Reuse, Recycle, Re-purpose, Up-cycle – are all ways of giving objects a second chance. Viewing something in a different light and re-staging it to serve a new purpose can reduce our carbon footprint. And not only does this make an impact environmentally, it also is easy on the wallet.
With the state of today's economy, consignment stores and thrift shops are popping up everywhere. It's no longer gauche to dig a piece of furniture out of a heap on the curb. Instead, innovative individuals are rehabilitating another person's trash into fabulous, eye-catching additions to their home. Saving money and scoring something unique is awesome.
So today I'm sharing 6 Decorative Repurposing DIY's you'll see around my house – I hope they inspire you rethink that pile of junk you have earmarked for your next yard sale!
For awhile, my husband & I were looking for the perfect bookcase. We wanted real wood, not some flimsy press board that would fall apart. We found a long farmhouse ladder at our local thrift shop, which we originally intended to stand up in our bathroom, to display extra towels. It was too tall. So we bought another, shorter farmhouse ladder that fit that purpose.
We racked our brains trying to figure out what to do with this extra ladder. One afternoon, while cruising Pinterest for inspiration, we discovered the brilliant idea of making our ladder into a bookshelf. A few L brackets, anchors and screws was all it took to make that happen. Talk about a conversation piece!
The far right ladder, hanging vertically, in the photo is a bunk bed ladder that we recovered from a neighbor's garbage. Initially, I wasn't sure what use it would serve, but after propping it up, against that very same wall, it became clear it would become home to some of our smaller sized books.
For a very simple change of scenery, every once in a while I throw an old, crocheted poncho, that is no longer en vogue, on top of our lamp shade. In just seconds it creates a romantic vibe with the funky play of shadows on the walls & ceiling.
Another simple one! Here we have an antique, ceramic, mini-cake mold, that I purchased during a trip to Europe. You should be able to find something similar in your local thrift store or at a yard sale.
It works wonderfully as a perch for my kitchen sponge, allowing it to drain, without a mess. And it fits in with the rustic, French country aesthetic I love. Not to mention I heart making cakes!
Next, some sweet, vintage, hankies are sewn together to make curtains. Their sheerness allows for an abundance of light to shine through, and they are the perfect funky touch of color to our space.
A hodgepodge of hankies are easily sewn together, about ¼ inch from each edge – use as many as you need to custom fit your windows. Then fold the top of the curtains over about 2 inches and sew, creating a pocket for a curtain rod.
We looked for an over-the-oven shelf for a few months after moving into our latest house. A variety of shelves were bought and returned, because they simply weren't the right size.
Then we stumbled upon an old, wooden, Red Flyer wagon, that someone discarded. A street treat that makes an amazing little place to store honey, tea bags, the timer and more.
Here is another genius idea that I attribute to Pinterest where I saw a kitchen island built by hand with pots and pans hanging underneath it. We were in the market for a hanging pot rack, however, we reside in a rental property, and weren't comfortable hanging one from the ceiling. Pulling pot after pan from the cabinet to retrieve the desired cookware, got old, quick. A few J-hooks screwed into the underside of my prep table, and the hanging pot rack materialized. Portable, and free, doesn't get much better than that!
Decorative repurposing is easy once you start looking at objects with a fresh eye. So the next time you are browsing at the thrift shop, imagine objects with a different coat of paint. Think about how can you take an idea you admire from Pinterest, and make it a reality. And who knows, maybe on trash night, you'll drive a little slower past a huge pile of discarded furnishings, and envision something spectacular.
Readers – Is there anything particular you have re-purposed, that you are especially proud of? These are stories I love to hear!
I love the whole vibe of your décor, @rachelshay , and your hankie curtains are the most clever use of vintage linens I've ever seen! Stunning!
Turboterp – why thank you! Home is a sacred space that should be all about your unique personality. Coziness is super-important to us. I read something once that stuck with me – everything in your home should be beautiful or serve a function. If you don't love it, get rid of it. Our home is constantly evolving.
Alyssa – I would be happy to share my Pinterest with you…I'm just Rachel Shay. (I think), I will double-check and get back to you if I am wrong. New home, how lucky for you! Since we are military, we move every few years. A new home is like a blank canvas, an excellent way to implement bright new ideas!
The ladder bookcases? Best idea EVER. And even though I can't sew to save my life, I feel like I could make the vintage hankie curtains. This would probably work with tea towels as well?
Amity, yes! Tea towels would also work for the curtains. Do you have a collection?
The ladder bookshelf idea is so great–such a space saver!
I love the use of a ladder as a bookshelf! When I saw the crocheted poncho over the light, I thought how charming (and then I thought of Blanche in "A Streetcar Named Desire," who covers a light to "create enchantment"). What cozy, lovely curtains. You've certainly created enchantment here, @rachelshay!
@rachelshay – these are really fab. Especially the ladder bookshelves. Actually, when I first saw this on your Facebook page is when I asked you to join the we heart this team, wasn't it?!
And I LOVE the hankie sheers!!! It makes me want to do the same thing with my scarf collection, but they're all different sizes. Hmm, any suggestions how that could be done with fabric that's not uniform?
I love the hanky curtains, so gorgeous with the light!
Rachel you are amazing~! I just love your vision for turning someones junk into a treasure! I think you should have a funky little shop that sells your awesome re-furbished finds!!!
Ooo, I think that's a great idea Mary! I'd shop there.
Why did I never think of putting a pot rack under a kitchen island?! OMG, amazing.
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The First Responder Network Authority (FirstNet) Jan. 13 issued its request for proposals (RFP) for the deployment of the nationwide public-safety broadband network. The indefinite delivery/indefinite quantity (IDIQ) contract has a guaranteed minimum of $150 million and a contract ceiling of $100 billion for the 25-year performance period.
Proposals to the RFP are due April 29, with questions and capability statements due Feb. 12 and March 17, respectively. FirstNet anticipates making an award in the fourth quarter of 2016. The FirstNet board approved the RFP last month.
The 511-page document includes 13 sections, labeled A through M. The RFP sections comprise the following: solicitation, offer and award; supplies, services and prices; statement of objectives; packaging and marking; inspection and acceptance; deliverables and performance; contract administration data; special contract and task order requirements; contract clauses; list of 26 attachments; representations and certifications; instructions, conditions and notices; and evaluation factors for award.
The document does not provide requirements for bidders but instead includes a statement of objectives with 16 specific areas that must be addressed by the bidders.
The release of the RFP follows 13 requests for information (RFIs), a set of draft RFP documents, two industry day public events, answers to more than 650 questions related to network specifications and meetings with interested vendors.
FirstNet also conducted a consultation and outreach program to engage with the states, territories, federal agencies, tribal governments, and the Public Safety Advisory Committee (PSAC) in the RFP development process.
FirstNet announced that it will conduct a public webinar Jan. 15 from 1 p.m. to 3 p.m. EST to review key RFP elements with interested parties, including states, tribes, territories, public-safety stakeholders and market participants. The webinar will be available on the FirstNet website.
FirstNet officials said last month they would have no other formal communication with industry suppliers other than the webinar.
"Motorola Solutions will closely study the FirstNet RFP," Motorola statement said. "The RFP is the culmination of an important process that brings the reality of a nationwide broadband network dedicated to first responders that much closer. We support the ongoing process to build the network and look forward to seeing its benefits for our customers nationwide."
An AT&T executive said last week that the nationwide carrier plans to aggressively pursue the RFP.
The full FirstNet RFP is here.


"Pushing the Wall: A Memoir" is his first book. A contemporary romance (yeah, you read that right) novella will appear in an anthology on March 31st, 2015. He's introverted, geeky, funny looking, unpredictable, and easily distracted by the latest gadgets.
Sure, I'd heard all the horror stories. Endurance athletes always fear "hitting the wall," that point where the body runs out of energy and, BAM! Roadkill. With no conditioning, I feared smashing into this wall hard enough to leave a dent.
I wanted to train for the 2010 St. George Marathon, but after breaking my foot, the only marathon I could handle was on Netflix. When the race came, I just wanted to pick up the shirt I paid for, but peer pressure and the energy of the other 7,000 runners convinced me to go for it. My plan? Push the wall past the finish line. Then I could grab some ice cream, crawl into my truck, and drive home.
It's whimsical, yet educational. It's whimsucational!
Foreward by Aaron Metler, winner of the 2010 and 2014 St. George Marathons.


