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British Electro-Soul Duo Honne Talk About Their Manila Tour, Asian Culture, and Being the New Generation's Idols
We talk to Honne about their international reach, Japanese roots, and more.
By Anri Ichimura | Nov 21, 2019
IMAGE Warner Music
They've been described as masters of "baby-making music" and "bruised romantics," but to Andy Clutterbuck and James Hatcher of electro-soul duo Honne (pronounced "hon"), they're still just trying to keep true to the name they chose for their band. Honne, pronounced "hon-ne," in Japanese refers to one's "true feelings" or "true sound," and that's been the guiding principle of the two lads from the West Country of rural England since they started making music together over six years ago.
Known for their sultry sound made for late-night drives in the rain, Honne encapsulates all the complicated intricacies of love in the 21st century. Paired with their pseudo-vintage, electro-pop sound, it's no wonder they've gained listeners in every corner of the world—particularly a loyal base in the Philippines.
We have Karpos Multimedia to thank for bringing Honne back to the Philippines for a Manila-wide mall tour with indie-pop group joan from November 7 to 13. Despite being in the city for only a week, their shows drew crowds by the hundreds, all of whom eager for a taste of Honne's soulful vibes. Esquire was lucky enough to catch up with the duo before they left for another show in South Korea, and this is what they had to say.
Andy Clutterbuck (left) and James Hatcher (right) of music duo Honne
Photo by Warner Music.
ESQUIRE PHILIPPINES: Does it still blow your mind that you have fans on the other side of the world singing your lyrics?
ANDY CLUTTERBUCK: A hundred percent. It always blows our minds. English is not particularly the first language [in most places], and people are just singing our words back to us. It's crazy. I think we're still surprised to still walk out on stage and see people even at the shows.
JAMES HATCHER: I don't know when that's going to change. Probably never. We've been doing this for four, five years now.
ESQ: Where was your favorite location in Manila to perform?
JH: BGC, I think that was the favorite. It was fun because it was outdoors. It went as far as we could see in all directions. It's a nice feeling.
ESQ: What made you decide on the name Honne?
AC: We'd kind of written seven or eight tracks before we even had a band name. I was living in Tokyo for a little bit with my wife. James found this Japanese word that means "true feelings," and it fit with everything we were and all the songs we had written so far. And it was nice that it was just one short word, but it kind of summarized a bigger thing.
JH: It means a bigger thing [too].
Honne performing at Central Square, BGC
I wonder if anyone could top this crowd last night ????
A post shared by HONNE (@hellohonne) on Nov 9, 2019 at 7:01pm PST
ESQ: Aside from the name, how else has Asian culture influenced your sound?
AC: For me, it's not really a case of influencing the sound but just the content, the stuff that we write about. "Location Unknown" is a song about being away on tour and we come to Asia quite a lot. That song in particular is about [how] touring is great and a fantastic experience, but obviously, you miss people back at home and it's just about getting back home as quickly as possible, which makes it sound pretty negative about being away.
ESQ: Do you prefer going on tour or staying at home to create music?
JH: I think a mixture of both is essential. Because you end up in the same room everyday writing music, and then you release it and hope people like it and they want you to come on tour to see it.
Going on tour is how you see the fruits of your labor.
[After] all the time you spent locked away in your studio, you then get to hear people sing it back when they come to the shows. Seeing your work visually, that's pretty exciting. And you get a bit of like cabin fever-y, like you need to get out of the house and see the world.
ESQ: Who have been your biggest influences in music?
JH: For me, growing up, it was Michael Jackson. More recently, [it's] people like Frank Ocean, Chance the Rapper, and Bon Iver.
AC: I think Radiohead, [because despite] the ever-changing landscape, they just pick something and then choose to do that and it's completely different to what's been done in the past.
ESQ: Is it surreal to consider that you've become the influences of younger musicians even abroad?
JH: Oh, really? That is surreal. We do get people going to gigs and stuff and they'll say that and that just seems mental to me. But, [it's] very humbling.
James (right) and Andy (left)
ESQ: Can you guys describe your dynamic and why it works so well? James was also your best man to your wedding.
JH: We're kind of like opposites in a lot of ways, but we have a lot of similarities. Andy's an introvert, and I'm an extrovert. Andy thinks a lot and keeps things to himself and likes to work alone. And I, talk a lot, think out loud a lot, and like to be around people as much as possible.
We each have strengths and weaknesses and we kind of fill in each other's gaps. At the same time, we both came from a similar background. We met at university, but we both grew up in the West Country, so in the middle of nowhere in rural England. We tried to entertain ourselves in the big city. We just work really well together.
ESQ: Any plans to come back to Manila?
AC: Yes, always. We want to come back and play in an arena, so if we can make that possible, that would be great.
Honne in Manila
Halfway through our Manila takeover. It's been wild! Who's caught one of the shows?
A post shared by HONNE (@hellohonne) on Nov 10, 2019 at 10:49pm PST
Anri Ichimura
Section Editor, Esquire Philippines
View Other Articles From Anri
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Here you'll find the answers to your most burning questions about coat panels and how to extend your existing coat and use as a babywearing cover!
Will the extendher work with my coat?
The extendher works with any zippered coat or vest.
How long will the extendher last?
With proper care and washing, the extendher will last for many years!
How do I care for my maternity coat extendher and/or Easy Hood?
Machine wash cold with like colors. Washing in a lingerie bag will extend the life of extendher products. Lay flat to dry.
What is your return policy on the maternity coat panels?
Extendher accepts returns within 30 days of purchase, with original packaging in place. To begin the process you must send an email to sales@theextendher.com stating your reason for your return. Once we receive this email, we will respond and you can return the package. Do not return the package without communicating with our returns department. We need to ensure that your purchase falls within the return window. Your returned package must be postmarked within 30 of the original receipt date. We will return your cost of the goods, and tax if applicable. For international orders, your package must be postmarked within 45 days of the original receipt date. We do charge a 10% restock fee on all items returned. Extendher reserves the right to tack on an additional handling fee (10%) if the product is not returned in its original packaging. Extendher does not cover any return shipping costs. The address for returns is 1137 Raymond Rd Ballston Spa, NY 12020. Once the items are received, a refund (minus applicable fees) will be issued within 7 days.
What if I find that my product is damaged?
We take the utmost care with quality control, however from time to time we may come across a damage or imperfection. It is crucial to inspect your product upon arrival. If you notice a damage, email us immediately and we will send you a product replacement at no charge. This policy only applies to 30 days from original purchase date. If you need replacement clips, we will send you 2 clips at no extra charge. Simply contact us with your name and address at: sales@theextendher.com. If you need additional clips thereafter, we will charge $2.00/ 2 clips. If a clip has come off, it can easily be put back together using a pair of needle nose pliers. There are detailed instructions included in your package as well as on our home page.


Siblings of ARYO graduates get $25 off.
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On November 29, 2013, LAM Flight TM-470 crashed in Namibia following 'intentional actions by the pilot', according to investigators. All 33 passengers and crew were killed.
The following is a list of airliner accidents involving (possible or rumored) pilot suicide, compiled from the Aviation Safety Network files. General aviation aircraft are not included.


