The recipe for the Cinnamon Sugar Pretzels is very simple, see below.
Preheat the oven to 300Fº.
On a cookie sheet add the pretzels, and spread the pretzels out evenly across the sheet.
In a bowl add oil, sugar, and cinnamon and stir to mix ingredients together.
Pour the mixture over the pretzels and toss well to coat the pretzels evenly.
Place cookie sheet in the oven and bake uncovered for 30 minutes, stirring twice during baking time (once every 10 minutes).
Spread pretzels out as evenly as you can and let them cool before serving.
Store pretzels in an airtight container.
The pretzels can be made in about 40 minutes, you can make a lot at once, and then package them up in little bags or coffee mugs for a small gift idea.
Definitely take the time to unwind this holiday season, sit back and enjoy a cup of coffee and something sweet on Christmas morning as you enjoy time with your loved ones!
« An Orange Theory Fitness Review — is it worth it?


text:
Business Consumer Confidence Rebounds Strongly, Surprising Economists
Consumer Confidence Rebounds Strongly, Surprising Economists
Monday, April 28, 2014 at 12:05 am | כ"ח ניסן תשע"ד
WASHINGTON (Los Angeles Times/MCT) -
Consumer confidence rebounded sharply this month, nearing a post-Great Recession high, as Americans grew more positive about their financial situation and outlook for the economy, according to a leading private barometer released Friday.
The monthly consumer sentiment index from the University of Michigan and Thomson Reuters, which is watched closely by economists and investors, rose to 84.1 from 80 the previous month.
The jump surprised economists, who had expected a smaller increase to 82.5. The April reading was close to the 85.1 level reached in July, which was the highest since 2007.
Lindsey Piegza, chief economist at Sterne Agee, said confidence has rebounded more than economic growth.
"Perhaps consumers are no longer using pre-recessionary times as a comparison, but rather a new, lowered bar of expectations, accepting a new normal," she said.
But Piegza also noted that "rising equity and home prices, coupled with the return of warmer spring weather, has boosted consumers' spirits and expectations of further economic improvement."
Richard Curtin, the survey's chief economist, warned that consumers' long-term expectations for the economy had not improved much since last year and were the key to avoiding sharp fluctuations in confidence.
Consumers open their wallets more when they are optimistic, and their spending accounts for about two-thirds of economic growth.
"Resilience among consumers is dependent on positive long-term economic expectations," he said. "Hopefully, as the pace of economic growth springs ahead in the coming months, the main beneficiary will be an improvement in long-term economic expectations for personal finances as well as the overall economy."
The percentage of consumers who said their finances had worsened dropped to 28 percent in April from 37 percent the previous month, and was at the lowest level since April 2007. But that didn't translate into optimism for their finances in the coming year, which remained about the same as in March.
Consumers were more optimistic about the outlook for the national economy and future job growth, the survey found.
This article appeared in print in the April 29th, 2014 edition of Hamodia.
Consumers Start 2015 Confident
U.S. Consumer Confidence Shows Sharp Rebound in August
U.S. Factory, Consumer Sentiment Data Brighten Economic Outlook
U.S. Consumer Confidence Hits 16-Year High
Consumer Confidence Falls From 18-Year High in February

redpajama_set_name: RedPajamaCommonCrawl


You're surrounded by dramatic white stone plains. You can hear the water boiling just under the surface and the smell of rotten eggs enters your nostrils. From the white rock around you, plumes of hot steam come up. Le Biancane Nature Park in the Maremma in Tuscany has been known for its volcanic activity and hot springs since ancient times. Above all, you make beautiful hikes in this park!
Half an hour by car over a winding hillside brings us to the Parco naturalistico delle Biancane or Le Biancane Nature Park. This protected natural park is not far from the village of Monterotondo Marittimo. A landscape that is un-Italian but really is located in the middle of the Maremma, in the southwest of Tuscany. A spectacular and almost unearthly landscape where you can make beautiful hikes.
It is a geothermal area. Over here the heat of the core of the earth has reached the surface of the earth. This makes that you can see plumes of steam all over the landscape. The steam has a temperature of about 100 ° C. This steam consists mainly of water vapor, combined with a multitude of gases, including hydrogen sulfide. Because of this, the whole area smells like sulfur or rotten eggs, not a very pleasant smell.
Do not let this stop you from visiting the parc! The Parco delle Biancane is one of the most beautiful places in Tuscany. Over the years, the hydrogen sulphide has ensured that in some places the rocks have become pure white. Together with the steam this creates an unearthly landscape.
The rocks are dazzling white. The acidity of the water and the heat have slowly decolourized the stones. Over here almost no plants can grow, but in some places the white is interrupted by the dark green of small plants and cork trees that stand bravely in the area. A little further on, the stones are colored in all shades of red and orange, the original color of the rocks.
Even the silence in this remote place contributes to the unearthly feeling, only occasionally interrupted by the hissing and puffing of the steam.
We walk down to the parking lot. The guide points out that there are several modern and very large power plants in the beautiful Tuscan countryside. What turns out? This part of Tuscany was one of the first places where geothermal energy was extracted on a large scale. In 1913 the first geothermal power plant was built at Larderello. Today, the power stations supply energy to a million Italian households, in addition to the energy generated by fossil fuels.
The Geothermal Museum Larderello (the Museo della Geotermia) tells the history of the generation of this energy from underground heat sources. Interesting for those who want to know more about the development of this area.
More travel inspiration? I love this post on 21 romantic things to do in Tuscany.
Are you curious about the hike, then watch the video below!


HOW DO YOU JOIN THE PROGRAM? EASY!
Participate in at least 3 races to earn your title as a frequent racer. We do a tally at the end of the year and email you with your available discount.
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text:
Thomas Iannucci – Kuleana album [Listen Here]
Thomas Iannucci has just dropped his new project, Kuleana. It was executive produced by J. Crum, Kuleana sees Iannucci return to his roots, both thematically and sonically.
"'Kuleana' is a return to form for me," said Iannucci in a statement. "I get to rap on the boom-bap, Golden Era beats that made me fall in love with Hip Hop in the first place, and I get to rap about Hawaii, my home. It's been refreshing for me to get back to the basics of music and not worry about the awards, keeping up with social media or appearances, any of that stuff. I know I'm usually known for high profile collaborations, but this time I tapped some of the hottest up and comers in the game – we've got J. Crum, seni., Joe Ayindé, Lael Turner, Montythehokage, and of course my sister Dondi. It was just me, my friends, and some music that was near and dear to my heart. I look forward to others finally getting to hear my music, because this is without a doubt the best music I've done to date."
Thematically, Kuleana deals with the local experience: growing up in Hawaii, and the struggles, pitfalls, and pain that are ever-present, but usually unspoken. Drug addiction, suicide, the tensions of having to work multiple jobs while struggling to survive in Hawaii, which has one of the highest cost of living rates in the nation, are all tackled in Iannucci's new project.
"I wanted to start a conversation about some things I've seen growing up that never really get addressed," said Iannucci. "It hurts my heart to see my friends, family, and community struggling alone. We aren't alone – we have Jesus, and we have each other. But if we never reach out – if we never even acknowledge that there's a problem, how can we progress? So my hope with this album is that I can at least bring to light some of the issues we're all collectively facing here, and he'll start some important conversations that need to be had."
Thomas Iannucci TRACKLIST:
1. Ka Pule a Ka Haku (ft. Keikilani)
2. Kuleana (ft. seni.)
3. Thoughts Out Loud Pt. 3 (ft. Lael Turner)
4. Illyindé (ft. Joe Ayindé)
5. The Climb (ft. J. Crum)
6. My Way
7. Fly Away (ft. Dondi)
8. Ho'ala 'Oe (interlude)
9. Miss Those Days (ft. Montythehokage)
TagsThomas Iannucci
2.0 – Lion or Lamb ft. Monolog ...
Kirk Franklin Among the Gospel Legends Working ...
Thomas Iannucci – Been A Minute ft. Ruslan
Thomas Iannucci – Take Me Back ft. Montythehokage [Free Download]
Bar Exam: Nomis – Open Season (Single) [One Listen Review]
Thomas Iannucci, King Chav, Czar Josh, Weez da Satellite Kiid, Big Yae, Rich Colón, Shiwan, J. Crum, Kay Sade, Phil J. – Illyindé Remix Cypher
Reach Records Removes 116 from Mission Statement
Tedashii debuts #2 in Billboard Top Gospel Chart
Now In Stores – September 10, 2013
Rawsrvnt Reveals New EP Featuring Lil Raskull, PyRexx, Japhia Life, & More
Jered Sanders released the followup to his 2015 project Hope is Dope with part 2. Check out the crazy tracklist below: View this post on Instagram Every front cover has a back cover, right? Thanks to all involved in the creation/release of this project…from Biz…to the features…to Marcus on the artwork…to the pre-orders, the support to come, and the outlets that have helped push it. Friday. We're almost there. Featuring production from: @iamravo, @clifeonthebeat, @waynejvalentine, @dylanyousob, @epikthedawn, @onbeatmusic, @flawlesstrackz, @officialtjonez, & @george.rose.music. Mixed/mastered by: @mixengineerk1dd. Comment the song/songs below you're looking forward to hear. 🕊❗ . . . . . #instagood #rappers […]
TobyMac Releases Tribute Song for Son, Aaron Cole, Lecrae, KJ-52 & More | Top Christian Rap News
Welcome to our weekly episode of Rapzilla.com's Top Christian Rap News Recap. We endeavor to grab the best stories from the previous week and give them to you every Monday. Watch Our Christian Rap News Show Below: Lecrae and Zaytoven Lecrae and Zaytoven track "Get Back Right" was selected as the NFL's 'Song of the Season'. That means you'll be hearing the track all throughout the playoffs. The song, from Let the Trap Say Amen will see it's proceeds during the playoffs go to Inspire Change organization. Read more here. 116 Passion 2020 Speaking of Lecrae, he, Andy Mineo, Tedashii, and Trip Lee performed at Passion […]
New Song Ft. 1K Phew, Aaron Cole, Hulvey, Tedashii, Tommy Royale and Wande to Release on 116 Day
Reach Records just announced a new feature-packed song will be releasing tomorrow on January 16, otherwise known as 116 Day. Via a promo video, the upcoming track is revealed to feature 1K Phew, Aaron Cole, Hulvey, Tedashii, Tommy Royale and Wande. Check out the announcement tweet below: MIDNIGHT 🌐 pic.twitter.com/TSmYzd83KV — Reach Records (@reachrecords) January 15, 2020