At the Pompidou Centre in Paris, a two-hour wait will get you 'priority access' to the Henri Cartier-Bresson exhibition. It's available only to friends of the museum, members of the press, and those who bought tickets in advance and naively thought they'd walk straight in. As the American woman behind me remarked, it's the kind of queue that would be generated in the US by the opening weekend of Terminator 4. The show is well worth it. But once you're in Paris, taking in the blockbuster effect and the tidal waves of press devoted to 'the master', with his 'genius' and his 'magical moments', you can't help thinking about the easy sort of patriotism Cartier-Bresson now elicits: he's French, he's familiar, he soaked up a century and worked in a medium that lends itself to fridge magnets. Of course, if we have become blasé about photography's reach – in the world and into our homes – then Cartier-Bresson, art photographer, photojournalist and co-founder of the Magnum picture agency, is among those we have to thank. But still: ten years after his death, how should his work be understood? The curators have answered that question by claiming to break down the received view: his life, travels and allegiances are conceived as a whole, and the greatest hits – the so-called 'decisive moments' – are complemented by other work.
His early imitations of Eugène Atget, and his attempts when in Africa to be more like the great Hungarian Martin Munkácsi, were unpromising. Then came Surrealism – or an attempt at it. A curtain wrapped around a head, a shirt hanging upside down on a washing line like a ghost, animal entrails arranged into abstractions: photography, for those who take a principled stand against the manipulation of images, is just not that surreal. While he hovered around the edges of the group – worshipping André Breton, befriending René Crevel, looking up to Max Ernst – he preferred their talk of revolution to any art they made, and never said a word at their gatherings. His photographs from that time feel as timid as he professed to be in their company. He was under no illusions about some of the early phases of his career. His Ivory Coast pictures came back damp and fogged, he later wrote; and as for the Atget-like shop-fronts, he never got the hang of that large format camera anyway. His prints – as the exhibition confirms – were poor and Pierre Assouline's 2001 biography is full of gallery people saying so at the time. The photographer later joked that friends referred to him as a 'foutugraphe', given the likelihood that he would screw things up.
Although he was given a camera ('un Brownie-box') at the age of 14 or 15, he was not an instant convert to the medium. Born in 1908, he didn't really start taking pictures until he was twenty, and was, even then, largely uninterested in anything technical. He mainly wanted to paint. From the point of view of his family – industrialists, château-owners, and the extremely wealthy manufacturers of Cartier-Bresson sewing thread – that was bad enough. But he turned out to be so lacking in painterly flair that Gertrude Stein, in her un-Delphic way, told him not to give up the day job – he would do well to join the family business. (Some of his early canvases have been included in the show to prove her point.) Though he switched to photography, he always said he was more influenced by painting and cinema – 'I owe nothing to photography,' he claimed, looking back – and at various points in his life gave up taking pictures for years at a time.
But when he bought a Leica in 1932 he became a purist in its service. He tended to stick to three fixed lenses (35mm, 50mm and 135mm), and was adamant that cropping of any kind was an admission of defeat. In the same year, equipped in this way, he produced two of his most famous photographs: the cyclist caught gliding down a cobbled hill at the base of some stone steps in Hyères, and the man jumping over a puddle behind the Gare Saint-Lazare, captured in mid-air and reflected perfectly in the water, the pitched roof of the station behind him shrouded in mist.
In 1933 he took some exceptional pictures in Spain: bright, human, swift. Many of them were organised against walls. Painted, dotted with tiny windows, pasted with posters or knocked through to make a jagged hole, the walls have a structuring effect on the final shot in much the same way that a backdrop in the theatre does. Over these plain, static grounds Cartier-Bresson presented people vibrantly: a group of boys playing in Madrid, one of them smiling to camera as a round, moustachioed man in a hat and suit rolls by behind them; a smart gentleman with a cane silhouetted against a white circle painted on a fence, as if in the final diminishing frame of a silent movie; a group of children clambering around rubble, one of them almost seeming to burst out of the photograph itself.
One photograph stands out. It's so alive it barely belongs in the company of the others – or indeed in the company of any of Cartier-Bresson's work, though it's among his best known. Dubbed 'The Spider of Love' by his friend André Pieyre de Mandiargues, it shows a couple in a heated embrace on a bed; or rather, three legs, an arm, a hand, a lower back and some indeterminate muslin-weight clothing in the process of being peeled off. The triumph of the photograph is that it's both explicit and mysterious, intimate yet almost abstract: how, you wonder, are its subjects entwined? Which way up are they? Are they men or women or one of each? The edges of the limbs are blurry from the action, and a little dream-like as a result. The image shows heat and movement above anything else – although you can't see these people's faces, you can almost feel their skin. Assouline explains that Cartier-Bresson was at a house party in Mexico City, turning down tequila because he was ill. He wandered around the house out of boredom, and pushed open a door to find that 'two lesbians were making love.' The friend he was with picked up a lamp so he could photograph the scene. 'I was very lucky,' Cartier-Bresson later said. It's unfair to allow the method to detract from the result, but the story gives us an early clue: the voyeuristic circumstances are in keeping with what would be a cool, and lifelong, observational stance.
When did Cartier-Bresson work out what he wanted the camera to do? Was it a political tool that could show reality on behalf of the Popular Front; or an art form that sidled up to Surrealism and proved reality was never quite what it seemed? It would have been hard for anyone, given the political and artistic prerogatives of the period, to reconcile the two. But in 1936 it seemed to others that what he had been doing as he recorded the small gestures of humanity in the street was preferable to the schematised wit of a studio. That year Louis Aragon, who headed up the revolutionary association Cartier-Bresson had joined, and got him a staff job on the new left-wing paper Ce Soir, contrasted his images with those of Man Ray. Aragon was one of the founders of Surrealism, and had collaborated with Man Ray; but the sort of playfulness that imposed a violin's f-holes on a woman's Ingres-like back could only really flourish, in Aragon's view, in times of prosperity. Cartier-Bresson's work, so hopeful of surrealist status but so helplessly rooted in realism, became a kind of call to arms. 'This art,' Aragon said, 'is the art of the period of wars and revolutions in which we are living at the moment, when its rhythm is quickening'.
Other moments can be seen as turning points in that new, journalistic direction, though Cartier-Bresson claimed to have been influenced by Surrealism all his life. There was the time, in 1940, when he buried his camera in a farmyard in the Vosges, cut up his negatives and kept only his favourites, sending them in a biscuit tin to his father for safekeeping. There were the three years he spent in the Black Forest as a prisoner of war, and the attempts he made to escape. (The third was successful.) There was the aftermath of occupation, and the Liberation he recorded as a sequence of razed buildings, wrecked lives and ghostly rooms. In 1947, two things happened: the Museum of Modern Art in New York put on a solo exhibition of his work, and he founded Magnum with three others: Robert Capa, David Seymour (known as 'Chim') and George Rodger. When he saw his friend's show in New York, Capa advised Cartier-Bresson to be cautious. 'You will be labelled the little surrealist photographer,' he wrote: 'you will be lost, and will become precious and mannered. Continue on your way, but with the label of photojournalist, and keep the rest deep in your heart.' In retrospect this, too, has the dramatic force of a turning point.
Beaumont and Nancy Newhall, who curated the MoMA show, began their research on the understanding that the show would be posthumous: they'd heard that Cartier-Bresson had died in the prison camp, or possibly that he'd been shot while trying to escape. In any case he couldn't be traced, and although he did eventually surface and help them when the exhibition opened, much was made of the suggestion that he'd put in an appearance at his own funeral. The joke was telling and the show was more of a retrospective than anyone could have guessed, marking the end of Cartier-Bresson's work in that artful vein. From then on, he was firmly of the world – bringing news, bearing witness. He'd taken Capa's words to heart.
Cartier-Bresson was a tireless traveller. It's not clear that he was any more courageous than that, but perhaps he didn't need to be; he visited places that mattered. He documented Gandhi's funeral, and the last days of Chiang Kai-shek. He went to Moscow after Stalin died, and then to Cuba, where he met Castro, and described him as having 'the neck of a minotaur, the conviction of a messiah'. In Cuba he shyly took photos of beautiful women from behind. In Russia, India and China he liked the look of crowds. He never seemed to get very close. For a man whose photojournalism began in the 1930s, propelled by ideas of political engagement, he was markedly uninvolved. This is the part of his life that is considered trailblazing, but he may have made a greater contribution as a godfather than as a journalist. What he did for fellow reporters in founding Magnum is arguably more significant than any images he shot himself. He always looked up to Capa in matters of photojournalism, although – perhaps because – Capa was much less sensible, and younger than him. If Capa hadn't been killed by a landmine in Indochina, the Cartier-Bresson aesthetic might not have become so dominant.
Cartier-Bresson did try to elaborate, explaining how he set up his shot, then lay in wait for something interesting to cross into the frame. He criticised photographers who used cameras with motors, like machine guns, mindlessly targeting their subjects and never choosing anything exact. But when other people use 'the decisive moment' in their appreciation of his work, they tend to mean that he chose the 'right' moments, and this, I think, is the worst of his legacy. In the introductory essay to Images à la sauvette, he wrote that 'instinctively fix[ing] a geometric pattern' was key. Near the end of his life, he said he had sought to record 'the emotion of the subject … that is, a geometry awakened by what's offered', as if emotion and geometry were the same thing. He was not a constructivist and was by now no longer a surrealist manqué; he was a realist. Nonetheless, for many years what he chose to record of reality was pattern: the texture of a wall, the twist of a staircase, the reflection in a puddle. He spoke often about his pursuit of the 'golden section' and implied that the best pictures could be judged with a ruler, or at least diagrammatically. The reason his photographs often feel numbly impersonal now is not just that they are familiar. It's that they're so coolly composed, so infernally correct that there's nothing raw about them, and you find yourself thinking: would it not be more interesting if his moments were a little less decisive?
One way to trace the history of photography in the 20th century would be to look at the forking paths of two well-heeled Frenchmen who worked through most of it. There was Cartier-Bresson, who lived until 2004 and was dubbed 'the eye of the century', and there was Jacques Henri Lartigue (1894-1986), whose work was compiled by Richard Avedon in his monograph, Diary of a Century. Cartier-Bresson travelled and recorded what he saw among strangers; Lartigue documented, exclusively and constantly, his own immediate circle. One was the father of photojournalism, a man who fought for reporters to retain rights over their material and so professionalised the medium; the other was the founder of the snapshot, an amateur par excellence whose habits foreshadowed the iPhone. Cartier-Bresson's descendants, in this family tree, would be virtually every photojournalist since: Susan Meiselas, Steve McCurry, Gilles Peress, to name a few. Lartigue's relatives would include not only photographers like Sally Mann, who portray their own children, but those like Nan Goldin who have rendered an immediate circle as if it were a family, or even photographers who have drawn on that idiom to make the foreign feel familial (Lucas Foglia in the American South; Jordi Ruiz Cirera in Mennonite Bolivia).
On the face of it, the man who roamed the world and defended the masses would seem to be the more admirable of the two, but I wonder whether the photographer who showed a world from within, and depicted the collapse of his own life (the departing lovers and the doomed ménages à trois) wasn't braver.
Cartier-Bresson said his Leica could be 'like a passionate kiss. But also like a gunshot or a psychoanalyst's couch.' He also claimed that the purpose of the portraitist was to get between the subject's 'shirt and his skin'. And he advised photographers to behave as though they were themselves 'light-sensitive plates'. Where are the Cartier-Bresson photographs that show any of this?
Cartier-Bresson was famously impatient and, according to Assouline, could be imperious. He spent a good deal of time sculpting his own canon from the total Cartier-Bresson oeuvre, leaving curators with an artist-as-dictator. First, there was a sort of portfolio he put together in order to show his work to Jean Renoir (he remembered this volume with great affection). Next came the brutal selection of negatives to be kept in the wartime biscuit tin. Then, in the early 1970s, when he had given up taking photos professionally and gone back to drawing, he selected 395 images that he believed constituted the core of his work, and had new prints made: complete sets were sent to select museums, including the V&A. The Pompidou curators are now free of this – Cartier-Bresson is no longer alive and his widow, the photographer Martine Franck, died two years ago – but for the most part they have been guided by the legacy of his taste.
There is a different Cartier-Bresson hiding in this exhibition. A lightbox in a corner of a far room contains a slideshow of colour transparencies from the 1950s; they are a revelation of balance and intensity, yet treated as mere curiosities in the accompanying book, bunched together in their mounts, as if Cartier-Bresson's handwriting on them were more interesting than the pictures themselves. It's true that he never liked his own colour shots: he took them for money, because that was what magazines had begun to want. It's also true that colour film speeds were slow in those days (not ideal for a photographer who liked to catch things on the move) and the tones exaggerated (hopeless for a man wedded to varieties of grey). Yet regardless of what he thought – and what Cartier-Bresson purists still think – he clearly had a feeling for colour. A man leaning on a boat on a beach in Portugal, the curves of its wooden frame reflecting those of his body, shows him producing soft, complementary shades. Diagonal shots of streets in Paris and London find him embracing saturated reds. New York is all yellow and black.
It's very hard for photographers who look habitually for contrast and shape, with black and white reproductions in mind, to see colour in this way. Brassaï's colour pictures, published a couple of years ago, were nothing like as good. Capa's colour shots are strikingly different from Cartier-Bresson's: in many cases you can feel Capa aiming for the most monochrome views, or at least not warming to what the film could do. Cartier-Bresson's colour images show that in some respects, behind all the graphic rigour, he always had the eye of a painter.
The period of the Second World War – similarly restricted at Pompidou to one small room – has a kind of subliminal charge, a faint signal that something more than picture-taking was going on. It's not what Cartier-Bresson would have called a decisive moment; if anything, it reveals him to be a little unmoored, investigating scenes around corners, keeping himself to himself. His haunting interiors, in an empty apartment on the avenue Foch just vacated by the Gestapo, are like film stills or photographs of crime scenes. The pages of an album put together from that period poignantly convey the ruined landscape of Oradour-sur-Glane, and ordinary life on the street during the liberation of Paris. There is nothing grandiose about these pictures, which puts Cartier-Bresson in the much more affecting position of resident, rather than reporter. His portrait of a woman sobbing in the remains of a building, and his misty image of a man found dead at dawn next to a bridge, are both powerful and difficult. The sequence in which a woman at Dessau recognises the person who has denounced her and fights back, is memorably vicious. In all these, Cartier-Bresson was an escaped POW dealing with events around him in the only way he could, as an implicated spectator.
In 1946 he produced a 'scrapbook', from which he selected images for the MoMA show: Martine Franck described it as 'the most precious thing in the world to him'.[*] Here, there was room to include out-takes, and variations on each frame. His admirers often say he never shot the same thing twice, citing his contact sheets as evidence of his efficient choice of composition. But Cartier-Bresson was at his best when he returned to the same subject again and again, stacking up pictures of a young boy laughing, or portraying Bonnard or Giacometti in their studios as if days had passed while he trained his eye on them. These pictures in particular – portraits of artists and writers that a publisher asked him to take while he was, effectively, in hiding and on the run – are wonderfully quiet, almost conspiratorial. They record the sequential gaze of a storyteller, not the grand vision for a gallery. They suggest, as the album pages and wartime photographs do, that there was most life in him when he was between styles, in danger, and not decisive at all.
[*] HCB: Scrapbook, a near facsimile edition compiled by Michel Frizot, was published in French by Steidl and in English by Thames and Hudson in 2006.


