as ferocious beasts who used their horn as a weapon.[xv] Tales and visual art from the fourteenth century tell of wild men who become tamed by love after abducting a woman.[xvi] Yet this print illustrates man’s sexuality was thought to reduce them to a brute beast. Fig 1. Albrecht Dürer, Abduction of Proserpine on a Unicorn, 1516, Etching, 30.8 x 21.3cm, The Institute, Chicago. During the Middle Ages, many people concluded that wild man and woman were degenerative humans. They became an irrational beast in the same way that the insane were believed to be a form of wild people. Medieval romances frequently described people who suffered a crisis and lost their mind and ran into the forest living as semi-human wild people.[xvii] In Hartmann von Aue’s (c. 1160/70- c. 1210/20) Iwein, the protagonist who has broken a promise to his wife and is rejected, roams around in the forest until he is discovered by a lady who saves him from his insanity.[xviii] The wilderness in part created the state for wildness as it was away from civilisation and rationality.[xix] Like many monsters during the period, the wild man and woman were defined by their nudity. In this way, they were symbolically outside civilisation – both physically and behaviourally.[xx] Even those who have become temporary wild men through madness and fled into the forest shed their clothes and only returned to civilisation by again putting their garments back on. While in the forest they begin to grow hair all over their body to signify their move away from the human realm and into the animal one.[xxi] The wild man and woman encapsulated the fears of Europeans and what happens to one if they abandon civilisation.[xxii] The theme of civilising the wild man was popular during the Middle Ages. It was knowledge and acceptance of the one true faith that inevitably brought the wild man back to civilisation.[xxiii] In a thirteenth-century Bavarian epic poem, republished in the sixteenth-century German collection of stories, Das Heldenbuch mit synen figuren (‘The Book of Heroes’), recounts a wild woman called Raue Else (‘Rough Else’). The woman who was hairy all over and walked on all fours approached the knight, Wolfdietrich, who questioned if she was an animal. [xxiv] The wild woman demanded the love of the knight and upon his refusal turned him into a crazed wild man who crawled on all fours for half a year until God commanded her to disenchant him. In return, Wolfdietrich offered to marry the wild woman so long as she was baptised. She took him back to her kingdom at Troy and after bathing in the fountain of youth she was transformed into her former self, the beautiful princess, Sigeminne (‘Love’s victory’).[xxv] Wild Man as Noble Savage Although the wild man and woman were frequently represented in literature during the Middle Ages, they were rarely depicted in visual art until the fifteenth century.[xxvi] Therefore, their most ferocious reputation left little mark in visual culture. Instead, the wild man and woman were frequently represented in Renaissance art as the image of purity, with their family representing the virtues of parenthood and a companion or as a saint. Lynn Frier Kaufmann argues that the idea of chivalry and courtly love during the Middle Ages influenced the way wild men and women were depicted during the Renaissance.[xxvii] Larry Silver on the other hand interpreted their new role as cultural emblems brought by the rise in Germanic nationalism, which inspired the new translation of Tacitus’s Germania, describing wild people who only wore a cape of animal’s hide, as the first proud inhabitants of the Germanic lands (for example, fig. 2) .[xxviii] In this way, Tacitus’s Germania transformed the wild man into the romanticised version of the noble savage during the German Renaissance.[xxix] They lived a simple and virtuous life. They needed no written laws because they had good morals and rejected the habits of outsiders.[xxx] The nobility and urban elite began to romanticise the wild man for their strength and freedom from the rules of society.[xxxi] Conrad Celtis described a counterpart to early Germans in the Lapps. He described them as speechless but also that they had not been corrupted with luxury, fame, or wine. ‘Here no jurist twists the law, no doctor accumulates his blood money, and no tonsured man plagues the people’.[xxxii] Fig. 2. Nicolaes van Geelkerken after Clüver in Philipp Clüver, Germaniae antiquae libri tres, Leiden: Louis Elzevir, 1616, Engraving, London, The Wellcome Library. Source: archive.org On a playing card by Master ES printed in c. 1461, a wild woman is depicted with a unicorn (fig. 3). While wild men overpower the unicorn with their bold ferocity, it was the wild woman’s sexual purity that allowed her to get close to the unicorn. A tale of the unicorn captured only by pure virgin maidens arose during the Middle Ages. This led to the unicorn being represented as a sign of purity and thus underscores the image of the wild woman as epitome of the noble savage.[xxxiii] A sense of innocence accompanies their ignorance of the civilized world. Playing cards usually consisted of four suits with illustrations of plants, animals, and heraldic symbols. The wild woman with the unicorn is one of four cards surviving in the animal suit by Master ES.