Take some sort of good take a look at what makes meetings mark and work out how to conduct much better business meetings. Too frequently, men and women contact any meeting to discuss something with out really thinking about what some wonderful result will be. Before labelling some meeting, it has to first end up being decided mantra of sophisticated essential. Whilst family get togethers can quite often be complicated, it's worthwhile in the main long function.
Generally sense a gathering is some gathering about no less than 2 person's utilizing the opinion of creating choices through discourse. It again is a new accumulating for a couple of individuals that may be convened with regards to achieving a common goal as a result of verbal connections, such while giving info or even reaching out settlement. Just after the organization meeting has concluded, make absolutely sure you subsequent on almost any action items which were decided upon. Conferences can get perform around person having an office and also at some sort of varied position, as well as about the phone number and by video meeting.
Of effusion, as the facilitator, you will need to necessary approach for that reason you have meetings good organization's demands. In typically the flavor occasions, a meeting need to take location once typically the concern from hand will be something which will is not superbly disclosed through the phone number or by way of email, and face-to-face relationship with a number people. For this reason, it's required to guarantee typically the meeting will begin and comes to an end on time. Business meetings at the same time assist handle get in the way plus clear up challenging issues. That they instantly impact your personal bottom level line inside of a couple involving different ways.
You basically have to be wide open to shifting how gatherings are executed in your current lending broker. Is actually important that will start off the very gathering by definitely expressing the main plans for that meeting. Now and again, you actually should get in touch with a internet business getting together with for you to keep and boost crew morale.
Sufficient people hold out, once the actual interacting with starts, if you're see an index of individuals that are usually waiting and may also grant as well as deny admittance. If anyone possess a meeting which will repeats on a regular basis, possibly be certain that everyone read the seconds from the main prior getting together with to ensure absolutely everyone is over the exact exact article. Mainly, every sort with organization conferences has a textured purpose.
You start with the main reason a meeting needs to be booked in the exact initially spot. For instance, anyone can call a interacting with to produce concepts in regards to a completely new products or maybe maybe to create a new advertising campaign. It's not really important to call up a meeting with regard to each and each problem in which arises at your workplace, but one have to promptly handle any types of change common operations or even worker onesto.
Birthdays will be pricey. For that reason when you're compelled to end up being in conferences many situations regular, utilize time so that you can help save you from typically the demise mistake it is your current office lounge chair. You've received a excessive security getting together with and top secret info.
Precisely what Business Achieving. Having a good internet business can be a perfect for folks that wish to be able to be freed from the commercial universe in addition to make his or her destiny. In the end, your company can come through conditions could possibly effect production, effectiveness, and etica. Read more: .


Having met Hollywood superstars and performed for audiences throughout the country, Derek Burke of Crystal Swing had his most important day at the weekend when he got married his sweetheart, Claire McAuliffe on Saturday.
The Lisgoold man became an internet sensation when he joined mother Mary and sister Dervla for Crystal Swing's massive viral hit He Drinks Tequila on Youtube.
As a result, the band were brought to Los Angeles where they performed on the Ellen DeGeneres Show where Derek wowed audiences with his Hucklebuck performance.
Derek and Claire tied the knot in Ballintotis Church and were joined by family and friends for the ceremony.
Another love of Derek's is tractors and a convoy of machines, both modern and vintage, were on hand to bring the happy couple and guests to the reception after the ceremony.


Jean-Baptiste-Marie Vianney. Three years later, the French Revolution started, and the year after that persecution of the clergy started in earnest. He had to prepare for his first holy communion in private with two nuns who had last their convent in the revolution. He also prepared for his confirmation in secret.
At age 20 he was allowed to travel to Ecully to study, but the gaps in his education hurt his progress and he struggled with Latin, but worked hard. A victim of his times, St. John was drafted into Napoleon Bonepart's army but became ill two days into his conscription and eventually became a deserter.
After the war, he was able to return to his studies and was eventually ordained in 1815. In 1818 he was sent to be the parish priest of Ars-en-Dombes, an isolated village some distance from Lyon. He quickly became a noted preacher and a celebrated confessor with a reputation for insight into the hearts of his penitents. He was able to convert even the most hardened sinner with a word. He would spend as many as 18 hours a day in the confessional. Tens of thousands of people came to visit this obscure parish priest and Ars turned into a place of pilgrimage.
St. John worked hard and lived simply. he was swarmed by people and loved by the crowds.
The devil tormented St. John throughout his ministry. He rocked his bed and made noises at night. The devil even mocked the saint by calling him a "potato eater!" One story goes that St. John was so tired one evening that when the devil started his torments, the saint looked at him and simply said, "Oh, it's you," before he went back to sleep. The French State recognized his eminence by awarding him the medal of the Légion d'Honneur in 1848, and he sold it and gave the money to the poor.
On October 3, 1874, Jean-Baptiste-Marie Vianney was proclaimed Venerable by Pius IX and on January 8, 1905, he was enrolled among the Blessed. Pope Pius X proposed him as a model to the parochial clergy. On May 31, 1925, Pope Pius XI canonized him. His feast is kept on August 4.
There has been much discussion, much of it heated, and misunderstanding regarding a quote by St. John Vianney to a married woman regarding childbearing. I have found the context and quote in its entirety from a reliable source.
He affirmed that hell exists. The church teaches this. He affirmed that it is possible to go there and that in fact, Hell is not empty. The church teaches this. The church teaches that to die in a state of mortal sin dooms one to Hell. The church teaches that contraception is an intrinsically evil act and in fact could be mortally sinful. Abortion is murder and likewise could be a mortally sinful act.
But I also see something else besides the teaching on birth control and abortion. Having a lot of children wears you down, literally. It takes your time, your energy, your body etc and while it does that, at least in my experience it allows the mother to be molded and more pliable in a special way to become holy! Yes, there are opportunities for other sins, like impatience, but in a special way, we can see the simplicity of what God wants for us in the faces and lives of our children as they grow from babies to adulthood. And I think in particularly tough cases... like me!! it takes a lot of children to wear away that stubbornness, willfulness, and selfishness. The physical act of giving birth to the recovery to dealing with a teenager who has willful issues of his own, it all works together to make me a better person!
St. John Vianney has a special place in the heart of our family. When my firstborn was getting ready for his first confession, we read The Cure of Ars: The Story of Saint John Vianney, Patron Saint of Parish Priests. It has since become our tradition to read it for each child before they make their confession. It is an engaging book even for adults and it made a big influence on my children. They were particularly impressed with how St. John withstood mocking and insults from the devil and got to the point of actually unimpressed with Satan's antics. Many a dinner time my children would tease one another by jeering, "Potato eater!" at one another as they dug into their mashed or baked potatoes, as that was one of the insults Satan used against St. John because his diet consisted in large part of potatoes.
My third son, Gabriel, actually took John Vianney as his confirmation name. When the bishop confirmed him however he only called him "John." That was a little disappointing. There are several St. Johns and each of them have a story and had special gifts; I guess I wanted to hear the differentiation. This St. John is certainly a standout.


This research attempts to understand how children learn to use language. Instead o fusing syntax-based grammar rules to model the differences between children's language and adult language, as has been done in the past, anew model is proposed. In the new research model, children acquire language by listening to the examples of speech that they hear in their environment and subsequently use the speech examples that have been previously heard in similar contextual situations. A computer model is generated to simulate this new model of language acquisition. The MALL computer program will 'listen' to examples of human speech, as would occur around a child, and then try to use these examples in new situations that are similar to the contextual situations in which the language examples were 'heard'. This will provide a better understanding of how children learn to use language and how educators can assist or improve the language learning process by providing required examples of speech or by helping children to develop a better understanding of similarities between various contexts.
Walczak, Steven, "A Context-Based Computational Model of Language Acquisition by Infants and Children" (2002). School of Information Faculty Publications. 197.


Refurbishment of existing terrace house including demolition of lean-to kitchen extension & outside wc to rear.
Existing 2 bedroom property with outdoor wc prior to works, 3 bedroom house with indoor bathroom on completion. Works consisted of a new 2 storey extension to rear to include new kitchen and bedroom, along with additional childs bedroom within roof space.


EarthLink customers, be aware of "EarthLink Your Account Has Been Suspended And Disconnected" phishing scam like the one below, which claim that your accounts have been closed, are asked to delete them because they are phishing scams. The fake and fraudulent email messages were sent by cyber-criminals to trick EarthLink customers into visiting a phishing website that will steal their usernames and passwords.
Your Account Has Been Suspended And Disconnected Due To The Following Errors Below .
We Have Been Unable To Charge The Credit Card That Is Associated With Your EarthLink Account .
Your Credit Card Has Been Declined Or Reported Stolen By Your Bank .
We Will Be Forced To Terminate Your Membership With EarthLink And Your Email Address Will Be Locked If You Do Not Confirm Your Account Within 24hrs .
Delete And Disregard This Message If You Wish To Lock And Terminate Your Membership With EarthLink .
© 2017 EarthLink, LLC. EarthLink and the EarthLink logo areregisteredtrademarks of EarthLink, LLC. Trademarks are property of theirrespective owners.All rights reserved.This is an administrative message from EarthLink. It is not spam. Fromtimeto time, EarthLink will send you such messages in order to communicateimportant information about your subscription. If you believe youreceivedthis message in error, please contact EarthLink Support (linksprovidedabove).EarthLink, 1439 Peachtree St. NE, Atlanta, GA 30309.


