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Crestwood voters eye charter amendments
Mayor Robinson plans to vote 'no' on all five charter proposals
By BURKE WASSON
Nearly a year after Crestwood's Charter Review Commission submitted three proposed amendments to the Board of Aldermen, residents will vote next week on five charter propositions.
Voters will consider several possible changes to their City Charter when they go to the polls Tuesday, Nov. 7.
The proposals include eliminating term limits for aldermen, adding a censure provision for elected officials who violate the charter as opposed to removing them from office, updating and clarifying the charter's language and reducing the number of signatures needed for initiative, referendum and recall petitions.
The Board of Aldermen voted in May to unanimously approve amendments to an ordinance previously adopted in January and placed the proposed charter changes on the Nov. 7 ballot.
After the board voted in January to place the propositions on the April ballot, the five proposed amendments essentially were blocked from that ballot by a handful of residents who formed a petitioners referendum committee challenging an ordinance calling for residents to vote on those issues in April.
The city's deadline to have ballot forms to the County Board of Elections for the April election was before the deadline that the referendum committee had to report its signatures. However, that committee — residents Bob Deutschmann, Robert Beck, Jackie Stockhausen, Roger Anderson and Frank Spinner — failed to report any signatures. Anderson and Beck both told the Call they did not personally attempt to gather any signatures whatsoever, and Deutschmann has criticized the charter amendments at past board and town-hall meetings.
Beck previously told the Call that resident and former Rep. Jim Murphy also worked with the group. Murphy has denied all affiliation with the referendum committee, but has also said that he is against eliminating term limits. Crestwood's charter states that aldermen are limited to serve three consecutive three-year terms.
Mayor Roy Robinson said this week that he is opposed to removing term limits in Crestwood and added that he would be voting against each of the five amendments.
"I plan to vote no on all of them," Robinson said. "I would probably vote for the one that would do the housekeeping, but they put so many things inside that. I'm going to vote against. And I still think just like the mayor, the aldermen should serve term limits also because it's refreshing to get new people in."
The "housekeeping" item that the mayor referred to is Proposition 1 of the five proposed amendments.
Proposition 1 is a proposal to amend several areas of the charter, according to information provided by the City Clerk's Office. Some of these proposed changes are:
• Deleting a sentence that requires all Board of Aldermen meetings to take place within city limits.
• Changing a new ordinance's effective date to the day that the mayor approves the new ordinance instead of on the day that aldermen pass the ordinance.
• Allowing the city attorney to appeal if the Board of Aldermen votes to fire that individual.
• Allowing the city administrator to appeal if the Board of Aldermen votes to fire that individual.
• Giving the Board of Aldermen the right to change the city clerk's employee status from a civil-service employee to a department head.
• Shortening the city's budget and capital programs from five-year plans to three-year plans.
• Changing the city's fiscal year to a calendar year instead of beginning on July 1.
• Ensuring that the city's Charter Review Commission meets at least once every 10 years instead of the current charter language that states "not less than" every 10 years.
Robinson said he believes there are some items among the 18 proposed changes in Proposition 1 that he supports. Instead of voting for 18 changes with one vote, however, he said he would prefer voting on each change as a separate proposition.
"I think we do need the housekeeping items," Robinson said. "There's many in there that need to be done if for nothing else just to clean up the charter. However, because so many other things are in there, I think it waters down the others … I think there's a few in that package that should be voted on separately. And because of that, I'm voting no on it."
The mayor said he has also not ruled out the possibility of forming another Charter Review Commission to develop new amendments to be voted on in the future.
"If we deem it necessary, we'll go back and appoint another committee and try it again in the future, whether it be me or another mayor," Robinson said. "But I think there are probably some things that need to be done and I think they need to be evaluated."
Other proposals that will be evaluated Tuesday by residents include Proposition 2, which would eliminate term limits for aldermen.
Information provided by the City Clerk's Office about the proposed amendments stated three reasons that the Charter Review Commission gave for term limits possibly being eliminated are:
• "The long-term effects of term limits were not really known when they were adopted in 1995."
• "The effects had not yet impacted Crestwood at the time the Charter Review Commission recommended the issue be revisited by voters. (April 2006 was the first election where aldermen had to leave office due to term limits)."
• "Crestwood will face a major turnover on the Board of Aldermen in a short period of time and the Board of Aldermen's 'institutional memory' will be lost."
Proposition 3 of the proposed charter amendments proposes that censure be added as an option to discipline elected officials who have violated the charter. The proposal was added as a way for elected officials who violate the charter to be reprimanded without being forced to leave office.
The reasons the Charter Review Commission gave for the censure method of discipline are:
• "Censure would be provided as a warning for less egregious offenses."
• "Add another tool of discipline other than forfeiture of office."
• "Most charters include censure as a method of reprimand."
The Charter Review Commission further recommended in Proposition 3 that aldermen adopt a code of conduct that details how and when elected officials who violate the charter should be disciplined.
Proposition 4 calls for reducing the number of signatures required for initiative and referendum petitions from 12 percent of registered voters to 8 percent of registered voters.
That provision originally was proposed by the Charter Review Commission in Proposition 1, but was later given its own proposition number after Robinson said the issue should be placed before voters as a separate issue because it would be a "major change."
Proposition 5 also reduces the number of signatures required for a petition. But instead of initiative and referendum, Prop 5 calls for reducing required signatures on recall petitions. If passed by voters, Prop 5 would reduce the percentage of signatures required for a recall petition from 20 percent of registered voters to 15 percent of registered voters.
The reasons the Charter Review Commission gave for the proposed signature reduction in Propositions 4 and 5 are:
• "Crestwood's current percentages are more restrictive than those in other cities."
• "The percentages for these two sections seemed significantly higher than those required for a petition to amend the charter itself." Ten percent of registered voters are required for a charter-amendment petition.
• "The percentages are set by 'all' registered voters. The percentage of those who vote is significantly lower than those who are registered to vote. Lower percentages of 'all' registered voters would more accurately relate to the number of those who regularly participate in political issues and vote."
BURKE WASSON
Mehlville Board of Education renames 'Proposition M' to 'Proposition E'
Planning Commission approves zoning code updates for marijuana facilities
Affton News
Planning panel denies Needy Paws facility
Board of Education approves 2023-2024 academic calendar for Mehlville schools
Crestwood purchases new police cars, additional license plate recognition cameras
County voters will decide on marijuana tax issue in April
Lawmakers make bipartisan push to extend postpartum care for new moms
Mehlville Fire joins statewide fund for employee cancer coverage
Farwig moving out of Green Park, resigning as Ward 2 alderman
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Lindbergh Schools Board of Education considers Centegix safety badge alert system


The Rolling Stones have announced a stadium tour of the UK and Ireland.
The famous rockers will play in front of 80,000 plus people at the GAA headquarters on May 17 to start the tour off.
Tickets for the Dublin gig go on sale on Friday March 23rd.
Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood continue on from their hugely successful sold out European trek in the autumn of last year.
The Rolling Stones will treat fans to a set list packed full of classics such as 'Satisfaction', 'Paint It Black', 'Tumbling Dice' & 'Brown Sugar' but each night they will include a couple of unexpected tracks and randomly selected surprises from their formidable arsenal of songs.


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Home » Lifestyle » NBC Orders Comedies 'Grand Crew,' 'American Auto,' Drama 'La Brea' for 2021-2022 Season
NBC Orders Comedies 'Grand Crew,' 'American Auto,' Drama 'La Brea' for 2021-2022 Season
NBC has ordered the single-camera comedies "Grand Crew" and "American Auto" and the drama "La Brea" for the 2021-2022 broadcast season.
All three shows were originally ordered to pilot as part of the 2019-2020 pilot season, but production on nearly every pilot across the broadcast networks was suspended due to the pandemic. NBC had announced in June that it would stagger production on its remaining pilots throughout the remainder of 2020 as part of its COVID safety protocols.
"Our driving force has always been to seek out talented storytellers who have a strong point of view," said Lisa Katz, president of scripted content for NBCUniversal. "While these shows are very different thematically , what they have in common is a unique voice, excellent world building, and compelling storytelling. We can't wait to share them with TV fans everywhere."
"American Auto" stars Ana Gasteyer, Jon Barinholtz, Harriet Dyer, Humphrey Ker, Michael B. Washington, Tye White and X Mayo. The series is set at the headquarters of a major American automotive company in Detroit where a floundering group of executives try to rediscover the company identity amidst a rapidly changing industry.
"Superstore" creator Justin Spitzer is the writer and executive producer on "American Auto," with Aaron Kaplan and Dana Honor of Kapital Entertainment also executive producing. Jeff Blitz is an executive producer and directed the pilot. Universal Television will produce. Spitzer is under an overall deal at the studio.
"Grand Crew" stars Echo Kellum, Justin Cunningham, Carl Tart, Aaron Jennings, and Nicole Byer. It is about a group of Black friends who unpack the ups and downs of life and love at a wine bar.
"Brooklyn Nine-Nine" alum Phil Augusta Jackson is writer and executive producer, with "Brooklyn Nine-Nine" showrunner and co-creator Dan Goor also executive producing. Mo Marable directed the pilot and serves as co-executive producer. Universal Television will produce. Goor is under an overall deal at the studio.
Finally, "La Brea" stars Natalie Zea, Zyra Gorecki and Chiké Okonkwo with additional castings to come. In the show, when a massive sinkhole mysteriously opens in Los Angeles, it tears a family in half, separating mother and son from father and daughter. When part of the family find themselves in an unexplainable primeval world, alongside a disparate group of strangers, they must work to survive and uncover the mystery of where they are and if there is a way back home.
David Applebaum is writer and executive producer on "La Brea," with Avi Nir, Alon Shtruzman, Peter Traugott, and Rachel Kaplan of Keshet Studios also executive producing along with Ken Woodruff.
(Pictured: "Grand Crew")
John Boyega Surprises Children With a Special Jedi Lesson, and Their Reactions Are Priceless
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Olympic U.S. Ice Hockey Champion Meghan Duggan Marries Canadian Rival Gillian Apps
Briana DeJesus Final Talk With Ex Creates More Questions Than Answers
Mothers say they ENJOY giving birth
« These 'Bridgerton' Musical TikToks Will Inspire You To Duet & Join The Fun
'Little House on the Prairie': Why Melissa Gilbert Said Michael Landon's Affair 'Felt Like a Death' To Her »

