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Every George Miller movie is a Mad Max movie
George Miller's lavish fantasy movie Three Thousand Years of Longing begins with a warning. Alithea Binnie (Tilda Swinton), the film's protagonist, warns viewers that the story she's about to tell beggars belief — and yet it nonetheless happened to her. So to better present it to an audience inoculated against wonder, she decides to tell it as a fairy tale: one of the oldest kinds of stories, where the veracity of an account has little bearing on whether it's true.
Much like Alithea's story, the career of the director telling that story is difficult to believe, and seemingly unreal. The breadth of George Miller's filmography is staggering and slim at the same time. You could watch all of his movies in a weekend and find gonzo comedy, seminal action cinema, brutally intimate drama, and landmark children's movies. Since 1979, the idiosyncratic, soft-spoken director has surfaced roughly a dozen times, in each case to present a uniquely polarizing work. How does the man known for presenting one of the most iconic, violent wastelands in cinema also turn around and make Happy Feet, or Babe: Pig in the City?
Three Thousand Years of Longing is another curveball from a man who doesn't know how to throw any other kind of pitch. In this phase of his career, Miller has been lionized, his reputation solidified through the wild success of Mad Max: Fury Road. That 2015 film is now widely regarded as the very best of its decade. It's a thrilling, thoughtful action movie that was received with amazement and enthusiasm — and has since steadily grown in estimation to become regarded as an easy addition to the canon of cinematic greats.
Miller's latest movie is nothing like Fury Road. Three Thousand Years of Longing is a quiet film, a rumination on stories and storytelling presented the way the very first stories were told: with two people sitting down and talking to each other. It is, after a fashion, a victory lap: Nearly a decade after Fury Road, Miller now has the world's attention, and he's cashing that check by making a film to reflect on why he does what he does.
George Miller directing Tilda Swinton and Idris Elba on the set of Three Thousand Years of Longing
Photo: Elise Lockwood/Metro-Goldwyn-Mayer Studios
"Stories are a question," Miller tells Polygon. "They're how we as human beings, with the neurology that we've evolved since we've become homo sapient, make meaning. We make the world coherent through our stories. And we do that just as certainly as we have a pulse and we breathe and we do all the other things that we do in life."
Questions are some of the most potent aspects of George Miller's work. Who killed the world? is written across the scenery in Mad Max: Fury Road. In Babe: Pig in the City, a friendly pig is chased by a vicious pit bull, only to turn around and ask, "Why?" When Alithea discovers a real-life djinn will grant her three wishes, like in the fables of myth, she tries to out-game the rules of storytelling, wondering, Am I in a cautionary tale? Even Happy Feet sends Mumble — a penguin who dances in a culture where everyone sings — out alone into the Antarctic, where he wonders why everyone around him thinks there is only one way to live.
These questions are really just the same question, asked in different ways. That question, married to an aesthetic molded by the language of silent cinema and a fiendish devotion to doing as much as possible in front of the camera, gives Miller's movies an uncommon urgency. His message makes viewers feel like they must reach the end of the film, like they must also find an answer, even if the question is ultimately familiar.
Over and over, George Miller wants to know: Are we doomed to keep killing each other and killing the Earth at the same time? Is it foolish to dream of a world where we aren't?
A dreamer in the bush
George Miller is, first and foremost, an Australian. His biography is central to his filmmaking, ever-present in his worldview and methodology. Born in the rural town of Chinchilla (where he says his family was the first to get a toilet that flushed), Miller nursed an early and passionate love of cinema while training to be a doctor.
Miller's heritage has also been at the forefront of his mind creatively. In the early '80s, between the wild success of The Road Warrior and his feature-length Hollywood debut with The Witches of Eastwick, Miller co-wrote or directed a number of miniseries about Australian history. The first, 1983's The Dismissal, chronicles the events of the country's 1975 constitutional crisis. Another, The Last Bastion, reflects on Australia's role in World War II.
And in 1997, Miller wrote and directed an hourlong television documentary called 40,000 Years of Dreaming, a survey of Australian film history that uses the Aboriginal concept of the Dreaming — a collective consciousness of story — to make sense of the world and humanity. Inspired by this notion, Miller sketches out the broad themes that he sees as inherent in Australian film, which he argues is a (predominantly and unfortunately) white Dreaming, but one inextricably tied to unignorable truths about the land. The country's history bleeds into its artists, all telling one story that feeds into the wider story of humanity.
Miller, soft-spoken and thoughtful, speaks about Australia with painstaking care and awareness. He addresses its colonial roots as a debtor's colony, its indigenous history and tradition, its beautifully harsh landscape teeming with tough and varied life, and the collision between all this and more. He's cognizant that he and his art are born of its earth, part of the bush's great mosaic. His origins have also granted him a tragically close perspective on the climate crisis.
"I, like everyone else, have anxiety about what we're doing to ourselves, and what we're doing to this little tiny planet in the immensity of space and time," Miller tells Polygon. "We're suffering right now in Australia — we've had unprecedented rains and cold, where I think in the Northern Hemisphere, they're having unprecedented heat and loss of water. There's definitely something crazy going on. I see it.
"We have a thing called the Great Barrier Reef, which is a great coral reef, which I got to know quite intimately when I worked on a documentary many, many years ago, on an island. Going back there after 40 years and diving in the same spot, I was astonished by the degradation. I'm not a marine biologist, or in the sciences anymore, and yet I was really shocked about that. I was there with younger tourist guides, in their 20s, and they had no idea what it was like 40 years ago. I'm one of those who's not only concerned, but really worried about the prognosis. Having once been a doctor, it feels like we're sort of one big patient who is denying that they have a really serious illness, and hoping that somehow there's a magic pill that can make it go away."
All of Miller's films, in one manner or another, confront an oblivion of our own making. From the environmental disaster of the Mad Max films to our ambition to master the world and snuff out its mystery in Three Thousand Years of Longing, human greed fosters narrow-mindedness, and it's up to the dreamers to expand that vision — and hopefully, put it right.
The world gone mad
"Who killed the world?" is the most widely recognized articulation of Miller's ethos in one of his most complex films. It's the first of several lines in Mad Max: Fury Road that have penetrated the culture in the years since, more as mantras than quotes: We are not things. Out here, everything hurts. Witness me.
Image: Warner Bros. Pictures
Fury Road is so propulsive and singular that it's easy to pore over it endlessly and find rewarding elements to interrogate: its ambitious craft, carefully built yet lean characters, and the way it gestures at more ideas in passing with those spare quotes than most blockbuster franchises get across in their entire storytelling sprawl. In its movie-length chase, Fury Road runs headlong into the evil of patriarchal power systems, the sorrow of a dying planet, and the guilt of those holding the gun — just to name a few of the thematic ideas that can be found in its blue-orange hellscape.
But Fury Road is an extension of what came before, both in Miller's wider filmography and in the prior Mad Max films he wrote and directed. It's a franchise tied up in Miller's biography, as an Australian who began his professional life as a doctor. As he's discussed over the years, the original 1979 Mad Max partially stemmed from his time working in emergency rooms and seeing the darker side of Australian car culture, as wide-open desert roads with no speed limits naturally resulted in terrible wrecks. Layer in the 1970s' fuel crises and the budding environmental movement, and you have a potent tinderbox of cultural forces that only became more potent as the years went by.
Viewers who come to Mad Max after seeing Fury Road may find it impossible to conceive that its grounded take of an Australia in socioeconomic free fall would eventually lead to Fury Road's post-apocalyptic fantasy society. But even as Miller's exploration of a world gone mad became more extreme in the sequels The Road Warrior and Mad Max Beyond Thunderdome, the root cause of the franchise's despair never went away.
The second film in the franchise, The Road Warrior, shows what happens when the nihilism of Mad Max overtakes the world. Society quickly loses the few remaining trappings of modern life — nice suburban homes, diners, green fields — and focuses on the easiest form of survival. The world of The Road Warrior is stunning in its brutality as communities constantly live under threat of being snuffed out by would-be strongmen and those who follow them, tribal and warlike. This calcifies into the society of Beyond Thunderdome, where shrewd, cruel people who hold the levers of power force entire communities to bend to their will, and humanity's dependency on limited resources instead of each other makes slaves of them all.
Miller has produced three decades of Mad Max films, but the world they're made in remains the same. It's one where people in power would rather accelerate toward destruction than abandon their thirst for gasoline, one that still must obey the dictates of social entropy, where fascism will assert itself unless humanity consciously turns away from it.
It's all there right at the start of the series. Max Rockatansky drives away at the end of Mad Max, hollowed out by his confrontation with the horror of what humans will do to each other when they're reduced to survival without hope. Across three more movies and 36 years, Miller labored to show the tremendous effort it takes for a man like Max to turn away from that madness. It is difficult, and he never fully does it — every film ends with Max on the road again, searching for something — but he never settles. And in getting involved and connecting with other people, no matter how reluctantly, he leaves the world a little better than he found it.
'Why?'
In a manner of speaking, every filmmaker is born to tell stories. From script to screen, the process of making a movie is laborious, demanding years of focus and effort from countless artists and craftspeople. Sustaining focus throughout that labor would be nigh-impossible without some kind of primal drive to see a story through. The miracle of filmmaking is in the magic that happens when a story feels effortless. The miracle of art is when a singular, personal sense of urgency also emerges at the other end of the filmmaking process.
Image: Universal Pictures
This is the question Miller speaks about, the insistent, insatiable drive to try and answer a question that may be unanswerable. In Miller's work, the cause for this self-made destruction is clear: greed, which, when succumbed to, smothers community. But what within us causes us to choose greed? That's a more difficult question. "Why?" is a powerful question, but ask it enough, plumb deeply enough, and you're eventually met with silence. Like a good doctor, Miller works in the service of life. Unfortunately, this means he must confront death, especially the senseless sort: the relentless snuffing out of beauty.
The examination of the compulsion to choose destruction is even present in his less acclaimed or less characteristic works. According to Kyle Buchanan's expansive book Blood, Sweat & Chrome: The Wild and True Story of Mad Max: Fury Road, Miller's The Witches of Eastwick was an awful experience that drove Miller away from filmmaking for five years. Its darkly comedic story was adapted from a John Updike novel, with a screenplay by Michael Cristofer — the only film Miller has directed that he did not also write. But it's a familiar Miller story. The struggle between uplift and domination is there, this time in an examination of patriarchy, another theme Miller revisited in Fury Road.
Three women (played by Cher, Michelle Pfeiffer, and Susan Sarandon) are disillusioned and unappreciated in Eastwick, Rhode Island, straining against the narrow confines of suburban femininity. Release comes in the form of Jack Nicholson's Daryl Van Horne, who may be the literal devil. He seduces them with attention that unlocks their powers, which could make their secret wishes come true. But like most men who rule the prim and proper patriarchy of the suburbs, Van Horne isn't as altruistic as he appears. That doesn't mean he's wrong about what ails the film's heroines.
Like most seduction done with selfish intent, Van Horne's efficacy springs from a kernel of truth. "Men are such cocksuckers, aren't they?" he says during a monologue midway through the film. "You don't have to answer that. It's true. They're scared. Their dicks get limp when confronted by a woman of obvious power. And what do they do about it? Call them witches, burn them, torture them, until every woman is afraid. Afraid of herself… afraid of men… and all for what? Fear of losing their hard-on."
Similarly, Miller's return to feature filmmaking in 1992's Lorenzo's Oil doesn't initially seem in step with the interrogation of destruction best signified by his Mad Max films. Based on true events, the film follows parents Augusto Odone (Nick Nolte) and Michaela Odone (Susan Sarandon) as they seek a cure for their son Lorenzo, diagnosed with what was then a newly discovered condition: adrenoleukodystrophy, or ALD.
As a story about normal people struggling against a force of nature, Lorenzo's Oil has an antagonistic energy focused toward institutions and egos. Augusto and Michaela want to save their son, but first they have to subvert a system that would otherwise let him die. At the same time, they're combating the true villain of the story Miller is telling: their own despair.
Lorenzo's Oil is designed to make viewers feel the oppression of parents struggling to persevere against fate, disease, and the structure of the medical establishment. It's a difficult, unpleasant movie, but every step of the way, it challenges viewers to hold on like the Odones and continue to dream, and not just for selfish reasons. In the film, the Odones' plight reaches a turning point in the third, act when they realize that the cure they helped discover might not cure their son, but it may help future sufferers. The way forward, then, is to labor for others as well as ourselves: to put a dream into action, and share it in community.
Through this lens, Miller's animated children's movie Happy Feet is much less of an anomaly than it might seem at first glance. What seems like a tried-and-true cartoon fable about being yourself soon intersects with the dire state of the world at large, as penguin protagonist Mumble (voiced by Elijah Wood) is blamed for his colony's food shortage, because his tap dancing puts him at odds with his singing community. In exile, Mumble discovers the true cause of the shortage: Human overfishing and pollution has devastated the colony's food supply. He ends up getting captured and trapped in a Sea World exhibit, but his gift of dance encourages humans to reconsider their impact on his colony and release him back into the wild. Making the world bigger is the only way to avoid destruction.
Back to that scene from Babe: Pig in the City, when Babe, naive and out of place in a towering metropolis, is conned by a trio of chimps into being bait for guard dogs. Chased through the streets in terror by a truly frightening pit bull and Doberman pinscher pair, Babe flees until he reaches a bridge where, in what New York Times film critic Manohla Dargis calls "one of the great moments in movie history," Babe turns around and quietly asks: "Why?"
The dog plows into Babe, who falls into the water below. But he swims to the surface, and soldiers on. The world made him and the dog into what they are, but he can still ask why and whether that needs to be true, and dream of a better world for both of them.
Dreaming of a green place
Late in Three Thousand Years of Longing, Alithea is shown in her London home, surrounded by the harsh sounds of modernity that the quiet of her flat can't quite keep outside. It's hard for her to hear stories in London. The technology around her invites interruption. Her neighbors are noisy, nosy bigots. Magic is difficult to believe in. Her work as a narratologist, a scholar who engages with the cultural anthropology of stories and their role in our history, seems fanciful and frivolous in London. Like the city in Babe: Pig in the City, her hometown is an effective machine for shutting out our collective humanity. Such machines are designed this way on purpose, cultivated by those who run them to foster ownership and profit over community, separating the haves from the have-nots. It's a useful tool for those who wish to kill the world.
In Three Thousand Years of Longing, Alithea wants more. She wants to feel known, connected to the cosmic fabric of the universe like the stories she's devoted her life to studying. But from her London flat, the distance between that world and the one she inhabits seems too great, and maybe she's past the point of her life where she feels capable of changing her world. This, of course, is nonsense. All she has to do is ask the question, tell the story, ask why. As Furiosa, Mumble, and Babe discover before her, that's the first necessary step to making the world different. It might not be a difference she will see, but if enough people make that choice, perhaps there will be a cure for our suffering.
Image: Metro-Goldwyn-Mayer Studios
In George Miller's body of work, all suffering is a tragedy: a child's, an animal's, a planet's. In his films, the camera's power lies in its function as an unblinking eye, and the only real crime is looking away. This is the common thread in his work: His characters look frankly at the grim truth of their bitter, damaged worlds. Then they allow themselves the dignity of dreaming, and the power those dreams give us to move forward and try to make them real.
In the Western world — the one largely canonized by white people in power, the one that thinks it's the cultural center of the planet — there are no new fairy tales, or at least, none like our original shared stories: fables passed down from person to person, taking new shape in different cultures, communities, and eras. Perhaps Miller is on to something when he has Alithea decide to tell her story as a fairy tale. Because without shared fantasies, what connects us to each other? If stories are questions that lead to understanding each other and the world around us, we must tell stories. We must dream. Then we must wake up, and try and realize that dream — for ourselves, but more importantly, for others. Even if success seems impossible.
George Miller's movies demand — urgently, creatively, and in a dozen different modes and voices — that we confront the reality of the world around us, and acknowledge how we've helped shape it. Then he asks: Why does it have to be this way? Will you dream about fixing this problem with me? Even if we fumble, even if we fail, even if we dismiss it all as a fairy tale, Miller still finds it beautiful to try.
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Mt. Angel Oktoberfest
Sightseeing, Beer
Oktoberfest in Mt. Angel is more than just a celebration of German culture - it's one of Oregon's longest festivals and has become more family friendly with each year.
Each year more than 300,000 people attend the four-day festival, which has been held in Mt. Angel for more than 50 years.
Organizers of the event say there is something for everyone at the festival that is more block party than parade - although they have those too.
Oktoberfest starts on the second Thursday after Labor Day and continues through Sunday. The festival kicks off with a May pole dance - called a Webentanz in German - performed by children from Mt. Angel. This is just one of the activities that can show people the local talent and flavor of the area 40 miles south of Portland. Here are some of the activities that take place during the event:
The Alpinegarten: This area features interactive entertainment with a wide variety of alpine folk music in a huge hall. This area is reminiscent of a traditional Bavarian village folk fest, according to organizers. Bands, dancing, food and beverages are served up to bring the Alps to Oregon.
The Biergarten: This is an adult-only venue that can be found by following the sounds of "oom pah pah." Dancing, singing, food and premium beers are the nature of the fun in this section of the festival.
Free concerts: Every year numerous performers from the local community to bands who are brought in from Germany fill the event with authentic Bavarian sights and sounds. Can you say lederhosen?
The Oktoberfest Kindergarten: This is a great place to spend some time with the kids, with homemade goodies to train rides, a 4H barnyard and a clown show. All shows are free in this area and it's a great place to help entertain children during the festivities.
The Schnitzelgarten: This is a covered garden with stage ("People's Stage" in German) that features local artists and keeps the music and fun echoing throughout the entire event.
Cruz-n-Car Show: The Cruz-n consists of two separate shows the final two days of the festival. The show includes 100 vehicles each day and has features automotive treasures from the early 1900s to today.
"The best thing about Oktoberfest in Mt. Angel is that it really does cater to people of all income levels," Lauzon says. "You can come here and spend very little, or spend the entire day going through the many booths and eating your way across the event."
The Oktoberfest in Mt. Angel is also a great way to help a small Oregon community - with much of the proceeds raised during the event going to schools, churches, service organizations, youth activities, senior services and hospitals in the area. In fact, since it began the festival has donated more than $1.75 million to their local community.
About Oktoberfest: A four-day festival in Mt. Angel featuring music, food, dress and beverages of Bavaria. The event is used to help raise funds for non-profits and community activities in the Mt. Angel area and each year brings more than 300,000 people to the festival.
What to bring: Comfortable walking shoes and whatever money you would like to spend on food, beer, wine and the many arts and craft booths that are scattered throughout the festival. Many people are dressed in Bavarian garb, so bringing a camera is always a good idea.
Season: Oktoberfest starts on the second Thursday after Labor Day and continues through Sunday. 11 a.m. to midnight Thursday, Friday and Saturday; 10 a.m. to 9 p.m. Sunday. Sept 17-20th 2015
Getting there: From the north on I-5, take the Woodburn exit #271 and follow State Highway 214 to Mt. Angel (approximately 10 miles).
From the south on I-5, take the Market Street exit #256 in Salem and follow signs to State Highway 213. Proceed east through Silverton to Mt. Angel (approximately 16 miles).
Fees: Admission is free and parking is plentiful in lots run by non-profit organizations throughout the area. Parking traditionally is $5 for the day and the lots are secured.
Tips: Festival spokesman Jerry Lauzon says Oktoberfest traffic can be a problem, so your best bet is to check an Oregon map and find alternative routes to Mt. Angel. "Coming from the north I would continue down Interstate 5 to the Brooks or Kiezer exits and follow the signs," he says. "If you are not familiar with the area, just realize that it's a popular event and be patient - the drive is worth it."
Lauzon also says that in recent years the focus of the festival - while always on beer - has tried to be more family friendly with an effort to keep people from over-indulging. So if you do attend, make sure to drink in moderation - especially if you are going to drive back to the Portland area.
History: The Mt. Angel Oktoberfest is one of the longest standing folk festivals in the Northwest and celebrates its 50th anniversary in 2015. The festival began as a traditional fall festival to celebrate the harvest. The format was changed to the Oktoberfest in 1966, following a tradition of more than 100 years of harvest festivals under various names and formats. The Mt. Angel community was founded by German pioneers in 1867, and since the surrounding area resembles rural Bavaria, organizers thought the Oktoberfest would be a natural fit for the community.
By Patrick Johnson
For Oregon.com
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Photo Credit: Don Hankins via Flickr