text:
Jumeirah determined to push into Asia-Pacific
Jumeirah Hotels and Resorts is determined to establish presence in Asia-Pacific with its first property in Shanghai set to open by May 2010. The debut of the long-delayed project – also understood to be the Dubai-based chain's launchpad in the region – is to coincide with next year's World Expo.
"We respond to opportunity where it comes," Gerald Lawless, executive chairman of Jumeirah Group, told Business Traveller. "With the management agreements we have signed so far in China, Thailand, Indonesia and the Maldives, Jumeirah will have 1,300 rooms in its hotels and resorts in the region by the end of 2013."
The company, whose Burj Al Arab is a landmark in the emirate, recently signed up with Chinese property developer Agile Property Holdings, to develop and manage the Jumeirah Qing Shiu Bay Resort in Hainan. The luxury resort will comprise 250 rooms and 50 private villas, located along a 12km white-sand beach in Hainan Clearwater Bay. Jumeirah's first beach resort in China is targeting a 2013 opening.
Aside from Shanghai and Hainan, the chain's ongoing developments in China include Guangzhou and Macau. Elsewhere in Asia, Jumeirah is working on openings in Bali, Phuket and the Maldives, and maintains a wish list of future outposts that include Beijing, Tokyo, Seoul and Hongkong.
"We are actively negotiating with several potential partners around the world, and expect to announce new hotels and resorts," Lawless said.
While guests can expect upscale amenities and premium services associated with the hotel chain, Jumeirah's Asian properties have been designed to exude individuality and character by adapting distinctive local motifs.
Meanwhile, Lawless added that, in the short term, Jumeirah hopes to have 60 hotels in operations and under development worldwide by 2012. "We have established credentials in the industry and we are confident about the future of top-end luxury hotels like Jumeirah."
For more details, visit www.jumeirah.com
Gigi Onag
Tags: Jumeirah
Hermes helicopter to be used for Narita-Ropponggi shuttle
EXCLUSIVE: Ho Chi Minh City looks to business travel


text:
Sept. 1990: Fiber-Optic Cable Launches Integration #ThrowbackThursday
By Alyssa Frank • November 24, 2016
At Mayo Clinic in September 1990, work got underway to develop the Institutional Data Network, an integrated computer network for the Arizona, Florida, and Minnesota campuses.
When Mayo opened clinics in Jacksonville and Scottsdale in 1986 and 1987, respectively, each clinic used independent computers and programs to provide registration, scheduling, order entry, and patient accounting functions. Although the computers were right for start-up operations, they soon became overloaded by the clinics' rapid growth, resulting in data-processing delays.
Two options were considered to overcome the computers' limited capacity. The first was to replace the equipment at each location with large-capacity computers. The second was to connect the large-capacity mainframe computers already in Rochester to new, compatible terminals and printers in Jacksonville and Scottsdale by extending the Institutional Data Network (I-NET) from Rochester to each location. The latter option was selected for its economic and functional merits.
Planning for the network began in mid-1989. In January, the assignment was issued to implement and extend I-NET to Jacksonville and Scottsdale. The data communications system enabled easy and fast exchange of information among Mayo computers no matter where they were located. I-NET was an essential first step before Scottsdale and Jacksonville computer programs could be moved to Rochester.
"Teamwork and shared beliefs in Mayo among Rochester, Jacksonville, and Scottsdale were key ingredients to the successful extension of I-NET and the new computer systems for Jacksonville and Scottsdale," said Tom Rau, Information Services, Mayo Clinic in Rochester. "This project reflects Mayo's commitment to providing integrated health care through comprehensive voice, video, and data communication systems linking all three sites.


KATESSA SCHNEIDER was booked on 6/14/2018 7:42:00 PM. SCHNEIDER was arrested by KNOX COUNTY SHERIFF in Vincennes, Indiana. SCHNEIDER was 25 years old at the time of the arrest.
KATESSA SCHNEIDER may not have been convicted of the charges or crimes listed and are presumed innocent until proven guilty. Please contact the KNOX COUNTY SHERIFF for more information regarding arrest records.


text:
# Copyright Page

CURRENCY PLAYS

First published in 2013

by Currency Press Pty Ltd,

PO Box 2287, Strawberry Hills, NSW, 2012, Australia

enquiries@currency.com.au

www.currency.com.au

First digital edition published in 2013 by Currency Press Pty Ltd

Copyright © Carole Patullo, Jane Bayly and Melanie Beddie, 2013

COPYING FOR EDUCATIONAL PURPOSES

The Australian Copyright Act 1968 (Act) allows a maximum of one chapter or 10% of this book, whichever is the greater, to be copied by any educational institution for its educational purposes provided that that educational institution (or the body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act.

For details of the CAL licence for educational institutions contact CAL, Level 15, 233 Castlereagh Street, Sydney, NSW, 2000. Tel: within Australia 1800 066 844 toll free; outside Australia +61 2 9394 7600; Fax: +61 2 9394 7601; Email: info@copyright.com.au

COPYING FOR OTHER PURPOSES

Except as permitted under the Act, for example a fair dealing for the purposes of study, research, criticism or review, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior written permission. All enquiries should be made to the publisher at the address above.

PERFORMANCE RIGHTS

Any performance or public reading of Button is forbidden unless a licence has been received from the author or the author's agent. The purchase of this book in no way gives the purchaser the right to perform the play in public, whether by means of a staged production or a reading. All applications for public performance should be addressed to Shanahan Management, PO Box 1509, Darlinghurst NSW 1300. Tel: +61 2 8202 1800; Fax: +61 2 8202 1801.

Typeset by Claire Grady for Currency Press.

Cover design by Robin Griffiths—DazzleCreative, from a concept by Carole Patullo.

Printed ISBN: 9780868199856

ePub ISBN: 9781925004083

mobi ISBN: 9781925004090

# First Production

Button was first performed for La Mama's Explorations Season at La Mama, Carlton, on 4 November 2011, with the following cast:

WOMAN A | Carole Patullo

---|---

WOMAN B | Jane Bayly

MUSICIAN | Peter Farnan

Consultant Director / Dramaturg, Melanie Beddie

Musician / Sound Designer, Peter Farnan

Designer, Dayna Morrissey

Lighting Designer / Operator, Katie Sfetkidis

Carole, Jane and Melanie continued developing the text and in 2012 Button received venue and technical assistance from Melbourne Theatre Company's Open Door Lawler residencies program. Choreographer Luke George and Designer Melanie Liertz joined the creative team and the resulting draft was performed at Frankston and Southern Peninsula Arts Centres. This printed edition of Button was first produced at La Mama Courthouse. Please see the program at the end of the playtext for the full details.

# ACKNOWLEDGEMENTS

For development support, we would like to thank: La Mama's Explorations Season, 2011: Liz Jones, Maureen Hartley, Nedd Jones, Bec Etchell, Bryn Cullen and staff.

Melbourne Theatre Company's Open Door Lawler residencies program for venue and technical assistance, 2012: Aidan Fennessy, Mark Wheeler, Josh Noble, Frank Stoffels, Martina Murray and staff.

Frankston Arts Centre's Cube 37 for venue assistance, 2012: Merryn Tinkler, Adam Cartwright, Darren McKenzie and staff.

VCA School of Theatre for rehearsal space.

Thanks also to: Audiences from each development season for their valuable feedback and all others who have supported the project; Yoni Prior, Chris Thompson, Maude Davey, Suzanne Chaundy, Nathan King, Michael Johnson, Ariel Johnson, Tarn Johnson, Maudie Farnan, Stella Farnan; Sîan Jenkins, Paul O'Beirne and the team at Currency Press, Alex Adsett, Geoff Paine and Ready to Roll.

# SONGS

'In the Seams' by Jane Bayly, Peter Farnan and Carole Patullo.

'Am I Here' by Peter Farnan. (This song first appeared in Infectiou$ by Maude Davey and Marcia Ferguson, 1993.)

'Birds', 'Things I Haven't Done Yet', 'Not Dead Yet' and 'In Between' by Jane Bayly.

# DIRECTOR'S NOTE

The process of making Button has been a gradual one. It has taken 18 months of working on the floor, intense discussion and then reworking to generate the text we publish here. It remains a work in progress. New elements continue to emerge and some things get discarded or remade. These choices are informed by our experience of showing it to audiences and discovering how the theatricality of the piece works in performance.

The play grew out of a desire by Jane and Carole to create a show for themselves from scratch. As actors they frequently work on newly made performances and with new writing. This project gives them the opportunity to flex their own writing muscles and to enjoy the artistic autonomy of being the initiating artists.

Button is a piece about how friendship can be a difficult and delicate negotiation and how, as it matures, it has many shifts and phases. It is a piece that celebrates life whilst recognising our interconnectedness to the natural cycles of change and decay. At its core Button is about how individuals are woven together into a community by the many threads of the natural world, social conventions and human needs.

The performance's creation has been truly collaborative. It exists both on the page and in the collective minds and bodies of me, Carole and Jane. The text began as a series of individual pieces which emerged from writing workshops and together we have developed it into a blueprint for a theatrical performance. It works on both a conscious narrative level and as a metaphoric and poetic text. The spoken language is delicate and at times lyrical and yet is only one layer of this work. Of equal importance are the physical languages of gesture, dance and illusion. Alongside this exist the songs and music which lift the piece away from a direct narrative and into a world of its own.

The piece is multi-layered and textured, unpretentious and much loved by all of us who made it. It is like a quilt which brings together many elements, thoughts and styles and creates from them a whole from which many patterns can be discerned. In many ways the strength of Button is its personal and handcrafted quality. The piece comes from our hearts.

Button has had many wonderful artists contributing to its creation, each bringing their expertise and passion to the work. What has inspired all of us is the honesty and humour of the initial concept by Jane and Carole.

I hope you enjoy Button as much as we enjoyed making it.

# WRITERS' NOTE

Button is the product of a joyful collaborative process. We wish to acknowledge Jenny Kemp and her Generative Writing workshops for inspiring and propelling us to find our writer's voices. Melanie's dramaturgical input has been invaluable from the outset, and we thank her for her astute questions, guidance and encouragement at every step. Each collaborating artist has enriched the theatricality of the piece and we thank them all for their skills and generosity.

Carole Patullo and Jane Bayly

# FOR STUDENTS

Button uses various theatrical conventions to weave together the stories and dreams of Woman A and Woman B. The non-linear narrative reveals story and character through dance, gesture, direct address, conversational dialogue, internal poetic monologue, song, theatrical illusion, silence and stillness. The musician creates live sound onstage, looping sounds and playing instruments to accompany the original songs. The choreography explores various qualities and abstractions of everyday actions, using rhythm, repetition, motif and spatial patterns and tensions. Transformations of time and place are signified by the actors' gestures, physicality and spatial relationships between the actors, design elements and the audience. Lighting enhances these aspects and, together with the design, encourages the audience to imagine or 'fill in' the surroundings / negative space and to consider the representational significance of objects and set elements.

# CHARACTERS

A, a middle-aged woman who lives alone. Somewhat childlike, she wears clothing not quite from the present time. This clothing must have buttons.

B, a middle-aged woman who lives alone. Somewhat reserved, she wears comfortable clothing appropriate for walking. This clothing must include a polar fleece item.

# SETTING

There are two chairs—one lived in and worn (A's place), the other clean and new (B's place).

