text:
Free personalized radio that
plays the music you love
You Make It Rough
You want to look the other way
Look the other way
I'm talking about the here, the now
You want to look the other way
Look the other way
I'm talking about the here, the now
Features of This Trackhouse roots
four-on-the-floor beats
electronica influences
new wave influences
beats made for dancing
unsyncopated ensemble rhythms
use of call-and-response vocals
a male vocal
thin backup vocal performance
romantic lyrics
storytelling lyrics
a rhythmic intro
use of modal harmonies
the use of chordal patterning
melodic part writing
a variety of synth sounds
subtle use of arpeggiated synths
light synth fx
synth heavy arrangements
These are just a few of the hundreds of attributes cataloged for this track by the Music Genome Project.show more
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text:
Breaking and Entering
At first there was nothing, and then she appeared in front of me, her copper-gold curly hair and green eyes as always the first thing I saw. She was dressed in skin-tight denim jeans and a loose-fitting, not particularly warm-looking silvery-grey pullover. She didn't wear a coat; ghosts don't feel the cold, and the rain just passed right through her.
"Hi, Jay," she said, with a glossy lipstick smile that matched the colour of our hair. She looked around and up at the unmistakeable round building. "The library? At this hour? It'll be closed."
I gave her a wry smile in return, still amazed as always by her appearance. Although she'd been only four years old when she died, Becky had aged at the same rate I had, and now she appeared to be in her mid-twenties. I had asked her about it once and she said it was because she was technically the elder twin, and she hadn't wanted her little brother to overtake her and leave her behind.
"Closed is a problem," I replied. "I was hoping you could help me with that." I pointed at the door.
Becky approached the door and lifted one hand to touch it. She frowned a moment and then seemed to dissolve into the drizzling rain, leaving only a wisp of blue-grey mist that slid through the crack underneath the door. Thirty seconds later she re-solidified in front of me. "There's a perimeter alarm on the door, and there's a lot of security cameras inside, probably more perimeter alarms on the interior doors too." She let out a breathless sigh. "No live security guards but the place is wired up like a bank."
"There's a lot of really old books in there," I pointed out. "Probably worth more than what's in the safe at the average high-street bank. Anything you can do?"
"Well... I could short out the whole system at the main fuse-box, that would kill it all at once."
"Yeah, and have the police here in three minutes flat." I frowned. "I can't do what I need to do that quickly."
Becky gave a pout more like a four year old than a twenty-four year old. "I can't think of anything else. That spell you do might hide you from people but it won't hide you from a camera recording."
I thought for a minute, my hands thrust deep into my pockets. My fingers touched the crystal and I closed my hand around it, feeling it pulsing slightly. The energy was strong here, stronger than it should be, and there was a nasty, oily slickness to it that I didn't like. "I need to know, Becky," I said, pulling from my other pocket a piece of stiff wire. "Go kill the system."
She dissolved into mist again and disappeared under the door. Ten seconds later the floodlights illuminating the building's exterior all went dark. Without a moments hesitation I stepped up to the door and pushed the wire into the keyhole, feeling for the levers inside the lock barrel. One by one I felt the levers give, and click, and the door moved slightly as it unlocked. It moved barely a millimetre. I turned the handle and pushed, but it remained locked.
Becky returned and resolidified with an audible sigh and a look of alarm on her face. "There's a deadbolt on the other side," she said.
"Can you move it?"
She shook her head. "Its big, and heavy, and it's iron. No way I can move that, not even a little bit."
I cursed and banged my fists against the door. Like most ghosts, Becky had the ability to make some interaction with the physical world, but her ability to move objects was weak, and limited to small, light things, and subtle movements. I briefly contemplated simply breaking the glass and opening the bolt myself, but the glass was probably toughened, and in any case I could see a metal grille covering it on the other side. But that gave me an idea.
"Becky, how high is the bolt?" She pointed to about eye-level. I smiled, and rummaged in my pocket for a roll of wire, the same sort as I had used to pick the lock. I unrolled about twelve inches of it and made a loop at the end, big enough to fit around my thumb, and securely tied. I gave it a tug to test it and it held secure. "Do you think you could move this?" I asked her.
Her face set in concentration for a moment and I felt the wire twitch in my fingers. "Good," I said with a smile, and told her what I wanted her to do.
It was already two minutes since the power had gone off and I was starting to worry that the police would arrive before I'd even got inside. As Becky slipped under the door again, I pushed the wire, loop end first, through the gap between door and frame, a little higher than Becky had indicated the position of the bolt. With six inches pushed through, I waited. My fingers on the wire, I felt it move slightly as Becky worked on it. I willed her to hurry up, and heard her voice in my mind, hissing at me to shut up.
It felt like an hour, but it was a little less than a minute and a half, finally the wire went tight and I knew she had succeeded. I tugged it, as hard as I dared, there was a clunk as the bolt slid back and I fell through the door as it swung open. I glanced back at the wire as I pulled it free; the trick had worked perfectly, the wire wrapped around part of the window-grille had acted as a lever with the loop hooked over the bolt handle. I pushed the door closed, bolted it again and pocketed the wire.

subset: commoncrawl


text:
Haryana Police Constable PST Result 2016 : Haryana Staff Selection is going to publish Haryana Police Constable PST (Physical Standard Test) Results 2016 in official website. Recently Haryana Staff Selection has released notification for the position of police constable pst. Huge number of candidates are awaited for this notification they may apply for this post. So candidates who had applied for this post they can check the results in official website. The purpose of conducting this test is to recruit talented and committed persons in organization. As per the notification the organization has successfully conducted the written test between July 15 2016 and July 23 2016. If you are searching for Haryana Police Constable PST Result 2016 then you search will be end here. You can check the results in official website or just go through the link below.
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|Message view
|« Date » · « Thread »
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|Angela Schreiber <anch...@adobe.com>
|Re: Native HTTP bindings for Oak
|Wed, 27 Jun 2012 12:51:59 GMT
hi jukka > On Wed, Jun 27, 2012 at 10:25 AM, Angela Schreiber<email@example.com> wrote: >> i don't fully see the use case for such long living sessions. > > The rationale is the same as for the branch feature we added to the > MicroKernel. Instead of having to maintain a separate transient tree > abstraction on the client side (which might be troublesome given > potentially limited storage capacity), it's better to be able to send > uncommitted data to the server for storage in a temporary branch where > it can be accessed using the existing tree abstraction already > provided by Oak. > > Most notably the session feature allows us to use such a HTTP binding > to implement remoting of the Oak API without the need for client-side > storage space and associated extra code for managing it. well.... that's pretty much matches my very first mapping of JCR to HTTP (using WebDAV) and it showed that having such a lazy client didn't work out very well... at the end we ended up inventing JSOP i.e. the various ways of batch reading and writing including the diff-pattern that allowed to persist a bunch of changes in a single commit. the whole story of the SPI and that extra layer we are having now in oak (compared to jackrabbit 2) was/is that we want to be able to have different non-java content repository layers such as the php implementation with the aim to delegate the transient part to those clients instead of keeping track of the transient modifications on the server. kind regards angela
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RecruitingNation has summoned its writers from around the country to compile a list of the top 10 battles for elite football recruits leading up to February's signing day. We'll update our rankings periodically to reflect a change in a player's status (i.e., new offers, trimmed-down list or a positive/negative official visit).
Here is this week's panel of writers: Kipp Adams (@KippLAdams), Dave Hooker (@DaveHookerESPN), Radi Nabulsi (@RadiNabulsi), Corey Long (@CoreyLong), Erik McKinney (@EMcKinneyESPN), Blair Angulo (@bangulo), Derek Tyson (@DerekTysonESPN), Greg Ostendorf (@GregO_ESPN) and Mitch Sherman (@mitchsherman).
Get your tweet on
Our scouts have their ears to the streets and will update accordingly, but we also want to hear from you, the fans.
Use the hashtag #BlueChipBattles to comment on the list, make a prediction or if you disagree with anything we say. Your tweet could end up on that week's page.
What's your top 10?
Check out our list and then take your shot at ranking the top 10 recruiting battles.
Matthew Thomas
Miami Booker T. Washington | OLB | 6-4/210 | ESPN Rank: No. 6
Last week's #BlueChipBattles rank: No. 7
Commitment status: Undecided
Who's in the driver's seat: Miami
Other candidates: Florida State
Dark horse: Alabama and Georgia
@coreylong's take: What a difference a day makes? With the move of offensive coordinator James Coley from Florida State to Miami, it makes the Hurricanes the team to beat. No coach has spent more time recruiting Thomas over the past two seasons than Coley. Florida State is supposed to host Thomas on his official visit this week and the 'Noles staff will be scrambling to replace the relationship Thomas has with Coley. I'm not ready to completely pencil in Thomas as a member of the Hurricanes' recruiting class -- because the five-star OLB has said that he's very close with FSU head coach Jimbo Fisher -- but with his two favorite assistants (Coley and Miami defensive coordinator Michael Barrow) in the same place, that appears like a lot to overcome.