text:
From Belfast to Bruges, Five Film Artists for St. Patrick's Day
Actors and directors whose hearts belong to Ireland.
On March 17, those of Irish descent around the world and even a few people in Ireland will celebrate St. Patrick's Day. The fact that St. Patrick's Day is often celebrated more fervently in communities who have long left the homeland than it is in Éire only demonstrates the magnetic pull Ireland has. In Belfast, Kenneth Branagh's returns to Ireland and his own past by retelling his family's difficult choice to leave their home. But Branagh's not alone in this. As the Irish director John Crowley (Closed Circuit) told Saoirse Ronan, "Ireland is a nation of leavers." This year we celebrate St. Patrick's Day by acknowledging those filmmakers whose immense talent have allowed them to create remarkable movies and stories around the world, but whose heart belongs to Ireland.
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The official trailer for Belfast.
Writer/director Kenneth Branagh directing Jude Hill (Buddy) on the set of Belfast.
At the heart of Kenneth Branagh's Belfast—nominated for seven Academy Awards®—is the love the writer/director has for his hometown. "It's been a place that calls to me all the time," exclaimed Branagh. "Ireland and the Irish define so much of themselves in relation to home…. I think making this film is a chance for me to go home in a sort of more honest way." Branagh tells his story through the nine-year-old Buddy (Jude Hill), whose life revolves visiting with his Granny (Judi Dench) and Pop (Ciarán Hinds), helping out his Ma (Caitríona Balfe), and playing with his Pa (Jamie Dornan) when he's home. When political tensions known as the Troubles break out, Buddy's life and sense of identity are utterly changed. Many of the actors and crew, who were either Irish or from Northern Ireland felt deeply connected to the story. Hinds, who also grew up in Belfast, "connected with [the screenplay] almost straight away… it placed me back in my childhood as well and the people that I was surrounded by."
Watch Belfast now!
The official trailer for Mary Queen of Scots
Saoirse Ronan as Mary in Mary Queen of Scots
As a young upper-class English child in her Oscar®-nominated performance in Atonement and as a French-raised 15th-century royal in Mary Queen of Scots, Saoirse Ronan easily dons many national identities in her roles. Born in the Bronx to Irish parents struggling to become actors in New York, Ronan is an American by birth. After moving back to Ireland at age three, Ronan reclaimed her Irish roots for good. Crowned the first ambassador of the Irish Film Institute (IFI), Ronan takes on many roles, only to return to her Irish roots. "Whether it's just emotionally or whether you physically move back," notes Ronan, "You always go back. It's always a part of us."
Watch Mary Queen of Scots on iTunes or Amazon now!
Watch Atonement on iTunes or Amazon now!
The official trailer for The Little Stranger
Lenny Abrahamson directing Oliver Zetterström in The Little Stranger
In directing The Little Stranger, the haunting period drama adapted from Sarah Waters' acclaimed novel, Irish filmmaker Lenny Abrahamson highlighted the story's bigger political allegory. "The class system and its ruthless pecking order is something Abrahamson sews into the fabric of his film," points out Rolling Stone. Growing up Jewish in Ireland, Abrahamson innately understood how social structures defined personal identity. Abrahamson may have been born in Dublin, but his Eastern European family moved there to escape persecution in the 1930s. Abrahamson recounts, "I remember as a kid being asked if I was Jewish or Irish. I said, like the glib little 15-year-old I was, 'You can be both.'" In his work, from the Oscar®-nominated Room to The Little Stranger, Abrahamson uses his multiple identities to bring empathy and complexity to his characters. "I've lived in other places but I always come back," Abrahamson relates about how he grounds himself.
Watch The Little Stranger on iTunes or Amazon now!
The official trailer for Jane Eye
Michael Fassbender as Rochester in Jane Eyre
In Cary Fukunaga's adaptation of Charlotte Brontë's Jane Eyre, Michael Fassbender plays Rochester, Jane's tormented beloved. According to Salon, Fassbender's Rochester "manages to convince himself that out here in the wilds of Yorkshire, society's laws do not apply -- or at least not to him." Having been born in Heidelberg, Germany, and grown up in Killarney, Ireland, Fassbender found himself, not above the law, but connected to many cultures at once. Despite breaking out as the Irish political prisoner Bobby Sands in Steve McQueen's Hunger, Fassbender was equally at ease playing a German-speaking British officer in Inglourious Basterds or a passionate aristocrat in Jane Eyre. "I definitely still consider myself Irish," affirms Fassbender, but adds, "Yes, yes. And I'm definitely European."
Watch Jane Eyre on iTunes or Amazon now!
The official trailer for The Beguiled
Colin Farrell in The Beguiled
Whether playing a goofball Irish assassin trying to take responsibility for his lethal mistakes in Martin McDonagh's comedy In Bruges or an Irish-American union soldier wounded in the Civil War in Sofia Coppola's period drama The Beguiled, Colin Farrell exudes Irish insouciant charm. For The Atlantic, "Farrell [in The Beguiled] is having the time of his life, getting to play off both the movie-star charisma that launched him into Hollywood, and his more aggressive, frightening side that has made him such an underrated character actor for the last decade." While Farrell became a movie star in the United States, where he now lives, he has never lost touch with Ireland. "I'm an immigrant in LA, albeit a fancy one, and I have all the complications that come with that," Farrell explains, "[but] I feel more emotionally connected to Ireland."
Watch In Bruges on iTunes or Amazon now!
Watch The Beguiled on iTunes or Amazon now!
Sign up for the all-new Focus Insider program to unlock access to exclusive rewards, sweepstakes, once-in-a-lifetime movie experiences, and so much more!
After 15 years, Atonement Still Has 3 Things People Can't Stop Talking About
Remembering why Joe Wright's masterpiece was an instant classic
Cary Fukunaga's Unique Jane Eyre: AAPI Favorites for Focus Features' 20th Anniversary
How a director of Japanese descent turned an English classic into a universal love story
Jane Eyre Turns 10: Screenwriter Moira Buffini On How A Timeless Novel Became A Classic Film
Charlotte Brontë's indomitable heroine lives on in Cary Fukunaga's film

