text:
namespace VRTK
{
    using UnityEngine;
    using UnityEngine.EventSystems;
    using UnityEngine.UI;
    using System.Collections.Generic;

    public class VRTK_EventSystemVRInput : PointerInputModule
    {
        public List<VRTK_UIPointer> pointers;

        public void Initialise()
        {
            pointers = new List<VRTK_UIPointer>();
        }

        public override void Process()
        {
            foreach (var pointer in pointers)
            {
                if (pointer.gameObject.activeInHierarchy)
                {
                    List<RaycastResult> results = new List<RaycastResult>();
                    if (pointer.controller.pointerPressed)
                    {
                        results = CheckRaycasts(pointer);
                    }
                    //Process events
                    Hover(pointer, results);
                    Click(pointer, results);
                    Drag(pointer, results);
                }
            }
        }

        private List<RaycastResult> CheckRaycasts(VRTK_UIPointer pointer)
        {
            var raycastResult = new RaycastResult();
            raycastResult.worldPosition = pointer.transform.position;
            raycastResult.worldNormal = pointer.transform.forward;

            pointer.pointerEventData.pointerCurrentRaycast = raycastResult;

            List<RaycastResult> raycasts = new List<RaycastResult>();
            eventSystem.RaycastAll(pointer.pointerEventData, raycasts);
            return raycasts;
        }

        private bool CheckTransformTree(Transform target, Transform source)
        {
            if (target == null)
            {
                return false;
            }

            if (target.Equals(source))
            {
                return true;
            }

            return CheckTransformTree(target.transform.parent, source);
        }

        private bool NoValidCollision(VRTK_UIPointer pointer, List<RaycastResult> results)
        {
            return (results.Count == 0 || !CheckTransformTree(results[0].gameObject.transform, pointer.pointerEventData.pointerEnter.transform));
        }

        private bool IsHovering(VRTK_UIPointer pointer)
        {
            foreach (var hoveredObject in pointer.pointerEventData.hovered)
            {
                if (pointer.pointerEventData.pointerEnter && hoveredObject && CheckTransformTree(hoveredObject.transform, pointer.pointerEventData.pointerEnter.transform))
                {
                    return true;
                }
            }
            return false;
        }

        private bool ShouldIgnoreElement(GameObject obj, string ignoreCanvasWithTagOrClass)
        {
            var canvas = obj.GetComponentInParent<Canvas>();
            return (canvas && (canvas.CompareTag(ignoreCanvasWithTagOrClass) || canvas.GetComponent(ignoreCanvasWithTagOrClass) != null));
        }

        private void Hover(VRTK_UIPointer pointer, List<RaycastResult> results)
        {
            if (pointer.pointerEventData.pointerEnter)
            {
                if (ShouldIgnoreElement(pointer.pointerEventData.pointerEnter, pointer.ignoreCanvasWithTagOrClass))
                {
                    return;
                }

                if (NoValidCollision(pointer, results))
                {
                    ExecuteEvents.ExecuteHierarchy(pointer.pointerEventData.pointerEnter, pointer.pointerEventData, ExecuteEvents.pointerExitHandler);
                    pointer.pointerEventData.hovered.Remove(pointer.pointerEventData.pointerEnter);
                    pointer.pointerEventData.pointerEnter = null;
                }
            }
            else
            {
                foreach (var result in results)
                {
                    if (ShouldIgnoreElement(result.gameObject, pointer.ignoreCanvasWithTagOrClass))
                    {
                        continue;
                    }

                    var target = ExecuteEvents.ExecuteHierarchy(result.gameObject, pointer.pointerEventData, ExecuteEvents.pointerEnterHandler);
                    if (target != null)
                    {
                        var selectable = target.GetComponent<Selectable>();
                        if (selectable)
                        {
                            var noNavigation = new Navigation();
                            noNavigation.mode = Navigation.Mode.None;
                            selectable.navigation = noNavigation;
                        }

                        pointer.pointerEventData.pointerCurrentRaycast = result;
                        pointer.pointerEventData.pointerEnter = target;
                        pointer.pointerEventData.hovered.Add(pointer.pointerEventData.pointerEnter);
                        break;
                    }
                }
            }
        }

        private void Click(VRTK_UIPointer pointer, List<RaycastResult> results)
        {
            pointer.pointerEventData.eligibleForClick = pointer.controller.uiClickPressed;

            if (pointer.pointerEventData.pointerPress)
            {
                if (ShouldIgnoreElement(pointer.pointerEventData.pointerPress, pointer.ignoreCanvasWithTagOrClass))
                {
                    return;
                }

                if (pointer.pointerEventData.eligibleForClick)
                {
                    if (!IsHovering(pointer))
                    {
                        ExecuteEvents.ExecuteHierarchy(pointer.pointerEventData.pointerPress, pointer.pointerEventData, ExecuteEvents.pointerUpHandler);
                        pointer.pointerEventData.pointerPress = null;
                    }
                }
                else
                {
                    ExecuteEvents.ExecuteHierarchy(pointer.pointerEventData.pointerPress, pointer.pointerEventData, ExecuteEvents.pointerClickHandler);
                    ExecuteEvents.ExecuteHierarchy(pointer.pointerEventData.pointerPress, pointer.pointerEventData, ExecuteEvents.pointerUpHandler);
                    pointer.pointerEventData.pointerPress = null;
                }
            }
            else if (pointer.pointerEventData.eligibleForClick)
            {
                foreach (var result in results)
                {
                    if (ShouldIgnoreElement(result.gameObject, pointer.ignoreCanvasWithTagOrClass))
                    {
                        continue;
                    }

                    var target = ExecuteEvents.ExecuteHierarchy(result.gameObject, pointer.pointerEventData, ExecuteEvents.pointerDownHandler);
                    if (target != null)
                    {
                        pointer.pointerEventData.pressPosition = pointer.pointerEventData.position;
                        pointer.pointerEventData.pointerPressRaycast = result;
                        pointer.pointerEventData.pointerPress = target;
                        break;
                    }
                }
            }
        }

        private void Drag(VRTK_UIPointer pointer, List<RaycastResult> results)
        {
            pointer.pointerEventData.dragging = pointer.controller.uiClickPressed && pointer.pointerEventData.delta != Vector2.zero;

            if (pointer.pointerEventData.pointerDrag)
            {
                if (ShouldIgnoreElement(pointer.pointerEventData.pointerDrag, pointer.ignoreCanvasWithTagOrClass))
                {
                    return;
                }

                if (pointer.pointerEventData.dragging)
                {
                    if (IsHovering(pointer))
                    {
                        ExecuteEvents.ExecuteHierarchy(pointer.pointerEventData.pointerDrag, pointer.pointerEventData, ExecuteEvents.dragHandler);
                    }
                }
                else
                {
                    ExecuteEvents.ExecuteHierarchy(pointer.pointerEventData.pointerDrag, pointer.pointerEventData, ExecuteEvents.dragHandler);
                    ExecuteEvents.ExecuteHierarchy(pointer.pointerEventData.pointerDrag, pointer.pointerEventData, ExecuteEvents.endDragHandler);
                    foreach (RaycastResult raycast in results)
                    {
                        ExecuteEvents.ExecuteHierarchy(raycast.gameObject, pointer.pointerEventData, ExecuteEvents.dropHandler);
                    }
                    pointer.pointerEventData.pointerDrag = null;
                }
            }
            else if (pointer.pointerEventData.dragging)
            {
                foreach (var result in results)
                {
                    if (ShouldIgnoreElement(result.gameObject, pointer.ignoreCanvasWithTagOrClass))
                    {
                        continue;
                    }

                    ExecuteEvents.ExecuteHierarchy(result.gameObject, pointer.pointerEventData, ExecuteEvents.initializePotentialDrag);
                    ExecuteEvents.ExecuteHierarchy(result.gameObject, pointer.pointerEventData, ExecuteEvents.beginDragHandler);
                    var target = ExecuteEvents.ExecuteHierarchy(result.gameObject, pointer.pointerEventData, ExecuteEvents.dragHandler);
                    if (target != null)
                    {
                        pointer.pointerEventData.pointerDrag = target;
                        break;
                    }
                }
            }
        }
    }
}


In my last post I touched upon the concepts of steady effort, abhyasa, and letting go, vairagya, and how yoga is the practice of finding a balance between these two concepts. The second sutra defines yoga as the ability to focus the mind towards an object without distraction. The object is our intention, our dharma (path), our true nature and distractions are all the sensations, dramas and joys of our life. One of these distractions is the act of 'blame'.
How many times have you blamed someone else for your mistakes? How many times have you used the blame game as an excuse: The other driver was slow? If I was younger…? If I was older…? If my boss wasn't such a jerk? When we blame, we lose authority over our own mind, we give over are confidence, compassion, and power. We become the victim. When we blame we lose confidence that we are intrinsically full of goodness and replace it with an outward projection of jealousy, anger, and insecurity. By blaming we attach our irritation and negativity to an outside source and as like attracts like, negativity breeds negativity.
When we blame others for our own suffering, inconveniences, or emotions, we are "creating narrow perimeters into which everything must fit" (Mipham, 95). We are making our world and ourselves smaller. Instead of redirecting the blame to ourselves, we can use these strong emotions to become self-aware. In a situation where blame may arise, with self-awareness, we can begin to notice what we attach blame to, how our mind immediately starts to criticize, and begin to notice how we participate in our circumstances.
With self-awareness, you see the choices and options available to you, you become your own ruler. You are "breaking free" from limited boundaries and the "preconception of how things ought to be" (97). With self-awareness, as feelings of discomfort first begin to arise consider it direct communication with your highest Self (Kempton, pars. 1). Before you begin to blame or find fault see if you can recognize the feelings that are arising and dig to the root of the situation. Use this as a time of self-empowerment and a reconnection to your authentic, powerful, compassionate Self.
Kempton, Sally. "Judgment Calls." Yoga Journal., n.d. Cruz Bay Publishing. Web.
Mipham, Sakyong. Ruling Your World. New York: Doubleday, 2005. Print.
Nohoch Mol, Mexico 2007. Afraid of heights, this climb brought many mental "distractions" to the surface.
In my practice, I am working to soften – to let go of the push of trying so hard. I began this in my asana practice and have found, like most things that start on the mat, to be leaking into different aspects of my life. Maybe you, too, have noticed that what you practice on the mat begins to infiltrate into different aspects of your life. To yield into the poses is to let go of the need to have to do them correctly, or have to be perfect. To yield and soften into the poses, is to trust that I am alright as I am. For each of us, to surrender to the moment and to place trust in the universe can be frightening and difficult.
The word yoga has several different interpretations: to unite, to yoke, to tie the strands of the mind together. In the second sutra, yoga is defined as "the ability to direct the mind exclusively toward an object and sustain that duration without any distraction" (Heart of Yoga, 149). The object is our intention, our sankalpa, our desire or goal. The distractions are life: our sorrows, our joys, whether someone likes us, whether we get positive or negative feedback from a friend, co-worker, boss, or stanger. The distractions are life experiences that we often, mistakenly, wrap our feelings of self-worth around. We are happy when someone likes us and want to hide from the world when someone doesn't.
Yoga is a way to be completely engaged in the action of your present moment knowing that life experiences are only experiences and not a reflection of your self-value. Yoga teaches us to move steadily in the direction we want to go but without the attachment to our desire or expected outcome. This is the balance between steady effort, abhyasa, and letting go, vairagya.
I am a strong believer in persistent, patience, and consistency. To reach our dreams and goals is not an all or nothing experience but a steady climb that we achieve over time. As we pay attention to our actions, as with move with steady effort, abhyasa, we see our path, where we are going and how to get to our desired end. When we see where we are going, when we take the time to notice the present moment no longer are we caught up with the pains, the joys, the sorrows of each of our experience. We can see embrace our experience as the changing opportunity for growth without attaching our worth to the outcome. This allows us to move without gripping, with detachment, with vairagya – this allows us to soften.


