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    Right, now let's get onto those essential, top tips. Engage with the person you're interested in over a good month or two before arranging a meet. This gives you time to be confident that they are who they say they are. Never send money to someone you have never met, no matter the excuse they give. There are scammers in every country, and Thailand is no exception.

    How to Avoid Bargirls on Thai Dating Sites Like any other single woman, many bar girls — both those having sex for money and those solely working in the entertainment industry as a dancer or hostess — are looking for a partner.

    Be aware that many of these girls are serial daters, and probably have a man in every port, so to speak. Such women are also likely to have children from previous relationships.

    Start off on the right foot and seek a woman that shares your interests, values and intentions. Though you could check out the last recommendation in my list below. That said, these experiences will vary by site, as you can find out in the reviews below. Operated by Cupidmedia, a company that owns many other dating sites in a broad range of ethnic niches, TC is probably the most well known dating site for foreign men seeking Thai women.

    If you want a broad selection of genuine women with a decent job, years old, this site is a good place to begin.

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    On my most recent sign-in I found 2, people online, and over 1, active profiles for the aforementioned age group. Like all dating sites, functionality is restricted to the membership you have. Thai Cupid is free to join, but with free you can only send 1 message every 15 minutes and you won't be able to message all members some have restricted profiles that only paid members can view.

    This is a tad frustrating because you have to wait for the response too. But hey, it's free! Send a message, make a cup of tea. Free membership won't get you video chat either, which is a great feature to use once you've established a connection with someone. The better your membership level also determines how far up in the search results your profile will appear; so bear in mind that those extra few dollars can make a big difference to your success.

    This translates messages for both parties, preventing cross wires and assisting in breaking down the language barrier. For an extra few dollars I'd say it's worth it to be able to communicate face-to-face with a potential dream date!

    Click on the image above to visit the ThaiCupid website. The site is popular because it caters for a slightly different crowd to ThaiCupid. I always think approaching dating too seriously can land you in as much hot water as going in too loosely, so to speak. Searching around I got the distinct feeling a few of the profiles I saw were women playing away from home, which may well appeal to some.

    One potential downside, depending on your preference, is the prevalence of ladyboys using the site.

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    It's a very active community and lots of fun. ThaiFriendly is free to register and there's no obligation for a paid membership. You can begin sending messages straight away, but bear in mind that to begin chatting on instant messenger and have live chats you'll need to upgrade.

    The pricing structure hasn't changed much in the last 5 years. If you are seeking to start a long-distance relationship, you might also do well to consider Asian Dating because you are location-independent, so to speak — you might meet an Asian lady in your home country, or a country other than Thailand.

    By nature, this makes AsianDating a place with a diverse membership and some fantastic single women to chat with. The membership pricing and functions unlocked by upgrading from free to a paid plan is essentially the same as ThaiCupid but a bit cheaper.
    I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass.

    My tongue, every atom of my blood, form'd from this soil, this air, Born here of parents born here from parents the same, and their parents the same, I, now thirty-seven years old in perfect health begin, Hoping to cease not till death. Creeds and schools in abeyance, Retiring back a while sufficed at what they are, but never forgotten, I harbor for good or bad, I permit to speak at every hazard, Nature without check with original energy.

    The atmosphere is not a perfume, it has no taste of the distillation, it is odorless, It is for my mouth forever, I am in love with it, I will go to the bank by the wood and become undisguised and naked, I am mad for it to be in contact with me. The smoke of my own breath, Echoes, ripples, buzz'd whispers, love-root, silk-thread, crotch and vine, My respiration and inspiration, the beating of my heart, the passing of blood and air through my lungs, The sniff of green leaves and dry leaves, and of the shore and dark-color'd sea-rocks, and of hay in the barn, The sound of the belch'd words of my voice loos'd to the eddies of the wind, A few light kisses, a few embraces, a reaching around of arms, The play of shine and shade on the trees as the supple boughs wag, The delight alone or in the rush of the streets, or along the fields and hill-sides, The feeling of health, the full-noon trill, the song of me rising from bed and meeting the sun.

    Have you reckon'd a thousand acres much? Have you practis'd so long to learn to read? Have you felt so proud to get at the meaning of poems?

    Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun, there are millions of suns left, You shall no longer take things at second or third hand, nor look through the eyes of the dead, nor feed on the spectres in books, You shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from your self.

    There was never any more inception than there is now, Nor any more youth or age than there is now, And will never be any more perfection than there is now, Nor any more heaven or hell than there is now. Urge and urge and urge, Always the procreant urge of the world. Out of the dimness opposite equals advance, always substance and increase, always sex, Always a knit of identity, always distinction, always a breed of life.