redpajama_set_name: RedPajamaCommonCrawl


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Q: Will 2 operating systems on 2 different drives interfere with each other? I want to install Windows and Linux on 1 system. However, according to this resource, Windows will overwrite the Grub (of Linux) during updates and Linux will overwrite the boot sector (of Windows) during updates. Will installing the 2 operating systems on different HDD's/SSD's make sure that they just can live in peace instead of constantly wrecking each other's boot partition?

A: You are simply not going to find a "set it and forget" solution here.
If you do what you suggest you are still going to have to fiddle with BIOS boot device priority and I would not be surprised if you still got the boot loader hosed every now and then when updating.
You could also unhook the hard drive you are not using but again very fiddly.
As the question you linked states there is a fairly simple way to recover grub. If you are going to be doing dual booting it is a useful skill to acquire as grub getting hosed will happen. It is only a matter of time.

A: I do this all of the time.  My current box is running Windows 10 and Debian9 on the same drive.  The secret here is to figure out the partition scheme ahead of time and install Windows first.  Linux installs seem to play nicely these days.
The GRUB (or GRUB2) installers will add your windows partition to the grub boot and your will be able to choose which one you want.
IF you install windows 2nd, it will be a pain in the butt as Windows will wipe the MBR with it's own boot loader.  Getting grub back is a pain in the rear.

A: Yes, they can play nicely. For this you need to install Windows in one of the drive first as usual. Then install linux in the second drive, this is where grub is going to "live". I have had Windows 10 and Xunbuntu for more than a year without hiccups on boot, even with updates on both systems. I can't say the same about Windows itlsef with the "creators update" oh the horror.
This is what I have on my ultrabook Linux on a 32gb M1 drive and Windows 7 on a 512gb SSD. And I have this on my desktop, Linux on a 512 gb hhd and Windows 10 on a 512 SSD.
A perk is that if you disconnect the drive containing linux, your rig will boot to Windows by default. If you disconnect your Windows drive, you will se an entry on grub for it. If you choose it, it error and reboot.
For a one drive solution check @SeñorCMasMas(lol) answer.
Cheers.

redpajama_set_name: RedPajamaStackExchange


text:
Home TechTalk TV advice TV technology TV trends at CES 2014: Curved screen TVs, 4K Ultra HD fit for your living room and smart TV made simple
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TV trends at CES 2014: Curved screen TVs, 4K Ultra HD fit for your living room and smart TV made simple
Smaller 4K Ultra HD sets with native content from Netflix from LG and curved TVs from Samsung which are ´the future of TV´ at CES 2014
Since the Consumer Electronics Show first got under way in the 1960s TVs have always been the main event.
From black and white to colour and HD to 3D, the CES in Las Vegas has introduced us to each new stage in TV technology.
And 2014 was no different.
Samsung UK president Andy Griffiths told us CES 2014 was "all about TV".
So we caught up with him and LG UK commercial director Andy Mackay to ask where TV is going in 2014 and beyond. Think curved screens, more affordable 4K Ultra HD with native content, and simple smart TVs.
The experts were also keen to remind people that buying a 4K Ultra HD set was sound investment because the technology is becoming increasingly commonplace.
The future is 4K Ultra HD, the future is curved
Last year Samsung and LG dominated headlines at CES with huge 4K Ultra HD TVs.
4K Ultra HD offers four times the resolution of regular full HD, and the technology has been a major trend for both Samsung and LG this year too.
Another at CES 2014 was curved screens - with both firms announcing TVs with the technology. Samsung in particular went big on the curve, calling it the "future of TV" and unveiling a number of sets packing a curved display.
Andy Griffiths at Samsung said: "This year CES 2014 for me is all about TV. The next chapter, a very exciting new stage for TV, particularly driven by curved and the UHD products that go with it."
Samsung showed off its headline-grabbing 105inch U8500 Curved 4K Ultra HD TV, alongside a prototype sporting a futuristic screen which switched between flat and curved at the push of a button.
But more telling was the fact Samsung included the curved screen on its living room-sized 4K Ultra HD TVs too.
The U8500 flagship series offers 4K Ultra HD resolution and a distinctive curved screen. It's available in sizes from 55inches up - perfect for your living room wall.
Samsung calls this the "world's first curved UHD TV".
It also rolled out the curved screen on a non 4K Ultra HD, regular full HD model.
Andy Griffiths said curved TV is "the next chapter of viewing". But why do you need one?
He said the larger, slimmer high-def screens of flatscreen TV gave people "a new kind of viewing experience" but curved is the "next stage".
"With the curve screen you have this fantastically immersive experience, so it's the natural cinematic view. It's the natural way the human eye looks at visual pictures and it's another aesthetically beautiful stage of TV design.
"It's all about enhancing the experience for people - is it a better experience?"
4K Ultra HD 'ready for your living room'
Now we've covered the curve we can get onto 4K Ultra HD, which - although not being revealed for first time - saw a number of major developments at CES 2014.
The first 4K Ultra HD TVs we saw at CES 2013 were 84 and 85 inch sets from LG and Samsung respectively. They blew our socks off, but were priced and sized for footballers and film stars and the mansions in which they live.
However, both firms rocked up at CES with 4K TVs that were much more living room friendly.
Take LG's 49-inch set, a 4K Ultra HD that's small enough to fit on your wall at a price which won't require you to re-mortgage your house.
Andy Mackay, commercial director LG UK, said this meant people could buy a 4K Ultra HD TV for £2k - just in time for the World Cup.
He said: "The product will become more accessible to people in UK as we're going to launch a 49inch product in time for the World Cup to allow people to buy a 4K TV for under £2k."
Meanwhile over at Samsung there were also 4K Ultra HD TVs that were more living room friendly. Take the U7500, a flat screen 4K Ultra HD TV which Cnet said was a close relation of last year's F9000 - A TV Cnet described as a "favourite".
And of course the 4K Ultra HD U8500 curved screen will also be available in a 55inch model.
Watch 4K Ultra HD native content on your 4K Ultra HD TV in 2014
The 2014 World Cup in Brazil is actually being shot in 4K Ultra HD, but until now people's main gripe with the technology is the lack of actual 4K Ultra HD content - known as 'native'.
But that's all about to change thanks to what Andy Mackay at LG called the "big development in 4K Ultra HD".
Netflix's upcoming 4K Ultra HD streaming service will be rolled out to 12 of LG's latest 4K Ultra HD TVs in the next two months.
Mackay said: "We now have partnerships in place that will allow content to come to the 4K Ultra HD TV. So Netflix announced with LG at CES that people will be streaming 4K Ultra HD movies to LG TVs, literally in the next month to two months."
Samsung too is also working its butt off to bring native content to its 4K Ultra HD TVs.
It's working with content producers in Hollywood to ensure content for its ultra-high-definition screens, said H.S. Kim, Samsung's executive vice president of visual displays.
For example, a 4K Ultra HD streaming service for the firm's Ultra HD TVs is in the pipeline from M-Go - a tie-up between Technicolor and DreamWorks Animation which offers programmes and films to stream in 4K Ultra HD.
Future proof 4K Ultra HD is 'going nowhere'
Andy Griffiths at Samsung explained that while there it may be a while before 'native' 4K Ultra HD content becomes commonplace, this isn't a reason to avoid jumping on the 4K Ultra HD bandwagon now.
He went on to explain that all 4k Ultra HD TV's will cleverly upscale standard/full HD content to 4K Ultra HD resolution, meaning UK viewers will have the opportunity to watch big events like the World Cup in near 4K Ultra HD quality.
"The great things about the screens themselves is they upscale content and convert a lot of the content on your TV," he said.
"So you can genuinely enjoy the benefits of 4K Ultra HD whatever you're feeding in to the panel and of course there are partners we'll work with to give Samsung users special content, special experiences which lead them into the 4K Ultra HD world - the encouraging message to consumers is 4K Ultra HD is certainly future proof.
"In a year, in the next few years there will be more and more native 4K Ultra HD content so it's worth investing in now."
Smart TV gets simple with LG's webOS
One in two TVs in the UK are smart, but many people use them for nothing more than catch up TV and often don't even set them up properly.
We're often left 'bamboozled' and 'confused' by smart TVs. At CES LG announced plans to change this with its webOS Smart TV operating system, which is here to make the TVs more simple than smart.
Andy Mackay at LG said webOS - bought from HP last year - was used by LG to create its next generation of smart TVs.
Why? To make smart TV simple to set up and a breeze to use.
He said: "The sole objective of webOS is to make TV simple again. So many consumers are bamboozled, certainly confused by many of the products available today. Smart TVs - almost feeling they need to be smart themselves to use them. So we've developed a tool which allows you to navigate and use smart TV in a much more intuitive and simple way.
You can personalise and you can use the product and scroll around the product in a much easy way than was previously the case. In the UK this will include things such as our unique Sky Now TV app, which allows you to on-demand access sports, movies and entertainment - only on an LG device."
Smart TVs offer many features, from normal TV to catch up services such as the iPlayer, and web browsing and more. With webOS you can switch between these without having to return to the homescreen, and you can have multiple apps running without slowing down the TV.
Andy added: "A big development with webOS is the ability to multi task to a much greater degree and you can have various apps open at the same time without the TV slowing down in any way. This, as well as the simplicity of using the product, is what we feel sets LG webOS apart from other smart TVs on the market. It's so simple it's smart itself."
Related in TV technology
Choose the right 4K TV this Christmas
How to control your home from your Smart TV
Pitch perfect viewing for all the family with Samsung
Bring the footie home with a Sony BRAVIA A84J TV
How to create the perfect footy den with LG