redpajama_set_name: RedPajamaCommonCrawl


Minimalistic X-rod mount by whosawhatsis is licensed under the Creative Commons - Attribution - Share Alike license.
This is my take on an x-rod mount, inspired by the Prusa Mendel. It presses a screw directly against the rod to clamp it in place, and is extremely low-profile. I had trouble printing twotimes' version (the y-axis kept skipping when transitioning from the base to the clamp), so I built the clamp into the base.
Press the captive nut into the slot above the rod hole (tighten it onto a screw to press-fit it and make sure it's aligned), then insert the rod. Mount the clamp to the inside of the Cupcake body with four screws, then tighten down the clamping screw to lock the rod in place. You'll probably need a ball-end hex driver for this (my Makerbot came with one).


There is widespread agreement that automobile LOS is a bad metric for determining the environmental impact of projects. But what should replace it?
The California Office of Planning and Research (OPR) proposes to replace LOS with VMT for the EIR process. That is a step in the right direction, but I am not optimistic it will make transit projects "much much easier" to implement — as some seem to think.
One problem is that LOS is firmly established in transportation agencies. They will continue to use the metric, regardless of what is required in an EIR. It is unlikely that a transit agency, or bike planner, will get to build a project if it were to significantly degrade LOS at an intersection. A City Council is even less likely to approve of such a project. LOS will continue to be a flaming-hoop-of-fire that projects will have to jump through.
Yes, but what about all those frivolous EIR lawsuits? Actually, that problem is greatly exaggerated. Only a tiny number of EIR's are successfully challenged. The most famous example, the injunction against the San Francisco Bike Plan, will probably never happen again now that California has exempted bike projects from EIR's.
So using VMT is fixing something that isn't horribly broken — though it might make it worse. Why might VMT make EIR's worse? Because sweeping changes in the regulations could provide fertile ground for creative lawsuits. LOS has decades of case precedent, whereas the courts may have to re-define terms like mitigations and significant impacts in a new VMT regime.
Oh my gosh! Drinking while biking…and not even wearing a helmet.
There is probably no safer place than public transit stations and vehicles. Despite what you see in the movies and on TV, the incidence of crime is rare. But since the 9/11 attacks, the Dept. of Homeland Security has provided over $1 billion in grants to public transit agencies through the Transit Security Grant Program. A large chunk of that money has gone to visual surveillance systems.
For the 2015 budget, the DHS wants to eliminate dedicated public transit grants — though transit agencies could still apply for funding under a different National Preparedness Grant Program.
We are well aware of the many pressures on our nation's budget and the importance of addressing other national funding priorities; however, the current level of transit security funding is woefully inadequate as the Transit Security Grant Program is the primary source of funding for security needs of public transportation agencies. To put the current level of investment in transit security into greater perspective, we note that a 2010 APTA survey of its members found security investment needs in excess of $6.4 billion nationwide. APTA urges Congress to acknowledge the risk that our citizens and transit systems continue to face, and restore appropriations for the Transit Security Grant Program in this and subsequent appropriation bills to levels closer to those authorized under the 9/11 Commission Act.
When transit agencies receive the DHS funding, they don't pretend it has anything to do with terrorism. Trimet (to use one example) spent $5 million for 4,400 cameras, with an additional $7.5 million in the pipeline. The cameras were useful for catching vandals and gropers. That kind of criminal certainly deserves to be punished, but they are hardly Al Qaeda.
The sad thing is that there is one very significant part of the transportation system that could benefit from surveillance cameras: our roads and highways. Speed cameras are proven effective in reducing crashes and injuries. Just imagine if $1+ billion had been spent on that.


text:
Pauline Ruth "Nina" Salaman () (15 July 1877 – 22 February 1925) was a British Jewish poet, translator, and social activist. Besides her original poetry, she is best known for her English translations of medieval Hebrew verse—especially of the poems of Judah Halevi—which she began publishing at the age of 16.

An advocate for women's education and suffrage, Salaman was a prominent member of the Jewish League for Woman Suffrage, the Federation of Women Zionists, and the Union of Jewish Women. She was the first woman to deliver a sermon in a British Orthodox synagogue and to be elected president of the Jewish Historical Society of England, though her declining health prevented her from taking office.

Early life
Pauline Ruth Davis was born on 15 July 1877 at Friarfield House, Derby, the second of two children of Louisa () and . Her father's family were Jewish precision instrument makers, who had immigrated to England from Bavaria in the early nineteenth century. A civil engineer by trade, Arthur Davis mastered the Hebrew language, becoming an accomplished Hebraist noted for his study of cantillation marks in the Tanakh. The family moved to Kilburn, London when Nina was six weeks old, later settling in Bayswater. Davis gave his daughters an intensive scholarly education in Hebrew and Jewish studies, and took them regularly to the synagogue.

The Davises moved in learned Jewish circles, and friends of Nina's parents included the families of Nathan Adler, Simeon Singer, Claude Montefiore, Solomon Schechter, Herbert Bentwich, and Elkan Adler. Arthur Davis was one of the "Kilburn Wanderers"—a group of Anglo-Jewish intellectuals that formed around Solomon Schechter in the 1880s—members of which took an interest in Nina's work and helped her find publishers for her writings.

Career

Early career

Nina's first published translation, of Abraham ibn Ezra's The Song of Chess, appeared in the Jewish Chronicle on 22 June 1894. Later that year, she contributed an essay and a poem on "The Ideal Minister of the Talmud" to the Jewish Quarterly Review, then under the editorship of Claude Montefiore and Israel Abrahams, and continued thereafter publishing translations of medieval Hebrew poetry in the Jewish press. Israel Zangwill, an acquaintance of her father, provided her with an introduction to Mayer Sulzberger of the Jewish Publication Society of America, which published her Songs of Exile by Hebrew Poets in 1901. The collection, which attracted widespread attention, included translations of poems by Judah Halevi, Abraham ibn Ezra, Eleazar ben Killir, Solomon ibn Gabirol, Joseph ben Samuel Bonfils, and Meir of Rothenburg, as well as passages from the Talmud and Midrash Rabba.

From about 1900, her father worked with Herbert M. Adler, nephew of Chief Rabbi Hermann Adler, on a multivolume edition of the Machzor with a new and modern translation. Nina and her sister, Elsie, both contributed to the work, devoting themselves to translating the metrical sections of the original into poetry, while their father rendered the prose. The festival prayer book was published as Service of the Synagogue in 1904–9, and became commonplace in synagogues across the English-speaking world.

Marriage and family
Nina met physician Redcliffe Salaman at the New West End Synagogue in July 1901, during Shabbat services. Redcliffe was one of the twelve children of Myer Salaman, a wealthy London ostrich feather merchant. His family had emigrated to England from Holland or the Rhineland in the eighteenth century. They were formally engaged ten days later and married on 23 October 1901, after which Redcliffe temporarily relocated to Berlin to complete advanced training in pathology. He was appointed director of the Pathological Institute at the London Hospital in 1902, but ceased to practice medicine the following year after developing pulmonary tuberculosis. The Salamans spent the winter of 1903–1904 in Montana-sur-Sierre and Montreux, Switzerland, where Redcliffe slowly regained some weight. Upon their return to England, they moved to a thirty-room Elizabethan country house, Homestall, in Barley, Hertfordshire, a small village near Cambridge.

Nina and Redcliffe Salaman lived comfortably in a kosher and Shabbat-observant home with numerous servants, and returned to London frequently to observe Jewish festivals and attend committee meetings. Nina and Redcliffe Salaman became active in the Jewish community at Cambridge, and entertained generations of Jewish students at their home. Nina travelled frequently to the town to use the university library and meet with Israel Abrahams, reader in Talmudic and rabbinic literature. Like her father before her, she personally educated her six children at their Hertfordshire home until they went to boarding school (at Clifton College and Bedales School), teaching her sons to read Hebrew before they learned to read English.

Later career

Salaman continued after her marriage to write in the columns of Jewish periodicals, including the Jewish Chronicle, the Jewish Quarterly Review, the Menorah Journal, and the Jewish Guardian. A passionate Jewish nationalist, Salaman published in 1916 one of the first English translations of Hatikvah, and later composed the marching song for the Judaeans, the Jewish regiment that participated in the British effort to seize Palestine from the Ottoman Empire during the First World War, in which her husband served as medical officer.

A book of original poetry appeared in 1910 to favourable reviews, entitled The Voices of the Rivers, which includes a hymn for the 9th of Av. The following year she released as a gift book for Jewish children Apples and Honey, a collection of poetry and prose by Benjamin Disraeli, Emma Lazarus, George Eliot, Israel Zangwill, Jessie Sampter, Leigh Hunt, Lord Byron, and others. Salaman's most important work was her Selected Poems of Jehudah Halevi, the second of a series of twenty-five volumes of Jewish Classics issued by the Jewish Publication Society. Released in 1924 after twelve years of preparation, the volume is divided into four sections (The Journey to Zion, Love and Bridal Songs, Poems of Friendship, and Devotional Poems) and contains an introduction by Salaman on the life of Halevi and his work. The translation was based on the Hebrew text from Chaim Brody's edition of Halevi, revised by him for the collection.