text:
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Home > Lifestyle > Dining
Category: Dining
Around the World on a Plate at Armani Hotel Dubai
September 16, 2019 editor
The culinary world is your oyster at Armani Hotel Dubai; spin the globe and choose from one of its seven award-winning restaurants, traveling across thousands of miles from the heart of Italy and Japan's Pacific archipelago, to India's rich heritage and the shores of the Mediterranean. Autumn brings new seasonal menus: an Italian six-course degustation funghi menu, a Chinese inspired…
Dining Lifestyle Dubai, Middle East
Billionaires are Flocking to These Restaurants Around-the-World
August 1, 2019 August 9, 2019 editor
According to a 2019 Skift report on food tourism, an estimated 39 million travelers choose a destination based on the availability of culinary activities. With this continued uptick in food tourism, restaurants around the world are now elevating their offerings for the one percent looking to travel globe for unique, ultra-luxe culinary experiences by award-winning chefs. From exclusively imported A5…
Dining Lifestyle Restaurants
London Five-star Hotel Now Serving UK's Most Expensive Cup of Tea
July 15, 2019 editor
The Rubens at The Palace hotel serves its Royal Afternoon Tea in London's most regal location, overlooking The Royal Mews at Buckingham Palace. Adding to this already illustrious experience, the five star hotel is now serving its freshly baked scones, pastries and finger sandwiches alongside the UK's most expensive cup of tea. In collaboration with specialist tea merchants PMD Tea,…
Dining Lifestyle London
New York Beats Paris to be Named the Culinary Capital of the World
June 4, 2019 editor
New York has once again been crowned the world's best dining destination by readers of private jet lifestyle magazine Elite Traveler. The annual poll, now in its eighth year, saw 12 of New York's restaurants named in the list and three in the top 10. It is the second year running that the Big Apple has had the highest number…
Alain Ducasse to Debut New Restaurant at Palace Hotel Tokyo
May 19, 2019 editor
Long lauded as one of the most esteemed hotels in Japan, Palace Hotel Tokyo will soon boast one of the country's most sought-after dining establishments. The iconic Japanese property is teaming up with DUCASSE Paris, founded by world-famous chef Alain Ducasse, to unveil a brand new restaurant on its premises – scheduled to open on November 1, 2019. After more than half a…
Dining Lifestyle Asia, Chefs
5 Unique Caviar Experiences Around the World
May 9, 2019 May 9, 2019 editor
Caviar is a delicacy in the culinary realm that eludes luxury and sophistication. Now restaurants and bars across the globe are taking this world-class delicacy to the masses by making it more accessible. In 2018, the global caviar market demand grew to $854 million and according to Adroit Market Research, is anticipated increase 9.8% in the next five years. From…
Dining Lifestyle
Ultimate Michelin-Starred Culinary Experience Debuts in the U.S. in Bal Harbour Village
April 3, 2019 editor
Transforming into an unparalleled gastronomic destination, Bal Harbour Village will be the first United States host to Haute Cuisine, an event that introduces guests to the mouth-watering talents of six of the world's most celebrated chefs who between them have been awarded nine Michelin stars. Created in Switzerland at W Verbier in 2015, this annual experience in the Swiss Alps has been a sought-after gourmet experience. The organizers…
Dining Lifestyle Florida, Miami, Restaurants
Multi-Michelin-starred Alain Ducasse Opens Second Monte Carlo Restaurant
January 29, 2019 February 1, 2019 editor
French superstar chef Alain Ducasse has taken the audacious step of opening his second Monte Carlo restaurant in the Hôtel de Paris, where his three-Michelin-starred Louis XV has earned the reputation of being one of the world's best. Ômer restaurant: a Mediterranean cruise Ômer, Ducasse's new Monte Carlo restaurant, opened its doors on 7 January and is devoted to the…
Dining Lifestyle Monaco, Restaurants
M Restaurant Group UK to Sell World's Most Expensive Cognac
November 20, 2018 editor
The M Restaurant Group is soon to become the first in the UK to serve luxury liquor Rome de Bellegarde 1894, the most expensive cognac in the world of its kind. As of the 27th November, guests at either the Victoria or Threadneedle sites of M will be able to purchase either a 10ml shot or for the true connoisseur,…
Dining Lifestyle Wine & Spirits London, Restaurants, United Kingdom
King's Social House by Jason Atherton at Badrutt's Palace Hotel St. Moritz
Famed as the oldest nightclub in Switzerland, King's Club at Badrutt's Palace Hotel has enjoyed a distinguished reputation as a legendary night spot for generations of St. Moritz jetsetters. This winter sees it re-born as King's Social House in collaboration with celebrated British chef and restaurateur, Jason Atherton. A keen skier, Atherton has long cited St. Moritz as his favorite…
Dining Lifestyle Restaurants, Ski, St. Moritz, Switzerland
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redpajama_set_name: RedPajamaCommonCrawl


Twitter... bring on the chaos. Or not.
Edit: I've started experimenting with running scripts on AWS Lambda, including one that cleans your Twitter timeline daily, and another that tweets random posts from a Ghost blog (or an RSS feed). Check them out!
Everything that's happened with Facebook recently (the culmination of a slow-motion, decade-long train wreck) has me thinking a lot about social media in general - and the social media I use most, Twitter. I'm asking myself questions like, what value does it bring me, and what are the hidden cost? Do the benefits outweigh those costs?
I joined Facebook so I could stay in touch with friends, but ultimately it wasn't worth it. I joined Twitter so I could stay up-to-date on news in my industry, but is it worth it? Sometimes I want to just dangle my toes into a light stream and catch a few fish, and an hour later I realize I'm empty-handed and got washed away in the undertow. Again.
... I have to wade through tons of distractions and sometimes flatout garbage. Twitter encourages it, even recently starting to "notify" me when someone I follow "likes" something. Why would I care? Tossing it in my feed isn't enough?
... turns up some thread where everyone's accusing each other of not being "woke" enough, and hey how is <insert some travesty> still an issue in 2018?!!?! I mean, it's 2018 people!
... and suddenly 10 accounts that post robo-links all day follow me, begging for attention like someone shouting "look at me!" to everyone in a crowded room. Then they unfollow the next day.
... but some people have made it their business to output heaps and heaps of crap at a rate of hundreds of tweets a day, hungry for attention and followers.
... and within two hours get annoyed by all the same stuff.
... and I leave with a bag of brussels sprouts. But sometimes there's a jellybean at the bottom of the bag, so I come back. 15 times a day. I really really like jellybeans.
None of this should be a shock I guess. We all know social media leads to a steady stream of dopamine hits, and we'll suffer nearly anything for the next hit. We're turning into social media junkies.
It's a real time sucker, pulling me away from doing other more meaningful, less ephemeral things. I think I need a break. I set my notification settings to let me know if someone tries to hit me up directly, but other than that I'm gonna stay logged off for awhile and see if I actually miss it.


Abstract: An apparatus for processing a sample including fibers and trash, having a cylinder rotating in a first direction for receiving the sample. The cylinder has a surface with rigid pins. The pins engage and retain the fibers of the sample. A collection surface receives the trash that falls from the cylinder. A counter-flow of air moves in a separation region between the cylinder and the collection surface in a direction that is substantially perpendicular to and towards the underside of the cylinder. The counter-flow of air has at each position within the separation region an air-flow velocity that is sufficient for the counter-flow of air to blow the fibers that are not originally retained by the pins up toward the cylinder and thereby engaging the fibers with the cylinder, and yet insufficient to prevent gravity from pulling the trash downward through the counter-flow of air.


HALIFAX High School has a new headteacher.
Jackie Nellis has been appointed to the role in the Wellesley Park school.
She worked as assistant headteacher at Halifax High from 2000 to 2004. From 2005, she was headteacher of Carlton Bolling College in Bradford, which she helped to lead from special measures to outstanding within 3 years.
Clive Howlett, executive headteacher for the past term, will now step down.
Earlier this year Christian Markham – former deputy head of Honley High School – stood down as headteacher at Halifax High.
Mr Markham had been suspended from his job after failing to turn up for work after the summer holidays last year.
He resigned to "pursue other interests".
The school gained an 'outstanding' judgement from Ofsted in 2007, and had made rapid improvement in exam results and the achievement of Specialist School status in performing arts and languages.


