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Play and Earn App Review: Is It Legit?
Aisha Badajos
Aside from juggling work and life, I read books, watch TV shows, movies and listen to music for entertainment and relaxation.
Play and Earn | earn money online
Givvy | wonderLynd
How I knew about Play and Earn app
First off, I do not work for Givvy, nor am I being compensated by them for this content. I am just a satisfied app user who would love to share my experience. The pandemic due to coronavirus affected a lot of lives and a lot of adjustments were done to prevent any further spread. As for me, from working on a corporate job as customer service, we had to be on a work-from-home setup. During the lockdown, I became bored of the daily routine so I decided to find mobile applications that I will enjoy playing or using.
That is when I came across Play and Earn from Givvy. It is a mobile game app that allows users to earn while playing casual games they have on the application. The application itself is pretty self-explanatory as it is user-friendly. You just need to create an account then continue with the games that the app offers. Just to set your proper expectation, if you are looking for an alternative to your job that pays your bills, this is not what you are looking for. This app is just for someone who likes to play during their break time or if you got a few minutes to sit and play.
Play and Earn | Games | earn money online
There are three different type games that you can enjoy and all of it is simple and easy to play with. You have six hearts to use in each game. Once you used up all of them, you will have to wait for them to be replenished. Each game you win, you will be rewarded with gold coins that you can convert into dollar currency.
Puzzle Game You will be given ten seconds to memorize the picture. Then, right after that, you have one minute and twenty seconds (1:20s) to fix and match the jumbled pieces. Each time you complete the puzzle in a given time frame, you will be rewarded with four coins.
Balloon Game Bubbles The goal in this game is to collect thirty balloons by popping them. I personally love this game as this does not require much effort. You just have to avoid the balloons that have bombs in them as it will cause you to lose the game. Same as the puzzle game, each time you complete the mission, you will receive four coins which you can convert.
Dot/Line Connect the dots to make squares and win. It may sound easy but I personally find it tricky. You will have to compete with the other players in this game. The goal is to dominate the board with squares. The one who creates the most squares wins. Just like the other games, you will be given four coins each time you win.
Aside from playing the game, you will also be rewarded for doing tasks.
Survey Once in a while, there will be surveys available on the app. You will be given a number of gold coins that you can use to convert later on. Rewards on taking a survey are higher than playing the games.
Daily Calendar You will be rewarded for logging in daily. This ranges from 1 gold coin to 16.
Stay in the mobile app Yes! just by staying on the app for few minutes you will be rewarded with an amount of gold coin.
Ranking Compete with others by getting most of the coins and rank high on the leaderboard. you will receive additional five hundred 500 coins.
Invite Friends Invite your friends to register and play the app. You will get bonus coins once your friend reaches the minimum points.
The app allows you to cash out once you reach the minimum of $0.29. These tasks sound easy to do but like I mentioned. this is not an alternative to your job. This can only be a passive income you will receive by simply taking tasks or playing games. What is good about it, is that they actually pay. I tried the app for several days, mainly just to see if it really works and legit. I just simply open the app and log in but there were days that I played the games and taken surveys. Then after several days of using the app, I got paid.
Have you ever tried using apps like this? Let me know in the comment.
This content reflects the personal opinions of the author. It is accurate and true to the best of the author's knowledge and should not be substituted for impartial fact or advice in legal, political, or personal matters.
© 2021 Aisha Badajos
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This IBM® Redbooks® publication describes the IBM solution for data deduplication, the IBM System Storage® TS7650G ProtecTIER® Deduplication Gateway, and the IBM System Storage TS7650 ProtecTIER Deduplication Appliance. This solution consists of IBM System Storage ProtecTIER Enterprise Edition V2.3 software and the IBM System Storage TS7650G Deduplication Gateway (3958-DD1 and DD3) hardware, as well as the IBM System Storage TS7650 Deduplication Appliance (3958-AP1). They are designed to address the disk-based data protection needs of enterprise data centers.
We introduce data deduplication and IP replication and describe in detail the components that make up IBM System Storage TS7600 with ProtecTIER. We provide extensive planning and sizing guidance that enables you to determine your requirements and the correct configuration for your environment. We then guide you through the basic setup steps on the system and on the host, and describe all operational tasks that might be required during normal day-to-day operation or when upgrading the TS7650G and TS7650.
This publication is intended for system programmers, storage administrators, hardware and software planners, and other IT personnel involved in planning, implementing, and using the IBM deduplication solution, as well as anyone seeking detailed technical information about the IBM System Storage TS7600 with ProtecTIER.


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Renting a Dumpster in San Antonio TX is an extremely efficient way for a person to clean out their home, office, or any other space that might need trash removed….


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Fall shows explore creation, destruction at Blue Star Contemporary in San Antonio
Arts & Entertainment // Arts & Culture
Deborah Martin Oct. 14, 2019 Updated: Oct. 25, 2019 3:29 p.m.
Fall shows explore creation, destruction at Blue Star...
1of10"Teardowns," a five-minute video by Joey Fauerso, depicts elaborate block constructions being wiped out. It can be seen at Blue Star Contemporary.Photo: Bob Owen /Staff photographer
2of10Joey Fauerso speaks about her art at Blue Star Contemporary.Photo: Bob Owen /Staff photographer
3of10Joey Fauerso deals with the female form and other issues in "Teardowns," an installation of her work at Blue Star Contemporary.Photo: Bob Owen /Staff photographer
4of10Margaret Craig talks about "Sea Islands," an installation of her work at Blue Star Contemporary.Photo: Bob Owen /Staff photographer
5of10Margaret Craig's installation "Sea Islands," which repurposes all sorts of refuse, can be seen at Blue Star Contemporary.Photo: Bob Owen /Staff photographer
6of10Blue Star Contemporary visitors can use binoculars to get a close look at "Sea Islands," an installation by Margaret Craig.Photo: Bob Owen /Staff photographer
7of10Machines constructed from everyday objects stand in front of videos showing them in action and breaking down in "Healthy Machines," an installation of Tsuyoshi Anzai's work at Blue Star Contemporary.Photo: Bob Owen /Staff photographer
8of10Tsuyoshi Anzai speaks about his art work at the Blue Star Contemporary.Photo: Bob Owen / Staff photographer
9of10Larry Graeber talks about "Formal Proof," an exhibit for which he collaborated with Sterling Allen, at Blue Star Contemporary.Photo: Bob Owen /Staff photographer
10of10"Rack" by Sterling Allen is part of "Formal Proof," an exhibit of works by Allen and Larry Graeber, on display at Blue Star Contemporary.Photo: Bob Owen /Staff photographer
The inspiration for Joey Fauerso's "Teardowns," one of four fall exhibits at Blue Star Contemporary, came from her children and from the 2016 presidential election.
"They build incredible things at home, and it's super precious when it's up, and then either they destroy it or their brother destroys it and there's a hysterical meltdown and then 30 second later, they start building again," Fauerso saod during a media walk-through of the exhibit. "I started writing down a lot of the stuff they were saying and taking notes on our domestic life. And the little one said to the big one, 'You destroy every special thing I make.' I wrote that down
"It also felt like America felt like that and still does, sort of a tragic dismantling of a lot of the things, I think, that we collectively thought we were."
Fauerso was thinking of all of that when she went to Germany as part of Blue Star's Berlin Residency Program at the Künstlerhaus Bethanien, an internationally renowned cultural center.
She started painting all kinds of blocks black, built various structures with them and filmed them being destroyed. A later video capturing the same sort of destruction is on display at Blue Star, along with a slew of additional works, all building on ideas of construction and deconstruction.
A similar video is part of an installation of her work titled "You Destroy Every Special Thing I Make" at MASS MoCA in North Adams, Massachusetts.
The Blue Star show also explores how women's bodies are typically portrayed in art.
On ExpressNews.com: 'Torch of Friendship' creator celebrated in citywide show
"Historically, you think about the way that women's bodies occupy paintings, its sort of equivalent to a bowl of fruit, something yummy and beatiful," she said. "And so I wanted to, in a playful way, create situations where women would start in the prop position and then take control."
Her installation also includes a mural inspired by the wallpaper that Jacqueline Kennedy installed in the White House and three-dimensional works.
Ideas of construction and deconstruction are threaded throughout Blue Star's fall shows. Other matters are explored as well, said Jacqueline Saragoza McGilvray, Blue Star's curator and exhibitions manager. "Formal Proof," which holds works by Sterling Allen and Larry Graeber, deals with formalism and architecture. And "Healthy Machines" by Tsuyoshi Anzai deals with the body.
"Sea Islands," an installation by Margaret Craig, deals with environmental issues.
It is a collection of lovely, tiny islands constructed of scraps, including bits of trash Craig picked up here in San Antonio and in her travels. Like Fauerso, she started developing the piece during a Berlin residency.
On ExpressNews.com: 'Victorian Radicals' at SAMA speaks to current matters
"It's been a few years since I did this," she said. "There's Italian trash in there, there's British trash in there, and, of course, there's San Antonio trash in there as well, and lots of that because, of course, I included lots of my own refuse."
The islands lie on the floor. Visitors climb onto a wooden platform suggestive of a scenic overlook and use binoculars so they can zero in on the details.
Eagle-eyed visitors are likely to spot evidence of Craig's cats in the piece: "There are pet litter containers and the plastic wrappers off that, so you might see some kitties in there," she said. "I like to find these fun things that also bring you back to, 'Oh, my goodness, what is it really that we're looking at?'"
She's hoping viewers will walk away thinking about trash and how something thoughtlessly tossed on the ground often ends up in waterways.
"You really start to think about what's happening after that trash on the ground," she said. "Likely it's going to be shunted off into the rivers and the streams and the sewers and just continue out."
"Teardowns," "Sea Islands," "Formal Proof" and "Healthy Machines" can be seen through Jan. 5 at Blue Star Contemporary, 116 Blue Star. Info, bluestarcontemporary.org ; 210-227-6960.

