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VIDEO: This Eid, we have more than one reason to celebrate. We just turned 75
Every Moser is thoughtfully crafted to offer an excellent styling experience.
There is so much to celebrate this Eid. As the world pulls itself back up after a harrowing pandemic, this auspicious occasion holds a special significance for us at Moser, as we mark 75 years since our journey began.
Moser has been a mainstay of the grooming industry since 1946. A 20-member team led by the industrious engineer and entrepreneur Kuno Moser has today grown into a worldwide brand with a presence in over 100 countries, under Wahl GmbH.
As a leader in the Middle East's professional grooming industry, Moser is proud to be an indispensable part of every special occasion. Helping people look and feel their best for the most important celebrations of their life is a mission that is close to our hearts.
Moser Li+Pro²
Based and manufactured in Germany, Moser embodies the country's legendary spirit of precision and innovation. Every element of their trimmers and clippers are carefully engineered to empower stylists and professionals to deliver a cut above the rest. Sleekly designed and streamlined exterior casings house powerful, efficient motors. Every Moser is truly a piece of engineering excellence.
Stars of the show
Every Moser is thoughtfully crafted to offer an excellent styling experience. But the Moser 1400 has proved to be the most coveted model of all. This iconic clipper has a cult following among stylists and professional barbers, thanks to its unbeatable precision and performance.
High-grade, precision-ground stainless steel blades in the 1400 make for safe yet effortless styling, while its silent-but-powerful oscillating armature rotary motor provides a seamless cut and experience. Featuring everything a stylist needs, it's no wonder that this ubiquitous model has sold over 50 million units globally as of 2021.
Moser Li+Pro² line up
The LiPro2 and the LiPro2 Mini are close contenders when it comes to popularity. It features an intelligent display on a classic silhouette. The blade takes centre-stage here – the carbon-coated Diamond Blade stays razor sharp for years together.
The LiPro2 tactfully and easily handles all hair textures and is geared to help stylists perfect even the most intricate styles on any kind of hair.
Stellar quality, consistent performance
Moser trimmers and clippers are made in Germany and carry an assurance of quality. Every product is tested extensively for safety before it is sent out to the rest of the world.
When designing and manufacturing a product, Moser ensures that it is in line with their global standards of performance. From using excellent materials to ensuring exquisite craftsmanship, every stage of the process has been perfected over the years to give customers a world-class product that helps them elevate their grooming experience.
Over the last seven decades, Moser has upheld its tradition of maintaining only the highest levels of quality and efficiency.
Moser 1400
The Original. 40 million sold globally
MOSER is proud to be ISO 9001 & 14001 certified for quality management & environmental management, respectively.
Throughout the Middle East, Moser has made its mark. Today, 'Moser' is often used as a synonym for 'clipper'! Like many Arab nations, Moser too has enjoyed rapid growth, fuelled by visionary leadership and a passion for excellence.
Grooming rituals are an important part of Middle-Eastern culture, and help people feel more confident about themselves. That's why Moser has remained unwaveringly true to its mission of making this feeling equally accessible to everyone, by providing professional barbers a means to achieve clean cuts to satisfy even the most discerning customer.
The perfect pandemic-proof Eid gift
Moser's wide range of clippers and trimmers cater to many audiences and pame the perfect Eid gift. There are easy-to-use home-use products for those who prefer to style from the comfort of their homes. Professional tools are designed for stylists and barbers who aim for precision and efficiency, without compromising on quality.
Moser Professional Cord/Cordless Hair Clipper with a user-friendly, intelligent display.
Gifting a Moser means that your loved ones can take extra steps to ensure their safety when visiting the barber or stylist. They can choose to carry their own Moser styling tool to the barber, ensuring that they will be the only person the trimmer or clipper ever comes into contact with. Easily available across the Middle East, you can even ask your barber for a recommendation on which tool will make the ideal gift.
Moser trimmers and clippers are designed to be cleaned and sanitized easily. After a grooming session, your loved ones can simply follow the instructions provided to clean their product and keep it ready for its next use.
A haircut is more than what it seems – it helps people feel great about themselves. This Eid Al Adha, gift a Moser and you will be gifting your loved ones the opportunity to build their confidence with a safe and hygienic way to continue visiting their stylist or barber.
Available for every kind of need and to suit every budget, shop for a Moser to show your loved ones that you truly care about their wellbeing.
Please visit the link for further details on products: https://www.facebook.com/MoserProMEA
Hair Care Lifestyle
VIDEO: Woman who glued her hair to style receives internet's help
An American woman posted a video on TikTok last week explaining that she used "Gorilla Glue" industrial-strength spray adhesive after her regular product ran out. The glue left her hair in the same position for a month, has raised more than $15,000 for possible surgery.
Prepare your hair before styling it
Agnes Chen, Technical Head, Streax Professional, lists down some tips to keep in mind while prepping your hair for a special occasion.
6 ways to make weak or damaged hair stronger
"A pre-wash bonding treatment like Olaplex No 3, which should be rinsed out before you shampoo, will rebuild those broken bonds and strengthen hair from within," suggests Brisker.
The humble bar of soap is back
According to a number of brands, the old fashioned bar of soap is making a comeback in the world of beauty and is experiencing a noticeable growth amongst a new generation of users.


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You Can't Do That On Stage Anymore Volume 4
Rykodisc Records, 1991
Frank Zappa wanted his monumental six-volume, 12-CD set You Can't Do That On Stage Anymore to capture all facets of the life of a touring musical band, positive and negative. Today, we continue our year-long retrospective of this set with our look at You Can't Do That On Stage Anymore Volume 4 (hereafter referred to as YCDTOSA4), the first volume that tests the patience of the listener.
For the bulk of the first half of the series, Zappa seemed to focus on solid musical performances, with a little bit of goofiness intermixed in. On YCDTOSA4, Zappa moves into a more improvisational study of life on the road with his band and the Mothers Of Invention - and the picture it paints isn't always that pretty.
As with all the volumes we've looked at so far, this two-disc set includes some interesting performances of both well-known and loved songs as well as some that casual fans of Zappa's might not be familiar with. Early on in this set, Zappa wows with performances of "Stick Together," "My Guitar Wants To Kill Your Mama" and "Willie The Pimp" (though this one will never sound right without Captain Beefheart on vocals).
Surprisingly, some songs which are considered classics in the Zappa catalog aren't done any justice on YCDTOSA4. The constant noodling on "Stevie's Spanking" gets damned annoying really quick, while an early version of "The Torture Never Stops" (featuring the previously mentioned Beefheart) is an interesting look into the history of the song, but offers little more than that.
Still others fall under the "diehard Zappa" heading, such as the inclusion of "The Evil Prince" from Thing-Fish, an album I never liked. (Yes, I still have to review it here... patience. I still owe someone a review of Lather after this retro series is done.) Likewise, the two selections of solos - one from a 1984 performance of "Let's Move To Cleveland", one from a 1978 rendition of "Pound For A Brown" - are far too self-indulgent, as is the ambient noise of "You Call That Music?". Zappa himself would probably have loved that the latter piece is not understood; it would most likely have reminded him of Edgard Varese, whom he idolized.
There's enough on YCDTOS4 to satisfy the curious and provide them with a window to the world of Zappa's influences. A six-song suite (taken from two shows) of older numbers, such as "Little Girl Of Mine," "Johnny Darling" and "Mary Lou", show the importance of r&b on Zappa's music - even if sometimes it seemed like the polar opposite of what these six songs sound like. (Another waste is the band's rendition of "Take Me Out To The Ball Game".)
There's also plenty of humor (albeit on the bizarre or scatalogical) on this set. Tracks like "Little Rubber Girl," "Tiny Sick Tears" and "Smell My Beard" should provide a few laughs, even for the uninitiated. Those who are easily offended are advised to approach these tracks, and others like "Church Chat," with extreme caution.
Still, there's a sense that this set was lacking something. Maybe it was the fact that there are no liner notes detailing stories behind the tracks as there are on the remainder of the series. Maybe it's that this particular set tries to accomplish too much in a two-hour-plus span of time. I could venture guesses as to why this is, but since I don't know any details of Zappa's situation at the time, it wouldn't be responsible of me to speculate.
YCDTOSA4 is probably best reserved for the diehard masses who followed Zappa until he stopped touring in 1988; it certainly is not the disc I'd choose to start a new potential fan of Zappa's with. And while the album has grown on me more over the years, it still isn't up to snuff with the preceding three volumes.
Would the set improve? We'll have to wait until October to find out...
Rating: C+
© 1998 Christopher Thelen and The Daily Vault. All rights reserved. Review or any portion may not be reproduced without written permission. Cover art is the intellectual property of Rykodisc Records, and is used for informational purposes only.

redpajama_set_name: RedPajamaCommonCrawl


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Ма́йкл Ле́йтам Па́велл (; 30 вересня 1905, Біксбург, Кент, Англія — 19 лютого 1990, Ейвнінг, Глостершир, Англія) — британський кінорежисер, сценарист та продюсер, що зняв понад 60-ти фільмів, найзначніші з яких — спільно з Емериком Прессбургером. За назвою заснованої ними студії The Archers Павелла і Прессбургера прозвали Лучниками.

Біографія
Майкл Лейтам Павелл народився в сім'ї фермера. У юності влюбився в кіно, залишив роботу в банку заради того, щоб замітати підлогу та розносити провізію на знімальному майданчику. Допомагав А. Гічкоку в роботі над сценаріями його перших фільмів, включаючи «Шантаж» (1929). У 1930-і роки починає самостійно знімати малобюджетні трилери і комедії.

