Miscellaneous quests from the Skyrim plugin Falskaar.
Credit: Alexander J Velicky/Bethesda/eGDC Ltd Credit: Alexander J Velicky/Bethesda/eGDC LtdThis quest can be started by speaking to Brother Arnand in Bailun Priory and asking him "What do you do around here?" He tells you a few things, one of which is the pursuit of knowledge, although he admits he has not being too well at that recently. When quizzed further, he says there was another brother who used to help him, Vernan, but the latter was interested in too many short cuts and dangerous things, including necromancy. After accidentally hurting two of the other priors, he was stripped of rank and expelled.
Apparently, Vernan has a lair somewhere in the grounds of the Priory, where he hid things and conducted research, but they have been unable to find it. When told "I can find Brother Vernan's stuff for you" the quest starts, if it hasn't already, and he suggests that you ask the other priors to see if they know anything.
"Brother Arnand has asked me to search the priory for a hidden room or cave of some sort. It was used by Brother Vernan before he was thrown out, and Brother Arnand believes it may contain dangerous artifacts or magical pieces."
Alternatively, the quest can start when any of the four Magic Crystal Fragments are found. There is one in Riverwatch Hot Springs which is taken during Dread Aura, one in Sunken Skull Barrow which is visited during No Harm, No Fowl, one in Warmth's Edge Caverns which are visited during Runaway Cattle and one in Sandyshell Hollow, which is visited during The Deadliest Catch. It's suggested that you try and find out more about the crystal. If you haven't spoken to Brother Arnand already, go to Bailun Priory and speak to him.
"I found a mysterious crystal fragment, I wonder what it is and what it does..."
If you ask the other Priors about Vernan's lair, between them they tell you it will probably be not far from the pond, that he liked to go on walks at night, that it wouldn't be within the Priory itself and it would be where none of the others could hear him.
After a day, return to Arnand. Ask him if he has completed his research, He says that he has, and that he believes the fragment is part of a Daedric artefact known as the Dream Crystal, which will allow the user to create their own plane in Oblivion where they can make anything happen. The crystal was broken into five pieces. One was in the journal; the other four will be in necromancer lairs around Falskaar. Brother Arnand tells you to keep an eye out for the other pieces. Once you have all four pieces, return to see him.
"Arnand has explained what the crystals are to me, and told me that I need to find all of them. There are five total, and he has one, meaning I need to find the other four. Once I have them I should return them to him. Unfortunately, he was unable to provide information on where they might be. I should focus on helping others or exploring this land until I come across them."
Credit: Alexander J Velicky/Bethesda/eGDC LtdTell Arnand that you have found all the crystals, and he says that, as he feared, the incantations have been removed from them, making them very dangerous. The fragments must be reunited to control their magic and prevent anything bad from happening. He says that he will meet you at Volkrund Keep to the north, which he marks on your map.
Credit: Alexander J Velicky/Bethesda/eGDC Ltd"Brother Arnand has explained the problems the crystals pose to us. Vernan mentioned a place called Volkrund Keep, to the north. Brother Arnand believes that this is where Vernan found the crystals. He wishes to return there to recombine them into one fragment, thus containing their power, or destroy them so that nobody can use their dangerous power."
Credit: Alexander J Velicky/Bethesda/eGDC LtdGo to the keep and speak to Arnand. He says that the fragments must be reunited or, better, destroyed. When you are ready to enter, tell him, and then follow him into the keep. Arnand approaches a Lever protected by a spell, which he removes, and then uses the Lever to open the nearby door, before having doubts. He shakes them off and continues.
The screen goes dark, then you come around to Arnand trying to wake you. It's advisable to save the game at this point, as Arnand can become a bit glitchy and not progress through the passages, and you need him otherwise you can't go past some spider webs. He can be jogged by speaking to him sometimes.
Credit: Alexander J Velicky/Bethesda/eGDC Ltd Credit: Alexander J Velicky/Bethesda/eGDC LtdArnand says that Vernan is attempting to take control of the crystals, and from here on you can't trust your eyes, and that everything other than him isn't real. You will see a number of scenes apparently from Vernan's memory in the various rooms, and Arnand says that Vernan is not at all in control of the crystals.
"We walked into Vernan's trap. He took the crystals from Arnand and then we both passed out. It appears Vernan has started testing with the crystals. We need to find him, and stop him before he does something serious."
Credit: Alexander J Velicky/Bethesda/eGDC Ltd Credit: Alexander J Velicky/Bethesda/eGDC LtdContinue through to the last chamber, and Vernan is standing on a balcony overlooking it. Vernan and Arnand have a chat, in which the former sounds rather deranged. At the end of it, Vernan says he will stop you, and six Draugr burst out of the coffins in the room. This is the most dangerous room here. You cannot reach the balcony at the top of the stairs, as a barrier prevents you, but you can retreat if needed. Fortunately, Brother Arnand cannot be killed.
Credit: Alexander J Velicky/Bethesda/eGDC LtdOnce all the Draugr are dead, Arnand says that Vernan is up to something. Whatever he is up to doesn't work, as he dissolves into sparkles. Arnand says that the threat is over, as the crystals have also returned to Oblivion, and that's why magic can be dangerous. You can now sleep at the priory if you wish, and Brother Arnand also gives you 250 Gold. Although he says he will see you at the priory, the quest is now complete, so you may wish to loot a bit first. The barrier at the top of the stairs is gone, and a passage leads out back to the entrance hall, although the door at the end needs a bar removing first.


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City Official Confirms Collapsed Portion Of DuPre Excelsior Mill Will Be Rebuilt
By Sarah Rose • Jan 13, 2020
The collapsed portion of the DuPre Excelsior Mill will be rebuilt, according to Doug Young, assistant director for historic preservation for the city of Atlanta Office of Design.
Sarah Rose / GPB News
The collapsed portion of the DuPre Excelsior Mill will be rebuilt, Doug Young, assistant director for historic preservation for the city of Atlanta Office of Design, said Monday.
A side of the historic building collapsed in late December following a renovation accident.
PREVIOUS COVERAGE:
Historic DuPre Excelsior Mill Partially Collapses During Construction
The Masquerade Calls Collapse At DuPre Excelsior Mill 'Sad And Shocking'
The DuPre Excelsior Mill's Untold Musical History — Before The Masquerade
"The city's current understanding is that they're going to use as much of the original material as they can," Young said.
Young said both the city and developers are feeling positive about moving forward with restoring the damaged portion of the building.
"We're feeling optimistic they can do that," he said. "They seem very anxious to as well, when we spoke to them last."
Young said the developers are spending this week calculating how to stabilize the building.
"After that, it might be a little more time because they have to get more details about what's actually damaged," he said. "They'll see how to address that."
The Atlanta Preservation Center told GPB in a statement on Friday that they were "comfortable that all parties are acting as stewards of the property."
The DuPre Mill was the former home of The Masquerade music venue for nearly three decades, until the venue relocated to the Kenny's Alley space in Underground in 2016.
Prior to the renovation accident, some Georgia residents were critical of plans to convert the building into an office park.
excelsior mill