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Churchill, On L0L 1K0
705-458-1801 (Parish Office)
Clergy: The Very Rev. Gregory Gilson
Email: gcgilson1@gmail.com
Our Incumbent
St.Peter's – Churchill
Meeting/Ministry Schedules
Memorial Wall Tribute
St. Peter's In Action
St.John's – Cookstown
History of St. Peter's Anglican Church, Churchill
The Parish was served from 1833 to 1842 by missionaries sent out from Toronto to minister to Anglicans in South Innisfil. At this time Churchill was known as Gimby's Corners and services were held in homes. Rev. S.B. Ardagh traveled on horseback and had many missions. Because the territory was so immense, Rev. George Bourne and Rev. John Fletcher, along with Rev. Garnet Nugent were sent to assist him.
In 1848, Colonel Geroge Duggan gave the property on Lot 15, Concession 3 in Innisfil as a site for the first Anglican Church and adjoining cemetery. With the help of master carpenter William Lennox, the first church was built, a small frame structure with a choir gallery, altar, pulpit and lectern. It had 22 seats in the nave for the congregation. One of the original seats is still in St. Peter's today. The Rev. Canon Edward Morgan was the first permanent minister at St. Peter's from 1856-1865.
When the congregation outgrew the church, a second church was built east of the old church. This was built between 1882-1883 and was consecrated on October 7, 1886. A Women's Auxiliary was formed until the name changed to Anglican Church Women (ACW) on November 22, 1967. A G.A. (Girls' Auxiliary) was formed and for many years was under the leadership of Mary Sloan and Betty Akers. A Junior Girl's Auxiliary was also formed.
In the late 20's and early 30's all activities were held at the Orange Hall, later known as Churchill Community Hall. In 1943 land was purchased for a parking lot and by volunteer help, our first Parish Hall was built. In 1954 an electric organ was placed in the church.
In 1973, St. Peter's celebrated its 125 anniversary and in September 1998, it celebrated its 150th.
In 1989, June 18th, under Rev. Glen Burgomaster, the Sesquicentennial event took place. On June 21, 1992, the Rt. Rev. Taylor Pryce dedicated the new Parish Hall. Rev. Carol Langley became our incumbent in 1992 from St. James Cathedral in Toronto. Rev. Stephen Kirkegaard and his wife Sandy, joined the Parish in 1996. Stephen's new appointment was at St. Aidan's in Toronto in 2003.
In 2004, Fr. Robert Mitchell and his wife Caroline came to the Parish of Churchill and Cookstown.
In 2008, Fr.Rob and Caroline took a new position at St. Thomas in Toronto. Canon Jeremy Van-Lane became our Interim priest while the Selection Committee searched and interviewed for a new Parish Priest.
In February of 2009, Fr. Matthew McMillan joined St. Peter's as the new incumbent for the Parish. In September of 2017, St. Mary's in Richmond Hill, welcomed The Reverend Matthew McMillan as their new parish priest.
In Sept. 2017, Rev. Terry Bennett became the interim incumbent until a new incumbent can be found.
St. Peter's continues to welcome all newcomers through its doors. If you are looking for a church home in this area, why not give us a try. The door is always open.
Two large binders were created by parishioner, George Leggett, about the history of St. Peter's and the ministers/pastors who were in charge. It was an enormous amount of work and we thank George for his dedication.
These are on display in the parish hall for those who wish to view them.
St. Peter's Home
St. Peter's Church
Sunday Service: 9:15 am
Weekly Euchre
St. Peter's Parish Hall, every Wednesday at 1 p.m. Light luncheon supplied. Call Jean for info @ 705-458-9795.
St. Peter's – Churchill
St. John's – Cookstown
St. Peter's 1st Annual Fall Fair

redpajama_set_name: RedPajamaCommonCrawl


Dynamo Moscow's Luzhniki Arena has seen more than a few big nights of play-off hockey in recent seasons – but until now the house full signs weren't needed in the first round.
The Blue-and-Whites began their two Gagarin Cup-winning campaigns with 4-0 sweeps, but this season's starter against Lokomotiv has delivered a far more challenging and absorbing clash. As such, with the series poised at 2-2, game five became one of the hottest tickets in town.
Hot tickets don't guarantee hot shots, however, and it took more than 80 minutes for the first and only goal to arrive. Konstantin Volkov finally broke the deadlock, collecting a pass from Yury Babenko and roofing his wrist shot to finally end Curtis Sanford's resistance on 83:11.
If Lokomotiv's Sanford had been the busier goalie, with 30 saves in regulation and more to do in overtime, Dynamo's Alexander Yeryomenko also had a few big moments. And none were bigger than a stick save low to his right from a Yegor Yakovlev slapshot in the 75th minute which kept the scoresheet blank as the teams went into double overtime for the second game in a row.
Earlier the game had simmered without ever quite boiling up into a classic encounter. A blustery first period compensated for a lack of clear scoring chances with plenty of hard hitting to keep the officials busy and the crowd enlivened.
If Dynamo had a slight edge in that first session, the second belonged to the visitors. After an early assault on Curtis Sanford's goal Sergei Plotnikov launched the first counter-offensive, cutting a swathe through Dynamo's defense only to lose control of the puck in front of the net.
Moments later the first of three penalties called on the home side tipped the momentum decisively in Loko's favor. As the pressure built, Alexander Chernikov flashed a shot narrowly wide from Igor Musatov's pass into the center. Then the same player intercepted a weak clearance on the blue line and dragged his effort just wide before another power play saw Mikelis Redlihs go close on a dangerous rebound.
Dynamo could do little more than try to block up center ice and slow the game down, even when back at equal strength, and Loko continued to create the more incisive moves. Daniil Apalkov almost found a winning combination with Plotnikov on the near post, but Yeryomenko held on to keep the game scoreless at the second interval.
However the defining element of the game from the moment the puck was dropped had been tension, and as the third stanza unfolded it was clear that the players were increasingly drained. Neither side could generate much speed in center ice, passes frequently and uncharacteristically went astray on the transition from defense to offense and such shooting chances as came tended to be snatched and hurried.
Error followed error: A Lokomotiv power play was marked by frequent blunders on the edge of the zone; at the other end a stumble by Mikhail Pashnin was reprieved as Dynamo's forward strayed offside. Plotnikov had a shooting chance as overtime beckoned, but the youngster fired into the Perspex before Denis Kokarev danced around the back and set up Babenko to shoot just wide. There was one final chance as Leo Komarov almost forced his way to the net with just 10 seconds left, but Sanford once again had the answers and the game went to overtime.
This series is heading back to Latvia after Dinamo Riga grabbed a 2-1 victory to keep its hopes of progress alive.
Dinamo, knowing there was no more margin for error in the series made the stronger start, opening up a 2-0 lead. Gints Meija, the Latvians' top scorer in the series, got his third goal in three games to open the scoring on the power play as he swept a backhand inside the post after 17 minutes.
A Lauris Darzins one-timer early in the second extended that lead, but a power play goal deep in the second gave Donbass a lifeline. Tuomas Kiiskinen claimed his second goal in two games after a crowd scene around the Dinamo goal to set up an intense final session.
Donbass poured forward, out-shooting Dinamo 11-4, but could find no way past Jakub Sedlacek. The visitors close the gap to 2-3, and now hope to level the series in Riga on Saturday.


What time MTP CBE PASS depart from METUPALAIYAM Railway Station?
MTP CBE PASS (56145) departs from METUPALAIYAM Railway Station at 08:15.
How much time MTP CBE PASS take to reach COIMBATORE JN Railway Station?
MTP CBE PASS reach on day 1 to COIMBATORE JN Railway Station. The arrival time of MTP CBE PASS at COIMBATORE JN Railway Station is 09:05.
Distance covered by MTP CBE PASS?
MTP CBE PASS covers 36 km to reach COIMBATORE JN Railway Station at average speed of 44 km/hr. MTP CBE PASS passes through 4 stations.