    To elaborate is no avail, learn'd and unlearn'd feel that it is so. Sure as the most certain sure, plumb in the uprights, well entretied, braced in the beams, Stout as a horse, affectionate, haughty, electrical, I and this mystery here we stand.

    Clear and sweet is my soul, and clear and sweet is all that is not my soul. Lack one lacks both, and the unseen is proved by the seen, Till that becomes unseen and receives proof in its turn. Showing the best and dividing it from the worst age vexes age, Knowing the perfect fitness and equanimity of things, while they discuss I am silent, and go bathe and admire myself. Welcome is every organ and attribute of me, and of any man hearty and clean, Not an inch nor a particle of an inch is vile, and none shall be less familiar than the rest.

    I am satisfied--I see, dance, laugh, sing; As the hugging and loving bed-fellow sleeps at my side through the night, and withdraws at the peep of the day with stealthy tread, Leaving me baskets cover'd with white towels swelling the house with their plenty, Shall I postpone my acceptation and realization and scream at my eyes, That they turn from gazing after and down the road, And forthwith cipher and show me to a cent, Exactly the value of one and exactly the value of two, and which is ahead?

    Apart from the pulling and hauling stands what I am, Stands amused, complacent, compassionating, idle, unitary, Looks down, is erect, or bends an arm on an impalpable certain rest, Looking with side-curved head curious what will come next, Both in and out of the game and watching and wondering at it.

    Backward I see in my own days where I sweated through fog with linguists and contenders, I have no mockings or arguments, I witness and wait.

    The hypocrisy of women not wanting to date short men


    Loafe with me on the grass, loose the stop from your throat, Not words, not music or rhyme I want, not custom or lecture, not even the best, Only the lull I like, the hum of your valved voice. I mind how once we lay such a transparent summer morning, How you settled your head athwart my hips and gently turn'd over upon me, And parted the shirt from my bosom-bone, and plunged your tongue to my bare-stript heart, And reach'd till you felt my beard, and reach'd till you held my feet.

    Swiftly arose and spread around me the peace and knowledge that pass all the argument of the earth, And I know that the hand of God is the promise of my own, And I know that the spirit of God is the brother of my own, And that all the men ever born are also my brothers, and the women my sisters and lovers, And that a kelson of the creation is love, And limitless are leaves stiff or drooping in the fields, And brown ants in the little wells beneath them, And mossy scabs of the worm fence, heap'd stones, elder, mullein and poke-weed.

    I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose?

    Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you are from old people, or from offspring taken soon out of their mothers' laps, And here you are the mothers' laps.

    This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, Dark to come from under the faint red roofs of mouths.

    O I perceive after all so many uttering tongues, And I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women, And the hints about old men and mothers, and the offspring taken soon out of their laps. What do you think has become of the young and old men?

    And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

    I hasten to inform him or her it is just as lucky to die, and I know it. I pass death with the dying and birth with the new-wash'd babe, and am not contain'd between my hat and boots, And peruse manifold objects, no two alike and every one good, The earth good and the stars good, and their adjuncts all good. I am not an earth nor an adjunct of an earth, I am the mate and companion of people, all just as immortal and fathomless as myself, They do not know how immortal, but I know.

    Every kind for itself and its own, for me mine male and female, For me those that have been boys and that love women, For me the man that is proud and feels how it stings to be slighted, For me the sweet-heart and the old maid, for me mothers and the mothers of mothers, For me lips that have smiled, eyes that have shed tears, For me children and the begetters of children.

    The youngster and the red-faced girl turn aside up the bushy hill, I peeringly view them from the top. The suicide sprawls on the bloody floor of the bedroom, I witness the corpse with its dabbled hair, I note where the pistol has fallen. I am there, I help, I came stretch'd atop of the load, I felt its soft jolts, one leg reclined on the other, I jump from the cross-beams and seize the clover and timothy, And roll head over heels and tangle my hair full of wisps.

    The Yankee clipper is under her sky-sails, she cuts the sparkle and scud, My eyes settle the land, I bend at her prow or shout joyously from the deck. The boatmen and clam-diggers arose early and stopt for me, I tuck'd my trowser-ends in my boots and went and had a good time; You should have been with us that day round the chowder-kettle.