redpajama_set_name: RedPajamaCommonCrawl


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Home Features Q&A: Actor Nick Duckart Talks 'Come From Away' at Broward Center
Q&A: Actor Nick Duckart Talks 'Come From Away' at Broward Center
Scott Holland
Photo: Matthew Murphy
Broadway in Fort Lauderdale is thrilled to announce that the national tour of Come From Away will kick off its 2021/2022 Broadway season! A Broadway musical about the true story of the small town that welcomed the world, Come From Away will make its Fort Lauderdale debut at the Broward Center on Wednesday, November 3. The two week engagement will run through Sunday, November 14.
The touring production of Come From Away will star Marika Aubrey (Lincoln Center's South Pacific), Kevin Carolan (Disney's Newsies), Harter Clingman (Peter and The Starcatcher), Nick Duckart (In the Heights), Chamblee Ferguson, Sharriese Hamilton, Christine Toy Johnson (The Music Man), Julie Johnson (Memphis), James Earl Jones II (The Gershwin's Porgy and Bess), Julia Knitel (Beautiful), Andrew Samonsky (South Pacific), Sharone Sayegh (The Band's Visit), Jenny Ashman, Jane Bunting, Amelia Cormack, Aaron Michael Ray, Kilty Reidy and Brandon Springman.
On September 11, 2001 the world stopped. On September 12, their stories moved us all. A "Best Musical" winner all across North America, the smash hit musical has won the Tony Award for "Best Direction of a Musical" (Christopher Ashley), 4 Olivier Awards (London), including "Best New Musical," 5 Outer Critics Circle Awards (NYC) including "Outstanding New Broadway Musical," 3 Drama Desk Awards (NYC) including "Outstanding Musical," 4 Los Angeles Drama Critics Circle Awards (North American Tour) including "Best Production," 4 Helen Hayes Awards (D.C.) including "Outstanding Production of a Musical," 4 Gypsy Rose Lee Awards (Seattle) including "Excellence in Production of a Musical," 6 San Diego Critics Circle Awards including "Outstanding New Musical," 3 Toronto Theatre Critics Awards including "Best New "Outstanding Production," and the 2017 Jon Kaplan Audience Choice Award (Toronto).
It was a pleasure to sit down with hometown boy Nick Duckart for this exclusive Hotspots interview.
Nick Duckart
At what age did you begin performing?
I started performing as a sophomore in high school. I was taking a drama class in Hialeah High school to try and get an easy class to up my GPA, but I fell in love with telling a story and the rest is history.
What was your first paid gig?
It was when I did a play with Mad Cat Theater in Miami, when I was still a college student. I won't disclose the exact amount of money, but it wasn't very much. However, it was an incredible experience.
When did you know performing would be your career?
One year I was watching the Tony awards and I saw Idina Menzel perform as Elphaba from Wicked, and there was something about the magic of that moment. I knew I wanted to perform forever after I saw that.
Are you excited to be back in Miami, the city that you were brought up in?
So excited. My entire family and all my friends are going to come see the show.
What's your fantasy role (a role you haven't played but want to)?
I would say Don Quixote in Man of La Mancha. The music in that show is absolutely gorgeous and he gets to sing some of the prettiest songs ever written. Hopefully when I get older, I can play that role.
What did you do/accomplish during the pandemic?
I was able to keep busy during the pandemic, all whilst getting to spend more quality time with my family. Being on the road means a lot of time away, and the pandemic gave us an opportunity to reconnect with those we love. I was also able to return to my real estate career in NY. I played "Arthur" in a production of CAMELOT at Asolo Rep in Sarasota. I participated in numerous zoom readings and taught master classes. My wife and I traveled a bit, too. The pandemic created a major disruption in our lives, but I tried to make the most of it while being as safe and healthy as possible.
How excited are you to get back to performing for live audiences?
So excited! It had been 18 months since we last performed Come From Away in front of an audience. None of us could have ever imagined being away for that long. What makes theatre so special is the connection between the creators of the art, and the audiences who sit together in a room, and for a couple of hours, are all united in this moment of storytelling. We need our audiences, and we are so happy to be able to bring them back into the picture. It truly is amazing.
What should our readers expect from this touring company of "Come From Away"?
You can expect an incredible story about humanity and kindness, It will make you feel better leaving the theater then you did when you came in. You will laugh, cry and laugh again. You are going to see a true ensemble play of 12 actors telling the story of how a small town in Newfoundland came together to help in a time of darkness for your country.
This show is based on a completely true story and we play real life characters.
And the people of Miami will get to see one of their own.
A post shared by Nick Duckart (@nickduckart)
For more information on Nick, you can go to his website Nick Duckart.com or follow him on all social media channels /Nick Duckart. For more information about the show, go to: ComeFromAway.com.
Tickets are still available for Broadway's return! Tickets for Come from Away are available at the Broward Center AutoNation Box Office, 201 SW Fifth Avenue, Fort Lauderdale, FL. 33312, browardcenter.org or by calling 954.462.0222. Orders for groups of ten (10) or more may be placed by calling 954.660.6307. Ticket prices start at $30.50*. All guests age 2 and up must wear a suitable face covering while inside the theater. In addition, all guests age 12 and up must provide proof of a recent negative test.
broward center
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Good stuff. That's typical Isaak self-deprecation- it's much more than good stuff. Best Of Chris Isaak-the CD and accompanying DVD, which features 18 video clips by such esteemed directors as Gus Van Sant, Bruce Weber, Herb Ritts, Mary Lambert and Jean-Baptiste Mondino-take listeners on a gratifying musical journey through the Stockton, Calif., native's two-decade career, showcasing his stellar songwriting; smooth, dusky baritone (and tender falsetto that will alert your dog); and effortless brand of stylish retro-cool.


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Wolf777 News bags jersey sponsorship of Sri Lankan cricket team
Image credits: Twitter Sri Lanka Cricket
Wolf777 News, which is one of the fastest growing online platforms for sports and entertainment content has come on board as the jersey sponsor of the Sri Lankan cricket team.
As a result, the Sri Lankan cricket team will wear jerseys sporting the Wolf777 News logo on the back, in the current India Sri Lanka cricket series.
We are happy to welcome our Back of the Jersey branding sponsor for Sri Lanka tour of India 2022 – @Wolf777news #INDvSL pic.twitter.com/aXarTINxwh
— Sri Lanka Cricket 🇱🇰 (@OfficialSLC) February 23, 2022
The series consists of 3 T20 matches and 2 Test matches.
This association will help Wolf777 increase its popularity amongst cricket fans in India and Sri Lanka.
Wolf777 News has been involved in other Cricket tournaments globally, including Caribbean Premier League, Pakistan Super League, Abu Dhabi T10 League and D50 which is a domestic 50 over tournament at UAE.
Wolf777 News covers the latest updates from various sports including cricket, football, and tennis.
It has also started featuring filmy content which covers the latest happenings from the Bollywood film industry.


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package com.mesosphere.sdk.config;

import java.util.Collection;
import java.util.UUID;

/**
 * This interface should be implemented in order to store and fetch Configurations
 * presented to Schedulers.
 *
 * In general a Configuration should describe the desired state of a Framework.
 * They are referenced by their IDs.  It can be determined whether a particular Task
 * is up to date with a particular Configuration by reference to a Task label
 * indicating its Configuration ID.
 *
 * @param <T> The {@code Configuration} object to be serialized and deserialized in the
 *            implementation of this interface
 */
public interface ConfigStore<T extends Configuration> extends ConfigTargetStore {

    /**
     * Serializes the provided {@link Configuration} using its {@link Configuration#getBytes()}
     * function, writes it to storage, and returns the UUID which it was stored against.
     *
     * @throws ConfigStoreException if serialization or writing fails
     */
    UUID store(T config) throws ConfigStoreException;

    /**
     * Retrieves and deserializes the {@link Configuration} assigned to the provided UUID, or throws
     * an exception if no config with the provided UUID was found.
     *
     * @param id The UUID of the configuration to be fetched
     * @return The deserialized configuration
     * @throws ConfigStoreException if retrieval or deserialization fails, or if the requested
     *                              config is missing
     */
    T fetch(UUID id) throws ConfigStoreException;

    /**
     * Deletes the configuration with the provided UUID, or does nothing if no matching
     * configuration is found.
     *
     * @param id The UUID of the configuration to be deleted
     * @throws ConfigStoreException if the configuration is found but deletion fails
     */
    void clear(UUID id) throws ConfigStoreException;

    /**
     * Returns a list of all stored configuration UUIDs, or an empty list if none are found.
     *
     * @throws ConfigStoreException if list retrieval fails
     */
    Collection<UUID> list() throws ConfigStoreException;
}

redpajama_set_name: RedPajamaGithub


Mrs Buchanan has over thirty years experience as a trained nurse, she worked as a Critical Care and Emergency Nurse. As a qualified manager with an MBA and a diploma in Management Studies she has successfully managed many care organisations before taking up the post as the registered manager of Twilight Homecare Services.
Her combined experience as a trained and experienced nurse and a manager equips her to provide a service that seeks to meet all your care needs.
Mrs Andrews has been a registered nurse for over thirty years. She has worked as a Sister on hospital wards and in Accident and Emergency departments. Most recently assessing patients with complex and terminal health needs and arranging care needs on discharge from Hospital.
Mrs Osbourne – Lamont is a qualified Learning Disabilities nurse with 20 years experience, she specialises in Learning Disabilities and challenging behaviours, she has worked on rehabilitation units, in the community with families and closely with Social services and on a forensic unit. Mrs Osbourne- Lamont was the trainer specialising in handling difficult situations and behavioural therapies for the then Birmingham Specialist Community Trust.
Davy Hay has been working in the field of mental health for thirty years. He is a registered mental health nurse; with experiences in inpatients, community, liaison psychiatry, nurse education and older adults. He has worked in the Caribbean and Middle East.
Mr Hay is a trained counselor and has worked extensively as a trainer to the NHS, and the Third Sector.


Prattsville, along the banks of the Schoharie River, is steeped in Catskills' history. It's emblematic of the most progressive aspects of the area's history, and at the same time, it represents many of the mistakes people made as our region developed.
Zadock Pratt was the towering personality in the town's development. Even today his influences permeate the village. Pratt was a founder of the Catskill tanning industry. From 1833 to 1846 his Prattsville tanneries turned out shoe leather for the New York City market. His tanneries, however, were dependent on the bark of the hemlock tree, and when all of those trees were cut down, the industry closed.
We frown upon the wanton destruction of the Catskill hemlocks that characterized the 19th Century, but our collective wisdom is based up a history of trial and error. It was men such as Pratt who provided the errors.
But Pratt is also remembered for progressive attitudes toward urban planning. His Prattsville was a pioneering effort in the field. He laid out the streets, built the Greek Revival style homes and planted the 1,000 trees that lined the village streets. Pratt founded churches and the town's academy as well. Prattsville today is still truly Pratt's town.
Zadock Pratt was a great man, but I suspect history would have mostly forgotten him except for the one singular act of vanity he was responsible for. Pratt, the Rameses II of the Schoharie Creek Valley, is remembered for Pratt Rock, his would-be tomb.
Pratt Rock consists of a series of stone carvings on a glacially cut cliff along State Route 23, just east of town, and overlooking the old Pratt farm. The site is now a town park and open to visitors. You can hike the winding path up the steep slope toward the main carvings. If you tire along the way, you can sit up stone seats thoughtfully carved into the rocks of the mountain.
The main level of carvings displays images and symbols of Pratt's life; there are carvings of the hemlock tree, a horse which hauled the bark to the tanneries, a strong arm to do the work, along with other emblems of the great man's life. There is a poignant carving of his only son, who died in the Civil War. Then there is the Pratt burial chamber, the point of it all.
Unlike the pharaohs, Pratt was never buried in the grotto carved out for him. One story is that the chamber was rendered unsuitable for burial by the fact that its roof leaked when it rained. The chamber is still there, and when I looked it over, I found there may be some truth to that tale, along with a good geological story about Pratt Rock.
Pratt Rock is carved into sedimentary strata from the old Catskill Delta. Deposited nearly 400 million years ago, the sediments here record the coastal regions of a delta similar to that of the Mississippi River today. This was once the coastline of the old Catskill Sea. Rivers flowed, back and forth, across this location and emptied their waters into the old ocean.
There is thus a lot of geological history here. I had little trouble finding bits and pieces of the old Gilboa Forest, and I could picture its foliage along the old stream banks. But the most interesting horizons I found were those at the burial chamber.
The ceiling of the chamber is made up of inclined strata. These horizons of rock formed on the sloping floor of an old stream channel. The beds slant down to the right, away from which was once one side of a river, and farther along the outcrop, they rise up again onto the river's other shore. When I looked at the chamber ceiling I found a horizon rich in a hash of broken plant remains. This stratum is likely porous and it's quite possible that accounts for the leakage that caused the burial project to be abandoned. The pharaohs of arid Egypt faced no such problem.
And so it is that this in one of the many ironies of geology. The great Zadock Pratt is buried in a nearby graveyard with all the common folk of old Prattsville. That indignity may be because about 380 million years ago some inconspicuous river made a wrong turn. It's not Pratt buried in Pratt's tomb, but the sands of an ancient river! Contact the author at titusr@hartwick.edu Join his facebook page The Catskill Geologist.