Do come in! I've prepared a celebratory tea in honor of my friend, Liz.
Liz is one of my internet friends. Although we live on different continents, we've bonded over books, her love of geology (I think we might call her a rock hound in the States), and her fabulous sense of humor. We have walked a similar path in recent months, during which she demonstrated her gift of encouragement. She gave us a scare of late with a bit of ill health, but now that she's on the mend, I wanted to put together a cheerful afternoon in her tribute. Since we are separated by the Pacific, what better way to celebrate than a virtual tea?
I've brought out charming porcelain from Pip Studio and made a blended brew of loose black tea leaves, dried currants, blueberries, apples, raisins, and hibiscus. I've chosen a selection of joyful, popular tunes from the 1930s as our music. With songs such as The Younger Generation, This is the Missus, Everything Stops For Tea, and A Reckless Night On Board An Ocean Liner, this album always puts a smile on my face.
It's summer Down Under, so I thought Snowballs might be in order. They are a quintessential junk food item in America with a cream filling surrounded by chocolate cake, marshmallow and coconut. Hey, it's a virtual treat, so enjoy! Plus, they match my china.
Individual red velvet cakes and chocolate dipped strawberries make a decadent addition to the tea table.
I decorated these cookies myself, in honor of Liz's love of flowers. The recipe came from my mother and can't be beat for iced sugar cookies.
A lace tablecloth and pretty linens from Pip Studio complete the décor. My children bought me these heart-shaped stones on our trips. I've included them to symbolize Liz's interest in geology, minerals, crystals, and gemstones.
A complimentary collection of pieces works well together and keeps the atmosphere fun and delightful, not stodgy.
Cream butter & sugar thoroughly. Add vanilla & beat until blended. Add egg yolk, beating well. Add flour gradually, beating. Roll out on floured surface (I roll between 2 sheets of wax paper) – cut out with cutters & bake at 350 degrees for approximately 15 minutes. Cool. Decorate as desired. I beat together 1 box powdered sugar, 1 Tablespoon softened butter, 1 Tablespoon vanilla, & enough boiling water for correct consistency. Then divide into smaller bowls & tint with food coloring to desired shades. Keep icing under plastic wrap when not in use to avoid crust forming on top. Cookies can be kept in tins or in refrigerator after icing dries.
Thank you for joining me for this jolly afternoon tea. Come again soon!
Hello! Please come in and enjoy the strains of Mozart's The Magic Flute.
I've prepared a special late afternoon tea as a tribute to Vienna. My husband and I visited this remarkable city back in the mid '90s. Memories of the opulent architecture, palaces, cathedrals, opera, Royal Lippizzaner horses, china, and pastries fill my head. There's no place in the world like Vienna for pastries. A friend offered to show us around the city, and she'd placed Café Landtmann on our agenda. Famous as one of Freud's haunts, the restaurant sits near Vienna's center of government.
"Isn't it funny that the building that holds their politicians is called the Rathaus?" my friend commented.
I'll make a disclaimer right here: Vienna is known for its coffee, not tea. To the uninitiated, Viennese coffee can come as a shock. It's strong. So strong, we thought our spoons might melt in our cups, and we affectionately started referring to the hot beverage as Rotgut. Even in my younger days, my stomach couldn't handle it. Our friend suggested we try a Melange, the Austrian version of cappuccino. Even that proved too stout. I had to keep asking our waiter for extra milk. Take a sip, add a shot of milk to the cup, nibble on a pastry. Then start the process all over again until there is enough dairy to take the edge off the robust drink.
It was ten a.m. on a weekday, and Café Landtmann was filled with well heeled patrons. Unlike Americans, the Viennese think nothing of leaving work for a leisurely pastry, coffee, and cigarette. Our waiter, dressed in a black jacket, crisp white shirt and tie, accommodated me. Paneled walls with fancy bouquet inlays and moldings, chandeliers, rich fabrics, and tall arched windows clad in lavish drapes surrounded me. You get the idea.
All this luxury comes with a price tag, which leads me to my next standout memory of Vienna. Back then, I drank a soda every day. I'd become dependent on its sugar and caffeine. In Austria, when you ask for a cola, you get a small juice glass worth. I'd had it. I was exhausted late one afternoon when I plunked down at an outdoor café opposite the famous Sacher Hotel. "I'd like a large Coke," I said to the waiter. "Large?" he inquired, with raised eyebrows. I don't think he'd ever heard of the word in relation to a cola. "Large!" I confirmed.
I got my big beverage (a little more than a can's worth), and I've kept the receipt in a scrapbook of our trip, along with a photo of my husband's shocked expression (this is the man who chose to walk from a train station in Salzburg to our hotel in order to save cab fare, busting a wheel on his luggage that required an expensive fix — much more than the $5 fee for a ride). The soft drink cost $7, in 1995, with a good exchange rate. I must add, it was worth every penny to me!
I've chosen the most opulent spot in my house to set up our tea. In honor of the Sacher Torte, ubiquitous in Vienna, I've prepared a strong apricot tea. See these pretty Mozart Kugeln candies? I first sampled them in Austria. They are filled with a chocolate cream surrounded by hazelnut, almond, and pistachio paste. I've also sandwiched apricot jam between wafer cookies, topped with a dark chocolate piping — another tribute to the torte. Try one of these apple blossoms, a yummy pastry topped with caramel.
In Vienna, we saw a production of The Magic Flute. The composer is featured throughout the city, as is Strauss. Formal waltzes are held several nights a week, so you can dance the night away, if that's your cup of tea.
My wedding dishes grace a lavish cabinet. I think the china motif reflects an Art Nouveau design. The city offers many examples of the movement. One of my favorite painters is Gustav Klimt, but I missed the opportunity to see his work in Austria.
These napkin rings are cherished keepsakes of my visit to Vienna. I regret not purchasing the matching place card holders. Perhaps I couldn't afford them after paying for my cola!
Don't be afraid to use your best china. It's meant to be enjoyed.
Drape your tea table with rich fabrics, like this damask runner with tassels, for a special touch.
Pipe chocolate icing in the form of your guests' initials onto treats. I used a store bought tube. Snip the corner off a Ziplock bag. Squeeze a small amount of icing into the plastic bag and pipe whatever design you desire. Practice on a paper plate until you feel confident moving on to the treats. I suggest freezing small amounts of icing to thaw out as needed. This way, you will always be ready to add a monogram on a cookie, cupcake, or candy. Your friends will be thrilled with the personalization!
Thank you for coming. If you ever get the chance to visit Vienna, jump at it! I hope you've enjoyed yourself, and do pop by anytime!
Hello! Please settle in, as we enjoy selections from Bach's lute suites!
I've prepared a tea tray in your honor!
A sweetheart deal implies one of the parties involved in a transaction receives a better than normal incentive or bargain. Unfortunately, we aren't always wise enough to recognize one of these arrangements.
Remember the classroom excitement that built before Valentine's Day? Depending on the efforts of our Room Mother, the day could prove exceptional. We all had white paper bags, ready to be stuffed with greetings by our classmates. If lucky, the party included disposable nut cups, filled with tiny pastel candy hearts, pretty doilies, punch, and a cupcake. Oh, how I wish I'd saved those adorable valentine cards! For some reason, my father always provided the colorful notes I would give to others. He'd come home with a package or two, a few days ahead of time. I would add that he also brought each family member luxurious chocolates, a splurge, when the holiday arrived.
By the time I entered high school, we'd moved from Los Angeles to the rural Midwest, a difficult adjustment for a teenager. One year, out of the blue, my dad presented me with two boxes of valentines to give to my friends. My face must have said it all, I'm ashamed to say. Mortified, I complained to Mom, "No one gives these things out anymore!" I can still see the top card of the collection, visible through a cellophane window in the carton. A darling bright yellow duck with an umbrella, trailed by a flock of ducklings, winked at me.
"You don't have to pass those out. Just toss them when your father's not looking. It makes Daddy feel good to buy those," she said, amused, adding, "it reminds him of his childhood." Oh, how I wish I'd saved those cards!
My college years proved a dry, desert wasteland as far as Valentine's Day goes. I somehow managed to be single every February. Our family used to laugh when Grandfather mentioned he'd always dump his girl right before this holiday, to avoid having to buy a gift. Now, that didn't seem so funny. Walking through a dorm lobby stuffed to capacity each year with amazing floral arrangements, meant for others, was no fun, I can tell you!
Fast forward to the first year my oldest son attended school. The big occasion approached, and I could not wait to buy some of those enchanting tokens from my childhood. Imagine me standing in the drug store aisle, horror on my face, discovering only movie and television themed cards! Power Rangers for Valentine's Day? No thank you! Obsessed, I searched all over town for the real thing. Certainly, someone carried proper love notes for children? Nope. Time had passed me by once again. Depressed, I waved the white flag, and settled on some ugly superhero greetings with a heart-shaped sticker. I included a lollipop to soften the blow. The kids had no idea how gypped they were, having never seen the greetings available in my youth. Oh, how I wished I'd saved those packages my father gave me!
Have you already guessed what I learned from these experiences? I had become just like my dad! Several years after the card fiasco, both my boys had "official" valentines. I determined to provide proper items for these little girls. I may have overdone it just a tad. You can be the judge, but my youngest looks scared and embarrassed in these photos. The girls appreciated their gifts, so perhaps I can justify my temporary insanity.
Looking at these pictures, I feel soooo guilty!
In an attempt to ensure you come away with a special memory, I've made tea just for you! I've even managed to find some reproduction vintage cards to warm your heart. I purchased these online from Victoria Trading Company. I hope they bring a smile to your face.
What Valentine memories or traditions can you share?
I've brewed a custom, strong blend of youthberry and wild orange blossom black tea. This stands up to the scrumptious chocolates. I've included strawberries and store bought éclairs, so you'll feel pampered, as well as ladyfingers sandwiched with raspberry cream. Enjoy!
In my area, ladyfingers are only available around Christmas. I stashed a package in my refrigerator, so we'd have some today. A combination of marshmallow cream, cream cheese, and seedless raspberry jam (made only with fruit, no added sweeteners) makes up the filling. I suggest making a full recipe of the cream (1 package cream cheese + 1 jar marshmallow cream, beaten together with an electric mixer). Set aside the small amount (perhaps 1/4 cup) required to make these elegant sandwiches, and refrigerate the remainder.
In a small bowl, mix a teaspoon of jam and a drop of pink food coloring, if desired, with 1/4 cup of filling. To assemble, spread between two lady fingers. Top with a fresh raspberry. The remaining mixture makes a wonderful fruit dip you can enjoy with your family later.
Pretty pink transferware seems appropriate for Cupid. The cups are Old Britain Castles by Johnson Brothers, which I first spotted years ago in a thrift shop. If I recall, I couldn't resist the square teapot, an inexpensive Chinese import found at a Cracker Barrel Restaurant (I also picked up the matching sugar & creamer, not pictured).
Photocopy any ephemera you wish to share with others, and keep the originals for yourself! You can still find the real thing on Ebay, although be careful — someone may swoop in at the last moment and outbid you, as happened to me.
By the way, if you haven't read Saki (see quote, above), locate a copy of The Complete Works of Saki (the pen name of H. H. Munro) to enjoy at your leisure with a cuppa. His writing is so charming, you'll find yourself richly entertained.
Thank you for coming, Friends. Drop by again soon!