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Doctor Who: The Curse of Fenric – Special Edition (1989) review and Blu-ray preview [BFI Event]
Posted on November 24, 2019 by Pete Messum	Leave a comment
Doctor Who's twenty-sixth season marks a creative high-point in the show's history, showcasing one of the most interesting Doctors in Sylvester McCoy's seventh incarnation, as well as one of the best companions in Ace (Sophie Aldred), some intriguing running story-lines (thanks to script editor Andrew Cartmel) and a great selection of stories, with Ben Aaronovitch's Battlefield, Marc Platt's Ghost Light, Ian Briggs' The Curse of Fenric and Rona Munro's Survival.
With that in mind, it's a pity that the series was cancelled part-way through broadcast, but if nothing else, Season 26 is a fantastic season to go out on, and with Doctor Who: The Collection – Season 26 being released on Blu-ray on 20th January 2020, I hope these fantastic episodes reach a whole new audience!
My favourite story from Season 26 – and quite possible McCoy's era as a whole – is The Curse of Fenric, so I was naturally very excited to hear that the BFI were screening the new HD remaster of the serial's special edition edit on 23 November (Doctor Who day!). The special edition re-imagines the serial as a feature film, with all four episodes edited together and with deleted scenes reincorporated into the mix. The structure has been altered somewhat as well to fit the original intentions of Briggs' script, and I honestly can't imagine a better way to watch this story, it's an intricate puzzle-box of moving pieces and to watch a shorter, episodic version may be more "purist" to fans, but the special edition is the best one for full appreciation.
The Curse of Fenric is just a terrific Doctor Who story through-and-through, from Mark Ayres' eerie score to Nicholas Mallet's impressive direction. The whole serial was shot on location, which means there are no awkward cuts between studio and location footage. There is the real sense that this a low-budget Doctor Who horror film, with a brilliant sense of atmosphere maintained throughout. Not only does it feature the surprisingly creepy-looking Haemovores, but it also features a terrifically enigmatic villain in Fenric ("how very British", he remarks later on in the story, "everything stops for tea") and stellar performances from McCoy and Aldred as the Seventh Doctor and Ace. Ace's character development over the course of her time on the TARDIS is one of the great things about this era of the show, and The Curse of Fenric builds further on her backstory, her relationship with the Doctor and even her fears – which ties nicely in with Ghost Light from earlier in the season.
The guest stars here are also on fine form, whether it be Nicholas Parsons as a doubtful Vicar, or Dinsdale Landen's quirky performance as Dr Judson, or Alfred Lynch's surprisingly subdued performance as Commander Millington. Tomek Bork is surprisingly likeable as the Captain of a group of Russian soldiers caught up in the events, whilst new-Who fans will recognise Anne Reid who later played the Plasmavore in 2007's Smith and Jones. The characters all feel surprisingly well-rounded, which makes for an interesting group of people to follow in a story following the rise of pure evil and an attack from a horde of barnacle-covered vampires. The Haemovores are a brilliantly-realised concept and whilst the vampiric side is never focused on too much, even thirty years on the make-up work is phenomenal.
If there is an issue with The Curse of Fenric, it is that the story is very complicated and some key plot-points seem to be overlooked, even in this extended edit. We never get to see any of the Haemovores staked through the heart (we only see patches of goo with stakes stuck in them), and as the Doctor and Ace go to-and-from various locations so frequently, it can occasionally be difficult to follow where they're going and why. At this point in the show, the Doctor is enigmatic and calculating and likes to check-up on events to make sure they're unfolding according to plan. It may ruin the fun for some people, but I think it gives a unique flavour to McCoy's Doctor: he knows what Fenric is planning and he's already worked out how to stop him, he just has to play the game. However, The Curse of Fenric alone is enough to make this boxset worth a purchase in January, especially alongside such other great Doctor Who stories, but the team at BBC Studios have gone above and beyond to provide a terrific new set of bonus features.
At the BFI screening, we got to see some of the entertaining outtakes from the making of Season 26 (a particular highlight of which was seeing Courtney out-of-character and having a laugh with McCoy), as well as a glimpse at the new making-of documentary for The Curse of Fenric from Series 11 and 12 writer Pete McTighe, Marc Platt discussing Ghost Light (and his unmade story Lungbarrow) with his peers in The Writer's Room: Season 26 and a host of Doctor Who stars enjoying Fenric in the new series of Behind the Sofa. There are plenty more to enjoy on the set when it releases in January, including the VHS extended edits of Battlefield and Fenric, as well as the special editions for both stories, a workprint edit of Ghost Light,and a brand-new documentary Showman: The Life of John Nathan-Turner – a look at Doctor Who's longest-serving producer. On top of this, there are even more special features, as well as full HD remasters and 5.1 surround sound mixes on every single episode. And if that doesn't convince you to part with forty quid, I don't know what will!
It was an absolute joy to revisit The Curse of Fenric – Special Edition on Doctor Who Day itself, and the new boxset looks absolutely fantastic. I cannot wait for January.
Doctor Who: The Collection – Season 26 will be released on Blu-ray on 20th January 2020.
Pre-order now: https://amzn.to/33irTI5
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text:
namespace {