SINGAPORE, SINGAPORE, February 5, 2019 /EINPresswire.com/ -- Lucyd, the developer of an eshop for innovative eyewear, is pleased to announce its Turboflex line of flexible, unbreakable sunglasses is being sold on the Touch of Modern1 online store this week.
Touch of Modern is the leading e-commerce app and site for people to discover cutting edge products. Catering to millennial tastemakers, Touch of Modern focuses on offering unique and new-to-market products not easily found at traditional retailers, with more than 250+ new items added daily. Touch of Modern was named one of the 500 fastest growing private companies in America by the Inc. 5000 for two consecutive years, and its founders were awarded the "Forbes 30 Under 30" in 2016. The site has over 14 million users.
For a video demonstration of the "TurboSUN" glasses, please head to Touch of Modern.
Lucyd is also developing a line of Bluetooth music glasses called Lucyd Loud, the first generation of which is currently available on the Lucyd eshop2.
Lucyd operates an innovative eshop that provides advanced eyewear to enhance the visual experience. To upgrade your eyewear today, please visit the Lucyd eshop.


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Sir John Tenniel (; 28 February 182025 February 1914) was an English illustrator, graphic humourist and political cartoonist prominent in the second half of the 19th century. An alumnus of the Royal Academy of Arts in London, he was knighted for artistic achievements in 1893, the first such honour ever bestowed on an illustrator or cartoonist.

Tenniel is remembered mainly as the principal political cartoonist for Punch magazine for over 50 years and for his illustrations to Lewis Carroll's Alice's Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Found There (1871). Tenniel's detailed black-and-white drawings remain the definitive depiction of the Alice characters, with comic book illustrator and writer Bryan Talbot stating, "Carroll never describes the Mad Hatter: our image of him is pure Tenniel."

Early life

Tenniel was born in Bayswater, West London, to John Baptist Tenniel, a fencing and dancing master of Huguenot descent, and Eliza Maria Tenniel. Tenniel had five siblings; two brothers and three sisters. One sister, Mary, was later to marry Thomas Goodwin Green, owner of the pottery that produced Cornishware. Tenniel was a quiet and introverted person, both as a boy and as an adult. He was content to remain firmly out of the limelight and seemed unaffected by competition or change. His biographer Rodney Engen wrote that Tenniel's "life and career was that of the supreme gentlemanly outside, living on the edge of respectability."

In 1840, Tenniel, while practising fencing, received a serious eye wound from his father's foil, which had accidentally lost its protective tip. Over the years, Tenniel gradually lost sight in his right eye; he never told his father of the severity of the wound, as he did not wish to upset him further.

In spite of a tendency towards high art, Tenniel was already known and appreciated as a humourist. His early companionship with Charles Keene fostered his talent for scholarly caricature.

Training
Tenniel became a student of the Royal Academy of Arts in 1842 by probation; he was admitted because he had made enough copies of classical sculptures to fill the necessary admission portfolio. So it was here that Tenniel returned to his earlier independent education.

While Tenniel's more formal training at the Royal Academy and other institutions was beneficial in nurturing his artistic ambitions, he disagreed with the school's teaching methods, and so he set about educating himself. He studied classical sculptures through painting. However, he was frustrated in this because he lacked instruction in drawing. Tenniel would draw the classical statues at London's Townley Gallery, copy illustrations from books of costumes and armour in the British Museum, and draw animals from the zoo in Regent's Park, as well as actors from London theatres, which he drew from the pits. These studies taught Tenniel to love detail, yet he became impatient in his work and was happiest when he could draw from memory. Though he was blessed with a photographic memory, it undermined his early formal training and restricted his artistic ambitions.

Another "formal" means of training was Tenniel's participation in an artists' group, free from the rules of the Academy that were stifling him. In the mid-1840s he joined the Artist's Society or Clipstone Street Life Academy, and it could be said that Tenniel first emerged there as a satirical draughtsman.

Early career
Tenniel's first book illustration was for Samuel Carter Hall's The Book of British Ballads, in 1842. While engaged with his first book illustrations, various contests were taking place in London, as a way in which the government could combat the growing Germanic Nazarenes style and promote a truly national English school of art. Tenniel planned to enter the 1845 House of Lords competition amongst artists to win the opportunity to design the mural decoration of the new Palace of Westminster. Despite missing the deadline, he submitted a  cartoon, An Allegory of Justice, to a competition for designs for the mural decoration of the new Palace of Westminster. For this he received a £200 premium and a commission to paint a fresco in the Upper Waiting Hall (or Hall of Poets) in the House of Lords.

Punch

As the influential result of his position as the chief cartoon artist for Punch, Tenniel remained a witness to Britain's sweeping changes. He furthered political and social reform through satirical, often radical, and at times vitriolic images of the world. At Christmas 1850 he was invited by Mark Lemon to fill the position of joint cartoonist (with John Leech) on Punch, having been selected on the strength of recent illustrations to Aesop's Fables. He contributed his first drawing in the initial letter appearing on p. 224, vol. xix. This was entitled "Lord Jack the Giant Killer" and showed Lord John Russell assailing Cardinal Wiseman.

Tenniel's first characteristic lion appeared in 1852, as did his first obituary cartoon. Gradually he took over altogether the weekly drawing of the political "big cut," which Leech was happy to cede to Tenniel in order to restrict himself to his pictures of life and character.

In 1861, Tenniel was offered Leech's position at Punch, as political cartoonist, but Tenniel still maintained a sense of decorum and restraint in the heated social and political issues of the day. When Leech died in 1864, Tenniel continued their work alone, rarely missing a single week.

His task was to follow the wilful choices of his Punch editors, who probably took their cue from The Times and would have felt the suggestions of political tensions from Parliament as well. Tenniel's work could be scathing in effect. The restlessness in the issues of working-class radicalism, labour, war, economy, and other national themes were the targets of Punch, which in turn settled the nature of Tenniel's subjects. His cartoons of the 1860s popularised a portrait of the Irishman as a sub-human being, wanton in his appetites and resembling an orangutan in facial features and posture. Many of Tenniel's political cartoons expressed strong hostility to Irish Nationalism, with Fenians and Land leagues depicted as monstrous, ape-like brutes, while "Hibernia" – the personification of Ireland – was depicted as a beautiful, helpless girl threatened by such "monsters" and turning for protection to an "elder sister" in the shape of a powerful, armoured Britannia.

"An Unequal Match", his drawing published in Punch on 8 October 1881, depicted a police officer fighting a criminal with only a baton for protection, trying to put a point across to the public that policing methods needed to be changed.

When examined separately from the book illustrations he did over time, Tenniel's work at Punch alone, expressing decades of editorial viewpoints, often controversial and socially sensitive, was created to echo the voices of the British public. Tenniel drew 2,165 cartoons for Punch, a liberal and politically active publication that mirrored the Victorian public's mood for liberal social changes; thus Tenniel, in his cartoons, represented for years the conscience of the British majority.

Tenniel contributed around 2,300 cartoons, innumerable minor drawings, many double-page cartoons for Punch's Almanac and other specials, and 250 designs for Punch's Pocket-books. By 1866 he could "command ten to fifteen guineas for the reworking of a single Punch cartoon as a pencil sketch," alongside his "comfortable" Punch salary "of about £800 a year".

Alice

Despite the thousands of political cartoons and hundreds of illustrative works attributed to him, much of Tenniel's fame stems from his illustrations for Alice. Tenniel drew 92 drawings for Lewis Carroll's Alice's Adventures in Wonderland (London: Macmillan, 1865) and Through the Looking-Glass and What Alice Found There (London: Macmillan, 1871).

Lewis Carroll originally illustrated Wonderland himself, but his artistic abilities were limited. Engraver Orlando Jewitt, who had worked for Carroll in 1859 and reviewed Carroll's drawings for Wonderland, suggested that he employ a professional. Carroll was a regular reader of Punch and therefore familiar with Tenniel, who in 1865 had long talks with Carroll before illustrating the first edition of Alice's Adventures in Wonderland.

The first print run of 2,000 was sold in the United States, rather than England, because Tenniel objected to the print quality. A new edition was released in December 1865, carrying an 1866 date, and became an instant best-seller, increasing Tenniel's fame. His drawings for both books have become some of the most famous literary illustrations. After 1872, when the Carroll projects were finished, Tenniel largely abandoned literary illustration. Carroll did later approach Tenniel to undertake another project for him. To this Tenniel replied:

Tenniel's Alice illustrations were engraved onto blocks of deal wood by the Brothers Dalziel. These then served as masters for the electrotype copies for the actual printing of the books. The original wood blocks are held by the Bodleian Library in Oxford. They are not usually on public display, but were exhibited in 2003.