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Glaze vs Sauce: What's the Difference?
by Bearded Butcher Blend Seasoning Co. April 09, 2021
One of the most challenging things about cooking extraordinary meals is understanding the differences between very similar things. Take for example glaze and sauce. Both are a thick liquid put on meat to improve flavor, but what's the difference? Or is glaze just a fancy way of saying sauce? There are a few differences between sauce and glaze that set them apart from one another, and also a few similarities that lead to the confusion between what is a glaze and what is a sauce.
Sauce and Glaze Similarities
Sauce and glaze are both thick liquids that are added to meat to enhance the flavor and add a layer of depth to the finished product. Both sauce and glaze tend to use a sweet base that is complemented with herbs and spices. The thick consistency helps the glaze or sauce stick to the protein you're cooking. Every culture in the world uses glazes and sauces on numerous different types of meals, and flavors can range from sweet to spicy to savory and everything in between.
Differences Between Glaze and Sauce
The major difference between a glaze and a sauce is that glazes are applied to the meat during the cooking process, while sauce is a condiment added after the fact. Of course, the first thing that we hear is, "What about BBQ sauce?" Well, here's a fun fact: if you put barbecue sauce on ribs while they are cooking, it's a glaze. If you dip your ribs in BBQ sauce at the table, it's a sauce. Crazy, huh?
Glazes tend to be a thicker consistency than sauces to help them stick to hot meat. Most glaze recipes will use more sugar than a sauce recipe, while sauce recipes are more likely to use spices and herbs to add flavor. That's not to say you won't find plenty of sugar in many BBQ sauces, or that you won't find parsley, dill, or coriander in a glaze, either. You can see how something simple gets easily complicated.
Most glaze recipes you'll use will have a sweet, liquid base – typically an ingredient like soda or fruit juice that is reduced to a syrup thickness. In contrast, sauces tend to use a thicker base, like tomato ketchup or pureed chili's that is then sweetened or flavored according to the type of meat it's going on.
The best way to understand the difference between glaze and sauce is to think of the glaze as an ingredient you'll use in the process of cooking that becomes part of the finished meal, while a sauce is reserved for dipping, dunking, and drowning once the protein is ready to eat.
Our Favorite BBQ Sauce
Here is a real surprise for you: Our favorite barbecue sauce in the world is the Bearded Butcher Blend BBQ sauce. If you haven't picked up a bottle (or 1/2 gallon) of our awesome sauce yet, just do it. You'll never go back to one of those "average" sauces you find in the local stores, plus you'll have a sauce that's all-natural, gluten-free, and goes on everything. It's a perfect blend of brown sugar, molasses, and smoky spices that will step your BBQ chicken, pork, or rib game up to the next level.
How to Make a Glaze
There are dozens of excellent ways to make a glaze that's perfect for whatever you're cooking. For instance, you might want a spicy and sweet glaze when you're grilling a pork roast, or you might choose something sweeter like a plum-base for glazing Asian-style duck recipes. Regardless of the type of glaze you want, the basic steps for making a great glaze are the same.
You'll start by adding your liquid ingredients to a saucepan with sugar, molasses, corn syrup, honey, or whatever you are choosing to use for sweetness. Then, it's simply a matter of slowly heating the mixture over a medium heat and stirring constantly to prevent burning. The goal is to get the sugar to dissolve and for the mixture to take on a thick consistency. Once you've got the syrupiness you're after, all you'll do is brush the mixture onto the meat while it cooks. The glaze will caramelize, giving you meat a crispy, crunchy, delicious exterior and helping to lock in moisture and flavor.
Rib Glaze Recipe
Now that we've gone over the difference between sauce and glaze, we thought it'd be fun to share our favorite glaze recipe for grilling beef ribs. This is an easy glaze that takes only a few minutes to whip up and adds an out-of-this-world level of sweetness, spiciness, and crunchiness to ribs.
1 cup Dark Brown Sugar
1 cup Honey
1/2 cup Fresh Orange Juice
1 tbsp Salted Butter
1 tbsp Yellow Mustard
4 oz Bourbon
Red Chili Flakes to taste
A dash or two ground and dried Oregano, Dill, Mustard Seed
Directions for Making Glaze
Place all ingredients except the bourbon in a medium saucepan and heat over medium heat until the sugar has completely dissolved. Do not boil or burn the mixture.
Remove from the heat and stir in the bourbon. The BBQ heat will cook off any remaining alcohol the hot glaze doesn't get.
That's all there is to it!
Knowing the difference between a glaze and a sauce maybe isn't the most important thing in the world, but when you understand how the two ingredients are used to make delicious food, you'll know why they are important. Plus, if you're ever on a trivia game show, you'll know the answer to the question of what is the difference between sauce and glaze.


After this, we continued by car to drive 2 hours to another mountain town called El Valle. This town is situated inside the crater of an old volcano that erupted 3000 years ago. We checked in to our bed and breakfast just before a rainstorm came. While in this area we went to go visit the local zoo, where we saw many different animals including monkeys, ostriches, ocelots, crocodiles, tapirs, and many birds. After this, we headed to the nearby hot springs for a soak in the thermal bath water. The hot springs themselves didn't consist of much, only about 3 pools of different temperatures. We then wandered through town, had lunch at a local café and perused the handicraft market before walking back in pouring rain to where we were staying. Taxis only cost around $1-2 for the ride in this area, but we decided to be adventurous and get soaking wet!


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Q: updating variable after ajax call made in angularjs I use factory to make database calls in angularjs
var app = angular.module('myApp', []);
app.factory("Service", function ($http) {
  var obj = {};
  $http.get('test.txt').then(function (data) {
    obj.getApiKey = {'Authorization' : data.data};
  });
  return obj;
});
app.factory("Orders", function ($http, Service) {
  var obj = {};
  var api_key = Service.getApiKey;
  console.log(api_key);
  return obj;
});

In the above program, when i call property of Service factory and log the value of api_key = Service.getApiKey; it shows undefined. Probably its because the data is not received from $http call. How to perform the AJAX call synchronously.

A: As noted by Jonathan, it's not best practice you not use synchronous calls with AJAX, instead, you can return a promisse as a funcion and use it later:
var app = angular.module('myApp', []);
app.factory("Service", function ($http) {
  var obj = {};
  obj.getApiKey = $http.get('test.txt').then(function (data) {
    return {'Authorization' : data.data};
  });
  return obj;
});

app.factory("Orders", function ($http, Service) {
  var obj = {};

  obj.getApiKey = Service.getApiKey.then(function(data){
      console.log(data);
      return data;
  });

  return obj;
});

In this case, the service is returning a promisse object, this way you can ensure values will be called successfully and data will be available after the call.

A: var app = angular.module('myApp', []);
app.factory("Service", function ($http) {
  var obj = {};
  factory.get=function(success,error){
   $http.get('test.txt').then(function (data) {
     obj.getApiKey = {'Authorization' : data.data};
   });
  return obj;
  }
});
app.factory("Orders", function ($http, Service) {
  Service.get(suc,err);
  var suc=function()
  {
     var obj = {};
  var api_key = Service.getApiKey;
  console.log(api_key);
  return obj;
  }

});

A: Return a Promise from your service:
app.factory("Service", function ($http) {
   return {
       getApiKey: function() {
           return $http.get('test.txt');
       }
   };
});

Inject your service, and use the Promise API to get your data asynchronously:
app.factory("Orders", function ($http, Service) {
   var obj = {};
   var api_key = {};

