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A Fire Sparkling by Julianne MacLean
From the USA Today bestselling author of A Curve in the Road comes a spellbinding novel about one woman's love, loss, and courage during wartime.
After a crushing betrayal by the man she loves, Gillian Gibbons flees to her family home for a much-needed escape, but when she finds an old photograph of her grandmother in the arms of a Nazi officer, Gillian's life gets even more complicated. Rattled by the discovery, Gillian attempts to unravel the truth behind the photos, setting her off on an epic journey through the past…
1939. England is on the brink of war as Vivian Hughes falls in love with a handsome British official, but when bombs begin to fall and Vivian's happy life is destroyed in the blitz, she will do whatever it takes to protect those she loves…
As Gillian learns more about her grandmother's past, the old photo begins to make more sense. But for every question answered, a new one takes its place. Faced with a truth that is not at all what she expected, Gillian attempts to shine a light not only on the mysteries of her family's past but also on her own future.
This gorgeously written multigenerational saga is a heart-wrenching yet hopeful examination of one woman's struggle to survive, perfect for fans of The Nightingale and Beneath a Scarlet Sky.
"Julianne Maclean's A Fire Sparkling is a beautiful, sweeping tale about love, courage, family secrets and forgiveness that is impossible to put down." – Jane Healey, author of The Saturday Evening Girls Club and The Beantown Girls
The view is wondrous from here, thirty thousand feet above the Atlantic Ocean, somewhere between London and New York. As I lay my head back and gaze out at the majesty of sunshine over fluffy white vapors, I take time to ponder all that I've learned over the past week and where I will go from here.
In two hours, this plane will touch down in New York, and I will make my way through customs. Then I'll meet my father, and he'll take me to my grandmother's farmhouse in Connecticut, where I'll deliver information that may upset the balance of an old woman's life.
My name is Gillian Gibbons, and my grandmother just celebrated her ninety-sixth birthday. Her mind is quick and sharp, but her body has grown frail lately. She's thin, with bony, blue-veined hands, and she moves carefully when she walks, as if she expects the ground to shift under her feet.
When I think of her that way, it's almost impossible to imagine how tough she once was, in her younger days, long before I was born. Until this week, I hadn't known what she'd been through during the war, or what she'd sacrificed. Now I understand how brave she was, how full of life and energy.
Yet, I feel betrayed because of what she'd kept hidden from us all our lives. I'm still not over the shock of it, and neither is my father. But we must forgive her—of course we must—now that we know the full story.
And I must forgive myself, too, for my own mistakes. If my grandmother was able to put the broken pieces of her life back together again, then surely I can do the same.
Lowering the window shade to block out the blinding rays of the sun as it bathes the clouds in light, I close my eyes, hoping to get some much-needed sleep before the captain begins the descent.
PART ONE: GILLIAN
Three weeks earlier
I should have seen it coming—felt the tremors before the big quake. If I had, maybe I would have been ready to act when the walls came crashing down. But my behavior was more in line with a flight response. I didn't pause to evaluate the situation or choose the best way forward. I simply took off and drove for hours through the night in the back seat of a yellow Manhattan taxicab. Part of me had wanted to keep driving all night—all the way to my grandmother's farmhouse past Hartford— but I didn't want to show up on her doorstep at such an ungodly hour. I would have scared my poor father to death, because he lived there, too, caring for Gram. What would he have thought when he answered the door in the quiet predawn darkness and found me standing there with mascara streaming down my face?
Poor Dad. As a daughter, I'd really put him through the wringer. He still worried about me, and I couldn't blame him. I hadn't been the easiest kid to raise, especially once he became a single father, widowed after my mother passed away from breast cancer in '95.
Well . . . that wasn't exactly how it happened, but it was easier to say than the truth, because she might have been able to survive the cancer if she'd made it through the treatments. But that was my cross to bear, and bear it, I most certainly did.
Tossing the crisp white hotel duvet aside, I pushed thoughts of Mom from my mind, sat up on the edge of the bed, and rubbed my eyes to try and rouse myself to face this day. I hadn't had that much to drink last night—only two glasses of champagne when the toasts were being delivered—but I felt hungover, nonetheless. Probably because of the all-night tears, mixed with waves of rage. It was a wonder I hadn't gotten up and smashed something.
What I needed was a shower. After rising to my feet, I padded to the bathroom, where I was grateful for the sensation of hot water flowing over my body, cleansing away the heartbreaking image of Malcolm with that young blonde.
It was difficult to believe that twenty-four hours ago, my life had seemed almost perfect. I had been in love with an amazing man, and I had thought I was about to become engaged—that we would start a family together, and I'd be happy at last. But maybe I wasn't meant to be happy. Or to be a mother. Maybe the universe was just teasing me, letting me float briefly up to the clouds to enjoy the view from there, only to slam me back down to earth and rub my face in the dirt.
After my shower, I stood at the window of my hotel room, looking out at the gloomy November sky. The wind stirred a pile of dead leaves into a miniature tornado at the edge of the parking lot, then sent the leaves flying in all directions. It was an apt metaphor for my life that morning.
Pulling my cell phone out of my pocket, I bit the bullet and keyed in my grandmother's number. My father answered after the first ring.
"Gillian?" I was surprised by a strange fervor in his voice.
"Yes, it's me," I said. "I'm sorry to be calling so early. I hope I didn't wake you."
"Not at all. I'm glad you called, actually . . . because I've been up for hours, waiting for a decent time to call you."
This caused me some concern, because my father wasn't much of a chatterbox. We weren't close, and he rarely called unless there was something critical to report.
"Is everything okay?" I asked. "Is Gram all right?"
"Yes, she's fine. It's nothing like that." He hesitated. "But you're the one who called me. Why don't you go first? How was the party last night?"
Turning away from the window, I withheld my curiosity and sat down on the bed. "Not great, if I'm being honest." I paused and chewed on my thumbnail, dreading the idea of telling my father the whole sordid, humiliating account of my devastated love life. "Malcolm and
I had a bit of a . . . disagreement."
"That's too bad. What happened?"
"It's a long story, Dad. If you don't mind, I'd rather tell you and Gram in person. Could I come and visit this morning? Maybe stay for a few days?"
He grew quiet as he took in what I'd just asked. "It sounds like a serious disagreement."
There was another pause. "Well, of course you can come and stay." He lowered his voice to a whisper and spoke close to the phone until the words were almost muffled. "It's good timing, actually, because I need to talk to you too."
I frowned. "Why? What's wrong?"
"Maybe I'm overreacting," he said. "I don't know. I need your opinion on something. When can you get here?"
I turned to check the time. "Soon. I'm at a hotel in Westchester. I can hop on a train right now and be there in a couple of hours."
"That sounds good. I'm glad you're coming."
I swallowed uneasily, because I'd never heard my father sound so unsettled about anything—at least not since Mom's diagnosis. "Me too, Dad. Sounds like we'll have lots to talk about. I'll see you soon."
Eager to get to the train station and find out what was going on at the house, I ended the call and packed up my things.
Something most people didn't know about me—Malcolm was one of the few—was that I was the granddaughter of an English earl. I never had the pleasure of meeting him, or any of my English relatives for that matter, because Gram had left the UK not long after the end of the Second World War and immigrated to America.
Before that, she was a war widow after her first husband, Theodore, was killed during the London Blitz in 1940. According to Gram, he was a very important cabinet minister in Winston Churchill's government, in charge of weapons production. Gram had loved him deeply and was heartbroken when he died.
When the war finally ended, she was a single mother with a four-year-old son—my father. Though she had been living with her late husband's aristocratic family on their country estate in Surrey, safe from the horrors of the war, she eventually fell in love with an American pilot who was stationed at a nearby airfield. That man was Grampa Jack, my father's stepdad. He proposed to Gram after the war ended and brought her to America, where he worked as a commercial airline pilot based out of Bradley Airport in Hartford.
So that was how my father came into the world—during a time of war, when every moment was precious. All he remembered about that chapter of his life was toddling around the English countryside with a nanny in a black uniform who was kind to him. He recalled only fleeting images of ducks in a pond and stone walls and a gigantic house with servants.
As for his heritage, my father always considered himself to be an American, maybe because the only father he ever knew was Grampa Jack, who was the son of a plumber, born and raised in a farmhouse in Connecticut. The same farmhouse I was heading home to that morning when I stepped onto the train.
Not long after the train pulled away from the station, my cell phone chimed, letting me know I had received a text from Malcolm. My stomach clenched because I wasn't ready to deal with him yet. I just wanted him to stay away and leave me alone.
At the same time, I was curious as to what, precisely, he wished to say to me. He probably wanted to apologize, in which case he'd be wasting his time because I wasn't going to forgive him. Not today, and probably not ever, which meant we were over for good.
I blinked a few times, because that was a sobering thought. Not only was I heartbroken over his betrayal, but I was also, as of this morning, a thirty-five-year-old single woman with no place to live. My whole life had just been upended. My boat was sunk, and I was alone, shocked, and bewildered, treading water in the middle of a great big lonely sea.
I took a few deep breaths before I finally tapped the little green icon to read his message.
Hey. Where are you? I'm worried. Are you okay?
I bristled over the fact that he had chosen not to mention his infidelity the night before. As if it had never happened. As if I'd had some sort of personal crisis that had nothing to do with him.
Setting my phone down on the empty seat beside me, I ignored his message and turned my face toward the window, where houses passed by in a fast rhythm that matched the clackety-clack of the train along the tracks.
I tried to relax, but my phone chimed again. I shook my head with frustration and decided to switch off my ringer and ignore all messages for the duration of my journey. But when I saw that he had written a much longer text, I couldn't resist the urge to read it. I suppose something in me wanted to see him grovel.
I can only assume that you're ignoring my messages because you're angry, and I understand. I deserve to be ignored, or worse. I feel terrible about what happened, and I still can't believe I was that stupid. I don't know how to tell you how sorry I am. I was in hell last night after you left, and this morning it's worse. Please come home, Gill, so we can talk about this. I need you to know that it wasn't me last night. I don't know who it was—some stupid, idiotic fifty-year-old having a midlife crisis on his birthday. But now the party's over and you're not here and I can't imagine my future without you. Please respond. Tell me there's hope, or at the very least, tell me you're okay so I won't worry that you're lying in a ditch somewhere.
Clenching my teeth, I actually growled my frustration out loud.
Then I quickly typed in a reply.
I'm fine and I appreciate the apology, but please don't text me again. I'm not ready to talk to you yet. I need time to myself. If you text me again, I won't reply.
I hit send and realized, after the fact, that I'd just given him hope by suggesting that I might be ready to talk to him eventually.
Maybe I would, but only to gain closure, because I didn't think I'd ever be able to forget what I'd seen the night before. Nor would I be able to trust him again, and trust was very important to me.
I couldn't exactly call Gram's Connecticut farmhouse home, because I'd been raised in a rent-controlled New York apartment, which I had moved out of during college because I couldn't bear to look at the bathtub where my mother had died. But when the cab pulled onto the treelined driveway that led to Gram's century-old white clapboard house, I was grateful to retreat to a place that felt familiar, where I felt safe. It was a good spot to lie low for a while and avoid dealing with Malcolm.
Sitting forward slightly, I peered out the cab window at the thick carpet of leaves along the edge of the drive. In contrast, the front lawn was beautifully groomed, raked recently by my father, no doubt. He loved yard work, which had been part of the allure when he finally decided to sell our apartment and move here to care for Gram after she fell and broke her hip a few years back and needed help while she recovered. She was fine now, but he'd decided to stay.
The taxi pulled to a halt at the door, and I paid the driver. Dad stepped onto the covered porch.
"Hi." He descended the wooden steps to greet me as the taxi drove off. "It's good to see you."
Most fathers would hug their daughters in a moment such as this, but Dad and I weren't like most fathers and daughters. There was a small emotional gully between us—which neither of us liked to acknowledge—so the first few seconds were always awkward.
"Let's go inside," he said, insisting on carrying my suitcase up the steps. I followed, gazing nostalgically at the weathered gray porch swing where Gram used to sit with me and play checkers.
I entered the house and smelled fresh coffee brewing in the kitchen.
Glancing into the living room, I spotted Grampa Jack's faded green recliner, still in the same corner as always, and Gram's wicker basket full of knitting supplies—balls of colored wool and two needles sticking out of a half-completed project draped over the basket handle. Probably another small woolen hat for the children's cancer ward at the hospital.
"Where's Gram?" I asked, noticing how quiet it was.
"At the nursing home. It's Saturday, remember?"
"Oh, right."
Gram had been going to the nursing home every Saturday afternoon for the past twenty years to play piano for the residents—mostly show tunes from the 1930s and '40s. I found it amusing whenever she told me how much she enjoyed playing for the "old people," when she was over ninety herself.
I followed Dad into the kitchen.
"Are you hungry?" he asked. "There's some leftover chicken in the fridge, or I could make you a grilled cheese." Food was always a good icebreaker for the two of us.
"I'm fine. I just had a salad on the train, but that coffee smells good."
He poured me a cup and handed it to me. "So. Let's start with you. What happened last night?"
"Oh God. It's a nasty story." I sat down at the table. "I'm embarrassed to even tell you about it."
"Don't be. I'm sure I've heard worse."
"Maybe. I don't know. Anyway. As you are aware, last night was Malcolm's fiftieth birthday party. At the Guggenheim."
"Sorry I couldn't make it."
I waved a hand dismissively. "Don't worry about it. Actually, it's probably best that you weren't there because . . ." I paused and stared down at the coffee in my cup and wanted to sink through the floor. "Because I caught Malcolm with another woman."
It was a tasteful way to describe what I'd seen—the man I wanted to marry with his pants down around his ankles, bouncing a naked blonde on his lap. In an empty screening room in the basement of the Guggenheim. While a party was going on.
Dad made a pained grimace. "Oh dear."
"Yeah. She was a fashion model." I sat back. "One of the 'fresh new faces' from the latest marketing campaign for his cosmetics company."
That wasn't the only company Malcolm owned. He was CEO of several successful corporations, including an international gaming company, the Reid Theatre on Broadway, and a multinational investment firm. He also owned a massive share of Manhattan real estate. Add to that his charitable donations to dozens of worthy causes—including the non-profit organization where I worked—and he was a man who, in certain circles, was sometimes referred to as a god.