У 1939 році Павелл був найнятий продюсером Александром Кордою, який доручив йому «врятувати» фільм «Шпигун у чорному», що знімався для двох зірок, — Конрада Фейдта і Валері Гобсон. На знімальному майданчику Павелл познайомився зі сценаристом Емериком Прессбургером. Незабаром обоє зрозуміли, що, будучи повними протилежностями за особистими якостями, дотримуються схожих поглядів на кіномистецтво і прекрасно можуть спрацьовувати. Після фільмів «Контрабанда» і «49-а паралель» вирішили виступати на рівних правах як сценаристи, продюсери і режисери під ім'ям «Лучники» (). Зняли 19 фільмів, більшість з яких донині вважаються класикою британського кіно: «Один з наших літаків не повернувся», «Життя і смерть полковника Блімпа», «Сходи в небо», «Чорний нарцис», «Червоні черевички».

На початку 1950-х років фільми Лучників виходять з моди. У 1956-му творчий союз Павелл-Прессбургер розпадається. Грандіозний скандал, яким супроводжувався вихід новаторського фільму Павелла «Той, що підглядає» (1960), фактично поставив хрест на його кінокар'єрі.

Імена Павелла і Прессбургера допомогли повернути із забуття їхні голлівудські прихильники — Френсіс Форд Коппола і Мартін Скорсезе. У 1980-і роки в найбільших кіноінститутах були організовані ретроспективи робіт Лучників. Незадовго до смерті Павелл встиг підготувати до друку ґрунтовну автобіографію «Життя в кіно» (, 1986).

У 1957 році Майкл Пауелл входив до складу міжнародного журі 10-го Каннського міжнародного кінофестивалю, очолюваного Андре Моруа.

Значення
У списку ста найкращих британських фільмів за версією Британського кіноінституту Майклу Павеллу належить п'ять фільмів (більше — сім — лише у Девіда Ліна). Американський кінокритик Дейв Кер вважає фільми Лучників найвизначнішими в історії англійського кіно. Під час масштабного опитування кінокритиків журналом Sight & Sound (2012) частіше за роботи Павелла-Прессбургера називали тільки фільми Р. Брессона. Павелл займає 22-е місце у списку найвидатніших кінорежисерів усіх часів, за версією журналу Entertainment Weekly.

Особисте життя
З 1984 і аж до своєї смерті в 1990 році Майкл Павелл був одружений з кіномонтажеркою .

Фільмографія

Визнання

Примітки

Автобіографія
 Michael Powell. A Life in the Movies. Heinemann, London, 1986 ,

Посилання

 Сайт про творчість Майкла Павелла і Емерика Прессбургера

Англійські кінорежисери
Англійські сценаристи
Британські кінопродюсери
Померли від раку

redpajama_set_name: RedPajamaWikipedia


text:
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Disruption Banking
Disruption BankingCryptoPrincesse Gisela of Liechtenstein discusses Crypto
Princesse Gisela of Liechtenstein discusses Crypto
It was recently reported that Goldman Sachs has suspended its plans for a cryptocurrency trading desk. According to Vitalik Buterin, the developer of Ethereum, a blockchain platform that runs on the Ether cryptocurrency (the second-most valuable cryptocurrency after Bitcoin) delaying institutional trading for several years is a sensible move, since the market has to settle.
In an interview with Bloomberg, he tamped down expectations and emphasized that he does not see potential for any more of the extreme growth cryptocurrencies have experienced over the past few years. After the blockchain and cryptocurrency hype in recent years, it is now time to develop the technology's more practical applications, he said.
At the core of a blockchain system is information arranged in a sequence that is uniquely identifiable to a person (physical or legal) and can be safely transmitted from one user to another. This information can have various functions and can be used multiple times. In the case of cryptocurrencies, owners can transfer digital money to third parties through blockchain technology. The blockchain then acts as a payment system, working with the user interface, like a wallet app on a smartphone.
In the cryptocurrency world, the sequence of information is called a "token." There are systems (Bitcoin), in which this information is, technically, not designed as a token (a token could represent, for example, any number of bitcoins). The term denotes the transferability of this information and its freedom from external influence.
"Blockchain fulfills the ideal conditions for digitizing money, assets and intellectual property"
Blockchain technology ensures that this information is easy to interpret and cannot be copied, modified or changed, providing a high degree of system security. As a result, it fulfills the ideal conditions for digitizing money, assets and intellectual property.
Centralized vs. decentralized
Money is a means to facilitate the exchange of goods and services and to set a comparable price for that exchange. It also stores value between exchanges. These savings (the stored value) can also be borrowed against interest and put back into the economy, giving the savings an important function in providing capital.
The value of today's major currencies is based on trust in the central banks and state treasuries, and the belief that other actors will accept this money at face value. It also requires trust that the banking system will properly keep, allocate and transfer funds. This system is centralized and requires reliable intermediaries.
On the other hand, cryptocurrencies are based on a direct exchange between purchaser and seller. It is a decentralized system in which the blockchain provides the necessary ledger. This allows essentially anybody to start a currency. Along with the three leaders – Bitcoin, Ether and Ripple – thousands of smaller currencies have sprung up. The Swedish National Bank even has plans to issue its own cryptocurrency, the e-krona, while Venezuela launched the "petro" cryptocurrency in February 2018. Liquidity is created by so-called "miners," who earn a small amount of the cryptocurrency for each transaction they process. The blockchain technology limits these operations, preventing unlimited quantities of the cryptocurrency from being created.
To raise equity, an Initial Coin Offering, or ICO, system was developed. This uses the blockchain technology to replace the stock market, and effectively decentralizes its function of supplying capital to the economy.
Polarized approach
As with any revolutionary new technology, the use of blockchain to create independent currencies raises fears and expectations about potential winners and losers. In this case, the discussion is polarized and frequently emotional. In some countries, like China, cryptocurrencies have been banned. In others, like Luxembourg, authorities have warned financial intermediaries against engaging in cryptocurrency trading. In contrast, the canton of Zug, in Switzerland, allows taxes to be paid in Bitcoin. The Liechtenstein Financial Market Authority introduced a regulatory laboratory for new applications. Liechtenstein is also preparing a law that will regulate blockchain business models, to provide legal certainty for the market.
VITALIK BUTERIN, WHO DEVELOPED THE ETHEREUM PLATFORM, SAYS THAT THE MARKET SHOULD FOCUS ON THE PRACTICAL APPLICATIONS FOR BLOCKCHAIN TECHNOLOGY AND CRYPTOCURRENCIES (SOURCE: DPA)
Benefits and drawbacks
The technology offers monetary applications that could be tailored to the specific needs of value chains in today's global sharing economy while still being able to mesh with other monetary systems and currencies. It could also provide liquidity for smaller entities, such as municipalities, that need financing or payment solutions.
"The trustworthiness of the technology, developers and owners of such currencies will have to be proven"
However, there are still issues that need resolving. Allegations that the transactions are anonymous and might therefore facilitate money laundering have to be addressed. In fact, in most cases, such transactions are not anonymous, but markets need the comfort of knowing for certain. Total anonymity is impossible to achieve. Yet this also raises the concern of how to protect the privacy of parties engaging in such transactions – so necessary in financial matters – in a decentralized environment.
Concerns have also been raised about the possibilities of committing fraud using the technology, which some perceive as immature. Hypothetical cases of "51 percent attacks" (whereby a single entity or group gains control of the majority of the system and can therefore alter the blockchain) would also need to be addressed.
Compared to the central banks, these systems are still very limited in capacity and speed. Substantial development work is still required. Mining cryptocurrencies consumes huge amounts of electricity due to the enormous computational power required, especially when it comes to currencies like Bitcoin. But like the fiat money issued by today's central banks, cryptocurrencies are not backed by any tangible asset. The trustworthiness of the technology, developers and owners of such currencies will have to be proven.
The regulation question
Shifting control away from the lawyers and regulators who form the backbone of our current monetary system, to programmers designing blockchain frameworks for transactions will also pose an interesting challenge. How much regulation will be required? This crucial question arouses plenty of debate. Hopefully, reasonable solutions can be achieved between the promoters of supposedly "safe" centralized systems and the new decentralized peer-to-peer applications.
CRYPTOCURRENCY MINING OPERATIONS, LIKE THIS ONE IN SWITZERLAND, REQUIRE HUGE AMOUNTS OF COMPUTING POWER. THEY EARN CRYPTOCURRENCY FOR EACH TRANSACTION THEY PROCESS (SOURCE: DPA)
Governments will certainly want to keep control of money through central banks and monetary policy. It is extremely unlikely that countries or supranational institutions such as the European Central Bank (ECB) on behalf of the European Union will renounce these functions. To maintain this control, they can either ban cryptocurrencies or enact regulations tough enough to strangle the technology.
As in many other cases of young, emerging technologies, a bubble is forming in cryptocurrencies. The first cracks have already appeared, and the bubble will eventually burst, clearing space for a functioning system to develop. Yet a danger exists that this pending bust might provide a pretext to curb innovation.
Blockchain with improved scalability will increase efficiency in many areas: logistics and supply-chain control, healthcare, public administration (for land, car and company registries), smart contracts and more. In the financial industry, it might replace some banking functions, such as payments, custody and accounts – even independent of cryptocurrencies. The first industrial applications have been in trial mode, such as De Beers' diamond supply-chain tracking, which provides asset-traceability assurance in cases of concerns about gems being used to finance violence (so-called "conflict minerals"). Others are set to launch soon, including Komgo and VAKT, which are trade platforms backed by energy companies and financial institutions.
Politics and monetary policy
The central banks of the world's largest economies guide global monetary developments through economic interdependence. The United States Federal Reserve, the European Central Bank and the People's Bank of China are in the lead, while others, like the Bank of Japan and the Bank of England, make up the second tier. Other central banks have de facto lost much of their monetary sovereignty.
With the creation of the euro currency, most European countries delegated their monetary policy to the ECB. That governments were ready to give up this important instrument of power inspired great hope that the ECB would conduct responsible monetary policy, independent of politics. The reality, however, disappointed. Together with the Fed especially, but also the Bank of Japan and the People's Bank of China, the ECB tried to stimulate the economy with cheap money – destroying savings, creating asset bubbles and supporting irresponsible public expenditure and public debt through quantitative easing. In the long run, such policies can damage a currency's value and erode trust in the institution that issues it.
"It is often in a country's long-term interest to give up political control over its currency"
Some countries, either because they are small or because they want to keep politicians from manipulating their currency, have chosen to use a foreign currency. For example, many countries have adopted the U.S. dollar as legal tender or have pegged their national currency to the dollar. Montenegro, which is not a member of the eurozone, has made the euro its official medium of exchange. These examples show that it is often in a country's long-term interest to give up political control over its currency. The stability of currencies like the Swiss franc and the old Deutsche mark is based on the issuing institutions' successful resistance to the expediencies of short-term politics. For reasons of efficiency, Liechtenstein forms part of the Swiss franc area, which includes the advantage that the Swiss National Bank acts prudently and has broad autonomy.
However, loose monetary practices and overly bureaucratic regulation of the financial industry have caused people to look for alternatives. A traditional one for savers is gold, but it is unsuitable for payments. Now, many see an opportunity for cryptocurrencies to meet this need.
Liechtenstein is likely to be a pioneer, advancing pragmatic, innovative regulation and supervision for cryptocurrency transactions and ICOs. This approach can allow the industry to develop sustainably while giving those who use such services the peace of mind they require. Those offering such services in Liechtenstein will have to be qualified financial intermediaries, assuring business is conducted responsibly and professionally. They will have to fulfill international standards to prevent money laundering and respect best-practice rules. The Liechtenstein financial services authorities will supervise these intermediaries. It is a promising project, aiming to create a safe and efficient system.
This fits with Mr. Buterin's view that the sector must settle, and that practical applications have to be implemented. Unless the technology fails to develop according to expectations (which appears unlikely) or is stifled by legal bans or burdensome regulation (which seems more probable), we may finally see scenarios in which traditional money is complemented by these new technologies, with trusted nonpublic agents issuing stable currencies and providing useful financial instruments.
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Information Obligations