Georgia and Alabama remain on the board because of the scheduled visits, but this is an FSU-Miami battle until the end. Thomas took a visit to USC over the weekend but according to a source he called Miami and FSU coaches during the visit to tell them how the trip was going. Also Thomas wants a stable coaching situation, and nothing about USC's current situation can be considered stable.
RecruitingNation ranks Thomas' recruitment as the No. 10 battle in the country. Tweet us your opinion using the hashtag #BlueChipBattles @RecruitingESPN.


text:
Teresa May
Easter means paska for my extended Mennonite family. Paska is a soft and eggy sweet bread similar to brioche. Traditionally it is baked as a round bread but my family likes it made into buns topped with icing and colourful nonpareils or shredded coconut.
- 3 Tbsp
- active dry yeast
- 1 c
- water, warm
- 2 tsp
- sugar
- 4 c
- sugar
- 16 large
- eggs
- 1 1/2 c
- lard
- 1 tsp
- salt
- 1/2 c
- margarine
- 1
- orange - juice and rind
- 1
- lemon - juice and rind
- 3 c
- milk - scalded
- 8 c
- flour
1Dissolve yeast in the warm water and 1st amount of sugar, let yeast set for 10 minutes.
2Beat eggs well and add sugar gradually, beat until dissolved.
3Mix flour and salt. Make a well in flour mixture and pour in scalded milk, stir and add egg mixture. Beat well.
4Add salt, margarine, lard, fruit juices and rinds. Mix well.
5Add yeast mixture and mix again.
6Turn dough on a floured surface an kneed well as if making buns and return to mixing bowl.
7Let rise until double in bulk (2 hrs. approx).
8Punch dough down and make buns. Let rise on pan until double in bulk (2 hrs. approx.).
9Bake @ 350°F for 20 minutes or until tops are slightly browned. Keep watch that buns don't burn!
Serving Ideas : Can also be made into 4 - 5 bread loaves.
Serving Ideas : Can also be made into 4 - 5 bread loaves.
About Mom's Paska Bun Recipe
Course/Dish: Sweet Breads
Other Tag: For Kids
Hashtags: #sweet, #MENNONITE


text:
Bear has a great layout for cruising or club racing and still manages to sleep six plus. Entering the cabin through the companionway, the first thing you notice is the new (2009) beautiful teak and holly sole. The navigation station is to port with a double quarter berth aft and a full galley opposite to starboard.
The main salon has a large drop leaf table for big crowds with U-shaped seating that's convertible for sleeping. To port is a large settee with a raised pipe berth outboard. Storage is plentiful in the main salon.
Moving forward is a spacious head w/shower to starboard with ample storage and lockers. A small bureau and hanging locker to port. A private V berth forward with outboard shelves, opening hatch and storage under.


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Omal has no description.
I am an independent artist currently experimenting on the genre "world", and I work independently by using FL Studio, Nexus VST Plugging, Midi Keyboard, Headphones, and a Laptop. I mix and master my originals. My dream is to work in a professional studio with professional artists. I have the talent to produce different genres on requests, but my productions mainly unique and mixed with eastern and western ambient.
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text: COLLEGE PARK, Md., July 9, 2013 /PRNewswire-USNewswire/ -- Nearly six years following the bridge disaster in Minneapolis, structures keep failing, including the I-5 bridge in Washington and buildings in both Philadelphia and Bangladesh. Each of these could have been prevented with Resensys LLC's real-time, comprehensive, wireless, low-cost and low-maintenance structural health detection system. "In most cases, before a bridge or building collapses, measurable, meaningful changes occur on the structure," said Resensys President and CTO Mehdi Kalantari. "Our technology provides a strong tool for the early and efficient detection of these changes. Whether some portion of the structure is overstrained or deformed, irreversible shifts or transformations can be detected with our technology way ahead of an actual failure so that repairs, and/or adjustments, can be made." Comprised of small, networked sensors installed strategically on a bridge or building, Resensys' system monitors a broad range of factors, including strain, acceleration, vibration, displacement, deformation, tilt, inclination, temperature and humidity, to ensure that a structure is sound. Each networked sensor quietly and continuously gathers data, after which it is aggregated and sent wirelessly to a data center, where it is continually analyzed. When a structural issue is detected, alerts are sent out to maintenance or repair engineers at the first hint of a problem. Resensys' sensors can be energy self-sustained, drawing their own power from ambient light and radio waves, or battery-operated. Both types of sensors last, maintenance-free, for decades. More than 20 companies throughout the U.S., Canada, Indonesia, and Japan have deployed Resensys' sensors on a wide variety of structures. In the Mid-Atlantic region, they monitor buildings and bridges along I-495. "We believe Resensys sensors provide very useful information about the structures where they have been deployed," said Marcus Schmieder, industrial engineer, lean consultant and NDT specialist at Vancouver, Canada-based Metro Testing Laboratories Ltd. "The ease of installation, long life cycle and low cost of these systems convinced us to use Resensys sensors for all of our structural health monitoring projects." Since the American Society of Civil Engineers published its first report card for America's Infrastructure back in 2008, the U.S. has yet to receive an overall grade higher than a D+. More than 71,000 bridges in the U.S. are structurally deficient, according to the Federal Highway Administration's Our Nation's Highways 2011 report.


text:
The spot where Alex Emond finally decided to stop and sit down and paint what he saw was in the middle of a moose meadow. This was 20 minutes up the highway toward Lake Louise from Banff, followed by a 15-minute tramp through the forest. The clearing was a patch of marsh grass, yellow and flat and worn out from winter, crowded by waist-high willow bushes. The tips of the willows glowed red with new growth, a vast optical barbecue. It was a breezy morning in early May. The haze in the air gave the day a blousey, lazy feel, like someone at a picnic doing a lot of talking but not much of the set-up.
Emond is 62 and has been making art in the 150-year-old plein air tradition for more than two decades. In the contemporary art world, his work might be deemed old-fashioned. But this is the strange thing about the tradition of making art outdoors: It never dies. Somehow, we need this.
"I haven't been as intrepid in the past year," Emond said, explaining that his father, a teacher, had died and left him a little money, with which he had bought a small house, in Ponteix, Sask., that he had been fixing it up. It had become a bit of an obsession, as some things do with him. He spoke in declarative phrases bunched here and there like the willows, an intelligent, funny guy. Jeans, glasses, white hair, black boots and a multicoloured ball cap that seemed to be made from especially tasteless rec-room sofa upholstery.
We had met a few weeks earlier at a talk about Banff's history. I asked him if I could watch him paint outdoors, and he said it would be a useful challenge to his introvert ways.
Out in the damp clearing, he emptied his orange backpack: inflatable folding chair, two plastic jugs of water, orange-and-white plastic paintbox, a fistful of brushes, a saucepan (for brush cleaning), a plastic palette, a block of watercolour paper, biscuits, chocolate, roast beef sandwiches. (He likes to eat well: Once, in Vancouver, he wandered into a store that sold nothing but olives. He liked the idea of an all-olive store so much, "I thought I might have to rent an apartment next to it.")
Emond pointed his seat toward Castle Mountain to the north, and started sketching. A gifted draftsman who studied at the Ontario College of Art and Sheridan College, he didn't seem to have to think about it much. Fifteen minutes later, he was laying in washes of bright yellow. "You lay the yellow down wherever you see warmth," he said. That seemed like a lovely idea.
He talked as he worked. Money was the usual problem. "If all you're doing is painting artwork outside, it's hard to break even," he said. "Because of the weather, the cost of framing. So you start saying, okay, you can't be a brush monkey all your life. Though I'd like to be." Emond has lived in Banff for 45 years –"almost a local"– eking out a living painting houses and living in apartments so he can paint what moves him. For years, it has been lakes and mountains. Soon it will be vintage trucks and abandoned churches on the skeptical Saskatchewan prairie.
I sat down on a thick blanket and admired the compactness of his kit, the way he carried everything he needed. Digital cameras have allowed him to make faithful reproductions back in his studio, but he still camps out for days at a time, hodding a 60-pound pack and waiting for moments when the light makes a picture. "You sit there all day, or for a couple of days, and magic moments come and go. The landscape is a moving target. The shadows move like a sundial."