The bronze Alice in Wonderland sculpture (1959) in Central Park in Manhattan, New York City, is patterned on his illustrations.

Style

Influence of German Nazarenes
The style associated with the Nazarene movement of the 19th century influenced many later artists, including Tenniel. It can be characterised as "shaded outlines", where the lines on the side of figures or objects are given extra thickness or drawn double to suggest shading or volume. Furthermore, this style is extremely precise, with the artist making a hard clear outline for its figures, dignifying them and the compositions, while giving restraint in expression and paleness of tone. Though Tenniel's early illustrations in the Nazarene style were not well received, his encounter with the style pointed him in a good direction.

Eye for detail
After the 1850s, Tenniel's style was modernised to incorporate more detail in backgrounds and in figures. The inclusion of background details corrected the previously weak Germanic staging of his illustrations. Tenniel's more precisely-designed illustrations depicted specific moments of time, locale and individual character instead of just generalised scenes.

In addition to a change in specificity of background, Tenniel developed a new interest in human types, expressions, and individualised representation, something that would carry over into his illustrations of Wonderland. Referred to by many as theatricality, this hallmark of Tenniel's style probably stemmed from his earlier interest in caricature. In Tenniel's first years on Punch he developed this caricaturist's interest in the uniqueness of persons and things, almost giving a human like personality to the objects in the environment. For example, a comparison of one of John Everett Millais's illustrations of a girl in a chair with Tenniel's illustration of Alice in a chair shows clearly that Millais's chair is just a prop, whereas Tenniel's chair possesses a menacing and towering presence.

Another change in style was his shaded lines. These transformed from mechanical horizontal lines to vigorously hand-drawn hatching that greatly intensified darker areas.

Grotesque
Tenniel's "grotesque" was one reason why Lewis Carroll wanted Tenniel as his illustrator for the Alice books, in the sense of imparting a disturbing sense that the real world may have ceased to be reliable. Tenniel's style was characteristically grotesque through his dark, atmospheric compositions of exaggerated fantasy creatures carefully drawn in outline. Often the mechanism was to use animal heads on recognisable human bodies or vice versa, as Grandville had done in the Parisian satirical journal Charivari. In Tenniel's illustrations, the grotesque is found also in mergers of beings and things, deformities in and violence to the human body (e. g. when Alice drinks the potion and grows huge), and a proclivity to deal with ordinary things of this world while presenting such phenomena. The most noticeably grotesque is Tenniel's famous Jabberwock drawing in Alice.

The Alice illustrations combine fantasy and reality. Scholars such as Morris trace Tenniel's stylistic change to the late 1850s trend towards realism. For the grotesque to operate, "it is our world which has to be transformed and not some fantasy realm." The illustrations constantly but subtly remind us of the real world, as do some of Tenniel's scenes derived from a medieval town, the portico of a Georgian town, or the checked jacket on the White Rabbit. Additionally, Tenniel closely follows Carroll's text, so that the reader sees the similitude between the written text and the illustrations. These touches of realism help to convince readers that all these seemingly grotesque inhabitants of Wonderland are simply themselves, simply real, not just performing.

Image and text in Alice
One unusual aspect of the Alice books is the placing of Tenniel's illustrations on the pages. This physical relation of illustrations to text meshes them together. Carroll and Tenniel expressed this in various ways. One was bracketing: two relevant sentences would bracket an image as a way of imparting the moment that Tenniel was trying to illustrate. This bracketing of Tenniel's pictures with text adds to their "dramatic immediacy." However, other, less frequent illustrations work with the texts as captions.

Another link between illustration and text is the use of broader and narrower illustrations. Broader ones are meant to be centred on the page, narrower to be "let in" or run flush to the margin, alongside a narrow column of continuing text. Still, words run in parallel with the depiction of those things. For example, when Alice says, "Oh, my poor little feet!", it not only occurs at the foot of the page but is right next to her feet in the illustration. Some of these narrower illustrations are "L"-shaped, and of great importance as some of his most memorable work. The top or base of these illustrations runs the full width of the page, but the other end leaves room on one side for text.

Book illustrations
A selected list:

Entirely by Tenniel
Juvenile Verse and Picture Book (1846)
Undine (1846)
Aesop's Fables (1848)
Blair's Grave (1858)
Shirley Brooks' The Gordian Knot (1860)
Shirley Brooks' The Silver Cord (1861)
Moore's Lalla Rookh (1861), 69 drawings
Lewis Carroll's Alice's Adventures in Wonderland (1866)
The Mirage of Life (1867)
Lewis Carroll's Through the Looking-Glass (1870)
Lewis Carroll's The Nursery "Alice" (1890)

Tenniel's different collaborations:
Thomas Ingoldsby's The Ingoldsby Legends
Pollok's Course of Time (1857)
The Poets of the Nineteenth Century (1858)
Edgar Allan Poe's "The Raven," in The Poetical Works of Edgar Allan Poe (1858)
Home Affections (1858)
Cholmondeley Pennell's Puck on Pegasus (1863)
The Arabian Nights (1863)
L. B. White, English Sacred Poetry of the Olden Time (1864)
Legends and Lyrics (1865)
Martin Farquhar Tupper's Proverbial Philosophy
Barry Cornwall's Dramatic Scenes: With other poems (1857)

Retirement and death

An ultimate tribute came to an elderly Tenniel as he was knighted for public service in 1893 by Queen Victoria. It was the first such honour ever bestowed on an illustrator or cartoonist. His fellows saw his knighthood as gratitude for "raising what had been a fairly lowly profession to an unprecedented level of respectability." With his knighthood, Tenniel elevated the social status of the black-and-white illustrator, and sparked a new sense of recognition of his profession. When he retired in January 1901, Tenniel was honoured with a farewell banquet (on 12 June), at which AJ Balfour, then Leader of the House of Commons, presided, and described Tenniel as "a great artist and a great gentleman".

Tenniel died of natural causes on 25 February 1914, three days before his 94th birthday. He was buried in Kensal Green Cemetery in London.

Legacy
The Punch historian M. H. Spielmann, who knew Tenniel, wrote that the political clout contained in his Punch cartoons was capable of "swaying parties and people, too". Two days after his death, The Daily Graphic recalled how Tenniel "had an influence on the political feeling of this time which is hardly measurable.... While Tenniel was drawing them (his subjects), we always looked to the Punch cartoon to crystallize the national and international situation, and the popular feeling about it—and never looked in vain." This social influence resulted from the weekly publishing of his political cartoons over 50 years, whereby Tenniel's fame allowed for a want and need for his particular illustrative work, away from the newspaper. Tenniel became not only one of Victorian Britain's most published illustrators, but as a Punch cartoonist one of the "supreme social observers" of British society and an integral component of a powerful journalistic force. The New-York Tribune journalist George W. Smalley referred to John Tenniel in 1914 as "one of the greatest intellectual forces of his time, (who) understood social laws and political energies."

Public exhibitions of Sir John Tenniel's work were held in 1895 and 1900. Tenniel was also the author of one of the mosaics, Leonardo da Vinci, in the South Court in the Victoria and Albert Museum. His stippled watercolour drawings appeared from time to time in the exhibitions of the Royal Institute of Painters in Water Colours, to which he had been elected in 1874.

Tenniel Close, a Bayswater street near his former studio, is named after him.

Gallery

References

Bibliography
John Buchanan-Brown, Early Victorian Illustrated Books: Britain, France and Germany. London: The British Library and Oak Knoll Press, 2005
Lewis Carroll, Alice's Adventures in Wonderland & Through the Looking-Glass. Edited by Roger Lancelyn Green. Illustrated by John Tenniel. Oxford: Oxford UP, 1971
Lewis Carroll, The Annotated Alice: Alice's Adventures in Wonderland & Through the Looking-Glass. Introduction and notes by Martin Gardner. Illustrated by John Tenniel. New York: Bramhall House, 1960
Morton N. Cohen and Edward Wakeling, eds, Lewis Carroll and His Illustrators: Collaborations and Correspondence, 1865–1898. Ithaca: Cornell UP, 2003
L. Perry Curtis, book review: Sir John Tenniel: Aspects of His Work. Victorian Studies. Vol. 40, Bloomington: Indiana UP, 1996. 168–171. JSTOR recovered 21 November 2010
L. Perry Curtis, book review: Drawing Conclusions: A Cartoon History of Anglo-Irish Relations, 1798–1998 by Roy Douglas, et al. Victorian Studies. Bloomington: Indiana UP, 2001. 520–522. JSTOR recovered 21 November 2010
Edward D. Dalziel and George Dalziel, The Brothers Dalziel: A Record of Fifty Years' Work, London: Methuen, 1901

Eleanor M. Garvey and W. H. Bond, Introduction, Tenniel's Alice. Cambridge: Harvard College Library/The Stinehour Press, 1978
J. Francis Gladstone and Jo Elwyn-Jones, The Alice Companion Palgrave Macmillan, 1998.
Paul Goldman, Victorian Illustrators, Aldershot, UK: Scolar Press, 1996

Marguerite Mespoulet, Creators of Wonderland. New York: Arrow Editions, 1934
Harry Levin, "Wonderland Revisited" The Kenyon Review, Vol. 27, no. 4, Kenyon College, 1965, pp. 591–616 JSTOR recovered 3 December 2010