A spider web emanates skywards behind the worn chair.

Autumnal leaf litter is scattered near the new chair.

Beyond is blackness.

The musician, with instruments and equipment, is clearly visible onstage and occasionally interacts with the action.

Space and time are fluid.

In Hyperspace, the women are alone, suspended in time and place but strangely connected through thought.

# SONGS / SOUND DESIGN

The musician creates a live sound score and accompanies the original songs.

# PHYSICAL SEQUENCES AND CHOREOGRAPHY

The piece contains a number of short gestural dances built from everyday movements, in which A and B sometimes move in unison and sometimes in counterpoint. Choreographed movement accompanies the songs.
A and B enter. A is holding a tin of shortbread. B is holding a cushion. They stand by their chairs and momentarily face the audience. They sit, A in her chair, and B on the arm of hers.

The sound of time.

Unaware of each other, they sing: 'In the Seams'.

A: | Fresh cotton sheets

Being in the library

Cream cheese icing... ooh

---|---

B: | Smooth cotton sheets

Running down a sand dune

Chicken soup... ooh

BOTH: | Ooh ooh ooh

Ooh ooh ooooooooooh

A: | Big blackbird

Singing at my window

Hello!... Gone

B: | My loved one

Singing in the kitchen... gone

A: | Am I the only one

B: | Am I the only one

A: | Am I the only one

B: | Am I the only one

A: | Am I the only one

B: | Am I the only one

A: | Am I the only one

B: | Am I the only one

BOTH: | Somewhere in between

Living in the seams

Somewhere in between

Living in the seams

B: | Close my eyes

The great big sky... ooh

A: | Plunge my hands

In a can of worms... ooh

A: | Am I the only one

B: | Am I the only one

A: | Am I the only one

B: | Am I the only one

BOTH: | Somewhere in between

Living in the seams

Somewhere in between

Living in the seams

In between

In my dreams

In between

In the seams

Physical sequence one: Each woman finds herself alone, shudders and then inspects the world around her.

A speaks to the audience.

A: Not long after she moved in, I'd hear a noise and imagine what she was doing: ironing a new dress to go to the theatre; dinner with the Spanish man who taught her flamenco; preparations for her research work at the Howard Florey Institute; dragging the body of the pizza delivery guy who was inexcusably late. Rubbing her body down with hydrating moisturiser after a loofing; eating Chicken Tonight and doing Sudoku; reading that Dan Brown or Virginia Woolf. Sitting in an office chair with a fox fur and gumboots on, a mirror positioned down below.

She turns to B.

When I get to know you, all the infinite possibility will be gone.

A approaches B's space. A has shortbread heart biscuits in a tin—a welcome gift for the new neighbour. A knocks.

Hello!

B hides.

Hello-o!

Are you there?

Are you there?

A looks at the biscuits. She eats one and returns to her place.

Physical sequence two: Each woman sits in her chair. Time passes. The real world intrudes; fantasies and fears erupt.

Each in her chair. A stares at her button jar; B holds her cushion.

B: I didn't want to bring our pillows to my new place. So I did some research. The right pillow can help you face each day rejuvenated and fresh. You spend a third of your time with your pillow; it's one of the most intimate relationships you'll have. You need to choose carefully from the infinite set of possibilities. I was offered twelve shape and density profiles with various synthetic or natural fills. I chose feather. I was warned about dust mites—they live off our dead skin. I don't mind; it's a comfort to provide nourishment, share a meal. I miss that.

A feather drops. She shudders.

Things to do. Life to live.

B has been out walking. A intercepts her on the path outside.

A: [holding out a jar of buttons] I'm hoping you might be able to open this for me? I've tried, tried everything. I've seen you head off on your walks... you look kind of fit and strong, so I thought you'd be a good person to ask.

B: Okay...

A: I've always had old buttons. I got two jars from my Nan and even when I was little, I remember I used to like tipping them out on the bed to sort through. It was exciting, because there were always a few gems; little hand painted or embossed amongst the pedestrian, everyday ones. I still have some of those special ones; I can't bring myself to use them. See look at that one.

B: I can't really say I've ever had much interest in them.

A: But you like this one don't you? Look at that detail. You just don't see buttons like that now, or at least I don't. A treasure. I like to imagine what they could have been used for: pieces for a board game, betting chips for cards, money for playing shops. Or what was it on? Eyes on a teddy, a mohair cardigan? Why did it come off? Ripped? Was it child's clothing or adult? Female? Yes, I think definitely female.

B: Yes, probably. I tend to wear polar fleece.

A: I cannot imagine this button on a polar fleece.

B: Why keep them if you don't like to use them?

A: Well I like them and they will come in handy some day.

I use the ordinary ones. That's what I'm doing now, searching for one for my pyjamas.

A proffers the jar to B.

B: I'd just get a new pair.

A: Really?

B averts her eyes and takes the jar.

B: Ooh this is on tight!

A: But all they need is a button. The pyjamas are just fine; a bit worn but that has made them soft and familiar.

B opens the jar and hands it back.

Well done! I knew you'd get it. I wouldn't ever get rid of something because it needed a button. That seems very reckless. I even get worried about socks.

B: Socks?

A: No-one darns now. It's such a shame. I don't want to forget... not so long ago people took care to darn socks.

B: Life's too short.

A: How come, you busy working at the How... socialising?

B: Working, living, like everyone.

A: Yes. Well if you sewed on a button here and there, you mightn't need to work so hard!

B: Oh come on—

A: Well in a way, it's symbolic. That button, of an attitude.

B: What attitude? Not wanting to fill my life with clutter!

A: Sorry you seem cross, I've irritated you.

B: No I'm not... it's just... you can go to Target and get socks and PJs for virtually nothing.

A: Someone's still made them though, even if they've been paid a pittance to do it.

B: Yes, I suppose so...

A: Yes, well thanks for opening the jar.

B: No problem.

A: Now we've met we should have a cup of tea or something sometime.

B: Yes.

A: Well I know where you live. Hah!

B flees back to her place. A returns to hers, disappointed.

B: Breathe. Breathe.

The ecstatic roar of the Great Big Nothing.

She fills her lungs; looks up.

The open sky!

Breathe.

The sky and me. Beyond it all.

She shuts her eyes and imagines being free.

She is a bird: wings wide, she crows with pleasure and soars high on her chair top.

She loops and slams headfirst into a wall, out cold.

A: Shoosh!

Button it, button up, zip it. Sshh... shut it, shut up.

A's attention is captured by something.

What is that?

Bruised wood, broom vigilance.

Crust, carrot end, a bead all lurking in the shadows.

Grease, spills, dirt, hair, nail holes, a button, pin, thread...

B: [picking herself up from the floor] Smashed against the rocks, brittle bones, anaemia, dystopia, blind to opportunities, un-neighbourly attitude, inconsistent, act your age, get over it...

They crawl towards the future in unison.

A: [together] Big things, little things... an ingrown hair, the famine, feathers, stardust, a noise through the wall...

B: [together] Big things, little things... an open map, dinner on the table, feathers, stardust, a noise through the wall...

A: Remains of the day...

B: No evidence of a cohesive plan...

A: A stitch in time...

B: Mountains to climb...

A: A stain, a stain, a stain that leads me to it.

Think familiar blood, bloody blood, dried and crusty on the carpet edge.

Closer, looking, not food, no not food... dare to touch it?

Black spider cuddles a cockroach, crunching the shell in its mandibles.

Another watches on, already embalmed.

This is all happening every moment, every day before our very eyes conjured. We cannot escape this, this demise, this drive upon us to complete the cycle:

Birth—

BOTH: Life, death.

Physical sequence three: Each woman shudders and then inspects the world before her.

A spider makes its presence felt.

Hyperspace:

A: I can hear you—life.

B: Life outside my door.

A: In the trees, on the floor.

B: Buzzing, clicking, calling.

A: Making your presence felt.

B: I know you are there.

A: I'm not invisible, I do exist.

B: I do exist. I'm still here.

A: I didn't imagine being here. Like this.

B: Funny where you end up.

A: Is this the end?

B: There's a thought.

They are at their letterboxes. From nowhere, mail appears in their hands: A has a junk mail catalogue; B holds a handwritten envelope.

A: Ooh—a card! Lucky you!

B: I'd have thought you'd have one of those no junk mail stickers.

A: I hate an empty letterbox.

Both return to their chairs.

Physical sequence four: A lies on the floor. B lies back in her chair, as if in the bath. Each looks at her mail.

After a while, each discards it.

Through the window, A notices a bird.

As A speaks, B resumes her physical sequence, reminiscing in the bath. B simultaneously speaks the words in italics.

A: Little birdy in the cherry blossom. How light he must be in that tree. Holding on to flimsy branches, birdy boy is hoping I'll come out. He's waiting for me. His mouth is open, ready, that birdy boy wants to kiss. Kiss me.

She puckers and kisses.

Ooh, ooh.

Make sure you don't struggle like a little wormy caught in his beak.

You'll have to do it.

Birdy boy might want more—to touch your hair, your bottomo. Pull you close.

Ruffle your feathers and not let you go.

He might snatch you away to his sticky place.

Oh birdy boy will enjoy that.

I'll nest with birdy boy.

Payment—a touch of my dark mystery.

His beak might be sharp.

Better watch out—he might tear me apart.

But the fruit is juicy here.

Willing, you come into my lair.

The promise of plump worms your beak prepares.

Each notices birds in the sky. Separately, they sing their thoughts: 'Birds'.

BOTH: | Birds watch us making patterns on the ground

They see us scramble here and there

Hanging out washed underwear

Birds can rise

Glide above it all

Looking on as the big things grow small

They see what we carry in

What we toss away

What we plant

What we dig up

How long we choose to stay

They know whose doors are open

Know who has a key

Who's got what in whose back shed

Who you are and what you did

Whose neighbours are left for dead...

---|---

They face each other for a moment.

Without acknowledging each other, they simultaneously move as they sing:

|

Birds learn how to fly before they fall

Overcoming gravity

Doing what comes naturally

Birds can choose to leave the earth behind

Navigating by the sun

Not weighed down by anyone

Feathers fall.

Hyperspace:

B: Things get in.

A: Things happen.

B: Life force. In our hair.

A: On our tongues.

B: Munching on our skin.

A: We're all hosts.

B: We're all parasites.

A: All the same.

BOTH: Billions of organisms. Inhabiting.

B: Inside everything.

A: Under everything.

B: Behind everything.