This is how my single move car cards work. Below the headings on the first blank line is the car identification. The next blank line below the "From-To-Loading" heading is for one move. Usually a car only moves once per session, but there is no reason why it cannot move multiple times by filling out the next empty line whenever desired. "Whenever desired" can mean many things. It may not move for several sessions, or that type of car may be needed elsewhere, because there is a shortage of the type, so it would move in the same session again. Or it may be in the way in a yard which are typically far too small to hold all the cars that our operations bring to them, so a yard overwhelmed by cars may slow down a whole operating session. With single move cards any local yardmaster may initiate car moves to clean out his yard, if that is allowed by the operating rules of the layout, and such rules can be easily added. All that is required is an extra locomotive, throttle, engineer, and permission from authority to form and move a new train out onto the main. There may be other reasons for such special or extraordinary trains, and all can add flexibility and realism to a session. But most commonly, there is no realistic reason to move all cars along at the same pace of one-move-per-session. Some should stay to be loaded or unloaded a day or few days; others may move to and away from a given loading dock in a fraction of a day. On the Wyoming Division I encourage my road crews to mark up cards and move them along on their own! This may shock some, but consider: viewed from a satellite, real car moves probably resemble ants scurrying about apparently randomly. In truth, like ants, each car has a destination and purpose to its move, but viewed globally on a layout, stays at locations, are helter-skelter, because customer needs are random on the scale of the whole layout. It is not realistic to require that cars only (usually) move once per session, and (usually) always once each session. Ideally, a real railroad moves its cars as soon as possible to put it back to work and to avoid demurrage charges. And customers want the car emptied quickly and moved out of their way, and to avoid charges. No one in the real world wants cars to sit till the next work session. So I tell my road crews to sensibly move cars along by marking the cards for the next move either for that crew to take it, or for the next crew to take it soon. And as always, wherever the car moves the card stays with the car in a fascia pocket or on a road crew's clipboard. With a single move car card, the car stays or moves according to the bottom line that is partially filled out. "Partially" means that the move is not complete until the "Loaded" or "Unloaded" space is filled in. When it is filled in, the next line or move begins, either when it is filled in later, or if desired as a string of pre-set moves planed in advance. Thus the single move card can and should move the car often during a session, and furthermore a card may contain multiple moves if desired. The last 2 columns keep track of where in the sequence of moves that car is. The car's location on the layout is determined by where it actually is, or course, but the card should be with it, and marked at that location in the first column. To be specific, below the identity line is an array of spaces, the columns of which are "From," "To," "LD," "MT," "LCL," and "Unloaded*." "From" and "To" are obvious. The others should be checked if the car carries a load, is empty, or carries LCL freight, and the "Loaded" or "Unloaded" column is to show the move was completed. For example, a car may be completed in set up or when car has been there "long enough" completed in set up or when car has been there in Cheyenne "long enough" as determined by "customer" or "freight agent" (operator) Full: loaded Checked after "long enough," or MT: To be checked when car is emptied (during Session or otherwise), or LCL: To be used only for LCL cars i.e., left blank since the car is loaded. Loaded: To be checked or dated when loaded (date also shows session) Unloaded: To be checked or dated when car is emptied The above example car card would be marked like this: Figure 5. Car Card marked for move from Cheyenne Frontier Oil to Sinclair Oil near Rawlins (Italics indicates hand written entries) Continuing with the car with the card in Figure 5, assume that it has been at the Sinclair Oil Refinery long enough to unload it, but since tank cars are not plentiful on the Wyoming Division, someone—say at Frontier Oil Refinery—badly needs tank cars. Someone else, a nearby yardmaster, the layout owner, or even any conductor/engineer who has been so notified by anyone in charge of such things, may start the car's move back to Frontier by marking the next line thus: Figure 6. Car Card marked for next move using next (2nd) line Here on the next blank line the next destination, "Frontier Oil" has been written in and the car marked as empty with a check mark in the "MT" column. It is acceptable but not necessary to copy the last "To" (Sinclair Oil Rawlins) down and to the left to fill in the new "From" space, because since it went to that location the last move, it must be from that place this next upcoming move. But it is easier and quicker to draw an arrow down from the previous "To" to the next "From." Now that the next move is added to the card, the next train headed east from Rawlins to Cheyenne that is of a type that can make stops for pickups should take this car to, or at least toward Cheyenne. I phrase it that way, "of a type that can…" because on the Wyoming Division such a train has to be either a "Manifest" or a "Local" (see below in the Block Cards Section), and it must have a locomotive that can pull the added car (see below in the Locomotive Cards Section). These two requirements are rules of operation on the Wyoming Division layout, and not necessary to the Four Card Car Forwarding (FCCF) system. Your layout will have its own rules and may not need all four cards. This single move nature of the car cards gives great flexibility without extra cards or markers in a small envelope, and in fact no envelope is needed, and the "waybills" stay in the Caboose. A single move per session or multiple moves may be made for any or all cars, and in setup you do not have to plan several or 4 moves ahead of time, although you can if you want. Therefore, initial setup is a breeze. With 4 cycle cards you turn the cards between sessions. With single trick car cards, you write the next move on the card between the sessions, or not. If you have few operators for the next session you may not want to pick up all cars or from all spots that session, so you do not add a move to a few cards. And if you have dated them in the "Unloaded" column, you can track their history. There are 18 lines on the card. After 18 lines, the cheap cards are so worn that it is a relief to make a new card by filling out the identity line, and that is very easy to do. The single move car cards are especially useful for LCL cars. In the following example, rather than marking the card as full in the "Full" column, it is checked in the "LCL" box were checked. There is no need to check the "Full" box, but it can be checked both "Full" and "LCL." Therefore, for either the "Full" or "LCL" case, a check later applied to the "Loaded" or "Unloaded" column means the car is ready for other duty. Figure 7. LCL Car Card (Uses the same blank card marked differently) For an LCL car and card, a check applied to the "Loaded" column with no check on the same line in the "MT"column would indicate the partial unloading had been done, because the "LCL" column would be still checked. Thus the car card can easily be adapted to make LCL cars and cards by simply filling out a whole string of "To" locations running down the car and marking the corresponding "LCL" boxes in that column with a check. Such an LCL card is shown in Figure 7 above. In this LCL car card example, the car has been moved along to several freight houses (FH) and after only a short time that same day has been unloaded partially, and perhaps some freight added to it at each stop, and the "Loaded" column is checked to indicate that that part of its move had been completed. At the last location filled in, a check is placed in the "Unloaded" column if that car's moves are done. To keep a record of when the activity was completed, use dates in the "Loaded" and "Unloaded" columns instead of check marks. On the Wyoming Division I have LCL cars and cards at nearly every freight house or team track with the cards directing the cars to be moved both east and west, and road crews are expected to bump them along in the correct direction, and then to mark the car to cause the next move! For non-LCL cars when the "MT" space is checked the "Unloaded" box may be dated as a confirmation of the end of that move, but it is not absolutely necessary. Such dating does, however, provide a convenient place to date the end of the last move, and thus the date of the last session this car was moved. If no date has been entered during the session, and it is desirable to record it to note the date that the car was last used, it can be entered after the session. Likewise, a car that was last moved with its card checked "MT" and left in the proper destination should be checked "Full" after being in the new location in a long enough time for that work to be done. Road crews can and should do so, but with discretion, to make the stay at the new location is reasonable. To repeat, there is no realistic reason for all cars to be marked at the same time, i.e., in setup as in turning 4 cycle car cards. The cards are also the intentionally large size of ¼ page of card stock, and this makes them easy to write on and to handle. No envelope means they lay flat and are easy to put on a clipboard or in an apron. The drawback is that the fascia boxes are also large to handle them, but they can be stacked as shown below. A final point is that while flexibility is gained, care must be taken to keep the railroad "balanced," so that cars flow both directions in approximate equal numbers or as otherwise required, so as to not run out of cars at some location in a future session. But this can be done pretty much visually on most layouts, if the movements are not constrained by preplanning. If unbalance occurs, and if the car forwarding system is flexible enough it may be easily corrected on the fly. This makes for more realistic and reasonable movements. Real railroads often have to move empties to needed places, so if you also have to, it is good. I have never had the need to plan ahead to balance the Wyoming Division, and that may be because of its size and the fact that staging is double ended. It does seem that the single trick plus block cards tend to automatically balance the road. Block Cards Most freight traffic on the prototype Wyoming Division was in blocks of cars from east of Cheyenne to west of Ogden or west to east. Blocks were switched, and we follow prototype practice these ways. For blocks headed east from Ogden to either points east of Cheyenne or points south of Cheyenne we use the convention on the layout that "North Platte" or "NP" is the destination off the layout east of Cheyenne (staging), and "NP" can mean Chicago, Marysville, Kansas on to Kansas City or St. Louis or any other eastern destination or origin. Likewise, south of Cheyenne is "Denver" by our convention, and that word means Denver, or Texas, or New Orleans, Miami, or anywhere else we want it to mean. For destinations or origins of blocks of cars west of Ogden we similarly conventionally use "LA," "Colton" (PFE loading), "Oakland," and "Roseville" (Roseville, CA for PFE loading) as code names. We also use "Portland" as a conventional name for destinations or origins of blocks of cars northwest of Ogden that go that direction via the Oregon Short Line (OSL). This branch line becomes hidden track at Granger, Wyoming, just west of Green River and leads to a separate "Portland Staging." Diagrammatically the situation looks like this. Figure 8. Routes for Blocks on the Wyoming Division lead to a natural method of naming trains Inside the rectangle is the layout proper; outside the rectangle are staging areas and the imaginary locations in the staging areas. We use these imaginary locations as code names to name trains. Thus an east bound train might be "Roseville-NP PFE Special East" (Roseville, CA and Portland were important PFE loading places). The designation of "Special" is a type of train which came from the following list. Passenger: Highest priority that stop only at depots or for fuel Special: PFE and Stock Trains or other high priority or remarkable trains Forwarder: Through trains that only stop for coal (or fuel), water, sand, and ashes or to get helpers on or off, or for engine changes Manifest: Through trains with a few (typically 1-6) head end cars that should be set out in Wyoming or Utah (in the rectangle above); can also pick up cars at those stops Extra: An extraordinary train that can be used to clear out an overwhelmed yard or to sweep up cars needed elsewhere during a session Local (or Drag): Entire trains of cars to be set out and to make pickups, lowest priority Using the above code names, there are, for examples, "NP-LA Forwarder West" and an "Oakland-Denver Manifest East" trains, and any number of other combinations. The code is "From-To-Type-Direction." Considering the Diagram above, you will notice that according to the arrow, some east bound blocks of cars seem to leave the layout before they get to Cheyenne. In fact they go directly from Laramie (50 miles west of Cheyenne) to Denver, bypassing Cheyenne on Track 3, the Harriman Cutoff and the wye at Speer as can be seen on the Upper level track plan in Figure 1. Therefore, blocks from west of Laramie, have to be classified at Laramie—some continue on the original train through Cheyenne to "NP," via Track #2 paralleling Track #1. Other blocks change trains onto a Denver bound train via Track #3, the Harriman Cutoff. Or the original train may continue to Denver, with some of its blocks waiting in Laramie for a NP bound train. As trains can lose blocks in Laramie for a destination different from their own, the Laramie YM can add blocks to fill out the train for its destination. The same situation happens at Green River where west bound blocks are sorted for either straight on to Ogden and through to "LA" or "Oakland," or, alternately, northwest at Granger on the OSL for "Portland." Therefore, Green River is a block classification yard for west bound blocks like Laramie is such a yard for east bound blocks. The Green River YM also fills out west bound trains with blocks he previously took off other trains. These two splitting's of destinations for blocks makes for block switching and classification, and a concurrent need for block cards, so what we lack in switching across Wyoming we gain back in switching blocks in either Laramie (east bound blocks to NP or Denver) or Green River (west to LA or Oakland or NW bound blocks to Portland. Now it is evident why my system uses both Car Cards and Block Cards, and one is shown below in Figure 9. Figure 9. Wyoming Division Block Card The Block Card is easy to fill out following the instruction at the top. First, circle the proper "From-To" combination from either the east bound array of them on the left or those on the right for west bound blocks. Second, enter the total number of cars in the block in the cell at the bottom. Third, enter the ID of the first car in the block and the last car in the block. And finally fourth, number the blocks 1, 2, 3,… in the order that they appear on the train, usually front to rear. Since the block stays together as a unit, only the beginning and the end of the block need be identified. For speed and simplicity not all of the four designations of "Road," "Car #," "Color," and "Type" are needed. If the road crew finds them important, he can add them to the card whenever he wants. When the block is broken up, with one exception, the block is no longer a block, or at least the same block, so this card is no longer needed and can be discarded or kept for analysis of traffic on the layout. The single exception is if a car is added or taken from a block for any reason. You could make a new block card, but you do not have to, if you remove or add the car to the middle of the block and change the "Total Cars in Block" by the number of cars in the change. If you have blocks with non-standard origins and destinations, it can be added to the "Special Instructions" of the card. Additional moves may be added to the initial moves here also if it is acceptable to keep the block intact. To identify a train previously made up by someone else, the block cards are invaluable. Simply read the identity of the last car in the train, match it to the last car on the last block of the stack of block cards, and count up the train the number of cars the card says should be there. If that car matches the first car noted on the block card, you have identified your train. Note that to use this method you start at the rear of a train, which is the last car next to the caboose, but if it has no caboose yet, it should be safe to determine the end of the train furthest from the destination of the train. You start at the caboose end, because head end cars with individual cards are there, or should be. Size of Cards and Stacking on the Clipboard The block cards are a full ½ sheet of card stock printed in portrait mode. I make the car cards ¼ sheet of card stock, and later it will be see I make the Train Orders and the Locomotive Cards as full sheets. These sizes are convenient for a normal clipboard available from Amazon for less than $1 each, but more important, when all are on the clipboard they can be "stacked" staggered to keep them organized but still easy to see the different types as is shown in Figure 10. Figure 10. 4 types of cards on a standard clipboard. Like the car cards it is nice to have the block cards large, but you may not have room on your fascia for such large fascia pockets or boxes. Furthermore, now you have two sizes of cards, so you need an extra set of boxes for the new cards. On the other hand all cards are single page thickness, so the boxes do not have to be very deep. We made boxes out of 0.093" polycarbonate sheet held on the fascia by screws through ¼" diameter plastic tubing, and with longer screws and multiple spacers the boxes can be stacked. A double, stacked box stands out only 3/4" from the fascia and holds more than enough cards. I have received some criticism that the different sizes of car and block cards make is difficult to handle them, and that is true if they are mixed in together. But if head end cards are scrupulously put on the head end where they are easier to switch first, then the car cards will be all together on top of the block cards. If a train is made up with single cars between or after blocks, then to keep the cards in order, the different sizes may be awkward mixed up in the order of the cars on a train. Locomotive Cards We also have a fourth card on the Wyoming Division. Locomotive cards are to regulate the number of cars a given loco can pull up the grades of Sherman Hill (Cheyenne to Laramie), or up the Wasatch (Ogden to Green River), or on the prairie. Out on the flat between Laramie and Evanston any loco is rated to pull more cars than on the grades, and we make up our trains or modify them or add helpers to get near but not exceed those limits just like the prototype did to balance profits and on time deliveries. This means on the Wyoming Division we change locomotives at those two yards. Like car cards, loco cards stay with their locomotives, so when a train gets a new loco the engineer trades in its loco card. I have laminated the Locomotive cards printed on colored paper to make them easy to find. The Loco Cards also tell where each loco must stop for coal (or fuel), water, sand, and to dump ashes. Using them we maximize fun while making complexity manageable for near prototype ops. The Car Cards are all identical, as are the Block Cards. But there are unique Locomotive Cards for each type of Locomotive. Full 8 ½ x 11 sheet Loco Cards for a Big Boy and for a diesel are shown slightly reduced in size on the next pages. The top ½ of the car is mostly blank, because it is covered by the Block Cards and the Car Cards stacked directly above it when all are held by the clipboard clip. The boxes are filled in by hand (printed in italics), so one blank suffices for all Big Boys, and other blanks are for each other type of locomotives, steam and diesel. The right hand box is preprinted for "Tonnage Rating" in cars for the two areas of the railroad, up a grade and on the largely level "bowl" of Wyoming. The array of dots under the identity line show selected stations where the locomotive has to stop for the commodities of fuel, water, and sand, and where ashes must be dumped while coal is taken on. These are available at many more places than are shown on an individual loco card, but the card shows where a given loco must stop. One blank form works for all steam engines, but the preprinted array of dots varies for the different types of steamer. To make them all, I used a different tab on the Excel Workbook for each loco type, each type being unique and only requiring to be filled out by hand as to Loco number. This system of using tabs at the bottom of the Excel Workbook allows diesel tabs by type also, and for the UP of 1957, tabs for the various gas turbine electrics used. A diesel card is reproduced on the last page, and it is identical to a Turbine card except for the preprinted identity of "Diesel" versus "Turbine" and the differing tonnage ratings. The Diesel card shown is for an F unit ABB set, so multiple numbers are given to completely ID the set which we never break into individual units. For all loco cards the fueling locations are listed on the left side down for east to west travel and up on the right for the west to east direction, and the speed limit columns are for indication only, being in practice at this stage relative for the different grades. Helper cut in and cut out locations are also listed, and on the bottom is a key to certain CV functions on our NCE throttles. The Locomotive Cards strictly govern the locomotive stops and tonnage ratings, helpers needed, and speeds. Fuel, sand, water, and ash dump possible locations are shown on the Train Orders described next, but as "Available," not as required. So if a loco requires these services per the loco card, the TO described below tells where they are available. Figure 11. 8 ½ x 11 Steam Engine Locomotive Card. Pre-printed as is and laminated Figure 12. 8 ½ x 11 Diesel Locomotive Card, nearly identical to a Turbine Card pre-printed and laminated. Train Orders I use a single 8 ½ x 11" sheet Train Order for each train. They are largely preprinted, two for each type of train (one for east and one for west), and can be filled out in less than a minute for a particular train. The preprinted instructions are in the form of a table or array showing in columns in this order: the stops a train makes, instructions for that location, direction of running (L or R track), where coal, water, sand, and ash dumps are available (but not necessary stops—those are shown by the Loco Card), where to get helpers and cut them off, and where to change locos. There are a few general instructions and a key above the array to explain the terms in the array. It sounds complicated, and it is a bit in the conglomeration of Car Cards, Block Cards, Loco Cards, and Train Orders, but each of these 4 elements are simple taken alone. The same is true for the complicated looking Train Order, but if you look at it one line at a time, it becomes simple. At the next location you follow the instructions at that location, given in both a line of text or repeated in the array of boxes. The single line taken alone is in effect a written Track Warrant to that location. The next page shows a blank Train Order or TO in Figure 13. In my operating system a Call Boy may be used to call the next person as engineer/conductor or pair of operators as an engineer plus conductor crew, and he takes that crew to where the train is ready. Trains may be ready in staging or any other yard, but usually they have been prepared by staging during the session or the pre-staging crew before the session and then taken to a set of A/D tracks in a yard. To start the session and to have trains all across the layout, we pre-stage some trains in the yards at either end of the layout, Cheyenne in the east or Ogden in the west, and others across the layout at Laramie, Hanna, Green River, etc. These train on out on the layout are usually trains left from the last session. After finding the train the Call Boy and crew "verify" it: together they match each of the blocks by the car numbers/road names of the last and firstt cars of each block. After the rear end of a block at the end of the train is identified, they count up the block the number of cars that the block card tells them the block should have, and if the last car is the same as shown on the block card, that block is verified. This is done for all blocks from the caboose back up the train to the head end cars. Then they match each head end car and cards, if any. There are a few practical variations of this process that are actually used. First, the train may not have a loco yet, because with my system, the locomotives are chosen and coupled to the train by the Hostler of that yard. This is prototypical. The owner of a real railroad, at least a sizeable one, never assigns power to individual trains. In Cheyenne on the UP this was the job of the Roundhouse Foreman who got the Hostler under him to move the locomotive out of the roundhouse to the coal tower to top off the coal and water and then on to the departure track to attach it to the train, and then the crew climbed on board. I combine the jobs of Roundhouse Foreman and Hostler into the Hostler's role, and a short pause under the coal tower suffices for the coal and water top off. Second, the train usually has a caboose, but it may not. Staging should put a caboose on the train, but may not have had one available, but there may be one in the yard (Cheyenne or Ogden which each border staging) that just came off an arriving train. Alternately cabooses may be kept on a caboose track, and a yard crewman brings it to the train. Third, the verification of car and block cards versus cars on a train may be accomplished by starting at either end of the train, but starting from the rear is faster. If the train has no caboose yet, to verify from the rear of the train that end will still be the end furthest from the destination of the train. During the last regular operating session in January, 2015 and in the Winter Invitational in February, 2015 we did not have a Call Boy, but drew cards from a deck of playing cards to determine crew Jobs and the order of road crews assigned to trains. The road crews got trains directly from staging which made trains up on the fly—only a few trains were pre-staged to kick off the session with some trains distributed across the 1,000 foot mains. This "dynamic staging" in real time may have led to the mixing of head end cars and cards in with blocks and block cards, and the difficulty two guest YM's complained of where the different card sizes were hard to sort. If the head end cars are required to be put on the front of the train, their cards will naturally be on top of the larger block cards, but it is hard to fault staging for not doing so. The two crews did send out 51 and 57 trains for the two days of the Winter Invitational Meet, and the different crews both days are to be congratulated for those totals. Those totals count about 4 to 5 trains that were pre-staged and on the layout to start each day, but the average was one train every 7.2 minutes! A blank Train Order or TO is shown on the next page in Figure 13. To fill out the blank TO the Call Boy should direct the crew to add the session date, and the time they "clock in," and their name(s). As soon as the loco shows up its number should be added. This is the train number for OS'ing. The following blanks on the TO heading should have been hand written in by the staging crew: • "Name of the train." The last part of the name(Type) is preprinted on the blank, and the direction (East or West) is also preprinted. The TO shown has the first part of the train name added in script. The form shown is for a "Manifest West" (see the 6 types of trains on the Wyoming Division in the Block Card Section). • "Train Number" is the train number that would be on a timetable, but I do not use one yet. For now this is the Locomotive Number. • "# in Session" is for the trains that are pre-staged, a number I assign to the trains in the order I choose to run them. I alternate east and west trains to spread them out. From these pre-staged TO's on clipboards with car and block cards I can then make an Excel list based on this column of new numbers, and that gives me a "lineup" to pass out to YM's and the DS, so they know what is coming their way. The Call Boy and staging also get copies. • It is very important to write in the top margin of the TO the starting location of all pre staged trains, otherwise it is very hard on a large layout to find the train from just the car cards. My Excel Header contains a blank for this information, but it is not shown in Figure 13. • If no Call Boy and pre-staged trains are used, then the YM's are pretty much in the dark unless they watch closely for approaching trains. The Dispatcher knows about the train as soon as it starts on the main because the road crew should report to go OS, so a YM can call DS to enquire about what is coming his way. • "Locomotive Number" is the train number identification purposes to report to the dispatcher (to "OS"). When trains are made up during a session, a loco usually will be assigned to a train by the Roundhouse Hostler after the staging Hostler has taken the train from staging to the A/D tracks and only then is the train number known. • All the information required to OS is together in a line: "Train Number (loco number)", "Train Type," "From," "To," and "Direction." OS'ing is quick and simple from the top of the sheet. • Note that the train name should be written in two places, on the top and on the right hand edge, which becomes the end of the form on the clipboard, so it can be seen in the Call Boy's pigeon hole box of clipboards. • When the train reaches its destination, the lower right box should be filled out, mainly to provide data to determine the average time that a certain type of train takes to negotiate certain trips. This is also on the Train Sheet (TS) the Dispatcher keeps if Crews OS as they get off the train. Figure 13. Wyoming Division blank Train Order The second column is an ordered list of locations the train will pass through, and some are stops. The actions at each of the locations or stops are indicated in both the wide next column that gives a brief line of instructions on what to do at each location. The next 9 columns are an array that repeat much of the same information shown in the third column. If all the cells on a location line are blank for these 9 far right array columns, there is no stop necessary. For the columns that have an "Available" there are those services available, but a stop is necessary only if the train's locomotive card indicates this as a stop by a dot in that cell of that location line. That is, "Available" means a stop is optional; a stop is required only by the locomotive card. The example Loco Cards are shown in Figures 11 and 12. The other marks in the following columns further right are "" which means there is the possibility for work picking up or setting out head end cars or blocks here. Road crews should "check" for work at these places as shown by the car or block cards on the clipboard and on the fascia at those places. "Yes" indicates locations to get a helper locomotive or the release it, and finally where to change locomotives (Laramie and Green River) are also indicated with a "Yes". As I wrote earlier, the TO is simple taken one line at a time, and let's face it, a train is only in one place at a time. For a long time I had 3 columns for OS instructions plus a fourth larger one for notes in place of the instructions, but I found that it was better to put these detailed OS'ing instructions on the bright hot pink colored signs on the fascia at the OS locations so they were harder to miss. The Train Orders add several interesting complexities of realistic operations to the Wyoming Division that many other layouts do not have. These extra requirements are exactly what prototypical steam and early diesel operations were like on the real railroad, assuming perfect, breakdown free operations. Actually, we have breakdowns to the model locos and cars, and we deal with them pretty much like the real railroads do. After panicking, the engineer or crew reports to DS or to me, Allen, Lenny, or Greg or anyone else in charge, and together we work out a solution, from fixing it on the spot or removing the bad car, or sending a replacement loco. And sometimes traffic piles up behind the stopped train. That is pretty much what happens on a real railroad, but our terminology is different. We have "bad cars" with a "bad" coupler or truck, but not hot journals or fires, and so on. Putting It All Together Combining Head End Car Cards for a single move, Block Cards, Locomotive Cards, and Train Orders has been a definite challenge for our operators and for us. Each element is reasonably simple taken alone, and all together it appears to be a larger challenge to operators than it proves to be once they start. When I completed my operating system as a concept, we had our first formal operating session on October 26, 2013 with 27 operators, and for an inaugural operation session it was a great success. There were very few track and DCC problems and the operating system worked well, even though its complexity led to some oversight type errors by our new operators. But no serious corrections were needed in either the layout or the car forwarding system. On November 30 we operated again with 28 people and followed on December 26 with 35 operators to our third session. We had these 3 sessions with only a month between each to reinforce the learning required. Few changes in the car card system were made then or have been made to this date from the original design. After those 3 sessions we stopped operations for about 6 months to do the construction for Phase III described in the Section "Staging Design." After Phase III was completed we have had 13 more sessions at monthly intervals plus two training sessions for new operators. Arizona is not heavily populated so there are not many operators available, and we need 35 or so for each session! So we draw from all over the state as well as a few non-Arizona operators who have heard of the Wyoming Division. Late last year, I sent out invitation to key expert operators that Allen, Lenny, and I had met at Bay Rails, So Cal Ops, the La Mesa Club in San Diego, and to other polished operators who had either visited the layout or operated on it during visits to Sedona. In particular we had contact with the active model railroaders in Albuquerque who had invited me to give a talk about the layout and my Four Card Car Forwarding system. Enough of those invited had visited the layout and some had operated with us, and they had confidence to recommend us to the others invited. On February 5, 6, and 7, 2015 we had our first Wyoming Division Winter Invitational consisting of Thursday, Open House to inspect the layout, followed by a BBQ at Sharon and my home in Sedona Friday, 9 AM to 4 PM operating session, with pizza we sent out for at lunch Saturday, 9 AM to 4 PM operating session, followed by a prime rib banquet at a local restaurant. So there were 6 to 6 ½ hours of operations each day excluding lunch. Thirty-five notable guest operators attended from the Bay Area of California, Los Angeles-Orange County area, San Diego area, Albuquerque, and one person each from Texas and Portland, Oregon. In our regular sessions we run about 22 trains in 4 hours, or one every 15 minutes and those are all pre-staged. In 6 ½ hours in the Winter Invitational we ran 51 trains on Friday, and not having a slow start getting organized on Saturday we ran 57 trains. On Friday we only had about 6 pre-staged trains to start the session, and on Saturday there were about 4-6 that were left over from Friday in place on the layout to start. All other trains were dynamically staged by two staging YM's both of which were new to the layout and card system! Allen worked with them only a few minutes to train them and then they did the rest the whole of both sessions. The rest of the operators had no problems with my Four Card Car Forwarding system, as can be seen by the number of trains run and the few problems encountered.