"When I saw them together," I continued, "I just bolted. I ran straight out the door and flagged down a cab. Then I went home to our apartment, packed a suitcase, and walked out."
Dad sat down across from me. "Have you talked to him about it? Did he have anything to say?"
"Oh yes. He followed me home and begged me not to leave, but I didn't want to hear any pathetic excuses, so I took off and went to a hotel. He texted me this morning while I was on the train and apologized again, but I just can't forgive him."
My father regarded me intently. "What did you see, exactly? Was he flirting with her, or—"
"Oh no, it was way beyond flirting. I caught them . . . how shall I say it? In the act. Malcolm with his pants down, literally. You get it."
"Ah." My dad's eyebrows lifted as he studied the coffee in his cup. "Not so forgivable, then." He patted my hand from across the table without ever looking me in the eye.
What an uncomfortable conversation to be having with one's straitlaced father. On top of that, we were never very good at expressing our emotions around each other, for reasons that had nothing to do with Malcolm. I wished Mom were still around.
"So here I am," I said, exhaling heavily, "with no place to live until I figure out what to do." I swirled my coffee and watched it settle. "I'll look for an apartment, but it's going to be a tough transition from a Fifth Avenue penthouse to whatever I can afford on my salary. But I'd rather live in a dump than go back to Malcolm."
"At least you have a steady job," Dad reminded me. "You're self-sufficient. And I hope it goes without saying that you can stay here as long as you need to."
"Thanks, Dad. That'll give me some breathing space until I can find something."
The wind gusted outside the kitchen window.
"Do you have anything in the way of savings?" he carefully asked.
"I do. Quite a bit, actually, because Malcolm always covered our living expenses. I put some away with every paycheck. Maybe I saw this coming. I don't know. I just thought I should have something socked away for a rainy day."
My cell phone chimed, and I reached for it in the pocket of my jeans, then shook my head. "It's him again. He's not giving up." I sat back and read his text.
Gill, I can't stop thinking about you. Please respond and tell me when I can see you. I need to apologize in person so that you can see how sorry I am. What happened last night was messed up. It was the biggest mistake of my life. Please believe me. I promise nothing like that's ever happened before and I swear it'll never happen again. It makes me sick just to think about it. I regretted it the second it started happening and I hate myself. Please respond. Give me another chance. I love you and I can't live without you.
I pushed my hair back from my forehead.
"What's he saying?" Dad asked.
"He's apologizing and begging for another chance, but I can't do it. If it happened once, it'll happen again, right?"
He let out a sigh. "I don't know."
Continuing to ignore Malcolm's message, I set my phone down on the table. "Did you and Mom ever cheat on each other?"
"Good Lord. Never."
I gestured toward him with a hand. "Well, there you have it. Either you're a cheater or you're not."
I inclined my head, curious. "You don't sound so sure. Am I wrong?"
Dad shrugged. "Sometimes you think you know someone, but maybe it's impossible to really know everything about a person, even someone you love. Maybe good people—the very best people—are just better at keeping secrets."
I frowned at him. "What are you talking about, Dad? Is this what you were referring to on the phone?"
He turned his gaze toward the window over the sink and stared at the glass, as if transfixed. "I found something in the attic yesterday, and I don't know what to make of it."
He finally looked at me. "I think you should take a look at it yourself, and then . . ." He couldn't seem to finish the thought.
"And then what, Dad?"
"I don't know. Let's just go up there before I have to pick Gram up at the nursing home. She finishes at three." He checked his watch. "We have about an hour."
"Okay." More than a little curious, I drank the last of my coffee and stood up from the table.
It had been years since I'd set foot in my grandmother's attic. The last time was probably before Mom died, when I still considered it an adventure to climb the creaky stairs with Grampa Jack and make a private clubhouse out of sheets draped over old pieces of furniture and stacks of boxes. I'd beg him to tell me ghost stories until I screamed and ran back down the ladder.
There was always something wonderfully haunting about Gram's attic. Maybe it was the cobwebs and dead houseflies on the windowsill. Or the way the wind howled through the eaves, and the entire house seemed to creak like an old ship at sea. Or maybe it was the smell of the place—the damp wood and boxes of musty old photo albums that contained pictures of people who were long gone from this world.
Gram's attic was exactly how I remembered it—with exposed wooden beams overhead and sunlight filtering in through cracks in the walls, although the space seemed much smaller now. The old wicker rocking chair still stood under the window. I recalled, as if it were only yesterday, how I used to tie a string to the leg and pretend that a ghost was rocking it back and forth. Anything to scare Grampa Jack.
"I came up here yesterday," Dad said, "thinking I'd add some insulation because they say it's going to be a rough winter, but then I got caught up in some of the memorabilia."
I glanced toward the large trunk that contained Gram's wedding dress from her first marriage—a gorgeous Gatsby-inspired gown of silk chiffon with Chantilly lace. I used to try it on when I was young, and Gram never seemed to mind. The same trunk contained Grampa's brown leather flying jacket from the war and all his medals for bravery, as well as a shabby old stuffed bear that belonged to my father when he was a child. The bear's name was Teddy.
There were other dilapidated cardboard boxes on tables. They were full of books, magazines, and photo albums. Some had a few rare photos from Gram's life with her first husband in England at the start of the war. But most of the albums contained pictures from her postwar existence here in America, with Grampa Jack.
Dad pointed at the smaller antique sea chest on a shelf in the corner. It was always locked, but I knew what was inside because Gram had opened it for me when I was twelve. She also showed me where she kept the key—in a drawer in her bedroom. She never said a word when I snuck into her room and borrowed the key, then played dress up in the attic with the jewelry inside that special chest.
My mother had whispered to me once that they were gifts from Gram's first husband, the Englishman, and that she would have felt guilty wearing them after she married Grampa Jack.
I'd asked Mom if Gram's first husband was the true love of her life. Mom said she had no idea because Gram never liked to talk about him.
"It's in the past now," Gram always said and skillfully changed the subject to something far removed from the war, like plans for whatever holiday season was approaching.
I met my father's fretful gaze in the attic and felt a rush of unease as I crossed the loose floorboards toward the small chest, which stood on a shelf by the rocking chair.
Fingering the brass plate with an engraved figure of a lady in a Regency gown, I said, "I already know what's in here. It's full of jewelry from her first marriage. She always kept it locked, but she showed me where the key was when I was little. She kept it in her bedroom."
"She showed you?" He seemed surprised. "Well, she must have been up here recently, because she left the key in the lock. I have it right here." He reached into his pocket and produced it, then unlocked the chest and raised the lid to reveal pearl and gemstone necklaces, bracelets, and a velvet ring box, all sitting in a tangled pile on a bed of rose-colored satin. "I assume this is what you know about?"
"Yes. I used to call it the treasure chest. Mom said all of this was given to Gram by your real father."
I couldn't understand why this was such a disturbing discovery for my dad. Shouldn't he be happy about it? Not just for sentimental reasons, but because it was probably worth a fortune. His real father was the son of an earl, after all.
"I know about that," he replied, "but there's something else in here that I don't think anyone knows about. I doubt Grampa Jack ever knew."
I regarded him with interest. "What is it?"
He indicated a satin-covered button at the bottom of the chest and pushed it sideways with his thumb, which took some effort. Suddenly, there was a clicking sound, and a secret drawer popped open.
"Wow," I said, taken aback. "I never noticed that before."
The drawer was disguised by the brass fittings along the exterior of the chest. I moved to examine it and pulled it fully open, but it was empty.
"There's nothing in it," I said.
"Look again."
I ran my finger along the smooth wooden interior and found a ribbon that lifted a false bottom. There, beneath it, were some black-and-white photographs. I withdrew them and frowned, understanding at last why my father was so troubled by this finding.
"Is this Gram?" I asked. "And how in the world did you discover this?"
"I don't know. I guess I always had a funny feeling about this little chest when I was growing up—something about the way she was so protective of it. And then, when I saw the key in the lock yesterday . . . I couldn't help myself. I was curious, so I fiddled around with it."
I flipped through all four photographs of my sweet, loving grandmother in her younger days, looking vibrant, blonde, and beautiful, like a 1940s movie star. She appeared to be blissfully happy with a handsome young officer from the war.
But this man was no ordinary officer. Nor was he my English grandfather, Theodore, who had worked with Winston Churchill in London. This man was a German Nazi, and clearly, they were in love.
My eyes lifted, and I stared at my father with confusion. "Who is this guy?"
"I don't know. But flip the pictures over."
I did as he asked and saw what appeared to be my grandmother's handwriting on the backs of each one. They all said the same thing:
April in Berlin, 1940.
"That's just after the war started, wasn't it?" I asked.
"Yes. Germany invaded Poland in September of '39, and then Britain declared war immediately."
I felt a sickening knot of dread in my belly, because I knew what my father was thinking.
"Dad . . ." I shook my head. "I'm sure that this man isn't . . ." I couldn't even bring myself to say it.
"My real father?" he finished for me.
I swallowed uneasily. "Of course he isn't. Gram was married to that English aristocrat. We have pictures of them together, and I'm sure I've seen that old marriage certificate at some point. And you spent the first few years of your life at their country estate in England. You have memories of it."
"I do remember it, but . . . where is that marriage certificate?" He moved to the larger trunk that contained Gram's wedding dress and Grampa Jack's medals. Dad raised the heavy lid and withdrew a large envelope with all sorts of musty-smelling documents from the war years—ration cards and Gram's identity card and a pamphlet titled "Make Do and Mend." He carefully unfolded an extremely delicate, yellowed piece of paper and handed it to me.
"See?" I said. "This says Vivian Hughes and Theodore Gibbons were married in England in November of 1939."
He pointed at the photographs. "Then what was she doing in Berlin the following April with a German Nazi? Just look at those pictures. Whatever was going on between them wasn't platonic. You can see it as plain as day."
I moved to the window to study the pictures more carefully in the light. In one of them, Gram and the German officer were seated together in an art deco–style nightclub with an orchestra playing on the stage in the background. The German's arm rested along the back of Gram's chair, and he lounged comfortably, with one shiny black boot crossed over his thigh. Gram looked glamorous and radiant in a white gown with sequins, her shoulder-length blonde hair curled in a fashionable wartime style. The German wore a slate-gray officer's uniform and appeared to be a highly decorated officer with Nazi medals and various insignia. I couldn't deny that he had been a strikingly handsome man with fair hair and pale blue eyes.
My dad also had fair hair and blue eyes.
But so did Gram.
In another photo, they posed next to a shiny black Mercedes convertible with flags on the front grill, which suggested the vehicle was assigned to someone with a very high rank. They were gazing into each other's eyes and smiling. Again, the German was in uniform, his black boots polished and gleaming.
The most disturbing photo of all, however, was one of my grandmother lying on her belly on an unmade bed, a half-empty bottle of whiskey in her hand. She was gazing into the camera with a playful, seductive glimmer in her eyes and no makeup, her hair in disarray. She wore nothing but a white chemise with one strap falling off her shoulder. The morning sun shone brightly through white sheer curtains, creating a square patch of sunlight on the foot of the bed, washing out that section of the photograph.
In the last one, they sat on a horse in a meadow of wildflowers. There were snow-capped mountains in the background. The officer wore plain clothes—a plaid shirt and denims. I wondered, with more than a little fascination, who had taken the picture. What sort of day had it been? Was this before the war? There was nothing written on the back of that particular picture. Was there laughter and joy? They certainly appeared to be happy together.
"How can this be?" my father asked, interrupting my thoughts. "What was she doing in Berlin, having a love affair with a German Nazi, when she was supposed to be married to my father in England? And the date . . . you can't pretend it's not suspicious."
I flipped one of the other pictures over and did the math in my head. April 1940. My father was born in March 1941, eleven months later.
"This doesn't mean he's your father," I said. "We don't know where she was at the nine-month mark."
"But it's clear that she was with this man and in love with him shortly before I was conceived. I don't know why or how that was possible when Britain and Germany were at war, but there it is in black and white. And what makes it hard to stomach is that she's been hiding this secret all these years, and even Jack couldn't have known the truth. Otherwise, those pictures wouldn't be hidden in a secret compartment in a locked chest in the attic." Dad cupped his forehead in a hand. "Oh God, this means I could be the son of a Nazi. Lord knows what crimes he committed. What if he was in charge of an extermination camp and ordered the deaths of thousands of Jews? I might have his blood running through my veins. And how could Gram have loved such a man?" He gestured toward the pictures. "It's clear that she did love him. You can see it in her eyes. It makes me feel sick."
I moved closer and laid my hand on my father's shoulder. "We don't know anything for sure, and even if he was your father, you have nothing to do with any of this. You're a good man, and you weren't part of whatever happened back then."
"But if we're related," he argued, "and my own mother . . . how could she have kept this from me? Was she ashamed? Because she must have known what he did, what he represented, what side he was on. If not at the time, then at the end of the war when it all came out. And she was married to another man. That alone is enough to change everything I ever believed about her. You know what I'm talking about, Gill, after what Malcolm just did to you. How is it possible I never knew any of this? How could she have hidden this from all of us? Grampa Jack especially?" His face was flushing with color. I wished he would calm down.
"Maybe it's not what it looks like," I suggested. "I take it you haven't asked her about it?"
"No. I just can't believe it, because she was like a saint as a mother, and Jack was a hero in the war, risking his life to fight Hitler. I can't imagine what he would have done if he'd found these pictures."
I worked hard to speak in a relaxed tone. "We still don't know what this is. Maybe there's some other explanation, like . . . maybe she was a spy, and her husband sent her to Berlin to seduce this man. I mean . . . who has a chest like this with a secret compartment? It's very James Bond."
"Now you're making fun."
"No, I'm not, because that kind of stuff really happened, you know. There were lots of female spies during the war."
He looked up. "I know there were, but not my mother. She would have told me about that."
I took a step back, not wanting to remind him that he'd just finished saying that maybe it wasn't possible to know everything about a person—even someone you loved. Maybe good people are just better at keeping secrets.
Dad checked his watch. "We should get going. I have to pick her up at the nursing home."
"I'll come with you," I replied, "and then we can ask her about this."
Dad shook his head, as if he dreaded the idea of bringing it up. "I don't know how we're going to do that."
"We'll just show her the pictures," I replied, "and see what she has to say about them."