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How to Make a 125-Gallon Fish Tank
By Vanessa Salvia
There's no doubt that a fish tank is an eye-catching centerpiece for any room. Fish are mesmerizing and relaxing to look at. But the drawback is that store-bought fish tanks are expensive! Making your own fish tank is a far more cost-effective way to provide a home for your fish. A 125-gallon fish tank made by a well-known brand such as Perfecto Aquarium can cost several hundred dollars from a retail store.
credit: vojce/iStock/GettyImages
You can build a 125-gallon aquarium for large fish with a few simple materials. When fully operational and full of water, this tank will be very heavy and hard to move. Before getting started on building your tank, set up a stand for it and set the whole thing up in a permanent place in your home.
125 fish tank dimensions
The My Aquarium website says that one benefit to setting up a large aquarium like a 125 fish tank, as it is sometimes called for short, is that it is easier to clean than a smaller tank. They don't need cleaning as often, and toxins don't build up in the water as quickly as in smaller tanks. And, of course, a larger tank means you can keep larger fish.
A 125 is a centerpiece tank that is the kind you see in doctors' offices and office buildings. It's a large piece that, when filled with a large fish like an Arowana, is impossible to ignore. The 125 fish tank dimensions are about 72 1/2 inches x 18 1/2 inches x 23 3/8 inches, according to Kerns Analysis on its fish tank size guide.
125 fish tank stand
The width of 72 inches is equal to 6 feet. Kerns Analysis says the empty weight of this 125-gallon aquarium will be 206 pounds and it will be 1,440 pounds when filled with water. Your 125 fish tank stand will need to be able to support this considerable amount of weight.
Glass or acrylic?
The Fish Lab website says the question of whether glass or acrylic is better for a fish tank comes up often. Both materials are see-through, which is, of course, key for an aquarium. But the similarities pretty much end there. For beginners, Fish Lab recommends glass, because acrylic is easier to scratch than glass.
If you scratch your 125-gallon aquarium and put a scratch right down the center that mars your view, you probably won't be very happy! A second reason that many experts recommend glass is that it is less expensive for a piece of glass than acrylic. Acrylic is lighter and also more impact-resistant than glass. All of these are pros and cons that you may need to weigh to determine whether to use glass or acrylic for your aquarium.
Check around in your area for suppliers of both glass and acrylic and compare. Let them know that you want the acrylic for a large fish tank, and ask some questions about how to care for the acrylic. Their answers will give you the information to make the decision on what material to use that is best for you.
125-gallon aquarium construction
Constructing a 125-gallon aquarium is not that difficult. After all, it's all rectangles! But it is imperative that you have the right supplies and you put the items together properly. First, have your panes of glass or pieces of acrylic cut to the proper dimensions and make sure they fit the stand on which you'll place the aquarium.
Follow along on the Beautiful Dragons website as the site owner builds an aquarium.
Step 1: Prepare the glass
Lay the panes of glass on a flat work table. Using sandpaper, lightly sand all sides of the glass to file down any sharp edges. Apply acetone to a paper towel and wipe the glass down from about 2 inches to the edge.
Step 2: Cut the tape
Using your scissors, cut about eight strips of duct tape. These strips should be about 6 inches long. Stick one end of each strip to your work table until you are ready to use the tape.
Step 3: Label the glass pieces
Label your glass pieces with your washable marker to remind yourself what pieces will go where. The three bigger pieces will be the bottom, front, and back panels. The two smaller pieces will be the ends.
Step 4: Assemble the pieces
Lay the bottom panel in front of you horizontally. Take the back panel and a side panel and line them up in their appropriate positions along the edges of the bottom pane. Use two strips of tape to secure the back and side pane together.
Stretch the strip of tape from one pane to the other. Repeat this step with the other two panes. You should have a glass rectangle box without a top. The strips of tape should be holding each corner firmly together.
Step 5: Seal into place
Inspect the shape and alignment of the rectangle. Squirt a bead of silicone into one of the corners at the bottom of your tank. Continue applying silicone along the crack, sealing the bottom edges together. Use your finger to push the silicone deep into the crack as you smooth the surface of the sealant.
Repeat this process for all corners of the tank.
Step 6: Clean up
Let the silicone dry for a couple of hours. Use your razor blade to remove drips or messy silicone spots.
Step 7: Check for leaks
After 48 hours of drying time, fill the tank half-full to check for leaks. If it is completely sealed, carefully wash the tank to remove impurities.
Step 8: Fill and assemble
Fill the tank with water. Place your decorations, pump, and other items that will go inside your tank. Then add your fish!
How to Build Watertight Plexiglass Tanks
How to Fix a Crack in a Glass Aquarium
How to Build Acrylic Fish Tanks
DIY: 100-, 200- or 300-Gallon Aquarium Tank
How to Install Tetra Filter
How to Build Your Own Fish Tank