Activism and community work
Besides her scholarly work, Salaman served as vice-president of the Jewish League for Woman Suffrage, in which position she advocated for the right of women to vote in synagogue elections and for Hebrew education for Jewish girls, was an active member of the  and the Union of Jewish Women, and helped establish the Tottenham Talmud Torah for Girls in North London, to which she donated the royalties of her books. She also participated in various non-Jewish charities, such as the Women's Institute at Barley. At Friday evening services on 5 December 1919, she became the first woman to deliver a sermon in a British Orthodox synagogue, when she spoke on the weekly parashah, Vayishlach, to the Cambridge Hebrew Congregation. The event was met with controversy; Chief Rabbi Joseph Hertz supported Salaman, and ruled that since she only went up to the bimah after the concluding prayer, no religious law had been violated.

Salaman was appointed to the council of the Jewish Historical Society of England in 1918, and was elected president in 1922. Her ailing health prevented her from taking office, however, and her husband was elected in her stead.

Death and legacy
Nina Salaman died of colorectal cancer at Homestall on 22 February 1925, aged 47. The funeral was held three days later at the Willesden Jewish Cemetery, where the Chief Rabbi officiated and delivered a eulogy, customarily forbidden on Rosh Hodesh except at the funeral of an eminent scholar. An American memorial service was held by Ray Frank-Litman on 28 April, at which Moses Jung, Jacob Zeitlin and Abram L. Sachar made eulogistic remarks. Abraham Yahuda, Herbert M. Adler, Herbert Loewe, Sir Israel Gollancz, Israel Zangwill, Norman Bentwich, and others published tributes in her memory.

Salaman's children were  (1902–1994), pathologist and cancer researcher; Arthur Gabriel Salaman (1904–1964), general practitioner; Raphael Arthur Salaman (1906–1993), engineer; Ruth Isabelle Collet (1909–2001), painter and printmaker; and  (1914–2005), mezzo-soprano. A sixth child, Edward Michael, the twin brother of Arthur, died in 1913 at the age of nine. Salaman's granddaughter, Jenny Manson, is Chair of Jewish Voice for Labour. Another granddaughter, Nina Wedderburn (; 1929–2020) was a medical researcher and married Labour politician Bill Wedderburn.

A portrait of Nina Salaman by Solomon J. Solomon was acquired by the Jewish Museum London in March 2007.

Selected bibliography

References

External links

Works of Nina Salaman at the Online Books Page

1877 births
1925 deaths
19th-century English women writers
19th-century English poets
19th-century Sephardi Jews
20th-century English poets
20th-century Sephardi Jews
British Hebraists
British women hymnwriters
British Zionists
Deaths from cancer in England
Deaths from colorectal cancer
English feminists
English hymnwriters
English Jewish writers
English Orthodox Jews
English people of German-Jewish descent
English suffragists
English translators
English women poets
Hebrew–English translators
Jewish feminists
Jewish poets
Jewish suffragists
Jewish women writers
People from Derby
People from North Hertfordshire District
Nina Salaman
Victorian poets
Victorian women writers
Women anthologists

redpajama_set_name: RedPajamaWikipedia


text:
Telegraph Exclusive Offer
Matfen Hall
Northumberland, England
8 out of 10 Telegraph expert rating
This stately hotel near Hadrian's Wall is a favourite of spa-goers, golfers and wedding parties,others may be drawn by its 300 acres of parkland and two-AA Rosette restaurant. Most rooms are in a slightly anonymous new wing, but 16 lavish bedchambers in the main house offer the full country house experience.
Rooms from £ 220
per person based on a two-night stay
Two-night stay, welcome drink, breakfast, dinner each night, bottle of wine to share, use of spa facilities and spa discount
Rooms also available on Booking.com from £96
Telegraph Review
Save review Save review
Hotel review saved for later
Helen Pickles, Destination Expert
Surrounded by 300 acres of parkland, with a rose-filled garden to the east, little spoils the views other than the odd golfer. The hotel's nearest neighbour is Matfen church in the charming estate village. The hotel is two miles north of the B6318, which links Newcastle with Carlisle and runs along Hadrian's Wall; the closest town is Corbridge (six miles away), with its chi-chi shops and tea rooms. Other sights include several Roman forts and museums, all within 30 minutes' drive.
Style & character
The striking, 19th-century Gothic mansion, with its vast mullioned windows, balustraded roof, towering chimneys, is the ancestral home of the Blackett family – the hotel's current-day owners. Designers have strived to make the public areas stylishly relaxed without losing their grandeur; a difficult trick which they haven't quite managed to pull off. The book-lined Library dining room and vast drawing room with plasterwork ceilings and acres of drapes are dull and impersonal, while the modern wing is four-star corporate.
The sleek grey reception, bold tartan carpeting, murals in the conservatory bar and elegant Print Room dining area work well though. Undoubtedly striking is the vaulted Great Hall, although this, sadly, is mainly used for weddings (the hotel hosts over 100 a year).
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See more images at Booking.com
Matfen Hall offers most of today's country house hotel staples: spa, indoor pool, hi-tech gym and parkland golf course (27 holes). All are open to non-residents which means they can be busy – the spa area in particular.
Residents get discounted rates to play golf (there's also a golf academy) and to use the neighbouring Go Ape course. There are walking and jogging trails, drying facilities and dogs are allowed in certain rooms (£20 per night). The staff-to-guest ratio is more than one-to-one, and the overall feeling is smart but friendly.
Steam room/hammam
Most of the 53 rooms are in the new wing. They're contemporary-classic in style with pale carpets and soft furnishings in bold patterns and warm colours. Not especially remarkable, although they are room and comfortable.
If you want the full country house experience, you'll need to pay a whack more to sprawl in one of the 16 grand rooms in the main house, with their monumental windows, lavish drapes, bold wallpapers, vast sofas and, in some, plasterwork ceilings or four-poster beds. Admittedly, there's more repro than antique furniture, but this can be forgiven in light of the huge bathrooms, sleek in stone-effect tiling and marble finishes.
Expect polished cooking and creative combinations with a robust Northumbrian feel in the hotel's two-AA Rosette restaurant – perhaps slow-cooked blade of beef with tempura oyster or grilled plaice with smoked haddock risotto (mains average £22). Portions are surprisingly generous, the service is attentive but not starchy, and the wine list is comprehensive but not overbearing (and starts at a reasonable £20).
The downside is the lack of atmosphere in what, as the former library, could be a wonderful room, but it is currently too stuffy and badly lit.
The conservatory has lighter choices while the golf clubhouse, Keepers Lodge, offers pub staples. Breakfast has a mediocre cold buffet, though there are a few cooked options available. Service can be slow.
Double rooms from £99 mid-week, and from £140 at weekends, including breakfast. Free Wi-Fi.
Access for guests with disabilities?
Three rooms have been adapted, and there's hoist access to swimming pool.
Family-friendly?
The hotel has six family rooms, and extra beds can be added to other rooms at a cost of £15 per child (under-fives stay free). The restaurant serves a children's menu.
Matfen, Northumberland, NE20 0RH, England.
01661 886500 matfenhall.com
Offer provided by
Off Peak Luxury
or call to book
Calls to 03 numbers cost no more than calls to geographic numbers (01 or 02) and are included in inclusive minutes and discount schemes in the same way.
Serene Northumberland escape
Set in the tranquil Northumbrian countryside, Maften Hall is a charming manor house hotel surrounded by acres of picturesque parkland. Guests can relax and unwind at the Aqua Vitae Spa, make use of the hi-tech gym facilities or enjoy a round of golf at the 27-hole parkland course. The hotel is also home to a two-AA Rosette winning restaurant where guests can indulge in fine dining by a log fire while taking in scenic views of the surrounding grounds.The 53 guest rooms elegantly combine historic charm with modern comforts to create an ideal base for a Northumbrian getaway.
Helen Pickles, Telegraph Travel's Northumberland expert, says: "This stately hotel near Hadrian's Wall is a favourite of spa-goers, golfers and wedding parties, others may be drawn by its 300 acres of parkland and two-AA Rosette restaurant. Most rooms are in a slightly anonymous new wing, but 16 lavish bedchambers in the main house offer the full country house experience."
Two-night stay in a Premier room
Welcome drink per person on arrival
Three-course dinner for two in the 2 AA Rosette restaurant each evening (£40pp allowance)
One complimentary bottle of wine per stay
Full use of spa facilities during your stay
15% discount on pre-booked spa treatments
Complimentary 12:30pm late check out
We also love…
A hidden gem in the heart of Northumberland, Maften Hall is surrounded by 300 acres of lush grounds and gardens. Nearby attractions include the quaint town of Corbridge and a selection of museums and Roman forts.
The hotel features an indoor pool, spa, a hi-tech fitness centre and a 27-hole parkland golf course. Guests can also enjoy walking and jogging trails throughout the hotel's picturesque grounds.
The two-AA Rosette restaurant serves innovative and refined dishes with a local touch, showcasing the finest Northumbrian ingredients.
Book until
Quote reference
Calls from a landline or mobile are charged at local rates. Offer is operated by Off Peak Luxury and is subject to the booking conditions of Off Peak Luxury, a company wholly independent of The Telegraph. Offer is available for a limited time only, is non-refundable and non-transferable. Payment must be made in full at the time of reservation. Prices can vary, are subject to availability and are correct at the time of promotion. Payment must be made in full at the time of reservation. Spa treatments must be pre-booked. Weekend supplements apply: £15pp supplement for Friday night stays, £25pp supplement for Saturday night stays. Please note that Premier rooms cannot have twin beds.