[xxxiv] Richard Bernheimer suggests that the images on the cards represent a hierarchy.[xxxv] Therefore, it places the wild man and woman in the realm of animals.[xxxvi] This is plausible since this wild woman represents the Queen of the Animals. However, her clasping grip of the unicorn who is dwarfed by the wild woman shows her dominate position in nature. Fig. 3. Master ES, Wild Woman and Unicorn (Queen of Animals from the Small Playing) c. 1461, Engraving on Playing Card, 10.5 x 7.3cm (Sheet); 9.8 x 6.cm (Plate), New York, Metropolitan Museum of Art. The wild man also featured in more than 200 coat-of-arms across Europe, most of which were in German lands.[xxxvii] They were particularly popular during the second-half of the fifteenth century.[xxxviii] Interestingly, the wild man was illustrated beside coats-of-arms of popes and kings as their protector or guardian of the coat-of-arms despite the wild man’s history as a heretical being.[xxxix] Roundel prints of coat-of-arms were likely used as templates for goldsmiths or glassmakers who would fill in the family crest.[xl] It has also been suggested that these roundels were used by the middle class to emulate the coat-of-arms of the nobility. The templates were used as a substitute for commissioned coat-of-arms.[xli] In Wild Woman and Heraldic Shield, c. 1490 (fig. 4), a wild woman suckling her baby is reminiscent of the Madonna and child. This image reveals the redemption of women through childbirth for their responsibility for Original Sin (Genesis 3.16). She also serves as an emblem for fertility for the family whose shield she holds to ensure the family line. Fig. 4. Martin Schongauer, Wild Woman and Heraldic Shield, Colmar, c. 1490, Engraving, 7.7 diam. New York, The Metropolitan Museum of Art. Return to the Garden of Eden The image of the noble savage in turn influenced the idyllic images of the wild family. Master bxg’s Wild Folk Family (c. 1475) parallel Adam and Eve in the Garden of Eden. Adam and Eve who were portrayed in animal skins after ‘The Fall’ are akin to the hairiness of the wild family.[xlii] In Master bxg’s print stands the tree of knowledge, overlooked by an owl in the background, symbolising potential danger as owls served as a symbol for evil.[xliii] A rabbit bounds towards a forest in the top left. Rabbits were used as a symbol for fertility and has been depicted in images of Adam and Eve during ‘The Fall’ and thus can symbolise carnal knowledge. The wild woman’s long hair symbolises her fertility and thus her unbridled sexuality and parallels with the depiction of Eve in the Garden of Eden with long, loose flowing hair.[xliv] Although the representation of the wild family references Original Sin, they are still in a state of nature and innocence and their ignorance of God therefore cannot constitute sin.[xlv] However, it also provides a mirror of the tensions between good and evil within German Renaissance society – between temptation and godliness.[xlvi] The wild family not only recall Adam and Eve in the Garden of Eden, but also the image of the Holy Family who were often represented against the backdrop of the wilderness.[xlvii] In a comparative print in Hans Leonhart Schäufelein’s, Wild Man and Wild Woman originally printed in c.1520 (fig.5), the wild family are still hairy and naked, although they wear fig leaves to help preserve their modesty. The fig leaves allude to after ‘The Fall’ in the Garden of Eden once they have eaten from the tree of knowledge and realise their nakedness and feel shame. In this way, the sins of the past are not completely forgotten. However, the image lies in opposite to the unbridled sexuality of the earlier idea of the wild man and woman. One son attempts to place a leash around a domesticated dog, which further symbolises a new domesticity to the wild family.[xlviii] Despite its clear reference to Original Sin, it illustrates an idyllic family scene, away from the corrupting influences of ‘civilised life’.[xlix] Fig. 5. After Hans Schäufelein, Klag der wilden Holtzleüt, uber die ugetrewen Welt, verse by Hans Sachs, printed by Hans Guldenmundt, Augsburg, 1560 Coloured woodcut, 20.2 x 24.2cm (sheet), 20.2 x 15.2 cm (borderline) The British Museum, London. This image was later copied with an addition of a poem written by Hans Sachs in 1530. In the poem the wild folk lament against the corruption and evils of society such as the lust for wealth, flesh, and violence. The wild folk in Sachs’ verse have chosen to discard worldly pleasures to live the simple and pure life in nature. The verse ends with the wild folk declaring that they will be happy to return to civilisation once the world ‘see the light’.[l] This verse parallels the wild man with ascetic monks whose wildness is a temporary state and who seek redemption away from civilisation. Wild Man as Saints The tales of saints who found redemption in the wilderness by discarding worldly pleasures, growing hair on their body and then returning to civilization and shedding their hair once more became co-opted with the image of wild men and women during the Renaissance. Many stories of anchorites parallel with others, to the point that they can become indistinguishable.