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Woman who fell while taking selfie on California bridge won't face charges, deputies say
By Veronica Rocha
A woman who plunged 60 feet while taking a selfie on a Northern California bridge is not likely to face charges for crossing a closed walkway, authorities said.
The unidentified woman and a group of friends were walking on the catwalk underneath the 730-foot-tall Foresthill Bridge in North Auburn on Tuesday when she tried to pose for a selfie and fell, according to the Placer County Sheriff's Office. She landed on a trail 60 feet below the bridge.
The woman was airlifted to a hospital and is expected to survive, sheriff's officials said.
The unexpected accident has now triggered a stern warning from sheriff's officials: "You will be cited and/or arrested if found in any closed location. Worse yet, you can lose your life, and none of that is worth a selfie! Enjoy the bridge and canyon from the designated areas."
Sheriff's officials said the walkways under the bridge are closed for safety reasons.
"This young lady is very lucky to be alive, and the consequences could have been worse for her, her friends and her family," the Sheriff's Office said.
Authorities are hoping the woman learned a lesson and won't be charging her for trespassing.
"The deputies on scene felt the fall would leave a lasting enough impression to prevent her and her friends from trespassing on the bridge again," deputies said on the Sheriff's Office's Facebook account.
veronica.rocha@latimes.com
Twitter: VeronicaRochaLA
Woman's body found on rocks of Los Angeles River in Long Beach
He wanted to buy candy, but his card was declined. He got a little angry.
1 dead in Highland Park shooting; 2 suspects at large, police say
Veronica Rocha
Veronica Rocha worked on the Metro desk and at L.A. Now covering breaking news in California. She joined the Los Angeles Times in 2014 and left in 2017.


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Canada's House Of Commons Passes UMSCA; Trudeau Outlines Stimulus Plans
Less than a day after Prime Minister Justin Trudeau announced his spouse was diagnosed with COVID-19, the Canadian Parliament's House of Commons suspended operations until April 20. As part of that motion, however, lawmakers also approved the United States-Mexico-Canada Agreement (USMCA), bringing the trade deal one step closer to implementation. Parliament's upper chamber approved the agreement just hours later.
The only remaining step in Canada's ratification is formal approval by the Governor-General, the representative of Queen Elizabeth II, Canada's head of state, which is simply a formality. The USMCA then will enter into force on the first day of the third month following notification so there still is no specific date for entry into force.
As The Hill explained, "Canadian approval kicks off a three-month period for all three signatory countries to agree on implementation regulations, including naming each country's representatives for the conflict resolution mechanism."
Trudeau's cabinet also has delayed the release of its budget outline, which had been set to be released on March 30, but he and Finance Minister Bill Morneau, Bank of Canada Governor Stephen Poloz, and Superintendent of Financial Institutions Jeremy Rudin, have announced the broad outline of a fiscal stimulus package to help individuals and businesses impacted by COVID-19. While more detail will be filled in over the coming days, the package likely will provide $10 billion in stimulus through the Bank of Canada.


So why not offer yourself a little time back on a Sunday afternoon to balance your energy, increase your resilience and to learn powerful ways to transform your 'busy-ness' into something far more positively charged.
We'll explore powerful yoga techniques, coupled with a breathwork flow, balance your energy in a deep meditation and take a look at energy-sustaining foods. At the end of the mini-retreat, we'll sit down together for an adaptogenic feast… all of this held at the DL Powered Yoga studio on the river in Surrey – a tranquil setting to fully recharge for the afternoon.
Yoga duo, founded by Dee and Laura, see the perfect fusion of asana strength, mindful practise and meditation – coupled with the magic of the breath.


The clerk went on to tell Billie about her experience with a loved one. For both of them, the moment became meaningful.
In this way, conversation by conversation, Billie lifts the veil of silence around mental health.
Charlie, Billie's youngest, was 28 when he took his life in 2003, "a victim of stigma," she said, because he refused to reach out or tell his friends.
Billie has been fighting the crusade ever since. She and her husband, Michael Kubly, M.D., a retired orthopedic surgeon, have sponsored local mental health education and suicide prevention efforts through the Charles E. Kubly Foundation, named in their son's honor. Among the many recognitions for the work of the Foundation, the couple received an honorary doctor of humanities degree from the Medical College of Wisconsin in 2016 for their work to increase accessibility to mental health resources in Wisconsin.
In August, Billie gave a personal gift of $500,000 to Mount Mary to start an endowment that will support counseling and mental health services on campus in perpetuity. This gift will be used to expand the services of the Counseling Center.
The Counseling Center is staffed by professional counselors and graduate school interns who provide walk-in, consultation and crisis counseling. Due to a prior increase in the scope of services, the Counseling Center saw a 70 percent increase in total appointments between 2015-16 and 2016-17.
Another mental health initiative on campus is a chapter of a national advocacy organization, Active Minds, which formed last school year. The student-led organization is designed to help students present educational events, movie screenings and awareness-raising activities designed to promote mental health resources on campus.