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    I saw the marriage of the trapper in the open air in the far west, the bride was a red girl, Her father and his friends sat near cross-legged and dumbly smoking, they had moccasins to their feet and large thick blankets hanging from their shoulders, On a bank lounged the trapper, he was drest mostly in skins, his luxuriant beard and curls protected his neck, he held his bride by the hand, She had long eyelashes, her head was bare, her coarse straight locks descended upon her voluptuous limbs and reach'd to her feet.

    The runaway slave came to my house and stopt outside, I heard his motions crackling the twigs of the woodpile, Through the swung half-door of the kitchen I saw him limpsy and weak, And went where he sat on a log and led him in and assured him, And brought water and fill'd a tub for his sweated body and bruis'd feet, And gave him a room that enter'd from my own, and gave him some coarse clean clothes, And remember perfectly well his revolving eyes and his awkwardness, And remember putting piasters on the galls of his neck and ankles; He staid with me a week before he was recuperated and pass'd north, I had him sit next me at table, my fire-lock lean'd in the corner.

    She owns the fine house by the rise of the bank, She hides handsome and richly drest aft the blinds of the window. Which of the young men does she like the best? Ah the homeliest of them is beautiful to her. Where are you off to, lady? Dancing and laughing along the beach came the twenty-ninth bather, The rest did not see her, but she saw them and loved them.

    The beards of the young men glisten'd with wet, it ran from their long hair, Little streams pass'd all over their bodies. An unseen hand also pass'd over their bodies, It descended tremblingly from their temples and ribs. The young men float on their backs, their white bellies bulge to the sun, they do not ask who seizes fast to them, They do not know who puffs and declines with pendant and bending arch, They do not think whom they souse with spray.

    Blacksmiths with grimed and hairy chests environ the anvil, Each has his main-sledge, they are all out, there is a great heat in the fire. From the cinder-strew'd threshold I follow their movements, The lithe sheer of their waists plays even with their massive arms, Overhand the hammers swing, overhand so slow, overhand so sure, They do not hasten, each man hits in his place. I behold the picturesque giant and love him, and I do not stop there, I go with the team also.

    In me the caresser of life wherever moving, backward as well as forward sluing, To niches aside and junior bending, not a person or object missing, Absorbing all to myself and for this song. Oxen that rattle the yoke and chain or halt in the leafy shade, what is that you express in your eyes? It seems to me more than all the print I have read in my life.

    My tread scares the wood-drake and wood-duck on my distant and day-long ramble, They rise together, they slowly circle around. I believe in those wing'd purposes, And acknowledge red, yellow, white, playing within me, And consider green and violet and the tufted crown intentional, And do not call the tortoise unworthy because she is not something else, And the in the woods never studied the gamut, yet trills pretty well to me, And the look of the bay mare shames silliness out of me.

    The sharp-hoof'd moose of the north, the cat on the house-sill, the chickadee, the prairie-dog, The litter of the grunting sow as they tug at her teats, The brood of the turkey-hen and she with her half-spread wings, I see in them and myself the same old law.

    The press of my foot to the earth springs a hundred affections, They scorn the best I can do to relate them. I am enamour'd of growing out-doors, Of men that live among cattle or taste of the ocean or woods, Of the builders and steerers of ships and the wielders of axes and mauls, and the drivers of horses, I can eat and sleep with them week in and week out. What is commonest, cheapest, nearest, easiest, is Me, Me going in for my chances, spending for vast returns, Adorning myself to bestow myself on the first that will take me, Not asking the sky to come down to my good will, Scattering it freely forever.

    The drover watching his drove sings out to them that would stray, The pedler sweats with his pack on his back, the purchaser higgling about the odd cent; The bride unrumples her white dress, the minute-hand of the clock moves slowly, The opium-eater reclines with rigid head and just-open'd lips, The prostitute draggles her shawl, her bonnet bobs on her tipsy and pimpled neck, The crowd laugh at her blackguard oaths, the men jeer and wink to each other, Miserable!

    What happened?

    I do not laugh at your oaths nor jeer you; The President holding a cabinet council is surrounded by the great Secretaries, On the piazza walk three matrons stately and friendly with twined arms, The crew of the fish-smack pack repeated layers of halibut in the hold, The Missourian crosses the plains toting his wares and his cattle, As the fare-collector goes through the train he gives notice by the jingling of loose change, The floor-men are laying the floor, the tinners are tinning the roof, the masons are calling for mortar, In single file each shouldering his hod pass onward the laborers; Seasons pursuing each other the indescribable crowd is gather'd, it is the fourth of Seventh-month, what salutes of cannon and small arms!