redpajama_set_name: RedPajamaCommonCrawl


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The Importance of Being 'The'
Writing historical fiction is full of potential minefields, and rather than feeling their way circumspectly past the lethal lumps in the ground, some authors seem almost to rejoice in crossing the field like blind twenty-stone gorillas on pogo sticks. Perhaps this is particularly true of language. Obviously, replicating the original speech patterns and language is impossible – presumably The Name of the Rose would have sold rather fewer copies of it had been written in the appropriate Norman French and Greek – but go too far to the other extreme and the linguistic thought police will soon be on your case. Take, for example, the TV series Downton Abbey, where people with rather too much time on their hands have objected pedantically to anachronisms of every kind; I believe someone even suggested no husband would have called his wife a bitch in 1916 (presumably this mindset might struggle to cope with, say, Pepys calling a girl a slut in his diary entry for 15 December 1661).
When it comes to early modern British history, the mines tend to be chock full of the shrapnel of semantics and above all that peculiarly British WMD, the grapeshot of aristocratic titles. The latter, in particular, always tends to throw the best. The West Wing is undoubtedly one of the greatest TV series ever written and one of my all-time favourites, but even there, knowledgeable Brits galore would have tittered at the hilariously implausible set of titles accorded to Roger Rees's shambolic but deceptively brilliant character, Lord John Marbury. I had a query recently from someone who had assumed that because nowadays only Privy Councillors are entitled to be addressed as 'Right Honourable', that was always the case. Not so; in the 17th and 18th centuries, Lords Commissioners of the Admiralty (note: not 'Lord Commissioners') were equally entitled to be so addressed. It was an age obsessed with precedence; witness the arcane incident described by Pepys in 1668. I've tried to reflect this in the journals, for example by attempting to get forms of address as accurate as possible. In the newly completed third book, The Blast That Tears The Skies, I have a scene set at a council of war where the attendees include the Duke of York, the Duke of Cumberland, and the Duke of Monmouth. But the former, as son and brother to Kings of England, was addressed as 'Your Royal Highness'; Cumberland (Prince Rupert), a foreign prince, was addressed as 'Your Highness'; and Monmouth, as a non-royal duke, was addressed as 'Your Grace'. In the Quinton journals, Matthew is the brother of an Earl. Modern (i.e. Victorian) etiquette dictates that he would be entitled to be addressed as 'the Honourable', and I've used this occasionally, but it wasn't a hard and fast rule in the seventeenth century. And so on. Phew – think I got through that minefield, anyway…
All of which is a very long-winded way of getting to my main point. The naval historical fiction genre is dominated by the age of Nelson and Napoleon, and by then, British warships were normally known as HMS Unspeakable, without the definite article (which, of course, the French have retained). However, any author who tries to apply the same principle before about 1750 – even, to an extent, 1780 – is metaphorically jumping up and down on one of the biggest lumps in the minefield. Before that time, British warships (and I'll come to the whole 'English/British' thing in a later blog) were never named without the definite article, and 'His/Her Majesty's Ship' was never, ever, abbreviated. This might seem to be one of the pedantic oddities of the Quinton journals, but it's simply an attempt to stay true to the practice of the times. This is why the title page of Part One of The Mountain of Gold begins 'His Majesty's Ship, the Wessex' and Part Three 'His Majesty's Ship, the Seraph', and why you will never see the abbreviation 'HMS' in any of the books. I think this piece of semantics has two important consequences. The definite article seems to me to make the ship more unique, more distinctive, more of a 'personality' in its own right; while the full form, 'His Majesty's Ship', reminds us that this really was a 'royal navy', the property of the monarch, and – in Charles II – a monarch who felt a real affinity with, and played a hugely significant part in reshaping, the service that defended the nation in his name. So long live 'the'!
This is an interesting post, especially considering Canada's MarCom is going to once again become The Royal Canadian Navy.
Yes, interesting news! Good to see the restoration of a proud name; I was reading just last night about the heroics of HMCS Chebogue in 1944.
Christine Hancock says
Should a ship (Merchant, not just Navy) be written for example The Worcester or the Worcester? From your examples I assume "the".
Yes, small 't'.
Nicholas Blake says
True about the 'the', but the comma in His Majesty's ship, the Seraph is almost always going to be wrong.


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Expected Dividend Increases for May 2019
Can you believe it? It's the end of April and the year is officially one third of the way over. The Milwaukee Bucks are continuing to make their push toward their first ECF appearance in 18 years and I believe they'll do us loyal Bucks fans proud this season despite that nasty blowout loss in Game 1 against the Celtics. With that said, it's time for us to analyze our dividend increases from April. Buckle in because this was quite the month!
April Dividend Increases:
Increase #1: Exxon Mobil (XOM)
Exxon Mobil (XOM) announced a 6.1% increase in their quarterly dividend from $0.82 to $0.87/share. This was actually slightly higher than the raise that I was expecting from them. This increased my annual forward dividends by $1.20 across my 6 shares.
Increase #2: Johnson & Johnson (JNJ)
Johnson & Johnson (JNJ) announced a 5.6% increase in their quarterly dividend from $0.90 to $0.95/share. This community has always said JNJ is as steady as they come and having received my first raise from them, I certainly back that statement! This increased my annual forward dividends by $0.40 across my 2 shares.
Increase #3: Enterprise Products Partners (EPD)
Enterprise Products Partners (EPD) announced a 0.6% increase in their quarterly dividend from $0.435 to $0.4375/share. This was another increase that was exactly as expected and it increased my annual forward dividends by $0.10 across my 10 shares.
Increase #4: Southern Company (SO)
Southern Company (SO) announced a 3.3% increase in their quarterly dividend from $0.60 to $0.62/share. This was yet another increase that was exactly as I expected it to be, and I couldn't be happier with it. My annual forward dividends increased by $0.40 across my 5 shares as a result of this increase.
Increase #5: EQM Midstream Partners (EQM)
EQM Midstream Partners (EQM) announced a 1.3% increase in its quarterly dividend from $1.13 to $1.145, which was slightly below my expectation. This increased my annual forward dividends by $0.24 across my 4 shares.
Expected Dividend Increases for May:
Expected Dividend Increase #1: International Business Machines (IBM)
It appears as though IBM is breaking from its usual pattern of announcing dividend increases in April, so I'd expect IBM to announce a raise in May. Given the Red Hat acquisition last year, I'd assume management will deliver a raise to the tune of around 4%, increasing the quarterly dividend from $1.57 to $1.64/share. This would increase my annual forward dividends by $0.84 across my 3 shares.
Expected Dividend Increase #2: Lowe's Companies (LOW)
LOW is a wild card and could also be announced in June. Nonetheless, I would expect that LOW will continue its trend of strong dividend increases, with a 15% dividend increase. This would mean the quarterly dividend would increase from $0.48/share to $0.55/share. If this does happen, my annual forward annual dividends will increase by $0.56 across my 2 shares.
Expected Dividend Increase #3: Leggett & Platt Incorporated (LEG)
I expect that LEG will continue its recent trend of increasing its quarterly dividend by $0.02 per share. This would equate to a 5.3% increase in the quarterly dividend, from $0.38/share to $0.40/share. If this does occur, my annual forward dividends would increase by $0.40 across my 5 shares.
April provided me with $2.34 in increases, which would take $58.50 in fresh capital deployed at a 4% yield to match. This is really the power of DGI on a small scale at work here! Overall, I'm expecting $1.80 in dividend increases for May due to IBM likely delaying their dividend increase from April to May. This would take $45.00 of fresh capital to match, assuming a 4% yield.
How many dividend increases are you expecting in May? Do you have any stocks that aren't mentioned on this list?
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Dr. Adrian Ruiz is active as a freelance trumpeter, having performed regularly throughout the states of Texas and Iowa. In February 2021, he received a Grammy nomination in the Best Contemporary Blues Album category for Live at the Paramount with the Ruthie Foster Big Band. In June 2021, Dr. Ruiz authored a series of Claudio Roditi transcriptions, which are available through qPress Music Publishing.
Dr. Ruiz has performed internationally at the Guatemala, Montreux, North Sea, and Taichung Jazz Festivals. He has shared the stage with the following musical acts: Justo Almario, Benny Benack III, Angela Bofill, Don Braden, Carmen Bradford, Tony Campise, Bryan Carter, Gary Clark Jr., John Clayton, Richie Cole, Kirk Covington, Martina DaSilva, Cornelius Eady, Ruthie Foster, Joel Frahm, Gerry Gibbs, Terry Gibbs, Al Grey, Andre Hayward, Jon Hendricks, Vincent Herring, Conrad Herwig, Norah Jones, Will Kennedy, Shelley King, Doug Lawrence, Chad Lefkowitz-Brown, Jerry Lee Lewis, Los Lobos, Jason Marsalis, Johnny Mathis, Buddy Miles, Butch Miles, James Moody, James Morrison, Michael Philip Mossman, Eddie Palmieri, Bernadette Peters, Tito Puente, Jr., Rufus Reid, Graham Reynolds, Joan Rivers, Joshua Redman, Bruce Saunders, Boz Scaggs, Maria Schneider, Mike Smith, The Temptations, Clark Terry, Jimmie Vaughan, War, Dale Watson, The Who, Mary Wilson and The Supremes, Carolyn Wonderland, and Red Young.
In addition to his performance schedule, Dr. Ruiz has presented clinics and performances at the Jazz Education Network (JEN) Conference, the Texas Music Educators Association (TMEA) and the Texas Bandmasters Association (TBA) Conventions. He has served as an adjudicator at band contests, jazz festivals, and has presented masterclasses at various school districts throughout San Antonio and Austin.
In May 2017, Ruiz made his recording debut as a leader, releasing his first full-length album entitled Premiere: A Collection Of Originals. Scott Yanow, acclaimed jazz journalist/historian and author, states the following concerning Premiere: "Adrian Ruiz is an impressive trumpeter who makes his recording debut as a leader on Premiere...In addition to being a fine showcase for the Adrian Ruiz Quintet, Premiere: A Collection Of Originals, is a fun set of creative jazz that is easily recommended."
In July 2017, Ruiz was selected as a Schilke Artist! Since 1956, these hand crafted instruments are considered, to this day, to be the very best and the first choice for professional players around the world. For more information concerning Schilke Music Products, please visit their website: http://www.schilkemusic.com.
Ruiz received his Bachelor of Music Studies from the University of Texas at San Antonio, Master of Music from Texas State University, and Doctor of Musical Arts in Jazz Trumpet Performance from the University of Texas at Austin. His principal teachers were Ray Sasaki, Dennis Dotson, Jeff Hellmer, Keith Winking, Jan Roller, and Andrew Gignac. Ruiz currently serves as Visiting Assistant Professor of Music, Director of Jazz Studies, at Simpson College in Indianola, IA. Ruiz is formerly the Director of Jazz Studies at the University of Texas at San Antonio, where he taught the following courses: Jazz Ensemble, Jazz Combo, History and Styles of Jazz, Jazz Arranging and Composition, Private Jazz Improvisation, and Brass Methods.