void SetObjectEventBasedHold(google::cloud::storage::Client client,
                             std::vector<std::string> const& argv) {
  //! [set event based hold] [START storage_set_event_based_hold]
  namespace gcs = ::google::cloud::storage;
  using ::google::cloud::StatusOr;
  [](gcs::Client client, std::string const& bucket_name,
     std::string const& object_name) {
    StatusOr<gcs::ObjectMetadata> original =
        client.GetObjectMetadata(bucket_name, object_name);
    if (!original) throw std::runtime_error(original.status().message());

    StatusOr<gcs::ObjectMetadata> updated = client.PatchObject(
        bucket_name, object_name,
        gcs::ObjectMetadataPatchBuilder().SetEventBasedHold(true),
        gcs::IfMetagenerationMatch(original->metageneration()));
    if (!updated) throw std::runtime_error(updated.status().message());

    std::cout << "The event hold for object " << updated->name()
              << " in bucket " << updated->bucket() << " is "
              << (updated->event_based_hold() ? "enabled" : "disabled") << "\n";
  }
  //! [set event based hold] [END storage_set_event_based_hold]
  (std::move(client), argv.at(0), argv.at(1));
}

void ReleaseObjectEventBasedHold(google::cloud::storage::Client client,
                                 std::vector<std::string> const& argv) {
  //! [release event based hold] [START storage_release_event_based_hold]
  namespace gcs = ::google::cloud::storage;
  using ::google::cloud::StatusOr;
  [](gcs::Client client, std::string const& bucket_name,
     std::string const& object_name) {
    StatusOr<gcs::ObjectMetadata> original =
        client.GetObjectMetadata(bucket_name, object_name);
    if (!original) throw std::runtime_error(original.status().message());

    StatusOr<gcs::ObjectMetadata> updated = client.PatchObject(
        bucket_name, object_name,
        gcs::ObjectMetadataPatchBuilder().SetEventBasedHold(false),
        gcs::IfMetagenerationMatch(original->metageneration()));
    if (!updated) throw std::runtime_error(updated.status().message());

    std::cout << "The event hold for object " << updated->name()
              << " in bucket " << updated->bucket() << " is "
              << (updated->event_based_hold() ? "enabled" : "disabled") << "\n";
  }
  //! [release event based hold] [END storage_release_event_based_hold]
  (std::move(client), argv.at(0), argv.at(1));
}

void SetObjectTemporaryHold(google::cloud::storage::Client client,
                            std::vector<std::string> const& argv) {
  //! [set temporary hold] [START storage_set_temporary_hold]
  namespace gcs = ::google::cloud::storage;
  using ::google::cloud::StatusOr;
  [](gcs::Client client, std::string const& bucket_name,
     std::string const& object_name) {
    StatusOr<gcs::ObjectMetadata> original =
        client.GetObjectMetadata(bucket_name, object_name);
    if (!original) throw std::runtime_error(original.status().message());