[li] Onuphrius is one of the better-known ascetic saints who lived during the fourth century. Paying penance, he lived in a cave for sixty years, as wild men and women were thought to do. His clothes wore away and he grew a thick coat of hair to protect his body against the elements (fig. 6).[lii] Saint John Chrysostom similarly went into the wilderness to pay penance and vowed to crawl on all fours until he found favour with God.[liii] Ascetic saints were similarly depicted with bare knees as wild men and women were also believed to crawl on all fours like an animal, wearing away the hair. In Leben der Heiligen (1499), where Saint John Chrysostom is depicted as covered in thick hair and crawling on all fours in the forest is described as an ‘abominable animal,’ despite being depicted with a halo around his head.[liv] Ascetic saints were therefore reduced to a beast just as the wild men and women had traditionally been as they are seen as degenerating into an animal who grow hair on their body and ate raw food.[lv] In this way, the figure of the hairy monstrosity was able to find redemption, at least in part, cast as the model of repentance. Fig. 6. Anonymous, Saint Onuphrius, c. 1480-1500, woodcut, 14.6 x 11.4cm, New York, The Metropolitan Museum of Art. During the German Renaissance, Saint Mary Magdalene, who was regarded for her beauty,[lvi] was frequently represented covered in hair like a wild woman. Her hairy image found wide devotion through the southern Germanic region.[lvii] In a tale originating in the tenth century, Mary was set adrift by non-believers and by divine guidance found her way to the south of France where she preached and converted the locals. She lived in a cave in Saint-Baume, Provence, paying penance for her former sinful life.[lviii] The name Magdalene means manens rea or ‘remaining in guilt’.[lix] She grew hair all over her body in the same way as a wild woman. In her cave she remained silent and when a hermit approached her, she had trouble speaking after being secluded for so long, not unlike the wild man and woman.[lx] Every hour, angels would ascent her to the heavens where she would gain nourishment as she was so remote that there was no food or water.[lxi] Mary’s ascension into the heavens as a hairy wild woman was a theme in German Renaissance prints and is illustrated in a print by Hans Baldung Grien (c.1484-1545) in c.1512 (fig. 7 ).[lxii] Her ascent represents her body’s transcendence from both worldly pleasures and the wilderness. Fig. 7. Hans Baldung Grien, St Mary Magdalen, c.1512, Woodcut, Sheet: 13 × 8.7 cm Metropolitan Museum of Art, New York. The image and identity of Mary Magdalene during the Renaissance is believed to be conflated with the story of Saint Mary of Egypt who lived in the fifth century. Mary has long been thought to be a prostitute. She travelled to Jerusalem where she became aware of her sins when she could not enter a Church as she was held back by a spiritual ‘force’. She saw the image of the Virgin Mary staring back at her and realised why she could not enter. Mary of Egypt, the antithesis to the Virgin prayed to her for forgiveness and renounced her life of sin.[lxiii] Mary went to live alone in the desert to repent for forty-seven years.[lxiv] The desert was a place to be tested against sins, for punishment, but also for contemplation and redemption.[lxv] Both Mary of Egypt and Mary Magdalene have both similarly been depicted covered by hair that represents their place outside of civilization and discarding worldly possessions. It was also used to provide modesty to discern from their previous occupation of the flesh.[lxvi] As seen in the print by Lucas Cranach the Elder, The Ecstasy of St. Mary of Egypt (1506) (fig. 8) who was thought to levitate in prayer,[lxvii] is similar to the composition of prints of Mary Magdalene being accented by angels. The naked saints signified the return to nature before ‘The Fall’ in the Garden of Eden.[lxviii] Despite this earlier legend, Mary Magdalene was not depicted in art as covered in hair until the mid-fifteenth century but was rather naked with her long hair covering her modesty. The image of the hairy Mary Magdalene was therefore believed to originate in fifteenth-century Germany.[lxix] The detail of the hairy Mary Magdalene was also not included in the popular thirteenth century The Golden Legend by Jacobus de Voragine (c.1230-1298) that combined the tales of Magdalene. Her nudity was implied as the hermit who visited her passed her a garment to wear.[lxx] The hair covering Mary of Egypt was also a later addition to the story and also does not appear in The Golden Legend.[lxxi] She similarly does not seem to appear in art until the fifteenth-sixteenth centuries.[lxxii] The same can be said of other saints who turn into a wild man, at least temporarily such as Saint John Chrysostom.[lxxiii] This suggests ascetic saints who grew hair over their body was a contemporary idea that arose at the same time that the wild man and woman were popular in Renaissance prints. However, as Bartra notes, the idea of the hairy ascetic saint derived from Ancient Egypt when long haired hermits sought solitude in the desert.