There are 140 billion photographs posted on Facebook these days. Hundreds of millions are landscapes snapped on cellphones. For the most part, they're forgettable: no moment to capture, just an opportunity to take another shot, pleinairism at maximum cliché. There is only one painting like the one Emond was painting. I keep hoping this is significant.
Pleinairism gave the world Manet, Monet and company
The practice of making art outdoors with the transitory effects of sunlight (the formal definition of plein air art) has been around a long time.
In the early 1600s, Nicolas Poussin spent so much time sketching certain neighbourhoods in Rome that they were known as Poussin's Walk. But the sketches were never exhibited or sold: They were research for larger, more formal, often duller paintings produced with the help of assistants back in the genius's lair, his studio.
It wasn't until the 1830s, as everyone knows from Grade 9 art, that early French Impressionists began to paint from life outdoors, in reaction to the formal constraints of the Academy. Pleinairism took off, giving the world Manet, Monet and company and (later, in Canada) the Group of Seven. The art world, rabidly commercial, loves a movement: Plein air was one, with real subjects painted in real settings in real time and real space, the here and the now and the human.
That was the romantic theory, in any event. Kitty Scott, curator of modern and contemporary wonders at the Art Gallery of Ontario, has pointed out that the new rage to paint outdoors was actually the result of three new technologies – ready-mixed tubes of paint, the retractable French easel and trains (so painters could travel to the suburban wilds of Paris).
More than 150 years later, artists are still making art outdoors, albeit more self-consciously. This summer, the Walter Phillips Gallery at the Banff Centre (named for a beloved Western plein air painter) will mount Pleinairism, a new edition of a show that graced Quebec City's Musée national des beaux-arts last summer.
One classic modern plein air work in the Phillips collection is Rebecca Belmore's Speaking to Their Mother – a seven-foot-high, eight-foot-long, hand-carved megaphone that Belmore, an Ojibwa artist from Southern Ontario, conceived at Banff in the early 1990s. Belmore set up the megaphone all over the country – on Parliament Hill, by lakes, in the forest – so people could speak to the landscape. They got up to all kinds of antics, apologizing for clear-cuts, playing drums, reading poems. Speaking to Their Mother let people do what outdoor art has always done: capture a moment in time and bring the present closer, in the same way people remember who they were with when they saw Christo's silky saffron gates in Central Park in Manhattan. Outdoor art may be old-fashioned, but it has a knack for connecting with common folk.
It probably helps if money is not an issue
The breeze picked up, and Alex Emond set his pad against his boots to dry the washes of yellow, rose and blue he had been applying to the paper in layers. He was talking about the independently wealthy Lawren Harris, who also painted outdoors in these mountains. "Unquestionably a genius. A master, master painter. But you wonder how it helps when you know money's not ever going to be an issue."
Emond began to brush in shadows of lunar black, followed by washes of a thin and transparent viridian green.
Sometimes while out painting, he runs into bears, or wolves denning in the spring. "It's kind of thrilling. Because how else are you going to see a bear close up without getting the shit scared out of you?" When he tires of painting greens – the curse of all landscape painters – he moves higher, above the tree line. "That's the other thing. You get any heat at all, you get a billion bugs, which only make it harder to sit on your ass. But any day that's above freezing, with watercolours, you can paint." Pause, look, dab.
Emond turned to the mountain itself, and its largest tower. "It's called Brewer Buttress," he said. "I don't know too much about the guy it's named after, but I think he was hit by lightning." Pause, look. "Railway worker." Pause. "Not a bad way to go. Gets you right away." Pause, dab, dab, look, dab. "I used to say my preferred way of dying would be to be in a tent and have a meteor go right through me. Then they could name the rock after me. Emonite." Something to be remembered by.
Contemporary artists work in a hive of assistants and curators. Alex Emond works alone. He has never married. "I've had a few girlfriends, of course. And all that. But I like my independence. Like being able to pick up and go when I want to go." His solitude seemed to be a necessity, rather than a stance, broken only by his two Australian cattle dogs. He paints them, a lot. He once lived alone as a fire watcher in a tower on the edge of Jasper National Park. He saw two fires start in three seasons. He never felt bored. "A lot of people don't like any form of alone."
Whatever else Emond paints outside – cars, cabins, creeks – he is also painting a chronicle of his solitude. It seemed admirable, but difficult. The way he kept going, faintly apologetic but never resentful, because somehow he had to. He keeps trying to find "the elemental," the quality he admires in the work of his favourite painters, Edward Hopper (seaside light), Peter Doig (emotional mystery) and Doris McCarthy (the spareness of the High Arctic).
He sat back and looked at his picture. "It's starting to happen a little bit, without flogging it to death." Normally his work is exacting and precisely realistic, but he liked the looseness of our experimental speed painting. He broke out a packet of shortbread cookies.
I looked up. The sky was changing again, lightening in places and intensifying with bolts of brighter blue in others, the haze firming into ropes of cloud – as if the sky had risen late, and was only now showered and dressed and ready for work. "More product," Emond said, stabbing his brush into a mound of blue paint and turning the painting upside down, in the hope that gravity would help him make a sky.
Setting seems to focus the attention of contemporary artists
Even contemporary artists come back to working outdoors. The setting seems to focus their attention.
Modern expressionist John Hartman recently turned to watercolours to paint the mountains of the Columbia Valley. Brian Jungen, the indigenous B.C. sculptor, has filmed his moose hunts. Michel de Broin, a Montreal artist, made a video of a shirtless lumberjack felling a streetlamp with a chainsaw at night in suburban Montreal. All this work was made outside to make us think about what passes these days for nature.
In 2009 at the 53rd Venice Biennale, Ragnar Kjartansson, an Icedlandic performance artist, presented a video in which he and a composer pal perform modernist bluegrass music in a series of majestic outdoor locations near Banff, including on a grand piano on the middle of frozen Lake Minnewanka. The Banff show will display paintings of his ex-girlfriend's house that he made on an easel at 3 a.m. in subzero temperatures by the light of the Icelandic midnight sun: a parody of plein air painting and his own pathetic life, but still trying to achieve what outdoor painting is good at, which is capturing the moment – in this case, of despair, as the artist realizes how pointless it is to repeat what others have already done. "I am just trying to paint an honest subject in an honest mood," Kjartansson noted in the catalogue of the Musée show. "I am painting something because I have promised myself I will paint it. It is a useless action." This is how we all live, sometimes.
Francis Alÿs, a Belgian artist, is famous for having pushed a block of ice through Mexico City until it melted. In his off hours he makes small oil sketches of outdoor scenes, "out of pure pleasure and the desire to retain moments of pure happiness."
Painting doesn't have the 'edge' that defines modern work
By a quarter to 2, three hours after he started, Alex Emond had finished his painting. "I think it's better to just stop there," he said. He slipped the painting into a plastic grocery bag, and we tramped back to the car and town, where we ate our sandwiches.
I have the picture in front of me now. Emond wouldn't claim it was anything more than a rapidly and happily executed experiment. But I find I can look at it for a long time. It does not have what Jesse McKee, the 28-year-old curator of the Walter Phillips Gallery, refers to as the "public edge" and the "larger social implications" that define the best contemporary outdoor work. Emond's painting is the work of a private and personal practice. It requires no explanation.
I called Kitty Scott, to ask her if it was old-fashioned of me to like Alex Emond's painting.
"I think yes and no," she said. "We live in a time when people still write with pencils, but we have computers. It's among the great pleasures people have, no matter what their skill set, to sit in the landscape and make something beautiful. And I find that quite lovely, quite vital. All of these people, whether they're working in a more traditional form or more modern, they're all attempting as best they can to capture a moment. And that moment always escapes them. It always escapes your grasp." But, she added, "art is not just one beautiful view any more."
She's right. But I still look at Emond's painting, and when I do, I remember the details of the pleasant morning I spent in the company of someone who does what he does because he can't help but do it, regardless of what it pays him. His decades of quiet commitment feel almost like a performance piece, except that he didn't plan it. I remember how fresh the conversation was in the clearing, and how the light sat up and gathered round the mountain, as if it and the day were a fantasy. I see all that in the picture.
"The art gallery has replaced the church as a place of worship," Jesse McKee told me. This is true. But you can also just step outside.Report Typo/Error
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1727 - 1760
A favourite palace
Unlike his successor, George II (1727-60) made Kensington one of his principal residences. He usually spent between four and six months of the year there.
The palace, however, changed little structurally during his long reign. The only new building erected was a stable block built in 1740 for his younger son, William, the Duke of Cumberland.