    StatusOr<gcs::ObjectMetadata> updated = client.PatchObject(
        bucket_name, object_name,
        gcs::ObjectMetadataPatchBuilder().SetTemporaryHold(true),
        gcs::IfMetagenerationMatch(original->metageneration()));
    if (!updated) throw std::runtime_error(updated.status().message());

    std::cout << "The temporary hold for object " << updated->name()
              << " in bucket " << updated->bucket() << " is "
              << (updated->temporary_hold() ? "enabled" : "disabled") << "\n";
  }
  //! [set temporary hold] [END storage_set_temporary_hold]
  (std::move(client), argv.at(0), argv.at(1));
}

void ReleaseObjectTemporaryHold(google::cloud::storage::Client client,
                                std::vector<std::string> const& argv) {
  //! [release temporary hold] [START storage_release_temporary_hold]
  namespace gcs = ::google::cloud::storage;
  using ::google::cloud::StatusOr;
  [](gcs::Client client, std::string const& bucket_name,
     std::string const& object_name) {
    StatusOr<gcs::ObjectMetadata> original =
        client.GetObjectMetadata(bucket_name, object_name);

    if (!original) throw std::runtime_error(original.status().message());
    StatusOr<gcs::ObjectMetadata> updated = client.PatchObject(
        bucket_name, object_name,
        gcs::ObjectMetadataPatchBuilder().SetTemporaryHold(false),
        gcs::IfMetagenerationMatch(original->metageneration()));

    if (!updated) throw std::runtime_error(updated.status().message());
    std::cout << "The temporary hold for object " << updated->name()
              << " in bucket " << updated->bucket() << " is "
              << (updated->temporary_hold() ? "enabled" : "disabled") << "\n";
  }
  //! [release temporary hold] [END storage_release_temporary_hold]
  (std::move(client), argv.at(0), argv.at(1));
}

void RunAll(std::vector<std::string> const& argv) {
  namespace examples = ::google::cloud::storage::examples;
  namespace gcs = ::google::cloud::storage;

  if (!argv.empty()) throw examples::Usage{"auto"};
  examples::CheckEnvironmentVariablesAreSet({
      "GOOGLE_CLOUD_PROJECT",
      "GOOGLE_CLOUD_CPP_STORAGE_TEST_BUCKET_NAME",
  });
  auto const project_id =
      google::cloud::internal::GetEnv("GOOGLE_CLOUD_PROJECT").value();
  auto const bucket_name = google::cloud::internal::GetEnv(
                               "GOOGLE_CLOUD_CPP_STORAGE_TEST_BUCKET_NAME")
                               .value();
  auto client = gcs::Client();

  auto generator = google::cloud::internal::DefaultPRNG(std::random_device{}());
  auto const object_name_1 =
      examples::MakeRandomObjectName(generator, "object-");
  auto const object_name_2 =
      examples::MakeRandomObjectName(generator, "object-");
  auto constexpr kText = R"""(Some text to populate the test objects)""";

  std::cout << "\nCreating the EventBasedHold object" << std::endl;
  (void)client
      .InsertObject(bucket_name, object_name_1, kText,
                    gcs::IfGenerationMatch(0))
      .value();

  std::cout << "\nRunning the SetObjectEventBasedHold() example" << std::endl;
  SetObjectEventBasedHold(client, {bucket_name, object_name_1});

  std::cout << "\nRunning the ReleaseObjectEventBasedHold() example"
            << std::endl;
  ReleaseObjectEventBasedHold(client, {bucket_name, object_name_1});

  std::cout << "\nDeleting the EventBasedHold object" << std::endl;
  (void)client.DeleteObject(bucket_name, object_name_1);

  std::cout << "\nCreating the TemporaryHold object" << std::endl;
  (void)client
      .InsertObject(bucket_name, object_name_2, kText,
                    gcs::IfGenerationMatch(0))
      .value();

  std::cout << "\nRunning the SetObjectTemporaryHold() example" << std::endl;
  SetObjectTemporaryHold(client, {bucket_name, object_name_2});

  std::cout << "\nRunning the ReleaseObjectTemporaryHold() example"
            << std::endl;
  ReleaseObjectTemporaryHold(client, {bucket_name, object_name_2});

  std::cout << "\nDeleting the TemporaryHold object" << std::endl;
  (void)client.DeleteObject(bucket_name, object_name_2);
}

}  // namespace

int main(int argc, char* argv[]) {
  namespace examples = ::google::cloud::storage::examples;
  auto make_entry = [](std::string const& name,
                       examples::ClientCommand const& cmd) {
    return examples::CreateCommandEntry(
        name, {"<bucket-name>", "<object-name>"}, cmd);
  };
  examples::Example example({
      make_entry("set-event-based-hold", SetObjectEventBasedHold),
      make_entry("release-event-based-hold", ReleaseObjectEventBasedHold),
      make_entry("set-temporary-hold", SetObjectTemporaryHold),
      make_entry("release-temporary-hold", ReleaseObjectTemporaryHold),
      {"auto", RunAll},
  });
  return example.Run(argc, argv);
}


text:
Gilbert v. Globe & Rutgers Fire Insurance Co. case brief
Gilbert v. Globe & Rutgers Fire Insurance Co. case brief summary
171 P. 1161, rehearing denied 178 P. 358 (Or. 1918)
Plaintiff insured filed a petition for rehearing from a judgment of the District Court (Oregon), which ruled that the insured's right was time-barred against defendant insurer.
The insured argued that when the insurer had by its own conduct waived any of the requirements of a contract, the condition or limitation was out of the contract for all time and could not be revived.
The court concluded that the insured having failed to commence his action within 12 months after being notified that the insurer repudiated his claim barred the action, and the petition for a rehearing had to be denied.
Such acts of the insurer as were indicated did not constitute a waiver, but a simple case of estoppel, the effect of which was to suspend the time limitation of the contract until the hour when the estoppel was removed by notice to the insured that his claim was repudiated, at which moment the contract limitation again became effective and gave the insured 12 months from that date in which to begin his action.
The court denied the petition for rehearing.


Memory colours your perception of what you read, so that what you remember is often better than that the original. Over time you forget all the bad bits and all you remember are the good bits.
This often happens with books you read at defining moments in your life.
As a teenager I devoured all the science fiction I could. Science fiction was big back then, fantasy considerably less so. One of the stories embedded indelibly in my memory is Robert Heinlein's Orphans of the Sky, the story of a generational starship on which there was a mutiny some time in the past. Most of the current inhabitants have no idea of the original mission, no idea that their world is a starship and no idea that they have already arrived (almost) at their destination.
It was a brilliant idea back then and it still is now, and I remembered it as such.
I re-read the book last year and hated it.
It was so … ordinary is the only word I can think of, and the way Heinlein wrote about women they may as well have been pieces of furniture (except, of course, that you couldn't have the Adam and Eve thing going without the girl).
Yet that doesn't detract from the fact that it was a brilliant idea at the time. Just because Heinlein's books (or that one, anyway) don't stand the test of time does not mean that he is not one of the early masters of science fiction, and had a big hand in shaping it.
Another writer recognised as one of the masters of science fiction and fantasy is Fritz Leiber. Fafhrd and the Grey Mouser come highly recommended. I recently picked up the First Book of Lankhmar, an omnibus of their adventures and I'm really struggling to read it. I doubt I will finish it. Yet for many people this is one of the great fantasy series.
I think of it as the 'Beatles effect'. To most people who were teenagers in the 1960s the Beatles were a super group. They were around at a time of major change, and impacted a whole generation. Yet to others who did not come of age through that era, it's, "The Beatles. Right. They had some good songs, yeah, but so what." That doesn't denigrate what the Beatles did, or how they changed music, but that is not relevant to the listeners of today.
In today's music world the Beatles might well find it difficult to sell music today.
Leiber and Heinlein would almost certainly not be published.
Popular tastes and interests shift, often very quickly, as does literary style. Yes, people still eagerly read Jane Austen–her books outsell many popular present-day authors–but they do so in context, as classic literature. It's hardly a wonder that a 19th century novel, written in 19th century prose, couldn't find a home when presented as a new novel by a previously-unpublished modern writer.
Whoops — they did it again, Victoria Strauss on Writer Beware.


text:
Q: Completely clean-up sd card and create new partition table My friend recently asked me to help him with his sd card. It just stopped working. So I borrowed it and plugged it to my PC. What I got, was basically nothing. No partitions, corrupted partition table. Is there a way to completely clean up everything that is on the SD card and create clean new msdos partition table (I know how to create partitions myself)? I have both Windows (8.1) and Linux (Ubuntu 14.04) and I know how to use console well.

A: You could use GParted to delete the entire SD Card and for creating partition tables etc.
It is a simple tool and powerful.