[lxxiv] Fig. 8. Lucas Cranach the Elder, The Ecstasy of St. Mary of Egypt, 1506 Woodcut, 24.4 × 14.2 cm, The Met, New York, Wild Man in Reformation Propaganda The image of the wild man was also co-opted into the Protestant Reformation in Germany and has been used by both Protestants and Catholics in contradictory ways. The engraving of The Pope as a Wild Man was created by Melchior Lorck (c.1526/7-1583) in 1545. This wild man with characteristic thick body hair with bare knees is a hybrid with long rat-like tail. Perched on top of his head is the three-tiered crown of the pope, but the last tier is a tower of excrement. Beneath his crown are ass ears, which represent folly and dishonesty. The ass’s ears allude to the myth of Apollo who made Midas grow the ears of a donkey to tag him for his dishonesty.[lxxv] On his back appears to be a bat with stretched out wings, which is a symbol for the Devil.[lxxvi] The wild man carries his characteristic wooden club, but this one has three cross branches at the end to represent the papal cross. He holds onto the papal key that is shattered at the end, which is a sign that the temporal powers of the papacy have been broken.[lxxvii] From his mouth pours a stream of toads and reptiles. This appears to reference the beast, the dragon, and the false prophet who release four foul spirits. A version of this image was discovered cast on a canon of Protestant troops captured during the Schmalkaldic War.[lxxviii] Melchior Lorck, The Pope as Wild Man, c. 1545, Etching, 22.9 × 19.4 cm, Staatliche Museen zu Berlin, Kupferstichkabinett Conclusion In Renaissance Germany, complexity existed in people’s relationship with the wilderness. It both conjured up images of the Garden of Eden before ‘The Fall’ as well as the dangers that may lurk beyond. The wild man and woman were just as complex and represented sinfulness, but also redemption and innocence. As Merry Wiesner-Hanks concludes ‘beast, saint, or hero? the wild man was all three’.[lxxix] A closer look at images of the wild man reveals their complexity. There was not a simple evolution between a demonised creature associated with cannibalism and rape to the holy saint. In the age of the apocalypse, the wild man and woman provide a reminder of Original Sin and the need for repentance at a time of social reform. In this way, the hairy woodland creature is not entirely absolved. Further Reading: Abulafia, David, The Discovery of Mankind: Atlantic Encounters in the Age of Columbus, New Haven: Yale University Press, 2008 Bartra, Roger, Wild Men in the Looking Glass: The Mythic Origins of European Otherness, trans. Carl T. Berrisford, Ann Arbor: The University of Michigan Press, 1994. Bernheimer, Richard, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology, Cambridge: Harvard University Press, 1952. Colin, Susi, ‘The Wild Man and the Indian in Early 16th Century Book Illustration,’ in Christian F. Feest (eds.), Indians and Europe: An Interdisciplinary Collection, Lincoln: University of Nebraska Press, 1999, pp. 5-37. Husband, Timothy, The Wild Man: Medieval Myth and Symbolism, exh. cat., New York: The Metropolitan Museum of Art, 1980. Kaufmann, Lynn Frier, The Nobel Savage: Satyrs and Satyr Families in Renaissance Art, Ann Arbor, Michigan: UMI Research Press, 1984. Moseley-Christian, Michelle, ‘From Page to Print: The Transformation of the “Wild Woman” in Early Modern Northern Engravings’, Word & Image: A Journal of Verbal/Visual Enquiry, vol. 27, no. 4, 2012, pp.429-442. Schama, Simon, Landscape and Memory, London: HarperCollins, 1995. Wiesner-Hanks, Merry, The Marvelous Hairy Girls: The Gonzales Sisters and their Worlds, New Haven: Yale University Press, 2009. [ii] Simon Schama, Landscape and Memory, London: HarperCollins, 1995, p. 97; Timothy Husband, The Wild Man: Medieval Myth and Symbolism, exh. cat., New York: The Metropolitan Museum of Art, 1980, p. 12. [i] Bartra, Roger, Wild Men in the Looking Glass: The Mythic Origins of European Otherness, trans. Carl T. Berrisford, Ann Arbor: The University of Michigan Press, 1994, p. 79. [iii] Schama, 1995, pp. 95-6. [iv] Bartra, 1994, p. 9. [v] Richard Bernheimer, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology, Cambridge: Harvard University Press, 1952, p. 11. [vi] Joyce E. Salisbury, The Beast Within: Animals in the Middle Ages, New York: Routledge, 1994, p. 151; David Abulafia, The Discovery of Mankind: Atlantic Encounters in the Age of Columbus, New Haven: Yale University Press, 2008, pp.16-7. [vii] Susi Colin, ‘The Wild Man and the Indian in Early 16th Century Book Illustration,’ in Christian F. Feest (eds.), Indians and Europe: An Interdisciplinary Collection, Lincoln: University of Nebraska Press, 1999, p.8. [viii] Abulafia, 2008, pp.16-7. [ix] Colin, 1999, p.6 [x] Bernheimer, 1952, pp.165, 59. [xi] Colin, 1999, p.8. [xii] Husband, 1980, p. 11. [xiii] Walter L. Strauss (ed.), The Complete Engravings, Etchings and Drypoints of Albrecht Dürer, Courier Dover, 2013, p. 178. [xiv] Bernheimer, 1952, p. 135. [xv] Anne Clark, Beasts and Bawdy, London: Dent, 1975, p. 46 [xvi] Lynn