BOTH: Unstoppable

A: Birth, life...

BOTH: Death.

A: Things break down.

B: Things come apart.

I've been told I need a surgeon. I need a surgeon with steady hands that don't slip. I hope his instruments are bright and sharp. I don't want to be rough cut. I need to be repaired.

A: No-one darns now.

They look at each other momentarily.

B: No.

A: I imagined being here.

B: Funny where you end up.

A: Here we are.

B: Just bodies with heads. Sucking in oxygen.

A: Making a mess.

B: A chip, a crack, a broken wing.

A: Thread the needle and fix the thing.

B: Scar on the knee.

A: Hole in the heart.

B: All I need is a replacement part.

A: Undo my buttons.

B: Give me some air.

A: Open me up.

BOTH: See what's there.

They look at each other.

B is on a walking track. A follows her.

A: Why do you walk?

B: It makes me feel good. The body electric!

A: Keep young? You do look young.

B: That's part of it I suppose. 'Use it, or lose it.'

B keeps the pace up. Undeterred, A makes conversation.

A: I've been wondering where birds go to die.

B stops in her tracks.

You never see their little skeletons anywhere.

B: No... they must be in the leaf litter.

B walks. A checks the leaf litter, then catches up with B.

A: I don't remember any jokes anymore... except a puerile one I learnt when I was about seven.

B stops.

B: What is it?

A: No, it's really stupid, a dumb play on words.

B: Go on, tell it.

A: Mmmn. Well a lady loses her dog called Titswobble, so she goes to the police and says to the policeman 'Have you seen my tits wobble?' He says 'No, but I'd like to'.

B: That's pretty bad.

A: It really disturbs me that it's the only one I remember.

B: I've never been that good with jokes... I only know a couple.

A: Goodo!

B: What's the one thing you can hold but can't touch? A conversation.

A: Oh wait, you didn't give me time to guess.

B: I don't know joke etiquette. It's more of a riddle anyway.

A: Yes, and the other one.

B: What is the sharpest thing in the world?

A fart; it goes through your pants and doesn't even leave a hole.

A: That's as childish as mine, but it is funny.

B: Age is a very high price to pay for maturity.

A: Too true.

They arrive at a view, high up looking out, and take in the panorama.

A sea of little tiled rooftops... cheek by jowl.

B: That's Stillwaters.

A: I know. I shudder when I see the ads.

B: Yes.

A: 'Over fifty-five? Your new life awaits!'

B: Not far away...

A: Mmmn I can't imagine being there.

Trapped. Stagnant Waters. Atrophying in a unit on Retirement Avenue. Activity night with bingo Bev. Determined to win—

BOTH: The meat tray.

A: Manicured lawns.

B: Coloured wood-chips.

A: 'Small dogs only'.

B: Twenty-four hour surveillance.

A: Hawaiian themed nights.

B: An onsite hairdresser.

A: Podiatry on call.

B: Well that might be okay, I've got a few corns—from bush walking.

A: See, next you'll be in a zipped velour tracksuit and a pair of cumfs.

It's a shame. I don't feel any different—inside I'm still twenty-five.

B: Yes, betrayed... I finally get my head together and my body starts falling apart.

A: No-one really sees us now.

B: I didn't imagine there'd be a use-by date.

A: I was thinking about those cougar ladies—you know—that go after younger men. I think it's the same for them. They just can't accept the physical decline.

B: No, that's something else... leopard print and fake tan.

A: Mmmn, well they certainly make sure they're not invisible. I wonder what animal print I would be?

They sing together, in conversation: 'Things I Haven't Done Yet.'

B: | What do I regret?

The first cigarette

And the next

---|---

A: | And the next

B: | And the next

What do I regret?

Bouncing that cheque

A: | Not getting on that jet

Guilty

B: | I object

BOTH: | There are things I haven't done yet

Things I haven't done yet

Things we haven't done yet

What do I expect?

When I stand in the rain

B: | I'll get wet

A: | I'll get wet

BOTH: | I'll get wet

What will happen next?

Place your bets

I might collect or spiral into debt

They dance, tentative but playful.

|

So many things I haven't done yet

Things I haven't done yet

Things I haven't done yet

They move their chairs closer together.

|

So many things I haven't done yet

Things I haven't done yet

Things I haven't done yet

All the things I haven't done yet

Haven't even begun yet

Are we having fun yet?

They are at B's place. A sits in B's chair.

A: A while back, I went outside through the laundry door to check if the washing was dry. As it banged shut, I saw something move above me; it was a black house spider, hanging upside down under the beam. I thought it was very odd.

B: Why?

A: Because those spiders are very shy. I stood looking at it for some time. It made me nervous but fascinated. Then I realised there were many spiders all hanging upside down under the beams!

B: Oh.

A: I thought the only explanation can be they've got too hot. The spiders have got too hot and they've come out of their holes, and climbed underneath, to escape the heat. I could recognise their anxiety, at being so exposed.

From nowhere, B hands a teacup to A.

B: I hope that's how you like it. Sorry, no biscuits! I meant to buy some.

A: Perfect. You put the milk in first, I can tell.

B: Yes. Wow, you must drink a lot of tea.

A: Mmmn. I love tea. In fact, as I get older I seem to be drinking more and more. It's a perverse irony of nature that my consumption seems to be inversely proportional to the slackening of my pelvic floor.

B: [knowingly] Yes.

A: Tea is delicious. Such a simple pleasure. Yet it's no minor beverage.

B: I don't drink it much; [She now has a coffee mug] love a coffee though.

A: 'When tea becomes ritual, it takes its place at the heart of our ability to see greatness in small things.'

B: Really?

A: 'Where is beauty to be found? In great things that, like everything else, are doomed to die, or in small things that aspire to nothing, yet know how to set a jewel of infinity in a single moment?'

B: Very profound!

A: Muriel Barbery: The Elegance of the Hedgehog. The fact remains I love tea, even on a hot day.

B: Heat and hot drinks! I can't think of anything worse.

A: Don't you like the heat?

B: Yes I do, it makes me feel like I'm on holiday.

A: Really?

B: [fondly] Yes, as if my partner was still alive.

A: Oh...

Pause.

B: It's okay.

A: Oh... is that what the card was for?

Pause.

B: When I'm planning a trip, it's always to somewhere hot. Closer to the sun.

A: Really?

B: Once I went to an active volcano with a lake inside it. And inside the lake an island, and on the island a lake with an island in it. So I went there, and on the way—

A: To an active volcano?

B: Yeah, you can cook your breakfast on the rocks at the top.

A: Are you mad?

B: Possibly.

So I went there and it was humid; very sticky on the bus with all the people crammed in, so I got off early at a roadside stall to get some water and a shiny car pulled up, which was odd.

A: Why?

B: I hadn't seen a car since we left the city. And two men in suits got out, which was very odd way up in the mountains. And they spoke to the stallholder in a language I didn't understand, and one of them leaned forward and his jacket flapped open, and there was a gun in his inside pocket.

A: Maybe he was pleased to see you?

B: What?

A: Don't worry.

B: A real gun! What business were they up to?

A: Not your business.

B: Exactly... I wasn't there for a gunfight. So I stood back and let them get down the road before I headed off.

A: Good thinking.

B: I walked along the road with my water, thinking that no-one in the world, except the stallholder and the gunmen knew where I was.

A: How terrifying.

B: What?

A: Awful.

B: It was fine. And then suddenly I became aware of these spiders.

A: Spiders!

B: Thousands of them, strung across the road between the telegraph poles. Big and black, with long legs spread out, as if they were guarding the road. Or me. Or maybe they were ready to pounce.

A: No, they were guarding you. Or warning you not to go to the volcano.

B: I don't know, but when I finally got there everyone had gone and they'd put up a sign: Volcano closed.

A: Maybe that was for the best.

B: But I could see the steam. You can't close a volcano. Humans are funny.

Pause.

A: Yes. Yes, they are.

Some people I know bought an old house that hadn't been lived in for a while. There were a lot of spiders on the outside. Beautiful big golden orb spiders and others. They got the pest man over to spray a five metre radius around the house before they moved in. All gone.

B: All gone.

A: We really are... doomed.

They look into their cups.

Leaves fall.

Hyperspace:

A: I can hear you—life.

B: Life outside my door.

A: In the trees, under the floor.

B: Scuttling, singing, nestling.

A: Getting under my skin.

B: I know you are here.

A: Funny where you end up.

A pulse begins.

They sing and dance together, 'Not Dead Yet':

BOTH: | I'm not dead yet

I'll tell you why

I'm not dead yet

I still cry

I'm not dead yet

I still wee-ee-eep

And I'm sure not dead when I can't get to sleep

I'm not dead yet

I'm facing facts

With footprints this deep

I can't cover my tracks

But I'm not dead yet

Know how I tell?

Come a little closer; cop this smell!

When I've had my day in the sun

When I'm ready to hand in my gun

When the silence finally comes

I'll give in

I'll give in

I'll give... in

But

I'm not dead yet

I'm wide awake

Can't even close my eyes for heaven's sake

I'm not dead yet

But just like you

If I look far enough ahead there's only one view

When I've had my day in the sun

When I'm ready to hand in my gun

When the silence finally comes

I'll give in

I'll give in

I'll give... in

But

I'm not dead yet

I'm wide awake

Can't even close my eyes for heaven's sake

I'm not dead yet

But just like you

If I look far enough ahead there's only one view

If I look far enough ahead there's only one view

If I look far enough ahead there's only one view-ew-ew

---|---

B arrives at A's place. She knocks.

B: Hello?

Hello-o!

[She knocks again.] Are you there?

Are you there?

A: [from her chair] Yes.

B enters.

B: I had a dream about my surgeon.

A: Was it rude?

B: No. He has a rare night off. He creeps into his garage, not wanting anyone to see him.

A: That is a bit creepy.

B: There's a wall of precision instruments: shining scalpels, scissors, tweezers, clamps, needles and thread... and other fasteners: zips, hooks and eyes... Beneath them a pile of spare parts waiting to be selected and used...

A: Very creepy.

B: Pulsating hearts, lungs expanding and contracting, twitching toes, mouths forming words, pink, alive and ready to go... And a rack of clothes... and then I see that they're not clothes but... people, made from the bits and pieces in the garage. Repaired. Restored. Imperfect. Glorious.

A stares at B.

What do you think? Say something.

A: I'm not sure what to say... It's macabre but beautifully complete, so full of potential.