text:
Key dates for 2020/21 master's programmes
Liverpool Online
Xi'an Jiaotong Liverpool University (XJTLU)
University of Law at Liverpool
Why study Master's at Liverpool?
Postgraduate Taught >
Master's programmes >
Taught >
Biomedical Sciences and Translational Medicine MRes
Programme duration: Full-time: 12 months
Programme start: Autumn 2021
Entry requirements: You will need a 2:2 science degree or above. The minimum English Language requirement for EU and international students is IELTS 6.5 with a minimum of 5.5 in each component.
Fees cover the cost of your tuition, registration, examinations (but not re-sits) and graduation.
Tuition fees (Home)
The University's tuition fees are normally fixed at yearly intervals and follow Government guidelines on minimum levels. The normal tuition fee for Home (UK) postgraduate taught students per year (for the academic year 2021/22, unless otherwise specified) are stated below. Please note that part-time fees are charged at 50% of the full-time fee shown below per year (unless otherwise specified).
In addition to your tuition fees, you may incur other costs in relation to your studies such as photocopying in the library, buying textbooks and specialist equipment or going on field classes. See our study costs page for full details.
Standard full-time postgraduate fee
Fee for this course
Full time: £4,407 (2020) *additional bench fees
International students are required to pay the full costs of their tuition in the UK with each university setting its own international fees. Please note that following the end of the UK's transition period on 31 December 2020, EU students joining in the academic year 2021-22 and beyond will become subject to international fees.
The University of Liverpool's fees represent excellent value for money for a Russell Group University. The normal tuition fee for full-time international postgraduate taught students per year (for the academic year 2021/22, unless otherwise specified) will be as follows:
International fee for this course
Full time: £23,650 (2020) *additional bench fees
Programme contact
ITM PGR Student Team
itmmres@liv.ac.uk
www.liverpool.ac.uk/translational-medicine/
Please see our Terms and conditions page for further information.