   Service.getApiKey().then(function(apiKey) {
        api_key = apiKey.data;
   });
});

redpajama_set_name: RedPajamaStackExchange


"Trip Upriver", according to a youtube load of the cue, but I think that was a bootleg and therefore a made-up bootleg title.
The sample on Tony Hinnigan's website is no longer available, you can only hear it by buying it.
I can't wait for Romeo & Juliet. Can't think of anything else anywhere that I'd like to be released more than this score (never even heard it).
LIVING IN THE AGE OF AIRPLANES (2015, documentary) is expected to be released on cd and along with the blu ray release of the film in fall this year.
Great to know! We'll keep it on the list untill then. I must admit I'm a bit confused about all these flight and airplane things that Horner did in recent years. But that's the film that features the "Four Horseman" thing, right?
No, LIVING IN THE AGE OF AIRPLANES is a documentary (or hagiography might be a more accurate description) about "how the airplane has changed the world." It is narrated by Harrison Ford.
As far as the Horsemen go, and as far as I understand it, Horner wrote music to be used at the aeronautic displays of the stunt flight team The Horseman, and this music was released in a package with two music videos (for two pieces he wrote, one 12 mins and one 4 mins) anda short featurette about Horner's relationship with the team called "Write Your Soul". But the music wasn't written for the featurette, rather the featurette is about the music he wrote for the team.
That's correct. Its great memento of his other passion:Flying. Unfortunately THE HORSEMEN COMETH Blu ray dvd/cd set is long OOP and very rare.
So let me get this straight -- the "Horseman" thing is more of a concert/event piece than a film score? And it HAS a release (albeit rare)?
Two pieces. One theme 3:58 and a 'ballet' if you like, 12:20.
I'm considering adding Horner's logo music too, but I'm not sure if it's been released for album or not.
No! And it has that nice late-80, Amblin-y, Amazing Stories-kind-a sound of wonderment. Lovely!
I've added the logos to the first post (not quite sure about the years). Of course, all of these are available to hear on Youtube etc., but they still don't have an official album release.
Also: was there ever music for the ICON logo? I only remember the lighting thingy and the prologue from Braveheart.
Considering that Ford was nearly killed in a small plane crash, and Horner WAS killed in one, their participation in a doc about airplanes is certainly eerie.
I was a film editor at Corman's from 1979 to 1983. I know that "The Lady in Red" was a full-length score, as was "Battle Beyond the Stars," and "Humanoids from the Deep." For "Up from the Depths," Horner only wrote one cue (for the end credits), plus one or two smaller "stinger" cues used at various points in the movie. The overall score for "Depths" was written and recorded in the Philippines , where the film was shot and initially edited. The score is credited on-screen to Russell O'Malley. This is really Restie Umali. In 1979, Corman wanted all the the Filipino crew names in the screen credits to be listed as "English" names. He wanted audiences to think the film was shot in Hawaii, and not in the Philippines.
I know for a fact that Horner did not write or record any "stock" music cues for Corman. Everything he wrote and recorded were for specific movie assignment.
For "Space Raiders," I took sound transfers of all the Horner cues for "Battle/Stars" and "Humanoids/Deep" and re-edited them to create the music soundtrack.
That's some brilliant insight, rjkizer! Thanks for sharing.
Indeed. Thanks for sharing this, Mr. Kizer!


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Say Goodbye to Kirsten Dunst's On Becoming a God in Central Florida—And More Canceled Shows
After initially receiving the season two green light last fall, Showtime's On Becoming a God in Central Florida, starring Kirsten Dunst, has been given the ax. Here's why.
Revisit the Bring It On Premiere Red Carpet or Perish, Sweater Monkeys
Revisit Bring It On's 2000 Premiere Red Carpet or Perish, Sweater Monkeys
Kirsten Dunst, Gabrielle Union, Jesse Bradford and Jon Voight?! They all attended the cheerleading comedy's 2000 premiere in Los Angeles.
Oh, We'll Bring These 20 Bring It On Behind-the-Scenes Secrets, Don't Worry
From the actor that was originally cast as Torrance to the stars that were secretly arrested during filming, we're celebrating the cheerleading hit's 20th anniversary.
"Bring It On": Cliff's 40th Birthday - E! News Rewind
Celebrate Jesse Bradford's b-day with throwback interviews from Gabrielle Union & Kirsten Dunst and relive the best moments from the iconic film.
Inside Kirsten Dunst's Road to Starting a Family and Finding Happiness With Jesse Plemons
A look at the twists and turns in the veteran actress' personal life leading to her coupling up with her Fargo co-star
The Cast of The Virgin Suicides, Then & Now
Kirsten Dunst Loves Saoirse Ronan in the "Little Women" Remake
The "On Becoming a God in Central Florida" actress explains how the 2020 Golden Globes are just another date night with Jesse Plemons. Watch!
Comparing the Casts of Little Women, Then & Now
Little Women stars Saoirse Ronan and Timothee Chalamet take over for Winona Ryder and Christian Bale from the beloved 1994 adaptation
25 Juicy Secrets About Interview With the Vampire
It's been 25 years since Tom Cruise and Brad Pitt sank their teeth into two iconic roles as envisioned by novelist Ann Rice...or not
November 2019 Celebrity Book Club Picks From Oprah, Reese Witherspoon, Sarah Jessica Parker & More
From Reese Witherspoon to Sarah Jessica Parker to Kirsten Dunst, found out what these A-listers and more are reading this month!
Kirsten Dunst Is Cheering For Another Bring It On And Our Spirit Fingers Are Ready
"It would be so fun!" the actress told Kelly Clarkson of making a reboot of the 2000 instant hit.
Kirsten Dunst Is Tired of Being Known as the ''Girl From Bring It On"
This might be her most candid interview yet
Kirsten Dunst Says She Would Have Frozen Her Eggs If She Hadn't Met Jesse Plemons
The actress opens up about her "soulmate" to PorterEdit
Kirsten Dunst Reveals the Hilarious Reason Why She Couldn't Hold Her Son Ennis
On Sunday nights, the Bring It On alum had to avoid cradling her baby, she revealed during an appearance on The Late Show with Stephen Colbert
On-Set Feuds, Offended Audiences and a Box Office Disaster: 20 Secrets You Might Not Know About Drop Dead Gorgeous
Released on July 23, 1999, Drop Dead Gorgeous launched the career of Amy Adams, who made her movie debut, and might've inspired an iconic series
Jake Gyllenhaal Really Loves "Genius" Sean Paul: Relive His Many Viral Moments
The actor's fierce support of the Grammy-winning "Baby Boy" singer has gotten the Internet's attention.
Kirsten Dunst Makes First Red Carpet Appearance Since Giving Birth at 2018 Emmys
Actress is at the award show with beau Jesse Plemons who is nominated for Outstanding Lead Actor in a Limited Series or Movie
Kirsten Dunst Gives Birth, Welcomes First Child With Jesse Plemons
E! News can confirm the actress is now a mom
Everything We Know About Kirsten Dunst and Jesse Plemons' Private Romance
From Fargo co-stars to expectant parents, look back at their relationship
Kirsten Dunst Cradles Her Baby Bump in Stunning Rodarte Campaign, Finally Confirming Her Not-So-Secret Pregnancy
"We are thrilled to feature women who inspire us in our Fall Winter 2018 portrait series," designers Kate and Laura Mulleavy say
Kirsten Dunst Accidentally Smoked an Entire Joint While Filming Woodshock
The actress told the story on Jimmy Kimmel Live
Kendall Jenner, Bella Hadid and More Serve Up Serious Style at Paris Haute Couture Fashion Week
Supermodels and celebs don colorful ensembles for the Miu Miu show, Christian Dior show and more
Mandy Moore Shares Maternity Portrait as Due Date Is "Almost" Here