Falling into disuse
After the death of his wife, Queen Caroline, in 1737, large parts of the palace fell into disuse. Horace Walpole commented in 1749 that 'though there are so many vacant chambers [at Kensington], the King hoards all he can, and has locked up half the palace since the Queen's death'.
18th century interior design
During the reigns of George I and George II, Kensington housed many of the finest paintings in the royal collection - 'much the best...of any of the royal palaces' one visitor wrote in 1738.
In addition, many of London's leading furniture makers supplied the palace. Thousands of pounds were spent furnishing the apartments in the latest fashion.
The last reigning monarch
The sudden death of George II at Kensington on 25 October 1760 ended an era in the history of the palace: it would never again serve as the seat of a reigning monarch.
Lead image of King George II, Crown copyright Historic Royal Palaces


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Al-Alson International School (AIS) was established in 2009 by Feras Al-Mosaiteer. It is a well-reputable international school in Kingdom of Saudi Arabia, Riyadh. Riyadh is the capital city of the Kingdom of Saudi Arabia. It is located in the center of the Arabian Peninsula. Riyadh is also the capital of the Riyadh province and belongs to the Al-Nejd region. Riyadh is huge cosmopolitan city with population of more than 4 million and growing. The city consists of 15 municipalities and has excellent streets, highways, amusement parks, malls, restaurants, mosques, hotels and traditional Arabian Suqs. AIS has a distinguished location on King Fahad Road, one of the most modern highways in Riyadh .Read More
Grade 8 open day
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It give us so much pleasure to see our children enjoying a happy mood; playing competing, and having fun all together. thus the boys' section supervisedby; Mr. Mostafa El-Nashar (school General Supervisor) and Mr. Maged Abul-Naga (Boys' section Supervisor and school Academic Manager), has arranged a ...
Top Students honoring
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Honoring the small inventor Moaz Mohammed
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I purposely ventured a bit outside the norm so this article won't be the umpteenth one you've read on this topic with the same five tips. These can be applied to business or personal sites.
The Tips:
1. Before you post anywhere, ask yourself: Is is kind? Is it true? Is it fair? If it isn't, don't post it. How many of us have learned this lesson the hard way? This doesn't mean that you can't issue a friendly challenge or provoke an interesting conver-sation, but there are do's and don'ts for doing so.
2. Don't be afraid to promote your business offerings. A lot of Social Media Marketing "experts" will tell you not to sell using social. Nonsense. Just inform first and don't make every post a sales pitch. Creativity and conveying benefits are key to effective social media marketing.
3. Don't link Twitter and Facebook together so updates from one feed go to the other's news feed. Nothing is more annoying than tweets that are obviously status updates from Facebook – with the possible exception of hashtag filled tweets fed to Facebook from Twitter. (Yes, Facebook reportedly will have functional hashtags soon, but we're not there yet). Treat each medium as important enough to merit its own language and use. Assuming you've done the homework to determine where you should be and why, each one is important to your goals. You can duplicate some content, but each medium should have its own distinct voice.
4. Don't ignore Google+. There are now over 500 million people there. Some of them are people you want to reach. There are numerous articles written that say otherwise; don't believe them. Google holds critical keys to good SEO, and you don't want to miss the SEO benefits of being present and regularly posting good content on Google+.
5. Make your social media meaningful. This is especially important if you are dealing with a serious topic. Just remember that even serious topics can have occasional, carefully crafted levity. Think of things that are important to your customers. One example is topics from conversations that you have had with them. Provide great info on those in varying ways; blogs are great for this purpose.
Now, I want to hear from you: Can you share ONE social media tip that has helped you?
Liz DeLoach is the One Woman Dynamo that is Social Strategies. When she's not strategizing for her clients she is wife, mom of two teens, (Help!) and Group Fitness Coach. Connect with her on Twitter @lizdeloach
I want you, and your business, to succeed in your social marketing efforts. One of the quickest ways to sabotage your chances of that is by trying to do too much. Please, don't drink the "You have to be on every site to be successful" Social Media Marketing Kool-Aid. You don't.
In fact, if you are just starting out and managing your own sites, I will tell you right now NOT to reflexively join every big network. Some steps: Figure out first what you want and need to accomplish. Do your homework on businesses like yours to see which sites offer the greatest chance for success and have proven so for your competitors. Find out where your customers and prospects spend their time online and what they do there, pick one or two that make sense, and focus on them. If one is all you can do to start, choose the best one and give it consistent effort. If you find you need help, hire a professional to guide you.
Here's another piece of advice I've not seen elsewhere that I have found applicable to my consult clients: Consider your personality and that of your business, and the communication style that fits both to spread your message. If you love to write, for example, a blog is a great alternative, coupled with perhaps a Facebook Page or Twitter to direct traffic to it. If you're a Creative in a design field, Pinterest is a great way to go and offers the benefit of being the best for driving high quality, ready-to-buy customers back to your website. If you are comfortable in front of a camera, a YouTube Channel with quick info minute "Vlogs" is a great tool. Most smart phones can be used to upload videos directly to YouTube, making this a great tool that's fast and easy.
Which social media sites have worked best for your business? How have you made that happen?
Liz DeLoach is the One Woman Dynamo that is Social Strategies. When she's not helping her clients she is wife, mom of two teens, (Help!) and Group Fitness Coach. Connect with her on Twitter @lizdeloach.]]>
Before I delve into why I entitled this post as I did, a few general points on responding to posts online:
On review sites, where possible and appropriate, refer to your business by name. This is good for search purposes and keeps your name top-of-mind. Use positive words to reiterate customer experiences, and thank them for their time.
When people have a really good or bad experience, they won't hesitate to mention the names of involved parties. In the case of the good, refer specifically to the services and person mentioned in the review; it shows personalization. And remember, each review response should be unique.
On Facebook or Google Plus, a 'Like' or +1 of a positive comment is an acceptable response if you are pressed for time. This is particularly true if your presence has an extremely large following and gets many comments. For Twitter, a quick RT and "Thank you" is a great way to acknowledge compliments.
As for when to wait to respond to a negative complaint: When there are several employees involved in a transaction, take some time to gather all available information to determine what happened, and then formulate just the right response. It's better to say the right or best thing once, even if it's a few days after the fact, than the wrong thing too soon. I've seen customers return and modify their comments to reflect offline resolution, as well as remove comments made in anger that may not have been entirely fair to the business in the first place.
Usually, the best scenario is to address the details of an online complaint offline. That said, there can be great value in having a constructive dialogue which shows the nature of a complaint and how you resolved it.
What has been your biggest comment challenge? How did you address it?
Liz DeLoach is the One Woman Dynamo that is Social Strategies. When she's not helping her clients she is wife, mom of two teens, (Help!) and Group Fitness Coach.
There. Didn't that make you feel better? More confident?
I write this post today to address a different kind of posture: The one you exude with your business and clients. I am often surprised at how we women, especially, seem to be very prone to devaluing ourselves in the marketplace. We're not resolute enough to expect and charge what we are worth because we're willing to sacrifice that to get clients. At times, we may even hesitate to assert our expertise. Case in point: We propose to a client, they say our price is too high, and rather than ask a thought provoking question such as "Compared to what?" we capitulate and counter with a lower price. Another example: A client requests a task that falls within our service set, but we feel it is not in their best interest. We do it anyway because they want it and we want to please them. Ever find yourself doing either of these things?
If I accomplish nothing else in this post, I want to convince you of two things: First, don't ever hesitate to charge, what your careful research has determined, is your worth. Your successful competitors do, because they've demonstrated value to clients who are willing and able to pay them. Those clients are out there, even in the current economy. Your challenge is to identify the market that can and will pay for your services, and pursue those clients only. And, at the risk of getting pummeled, I implore you to wipe the phrase "I help clients…." out of your vocabulary and marketing materials. I promise, it's too vague and you'll give too much away thinking that way. Your mindset must be that you provide, for a competitive fee, a highly valued and well defined service which your clients need and want that's worth their money. Period. Help your friends move if you must, but don't just "help" your clients. Got it?
The second thing you must do is assert your expertise with your clients. Always. You are the expert in the services they have entrusted you to provide, or they'd do it themselves. This does not mean posing as a know-it-all, not listening to their ideas and desires, or being unwilling to admit when you've made a mistake or don't have all the answers. It means having the integrity to say "No" when needed, or formulating an alternate approach. It means articulating clearly and convincingly why and how they can, and should, trust that you are acting in their best interest. In fact, I believe if you determine that a client does not trust you to do what's best for them – especially in the face of a crisis – you should probably sever the relationship.
So, what do you think? Have you fallen into the either of the traps I've mentioned? What did you learn? How is your posture?