Part of this exhibition is still available for viewing. On until late December 2012.
"A Manifesto of spiritual Freedom in Art - Capturing Threads of Light", venue: Blackburne House (off Hope Street), and "3rd Manifesto of spiritual Freedom in Art- Listen" starting 12th of September 2012, venue Junction Coffeé (305 Aigburth Road), The Old Police Statuon, Liverpool.
Live Acoustic MUSIC: "ACOUSTIC & ART"
Music ranging from soothing Celtic harp sound, classical, experimental and improvised music, Eastern folk flavoured modern rhythms, flowing and peaceful sounds from "gentle but powerful voices from singer songwriters".
Join us for an evening of great live music and art, and an opportunity to raise money to support local communities like SMLLCA and IAWW60 by providing basic facilities such as transport, rent, etc.
Liverpool Guitar Society quartets, Wayfairers Barbershop Chorus, Stan Ambrose (celtic harp), Bisakha (indian story telling), Alan Derrick (pianist) & Joyce Kench (soprano) duet, Graculus (Phil Hargreaves (flute, soprano sax), Richard Harding (guitar)), Martin Robinson (keyboard), Skirmish (harmonica, guitar), Nicole Bartos & Tatiana Edves (art), 'surprise' guests and others to be confirmed.
• Acoustic programme PART 1 starts 7.00pm.
• Break Interval. Bar open. Music mini stall open.
• Acoustic programme PART 2.
View image archive 2012 by clicking this link.
All income funds from tickets/ cafe sales & including 50% from all art sales go to charity.
For more information about the gallery or about the work and projects of this artist please refer to gallery links. Thank you.
Nicole Bartos - "Capturing Threads of Light - with fine art and music".
All proceeds from donations to support British Red Cross.
Thursdays 3-6pm and Saturdays 11am-1pm & 3-5pm or by appointment.
This show brings to the audience a very enjoyable experience. It will charge you with vibrant colour, musical vibrations and meditative state of mind. An exhibition of new and old abstract paintings, part of the already familiar work cycle: "Capturing Threads of Light".
Event accompanied by live experimental and improvised acoustic music from 'Graculus' duet (improvised, experimental, funny and avant-garde): Phil Hargreaves (flute, soprano sax and cello) and Richard Harding (guitar).
Exhibition on show until 17th of December 2011 and may be viewed on Thursdays and Saturdays or by appointment, at the venue mentioned above.
This is a small venue (front of The Old Police Station) and we advice the audience it is not suitable for wheel chairs. Sorry.
Music and art emerges from a variety of artistic styles and ethnic backgrounds.
Tayo Aluko (baritone), Stan Ambrose (celtic harp), Bisacha Sarker (Indian storytelling/choreography), Jo Bywater (guitar, voice), Paul McDowell (guitar, voice, mandolin), Oritsema Ejuoneatse (soprano), Graculus (Phil Hargreaves (flute, soprano sax), Richard Harding (guitar)), Ade Jackson (guitar, voice), Martin Robinson (piano/ keyboard), Skirmish (harmonica, guitar) & Nicole Bartos (art).
• Art viewing from 6.30-7.30pm/ Silent bidding Auction.
• Acoustic programme PART 1 starts 7.30pm.
• Break Interval 8.45-9.05pm. Bar open. Music mini stall open.
• Acoustic programme PART 2 starts 9.05pm.
All funds from this concert and 50% from all art sales go to charity.
Tickets sold via: SMLLCA, at The Old Police Station, 80 Lark Lane, L17 8UU (www.larklane.com/smllca); Contact Rupert: 0151 728 7884; Monday-Friday 11 am-6pm, and via: News from Nowhere Bookshop (http://newsfromnowhere.org.uk/), 96 Bold Street, L1 4HY; tel. 01517087270; Or, tickets sold at the door on the day of the performance.
Number of seats limited, therefore please book in advance or, 'first come, first served' applies.
A new show featuring new and older paintings by Liverpool based artist Nicole Bartos.
Venue: OASIS Caffe, Sefton Park, Liverpool, L17; near the Eros Fountain. Free entry. Open Monday - Sunday 10am-5pm.
A display of new body of work from NICOLE BARTOS, local artist and curator of Gallery4allarts.
" Capturing Threads of Light, 2" - New abstract paintings by Nicole Bartos.
Ricky Anderson - is an emerging artist, who graduated in 2006 from Wimbledon School of Art, London, and since, has exhibited through Eastgallery, Soup Gallery, Old Truman Brewery, Parade Space and Corsica Studios in London. Recently the artist has moved to Liverpool and this is the first exhibition presented here with the cooperation of Gallery 4allarts and Nicole Bartos.
Nicole Bartos - artist and curator, born in Romania and established in Liverpool since 1998, has worked and collaborated with many prestigious local and international artists, from a wide range of artistic backgrounds such as, Peter Frúcht, Marina Moreno, Terry Sullivan, Derek Culley, Michael Meldru, Lei Liang, Nagachoo, Fanchon Fröhlich and many, many others. She has curated many exhibitions and retrospectives to date and since 2006 has established and runs Gallery4allarts. (www.gallery4allarts.com). Gallery 2/ Gallery4allarts, still hosts the exhibition of her most recent cycle of abstract paintings: "Capturing Threads of Light".
Doors open at 7.30pm for viewing.
'Auction assisted and hosted by Gayna Rose Madder.
Auction will be followed by drinks and live music: SMLLCA charity 'ACOUSTIC SUNDAYS' (8pm-10pm). Details mentioned below.
Featuring a fine selection of over 60 artworks from 1950 and 1999 to date, from artists such as: Terry Sullivan, Nicole Bartos, Danniel John, Fanchon Fröhlich, Sue Ironfield, Richard Ashworth, Nagachoo (Japan), Alice Lenkiewicz, Christopher Muotoh, Kaety Moore and others.
A charity contemporary art auction raising money for a new minibus. for St Michael's and Lark Lane Community Association.
SMLLCA, a self funded community association, having been established for over 30 years now, has brought a major contribution to the local community making changes to the heart of it with ample and diverse programmes and initiatives at all social levels: preschool, youth, elderly and disabled and hosting various activities and surgeries ranging from arts and crafts to writers workshops and counsellors meetings, etc.
Over sixty works have been donated by Liverpool fine artists for this Community fundraising project. From the featuring works I will mention just a few: works dating back to 1950's, from famous artist and philosopher Fanchon Fröhlich, widow of late Herbert Fröhlich, who was Professor of Theoretical Physics and the first to apply Quantum Physics to Biology; a huge number of abstract and semi-abstract works in a diversity of mediums such as oil and acrylic paintings on paper and canvas, collages, monoprints, ceramics, drawings by Nicole Bartos, born in Romania, who has been based in Liverpool since 1998 and who established Gallery4allarts in 2006; also, there is work from Alice Lenkiewicz, visual artist, and writer, who' s father was well known for his paintings in St. Ives and London; textile sculptures from Kaety Moore, artist and musician; sketches from Japanese artist Nagachoo, who's works have been internationally praised; wood collages/ 2D sculpture from Richard Ashworth; paintings from the wonderful painters Terry Sullivan, Danny John and mixed media on canvas by Sue Ironfield known for her musical and overtone paintings, etc.
Reserved prices per work range between £10 and £200.
We are inviting everybody interested in collecting art or wishing to support this charity cause, to join us on the 28th November 2010, 7.30pm at the Old Police Station. Entrance at rear, far back. Free entry.
As this evening marks for Gallery4allarts the end of the Biennial programme, the auction will be followed 8pm-10pm, by live music, the last Charity Acoustic evening ("Acoustic Sundays") which will take place in the Youth Club, the Old Police Station.
Entrance, as well at rear, far back. Tickets at the door: £4.00 (£2.00). Doors open 7.30pm.
Featuring music from: 'Graculus': Richard Harding (acoustic and electric guitar) and Phil Hargreaves (soprano saxophone and flute); Stan Ambrose (Harp); 'Skirmish' (harmonica and acoustic guitar); Jo Bywater (vocal and acoustic guitar); Oritsema Ejuoneatse (soprano); Patricia Mackrell (soprano).
" Fanchon Fröhlich, Beryl Bainbridge - a friendship"
Kaety Moore & Jenny Wynne: "Mucky daughters"
Installation and mixed media project and exhibition.
Paintings on the theme of dreams and "nightmare"
Gisele Nzolameso - "Left to Die"
Featuring works from artists such as: Nicole Bartos, Danniel John, Fanchon Frohlich, Sue Ironfield, Richard Ashworth, Nagachoo and others.
Andra, Nicole Bartos, Fanchon Fröhlich, Kaety Moore, Cristopher Muotoh, Nagachoo, Gisele Nzolameso, Ada Villa, Jenny Wynne, 'The Cutting Room': Jennifer Ross, Claire McCann, Clare Harris; Peter Frucht, Carmen Cristian, 'Cremer projects -Juan del Gado,' Gruppo Sinestetico & Sassu Antonio, Sarawut Chutiwongpeti, 'Windows project': Dave Ward, Eleanor Rees; 'Graculus': Richard Harding, Phil Hargreaves; 'Skirmish', Stan Abrose, Jo Bywater, Helen Maher and others.
This group exhibition continuing the successful 2008 "Meet me at Sunset" project is part of this year charity fundraising project for the SMLLCA (St. Michael's and Lark Lane Community Association). Curated by N. Bartos.
! call for entries until late August 2010.
Meetings at Sunset hour will take place at various locations in Liverpool, for 5 days in August - September 2010, before and during sunset. Times and precise locations to be confirmed, please, email your details and interest to: nbartos@gmail.com, mentioning as subject "sunset meetings".
based in Liverpool and Birkdale. Read more about the artists by visiting the exhibition page. Please click this link.
An exhibition curated by Nicole Bartos which takes place at Gallery4allarts, in both, Gallery 1 & Gallery 2.
Open Day: Saturday, 22nd of May, 12-4pm; Closing event: 16th June 2010, 5-7pm. Free entry. Last chance to see works.
Exhibiting artists: Derek Culley, Terry Sulivan. Read more about the artists by visiting the exhibition page.
Open day: 12- 4pm,Saturday 22nd of May 2010. Please, view galleries opening times below.
Exhibition from 19th June until 17th July 2010. Click here to read more.
A new exhibition of abstract painting, digital sound performance and book launch: "Full Circle" poetry written by Sue Ironfield.
Exhibiting artists: Sue Ironfield and Reinhard Fuchs. Read more information about the artists.
Gallery4allarts will host an exhibition closing event for "ABSTRACT VIBRATIONS" and an 'Artist Talk' on "Screen printing techniques and digital technology" from artist Danny Hampson (Gallery2).
Event takes place on 15th of May , 5-7pm; artist talk: 6pm- 6.20pm. Entry free but donations welcome.
!Closing event 15th of May , 5-7pm , including an 'Artist Talk' from Danny Hampson at 6pm.
Generally, we have submissions from artists who work within the 'abstract' or conceptual field; mediums such as: painting, mixed media, assemblage, print, etc.
Submission criteria details - click this link for details please, if interested to submit any works.
View exhibition page for more details.
Professional artists are invited to visit the gallery and bring for selection samples of their work (1-5 pieces all labeled on the back) or email images of their work together with: artist name, statement, general contact details and a list of artworks including title, medium and selling prices. A short essential artist CV is welcomed but not compulsory. For all submissions, etc. please, see details under call for entries.read important notes and criteria mentioned.
Exhibition opening Saturday 6th of February, 12 - 4pm.
View exhibition main page by clicking this link or the title above .There you can view some of the artists' works, details.
This exhibition will feature a selection of 2D miniature artworks in a variety of mediums and styles from abstract to representational, from Liverpool based artists, artists from North West UK, Nottingham, Reading, Romania (Cluj-Napoca), Japan and those who love being artistically creative or are simply talented within the fine arts. As we are approaching Christmas festivities, we would appreciate if the audience would support this project with their visits to the gallery to vote for the best artworks on show.
Click this link for submissions' criteria details.
This exhibition will feature a selection of 2D miniature artworks in a variety of mediums and styles from abstract to representational, from Liverpool and North West based artists, children and all those who love being artistically creative or are simply talented within the fine arts. Volunteers for Jury members and all donations are welcomed to support the project.
Read more regarding exhibition by visiting the exhibition special page which will be progressively updated with further details regarding participants and artworks exhibited (selections), images from the show, etc.
!Submissions entries until 5th of December.
Submissions are welcome from all North West based artists, all adults who practice some arts, as well as from children. All 2D medium and styles are welcome.
We are inviting as many participants as possible, to achieve a number of over 200 artworks to be shown.
If you are interested in participating to this show please, read carefully all submission criteria' details and updates provided under call for entries, before submitting any work. Many thanks for your attention and interest.
!Submissions entries until 9th of December. Read details here, under call for entries, please.
View more details and statement by clicking here.
of Romanian origin, Nicole Bartos.
Many thanks to Rupert at Lark Lane SMLLCA.
Private view: 18th October 2008.
This exhibition presents a selection of works by artist Alex Simpson, based in Stoke-on-Trent, who has been part of the St. Ives artists' community in the 70s. Born in Wigan, Alex has been working and living in Stoke-on -Trent for quite a while, dedicating his life to art, particularly to sculpture making, mixed media, woodcut prints and painting. With a great admiration for Brancusi's art, Alex Simpson ha created a body of work that shocks through both inspiration and quantity. Recently visiting his residence to meet with both artist and his art, I have found an almost monastic atmosphere, through its creative spirit habiting it, powerful energy that shaped 'chef d-oeuvre' profiles in sandstone, marble, wood and steel. This artist's house and garden so full of artwork almost eliminated any comfort and the idea of a contemporary home; it has become entirely a huge studio and gallery space. It worth a visit at least. With constant exhibitions in London, Alex recently has become part of the group exhibition and competition "People and Love" (same venue), and has won the public vote award. Exhibition organised by Gallery4allarts (www.gallery4allarts.com).
Press release. Please, click here to read printable version.
Read Jeremy Reed's "Neural Supernovae" about Fanchon Fröhlich.
Open: Monday to Saturday 2pm-6pm or by appointment.
!Call for entries - extended until 22nd of March 2008. Click here to read updates.
by appointment ( call 07756912911), arranging to drop in with the work at the venue listed below.
There willl be a selection and also a prize winner for each theme/show in part (£50).
There is an entry fee of £15/artist.
The entrants will be noticed by email/post of the final results.
There is an entry fee of £15/artist. Your submission is not valid without the entry fee.
More details and updates, will follow soon.
Please note: that he only confirmed exhibition date to present is for the "People and Love" exhibition which will start on 12th of April 2008, at the: Ullet Grange, 36 Ullet Road, Liverpool, L17 3BP.
Previous exhibitions and events; please, see also the archive section for more images.
Event organized by Gallery4allarts (www.gallery4allarts.com). Curator Nicole Bartos.
The event, organized by Nicole Bartos and Gallery4allarts has been supported by artinliverpool.com and The Grange.
Group art exhibition featuring works by 30 local and international artists including a retrospective Nicole Bartos, 1997 – 2007.
View "Living with art and energies" page which include artists works and statements, updates info, etc.
See some of the details from the exhibition , by clicking here.
Open to visitors: 2 pm-6 pm during week days, except Wednesday and Sunday, or by appointment.
Stan Ambrose, Roger Edwards, Martin Robinson, who kindly dedicated their time and sublime music to our enjoyment and enhanced the beauty and welcoming of this event!
accompanied by live music played by Roger Edwards and Stan Ambrose and Martin Robinson..
Many thanks to Ian and Minako Jackson, artinliverpool.com for their support and thanks for reading this add.
See some exhibition details, by clicking here.
The exhibition organized by Nicole Bartos (Gallery4allarts), will be held in few of the rooms, main hall, and studio area at ground and first floor of the Grange. Mainly focusing on Nicole Bartos' 10 years retrospective work (a variety of media and cycles from 1997 to 2007 which can be classified as multimedia, painting, sculpture, ceramics, prints, drawings, photography, and possibly installation), the exhibition will also feature a diversity of artworks by local and international artists from Romania, Hungary and Japan (abstract 2D, 3D, multimedia, calligraphy, sculpture, painting, photography, drawings, installation).
From 11th to 30th June 2007 open 2.00pm-6.00pm during week days except Wednesdays and Sundays (closed).
Nicole Bartos, artist of Romanian – Hungarian origins, creates and lives at the Grange, Liverpool since 1998. In 2006 supported by Creative Bias and ACID, she started the online Gallery4allarts (www.gallery4allarts.com), promoting her own artwork and also, local and international artists.
The Grange is a Victorian mansion on Ullet Road, built in 1870s, just next to the historical Sefton Park gates. The building is astonishing in Victorian architectural and decorative elements, and makes a fantastic home for Nicole's work and occasional art exhibitions.
Exhibition supported by artinliverpool.com and The Grange. Organized by Gallery4allarts.
View archived images from Private View, etc.
Please, click here for Event Details.
Group exhibition organised by Nicole Bartos.
Works by Nicole Bartos on show, in the back room of the Quarter.
Group exhibition organized by Tomas Harold and Nathan Jones.
Exhibiting artists: Nicole Bartos, Melinda Farkas, Emil Moritz, Andor Komives, Andrea Szocs, Andras Koncz-Munich, Andra (F. Predescu).
To find out more about the artists and Nicole please, see: guest artists' and Nicole's page.
Tues, Thursday and Sat 10am -1.00pm.