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In Praise Of Female Friendships – Team Irish Tatler Pen What Makes Their Best Friend So Special
Your female friendships are some of the most significant relationships of your life.
Irish Tatler Staff
Female friendship is a powerful thing.
The inspiration for endless memes and quips about how friends are the constant while romantic partners may come and go, there is nevertheless something true and special at the heart of it.
From the ones you've had in your life since school, to the new acquaintances that quickly fast forward into fast friendships, they lift us up, keep us sane – and tell us to cop on when we lose the run ourselves.
In honour of National Best Friend Day, we asked some of the team to share stories of the gals in their lives and why they are so important to them.
When I almost Lost Her...
Amy, Editor of IrishTatler.com
Despite not yet being 30, I know getting that phone call on a Sunday in East London will be the most pivotal point in my hopefully long life. I was living in London, working in fashion and partying like any 26- year old should, when everything I knew was pulled from under me. My darling Mum and my best friend had been in an accident and broke her neck. They weren't sure what they could do.
In a haze of panic and disbelief, I booked a plane, packed and made it to the airport.
I wondered what the people staring at me sobbing in Departures might have thought happened. Perhaps an especially sad goodbye? A fraught break up? Maybe, even a death?
I spent the next 3 months by my Mum's side, as she made progress through ICU, various hospital wards and eventually, rehab. There were particularly difficult days in her recovery, but strangely, that time spent together conjures up mostly warm and pleasant memories overall. People spoke about what I had potentially given up, but I was aware only of what I had – my Mum.
Sometimes now, when I pick up the phone to tell her of the minutiae of my day, I completely forget all that has happened. She's there, on the other end call; my Mum and best friend. It's exactly then that I'm flooded with love and reminded of how lucky I was, and still am, to have her.
When I got married...
Sarah, Irish Tatler Magazine Editor
"Strapping yourself to the front of the hurtling train that is getting married (in my case with ten weeks to plan, organise and join in not-so-holy matrimony) is not only daunting, rather it's akin to an out of body experience. You arrive home from work, to face another full-time job.
In one fell swoop, your life goes from bickering about what Netflix documentary to watch to an intensely heated debate about the distinction between vol-au-vents and all-butter pastry. And that's before you choose the wine list.
It's a very lovely, yet – undeniably – stressful time.
Cue the WhatsApp group with my gal pals. A constant, gentle background track simmering with, 'How's it all going?', littered with supportive thumbs-ups and, at other times, a roll-up-the-sleeves dig out when it's all going tits up.
It was then that I called on one of my oldest friends to do me the ultimate favour – marry myself and my husband to be. And she did. However, it was the one wedding decision that saw no hesitation from either side of the bridal party. It's by far, the most thoughtful – and life-changing – gesture of friendship anyone has ever given me, and it's a bond myself and Barbara will share forever, 'til death do we part."
When I bought a house...
Brenda, Senior Editor
"When the big life events or challenges happen, more casual friendships move aside for a while and you're left – hopefully – with the gang of people that will see you through. For me, outside of the help of my family, my friends were invaluable when I bought my home. The experience is as stressful as they say it is and I couldn't have done it without them. Literally: a couple of them did many car trips with my life's belongings crammed into their Tardis-like vehicles!
I am surrounded by kind, funny, capable women who are there when I need them.
The ones who encouraged me when the very idea of buying a home seemed impossible (and had taken me out of social circulation for about a year and a half. It's an expensive business!). The ones who turned up to help without being asked – and still do. The ones who were almost happier for me than I was for myself when I got those keys. I am grateful to and for all of them."
When I needed someone the most...
Kate, Content Contributor
"It's not always easy to be friends with someone who is going through a darker time. It's even less easy to be around someone who doesn't want help. During some of the trickier times in my life, my friend Hettie – who I only met at university – hugged, held and loved me at times when I couldn't love myself.
She has also been there during heartache, exam stress and times when I just wanted to go to a gay bar and get pissed. Even though we now live in separate countries, our fondness for each other and exuberance when we see each other never fades.
I truly believe she is the love of my life and any romantic relationships are just secondary.
We also massively annoy our other friends when we're around each other, which I think is a sign of true kinship."
When my Dad got sick...
Emma, Content Contributor
"A lot of the time, clichés are nothing but a string of words thrown together to fake some sort of emotion. They're quotes you see shared on Instagram stories, painted on bedroom walls and the kind I've most definitely rolled my eyes at. But late last year, a cliché I often scoffed was proven to be true: "They say you know who your true friends are in times of hardship". That old cliché about looking around to check who's left when the chips are down hit home for me when my dad got sick and not just man flu sick but in a hospital fighting for his life kind of sick.
Although I had an army of support around me, my best friend since I was seven years old, Katrina, was just there.
She made lasagna, she listened to me weep over the phone at all hours of the morning when I couldn't sleep, she gave me lifts to the hospital.
She reminded me to breathe, she constantly told me he was going to be okay, she made me laugh and she even moved into my house so there would be someone to feed my dogs.
We've been through a lot together: sacraments, periods, state exams, heartache, trying to figure out this whole being-an-adult-business and most importantly, she's been there for every time I've wanted to crack open a bottle of wine and eat my weight in spice bags. But last year when she dropped everything in her life to sit in my house with two crazy bichons (her words), while I sat by my dad in ICU, it made me truly grateful to not only have someone so thoughtful and so caring in my life, but for the fact I'm also able to call her my best friend – even if she doesn't wash her makeup brushes regularly."
Main image by @daisylowe on Instagram
READ: The Must-Watch Documentary Which Explores Ireland's Relationship With Race And Cultural Identity
READ MORE: The Makeup Ingredients Anyone With Acne-Prone Skin Should Avoid – And Why
Related: Love, Women Empowerment, feminism, friends, friendship
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package com.griddynamics.jagger.agent.model;

import com.griddynamics.jagger.coordinator.Command;
import com.griddynamics.jagger.diagnostics.thread.sampling.ProfileDTO;

/**
 * @author Alexey Kiselyov
 *         Date: 23.08.11
 */
public class GetCollectedProfileFromSuT implements Command<ProfileDTO> {

    private String sessionId;

    @Override
    public String getSessionId() {
        return sessionId;
    }

    public void setSessionId(String sessionId) {
        this.sessionId = sessionId;
    }

    public static GetCollectedProfileFromSuT create(String sessionId) {
        GetCollectedProfileFromSuT command = new GetCollectedProfileFromSuT();
        command.setSessionId(sessionId);
        return command;
    }
}