Think asked me to give you something. Let's have a serious talk about your future. I'm going to meet them there. Dion wants Bryan to be safe. I might stay in Boston for over a month. It wasn't interesting. I hit the snooze button and went back to sleep. Bad luck! The university bears the name of its founder. Allen decided to give it one more shot.
Be careful what you say publicly. It may have consequences. This means that there are twice as many chopstick- and finger-users as fork-users. This is a historical examination of the birth of his unique architectural style. Ellen is eating French fries out of a bag. Clean the apparatus only with dry cloth. I'm too tired to think. Edwin went to high school with me. Sridhar is about to get married for the third time. Edwin is independently wealthy. Who's been keeping count?
Why are you in my house? My poor Amazigh cost me my job. Lowell needs to be told. The sooner you get your ticket, the cheaper the fare. Nicholas is actually not allowed to be here. This sandwich is good. These pictures always remind me of the old days. I can't tell you how much this means to me. Why am I so nice to everyone? Having broken the mirror, Roksolana grew worried: she believed in omens, and a broken mirror promised her seven unhappy years.
Paul prefers English to math. She will come here before long. Suresh is a troublemaker, isn't he? I thought I was going to make it here on time. She made her mother happy. Meditation is the dissolution of thoughts in Eternal awareness or Pure consciousness without objectification, knowing without thinking, merging finitude in infinity. A good appetite, sound sleep, and regular motions are the three signs of good health. Do you speak the same language to your father that you speak to your mother? Kuniko had already eaten when I came in. I cannot stand the cold.
Why didn't you call an ambulance? What's Ro done now? Patrice is a financial wizard. Power plants are the largest major source of emissions in the U.S., together accounting for roughly one-third of all domestic greenhouse gas pollution. I haven't spoken with her yet. May she not spoil thy marrriage. I love you so much, Mom! Both Ning and Jaime are busy right now. I'll fix you a cup of tea. Antony is telling his children a bedtime story.
I remember meeting the queen. My mom disapproves of him. Ping would never do anything like that. Brad needs to be careful not eat too much. Spudboy has been thinking. You should rely on yourself. I took a wrong turn. His feet are dirty. The red lines on the map represent a railway. My client isn't saying another word.
Even if he's very nice, I don't really trust him. It was canceled. Isn't Ted cute? This is so random. Louie said his dog's name was Cookie. I am glad to see her. If you should see Celia, give her my best wishes. The sun furnishes heat and light. I'm not yet used to writing business letters. A critically wounded elephant went berserk and attacked every living thing in his path.
Amedeo is still angry. That's Cecilia's car. I got tired. Man is by nature a political animal. I've heard this story scores of times. Where did you spend your holidays? I went up to the front door. The captain assured us that there would be no danger. Good job, Captain Obvious. You made a great contribution.
If I'd driven a little faster, we'd have gotten there on time. I think you know who you need to talk to now. If a relationship is good, marriage is redundant, but if it isn't, marriage becomes a liability. I haven't eaten very much but have gained as much as five kilos in a half year. All beginnings are difficult. It's as far as we're going. Children aren't allowed in this bar. They're disposable. Let's take advantage of the 'exemption' controversy to reconsider the way we work. People tend to forget that water really freezes at zero degrees.
I'm so happy for you both. Hohn is an illegal immigrant. Business carried him to Kobe. Philip is very rude. Does he still have baby teeth? Nothing but grass was to be seen in the prairie. You'll do the right thing. I'm sure of it. They scoffed at our efforts. Globalization destroys the diversity of languages. We should let him know.


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Q: Change VisualState of a VisualElement with Prism, in Xamarin.Forms How can I change the VisualState of an element from the Prism ViewModel?
Is there a Bindable property I can use?
Thanks!

A: In order to change the visual state of an element, you can do it from the Code-Behind of a page, like this:
VisualStateManager.GoToState(yourViewElement, yourViewElementState);

However, not the best advice, but you can subscribe to changes in your viewmodel, from your code.behind and then invoke the VisualStateManager.
Example
YourPage()
{
    viewModel.PropertyChanged += FooChanged;
}

public void FooChanged()
{
     if (!args.PropertyName.Equals("YourProperty"))
     {
          VisualStateManager.GoToState(yourViewElement, yourViewElementState);
     }
        return;
}

A: Found the solution in this post, adding a Behavior to the XAML page:
https://forums.xamarin.com/discussion/127531/behavior-bindableproperty-not-update

redpajama_set_name: RedPajamaStackExchange


Hello! My name is Peter. I am a young 6 year old well behaved Collie and I LOVE dogs and people. I have been told by many that I am the most handsome collie ever! In the short time that I am in my foster home, my Foster Mom has taught me not to pull on lead which I learnt quickly. That really pleases my Foster Mom. I love attention from people and am looking for a forever family who has time for me and take me for long walks and hikes. I have lost counts on compliments from people that I am a beautiful collie, with great people and dog skills. I have that classic sweet collie temperament - easy going, calm, and eager to learn new things.
I have so much love to give, all I need now is a forever home and my own family. Am I that special collie that you have been looking for?