Ahhh, Valentine's Day, a day of love, romance and chocolate. I love Valentine's Day because it's full of hearts, flowers and sweets, however I think now a days it's more for the newly in love couples. I remember back when I was dating my now Husband, he would have flowers sent to my work, surprise me with chocolate or jewelry and now it seems like life gets in the way for all that romance. It's more like, for Valentine's Day can we get tires for the car? I don't feel like cooking, let's get a pizza. Routine tends to take over and we miss out on all the little fun things in life, like V-day. I don't think it should be like that, but that's what happens. But those kind of things don't stop me from treating my Husband with treats like this.
Homemade Angel Food Cake. This is one of my favorites, if not my favorite cake. Not because it's low-calorie, but because it's so light and fluffy and I just love the taste. I love adding fresh berries to it, eating it by its self or even drizzling chocolate over the top. Angel Food Cake is just the best cake, and pretty easy to make!
I do not own and angel food cake pan so I baked this in a loaf pan. I am very impressed how well it came out. It's perfect! Crusty top, soft everywhere else. I swear I could eat the whole cake! Yes the whole cake! But it is Valentine's Day and of course I will share with my Husband. I'll let him spoon feed it to me, and maybe just maybe I'll give him a bite! Ha ha Fat chance! Here's what it looks like when I took it out of the pan.
Kind of plain-looking, so you need to dress this up, and make it pretty! Of course there is nothing wrong with plain Angel Food Cake, but dressed up is so much better!!! There's no surprise I like my berries!
Line a 9×5 inch loaf pan with regular aluminium foil.
Mix half of your ground sugar in a small bowl with the cake flour and salt. Set aside.
In a large metal bowl, beat the egg whites with an electric mixer until foamy. When foamy, add the cream of tartar and beat until medium peaks form. Slowly beat in the sugar.
With a large scraper, fold the flour mixture into egg white mixture, a little bit at a time.
Carefully spoon mixture into the ungreased loaf and bake for 35 minutes.
Check cake by sticking a toothpick in it, when it comes out clean, cake is done. Let the loaf pan cool, then carefully lift from pan and peel away the foil.
you can't ever go wrong with angel food cake & berries! yum!!
Happy Valentine's Day! You had me laughing about new tires for the car. Items you receive from your husband sure can be different once you are married, eh?! I am still hoping I receive some chocolate tonight 🙂 Your new site is fabulous by the way–as is this angel cake!
Berries make everything better! Happy Valentine's Day to you.
Those berries look SO good! What a perfect dessert for Valentine's Day!
You pile on the berries like I do! I have never made a homemade angel food cake. My mother in law had enough mixes for it on hand to have one every week for months. She had an old glass Coke bottle that was just. for. her. cakes. Fun memories. I'd have to make it in a loaf pan, too, although I wonder when I got rid of my tube pan…..
My Mom used to put it on an old bottle coke too!!! That does bring back memories!
Wow – this is stunning! Not only a delicious sweet treat – but your photos are STUNNING! Happy Valentines Day!
Angel Food Cake has been on my list of things to try for ages now. Yours looks like it turned out perfectly!
Stunning. And I want one now!
The first year my other half was courting me, we went all out on Valentine's day, dining, drink and partying. After that, we gave up for everything has become pricey as the years went by and now, we try to live our marriage by having Valentine's day in between our busy life like dining, catching up on a movie, having a drink during weekends etc etc.
This angel cake you have shared falls right for a home celebration of Valentine's day, simply love the outcome.
This looks yummy, I love angel food cake but I've never made it myself. I think it's about time I tried!
You must try it!! It's so good and easy!!! If you do try it, let me know what you think!!
aw that turned out great in a loaf pan! I love your pictures, your cake looks absolutely gorgeous! (and delicious!) Those berries and whipped cream look irresistible!