If you have any connection to our Bridge Run, you no doubt heard about the delayed start of the race this year. While unfortunate, this iconic Charleston event has gone off without a hitch since inception in 1978. Correct me if I am wrong, but this is the first year I know of that there has ever been a significant problem. That's an awesome track record considering how large it has become, and the meticulous planning and execution that must be in place for everything to coalesce so well year after year. I think we can trust the fine people who make the event happen to determine exactly what occurred, and take steps to prevent a repeat.
My first beef is with the apology letter. I know they're worried about decreased participation in future races, but it was too long and a bit pompous. It also included what seemed like a slap at all the news and social media outlets reporting on what caused the delay by saying that these reports were "all speculation and rumor." Really? They didn't need to go there. A lot of people were helping them get the word out with information present at the time. The main thing being reported that I saw was that there were delays in transporting people to the starting line – something the letter itself confirms as true. No explanation was offered beyond that – just a promise to figure it out to help ensure it would not happen again. Fair enough, but I think it would make more sense to wait until there is a complete explanation and offer it along with a brief apology – all at one time and one time only.
Now for my discovery: It would appear that the Bridge Run has disabled their Facebook Page and made both it and their Twitter presences harder to find by disabling the links to them from their website. Do a Facebook search and click the website links, and you'll see what I mean. These links now direct you to their YouTube channel. I know they worked correctly prior to the race, as I used them. Making the sites hard to find means less complaints to deal with, and handling that would be quite a task. But, it also makes it much harder to offer online support there as well. I actually discovered this when I tried to go to the Facebook Page to say something along the lines of: "It's OK, we're all human. After 34 great races and one misstep, we know you'll address whatever went wrong."
I understand that big mistakes happen and that the fallout can be tough to handle. I understand the desire to apologize and make amends. I don't understand PR which includes a letter that apologizes on the one hand and accuses on the other. I don't understand making it harder for the very people you've apologized to to find and communicate with you on your own social sites afterwards, except for the obvious reason of not wanting to deal with it. But they should be willing to deal with it as a consequence for the inconvenience caused to so many, shouldn't they?
I'm really hoping someone from the Bridge Run will hear about my little post today, and care enough to respond right here, as well as have the wisdom and courage to restore former access to their social presences.
What do you think of their response to this situation?.]]>


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Ellie jolted up in her bed in the middle of the night. Only to see that the Vampire had climbed onto her bed. His hands wrapped around her throat, she let out a little choke. Trying not to cry, just trying to breath. She took these deep, little breaths, hoping that she could breathe the slightest, she couldn't. And that's when the threats began. "If you shout or making any noise, your buddy downstairs is my next meal." He flashed his teeth at her and she shied away from him slightly, well, as much as she could despite the fact that the Vampire had a tight hold on her. "I shall drain you and kill you, don't ever doubt that but thanks to the sun I must leave you. Even better the next time we meet, you'll be as full as a cup of champagne and I'm going to drink you dry. Oh, and get any funny ideas about talking to anyone about me, I string your boy up like a boar, drain him halfway, and burn him! Don't believe me, try." Ellie blinked for one moment, just a moment and the Vampire was gone.
She let out a sigh of relief and breathed fast and heavy, trying so hard to get her breath back. Her hand moved to her slightly swollen neck and she lightly moved her fingers across the red indentations in her skin from where the Vampires sharp claws had dug into her skin. Ellie got out of bed, her whole body vibrating, shaking with fear. She slowly stepped towards the door and silently opened it. Her legs carried her to the bathroom and she turned the light on. She looked in the mirror and saw the nasty red imprint of where the Vampire had gripped her neck. Her face looked drawn, she was as white as a sheet. Which was unusual, as her skin was reasonably tanned.
After looking at herself in the mirror Ellie leaned over and turned the tap on. She brought some water into her hands and poured it on her face, whilst simultaneously drinking it. She looked at her reflection in the mirror and took hold of the towel and wiped her face with it. Her face felt cold, like ice, but she just took it in her stride and tiptoed down the stairs.
When she reached the bottom she walked into the front room and looked at the man lying down on the sofa. She stared at him with sorrow. She'd put this kind man, this lovely man in to danger. All he wanted was to help, but the Vampire had found her and had got into the bedroom and strangled her. Ellie had no doubt that the Vampire would stay true to his word. That he'd kill Jack, if she blurted about this to anyone. However, she'd blurt it out to him. She was scared for him. Ellie walked across the room and perched herself on the coffee table in front of the sofa where Jack was sleeping. He was holding the blanket close to himself.
It was a long time that Ellie just stared at him and eventually Jack stirred in his sleep. He turned over and let out a shocked: "Gah!"
"Oh sorry, I didn't meant to scare you." She told him.
"It's ok, so do you always wear that outfit?" Jack asked her with a smile. Ellie looked down at her pink dress and black leggings. She smiled when Jack said this. "No, I can change my clothes, except I don't really have any at the moment. I move around a lot and I can change my clothes, but I don't really need to when I don't have any. I mean, you can smell me, but I'll never smell dirty. I don't need to shower, because my hair never gets greasy. And because I died wearing make-up I'll constantly be wearing mascara for the rest of my life."
"But can you put more on?"
"Yeah, I can put more make-up on and wipe that off, but when that's wiped off I have the same mascara I had 100 years ago, no matter how much I try to get rid of it. And my hair, I can change it, but within time it just goes back to being this usual curly."
"You talk a lot."
"I know, I get that a lot."
"So how come you were down here watching me?" Jack grins and Ellie tries to think of a response, but one doesn't come.
"Umm..." She begins.
"What's that new mark on your neck?"
"Oh, the Vampire found me."
"Really, I'm so sorry, I should have known."
"No, it's fine. None of us knew he'd find me."
"Will he find you now?"
"Not now, it's daylight."
"So it is." Jack replies. "It's still early though."
"Right, well, I'll get some more sleep." Ellie smiles.
"Ok, hope you have a better sleep this time."
"Thanks, you too."
"I don't know if I can, I've got this Ghost that keeps watching me." Jack tells her and Ellie smiles at him, then walks out of the room and up the stairs.
Ellie climbed back into bed and looked around the room, feeling fear for the moment, but afterwards she thought it's daylight. There's going to be no Vampire, so she fell back asleep, feeling more at peace than she did when she fell asleep earlier that night.
She woke up early, later on, well, if you can call ten early? And she climbed down the stairs and made Jack a cup of tea. But in the midst of making it, she couldn't think of how many sugars he likes. So she walked into the front room and started to read his mind. She kept prodding, until finally it came to her. Two sugars. She walked back into the kitchen and put in two sugars, a tea bag, poured in the steaming hot water and some milk. After that Ellie brought in the steaming cup of hot tea into the front room and placed it on the coffee table. "Wakey, wakey." Ellie told Jack with a beaming smile on her face. He turned over on the sofa and looked at Ellie with a smile. "How are you able to touch everything, surely your hand goes through everything?"
"Nope, it takes a lot of concentration, but I'm able to touch things."
Jack picked up the mug of tea and put it to his lips and tasted. "Wow, this is really good."
"Thanks, it's the least I can do after what you've done for me."
"This is the best tea I ever tasted."
"Yeah, I've been to a lot of houses in my Ghostly years and I always end up making the tea, whether people want it or not. I like making tea."
"Well, that's good. So how long have you been a Ghost for?"
"A hundred years, I've already told you this."
"Sorry, you talk a lot, it's hard to keep up and Wow, that's a long time, you lived through the World Wars and everything? What was it like?"
"It wasn't nice, however, I sort of stayed away from all that."
"Oh, fair enough. If you don't mind me asking how did you die?"
"It doesn't matter." Ellie paused. "That was a long time ago."
When Ellie said this, Jack wanted to know more, however, he felt rude to ask more. So he left it at that, knowing it was a touchy subject with Ellie. "What time is it?" He asks
"It's about half ten." Ellie replies.
"Oh shoot, I've got to go to work."
"Work, you have a job?" Ellie asked him, much to her surprise.
"Yeah, how else am I going to pay for this place." He grinned and then climbed up from off the sofa.
As he made his way towards exiting the room Ellie couldn't help but notice what a nice chest and stomach he had. She smiled and blushed to herself. Jack walked upstairs and got changed, whilst Ellie waited downstairs. She noticed that his cup was empty. He'd already drunk the tea, so Ellie walked into the kitchen to make him another drink.