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Nonbank profit margins improve, but expenses are up
Nonbank mortgage lenders regained their footing in the third quarter, upping their net profit by 28% to $2,594 on each loan originated, according to a quarterly report published by the Mortgage Bankers Association on Tuesday. But they would be wise to look at expenses, which climbed to the second-highest rate in recorded history.
The results follow a turbulent second quarter, in which lenders fretted as net income and gain-on-sale margins cratered. The trade association found that from April to June 30, the reported net gain for nonbank lenders was $2,023, down from a reported gain of $3,361 per loan in the first quarter of 2021.
The reason for the rebound in the third quarter had to do with production revenue, which increased by more than 20 basis points from the previous quarter, said Marina Walsh, vice president of industry analysis at the MBA.
Total production revenue in the third quarter came in at 396 basis points, up from 375 bps in the second quarter. However, despite the increase, Walsh noted that compared to a year ago, production revenue lagged in the third quarter by almost 80 bps.
On a per-loan basis, production revenue climbed to $11,734 per loan in the third quarter, up from $10,691 per loan in the previous quarter, the report said.
Overall, 92% of nonbank lenders that partook in MBA's survey posted overall profitability in the third quarter, up from 84% in the second. In total, 365 companies participated in the survey.
Meanwhile, average production volume fell in the third quarter to $1.17 billion per nonbank lender, a dip from $1.35 billion in the second quarter. That corresponded with a drop in the number of loans originated, from 4,615 on average in the second quarter, to 3,889 in the third quarter, according to the survey's findings.
The trade group also noted that total loan production expenses and personnel expenses jumped in the third quarter, averaging to $9,140 and $6,185 per loan, respectively.
"Per-loan production expenses continued to rise for the fifth consecutive quarter, reaching the second-highest level ever reported. Rising sales costs that are often determined based on a percentage of loan balances was one primary factor for the increase in expenses," Walsh said. "The average loan balance for first mortgages reached another study-high in the third quarter, passing the $300,000 threshold for the first time to over $308,000."
Productivity for loans originated also dipped, with production employees averaging 3.6 loans per month in the third quarter compared to 3.7 loans in the second quarter.
Another trend highlighted in the report is that the purchase share of total originations has continued to steadily grow, coming in at 59% in the third quarter from 57% in the second, the trade group said.
The MBA estimates that for the mortgage industry as a whole, the purchase share was 46% in the third quarter, up from 44% in the previous quarter.
The post Nonbank profit margins improve, but expenses are up appeared first on HousingWire.
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Home » A Stones' Throw Away
A Stones' Throw Away
Mick and Keith's former roommate edges toward the spotlight.
by Mike Sula April 30, 1998 August 20, 2021
James Phelge leans against the bar at Sterch's with a hand in his pocket, surrounded by obsessively devoted Rolling Stones fans. They're bobbing their heads to a bootleg of "Happy," and Phelge is surveying the scene with an indulgent smile. He's probably the only person in the Lincoln Avenue bar who didn't go to last night's concert at the United Center.
"Ahhhh, they're crap," Phelge says to Don, who laughs. Don flew in from Massachusetts just to see the show; he's seen the band play in eight different cities on this tour. There's a stack of Polaroids on the bar from Wednesday's "Glimmer Gathering," a preconcert get-together of hard-core disciples. A few of the people in the photos have already moved on to the final stop of the North American tour in Toronto, but many are still here to party. One photo shows a man posing with a pair of briefs that Phelge autographed. The pictures pass from Thierry of France to Demery of the Netherlands to Greg of Winnipeg to Mayumi of Tokyo. Mayumi says she's seen the Stones over 40 times in her 33 years.
Everyone here knew about Phelge before they met him. He's a living legend in his own right, an infamous footnote sprung from numerous Stones biographies. He's likely to be the closest these fans will ever get to their idols, so they've adopted him as their very own Stone.
Phelge spent most of his adult life living a quiet existence as the owner of a guitar store on London's Denmark Street. He'd see his old mates on television every now and then, but he didn't make much of the fact that in 1963 he shared a squalid three-room flat in Chelsea with Mick Jagger, Keith Richards, and Brian Jones a year before the world discovered them. Since then he'd been married and divorced. He had a couple of kids. "I had my own life to lead," he says. "It sounds daft if you walk around saying 'Hey man, I once knew the Rolling Stones.'"
What Phelge didn't know was that he was famous. Legions of fans had puzzled over his existence for decades, based on numerous but cryptic mentions in the vast library of Stones literature. Richards has often repeated tales of the crazy roommate at 102 Edith Grove, "the most disgusting person ever," who stood naked at the top of the stairs with his underwear on his head urinating on the band as they returned home from a gig in the wee hours of the morning. The band named their first publishing company "Nanker-Phelge," a combination of his name and the contorted face and wheedling voice they all used to mock the blue-collar sods that hung out at the local pub. Some Glimmers believe that Jagger even cryptically referred to Phelge years after they lost touch in 1969's "You Can't Always Get What You Want": "I went down to the Chelsea drugstore / To get your prescription filled. / I was standing in line with Mr. Jimmy, / And man did he look pretty ill." Phelge isn't too sure about that one, but he hints at the possibility by mentioning that he and Jagger once took a trip to the chemist for some throat spray.
Back then Phelge was 19, working a low-paying job in a print shop, and experimenting with a new image, having lost his beatnik's beard and pipe in favor of sideburns and a short black corduroy coat buttoned up to the neck "for an Edwardian effect." He began hanging out in the Ealing Jazz Club in West London and had got to know the mangy lads in the "Rollin' Stones," who had a weekly gig playing rhythm and blues for a small but growing group of fans. One night in the middle of their set the singer announced that he and the two guitarists were looking for a fourth roommate to share their flat in Chelsea for four pounds a month. Phelge thought Chelsea sounded glamorous, so he approached Jagger after the show and agreed to move in sight unseen.
Phelge apparently wasn't bothered by the state of the apartment, which he likens to a World War II battlefront, but his new roommates were scandalized by a Perry Como record and a can of soybean sausages discovered among his few possessions. They immediately began to nanker him. He soon realized that if he allowed this to continue, the boys would walk all over him.
"One day they were poking fun because I was cleaning my shoes," he says. "Keith was talking and mentioned that he'd been to art college. I turned around and gobbed on the wall and said, 'Oh yeah? What else do you do?' And that stopped them completely dead. Their faces sort of dropped. I said, 'Oh, that painting on the wall there, that's called "Yellow Humphrey."' From that point on I was like one of them. It was just a question of 'that guy is fucking mad, he has to be all right.'" Soon enough Phelge was accompanying the band to their gigs and struggling to make it in to work the next morning.
The boys he knew really were boys, not the World's Oldest Rock and Roll Band. Phelge remembers the group's hardscrabble existence; he tells tales of midday raids into the neighbors' icebox and Richards making secret tape recordings of housemates using the building's communal toilet. He also offers early indications of the band's eventually ostracizing Brian Jones–who slept in the front lounge while everyone else shared the bedroom–but Phelge doesn't gossip, bitch, or try to farm dirt aside from relating the often sadistic attempts to relieve the boredom in their filthy, freezing flat.
Their downstairs neighbor–a straitlaced journalist they called Triffid–seemed to bear much of the brunt of their wickedness. They hung frying pans out the window and swung them against his window when he was sleeping. They blasted Bo Diddley from Richards's guitar amp into the hallway at 3 AM. Once Phelge and Richards broke into Triffid's apartment and guzzled a beer they found on the kitchen table. Phelge put the bottle back after peeing in it and replacing the cap. Triffid finally moved out after the terminally housekey-less Richards shoved his guitar neck through the front window trying to get in one early morning.
Phelge lost touch with the band when their success shot them out of his social circle. Yet he showed up at the 1969 memorial concert for Brian Jones. He hadn't seen any of the Stones for four years, but attending the concert seemed like the right thing to do. The band left in an army truck and Phelge began to follow in his car, thinking he'd catch up. But he decided to go home instead. "I wondered what I would say to them anyhow. Their experiences and success had taken them around the world several times, and I considered that we would probably no longer relate very strongly to each other."
Phelge says that he never bothered to read any Rolling Stones books except occasionally to see what was written about him. But he found that the period during which he lived with the band was woefully underreported. "People just kept writing books and they kept copying from one book to another. There's no new material coming along. And then there's things which would be simple facts that have been twisted around, but no one can actually tell you that except for myself, Mick, or Keith."
Phelge never wanted to write his own Stones book, though he did consider writing one about all the famous people he knew. After the Stones took off Phelge became friendly with music producer and pop star Kim Fowley, the man responsible for Joan Jett's Runaways and the Hollywood Argyles' "Alley Oop." Fowley noticed that Phelge had known a staggering number of people who went on to become famous. There was the guy he used to walk home from work with who was hanged for murder. There was a girl he almost dated who went on to become a Saudi princess. There were cycling champions, actors, photographers, and, of course, musicians he'd run across who'd risen out of the fertile breeding ground of swinging 60s London. "Anyone who touches Phelge becomes famous," Fowley once said. Phelge has no explanation for this, but he never forgot it.
Years later, feeling restless at the guitar store, he decided to write a memoir, "Touch Me and You're Famous," but when he came to his years with the Stones he realized there was enough material for two or three books. The Edith Grove story had more obvious commercial potential than the others. He began writing in the evenings after closing the store. As an afterthought, he looked on the Internet to see what he could find about the Stones. What he found was Undercover, a daily Web digest written by a community of fans who want to keep up with current events, hook up at Glimmer Gatherings, trade recordings, or debate the finer points of Stones lore. He logged on to correct some minor details in an ongoing discussion, signing his message "Phelge," just to see if anyone recognized his name. Everyone did, though at first no one believed it was really the Phelge. But after they checked him out, he says he was besieged.
"I never thought I was famous," he says. "Unbeknownst to me, there were all these people who read about me and were trying to find out who this Phelge guy was. When I went on the Internet I was getting like 60 or 70 E-mails a day. People said, 'Hey, I thought you were dead.' I'm no one important, but it was quite nice."
Phelge decided to publish the book himself rather than muck about with publishers. Those that had expressed interest in the project wanted to put him off for a couple of years or have him write a "Who Killed Brian Jones?" book. Phelge put together his own Web site (http://dspace.dial.pipex.com/james_phelge/) and began taking orders.
He also met Debbie White on the Undercover site. White, who has seen five Stones concerts on this tour, is an art director at a downtown ad agency. She logged on to the digest two years ago when she bought her first computer. "There were a couple of really funny posts signed 'Phelge,' and I remembered the name from the books and I thought, 'Oh, it can't be,'" she says. "But he checked out. He posted the first chapter of the book, and I wrote to him and said it was great, really funny, good luck with it. He wrote back, and we just got real attached to each other. Our first date was a month long."
Last year Phelge got fed up with the guitar business and sold his store, saying he never wanted to hear another guitar again. He came to Chicago last month, hiring a proofreader and a local printing broker to handle the production of an initial print run of 2,000 copies of his book Phelge's Stones, which he's expecting in a few weeks. He's already sold about 1,200 copies. He's decided that he likes this writing business, and he's thinking of making a career of it. He's considering a book in which he defuses all the conspiracy theories surrounding Brian Jones's death. He also wants to put together a Rolling Stones fan's guide to London, detailing all the appropriate pilgrimages.
Last September at the beginning of the Stones' latest tour Phelge attended his first Glimmer Gathering, which White had organized. He hates big concerts, though he attended that one at Soldier Field. "I always get stuck behind the girl with long hair that sticks in your face," he says. "Everybody's packed up standing there for two hours, and they're all drunk. And it's different nowadays when they come onstage. It's like a big variety act. All they need is a small stage. Get rid of all these keyboards and trumpets and shit. I've seen them loads and loads of times. I've seen them naked. I'd like to see them again, but I'd like to see them in comfort."
Before the concert, White brought Phelge to Sterch's to meet the Glimmers. D.J. and Bob Beaton, who drove up from Arkansas for the United Center show and have seen the Stones four times on the current tour, said a stir went through the Glimmer Gathering when Phelge entered the bar.
"He walked in and everyone was like, 'Oh, that's Jim Phelge–don't bother him," says Bob, a doctor. "D.J. just said, 'Aww the heck with it,' and went over and introduced herself and said, 'Why don't you have your underwear on your head?'"
"He shot right back at me," says D.J., a schoolteacher, "'The question, my dear, is why don't you have my underwear on your head.' I was just as excited about meeting him as I was about going to the show. I had been told that he did not like talking about the Stones, but that was just not true. I loved him. He had a comeback for everything I said. He was very witty and clever."
"It's nice to know someone who was there in the beginning," says Bob. "It's almost like the Rolling Stones are a corporation now, but he gives a real nice perspective on what their lives were like before. But to me Jim is Jim, and I really like him as a person."
"I'm not over it yet," says D.J. "I told everybody that I met him and impressed all my friends. They all asked me this time if I was going to see Phelge and asked me if I could get autographs. I said maybe."
Mishell, an attorney from New York City who'd thrown her bra onstage the night before, says Phelge surprised her too. "I'm always surprised at how small they are. Keith and Mick are really little just like that. It's like they never had meat or something."
What does Phelge think of his new fans and friends, many of whom think nothing of repeatedly dropping $300 for a good seat, not to mention the cost of airfare and hotel rooms, to see the same band over and over?
"They're all real nice people," he says. "Not an asshole in the bunch. But it baffles me. There's one guy from Norway who went to the first 36 shows. It's kind of nice that people know your name, even though it's for putting your underpants on your head. But it's kind of strange because it was just something I did at the spur of the moment and because of it I'm part of the Stones' history."
Back in Sterch's some of the Glimmers make plans for the European leg of the tour. Demery, who will organize the Gathering in Amsterdam, passes around the seating chart for the soccer stadium where the band will play. Phelge works the crowd, chatting up friends and strangers with a cigarette in one hand and a bottle of Old Style in the other.
He has no idea when the Amsterdam show is, but he realizes that he must develop some sort of marketing plan for Phelge's Stones aside from giving out his phone number (312-642-7554). "I don't plan on sitting in a stall outside the stadium trying to sell the book, " he says. "I'll have to find some people to do that for me. I don't follow the Rolling Stones anymore." And he steadfastly refuses to nanker. "I don't do that stuff anymore. You gotta move on. At my age it could result in some serious facial damage." o
Art accompanying story in printed newspaper (not available in this archive): James Phelge photo by Bruce Powell; Phledge with Brian Jones, 1964.
Stones Sell Out?
In "Letters"
Evil Triggers Down Amateur Street
Polka Dotty
Mike Sula
More by Mike Sula