redpajama_set_name: RedPajamaCommonCrawl


text:
Diane Venora is an American stage, television and film actress. She graduated from the Juilliard School in 1977 and made her film debut in 1981 opposite Albert Finney in Wolfen. She won the New York Film Critics Circle Award for Best Supporting Actress for Bird (1988). Her other films include The Cotton Club (1984), Heat (1995), Romeo + Juliet (1996), The Jackal (1997), The Insider (1999) and Hamlet (2000).

Early life
Venora was born in East Hartford, Connecticut, one of six children of Marie (née Brooks) and Robert P. Venora, who owned a dry-cleaning business. She graduated from East Hartford High School (class of 1970), where she was active in musicals and plays. She studied at Boston Conservatory of Music and two years later won a scholarship to Juilliard School in New York City, where she graduated in 1977. At Juilliard she was a member of the drama department's Group 6 (1973–1977), which included Kelsey Grammer, Harriet Sansom Harris and Robin Williams.

Career
After graduation, Venora performed extensively on the stage, particularly in Shakespearean plays. She made her film debut alongside Albert Finney and Gregory Hines in Wolfen (1981). In 1983, she starred in Joseph Papp's production of Hamlet at the New York Shakespeare Festival in the lead role, the first woman to play the role at the prestigious showcase.  She has a long history with Hamlet, having played the title role, as well as Ophelia opposite Kevin Kline, and Gertrude onscreen opposite Ethan Hawke.

In 1988, her critically acclaimed performance as Chan Parker in Clint Eastwood's Bird earned her a Golden Globe Award nomination and the New York Film Critics Circle Award.

In 1994, after taking five years off to care for her daughter, Venora landed a starring role in the TV series Thunder Alley, followed by a recurring role as plastic surgeon Geri Infante in the TV series Chicago Hope.

In 1995 she starred opposite Al Pacino and Robert De Niro in Heat, earning high regard from critics and audiences for her portrayal of Justine Hanna, the Pacino character's troubled wife. Her other performances include Gloria Capulet [Juliet Capulet's mother] in Romeo + Juliet (1996), The Jackal (1997), The 13th Warrior (1999), The Insider (1999), and All Good Things (2010).

Personal life
Venora was married to cinematographer Andrzej Bartkowiak in 1980; they divorced in 1989. That year, she took time off from show business to spend more time with her daughter Madzia, then eight. During her hiatus, Venora lived in New York City, teaching disadvantaged children and acting in an occasional play. In 1994, she and her daughter moved to Los Angeles.

Stage credits

Filmography

Film

Television

References

External links

Actresses from Connecticut
American film actresses
American stage actresses
American television actresses
Boston Conservatory at Berklee alumni
Juilliard School alumni
Living people
People from East Hartford, Connecticut
21st-century American women
American Shakespearean actresses
Year of birth missing (living people)

redpajama_set_name: RedPajamaWikipedia


text:
Q: Kotlin lazy default property In Kotlin, how do i define a var that has a lazy default value ?
for example, a val would be something like this:
val toolbarColor  by lazy {color(R.color.colorPrimary)}

What i want to do is, have a default value for some property (toolbarColor), and i can change that value for anything else. Is it possible?
EDIT: This does the partial trick.
var toolbarColor = R.color.colorPrimary
    get() = color(field)
    set(value){
        field = value
    }

Is it possible to ease this by writing
var toolbarColor = color(R.color.colorPrimary)
    set(value){
        field = value
    }

in a way that the default value is computed lazily? At the moment it won't work because color() needs a Context that is only initialized later.

A: You can create your own delegate method:
private class ColorDelegate<T>(initializer: () -> T) : ReadWriteProperty<Any?, T> {

    private var initializer: (() -> T)? = initializer

    private var value: T? = null

    override fun getValue(thisRef: Any?, property: KProperty<*>): T {
        return value ?: initializer!!()
    }

    override fun setValue(thisRef: Any?, property: KProperty<*>, value: T) {
        this.value = value
    }
}

Declare in some delegate:
object DelegatesExt {
    fun <T> lazyColor(initializer: () -> T): ReadWriteProperty<Any?, T> = ColorDelegate(initializer)
}

And use as follow:
var toolbarColor by DelegatesExt.lazyColor {
    // you can have access to your current context here.
    // return the default color to be used
    resources.getColor(R.color.your_color)
}

...

override fun onCreate(savedInstanceState: Bundle?) {
    // some fun code
    // toolbarColor at this point will be R.color.your_color
    // but you can set it a new value
    toolbarColor = resources.getColor(R.color.new_color)
    // now toolbarColor has the new value that you provide.
}

I think this could be a cleaner way to do, but I don't know yet (starting with kotlin few days ago). I will take a look and see if this could be done with less code.

A: You can store your property in a map to basically create a mutable lazy. You need a mutable map (like a HashMap<K, V>) with a default function to delegate to:
var toolbarColor by hashMapOf<String, Any?>()
        .withDefault { toolbarColor = R.color.colorPrimary; toolbarColor }

You'll also need to import some extension functions: import kotlin.properties.getValue and import kotlin.properties.setValue.
It would be nice if Kotlin provided something built-in and optimized for this (like a mutableLazy or something). As such, I've created KT-10451.

redpajama_set_name: RedPajamaStackExchange


text:
The Firearms Trade Group Trying To Sink Biden's ATF Nominee
admin July 23, 2021 6 min read
President Joe Biden's nominee to lead the nation's gun regulator is heading toward a bitterly close vote in the Senate after facing fierce opposition from a leading firearms trade group, sources watching the nomination said.
Gun control advocates have long been optimistic about the nomination of David Chipman to lead the Bureau of Alcohol, Tobacco, Firearms and Explosives, in part because the National Rifle Association ― long the leading political warrior for the gun lobby ― is battling bankruptcy and is politically weakened.
But the National Sports Shooting Foundation has rallied vociferous opposition to Chipman, deploying rhetoric that echoes the NRA's regular apocalyptic warnings about a forthcoming collapse of gun rights and threatening to derail a key plank of the Biden administration's plans to tamp down on gun crimes.
The group said its higher-profile role in the fight over Chipman's nomination, including running its first-ever television ads, was not an attempt to step up in place of the hobbled NRA. While the NRA sees itself as a civil rights group, the NSSF is a trade organization representing gun manufacturers, distributors and dealers. And it views Chipman's nomination as a direct threat to its business, which has boomed since the beginning of the coronavirus pandemic.
"We're in the business of making sure our members can do business," said Mark Oliva, the group's director of public affairs. "[Chipman] has gone before Congress in his present role to advocate for regulations and laws that we believe are unconstitutional and would have a significant detriment to our ability to sell our product."
Chipman is a former ATF agent who has become a gun control advocate and now works for the gun violence prevention group Giffords, where he's pushed for a renewed assault weapons ban and universal background checks. His nomination is a key part of the Biden administration's plans to combat a rising wave of gun violence by empowering the ATF to crack down on illegal gun trafficking and gun dealers who violate federal law.
"As you all know, ATF is on the front lines of our efforts to battle gun violence," Attorney General Merrick Garland, who has led many of the administration's gun violence prevention efforts, said during a visit to the agency's headquarters in Washington, D.C., on Thursday. "We are very hopeful that the Senate will soon act."
I think members understand this is a highly controversial position. It has been left vacant because Republicans and Democrats couldn't find somebody to fill the slot, so it's no wonder that we're having some difficulty.
Senate Majority Whip Dick Durbin (D-Ill.)
The NRA has avowedly and assiduously worked to weaken the ATF for decades ― pushing to limit the agency's budget, barring it from digital data collection and opposing anyone nominated to lead it. The NSSF, by contrast, has supported the last two nominees to lead the agency, one under President Barack Obama and one under Donald Trump, and has long worked with the ATF on some safety initiatives. But the group views Chipman's work at Giffords and other liberal groups as unacceptable.
"This would be the same as if President Trump had nominated [longtime NRA leader] Wayne LaPierre to run the ATF," Oliva said. Oliva also suggested the NSSF would not oppose the nomination of Regina Lombardo — the current acting director of the agency — if Biden nominated her for the full-time position.
A handful of Democrats say they are still undecided on Chipman's nomination, including Sens. Joe Manchin (W.Va.), Jon Tester (Mont.), Kyrsten Sinema (Ariz.), and Maine Sen. Angus King, who caucuses with Democrats. Gun control advocates believe they can convince at least one Republican to vote in support of Chipman, but only if all 50 Democrats back his nomination.
"You want to bring in somebody who can unite the ATF and bring them all together. We're just working through that, make sure we have the right person," Manchin told HuffPost on Tuesday.
Senate Majority Whip Dick Durbin (D-Ill.) acknowledged that political considerations were at play with some of his members. He did not say when the nomination would receive a floor vote.
"There's a lot of issues," Durbin told HuffPost. "I think members understand this is a highly controversial position. It has been left vacant because Republicans and Democrats couldn't find somebody to fill the slot, so it's no wonder that we're having some difficulty."
One Democrat whom Chipman opponents hoped to persuade, Sen. Jeanne Shaheen (D-N.H.), told HuffPost she would support the nominee.
The NRA has not been absent from the fight. The group retains an enormous membership, has spent millions on television ads in key states and has already spent more on federal lobbying in 2021 than it did in all of 2020. But gun control advocates said the NSSF's role has surprised them and highlights the trade group's increasing prominence.
Records show the NSSF's federal lobbying spending has steadily climbed in recent years, from just $300,000 in 2010 to $2.9 million in 2013 and peaking at $5.3 million in 2019 and $5 million in 2020. The NRA's spending over the same time frame has been less consistent, peaking at $5.2 million in 2017 and falling to $2.2 million last year.
So far this year, according to lobbying records, the NRA has spent $3.3 million and the NSSF has spent $2.7 million.
Ryan Busse, a former firearms industry executive who now works at Giffords, said the NSSF's larger role highlights the extent to which the gun industry sings from the same hymnal.
"Those of us who have been inside the industry a long time know that there's really no daylight between the industry and the NRA," Busse said. "The NRA has always been there to take the heat for everything, but you could see the NSSF become the radical one."
"I think the NSSF at first saw this as a way to scare people [and] drive more sales," he continued. "But now they actually think they can actually knock [Chipman] out."
Indeed, the NSSF's critiques of Chipman borrow from the NRA's over-the-top playbook. The group's television ad directly claims Chipman wants to "ban guns," something the ATF director does not have the power to do. NSSF has also paid for Facebook ads claiming "not a single major law enforcement organization" has backed Chipman, who has the endorsement of the Police Executive Research Forum and of groups representing Black and Hispanic police chiefs.
In a blog post, the NSSF's top lobbyist discussed a photo of an FBI agent standing in front of the burned Branch Davidian compound in Waco, Texas, and falsely claimed it was a photo of Chipman, echoing an incorrect report that went viral in conservative media. (Chipman was not involved in the deadly siege at the compound, but was assigned to investigate what went wrong after the fact.)
Oliva said the NSSF deleted the paragraph mentioning the photo after learning the information was false.
The coronavirus pandemic has reshaped the country's relationship with guns, with both sales and violent shootings rising ― though criminologists and law enforcement experts agree the two trends are not directly linked. One study from researchers at Harvard and Northeastern universities found roughly 6.5% of Americans bought a gun in 2020, compared to 5.3% in 2019, with roughly one-fifth of the buyers in both years buying guns for the first time. A Brookings Institution analysis found 3 million guns were sold in the first three months of the pandemic alone.
Homicides, meanwhile, rose in most big cities around the country in 2020, and have continued to climb in 2021.
Biden and Garland have leaned on the ATF as part of their response. Biden has directed the ATF to develop a rule cracking down on so-called "ghost guns" and has also pushed the ATF to immediately move to revoke the dealer licenses of gun shops that violate federal law by selling to a prohibited person or failing to run a required background check.
Public polling suggests Americans have a generally negative view of how Biden has handled crime and gun violence.
Igor Bobic contributed reporting.
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In 1975, in a now-epic flash of cultural innovation, BMW debuted its first Art Car. The "canvas" was a 3.0 CSL, its famous livery was painted in characteristic color-block glory by Alexander Calder. The project, dreamed up by French race car driver and art collector Hervé Poulain, was meant to intertwine his two passions at the highest levels. Luckily for Poulain, the powers at be at BMW agreed to fund his vision; how better to turn the science of high-speed engineering into a visual that would draw in the rest of the world with the allure of seeing important art in motion on TV instead of only in museums?
Since that groundbreaking moment, BMW has continued the tradition, inviting artists such as Frank Stella, Roy Lichtenstein, Andy Warhol, Robert Rauschenberg, David Hockney, Jenny Holzer and Jeff Koons, among others, to transform Bavarian sheet metal into modern masterpieces.
And today, at Miami's 2016 Art Basel, the latest, #19, was unveiled—a graphically stunning work by contemporary icon John Baldessari. In advance of that, Fortune got exclusive time with its maker a few weeks ago while he finished painting his Art Car.
Painting of John Baldessari Art Car.
Baldessari, for anyone living under a rock for the last several decades, is a Southern California-based artist known for his use of text, found images and bright colors to create seemingly simple yet dramatic and profound statements. Cindy Sherman and Barbara Kruger both cite Baldessari as directly influential to their own art. The cleverest—and briefest—tutorial is a short film narrated by Tom Waits.
I met up with Baldessari in a nondescript BMW delivery center near Port Hueneme, in Oxnard, Calif. The day I was there, Baldessari and his apprentice were putting the final brushstrokes on the bodywork of a white M6 GTLM that BMW's Bill Auberlan will race at the Rolex 24 Hours of Daytona in January.
Baldessari, well over six feet tall and 85 years old, was carefully painting a large red dot onto the roof of the car—one of his most well-known motifs. On the driver's door was one word: FAST. On the passenger's door was an ironically self-referencing image of the car itself. More pops of primary colors and circles decorated the remaining surfaces.
I asked Baldessari why, with all the words at his disposal, did he choose "fast?" "Because a race car's never slow!" he exclaimed.
It's rare to meet a legend, so I took advantage of the moment by pulling out an orange ceramic plate I had brought from home—my own makeshift Baldessari dot. "I didn't know how else to meet you except to use your own symbol of 'I'm not worthy,'" I explained, holding it over my face the way he obscures faces in his art. Baldessari laughed with surprise and called the photographer over.
All of which begs the question: if a picture's worth a thousand words, what is a BMW Art Car worth?
Almost as much as that photo is to me.


