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OSWEGO — SUNY Oswego students collected six awards at the fifth annual SUNYwide Film Festival and Symposium held in April at SUNY Fredonia.
Peter Myers' animated film "Gone Fishing" won first place in the animation category.
Jeffrey Newell's "Myopia" received honorable mention in the experimental category as well as the prestigious Audience Choice Award.
"Ekiti Son" by Calvin Nemec won first place in the music video category.
These films can be seen on online on Vimeo.
Myers, of Red Hook, is a junior cinema and screen studies major.
Newell is from Liverpool and is a graduate student in art who majored in both broadcasting and cinema and screen studies as an undergraduate at Oswego.
Nemec is a junior broadcasting and cinema and screen studies major from East Aurora.
The top awards for student papers went to Oswego students: first place to "Bits of Jeanne Deilman in Irreversible and Hunger" by Michael Fisher and second place to "Spice World: The Masquerade of the Third Wave of Feminism" by Kelsey Titus.
Fisher, of Islip Terrace, graduated in December with majors in technology education and cinema and screen studies.
Titus is from Cicero and is a graduate student in technology education who majored in cinema and screen studies as an undergraduate at Oswego.

subset: commoncrawl


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During the massage the woman could no longer resist the handsome mans touch so she offered her pussy to the randy masseur.
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ajobbins: ... this new cable is a pre-emptive move to cement a stronghold on the market.
Yes the more I look at this AJ I have to agree.
It seems that we need some regulatory assurances in place to ensure that if this cable is built that 1's and 0's are actually delivered to our community at a reasonable cost.
I want an under taking that I'll be able to buy 10Gb landed in Wellington for less than $300 a month by 2015.