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(thing) by DrT Mon Apr 08 2002 at 6:20:57
A brief intro
Chip's Challenge is a puzzle game originally developed for Epyx in 1990, working on the principle of various tiles, items and monsters which must be avoided or retrieved in order to reach the end of each level. (I'll go into more detail later). The information in this writeup is split into trendy categories for your convenience. If you're just skimming, there's a handy quick start vital statistics category, just for you.
Necessary Quick Start Vital Statistics
NAME OF THE GAME:
WHEN CREATED:
Strategy, tiled puzzle
Chuck Sommerville
Lynx, C64, NES, DOS, Windows, Amiga.
Snake Byte, Chip's Challenge II
WHERE AVAILABLE:
No longer being sold, but can be downloaded from the WWW.
How Chip's Challenge came about
Chuck Sommerville had always liked puzzle games, enjoying the way in which simple components could be stuck together to make a complex brainteasing patchwork. His first popular game, Snake Byte for the Apple II, followed this philosophy, consisting of just a few things (a snake, some targets, and a bunch of walls). Whilst he was working at Epyx, the Atari Lynx was released. Chuck was assigned to help the other programmers finish up their own games for the new console. Not the way great new games are made, no? So, Sommerville started making up his own game in his spare time, christening it Tile World. With the help of other cool dudes at Epyx, Chuck managed to get some artwork and music together and a level editor such that others could contribute their own levels. A group of testers tested all one hundred and forty-odd levels to make sure that they were possible and the game was ready in just 10 weeks. That's so cool I'll say it again. JUST 10 WEEKS! (But they did change the name of the game.)
The different platforms (and two different versions) of Chip's Challenge
Chip's Challenge was originally released on the Lynx. It was then ported to the Amiga, the Commodore 64, the NES (though this version wasn't released) and to the IBM (i.e. DOS and Windows).
However, when the game was ported to the DOS and Windows, the game logic was changed in a lot of ways to suit the hardware. These changes were made by Tony Garcia, who even had an extra level added to the IBM version which credited himself and the other people on the IBM team! Some of the changes were pretty dramatic, so much so that it makes sense to consider the two separate versions of the same game.
Meet Chip. Chip is a computer geek. Chip has the hots for Melinda The Mental Marvel. She is the head of her own computer club, The Bit Busters, and Chip really wants to join it. She's offered him a membership, but on one condition (the sneaky devil!). Chip must make his way through her clubhouse of 148 (or 149 levels, depending upon whatever platform you're playing). It sounds tough, and it is. After all, Melinda's clubhouse if filled with all kinds of dangerous stuff, like teeth monsters and bugs. Thankfully, the first few levels are easy, serving more as tutorials.
Yes, it is a pretty weak storyline, but it has to have one.
Overview of the levels
The first 8 levels of the game are tutorial levels, named "LESSON 1", "LESSON 2", "LESSON 3", and so on. Each level consists of a bunch of individual tiles, or squares, which can be empty space, or occupied. You start the level on one of these tiles, with other stuff on tiles, such as monsters or helpful stuff to pick up. These things include:
Monsters may move in a deterministic predictable way, in a pseudorandom fashion, or may follow you.
Helpful items can help you traverse bad stuff (fire boots let you cross fire, flippers let you swim through water) which might otherwise kill you.
There are also keys (red key lets you pass through red door, etc.), and different kinds of floor (normal, dirt and gravel) which may block monsters.
Four different kinds of wall, all of which can block you: plain wall (which blocks everything), invisible wall (plain wall, but you can't see it), blue wall (you don't know if it's wall or not until you run into it), and popup walls (you tread on it, it becomes a wall).
There are also three very important kinds of item: chips, chip sockets, and exit tiles. Chips can be picked up. Chip sockets are effectively walls which block you UNLESS you have picked up all the chips. That's what they're there for. Exit tiles are what let you go to the next level. It's the most common way to make a level tough: scatter the chips in areas with lots of monsters, and block the exit with a chip socket so you can't just run away like a coward.
There are 148 or 149 levels (depending on what platform you play the game), and there is a Mandelbrot set generating hidden level on the Atari Lynx version of the game. Each level has a number (duh) and a password). Most of the levels also have a time limit, so you can't just stand around trying to figure stuff out. In a few of these levels, the time can be critical, intentionally designed to leave few seconds to spare. You can travel from one tile to another in one of the four compass directions, unless there's something in the way.
Scoring is fairly simple. If you complete a level on the first try, you get 500 multiplied by the level number in points. Each time you die or restart that level, 20 percent of the remaining level score is deducted, unless the level score is below 500 (If that sounds complex, just remember that each time you die, you lose some of your score for that level, but you can't lose all of it). Also, for every second you have left at the end of each level, you get an extra 10 points. You then add up your score for each level to get your total score.
What this means is that it is possible to improve your score on a level you have already completed by doing it again, faster, or by doing it first time around. There in lies the Challenge; once you've completed all 149 levels, you can then go back and hone your skills.
That's just a fancy name for the different things you might find on levels. We have:
Fire, which kills you unless you've got the fire boots. Some monsters are killed by fire, some just bounce off it.
Water, which kills you unless you have flippers. And most monsters foolhardy to step into it.
Ice, which makes you lose control and keep sliding in the direction you entered it (until you slide off it) unless you have ice boots. Monsters also slide on ice.
Force floors force you along in the direction of the arrow, though you can step sideaways off of them. If you have suction boots, they behave like normal floors. Though monsters are still affected by them.
Gravel is normal floor, only it looks speckly and black and monsters won't tread on it. So if you stand on gravel, you're pretty much safe.
Dirt also blocks monsters, but when you tread on it it turns into normal floor. Then the monsters can come after you.
Walls can be solid, filling an entire tile with an impenetrable black cube, or can just block off a tile from one direction.
Blue walls might be real, might be not. No way to tell until you run into it.
Popup walls spring up when you tread on them, turning into wall when you walk onto them. But you can walk off the top of walls you've made, so that's OK. Usually used to make one-way passages.
Coloured doors are walls which disappear into floor if you have the right key and walk into them.
WEIRD TILES
Bomb blows up whatever moves into it. Bombs doesn't move so all you have to do is avoid them.
Clone machines clone whatever object is on top of them when their red button(s) is pushed by you, a monster, or an object. The item on top of the clone machine doesn't actually move off it, though.
Bear traps hold anything inside them still, unless a brown button is pushed or held down, in which case they are effectively normal floor.
Teleports will zap you to another teleport when you tread on them. (The way this happens is governed by strict rules, though due to their sheer nature teleports can be used to make really fucked up levels).
Toggle walls either start as wall or floor. When a green button is pressed, a toggle wall which is currently floor becomes a wall, and vice versa. Hence, toggle wall.
Blue buttons cause moving tanks to turn round and move the other way.
Hint buttons show a small hint if you tread on 'em. Time keeps ticking while you read.
Burglar tiles, or spies will steal your neat footwear (fire boots, suction shoes, etc.) if you tread on them.
Computer Chips are what you need to collect all of so that you can pass through a chip socket.
Keys let you go through doors of the same colour.
Boots let you go through bad stuff. Fire boots for fire, suction boots for force floors, ice skates for ice, and flippers for water.
Blocks are big things made of dirt which block your way. They can, however, be pushed (but not pulled) into water to make a dirt floor.
Chip sockets can only be passed through if enough chips have been collected.
The exit takes you to the next level when you tread on it.
With all the monsters, you die if you touch them. Yeah, that does make it more difficult. They don't just bounce off walls, though, they can also bounce off each other.
Tanks move in just one direction, unless a blue button is pressed, in which case they turn around and go the other way.
Balls go in a set direction until they hit something. Then they bounce and go the other way.
Gliders will go in a set direction until they hit something, in which case they turn left. They can go through water.
Fireballs go in a straight line until they hit something, in which case they turn right. They can go through fire (but water quenches them).
Walkers go in a straight line until they hit something, in which case they go in a random direction.
Bugs march around the perimeter of a cluster of objects; they hug the wall with their left side. If there's nothing to stick to they just go round in an eternal loop, constantly turning left.
Paramecia march around the perimeter of a cluster of objects; they hug the wall with their right side. If there's nothing to hug to they just go round and round.
Blobs pick a random direction to move in. This makes them unpredictable, but they can only go half as fast as you.
Teeth home in on you, but they don't do it very intelligently, and they only go at half your speed.
Don't worry if that seems like a lot; once you start playing, the info digs into your brain and you'll never forget it.
The loyal fans of the game
There is a slowly growing community of Chip's Challenge fans, most of which hang out at a newsgroup. You can access it from:
news://news.annexcafe.com/annexcafe.chips.challenge or
http://www.prostar.d2g.com/newsportal/ (which lets you reach it from your browser)
Some of the fans are content to just play around with the game now and then; others are motivated to find newer ways of doing the levels and beating old time records. Some are on the Quest For Six Million points, but the closest any have come so far is around 5.98 million points. The fans have also made a good few nice utilities for Chip's Challenge. If you need help with Chip's Challenge, they're the people to turn to, since they've produced maps, screenshots, AVIs and even an emulator to help you with the game.
Why you should play this game
You should play this game because it will teach you the joys of problem solving and perseverance. You will become determined to beat all the levels, and will want to make your own! This game is fun and addictive, and it gives you that better-than-sex high when you finally complete one of the really tough levels. It's also quick to download and fairly easy to set up.
Getting The Game
The game could originally be purchased with other games in the Microsoft Best of Windows Entertainment Pack. The other way to get it was to get it bundled with your PC. Since it isn't possible to get it in either of those ways any more, you can only download it from the Internet. Here's some websites. If these don't help, try a search on Google.
http://website.lineone.net/~matthanson/framez/chips.html
http://w1.491.telia.com/~u49105060/download_spel.html
http://therhogue.com/tripeaks.htm
The contents of this writeup are in the public domain.
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Riemann Hypothesis Windows 3.1 Everything Under The Sun Moms make the best lunches
Law of averages Idlewild Pokémon Atari Lynx
Internet Dreamweaver Saddam Hussein password
Commander Keen sysadmin IBM
We are the bat people.


The boys from the Yawkey League will attempt to take back the EMass Tourney crown this upcoming Sunday, July 12, 2015 at Campanelli Stadium in Brockton, MA, home of the Brockton Rox (1 Feinberg Way, Brockton, MA 02301).
A great ballpark, hopefully a beautiful day, and almost 10 hours of quality baseball. Concessions will be open, so come down and support the team!!
Please report to Campanelli Stadium for 12:00 (please, no later than 12:30). Go to the front entrance where there should be ticket-takers, and they will point players in the appropriate direction). As there are no changing facilities made available for this event, players have been asked to be close to fully-dressed in playing gear upon arrival (throw on spikes and jerseys when there, but please have pants on already).