text:
Marin makes progress in permanent housing for homeless, but shelters come up short
Kevin Fagan Dec. 6, 2019 Updated: Dec. 6, 2019 9:29 a.m.
Marin makes progress in permanent housing for homeless,...
1of4Mushroom Landers, 41, and Rhapsody camp out near the Highway 101 off-ramp in San Rafael in a shelter he made himself. It connects to his bike. "Some of my friends, like me, don't really want to live inside," he says.Photo: Photos by Nick Otto / Special to The Chronicle
2of4Jesse Denham, 66, who is homeless and has been trying to get into housing for three years, eagerly awaits the opening of the winter shelters.Photo: Nick Otto / Special to The Chronicle
3of4Chris Fikes, 51, who is among the 1,034 homeless people in Marin County, collects his things from the sidewalk in San Rafael.Photo: Photos by Nick Otto / Special to The Chronicle
4of4The Health and Human Services of Marin opens winter shelters when the area suffers a combination of cold (varying from 38 degrees to 45 degrees) and severe weather conditions such as rain or wind chill.Photo: Nick Otto / Special to The Chronicle
With nasty weather finally pounding the Bay Area, all of the counties have opened up extra winter shelter beds — except for Marin County. The recent storms haven't been cold or wet enough to meet the county's standards for adding shelter space, but tell that to homeless folks shivering on the sidewalks of San Rafael.
They're not happy. But many of them begrudgingly understand the reason why — the extra beds haven't opened up because Marin is trying hard to put people into permanent housing instead of temporary shelter cots.
That housing effort has made big progress, reducing the number of chronically homeless people in the streets by 28% in the past two years when virtually every other area along the West Coast has seen its numbers skyrocket.
Still, like most counties, there is a wait list for housing — and in Marin it can be a couple of months long. Meanwhile, Marin's nomadic and scattered homeless population, spread out over forests, coastlines and cities, means it's hard to make it to a shelter. The county has 190 year-round shelter beds, but opens up to 80 more in cold, wet weather.
Occasionally, the wait time for a shelter bed is a couple of days, and sometimes it seems like too much trouble to get to a shelter.
By Trisha Thadani
'We don't want to be outside': Homeless say few beds...
24 hours inside San Francisco's homeless crisis
"It's bad out here, wet and cold," Jesse Denham said in San Rafael Thursday morning as he pulled his thick coat tight around his bony 66-year-old frame. "I was on the concrete last night, no tent, for a few hours, but mostly wandered around so I could sleep in the day when it's warmer."
Denham said sometimes there's no space at the county's regular shelters, and he's been trying to get into housing for three years with no luck.
"Maybe I'm not doing the right thing," he said. "It can be hard to get to the shelter on time, and being outside I can't keep up on the housing thing. But I do wish they'd open that winter shelter. It would be better than the concrete."
Mary Kay Sweeney, executive director of nonprofit Homeward Bound, which operates Marin County's shelter system, said it's painful to see anyone sleeping outside, "but we've really focused on housing for the past two years, and it's showing good results."
She pointed out that there were 12 vacancies out of the system's 190 beds over the Thanksgiving holiday, "and I've found that people here do have a tendency to find places with family or friends over the holidays, so I wasn't surprised. But we're set to open the winter beds whenever we get the call."
Deputy Public Health Officer Dr. Lisa Santora said the county opens as many as 80 beds at its Health and Wellness Campus when the area suffers a combination of cold (varying from 38 degrees to 45 degrees) and severe weather conditions such as rain or wind chill. And though the autumn finally turned sour last week after a balmy fire-season period, the shelter-triggering combination hasn't happened yet.
She noted that last year, when the winter beds were opened they were often not filled to capacity.
Marin County's homeless population of 1,034 — the second smallest in the Bay Area, after Napa — is 7% smaller than it was in 2017, when the last federally required biennial one-night count was taken. The only other Bay Area county that dropped in population was Solano, which dipped 6% to 1,151. Most counties shot up, with Alameda leading the way at 43%.
What made the difference in Marin, said San Rafael Homeless Planning Officer Andrew Hening, was directing more of its state homeless and medical funding, as well as county housing authority vacancies, into housing programs over the past several years.
Just since 2017, the county housed an average of 89 chronically homeless people a year — longtime street dwellers with the most severe needs — compared with about 30 a year before, he said.
Santora added that the county has spent more than $1 million extra a year since 2016 on homeless programs, plus $10 million in one-time federal and state funding awards since 2017 — much of it on housing and related services.
"We are targeting the most vulnerable people we can to get them inside," Hening said. The wait time can be a couple of months from application to being under a roof, he said.
Mushroom Landers, 41, said he thinks the county is trying hard to help get people inside, but he doesn't really need it. He's lived outside for four years in Marin County in a small trailer he hand-built to haul behind a bicycle, and as he lounged in it Thursday across the street from Highway 101 he mused that "some of my friends, like me, don't really want to live inside."
"A lot of us just don't like the rules they put on you when you move into a building with case managers," he said, scratching his pit bull Rhapsody behind the ears. "It's nice that they want to do shelter and housing, but this works just fine for me."
Kevin Fagan is a San Francisco Chronicle staff writer. Email: kfagan@sfchronicle.com Twitter: @KevinChron
Kevin Fagan
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Kevin Fagan is a longtime reporter at The San Francisco Chronicle. He specializes in enterprise news-feature writing and breaking news, taking particular pleasure in ferreting out stories others might not find — from profiling the desperate lives of homeless drug addicts to riding the rails with hobos, finding people who sleep in coffins and detailing the intricacies of hunting down serial killers.
From 2003 to 2006, Kevin was the only beat reporter in the United States covering homelessness full time. He has witnessed seven prison executions and has covered many of the biggest breaking stories of our time, from the Sept. 11 terror attacks at Ground Zero and the Columbine High School massacre to Barack Obama's election as president, the deadly Mendocino Complex, Wine Country and Ghost Ship fires and the Occupy movement. Homelessness remains a special focus of his, close to his heart as a journalist who cares passionately about the human condition.
He has a bachelor's degree in journalism from San Jose State University and was raised in California and Nevada.
Newsom's homeless task force: Require cities, counties to supply housing or shelter
California will open vacant state land for homeless shelters under Newsom order
FBI agent had front-row seat to the country's most notorious crime scenes


Atelier Sophie represents a jumping-off point for the series as it finally makes its way to the PlayStation 4 after continuing on in the last generation of consoles. Granted, the game was still released on the PlayStation Vita and on the PlayStation 3 in Japan (that version was not localized).
MegaTagmension Blanc + Neptune VS Zombies takes the already bizarre concept of anthropomorphized game consoles fighting in a world full of memes and throws it into a school setting.
The four CPU Goddesses are attending Gamicademi, a place that allows the rulers to become closer to their subjects. With enrollment at a dangerously low level, the school is threatened by closure (you would think the CPUs could snap their fingers and stop that from happening, but I digress).
Late last year, Idea Factory International announced during their annual press event in San Francisco that they would be releasing Hyperdevotion Noire, their tactical RPG spin-off to the Hyperdimension Neptunia series, for PC in a move that falls in line with their recent attempts at basically putting their entire catalog on to the platform as a new means of revenue. So far, so good, as they have seen a lot of success on that front as they indicated in the interview I had with them in December.
The storybook tale of Stories: The Path of Destinies tells the story of Reynardo, a rogue fox who is leading a rebellion to fight against an evil empire that is about to crush the freedom the world once had. To help him on his journey, he comes into possession of a magical book that allows him to go back in time to trial and error his way through the adventure.
Compile Heart has always been known for their rather inconsistent experiences. While I have been a big fan of their focus on character-building and story development, their small budget becomes very noticeable in the production department. This one isn't much different, and there are other prevalent issues.
Over the years, I have had this profound love for strategy RPGs. Ever since I first got my hands on Final Fantasy Tactics, it quickly became one of my favorite games ever. There is just something immensely satisfying in being able to take a group of people and building them up from scratch the way you want them to be.
Having full control over their stats, skills, and the equipment that they wear. What I enjoy most is finding that one non-story character I can become attached to and create my own backstory for them.
Celestian Tales: Old North takes place in a heavily theocratic society in an old-fashioned land, where law breakers are met with swift persecution. Six individuals from different backgrounds all yearn to become knights for different reasons, like helping the poor or proving their worth in the eyes of another.


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China headed to US to talk trade
By Joe McDonald AP Business Writer
May 6, 2019 at 9:18 AM May 6, 2019 at 9:18 AM
BEIJING (AP) — Chinese envoys are preparing to travel to the United States for trade talks, a government spokesman said Monday, suggesting talks on ending a bruising tariff war will go ahead despite President Donald Trump's surprise threat to raise import taxes.
Beijing is "trying to get more information" following Trump's announcement he might impose 25 percent tariffs on more Chinese imports, said the foreign ministry spokesman, Geng Shuang.
Trump's announcement Sunday on Twitter caused financial markets to plunge. It prompted suggestions Beijing might pull out of talks planned for this week to avoid looking weak in the face of American pressure.
Asked whether the top Chinese envoy, Vice Premier Liu He, would visit Washington as planned, Geng said, "a Chinese team is preparing to travel to the United States for trade talks."
Geng declined to give further details when asked who might go or whether the talks would start Wednesday as scheduled. He referred other questions to the Commerce Ministry, which did not respond to requests for comment.
The lack of details suggested Beijing is wrestling with the conflict between wanting to end a fight that has battered Chinese exporters and its reluctance to appear to be giving in to Washington.
"We hope the United States will join efforts with China and we can meet each other halfway so we make a mutually beneficial agreement on the basis of win-win and mutual respect," Geng said.
The two governments have raised tariffs on tens of billions of dollars of each other's goods in their dispute over U.S. complaints about Chinese technology ambitions.
That has disrupted trade in goods from soybeans to medical equipment.
Trump turned up the heat Sunday by saying he would raise import taxes on $200 billion in Chinese products to 25% from 10% as of Friday. Washington already is charging 25% duty on another $50 billion of Chinese imports, while Beijing has imposed penalties on $110 billion of American goods.
President Donald Trump continued his pressure on China Monday morning, tweeting: "The United States has been losing, for many years, 600 to 800 Billion Dollars a year on Trade. With China we lose 500 Billion Dollars. Sorry, we're not going to be doing that anymore!"
During Asian trading, China's main stock index plunged 5.6 percent and Hong Kong lost 2.9 percent, while Japanese markets were closed for a holiday.
Market benchmarks in France and Germany fell 2 percent. On Wall Street, futures for the benchmark Standard & Poor's 500 index and the Dow Jones Industrial Average were down almost 2 percent.
Trump pushed back deadlines in January and March to raise tariffs in a bid to buy more time for negotiations. But on Sunday, Trump said on Twitter a deal with Beijing was coming "too slowly, as they attempt to renegotiate. No!"
Trump also threatened to slap tariffs on another $325 billion in imports from China, covering everything it ships annually to the United States.
Trump hiked tariffs on Chinese imports on July 6 in response to complaints Beijing steals or pressures foreign companies to hand technology.
Washington and other trading partners also want Beijing to scale back plans for government-led creation of Chinese global competitors in robotics and other technology. They say those violate the communist government's market-opening commitments.
Both sides say they are making progress but no details have been released.
Beijing's negotiators have agreed to narrow the politically sensitive Chinese trade surplus with the United States by purchasing more soybeans, natural gas and other goods.
They have offered to change industrial strategies but have ruled out discarding them outright.
Another sticking point is U.S. insistence on an enforcement mechanism with penalties in the event Beijing fails to stick to any commitments it makes.
Economists suggested Trump may want to step up pressure because China's economy is improving, reducing the urgency for Beijing to strike a deal.
The latest quarter's growth held steady despite a slump in exports to the United States. That suggested official efforts to reverse a downturn were gaining traction.
"China may have appeared less willing to offer additional concessions," said Citigroup economists in a report.
Trump's threat makes going ahead with talks "very difficult politically" for President Xi Jinping's government, said Jake Parker, vice president of the U.S.-China Business Council. He said the Chinese public might "view this as a capitulation" if Beijing reached an agreement before Trump's Friday deadline.
If Trump carries out his threat, American companies in China "would be very concerned" about official retaliation, said Parker.
A Chinese decision to pull out of talks could have global repercussions, causing turmoil in financial markets and dragging on economic growth, economists said.
"The risk of an all-out U.S.-China trade war has increased significantly," Tao Wang and Ning Zhang of UBS said in a report.