Once again she gave him two sugars and made the tea, then brought it back into the front room and placed the cup back on the coffee table. Jack soon returned downstairs dresses in a black shirt and blue jeans. "So where do you work?" Ellie wondered. Jack sat down on the sofa and noticed there was a fresh cup of tea. "You do like to make tea, don't you?" He asks her and she smiles. "I work at the Pig's Head."
"You do?" Ellie asked him scared.
"Yeah, it's alright for now."
"Well, in that case I'm going to work with you."
"You are?"
"Why?" Jack wondered.
"Because that's where the Vampire found me. When's your shift end?"
"Oh, it'll be dark around then sort of."
"I'll be ok."
"No, I am going to stay at work with you all day. That way I can stop the Vampire from hurting you."
Jack burst out laughing when Ellie said this and she furrowed her eyebrows at him. This eventually made Jack stop laughing. "Well, it's just funny because even you couldn't sort this guy... And it's not funny." He said.
"Hey! If you carry on mocking me I'll jump in your body and knock you out."
"Can you really do that?!" He asks surprised and Ellie nods her head. Jack looked at her with approval. "You're a feisty Ghost, aren't you?"
"Well, you've got to be when there are stupid Vamps pushing you around."
"Yeah." He paused. "So are there anymore supernatural beings?"
"Oh yeah. There's Werewolves, Shape Shifters, Fairies and I once met this Succubus called Calla, not a big fan, if I'm honest."
"Fairies actually exist?" Jack laughed.
"So is the Tooth Fairy real?"
"God, don't be so ridiculous! Tooth Fairy's don't exist, unless your on about the Tooth Fairy that steal teeth and then eat brains."
"Eat brains." He sighed. "I don't think I like this world anymore."
"Hey! If this world wasn't supernatural and all you wouldn't have met me and your life would've stayed unfulfilled."
"So now because I've met you my life is fulfilled?"
"Exactly." Ellie grins.
Jack drinks up the tea quickly and starts walking to work. On the way to work Ellie links arms with him. Whilst he walks along, she skips along. "The whole skipping thing is weird." He tells her.
"Well, it's the only way I can keep up with your walking pace without running."
"Right crazy." Ellie rolled her eyes when he said this. They carried on walking and skipping to the Pig's Head.
They stopped walking just outside the door of the Pig's Head and Jack turned to her. "Ok, try not to attract any attention to yourself."
"Jack, I'm a Ghost. I could run around naked in there and no one would notice me!" He looked at Ellie once again in disbelief.
"Please don't do that." He paused. "But I can see you, so you know? Surely someone else must."
"No, it's very rare a human can actually see me, your just a weirdo."
"So, you're a Ghost, yet I'm the weirdo?"
"Yep." They then both walked into the Pig's Head and Jack went straight behind the bar, whilst Ellie sat at the bar.
She watched in silence Jack pull a few pints and she saw some drunks sat on their own at a table looking depressed. She thought there must be something better for these people than just getting drunk all the time. And just as she was about to think of an idea to improve this dive of a pub, a slender, blond woman sat next to Ellie.
Only this blond appeared to be a woman. In fact, she was a Succubus. "Oh, hi Ellie!" Calla blurted out in her most sarcastic tone.
"Calla, it's lovely to see you again as always." Ellie also replied sarcastically.
"So, I still see your wearing pink dresses, you've not changed a bit."
"Neither have you. Say?! Are you trying to go for a Lady Gaga look, I mean, come on, do you seriously need to show anymore flesh?!"
"Not all of us can be as perfect as you Ellie." Calla smiled a fake smile. "So what have you been up to? Latching on to the nearest human?"
"That's none of your business." Ellie replied.
"I never got you, the whole falling for a human thing, I mean, come on! So Twilight of you. Why would you want something so vulnerable and that's easily breakable? You know, there are other Ghosts out there and I can't understand why you'd want a human, after all, it was a human that killed you."
"Just because you get the odd bad human doesn't mean they're all bad, plus I had fun haunting him for killing me."
"Ooh, haunting! So Scary, you Ghosts, you think your it, but in reality your week compared to someone like me."
"Calla, you and me both know very well that I could jump into your body and slam your head against the bar. And not only that, right now, you are drawing attention to yourself for talking to thin air, so run along now."
"God! Ghosts, you think you're so great, just because people can't see you!"
Calla smiled and looked around the room, she then stopped her view on the man behind the bar. Jack. "I'm guessing that's him, isn't it?"
"Stay away from him Calla."
"Oh, but that'd be too easy!" She laughs.
"Look, you killed the last one, now leave Jack alone."
"Oh, on first name terms with him already, you move quick. Well, so do I. Maybe I should introduce myself."
"Just go!"
"Fine, whatever. But let me tell you Ellie, we both know I'm going to get my own back, because you friggin' pissed me off in the last war. You wait, you wait."
"Fine, I'll wait. Bye now." Calla skulked off and Ellie, just continued to sit there at the bar.
As she did this Jack kept looking over at Ellie, but as he did, he was serving drinks, so couldn't go over to speak to her. The other bartender went round back to change a barrel and Jack, he filled the glass up to the brim of lager, then collected the money off a pretty brunette woman. He then walked over to Ellie. His arms resting on the bar. "Are you alright?" He whispered to her. "You and that girl, it seemed intense."
"It doesn't matter."
"She said something about a human killing you, is this true?"
"Just drop it Jack, it's none of your business."
"Fine." He sighed and stormed off to the side of the bar annoyed.
When he did this Ellie felt guilty, really guilty. So she followed him across the bar and looked at him. "Sorry, I just get really touchy about my past."
"It's ok." Jack replies and let's out a relieved breath. The other bartender suddenly walked over to Jack. "Jack, are you feeling ok?"
"Yeah, I'm fine. Why?" Jack wonders.
"It's just you seem distracted and seem to be talking to yourself a lot."
"What? No." Jack laughs. "I am in a play and I'm just going over lines. You know..." Jack then coughed for added dramatics. "She said something about a human killing you, is this true?" He asked in shocked voice and the other bartender, looked at Jack surprised. "Wow, never knew you were into drama."
"I have been for a long time."
The bartender nodded his head in approval and walked to the other side of the bar. Ellie let out a laugh. "I didn't know you liked drama!"
"I don't." He says. "Just seemed the best way of getting out of a difficult situation."
"I see."
"Right, now can you go away from here, that way I can work without being distracted."
"Sure." Ellie said and walked over to a seat silently, waiting for Jack's shift to end. She looked around the room, just trying to pass the time. There were five men at a table with pints whilst playing cards. There was an attractive, young woman drinking alone. There was an old man drinking alone. There was a couple talking and laughing. And there was the local drunk.
Ellie let out a sigh, wanting this day to end already, wanting to get this Vampire problem sorted already, because Ellie had no doubt that the Vampire would return. That the Vampire would be ready and waiting for her. However, this time she was prepared. She hadn't used her powers much at all today and was working on fully charged batteries.
Jack eventually finished his shift and Ellie walked outside with him. Ready to return back to Jack's house. And as she walked outside, there he was, the Vampire. Ready and waiting. He stood still, but within moments Ellie knew he was going to go for her. Ellie knew that the Vampire would do whatever it takes to get her Ghostly blood. Ellie knew that within a split second the Vampire could kill her. "Come back for more, have you?" She asked him and, stood in front of Jack, so as to protect him from this monster of the night. "How could you have been so stupid to come back here?" The Vampire asked her.
"Well, I've been called stupid a lot, so that means I am, which explains why I came back. So what do I call you Mr Vamp?"
"The names Adder. Not that it matters as you'll be dead in a minute."
"Will I now?" Ellie asks him, feeling confident and more prepared compared to yesterday.
Ellie took a step forward and another and another. They were now standing right in front of each other. He could grab her and take her now. He could drain her dry, just like a straw drains a drink dry. He could do whatever he wanted, in just one quick movement. However, Ellie was faster. She jumped into his body, so she was able to control it. She tried to control his body to get closer to the wall of the Pig's Head. It was difficult and he was fighting against the compulsion of Ellie's control. He was a willing fighter, a strong one, but Ellie was determined.
Adder slowly walked closer to the wall, his muscles tensing as he attempted to get away. Step after step after step happened, until finally, he was right in front of it. He stared at the bricks continuously fighting, but then his head slammed against the wall. It happened again and again and again. And with each slam, he felt himself getting more and more light headed. With each slam, he felt himself losing power and control. With each slam, he felt himself getting closer to unconsciousness.
He fell to the ground, unconscious. Ellie slipped out of his body and stared at him for ages. And as she stared at him something unbelievable happened. A light shone from Adder's leg and then it got brighter and brighter until Adder's leg started going up in flames. "Ellie!" Jack called. "We need to get out of here." However, she wasn't listening, she wanted Adder to suffer, with this new found gift of hers.