    I resist any thing better than my own diversity, Breathe the air but leave plenty after me, And am not stuck up, and am in my place. The moth and the fish-eggs are in their place, The bright suns I see and the dark suns I cannot see are in their place, The palpable is in its place and the impalpable is in its place. This is the grass that grows wherever the land is and the water is, This the common air that bathes the globe.

    Have you heard that it was good to gain the day? I also say it is good to fall, battles are lost in the same spirit in which they are won. I beat and pound for the dead, I blow through my embouchures my loudest and gayest for them. Vivas to those who have fail'd! And to those whose war-vessels sank in the sea! And to those themselves who sank in the sea! And to all generals that lost engagements, and all overcome heroes!

    And the numberless unknown heroes equal to the greatest heroes known! This is the press of a bashful hand, this the float and odor of hair, This the touch of my lips to yours, this the murmur of yearning, This the far-off depth and height reflecting my own face, This the thoughtful merge of myself, and the outlet again. Do you guess I have some intricate purpose? Well I have, for the Fourth-month showers have, and the mica on the side of a rock has. Do you take it I would astonish?

    Does the daylight astonish? Do I astonish more than they? This hour I tell things in confidence, I might not tell everybody, but I will tell you. What is a man anyhow? All I mark as my own you shall offset it with your own, Else it were time lost listening to me. I do not snivel that snivel the world over, That months are vacuums and the ground but wallow and filth. Whimpering and truckling fold with powders for invalids, conformity goes to the fourth-remov'd, I wear my hat as I please indoors or out.

    Why should I pray? Having pried through the strata, analyzed to a hair, counsel'd with doctors and calculated close, I find no sweeter fat than sticks to my own bones.

    In all people I see myself, none more and not one a barley-corn less, And the good or bad I say of myself I say of them. I know I am solid and sound, To me the converging objects of the universe perpetually flow, All are written to me, and I must get what the writing means. I know I am deathless, I know this orbit of mine cannot be swept by a carpenter's compass, I know I shall not pass like a child's carlacue cut with a burnt stick at night.
    Introduction The Gungywamp Complex in Groton, Connecticut contains house foundations, colonial roads, and historic stone walls.

    Researchers, archaeologists, and historians are in general agreement about the historic origins of these features. A strong Native American presence within the area dating back thousands of years is likewise agreed upon by all the researchers.

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    The Native American utilization of several rockshelters within the complex is well attested to by the archaeological evidence. These stone structures have been the subject of numerous theories as to their origins, date of construction and purpose. These theories ranged from those based on archaeological evidence and scientific argument to those based on wild speculation.

    These theories have been often repeated and cited but rarely subjected to scientific review and analysis. The theories can be grouped into two broad categories.

    The first group contains theories that offer various utilitarian historical explanations for the structures. The second group focuses on Native American ceremonial explanations for the features. This article is a scientific analysis, review, and critic of both groups of theories. Each theory is evaluated to determine the soundness of its evidence, plausibility of its hypothesis, and tested to see if it withstands basic scientific inquiry.

    Through this process the theories with merit can be sorted from those without. East side near northern end of South Complex, as shown on site map. Each socket was a inch deep depression packed with small rocks, cobbles and rubble. The SS tend to be shorter and smaller at each end of the rows; the taller cluster more toward the center of each row.

    This is unconfirmed by the author. This disclosed that a single layer of cobbles had been laid directly on sandy, orange loess. Several stones in the north row were pulled out by vandals. These stones were painted orange on the bottoms to discourage further vandalism. But the example Warner used shows the standing stones with their broadsides all facing outward and abutted right next to each other.

    This does not at all bear any resemblance to the rows of standing stones at Gungywamp. In the same issue of the Stonewatch Newsletter, Paulette Buchanan briefly mentions another variant of this theory Buchanan Buchanan provided a detail explanation of the theory in a subsequent article. The name of this type of stone wall construction is called coping and dyking.

    This type of construction makes a very stable and durable wall. There are several significant problems with this statement. First and foremost, Buchanan misunderstood the Scotish terms dry stane dyke, coping and dyking.

    The term dyking simple refers to the act of building a dry masonry stone wall. Garner offers the following remarks on the subject of coping, copestone, cope: Firstly they add considerable weight to the wall, weight which is specially vital to stablise the lighter stones in the upper half.

    Secondly, they act as throughstones and must make good contact with both sides [both sides refers to a double wide wall]. The ideal copestone is fairly thin and flat and is placed upright on the wall. In this way more stones, and therefore more weight, can be placed in a given length.