text:
'use strict';

var response = require('../context').response;
var request = require('supertest');
var statuses = require('statuses');
var assert = require('assert');
var koa = require('../..');

describe('res.status=', function(){
  describe('when a status code', function(){
    describe('and valid', function(){
      it('should set the status', function(){
        var res = response();
        res.status = 403;
        res.status.should.equal(403);
      })

      it('should not throw', function(){
        assert.doesNotThrow(function() {
          response().status = 403;
        });
      })
    })

    describe('and invalid', function(){
      it('should throw', function(){
        assert.throws(function() {
          response().status = 999;
        }, 'invalid status code: 999');
      })
    })

    describe('and custom status', function (){
      before(function () {
        statuses['700'] = 'custom status';
      })

      it('should set the status', function (){
        var res = response();
        res.status = 700;
        res.status.should.equal(700);
      })

      it('should not throw', function(){
        assert.doesNotThrow(function() {
          response().status = 700;
        });
      })
    })
  })

  describe('when a status string', function(){
    it('should throw', function(){
      assert.throws(function() {
        response().status = 'forbidden';
      }, 'status code must be a number');
    })
  })

  function strip(status) {
    it('should strip content related header fields', function(done){
      var app = koa();

      app.use(function *(){
        this.body = { foo: 'bar' };
        this.set('Content-Type', 'application/json; charset=utf-8');
        this.set('Content-Length', '15');
        this.set('Transfer-Encoding', 'chunked');
        this.status = status;
        assert(null == this.response.header['content-type']);
        assert(null == this.response.header['content-length']);
        assert(null == this.response.header['transfer-encoding']);
      });

      request(app.listen())
        .get('/')
        .expect(status)
        .end(function(err, res) {
          res.should.not.have.header('content-type');
          res.should.not.have.header('content-length');
          res.should.not.have.header('content-encoding');
          res.text.should.have.length(0);
          done(err);
        });
    })

    it('should strip content releated header fields after status set', function(done) {
      var app = koa();

      app.use(function *(){
        this.status = status;
        this.body = { foo: 'bar' };
        this.set('Content-Type', 'application/json; charset=utf-8');
        this.set('Content-Length', '15');
        this.set('Transfer-Encoding', 'chunked');
      });

      request(app.listen())
        .get('/')
        .expect(status)
        .end(function(err, res) {
          res.should.not.have.header('content-type');
          res.should.not.have.header('content-length');
          res.should.not.have.header('content-encoding');
          res.text.should.have.length(0);
          done(err);
        });
    })
  }

  describe('when 204', function(){
    strip(204);
  })

  describe('when 205', function(){
    strip(205);
  })

  describe('when 304', function(){
    strip(304);
  })
})