Only problem was that Ellie began to feel light headed and she fell. Jack caught her in his arms and the bright, incandescent flames burning Adder's leg disappeared. He was just unconscious, but he was only moments away from waking up. "Don't you get all unconscious on me." Jack told Ellie and slapped her across the face.
"Ow! Was there any need for that?"
"Yes, now let's get out of here." Jack commanded her and they took hold of one another's hand and ran. They both ran faster than they'd ever ran in their lives. Not pausing for a breath, not pausing because of forming a stitch. They just ran non-stop, until they finally reached Jack's house.
They slammed the door closed behind them and locked both the doors in the house and made sure all the windows were shut. Ellie and Jack collapsed on the sofa, completely exhausted with the ordeal they'd just been through. "You know, my life was a lot less complicated before I met you."
"Sorry." Ellie said breathlessly.
"No, it's a good thing." Jack beamed and just like that Ellie fell asleep on the sofa, completely exhausted with the day's events.
Jack pulled the blanket over her and tucked her in, he then pulled her legs up on the sofa, so that she was lying down properly and he walked across the room where he sat on the sofa. Watching her. Making sure everything was ok, just in case the Vampire; Adder, came in for a visit...


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Led by keyboardist Matt Jensen and percussionist José Claussell, and fronted by singer Chris Kaz, rowdy 12-piece combo Rébel Túmbaó lays out socially conscious messages pumped up with a fiery, funky mix of Cuban son and Jamaican roots reggae. Catch this pre–record-release show, then brag that you knew 'em back when.
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Stay ahead of the game at Generate! World-class speakers including Vlad Magdalin, Jeff Veen, Stephanie Rieger and Jonathan Snook will be sharing their knowledge in London and Bangalore this year; book today so you don't miss out!
There are many web tools around that can help you with all sorts – how to start a blog or new website – or provide some much-needed web design inspiration. Prototyping tools can help us solve design problems before writing even a single line of code. Prototypes bring our ideas to life, and in doing so can change the way we design. Today's clients want to see interactive prototypes; these show the concepts in action and help them see how their ideas will take shape.
The possibility of quickly sharing different iterations of ideas with clients can accelerate the design process. This flexibility becomes even more significant when we consider the many device formats we must now factor in.
With so many prototyping tools now available, perhaps many designers are left wondering how to choose the best one, and simply fall back on familiar methods. Ultimately, the goal is to pick up a tool that will support swift iterations, so you want to be sure to select one that does this with ease and lets you focus on what you do best: design.
To help with this selection, I've compiled the best of the best: here are the top 10 prototyping tools you should be using in 2016!
01. Origami
Origami was originally developed by Facebook to help the team build and design products. Now it's available for free: you can register as an Apple developer, then download and install Xcode with Quartz Composer to get Origami to run on a Mac.
This tool does require more work to install than other prototyping options. However, once it is installed, you can begin creating design concepts that simulate scrolling, taps, swipes and page links. Origami's documentation, tutorials and how-to videos make it easy to get started.
Sketch and Photoshop designs can be imported into Origami, and your project layers will be preserved, ready to be linked, animated and transformed as needed. Origami is not mobile design-centric either: you can design responsive websites and simulate features like text input, FaceTime camera and OS X drag and drop.
You can export your prototype components (including animations) with just one click, so engineers can copy-and-paste into the project. Origami includes a presentation tool that enables you to add a custom background to your design, view in fullscreen, and simulate different devices.
As a free prototyping solution, Origami has a lot to offer. However, one drawback is that it doesn't yet let your clients or design team comment directly on the project or versioning history.
02. Webflow
- Price: Free starter plan (Personal $16pm/Pro $35pm)
Designing prototypes is fast and seamless with Webflow, but where this tool really shines is when your prototype is all finished. You can turn your finished prototype into a production-ready site with the click of a button.
Over the past year, Webflow has introduced a game-changing new feature: a CMS for your prototypes. Webflow's CMS is completely visual, allowing you to create powerful, dynamic sites without writing a single line of code. Another particularly useful feature is its ability to create a blog using your blog page prototype concept.
If you're a freelance designer and have had difficulties finding a developer to turn your designs to production sites, Webflow may be for you. You can even set up user accounts or designate an admin to manage content, and your clients will be able to visually make changes.
Alternatively, it's easy to export the prototype into code. Webflow's clean, semantic code can save your engineers hours of code clean-up.
Webflow comes with site templates and web components that can be dragged and dropped into your prototype. These speed up the prototyping process, as they mean you don't need to recreate commonly used design assets.
If at any time you're stuck and need help, you can check out Webflow's detailed documentation or watch its helpful how-to video courses. And of course, if you're using Webflow for the first time, this support will help minimise the learning curve.
Webflow is responsive by nature, so your website layouts will be optimised for all devices: desktop, mobile and tablet. If that wasn't enough, you can design animations that will work on mobile devices and all modern browsers. And it still doesn't end there: Webflow has extensibility built in, which makes it easy to connect your live prototypes to Slack, MailChimp, Google Drive, and more than 400 other services.
Webflow's CEO and founder, Vlad Magdalin, will be at Generate London, 21-23 September, where he'll be explaining why the future of web design is not code. Book your ticket now!
03. Proto.io
- Price: Free trial (Freelancer $24pm/Agency $80pm)
With Proto.io, ready-made templates for websites and apps enable you to get a quick start on a project. The entire app runs on the web, so you can run Proto.io on any platform.
In my tests, the app ran a little slowly, and manipulating images was difficult at times. Also, every feature seemed to create a new window (one each for projects, building and live preview). If you like to keep the number of tabs you have open to a minimum, this can be annoying. However, these are small concerns, and do not take away from the benefit you get from having access to your projects on any browser. You can always pick up where you left off, wherever you are.
Proto.io has recently released plugins that enable you to incorporate Sketch and Photoshop designs through a simple drag-and-drop. When you import a file, Proto.io keeps your assets in place, so you don't have to waste time realigning them. If your design has already been imported into Proto.io, you can continue to make changes to your assets in Sketch or Photoshop, and they will automatically update on your Proto.io prototypes; there's no need to export and import again.
The ready-made templates already have a variety of interactions built-in, it's just a matter of adding your app-specific content. When your prototype is ready, you can share the project with a URL and get direct feedback on the prototype page.
04. Framer
Framer is one of the most popular prototyping tools. It's based on the premise that with code it is possible to prototype anything, resulting in novel and groundbreaking designs.
While this may be true, the tool's proprietary coding language for designing and animating prototypes could be a barrier. There are those who may not see the reward at the end of the steep learning curve, especially for a language that can't be used outside Framer.
However, for those who do want to take on the challenge, the documentation of Framer's coding language is very well structured, with plenty of examples to demonstrate how the language works. There are how-to videos, as well as courses on Udemy and O'Reilly.
This approach is particularly useful for designers that are new to coding. It offers a first-hand view of how flexible and powerful code can be. In addition, Framer's Mac App is well designed, and provides live previews as you write code, which is encouraging for those who are writing code for the first time.
That's not to say it's no good for designers with coding experience who prefer writing HTML/CSS to prototype their designs. Framer may be just the tool you've been looking for: you won't be limited by the drag and drop tools of other apps. Furthermore, because Framer uses code to build prototypes, you can incorporate real-time data into your prototype, from sources like Twitter and Parse.
Like other tools, Framer supports Sketch and Photoshop projects, and will also preserve your design's layers. Another benefit is that – unlike most other tools – you can also import After Effects files. When you're ready to share your prototype, Framer can generate a URL that can be shared with your clients. These shareable URLs can be opened on mobile devices for live previews.
Finally, Framer has recently released an update that lets you prototype VR. 2016 will be the year of VR, and with Framer you can start prototyping now.
05. Vectr
You can design your prototypes on Vectr's web or desktop apps for Mac and Windows, which is impressive considering the app is free. The prototypes stay synced whether you're working on the desktop or web browser, freeing you to work whenever you're ready and ensuring you always have access to the latest changes.
Vectr prototypes can be shared with a URL and integrated into apps like Slack for powerful collaboration. As an added bonus, those you share your mockups with can annotate and edit them.
At the moment, Vectr isn't as feature-rich as many other options, but this shouldn't deter you from getting familiar with it. A roadmap for the app has been published, detailing an impressive list of slated features. These include: fully-offline desktop apps, more platforms, built-in version control, a built-in design assets marketplace, full collaborative editing, image effects, plugins, clickable mockups, built-in feedback and annotation tools, and offline desktop apps.