A: Windows you can use diskpart utility .
in Command prompt use diskpart > list disk  > select disk 1,2,3(choose which disk you want to format)  > clean
once clean then you can create partition using  command "create par pri fs=fat32 quick"
in Linux ubuntu you can use disk GUI based tool as well. where you can select disk and format it.

redpajama_set_name: RedPajamaStackExchange


text:
3653 Meadville Drive, Sherman Oaks
BY Bryce Hayes & Chris Laib
3653 Meadville Drive, Sherman Oaks 3653 Meadville Drive, Sherm... 3653 Meadville Dr...
Sleek and elegantly remodeled Mid-Century compound, hidden behind a wall of Bamboo. In the highly coveted Roscomare Road school district. Smooth twelve foot ceilings and French doors throughout. Very private yard spaces with pool, spa and grassy play area inform the site lines from public rooms. The Living room and dining room have high windows and a fireplace. A floating Soffit with recessed lighting adds subtle separation to the substantial family room and kitchen space. Center Island. White composite counters, a six burner Bertazzoni stove and ample cabinetry grace the kitchen. Three bedrooms, two and one half Baths. The master Suite opens to a Grassy yard, has double sinks and a large architectural Skylight. Two other bedrooms share a bath with separate tub and shower. Wide Plank wood floors. Nest climate control. The garage has been converted into a Studio/office space with a private entrance. There is a hidden Enchanting garden up a set of wide stairs where one may sit and view the entire private compound. Or, curl up with a good book. A private, sunny home high in the hills, yet just blocks from the Los Angeles basin and valley commuting routes.
check_box_outline_blank sqft
select_all sqft
home yr
Bryce Hayes VIEW PORTFOLIO
brycehayes@kw.com
Bryce Hayes joined Chris Laib and Associates, a high powered, twenty million dollar per year real estate team located at Keller Williams Los Feliz. Keller Williams Los Feliz is the largest producing residential real estate office in central and east side Los Angeles.
Bryce studied communications at the College of Charleston, in his home state of South Carolina. His professional background includes extensive experience in social and digital marketing within the entertainment industry. Clients include 20th Century Fox and Sony Pictures. Social media has become the primary communications platform for young Hollywood, which represent the fastest growing demographic of new home buyers in greater Los Angeles and, particularly in Los Feliz. "Generation X to Millennial professionals do not shop or buy as their predecessors did - they want instantly available information, accessible to them 24/7. Their social network greatly informs their decision making", says Bryce.
The Laib and Associates business model is a melding of traditional high touch marketing values, platformed so they are accessible by these new buyers, in the manner they require.
Bryce lives in West Hollywood with fiance, Morgan, and their two four-legged kids, Maggie and Hubbell. He supports local animal shelters and golfs in his spare time.
More Properties by Bryce Hayes
• FOR SALE
$1,799,000 4.0bd 5.5ba 3949sqft
2103 Alcyona Drive Los Angeles, CA 90068
• UNAVAILABLE
4206 Parva Avenue, Los Angeles, CA 90027
Chris Laib VIEW PORTFOLIO
chris@chrislaib.com
His roots in California real estate go deep. His grandmother and aunt were among the first women in the state to earn real estate licenses, and they headed a successful Los Angeles brokerage for many years.
Fortunately for his clients, Chris didn't move straight into the family business after college. Instead, he embarked on a high-powered corporate career where he served as National Director of Sales and Marketing for Westec Security, Inc., and Los Angeles General Manager for fiberoptic network giant MFS, Intellinet. In the process, he amassed the superb set of business skills he uses today on his clients' behalf.
In 1991, Chris reclaimed his real estate heritage, joining the John Aaroe Division of Prudential, where he achieved the coveted Chairman's Circle Legend award for top 1% production for over 6 years. Now at Keller Williams Realty, Los Feliz, the top producing real estate office on the east site of Los Angeles, Chris is a respected specialist in the Hollywood Hills, Los Feliz, and SilverLake communities.
An unusual combination of powerful business skills, aesthetic sensibility and congenial style make working with Chris as fun as it is rewarding. "Psychologist rank buying or selling a home near the top of the stress scale," he says. "I make sure my clients not only survive the process, but enjoy it."
Chris likens his work to conducting a symphony; in both cases, it's vital to give each player a lot of attention and oversee the entire performance with total confidence. His special zest for the complex escrow process traces back to college, where he studied contract law. "In some cases, escrow can be very challenging," Chris says. "I find it exhilarating to climb that hill and get to the other side."
Led by his love of historic architecture and helping people, Chris is an active member of the local community. He is immediate past president of the Los Feliz Improvement Association and serves on the board of directors of Friends of the Observatory, which supports the historic Griffith Park landmark. Chris is also on the Griffith Park Advisory Board.
When not working, skiing, golfing, or hiking in Griffith Park, Chris can be found cooking for friends in his historic 1930s Los Feliz home, once owned by the actress who voiced the dastardly Cruella de Vil in Disney's classic 101 Dalmatians. (He and his partner have kept the Dalmatian theme going; they own three of the dogs and are active in a dog rescue group.)
Chris sums up his approach to representing clients very simply. "It's been said you can tell you have a really good real estate agent when you don't know it," he says. "I like my service to be so smooth that it's virtually transparent. I consider that the true hallmark of success."
More Properties by Chris Laib
© All Rights Reserved 2019 - ListingZen - Real Estate Property SEARCH | MANAGE | DISTRIBUTE


"In eminently lucid and often charming language, Professor Schelling's work opens to rational analysis a crucial field of politics, the international politics of threat, or as the current term goes, of deterrence. In this field, the author's analysis goes beyond what has been done by earlier writers. It is the best, most incisive, and most stimulating book on the subject."
"An important contribution to understanding the conduct of the ambiguous conflict between the communist bloc on the one hand and the United States and its Free World Allies on the other."
Изд-во Harvard University Press. 2003 г.


text:
Draconian is a Swedish gothic/doom metal band formed in Säffle in 1994.

History

Formation and demos (1994–2002 )
Draconian was formed in 1994 in Säffle, Sweden. In May 1994, drummer and vocalist Johan Ericson, bassist and vocalist Jesper Stolpe and guitarist Andy Hindenäs assembled the band Kerberos, initially playing melodic death metal with black metal influences. Seven months later, lead vocalist and lyrics composer Anders Jacobsson joined the band, and its name changed to Draconian.

Their first demo, Shades of a Lost Moon, was recorded in 1995. Guests were flutist and vocalist Jessica Eriksson, keyboardist and vocalist Susanne Arvidsson, and Andreas Haag on the introductory section of "My Nemesis". It was released in February, 1996, however, no recording contract was obtained. In early 1997, the band proceeded to record their second demo, entitled In Glorious Victory. The band, however, became discontent with the quality of the recording and discontinued the release.

In the following months, two members of Draconian had to complete their military service, slowing down the progress of the band. Susanne Arvidsson left the band due to personal reasons and was replaced in 2001 by Lisa Johansson.

Both in 1998 and 1999, the band did some gigs. After receiving positive reactions, they decided to enter the studio once more. In August 1999, Draconian recorded The Closed Eyes of Paradise, an album dealing mostly with the theme of Lucifer and his fallen angels. Susanne Arvidsson made guest vocal appearances on this release. Between May and June 2000, Andreas Karlsson, Anders Jacobsson, and Johan Ericson worked on the mix, and the demo was released in the face of further line-up changes – Andy Hindenäs left the band, replaced by Johan Ericson who switched to guitars; drums were then left to Jerry Torstensson.

The demo Dark Oceans We Cry was recorded in 2002, the first release to feature Lisa Johansson's vocals. The demo was made available on the internet, as well as in CD format. It received good reviews and the band signed a long-awaited record deal with Napalm Records.

Where Lovers Mourn (2003)

The band recorded their debut album, Where Lovers Mourn in Studio Mega under the supervision of Chris Silver (former member of Sundown and Cemetery) in July 2003. The album was released October 20th, 2003.

Arcane Rain Fell (2004–2005)
In September 2004, under the direction of Pelle Saether, Draconian entered Studio Underground in Västerås to record their second studio album, Arcane Rain Fell. The album was released January 24, 2005.

The Burning Halo (2006)
In 2006 they began working on their third release. However, due to myriad fan requests, the band decided to first deliver a bonus album to include remakes of old tracks from The Closed Eyes of Paradise demo. The Burning Halo would also include three new tracks and two covers. Plagued by numerous problems throughout the production phases, the album was delayed and finally completed in June and released September 29th, 2006.

Turning Season Within (2007–2008)
In September 2007, Draconian started to record their fourth album, Turning Season Within, at the Fascination Street Studios in Örebro with producers Jens Bogren and David Castillo (Opeth, Katatonia). The album was released February 29, 2008.

A Rose for the Apocalypse (2011–2012)
On June 24, 2011, Draconian released their fifth album A Rose for the Apocalypse. On June 25, 2011, the band released an official music video from the album A Rose for the Apocalypse for the song "The Last Hour of Ancient Sunlight."

On November 15, 2011, vocalist Lisa Johansson left the band due to personal reasons, mainly spending time home with her family.

On September 19, 2012, the band officially announced their new vocalist, Heike Langhans, from South Africa.

Sovran (2015–2016)
On October 30, 2015, Sovran, the band's sixth studio album, was released via Napalm Records. It was mixed and mastered by Jens Bogren, with whom they had previously worked, at . Sovran is the first album of Draconian with Heike Langhans, who also co-wrote some of the lyrics.

On February 10, 2016, the band announced on its Facebook page that bassist Fredrik Johansson was leaving the band to spend more time with his family and due to his inability to tour with the band. Daniel Änghede, who provided clean vocals on the song "Rivers Between Us" on Sovran, became his replacement.

Under a Godless Veil (2020–present)
On October 30th 2020, Draconian released their seventh studio album, Under a Godless Veil.

On April 26th 2022, Draconian announced that Niklas Nord had joined the band on rhythm guitar, and that longtime rhythm guitarist Daniel Arvidsson would switch to bass.

On May 3rd, 2022, Draconian announced that vocalist Heike Langhans would leave the band to focus on her family and her own projects, and that former vocalist Lisa Johansson would rejoin the band.