A cake wont be fantastic if you do not put on it the right cake topper.
If your cake is a wedding cake, you should put at the top of it an original topper. Usually they are represented by newlyweds statues but you can also use simply "Just married"or "love" inscription in cardboard, in wood or in glitter plastic. The wedding cake is the conclusive moment and the most photographed one therefore must be chosen properly cannot be diminished by the wrong topper.
Because his iconic role, like a Christmas tree star, it must be chosen properly. For example the little newlyweds statues represent symbolically the couple and they should have not only the real physical characteristics of the newlyweds but also their personality. Furthermore cake topper will make perfect your wedding cake and will adorn with glamour your wedding cake.
In Marthas's cottage shop on-line section, a wide range of wedding cake topper is available. It is so wide that you will find your own for sure! You can choose to leave your pastry chef free to choose the cake topper, but surely you will find plastic newlyweds statue without personality.
In order to avoid this type of inconvenience, you have to choose the most representative one. Do you love cartoons? You can choose Minnie and Mickey Mouse embracing each others on a bench in a park.
Do you want a cake topper with your sons ? You will find babies, children and teenagers toppers for every occasion. Do you want to keep close to you your little pets? You will find on sale different type of pet race, colours that could be matched with the newlyweds cake topper.
There are a lot of newlyweds little statues with specific physical characteristics like with white, medium or dark skin, or with every type of colour hair. If you do not like romantic cake topper, you can choose funny or athletic topper that can represent sport or hobbies played by newlyweds.
With a simple click, express delivery will ship in whole Europe directly to you house. Our cake toppers have wholesale prices so they are very cheep and competitive but they have an high quality selected carefully by our Staff. In the end You can choose to pay on-line, or by cash on delivery.


text:
Artist in Focus: PJ Crook
Known for her distinctively stylised depictions of people and a mischievous use of light, colour, texture, and perspective that plays with the viewer's sense of space and time, PJ Crook is a fascinating contemporary British artist. Which is why we're incredibly proud to be launching her as one of our new featured artists, with four pieces taken from throughout her career making up a brand new collection at Trinity House.
As part of our launch, we spoke to the artist herself to find out more about the background, influences and inspirations that gave life to her exceptional body of work.
Fascination on Canvas
To ask PJ Crook what inspires her is to trigger an ebullient catalogue that includes travel, nature, food, the media, strangers, friends, and loved ones. In short, she takes inspiration from everything and everyone, and it is this fascination with life in all its complication and vibrancy that has led to the creation of her unique style; a sometimes playful, sometimes melancholy, yet always distinctive take on the world around her.
In part, her famously personal and stylised approach is thanks to her preference for working from memory and imagination over direct reference. PJ paints almost exclusively from her studio in the Cotswolds – a tranquil space that she says allows her to work without distraction. "I work from subconscious, and imagination, and observation," she says. "I paint quite intuitively."
Crook's intuitive style has gained her international acclaim. Her work has been displayed in galleries and institutions from the UK to the USA, Japan, and Saudi Arabia, as well as in the private collections of fans worldwide. Despite exhibiting all around the world, she is steadfastly faithful to her hometown of Cheltenham, where she was born and still resides.
Indeed, the impressively extensive list of local charities and arts causes of which she is patron – including the National Star College, leukemia charity Linc, Cheltenham Open Studios, and Art Shape – demonstrates her love for and dedication to her local community. She is also an honorary Vice President of Gloucestershire College and was awarded an honorary Doctorate of Art by the University of Gloucestershire – something which she claims was especially meaningful as she had studied there earlier in her career. "Being connected with those [organisations] keeps me in touch with my community and people so it's very important," she says.
Recognition abounds beyond the beautiful Cotswolds too; Crook is a member of the Chelsea Arts Club, a Royal Society of Arts Fellow, and was awarded her MBE for services to art in 2011.
PJ Crook at Trinity House
Our new and exclusive collection consists of four works taken from various periods in Crook's life and career. Each representative of her renowned style and yet distinctive in its own way, the paintings would make the perfect addition to both new or established collections.
The earliest piece in our collection and perhaps one of the most easily recognisable, Big City is a fantastic example of Crooks fascination with crowds of people. Painted in tinted gesso on canvas on corrugated wood, the piece displays her characteristically muted palettes and her bold, sculptural technique. "I like working on three-dimensional pieces like that," Crook says of the piece, "What particularly interests me is that the surface isn't flat so painting is more complex. I like the distortions so, as you walk past a corrugated piece, noses or cheeks might be elongated or shortened. That and the feeling of movement it creates is what really fascinates me about the three-dimensional aspect of corrugated pieces."
Big City, 1988
The Crustacean
An excellent example of the direction Crook's style has been taking recently, this 2016 piece was inspired the artist's husband's love of food and cooking. "The Crustacean is inspired by my husband, Richard," she says. "He is passionate about cooking so I have done a series of paintings for him, at birthdays and Christmas, of him as a chef in a white hat and jacket. When he was young he had this dual love, he had to decide whether to study art or whether to become a chef; he did art. He does all the cooking at home so when I do paintings of a chef, there's a resemblance to him. He loves cooking lobsters and oysters, there's much inspired by him."
Perhaps brighter and more vibrant than her earlier works, The Crustacean nevertheless carries identifiers that mark the piece out as Crook's; the disconcertingly melancholic expressions of the chef, the contrasting tones, and the theatrical, 3D composition that plays with the viewer's perception.
The Crustacean, 2016
Cueing Up
Another painting inspired by a loved one, this time the artist's father, this 2015 piece is an example of her characteristic studies of the anonymity of groups of people in an everyday setting. "I can remember going up to see him in a snooker hall when I was quite young, in my teens," she says of her father. "…and going into this very smoky, mysterious atmosphere filled with men, sometimes looking slightly sinister and other times just loving the game." Showcasing Crook's more typically muted colours and a great example of the way her works combine both memory and imagination, Cueing Up is painted directly onto a wooden frame that gives a sense of space and draws the viewer into the smoky snooker hall in exactly the way the artist was drawn into her father's way of life.
Cueing Up, 2015
The most modern part of our collection, Cheltenham is perhaps one of the most indicative of the artist's style. Featuring her famous crowds, this time perusing newspapers, the piece was inspired by Crook's fascination with the way newspapers have changed over the years. "I love the idea of newspapers and the way they evolve. Since I've been making newspaper paintings – the first one was 1988 – newspapers themselves have changed in format," she describes. "They are in a way history paintings because they look at the news across the whole day or that weekend, they reflect the different points of view of the newspapers and I try to reflect that in the people that are reading them."
Eagle-eyed viewers or fans of Crook's work will also notice another signature marker; the inclusion of twins or double people, alongside bright bold colours and a sense of movement that brings life to this bustling depiction of her beloved hometown.
Cheltenham, 2017
For more information and to view our full collection with introductions by PJ Crook, visit our artist page. PJ's pieces are also on exhibit at our Broadway gallery, we look forward to welcoming you.
Mark Riley2018-06-22T14:32:36+01:00
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Trinity Advent Calendar, Twelve Days Of Christmas
Winter Salon Part II
Winter Salon: Part I
Ken Howard and Autumn Winter Exhibitions
New Mary Fedden Artworks and Benjamin Leader


text:
Shaun vs. Puppet Master II (1990)
By ShaunVSBM on October 19, 2015 • ( Leave a comment )
Directed by David Allen
Starring Elizabeth Maclellan, Collin Bernsen, Steve Welles, and Charlie Spradling
Running dangerously low on juice, the puppets of Andre Toulon use what's left of their magic elixir to bring their master back from the dead to make more all the while paranormal researchers are investigating the hotel for suspicious activity. Aren't they in for a surprise?
They're back. No strings attached.
Taking place not long after the events of the original film, a group of paranormal researchers descend upon the Bodega Bay Inn where they intend to look into the insane ramblings of survivor Alex Whitaker. Looking into the inn's past they learn some odd facts about the place and it's former owner. While the medium on the team gets the initial heebie jeebies, the rest of the team of straight thinkers stick around until one of them is drilled in the head by a puppet with a drill on its head. They take the puppet out and learn about its mechanical body but they aren't sure how it moves on its own.
You requested a wake up call?
The next day they are surprised to find that someone has been living in the inn with them; a bizarre man who covers his body and wraps his head like he's the Invisible Man and even giving his last name as Channée (a play on Lon Chaney who was an icon in the golden age of horror films) Claiming to be the new owner, Channée allows the researchers to stay though he really wants Elizabeth. Channee, unsurprisingly, is Toulon in disguise and sees Elizabeth as his reincarnated wife Elsa, who was killed years ago by the nazis. He's been sending his puppets out to bring fresh human brain pieces, the special ingredient in the magic potion, so they might as well go after the researchers since time is of the essence.
Honestly, I think the kid is going to deserve it.
Puppet Master II is a bit of a step up from the original film, which was a little on the boring side. The story is farfetched but this is a fantasy horror film, you just roll with what the film throws at you; hey, you're already suspending disbelief because it's a frickin' killer puppet movie. The best parts, of course, feature Toulon and his puppets. Toulon, played by a terrific Steve Welles, seems like he'd do anything for his puppets until he meets Elizabeth/Elsa and his thoughts quickly turn to being with his lost wife again, even if it means turning his back on his playthings. The film features flashbacks to 1912 when Toulon was taught the secret to immortality from an Egyptian magician who was looking for someone to pass it along to.
You can't see me.
The puppets are featured quite a bit more in the sequel as each one seems to have a key scene or two where they get to do their thing, except Jester who just mopes around. There's a new addition to the team as well with Torch, a puppet with a temper, and a flamethrower, to take out his victims. Thanks to the special effects artists, the puppets move and look better this time around. Yes, you may notice strings and know which ones are simple rod puppets, but the stop motion is a step up and combined with the rest of the puppetry really make these deadly dolls fun to watch.
I'm gonna get ya!
The franchise has kept going all these years and is still going on right now. There have been some missteps along the way but early on this is one of the better films in the series and worth a watch.
Story: 6 – It's really the same thing as the last movie but I really enjoyed having an undead Andre Toulon along for the ride this time.
Blood: 6 – Another step up from the original as Tunneler uses his pointy head on someone's skull, Blade carves up a face and Torch gets to test his toy on several victims.
Nudity: 8 – A topless Charlie Spradling always makes my day.
Overall: 7 – A big improvement over the original film, this is the one you want to start with.
-Paramount requested that Leech Woman be killed off because executives did not like the puppet.
-Torch is able to shoot a flame about ten feet long. It's probably because of this that the puppet is rarely featured, if at all, in the later sequels.
-Fans of Charlie Band's earlier killer doll film, Dolls, will notice that Mr. Punch is on Toulon's shelf in the background.
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Categories: Featured, Full Moon Month, Recommended
Tagged as: 1990, Charles Band, David Allen, Full Moon Pictures, Puppet Master, Puppet Master 2
Shaun vs. Opera (1987)
Shaun vs. Q: The Winged Serpent (1982)
Shaun vs. Piranha 3D (2010)
Shaun vs. Silent Night, Deadly Night 4: Initiation (1990)