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John Piper: My Kind of Romantic
John Piper, Arbroath Abbey, 1988. Screenprint. Source.
Sorry Paul McCartney, but silly loves songs just make me want to hurl. But give me a Romantic (with a capital R) landscape, and I'm in heaven.
John Piper, Stonehenge, Wiltshire, 1981. Ink and wash. Source.
John Piper (1903-1992) was associated with the British variety of Neo-Romanticism, a term applied to a loose knit group of painters active from around 1930 to the mid-1950s (textbook dates for the movement nonewithstanding, Piper worked in this style until the end of his career.)
John Piper, Beach in Brittany, 1961-62. Lithograph. Source.
Inspired by such earlier Romantic visionaries as William Blake and Samuel Palmer, the Neo-Romantics also introduced elements of 20th century modernism into their work, to varying degrees.
John Piper. New Church, Romney Marsh, 1947. Black ink, watercolour, crayons, gouache. Source.
Piper had a special fondness for time-worn architecture, sure sign of a capital "R" Romantic. While still a youth he cycled round the Surrey countryside, sketching and photographing old churches for the creation of his own personal guidebooks.
John Piper, Terrington St Clement. Source.
After a flirtation with abstraction, which he eventually discarded as "undernourished", Piper returned to representation, focusing on ruins and churches in a state of what he called "pleasing decay." Piper expert Frances Spalding explains: "Piper thought that buildings were like people, they had personalities and characters, and that like people, they should be allowed to both live and die." He was wary of restoration schemes that tidied away all signs of time's passage.
John Piper, Windsor Castle, 1941. Watercolour. Source.
By the late 1930s Piper's expressive vision of Britain's built heritage had caught the eye of Sir Kenneth Clark, who arranged for Piper to paint views of Windsor Castle as part of the Recording Britain project. The artist's trademark moody skies, the perfect complement to his eerily deserted monuments, caused a bemused King George VI to remark, "You seem to have very bad luck with your weather."
John Piper, Coventry Cathedral November 15, 1940. Oil on canvas. Source.
Kenneth Clark was also responsible for securing Piper a position as an Official War Artist. When Piper arrived at Coventry after the bombing, the town's 13th century cathedral was still on fire. His haunting images capture the sublime terror of this tragic event in a manner that equals the power of J.M.W. Turner's visions of historic London buildings in flames (it's no surprise to learn that Turner was one of Piper's great inspirations.)
English Scottish And Welsh Landscape. 1700- 1860. Lithographs by John Piper. Published 1945. Source.
John Piper, Chiesa del Salute, Textile Design for Sanderson, 1960. Source.
John Piper, Set Design for "Job", 1948. Source.
Although best known today for his prints and paintings, Piper worked in many media, including designs for stained glass, book illustrations, textiles and stage sets. In 1948 he designed a production of the dance work, Job, which was inspired by William Blake's 1825 illustrations to the Book of Job. The flickering flames of Hell are borrowed from Blake, while the dramatic sky recalls the work of Blake's disciple, Samuel Palmer, both artists dear to Piper's heart.
John Piper, Gedney, Lincolnshire: a Tower in the Fens, from A Retrospect of Churches, 1964. Lithograph. Source.
Throughout his career Piper was an avid printmaker, and one of his key achievements in this vein was the 1964 portfolio, A Retrospect of Churches, 25 lithographs printed by Curwen Studio. Piper's deft handling of texture, his delightfully calligraphic line and dramatic use of contrast and colour give these works the highly individual character that is recognizably Piper's, while at the same time capturing the essence of the buildings in question - the result of the artist's deep-seated love of his subject.
John Piper, Abbeville, St Wolfrun, 1972. Screenprint. Source.
Piper didn't generally include people in his images, and for me that's one of their appealing points. As Frances Spalding says in the film, John Piper: An Empty Stage, "People are only ever incidentally in landscape. They pass through it but they're not part of it. They're transitory. I think he was after something that is there today, and in one hundred years time it will be there." In this fast-paced world we live in today, something not quite so fleeting is a welcome respite.
Labels: Art of Britain, John Piper, landscape, Neo-romantic