    Copestones should add about 9 inches mm to the height, bringing the wall up to the specified 4 feet 6 inches 1. In support of the idea of vertical bracing stones, Buchanan offered two illustrations from a British BTCV website page page is no longer available. Both illustrations came from Dry Stone Walling: A Practical Handbook Brooks and Adcock and appear on page and The first illustration showed stones place in vertical position, one row on top of another.

    On the right side a single vertical stone goes from the bottom of the first row to the top of the second row. Closer examination of the illustration shows it is top view of a stone wall and the stones extending through the wall are in a horizontal position not a vertical position. According to the Handbook, this illustration shows how to properly lay the foundation for a stone wall in a trench in the ground.

    These horizontal stones are known as throughstones. Throughs are long stones, stretching across the two sides and making good contact with each other.

    Their purpose is to act as ties to hold the sides together and stop the wall bellying out. They are not placed in a vertical upright position. The throughstones do not disrupt the interlocking of the smaller stones. They reinforce the interlocking by tying the two sides of the wall together and being the same thickness are integrated into the interlocking process.

    This variant of multiple upright stones in wall theory is deeply flawed.

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    It was based upon a misunderstanding of Scottish terminology and two illustrations which were taken completely out of their original context. This example illustrates the need for careful research and verification of the basic details. Were upright stones used in stone wall construction? A review of seven major books on dry masonry stone wall construction yielded only two examples.

    In both examples, the upright stones were placed 6 to 8 feet apart. The upright stones had a wide notch in the top. There are several major flaws with the theory that upright standing stones were used to support and stabilize the stone wall. First, there is a lack of comparable examples to Gungywamp standing stone rows.

    There is a practical explanation for this absence. Standing stones, whether they are flat slab or tall boulders, create vertical seams in the walls. According to various books on dry stone wall masonry, vertical seams are highly unstable. Stone walls need to be built with layers of overlapping horizontal stones which effectively interlock with each other creating a very strong and stable wall. The second problem is a number of stones in the two rows are short and would not extend from the bottom of the wall to the top of the wall.

    Thirdly, there are no smaller stones placed between the standings stone and there is no evidence that any were ever placed between them. With wooden sides and lids, a standing row of stones conceivably could have stored different supplies or feed purchased elsewhere. Presumably these boxes would be used by a farmer on his farm or soldiers in an encampment during one the periodic colonial wars.

    A review of 19th century literature on farming and 18th century military encampment equipment found no comparable examples. If the standing stones were boxed-in with wood then nails would expected to be found. David Barron in his excavations at the stone rows did not find any nails. Dopirak does not explain how the tanned hides could be stretched using the upright stones.

    Stretching any material including leather requires the ability to securely attach one end to a pole, rack or framework. There is no obvious means to attach the leather to the stones.

    There is currently no plausible utilitarian explanation for these structures. Archaeological excavations at several rockshelters within the complex have demonstrated the presence of Native Americans within the complex. Excavations at the double stone circle by Whittall and Barron also recovered a number of Native American artifacts at the site.

    Having reject all of the historical explanations, it is necessary to explore the possibility that the two rows were constructed by Native Americans. This raises an important question: Moon Ceremonialism Theory The two standing stone rows are located in northeast section of the site. The North Row is badly eroded suggesting it is older than the more intact South Row.

    The North Row is briefly talked about in published sources but there are no photographs or specific information about it. This discussion will rely heavily on the better documented South Row. The South Row was constructed following a carefully designed plan. The standing stones at each end of the row are short. From these short stones, the height of the stones increases until the maximum height is reached in the middle of the row.

    Each row has an elliptical arc that is bowed out towards the east. On the east side of the South Row there is a covered post hole and stone paving.

    One of the stones has a bird effigy with its head and beak pointed towards the east. All of these details indicate the stone row was intentionally constructed for a specific purpose. This arrangement suggests potential ceremonial activity. What type of ceremonialism? The elliptical arc forms a crescent shape.

    The moon is generally represented by a crescent shape. There are 24 and up to 29 standing stones in the South Row. Without a full excavation, the actual number of missing standing stones in the South Row remains unknown. The variation between 24 and 29 stones without knowing the actual number of stones used suggests two possibilities: Where the moon rises over water there is a moon beam on the water.

    Based upon the number of stones and the elliptical arc of the rows i. The presence of stone paving along the east side of the south row and the unusual post hole covered by a stone shingle reinforces the idea of a ceremonial structure. The post hole could have been used to hold a ceremonial staff.

    Is there any historical and anthropological evidence to support the idea of Native American moon ceremonialism?

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