Frankie Morris, John Tenniel, Cartoonist: A Critical and Sociocultural Study in the Art of the Victorian Political Cartoon, PhD dissertation, Columbia: University of Missouri, 1985
William Cosmo Monkhouse, The Life and Works of Sir John Tenniel, London: ArtJournal Easter Annual, 1901
Graham Ovenden and John Davis, The Illustrators of Alice in Wonderland and Through the Looking-Glass, New York: St Martin's Press, 1972
Forrest Reid, Illustrators of the Eighteen Sixties: An Illustrated Survey of the Work of 58 British Artists, New York: Dover Publications, 1975
Frances Sarzano, Sir John Tenniel, London: Pellegrini & Cudahy, 1948

William Thomas Stead, ed., The Review of Reviews, Vol. 23, p. 406, London: Horace Marshall & Son, 1901
M. H. Spielmann, The History of Punch, London: Cassell, 1895
G. P. Stoker, Sir John Tenniel A study of his development as an artist, with particular reference to the Book Illustrations and Political Cartoons, U of London PhD thesis, 1994
Jan Susina, The Place of Lewis Carroll in Children's Literature. New York: Routledge, 2010
Jan Susina, book review: "Artist of Wonderland: The Life, Political Cartoons and Illustrations of Tenniel", Children's Literature Association Quarterly, Vol. 31, no. 2, pp. 202–205, The Johns Hopkins UP, 2006

External links

More about John Tenniel and the making of the illustrations for the Alice's Adventures in Wonderland books

Works by John Tenniel at HeidICON
Tenniel's Alice Illustrations at Lewis Carroll Resources

1820 births
1914 deaths
English illustrators
English cartoonists
Punch (magazine) cartoonists
British children's book illustrators
British surrealist artists
Knights Bachelor
People from Maida Vale
Burials at Kensal Green Cemetery
Members of the Royal Institute of Painters in Water Colours
English people of French descent

redpajama_set_name: RedPajamaWikipedia


text:
Train Travel Tips and Hints
In recent years I've become an enthusiast for continental train travel. This not only gives me a warm (wrong word, really) feeling about doing my bit to limit climate change, but it's also a lot more pleasurable than flying or driving:
more leg and elbow-room in the seats (though they run on the same guage track as British ones, the carriages are substantially larger, and sometimes double-decker)
often a fair number of empty seats allowing you to spread about a bit
something actually to look at through the window
opportunities to get up and walk to the buffet car
no waiting for baggage
few security hassles
shorter connections
possibility of popping out of the station to see a nearby church, or to get a decent meal at a local cafe on longer connections).
if a delay means that you miss a connection, there's usually another train you can take in and hour or so, whereas there may only be one or two flights a day
This page gives a few hints and examples, to supplement the information on the Plan Your Travel pages, and also discusses a few potential issues and dismisses a couple of myths.
A recent (11 Dec 2019) article in the New Statesman also sings the praises of European rail travel.
John Barnard (last updated 9 Feb 2020)
Doesn't it take much longer?
OK - trains don't go as fast as planes, but you avoid a lot of getting to and waiting around at airports, and the train usually takes you a lot closer to your destination, which makes the overall time more comparable.
Starting from London, and even from further afield, it's generally possible to get to the closer parts of the Alps comfortably in a day; one club member regularly gets from North Wales to a hotel at Sierre in the Rhone valley with an early start and late finish. And unless you're keen on spending 12-15 hours at the wheel, supported by intravenous coffee, it's difficult to get to the alps in a single day by car.
A couple of years ago I got an 0947 train home from the Argentiere meet and was in Sheffield by 11 that night, with 90-minute stopovers in Paris and London (plenty of time for meals).
On another occasion I had a delightful lunch at a pavement cafe opposite Grenoble station before wandering across the road ten minutes before my train was due, all the while exchanging texts with my touring colleagues, as they progressed from check-in queue to bag-drop queue to security queue to boarding queue, and I was on the tube at St Pancras only an hour or so later than they finally got out of the Manchester airport long-stay carpark.
What about more distant trips?
Of course it isn't always possible to get all the way to a resort in a day, especially if you're starting from further north. Splitting the journey over two days can make it more relaxing, and even give the opportunity to combine a ski trip with a brief city break.
Websites like hotels.com, booking.com and airbnb.co.uk can be used to find cheap accommodation close to stations - and it may be worth taking a local commuter train a short distance out of the more expensive centres to find somewhere more reasonably-priced.
Sleeper trains offer another option, combining accommodation with progress towards your destination, and getting you there first thing in the morning. Unfortunately neither the traditional Paris to Bourg St Maurice, nor the Paris to Munich sleeper service any longer operate, but there are sleepers from Paris to Italy and from Cologne to Innsbruck (in fact from Brussels to Innsbruck from January 2020).
There is a direct overnight Eurostar ski train from St Pancras to Bourg St Maurice, but it has just ordinary Eurostar carriages, with no couchettes (and non-reclining seats) and if that hasn't put you off enough, there's no alcohol allowed either! Better to take the direct daytime ski train (winter Saturdays only) or change in Paris.
Luggage and Security
One advantage of train travel is that there are no hidden charges for bags, skis etc - you just keep your luggage with you all the time (though there are rather expensive ways of getting it transferred to your final destination). A lot of continental trains have special ski racks and if not, a ski bag generally fits quite well on the overhead racks, though you might need to shuffle a couple of other passengers' bags about a bit if you're not the first to board.
There are generally no security checks except for Eurostar, and even those are a lot less hassly than the airports - you just shove everything through the X-ray machine, and pick it up the other side, before passport control. No rules about 100ml of liquid, and I've even seen people taking through cups of coffee bought before security. You do both lots of passport control at the departure station, so you can just get off the train at the other end and go (useful for tight connections).
Is there a problem with ice-axes and crampons?
Over the past few years there have been conflicting messages from Eurostar about this, and there's a (very) long-running thread on the subject on the club website forum. There is now a clear statement (checked 29 Sep 2019) on the Eurostar website (https://www.eurostar.com/uk-en/holidays/ski-holidays - scroll down to Ski Train What You Need to know - Luggage Allowance and click on "read more") to the effect that ice axes, crampons etc. are allowed if packed inside your baggage - I take a printout of that page in case I encounter an over-officious security officer. In 2019 I was not challenged at all on my way out at St Pancras; on my way home via Brussels, the ice-axe was picked out by the X-ray operator, who called her boss, who went to talk to his boss, and came back with the information "yes, it is allowed", which suggests that security staff do have specific instructions on this point.
Getting Across Paris
One deterrent to train travel is the need to change stations in Paris. Eurostar arrives at Gare du Nord, while trains to the French (and western Swiss) Alps go from Gare de Lyon. The transfer is actually pretty simple - just two stops on the RER underground train, and frankly it takes less time than getting between terminals at some airports. The wonderful Man in Seat 61 even has a video showing you how to do it. A good trick is to buy RER tickets on the Eurostar (in the buffet car) so you don't have to fight with the coin machines in Paris - get one for the return journey too. It's a good idea to visit the buffet car early, as they sometimes run out of tickets. (It seems that they're going to be phasing these tickets out in summer 2020, replacing them with a pay-as-you-go Oyster card type system).
One member has reported that TGVs from Geneva (and probably other places) to Paris are sometimes delayed, so it may be an idea not to book the shortest possible connection for the Eurostar - if booking using RailEurope you can specify a stop-off time in Paris so that it selects an appropriate connection. And if everything runs on schedule, you've got time for an extra glass of wine with your dinner.
Trains to Germany go from Gare de l'Est, which is five or ten minutes walk from Gare du Nord - the street between them (rue des deux Gares) has a several cafes and restaurants, and is thus a good stop-off point.
The station transfer problem is solved altogether if you go via Brussels, where everything happens at Midi (otherwise known as Zuid) station. Similarly, changing at Lille (which many, though not all Eurostar trains stop at) and by-passing Paris avoids the problem - some of the onward trains at Lille go from Lille's "other" station, Lille Flandres, which is a 5-minute walk - the Man in Seat 61 has all the details.
This website has a guide to planning travel to popular touring destinations. The Man in Seat 61 website is an absolute goldmine of information about train travel almost anywhere in the world, and the Rome2Rio website also has information about connecting bus routes etc.
I've found the RailEurope (formerly loco2) website generally pretty good for booking trains (including Eurostar), though unfortunately they've just introduced a booking fee, so other options like the relevant national operators may be slightly cheaper, if less simple and convenient.
It can sometimes be an idea to do a bit of "trial and error" using different options for stations to change at, in order to find the cheapest fares. Continental train tickets usually go on sale between 2 and 4 months in advance (the man in seat 61 has more detaied information), and if you subscribe to the RailEurope website, they send you useful (and not too frequent) e-mails telling you when booking is about to open for some popular routes.


A newly enacted state law enables local governments to require multifamily developers to include affordable housing in sizable projects.
Mill Creek Residential Trust last week submitted a design advice request for a proposed building 11 to 14 stories at Northwest 10th Avenue and Davis Street with ground-floor retail space and 112 subterranean parking spaces.
The old Oregon Ballet Theatre building on Southeast Sixth Avenue will soon be demolished to make way for Mill Creek Residential Trust's six-story, mixed-use Modera Belmont project.
After finally passing review by the Portland Design Commission last week, plans are moving forward for the Modera Belmont, a six-story, mixed-use building with 200 apartment units at 818 S.E. Sixth Ave.
Mill Creek Residential's Modera Belmont project in Southeast Portland will return next month for the fifth time before the Portland Design Commission.
A design for the proposed mixed-use Modera Belmont development in Southeast Portland still needs a bit more work to meet city standards.