text:
Home > Shows in Vegas > 15 Ways to Get Discount Kà Show Tickets
15 Ways to Get Discount Kà Show Tickets
Kà Show Tickets
Updated January 23, 2020 KA Las Vegas, a show by Cirque du Solieil, performs at MGM Grand Hotel Las Vegas and is one of the most popular shows on the Strip boasting over 100,000 show attendees per year! Want to save a little cash on Ka show tickets? Great! We've called, searched, faxed (just kidding about the faxing!) in order to find Kà ticket discounts, coupons, promo codes, deals...anything that'll save you some of your hard earned money so buy MGM Ka tickets discount only!
Showtickets.com from $75
Vegas.com from $79
Viator.com from $129.99
Stubhub.com from $139
1. KA Tickets from $75
CHEAPEST ON THE WEB: KA by Cirque du Soleil show tickets at Showtickets.com start at $75.
2. KA Las Vegas from $79 at Vegas.com
This deal at Vegas.com means you save with Ka show tickets at $79 each! Last minute tickets are available.
3. $139 Tickets Today at Stubhub
Stubhub, the online ticket resale market place can sometimes have some darn good deals and today might be your lucky day. Stubhub has two KA tickets for $139 each.
4. Active Military Discount
Active Duty Military Personnel receive 35% military discount off of the $99, $125 and $150 KA tickets. This offer is not valid on existing orders and is subject to availability. This deal is limited to 4 tickets per person. How to score this deal? Visit the MGM Grand website.
5. KA Cirque du Soleil is up to 35% Off at Groupon
Groupon is currently offering Ka at up to 35% off, or so they claim. Groupon's current price for Ka is $85.53. The Groupon KA deal sells out quite quickly.
6. KA by Cirque du Soleil
Save up to $65 on KA tickets booked at least 7 days in advance at MGM Grand Hotel. Read more at MGM Grand.
7. Kà 360
Get up-close and personal with Ka at Ka 360. This free Theatre Experience offers a look at how the KA team combines awe-inspiring artistry with one-of-a-kind technology to create this $165,000,000 production. Again, this is free! No need to buy tickets! Ka 360 is not available on dark days. No reservations required.
Tuesdays at 12 PM & 12:30 PM
Saturdays at 12 PM & 12:30 PM
8. KA Category B, C, D or E Tickets Offer by MGM Grand
Enjoy Kà by Cirque du Soleil with tickets starting at $55 for Category B, C, D or E tickets. This offer is subject to availability and limited to individuals (not available to ticket resellers.) You can buy 8 of these Ka tickets, there's a limit. You'll need to book by December 20, 2019. See MGM Grand for more.
9. Cirque du Soleil Anniversary Offer
Buy Kà tickets from $55 (save up to 40%) as a part of Cirque du Soleil's anniversary offer. See Cirque Du Soleil for more.
10. Kà Tickets for Locals
There are no offers available at this time for Ka locals discounts.
11. Kà Las Vegas Show Promo Codes
From time to time Kà promo codes appear online. As of the time of this writing there are no Kà promo codes available.
12. Discounts for Children
Just a reminder: children under the age of 5 are not permitted into the Kà Theatre. At this moment there are no discounts for children to Ka.
13. Kà Show Group Tickets
If you're traveling to Las Vegas as a group of 12 or more people--or if you're a super outgoing person who can quickly make friends with at least 11 other people while standing on the Las Vegas Strip--savings are in your future! Ka offers deep show discounts to groups...and as a bonus you'll all get to sit together! Call MGM Grand at 702-692-9494 for more details on group reservation discounts.
14. M life Rewards Discounts to Kà
If you're an M Life member you might be eligible for Ka ticket discounts. Check with the MGM Grand M Life desk when you arrive to Las Vegas.
15. Kà $35 Dress Rehearsal Tickets
Sorry, Ka Dress Rehearsal has been discontinuted for now.
KA New Year's Eve Tickets
KA tickets WILL SELL OUT for New Year's Eve! If you wait much longer to buy tickets you'll very likely be disappointed so buy now for New Year's Eve shows.
Don't believe us? Check out the screen shot below, we took it December 5, 2019 at 7am Vegas time, for the 4:30PM KA performance for December 31, 2019. It's already selling out!!! Like we said, if you want to attend a weekend show, buy now.
Other Ways to Save on KA Tickets
Choose Upper Level Seats
There really isn't a bad seat at the Kà theatre so don't spend extra on lower level seats...unless you want to see the show up and personal.
Visit Las Vegas in the Off Season
The cost for Vegas show ticket slides up and down based on demand. During peak tourism periods show ticket prices will rise, during slow periods they'll fall. Slow tourism periods in Vegas include the week after Thanksgiving, the first half of December, the first week of January, and more.
Don't Roll the Dice
Some believe that better show ticket prices can be had once they arrive in Vegas. That may sometimes be the case in New York City or London but Vegas shows sell out, especially of the Cirque Du Soleil variety, so waiting to buy means tickets are mostly more expensive once in Las Vegas. Buying online and in advance is usually the best option. But, hey this is Vegas afterall so if you want to gamble...
Buy in Advance for Best Seats
Most show theaters in Vegas are designed with viewers pleasure in mind so there's rarely a bad seat in the house. That means the most expensive seats are not always the "best" seats for viewing, especially for Cirque Du Soleil shows such as Mystere. Booking early therefore gives you the best options to pick the seats you prefer, save some money and still enjoy the show.
Ka Discounts on eBay
Some eBay.com listings claim they have the best price available. No doubt there are some good show ticket prices on eBay, but they're generally auctions or ticket resellers, neither of which can guarantee you a great price. Nonetheless, we found an eBay listing promissing Ka Las Vegas tickets starting at $51.23. We don't buy it but judge for yourself.
KA Seating - Best Place to Sit for the Show
If you've seen a Cirque du Soleil Las Vegas show, you'll already know that Cirque shows have the most amazing theaters in the business, Ka included. The Ka Theater is designed to ensure that each seat offers a great view of the performance. With 360 degree seating, Ka theater offers a unique story from every angle. There simply is no bad seat...but some are better than others.
Types of seats
As you'd expect, KA Las Vegas theatre has a number of different show seating categories. Below you'll find a brief description of each seating category in descending order of price:
VIP Experience: This package includes private entrance to Ka and early access to the VIP Lounge, luxury box seats overlooking the entire theatre, complimentary cocktail and popcorn, dedicated host to present fascinating historical and technical facts about the show, exclusive meet & greet with KA artists, complimentary professional photo in souvenir folio.
Category A: golden circle seating is located stage center, not quite at the front but in the middle of the front center stage rows for a better view due to the slightly elevated position of this seating category.
Category B: premium view seats are located off-center of the stage or center stage but in the upper seating area of the Ka Theater.
Category C: standard view seats are located on the far left or right sides of the stage, normally on the lowest level of the theater. They still offer a good view, just not a great one.
Category D: top level & side view seats are similar to Category C seating, they're off-center and far left and right of the theater.
Category E: top level & side view seats are just that, they're located at the very top sides of the theater.
Wheelchair Accessible and Companion Seats
: These are generally available in sections 203, 103, and 102 of the Ka Theater.
Ka Ticket Prices by Month
Tickets for Las Vegas Shows, including Ka, vary based on demand--just like airline seats, hotel rooms and Uber rides. We're troubled Las Vegas show geeks with nothing to do but stare at our computer monitors and track variations in ticket prices across the Vegas show landscape--someone please help us! We track prices then report them back to people like you...jezzz we need to get a life! Anyway, here's what we've tracked for Ka ticket prices so far:
Ka Ticket Average Lowest Prices 2018
January - $80
February - $70
March - $78
April - $75
May - $69
June - $72
July - $73
August - $68
September - $76
October - $66
November - $65
December - $84
These are Ka prices so far for 2019:
KA Show Tickets Vendors
KA show tickets range in price and some places offer better ticket deals than others. Below is a list of websites that offer Ka show tickets but a couple of things to note that will influence show ticket prices. Firstly, be aware that almost all ticket vendors will impose service fees, aka "convenience charge". The state of Nevada collects a manditory "entertainment tax" and this too will be collected by vendors when you buy Ka show tickets. It's not uncommon for vendors to also tack on an "order processing fee". Expect the added fees to hike up the stated ticket price by 5 to 15%.
Showtickets.com offers show tickets for performances in a number of locations including Las Vegas and New York City. Their ticket prices are normally fairly reasonable though not always the lowest prices available online, or offline for that matter. Ka show tickets at Showtickets.com are currently priced from $75.
The 10 billion pound giant of the online show ticketing world, Ticketmaster, offers KA tickets but sadly their pricing is generally a tad bit on the more expensive side. We understand, Ticketmaster has loads of traffic so they'll sell out their show tickets while earning a bit more of a markup. Ka show tickets at Ticketmaster are currently priced from $86.38.
Tix4tonight
Tix4tonight is a show tickets outfit that sells Las Vegas show tickets both online and on the Las Vegas Strip. Known for "half price tickets", even featuring "A How to Guide for Half Price Tickets", it's a popular website. They've been operating for a number of years and mostly offer pretty good prices for show tickets, inlcuding Ka. Ka show tickets are currently priced from $78.90 to $94.16.
Ka show tickets are currently not available on Groupon.
Viator, a Tripadvisor company is a huge website that offers a ton of options for show and other prodcuts around the world, including Las Vegas. Their Ka show ticket prices are on the high side. Ka show tickets at Viator are currently priced from $87.99.
BestofVegas is Showtickets.com with a different name. Expect Ka show tickets to be the exact same price on both websites. Ka show tickets at BestofVegas are currently priced from $75.
Stubhub offers Ka show tickets as well of tickets of most Las Vegas shows, including all Cirque du Soleil shows. Ka show tickets at StubHub are currently priced from $99.
Ka show tickets at MGM Resorts are currently priced from $75.21.
Expedia, a name we all know offers fairly good deals on Ka tickets and most other Cirque du Soleil shows in Las Vegas. Currently they're offering Cetegory E seating for Ka at $83.33. This price includes booking fees and credit card (processing) fees. Not to shabby.
Ka Tripadvisor
Tripadvisor has a page for KA Las Vegas reviews. Currently there are 8,179 reviews and KA ranks #47 of 421 things to do in Las Vegas. The Tripadvisor "Traveler Overview" score is 4.5 out of 5 with 63% of people rating KA "Excellent" and 18% "Very Good".
Cheaptickets.com, an up and coming online ticket vendor offers discount Ka show tickets starting at $96 (not including fees) for Upper Level section 203 tickets, this is about as bad a seat as you can get for Ka, luckly the theater is so well designed even that seat will offer an acceptable view of the show.
Venetian Hotel
15 Ways to Get Discount Kà Show Tickets Details
Location: MGM Grand hotel
Show Times: 7 & 9:30 PM Sat - Wed