redpajama_set_name: RedPajamaGithub


5 of the 20 tropical cyclones that visit the Philippines each year are greatly destructive. On monsoons' peak, we experience strong winds and heavy rains that lead to severe flooding. Last month, classes and work were suspended in some areas, with experts advising us to stay home. But in the worst cases of calamity, not even the comforts of our homes will be enough to protect us. Having a bug out bag ready will make sure you're prepared for any situation.
non-perishable food, ready-to-eat food, and bottled water/drinks to keep you nourished and hydrated.
Cellphone, charger, powerbank, a portable radio with extra batteries to reach out for help and keep you updated on the state of your area.
Jacket, umbrella, blanket, and extra clothes to keep you warm and comfy.
Whistle and first aid kit with necessary medicines in case of serious accidents or injuries.
Flashlights with extra batteries, candles, matches in case of a power outage.
Valid ID's, medical records, emergency contact numbers, bank account and insurance records, and birth certificates for safekeeping in waterproof containers.
A hammer and nails, a screwdriver and screws, and the ever-reliable duct tape for quick repairs.
Cash, keys, Credit and ATM cards, and other valuables you can't afford to lose.
Looking for these items at the mall can be tiresome and time-consuming. Now that you have your bug-out bag list ready, try completing your checklist at www.shopee.ph. Check out if these items are on discount at Shopee's 9.9 Sale and have these items delivered right at your doorstep!
As moviegoers, we tend to focus on a film's production value and characters -- the same way many Marvel fans raved about their favorite superheroes in its most recent sequel of the Avengers. We're moved by the tear-jerking scenes in Star Wars: A New Hope. Remember when Obi Wan Kenobi died? Or maybe you remember the action-packed, fight scene in the Karate Kid movies that pushed us to take Martial Arts lessons when we were kids.
But, more than the characters, the fight scenes, and special effects, what really makes a great story is tension. Would there even be a hero without the antagonist? Would there be an adventure if there was no villain to slay? Challenges for the protagonist is the key to keeping the audience on the edge of their seats. It makes a novel a page-turner and a movie a blockbuster. Obstacles make a good story, outstanding.
The first step in creating tension is to get your audience invested in the characters. We usually find ourselves attached to heroes with flaws and problems. The protagonist in the film, Caesar, was a former test subject whose goal is to build an independent and self-sustaining family of apes. But, Koba, his nemesis who also experienced abuse from humans, wants to destroy the species who made him suffer. Emphasizing morally gray areas highlights the characters actions, motives and beliefs. Audiences tend to relate even with characters like Koba. We empathize with him because of his horrible backstory. Some of the best struggles draw from characters threading grey areas.
When creating stories, identify a central conflict. Is it a quest for something greater than the main character? Is it an underdog story? Is it a story of rebirth of a hero defeated and being reborn like a phoenix, rising from the ashes? The struggle needs to have grave consequences for the character. It's not just about them winning. It's about going through the journey and witnessing the victory of the heroes in the story.
'Are humans friends or are they enemies?' The central conflict in Dawn of the Planet of the Apes, for instance, doesn't root from a choice between good or evil, but from the perspectives of both characters – Caesar, who was raised by a kind and caring human, and Koba, who grew up heavily tortured by humans. Conflicts caused by the main characters choices, makes audiences become more invested. In the movie, audiences see how much Koba and Caesar can lose and gain when humans die.
In the film, Caesar's biggest mistake was trusting Koba. Unfortunately, Koba took charge of the apes and started war with the humans – the exact outcome Caesar was avoiding. Audiences were left with how's and why's. How will Caesar stop the war? Why did he even trust Koba? Answers to these questions kept the audiences glued to their seats.
Failure is part of life, but the common pitfalls of some stories is the fear of losing -- at least on the part of the protagonist. Great stories allow their champions to fail. If we knew they would win from the start, why do we even bother to watch the whole movie? Knowing that even our favorite characters can still be defeated allows us to empathize with them. We're able to relate our own experiences with their downfall. The more anxious the viewer feel, the more tension there is.
Creating an internal conflict for the characters gives them depth and dimension. His personal dilemmas appeal to our emotions. Is Koba right that Caesar is choosing humans over apes? Will Caesar's attachment to his human owners overshadow the need to protect his family? Will trusting the humans finally restore peace between the two groups? We asked these questions with Caesar as he examined his motives for his actions throughout the movie.
It's crucial to allow these conflicts to manifest in the character's action. When Caesar beat Koba, we saw how he stopped himself and say, "Ape no kill ape", the mantra and the very foundation of the family he built. To create similar tension in stories, make your characters face moral dilemmas. Force them to choose between two important things. Test their principles. Make them question who they are.
Not all tension has to come from the main conflict. Smaller struggles can help develop both the plot and the characters. There could be rivalry between friends, allies, or other encounters that can contribute to the complexity of the story. Koba, for instance, was not the only villain. What kept a tiny part of our hearts believe that he may be right, is that some of the humans in the movie were as terrible as he remembered. Audiences were struggling internally, wondering if the humans who were at peace with the apes would attack Caesar and his family too.
Let the opposing characters interact before they duke it out in the climax. In the film, Caesar and Koba had several arguments about what direction they should take in dealing with the humans. These seemingly small disagreements turned into physical fights, and ultimately, into absolute betrayal and battle. Tension existed between the two characters in small increments early on in the movie, cluing in the audience on a bigger tension brewing in the story.
Why watch the movie? Super intelligent apes... on horses. With machine guns.
The excess of content on the web can be pretty overwhelming; a quick Google search of anything you're interested in will yield more results than you can ever consume. Your social media feed is a bottomless well of posts, allowing you to scroll down all day.
But let's face it, only a small portion of what you see in your screen is thoroughly read, watched, or listened to.
Not a lot of people have the time to digest 5000-word think pieces or hour-long podcasts. If you had five minutes of down time, would you spend it on one article or a full course of memes, tweets, and infographics?
In this lightning-quick digital age, snackable content is king.
No, it's not something you can eat. But like your favorite candy bar, snackable content is bite-sized and easy to consume. One great example is a Nas Daily video; a lot of interesting information is precisely packaged into a one-minute Facebook short.
It's not called "snackable" for nothing; snackable content is meant to be consumed quickly and effortlessly. Twitter, for example, limits the length of tweets to 140 characters. Instagram Stories run for just 15 seconds. We're not saying you have to stick to these parameters, but ensure that the content you produce is bite-sized and can be appreciated by people who are casually browsing or on-the-go.
Going short-form doesn't mean you have to cut corners content-wise. Both brief and informative, Tasty videos compress the whole cooking process to a minute. Be creative in condensing your story: fast-forward your clips, use seamless transitions, or do without the intro to pack-in as much information as possible. At the end of the day, you want your Snackable content to be flavorful--encouraging consumers to come back for more!
Having snackable content doesn't guarantee you views, likes, or shares. As with any type of content, getting the attention of your market is key. Use compelling titles, provocative video thumbnails, and the hottest buzzwords for some "thumb-stopping" stuff.
Who says snackable content can't be art? Visual appeal plays a crucial role in its snackable-ness, as people's brains quickly process whatever they see. Make sure it doesn't look bland or boring; appearances matter if you want to stand out in the competitive social media landscape!
The importance of compact content is crucial in this digital age. We can go on and on to explain why, but for now we'll stop here, keeping this piece short--and snackable.
Pinterest is the image-pinning site where over 200 million monthly users access to plan their weddings, discover recipes, follow home improvement tutorials and so much more.
Publishing infographics helps drive traffic to your website because you see snippets of information and a visual presentation of data. But, today, it seems that it's no longer the case. As content marketing becomes more image-centric, everyone is creating infographics and getting yours noticed maybe more difficult than before.
It was in 2017 when Facebook allowed ad placements on Messenger. Since then, marketers are able to bring their brand to where conversations happen. In the Philippines, FB messenger is the 3rd most used app with almost 30M users. In fact, an increasing number of major brands have successfully adopted Messenger ads into their marketing strategy.
There are countless of ways to go viral. But, there's one effective tool to create noise and draw attention to your brand: Thunderclap, the first-ever crowdspeaking platform allows you to launch a campaign and amplify your message on social media.
If you're considering using this tool on your social media marketing strategy, then you should know the fundamentals of launching a Thunderclap campaign.