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By Daniella LaGaccia
I didn't meet Andrea Kleine and Anya Liftig at a restaurant like the Café des Artistes in the Upper West Side, but we did find a nice coffee shop off the corner of Bryant Park. Pop music from the radio filled the room, dishes scrapped and the chatter of after work patrons bled into my recorder.
I interviewed both Andrea Kleine and Anya Liftig in May about their performance, My Dinner with Andrea: the Piece Formally Known as Torture Playlist last March at the New York Live Arts center. The performance had several stages, beginning in the lobby where musicians Michael Kammers, Bobby Privet, and Neal Kirkwood played the theme to Rawhide while the audience was still waiting to get into the theater. Alison Inglestorm then took the spotlight, repeating a dance routine to the pop song Call Me Maybe by Carly Rae Jense. Inglestorm led the audience in the theater, repeating the routine to the song, and then finally dropping to the floor in exhaustion. Anya Liftig begins to speak. She's recount her life as a performance artist and walks to a table that has been set up in the center of the stage. Andrea Kleine meets her there, and then they begin to have a conversation about life, torture, high school plays, and Florida.
It should be noted that this interview references quotes from an interview Andrea Kleine and Anya Liftig published for Movement Research last March, and it references scenes and lines from the 1981 film, My Dinner with Andre. This interview also talks extensively about the "torture playlist", songs used by the CIA to torture terrorist suspects. An article about the playlist can be found here.
Daniella LaGaccia: You said you were at an artist residency recently, what have you been up to?
Anya Liftig: I was at MacDowell [The MacDowell Colony] and that's where I met Andrea and Bobby [Previte]. I was there trying to make video work and some 2D work, and blowing things up large. I was also doing collage work, not necessarily performance.
Andrea Kleine: I think it was 2013, and I was working on a novel there, but I think I already had that gig at The Chocolate Factory scheduled, I must of, so I had taken this long break from making performance work, and then I was sort of coming back to it. One thing I wanted to do with going back to performance, was that I didn't want to work with anyone who I had worked with before in the past, so I kinda wanted to let that die, and just kind of bury it. I felt like if I worked with people that I worked with in the past , it would be too much about us as an ensemble or something, and I wasn't interested in that. I guess I was sub-consciously looking for new collaborators.
DL: And you two have a history with working with each other right?
AL: After that, I didn't know Andrea till I went to MacDowell, and we developed a history of working with each other since then. It seems like it was just yesterday, but it actually was four years ago.
AK: My Dinner with Andrea is the second.
D: So, 2013, 2014?
AK: In 2013 we did a piece at The Chocolate Factory that was called, Screening Room, or The Return of Andrea Kleine (As Revealed Through a Re-Enactment of a 1977 Television Program About a 'Long and Baffling' Film by Yvonne Rainer.) That whole thing was the title.
DL: That's a good Fiona Apple album title.
*Everyone laughs*
AL: But, both of us had backgrounds in dance, training in dance and theater.
DL: Are you still working on your novel?
AK: That novel is now going to come out next year, so technically I am still working on it with the last edits.
DL: What's your creative process for writing a novel?
AK: I think I work very intuitively. I look for things to become obsessed about, and then it sort of opens up. But I do think of novels very choreographically in terms of the structure. So, I'm probably less of a wordsmith type of novelist; I'm more interested in the structure of the story. But, I do think about it in terms of performance, in terms of an audience slash reader person reading through the book, like the experience of reading it.
DL: Yeah, I was going to ask, how would you compare the creative process of writing a novel compared to developing a performance piece?
Ak: Well, they're very different in that I write a novel all by myself, which is fantastic because there is so much less project administration going on, and much less schedule wrangling, and having us meeting. I don't know if it is less expensive, but it feels less expensive.
AL: It's emotionally expensive right?… in a different way.
AK: In a way, but writing a novel for me takes some years, two to five years, so it's a long time sitting for a project, where the work for a performance is very intense, very concentrated in a specific amount of time, and then it's over, and then you have this sort of postpartum thing. For me the main difference is that in performance, you're with the audience at the same time, so you're giving and they're receiving at the same time, and the with writing, I'm giving, centuries can go by, an then someone gets it all. There's this huge chasm that's kind of tragic in a way. In the performance the tragedy is it's over.
DL: What I'm interested in My Dinner with Andrea is, how did this performance go from being about CIA torture prisons, to being about yourself trying to create that performance? It seems like a large shift in subject matter.
AK: I think part of it is a dodge. I think it was me dodging in a way, taking on that subject. I admit that part of it was a dodge, but I was interested in what the dodge was about. I was also interested in how we are all complicit in all these things going on, and how we all participate in torture. So, my goal was to not let myself off the hook for that, and I felt like taking on this big subject of the torture playlist, but I couldn't be like, 'Here's the torture playlist, isn't it so fucked up?' Everyone would be like, 'Yeah, it is fucked up, okay, see ya tomorrow.' So, I felt there had to be more subtle incisions in order to open up and shift the prism.
DL: Well, then the performance could be about you dodging that subject, how do you feel about that?
AK: That I dodged it? I don't know, it was sort of, did I dodge it, or did I take it on? I'd like to think that I did take it on, in that we made people laugh about animals being tortured, and then you realize you laughed about animals being tortured, would you laugh at people being tortured, have you been tortured, or have you tortured someone in some way? So, I don't see it as an ironic piece. I actually do think I made a piece about torture, but in order to do it, I sort of had to circumvent it and keep spiraling around the issue in making people laugh about it, and sort of making myself a bit ridiculous about it, and sort of pulling the time of the piece out, really stretching it out.
AL: I would like to chime in and say, what I thought was a very shrewd move was bringing the aesthetics of the theater and theatrical training and dance training and the dance world, and that an avant-garde audience is also complicit in a form of torture. It's clearly different, but I thought that was a shrewd parallel.
DL: Thinking about it now, the performance kind of has this idea that asks, instead of talking about torture head on, why do we end up avoiding these hard subjects?
AK: Well, something I was also thinking about was, is there a codified way of making activist work, of making political work, or are we just being complicit if we make politically relevant work and it has to be in this sort of way. I wasn't interested in that.
In another conversation that we had, Anya said something like, 'Sometimes I feel like dancers are politically averse in a way.' And I was also thinking about that, and I was wondering if dance or performance, or choosing the life of a dancer or performance artist by itself is a radical act, an activist act. But, I was also thinking about what you [Anya Liftig] said about theatrical training and also about the David Foster Wallace essay, where he's like, how do you do it? How do as a person actually throw a lobster into a pot of boiling water, and also, how do these soldiers and military people, how do they do it? How do they actually bring themselves to torture human beings? And then I was thinking of how I have tortured people, asking questions like, did I torture Alison Ingelstrom to do this very technically difficult, long, repetitive dance to this infectious pop song. I don't know.
So, I was looking at all of these power dynamics, and sort of realizing that there was somewhere a kind of connection between soldiers who are able to torture people and how you were able to put a lobster in boiling water, or you were able to say, 'Okay, let's take that again from the top.'
DL: What I find interesting is that these songs like Rawhide, or Call Me Maybe, for us it's considered pop culture, it's seen as a source of pleasure and would not be considered torture. Like now in this restaurant, with music playing in the background, it's just noise, but for someone who has a different religion, or if it is used in a specific way it can be experienced as torture.
AK: Yeah, the songs on the torture list from my understanding were in categories. One was purely volume and aggression, like loud heavy metal music, and in another category were songs that were sexually explicit, and were meant to hurt people from a certain religion. And then, there was this sort of rah rah America category like We are the Champions, and Neil Diamond's Coming to America. And then there were these cruel earworm jokes like the MeowMix cat food commercial, and the Sesame Street theme song, and Prince's Raspberry Beret, and there were things like Rawhide which I thought were just cruel because of the lyrics.
AL: Those are bizarre things from a pop culture standpoint right?
DL: I want to change the subject a little bit, and I want to talk about a quote from the film, My Dinner with Andre. It comes really early in the beginning, and I felt it was a key line that was significant to understand the nature of the film. William Shawn, who plays himself, recounts how he heard a story about his friend Andre Gregory, who one night broke down crying after hearing the line from the Ingmar Bergman film Autumn Sonata, "I could always live in my art and not in my life."
Was that quote relevant in the development of this performance? Or, talk about how you think that quote relates to performance in general.
AL: I'm speaking now as an individual performer, and not part of Andrea's ensemble, but I certainly think for me that's very true. I think that making work can be a way of avoiding, a way of dealing with, a way of confronting what's going on in one's life. I feel very grateful for having discovered performance in the sense that it has made certain things in my life easier to confront. But, I think that living one's life is hard, and living one's art can be difficult, but I certainly think living one's life is harder.
I think of it like Andrea's notion of the forest, wanting to go running in the forest in terms of that being an expression of my artistic practice, and what I want to do. I want to go running in a way that I'm not capable in my regular life.
AK: Yeah, I have to agree with all of that! *laughs*.
On the flip side of that though, on actually making the piece My Dinner with Andrea, I was trying to figure out also, in some way how to make my life the art. And that was sort of my concept for writing the text.
AL: I want to add that it's important to note that everything that was said was true. So that moment when I'm describing the lobster performance is one of those moments where there's this catastrophic conflict between one's art and one's life.
DL: Okay, let's get to that. In your conversation with each other in the performance, you talked a lot about how you waste time, your internet habits, and so on. What was it like examining yourself in that way in front of a larger audience in the context of a performance?
AK: In some way I was trying to bring my writing practice and performance practice together. And also, I was trying to some way mirror the film, and how he [Andre Gregory] sort of rambled through the film. It was very intimate in a way and revealing, but because I was performing it with this sort of filter of Andre Gregory, like I was still Andrea in the piece, but I was wearing a costume doing his voice, doing his vocal patterns, wearing that sweater which was really hard to find! That made it sort of easier. It felt like I was being a character, but everything I said was from myself. Which is interesting, because my concerns with theatrical performance are not actorly. I'm not interested in what is considered an actor's concept of building a character. It's much more connected to dance, it's much more connected to choreography. The choreography is Andre Gregory, but the text is me.
DL: What about yourself?
AL: Well, the main thing that I say was the lobster story.
DL: What about in the beginning when you talk about your life as a performance artist and selling things on Etsy?
AL: Oh, yeah, I forgot about the part that I talk about my life and the disasters *laughs*
For me actually the beginning was easier for me to say because I felt those were just facts about my life, and they were in plain view. The part about the lobster was much more of an interior dialogue. It was something where there is information where I said publicly about a lobster performance, but it's not about that. For me that was an intimate thing to share, much more intimate than saying I'm divorced from a deadbeat etcetera etcetera.
DL: In an interview with Noah Baumbach, Andre Gregory said, "I definitely felt like I was playing someone" rather than himself in this performance, and in an interview with Gene Siskle and Roger Ebert, Shawn and Gregory said, "If we did this again, we would switch roles, just to prove we weren't playing ourselves."
Going back to this idea that you [Andrea] were playing Andrea through a filter of Andre Gregory, how much of yourself do you feel came through?
AK: I think the content was all myself, they were all true stories, I was trying to write this book where there was a sub-plot of these animal rights activists, and I was at this retreat in Florida where there were these animal sanctuaries there, but I couldn't go. I'm actually a very shy performer. I don't feel like I'm a natural performer in any way. Bobby Previte is a natural performer.
There's a story that my friends make fun of me, because I has this residency once years ago; this theater company had a place and we were invited to go work on a project. I started to wonder about this woman who I went to junior high school with, and I did performing arts after school with, and is now a very famous Broadway star. But I started to think, 'I wonder if she's connected with them, and she's having gala benefit that we were all invited to, I wonder if she'll be there? What if she came? I wouldn't know what to do, I don't know if I should pretend to be who I am or not.' This is the line that my friends endlessly make fun of me about, pretending to be who I am.
But, I do all these things to actually convince myself that I can go on stage. And so, being the character Andre Gregory gives me this container to do all that. I'm also not that kind of talker that he is. He's a famous talker. And it was really weird because someone emailed me afterwards, 'Oh Andrea I forgot what a raconteur you are.' I'm like, what the fuck are you talking about? *laughs* I'm very quiet person, I work at a library, I fall asleep at parties. So that part was rather challenging.
DL: Can you talk further about the rituals you go through before a performance?
AK: They're not rituals like I have to stamp my foot three times before I walk on stage. The sweater was very important to me like I had to have that sweater. I went to so many thrift stores, and it was like what about this sweater, no… that's too dark that's too light, it has stripes, it doesn't have buttons, it had to be the same sweater.
AL: But historically, like in Screening Room…
AK: In Screening Room I played Yvonne Rainer and in that I had a wig. I had a lot more stage anxiety with that one, because I hadn't performed my own work in over ten years. So, I had to be someone else to get back out there in a way. For Yvonne what got me through it was she was always in motion, she was always nodding her head, bouncing her knee up and down or rocking back and forth, and she always took a big breath before each sentence. So, I could inhabit those things. With Andre Gregory, he had such a particular voice, especially the way he said forest. It was sort of a New York accent from a different generation. It was the word forest that got me into that, like what is the forest and that sent me on that tangent, and that's what also connected me to Florida, because what are other word like forest? My first line was 'I was in Florida', and that's what kept me in it. There were these werid little nooks in the source material to get me through it.
DL: How about for you [Anya]? You're mostly reacting to Andrea's stories in the performance, but did you have any kind of preparation?
AK: A lot of my work is silent, and a lot of my work historically has been about facial movements or about facial gestures. So, I feel that is something I come to pretty naturally. In terms of preparing, it's kind of interesting, because I wasn't playing Wallace Shawn, but there is in the dynamic in between Andrea and I as friends, and the person who talks a lot is me. I tend to be a chatter box. So, it was actually nice to sit and listen and be quiet, and to bring that study and training of the face into this choreographic space.
DL: Going back to this idea of Shawn and Gregory switching roles, what do you think the results would be if you two switched roles in this performance?
AK: I think Anya had the more difficult part to be honest.
AL: What would happen? I would probably just go off and blabber on and on incoherently. Not that you were incoherent, but I would be incoherent, an not as interesting. *laughs*
What I really loved was listening to Andrea's dialogue many many times, because I felt like every time I heard it, something else jumped out at me in terms of another connection. There was a serious of coincidence, like that fact that you're from Richmond, and you knew this person. Like they're so vague, but amazing synchronicities, and I was like, is it made up? It seemed so fantastical that it may have been made up.
DL: I wanted to get to this quote you said at the end of your interview with each other. When referring to Lucy Grealy's Autobiography of a Face, you stated, "For me when I was reading that, I had never written 'memoir.' I had never written about myself, but it seemed when she said that, it wasn't that she was dishonest about it, but perhaps the story of one's life is dishonest. It is actually just the way you remember it or the way you write it."
Can you talk further about that? I took that as relating to performance where as an audience member you often take for granted that what you are seeing isn't what is actually happening. Meaning, the audience applies meaning to the actions of a performer regardless if those meanings are true or not. Can a performer truly be honest?
AL: I think it can be a version of honesty. I think there is truth there, but what I was specifically talking about in that quote was, in terms of truth or veracity, I primarily worked without words for a very long time, because I felt I was trying to make a more open vessel for performance, and that words would be too specific or alienating in some way.
And, there has been some shift where I've been writing quite a bit for the past two years and discovering that the more specific I think the words are and the more specific the experience is, perhaps the more open it might be. I think one is always becoming on stage. To me that's what's exciting about performance as well as being a performer is I am discovering something and changing in front of people. That's my ideal, where I am discovering something when other people are hopefully are, and that act of becoming is something that can be witnessed.
AK: I think the act of becoming and what you were trying to say in going back to that quote, is that, just practicing in the act of becoming on stage, there's quite a lot of work that goes into that, work, and concepts, and practice. I think that was part of what Lucy Grealy was saying. I think people sometimes think that when you write a memoir or something autobiographical, it's like opening the filing cabinet in your brain and you're just transcribing a memory, when really, writing and artwork is far more involved and complex than that. There's a memory you may have in your childhood, but what does it mean, and how do you re-inhabit it, and why would you re-inhabit it, what else is there?
DL: I brought this up because when watching My Dinner with Andrea, and going back to your lobster story, I recalled having previously heard a different version of that story, where someone took it and threw it in the sea. And so during the performance, I didn't think you were telling a real story. That's why I was so surprised to hear that it was in fact true. So, my misunderstanding led to me believing a truth that was not actually true.
AL: That's interesting. The lobster performance where it was stolen and taken and released under the bed of stars into the sea—it directly led to this other iteration of the performance. Because the performance was interrupted I was asked to go through with the performance. And that was part of the second performance where I actually cooked the lobster and eat it, and that really had to happen in order to complete it. So there wouldn't be one without the other.
DL: I want to talk about durational performances. Watching the movie My Dinner with Andre, it feels like a shaggy dog story, where it sounds like you're hearing these profound ideas about life, but at the end there really isn't a resolution. The subject of the movie is quite mundane: it's two people talking over dinner. Andre Gregory in the film even makes the point of being tired of these mundane experiences in life, but as a viewer, this is itself a mundane experience.
How did bringing this long durational action add to this performance?
AK: That goes back to the idea of, can I make a piece about torture? And, of course one of the concepts of torture is a manipulation of time, and the person inflicting the torture has to make them feel like this is going to go on forever. So, I was interested in that with the long opening solo by Alison, and I was interested in the very long two-hour dinner conversation from the movie.
I thought it was interesting, because of course your fascinated by this eccentric character. The Wally character is like I'm just living this mundane life as a playwright, and Gregory is off going to beehives and to the Sahara [desert]. But, towards the end of the film Wally pushes back a bit, and Andre disavows things, and Wally asks 'How can you disavow that?' and they come back together and leave. Nothing is resolved and I love that because I hate conventional resolution, and nothing was resolved in My Dinner with Andrea, it just ended. I didn't want one last speech; it was up to the audience to decide.
The ending was interesting being on stage because the light was these A Chorus Line finale footlights on steroids coming at the audience. It was blinding the audience, but from where we were on stage, it was lighting up the audience from our point of view. Then there was this saxophone solo that was in a way emotionally manipulative and nostalgic in a way, and things are crescendoing, and then we just leave, leaving the audience to subjectively sort out that material.