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ScholarWorks@UARK
Home > Inquiry > Vol. 7 (2006) > Iss. 1
Beurs in the Hood: Coming of Age in the Banlieue
Lauran Elam, University of Arkansas, Fayetteville
In November of 2005, riots broke out throughout the housing projects located in the suburbs of the major cities of France. This focused worldwide attention on the largely Muslim immigrant communities in France, and on the failure of the French government to fully integrate individuals of foreign extraction, namely Beurs. The term "Beur" is the French word "Arabe" reversed by language called Verlan that plays on French in much the same way that Pig Latin plays on English. Today "Beur" refers to the children of North African immigrants living in France who are, for the most pan, isolated to the housing projects of the banlieue (suburbs). This article elaborates on what it is to be Beur through analysis of semi-autobiographical works by Beur authors, films focused on Beur characters, and newspaper and journal articles on the subject. In the media, Beurs have been portrayed as foreigners angry with France, and radical lslamists struggling against the West. However, these characterizations are not corroborated by primary sources. In reality, Beurs are trapped between two cultures, rejected by the French for their cultural background, and rejected by the first generation immigrants of their communities for abandoning traditions they have a hard time understanding, and acculturating to a more secular way of life within France.
Elam, L. (2006). Beurs in the Hood: Coming of Age in the Banlieue. Inquiry: The University of Arkansas Undergraduate Research Journal, 7(1). Retrieved from https://scholarworks.uark.edu/inquiry/vol7/iss1/6
European History Commons, French Linguistics Commons
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How work from home has impacted productivity and office absorption in Bengaluru?
Vaishnavi > Press Coverage > How work from home has impacted productivity and office absorption in Bengaluru?
By VaishnaviGroup, April 26, 2021 April 26, 2021 Deccan Herald
With the Covid-19 situation in Bengaluru, like several other parts in the country, worsening, many companies in the city are again opting for work-from-home option.
As the practice of work-from-home has its own pros and cons, Bengaluru-based companies have varied views regarding the productivity and office absorption in the new normal.
Darshan Govindaraju, Director of Vaishnavi Group feels that although the pandemic has adversely impacted many businesses, some of the sectors witnessed major growth around the same time.
"Covid and its continuous impact since early last year has undoubtedly forced businesses across all industries to adapt. The absorption of office spaces today is lower when compared to pre-Covid numbers for a few sectors. Having said that, some sectors such as healthcare, cloud computing, video conferencing, digital content or home entertainment, online educational platforms, payment gateways or any such companies building the digital infrastructure have seen phenomenal growth this past year. Growth in some sectors coupled with de-densification, which has now become a standard Covid safety protocol, we are noticing steady absorption," he said.
"Today an occupant is looking at more than just the rental costs. An occupant is keen on safe, well ventilated and Grade A buildings with a reputed builder. Given that most developers have slowed down infusing new supply in the market and given the occupants preference, rentals/ leasing of good quality developers has remained the same," he added.
When asked about if work-from-home has any impact on the overall productivity, Govindaraju said that companies that mostly rely on personal interactions, suffered a hit.
"Work from home has enabled a certain section of the workforce to work at the same efficiency levels as before. For individual contributors and smaller startup companies, the king's effect has been marginal. However, for companies that need teamwork, collaboration and interpersonal skills such as sales, relationship management etc., it has been detrimental. Building new relationships with new colleagues or clients has been a challenge. Most companies today admit that wherever team effort is required, productivity levels are down substantially," he said.
Errol Fernandes, Secretary of CREDAI Bengaluru, feels that the second wave of Covid-19 will result in a lot more work being outsourced to India, creating further demand for office space.
"While the absorption of smaller units from the mid-size software companies has stagnated, the absorption of large spaces by the Googles, Amazons and Microsofts of the world has actually increased. This is largely due to India becoming the digital capital of the world and the migration to the cloud is rapidly increasing, which is being facilitated by companies working out of India," Fernandes said.
Fernandes further said that while the lease rates have remained stable for the mid-size office spaces, rent has increased by 5 per cent for the larger office spaces over the last one year.
Regarding productivity under work-from-home system, Fernandes feels that while productivity and efficiency has improved, it has its own side effects with people being cloistered together not just for hours but for days, weeks and months on end.
Prashanth Reddy, Managing Director of Fundermax India said that his company foresees at least 20 per cent drop in office absorption. He also feels that it is difficult to carry out certain activities from home.
"March ending quarter 2021, demand side and supply side is stable for office absorption. With the increase in Covid cases, we foresee at least 20% drop in office absorption. All the functions can't be conducted from home as some functions require reporting to office to ensure smooth operation of the organisation. There are challenges like internet connectivity, privacy, online classes of children, etc. This set up is a temporary situation and offices are going to stay. By Q3, we expect at least 75% of the workforce to comeback to offices," Reddy said.