Frier Kaufmann, The Nobel Savage: Satyrs and Satyr Families in Renaissance Art, Ann Arbor, Michigan: UMI Research Press, 1984, p. 34. [xvii] Salisbury, 1994, p. 152. [xviii] Classen, Albrecht (ed.), Meeting the Foreign in the Middle Ages, New York: Routledge, 2002, p. xx. [xix] Colin, 1999, p. 9. [xx] Danielle Régnier-Bohler, ‘Imagining the Self’, in Georges Duby (ed.), A History of Private Life: vol. II Revelations of the Medieval World, trans. Arthur Goldhammer, Cambridge, Mass.: Harvard University Press, 1988, p. 368. [xxi] Régnier-Bohler, 1988, p. 369. [xxii] Colin, 1999, p. 9. [xxiii] Colin, 1999, p.6. [xxiv] Husband, 1980, p. 62; Merry Wiesner-Hanks, The Marvelous Hairy Girls: The Gonzales Sisters and their Worlds, New Haven: Yale University Press, 2009, p. 42. [xxv] Husband, 1980, p. 64; Bartra, 1994, p. 101; Bernheimer, 1970, p. 37. [xxvi] Gilmore-House in Husband, 1980, p. 139. [xxvii] Kaufmann, 1984, pp.32-4. [xxviii] Michelle Moseley-Christian, ‘From Page to Print: The Transformation of the “Wild Woman” in Early Modern Northern Engravings’, Word & Image: A Journal of Verbal/Visual Enquiry, vol. 27, no. 4, 2012, p. 431; Tacitus, Cornelius, Agricola and Germany, trans. Anthony Birley, Oxford: Oxford University Press, 1999, p. 46. [xxix] Schama, 1995, p. 96. [xxx] Caspar Hirschi, The Origins of Nationalism: An Alternative History from Ancient Rome to Early Modern Germany, Cambridge: Cambridge University Press, 2011, p. 169. [xxxi] Colin, 1999, p. 23-4. [xxxii] Lewis W. Spitz, Conrad Celtis: The German Arch-Humanist, Cambridge: Harvard Universtiy Press, 1957, p. 100-101. [xxxiii] Anne Clark, 1975, p. 46. [xxxiv] Gilmore-House in Husband, 1980, p. 168. [xxxv] Gilmore-House in Husband, 1980, p. 167. [xxxvi] Gilmore-House in Husband, 1980, p. 168. [xxxvii] Wiesner-Hanks, 2009, p. 35. [xxxviii] Bernheimer, 1952, p. 180. [xxxix] Husband, 1980, p. 4. [xl] Wiesner-Hanks, 2009, p. 44. [xli] Husband, 1980, p. 187. [xlii] Moseley-Christian, 2012, p. 438. [xliii] George Ferguson, Signs & Symbols in Christian Art, Oxford: Oxford University Press, 1959, p. 22. [xliv] Christa Grössinger, Picturing Women in Late Medieval and Renaissance Art, Manchester: Manchester University Press, 1997, p. 82. [xlv] Husband, 1980, p. 15. [xlvi] Husband, 1980, p. 17. [xlvii] Kaufmann, 1984, pp. 36-7. [xlviii] Schama, 1995, pp. 97-8. [xlix] Colin, 1999, pp. 23-4. [l] Husband, 1980, p. 133. The full translation is found in Appendix B of Husband, 1980, pp. 202-4. [li] Husband, 1980, p. 97. [lii] Husband, 1980, p. 95. [liii] Husband, 1980, p. 102. [liv] Husband, 1980, p. 105. [lv] Bartra, 1994, pp. 83-4. [lvi] Roberta Milliken, Ambiguous Locks: An Iconology of Hair in Medieval Art and Literature, Jefferson, North Carolina: McFarland and Company, 2012, p. 189. [lvii] Wiesner-Hanks, 2009, p. 41. [lviii] Joana Antunes, ‘The Late-Medieval Mary Magdalene: Sacredness, Otherness, and Wildness’, in Peter Loewen and Robin Waugh (eds.), Mary Magdalene in Medieval Culture: Conflicted Roles, New York: Routledge, 2014, p. 117; Wiesner-Hanks, 2009, p. 38; Husband, 1980, p. 100. [lix] Husband, 1980, p. 100. [lx] Antunes, 2014, p. 118. [lxi] Milliken, 2012, p. 189. [lxii] Wiesner-Hanks, 2009, p. 38; Husband, 1980, p. 100; Milliken, 2012, p. 189. [lxiii] Michelle Erhardt and Amy Morris, ‘Introduction’ in Michelle Erhardt and Amy Morris (eds.), Mary Magdalene: Iconographic Studies from the Middle Ages to the Baroque, Leiden: Brill, 2012, p. 9; Else E. Friesen, ‘Saints as Helpers in Dying: The Hairy Holy Women Mary Magdalene, Mary of Egypt, and Wilgefortist in the Iconography of the Late Middle Ages,’ in E.E. DuBruck and B.I. Gusick, Death and Dying in the Middle Ages, New York: Peter Lang, 1999, pp. 240, 242; Milliken, 2012, p. 204. [lxiv] Erhardt and Morris, 2012, p. 9; Friesen, 1999, pp. 240, 242. [lxv] Bartra, 1994, pp.47-8. [lxvi] Erhardt and Morris, 2012, p. 9; Friesen, 1999, pp. 240, 242. [lxvii] Milliken, 2012, p. 206. [lxviii] Friesen, 1999, p. 242 [lxix] Husband, 1980, p. 100. [lxx] Jacobus de Voragine, The Golden Legend: Readings on the Saints (c.1260), ed. Eamon Duffy, Princeton: Princeton University Press, 2012, p. 381. [lxxi] Virginia Burrus, The Sex Lives of Saints: An Erotics of Ancient Hagiography, Philadelphia: University of Pennsylvania Press, 2011, p. 149. [lxxii] Voragine, 2012, p. 228; Milliken, 2012, p. 205. [lxxiii] Husband, 1980, p. 102. [lxxiv] Bartra, 1994, pp. 74-5. [lxxv] Hélène A. Guerber, The Myths of Greece and Rome, New York: Cosimo, Inc., 2007, p. 57. [lxxvi] Russell, 1986, p. 232. [lxxvii] Robert W. Scribner, For the Sake of Simple Folk: Popular Propaganda for the German Reformation, Cambridge: Cambridge University Press, 1981, pp. 135, 80 [lxxviii] Scribner, 1981, pp. 163, 164. [lxxix] Wiesner-Hanks, 2009, p. 35. Share this: Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to share on Pinterest (Opens in new window)Click to share on Pocket (Opens in new window) Related Wild Men and Heraldry February 20, 2022 In "wild folk" Representations of Monsters in German Renaissance Prints September 5, 2021 In "cynocephali" Monstrous Women: Hair, Gender, and Sexuality in Early Modern German Prints June 6, 2021 In "Human-Animal Relations"