Our new 8.8 megawatt heat-and-power cogeneration technology at our Camarillo Greenhouse is the first of its kind in the United States to capture traditionally wasted heat, water and C02 for use within the greenhouse. Having successfully completed the California installation, we are in the process of trying to bring the same technology to our Delta, BC facility.
Houweling Nurseries Ltd. (dba, Houweling Tomatoes) operates a 20-hectare greenhouse facility in Delta, B.C., producing both fresh tomatoes and propagated vegetable seedlings for other greenhouse vegetable growers. The heat and CO2 requirements are supplied by five natural gas fired boilers which have an estimated efficiency of approximately 84%. The estimated emissions produced by the current operation of the natural gas fired boilers is 23.7 tonnes annually.
The boilers operate throughout the day to produce heat which is stored in a 1.5 million gallon reserve tank and subsequently used as required in the greenhouse. Some amounts of the CO2-enriched exhaust is used to promote a healthy crop and vegetable production. An additional 1,000 tonnes of liquid CO2 is purchased for our seedling propagation department, as the CO2 generated from the current system is not acceptable for growing seedlings.
This limitation creates additional waste during the months of October to February as crop production is reduced and seedling propagation is at its peak production. During this period the boilers are only in operation for heating generation. As a result, the exhaust from the boilers is released into the atmosphere, while liquid CO2 must still be purchased.
Houweling's Tomatoes proposes the installation of two 4.4 MW GE Jenbacher natural gas fired, combustion engine driven, cogeneration units. Cogeneration (cogen) through combined heat and power (CHP) is the simultaneous production of electricity with the recovery and utilization of heat.
The CO2 enriched gases from the engines will be treated using selective catalytic reduction (Hanwel COdiNOX system) to reduce the NOx levels in the exhaust, meeting the requirements of the seedling crops as well as promoting healthy crop enhancement in our tomato production area. This flue gas cleaner ensures the flue gases from CHP gas engines are converted into food grade CO2, which can then be used immediately for plant and seedling fertilization. This will eliminate the need to purchase, transport and store liquid CO2. The anticipated emissions from the Co-Gen units will be less than 11.5 tonnes annually, reducing our emissions output by at least 50%. To view the complete air modeling report: click here.
Additionally, Houweling's will also be able to offset our electrical purchasing requirements during high use periods. In the summer months, the greenhouse experiences periods of high CO2 needs and reduced electrical demand due to longer daylight hours and warmer temperatures. As a result, excess electrical generation is available to be supplied to the BC Hydro grid. During winter months, additional electrical energy will be purchased as the units will not meet our total demands.
The engines will be housed in a sound proof enclosure, eliminating any potential noise pollution. From an environmental aspect, our annual emissions will be greatly reduced through better control of combustion, as well as the implementation of the CodiNOx system.
The operational hours of these units will be based on our existing heating and CO2 demands. This ability to produce our heat and CO2 needs as well as electrical energy as a bi-product, with an overall efficiency rate exceeding 98%, would seem to be the best utilization of the natural gas resource; allowing Houweling's Tomatoes to supplement our electrical needs when required and return power to the grid when a surplus is available.
Houweling's anticipates excess production of 40,000 MWH of electrical energy available to be returned to the electrical grid through the SOP program offered by B.C Hydro. At this point in time Houweling's has submitted the modeling reports and emissions permit application to Metro Vancouver.


Phishing Email Campaigns Up 789% - PNJ Technology Partners, Inc.
If you feel your business needs to up its game with respect to being prepared for a potential ransomware or phishing email campaign, PNJ Technology Partners can help. We are your industry leader in helping businesses detect and destroy cyberthreats, and we offer incident response and business continuity planning to help keep your business up-and-running in the event of a data disaster. When you need to put your organization at the forefront of the most innovative security threat response planning, contact us at (518) 459-6712 or reach out to us by email at info@pnjtechpartners.com for more information.


text:
package com.googlecode.actorom.dsl;

import com.googlecode.actorom.Topology;
import com.googlecode.actorom.dsl.chain.messaging.MethodExecutionBuilder;
import net.jcip.annotations.ThreadSafe;

/**
 * This is the class to import for starting to use the Actorom Messaging DSL.

 * It is mostly used as a static import:
 *

 * import static com.googlecode.actorom.dsl.Messaging.*;
 *
 * @author Sergio Bossa
 */
@ThreadSafe
public final class Messaging {

    /**
     * Set the {@link com.googlecode.actorom.Topology} which hosts
     * the actors you want to interact with.
     */
    public static MethodExecutionBuilder on(Topology topology) {
        return new MethodExecutionBuilder(topology);
    }
}

redpajama_set_name: RedPajamaGithub


Janet is currently on leave from teaching daily classes. Please check the Workshops at AYC page for events, the Retreats page for opportunities to travel and practice in beautiful locations or Janet's Workshop Schedule page for her workshop and teaching schedules.
No dedicated student will be turned away for lack of funds. Please contact Janet for scholarship details.