It was intended as an unusual garden ornament.
But now a lovingly-restored vintage bicycle is a Netherton couple's homage to the Tour de France, which hits town in the summer.
Roy and Jean Farmer hope the bike will prove an eye-catching feature in the garden when the world's top riders race through Huddersfield in July.
The couple plan to be on the route of the race in Berry Brow, less than a mile from their home, with cycle mad friends.
They also hope that many people will enjoy seeing postcards, letter seals and keyrings of the flamboyant bike, painted a vivid yellow in Tour de France colours.
Mrs Farmer, head teacher at Newsome Junior School, and her husband spotted similar bikes on show in the Italian village of Salo, on Lake Garda, when they went on holiday.
Many were exhibited outside shops, garlanded with flowers.
Mr Farmer said: "When we returned I searched eBay and I managed to find and old Hercules ladies bicycle, dating back to the 1960s.
"It was in a shocking state, covered in rust, but we thought we could turn it into a garden ornament.
"Then we heard the news about the Tour de France coming through Huddersfield and decided to make it a real feature.
"It took a lot of hard work to get rid of the rust and we then painted every part of it bright yellow.
"Jean is doing a lot of work about the Tour with her classes at school and she has produced a lot of craft items featuring the bike as part of that project.
"We have friends coming dwon from Scotland in the summer who are really keen cyclists and we will be making sure we get a good spot when the race comes past on Woodhead Road.


The mild days of spring have arrived after a rather brutal winter for southeast Louisiana. I mean, seriously, it snowed twice this past winter! What's up with that?! But I digress. The trees have returned to their verdant splendor, the grass is beginning to grow to the point of needing to be mowed, and lurking back in the corner of your yard, there it is. Toxicodendron radicans. The dreaded poison ivy. (Poison ivy fun fact: it's not really an ivy. It is in the same family of plants as cashews and pistachios.) Here is a little info about this nasty little vine/bush that may help you to avoid a nasty rash, or to help you deal with it if it happens.
Poison ivy causes what we doctors call urushiol-induced contact dermatitis. It actually can be caused by a number of Toxicodendron plants. In the eastern USA it is most commonly poison ivy or poison sumac. In the western USA it is most commonly poison oak (although there is an eastern poison oak as well). The causative agent in all of the plants is an oil called urushiol. Urushiol actually causes changes in the protein arrangement in your skin cells such that your immune system thinks they are foreign bodies which need to be destroyed. This is a type IV hypersensitivity reaction or a delayed hypersensitivity reaction. This means that the reaction is not like the reaction you get with a bee sting or with pollen. It usually is delayed by 48-72 hours from exposure to the urushiol.
The rash associated with poison ivy affects over 350,000 Americans every year. Interestingly, 15%-30% of people won't have any response to the urushiol. For those who do develop the rash the response varies from mild to severe. The rash is red and raised and may have small vesicles to large blisters. It is intensely itchy. It is NOT contagious and you cannot spread it on your body by scratching. The liquid that forms in the blisters does not contain urushiol, so that isn't a source of spread. If you have developed the rash in various places on your body you can be assured that the urushiol touched you in that location. You CAN get the rash from urushiol which is on your dog's fur, on your clothing, or on any other object which has touched the poison ivy plant.
Poison ivy is a self-limited condition and will typically resolve on its own within 14 days. That's little comfort to the person who is itching to the point of near madness. Lucky for him there are some treatment options.
So what do you do if you are exposed? First, DON'T PANIC. (Just kidding. Who panics from poison ivy exposure?) The best thing to do is wash the skin with soap and water immediately. If the urushiol is removed it won't cause the rash. You should also wash clothing, toys, gardening tools, and anything else that has come in contact with the plant, and that includes Fido. If you develop the rash it is too late for this as the urushiol is very well and quickly absorbed into the skin. Once the rash develops topical treatments such as 1% hydrocortisone cream, zinc oxide, and calamine lotion can help alleviate the itching. Colloidal oatmeal and baking soda added to bathwater may also help some with itching. If the rash is extensive or with significant facial involvement, injections with corticosteroids or oral corticosteroids may be needed. These will require a visit to the doctor. Nota bene, Benadryl and other antihistamines may not help much since the reaction is not mediated by histamine but is cellular mediated. Occasionally scratching will lead to secondary infections which require antibiotics. If the vesicles or blisters become filled with pus, it would be best to have them checked by one of our doctors.
Leaflets three; let it be!
Berries white, run in fright!
(and my favorite) Hairy vine, no friend of mine.
So keep an eye out for these dreaded plants as the weather warms and we begin to explore the great outdoors. But take courage! We at Fairway Pediatrics are ready to conquer your itching rash with all the weapons in our arsenal!


The only overhead door closer specifically designed to meet the needs of residential care facilities..
The overhead door closer with hold-open for fire doors. This electromagnetic overhead door clo..
Designed for use with the Exidor 500 series, these outside access devices offer a return-to-door sty..
Exidor Heavy Duty Tower Bolts Epoxy powder coated with electro galvanised 19mm diameter steel shoot ..


text:
id: 5f07fb1579dc934717801375
title: Step 32
challengeType: 0
dashedName: step-32
---

# --description--

It is time to add a new section. Add a third `section` element below the second `section` element.

# --hints--

Your `section` element should have an opening tag. Opening tags have this syntax: `<elementName>`.

```js
assert(document.querySelectorAll('section').length >= 3);
```

You should only add one opening `section` tag. Please remove any extras.

```js
assert(document.querySelectorAll('section').length === 3);
```

Your `section` element should have a closing tag. Closing tags have a `/` just after the `<` character.

```js
assert(code.match(/<\/section>/g).length >= 3);
```

You should only add one closing `section` tag. Please remove any extras.

```js
assert(code.match(/<\/section>/g).length === 3);
```

All of the `section` elements should be between the opening and closing tags of the `main` element.

```js
const childrenOfMain = [...document.querySelector('main').children];
const sectionElemsFound = childrenOfMain.filter((child) => {
  return child.nodeName === 'SECTION';
});
assert(sectionElemsFound.length === 3);
```

The last `section` element should have no content. Remove any HTML elements or text within the `section` element.

```js
assert($('main > section')[2].children.length === 0);
```

# --seed--

## --seed-contents--

```html
<html>
  <body>
    <h1>CatPhotoApp</h1>
    <main>
      <section>
      <h2>Cat Photos</h2>
      <!-- TODO: Add link to cat photos -->
      <p>Click here to view more <a target="_blank" href="https://freecatphotoapp.com">cat photos</a>.</p>
      <a href="https://freecatphotoapp.com"><img src="https://cdn.freecodecamp.org/curriculum/cat-photo-app/relaxing-cat.jpg" alt="A cute orange cat lying on its back."></a>
      </section>
--fcc-editable-region--
      <section>
      <h2>Cat Lists</h2>
      <h3>Things cats love:</h3>
      <ul>
        <li>cat nip</li>
        <li>laser pointers</li>
        <li>lasagna</li>
      </ul>
      <figure>
        <img src="https://cdn.freecodecamp.org/curriculum/cat-photo-app/lasagna.jpg" alt="A slice of lasagna on a plate.">
        <figcaption>Cats <em>love</em> lasagna.</figcaption>
      </figure>
      <h3>Top 3 things cats hate:</h3>
      <ol>
        <li>flea treatment</li>
        <li>thunder</li>
        <li>other cats</li>
      </ol>
      <figure>
        <img src="https://cdn.freecodecamp.org/curriculum/cat-photo-app/cats.jpg" alt="Five cats looking around a field.">
        <figcaption>Cats <strong>hate</strong> other cats.</figcaption>
      </figure>
      </section>
--fcc-editable-region--
    </main>
  </body>
</html>
```

redpajama_set_name: RedPajamaGithub


Quality that goes beneath the surface.
Playground Surface, Sports Turf, Rubber Tiles, etc. Installation and Construction Work by the Experts.
At Safe Guard Surfacing, we're not only proud of the quality that goes into the playground surfaces, recreational rubber tile floors, Poured-in-Place safety surfacing, stadiums and landscape products we install, but of the quality that goes into our work before the installation even happens.
Adaptive, Professional and Expert Installation of all of our Sports Surfacing Sites.
Every site is different, and every site has different challenges to address before the first tile, turf or mulch is put (or poured) in place. To ensure that long-lasting safety of our unique playground surfaces and recreational floorings, we provide whatever work is necessary from the start—whether it involves removing existing surfacing, prepping the aggregate base, installing concrete or curbing, or more, you can be assured the quality surface we provide you has a strong foundation to stand on!