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The Era of iPod: from the Beginning to Nowadays
Subcategory: Corporations, Entrepreneurship
Topic: Apple, Iphone, Steve Jobs
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In his theses Simon Kingston argued that the developers behind the iPod were "accountable for the 21st Century's most iconic product to date". I would argue that this statement still holds a lot of weight 12 years later. Jon Rubinstein who designed the hardware and the product making it the size of a pack of cards, constantly figuring out how to improve it. Jonathan Ive who worked alongside Rubinstein and created the look and feel of the ipod, were revolutionaries.They were led by technological determinism to develop a product that had such a vast and important influence on contemporary design. Using examples of good design and good design principles they developed an object that informed a generation of Industrial Design and made a huge impact on society and culture.
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The iPod was born completely as a result of technological determinism. Apple knew that they wanted to develop an audio device because the selection in rotation at the time was of poor quality Leander Kahney describing them as "either big and chunky or small and useless". The best one on the market at the time was the 'Nomad Jukebox' however this too had its major flaws. It was the size of a portable CD player but was twice as heavy, it was very slow at transferring songs, Kahney describes the user inter face that it employed as an 'engineer special' and the battery only held about 45 minutes charge which pails in comparison to the 10 that the iPod promised it also only had 32/64 MB of data compared to the starting point of iPod which was 5GB. As Steve Jobs knew that the music player industry was the next that he wanted to break into he set Rubinstein to figure out how to do it. On a visit to Toshiba in Tokyo they showed Rubinstein a hard drive disk that they had developed but had no idea what they wanted to do with it. This disk was smaller than any out there. It was 1.8 inches. This visit was in February of 2001 and when told Jobs told Rubinstein he wanted it working by the fall of that year. It was put together using as many pre existing components from different companies as possible, "the drive from Toshiba, a battery from Sony, some control chips from Texas Instruments." Jonathan Ive led the design of the product and not having much time to put into the UI they managed to get a working prototype the size of a pack of cards on the shelves for November 2001. While they always refer to the process as team work it is undeniable that with out these designers there would have been no iPod. With this product in their arsenal they made more and the iPod took the company and the design community to new heights.
The iPod , through its many stages since being released in November 2001 has made a vast impact on the world of technology in contemporary design. While the iPod was not the first mp3 it was the one that made its mark. The designers of the iPod cared not just about the function of the object disregarding how it looked and felt. They also cared about the experience of using it, exploring and working colour, material and finish into their design process rather than just at the end. They created a unique experience that came along with owning and using their product. Using the teachings, values and principles left by designers such as dieter Rams and Donald Norman. Taking for example Normans hierarchy of design along with his 3 levels of design appeal. Normans 3 levels of design appeal are one; visceral, meaning the gut reaction that the user gets to an object. This is one of the key things that Rubinstein and Norman worked really well in to the iPod especially in the 5th generation. They made it look fancy and high tech but also easy to use and for the general public so it wouldn't be out of place in your possession but it would elevate you in society. Once bought there was a sense of pride in being able to show people that you had the best model and you had a sense of pride in knowing you owned a piece of excellent design. The second is behavioural design, this is concerned with the pleasure and effectiveness of use. Again this was a huge success for apple as they created a frenzy around their devices. They were viewed as creating a revolutionary design that would change the modern world. A principal analyst of consumer electronics at IHS-iSuppli, Jordan Selburn, described them as truly ushering "in the era of portable digital consumer electronics, much as the Walkman did for analogue audio" . The third was reflective, this is concerned with how you feel once you own the item. How it appeals to your self image and pride. It also concerns itself with the stories you might be able to tell and the experiences the product enhances. The iPod allowed you to share your music and the iTunes interface allowed you to take music from your CDs and put them on your iPod which in turn reduced your whole music collection from shelves upon shelves of CD's to something you could keep in your pocket. The cheapest oldest version of the ipod had a battery life of10 hours, sold for $399 and had 5 GB of storage which was about 1,000 songs (livewire citation). This allowed you to play music through your whole work day if you wanted and could repeatedly let you forget about the mundane aspects of your day to day.
It would be impossible to talk about the iPod without expressing how influential Dieter Rams was to the process of designing the iPod. The aesthetic of the first iPod was inspired by the 1953 Braun T3 transistor radio which was designed by Rams. The similarities between Rams' radio and the first iPod are clear. However, if a second look is taken with Rams' design principles are taking into consideration it is clear that the designers were ahead of their time as they clearly addressed each one. They started of with a clear design and built on it keeping the aesthetic clear through out setting out the consistency, high level of design and simplicity that we have come to expect from the company that Jon Rubinstein and Jonathan Ive put on the map and which set them apart from their competitors. The scroll wheel in the middle was inspired by a Bang & Olufsen home phone which used a wheel to scroll trough lists and the different menus. The wheel scrolls clockwise and becomes an intuitive action when using the iPod. The user stops having to think as they scroll through the various menus. It can be argued that the iPod was redesigned either three or four times. Each time it became closer to the finish that we now expect from apple products. The iPod classic is the final generation which came with a completely redesigned interface. This too was the first edition of the general minimalist design on our screens that divides people into either the android or apple brackets. as seen in the screen shots below there was also a big improvement to the quality of the screen. More pixels allowed for an interface that was easier to read and colour was added which allowed pictures to be stored on the device for the first time. The fifth generation iPod took advantage of the new screen added by the team and the compatibility of the iPod grew to include almost everything that we now use our phones for other than the internet and contacting people. This included video playback, audiobooks, podcasts, movies, TV shows etc.
The sixth generation iPod is a clean, beautiful piece of design that perfected the iPod era. It is geometric but has no sharp angle so can be seen as fancy and technical but in the most simplistic way. It resonates with the ideals of Dieter Rams in that it doesn't have any extras. There is an on an off slide switch on the top with a colour indicator, it has clearly labels buttons for play/pause, fast forward, rewind, and the wheel in the middle is perfect for volume control. The First generation of iPod was designed by Ive and Rubinstein with four buttons surrounding a scroll wheel in a circle and a select button in the centre. Everything about it is intuitive and positioned in a very ergonomic way. It was the perfect starting point for the iPod as they built it from pieces found in various companies and they were able to develop it into what it became. It is clear that as they progressed through the iterations of the iPod they put more and more emphasis on how to fine tune the colour material and finish of their products as they created their brand identity. The design is now succinct throughout all the apple products but not just that we have come to expect the high level of design and simplicity that the iPod gave us in everything we now use. This statement of class and simplicity was made by apple through their design style in this final iPod is the same that we see nowadays. The key obstacle that they overcame was the merging of good product design with good screen design to create a great user experience. This was the first time that people had small computers on their person at any time they wanted and completely changed the way people interact with each other and the world. 'Gadgets are no longer stand-alone products, they connect to a range of software and online services.— and the iPod was the first to do that.'
The iPod introduced the idea of "ubiquitous access to content". This is a very important distinction to make about the iPod. As it is easy to forget these days that everything was new in 2001. It is natural now for everyone to walk around with a mini computer in their pockets, we no longer even need a cable to connect our earphones to our devices as we now use bluetooth so often. It changed society. It became the norm for everyone to be able to listen to music on the go. This is something that everybody in the 1st world is used to, the expectation that someone will not bse able to hear you shouting at them if you see them in the street as you know they probably have earphones in even if you can't see them. This is not something that is limited to a certain demographic. Every age group is familiar with smartphones now. It is usual for people from the age 11 up to have access to either a phone or an iPod from full time mothers to high end business men. The access that the iPod brought to podcasts and general entertainment which was transferable from device to device changed most things about our day to day life. It changed how we get our news, it changed how we experience our commutes and how we fall asleep. With many people not being able to fall asleep quickly these days without listening to something in their earphones.
The iPod also ignited the "era of the connected user". We take this for granted but Rubinstein and Ive started the era of social media in your pocket, an audio book or a podcast on the dart and Netflix and YouTube when ever you wanted. You are now constantly able to access anything anywhere and this started with tv shows that you could download to a 320 x 240 pixel screen. This was the beginning of people not being able to hear you when you screamed their name on the street. The iPone 5th generation was the device that allowed you to do it all. While it was not a phone yet and was not connected to the internet, you were able to carry around your music, videos, photos and audio books on one tiny device.
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Transplace, a leading provider of transportation management services and logistics technology, today announced the appointment of Tony Cossentino as chief financial officer (CFO). Cossentino will oversee the company's financial management and will report directly to Transplace CEO Tom Sanderson.
With over 20 years of financial experience, Cossentino is a Certified Public Accountant who has worked with both publicly-traded and private equity backed companies. He has served as chief financial officer at several logistics companies, including AmeriCold Logistics, Arnold Logistics, and most recently, Environmental Logistics Services. He also has comprehensive experience working with executive management to develop and implement business strategies that enable corporate objectives.


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The  is a history museum in Kagoshima, Japan. Located by the Kōtsuki River, it is a gallery where visitors can learn about the Meiji Restoration. In the basement hall, sound, light, and robots are used to present a three-dimensional experience of the Meiji Restoration. On the first floor, exhibits describe the people, things, and events of Satsuma Province.

See also
 Satsuma Domain
 Shimazu Hisamitsu
 Saigō Takamori
 Ōkubo Toshimichi
 Bakumatsu

External links

Official website

Buildings and structures in Kagoshima
Meiji Restoration
Satsuma Province
Museums in Kagoshima Prefecture
History museums in Japan

redpajama_set_name: RedPajamaWikipedia


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Ljuta (cyr. Љута) – wieś w Czarnogórze, w gminie Kolašin. W 2011 roku liczyła 17 mieszkańców.