text:
SYNONYM

#### According to
The Catalogue of Life, 3rd January 2011

#### Published in
Neues Mag. Bot. 1: 110 (1794)

#### Original name
Odontia nivea Pers., 1794

### Remarks
null

redpajama_set_name: RedPajamaGithub


A few weeks ago at Carnaby Street Eat Food Festival we noticed a new, intriguing, addition to the local restaurant scene: Inko Nito. Peering through the floor-to-ceiling windows we saw a cool, clean, quite industrial interior with narrow tables arranged around a central barbecuing area on which small skewers of delights were arranged. Having a look at the menu we saw that it specialised in small izakaya-style Japanese food dishes…at a price. Being there for the food festival we gave it a miss so the other day we returned to actually visit.
There were not many people when we visited, a few couples scattered here and there. We were shown to a table on the far side of the room near to the toilets where, according to the server, we had a good view of the grill in the central cooking area of the room. The placemat-sized singled-sided menu is divided in two: "Kitchen", which features "Snacks", "Salads", and "Nigaki (somewhere between maki & nigiri)" with the second section, "Roba Grill", featuring "Skewers", "Meat & Fish", and "Vegetable" along with a small two-item section for "The Sweeter Things" (mochi and ice cream). Helpfully, on the far right there is a section describing some of the terms used in the menu for those unfamiliar with Japanese cuisine. With the dishes all fairly small, nibbling size, meant for eating as you drink the menu suggests "around 4 dishes per person" but we were on the way to a show and not really looking for a meal so we came up somewhat short on this.
After our helpful and enthusiastic server took our order the dishes came, as you might expect, when they were ready. First up was the "Kampachi Sashimi" salad (£9.80; "Yellowtail sashimi, Japanese leaves, pomelo & citrus soy dressing (gf)") which was wonderfully light with the Japanese greens quite mild and the sashimi perfectly cool (but not cold) and fresh.
The "pork & padron pepper skewers" (£7.60 for two; "Pork & padron pepper skewers with wasabi shiso") were delicious with the peppers not completely overcooked and the pork slightly chewy but still juicy. We are a sucker for padron peppers having discovered them in Spanish tappas a few years ago.
On the recommendation of the server for a vegetarian dish he suggested the "grilled aubergine" (£4.90; "Grilled aubergine with garlic lemon miso & spring onions (v)(gf)(vg)") which was absolutely delicious if a bit odd: The miso topping was almost cheese like making the whole thing almost slimy in texture (in a good way).
We were encouraged to completely mix the flesh with the topping and also to eat the charred flesh. This was good advice. Interesting and quite moorish.
Finally we had the "beef cheek wrap" (£10.00 for two pieces of meat; "Beef cheek & butter lettuce wraps, Korean miso & pickled daikon") which was a bit messy to eat (pick up the large pieces of meat in the fairly small pieces of lettuce, holding it together hopefully enough to avoid the juices squirting everywhere…I was only moderately successful). Deliciously tender and flavourful meat with it's lovely side salad of pickled daikon.
The only thing I have to complain about is that when we were using the card machine to pay for the meal it asked whether we wanted to add a tip despite already having added 12.5% to the bill (£51.19 for the two of us including two soft drinks). This "double-dipping" is not acceptable on the restaurant scene and, to be honest, I thought it had been dealt with years ago. So, I ended up giving them a 25% tip.
The food was amazing and service friendly. I think going there for drinks and a few snacks is a good approach rather than going for a full meal (which may cause a shock when the bill comes). We will be back to try some of the recommendations of our waiter as we were leaving: The cauliflower and the chicken skewers.


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USS SC-49, prior to July 1920 known as USS Submarine Chaser No. 49 and USS S.C. 49, was an SC-1-class submarine chaser built for the United States Navy during World War I.

SC-49 was a wooden-hulled 110-foot (34 m) submarine chaser built at the New York Navy Yard in Brooklyn, New York, and was commissioned on 27 March 1918 as USS Submarine Chaser No. 49 , abbreviated at the time as USS S.C. 49.

On 26 April 1919, 26 sailors who had traveled as passengers from Cardiff, Wales, and arrived the previous evening at New York City aboard the cargo ship  transferred from Bellingham to S.C. 49 while Bellingham was at anchor off Tompkinsville, Staten Island.

When the U.S. Navy adopted its modern hull number system on 17 July 1920, Submarine Chaser No. 49 was classified as SC-49 and her name was shortened to USS SC-49.

On 24 June 1921, the Navy sold SC-49 to Joseph G. Hitner of Philadelphia, Pennsylvania.

References

 NavSource Online: Submarine Chaser Photo Archive: SC-49
 The Subchaser Archives: The History of U.S. Submarine Chasers in the Great War Hull number: SC-49
 Woofenden, Todd A. Hunters of the Steel Sharks: The Submarine Chasers of World War I. Bowdoinham, Maine: Signal Light Books, 2006. .

SC-1-class submarine chasers
World War I patrol vessels of the United States
Ships built in Brooklyn
1918 ships


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Les Eugaleaspidiformes forment un ordre éteint de poissons préhistoriques.

Quatre genres : Eugaleaspis, Shuyu, Sinogaleaspis et Yunnanogaleaspis sont rattachés à cet ordre.

Références taxinomiques

Références

Bibliographie

Eugaleaspidiformes
Ordre de vertébrés préhistoriques (nom scientifique)
Vertébré du Silurien
Poisson du Dévonien
Taxon fossile décrit en 1980


The International Spinal Cord Society (ISCoS, formerly IMSoP) promotes the highest standard of care in the practice of spinal cord injury for men, women and children throughout the world. Our purpose is to study all problems relating to traumatic and non-traumatic lesions of the spinal cord including prevention, basic and clinical research, medical and surgical management, clinical practice, medical and surgical management, education, rehabilitation and social reintegration. Through its medical and multi-disciplinary team of Professionals, ISCoS endeavours to foster education, research and clinical excellence.
ISCoS has a membership of over 1,000 Clinicians and Scientists from 87 countries. The Annual Scientific Meetings started in 1961 at Stoke Mandeville Hospital, in the United Kingdom and are now held in many different countries each year.
The 58th International Spinal Cord Society Annual Scientific Meeting, will take place at the Nice Acropolis Convention Centre, France from 5 - 7 November 2019.
The Nice Acropolis Convention Centre is located in the centre of Nice, a short walk from the old town, major shopping streets and the International Airport, Acropolis is a unique congress and exhibition centre gathering a Palais des Congrès and a Palais des Expositions, on a surface of nearly 38,000m².


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Supporting our local communities and good causes means an awful lot to us here at The Collective. Check out some of the initiatives we've been proud to be a part of both past and present…
We're super proud to be supporting The Brownlee Foundation, an initiative set up by Olympic medal-winning triathletes, Alistair and Jonny Brownlee to inspire British school kids to get active. Through mini triathlons they encourage participation in sport, particularly swimming, biking and running. To date we've helped over 10,000 kids to give it a go *proud*
plums 'n' defibs in memory of Mike
Mike Hodgson, co-founder of The Collective UK, tragically passed away in August 2015 after suffering a sudden cardiac arrest while biking in the hills around his home in the Lake District. Mike was a big fan of plums, always putting it forward as the next flavour to launch. So, in his memory we created a special limited edition honeyed plum 'n' stem ginger yoghurt, and we did some good with it!
For every tub sold we donated 5p to The Community Heartbeat Trust and together with our epic 'bike for Mike' ride from the Lake District to London we raised enough money to fit life-saving defibrillators into 15 retired telephone boxes throughout the UK. A big thank you for all your support!
tub4grub – thoughtful tubs
It's always fab to hear how you've re-used our tubs. December 2016 saw our tubs getting a make-over with special peelable labels so they could be filled with grub, personalised and gifted away to make someone's day!
Tub4grub didn't only brighten up people's days here in the UK, every tub sold supported Action Against Hunger to help tackle child hunger around the world. Each time a good deed was shared with us using #tub4grub we donated an extra 50p to Action Against Hunger on the sharer's behalf.
Check out our social media channels and search for the hash tag #tub4grub, to view the good deeds shared… we we're blown away with all the contributions we had, thank you.
Action Against Hunger is a favourite charity of ours, we also supported them in 2015 when we teamed up with Kiwi chef Anna Hansen from The Modern Pantry restaurant to create a special limited edition rhubarb, vanilla + lemongrass yoghurt. To date, with your support we have raised £30,000, which is enough to provide 30,000 days of therapeutic food to help save the lives of malnourished children around the world.
supporting our locals
If you or someone you know has something up your sleeve that you think we'd love to be involved with, do get it touch. It really doesn't hurt to ask!
submission for support
My full name is*
My email address is*
My postal address is*
I would love it if The Collective could…*


Meeting Minutes 5/5/18 – THE NEW NHCA INC.
7:00 pm meeting starts with the pledge of allegiance followed by a moment of silence for officer Amy Caprio.
Mike Yancura gave treasury report $1605.66. $646.14 must be returned as part of the C.O.P. grant.
Was stated that sparrows point estates reduced the # of houses being built from 350 to 307. But still has to do study for traffic issues. Richard David lives in community across from the development started a petition to boycott SPCC estates development. Children from development are slated to go to sparrows point high school which is already 130% over capacity. Many of our schools in Baltimore county have trailers on their properties.
Asked the room who wanted this development and it was unanimous decision no one wanted it.
There was a talk of doing a petitions to get our roads repaved.
A new member brought up people doing traffic violations on Rita, Leslie, and birch roads running stop signs and flying down the streets. Safety hazard for kids walking to and from school!
Bethlehem is becoming infested with prostitution. Lots of dirt bikes riders in our area, squeegee boys at German hill and Merritt, as well as Dundalk avenue.