B: Yes that's what I thought.

A: Every once in a while a dream can be that potent.

So—zips and fasteners but no buttons.

B: No.

A: Funny.

Pause.

I had a dream many years ago about my mum. She died.

B: In the dream?

A: No. She really died.

B: Oh I'm sorry.

A: Yes it was awful. We lived together; I nursed her to death.

B: What!

A: I mean to the end. Ghastly... protracted. Anyway I was very upset when she was finally taken and then I had this dream.

B: What was it?

A: There were five glass phone boxes in a row. I was just standing near them for some reason when number two phone-box rang. I thought I'd better answer it. There was no-one else around. I stepped inside and I saw my mum on the phone in number five. She looked different. I said into the mouthpiece 'Hello Mum, you look very tired and wrinkled.' She said, 'That's because I've been amongst the ashes'.

B: Oh.

A: I felt really silly because it was so obvious, she'd been cremated.

Then I thought—ah, I know now, she really has gone.

B: It must have been hard for you without your mum.

A: Just life taking its course. It must be hard for you without your partner.

B: Well it wasn't a firestorm, a flood, an earthquake. Not a war, a massacre, a planned attack. Not deceit, betrayal, abandonment... just life taking its course.

An awkward silence.

Then A searches urgently.

What are you doing?

A: I can't find it.

B: Find what?

A: I can't find the bloody heart. I can't make them without it.

B: Make what?

A: Shortbread hearts with cachous, shortbread hearts with cachous! I can't find the tin heart-shaped bloody biscuit cutter! I can't make them without it. It won't be the same. It's different, wrong. All the effort, energy, love that's gone into this and the heart is missing.

B: Are you crying?

A: It's too late to do something else.

B: You could do Anzacs, they're easy.

A: It's not about easy. It's about care, detail, beauty, love. Anzacs are lumpy, ugly, pedestrian.

B: Are you okay?

A: I'm mad!

B: What, mad insane, or angry?

A: I'm all of it. Insane and angry!

She searches more frantically.

It's got to be here somewhere. It must be here somewhere. In a corner, a crack, a crease, the heart, the heart, the heart.

B: Can I get you some tea?

A: What?!

B: Greatness in small things. 'Where is beauty to be found?'

A: Not here, that's for sure!

B: Your quote about tea.

A: It doesn't matter. It's gone. I've lost it. I'm too intense. Too weird. I say the wrong things. I expose too much.

B: What do you mean?

A: The heart. My heart. I undid my buttons and let them see in.

B: Who?

A: They laughed when they saw what was underneath.

B: I'm sorry.

A: And now it's too late.

B: It's not too late. The world goes on!

A holds B's gaze: a faceoff.

A: Yes. Doesn't it?

B: Yes. It's never too late.

A: Piffle!

B: No—listen to me.

A: Why should I?

B: I was walking... eucalyptus, foliage, feathers, magpie talk and then... human moaning—a couple doing it in the bushes. Their glasses click against each other. They're in their mid-seventies, easily: slack skin, stiff joints, crooked arthritic fingers, but the tenderness...

A: I can hear you thinking.

B: I'm speaking. Smells of armpits and lavender. Hands squeezing tissue thin skin. Gripping and gasping. In the leaf litter, amongst the humus and bird bones.

A: Shoosh!

B: In the dirt.

A: I don't want to know.

B: I want that. Before the worms get me. Before I turn to dust.

A: Shutup!

B: I'm talking to you.

A: Shut your mouth, shut ya face, shut ya gob, cake-hole, pie-hole.

Shut your bone-box, shut the hell up, shut yer cock-holster!

Shut your mouth before the birds nest in it. Shut the fuck up!

Stop ya gawping!

Hold your tongue, you're speaking shit, verbal diarrhoea, diatribe, mouth like a sewer. What a load of codswallop.

Have you got your period, is it that time, are you pre-menstrual, menopausal?

Is it a full moon... AHOOH!

Calm down, listen to yourself.

Button it!

B: Shutup!

A: Button it!

B: Go away!

A: Button it!

B blocks her ears.

Button! Button!

She waves her shirt buttons at B.

B: GO AWAY!!

She pushes A into her chair.

A disappears into the chair.

B peers after her; MUSICIAN peers also.

Are you there?

Are you there?

I'm sorry.

B gingerly sits in A's chair.

The musician sings, 'Am I Here':

MUSICIAN: Am I here?

Am I here?

Am I anywhere?

I'm not all there

But I'm not a chair

Am I done

Or undone?

Am I in the clear?

Can I take a guess?

Should I be depressed?

Time and space

Space and time

Nothing there at all

What's a life?

Just a little time

And if no-one cares

Then am I here?

Am I on?

Am I off?

Do I have a choice?

Can I take a test?

Can I take a rest?

Am I old?

Am I sold?

Have I drained away?

I can't remember yesterday

---

MUSICAN and B: [together] Time and space

Space and time

---

B: | Nothing comes to mind

Am I loved?

Am I left behind?

And if no-one cares

Will I disappear?

Am I here?

Am I here?

Am I anywhere?

If no-one cares

Then I'm not here

B confesses to the audience.

B: I have a phobia. I don't know why. It's more common than you'd think. I don't talk about it. People think it's only a... button. Not a spider or snake, not the unspeakable, the end of the world. Most people don't understand. My partner did. My partner understood.

When I was young, if I touched one I'd shudder violently. I'd have to wash my hands, get it off. If my mother was wearing a cardigan I'd scream when she picked me up. I couldn't go near my dad when he put on a work shirt. It was okay when they were covered by his tie, but if one was peering out I'd cringe and run away.

I rub my fingers together and I'm okay. The clear plastic ones with four holes are the worst; I don't know why. They make my skin crawl, like touching a cockroach. When I see them I need to absorb a non-b... area to get rid of the insult in my eyes—the sea, the sky, the Great Big Nothing.

I don't even like it in other languages—'Knopf' in German.

Saying the word makes my throat tighten.

B... button...

A's button appears at B's feet.

Hello? Are you there?

Are you there?

She eyes the button.

My heart is jumping, I might be sick. I can't.

I'm sorry. I can't bear them, even the smell.

People say it's just a little disc. It can't hurt you—it's a thing. A beautiful thing, a useful thing... it keeps things together.

Not me. Makes me fall apart. Makes me the odd one out, mad. Am I mad?

A reappears.

A tender gestural sequence during which A magically 'sews' her button onto B's polar fleece.

A: Don't be afraid; people have been doing this forever. All you need is a needle and some thread and then follow the steps. You'll see there's nothing to it.

Choose a button if you don't have the original.

Cut a piece of thread about half a yard long.

Feed the thread through the eye of the needle.

Slide the needle to the middle.

Tie a knot where both ends meet.

Tie another knot, so that the end is doubly secure.

The thread is now ready to sew.

Place the button on top of the material where you intend to sew it. A match in between the button and the material will give it the necessary slack.

From underneath, push the needle up and into one of the holes.

Pull until the knot is anchored.

Push the needle down through the next hole.

End with the needle on the material side.

Secure with a double knot.

B: If I could just touch it. I know what I can see is not all there is.

A: Energy surging back and forth.

B: Buzzing. Glowing. Spinning.

A: Electrons, neutrons, protons.

B: Daring me.

A: Driving me.

BOTH: I've been here so long.

B: How long has it been?

A: The world has changed but the button is here, waiting.

B: Perhaps a joke could lighten the situation.

A: It's a long time since I told one of those... only one comes to mind...

B: Go on, tell it.

A: Well, a mushroom goes to a nightclub and the bouncer says at the door 'You can't come in. We don't want your sort here.' And the mushroom says 'But why? I'm a fun guy!'

They sing together, acknowledging each other, moving separately but in unison: 'In Between'.

BOTH: | This is not how it begins

This is not the final scene

It's just a song to sing

In between

Did I just hear what you said?

Should I intervene?

Is it all in my head?

Do I live in between?

Splitting headache, splitting hairs

Splitting atoms, say your prayers

Is anyone there?

Hundreds of birds in the trees

Galaxies we can't see

All the people we could be

We live in between

I'm watching the sky

I'm watching planets die

Look up

Say goodbye

Time gets in through the cracks

Making maps on our skin

Right now the sun warms my back

We live in between

We live in between

We live...

---|---

They are sitting in each other's chairs.

B: I know you're there.

A: How are you?

B: Holding together. You?

A: Insane. Angry.

B: Yes.

A: Here we are.

B: We're still here.

A: Bodies with heads.

B: Bodies with heads.

A: Funny where you end up.

B: Is this the end?

THE END

redpajama_set_name: RedPajamaBook


The collapse of journalism and the rise of commercialism is sparking a reform movement that will fight to ensure the First Amendment endures in the digital age.
The National Entertainment Chart demonstrates, again, how enormous the media conglomerates are and how much of our core media are under their control. Although concentration has not increased especially over the past few years, the damage has been done. Democracy is premised on a free press, and freedom of the press is premised on the absence of public or private gatekeepers with monopolistic power. It is why the Supreme Court ruled in 1945 that antitrust was probably more appropriate in the realm of media than in any other area. Looking at this chart, we can see that A.J. Liebling's adage that "freedom of the press is limited to those who own one" is frightfully accurate, with all that it says about the state of our core freedoms and our democracy. The Supreme Court was sixty-one years ahead of its time.
This concentrated, conglomerated and profit-driven media system is hardly the result of "free enterprise." These giant companies are the recipients of enormous direct and indirect subsidies and/or government-granted monopoly franchises. They include: monopoly licenses to radio and TV frequencies, cable and satellite TV monopoly franchises, magazine postal subsidies and copyright, to mention a few. For these firms the most important competition may well be in Washington, getting the cushy subsidies and licenses. These policies, worth tens of billions annually, are generally made in our name but without our informed consent. That is the heart of the problem, and it points us to the solution: informed public participation on media policy-making.
Case in point: This summer will see the FCC's review of the ban on cross-ownership, that is, preventing firms from owning both daily newspapers and broadcasting stations in the same community. If the Bush Administration gets its way, the rule will be scrapped, local media monopolization will explode and this chart may someday be regarded as mapping a veritable golden age of competitive media. Company-town media, with one or maybe two conglomerate-owned McNewsrooms serving an entire community, will be the order of the day. In 2003 a massive public outcry prevented the elimination of the cross-ownership rule, and if the public speaks we will stop the Bush Administration again this year. A broad bipartisan coalition has taken shape at www.stopbigmedia.com to organize the fight.
For many, the Internet was going to be a technological solution to the problem of media concentration, blasting open the system and slaying monopoly media power. Despite the Internet's truly revolutionary implications, in itself it cannot address the core crises of our media: the collapse of journalism and the rise of hypercommercialism. As this chart shows, the media giants are using their immense market power to convert the Internet into a psychedelic commercial medium, where these problems will persist.
They also use their considerable political power. The myth of the Internet is that it is a magic technology unaffected by policies. Not true. The genius of the Internet has been a series of policies and subsidies that nurtured it, especially "network neutrality," meaning all users and websites have had equal access to the Internet without discrimination by the Internet service providers. This is now under direct attack by the (government-created) cable and telephone monopolies, which want effectively to privatize control (in their hands) over who is allowed to have a website and who is not. You can learn about the battle to preserve network neutrality, to defend the genius of the Internet, at www.savetheinternet.com, the website of the coalition leading the fight to see that the First Amendment endures in the digital age.
Freedom of the press is something we must continually fight for, or we stand to lose it. If we contest corrupt and secretive policy-making, if we draw citizens into the debate, as we have learned in recent years, we can and will win. It is why the media reform movement is exploding across the nation.