Przypisy

Miejscowości w gminie Kolašin


Address Unit No.D-166, 1st Floor, Oshiwara Industrial Center, Opp. Oshiwara Bus Depot, New Link Road,Goregaon (W) Mumbai - 400104.
Product Details Manufacturer of Customs built Fire Control Panels, flooding panels, and associated items required for fire alarm system.Distributors of Apollo Fire Detectors, UK.


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Opening Doors and Windows with Editor Harold Rhenisch
"You sit/awake tonight, your fingers/over the pages scattered out before you,/listening too through your hands."– Harold Rhenisch*
Allow your head to spin with ideas! If the mind is a wooden red door with frosted or cracked panes then Editor Harold Rhenisch opened several windows for me! That's my view of a worthy editor or mentor. He opened and closed doors and windows until I felt unhinged and accepted new possibilities: a stronger voice (or voices) and an infinite imagination 'summer'-saulting like tumbleweeds across a silent and vacant field.
The editor as magician? Harold Rhenisch says "an editor is a set of wise eyes with a sharp knife and a smile".
If you are an editor and/or a writer who has worked with an editor, you may disagree. You may even slam the door on my fingers and tell me my observations are wrong. C'est la vie!
What I have learned is that in the literary world there are no clear paths. Writing begins as a solitary journey and it meanders and can transport you to places and people you never expected or imagined before. Each experience whether negative or positive becomes a lesson for growth.
When local mentor Canadian author Peggy Fletcher passed away in January 2012, I lost my steering wheel and felt lost. I missed the way she would close her eyes during a writers' workshop, listen intently to a poem, and immediately pinpoint a misplaced beat or word. No one could ever replace this nature-loving writer and over time I just gave up looking.
In 2015, on a whim, I joined the Niagara Branch of the Canadian Authors Association (CAA) and two years later I decided to tap into its electronic writer in residence program. I had heard about Harold Rhenisch and wondered if his keen interest in the Earth would be the right fit for a manuscript I was working on.
The initial on-line meeting with Harold was brief but I felt an instant connection with his zen-like approach to writing and editing. We were both raised in rural environments and for some unknown reason that was important to me. His deep thinking and extensive knowledge base impressed me and I trusted him to navigate my thoughts through my storm of uncertainty. He had also lost his mentor. We agreed to work for a longer period.
For three months, he offered suggestions, taught me to let go, to dig deep, but to also play. He stretched my own knowledge base and nudged me into further research. He made my head spin! What a wonderful experience!
Keith Inman, a Canadian Author's Association member and author of The War Poems: Screaming at Heaven (Black Moss Press 2014) and SEAsia (Black Moss Press 2017) also enjoyed working with Harold.
He wrote: "Harold has a magical way of suggesting changes to your work, like filtered light, while at the same time, instilling confidence. He might suggest a few options for a line that isn't quite working effectively, then add, "But, perhaps, your original line was better." He can also zero-in on the overwritten, "Well, you've worked the poetry right out of that one." For me, his voice still echoes in my head when I'm editing…a spritely cheer along a shaded forest trail."
"Harold has a magical way of suggesting changes to your work, like filtered light,…" said Canadian Poet Keith Inman. Even Harold's photographs are magical like this mystical sunrise captured at Big Bar Lake in British Columbia. Harold wrote, "The sun rose through this mist as a wind. Isn't it grand?"
Today, I still haven't met Harold Rhenisch in person. We live thousands of kilometers apart but last week via e-mail, we chatted about mentors, the importance of editing, and his plans for the future.
Hi Harold, thank you for agreeing to share your thoughts. Let's start at the beginning. When did you first decide you wanted to be a writer? Describe that scene for me in a few lines.
I was going to be an entomologist and a consulting horticulturalist in the orchard industry. I took a creative writing course in Grade 11, in 1973. In 1974, I acted in a summer Shakespeare program at UVic, with the support of my writing teacher. I followed up with acting and writing in Grade 12, and played Puck at UVic in the summer of 1975. Playwriting was my first love, but as my speech coach noted, "You really like the poetic speeches, don't you?" Indeed, I did. The Puck part was type casting. I have been playing the role ever since.
In your introduction to your 11th poetry book The Spoken World, you mentioned that your earlier role models were Rainer Maria Rilke, Ezra Pound, J. Michael Yates, and Al Purdy. In a couple of sentences, what did each of these poets teach you?
Rilke showed that a conversation across metaphysical boundaries was possible, and gave some models of how to do it. I was reading Rilke in translation, which is a very bad idea. What I really got out of it was the American transcendentalism it was translated into, but that was a start. I wound up at Rilke's grave in Switzerland in 2013. By that time, I was the age he was when he died. It was profoundly moving.
The view from Rilke's Garden at Muzart Castle in Veyras, Switzerland. "My image looks over the grapes to the south slope of the Rhone," explains Rhenisch. "[Rilke] rewrote the Duino Elegies (and wrote the Sonnets to Orpheus) here." Photo by Harold Rhenisch
Pound showed that it was possible to speak of old things in new ways and to orient writing around moments of vision. There is expansiveness to that available nowhere else. Like Robert Graves, he had the ability to speak of a world of poetic certainty with deep cultural roots, quite different from the social positioning that poetry is often used for. I learned Classical Greek because of Pound's model. My translations of Iamblichus which resulted were my real education in both old worlds and poetic form. I doubt anyone else has had this education in such old, old cultural roots, from before the time of the pharaohs.
Yates wrote exquisite, highly-shaped intellectual objects which spoke of the country I knew outside of the cities, at an intersection of European and existential experience. What's more, they were witty and clever and complex and musical. That appealed to me a lot. His Esox Nobilior Non Esox Lucius was a masterpiece of controlled randomness. I still don't think it was random. I still think it was a high point worth emulating.
Purdy wrote about my Canada, and with a sense of loss I felt as well, in simple, clear speech, without setting aside rigour. "The Country North of Belleville," that was a poem for me: wisdom, irony, beauty, history, humanity and its feet on the ground.
There were others: [Eugène] Guillevic, [Paul] Celan, W.S. Graham, [W.S.] Merwin, Kathleen Raine, and more. Raine for her mystical tradition, which I responded to.
Canadian poet Robin Skelton was a huge influence in your life. Not only did you edit his work posthumously into two poetry volumes, but you also wrote the book The Spoken World which blended the voices of you and Robin. In "Drawing Hands", one of your tribute poems to Robin, you penned the line, "I want to draw hands that touch fire." The poem ends with the epigraph that introduces this blog. I could feel the kinetic energy between the two of you. It reminded me of the hands in Michelangelo's famous painting "The Creation of Adam" where the God-like figure transfers life and knowledge to a human being. What do you miss most about Robin and what was the best advice he shared with you?
Robin wore numerous rings on his hands, even several rings per finger. They were all symbolic and were part of his magical practice. The poem plays with that. They were also the hands of a healer.
Robin was one of those poets who was rebuilding the ancient northern traditions of writing (in his case out of Wiccan tradition) in the greater anglo-saxon-nordic world. For him, poetry was a real thing in a real world, with real effects. I miss that, but, of course, I miss his voice and his laughter and the way he would greet people at the door. When you were welcomed into his house, you were welcomed into Robin. The house was a recreation of the Modern Gallery in the Manchester Art Gallery, plus the John Rylands Library, also in Manchester. That was Robin's secret. That story has not been told. One was, however, being ushered into something with great depth and great warmth.
A prolific writer, Harold Rhenisch has published 30 books of poetry, fiction, poetic nonfiction, translation, essays and environmental writing since 1982. Return to Open Water (Ronsdale Press, 2007) features new and selected poems while The Spoken World (Hagios Press, 2011) blends the voices of Harold and his mentor the late Robin Skelton. The latter book is still available through Radiant Press.
He gave many pieces of advice. Three stand out. One was "the poetry does not matter, but how else are we going to teach our children how to think?" From that, I understood that poetry is a way of thinking, not of self-expression. Another was, "we all live in eternity but we live there alone." This was shortly before he died in 1997. I understood this to mean that only on this Earth do we have a chance to love, touch each other, even hate and feel, then we are back to the elements. Very Nordic! The third came when I gave him a manuscript (that I am still straightening out, nearly 20 years later): "I can't hear the music in it, and the music never lies. If I can't hear the music in it, it is not finished." A simplification of that message might be that the music of a poem tells the story, that poetry has plots quite different from prose, and that it's not up to the poet to make the story but to hear it. Again, very Nordic.
How important are mentors and what do you see are their roles in fostering excellent writing?
What else is there? Creative writing workshops are not a substitute if you believe in long traditions and craft. A mentor can even be wrong. It doesn't matter. One gains courage and then rises to fill it. For example, after I had written only three good poems, Robin made a point of seeking me out specifically at one of his famous Thursday Night Parties. His guests would be artists and writers from across the city, the country and the world, and any students who got the courage to show up.
Robin brought two glasses and a bottle of red wine, poured us both a sloshy glass, and in a passageway between the hall and the dining room raised his glass in a toast to The Goddess, and drank it down like blood. Shaken, I did the same, knowing that he had accepted me into a rather special brotherhood. It took me thirty years to rise to fill that moment. Sadly, by that time Robin was gone.
There comes a time at which one stops quoting one's mentors, as one is the mentor oneself, or at least the message. "One is either the poetry or one talks about it," Robin once wrote, or something close to that. Paraphrasing that, at some point one becomes the poetry. It's not synonymous with literary writing. Poetry is a calling. I am saddened when writers write poetry as if it were fiction. I try to help them see the poetry itself as the message.
Maybe that's the role of a mentor: to help people see with two minds at once by standing in that middle space. Poetry tells stories, of course, but not in the way of "fiction," and not according to the same story-telling rules. In a literary world dominated by fiction, I keep silent about that.
Harold wrote "maybe that's the role of a mentor: to help people see with two minds at once by standing in that middle space." I didn't ask Harold why he sent me this photo of Horsethief Butte located near Dalles, Oregon. Is it because the person is standing on the edge of darkness and light? Or did something happen here that should be written about? Thought-provoking isn't it? A great springboard for a poem! Photo by Harold Rhenisch
Let's chat a bit about editing. You've been the Electronic Writer in Residence with the Canadian Authors Association in Niagara for twenty years and this is the window through which I first met you. (More information about the program can be found its website. Please note you must be a member of the Niagara Branch to participate in this program.) What do you feel is the role of the editor in today's literary community? Should writers personally hire an editor or should writers rely on the editorial services of a trade publisher? I have heard arguments from both sides. Please expand your answer.
An editor is a set of wise eyes with a sharp knife and a smile.
More specifically, when I was beginning, the role of an editor was to encourage a writer to fit into a national style. It fit poorly, but had to be done. Now there is only a global style and editors, in that sense, are redundant. However, the primary task remains: are you going to write poetry or be a poet? Not the same. An editor can guide you through that process.
But, more practically, few trade publishers offer editorial services and if they do they are likely reverting to a market-driven model, which is fine if you are writing as a social gesture and not in a conversation with eternity. Your choice.
What should a writer watch out for when hiring and/or working with an editor?
An editor should help you see what works and should admit when something doesn't and use your response as a guide to find a better solution, drawing from tradition. If an editor just tells you to do something prescriptively, run. That's just book learning.
As an editor, how would you define strong writing? What do you look for when helping a writer to polish his/her manuscript for publication?
All writing is strong writing when it is aware of itself and refuses itself indulgences. No excuses. I look for a sense of language as an art form, a sense of play, and a sense of form. When I find explanation or argument, I skim very quickly until I find story again. When I travelled on the Camino through East Germany in 2010 and 2012, I learned how to follow a story not of my own making, relentlessly, along a burning line. That is the editor's skill: just the story, please. In a poem, however, the story can be the radiance of the colour blue, for example. Delight helps.
Can an editor fix 'bad' writing? Why or why not?
There is no bad writing. There is writing that is poorly arranged or that bounces over the surface. So? I can do that myself. Blush. An editor can cut all that, without guilt, and at the same time encourage the writer to write more. These are skills one can learn from writing play scripts. Everything there is for the jugular.
As our population ages, do you feel that writers have an expiry or best before date? Why or why not?
Marie Louise Kaschnitz came into her own in the 1960s by writing beautiful but very reactionary prose in very revolutionary West Germany. There is absolutely no best before date. I have had many aging clients writing extraordinarily well. The only question is one of audience. The only answer is one of honesty. You can skip two or three generations with honesty. It is hard. The ego you need to push yourself forward is in the end not always your best friend. You might need an editor to stand at your side. The editor's job might be to gain trust. At some point, both must accept the point they have arrived at together. And why not? It is a great journey, no matter how far it goes.
Rhensich believes "poetry is a calling". One day Iceland called him and he answered. His journey took him to a farm built by Icelandic author Gunnar Gunnarsson. Here is Harold near Godafoss, known as the 'waterfall of the gods' in Iceland. Photo by Diane Rhenisch.
In 2017, your poem "Saying the Names Shanty" was short-listed for the CBC Poetry Prize. This is not the first time your work has been recognized. How important are contests (which are often judged subjectively) to helping or hindering a writer's career? Can a writer have a successful writing career without winning or placing in any literary contest?
Anything that encourages a writer to go on in the echoing silence is great. Is the CBC contest important? It was for Gail Anderson Dargatz. For me, with two awards and multiple short-listings, no… except it kept me finishing works I would have otherwise felt there was no audience for… and that's the thing: without audience it is very hard to write at all. Even an audience of one is a boon. It is the greatest gift to another person: to listen. Especially to listen deeply to what they find most important.
You've had a successful career as a writer and as an editor you've helped to polish several books by Canadian poets including Rove by Laurie D. Graham, shortlisted for the League of Canadian Poets 2014 Gerald Lampert Memorial Award. So far, I've read only a couple of your poetry books but I have loved both of them. You have an amazing sense of humour and a broad knowledge base and yet, you can connect with the reader emotionally and spiritually as well. What's next for Harold Rhenisch? Where do you see yourself in the next five years?
Canada is becoming a country divided between various literary and creative writing elites. I hope to make a solid contribution that bridges indigenous and non-indigenous divides. More and more, I find the conceits of literature to be limiting, and am learning to read the land. This is not a new journey.
In 1994, I chose to present a workshop on mythology with Garry Gottfriedson rather than poetry. Garry went along willingly.
In 2009, I walked out of the League of Canadian Poets convention in Vancouver in great pain after being asked to take on Bliss Carman as my poetic ancestor, which was a profound colonial demand. I drove straight to the mouth of the Columbia and followed my river home, like a salmon coming back from the sea. I am still on that journey.
An editor or mentor can inspire or encourage deeper thought. According to Rhenisch, "It is the greatest gift to another person: to listen. Especially to listen deeply to what they find most important." Photo by Diane Rhenisch
I hope, however, to publish a few of my essays on an alternative, old path through poetry. I think the world needs it. There is still much I want to say about Shakespeare, and Puck. Or, rather, that Puck wants to say by me, now that he has my voice.
This has been incredible sharing on your part! I could ask you questions all day, but time and space are limited. Is there anything else you would like to share with the readers? I feel like the conversation has only just begun.
I keep an apple tree called a Benvoulin, and she keeps me. I found her growing wild in a ditch in 1981. She tastes of Riesling wine when ripe and like fresh pineapple when almost over-ripe. Her flesh is white as snow. Our joined ancestry goes back 30,000 years, when bears chose her ancestors in Khazakstan. Robin gave me a poetic tradition as old as that. I think I have been brought to this conversation in order to pass it on. When I published my book Fusion in 2000, it was mocked for its pre-modern thinking. I am older now. I see now what Robin was looking for. Joy is certainly one word for it. Generosity is another.
Thanks Harold. You've been most generous with your time. My hope is that this conversation will inspire others to step outside their comfort zones, to walk down a path less travelled, and to listen in silence for the voices that can steer all of us toward some greater truth.
Harold Rhenisch has published 30 books of poetry, fiction, poetic nonfiction, translation, essays and environmental writing since 1982. He reviews history for The Ormsby Review and is an active book editor and mentor. He lives in Syilx territory in British Columbia.
Follow his blogs for more insight on his thought-provoking work:
Harold Rhenisch Online Home of the Canadian Poet, Writer and Editor.
Okanagan Okanogan Reclaiming the Art of Living on the Earth
A Farm in Iceland Writing With Gunnar Gunnarsson
Steam Punk City – Wituals
The Green Earth Dictionary
*Epigraph is from the poem "Drawing Hands – for Robin Skelton" by Harold Rhenisch published in the book return to open water: poems new & selected (Ronsdale Press, 2007) by Harold Rhenisch, page 65. Copyright 2007 Harold Rhenisch. Used with permission.
Follow this blog for additional Canadian poet profiles and/or literary events.
This entry was posted in blog posts, Canadian Profiles and tagged Books, Editing, Harold Rhenisch, Poety, Robin Skelton, writing on August 27, 2018 by d78hill.
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6 thoughts on "Opening Doors and Windows with Editor Harold Rhenisch"
Heather August 27, 2018 at 4:00 pm
A long blog, Deb, but necessary to celebrate a soul writer and editorial champion.
d78hill Post author August 27, 2018 at 4:23 pm
Heather it was such an amazing experience for me. I was considering a two-part blog post but then at the last minute decided to post it all. Summer reading for the long weekend.
True. Often you break the continuity in a two-part blog.
Penn Kemp August 30, 2018 at 12:35 pm
Thank you for such profound and invaluable reminders, Harold and Deb! Truly moving, and moving into the poem…
d78hill Post author August 30, 2018 at 12:57 pm
Thanks Penn! The big question, where is this literary journey taking us? Perhaps, if we all sit quietly, we may hear the answers, or some of the answers. The world is a mysterious place and Harold clearly pointed that out!
Reblogged this on pennkemp and commented:


I still remember my kindergarten class with Miss Fischer. We did our fair share of learning, memorizing the days of the week, the alphabet and so on. But more than that, I remember singing, playing, and climbing the jungle gym.
It wasn't until first grade that we got down to business. Throughout my primary school years, we had our share of fun. There was music class and art class. We had a lot of fun on the playground at recess too. But the bulk of time was spent in the classroom cramming facts into our brain. Mathematics, grammar, history, science, spelling, etc.
Day after day, year after year, we sat in classrooms all day being taught. Every once in a while they checked to see if we were listening by springing a test or a pop quiz on us.
For twelve years, superiors decided what I would study, when I would study and how my success would be judged. Then in an abrupt change of direction, I was expected to make decisions for myself. It seemed to be a great lesson on how not to succeed.
I was confused for a while. Actually, for a long while. I went to college with an "undeclared" major, finally deciding to get into technology. My decision on a major in technology (it was called Data Processing in those days), wasn't based on any certainty of what I wanted to do with my life. It was based more on the fact that a lot of people seemed to be doing that… so what the hell.
It worked out quite well for me. But that's more because it was a lucky decision than a well thought out career strategy. I've never dismissed the idea that I might just be the luckiest dumbass on the planet.
I don't think I'm alone either. And it appears that the way we raise children today may make it even worse.
There is less play and creativity in school today and more fact cramming. We measure the success of students and teachers alike based on the number crunching outcomes of standardized tests.
When college graduates make the transition into the work world, they are often given orders and told what to do rather than prompting ideas from them. What the hell do these young green employees know? The older folks with all of their experience know better. Besides, that's how it was done when we started out. If it was good enough for us, it's good enough for them.
On the other hand, we hear an awful lot of noise about creativity, problem solving and innovation. We need new ideas. We have all of this technology. How can we apply it in profitable ways? The kid is book-smart, but why can't he solve a problem where the answer isn't in the back of the book?
We spend sixteen years in primary and secondary school "educating" the world's youth. But that education consists of facts and figures. Most of the problem solving is artificial.
There are no easy solutions. I don't claim to have all the answers. But I see a void in non-fact based activities in our education system. Programs like art and music that get students using the other side of their brain have taken big hits from economic cut-backs.
Not every student is an athlete. But there are – or should be – enough extracurricular activities for every student to participate. What if school went until 5:00 every day? The sixty to ninety minutes could be focused on everything they don't focus on now.
If you're not into athletics, there is music, art, chess club, or some activity that uses different brain muscles you didn't use during the day.
Problem solving should be a bigger part of the curriculum. Not absolute problem solving where the teacher compares your answer to the correct answer in the teacher's guide. Problem solving where there are many right answers based on the argument you make for it.
Problem solving where the answer begins with "It depends…" Then the student is required to tell the class what it depends on, what parameters she had to work around and the answer she finally came up with.
There is a famous story about FedEx founder Fred Smith. In business school, he submitted a paper for a Yale economics class in which he proposed the idea of an overnight package delivery company. He received a poor grade on the paper with a note from the instructor that the idea had to be feasible.
How often have you been shot down with "Wrong answer", and never pursued your calling? How often does that happen in schools every day?