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Once you've created the design of your personalised Samsung A6 2018 case, we will check it for any little flaws or imperfections that could influence the final result. We aim for the ultimate quality. A quick tip to follow: use images with high resolutions. The better the resolution, the better the quality of your case.


Flexibility. The key word in any contortionist's vocabulary. The ability to flex one's body and bend in ways that the average human just cannot is what fascinates people. Putting your body in extreme positions requires hours of dedicated practice and hard work.
Contortion dates back millenia. Although contemporary society associates contortion with mainly women, history notes that both men and women were equal practitioners of the art form.
There are two main types of contortion: Frontbending and backbending.
Frontbending is where the contortionist moves their head down to their abdomen or farther. While backbending is the opposite, the contortionist bends their upper-body backwards, so that there head comes in contact with their buttocks or even their feet.
Here are the famous Ross Sisters performing at their best in the film Broadway Rhythm.
Most contortionists can either frontbend or backbend. The videos above are examples of each kind. Can you tell the difference?
Occasionally, there are some people who are so flexible they can both frontbend and backbend.
Zlata is one such person.


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Willis Earl Beal Talks About Nearly Sabotaging His Film Debut
Actor, poet and musician opens up as 'Memphis,' directed by Tim Sutton, premieres at Sundance
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Willis Earl Beal poses for a portrait during Slamdance Film Festival in Park City, Utah.
Jeff Vespa/WireImage
"I'll have a double scotch and a steak medium rare," poet, musician and actor Willis Earl Beal tells the server at Grub Steak, a Park City surf and turf joint that's something of an institution among Sundance programmers, filmmakers and reporters. He's wearing a Zorro-style mask with eyeholes blacked out by a thin nylon scrim, and as he orders, he slips me his new self-released EP. They can't serve doubles in Utah so they bring him two drinks. Tim Sutton, who just directed Beal in the film Memphis, grabs one of them.
Sutton and Beal are here to celebrate the premiere of Memphis, a meditative tale of a talented artist struggling to record an album as he wanders through the overgrown grass, empty parking lots, and golden hour sunsets of the mythic blues city. Meandering like the Mississippi River, Beal navigates his way through creative and emotional disintegration, and along the way links up with the Stax Records establishment, with cameos from legendary vocalists Larry Dodson and John Gary Williams. The film – scored by Beal with several haunting new tracks – is reminiscent of David Gordon Green's George Washington with a splash of Tree of Life-era Malick. Sutton and Beal spoke to Rolling Stone about the attraction to Memphis, art imitating life, and their cathartic, porn-burning, wrap party.
19 Burning Questions for Sundance 2014
Why set this in Memphis?
Sutton: I dig Memphis as a town. I didn't know much about it more than I'd read about it. The thing about Memphis that interests me, more than a town like Detroit or Philly, is that Memphis represents this great thing that at one point in time has almost been lost. Not to go too far into idolizing urban ruin, but this is a place that is purely blessed on one side and cursed on the other. It generates the most creativity in American music, but it's [photographer William] Eggelston's town, it's Elvis' town, but then Martin Luther King got shot and the whole fucking thing goes into a crater. It's a vortex of spirituality.
Beal: There's a goddamn pyramid in the middle of the town.
What made you decide on Willis?
Sutton: We met, and he was the guy. I wrote this character named Ezra Jack, but he's well known, he has the voice of God and won't sing. People want him to sing, and he won't sing. He keeps going away and away, and he won't sing. I interviewed a couple of actors who are good actors who you'd recognize, and I saw a clip of Willis and he was singing into his phone, this song "Disintegration." What really struck me was the moment between his notes. I wouldn't say we clicked and were best friends – we're not. We clashed on this set. We had different things going on at the same time to make this character and this film work.
Beal: I almost got my ass canned.
Sutton: You did almost get your ass canned. You canned me, then I canned you, then I came back.
Sutton: This was an incredibly difficult performance for Willis because it is him, but it absolutely is not him, but it is him. There were all these characters that came into this movie that were strangely representative of his life. And, what we talked about in the beginning of the movie, is we just wanted to lay it on the line – we weren't interested in a movie that had a perfect plot. We wanted to do a disintegration. There's a point in the film where he had to go further and further into the dark, and I wanted him to go to Beale street and cause havoc. Willis didn't want to do it. He spent a lot of time in his life doing shit like that, he didn't want to regress like that. The day was horrible, we were having a horrible time, Willis was drunk out of his mind.
For authenticity?
Sutton: Process and product is the exact same thing for me. And I think it is for Willis too.
Beal: It was not method acting. They were in search of authenticity. So I started to regress into this mindset of them being against me. No excuse, but that's what he said, he wanted me to go to Beal Street and act like a damn fool, and I've been kicked out of clubs and been drunk in the street, and I've done a lot of things to humiliate myself in my real life, and I didn't really feel like it. I just felt like I was exploiting myself and unknowingly they were exploiting me. I went off, I disappeared, and then I showed up to the house totally smashed and ready to go to Beale street. And they said well, we're not going down there and I just flipped. I just started trashing the place and in that moment, I knew, right before I trashed the place, I said film this, this is me imploding. I knew that I was quitting at that moment, I knew that it was over, and everyone was going to spread my name and say, 'He was impossible to work with,' and my career was over. In a way, it was going to be a self-fulfilling prophecy because I've ruined everything in my life always. At the end of the whole shoot we had a bonfire, and I had a folder full of pornography images and we had the whole cast come over and I wrote my sins down.
What was in the folder?
Beal: Pictures of ladies from the internet. I saw this film, it was like the fucking Twilight Zone, my uncle was in this film, my dad, my mother. I grew up in this place, but not in Memphis, but in Chicago, and all these people. . . . And for the first time, I experienced the difference between having the family that you're born with and having people that actually in someway care about you, and understand you and want to help you. What you have there is both a documentary and a fictional film.
How do you feel now, Willis?
Beal: I struggle. I'm pretty much the same, really. The only difference is that I've moved from New York to Washington State with my wife. It's sort of strange because I have the same trajectory as the character, except I have a wife. I'm driving around Washington state in a Mini Cooper.
Do you feel like you came out of it?
Beal: No, I didn't come out of it, I still struggle every day. I still Google myself incessantly on the Internet, and listen to my own music incessantly. I feel sometimes like I'm folding in on myself.
What are you working on music-wise?
Beal: Well I just gave you that EP. It's not like "Nobody Knows." I sing in a lower tone. There's a little bit of Leon Redbone in there, all I can tell you is all of the music is tinted gold. I've got all of the material written and finished for my third record, if they don't fire me. We've got seven out of ten songs fired. If they don't fire me.
Will they really fire you?
Beal: Well, I'm a difficult person.


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Xiaomi launches their Redmi 7A smartphone in the UK
11:35 am August 22, 2019 By Roland Hutchinson
Xiaomi has announced that they are launching their Redmi 7A smartphone in the UK, the handset will be available for £99.99.
The handset will come with a choice of 2GB 9of RAM and 16GB of storarage and 2GB of RAM and 32GB of storage.
The device features a 5.45 inch display that features a HD+ resolution of 1440 x 720 pixels, the handset is powered by a Snapdragon 439 processor.
The handset also comes with 2GB of RAM, plus a chocie of 16GB or 32GB of storage, there is also a microSD card slot for expansion. The handset also comes with a 5 megapixel front camera and a 12 megapixel rear camera.
The Xiaomi Redmi 7A is now available in the UK for £99.99 you can find out more details about the handset at the link below.
"We're very excited to expand Xiaomi's offering in the UK with the launch of the Redmi 7A. With a fantastic combination of impressive battery life, powerful performance and camera quality along with convenient features such as an inbuilt FM radio antenna, the Redmi 7A is an unparalleled choice at an entry-level price," explained Owen Ou, Head of Western Europe at Xiaomi.
Source Mi
Filed Under: Android News, Mobile Phone News


Daddy Mack posted a topic in Wanted!
What i would like most is the dummy spare tire section from under the windscreen but the more, the merrier if it makes things easier. PM please.
Very Nice Work! If you're as old as me, you remember seeing these cars all the time! Now, not very much.
AH! Thank You so much! Big Tank Midyear Corvettes are badass. In the same league as L89 427s (aluminum heads), IMHO. The Big Tank, Tanker, Corvette NO3 Fuel Tank Option was available 1963-67 model years. Some ordered as race cars. Some ordered as long distance road/touring cars. TRULY a remarkable sports car. 36 gallons of High-Test leaded gasoline Less than 200 units TOTAL built in all 5 years!
I'm looking real hard and i can't see the (RPO N03) big tank cover in the interior.
Then all i have left to say is: When the Print Properties box pops up after you click the Print Button, you click on the Properties tab and change the Color selection to Greyscale as someone else suggested. When printing B&W images, the danged printer usually makes a mess of things by attempting to blend edges with colored inks. Good Luck!
Might it work to insert it into a MS Word or LibreOffice document then click on the corner of the image box and shrink it, then print the shrunken image? I tried resampling it in Corel and that didn't work but shrinking it in Word and Libre seemed to retain the detail.
Daddy Mack replied to Daddy Mack's topic in Wanted!
Nope, I'm gonna use the Goodyear tires that AFX showed. As stated: " Yours are the same tires i'm gonna use to build the 1/20 Turbine Car. Ya, the name on them will be wrong but they will be the proper width. " I don't use resin except for red taillights and that is all. Personal preference, i expect you understand. Thank You for your input!
The real Turbine race car wore Firestone tires. The Turbine Car KIT tires are Firestones and are wider than yours. However, the kit tires are too wide and the tires you pictured are much closer to the real correct width than the Turbine KIT tires. Unfortunately, MPC (afaik) never molded Firestones in this narrower width for any kits. Your Goodyear Speedway tires were found in many 1974-81 MPC 1/20 Corvettes and possibly other 1/20 kits. Yours are the same tires i'm gonna use to build the 1/20 Turbine Car. Ya, the name on them will be wrong but they will be the proper width.
I'm looking for some missing parts for the 1/20 Turbine AND i have parts to trade from a gluey bomb of the same kit. WOO HOO!
I'm looking for a few bits and have a beater that i can part out. LMK if we can help each other out.