A video allegedly showing NBA YoungBoy abusing his girlfriend Jania is making it's rounds online.
The video shows a young man throwing a woman around in what appears to be a hotel hallway. The young man and woman are wearing similar outfits worn by Jania and NBA YoungBoy and the young woman has the same braided hairstyle as Jania.
Jania and NBA Young Boy were in Tallahassee, FL when the videos were taken of them with fans. The 18 year old rapper, whose real name is Kentrell Gaulden, was booked to appear at Tallahassee's Moon Nightclub, but was arrested.
Leon County sheriffs ran NBA YoungBoy's records and saw he's a wanted fugitive in Georgia for alleged charges of kidnapping, assault and weapons violations, according to TMZ.
This wouldn't be the first time NBA Youngboy mistreated Jania.


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First dates with SRK: Karisma Kapoor
I was not sure whether or not to include Dil Toh Pagal Hai in this series, because (1) Karisma has only been in two films with Shah Rukh Khan -- not counting her friendly appearance in Om Shanti Om, which is adorable -- and (2) she doesn't exactly play his love interest. She's the odd girl out in a love triangle with SRK and Madhuri Dixit, so the love is unrequited. DTPH is a light film -- a bit of musical romantic puffery that features four of the best actors in Hindi cinema. In addition to the triangle of lovers, there's the dashing Akshay Kumar completing a second triangle with SRK And Madhuri. So the performances are all great and the music and dancing is delightful, even though the plot and dialogues are <<eh>>.
So the synopsis: Nisha (Karisma) loves Rahul (SRK), who thinks love is bunk but still harbors a longing for an imaginary woman he calls Maya. He's a dance director, so he is designing a show around the mythical Maya, with Nisha in the lead role. Nisha injures herself, and Rahul seeks a replacement, discovering Pooja (Madhuri), who is literally the girl next door. Pooja is engaged to her childhood friend/foster brother Ajay (Akshay). Of course, Rahul and Pooja fall in love.
This really is the best scene. The stuff of a million SRK fan fantasies.
Nisha, on the other hand, is in the friend zone from the word "go". When, after a few too many tequila shots on her birthday, she blurts out to Rahul that she loves him, this is the look she gets from him.
Uh-oh. Compare with the look on his face in the other video as he repeats "closer".
What is your first impression of Rahul? Adorable! This is high energy SRK, with his cheeks still boyishly chubby enough to create the best dimples.
What is Nisha's first impression of Rahul? They seem to start off as friends at the beginning; we don't learn about her feelings for him until later in the film. Their relationship is very much like a brother and sister, especially on Rahul's part. He teases her in a very big-brother way that conveys connection and friendly affection, but not a tiny hint of love. Nisha knows almost immediately that her love will never be reciprocated. Meeting Pooja seals the deal; she knows Rahul's feelings better than he does.
How would you describe their chemistry over the course of the film? Their friendship is actually believable; their interactions are so natural that you almost wish the filmmakers hadn't felt the need for the love triangle.
If you had a first date with Rahul, would you go on a second? Yes, of course, but that wouldn't happen, because I can't complete with Madhuri Dixit. Karisma gives it the old college try in this epic number called (appropriately) "Dance of Envy".
Your description of DTPH is right on. This is a movie that I've seen through all the way just twice--now if I feel like a re-watch I watch a highly abridged version with just my favorite scenes. Unfortunately I don't like the music nor the choreography in DTPH for the most part. The rain song excepted--though it does go on a bit. https://www.youtube.com/watch?v=-gaXmQtKF30
So this time I'll stick with the questions:
What is your first impression of Rahul? A bit of a cliche--the driven artist who is kind of a jerk in service of his vision--but he grows on me rapidly. As you say, he has lovely energy and is a good friend to Nisha.
What is Nisha's first impression of Rahul? Seems like he plays a very big part in her world from the beginning--as a director, as a friend, and as her (first?) love.
How would you describe their chemistry over the course of the film?
As you say, their chemistry is natural and easy. I really like that Rahul never loses his deep, if just friendly, affection for Nisha, and that she works hard to adjust and not let her disappointment break their friendship. This is one of my favorite ever SRK scenes--though it goes a bit over the top, the spirit of it is lovely--as is the hug at the end: https://www.youtube.com/watch?v=NSH3Yx5muaY
If you had a first date with Rahul, would you go on a second?
It would depend on whether he had his grouchy artist or charming friend hat on at the time. You are right that his chemistry with Madhuri/Pooja outshines any other considerations though.
Now I'm going to go watch One 2 Ka 4, which is my go to SRK fluffy movie--it's got Juhi and Jackie Shroff, and music by A.R. Rahman. Dreamy (though SRK def has jerky moments in this one too).
Apologies for not approving this comment 10 days ago. I swear, I thought I did! I agree about the choreography; not my favorite, either. One 2 Ka 4 is on my "to watch" list as I creep towards my goal of watching all 81 films before November 25 and Dear Zindagi.
As for jerky SRK, I am beginning to realize that this is an important part of his appear to directors and writers looking to cast a character transformed by love. Makes it no less annoying that he is so good at it!