Gather a large pile of cardboard, and some scisors, and a pen, and a ruler, and a gluegun, and some cardboard, and a ruler.
Flatten out the cardboard, use a cat to weigh down any bits that insist on not being flat, but use with cuation, some cats may pick and and chew the corners.
Get a piece of planning paper, or layout paper if you must.
Draw a circle, after marking a center, then draw another, but not before drawing another, make them all bigger than the last one, and smaller than the next one. Get a cat to sniff the circles to ensure their correct, again, use the right cat is critical as some cats may sit in teh circle, which is not the disired function of this operation.
Cut some strips of cardboard.
Make thin little round bits, mae sure the outside is the size of the circle and the inside is a little small than the outside, but not as small as the last outside, otherwise it will be inside out.
Oh no, repeat image, nevermind.
Make another one, but maybe make it like an I beam, just cause its bigger and needs more strength and stuff maybe kinda sorta.
Repeat whatever that last step was.
uh... what was this... oh right, the... I mean, that is, get some copper wire there to make some pins from.
Put in the pins, to do this you need to make holes, I suppose making holes should have been teh last step, too late now!
Wait a sec, this is the same image agian!
Do that pin thing again, do the pins at 90 degrees apart to get the rights ring.
Set it up and take a pic, wait I forgot to paint it, drat, ok, well pretend this is the step after and that the step before was paint, then change all the step numbers to get rid of that duplicate step back there.
Build another one, I don't know why but I know the more you do the better you will get at it, whatever it is. and remember, dont spend good money on projects your just using to get experiance, use the tarnished money or the stuff thats dirty, if its too dirty run it though teh wash with some jeans, but dont tell any one you laundered the money, apparently that gets ya in trouble.


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Q: Partialy no color for Symfony CLI in PhpStorm Symfony CLI in PhpStorm don't output all the colored character, but it works nice in Visual Studio Code.
It also works in Windows terminal but not in cmd console nor in PowerShell.
In Visual Studio Code:

In PhpStorm:

I'm working on Windows 10 ver 1903. And I don't have a clue of where the problem is...

A: Unfortunately, PhpStorm doesn't support colored output in the Run tool window. https://youtrack.jetbrains.com/issue/WI-46591
You get rid of those color codes by passing the --no-ansi parameter to the Symfony CLI script.

redpajama_set_name: RedPajamaStackExchange


I collided into the the morning of October 2nd with shock and sadness as I opened my news app to see the headlines of carnage from the mass shooting into the crowd of an outdoor music concert in Las Vegas.
I wish I could say I was surprised to learn about this tragic event, but unfortunately I'm not. Horrified, yes. Surprised, no. From Boston to Orlando, San Bernardino to Charlottesville, Virginia Tech to Sandy Hook, the only thing consistent is thatthe slaughtering keeps getting worse.
If you do a Google search for "violence tipping point" you'll see that since at least 2009, the media has been saying that we are at a tipping point of violence in the US. There were ~10,000 Google results in all of 2009 for "violence tipping point". So far in 2017 there are 168,000 results from Google for the same term (soon to be 168,001 after this gets sent). It makes sense. As the frequency of these violent attacks increase, so the horror around it does.
But I will tell you affirmatively that we are not yet at a tipping point for such senseless violence in our country.
The very definition of being at a tipping point is that enough incidences happen that spark large, widespread change. There is sadness, there is shock, there are a lot of people who see the problem. What there isn't, is meaningful change.
In our offices at imATHLETE we talk about the difference between "problem solvers" and "problem admirers". People who are problem admirers are quick to point out that there is a problem, but are not interested to proactively be part of the solution.
We will know when we're at a tipping point for violence when we see problem solvers at the highest level of our country making big changes to stop this violence. And I mean *big* changes. Whether it's gun control, military-like security, removal of violence in entertainment or any other combination of things, big change means that people who have the power and authority to set laws that impact millions, do so. And truthfully, that's not happening as I write this, and I am not clear what is going to change in the short term to make it happen.
So, barring me being wrong, that means more violence. I can tell you, with little doubt but great sadness, there will be blood. More people will probably die from senseless violence in the US before our politicians and business leaders do anything about it.
Which brings us right to the sports business.
In 2013, the horrendous bombing at the Boston Marathon rattled our industry. That mass violence directed towards a seemingly random crowd of innocent victims was mirrored in Las Vegas. Same idea, different venue, different weapon.
I am fearful, and rightly so, that it's just a matter of time before another horrendous incident directly impacts our endurance business.
As members of the event industry, we bring masses of people together hundreds of times per year. It is no mystery to anybody that it is virtually impossible for us to completely secure a 13.1 or 26.2 mile course as it winds through a city.
Yes, a small handful of the biggest races can put trash trucks or larger water barriers at intersections to stop a car barreling into the crowd. But can we do that for every single intersection? No. If nothing else, it's cost prohibitive. And there simply aren't that many trash trucks available. So we have risk.
We can't stop people from coming to spectate. To the contrary, we want to make it easy for people to spectate. So we have risk.
We can't scan all the cars and trucks that are parked a few blocks from the course. We can't check every apartment window in every building from every vantage point of every inch of the course. And we can't quickly tell the difference between some kid playing with his toy drone, and a drone that does much much worse. We just can't. We definitely have risk.
Maybe it will be another bombing, a vehicle plowing through the course, maybe a shooter or chemical weapons, maybe that truck sitting randomly unnoticed halfway through the course, where all the spectators are cheering will suddenly - Ka-POW!!!
And what are we going to do then?
Will *that* be the tipping point?
We aren't going to stop putting on events, that's for sure. We aren't going to change our courses to indoor, invite-only laps around a track. So what are we going to do to ensure mass violence doesn't hit our industry again. And again. And again.
And whatever we are going to do, why the heck aren't we doing it now?
I remember the fear after 9/11. We were scared to fly. Scared to look at our neighbors. Scared that it would happen again. This country has long ago lost its innocence. There is too much violence for us to turn a blind eye and pretend it's ok.
Our participants and spectators alike need to be aware. They need to know what to look for and how to react. We need to instruct our participants how to respond in case of emergency.
We need to know that we can't stop the risk of violence at an endurance event - but we absolutely can't turn a blind eye and think we are safe.
Perhaps we lobby our politicians or leverage our masses to force companies to make change.
Maybe we create an outdoor event safety coalition with other large events (music festivals, county fairs, etc.) We work together to create a standard of behavior that extends far beyond sports.
At the very least we need to understand that it takes a village to inspire change. We are not going to solve problems in a vaccuum. Let's talk, communicate, create more standards and solve the problems together. Because the violence has to stop.
We're not at a tipping point yet, but the tipping point is coming.


This is video documentation of a editioned artist book about the Opiate Crisis that Allison Bills completed a part of her BFA Senior Thesis project in at VCUarts in 2016.
Alex Arzt is artist who uses photography, film, video and living organisms to investigate the complicated relationship between humans and the environment. This video is documentation of her thesis exhibition Dispersal at the VCUarts Depot Gallery in 2015. I served on Ms. Arzt thesis committee in AY 2014/15.
For the past two years Alex continues to work on a project that she started during my graduate seminar called Positions and Situations. She writes letters of reply to advertisements in 1970's copies of Mother Earth News. In 2017 she presented the project during a residency at Bemis Center for the Arts.
Farrah Al Sulaiman is a Saudi/American artist who completed her MFA at VCUarts in 2016. Her thesis work consisted of a series of short videos and a collection of hand sewn abayas. Farrah Al Sulaiman grew up in the American midwest and lives in Saudi Arabia. The abayas are made from fabric prints typically used in middle America, including camouflage, denim, Coca Cola prints and collegiate memorabilia. The juxtaposition of materials with the traditional Saudi covering created an charged space for contemplation and conversation.
Sarah Clarken's thesis work addressed the complicated relationship between public and private images stored in the digital cloud. She appropriated a collection of leaked private and personal images of celebrities such as Miley Cyrus and Jennifer Lawrence. She created temporary works that deteriorated during the run of her show. In this video she trespassed on to the grounds of an Apple iCould server campus in North Carolina and buried a leaked image of Jennifer Lawrence in the ground.
Post BFA, Sara Clarken has exhibited internationally, in London and Paris during Frieze and Artissima. She has coordinated exhibitions at major art fairs and currently lives and works in Berlin. A review of Sara Clarken's most recent work can be found at The Fullest.