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Author Archives: amandamblake
Posted by amandamblake in Writing
fear, Writing
I'm always afraid when I start something new. There is comfort in working on old projects, whether editing, proofreading, or even continuing an old story through a new book. In editing and proofreading, the work is already there. I just have to move it around, spruce it up, make it pretty. When continuing an established work, like the Thorns series, my characters, my backstories, my world-building, my tone and style, they've already been established. I have more springboards to work from, even when I'm creating new canon. That's also what's nice about fanfiction (and the Thorns series could be considered fanfiction, of a kind, given it's a fairy tale mash-up).
But when I start from scratch on a completely new, standalone story, I always start afraid. I was afraid when I started horror story DEEP DOWN earlier this year (technically continued it from what I'd put down a year before, but still kind of terrified). And I'm afraid now that I'm starting American gothic fairy tale DRIFT.
Everything I write sounds like it comes from me – at least, to me it does – but the styles still shift from one kind of story to the next, because to a certain degree, form follows function. Think of it as the filter of the story. You can have the same director of photography and notice the trends, but the filter changes the impressions and moods. And it's so important to how the story is felt and received.
New characters. People who have populated my head like ghosts quietly solidify and come to life, and they never end up quite the way I imagined them. New settings. New themes. New endings. New problems.
I'm afraid to start because I'm afraid it's all going to come out wrong. I'm not going to get the tone right. The style won't work with me. The ending will be weak. I'm not going to be able to get from point A to point B.
This fear is not irrational. I've failed before.
I succeed more often than not these days, and a lot of the problems can be fixed in editing. But NOCTURNE needed several complete rewrites, not just edits, although I salvaged much from the original drafts. The beginning of THORNS was reworked multiple times because it never felt quite right. I'm going to have to rewrite WAR HOUSE (I was actually going to do that this summer, but DRIFT felt more solid to me). I have a trilogy that I tried ten years ago that never got off the ground, and though I love the concept, I'm still not sure how to salvage it.
I really could get this wrong. And if I do, it might feel like writing the first draft was a waste of my time, since I would either have to let it go or try again later. I already feel like my writing time is strained as it is without having to write things more than once.
But God, it might go right. Or right enough. And even if it goes wrong and I have to rewrite, that's still a solution. Not my favorite solution, but it's something.
That's why, no matter how scared I am to begin, I just do it. I just write the words, day after terrifying day, until I'm finished.
Until I determine it's ready to prepare for publication, I remind myself that everything I write is just for me. No one has to see it. No one can judge it. I don't even edit until everything's finished, because I can't assess details until I understand the larger picture. It's all about getting the words down. Fear is an empty page, and as Jodi Picoult says, "You can always edit a bad page. You can't edit a blank page."
I can either work with what I have – which I think I'm actually quite good at doing – or I don't work with anything at all. The story remains in my head instead of getting exorcised, and no one can judge it, but also, no one can read it. And that doesn't serve anyone.
So yeah, I'm afraid of writing. I'm also afraid of what happens when I don't. So I sit down in front of my fear, and I start writing anyway.
Posted by amandamblake in Music, Poetry
ghosts, gothic, hitchhiker, horror, lyrics, not a poet, poem, songwriting, urban legend
Photo by Tookapic on Pexels.com
I tried to write a hitchhiker ghost song a while back, but it didn't really work, and I had to put the idea back in the box for a while.
Last month, I tried writing one again, and this time it came together into something coherent.
I'm fascinated by ghost stories, because they're so difficult to do well. Ghost poetry's a little different – all about atmosphere. It's so delightfully creepy and sad and sexy all at the same time. The hitchhiker ghost urban legend is one that's stuck visually in my mind, so it was a pleasure to find an outlet. I'm quite happy with it.
Black leather jacket and long white dress
Silk flutters like wind through the mist
Don't have no home, don't have no address
Picking up the girl with a tear and a kiss.
Sparkling eyes and pale blue lips
Can't help but tear your gaze from the road
A corsage goes dry on another girl's wrist
But whispers remind you that you'll soon grow old
I offer you a moment
I offer you a chance
I know it's not allowed, sir
But would you like to have this dance?
I wander a long and lonely highway
Can't stay in one place, can't linger in one town
Hitching rides without a destination
Legs are tired but feet never touch the ground
You'll see me in the rearview mirror
But I'm not there when you turn around.
Ride with you until the moon descends
And I'll be wandering until the road dead-ends.
Never had my moment in the sun
Cold gray steel and headlights stained with blood
Silk dress still white as winter for so long
I touch your hand, just looking for some love
Back seat steams, my skin's as cold as ice
Ghosts from your lips as you bring your heat inside
Steal your breath to remember my own life
That someone like you stole in a car like the one you ride
I offered you a moment
In the dark you heard my voice
You know it's not allowed, sir
But remember, you made the choice.
But I'm never there when you turn around.
They find your body in the back seat
Of your wayward hitcher car
Don't you know not to pick up strangers?
You never know who they are
Now you're cold as your ghostly lover
Your journey ends, but mine's still so far
I'm still cold, your ghostly lover
God, why does it have to be so far?
[whisper] I want to feel alive
Die a little more each night
But I don't want to do what's right.
lyrics, sad, songwriting
Photo by eberhard grossgasteiger on Pexels.com
This is the sad song I wrote. I just had a moment and didn't want to feel it, so I wrote it instead. It's just a soft little thing.
I don't understand all the songs
I don't understand the days they set aside to celebrate
I don't understand the flowers, the cards, the doves
My heart doesn't know how to love
I don't enjoy the romance, the games
A rose would smell as sweet by any other name.
Don't know that loneliness will ever be enough
But my heart doesn't know how to love.
Wandering alone in the wilderness
No one ever at my side
And when the beasts come a-roaming
They tear my skin, but nothing's underneath inside
No meat, no heart, a mannequin,
Nothing to hide with nothing inside.
The stars are just fire, the moon is just stone
And ice only wanders the cosmos alone
There's never been any magic above
My heart doesn't know how to love.
I don't believe in miracles, flying off to heaven
But I walk the line with ghosts in my head
It's not exactly what I was dreaming of
DOUBLE REVIEW: Cabin Fever/Cabin Fever remake
body horror, contagion, disease, eli roth, horror, movie review, remake
[SPOILER ALERT: There isn't much, but there are a few later scenes referenced.]
I'm going to say it, and everyone is going to hate me.
The remake is better than the original.
Some of the shots are framed the exact same way, except flipped around. Some of the script is exactly the same. They didn't even do anything new or reimagined with the remake. They literally remade the original CABIN FEVER. And it's better.
Let me give you some context.
In college, I went a little horror-movie crazy (and I haven't stopped). I bought all kinds of eighties slashes, cult classics, all the movies I'd wanted to see when I was too young or too high-strung for it. I'd been attracted by the cover for CABIN FEVER a number of times before I finally bought it, because it was a contagion movie, and that's one of the things I'm legitimately afraid of in real life. When I watch ghost movies and supernatural villain movies, I can go to sleep afterward just fine because I don't believe in ghosts or the supernatural (open-minded but skeptical). But diseases are real. They happen. And necrotizing fasciitis is a real, terrifying thing. So what a great premise for a horror movie, right?
Then I sit down to watch it.
The necrotizing fasciitis parts were suitably gory and effective. I think the opening credits are one of the best in the business. And that scene where the girl is shaving her legs and starts shaving off her legs is probably in my top twenty-five horror moments.
But that's it. Those are the only good things I can say about the Eli Roth-directed CABIN FEVER. The man needs to stick with producing, because he's decent at that. The whole film, though, from script to direction, just felt so…juvenile. The humor wasn't funny. The weirdness didn't have a point. And CABIN FEVER is filled with an unsympathetic cast of jerks. We root for precisely no one to survive–except maybe Winston, strangely enough.
A man is killed by a harmonica, and as a white girl in the suburbs, I literally can't even.
It's one thing to tell a story about juvenile people. It's another for the director to be just as juvenile–you can feel it in all his immature choices. I can watch and even enjoy bad horror. I can enjoy campy horror. I can enjoy young people horror. But for Pete's sake, I only enjoyed about three consecutive minutes of CABIN FEVER, and the rest was trash. I gave the movie away because I hated it so much.
About six months ago, all the CABIN FEVER movies were on Netflix at once, and I thought, Hey, I'm more tolerant of all kinds of horror these days. Maybe the original CABIN FEVER isn't as bad as I thought it was. Maybe I've grown as a horror aficionado and can appreciate CABIN FEVER as the cult classic that it is. So I watched it again.
I still hate it. Totally my opinion. I feel like it was made by an emotionally stunted manchild for other emotionally stunted manchildren, and I have no place in its audience. So maybe it's just not meant for me, although I seem to enjoy other horror movies obviously made for male audiences (the PIRANHA remake and THE BABYSITTER come to mind).
Seriously, when I get more out of the spectacularly gross, misogynistic, shallow CABIN FEVER: SPRING FEVER (yay, Marc Senter) and CABIN FEVER: PATIENT ZERO (yay, Currie Graham and Sean Astin) than the original movie, maybe the problem isn't me?
Enter the remake–taking a good concept and bad execution and trying to execute it better.
The characters are still juvenile, but they aren't as unlikable as the first set. They're not completely lacking in redeemable qualities. When they make bad decisions, you get why they make them. Even when the least likeable of the group starts to show symptoms, I felt bad for him, because it's a horrible way to die–unlike Jason, it's not a villain you can outrun. It's something that's already inside of you, and it's too fast-acting to treat even if they get to a hospital. The rash and the blood are more realistic. The claustrophobia is more intense. It's as though a grown-ass man took Eli Roth's original movie and shot it like a grown-ass director would. It's a more mature film in every way.
The only real misstep they might have made was recasting Winston as a scarred Barbie doll whose obsession with partying seemed more creepy-coy than the original sex, drugs, rock-and-roll simple Winston. It was an interesting direction, but I'm not sure whether it worked with the more coherent tone of the rest of the movie. Sometimes I like it and sometimes I don't.
My favorite bit of irony about this movie (both of them) was that it turned some of the slasher tropes on their head–probably why it's a cult classic. In the old eighties slashers, sex, drugs, and drinking would have gotten them killed. But in CABIN FEVER, it's drinking water instead of beer that gets them sick. It's eating off of dishes cleaned with the bad water that gets them sick instead of being a dirty slob. Being bad doesn't get you killed. The villain's in the safe places, and there's no saving you after that. I feel they play that up more in the remake.
Even if it's not necessarily the best horror movie ever, I'd go so far as to call the remake a decent horror film, and I enjoy rewatching it when I need another dose of contagion fear and rereading The Stand just seems like it'll take too long.
REVIEW: Grave Encounters
found-footage, grave encounters, haunting, horror, movie review, psych ward
[Warning: Here there be spoilers.]
I've been going in and out of wanting to write a review for this movie. I'm not entirely sure what I'm afraid of. That it's not as good as I still think it is? That the review won't do it justice? (Entirely possible. I'm still new at this.) I mean, it's not perfect or anything, but I do get intimidated by good horror movies more than I do by explaining what's wrong with the not-so-good ones.
For people with found-footage fatigue, I'm sure movies like GRAVE ENCOUNTERS don't really help that, but I first saw GRAVE ENCOUNTERS when I opened my Netflix account, so I hadn't watched nearly enough bad found-footage at the time to make me weary of the subgenre. And frankly, I have a fondness for that kind of low-budget horror, because it usually forces the film-makers to get creative with effects or eliminate them completely.
It's worth noting that the effects of GRAVE ENCOUNTERS are its weakest points. They reference the obviously computer-generated effects in the sequel (please, miss that one—it offers nothing new, plus a dose of juvenile humor it didn't need). They're disappointing on every level, because in video that's supposed to look real—kind of the whole conceit—the worst thing you can possibly do is show something that doesn't look real. In the slight fuzziness and filter of movies, you can get away with minor CGI effects that you simply can't in found-footage. It doesn't matter how good the cameras are that they're using. The slightest whiff of CGI ends up reading as fake, which takes a viewer out of the moment. If you're going to use CGI, you've got to be dead careful. And the makers of GRAVE ENCOUNTERS were not. They would have benefited much more from judicious makeup, props, and unsettling acting rather than pay a small fortune on a small budget to get bad CGI.
But when they're not stumbling in the computer-generated arena, GRAVE ENCOUNTERS is a solid offering in the found-footage arena, and it doesn't—in my opinion—suffer from the same ending malady as most found-footage. And frankly, most horror.
Before even starting, GRAVE ENCOUNTERS ticks off a number of boxes that guarantee I'm more likely to enjoy it. For one, it got in my queue early, which means more things get compared to it instead of the other way around. I'd already watched a ton of horror movies by this time, between my college-days movie buying and back when FearNet was streaming, so I didn't approach it in a vacuum. But other than BLAIR WITCH PROJECT and possibly PARANORMAL ACTIVITY (can't really remember the timing), I hadn't seen a ton of found-footage at the time. That gives it an automatic leg-up over its competition. But it's stood up over time in spite of everything I've watched since.
Another point in its favor is the setting. I'm a sucker for psych ward horror, even though it's often bad and ableist as hell. But being a person with mental illness who processes things through fiction, I'm entitled to like what I like. There are a lot of horrifying things about mental illness and a lot of horrifying things about what people have done to people with mental illness. GRAVE ENCOUNTERS has a few problematic moments, but it's mostly about what was done to the people who were kept there rather than the mentally ill themselves being the monsters, and the movie makes everything more about setting, the building itself more the monster that keeps haunted people.
Abandoned buildings are amazing in general. If you haven't seen Abandoned America's photographs, I recommend checking them out. The movie probably only uses about three hallways and changes them just enough to make it seem like the gigantic building we see it is on the outside, but they also manage to convey a sense of claustrophobia and that disorienting feeling when you get lost—or worse, when things aren't where they should be. Probably one of the more effective scenes is where they break down the front door, and there's just more hallway. Then when they're trying to get to the roof, and there's just a wall halfway up the last set of stairs. This is why I like to emphasize practical effects. All they needed was a freaking wall to creep me the fuck out. If you've ever been lost, you know what that panic feels like. It's one of the worst feelings in the world. Like that feeling you left your wallet or purse somewhere, but it doesn't go away.
I feel like the movie really used its set to its full advantage, as simple as it was. And at its best, the scares themselves were simple. In found-footage, those work because of the conceit that everything is actually happening. A window opening by itself. Someone you don't see pushing you down the stairs. A wheelchair rolling by itself. Blood in a bathtub. Waking up to patient ID bracelets on your wrists. Fog rolling in and people disappearing when it rolls out. Keep it simple in found-footage, and you'll get a lot more mileage than a cheap-looking eye-and-mouth effects.
Like good found-footage, the cast doesn't actually distinguish itself much. They're a cast of regular people, the kind you would see on any reality TV show. The only one who feels polished is the lead, and since he's the lead of a television show and needs a certain amount of charisma, that wouldn't be unusual. Everyone's slightly annoying at different times, but again, we're watching footage of a television show that wouldn't have actually made it onto the show.
When people get legitimately scared, they do get shrill. When people are legitimately exhausted, they do get emotional and snappish. And when they freak out, they do lash out. There wasn't a moment in the movie when I felt the reactions weren't real. They may not have been attractive or cultivated like in most other movies, but they were real, which is the best you can ask from found-footage.
One of my favorite moments is near the end, when Lance and Sasha are trying to look for a way out in the tunnels below the hospital. Sasha was sick, which being constantly scared, not sleeping enough, and not eating enough only exacerbated. She falls to the ground, vomiting blood, and just wails, "I want my mom!" It's a striking scene in the movie, because the blood wasn't CGI. You know she's dying slowly and painfully and she's scared and miserable, and you feel it. My heart aches every time she cries like that, because come on, if you're honest with yourself, you'd probably say the exact same thing (unless your mom sucked, in which case I'm sorry—choose your own loved one).
Now, I said that the ending didn't suffer from the usual dissatisfaction malady of other found-footage and horror movies, and it doesn't. It's vague. I'll say that. But I didn't find myself wanting more from it. I thought it was exactly the ending it needed. And how often do I say that about horror? (Answer: Rarely.)
So if you're looking for some good found-footage horror in the midst of an oversaturated subgenre, GRAVE ENCOUNTERS really is worth your time. If you forgive it for the bad CGI and stay for the creepy building, you'll likely leave satisfied.
lyrics, not a poet, poem, songwriting
I write about this theme a lot when doing lyrics, and you'd think I'd do something to change it and find another heartache, but when your problem is stagnation, it's by definition difficult to change.
There's a similar verse rhythm to Miranda Lambert's "All Kinds of Kinds," so I keep hearing it country, but I would rather do it more singer-songwriter.
The world is full of metaphors
Like butterflies and open doors
But I never liked any of them anyway
I'm always running on back home
I lock all the doors and stay in alone
And every day's like every other day.
My reflection's always changing
While I'm busy rearranging
My life so that it'll never change again
But mirrors crack and colors fade
With risks untaken, turns unmade
So things end up just like they've always been.
Things don't get better when you're staying the same
You don't get to win if you don't play the game.
I never go looking for
Trouble, trouble, trouble
So it never finds me
And it reminds me
Is meant to shine me
Like fire to gold
And oil on leather
I always stay out of
Ain't got no way out of
Helps you to grow out
And all that makes me wonder whether
If I'm not looking for any trouble
That's the trouble that I've found.
The world is full of dead cocoons
And roses that refuse to bloom
And I guess that I am just another one
And sure, that means I feel no pain
No heart to break, no man to blame
Don't have to pitch my worth to anyone.
But life was always made to live
And a frozen soul can never give
And all too soon the future's in the past.
You can always go back home again
But when sand's poured out, it can't go back in
Don't fight for first, you'll always finish last.
Am I ill?
deep down, horror, novel, novella, process, Writing
I started a pure horror story near the end of February (I classify NOCTURNE as horror, but it has a serious supernatural fantasy vibe in addition to the horror elements). I wrote the first ten thousand words last year, back when I had downtime at work to longhand (what is downtime?). I started out last month with transcription, then tackled new words. That's difficult for me to do, come back to an old project, but this one hasn't been hard to sink into. I guess it's stayed on my mind all this time.
Any problems I've had have been because dayjob has been going through a months-long transition, and that's required a near manic level of energy from me, but also more time than I like giving. I'm a perfectionist and pathologically terrified of disapproval, so I do what I do and don't have enough time or energy to write as much as I'd like. Still doing it, though. Because when I don't, my mental health plummets to dangerous places.
How strange that such a dark, bleak, sad story that I developed during the surfacing fatalism after the last election would become a haven of sorts. So it's moving more slowly than I'd like, but it's moving.
I've hit roughly twenty-eight thousand words on the manuscript so far. And based on my outline and rough word goal of sixty thousand words, I'm about halfway through. Now, usually I give myself a word goal, then end up twenty thousand words or more above it. I'm notoriously terrible at figuring out how long things take or, in the case of novels, how long they're going to be, even when I adjust for knowing how terrible I am at it.
But for DEEP DOWN (working title), I'm looking at fifty to sixty thousand words of a novel. As planned. Before edits. I'm actually writing a short novel, possibly a *gasp* novella.
You have to understand, in addition to being terrible at gauging how long things take, I really tend toward longer novels. I think I average around 120,000 words. It's not necessarily a bad thing, and I'm really good at cutting my starting word count, paring a novel to its necessary words. That 120K novel was probably 140-150K to start out with. THORNS started out at a whopping 195K and ended up 155K.
A fifty-thousand-word novel is unthinkable to me. I'm literally looking at that word count and wondering whether something's wrong with me. Or the story.
But I think it's because it's a single story line, no subplots, and a spare cast. I'm usually working with a more complex plot and multiple characters whose arcs need tending. DEEP DOWN has a very simple premise. A lot of good horror is minimalistic, and that's what I wanted to try here.
I guess it's working.
It's still weird.
House of Windows
ghosts, haunted house, haunting, horror, lyrics, not a poet, poem, songwriting
Photo by Jack Gittoes on Pexels.com
Because I'm between major writing projects (transcription isn't a major project), I was finally able to start THE HAUNTING OF HILL HOUSE on Netflix. No spoilers, please, but I think it's amazing. Episodic horror doesn't always deliver – I think it's a pacing thing, and in the case of what I've seen on AHS and other Ryan Murphy shows, a matter of being too clever to be scary.
Anyway, it seems like a good time to share my haunted house song I wrote last month, which totally has a Shirley Jackson vibe to it.
It's a whole wide world out there
A fine, varied, full-bodied thoroughfare
Hundreds of thousands breathe the same air
Footsteps thunder over same streets, same stairs.
The house is gated, silent, and still
Its statues, a marble gleam atop the shadowed hill
They peer from stone eyes, listen with stone ears
Let all with eyes see, let all with ears hear.
The house has many windows
Curtains trembling with ghosts
Moths have made away with all the clothes
The dead inside don't sleep but doze
It's a house with many windows
But the windows are closed.
Statues at the gate, statues in the rooms
Inhale stale air, filter in the gloom
Every creaking floorboard, memory of previous doom
A house of many windows, a house of many tombs.
Visitors come to view the walls in awe
Priceless paintings behind drapes only the dead get to draw
Guests all leave unsure how to say what they saw
Any moment a knock on the door, any moment a monkey's paw.
In the deep dark garden, the roses have died
Whatever the tenants tell you, the dead likely lie
From skylights come the gray of stormier skies
A house of many windows, a house of many eyes.
Let all who wish to join us enter in
Remember all your failures, remember all your sins
Death chills the halls, creeps under your skin
The house offers rest, yet restlessness within.
Is life just waiting for death? Is that how it goes?
Am I a house, or am I already a ghost?
All Thumbs
dance pop, lyrics, not a poet, poem, songwriting, synth pop
I haven't had enough mental space to write many lyrics this year, so I'll mine from last month, my first attempt at a full-on synth pop song. It's probably hard to hear the beat in the chorus, but have fun figuring it out. Took me multiple tries to find just the right beat.
Now it's a freaking ear worm.
A mysterious magician
Of cool disposition
With sleight of hand
A skillful woman on a mission
Fools every crowd
No answers allowed
And no one can see through the cloud
But you slip through a trapdoor
Looking like do you and therefore
With your smile
I'm all thumbs da-dum-dum dum-da-da-dum-dum dum-da-dum-dum
I'm all…
Prodigy extraordinaire
On piano keys like Fred Astaire
Fingers flying
Every note floating on air
A standing ovation
Such imagination
What can't she do?
My music, the sweetest sensation
But then you play your own song
I can only follow along
I'm a stumbling
Fumbling mess
Don't know who I am
Don't know my address
Can't get control of myself
No more or no less
With that smile
See these hands
I'm all thumbs.