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Tuesday, January 18, 2011
Book Review - Age of Battles
The Age of Battles by Russell Weigley looks at military history from the dawn of the modern age to the beginning of the 19th c., the classical era of disciplned, trained, professional armies and the deliberate seeking of battles of annihilation. With a starting point of the 30 Years' War, and Gustavus Adolphus' army in particular, the book traces innovations in political, logistical and strategic thinking culminating in Napoleon's campaigns and his defeat at the hands of the allies and particularly those of Prussia, the apogee of the professionalisation of warfare.
Gustavus Adolphus himself took his lead from the newly independent Dutch, who in turn looked back to Rome for their inspiration. The idea of a profession of arms separate from the old chivalric concepts of the noble descendants of the knightly classes was a new one at the time. A king who could command an army that was devoted to him alone, bypassing the nobles who raised their own forces on behalf of the king, at once had a powerful asset. Nobles tended to be aristocrats first and soldiers second, so their competence and tactical, let alone strategic, thinking was very limited. The new breed of officer did not have the social standing or the family fortune to fall back on, so tended to take the profession of arms more seriously than the nobility previously had.
Gustavus Adolphus then used this more professional force motivated by a fervent belief in the righteousness of their Protestant cause to seek out the enemy and destroy him in one great battle of annihilation, not just to win the war, but to bring about a speedy end to it. His relatively meagre resources meant he couldn't afford a protracted campaign, which forced him to seek a decisive battle with which to end the war in one stroke. His casualties forced him to recruit mercenaries because his population base wasn't big enough to absorb his losses and his supply lines were stretched to breaking point which forced him to ignore his more humane aims in fighting the war; as a result the advance of his army became a byword in crulety of rape and pillage.
After his death in battle, his aimed methods of waging war became the aims of every general and warlord to come, from Louis XIV and Marlborough, to Frederick the Great and Napoleon. However, due to the nature of the society that these successful generals came from, the potential professionalisation of arms was never fully realised. Standing armies were always viewed with suspicion and officers from the nobility still preferred to view their military responsibiites as secondary to their social life. Those who wished to take their position seriously had to study the military profession alone, rather than be trained in a state run training school for military leaders. Usually the successful generals succeeded in spite of rather than because of the administration of the armed forces through sheer force of personality as both Marlborough and Wellington did.
On the other hand, the author argues, the smaller role played by rulers in active campaigning during the 18th Century indicated that the military was gradually becoming a professional tool of foreign policy, rather than a plaything of kings, Frederick the Great and Napoleon being exceptions to the rule.They bucked the trend in being miitary geniuses who held all the controls of state in their own hands and who did not deign to share their genius with those beneath them, consequently suffering the results of this decision when subordinates engaged in battle away from the ruler's gaze more oftne than not failed.
It was only with the coming of the Prussian army in the aftermath of their disastrous defeats in 1806 that the profession of arms was to become a truly professional arm of the state. The catalyst was the newly sprouted nationalism that united all sectors of society into a united front, all striving for the same result; the defeat of Napoleon. Officers were trained in the art of war and came from the middle classes as well as from the traditional noble Junker class. Citizenry were mobilised to form a trained pool of reserves, or landwehr, and the older veterans organised into a home-defence militia, or landsturm.
Proper staff organisation was also instituted, taking a lot of the administrative and logistical weight off the shoulders of the commander, allowing for the proper formulation of tactics as well as strategy. Previously the commander was responsible for all aspects of the campaign which could result in shortages suffered by the troops and consequently foraging and worse amongst the local civilian population.
The flip-side of these developments, the author contends, was a powerful military that instead of being subordinated to civilian authority, was actually a driving force in political life with nationalism fuelling it. Only until 1918, or even 1945, could it be argued that this nexus was broken in what became the inheritor of Prussia's militarism, Germany.
This book puts the campaigns of the wars of the 17th and 18th centuries into perspective and counters the myth of the 18th C being an age of limited wars. The author contends that it was more limited means that limited wars, not some preconceived agreement between nations to reduce the impact of warfare. The continuous seeking of decisive battle from Breitenfeld, through Belnheim to Waterloo was the goal of all commanders, even though the indications were more and more turning towards wars of attrition such as American War of Independence, the Peninsula War, and the campaigns in Russia and Germany from 1812-1814. The developing professionalism of the armies of Europe ensured that no army was ever too far ahead of any other, and that when one army did draw ahead tactically or strategically, they never held that advantage for long, ending in a stalemate in the balance of power that made warfare an inherently risky and increasingly pointless exercise in foreign policy. Attempts at continental hegemony always came to nothing after a lot of expenditure in lives and treasure that eventually led to the the greatest upheaval the continent had ever seen; the French Revolution. Even that led to another round of warfare for the control of Europe, and that ended in defeat for the French and victory for the forces of conservatism. The country with the least investment in the army, although partly protected by geography, was the one that came out on top; Great Britain. The author contends that the bloody 18th c was a disaster for the continental powers that competed in the arms race that culminated in the bloodbath that were the French Revolutionary and Napoleonic wars.
2 comments:
I read War of Wars (covering the entire Nap period) recently. Stunningly good read.ReplyDelete
You have to come to the same conclusion really - the wars with France especially drove the British to develop and expand their empire at the expense of other powers (France and Holland especially) and there is no doubt we came out a much stronger nation than when we went in.
Thanks for reminding me of that title, Phil. I read it several years ago and by memory it was a very good, detailed history of the whole revolutionary/Napoleonic wars although taken mainly from the British perspective. I think I'll have to read it again soon!ReplyDelete
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Back on the band wagon today. Feeling a tad better which always helps things along.
While the boys were getting ready this morning, I finalized my counts for items to be removed in some manner or other from my house. Items to Goodwill have already been delivered.
Goodwill: 211 items
Outreach, Inc.: 83 items
On-line garage sale: 54 items
Trash: 44 items
Thing 2 to Nephew: 35 items
Thing 1 to Thing 2: (while technically not leaving the house) 66 items
Should my math actually be correct, that's 493 items from which we are soon to be free of. Super psyched!!
And today's outfit: dress, gray leggings, white socks, brown boots, gray t-shirt, cream sweater, and leopard-print scarf.