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Write Through It
On Writing, Editing, and How to Keep Going
Five Ws and One H
Sturgis's Laws
2017 A to Z Challenge
It's An Illusion
February 23, 2018 February 23, 2018 / Susanna J. Sturgis	/ Leave a comment
Having a story to tell is a great first step. Getting it across to readers who aren't privy to your intentions? That's where the craft comes in. Here's some excellent guidance on how to keep readers engaged without giving everything away or withholding too much till the very end.
Entertainment at the annual Brevity office party
A few years ago I studied at Writers In Paradise with the wonderful Laura Williams McCaffrey. I brought pages from a young-adult novel, thrilled to share for the first time with people who didn't know me, didn't love me, had no vested interest in my happiness. My hope was they'd be gripped by suspense from the very first page, the start of a countdown to a terrifying conclusion.
They found it blah. It didn't grab them. Sure, the voice was nice, but it was just a teenage girl thinking. Where was the action?
I said, "But there's this countdown…"
And that's when I realized I'd left out a key piece of information. In ten drafts, I had failed to give the reader the most important detail: The protagonist has a gun in her lap.
I'd spent seven years with…
But That's How It Happened!
October 6, 2017 October 6, 2017 / Susanna J. Sturgis	/ 2 Comments
"You'd think that basing a novel on real-life people and real-life events would be easier than making it all up from scratch — but it isn't. Strange but true, the fact that you knew at least some of these people makes it harder, not easier. You've got to bring them to life for the reader. To do this you might have to rearrange, fudge, or add details. You might have to make up some new characters. And that's OK: this is fiction, after all. If you want to turn it into a novel, you've got to make effective use of the novelist's tools: plot, characterization, point of view, narrative, dialogue, and all the rest of it."
This past summer a client asked me to critique the current draft of his novel in progress. It was based on the life of a lifelong friend who died some time ago. The first-person narrator was clearly based on the author himself.
I opened my critique with the paragraph above. "But that's how it happened!" is a common cry among novice writers. It's not a bad place to start, but it's never enough.
An early clue that this manuscript hadn't jelled yet was the dialogue. It sprawled. My first question for dialogue, my own or any other writer's, is "Would you sit still for this if it were played out onstage or onscreen?" Most of this dialogue would have had audience members nodding off or walking out. How long will you watch minor characters chat on and on about their daily routines without ever making an observation that's important to the story?
Sometimes, however, these endless conversations yielded valuable nuggets, an insight into character or a memory of a past event. You know the writer's mantra "Show, don't tell"? Some telling is fine and necessary in any work of fiction or nonfiction, but some of what these characters were telling could be more effectively shown in a scene.
This is what early drafts do: give you clues about what needs to be developed further in the next draft. I do a lot of freewriting in early drafts, often letting characters talk on and on or ponder what they're going to do next. Often it takes a while to get to the revelation or epiphany that reveals character and/or moves the plot. It's your job as the writer to wait for it, recognize it, then prune all the verbiage away from it so your readers will see it too.
When characters don't drive a story's plot, the writer has to do it, often by conjuring a new character or an unexpected event out of the blue. New characters show up, of course, and unexpected events happen, but in this case the story was completely dependent on them: unbelievable successes, terrible accidents, a treacherous colleague, and a series of women too good to be true. Quite possibly all these things happened and all these people existed in real life, but unless they're integrated into the story they come across as plot devices introduced to make up for the lack of momentum in the story.
Sitting in the center of this particular story is the main character's mother. She's horrible. We see her being horrible, everyone agrees she's horrible; she's so horrible that I couldn't stop wondering how she got to be so horrible. We see her being cruel to her son, but we rarely see him or his best friend trying to come to terms with her cruelty. The horrible mother's husband is suspiciously saintly, and so is her older sister . . .
Then, near the end of the ms., one character drops the bombshell that saintly husband and saintly older sister were having a long-term affair while the boys were growing up. Whoa! Saintly husband, it seems, had wanted to marry saintly older sister in the first place, but for implausible reasons had married the horrible mother instead. Now there's a development that could help sustain a plot and deepen our understanding of all the main characters.
And here is the big challenge for writers who want to turn events they participated in or witnessed and people they knew into convincing fiction or memoir: You've got to achieve enough distance from the characters to see things from their various perspectives. That goes double for the character with your own name or the fictionalized version of you. This can be scary: What if heroes aren't as heroic and the villains not as villainous as they seemed when you were living the story the first time round?
If you're driven to put all that work into writing draft after draft of a story, it may be because the story just won't let you rest till you come to the heart of it. Writing the story will change you. You'll probably see things and consider possibilities that you didn't before. We write to understand the story, and ourselves, better. "But that's how it happened" is just the beginning.
Keep Yourself Accountable – Find a Writing Buddy
June 26, 2017 June 26, 2017 / Susanna J. Sturgis	/ Leave a comment
Here's an idea if you're not in a writers' group, or even if you are.
Business in Rhyme
Solace. I always emphasize how solitude is your great companion in writing. Stillness of environment allows the quietness of mind to take place and gives you opportunity to clear your thinking. You can easily access the deepest corners of your being and reconnect with your inner-self. Many writers take advantage and even pick remote and distant places when they are writing their books. I also believe it has to do with fact that in that kind of idle conditions we are able to tune in that inner conversation and it becomes clearer what is it that we want to convey.
For me, early morning hours are crucial for focused and productive writing. When mind is still in dream mode, silence and serenity that surrounds my home form almost ideal condition for writing. So, I always encourage writers to find those special moments during the day when their energy and creativity…
A Writers' Group Is Born
June 25, 2017 / Susanna J. Sturgis	/ 3 Comments
Last fall, in "Going Public," I blogged about Writers Read, a writers' group hosted by the library in my town of West Tisbury, Massachusetts. At each meeting, six or seven writers read short works or excerpts from long ones — the length limit of 9 minutes is strictly enforced by the moderator. All are invited to comment on each reading, with a focus on personal response to the work. This is not a critique group. Writers Read has developed a core of regulars, with other writers dropping in from time to time.
Marjorie Turner Hollman, writer and blogger, was taken with the idea and contacted me for details on how this group worked. Her local library, in Bellingham, Massachusetts, was interested in starting a local writers' group. One thing led to another, and this spring the group was launched, with Marjorie and another writer as co-leaders. Starting from the Writers Read idea, they're adapting it to the needs and desires of the participants. Here's her account of how it's working so far.
By Marjorie Turner Hollman
Our first night was a "get acquainted" sort of gathering, checking in to see what writing interests each person had, and what they might be looking for from the group. It turned out we had attracted several poets, some who write in free verse, others who adhere strictly to rhyming schemes. Several participants write science fiction, or a combination science fiction/dystopia, and some write strictly personal stories — memoir.
A few people didn't bring anything to read, so we suggested taking ten minutes at the beginning of the meeting to write. My co-leader suggested as a topic, "First day of class." Those who were a little nervous about the group laughed, appreciating the acknowledgment of first-day jitters.
And then we shared. Some read their responses to the writing prompt, others brought in pieces that felt raw with emotion, and while others offered their most highly polished piece for display. Regardless, we listened, and provided positive feedback only. We agreed that we were not looking for a group that offered destructive observations — most of us are already hard enough on ourselves. Our basic ground rules were: no politics, no religion, and leave the erotica at home where it belongs.
A month later, our second gathering resumed with much the same structure, except that this time we came ready with a writing prompt. In fact, we offered two: "What are your writing goals?" or "Tell a story about one experience with the library and how it has changed your life."
As we worked our way around the table during this second meeting, my co-leader Amy suggested that since we are meeting only once a month, perhaps our group could create a private Facebook page as a place to share resources and blogs that we write. Having made the suggestion, Amy was quickly nominated to put the Facebook group together. Entry to the group is limited to those who have physically come to at least one of our meetings at the library. We are seeking to set healthy limits on discussion, and foster an environment that can encourage tender creative efforts to blossom, rather than be squashed by overzealous, well-meaning folks who offer observations or criticisms that are, intentionally or not, destructive.