Members

Current
 Anders Jacobsson – harsh vocals (1994–present), keyboards (1994–2000)
 Johan Ericson – lead guitar (2002–present), drums (1994–2000, 2000–2002)
 Lisa Johansson – clean vocals (2002–2011, 2022–present)
 Jerry Torstensson – drums (2002–present)
 Daniel Arvidsson – bass (2022–present), rhythm guitar (2005–2022)
 Niklas Nord – rhythm guitar (2022–present)

Former members

 Heike Langhans – clean vocals (2012–2022)
 Daniel Änghede – backing vocals (session member 2015), bass (2016–2020)
 Fredrik Johansson – bass (2006–2016)
 Andreas Karlsson – keyboards, programming (2000–2005; session member 2005–2008)
 Andreas Hindenäs – guitar (1994–1997), lead guitar (1994–2002)
 Magnus Bergström – rhythm guitar (1997–2005)
 Jesper Stolpe – bass (1994–2002, 2004–2005)
 Thomas Jäger –  bass (2002–2004)
 Susanne Arvidsson – keyboards, programming (1995–1997), vocals (session member 2000)

 Former session musicians
 Jessica Eriksson – clean vocals (1995)
 Sanne Carlsson – keyboards (2005–2006)
 Elena Andersson – keyboards (2006–2007)
 Lisa Cuthbert – clean vocals (2015; 2016; 2017)
 Tarald Lie – drums (2016)

Timeline

Discography

Studio albums
 Where Lovers Mourn (2003)
 Arcane Rain Fell (2005)
 The Burning Halo (2006)
 Turning Season Within (2008)
 A Rose for the Apocalypse (2011)
 Sovran (2015)
 Under a Godless Veil (2020)

Singles
 "No Greater Sorrow" (Digital download, 2008)
 "The Last Hour of Ancient Sunlight" (2011)
 "Demon You / Lily Anne" (Twenty Years in Tears – A Tribute to Lake of Tears, 2012)
 "Stellar Tombs" (2015)
 "Rivers Between Us" (featuring Daniel Änghede, 2015)
 "Lustrous Heart" (2020)
 "Sorrow of Sophia" (2020)

Demo albums
 Shades of a Lost Moon (1996)
 In Glorious Victory (1997)
 The Closed Eyes of Paradise (1999)
 Frozen Features (2000)
 Dark Oceans We Cry (2002)

Music videos
 "The Last Hour of Ancient Sunlight" (2011)
 "Stellar Tombs" (2016)
 "Sleepwalkers" (2020)

Lyric videos
 "Rivers Between Us" (2015)
 "Lustrous Heart" (2020)
 "Sorrow Of Sophia (2020)
 "The Sacrificial Flame (2020)
 "Moon Over Sabaoth (2020)

References

External links

Swedish death metal musical groups
Swedish gothic metal musical groups
Swedish doom metal musical groups
Musical groups established in 1994
Napalm Records artists
1994 establishments in Sweden

redpajama_set_name: RedPajamaWikipedia


This patient information leaflet provides advice for women who are considering having an abortion.
The different abortion procedures you may be offered.
This information aims to help you and your healthcare team make the best decisions about your care. It may help you in deciding whether abortion is right for you. It is not meant to replace advice from a doctor or nurse about your own situation.
This information is based on the RCOG guideline The Care of Women Requesting Induced Abortion and the Clinical Guidelines for Early Medical Abortion at Home – England produced by the RCOG, FSRH and BSACP.
Guidance for healthcare professionals in England who provide care for women considering early medical abortion at home (EMA).


text:
Emma Duck (Reino Unido, 9 de febrero de 1981) es una atleta británica especializada en la prueba de 4x400 m, en la que consiguió ser medallista de bronce europea en pista cubierta en 2007.

Carrera deportiva

En el Campeonato Europeo de Atletismo en Pista Cubierta de 2007 ganó la medalla de bronce en los relevos 4x400 metros, con un tiempo de 3:28.69 segundos que fue récord nacional británico, tras Bielorrusia y Rusia (plata).

Referencias

Enlaces externos

Atletas de Reino Unido
Británicas del siglo XXI
Velocistas
Deportistas femeninas de Reino Unido
Atletas femeninas


Charlotte Starup is a high-end portrait photographer based in Starnberg south of Munich. Family, children and teenage photos, Corporate Business Headshots and fashion inspired glamorous make over of every women. Offer supermodel of a day experience for every woman all ages.
My passion and goal with family portraiture is in showing belongingness and happiness via natural, candid poses done in bright clear colors.
This UK-based company offers a fantastic selection of high-quality landscape art photography at affordable prices.
Auckland based award winning New Zealand landscape photographer.


Within the faculty there are many rules, requirements and standards. The retrieval of this information is sometimes difficult, which is why we as a study association have compiled the most important information and put together in an information booklet.
In addition to the attached digital version, there are also hard copies available at W.I.S.V. 'Christiaan Huygens'.
To better prepare mathematics students for the Bachelor Project (BEP), the current information provision has been supplemented with a brochure. This brochure contains general information about the organisation and progress of the BEP, as well as experiences of students. For each department, students have written a short piece on the content of their BEP, supplemented with personal experiences.
Every year, the Commissioners of Education make the minor journal. In this booklet you can find stories of mathematics and computer science students about their experiences of minors at TU Delft, free minors, minors at other universities in the Netherlands or minors abroad. It also contains practical information on deadlines, contact details of minor coordinators and the selection procedure.
The booklet will be distributed during college. Did you miss it? The paper version is available at W.I.S.V. `Christiaan Huygens', the digital version can be found below.


Having black car is almost second job to maintain. Though my dealership offered free car wash but it is not like I can go there every other week.
I want to know what is the best and quickest method to wash car. I want to wash my car in less amount of time. I would highly appreciate cleaning shampoo recommendation and cleaning clothes.
what is the best and quickest method to [black] wash car.
Cars can either be washed well, or quickly... not both. This is especially true with Black.
If you can afford it, find a reputable mobile detailer who can come to you. I have a guy that will wash/wax/detail my vehicles while I work. It's not cheap, but he does amazing work, and the convenience is worth it, to me.
I either do it by hand with a proper glove and rinse good and use a good cloth to remove excess water. I also If I don`t have time I go to a car wash that details my MDX and it comes out shiny and it is all brushless. Once a year I use a good wax that I use similar to the old Liquid glass which I don`t think the make anymore and it bonds with the paint protecting it from the elements.
Wash, soap wash. Pretty easy.
Softened water to eliminate water spots is almost a necessity with black. You can use a leaf blower to do most of the drying, then finish the job with a real chamois. Always wash/dry in shade, never in direct sun.
I have a local carwash that charges five bucks for a basic wash and blow dry. I pull out under a canopy and complete the drying job with a few Microfiber towels.
Maintenence on black cars is more involved than other colors. The main issue is the appearance of swirl marks. This occurs on all colors, however black is the least forgiving, while lighter colors are on the other end of the spectrum.
Use quality shampoo that is pH neutral. You generally want a good lubrication and something that will maintain any wax or sealant protection on the paint.
Get a good quality microfiber wash mitt and microfiber drying towel.
I cannot street how important a good wash routine is for your paintwork. This the step that has the potential to cause the worst damage, so get it right!
Avoid automatic washes, and rather opt for the methods mentioned above.


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Our company has spent over a half decade helping people and businesses just like yours provide valuable services to their customers, and grow as a business.
There is no pest control company like yours, and we want people to find you. Contact us today to find out more about how PestControlSI.com benefits you.


Disclaimer: I'm not a lawyer, tax accountant, or financial advisor. I'm just a real estate investor who wants to share with other real estate investors what has worked for me.
Here's what I know: it's imperative to purchase your rental properties under a legal entity. Doing so provides legal protection to your personal assets.
Why is this important? Let's say, god forbid, that someone slips and falls at one of your rental properties and decides to sue you. If you own the property personally, they can go after all of your personal assets, including your home and your children's college funds. Yikes. A legal entity protects you personally.
Also, it's much more tax-friendly to purchase properties as a legal entity instead of an individual. When your investing becomes a business, it is taxed as so. Businesses don't pay taxes on the money they spend on business expenses. Any legitimate business purchases can be tax write-offs. Additionally, my favorite accountant, Tom Wheelwright calls depreciation magic!
There are many business entities to choose from: LLCs, sole proprietorships, S-Corps, C-Corps, etc. Personally, I've been advised to establish LLCs, because it limits liabilities. I think you'll find that many accountants and lawyers will tell you that owning rental properties inside an LLC is the best option.
I've also been advised to set up the LLCs in the states where my properties are. I've also been instructed to hold approximately $150,000 worth of property in one entity. For us, that's about three rental properties. Then, all of our LLCs report to a holding company.
Again, seek the counsel of your own lawyer and accountant to make the best decision for you and your real estate business.
We get tons of questions about this topic. Natali and I recorded an entire live stream about business entities! We answered questions about getting a mortgage in an LLC, liability insurance, and more. You can find that video here.