(1) Wherever appropriate, the provisions of the Federal Rules of Civil Procedure relating to disclosure and discovery shall apply in opposition, cancellation, interference and concurrent use registration proceedings except as otherwise provided in this section. The provisions of Federal Rule of Civil Procedure 26 relating to required disclosures, the conference of the parties to discuss settlement and to develop a disclosure and discovery plan, the scope, timing and sequence of discovery, protective orders, signing of disclosures and discovery responses, and supplementation of disclosures and discovery responses, are applicable to Board proceedings in modified form, as noted in these rules and as may be detailed in any order instituting an inter partes proceeding or subsequent scheduling order. The Board will specify the deadline for a discovery conference, the opening and closing dates for the taking of discovery, and the deadlines within the discovery period for making initial disclosures and expert disclosure. The trial order setting these deadlines and dates will be included with the notice of institution of the proceeding.
(2) The discovery conference shall occur no later than the opening of the discovery period, and the parties must discuss the subjects set forth in Federal Rule of Civil Procedure 26(f) and any subjects set forth in the Board's institution order. A Board Interlocutory Attorney or Administrative Trademark Judge will participate in the conference upon request of any party made after answer but no later than ten days prior to the deadline for the conference. The participating attorney or judge may expand or reduce the number or nature of subjects to be discussed in the conference as may be deemed appropriate. The discovery period will be set for a period of 180 days. Initial disclosures must be made no later than thirty days after the opening of the discovery period. Disclosure of expert testimony must occur in the manner and sequence provided in Federal Rule of Civil Procedure 26(a)(2), unless alternate directions have been provided by the Board in an institution order or any subsequent order resetting disclosure, discovery or trial dates. If the expert is retained after the deadline for disclosure of expert testimony, the party must promptly file a motion for leave to use expert testimony. Upon disclosure by any party of plans to use expert testimony, whether before or after the deadline for disclosing expert testimony, the Board may issue an order regarding expert discovery and/or set a deadline for any other party to disclose plans to use a rebuttal expert. The parties may stipulate to a shortening of the discovery period. The discovery period may be extended upon stipulation of the parties approved by the Board, or upon motion granted by the Board, or by order of the Board. If a motion for an extension is denied, the discovery period may remain as originally set or as reset. Disclosure deadlines and obligations may be modified upon written stipulation of the parties approved by the Board, or upon motion granted by the Board, or by order of the Board. If a stipulation or motion for modification is denied, disclosure deadlines may remain as originally set or reset and obligations may remain unaltered. The parties are not required to prepare or transmit to the Board a written report outlining their discovery conference discussions, unless the parties have agreed to alter disclosure or discovery obligations set forth by these rules or applicable Federal Rules of Civil Procedure, or unless directed to file such a report by a participating Board Interlocutory Attorney or Administrative Trademark Judge.
(3) A party must make its initial disclosures prior to seeking discovery, absent modification of this requirement by a stipulation of the parties approved by the Board, or a motion granted by the Board, or by order of the Board. Discovery depositions must be taken, and interrogatories, requests for production of documents and things, and requests for admission must be served, on or before the closing date of the discovery period as originally set or as reset. Responses to interrogatories, requests for production of documents and things, and requests for admission must be served within thirty days from the date of service of such discovery requests. The time to respond may be extended upon stipulation of the parties, or upon motion granted by the Board, or by order of the Board. The resetting of a party's time to respond to an outstanding request for discovery will not result in the automatic rescheduling of the discovery and/or testimony periods; such dates will be rescheduled only upon stipulation of the parties approved by the Board, or upon motion granted by the Board, or by order of the Board.
(1) The discovery deposition of a natural person residing in a foreign country who is a party or who, at the time set for the taking of the deposition, is an officer, director, or managing agent of a party, or a person designated under Rule 30(b)(6) or Rule 31(a) of the Federal Rules of Civil Procedure, shall, if taken in a foreign country, be taken in the manner prescribed by §2.124 unless the Trademark Trial and Appeal Board, upon motion for good cause, orders or the parties stipulate, that the deposition be taken by oral examination.
(1) The total number of written interrogatories which a party may serve upon another party pursuant to Rule 33 of the Federal Rules of Civil Procedure, in a proceeding, shall not exceed seventy-five, counting subparts, except that the Trademark Trial and Appeal Board, in its discretion, may allow additional interrogatories upon motion therefor showing good cause, or upon stipulation of the parties, approved by the Board. A motion for leave to serve additional interrogatories must be filed and granted prior to the service of the proposed additional interrogatories and must be accompanied by a copy of the interrogatories, if any, which have already been served by the moving party, and by a copy of the interrogatories proposed to be served. If a party upon which interrogatories have been served believes that the number of interrogatories exceeds the limitation specified in this paragraph, and is not willing to waive this basis for objection, the party shall, within the time for (and instead of) serving answers and specific objections to the interrogatories, serve a general objection on the ground of their excessive number. If the inquiring party, in turn, files a motion to compel discovery, the motion must be accompanied by a copy of the set(s) of the interrogatories which together are said to exceed the limitation, and must otherwise comply with the requirements of paragraph (e) of this section.
(e) Motion for an order to compel disclosure or discovery.
(1) If a party fails to make required initial disclosures or expert testimony disclosure, or fails to designate a person pursuant to Rule 30(b)(6) or Rule 31(a) of the Federal Rules of Civil Procedure, or if a party, or such designated person, or an officer, director or managing agent of a party fails to attend a deposition or fails to answer any question propounded in a discovery deposition, or any interrogatory, or fails to produce and permit the inspection and copying of any document or thing, the party entitled to disclosure or seeking discovery may file a motion to compel disclosure, a designation, or attendance at a deposition, or an answer, or production and an opportunity to inspect and copy. A motion to compel initial disclosures or expert testimony disclosure must be filed prior to the close of the discovery period. A motion to compel discovery must be filed prior to the commencement of the first testimony period as originally set or as reset. A motion to compel discovery shall include a copy of the request for designation or of the relevant portion of the discovery deposition; or a copy of the interrogatory with any answer or objection that was made; or a copy of the request for production, any proffer of production or objection to production in response to the request, and a list and brief description of the documents or things that were not produced for inspection and copying. A motion to compel initial disclosures, expert testimony disclosure, or discovery must be supported by a written statement from the moving party that such party or the attorney therefor has made a good faith effort, by conference or correspondence, to resolve with the other party or the attorney therefor the issues presented in the motion but the parties were unable to resolve their differences. If issues raised in the motion are subsequently resolved by agreement of the parties, the moving party should inform the Board in writing of the issues in the motion which no longer require adjudication.
(2) When a party files a motion for an order to compel initial disclosures, expert testimony disclosure, or discovery, the case will be suspended by the Board with respect to all matters not germane to the motion. After the motion is filed and served, no party should file any paper that is not germane to the motion, except as otherwise specified in the Board's suspension order. Nor may any party serve any additional discovery until the period of suspension is lifted or expires by or under order of the Board. The filing of a motion to compel any disclosure or discovery shall not toll the time for a party to comply with any disclosure requirement or to respond to any outstanding discovery requests or to appear for any noticed discovery deposition.
(f) Motion for a protective order. Upon motion by a party obligated to make initial disclosures or expert testimony disclosure or from whom discovery is sought, and for good cause, the Trademark Trial and Appeal Board may make any order which justice requires to protect a party from annoyance, embarrassment, oppression, or undue burden or expense, including one or more of the types of orders provided by clauses (1) through (8), inclusive, of Rule 26(c) of the Federal Rules of Civil Procedure. If the motion for a protective order is denied in whole or in part, the Board may, on such conditions (other than an award of expenses to the party prevailing on the motion) as are just, order that any party comply with disclosure obligations or provide or permit discovery.
(1) If a party fails to participate in the required discovery conference, or if a party fails to comply with an order of the Trademark Trial and Appeal Board relating to disclosure or discovery, including a protective order, the Board may make any appropriate order, including those provided in Rule 37(b)(2) of the Federal Rules of Civil Procedure, except that the Board will not hold any person in contempt or award expenses to any party. The Board may impose against a party any of the sanctions provided in Rule 37(b)(2) in the event that said party or any attorney, agent, or designated witness of that party fails to comply with a protective order made pursuant to Rule 26(c) of the Federal Rules of Civil Procedure. A motion for sanctions against a party for its failure to participate in the required discovery conference must be filed prior to the deadline for any party to make initial disclosures.
(2) If a party fails to make required initial disclosures or expert testimony disclosure, and such party or the party's attorney or other authorized representative informs the party or parties entitled to receive disclosures that required disclosures will not be made, the Board may make any appropriate order, as specified in paragraph (g)(1) of this section. If a party, or an officer, director, or managing agent of a party, or a person designated under Rule 30(b)(6) or 31(a) of the Federal Rules of Civil Procedure to testify on behalf of a party, fails to attend the party's or person's discovery deposition, after being served with proper notice, or fails to provide any response to a set of interrogatories or to a set of requests for production of documents and things, and such party or the party's attorney or other authorized representative informs the party seeking discovery that no response will be made thereto, the Board may make any appropriate order, as specified in paragraph (g)(1) of this section.
(1) Any motion by a party to determine the sufficiency of an answer or objection to a request made by that party for an admission must be filed prior to the commencement of the first testimony period, as originally set or as reset. The motion shall include a copy of the request for admission and any exhibits thereto and of the answer or objection. The motion must be supported by a written statement from the moving party that such party or the attorney therefor has made a good faith effort, by conference or correspondence, to resolve with the other party or the attorney therefor the issues presented in the motion and has been unable to reach agreement. If issues raised in the motion are subsequently resolved by agreement of the parties, the moving party should inform the Board in writing of the issues in the motion which no longer require adjudication.
(2) When a party files a motion to determine the sufficiency of an answer or objection to a request for an admission, the case will be suspended by the Board with respect to all matters not germane to the motion. After filing and service of the motion, no party should file any paper that is not germane to the motion, except as otherwise specified in the Board's suspension order. Nor may any party thereafter serve any additional discovery until the period of suspension is lifted or expires by or under order of the Board. The filing of a motion to determine the sufficiency of an answer or objection to a request for admission shall not toll the time for a party to comply with any disclosure requirement or to respond to any outstanding discovery requests or to appear for any noticed discovery deposition.
(i) Telephone and pretrial conferences.
(1) Whenever it appears to the Trademark Trial and Appeal Board that a stipulation or motion filed in an inter partes proceeding is of such nature that its approval or resolution by correspondence is not practical, the Board may, upon its own initiative or upon request made by one or both of the parties, address the stipulation or resolve the motion by telephone conference.
(2) Whenever it appears to the Trademark Trial and Appeal Board that questions or issues arising during the interlocutory phase of an inter partes proceeding have become so complex that their resolution by correspondence or telephone conference is not practical and that resolution would likely be facilitated by a conference in person of the parties or their attorneys with an Administrative Trademark Judge or an Interlocutory Attorney of the Board, the Board may, upon its own initiative or upon motion made by one or both of the parties, request that the parties or their attorneys, under circumstances which will not result in undue hardship for any party, meet with the Board at its offices for a disclosure, discovery or pretrial conference.
(j) Use of discovery deposition, answer to interrogatory, admission or written disclosure.
(i) A discovery deposition, an answer to an interrogatory, an admission to a request for admission, or a written disclosure (but not a disclosed document), which may be offered in evidence under the provisions of paragraph (j) of this section, may be made of record in the case by filing the deposition or any part thereof with any exhibit to the part that is filed, or a copy of the interrogatory and answer thereto with any exhibit made part of the answer, or a copy of the request for admission and any exhibit thereto and the admission (or a statement that the party from which an admission was requested failed to respond thereto), or a copy of the written disclosure, together with a notice of reliance. The notice of reliance and the material submitted thereunder should be filed during the testimony period of the party that files the notice of reliance. An objection made at a discovery deposition by a party answering a question subject to the objection will be considered at final hearing.
(ii) A party that has obtained documents from another party through disclosure or under Rule 34 of the Federal Rules of Civil Procedure may not make the documents of record by notice of reliance alone, except to the extent that they are admissible by notice of reliance under the provisions of §2.122(e).
(5) Written disclosures, an answer to an interrogatory, or an admission to a request for admission, may be submitted and made part of the record only by the receiving or inquiring party except that, if fewer than all of the written disclosures, answers to interrogatories, or fewer than all of the admissions, are offered in evidence by the receiving or inquiring party, the disclosing or responding party may introduce under a notice of reliance any other written disclosures, answers to interrogatories, or any other admissions, which should in fairness be considered so as to make not misleading what was offered by the receiving or inquiring party. The notice of reliance filed by the disclosing or responding party must be supported by a written statement explaining why the disclosing or responding party needs to rely upon each of the additional written disclosures or discovery responses listed in the disclosing or responding party's notice, and absent such statement the Board, in its discretion, may refuse to consider the additional written disclosures or responses.
(6) Paragraph (j) of this section will not be interpreted to preclude reading or use of written disclosures or documents, a discovery deposition, or answer to an interrogatory, or admission as part of the examination or cross-examination of any witness during the testimony period of any party.
(7) When a written disclosure, a discovery deposition, or a part thereof, or an answer to an interrogatory, or an admission, has been made of record by one party in accordance with the provisions of paragraph (j)(3) of this section, it may be referred to by any party for any purpose permitted by the Federal Rules of Evidence.
(8) Written disclosures or disclosed documents, requests for discovery, responses thereto, and materials or depositions obtained through the disclosure or discovery process should not be filed with the Board, except when submitted with a motion relating to disclosure or discovery, or in support of or in response to a motion for summary judgment, or under a notice of reliance, when permitted, during a party's testimony period.