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The best way to pack a moving box will vary depending on the items you are packing, how there are being transported and your individual needs. Here are some of the things you should consider when you are packing up your house into moving boxes.
First, you should consider the quantity and quality of the items that it will contain. If it will be loaded with fragile items, you can consider wrapping them first with bubble wrap and old newspapers. This will prevent your items from scratching and bumping against each other. Also, it will also be less susceptible to any damages. Fragile items should not be placed on top of each other in the box but should rather be placed firmly next to each other with very little moving room. Mark the boxes with fragile stickers and do not pack the boxes on top of eachother.
It is ideal to place related items inside one box. This will prevent mishandling and misplacement of your belongings that may cause damage. You can then provide the appropriate label on your box and unpacking will be easy. You should not stuff too much things in your box as it may cause the box to collapse.
Next you need to seal the box. The most ideal thing to use is a branded packaging tape. However, if the box contains more precious items, you can also make use of stronger tapes such as electrical tape. You can also top it with a strong rope that will hold the entire body of the box.
The best way to pack a moving box is also determined by the way it will be transported. If it will be hand carried, fewer items should be stuff inside the box. On the other hand, if it will be transported through a van or a truck, the boxes should be placed properly inside the vehicle.
Applying the best way to pack a moving box will determine the safety of your belonging and minimise the stress of moving into your new home.
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When I was four years old, I told my mom I wanted to take ballet classes. I never imagined myself fourteen years later still going to ballet classes daily. Ballet is an art that appears simple and graceful, but to those that know the pain of dancing, it is anything but simple. Everyday after school for the past few years, I would strive for perfection and spend countless hours in the studio. I danced for hours, examining every aspect of my body. Ballet caused me to look down upon myself. I never thought of myself as good enough. That being said, I always tried to hold onto the moments where I knew that all of the pain, anxiety, and exhaustion were worth it for those indescribable moments of absolute bliss. However, ballet is something that ends fairly early for most dancers due to injury. My whole senior year, I imagined myself finishing my last show and smiling under the heat of the bright stage lights. Instead, my finale was just like many other dancers.
Physically, I have a high tolerance for pain. But the pain of tendinitis in my ankle was more than I could endure. For months, I constantly soaked my ankles and feet in epsom salt and water. I would cry driving home because the pain was unbearable. Why couldn't I just walk away? What is causing me to keep hurting myself? I asked myself these questions but found no answer. Any dancer or athlete knows the difficulty of choosing between passion or practicality. Those that wish to succeed do not easily give up. Eventually, I realized that the mental and physical distress I was putting upon myself was too much. I took my last ballet class without even realizing that would be the last time I would ever dance.
Now, four months later, I find myself happier than ever before. The recovery period after I stopped dancing was difficult and strenuous but I am now healthier physically. My heart longs to dance again and there are many aspects about dance that I miss. Giving up on the one thing in my life that was constant was a decision I didn't think I was strong enough to make. I have learned how strong I am because of ballet--I proved to myself that I do not need to be perfect. I just need to do what makes me happiest. Everything that I learned from ballet, from time management, endurance, and precision, has helped shaped who I am. The memories I have from ballet are irreplaceable and the reflection process since I have put away my ballet shoes has been even more rewarding. Ballet has always been apart of me, and always will be--a feeling every ballerina shares.