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You are here: Home1 / News Items2 / Ninth Circuit Rejects Post-Janus Challenge to Public Sector Union Membership...
Ninth Circuit Rejects Post-Janus Challenge to Public Sector Union Membership Agreements
September 16, 2020 /in News Items /by Peder
September 16, 2020. The Ninth Circuit Court of Appeals today issued a published decision in Belgau v. Inslee, No. 19-35137, rejecting claims by former union members, represented by a conservative advocacy organization, who alleged that their First Amendment rights were violated when their state employer deducted union membership dues that the plaintiffs themselves had agreed to pay in exchange for union membership rights and benefits. The Court joined what it called the "swelling chorus of courts" recognizing that Janus v. AFSCME, Council 31, 38 S.Ct. 2448 (2018), did not invalidate voluntary union membership agreements. Belgau is the first decision from a federal Court of Appeals addressing similar claims.
Altshuler Berzon LLP represented the Washington Federation of State Employees, AFSCME Council 28 in Belgau. The firm also represents the union defendants in many other cases in which federal district courts have rejected similar claims brought against public sector unions by the same conservative advocacy organization, and other similar organizations, in the wake of the Supreme Court's Janus decision.
The Ninth Circuit's decision is available here. Posts about previous victories in similar cases, including in many cases the Court in Belgau cited, can be found here, here, here, and here.
https://altshulerberzon.com/wp-content/uploads/AB-logo.png 0 0 Peder https://altshulerberzon.com/wp-content/uploads/AB-logo.png Peder2020-09-16 16:53:362020-11-23 23:21:16Ninth Circuit Rejects Post-Janus Challenge to Public Sector Union Membership Agreements
Sixth Circuit Rejects Constitutional Challenge to Exclusive Representative Collective... Altshuler Berzon LLP Partner Named One of the "Top 100 Attorneys in Calif...


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The best thing to do is just keep reading the spoiler threads, anything we know will make its way there!
Thanks for the welcome. Nice to be here. Finally I found my way here and I look forward to meeting other TAR fans. TAR is the best reality show ever made.
TAR 13......two flights to Brasil.
TAR 16......two flights to Chile.....but all teams ended up on one, due to problems with plane and jumpy racers.
Just wanted to say, American Airlines is no longer a sponsor for the race. That changed when Season7 aired, the sponsorship is now with Travelocity.
I thought the racers, when they are sequestered before the race, are forbidden to use electronic communication devices except during the race when they can book flights/travel arrangements?
mjriches, there may still be something with American Airlines. If you go through the seasons since seven, many first leg flights still have an American Airlines flight involved.
Probally not, its a crime to impersonate someone on the internet if its a blog or tweet if I'm not mistaken.
You are certainly correct there.....but what if........and I know this takes a great leap of faith......but what if American Airlines owned Travelocity.....could we say that American Airlines was in fact a sponsor?
American Airlines doesn't own Travelocity. If it did, why would Travelocity list airlines that are American's competitors (United, Delta, USAir) then? Travelocity is not owned by any airline!!
I'm surprised nobody has been jumping the gun yet into speculating who will be eliminated.... [dramatic Phil pause] FIRST!
If Micheal and Kevin are really back they better be eliminated FIRST!!!
IF production did split the teams between QF 12 and QF 108 with the first teams to the airport on the first flight and slower teams to the airport on 2nd flight....the irony is the slower teams will get to Sydney first. I remember that happening in TAR 6 and TAR 7 5.......due to flight delays on 1st flights.
I want to think good thoughts for all of them while they're up in the air and wish them safe travels in real time. I'm actually quite pleased to see for the second season in a row there are no more than (possibly) 3 teams I don't like.
Before TAR 15 started, TPTB encouraed Maria and Tiffany to continue to post on their Twitter and Facebook accounts, up until the day before the race actually started.
It's not like jet planes dont have internet acccess anymore......do you think they might be still following TPTB instructions to continue to post?
I'd much rather we found out some of the sightings are fake and KenTina, RonChris and NateJen are back instead!!
IMO, Nate & Jen are way more deserving than a few of the selected teams.
I think there were two flights here. *goes to check* Yeah, two flights. First one held five teams, second one held six. I might be mistaken on the distribution.
QF108 is 28 mins from arrival...?


dad calls to say that time's at a standstill. the length of the day has neither increased nor decreased. 0.00 +/- he says. he reads a newspaper so he must know.
far ringer for at sige, at tiden står stille. dagens længde er hverken tiltaget eller aftaget. 0.00 +/- siger han. han læser aviser, så han må vide det.
or think we need to?
når vi har brug for det?
"Timglaset #8 has a list theme and is in itself a list – five booklets in 105×297 mm format held together by a banner. Absurd lists, angry lists, visual lists, list poems, a list which is a game, list skeletons, a library list, a list without items, stolen lists – it's all in here. Contains visual work and written pieces, the vast majority of which are in English.


I have an 88 and that inch is what I have, so I think you are good to go.
Awesome. I bought this thing completely disassembled, no pictures or anythng, so it's been quite a mystery putting this thing back together.
If you need pics of anything let me know and I will post them in my album.
Machining Stock ezgo 4 stroke Drive Clutch Big Block Talk!


Tokai Forum - a subsidiary of TokaiRegistry.com :: View topic - reborn old help please! please!
reborn old help please! please!
Posted: Tue Jan 18, 2005 7:18 am Post subject: reborn old help please! please!
i bid about half what the price is now and it kept saying someone had bid higher so i went higher cuz i got pissed off and now im the high bidder and really worrying about whether iv just made a stupid mistake and whether i should be praying somebody outbids me!
can you guys tell me if this example is any good, wether you would bid etc, as i dont know alot about telling a good one, i only know that the reborns are supposed to be good and becoming rarer.... help! aarrgghh!
Hi Charlie, well first? RELAX,? the guitar looks good & someone will easily outbid you (& if they don?t you?d be getting a bargain ? assuming it all works properly of course) .
OK, it?s model LS50, and as far as I can see it looks all original (really need better photos). I?m assuming you?re in Germany, so you?d pay no import Tax & postage is only 10Euro ? in which case I think it?s probably worth around 900Euro. Not saying you should pay 900Euro, because you might hate it, & old guitars often need extra money spent fixing fret problems & having proper pro setup etc. But up to say 750Euro I think you could probably resell at a small profit anyway (again, assuming it?s all original, in good undamaged condition, all working properly) .
If the condition is as good as the owner of the guitar claims I think it's really good buy at that price. The early (T)LS-50's are really good guitars. I have a 1984 TLS-50 Love Rock goldtop and I love it, the build quality is excellent and the Reborn is probably even better.
haha thats a relief. i do really want one of those though.
im in the uk actually, ebay seems the only place you can really get one. went for that one as it was a bit closer than the usa or japan which is where they normally seem to come up. who here from the uk has bought from japan on ebay? did it go smoothly? iv seen plenty from katana guitars or something like that but always been hesitant to buy from such a long way away with out having seen it! are those guys generally pretty trustworthy?
i dont know if you might frown on me for this as i dont know whether you guys like stuff which isnt tokai, but what about these?
again i dont know much about these, but i read somewhere theyre made in the same japanese factory as tokai? would these be a good buy? they are both '92, so not as old as the '80 reborn, do they compete?
Well Orville by Gibbo is fine (better than Orville), but I?d pay more for Tokai, & much more for a Tokai Reborn. Those Orville?s have a soft gig bag, whereas I think that Reborn has original hardcase, & those cases are sought after in their own right. Import from US will add 23% to total costs (inc. VAT & Duty on the $140 shipping), whereas I believe the Reborn is duty free from any EU country ? no brainer really LoL! Just my 2cents, other may disagree .
Ps- I believe Tokai are one of the few truly independent makers who?ve always operated from their own factory ? don?t think they have Orville or anyone else in there .
Regarding these two auctions. The prices are way too high! I used to deal exclusively with that seller and he is a great seller. However, I got a Burny Les Paul from him with a warped neck and he pretty much said he would do nothing. Besides I would go for the Tokai guitars, they are much cooler.