text:
About GC79 (2018)
General Convention Opinion
Structure's First Shot at Restructuring Fails
By The Diocese on July 12, 2012 • ( 1 Comment )
The Structure Committee's first attempt at restructuring the Church failed in the House of Deputies Thursday.
Structure put forward B027 on "re-envisioning committee structure," which would have ended all Standing Commissions except for Constitution and Canons and Structure. All other Standing Commissions would have been turned into task forces that would do only the work assigned to them by General Convention, and then disband.
The intent of the resolution, according to the Rev. Christopher Cunningham, Southern Virginia, a member of the Structure Committee, "is that the task forces do the work they are assigned and then disband [so that they] don't add their own work."
Deputy Deborah Fish, Albany, was opposed to the resolution. "Earlier in this session, we passed something to have a task force to look at the whole structure of the Church," she said, referring to the Task Force created by C0905. "If we pass this resolution, we're giving them guidance on how they should work … Why would we want to create a task force and then tell them what to do?"
Deputy Jack Finlaw, Colorado, agreed with Fish. Passing B027, he said, would cut off the "institutional memory" of Standing Commissions' members, who currently serve six-year terms, and added, "it prejudges the work of the Task Force."
The Rev. Canon Neal Michel, Dallas, a member of the Structure Committee, supported the resolution, saying, "I would like to remind the House that the committee that endorsed the restructuring resolution that this House passed unanimously also recommended this resolution to do away with the Standing Commissions. … While we preach resurrection, we practice immortality. … Let us not just preach restructuring but practice restructuring."
But the Rev. Ernesto Medina, Nebraska, argued against it the resolution, and in favor of referring the resolution back to Structure. "I believe this to be the baby and not the bathwater."
Deputy Diane Pollard, New York, chair of the Program, Finance & Budget committee, urged the deputies to slow down and "not dismantle things too early."
In the end, Structure's first attempt at restructuring was left to the still-to-be-formed Task Force.
–By Lauren R. Stanley
Categories: GC2012
The ABCCCS of General Convention
Deputies hold spirited debate over requirements for lay leaders
David P. Kendrick says:
Hopefully, Episcopalians who elect deputies to the next GC will ask if the candidates are prepared to support the changes that true restructuring requires. Hopefully, the Acts 8 moment will help spread the Good News that restructuring will send us in new directions, and to new people.
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So, What Happened? On Prayer Book Revision and Same-Sex Marriage Liturgy
Go Forth in the Way of Love
Love Delayed is Love Denied
Those with Disabilities at GC79: Dispirited, then Motivated
Accountability & Reconciliation: The Title IV Conundrum
Top categories: GC2012


I am a native Japanese speaker. I grew up and graduated from university in Japan. Then I moved to US and have been working in academia for over 20 years where I required to write and speak in English at business level. Therefore I have capability of writing in both English and Japanese , I sporadically worked for translation between these two languages (i.e. scenario, short legal forms, power point presentations). I believe I would be a best candidate to complete this job.


Here you will find one or more explanations in English for the word Arrogancy. Also in the bottom left of the page several parts of wikipedia pages related to the word Arrogancy and, of course, Arrogancy synonyms and on the right images related to the word Arrogancy.
Arrogancy Ar"ro*gan*cy, n. Arrogance. --Shak.


I need to add groupon script to Rayzz 3.0 (video sharing script) software. I am buying a fully licensed and supported Rayzz 3.0 script. I do not have a groupon script in mind, but am open to something that will work well (bug free) and free or inexpensive.


text:
Dramaticapedia
Story Structure & Narrative Science
Creative Writing Blog
Story Development Blog
Narrative Science
Dramatica
Dramatica – Basic Concept
Dramatica Theory Book
Dramatica Video Program
Dramatica Audio Program
Dramatica Online Class
Dramatica Dictionary
Dramatica Theory Blog
Dramatica Software Blog
Storymind.com
← The Influence Character
Narrative Structure and the TPP (Trans Pacific Partnership) →
The Radical Story Mind
Posted on January 20, 2017 by Melanie Anne Phillips
By Melanie Anne Phillips
The central concept of the Dramatica theory of narrative structure is the existence of a Story Mind – essentially the notion that every story has its own psychology and its own personality, as if the story itself were a character in its own right.
So it the Story Mind a radical idea, or a valuable new way of thinking about stories and how to structure them?
To answer this question, let us look into the nature of communication between an author and an audience, specifically into the telling of tales, the weaving of stories and the differences between the two.
When an author tells a tale, he describes a series of events that both makes sense and feels right. As long as there are no breaks in the logic and no mis-steps in the emotional progression, the structure of the tale is sound.
Now, from a structural standpoint, it really doesn't matter what the tale is about, who the characters are, or how it turns out. The tale is just a truthful or fictional journey that starts in one situation, travels a straight or twisting path, and ends in another situation.
The meaning of a tale amounts to a statement that if you start from "here," and take "this" path, you'll end up "here." The message of a tale is that a particular path is a good or bad one, depending on whether the ending point is better or worse than the point of departure.
This structure is easily seen in the vast majority of familiar fairy "tales." Tales have been used since the first storytellers practiced their craft. In fact, many of the best selling novels and most popular motion pictures of our own time are simple tales, expertly told.
In a structural sense, tales have power in that they can encourage or discourage audience members from taking particular actions in real life. The drawback of a tale is that it speaks only in regard to that specific path.
But in fact, there are many paths that might be taken from a given point of departure. Suppose an author wants to address those as well, to cover all the alternatives. What if the author wants to say that rather than being just a good or bad path, a particular course of action the best or worst path of all that might have been taken?
Now the author is no longer making a simple statement, but a "blanket" statement. Such a blanket statement provides no "proof" that the path in question is the best or worst, it simply says so. Of course, an audience is not likely to be moved to accept such a bold claim, regardless of how well the tale is told.
In the early days of storytelling, an author related the tale to his audience in person. Should he aspire to wield more power over his audience and elevate his tale to become a blanket statement, the audience would no doubt cry, "Foul!" and demand that he prove it. Someone in the audience might bring up an alternative path that hadn't been included in the tale.
The author might then counter that rebuttal to his blanket statement by describing how the path proposed by the audience was either not as good or better (depending on his desired message) than the path he did include.
One by one, he could disperse any challenges to his tale until he either exhausted the opposition or was overcome by an alternative he couldn't dismiss.
But as soon as stories began to be recorded in media such as song ballads, epic poems, novels, stage plays, screenplays, teleplays, and so on, the author was no longer present to defend his blanket statements.
As a result, some authors opted to stick with simple tales of good and bad, but others pushed the blanket statement tale forward until the art form evolved into the "story."
A story is a much more sophisticated form of communication than a tale, and is in fact a revolutionary leap forward in the ability of an author to make a point. Simply put, when creating a story, and author starts with a tale of good or bad, expands it to a blanket statement of best or worst, and then includes all the reasonable alternatives to the path he is promoting to preclude any counters to his message. In other words, while a tale is a statement, a story becomes an argument.
Now this puts a huge burden of proof on an author. Not only does he have to make his own point, but he has to prove (within reason) that all opposing points are less valid. Of course, this requires than an author anticipate any objections an audience might raise to his blanket statement. To do this, he must look at the situation described in his story and examine it from every angle anyone might happen to take in regard to that issue.
By incorporating all reasonable (and valid emotional) points of view regarding the story's message in the structure of the story itself, the author has not only defended his argument, but has also included all the points of view the human mind would normally take in examining that central issue. In effect, the structure of the story now represents the whole range of considerations a person would make if fully exploring that issue.
In essence, the structure of the story as a whole now represents a map of the mind's problem solving processes, and (without any intent on the part of the author) has become a Story Mind.
And so, the Story Mind concept is not really all that radical. It is simply a short hand way of describing that all sides of a story must be explored to satisfy an audience. And, and if this is done, the structure of the story takes on the nature of a single character.
Learn more about Dramatica and the Story Mind
This entry was posted in The Story Mind. Bookmark the permalink.
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Storytelling Tips
Dramatica Basic Concepts
Dramatica Software
Brainstorming Features
Character Features
Example Stories
Plot Features
Storyforming Tips
The Query System
Using Dramatica Creatively
Writer's DreamKit
Dramatica Theory
Beyond Dramatica
Dramatica Concepts
Dramatica Unchained
Dramatica Unplugged Video Series
Dramatica's Origins
Real World Examples
Story Dynamics
Story Points
The Dramatica Chart
Throughlines
How Dramatica Works
Melanie's Corner
Narrative in the Real World
Narrative Psychology
Individual Narrative
Social Narrative
The Dynamic Model
Write Your Novel Step by Step
Objective and Subjective Characters
Plot Dynamics
Plot Points
Signposts & Journeys
Adaptations & Remakes
Storyweaving Tips
Writing Synopses
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Copyright Melanie Anne Phillips


text:
About Vision Times
Disintegrating Communist Party Culture
Tag: jim-crow
Judge Halts Effort to Block Parts of Georgia's Election Integrity Act 2021
U.S. District Judge J. P. Boulee has denied a motion aimed at preventing some portions of Georgia's new voting law from being implemented ahead of the state legislature runoff elections on July 13. The legal...
Copyright Policy and Infringement Notification
Vision Times tells the world everything about China in today's context. We keep a close eye on China because of its influence now and the lessons we can learn from its ancient past to better our lives today.
We inform you that this site uses own, technical and third parties cookies to make sure our web page is user-friendly and to guarantee a high functionality of the webpage. By continuing to browse this website, you declare to accept the use of cookies.