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|SA's 1st Fashion and News weekly gloss magazine
Talking about Mbali Soga, I had a little chat with her and man I am happy to announce that she will be joining the Grazia team as the Fashion Editor for the weekly gloss fashion magazine. She is currently doing an amazing job at Cosmo and Lord knows what she has in store for Grazia.
For those who are not familiar with the magazine, Grazia is a global fashion and news weekly magazine that was originally launched in Italy in 1938. Their success as a brand has grown exponentially over the past few decades and it now boasts 20 editions worldwide including South Africa now, the UK, China, France, etc. For almost 70 years, Grazia has remained tuned into the evolution of women's tastes-season after season, style after style and it is now going to grace South Africa the very same way.
Danielle Weakly, Grazia's Editor in Chief said in press release, "Grazia has been a game changer in the international magazine market since it began syndication its distinctive brand of fast fashion and news, and I look forward to translating its smart formula into one that is relevant for - and resonates with - our fashion - loving, fingers - on - the - pulse female audience".
I have to say, this by far going to be very interesting; publishing a 60+ pgs gloss magazine weekly and considering the fact that Heat magazine is part of Media24 also a weekly with fashion and celebrity news, but I guess Grazia got it all figured out with their specific demographics for their market.
"The GRAZIA woman", is a globally savvy matured urban professional. She is stylish, inquisitive, glamorous and dares to be different. She reads the monthlies, but wants more. She is your go-to girl for the latest world fashion and celebrity news. She wants a magazine that offers speed with style, news with shoes, week after week. Therefore ladies if that is you, do your pretty self a favour and get your first copy of Grazia Magazine on 18 May 2012.
Lastly, I have to say this event was well planned even though the venue was far; they made sure they get the guests there on time with their "luxury coach". They made a lot of people happy with that open bar (I won't mention names). From the presentation, the mini fashion show to the actual party; everything was on point. They even had a lovely "photo booth on wheels", where some of us felt like "cover girls" for a minute (lol).
Below is how the photos came out, the lovely part is that one got their picture immediately after taking it..
I was a vintie that evening, I went all gogo-chic (lol)
And you can't have an event without a goodie bag :)
Thanks to Media24 for the invite, we therefore look forward to the actual fashion and new gloss magazine in May.
Forever Fashion Freak,


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Once all the pins are bored, you've got a bunch of waste around the pins that you need to clear away. One way to make quick work of that is to make a pass on the table saw with the blade height set very low. That will clear away most of the waste. I didn't do that—I did it the hard way with a knife and chisel. i did this because I chose to use some nice clear pine I had for the end pieces but I was afraid I'd have some nasty chipout if I used the table saw. Instead I ended up with a lot of crushed grain trying to cut & chisel it out. Que sera sera…
Anyway, I used a marking gauge to set a cut line around the waste area.
Next, the fishtails need to be drilled into the side pieces. For this I flipped the old Shopsmith up into the tradition vertical drill press orientation. I setup the fence with a sacrificial fence attached to it. There's a stop block nailed to this fence. This will allow me to use the same spacer blocks to make the holes as I used to make the pins. With the 1/2" forstner bit in place, I set it to cut offset 1/16" into the fence—just like the pins are offset. (You may want to tweak this by a hair less than 1/16" so that you have some excess. Better too much than too little…) As always, use a scrap block under the piece you are drilling.
Just like with the pins, I work from right to left, boring the holes using the spacer blocks. Three fishtails on one end, two offset on the other end.
If you've kept everything meticulously aligned, you should be able to dry fit your pieces together. It should be a very snug fit.
I also milled a 3/16" slot on the inside of all 4 pieces to hold the bottom piece. I stopped this slot in the front of the side pieces so it wouldn't show where the joint comes together. I also milled a 1/4" slot stopped in the rear in the side pieces for the sliding top. These were cut with a slot cutter using the trusty old Shopsmith, but they could certainly be cut with a router or router table.
Cut a bottom piece to fit in the slots. Now you can dry fit the whole box and start cleaning up any protruding joint pieces. You can see my pins are a good 1/16" proud. I went a little overboard since my last box had the opposite problem.
Last thing I did was cut the top and cut the dadoes for it to ride in the slots. I also cut a decorative pull as part of the lid. And there you go, a Fishtail box.


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Amongst the woodlands and heathlands...
...if you look hard enough...
you'll find a sandy beach.
which is nowhere near the sea...
you can go swimming, and build sand castles
and bury Dad's keys in the sand whilst he is reading about cars.
a really lovely day out from sticky London on this hot September day.
In fact there are many beautiful ponds and lakes in Surrey to explore. One day we will spend more time walking through the woods to see what we'll find.
We did come across this peaceful lake away from the crowds (but this one is not for swimming in!)
on the way home we spotted these nice doggies, waiting patiently whilst their owner was chatting and drinking with his chums.
The first pond with the beach is called Frensham Great Pond, which is in Surrey, and near to Guildford. It seems to be very well known about by the locals so I think it gets really busy on the weekends (we went during the week so it was ok) so be warned, but there are quiet spots to be had away from the beach part. There is a cafe, toilets and car park next to it. There are other a few places to swim in that pond so take a look at the map. There is another little pond too which we didn't go to but also looks nice.
The other lake I don't know where exactly it was, but there are a few similar around the area.
We happed across this place because we went to see a car for sale near by which we were contemplating buying. Sadly we were told the car had sold at last minute. We didn't want to waste such a lovely day and I had a vague memory about a pond with a beach in the area. Its funny how you find such nice places when things are not going to plan.


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I did not inform my daughter about the gifts. I was so shock when she sent me a message saying thank you for the flowers. They were delivered to her exactly ON her birthday. Not only that.. the delivery guy made his way to my daughter's classroom at the University despite the instruction of just leaving the flowers at the dormitory's reception. What a brilliant effort. The flowers were so lovely. A lot better than the pictures online. My daughter was so happy, took a selfie with her bouquet of flowers and made it her FB profile picture.
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Butchers Row Art Print - Leeds Poster
This high quality is of Butcher's Row. It's of a lively section of Leeds market where all the butchers were grouped together and you had them all displaying their goods and shouting their meaty deals at you as you walked passed. They've moved them elsewhere in the market now.
This original screenprint was done by myself, Leeds based illustrator Simon Lewis, in 2017.
It has 5 colours, each layer colour comes from a detailed drawing with added brushstrokes.
Print size is 36x15cm approx on 30x40cm paper to fit into standard 30x40cm frames.
The print is sold unframed
This is a giclee print, ie a high quality digital inkjet print. The original image was screenprinted by hand, if you are interested in purchasing a limited edition screenprint please contact me.
It's printed onto 310gsm acid free matte archival paper. Digital giclée prints can last over 100 years under optimum conditions.
All prints are signed by the artist. Copyright of the image remains to the artist Simon Lewis
The print is sold unframed in a board backed cellophane bag.
More examples at www.simonlewisillustration.co.uk
I enjoy drawing buildings and landscapes, these end up being ones I walk past often enough in Leeds that I end up appreciating certain qualities about them.
Shipping & delivery
This item will be posted to you by Simon Lewis Illustration within 3 days of receiving payment.
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|United Kingdom
Italy, Greece, Cyprus, Germany, France, Spain, Finland, Belgium, Portugal, Poland, Ireland, Sweden, Denmark, Netherlands, Austria, Latvia, Bulgaria, Czech Republic, Estonia, Hungary, Lithuania, Luxembourg, Malta, Romania, Slovakia, Slovenia, Isle of Man, Jersey, Guernsey
|USA and Canada
|Rest of the World
Returns Policy
You have 14 days, from receipt, to notify the seller if you wish to cancel your order or exchange an item.
Unless faulty, the following types of items are non-refundable: items that are personalised, bespoke or made-to-order to your specific requirements; items which deteriorate quickly (e.g. food), personal items sold with a hygiene seal (cosmetics, underwear) in instances where the seal is broken.


text: For fist and "last" time I saw Red Sea, by far Aden a light flickering in distance. I smell and test the Red Sea, it was sweet. Since then Aseb has been in my DNA. The course "Aseb 101' did boost my immune system to fight again for Aseb until it returns back to its home, Afar Ethiopia.


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First Rural Electric Cooperative
The establishment of Clay-Union Electric was made possible when President Franklin D. Roosevelt signed Executive Order 7037, creating the Rural Electrification Administration (REA), on May 11, 1935. At the time nearly 90 per cent of rural America was without electricity.
The creation of REA was the first step in achieving a dream, shared by all rural Americans....to have the convenience of electricity in their homes.
Obtaining that dream was not simple, but thanks to financial backing by REA, 99 per cent of rural America is now electrified. One thousand RECs serve 20,000,000 people nationwide. And in South Dakota, 33 RECs serve over 200,000 people.
This marker was erected May 11, 1985, by the member cooperatives of the S.D. Rural Electric Association and the S.D. Historical Society, to commemorate the signing of E.O. 7037. It is dedicated to the 17 founders
Erected 1985 by Member cooperatives of the S.D. Rural Electric Association and the S.D. Historical Society.
Location. 42° 47.162′ N, 96° 49.641′ W. Marker is in Vermillion, South Dakota, in Clay County. Marker is on State Highway 50 near 469th Avenue, on the right when traveling west. Touch for map. There are actually two of these same signs in the area - one on the north side of SD Highway 50, east of 469th Avenue, and one on the south side of SD Highway 50, west of 469th Avenue. There are small pull-off areas next to each of the signs. Marker is in this post office area: Vermillion SD 57069, United States of America.
Other nearby markers. At least 8 other markers are within 8 miles of this marker, measured as the crow flies. Bruyer Church (approx. 1.1 miles away); Homestead Rest Area (approx. 2 miles away); The Great Missouri River (approx. 2 miles away); St. Mary's Catholic Church (approx. 5 miles away); Giants in the Earth Country (approx. 7.1 miles away); St. Paul Lutheran Church (approx. 7.3 Fort Brule (approx. 8 miles away); Mulberry Bend Scenic Overlook (approx. 8 miles away in Nebraska). Touch for a list and map of all markers in Vermillion.
More about this marker. Both markers are in deteriorating condition. The one on the north side isn't as difficult to read as the one on the south side.
Regarding First Rural Electric Cooperative. The town of Burbank is located 3 miles south of SD Highway 50 off 469th Avenue.
Uncertain of Manning/O'Connor Store is still in existence in Burbank.
Categories. • Notable Events •
Credits. This page was last revised on April 21, 2017. This page originally submitted on January 14, 2011, by Rich Pfingsten of Forest Hill, Maryland. This page has been viewed 1,088 times since then. Photos: 1, 2, 3. submitted on January 14, 2011, by Rich Pfingsten of Forest Hill, Maryland. • Bill Pfingsten was the editor who published this page.