06. Atomic
- Price: Free trial (Starter $15pm/Pro $25pm)
With its beautiful UI and intuitive, easy-to-use animation timeline, Atomic makes a great first impression. Atomic is a web application that requires Google Chrome, which may be a drawback to designers using Safari, Firefox or Windows browsers. Also, there are no desktop apps available.
If you have used After Effects to prototype animations, you will feel right at home with Atomic's animation timeline. This gives you the flexibility and control you need to fine-tune your interaction: just click the play button to see your changes and animations in action.
When you're happy with your design, you can share it with a URL preview on any device. It's also possible to gather design feedback from your clients and team via inline comments.
My favourite feature of this particular tool is the history option, which allows you to rewind to see previous iterations and create new versions from any point. For those designing for iOS, Atomic has launched an iOS kit with a library of iOS design elements, to enable rapid prototyping.
Finally, you can add custom CSS directly into Atomic. It's also possible to export CSS, so you can simply copy and paste it into your project.
07. Easee
- Price: Basic Free (Unlimited $10pm)
When you consider that this product is a passion project of Steven Fabre, Easee is one of the most impressive prototyping tools around. In his Medium post, Fabre says that the goal of Easee was to help designers build beautiful animations for the web without needing to write code.
With Easee, you can drag and drop layers from Sketch and Photoshop and begin animating. Easee will take the smooth animations created in the app and export them to CSS, so you can import them into your live web project. You can also view a live preview of your animations on the web.
You can begin using Easee with a basic plan and upgrade to an unlimited plan for $10/month, which provides you with unlimited animation projects and CSS exports.
It's clear that Easee was created by a designer to meet a simple need, and do it well. The tool keeps things straightforward with no unnecessary features, so you can concentrate on building the best interactions and animations for your design project. I encourage you to give Easee a try and support a freelance developer.
08. InVision
InVision is arguably the most popular prototyping tool in the world. The team are constantly adding new features to help designers prototype more efficiently. InVision's best feature is perhaps its management of project feedback. Clients and design teams can conveniently provide comments directly on the prototype. These are collated in one convenient location, so you never lose track of feedback.
Communicating the status of the project to your client and team is critical; with InVision's project management page, you can organise design components into a status workflow. You can set columns for To-do, In progress, Needs review, and Approved, and drag and drop your design components into the appropriate column.
For example, if you're about to work on the homepage, you can drag the design component into the 'In progress' column. Now, when your client or team views the status board, they immediately know what is being worked on. If you have ever used Trello in an agile development environment, this will be very familiar to you.
InVision is always announcing new features, and it has recently released one it calls Boards, which is a home where your projects can live. It can also be used as a presentation tool, an asset manager for projects, and a place to create moodboards or galleries. You can even share these moodboards or galleries with clients and design teams, so they can provide direct feedback.
InVision's feature list seems never-ending: you can import design files from Sketch or Photoshop, animate design assets, link pages to simulate real-life websites, and preview prototypes on mobile devices. There is also version control with unlimited history, unlimited free user testing, and integrations with apps like Slack, Dropbox, Box and many more. InVision is still a game-changer in this space, and it doesn't seem to be slowing down.
09. Adobe Comp
The recent release of the iPad Pro tells us that many creatives are using tablet devices to develop projects. Adobe Comp provides the tools you need to transform natural drawing gestures into production-ready graphics.
With Adobe Comp, you can create print, web and mobile layouts that seamlessly integrate with Photoshop, Illustrator and InDesign. Also, if you use linked assets, making a change in one program will cause the asset to update everywhere else it's featured.
Comp works with Adobe Stock and Typekit, thereby providing you with images, graphics, and hundreds of fonts that can easily be incorporated as you work on your design prototype. This is my favourite feature, because it means virtually any graphic or font is available at your fingertips.
Adobe Comp offers a new way to develop and design prototypes, but due to its user-friendly design, there is virtually no learning barrier. Regardless, Adobe still provides several tutorials to help you get started, if you need them.
If you want to share your design prototypes with your team or clients, you can use Adobe's Behance network to get feedback: a smart move by Adobe to leverage its already massive reach.
10. Principle
Principle is built by a former Apple engineer for OS X, and comes with an iOS app to mirror live prototypes. Principle has a record feature that can export prototypes to a video or an animated GIF, which can be shared on Dribbble, Twitter or anywhere else you'd like!
Principle is only available for Mac, and if you've used Sketch, Principle's interface will look very familiar. Principle uses artboards to animate elements between states, so as you work on your prototype, you can live-preview your designs on the top right-hand side window. Alternatively, you can mirror your designs on an iOS device.
While Principle does not include a collaboration tool, this drawback will likely be overshadowed by its offline capabilities. The flexibility of working offline is further highlighted by increased speeds, since you're not relying on a potentially unreliable or slow connection.
We've looked at the top 10 prototyping tools to use in 2016. As you can see, the choices are abundant, and it will be hard to pick just one. I recommend you try out any that pique your interest, and see what works best for you, your clients, and your team. The ultimate goal is to let your concept materialise and your design take centre stage, so test different tools and check for updates that might give you just what you're looking for. With so many great options already available, you'll soon find the right prototyping tool to bring your ideas to life.
This article was originally published in issue 276 of net magazine; subscribe today!


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Adaptive stabilization for a class of PDE-ODE cascade systems with uncertain harmonic disturbances∗
1 School of Control Science and Engineering, Shandong University, Jinan 250061, P.R. China.
2 School of Mathematics and Information Science, Yantai University, Yantai 264005, P.R. China.
Received: 13 February 2015
Revised: 27 November 2015
Accepted: 9 December 2015
Adaptive boundary stabilization is investigated for a class of PDE-ODE cascade systems with general uncertain harmonic disturbances. The essential difference between this paper and the existing related literature is the presence of the uncertain disturbances belonging to an unknown interval, which makes the problem unsolved so far. Motivated by the existing related literature, the paper develops the adaptive boundary stabilization for the PDE-ODE cascade system in question. First, an adaptive boundary feedback controller is constructed in two steps by adaptive and Lyapunov techniques. Then, it is shown that the resulting closed-loop system is well-posed and asymptotically stable, by the semigroup approach and LaSalle's invariance principle, respectively. Moreover, the parameter estimates involved in the designed controller are shown to ultimately converge to their own real values. Finally, the effectiveness of the proposed method is illustrated by a simulation example.
Mathematics Subject Classification: 93C20 / 93D15 / 93D21
Key words: PDE-ODE cascade systems / uncertain harmonic disturbances / boundary stabilization / adaptive technique / semigroup approach
© EDP Sciences, SMAI 2017


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Karen Bonner Economic Policy Centre Associate - Senior Research Fellow
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- firstname.lastname@example.com
Karen is a Senior Research Fellow at the Enterprise Research Centre, Aston Business School but is based in the Ulster University Economic Policy Centre offices. This enables the sharing of research ideas and methods. Karen is involved primarily in firm-level research utilising data to examine aspects of firm performance in both Northern Ireland and the UK. Previously she worked as a Senior Research Economist at the Economic Research Institute of Northern Ireland. Karen is currently undertaking a PhD at Aston University, examining the effects of exporting, innovation and government financial support on the productivity growth of firms. She is an approved ONS researcher and has extensive experience in data-linking and in the use of business-level datasets.


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ED Magedson – Founder
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I'll admit, I expected more talks about Laravel specifically. This wasn't the case. It was more a conference for developers.
Sitting in a conference venue going through endless code talks is not a good way to learn. One or two piques the interest but this stuff is best learned in a more comfortable environment with Laracasts. It's not something you can take in endlessly throughout the day gabapentin 300 mg.
Don't get me wrong. I enjoyed the code talks. As I said on talks of note on day 1, Adam Wathan's code refactor talk I thoroughly enjoyed, but sitting through a day of it would be too much.
Looking at the comments on joind.in it seems some had different expectations. It's easy to dismiss them and ridicule, but I'm going to practice empathy here. They'd paid a lot of money and had an expectation of their return. Perhaps a wildly unrealistic expectation, but it was there. Many factors may have contributed to this; not having been to previous conferences, previous Laracon, lack of expectation setting on the conference organiser's part… who knows, but it was there. Hopefully, those people, on reflection, will be able to look past it and realise the benefits. It's a shame, but being a single-track conference, you get what you're given.
Personally, I prefer single-track conferences because I learn things on topics I may not have gone to, and I don't feel guilty for missing another person's talk. But then, you may have to sit through some talks that aren't your cup of tea. Pros and cons.
I'd definitely go again. I learnt a lot and met some nice people. It was an experience.


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