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  This event records the reconfiguration of a scheduled task.
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Buy Battleships Puzzles
Battleships puzzles are a popular logic puzzle. The aim is simple: you must locate a fleet of ships of varying length in the puzzle grid.
The grid size itself may vary from puzzle to puzzle, and is usually (although not always) square. Common sizes in print are 6 x 6, 8 x 8 and 10 x 10. The fleet of ships that you must find will typically include ships of size 1, 2, 3, 4 and possibly 5. Sometimes even larger ships must be located.
At the start of the battleships puzzle, you will be told how many ships of each length are hidden in the grid that you must locate. Some ship parts may be placed to help you get started, and sometimes water is also placed.
The rules are simple: a square in the grid can either contain water or a ship part. Parts of different ships cannot touch each other horizontally, vertically or diagonally. The sample solution grid to the right makes this clear: you can see that each ship is fully surrounded by water. In this example, there are 3 ships of length 1, 2 ships of length 2 and 3 and 1 ship of length 1 and 5.
In the starting grid of a battleships puzzle, numbers are placed at the end of each row and column, and these tell you how many ship segments are placed in that particular row or column. No information is given about how those ship segments are distributed (unlike the logic puzzle hanjie which you may be familiar with).
Battleships are an enjoyable puzzle to solve as there are many interesting logical rules that can be used to help the player solve them, and many of the more subtle rules reveal themselves subtlely as you get more familiar with solving this puzzle type. All our battleships have a single valid solution.
Battleships puzzles make an ideal addition to any logic puzzles title. They appear in some newspapers and a range of logical challenge magazines so your readers may already be familiar with them; instructions can be supplied with any puzzles ordered free of charge. If you wish to buy battleships puzzles, we can supply them in a range of sizes and difficulties. Battleships are supplied licensed for print publication in PDF format (or other format if required) with solutions.
If you are interested in purchasing battleship puzzles, then please do Contact Us with your requirements.
Grandad's Sudoku
Codeword A Day 2021


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Maanasamrakshanam (1945)
Randor Guy
Updated: November 06, 2010 20:21 IST
S. D. Subbulakshmi, G. Pattu Iyer, V. N. Janaki, T. R. Ramachandran, Kali N. Ratnam, T. K. Sampangi, M. R. S. Mani, T. R. B. Rao, M. A. Ganapathi Bhat, V. S. Santhanam Ayyangar, R. Ramanuja Chariar, V. A. S. Mani, 'Master' Sathasivam, Nagalakshmi and 'Kumari' Subbulakshmi
Maanasamrakshanam (1945).
As the Second World War (1939-1945) was drawing to a close and the Allies were in sight of victory over the Axis, the British Indian government requisitioned leading film producers to make films, highlighting the role of British India in fighting the enemy and putting down fascist forces. The making of such 'War Propaganda' pictures as they came to be known became imperative to established producers. Some concessions were also held out like the proverbial carrot and four Tamil producers made such films, all of them released during 1945…
En Magan (Jupiter Pictures), Burma Rani (Modern Theatres), Kannamma En Kaadhali (Gemini Studios) and Maanasamrakshanam (Madras United Artistes Corporation, a K. Subramanyam production company) fell under this genre.
Subramanyam, a staunch Gandhian, had always attacked the British in his films such as Thyagabhoomi, while Vasan was a Congress sympathiser, whose editorials in his weekly Ananda Vikatan were anti-British and pro-Congress. (The British Indian government had forfeited the magazine's security deposit for its anti-British writings).
How did the maker of Thygabhoomi handle the situation? Subramanyam's 'War Propaganda' film Maanasamrakshanam had cleverly veiled scenes glorifying the Indian and his love for freedom. Subbulakshmi, Ramachandran, Kali N. Ratnam and V. N. Janaki played major roles. However, some of Subramanyam's friends and admirers expressed their displeasure at the patriot making this film.
Written, produced and directed by Subramanyam, the story is built around the Japanese invasion of Burma during 1941 and the troubles and tribulations of many Indians who had to leave their adopted land and walk miles through jungle, mountains and other dangerous areas with enemies on their heels. The heroine (Subbulakshmi) takes care of many children lost, and forms a band known as 'Maanasamrakshanam Band' in India. She is deeply involved in a number of nationalistic activities and succeeds in outwitting the villain's anti-Indian activities. She also gets even with some relatives who had misappropriated her fortune.
Expectedly, SDS, the noted stage and screen star of her era, played the major role and she virtually carried the film on her shoulders.
The Nagapattinam advocate's clerk G. Pattu Iyer, a fine character actor, who was brought into films by Subramanyam, played the heroine's greedy brother. His best performance was, of course, in the Gemini Studios' 1949 hit Apoorva Sahotharargal ('Strange Brothers') as the doctor who saves the twins….
Shot at Newtone Studios, the film had impressive photography by Thambu, a cousin of Subramanyam, with art direction by F. Nagoor and Ghodgaonkar who were popular figures of that era. The lyrics were by Papanasam Rajagopala Iyer (Sivan's brother) with the background score by the noted musician of the day, K. C. Thyagarajan.
Subramanyam's uncle C.S.V. Iyer (Thambu's father) shared the credit for direction along with his nephew which he did in some other films.
Remembered for Subbulakshmi's excellent performance and Subramanyam's deft direction and onscreen narration.
The Hindu Cinema Plus
Printable version | Jan 19, 2022 9:24:23 PM | https://www.thehindu.com/features/cinema/Maanasamrakshanam-1945/article15676974.ece
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It's official. Sallycat's fabulous Happy Tango guide book has been seen in the wild.
My copy ordered from amazon.co.uk hasn't been delivered yet, and even when it is, I won't actually get my hands on it until at least October. So how do I know it's fabulous?
Because I was privileged to be one of the beta readers back in December 2009 and I have been living my Buenos Aires dream for the last 3 months based largely on what I learned from the book, and before that from Sallycat's blog.
If you're thi nking about coming to Buenos Aires to tango, or if you've already booked your tickets, be sure to get a copy of Happy Tango before you leave for the airport. The sooner you get one the better. Already got a Lonely Planet or other guide book? Don't have room in your case for a second? Chuck the one you've already got and bring Happy Tango instead. It really is that good.
This entry was posted on Friday, July 16th, 2010 at 00:33 and is filed under Main.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


After all day at the beach, the Reef Orchid Way SS is a no brainer. Casual style is perfected with its flowery all over print, scalloped hem at the sides, chest pocket with button closure, and grossgrain details at the interior neck. Plus, its pre-washed for extra softness.


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Category Archives: Microsoft Support
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Microsoft helps and provides services for homeless people and helps eradicate world hunger!
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Looking for a chat with a Microsoft tech support personnel
Looking for a chat with a Microsoft tech support personnel? MS has something up its sleeve! While predicting the years 2017 and 2027, 17 female researchers at Microsoft collectively told that speech and language technology will become multi lingual in the year 2017. Though it wasn't mentioned anywhere that the technology would be used by…