Click here to create your login.
A Circular has been issued issued by the Jeddah Chamber of Commerce stipulating the need for Saudi Business Community to ensure that the goods imported in Saudi Arabia are in line with the standards set by SASO (Saudi Standards Organization). This control is being exercised to eliminate the flow of duplicate and contraband goods into the Kingdom of Saudi Arabia.
The Custom Department will strictly adhere to the requirement of valid Certificate of Conformity issued by competent Authority from the Port of Origin in addition to the local requirement of SASO testing to obtain cargo clearance.
As per the Circular, from 4th November 2013 onwards, the Authorities will enforce strict measures to return the Shipment in case the commodities being imported are not conforming to SASO requirements and/or in the event the Certificate of Conformity is not obtained for those commodities which cannot be tested in Saudi due to lack of such testing facility here.


text:
Q: One line doesn't show up but the others do I am trying to make a graph of two variables, with facet_grid. This is the graph I have at the moment:
My graph
This is almost what I want, except that there is no line for "SURFACE" in the "Changed" facet and I can't work out why.
This is my data:
    data <- read.table(text = "
   lag.distance mantel.statistic       Sig      WM
1       0.00000       0.44755550   Changed SURFACE
2      36.66667       0.57002150   Changed SURFACE
3      95.00000      -0.40571540   Changed SURFACE
4     203.33333       0.10481760   Changed SURFACE
5     292.50000      -0.48685840   Changed SURFACE
6       0.00000       0.44755550   Changed    DEEP
7      36.66667       0.57002150   Changed    DEEP
8      95.00000      -0.40571540   Changed    DEEP
9     203.33333       0.10481760   Changed    DEEP
10    292.50000      -0.48685840   Changed    DEEP
11      0.00000       0.46796510 Conserved SURFACE
12     36.66667       0.53094700 Conserved SURFACE
13     95.00000      -0.38027290 Conserved SURFACE
14    203.33333      -0.61828110 Conserved SURFACE
15    292.50000       0.21224900 Conserved SURFACE
16      0.00000       0.20225996 Conserved    DEEP
17     34.00000      -0.08036996 Conserved    DEEP
18     81.00000      -0.04005344 Conserved    DEEP
19    202.25000       0.09716254 Conserved    DEEP
20    280.00000      -0.20026720 Conserved    DEEP
    ", header = TRUE)

This is my code:
data$WM <- factor(data$WM, levels = c("SURFACE", "DEEP"))

library(ggplot2)
ggplot(data, aes(x=lag.distance,y=mantel.statistic,color=WM)) + geom_line(size=1) + geom_point(size=3) +
  labs(colour="Depth", x = "Lag distance (days)", y = "Mantel statistic")+
  theme(axis.line = element_line(colour = "black"),
        panel.grid.major = element_blank(),
        panel.border = element_rect(colour = "lightgray"),
        panel.background = element_blank())+
  theme(strip.background = element_blank())+
  geom_hline(yintercept=0, color = "lightgray")+
  facet_grid(Sig~.)

As you can see, my data contains values for "SURFACE" for "Changed", so why are these not plotted?


Do you like math? There are a handful of people that live and breath mathematics. For these people, the addition, subtraction and other principles are like old friends. The idea of multiplying and dividing is a treat. Unfortunately, for other people, and many kids, math is a subject that they dread.
There can be many reasons for not liking the subject of numbers. Maybe they don't understand the concepts or they just don't like the subject matter. But, when there is a strong discord, parents can look for means to make the subject more palatable. A great way to make math fun is either by means of a game or other format. Since my son likes to read, I've found that math based books are a perfect format.
The book A True Math Story, by Richard John Buchner III incorporates math concepts into a well written story. In conjunction with the math game Albert's Insomnia, kids can start to look at math not as just memorization but a means to an end. Math can be helpful and more importantly fun.
My boys and I read A True Math Story together. Each time we see a different math problem or concept. The easy concepts of addition and subtraction are easily identified. As the kids grow, you can explore other topics like bases and exponents.
My son likes this book because of the story. It's about a boy and his grandfather. Putting aside all the math information, the story itself is engaging and can be read many times. My kids gravitate to this book on a weekly basis.
A book like A True Math Story or other math based games can take away the boring math stigma. Give your kids the fun tools to make math their favorite subject.
Disclosure: I received this book to review.
How neat to hear about a fun book about math! It's too bad that most books you see that deal with math are mathbooks. Maybe if we there were more fun books like this, more kids would be open to enjoying math more.
This looks like something my kids would love. My kids loathe math, so I am always looking for new ways to make it fun.
My kids love math and they would like this. I'll have to put this on their list.
My daughter hates math. I think this would be a great book for her.


Company Name Starcon International, Inc.
Miscellaneous Info 12STEXCH is the Scaffolding Electronic Exam administered on behalf of Starcon. There are (36) test questions on the final exam.
SSV Verification Yes; (SSV) must be submitted or on file.
Reading Assistance No assistance is allowed, in any form or fashion.


This guide will help you get started with creating a personal budget.
Creating your first budget can be an overwhelming experience. In fact, only 40% of American families have a working monthly budget. However, budgeting can progressively help you achieve your goals and get out of debt.
Budget making has actually been linked to building wealth.
What is a budget? Budgeting is the process of creating a workable and solid plan to spend your money. If you learn how to make a budget, you will determine in advance whether or not you have enough cash to spend on things you like.
Creating a budget simply means balancing your expenses with your income. A lack of this balance might cause you to spend more than you earn, creating a problem.
Why Is Creating a Budgeting so Important?
A budget ensures you always have enough money for the things you need. This is true even if you don't earn much since you will prioritize your spending. When you have a budget, your focus will only be on the most important things.
Mastering how to budget money has another advantage. It will prevent you from accumulating debt or help you work your way out of it.
What is Budget Forecasting and Planning?
Once you draft your first budgeting plan, you can start using it to have a feel of how it will keep your finances on track. You may decide to map out your budget for a couple of months to a year.
This puts you in a better position to forecast which months have tight finances and when you are likely to have extra money. You can then find practical steps to even out the highs and lows of your finances. Budget planning helps you have a more manageable and pleasant life.
Budget forecasting also allows you to predict how much money you can save for a vacation, a new vehicle, or a new home. It can also be a practical way to save up money for emergencies and home renovations.
A realistic budget helps with your long-term financial planning. You can eventually achieve goals such as starting your own business or retiring.
Calculate expenses: Consult your bank statements and receipts to know exactly how much you are spending each month. Some intermittent expenses can be tricky, such as insurance payments. To get an accurate picture, calculate the average expenditure for 6 to 12 months.
Determine your income: Once you know the amount of money that keeps you afloat, determine your income. Any extra funds such as cash gifts and sale of items can be added up to the regular salary. Other income sources may include child support and rental income.
Set savings goals: Subtract your monthly expenses from your income. If you are making more than the expenditure, use this amount to pay off debt. However, if the expenditure exceeds the income, it's time to do some cutting and save more so as not to fall into debt.
Record spending and track progress: Recording all your expenses and income will ensure that you stay on top of your budget. It will be easier to resist careless spending. Furthermore, it is satisfying and motivating when you have met a savings goal.
Be realistic: Stick to your budget and know your limits. It is okay to break the budget occasionally as long as you can get back on track quickly.
A personal budget is an itemized summary of the income and expenses of a household for a period of time. Although the word, "budget," in a household setting has negatively become synonymous with restricted spending and a lot of hassle, it actually means more efficient spending.
A personal budget will help you put aside necessary expenditures such as house payments while practicing discretionary spending on entertainment. A household budget may not be the most exciting activity for many, yet it is vital for keeping your house in order.
You might spend less in one area and save for larger future purchases or set aside money for a "rainy day." Create a list of all the expected expenses within a month. These could include car payments, auto insurance, groceries, entertainment, and student loans.
Fixed expenses are those that are necessary as a way of your living and stay relatively the same each month. They include trash pickup, internet service, and mortgage.
Variable expenses are bound to change from month to month. They include items such as gasoline, eating out, and gifts.
Budget stops overspending: Lack of a plan almost always results in overspending. This limits your spending power in the future and, sadly, results in the stress of paying for the rising cost of gas. This can be significantly reduced when your paycheck is already planned.
Budgeting helps you reach your goals: Financial goals may vary, ranging from getting out of debt to starting a business. Your budget helps you prioritize your spending and ensure that you achieve these goals.
A budget helps you save money: Once you have assigned your money to do certain things, you will automatically save or invest each month. This is a stepping stone towards building wealth, which is what financial freedom is all about.
It helps you stop worrying: A personal budget is not about restricting your happiness. A personal budget is about opening up opportunities for using money and gaining more control of your life. You get to decide how much you will spend in each category, and know when to stop after running out of money.
It helps you be flexible: As long as you know how to budget, you can adjust the amount spent in each category every month. Thus, you can adjust so that you do not overspend and are not forced to touch the money set aside for savings.
It helps you be in control: As long as you know how to budget, you can track your spending and know when to stop. It gives you a plan that is easy to follow and prepares you for the future.
It is simple: managing money gets a whole lot easier when you can track all your expenditures and savings.
Do You Know the 50/30/20 Rule?
The simplicity of this plan enables manageable debt and gives you room to indulge occasionally.
Your needs, which is 50% of your income after tax deduction, include basic utilities, transportation, insurance, groceries, and housing. If your essentials pass the 50% mark, you may have to revisit your wants. Choose a better cell phone plan or refinance your loans.
Twenty percent of your savings should be put away for unexpected events. You may start with $500 to cover small emergencies. This is also a good time to work on getting rid of your toxic debt, such as high-interest credit cards. You can then save for retirement.
Thirty percent of your income should cater to your wants. Sometimes differentiating wants from needs can be difficult. However, needs are essential for survival while wants include dinners, travel, and entertainment or extracurriculars.
Personal budgeting will also allow you space to pay for unexpected expenses. These proportions may appear a bit strange but they help you get your finances on track.
This is a very tangible system which requires discipline.
Get various envelopes and write the category on top of each. After each paycheck, insert the budgeted amount of cash in the envelopes (or in a bank account for better security). Once you have spent all the cash in a category, you cannot spend any more in that category.
If after all expenditures you still have some money left in the envelopes, use it to pay your debts or put into savings.
You cannot miss a payment since all payments are upfront.
When using the envelope system, it is wise to deal with categories you mostly use. You might label an envelope and realize that you rarely use it. It is wasteful to budget to a category you don't overspend in.
Bella Zee has been a full-time freelance writer since 2007. She is passionate about finance and helping people learn all about money.