redpajama_set_name: RedPajamaGithub


text:
Lebanon Middle East World
Business Sports Climate Change & Environment
Entertainment Offbeat Culture Science Obituaries Technology Health Entrepreneurship Roundup
ICRC: Aleppo Evacuation Could Take Days - Thousands of People in Need'
by Naharnet Newsdesk 16 December 2016, 10:15
The head of the International Committee of the Red Cross (ICRC) in Syria, Marianne Gasser, has said it could take days to complete the evacuation operation in the Syrian city of Aleppo. The first two evacuations, led by the ICRC and the Syrian Arab Red Crescent, went ahead on Thursday. In total, some three thousand civilians and more than 40 wounded, including children, were brought out. Darkness had already set in when the third convoy set off to evacuate more people.
"There was firing before we entered East Aleppo for the first evacuation. Right up until the last minute, it wasn't clear we'd get in. A crane was used to remove some of the debris from the street so the ambulances and buses could get through. There were burnt out cars. Smoke rising from nearby buildings. There was a lot of fear and uncertainty," said Ms Gasser.
"When we arrived, the scene was heart-breaking. People are faced with impossible choices. You see their eyes filled with sadness. It was very moving. No-one knows how many people are left in the east, and the evacuation could take days. Working alongside the Red Crescent, we will continue to act as a neutral intermediary, and help as many people as possible who are in need," said Ms Gasser.
The evacuation operation marked the first time since April that ICRC teams have been allowed into opposition-held areas of east Aleppo, despite numerous attempts.
The wounded, some critically, were taken out by ambulance to healthcare facilities in rural areas of Aleppo and Idlib. Around 200 other wounded and sick people are still awaiting evacuation. At the same time, around three thousand civilians, including children and the elderly, were evacuated by bus. More than 100 SARC and ICRC workers were involved in the operation.
The ICRC Regional Director for the Middle East, Robert Mardini, says this is just the start:
"The humanitarian space must be kept open so that this operation can continue. It's been a positive start, but there is so much more to do. The needs are huge. Time is short and we call on all parties to show continued goodwill so that we can help all those who are suffering at this time," said Mardini.
Lebanon Baabda Security Meeting Vows Crackdown on 'Sabotage Groups' 20 January 2020, 17:04
Lebanon Report: Investigations into 'Suspicious' Money Transfers Not Over Yet 20 January 2020, 12:32
Lebanon U.S. Journalist Held for 'Broadcasting Beirut Demo to Haaretz' 20 January 2020, 15:57
Lebanon Report: Hariri Will Not Participate in Security Meeting on Crisis 20 January 2020, 08:49
Lebanon 'No Turning Back' Protests Rage in Lebanon 20 January 2020, 10:55
Lebanon Jumblat Meets Hariri, Tells Protesters Violence Not Useful 20 January 2020, 21:38
Lebanon Public Uproar over Bassil's Davos Invite 20 January 2020, 18:14
Lebanon Diab Meets Franjieh, Khalil, al-Khalil, May Accept 20-Seat Govt. 20 January 2020, 16:51
eagledawn The day this evil sectarian iranian terrorist is brutally and violently murde... 13 January 2020, 10:36
joebustani Bless anyone person, entity, organization, brigade or country that inflicts e... 17 January 2020, 14:13
justice No more uncivilized ashura processions in Kensington and Hyde Park. 17 January 2020, 15:41
s.o.s Hallelujah! 13 January 2020, 11:14
s.o.s haha so true! His cancer is eating him, we'll get there. 13 January 2020, 11:15
Geralt Screw you, Mr. President, you and your son in law that brought you more shame... 20 January 2020, 13:02
tric.portugal ONU is supporting the daesh movements of Tripoli... The daesh and ONU defends... 20 January 2020, 12:49
tric.portugal Tripoli send a message to the cristhians in Beirute... Convert or Die... 20 January 2020, 12:46
keserwaniaseel Cutest photo ever. He must have taken it for his profile on match.com 20 January 2020, 11:55
rami Le jour où ce sénile partira (le plus tôt possible je l'espère) sera le jour ... 20 January 2020, 10:58
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This post is going to be very beginner-oriented, but hopefully vets will find something of value.
*Study the bestseller lists and learn from the successful indies.
*Figure out what's selling and what isn't. Mass market readers don't necessarily want "unique," "new and different," or subversion of tropes. Most of the time, they want "more of the same."
This should go without saying, but it doesn't. Take a look at Lousy Book Covers.
*Emulate the bestselling indies in your subgenre.
*Don't clutter your book with a bunch of images from your book.
*It's an ad, not a summary.
*Keep the description snappy and not overlong.
*Focus on what the story is about and what the character will face.
*Learn from bestselling indie books in your subgenre.
*There are many editors professional content editors and proofreaders doing freelance work nowadays. Many are working both freelance for indies and traditional publishers. If you can afford it, it's possible to get trad-pub quality editing for your work.
*Before making your final pass over the manuscript, change the font and font size. Some authors find this helps put them in different headspace and helps them catch errors.
*Read the book aloud to yourself.
*Read the book page-by-page beginning with the back page. This prevents you from focusing on the plot.
*Use a text-to-speech program to read the manuscript back to you.
*Get as many eyes on your manuscript as you can. Perhaps you can find people among your street team who are skilled editors.
*Network with other indies to find affordable editors and proofreaders. Check the Kboards Yellow Pages.
None of the above is intended to suggest you shouldn't hire an editor or proofer. I simply recognize that, for some people, it might be years before they can afford those services. I believe that if your book is well-written and you make it as clean as possible, readers will forgive a few mistakes. My first books had many mistakes and I've had them re-edited and proofed. It's not ideal, and I might have lost a few readers along the way, but that's my journey and it's turned out all right. I do encourage you to engage the services of good editors and proofers as soon as you can afford them.
*Listen to podcasts like The Creative Penn, Self-Publishing Formula, and Sci-Fi Fantasy Marketing Podcast for info and advice on the business and shows like Writing Excuses or The Roundtable Podcast for advice on the craft.
*Give greater consideration to those who are where you want to be in terms of commercial success. especially those who are succeeding in your genre.
*Does the person giving advice share your goals? If your goal is commercial success, the person whose focus is elsewhere might not be the best person to offer guidance.
*When it comes to business decisions, take the advice of indies who have "made it on their own" rather than "name" authors whose brand identity can overcome their publisher's bad marketing decisions. Also, if an author whose small-to-midsize publisher has cultivated a solid niche audience, beware when that author tells you "I don't worry about branding or marketing." In short, look for apples-to-apples publishing circumstances.
*Don't believe every indie conspiracy theory you read, especially about Amazon/algorithms.
*It's not all about luck. This could open a can of worms, so I'll cut to the chase: the harder I work, and the smarter I work, the luckier I get. Focus on what's within your control. Using best practices and learning from successful indies is no guarantee of success, but it gives you your best chance.
*The longer you go between new releases, the sharper the sales decline.
*Writing novellas is a great way to keep a series going and produce regular content. My novellas sell almost as well as my full-length books, and the occasional "this is too short" review doesn't hurt sales.
*Short stories have their uses, but aren't particularly effective as tools for generating new sales/keeping momentum in the sales rankings.
*Writing a series tends to be much more effective than writing a variety of disconnected works.
*Putting out a new book in a series tends to lift the sales rankings of previous books in the series.
*Don't believe the old publishing "truism" that an author's books compete with one another. The opposite is actually true. Some indies have even found they can put out a book a month without detrimental effects on their catalog.
*Before spending money (or time) on a given strategy, ask yourself: has this particular strategy ever led me to buy a book? If so, how often?
-A Facebook ad proclaiming a given author as "better than..." This is an automatic "no" for me.
-Recommendation from a friend who shares my reading interests.
-Finding the book in the also-boughts of my favorite authors.
-Finding the book in the besteller lists of my favorite genres.
Whew! This was a lengthy post. If you've made it to the end, thanks for reading and I hope you've found something useful.


text:
Waning Crescent on 19 December 2022 Monday
Moon phase on 19 December 2022 Monday is Waning Crescent, 25 days old Moon is in Scorpio.
Moon phase for 19 December 2022 Monday 12:00 UTC
Lunar calendar 2022 | December 2022
Waning Crescent phase
Waning Crescent 20% illuminated
Waning Crescent is the lunar phase on 19 December 2022, Monday . Seen from Earth, illuminated fraction of the Moon surface is 20% and getting smaller. The 25 days old Moon is in ♏ Scorpio.
20 December Dec
Crescent ♏ Scorpio
Crescent ♐ Sagittarius
23* December Dec10:17
Moon* ♑ Capricorn
Crescent ♑ Capricorn
Crescent ♒ Aquarius
3 days after Last Quarter
Previous main lunar phase is the Last Quarter before 3 days on 16 December 2022 at 08:56.
Moon rises after midnight to early morning and sets in the afternoon. It is visible in the early morning low to the east.
Moon in ♏ Scorpio
Moon is passing about ∠5° of ♏ Scorpio tropical zodiac sector.
Lunar disc appears visually 3.4% narrower than solar disc. Moon and Sun apparent angular diameters are ∠1884" and ∠1950".
Wolf Moon after 18 days
Next Full Moon is the Wolf Moon of January 2023 after 18 days on 6 January 2023 at 23:08.
New Moon in Capricorn ♑ after 3 days on 23 December 2022 at 10:17
First Quarter in Aries ♈ after 10 days on 30 December 2022 at 01:21
Full Moon in Cancer ♋ after 18 days on 6 January 2023 at 23:08
Last Quarter in Libra ♎ after 26 days on 15 January 2023 at 02:10
The Moon is 25 days old. Earth's natural satellite is moving from the second to the final part of current synodic month. This is lunation 283 of Meeus index or 1236 from Brown series.
The length of the lunation is 29 days, 11 hours and 20 minutes. It is 44 minutes longer than the next lunation's length. The lengths of the following synodic months are going to decreasing with the true anomaly getting closer to the value it has at the point of New Moon at perigee (∠0° or ∠360°).
The length of the current synodic month is 1 hour and 24 minutes shorter than the mean synodic month length. It is 4 hours and 45 minutes longer compared to 21st century's shortest synodic month length.
Lunar orbit position on 19 December 2022 Monday 12:00 UTC
True anomaly ∠325.5°
At the beginning of the lunation cycle the true anomaly is ∠325.5°. At the beginning of next synodic month the true anomaly is going to be ∠344.3°.
7 days after point of apogee on 12 December 2022 at 00:30 in ♌ Leo. The lunar orbit is getting narrow, while the Moon is moving towards the Earth. It will keep this direction over the next 4 days, until the Moon reaches the point of next perigee on 24 December 2022 at 08:32 in ♑ Capricorn.
Moon before descending node
13 days after ascending node on 5 December 2022 at 12:39 in ♉ Taurus. The Moon is located north of the ecliptic over the following day, until the lunar orbit crosses from North to South in descending node on 20 December 2022 at 01:36 in ♏ Scorpio.
13 days since the beginning of current draconic month in ♉ Taurus, the Moon is navigating from the first to the middle part of the cycle.
Moon before southern standstill
9 days since the previous standstill on 9 December 2022 at 21:22 in ♋ Cancer when the Moon has reached North declination of ∠27.432°, the lunar orbit is extending southward over the next 4 days to face maximum declination of ∠-27.418° at the point of next southern standstill on 23 December 2022 at 18:18 in ♐ Sagittarius.
In 3 days on 23 December 2022 at 10:17 in ♑ Capricorn the Moon is going to be in a New Moon geocentric conjunction with the Sun and thus forming the next Sun-Moon-Earth syzygy alignment.