I’m on PlayStation 5
Issue: out of the blue, my ps5 won’t connect to the internet anymore. Every time I try a solution I get the same message which is
“Can't connect to the internet. Your internet service provider or your router might be preventing your PS5 from connecting to the internet. Make sure you can connect to the internet via the same network as your PS5 by testing the connection using your computer or mobile device”.
Other devices work fine on the same network. The neighbor’s wi-if works fine with my ps5 but slow due to distance.
Steps taken to fix the issue:

1. Restarted, reset and finally reinstalled ps5 system software.
   
2. Restarted, updated and factory reset my router.
   
3. Changed the SSID and password and tried different DNS settings.
   

This is the third time this happened to me in 2023. The first time resetting the ps5 to factory settings was enough to get to connect again. Second time it got fixed the next day on its own. This time nothing worked.
I googled and searched Reddit and found many with the same problem. Some were able to fix it others like me are still looking for a solution.

Now that the Government has suspended Regulation D indefinitely (https://www.federalreserve.gov/supervis ... stions.htm) -- this is the regulation that used to limit withdrawals to 6 per month on savings accounts -- I'm wondering if banks encouraging use of savings accounts as primary accounts will become more popular over the next few years.
M1 Finance seems to already be doing this with their 5% savings account with up to 5 million in FDIC insurance and Unlimited transactions.
If you think about it, the only benefit checking accounts offer are debit cards and check, neither which apply to many people these days. I haven't written a check in ages, and I don't use debit cards as I prefer responsible use of credit card points. Pretty sure you can attach a good old ATM card to a savings account, so banks who want to offer ATM access and/or ATM refunds will still be able to do so (albeit without a debit card).
I'm actually thinking of switching my primary account to M1's savings account for both direct deposit and ACH withdrawal of bills. I have about ~10 bills per month when all is said and done. I know the Fidelity CMA and/or brokerage account have similar features if you enable checks, debit card, etc. but for me, the interface makes it really challenging to filter out certain transactions.
Curious what others think. Is anyone planning on using their M1 savings account as their primary "checking" account?

[warning ESL- English as a second language] I’m sorry I have no one to share this with but I’ve been talking to a guy that I met at the dog park 6 months ago at first we were talking as friends then we became really close in a short period of time he texts me ALL the time, calls me at least 5-7 times a day for no reason like he asks me to stay on the phone with him while he’s driving, working, cleaning, etc., he then told me that I “appealed to his senses” I was like wym and he refused to explain. He started flirting with me and so I asked him if he was single and he was very vague about it and so I just assumed that he was which is my fault. I really liked him so I started flirting back and he continued to be the biggest part of my day for the past 3 months like not only were we flirting with each other he was my best friend! Today he was on the phone with me, you know like he always is and he was like oh $hit I forgot to go to the store I went what do you need from the store he goes oh just some groceries for the homies I was like what homies lol are you married or something (in a sarcastic manner) and he goes umm yes. I laughed because I was sure he was joking but no he fu*ing wasn’t! I was like are you serious I was so angry he goes yea I know I’m a piece of shi I’m sorry. I hung up and now he’s calling and texting and freaking out but Idk what to do I’m so heartbroken this is so sad he was my best friend and I felt so attached to him like this is so sad I’m crying and don’t know how to move forward from this point on. I’m gonna miss the calls and the texts and just the feeling that somebody cares about me and my day. I’m so introverted and don’t have friends that I can trust (well I had one) thus sharing this here. Thanks for listening

Hi, I'm a 33F, 5'9". So basically I noticed when I was going to take a shower a few days ago that my nipples were pointing at an angle instead of straight ahead like it does normally, then my breasts felt a bit strange but once I adjusted my bra they felt better, now when I did a number 2 in the restroom earlier today and was wiping myself I saw blood, so I put a pad in just incase it's my time of the month (I haven't had a monthly for about 5 years maybe a bit more) now when I did a number 1 it came out clear but when I wiped my self just incase the paper was a bit brown looking and I sniffed it and it smelled like blood but I'm not sure. I told my mom about this and she said to just wait and see what happens over a few days and not to over analyze stuff and it could have been something I ate a few days ago showing up now, I can't afford to take any days off from work so I am really nervous about all this. I haven't said anything to my dad yet, the 3 of us live together and I don't want to panic him either. I am going to delete this post in a few days just an fyi.

Substrata + man with movie camera - Biosphere I tried to listen to this three times, but i didn't really get it, until suddenly a couple of days after i'd heard it the third time, i got an inexplicable urge to listen to it again. Since that fourth time, it's only gotten better and better with every subsequent listen. Any of y'all experience this sometimes? Like if a piece of music is challenging or leaves me sort of puzzled at first, that over time you just tend to learn to appreciate it more and more and somehow it doesn't get stale? Had a similar thing happen to me with the track "I never dream" by Against All Logic off the 2012-2017 record. Really didn't "get it" at first, but now it's probably my favourite piece of house music that i know about. It also seems that the inverse holds true for me as well - like if i'll hear a catchy tune which draws me in instantly and gets me hooked, how good it sounds tends to diminish over time to the point where eventually i wont want to listen to it anymore. It's like it'll start to sound "flatter" or i will sort of realize how i've paid attention to every single detail and therefore cannot find anything novel about the track anymore. With some pieces of especially experimental electronic music like stuff from the IDM genre, it almost doesn't matter how many times i listen to it - if i listen intently and deeply i can usually notice some compositional thing that never occured to me before as being part of the track. When music challenges my palate i can usually learn to appreciate it with time to the point where it'll become a favourite of mine down the road. Another noteworthy example i've noticed is with the pretty experimental record from DJRUM - portrait with firewood. Had to listen to that record atleast 4-5 times before i could say with sincerity that i liked it. I also don't have any background in music or any formal training in how to compose or make music, so i tend not to be able to put into words or find immediately more subtle things about the track or album, that will later stand out to me as something i appreciate. I think my taste really started to flourish once i embraced this "repeat-listening-before-i-.make-judgments" mentality.

I haven't talked or text a girl in over 5 years I believe. I accepted my fate 5 years ago that I will be alone for the rest of my life. Surprisingly it was a good 5 years. I wasn't sad about being single. Well I started texting a girl 5 days ago and it made me feel so good! And today I double texted her and now everything that I've avoided feeling is all hitting me at once and there's nothing I can do but burst into tears right now. I don't know how to deal with this..