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I want to be able to specify how much error is reduced per second (e.g., an error reduction rate of 0.3 means that the error is reduced by 30% per second). Here's how I do it:
"step_size" is the amount of real elapsed time between weight updates (it's best if this is a fixed constant, both for stable learning and to avoid recomputing the error reduction rate constantly). "error_reduction_tc" is a time constant which determines how fast errors are reduced.
For example, an error reduction time constant of 2.0 means that the error will be reduced to about 37% of its original value after 2.0 seconds of updates. If weight updates occur every 0.05 seconds, this yields an error reduction rate of 0.02469. If we change the time constant to 0.1, leaving the step size at 0.05, the error reduction rate jumps up to 0.3935 since the time constant is much faster. Note: it's important to keep the step size smaller than the time constant; otherwise, things can get unstable.


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One of the biggest selling points of the Acer Liquid, Acer's first Android phone, was the 1GHz Snapdragon Processor that would've powered the puppy. It would've been a first for Android phones and easily would have outpaced all other Android devices. Unfortunately, from this leaked slide detailing the Liquid, it looks like the Acer will underclock its Snapdragon processor and have it run at 768 MHz instead of the previously promised 1GHz. Does this mean the Liquid's performance will be dramatically different? We'll have no idea until we test it out.
But honestly, if Acer decided that underclocking the Snapdragon Processor to 768MHz was a good move, we have to trust that there were reasons to do so. From what we understand, the Snapdragon processor is a serious battery drain so perhaps the slight drop off in pure performance was worth a significant gain in battery life? Or maybe Acer felt that Android doesn't quite need a 1GHz processor yet?
Either way, we still think the Acer Liquid is a fantastic device--it still packs a 5 megapixel camera, 800x400 resolution touchscreen, your usual slew of connectivity options--all packaged in some stellar hardware. We're a little sad that we can't brag about having a 1GHz processor but we're sure 768MHz would do us just fine.
What do you guys think? 1GHz or bust? Or is 768 MHz plenty fast?
[via engadget]


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Elisha Cuthbert Biography
Elisha Cuthbert is a Canadian film & TV on-screen character who got to be mainstream with the youngsters' TV arrangement Popular Mechanics for Kids. She appeared in movies in 1996 as Sarah in Dancing on the Moon. Then again, she turned into a big deal as the little girl of Kiefer Sutherland in the US TV arrangement 24. Her fame expanded complex when she had her first featuring part in the motion picture The Girl Next Door in 2004. She then featured in House of Waxin 2005 and Captivity in 2007. Regardless of her prevalence Elisha could never get the tricky leap forward in movies in spite of the fact that she is a family unit name in Canadian TV. The media constantly saw her as a sex image which most likely accomplished more damage than great. Elisha began her displaying carer at an exceptionally youthful age of 9 for distinctive lines of kids' attire. Despite the fact that she did various movies after her presentation, individuals began perceiving her just in 24 as Kim Bauer. On the other hand, her pay every film or every scene of TV arrangement is a nearly monitored mystery. It's interesting truly 'coz when you have a total assets of $10 million it is obviously comprehended that the pay too is not a cosmic aggregate. She didn't have a solitary discharge after 2009 and is just showing up in the hit TV arrangement, Happy Endings. In 2005 Elisha Cuthbert acquired a house in Hollywood Hills, LA for $1, 649,000, which is an unobtrusive entirety considering Hollywood measures. The house highlights three rooms, two bathrooms and French entryways. There is likewise an outside chimney and the house spreads more than 2100 sq ft. She moved into this house from the present one in California which she acquired while taping for 24. While staying in California she purchased a Porsche 911 which is a two seater, two-entryway auto. It is dark in shading with tan insides. It is presently known however whether her new buy in LA will be supplemented by a shiny new auto as well. Elisha was conceived in Calgary however migrated to Vancouver with her guardians. She was extremely evil as a young lady and effectively faked the state of lactose narrow mindedness as she didn't care for the essence of milk. He yearnings to turn into a performing artist worked out in 1997 when she was picked for the family film, Dancing on the Moon. Later she turned into a reporter for the recompense winning TV show, Popular Mechanics for the Kids. In 2004 Elisha got connected with to Trace Ayala. However in November 2005, Trace in a meeting said that neither of them were in a rush to get hitched. From that point forward Elisha is dating the ice hockey player, Sean Avery, who played for Los Angeles Kings. Yet the status of her engagement to Trace is still a puzzle to everybody. To make matters more confused reports propose that from 2008 Elisha is dating another ice hockey star, Dion Phaneuf. No big surprise she even has an individual blog on Canadian ice hockey!
Elisha Cuthbert Profile
|Date of Birth
|30 November 1982, Calgary, Alberta, Canada
|Birth Name
|Elisha Ann Cuthbert
Elisha Cuthbert Body size/Measurements
Elisha Cuthbert Measurements: 34-24-33
Body Weight: 125lbs (57 kg)
Height: 5′ 4″ (163 cm)
Bra Size: 34C
Official Dress Size: 6
Official Shoe Size: 5
Natural Eye Color: Blue
Natural Hair Color: Blonde


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SALT LAKE CITY — About 20 million DirecTV customers could lose 26 channels at 12 a.m. Wednesday if the company can't make a deal with Viacom, according to The Consumerist.
The 26 channels customers could at least temporarily lose include MTV, Nickelodeon and Comedy Central, according to the article.
"DirecTV refuses to consider a fair deal that recognizes the value of Viacom programming," Viacom said in a statement.
DirecTV says Viacom wants a 30 percent jump in fees it charges DirecTV for carrying its networks, according to the article. The price jump would end up costing "more than a billion dollars extra."
"If Viacom wants so much more, then we believe your family needs to be able to choose which Viacom networks you want to pay to keep and which ones you don't," DirecTV wrote, according to the article.
The contract between Viacom and DirecTV was set to expire on June 30 but was extended through , according to The Consumerist.
EMAIL: [email protected]


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Most hotels try to promote their outstanding customer service or elegant rooms that give them an edge over other competitors. The Hans Brinker Budget Hotel in Amsterdam, however, embraces its terrible reputation and actually uses this to promote just how bad it really is.
The newest campaign for the hotel consists of an interactive staff training video. Apparently, the receptionist has a hot temper, so to try and quell her rage, the ad allows visitors to ask questions. By typing in a query, visitors will get a response but it might not be the friendliest answer. This is just one advertisement for the Hans Brinker Budget Hotel promoting its terrible service. At least they embrace mediocrity and use it to their advantage.
Tattooed Tot Reminders
Cremated Ash-Eating Ads
Brawny Hybrid Roadsters
Eco Fuel Guage Ads
Endearing Fast Food Ads
The Hans Brinker Budget Hotel is Proud of Its Poor Service
- By: Jamie Danielle MunroMay 21, 2011
References: hans-brinker & adverblog
References: hans-brinker & adverblog


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This page will list below Waterford, WI lodging that are comparable to the quality of Best Western.Need a group/meeting discount? Request a group rate for Waterford WI
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Strengthen Our Voices - Project to Further Build Global Movement for Users and Survivors of Psychiatry
February 6, 2013
Please take note of the announcement to the users and survivors of psychiatry movement
WNUSP is an international representative network of the voices of Users and Survivors of Psychiatry. Building on the success of the past decade, WNUSP embarks on a Project to further build our global movement. It is called Strengthen Our Voices!
WNUSP has since 2001 internationally challenged the invisibility, discrimination, social isolation and human rights violations of Users and Survivors of psychiatry.
Strengthen our Voices! strives to ensure that the views and opinions of all Users and Survivors of psychiatry are respected and upheld. That our voices are meaningfully included on international platforms.
Most important is that WNUSP hear the voices of our movement.
During the first quarter of 2013, WNUSP will be sending out a questionnaire and asking you, our members of the movement, what your opinions and views are. We need your contact details so that you can participate in this important survey!
WNUSP will be seeking to include your voice in planning the way forward for the following Decades.
If you wish to become a member of WNUSP, please fill in the application on our website www.wnusp.net . If you are unsure about you membership status, please email firstname.lastname@example.com. All Organizations and individual Users and Survivors of psychiatry that identify with the goal of ensuring that our rights and interests are promoted and protected are welcome to apply.
Please circulate to any networks that will reach users and survivors of psychiatry.