It's all about the women working in the labour force.
Saris tied, bangles on and wicker baskets atop their heads, this new video shows the other strong women in India; the ones who don't have ticks on their shoes, in fact, they wear no shoes at all.
Earlier this month, Nike released an ad on strong women which featured eight Indian athletes including Bollywood actor Deepika Padukone, a former national level badminton player. The ad aimed to highlight women's empowerment, however, detractors said it only painted a tainted image: the glamourisation of sports.
Spurred by the ad, a video by YouTube channel Epic Spiritual snubbed the Nike ad by merging images of their ad with India's women in the labour force, who work grueling hours on farms, in construction factories, at people's homes, all barefoot.
Of late, Bollywood stars have been endorsing equal rights and women empowerment in India. The Nike ad is just one example, before this Jacqueline Fernandez starred in a remake of Spice Girls' Wannabe which highlights the United Nations' Sustainable Development Goals. It shows women from all over the world telling government leaders what they hope to achieve - from an end to violence against women to quality education for girls.
This video has captured the very depths of my frustration about the way we have erased 80 percent of our people from our social consciousness. Thank you Dawn for your reporting.
Empowering is about being independent financially and strong socially. You're empowered when rest of your family and friends ask for your opinion and consider it important; but you can take a decision yourself without any consultation.


Perspex is one the the world's leading and most popular brands of acrylic – as such DTM print to Perspex material for a number of clients and different types of product. Due to acrylics nature of being a hard plastic and the plastic most like glass – printing to perspex is often used for personalised prints, splash-backs and other digital prints of a high quality.
For more information on printing to Perspex or to request samples please contact us on 0845 643 5175, email hello@dtmprint.com or contact us using the form below.
Which is bigger 5 or 4?


Europe's No.1 airliner for on-time performance.
Prestwick Aircraft Maintenance (PAM) was established in 2003 and is a heavy aircraft maintenance provider for Ryanair, carrying out maintenance on Ryanair's fleet of 395 New Generation Boeing 737-800 series aircraft.
Approximately 500 staff are employed at PAM during our peak maintenance period.
We operate 5 maintenance bays at Glasgow Prestwick Airport, working 24/7 for 9 months of the year. Our facility also includes an extensive workshop employing 50 staff.
We have a proud history supporting apprenticeship programmes having taken on apprentices every year since 2006. We currently have more than 35 apprentices who are serving a 4 year apprenticeship at The Ayrshire College.


Sometimes we know that something has to change in our lives!
That need often gives birth to a dream.
The problem is we often succumb to the fear of the unknown and turn our backs on the doors that are opening to us.
Life was different back in the 1800's.
Charles Tiffany was 15 when he completed his formal education and went to work managing a general store for his father who owned a Connecticut cotton mill.
He worked long, hard hours – learning new things every day.
At 25 he still had nothing to call his own – and very little money.
It was time to change his life – time to create his own success.
We can imagine the conversation he had with his friend and new partner, John Young.
"To do what?" John asked warily.
Charles had the perfect answer.
The two young men went to New York – It was 1837.
The first three days of business in their new store on Broadway were not promising.
Tiffany & Young raked in a dismal $ 4.38 in sales.
With their sights set on success, the young men worked hard to provide products people wanted.
Within two years they were selling glassware, cutlery, porcelain, clocks and jewelry.
They had also learned a tremendous amount.
They knew to search for every opportunity.
They knew to take advantage of ways to expand their business.
They knew each year would bring new challenges and opportunities.
But Charles still had no idea what they would become.
In 1841 they added a new partner – someone to travel abroad to increase their purchasing power.
Six years later they recognized a growing market for quality gold jewelry and began to manufacture their own.
Just one year later, in 1847, Europe was rocked by disturbances.
One of the results was diamonds declining 50% in Paris.
They took advantage of the situation to purchase huge amounts – gaining enormous profits back in America.
All the while they were moving into bigger and better storefronts.
In 1867 they moved into the famous store still on Broadway – Tiffany's!
The young man who left Connecticut to open a stationery store became the owner of a $ 2 Million Dollar Business (the equivalent of a Multi-Billion Dollar Business today) that was acknowledged as the greatest jewelry company in North America.
Sometimes your original dream may be just a shadow of its true potential.
Tiffany never dreamed of creating the greatest jewelry company in North America.
Take the steps to bring it to reality.
But don't let your own ability to dream limit you.
Give the dream room to grow.
Give it every opportunity to become more.
Take advantage of your lessons learned and continue to forge ahead!


A crowd of 19,107 got its first taste of American football here Saturday night and voted it a huge success.
Financial problems virtually bankrupted the promoters, who had brought Wyoming and Texas El Paso halfway across the world to play a Western Athletic Conference game at 75,000-seat VL Park.
The game, won by Wyoming, 23-21, had no organized cheering sections, but that didn't bother the crowd. The fans apparently loved every minute of it.
Nearly all of them previously had seen American football only on television, where a National Football League game is screened each week.
"It's terribly confusing to start with, but it's quite easy to pick up, and once you understand it, it's great," Melbourne businessman Charles Chatfield said. "My greatest difficulty was in focusing on the roles of so many players. I have no idea of the finer points, at all."
Chatfield said he liked what he described as "long-distance throws."
The crowd, essentially made up of families, got extremely involved in the action, clapping and cheering loudly. Hardly anyone left before the end.
"I enjoyed it, but I would have liked to see more cheer squads," Melbourne housewife Linda Clayton said. "I thought it was great value for money, and I'd love to go again."
The crowd paid $10 (about $6.50 in U.S. money) for tickets.
Most simply were intrigued by what American football really was like.
"I was very curious, but it's been a worthwhile trip," student Bill Bass said.
Wyoming completed its season with a 3-8 record, while UTEP finished 1-10.
The game was the last for the coaches of Wyoming and UTEP.
Al Kincaid, Wyoming's coach since 1981, has been replaced for next season by former Idaho Coach Dennis Erickson. A replacement for UTEP's Bill Yung has not yet been named.
"Our players certainly enjoyed it, and the crowd seemed to," Kincaid said . "I hope the idea continues."
Yung said: "I think a lot of teams will want to come out here after this match. Despite their problems, the organizers deserve a lot of credit."
Both teams said they had been delighted with their reception in Australia.
"We didn't know what to expect, but the crowd was really great," said Wyoming quarterback Scott Runyan, who passed for two touchdowns and ran for a third in the come-from-behind victory.
Runyan wound up completing 12 of 25 attempts for 141 yards.


text:
Q: Read password using Perl on Windows without using CPAN packages We have a Perl script that uses the terminal to read a password. This script does not work on Windows as the terminal is not available.
We did some research and found that ReadKey/Readline is an alternative for this. However, this package is not part of our default Perl install.
Is there a way to read a password in Perl without using the terminal or ReadKey/Readline?

A: If you are looking for a way of getting the password without echoing in the terminal, try this:
use Term::ReadKey;
print "Enter password:";
ReadMode('noecho');
my $password = <STDIN>;
chomp($password);

Later, if you have to back to normal terminal input echo, write this:
ReadMode(0);

This solution requires the installation of Term::ReadKey, and it works it Windows also.

A: Instructions on installing CPAN modules with ActivePerl may be found here:
How to install CPAN modules into ActivePerl
Instructions on installing CPAN modules with Strawberry Perl may be found here:
Strawberry Perl CPAN instructions

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FM Logistic India looks to set up intra-city warehousing units in Mumbai, Delhi and Bengaluru
"We are scouting for warehousing facilities inside the cities of Mumbai and Delhi to either build new multi-story warehouses, which is a new concept, or to refurbish abandoned cotton mills in Mumbai within the city," he added.
Mumbai, DPune-based FM Logistic India is looking to set up intra-city warehousing units across Mumbai, Delhi and Bengaluru, including by converting some abandoned mills into such facilities, amid an increasing demand for quick deliveries by online customers, its Managing Director Alexandre Amine Soufiani has said. Sufiani said the company is in discussion with a closed mill owner in Mumbai, while exploring the possibility of such projects in Delhi and Bengaluru.
However, along with this, FM Logistic is also open to set up completely new intra-city warehousing facilities as well, he said.
The french 3PL (third-party logistics) player made a foray into the domestic market after acquiring Pune-based warehousing firm Spear Logistics in 2016.
In the post-COVID-19 scenario, having an intra-city warehousing facility is a must to be able to deliver the goods to the end-customer within hours of placement of an order. But, the land in the cities is costly, Soufiani said.
He said he has to partner with e-commerce and other omni-channel retail companies and offer them multi-customer facilities with intra-city warehouses.
FM Logistic India has presence in over 90 locations, and it provides warehousing and distribution logistics services for the FMCG, retail, automotive, e-commerce, engineering, telecom, pharma and other sectors.
Soufiani said Mumbai has many closed mills and the company was thinking of partnering with owners of those mills and transforming them into intra-city warehousing.
"In Mumbai, we are in talks with one of the mill owners, we are carrying out due diligence and looking at how we can make it safety-compliant, as we do not want to compromise on the safety aspects at all," he said.
Soufiani said there are two models, one is to take on lease a closed mill land or a sick factory unit, refurbish them with all safety measures like fire alarms and proper exit gates and use them as intra-city warehouse. The second model is to build from scratch vertically instead of horizontally to deal with the issue of land, which is both scarce and expensive.
"Besides requiring lesser land, a vertical warehousing facility for lesser gives the possibility of separation between the different customers and also has the advantage for the cold storage for pharma," he added.
FM Logistic India reported over 15 per cent growth in revenue in the financial year 2019-20, despite slowdown in the automotive sector as well as economy in general.
Last year, the company announced setting up of a 31-acre multi-client logistics facility at Jhajjar in Haryana at an investment of USD 30 million.
This project is part of the company's plans to invest USD 150 million in the next five years in setting up warehouses in India, announced in March last year.
Source: https://retail-economictimes-indiatimes-com.cdn.ampproject.org/c/s/retail.economictimes.indiatimes.com/amp/news/industry/fm-logistic-india-looks-to-set-up-intra-city-warehousing-units-in-mumbai-delhi-and-bengaluru/79773452
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