The Law Commission of India sought for a public vote on the implementation of the Uniform Civil Code (UCC) in the country. It released a questionnaire on Friday, 7, October, 2016 that can be filled out by anybody and sent back within 45 days.
Justice BS Chauhan, who heads the panel, made an appeal asking the public to cooperate with it for a "comprehensive exercise of the revision and reform of family laws". He also outlined the objective of the questionnaire, writing that it was to "address discrimination against various groups and harmonise various cultural practices". The Commission also invited suggestions on "all possible models and templates" of a common civil code.
"The Commission hopes to begin a healthy conversation about the viability of a uniform civil code and will focus on family laws of all religions and the diversity of customary practices, to address social injustice rather than plurality of laws," law panel chairman Justice BS Chauhan (retd) said.
The 16-point questionnaire includes questions on the perception of Article 44, what are the subjects that the UCC should include and/or exclude, if the UCC will ensure gender equality or if it should be optional. It further explores subjects such as polyandry, polygamy and maitri-karaar or a friendship agreement.
More importantly, Chauhan also mentioned that family law reform, among other things, should strive to achieve women's rights as "an end in itself" that consider it as a constitutional matter or religious or political debate.
The questionnaire also includes points on the hotly debated topic of triple talaq — whether it should be abolished, retained or retained with suitable amendments — and of property rights among Hindu women. It also includes points on Christian women's right to equality when it comes to the two-year waiting period for finaliisng divorces. It also takes into account inter-caste and inter-religion marriages, the compulsory registration of marriages and finally, it invites suggestions on what measures should be taken to sensitise the society towards a common code.
Talking about triple talaq, the Muslim Personal Law Board, in a press conference on Thursday said that the "Uniform Civil Code is not good for this nation" as "many cultures in this nation" need to be respected. It also added that it was the Constitution that helped them (Muslims) live and practice their religion.
The group also stressed upon the fact that "Muslims equally participated in India's freedom struggle", but their participation went underestimated.


David Stern and his squad of enforcers laid the hammer down on the Miami Heat. Seldom used Dexter Pittman has been suspended for three games for throwing a forearm shiver into Lance Stephenson's throat, and Udonis Haslem got one game for bashing Tyler Hansbrough.
Neither of these suspensions were totally unexpected, but I thought Haslem might skate by. Guess not. It still remains to be seen if Danny Granger can go for Indiana tomorrow night, so it might even out anyway. Haslem has been somewhat important for the Heat, and nobody had ever really heard of Pittman until he hit Stephenson.
Here's Pittman's cheap shot on Stephenson.