We’re going on a 15 day cruise to Hawaii from Long Beach. None of the available excursions in the app have caught our attention. Any recommendations on what to do? We were thinking we could just walk off the port and explore (walk or Uber) but is that possible at all these ports? I found some interesting things for Kona from google
Thurs 10/19 - Maui/Kahului 10am-11pm * Fri 10/20 - Honolulu 9am-11pm * Sat 10/21 - Kauai (Nawiliwili) 7:30am-5:30pm * Sun 10/22 - Kona 9am-6pm * Kanaloa Octopus Farm * Keauhou Center * Pu’uhonua o Hōnaunau National Park * Seahorse Farm Tour Mon 10/23 - Hilo 8am-5pm

Had reached day 5 of no fap and thought let's just watch porn and I won't fap but just lost control at the end...
Really angry on myself 🥲

Long story short - I went no contact with my JNMIL ( and flying monkeys) over a year ago. It all came to a head after I was rushed to the ER and almost died. I had serious complications after having my fourth baby a week earlier.
JNMIL was truly evil during this nightmare. She asked me as I’m being taken to the ER, “have you been eating too much salt?” And then commented that her ankles are always swollen. I asked my husband to stay home and get our four kids to bed before he came to see me at the hospital. When he finally arrived fours hours later, he said it took so long because his mom was leaving the next morning at 5 am to go back home and she wanted to see him. He was with me for 30 min before his dad called from states away to tell him he needed to go home and help his mom with our kids because they are giving her and hard time and she needs help. We have four kids under 5 and it was midnight, kids were all sleeping when he left and four of my close family members were in the house next door to ours and would have helped immediately if they knew there was a problem. JNMIL left the next day at 5 am and I didn’t hear from her until three weeks later when she texted me asking how I was. This just after my DH had called and asked her why she and no one else in his family had contacted me or called me. They were all still pissed of course - four days after having our fourth child, just prior to me going to the ER- JNMIL had planned a surprise birthday trip for my husband to fly states away and spend the weekend with “his family”. Without my permission or knowledge, she contacted my nanny asking her to work and stay with me the entire time DH would be gone and said she’d pay double. My nanny came to me - in tears and heartbroken - to let me know what was going on and how upset she was. This whole situation was still unresolved and not addressed at the time I was rushed to the ER. I did not reply to JNMIL text, contact or communicate with DH family again. I blocked JNMIL and rest of DH family after receiving this text message five months later from JNMIL ———-— Hi Daphne! It has been so long since we last communicated I am wondering what is going on , and apparently there is some miscommunication or misunderstanding. From what I feel you are doubting my love and care for you. I just wanted you to know that I always considered you as my daughter since you entered our family. I always helped as much as I can with the kids and never expected anything in return except love and appreciation Be certain that our goal is the same. The Well-being of your family I wish that as I consider you my daughter, you will consider me as your mom, which is very hard specially that your mom was a very special lady. I want our communication to be open and clear Tell me why are you upset and give me the chance to understand what is going on We are an affectionate and loving family and I pray to God to keep our relationship between us a good and healthy one I wish you all happiness and God bless you all —————-
I truly feel I have PTSD from the shit my JNMIL and minions did to me and my kids. I made it crystal clear to my husband that no contact for me and our kids with JNMIL and the rest his immediate family is the hill I’m willing to die on.
My DH feels I did not go about no contact with his family in the right way. In his alternate universe, I would have expressed my grievances and feelings with JNMIL, given her a chance to say sorry, listen to JNMIL and apologize to her for being born and then have a discussion with her.
I’d like to hear your opinion on the text JNMIL sent to me and whether or not I should have communicated to JNMIL and fam I was going no contact.