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Wausau GO! Calendar
Check out our list of upcoming Wausau-area events.
Wausau GO! Calendar Check out our list of upcoming Wausau-area events. Check out this story on wausaudailyherald.com: http://wdhne.ws/1Kg4RUA
Published 10:30 a.m. CT Sept. 16, 2015 | Updated 11:32 a.m. CT Sept. 16, 2015
Highlights from Sept. 15 in history(Photo: Getty Images/iStockphoto)
Free chair exercises, 9 to 9:45 a.m., Mosinee United Methodist Church's fellowship hall, 607 13th St., Mosinee. 715-693-2125. mumc@mosineeumc.org.
Thoughtful Thursdays: "Power of Attorney for Healthcare," 1 to 3 p.m., Wausau Manor Nursing Home, 3107 Westhill Drive, Wausau. Third Thursday of the month. 800-847-4707. www.aspirus.org.
Community table, noon, Community Enrichment Center, 1004 E. First St., Merrill. Donations accepted. 715-536-4226.
MCPL Spencer Book Club: "The Paying Guests," by Sarah Waters, 1:30 to 3 p.m., Marathon County Public Library-Spencer Branch, 105 S. Park St., Spencer. Free. 715-659-3996. www.mcpl.us.
Talk Like a Pirate Day, 6:30 to 7:30 p.m., Marathon County Public Library, 300 N. First St., Wausau. Free. 715-261-7200.
Wausau Table Tennis Club, 7 to 10 p.m., First Universalist Unitarian Church, 504 Grant St., Wausau. $2. Contact: Larry Nutting. 715-574-2433. www.uuwausau.org.
Tumbleweeds Karaoke, 8:30 p.m., Palm's Supper Club, 5912 Business 51 S., Schofield. 715-359-2200.
Electronics recycling, 9 a.m. to 5 p.m., Good News warehouse, 1106 Fifth St., Wausau. 40-cents per pound on all electronics. 715-843-5985. www.goodnewswi.com.
Wausau Fall Gun Show, 3 to 8 p.m., Marathon Park's East Gate Hall, 1201 Stewart Ave., Wausau. $5. Ages younger than 14 are free with an adult. 715-443-2825.
Power Flow Yoga, 6 p.m., First Universalist Unitarian Church, 504 Grant St., Wausau. Wear suitable clothing, bring mat and water. Free will offering or food pantry donation. 715-842-3697. www.uuwausau.org.
Okie Dokie Karaoke, 8 p.m., Pagel's Pub & Grub, 14134 Highway F, Merrill. 715-536-6111. www.pagelspubandgrub.com.
Karaoke with Tumbleweed, 9 p.m., Pro Players, 206 Grand Ave., Schofield. 715-432-7448.
Karaoke, 9 p.m., Todd & Peggy's Whiskey River, 5512 Stewart Ave., Wausau. 715-581-3892.
Treasure sale and silent auction, 8 a.m. to 5 p.m., St. Matthew Parish, 221 S. 28th Ave., Wausau.
Emergency Services Day, honoring Trooper Trevor Casper, 9 a.m. to 2 p.m., Globe University, 1480 Highway XX, Rothschild. Free. Contact: Brent Olson. 715-301-1300.
Blood drive, 9 a.m. to 1 p.m., Globe University, 1480 Highway XX, Rothschild. Contact: Blood Center of Northcentral Wisconsin. 715-842-0761.
Wausau Fall Gun Show, 9 a.m. to 5 p.m., Marathon Park's East Gate Hall, 1201 Stewart Ave., Wausau. $5. Ages younger than 14 are free with an adult. 715-443-2825.
Wausau School Foundation's "FUN'D Run for Education," 9 a.m., Wausau School Forest, 2336 Highway KK, Mosinee. Advance registration: $20. Same day registration: $25. Contact: Kristine Vanden Heuvel. 715-261-0510. thefoundationwsd.org.
"Reeling for the Kids" Fishing Day, Wausau Eagles Club, 1703 S. Third Ave., Wausau. For ages 1 to 15. Kids must be accompanied by a parent or adult. Day-of registration is at 10 a.m. Fishing starts at 10:30 a.m. Free lunch, extra poles, and bait and buckets will be provided. Free. Advance registration at 715-298-1616.
Elephant and Piggie Party, 10:30 a.m. to noon, Marathon County Public Library, 300 N. First St., Wausau. Free. 715-261-7200.
"Oktoberfest," 1 to 6 p.m., Bull Falls Brewery's Biergarten, 901 E. Thomas St., Wausau. 715-842-2337. www.bullfallsbrewery.com.
Karaoke, 9 p.m., New Chapter 2, 1810 Merrill Ave., Wausau. 715-675-0006.
Karaoke, 9 p.m., 19th Hole Tavern, 1821 Grand Ave., Schofield. 715-359-2343.
Sunday Night Bingo, 7 to 9:30 p.m., Les and Jim's Lincoln Lanes, 1208 N. Center Ave., Merrill. 715-536-1300.
RSVP Windows 8 basic class, 9:30 to 11 a.m., United Way of Marathon County, 705 S. 24th Ave., Suite 400B, Wausau. Free. Contact: Krista Mischo. 715-298-5719. www.unitedwaymc.org.
AARP Fall Program: Charles Schoenfeld presentation, 1:30 p.m., Marathon County Health Department's little theater, 1000 Lakeview Drive, Suite No. 100, Wausau. 715-355-4918, or email: stevechow@yahoo.com.
Women's Bible Study, 6:30 to 7:30 p.m., Mosinee United Methodist Church's library, 607 13th St., Mosinee. 715-693-2125. mumc@mosineeumc.org.
DivorceCare group, 6:30 to 8 p.m., Highland Community Church's room no. 11, 1005 N. 28th Ave., Wausau. Contact: Alisa Landry. 715-297-4012.
Medication Mondays, noon to 3 p.m., Aspirus Wausau Hospital's east entrance, 333 Pine Ridge Blvd., Wausau. Third Monday of the month. 715-847-2380. 800-847-4707. www.aspirus.org.
RSVP iPad beyond the basics class, 9:30 to 11 a.m., United Way of Marathon County, 705 S. 24th Ave., Suite 400B, Wausau. Free. Contact: Krista Mischo. 715-298-5719. www.unitedwaymc.org.
Potluck luncheon for active older adults, 11 a.m., Mosinee United Methodist Church's fellowship hall, 607 13th St., Mosinee. Bring your favorite casserole, salad, or dessert to share. 715-693-2125. mumc@mosineeumc.org.
Family Yoga, 5:30 p.m., First Universalist Unitarian Church, 504 Grant St., Wausau. Donations accepted or food pantry donation encouraged. Bring yoga mat if you have one. Contact: Jessie. 715-630-0076. www.uuwausau.org.
Neighborhood meal, 4:30 to 6 p.m., St. Paul's United Church of Christ's guild hall, 426 Washington St., Wausau. Contact: Dawn Sapp. 715-551-4166. www.stpauluccwausau.org.
"How Grief Changes Your Life" fall seminar, 6:30 to 8 p.m., Aspirus Wausau Hospital's Conference Room A-1 Quality Services, 333 Pine Ridge Blvd., Wausau. Free. Contact: Nan and Gary Zastrow. 715-845-4159. www.aspirus.org.
Film and Discussion: "To Write Love on Her Arms," 6 to 8:30 p.m., Marathon County Public Library, 300 N. First St., Wausau. Free. 715-261-7200.
Karaoke with Tumbleweed, 9 p.m., Hiawatha Restaurant & Lounge, 713 Grant St., Wausau. 715-432-7448.
Nurturing Skills for Families parenting classes, 12:30 to 2 p.m., Lincoln County Family Resource Center, 201B Stange St., Merrill. 715-539-9228.
Bible study, 9 a.m., Sit' N Kabitz, 421 Fourth St., Mosinee. 715-693-2125. mumc@mosineeumc.org.
Wiggle, Giggle & Shake, 9:30 to 10:30 a.m., Lincoln County Family Resource Center, 201B Stange St., Merrill. Free. Contact: Carmen Lehrer. 715-539-9228.
Veterans weekly cup-of-coffee, 10 to 11:30 a.m., Denny's, 1500 Highway XX, Rothschild. Contact: Gary Moll. 715-359-6145.
Aspirus Healthy Aging, 10:30 to 11:45 a.m., Aspirus Medical Education Center, 425 Wind Ridge Drive, Wausau. Free. Contact: Aspirus Information Center. 715-847-2380.
"Chickens: Raising Them and Caring For Them in Winter," 5:30 to 7 p.m., Marathon County Public Library, 515 Washington St., Marathon City. Free. 715-443-2775. www.mcpl.us.
Karaoke with Tumbleweed, 8:30 p.m., VFW/Hangar Lounge, 388 River Drive, Wausau. Contact: Jim. 715-432-7448.
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