text:
Have you seen Chaos Project's fully automated Script Database Index yet?
Electronic and Computer Section »
Topic: Windows 8 - A Developer's Perspective
Author Topic: Windows 8 - A Developer's Perspective (Read 3923 times)
Windows 8 - A Developer's Perspective
First of all, it's not all that bad. But as a developer, I don't see much point in switching to Windows 8. And here's why.
The number of "normal" users exceeds the number of developers and power users by far. Desktop PCs aren't really the future of computers for the average person. Tablets seem more like it. Gaming will either move mostly to consoles or cloud gaming. Even though OnLive wasn't the success some people hoped it would be, one can already see that there are other companies attempting a similar approach at cloud gaming. The huge advantage here is that you can play a high-quality graphics game on a crappy device as all you are getting is just the video stream. Of course this kind of approach has its disadvantages, but this is not what we're here to talk about today.
Today I will give you an insight on Windows 8 as a developer. I have used Windows 8 a bit for Metro-style app development at work over the past month, running it in VMWare's player as a virtual machine (first with 1 GB RAM, but as that proved to be not enough, I changed it to 1.5 GB).
First of all, Windows 8 was never intended to be for desktop PCs. Its primary platforms are tablet and smartphones (aka Windows Phone 8 ). Microsoft is aware that they are losing a big share of the market to Apple and the Android manufacturers so Windows 8 is pretty much meant to be a good shot to catch up with them. And as far as tablets are concerned, they did a pretty good job. But for a desktop PC, it's not very well suited.
I will single out a few nitpicks that really irked me while working with it for the last month. It's true that some of these can be avoided and circumvented in ways (which I will also list here), but the fact remains that Microsoft has made simple things complicated and tried to make complicated things simpler.
1. Turning of a Windows 7 PC takes 2 steps while Windows 8 requires 4. In Windows 7 you either press the Windows key or the start button and simply select "Shut down". In Windows 8 it's not only made more complicated, it's also counter-intuitive. First you have to either move the mouse in the upper right or lower right corner in order to make the side-menu appear. Then you have to select "Settings" (which still puzzles me why this functionality is in settings) where you can find a Power icon which you have to press for a menu to appear where you can select "Shut down" or one of the other options. Now, I am not so angry at the few additional steps, it's really not a big deal. What I am mostly angry at is the fact that I can't make the side-menu appear in a normal way using a keystroke (Windows key opens the Metro menu) and that the functionality is hidden in Settings. Even on a tablet (which you would rarely actually power off), it's still confusing while such a thing would be hidden in Settings.
The suggestions that I've heard to avoiding this problem is to set the hardware power key to shut down the PC. Cool idea, except that it doesn't work if you're running Windows 8 in a virtual machine.
2. The side-menu that I mentioned earlier is kind of weird. Sure, making it appear with a simple gesture by moving your finger into one of the right corners of the screen is a pretty good idea, but on a desktop PC it's not only bothersome, it's also completely software-based. That means, if for some reason Windows 8 freezes, the menu won't appear until Windows 8 gets running again. This is quite an inconvenience for power users who might sometimes use more of their PC's resources than they have at their disposal and then cause the PC to stutter like this.
3. The metro menu really gives Windows 8 a tablet feel. If you have ever owned/used/tried an iPhone or Android smartphone, you probably noticed how it is possible to arrange all tiles and app icons are around and so on. The metro menu offers exactly that kind of nice overview over all the apps. Microsoft has also implemented something called live-tiles (which apparently exists for Android as a special app, IDK about iOS). Live-tiles give you the impression as if the app could be still running in the background while actually getting new information or displaying something from the app. e.g. a weather app could be dynamically updated or a game could show an image of the current game's state or level. While this seems to be a really cool feature and definitely something the average user will enjoy, there are potential problems. Live-tiles work as background processes (usually not all the time, but still) and this consumes additional resources. Power users usually need all the memory and CPU time their PC can offer and they'd like to have only a minimum of applications running in the background to conserve memory and CPU time. Live-tiles make that harder as suddenly the OS takes over that part. Some of you may remember Prefetch on Windows XP and the additional Superfetch on Windows Vista/7. While in concept a really good idea, it never worked quite well (at least Superfetch didn't for me). Whenever I supposedly needed the RAM that Superfetch filled with programs I might run, it never actually emptied it so that I can actually use it. Superfetch always took about 1 GB of my memory and it would never let go. In any case, live-tiles are one of the things that great for average users, but bad for developers and possibly power users.
4. The new task manager is great. Not only are the tasks now grouped into categories, you can also immediately see how much memory, CPU time and disk read/write load each of the applications is currently using.
5. They made the copy/move file dialogs even better and simpler. Now you even get a live stat as a graph about data transfer. Also, the overwrite dialog is now much smaller without the oversized icons (as it should be IMO).
6. It's true that Windows 8 is graphically much simpler and I'll be the first one to crack a Windows-3.11-on-steroids joke, but frankly I actually like it. I was never a fan of the too fancy design that was Aero. In fact one of the major reasons why I never used Vista was Aero. Since Windows 7 was running so smoothly I don't mind Aero being there. But now that they moved away and back to basics, I actually welcome it. Sadly, performance has not improved (read below). I like the non-intrusive layout and simplicity of the new GUI. It's clean and minimalistic without being shabby. I am only disappointed at Visual Studio 2012 in that area as they messed up badly. The top menu bar is not visibly separated with a line or something from the toolbars which makes it really irk me. Also, the VS2012 for Windows 8 edition (the one that you need to use for Metro-style app development) has a dark GUI with dark backgrounds and white text. And you can't change it. I really don't know what they were trying to do with this, but it's annoying. At first I didn't like the dark GUI of VS2010, but it wasn't so bad as it kinda made a better distinction between the separate windows within the UI. But VS2012 for Windows 8 messed it up badly. Surprisingly both VS2012 for Windows Desktop and VS2012 for Windows Phone 8 had the same bright color theme as the rest of Windows 8.
7. The performance is unsatisfactory. I've ran it for some time on 1 GB RAM and it was really causing a lot of problems. Once I changed it to 1.5 GB, things were sped up, but the memory load is still way too high. I understood the high memory load in Windows Vista/7 due to Aero (which alone could eat up to 50-100 MB), but now? Even when Windows 8 is running so much fewer applications in the background by default? And it's still that slow? As I said, it's true that I was running it in a virtual machine, but this kind of bad performance is really not acceptable, because it's often quite slow even if the RAM is not above 80%.
8. The desktop is now actually an application and the missing start menu button kinda makes me want to slap somebody sometimes. IDK about you, but I generally open new Explorer windows by pressing Windows key + E. But sometimes I also open it up pressing the start button and selecting "My Computer". Why? I didn't know about Windows key + E until about 1-2 years ago I think so the old habit was still there. Well, Microsoft has decided that my old habit can go fuck itself (which is not a bad thing in itself as it was a bad habit), but I should be the one to root them out, not somebody else forcing me to do it. Besides, it's inconvenient for a normal user who doesn't know about Windows key + E.
9. I really don't like the new Windows Search. When you press the Windows key, it opens the Metro menu and once you start typing, the Windows Search window will appear. In Windows 7 I often use Windows Search to access EVERYTHING on my PC by just typing a few letters. I would say that this is THE most used feature by me personally. And they messed it up. Now there are 3 categories ("Apps", "Settings" and the last one was "Files" I think). While you still can directly activate which one of the categories you want to search (e.g. by pressing Windows key + W the "Settings" category will be searched), the separation actually adds a level of complexity. Now you can't just hit Windows key and start typing. No, now you have to first think in which category the thing belongs that you are looking for and after that either selecting the category first or pressing the other shortcut button with the Windows key (e.g. Windows key + W) to open the right category in the first place. I found out about these extra shortcuts just recently so I didn't use them so much, but I can tell you that it was quite frustrating when I had to type "Control Panel" first and then select the option I wanted to adjust than being able to simply type "Power Settings", "Programs and Features" (the new "Add/Remove Programs" which is actually a better name than the old one) or "User Accounts". I'm not sure if those can be found under the category "Settings".
10. For some reason the whole OS feels ruggish. I believe that Microsoft wanted to release Windows 8 as early as possible and then patch up stuff afterwards as I have the feeling that it's not quite working as it should. As I said, it feels ruggish.
Well, that would be it. I still believe that the average user can really profit from most of these changes, especially since Windows 8 gives off a different feel and differs in usability patterns from iOS and Android (which are frankly quite similar) which Microsoft also uses as a selling point. Microsoft will definitely gain back some market share with Windows 8 tablets and Windows Phone 8 smartphones, but the developers and power users will hate them for it. Some of you may remember how Microsoft was going try some really radical moves for Windows 8, but the developer community was very upset with those moves so Microsoft abandoned these ideas. That was basically a manifestation of it. The current Windows 8 is actually a compromise between what it was supposed to be for average users and what developers wanted it to be. It seems to be still doing a good job at being what it was supposed to be, but it's not a good developer platform.
It's not official yet, but it's likely that my boss and me will do a presentation on game development in Windows 8 at Microsoft's conference here in Zagreb, Croatia. This will definitely be interesting. I won't go into details about that here as this is a topic about Windows 8.
I hope that I've given you some insight into the future that is Windows 8. It may not as bad as I make it sound, but if you're used to the commodities that Windows 7 offers you, Windows 8 is simply half a step back and makes you feel frustrated that you can't have those commodities back. Sure, there are probably tons of hacks out there already which will make it feel and work more like Windows 7, but that's not really a solution IMO. The saddest part is that Windows 8 could be a great OS, just like Windows 7 was, but it needs some more work.
« Last Edit: November 08, 2012, 10:50:53 PM by Blizzard »
Re: Windows 8 - A Developer's Perspective
Wow. Thanks for taking the time to type this up. I think I'm going to hold off on trying Windows 8. The Start menu has always been there. I can't believe they took that away. D: I'm like you and often use Win + E. Sometimes I use the Start menu and if I'm on the desktop, I'll just open it from there. It's sad, it has so much potential to be great, but I think Microsoft really half-assed it and just wanted to push out a release. Hopefully future updates and patches will help it out. Then again, it could be following the same trend, every other Windows version sucks ass. 2000, Vista, and now Win 8. I guess we'll see how this all turns out.
Holyrapid
Credit to FreshL on Deviantart
As a gamer, i see little to no point in switching to 8, since i have everything running more or less smoothly on 7...
And i have to say that even for a basic user on a PC, win8 seem like it's not an ideal choice (mainly thinking my mom who is just now starting to learn about using computers properly, without me having to guide her step by step), so i won't be getting it to my folks either.
When i leave home to go study, and will most likely take my laptop (which my mom mainly uses atm), i will convince dad to buy her a decent enough cheap win 7 laptop when they go for cheaper when the win8 laptops start to pop up...
Memor-X
Quote from: Blizzard on November 08, 2012, 10:43:38 PM
I didn't know about Windows key + E until about 1-2 years ago
i've only just learned that now from reading you post Blizz
a guy at work got Windows 8 on his laptop, from the looks of it, Metro is supposed to be the new start menu however i'm concerned how installers work which have the option to create a start menu shortcut, from what i saw, you don't have paths in Metro so when you install something and have the option to create the start menu shortcut you can't do something like "Type-Moon/Tsukihime/Melty Blood/Meltly Blood Actress Again Current Code"
also from what i keep hearing, older programs as just as incompatible as they were with Vista meaning that they have to have a separate version just to work for Windows 8, not sure if this is true, if so then i'm going to stay away from 8 it's already bloody annoying that my version of 7 is 64-bit and alot of programs which have 32 and 64-bit versions demand i use thr 64-bit version of the program and refuse to run (iTunes, AppLocal, Switch), i don't want to upgrade and find my archive of installers is useless and i have to download a new version of every single installer
i kinda have high hopes for 8 solely because of the fact that in theory, if you develop for a desktop using 8, a slight change with keyboard oriented stuff would then allow the program to seamlessly work on a tablet but i keep hearing that's not the case
my guess is that next year we'll probably see a Windows EX (Eight-Extreme) which will be like XP and 7 as they were to their predecessors, if not, there probably will be some unofficial patch created by someone which attempts to fix the problems
Ryex
Arctic Bird of Programming
Wants to write a compiler for fun
put it this way, a friend of mien's laptop burned out and he brought me with him to best by to get my thoughts on the laptops they had on display. while I was there I attempted to figure out windows 8, I couldn't even figure out where the "My Computer" equivalent was!
I no longer keep up with posts in the forum very well. If you have a question or comment, about my work, or in general I welcome PM's. if you make a post in one of my threads and I don't reply with in a day or two feel free to PM me and point it out to me.
DropBox, the best free file syncing service there is.
I've had no problem installing and running a few 32-bit programs. Our own games (compiled for Win XP/Vista/7) worked just fine in Windows 8 as well as other software such as Notepad++ or Opera. I think that 32-bit programs will be around for a while longer. Not everybody is going for 64-bit right now as everybody wants to maintain compatibility with older OSes.
what exactly do you have to do differently for 64 bit programs anyway?
Not too much. A frequent problem can be integer limits as they are 232 anymore but 264. So if you are using ints to an extent where you actually use the limit for some kind of special calculation or if the limit is important in some way, you will need to take this into account.
Here's a good example. This function calculates the CRC32 value of a stream (the crc32_table data is precomputed).
unsigned int calc_crc32(unsigned char* data, long size)
create_crc32_table();
unsigned int crc = 0xFFFFFFFF;
for (long i = 0; i < size; i++)
crc = (crc >> 8) ^ crc32_table[(crc ^ data[i]) & 0xFF];
return ((crc & 0xFFFFFFFF) ^ 0xFFFFFFFF);
Notice the last line. You have to make sure that you & the final result with 0xFFFFFFFF to ensure it's actually 32 bits (hence the name CRC32).
Serialization can also cause a lot of troubles, depending on how you implemented it. e.g. If you have 64-bit ints, but you keep saving only 32 bits, you might have a problem if the actual value in the program exceeds the 32-bit limit.
« Last Edit: November 09, 2012, 10:08:20 AM by Blizzard »
OH GOD, I FOUND THE OPTION FOR THE LIGHT THEME!
Apidcloud
LV: -10
Epic pony is epic'
Hey Blizzard, could you tell me if there has been any problem with computer drivers so far? I mean, do the windows 7 drivers work correctly in windows 8?
I've been wondering if I should use it...
Instead of wanting to be somebody else, rather become somebody else
"I will treasure the knowledge like a squirrel treasures acorns."
Gibbo Glast 2D Engine - The sky is no longer a limit
I have tried Win 8 mostly on a VM so I wouldn't know. But they should work. Win 8 is v6.2 after all (with Win 7 being v6.1 and Vista v6.0).
Alright, danke Blizzard
SBR*
LV: -7
I'm no fan of Windows 8 either: http://www.gamasutra.com/view/feature/179420/the_next_twenty_years_what_.php?page=1
Mind you, I've only read the first page, but I got the message.
Also, that Win+E thing is pretty cool. I didn't know about that. Thanks!
I scrolled a bit through it and that argument that Skyrim (and other games) wouldn't be released on Windows 8 app in 2032 is a complete bullshit argument. He compares a game for a release in 2032 with today's app store requirements. Who is to say that Microsoft won't change their PEGI 16 requirement within the next 2 decades?
I agree, but I think the general argument still stands: indie developers may have a harder time in the future.
PhoenixFire
~That's an interesting notion, in it's own way~
I think that once people get used to it, they won't have a very hard time at all getting to know their new computer and its' new features. I have been using eight since the original beta, and, I currently have it as my only OS installed on my laptop. Runs flawlessly, and it's an older Dell Latitude D830, with basic stock features. Never had it crash, only freezes occasionally when I'm running multiple game apps, the desktop app with firefox open, and, usually it has to be a flash or video intensive site like youtube. Even under that type of load, it only stutters for a few seconds or so.
Specifically for developers, I would tend to agree with you Blizzard. There is no 100% guarantee that you will be able to use all of your development tools, nor do you know if your sandbox environments will work the same. If you're going to build an app for 8, then yes, you should be running it to test it natively, and since it seems many people are making the jump to win8, you may want to at least consider attempting an app version of your program. Most big businesses and services have an app for win8 now. I personally use the Bank Of America app, Skype, IM+, Facebook, Skydrive, Netflix, and ABC all as apps on here, and they're all great in regards to their functionality.
This part I actually have to point out..
There's an easier way to do it, they just don't make it extremely obvious. You press the start button, click the pull down menu in the top right area next to your name, and select either lock or log out, and from that screen, select the power button which allows you to tell it to shut off. No, there is not a smaller number of steps, but it's quicker, and therefore more pleasing to most people switching over. I personally use the hardware button, but then again, it's my OS, not running in a virtual sandbox.
Quote from: Subsonic_Noise on July 01, 2011, 08:42:19 AM
Next off, how to create a first person shooter using microsoft excel.
Quote from: Zeriab on September 09, 2011, 08:58:58 PM
<Remember when computers had turbo buttons?
Quote from: DigitalSoul on December 10, 2012, 06:59:39 AM
that's still 2 more click than in windows 7


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