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NEW BRUNSWICK, NJ - State police arrested a 16-year-old New Brunswick boy who allegedly stole an unmarked NJ State Trooper vehicle and took it on a joyride across Middlesex County.
Over the course of the spree across Middlesex County on Sunday, December 17, the suspect allegedly used the vehicle to commit two robberies, one attempted robbery and a theft at a gas station, according to authorities.
The vehicle was taken from the driveway of a North Brunswick house, where a state trooper resided, some time in the morning of December 17, according to police.
The car was reported stolen shortly after 9:30 a.m., when the trooper noticed the car missing from the driveway, according to police.
Inside the car were several uniforms, two weapons and other equipment, though none of the weapons were used or displayed by the suspect, police said.
During the first incident at 5:45 a.m., a truck driver was stopped southbound on the New Jersey Turnpike near Interchange 10, when the suspect identified himself as a trooper and requested money from the driver as a fine for speeding, according to police.
The driver refused and drove away, police said, and reported the incident the next day.
Then at 6:50 a.m., the suspected pulled over a truck drive at the the NJ Turnpike southbound lanes in South Brunswick, authorities said, stealing cash from the driver.
At 7:19 a.m., the driver filled the trooper vehicle with gas at a station on St. George Avenue in New Brunswick and then left without paying, authorities said.
Then at 7:30 a.m., the suspect stopped a cab at the Woodbridge Center Mall in Woodbridge, and stole cash from the driver, police said,.
Authorities determined the identity of the suspect following a joint investigation between the North Brunswick Police and NJ State Police Homicide North Unit, based on forensic analysis of evidence recovered during the investigation.
They arrested the suspect on Wednesday, December 20, and later that day, recovered the two issued weapons, which were found in the stolen trooper car in the area of Dogwood Court in New Brunswick.
Editor Daniel J. Munoz, firstname.lastname@example.com; twitter.com/DanielMunoz100


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Chair, Youth Justice Board
Charlie Taylor
Charlie Taylor became Chair of the Youth Justice Board for England and Wales in March 2017.
Before taking up his current role he led the Government's review of the youth justice system, Charlie Taylor was Chief Executive of the National College of Teaching and Leadership from its launch in 2013. He is a former head teacher of The Willows, a school for children with complex behavioural, emotional and social difficulties. He was the Coalition Government's expert adviser on behaviour until 2012 and produced reviews for the Department for Education on alternative provision (for children excluded from mainstream schools) and attendance in schools.
Charlie was author of the Review of the Youth Justice System in England and Wales published in December 2016.
Chair, Youth Justice Board
The non-executive chair of the departmental management board reports to the Secretary of State for Justice and is responsible for the reviewing of the YJB's strategic direction.
Previous roles in government
Chief Executive, NCTL
- 2013 to 2015
- Early years teachers: what do they offer?
- Transforming the early years workforce
- Charlie Taylor talks about developing the birth-to-18 system
- Charlie Taylor speech to the North of England Education Conference
- Charlie Taylor speaks at the Academies Show
- Charlie Taylor's keynote speech to the North of England education conference
- Charlie Taylor speaks about behaviour at the Academies Show 2012


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For most of us, there's no escaping winter. So make the most of the season and learn some outdoor winter sports with the help of REI.
Our series of DIY Workshops returns this weekend with DIY Winter Sports. If you've never tried snowshoeing, cross country skiing or other winter sports, the experts from REI are coming to Rogue Farms to show you how it's done. All ages and skill levels welcomed!
For more information, see the poster below.


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Epson WorkForce 60 [mac] full review
The Epson WorkForce 60 is a small-office inkjet printer whose countenance belies its power. The styling of this printer is boring and then some, and the control panel (such as it is) looks as if it belongs on a cheapo. However, the connectivity, speed, and output are those of a powerhouse.
Lifting the WorkForce 60 onto our workbench was extremely easy; the unit weighs barely 10 pounds. That's because there's hardly anything to it—making it simple in some ways, and underwhelming in others. The matte-black plastic that covers most of the unit looks ho-hum, but the construction is solid. The control panel has cheap-looking, light-gray buttons and no display. You'll find neither media-card slots nor a USB/PictBridge port.
You can hook up the WorkForce 60 via USB, ethernet, or Wi-Fi. Since it has no on-board display, you'll need to connect the printer through USB briefly to set up the wireless, but that's an easy one-time task. The software installation worked nicely on our in-house network, and the included Easy Photo Print software for formatting and printing images is just that—easy. The print driver has all the options you could ask for, including both a Fast Economy (draft) mode and a slightly better-quality Economy mode.
Paper-handling features are top-notch. An automatic duplexer is on board, as well as a 250-sheet paper input tray with a 50-sheet output deck just above it. Our only wish is that Epson would enlighten the duplexing logic so that sheets that are blank on the back (usually the last sheet) aren't pulled back in for a pointless print cycle.
The WorkForce 60 is one of the fastest inkjets we've tested—at default settings on plain paper, at least. Monochrome pages of mostly plain text exited the printer at a swift rate of 12.9 pages per minute on the PC and a still-peppy 9.8 ppm on the Mac. On the PC, a snapshot-size photo on letter-size plain paper printed in 13 seconds, or a zippy 4.6 ppm. Once you switch to Epson's own photo paper and finer settings, however, the printer slows down considerably, to 69 seconds or 0.86 ppm for the same snapshot photo, and over 2.5 minutes (0.4 ppm) for a full-page, high-resolution photo printed on the Mac.
Its print quality at default settings on plain paper is not quite as good. Black text samples look dark, but slightly soft around the edges. Color graphics seem a little grainy, pale, and pinkish. On Epson's own glossy photo paper, images appeared smooth and natural—a big improvement. Ink costs for the WorkForce 60 are average or cheaper for an inkjet.
The WorkForce 60 is supposed to come with a printed user guide, but unfortunately it was missing from our review unit. Our only option was to view the same documentation online, but it isn't downloadable, and if you have no Internet connection you're out of luck. Loading a PDF version onto the installation CD would have been a much easier alternative. That said, using the printer is so straightforward that the printed "Start Here" guide should be sufficient. An HTML interface relays the printer's status.


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Sale Date Ended
Page Views : 15
Besides its heritage monuments, colonial history, cultural importance and modern pomp, Delhi is known for its eclectic and spicy bites. The Delhi street flavours are famous all across the globe. If you are craving for some mouth-watering delights of Delhi, then book your seat for this food tour bus immediately. Take a scrumptious break for a day and relish the appetizing savouries to your hearts content. Travel through the length and breadth of Delhi and gorge on some delectable delicacies that you have only read or heard about. Enjoy the journey full of food and laughter for 3 hours. Gather outside the Hauz Khas Metro station on the Yellow Line at the Mayfair Garden Gate to board the Food Tour Bus. Accompanied by a food Sherpa enjoy this super enthusiastic journey to please your palates. Sit back, relax and hear the on board commentary about some of the tastiest joints. On completion of the activity, get a drop to the Hauz Khas Metro Station. If feasible, you can also get off on the way. Spend a wonderful day enjoying the yummy delights.


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The usual way to execute SSIS packages programmatically was by invoking Dtexec utility until SQL 2012. With the arrival of project deployment model in SSIS 2012 we can now rely upon catalog view and system stored procedures for executing SSIS packages deployed to SSISCatalog relational DB. This post discusses the approach that can be followed for executing package deployed in project model programmatically and then checking the execution status for setting correct execution sequence thereafter.
The scenario was like this. There was a data feed coming from third party which had to be first uploaded to a table in the database. Then based on the outcome of this data load there were a series of data loads which included some lookup logic to the first table and based on that do some data loading into the warehouse tables. The initial data load was not automatic but had to be manually driven by mean of upload screen.
The approach followed is given below.
It consists of creating an execution for the main package and then starting it. Once started, a logic was written to monitor the execution result. Once the result is returned ie package execution finished, result is checked whether it was success. If yes, the execution will proceed with rest of the steps otherwise it will stop the procedure raising an error.
The stub for the solution is given below
The package should be deployed to SSISDB catalog as shown below
Then you can use code as given below
DECLARE @exec_id BIGINT
EXEC [SSISDB].[catalog].[create_execution]
@package_name=N'Package.dtsx', --SSIS package name TABLE:(SELECT * FROM [SSISDB].internal.packages)
@folder_name=N'MyTestDeploy', --Folder were the package lives TABLE:(SELECT * FROM [SSISDB].internal.folders)
@project_name=N'Integration Services Project2',--Project name were SSIS package lives TABLE:(SELECT * FROM [SSISDB].internal.projects)
@reference_id=NULL, --Environment reference, if null then no environment configuration is applied.
@execution_id=@exec_id OUTPUT --The paramter is outputed and contains the execution_id of your SSIS execution context.
EXEC [SSISDB].[catalog].[start_execution] @exec_id
SELECT @exec_id
DECLARE @exec_status int,@end_time datetimeoffset
WHILE @end_time IS NULL
SELECT @end_time = end_time,@exec_status=status
FROM [SSISDB].internal.execution_info
WHERE execution_id = @exec_id
IF @end_time IS NOT NULL
IF @exec_status != 7
PRINT ' Package Failure'
PRINT 'Success'
-- Other tasks to follow
SELECT 'Checking loop'
This logic can be used for checking the execution status and then determining the sequence of operation for the rest of the steps.