I’m in the middle of watching fast 9 for the first time in a while and I’m so frustrated with how they did so much of it. lol. I’m rewatching all the old movies to prep for watching fast X tomorrow. I saw fast 9 in theaters but haven’t seen it since. I remember not liking it but couldn’t recall why. Let me preface this by saying…I’ve been a fan of FF since the first movie. I know there’s a certain level of corniness and unbelievability that comes with it. I’m willing to throw logic out. I was a fan of PLL when it was out and did the same there. I’m happy to get a new movie or new season and never complain they’ve jumped a shark somewhere. If I’m a fan of something, my standards can go low. LOL. But this movie feels like it could have been skipped.
Jakob - wtf. He couldn’t have been a cousin? Just a random brother that dom turned his back on after years of saying you don’t turn your back on family even if they turn theirs on you. They could have made him a cousin or his dads son that he had before he married doms mom. Not someone doms been aware of this whole time. I would have believed a cousin or unknown sibling that was jealous of how dom treated his “family” and felt slighted he didn’t treat them the same. Or this unknown brother went to the track to meet the dad the day he died and he never got the chance so he’s been jealous of dom and the fact he knew him or something. Anything other than this rando brother that was never mentioned.
Cypher - she was a big bad last movie and escaped and should be the big bad is this movie. But no. She spends all her time (so far) in a box. Where is her team? No one is coming to break her out? Feels unlikely. Instead they have motto who is uninteresting. They should have had cipher and Jakob team up. Not Jakob and Moto. Cipher, imo, has been the worst villain so far and they don’t use her in this movie? Dom has moved to a farm instead of the house he worked hard to get back. The family house ..unless Mia lives there now. I’m mid point so they may say that later. But dom moved away and is seemingly untraceable. No phones, no contact and they hide when a car pulls up at the beginning so they’ve clearly been in hiding and living under the radar. From who? They’ve befriended all their enemies except for cypher. So it feels like they’re worried about cypher returning. Tej and co show up to say mr nobody had cypher and she escaped. Dom says no thanks. Roman reminds him she killed Elena and he says things changed and leaves. It feels like if he’s hiding from cypher he’d jump at the chance to track her down and kill her when given the chance so he didn’t have to do that anymore.
CypheJakob - I wish they would have done flashbacks over the last three years since we last saw dom and co and show what has happened since. Throw Jakob in as the brother he never knew he had but Jakob knew about dom and co. Jakob could have worked with cypher this whole time. That’s how cypher knew to look his way to start with. Jakob pet cypher know to tip off Owen Shaw about Letty and kill her. Jakob could have tipped off cypher about Elena and helped have Elena and little Brian Kidnapped. Made the two of them badass team that have been the point of issue for dom since fast 4. Show how they’ve done it over time. Show the last three years where dom was attacked or something and the team found it necessary to go their own ways off the radar so they can’t be tracked or targeted. That’s why dom isn’t too keen to go after cypher. Maybe she’s been going for him or trying to make a move since the last movie. His “thing have changed” line makes a little more sense bc he’s aware of the danger and wants to keep Brian safe.
Tej/Roman/Ramsey - the plots with these three felt so weird. It was like they tried to make this movie a little tongue in cheek and it didn’t work. It just came across cartoonish and like a parody of itself. The whole space bit was awful. Roman falling out of the car near a landmine and then a car falling on him and he’s fine was awful. What was the point of that. He could have fallen out of the car, missed the landmine and been done. But they threw a car on him that he just walked away from for fun. And made a weird death sound when it happened like a cartoon would. Then the whole “isn’t it weird we don’t even have a scratch after all this” convo was weird. Like have Roman get shot or something in the arm and then have the talk where they’re like it’s crazy we do all this and still survive. Would have the same affect. I can’t tell if they don’t know how to write humor for this movie or what they were doing but the three of them and the weird Tokyo drift inventors bring the whole movie down.
Han - i love Han so I’m glad he’s here’s but i almost wish they left him dead. His death was well written and is written off with Giselle.
Hobbs and Shaw- I get why they weren’t here but it’s weird they aren’t even mentioned. At some point it should have been said they’re on a mission or something.
So much of this felt pieced together. Cardi b…for what reason. It just felt like they sat down and said well we’re ending the movies soon, what crazy things got cut from all the other movies or joked about before? Let’s throw it into this one to get them all in there. Why not. Movie 8 was actually one of my favs. It had a good mix of everything. So I’m bummed this is what they did next. I hope X is more like 5-8. With the more slick, heist, action with real stakes.

12/6/22 Final ECF submitted immediately after 120th eligible payment posted
3/23/23 count updated to 120 on mohela website
3/27 letter confirming 120 received from mohela
5/24 Mohela zeroes out, confirmed via mohela chat that loan is forgiven, took approximately one hundred screenshots
5/30 FSA zeroes out and says paid in full effective 12/30/22 (thanks to this sub for the heads up!), more screenshots taken
5/26 and 5/31 called mohela asking re status of forgiveness letter
Sent follow-up message on 6/2- Mohela responds same day with brief letter saying loan is forgiven and “official” letter will come in approximately 45 days
…and now we wait (again)

My girlfriend (f 24) and I (m 27) are both alcoholics trying to be sober. I haven't had a drink for about 2 and a half months now and my gf was sober for a little over a month longer than me until last week. She relapsed "officially" about 5 days ago, but she was fired from her job a few days before that because her boss came in and said she was intoxicated but she said it was just her extreme bipolar disorder (it is pretty bad) and the fact that she's been off medication for almost a couple months, and said she was really hurt no one believed her so I said "okay, I believe you". Then a few days later I came home from work (we live together) and she was noticeably drunk and we got in an argument and she almost broke up with me and said she didn't care just wanted to drink, but then finally decided to pour it out and went to a meeting and came back and apologized and said she was sorry and wouldn't do it again. Then the next morning we wake up and she starts wanting to start arguments over small things for no apparent reason so I was to the cornerstore, get back, and she's grilling me about who I've been on the phone with (the bank) and starts hiccuping so I ask to see her bag and I pull out another 5th of vodka with a bit drank out of it. She swears it was from the day before and she just had it because she wanted to get rid of it herself but I was pissed so I took the bottle to her granny's room because her granny asked me to if that had happened (she also lives with us) then my gf gets pissed because she says her granny is gonna hold it over her head in a fucked up way and punched me in the face (wasnt super hard to be fair). I left and came back later and she apologized again. It's been two days since then. Now today when I get home from work she's visibly drunk again and I ask her in the calmest nicest way possible "babe did you drink" because there's a lot of signs, and she swears up and down no she didn't drink, then I say I promise I'm not gonna be mad, I just want us to be honest, and she told me she lied and she had been drinking. And right before I confronted her she was even apologizing again and saying how she didnt want it to be like the other day again. And now she just wants me to completely let it go and "let her work on it" since I said I wouldnt be mad. I honestly don't know what to do. For my own health or hers. Luckily I haven't been tpted to drink it, even when she offered me some after I found the first time , but damn, it's stressful! I love her to death and I wanna trust her and be alright but how?? Also I recently moved states to be with her a few months ago so I really don't have any friends or family of my own down here or anywhere else to go really if it even came to that. Thankful for my sobriety right now though.