Many people are getting on board and trying out Airbnb. It's a great way to find a unique place to meet your travel needs in over 190 countries throughout the world. You can find a room to share, a private room, or rent the whole house or palace!
But Airbnb also has its own culture and for many that may be new. Yes, it's part of the sharing economy, in which people are sharing their homes. It requires both guest and host to have some trust, which in and of itself requires a different approach than booking a hotel. By sharing a home with someone you have the opportunity for a more unique taste of culture in that city.
Read. Yes, I know, reading takes time and we are all short on time, but each host has different offerings and expectations for guests in their homes. Keep in mind this is someone's home, not a hotel. Many hosts have put a lot into their listings so do be sure to hit the "more" button when it comes up and view all parts of the listing to see if it meets your needs.
You will find an amenities section and house rules section, they will tell you a lot. Think of it like an online dating website to see if this is a partnership that has some mutual ground, if not, seek a place that does.
Pay attention to check-in and check-out times. If these may be challenging for you, talk with the host in advance to see if there is any flexibility.
Read about the host to see who they are, especially if you will be staying with them.
Read the cancellation policy as each host can set it as "Flexible, Moderate, or Strict," and each of these is defined by Airbnb.
If there are no reviews and crappy photos, keep looking.
Both guest and host have 24 hours from the check-in time to contact Airbnb if this is not a match and it doesn't work out.
Don't be afraid to ask questions prior to booking. If you aren't sure about the location and how close or far it is from what you will be doing, ask. If you have unique needs and want to know how that will work during your stay, ask. If you keep odd hours, mention this and see if it will work for you and the host. Airbnb is more about finding common ground and building relationships, than it is about just finding a place to stay. You can use the "Contact Host" button below the "About this Listing" section and make an inquiry prior to booking.
Once you find a place that looks good, reach out by sharing your own unique self and situation. You can do this under the narrative section as you make a "Request to Book." Tell the host who you are, why you are traveling to their city and why you liked their place. Hotels are about anonymity, but Airbnb is about people and building relationships.
If this is your first time, you may need to get "Verified ID" via the Airbnb system. This is one way of confirming who you are and it gives the host a bit of a safety net. It can be quick if you are active on social media or you may be required to make a video and provide proof of ID. So allow a time to accomplish this prior to your departure.
Load the Airbnb app onto your smartphone, notepad or laptop, so you can use it while on your trip. This makes getting in touch with your host easy, both prior to, and during your stay. While you can also text the host, if you use the app or communicate via the website, both guest and host conversations are all in one place for your own reference. It also protects guest and host as these conversations are accessible by Airbnb should there be a conflict. Be sure to use your same email address that you originally created your Airbnb account with to log onto your app. This will avoid duplicate profiles and confusion.
As you make plans for your trip, determine if you will need to rent a car or use alternate transportation while there. Don't hesitate to reference the listing or ask the host about public transportation. Many cities have great public transportation, rent bikes, etc. Depending on your plans, you may be able to save money and get a feel for the local people by walking or taking public transportation.
About a day or two prior to your arrival, discuss arrival times if you haven't already done so. Hosts will have their "Check-in" and "Check-out" times noted on their listing. You want to be sensitive to this as some people work or have other guests staying prior to your stay, and they need time to get things ready for you. So be in good communication about your arrival plans. If your plane leaves in the PM, some hosts will also allow you to store your baggage in their garage or a separate room if you need. It's OK to ask and see if there is a way to meet needs of both guest and host.
Re-read the house rules and any special information about access to the house prior to leaving on your trip. Print these up and bring them with you for easy reference or save on your smartphone.
Arrive on or near the time you say and if it changes, contact your host to update them. Think of this more like a friend who is waiting for you, versus a hotel lobby that has someone at the desk at all times.
While staying in your Airbnb home, ask questions about how they like things done and be respectful that this is their home. Each home will vary a great deal. When you book the whole house, you likely may never see the host, but they are available via the app or phone. Can you eat and drink what's in the refrigerator or do you have a spot for your special items? Do they want you to strip the beds or do anything special with the trash or as clean-up? If you need something to make your stay go well, do speak up, don't wait until the review to say you had an unmet need.
All guests and hosts get to review each other at the end of their experience. Hosts are rated on their accuracy, communication, cleanliness, location, check in and value. Hosts who excel in their hospitality can get what is called "Superhost" status. This is indicated at the bottom of their listing page along with their scores for response rate (how often they respond within 24 hours) and their response time (such as within an hour or a few hours or a day). Guests are rated on their cleanliness, communication and observance of house rule. You want to be a good guest, so you get good reviews. All the tips above will help you be a great guest and hopefully make it a fun stay for both you and your host!
If you enjoyed this blog, consider "following" my future blogs via the front page. By following, you will get an email notice when my next blog is posted. I do not share your email with anyone and I keep my blog free from advertising and spam stuff…because that's what I like too.
Great post. I'd been curious about how Airbnb works. I don't know that I'm brave enough to try it!
Thanks for your comments. I hope the post helped you get a feel for how Airbnb works. It has been a great experience for me, yet it does require some flexibility. It also can provide a much more rich experience.
I love that you have had such a great experience as a host, Kathy! I love hearing your stories. I am not sure I'd want to be a host, but I know we'd love to be guests in other homes – Jason and I both love the bed & breakfast experience for that reason, often talking for hours with the owners/hosts.
Thanks Kristina. Glad you liked the post and have enjoyed being a guest in a hosted environment. I will be staying at an Airbnb in Austin for Vida Vegan Con III. Can't wait for May to get here!
Have a great trip and report back on how it goes if time allows. I hope the tips make it go smoothly.
I'm more of a hotel person but this concept sounds interesting. Good if it helps to bring hotel prices down.


text:
Hatsune Miku V4x for Vocaloid4FE
Presets, Vocaloid, VOCALOiD, Vocaloid VSTi
AlexVox | 02 September 2017 | 1.95 GB + 696 MB
Japanese, English and Chinese Today!
On August 31st, it was officially confirmed that Miku's V4 update would be a V4X title and a demo was released showcasing a voicebank called "Hatsune Miku Original". It was also revealed that Miku's V4X would also contain 2 E.V.E.C. vocals: Soft and Power, though more E.V.E.C. vocals may be planned.
AlexVox, Chinese, English, Japanese, Vocaloid, Vocaloid4FE
Lumi for Vocaloid4FE
Vocaloid, VOCALOiD, Vocaloid VSTi
AlexVox | 03 June 2017 | 932 MB
LUMi (ルミ) is an upcoming VOCALOID to be developed by Akatsuki Virtual Artists for the VOCALOID4 engine. She is voiced by the Japanese voice actress Sayaka Ohara. LUMi was introduced on May 19, 2017 and was confirmed to be developed by Akatsuki Virtual Artists (AVA). A preview of her design was shown and it was revealed that she was voiced by Sayaka Ohara, a well known voice actress. A version of her VOCALOID4 voicebank was to be made available on June 3. It was later revealed that the illustrator was Miyama Hugin and an interview regarding the design was released.
Vocaloid, Vocaloid4FE
UNi for Vocaloid4FE
AlexVox | 01 April 2017 | 591 MB
UNI (유니) is a Korean VOCALOID developed by ST MEDiA with an expected release on the VOCALOID4 engine in 2017. Her Korean Append voicebanks are also expected to release some time in 2017. She was announced to have an English voicebank, but it would not be in development until after the Append voicebanks have released.
Tone Rion V4 for Vocaloid4FE
AlexVox | 23 February 2017 | 278 MB
Tone Rion (兎眠りおん) is a Japanese VOCALOID developed and distributed the YAMAHA Corporation, and was created in collaboration with Dear Stage (Moe Japan, Co. Ltd.). She was released in December 2011 for the VOCALOID3 engine. In December 2016, Rion's voice provider was confirmed to be Dempagumi.inc's Nemu Yumemi. Rion was updated to the VOCALOID4 engine in February 2017.
Tone, v4, Vocaloid4FE
Yumemi Nemu for Vocaloid4FE
Audio Samples, Presets, Vocaloid, VOCALOiD, Vocaloid VSTi
Yumemi Nemu (夢眠ネム) is a Japanese VOCALOID developed by Dear Stage (Moe Japan, Co. Ltd.) and distributed by the YAMAHA Corporation for the VOCALOID4 engine in February 2017. Her voice was provided by the Japanese singer, model, DJ, and artist, Nemu Yumemi.
Cyber Songman For Vocaloid4FE
AlexVox | 18 December 2016 | 464 MB
Note: English language library
CYBER SONGMAN is an English VOCALOID developed and distributed by YAMAHA JPN. He was released in October 2016 for the VOCALOID4 engine. His voice provider has never been revealed. As part of the VY series, CYBER SONGMAN follows similar ideals to past VY vocals VY1 and VY2. These VOCALOIDs were designed with the intention of being able to freely manipulate the VOCALOID to how a producer wants. It is speculated that because YAMAHA was aiming for the Western audience and looking for a more professional look, they opted to use a simple photo as an avatar without a character concept behind it (similar to Prima and Tonio).
Cyber, Vocaloid, Vocaloid 4, Vocaloid4FE
YAMAHA Vocaloid4FE v4.3.0 WiN
Audio Software, Vocaloid, Vocaloid VSTi, VSTi, WiNDOWS, x64, x86
AlexVox | 24 October 2016 | 49 MB
The new engine allows the importation of Vocaloid 2 and Vocaloid 3 vocals, though Vocaloid 2 vocals must have already been imported into Vocaloid 3 for this to work. The new engine includes other features, but not all of them are accessible by Vocaloid 2 and Vocaloid 3 vocals. One of the new features is a "Growl" feature which allows vocals built for Vocaloid 4 to take on a growl-like property in their singing results. Cross-synthesis was also added, allowing the user to switch between two of a character's vocals built for the same language smoothly using a time-varying parameter. This feature is accessible by Vocaloid 3 and Vocaloid 4 vocals, but not Vocaloid 2. Another feature included is Pitch Rendering, which all imported vocals can use. This displays the effective pitch curve on the user interface. Finally, real-time input has been included in this version and is another feature which all vocals can use.
AlexVox, Portable, Vocaloid, Vocaloid4FE, WiN, Yamaha
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