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Attract Your Extraordinary Relationship
by Relationship Expert James Rohr, L.Ac.
Are you an independent woman but tired of being so independent?
Are you ready to be fully authentic and loved just as you are?
Wondering how to attract your dream partner without compromising?
Watch this FREE masterclass that has the 4 shifts you need to make to uplevel your love life!
Or, book a breakthrough call now to see if you're a good candidate for James' exclusive
Coaching Program to Attract Extraordinary Relationships.
The time is now. Your ideal partner is waiting for you to take action!
Book your free breakthrough call
"Jim has taught me to trust myself and to listen more to my internal voice rather than external factors. He helped me own my desire for a radical type of love. Shortly after working with him, I met the love of my life. I feel more in touch with my soul than ever before. I have been to so many therapists and I'm a therapist myself. No one has ever helped me the way he has. Not by a landslide."
"After pretty much a life of unsatisfactory romantic relationships which were always in conflict with my longing to connect, the road to a good and fulfilling relationship was painful and full of mysteries I wasn't able to decipher for myself.
Jim was not only generous and kind, but he also showed up authentic and wise. Jim, always free from "guru" ego, has an art for asking the right questions and inviting you to live from your authenticity.
Today I am in a loving, committed, healthy relationship with a wonderful man, and I credit Jim with helping me overcome many of the blocks to finding my right partner while setting boundaries. After many years of therapy and life-coaching courses, I can sincerely say I got unique coaching and insights from Jim."
-Jennifer S.
Check out the highlights of my latest retreat
I partnered up with the amazing yoga teacher, Jennifer Pansa, to co-host a wellness retreat at the five-star Mukul Resort in Nicaragua.
As Seen in the New York Times
"And I started getting acupuncture from this great guy, James Rohr. Dwyane [Wade] was getting it for migraines. I saw how much it really helped him, and James helped me with my insomnia." Gabrielle Union, Actress


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London: Sugar-sweetened coffee may be the best way to prepare the brain for a busy day ahead, say scientists.
Researchers at the University of Barcelona in Spain found that taking caffeine and sugar at the same time boosted the brain's performance more than taking them on their own.
They now believe each one boosts the effect of the other on brain functions such as attention span and working memory.
The findings come from brain scans carried out on 40 volunteers who were tested after they had coffee with sugar, coffee without sugar, sugar on its own or just plain water.
"The two substances improve cognitive performance by increasing the efficiency of the two areas of the brain responsible for sustained attention and working memory," the Daily Mail quoted researcher Dr Josep Serra Grabulosa as saying.
"The brain is more efficient under the combined effect of the two substances, since it needs fewer resources to produce the same level of performance than when volunteers took only caffeine, glucose or water," Serra Grabulosa added.
But it's likely that coffee lovers who do not take sugar will get the same benefits from enjoying a sugary snack with their drink.
The results have been published in the journal Human Psychopharmacology: Clinical and Experimental.


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Some excerpts from a great post from Ola Bini, one of the JRuby core developers:
In short, I believe that being able to abstract and understand what goes on in a programming language is one way to become more proficient in that language, but not only that - by changing your thinking to see this part of your environment you generally end up programming differently in all languages...
A little further on, emphasis is mine:
... I call this meta-level thinking. I think it's mostly a learned ability, but also that there is an aptitude component.
Cheers for this as a "learned ability" which would give one pretentious enough to call his blog "Metadeveloper" some hope.


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Look, we know the wait for the Samsung Galaxy Nexus here in the United States is making people act a little crazy. We get that, and we're not really blaming anybody. But this sort of thing isn't helping matters any. What you see here, according to new forums member mynewride, is a Best Buy Mobile flyer that is due to come out Dec. 1. And in it we have the Samsung Nexus Prime on Verizon. Or the Samsung Nexus Prime 4G LTE, if you turn the page. Or the Samsung Nexus Prime, member of the Samsung Galaxy S II family.
What. The. Hell.
OK. So, Best Buy doesn't exactly have a spotless record when it comes to Photoshop blunders. (See Exhibit 1, Exhibit 2 and Exhibit 3.) But the "Nexus Prime"-- the unofficial code name for the Galaxy Nexus that we all worked with for months -- has been seen in Best Buy's internal systems before, which might or might not mean anything here.
We're nowhere near sold on this one yet. But it's just one more chapter in the strange saga that's been the Verizon launch of the Galaxy Nexus.
We've got more pics after the break, and hit the source link for all the discussion from mynewride's original post.
Source: Galaxy Nexus forums


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The title of today's post comes from Sophocles an ancient Greek philosopher and playwright.
I look at this short and insightful statement and look to the past 5 months of my life. It has not been without challenges and stumbles along the way but as the company I work for enters into the final months of its Fiscal Year we are asked to dig deep and do more!
I have to admit that I have had some stellar successes in 2011 so far and anticipate having many more but what is at the end of the road for me? I look to what has become my chosen career in Sales, and think back to just 3 years ago when I was trying to make it as an independent Consultant at the same time as I was working the night shift for a large BPO (Business Process Outsourcer) doing Telephone Support for DSL Customers.
Was Sales where I should be? I brought with me a solid understanding for not just computers and technology but how that technology is and can be applied to business in the 21st century. For me the success that I enjoyed in my first year of Sales would not have been possible if I did not dive deeply into both maintaining my understanding of technology but also investing heavily in my understanding of the Sales Process.
I look around at the majority of people that I work with and they find it unconscionable that I would work 50 hours per week in the office and then invest an additional 15-25 hours per week diving into hundreds of books, thousands of hours of audio recordings and scouring the internet so that I could find the right balance between what was my personality and what moved people from having me sell them something to them buying from me!
I forgot about this investment in my second year of sales and tried to ride on the coat tales of my year one success. That is not a mistake that I will make again.
I was poking around the interwebs for my inspirational message for today and I came across an article printed in Success Magazine. This particular article actually included Albert Einstein's Formula for Success!
Einstein said, "If A equals success, then the formula is: A=X+Y+Z.
X is work.
Y is play.
Z is keep your mouth shut."
Now one of the greatest minds of the 20th Century has always been a curious character, his most famous equation E = mc2could hold true for many things but I think that I will now focus a little more on A=X+Y+Z and see if I can not continue to ride the wave of my own success.
Where will this Tsunami take me? I really don't know but I am truly glad that I have decided to ride this wave and so far…I am liking the view!
Chris J Powell


text:
Have any of you ever visited the original Merlin's Secret Journal?
That blog stunk.
One good thing came out of it. This and this.
I finally finishe that. Unposted of course.
Now, I bring you the EDITED version of .....
The Drake Father!
Chapter One: Lynx Gazing and Murder
Ronan Drake sat in his dorm waiting for his friends, Cassandra GriffinDreamer and Brian DarkGlade. Ronan had called them. It was a emergency. Finally, they appeared through his door. "Finally!" yelled Ronan. " I just got this letter" He read them the letter.
"Dear Ronan, you may not remember me, But I am your long lost father." He paused, for Brian had something to say. But Ronan, I thought you were a orphan!" said Brian. "I am!" He continued. "I had to give you to Cyrus Drake, for he is my broher, and your uncle." Ronan stared. "CYRUS IS MY UNCLE?!?" Ronan screamed. He continued. "But, since of yeserday, I have heard that Cyrus is dead. So, I must start to raise you as my own child. Meet me in Mythtopolis." "What? Where in the Spiral is Mythopolis?" they asked in unision. Ronan stared at his portrait of his portrait of his favorite animal, the Lynx Gazer. And then he remembered something. When he was a small wizard, Cyrus had told him, "The answer to all your questions lye with the Lynx." He reached for the Lynx. But then something Dark and Evil sounding stopped him. "Halt! Ronan! You are under arrest for atempted murdrer!" said the mysterious stranger.
Chapter Two:
Cassandra is Handy
They screamed as the dark figure got closer. But then they realized it was just their friend, Nicholas DeathBlood, pulling a prank on them. "Man, I got you guys good!"said Nick. "Nick, we don't have time for your pranks. said Ronan. "Why not, old buddy?" asked Nick. "Ronan just got this letter, via owl post" said Cassandra. Ronan read Nick the letter. "Mythopolis?" "Cyrus?" "Father?" "Dude, I think your being punked." suggested Nick. "No way, this is way too serious!" yelled Ronan. "We have to tell HeadMaster Ambrose about this" said Brian. "But Prof. Wu and Him went to visit Mooshu!" screamed Ronan. "Mooshu you say?" asked Cassandra. "Yeah, Hametsu village to be infact." Said Ronan. "Well, this is a conoincedence!" I happenen to have some Teleportation Powder in a can." " I was saving it for farming, but this is important." said Cassandra. "Thanks Cassandra, you rock!" said Ronan. Ronan grabbed the can, sprayed it, and soon the dorm was filled with black smoke. 5 seconds later, they were in Mooshu. "I'll look in Jade Palace, Brian, you go look in Shirataki Village. Cassandra and Nick, You go look in the Tree Of Life." ordered Ronan. "WAIT!" THERE THEY ARE!" yelled Nick. They ran for 5 minutes, but then they lost them. "I thought this might happen, so I brought my broomsticks!" said Cassandra. " Cassanda, you on a roll!" Brian said. Cassandra blushed. (^-^ Oh young love XD)They hopped on, and soon they were flying over Mooshu. "Hey! There they are!" said Ronan. They flew lower and lower until they landed in front of them. "Ah, Ronan, I Have been expecting you." said HeadMaster Ambrose.
Chapter Three: COMING SOON TO A BLOG POST NEAR YOU.
*Cassandra, that lil' joke was just A JOKE, but it could make this story more interesting, aka like, more err, violence. So, can I put that in it? If not, just say so.
~Ronan Drake Out ^-^