Former Massachusetts Governor Mitt Romney remains the most competitive Republican presidential contender as far as President Obama is concerned, with the two men running even again this week.
The national survey of 1,000 Likely Voters was conducted on January 3-4, 2012 by Rasmussen Reports. The margin of sampling error is +/- 3 percentage points with a 95% level of confidence. Field work for all Rasmussen Reports surveys is conducted by Pulse Opinion Research, LLC. See methodology.


text:
Q: Importing .txt files from directory with Do loop I'm new to Mathematica. I'm trying to write a script that automatically imports a bunch of .txt files from a directory into different lists.
The files are labeled fileXX.txt where XX are numbers 00 to 10.
I'd like to label the lists as listXX. I'm having trouble with 2 things.
1.How to make the loop variable part of the filename and the listname? I tried StringJoin <> but it doesn't work.
2.How to make XX 2-digits always? As in 03 instead of 3, and 04 instead of 4, etc.
Do[list<>XX<>= Import["/directory/file"<>XX<>".txt"],{XX,0,10}];

Thanks in advance!

A: Clear["Global`*"] (*make sure to clear all list* variable first*)
Do[
 fileName = "/directory/file" <> IntegerString[n, 10, 2] <> ".txt";
 Evaluate[Symbol["list" <> IntegerString[n, 10, 2]]] = Import[fileName],
 {n, 0, 50}
 ];

Then

etc...

A: How about something like this:
list = Table[{}, {XX, 1, 10}]
Do[list[[XX]] =
   Import["/directory/file" <>
     If[XX < 10, "0" <> ToString[XX], ToString[XX]] <> ".txt"], {XX,
   1, 2}];

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