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Alpha/Opening character carryover
Official answers to official questions. Pose your questions for staff here. Careful! You cannot edit or delete your posts once you've asked your question!
Moderator: Elder Staff
Post Reply
2 posts • Page 1 of 1
Alpha/Opening character carryover
So, will our characters from the Alpha (Utterby) be able to carry over to Open (Laketown), or will we need to start fresh for the open game?
Re: Alpha/Opening character carryover
The plan is to allow players to continue seamlessly from Alpha to Beta (if we have one), and on to Full Open.
How lucky I am to have something that makes saying goodbye so hard.
Post Reply
2 posts • Page 1 of 1


text: A fascinating and wonderfully evocative first novel about life on Alcatraz--seen through the eyes of a little girl growing up on the Rock in the 1950s. Though not widely known, it was not only America's most wanted who called Alcatraz home: The prison guards and their families also resided on the island, living in quaint cottages, the children taking the San Francisco ferry to school, and the families managing a modest social life. Here, the story of one such family unfolds under the looming shadow of the prison. Olivia is born the year her parents move to Alcatraz, and the disintegration of her family is told mostly through her innocent perspective. Chapters of her observations on her mother's diminishing mental state and her siblings' ironic delinquency are intermingled with riveting sections on the history of Alcatraz, prison policy, and famous escape attempts, along with a flashback narrative of Olivia's parents as newlyweds. Vivian, the brilliant daughter of radicals, is sent back east for college, where she meets Arthur, a handsome and authoritative law student. When they suddenly marry, the contours of their relationship begin to shift--the fiercely independent Vivian becomes passive and accommodating to please Arthur, while he quits school so that he can support his wife like a ""man."" Years later, isolated on the island, with three children, a rigid husband, and broken dreams, Vivian begins the sad decline Olivia is witness to. Aptly, the prison and a prison guard husband become a metaphor for the stultifying life offered women in the '50s, while the failed attempts at escape symbolize the futile struggle to break cemented domestic patterns. Olivia grows into a rather lonely, friendless young woman, enduring the physical and mental alienation the island creates. Only when she finally escapes the island does she discover a sense of identity and triumph. A compelling story, richly evoking a time and place.


text:
Palayakotai Raghavan
Ph.D in Organic Chemistry Oregon State University, USA (1979) and a M.S in Chemistry(1972) from I.I.T Mumbai, India. .worked on drug discovery for over 25
years at Columbia University, Max-Planck Institute, Germany, Ciba-Geigy
(now Novartis) and Boehringer-Ingelheim Pharmaceuticals. fields of
specialization are CNS, Inflammation, HIV and ACE inhibitors. His
experience in drug research includes Chiral synthesis, process, scale up
and clinical research.
Cardiology Clinical Trials Immunology Infectious Diseases Metabolic Sciences


text:
Minuum Keyboard
Lots of features and innovation packed into a very small package!
Mini keyboard for maximum screen space with quick switching to a full keyboard for typing that require more accuracy.
Samsung Galaxy Note 4
Everybody uses keyboards, but there are so many to choose from. All offer different functions and cater for different needs. Minuum is not just another keyboard. It has got great features to help you make the switch for good.
After downloading Minuum, you are greeted with a interactive tutorial that helps to familiarise some of the features with you. You are taught how to change between the two keyboard sizes (more on this later) and how some of the gestures work. It isn't very long, but it does introduce to you the basics of the keyboard.
One of the main features of the keyboard is the two available sizes. Theses two sizes are 'full' and 'mini'. The full sized keyboard is very similar to what you get from other keyboard apps, however it does not offer the swipe functionality. This is due to the integration of the gestures that makes it hard to implement, but we are hopeful it gets introduced at some point in the near future. The mini keyboard is what makes this app great. It fits into a small area at the bottom of the screen that gives you more screen real estate whilst typing. Don't you hate it when you lose half the screen to the keyboard? I know I do. Typing on this keyboard size takes some time to get used to, however once you do it is a breeze and is just as fast as the normal keyboard.
The mini keyboard is essentially a full QWERTY keyboard (keyboard style can be customised in the settings) that fits into one row. You press as near to the letter you need and Minuum does the rest. It combines the letters and predicts the word you want. If you can't quite get to the letter you want, you can hold near the letter and they pop out so you can be more precise. Gestures play a big part with the mini keyboard, as you can swipe left for a space and swipe left to delete words. In the options you can remove the space bar from the mini keyboard and use the gestures as a replacement. Having more screen real estate is a huge bonus.
Autocorrection is not perfect on this keyboard, but if you are close it will type what you want. In the full sized keyboard there is a slider that lets you control 'Sloppy Typing'. When 'Sloppy Typing' is turned off, the keyboard does not correct what you are typing. Not a feature for everyone as I normally keep this on and it does a great job correcting my sloppy writing.
The Settings
The settings menu also has some features that differentiates this keyboard from the others. Some features are:
- Customise the size of the keyboard (to the pixel!): need the keyboard a little larger? Customise it to your liking.
- Enable a floating keyboard that you can adjust the size and position of with two fingers: The keyboard becomes slighty transparent and can be placed anywhere in the bottom half of the screen. It is also fully size adjustable. There are also options to place the keyboard to the side, so that one handed typing is easier.
- Customise the theme of the keyboard (no paid extras!): have a favourite colour? Pick it. Want it to change depending on the time of day? Choose that option. Easily customisable to your liking.
- Emoji synonyms (essentially predicted emoji): when typing text emojis are predicted depending on the words used. It is not the most accurate feature, however when it does work it saves valuable time.
- Bonus panels such as cursor control, clipboard tools and emoji panel: a swipeable panel at the bottom of the keyboard has extra features that you may require quickly.
- Auto full/micro keyboard: depending on the situation the keyboard automatically changes size. For passwords, the keyboard becomes full sized to make sure you are typing precisely.
Final Word
Overall this keyboard is a great alternative to the other options available as it is feature packed and works flawlessly. The swipe feature is not for everyone, but we do hope that the feature somehow makes its way into this keyboard. It would make a great addition. Convert now and never look back.


text:
J.C. Penney (NYSE:JCP) and Sears (NASDAQOTH:SHLDQ) just reported earnings, with Sears beating analyst expectations, and J.C. Penney missing them. Will that be the most important thing to watch with these stocks? In this video, Motley Fool consumer goods analyst Blake Bos tells investors why, when you're following turnaround stories, it's often best to ignore the short-term beats or misses, and focus on longer-term indicators. Blake takes a look at cash flow, same-store sales, and restructuring efforts with these two embattled retailers, and gives investors his pick for the better bet.
Blake Bos has no position in any stocks mentioned. The Motley Fool has no position in any of the stocks mentioned. Try any of our Foolish newsletter services free for 30 days. We Fools may not all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.


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Franklin Historic Locations
The following historic locations are located in Franklin, Wisconsin. Please select a historic place in Franklin to view detailed information including address information, historical signifiance, and much more.
Wisconsin Historic Places
|Franklin Feed Mill
Franklin Rd.
Franklin, WI
Processing, Manufacturing Facility
|Painesville Chapel
2740 W. Ryan Rd.
Franklin, WI
Religious Structure, Cemetery
Wisconsin Historic Places


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Bucket Boss 25001 Parachute Bag
The classic Bucket Boss Parachute Bag is one of the first items ever developed by Bucket Boss. Constructed out of 12 oz. Duckwear canvas, there are six divided sections to hold small parts. The bottom and exterior pockets are reinforced with poly ripstop material. With 19 total pockets, you should have no problems organizing your small parts. You can stack 3-4 of the Parachute Bags into a 5-gallon bucket. Keep all the parts secured by using the ripcord closure and pull the bags out of the bucket with the web loop handle.
See LARGER IMAGE
Standard Equipment:
- 25001 Parachute Bag
- Pockets: 19 - 13 Exterior, 6 Interior
- Size: 10"D x 6.5"H
- 12 oz duckwear canvas dividers for easy compression of pockets.
- Reinforced poly ripstop pockets and bottom.
- Stacks 3-4 deep in most 5 gallon buckets.
- Rip cord closure.