And so we continue, grateful for the seed that was planted when Susanna wrote about the impact her writing group has had on her as a writer. I feel sure that we have veered away from the format developed on Martha's Vineyard. We are finding our own way, and our group is already taking on a character of its own. Regardless of how different our group becomes, I feel grateful for the encouragement we received, Susanna's patience in explaining their process, and interest in hearing about how our group is doing. So here's to you on Martha's Vineyard — Happy Writing!
Marjorie Turner Hollman
Marjorie Turner Hollman is a personal historian who loves the outdoors, and is the author of Easy Walks in Massachusetts, 2nd edition, and More Easy Walks in Massachusetts. She has been a freelance writer for numerous local, regional, and national publications for the past 20 years, and has recorded 14 veteran's oral histories, now housed at the Library of Congress.
Her website includes more information about her and her work, and a blog about her walking adventures. Her account of the first meeting of the Bellingham library writer's group can be found in the Bellingham Bulletin for May 31, 2017.
The Power of Place
March 5, 2017 / Susanna J. Sturgis	/ 4 Comments
As a writer, I love revising and rewriting. As an editor, I do almost none of it. Critiques, yes. When a writer I don't know asks me to edit a book-length manuscript, I generally suggest critique as a first step. I read the ms., make suggestions about plot, characterization, structure, and all that good big-picture stuff, but then the writer does the heavy lifting, not me.
For me, revising and rewriting is like first-drafting in that the ms. takes up residence in my head. My mind works on it when I'm not paying conscious attention. This is why character insights and solutions to plot snags often come to me when I'm walking with the dog or kneading bread.
I've learned that when I take on a revise-or-rewrite job as an editor, it often pushes my own writing out of my head. So I avoid developmental and structural editing and stick to stylistic editing, copyediting, and proofreading. (All these things go by different names. In "Editing? What's Editing?" I explain what I more or less mean by them.)
But I recently (very recently, like this past week) took on a rewrite job for a client. It was short: a new, five-page prologue to a novel that's been accepted for publication. I also knew the novel well, having worked on it in its earlier stages, and I believe in it.
I read the author's five pages through. The plot was solid. It introduced key themes and characters that would be developed later. It segued neatly into chapter 1. Yeah, the point of view jumped around a bit, and there was a chunk of historical context recounted in a narrative voice that didn't belong to any of the characters, but my rewriterly mind was already in gear, working out possible alternatives.
I called up the file. A 10-year-old boy is stretched out on the roof of his uncle's house, using his BB gun to keep birds away from the abundant ripening grapes hanging from a trellis. I knew this kid well: the novel is his story. I could hear his older sister playing hopscotch in front of the house. But I couldn't see what he was seeing because I've never been there and never even seen pictures of what this house, this neighborhood, this small town in Lebanon's Bekaa Valley, might have looked like in 1975, which is when the story begins.
For me as a writer, place is crucial. As I blogged in "The Importance of Place"; "Every story, remembered or made-up, takes place somewhere. Where it takes place affects what takes place, deeply, profoundly, deeply, indelibly. Characters, both fictional and nonfictional, are deeply affected by where they are and where they've come from. Images, characters, and whole plots grow out of the soil they take root in."
Both place and time are critical to this particular novel: Lebanon in the spring of 1975 was on the brink of a bloody civil war that devastated the country for 15 years. That 10-year-old boy's life will be radically transformed by this war, and the incident in the prologue is a harbinger of things to come. The prologue needed to show readers what he was seeing and hearing. How could that happen if I couldn't see and hear it myself?
I emailed the author. We talked on the phone. How close together are the houses? How long is the driveway? Are the grapes used for eating or winemaking? What do the birds look like? Where have all the grownups gone? Is the garden in front of the house or in back? How big is the garden pond?
Finally, finally the scene began to play out in my head. My fingers moved on the keyboard and words appeared or rearranged themselves on my laptop screen. The scene stayed in the 10-year-old's point of view. The historical context can be worked into a later chapter, but I couldn't help noticing that it is subtly suggested here in the ripening grapes being threatened by birds while a boy tries to scare them off with his BB gun.
At this point I'm rarely surprised when place turns out to be the key to a scene, but I'm awed by writers who routinely bring to life periods they didn't live in, places they've never been, and times and places that never existed. The research, the extrapolation, the imagination, the finessing of details that can't be known for sure — it all has to be there, and seem so complete and inevitable that most readers barely notice.
Learn the Biggest Secret of Every Good Writer
January 30, 2017 January 30, 2017 / Susanna J. Sturgis	/ 5 Comments
This is good. No short-cuts. I'd add that growing as a writer means becoming more observant and more attentive to the world around you — and learning how to translate all that into words.
We all know that nobody is born as a good writer. It is a constant process of becoming. And I do believe that the difference between good and bad writers it's not about the skill or gift. It's not even about the number of written or published pieces. The key word we are looking for is persistence.
Good writer is writing – no matter how many times he fails or writes crappy work. He is there showing up every day, practicing and trying to improve himself. Not only writing, but everything that goes with writing.
In that sense, I think that biggest secret every good writer knows and we often forget is how good writer treats his bad writing. First, he takes time to write, erase, rewrite, edit, tailor every word to what's need to be written. And how does he know what's need to be written? He is…
November 24, 2016 November 24, 2016 / Susanna J. Sturgis	/ 9 Comments
Recently I critiqued two book-length manuscripts, both novels and both promising. Before the authors contacted me, no one else had read either manuscript all the way through.
I say this not because it's unusual but because it isn't. Writing may be a solitary activity, but publishing is not. To publish is, by definition, to make public. (I'm not kidding about this. Look it up.) To many aspiring writers it seems easier to imagine putting their work before hundreds or thousands of strangers than to share it with people they may know personally. Is it surprising that so many writers labor for years on a book-length manuscript and then choke when it comes time to start seeking a publisher?
Puppy Travvy (right) meets Chamois, a mature yellow Lab, spring 2008.
Making our work public does not come easily to most of us. It does takes practice. Think of your work in progress as a puppy. Puppies do better when they get to meet other puppies, adult dogs, and people of various sizes. At the same time, their owners learn more about the pup's personality and maybe what the pup could use in the way of socialization and training.
No, you don't need to let your work in progress out of the house before it and you are ready, but do get used to putting your words out in public and (if you're lucky) getting responses from readers. There are lots of ways to do this. Blog. Contribute to the blogs of others. Review the books you read on GoodReads. Write press releases for the organizations you're active in or occasional stories for the local paper. Join or start a writers' group. Etc.
I've been taking Wolfie, my novel in progress, to my writers' group scene by scene since early on. This has been good practice for me because I'm perfectionist enough to be uncomfortable letting anything out of my sight before it's done. Once I was well into draft 3, I decided chapter 1 was ready to go out before a public that hadn't heard any of it before.
Fortunately the ideal venue for such forays exists at my town's library. Writers Read, as it's called, meets roughly once a month. Unlike the usual writers' group, regular attendance is not expected, but it's developed a core of regulars that offer stability while others drop in from time to time. Six or seven writers read at each gathering. To avoid listener fatigue, the time limit of nine minutes is firmly enforced by the moderator. This presents a challenge for writers of longer works, but even novels and memoirs generally include scenes that can stand on their own without too much explanation (which is included in the nine minutes).
Personal responses from listeners are encouraged, but this is not a critique group. "I was confused by this bit" is OK; "this is confusing" is not. The moderator enforces this too. It often happens that one listener loves what another listener is confused by. This might be the most valuable lesson any writer can learn from taking her work out in public: different readers may have wildly different reactions to the same passage, which means it's up to the writer to decide what to do about it.
Most of the participants in Writers Read are writers, but non-writers and future writers are more than welcome. I suspect that venues like Writers Read help novice writers get their courage up, first to write and then to share their work.
If nothing like this exists in your area, try starting something yourself. All you need is a space, a bunch of writers interested in sharing their work, and a few ground rules to keep the gatherings friendly and fruitful.
Writers Read, November 2016, West Tisbury (Mass.) Free Public Library
October 28, 2016 / Susanna J. Sturgis	/ 2 Comments
Writing does take courage.
The challenge of the blank page
It takes courage to sit down (or stand up, if you use one of those newfangled standing desks) expecting words to appear on the screen or sheet of paper in front of you, hoping that those words will be worth keeping or will lead to something that is.
It takes courage to set out on a journey not knowing whether it's worth making (probably yes, though maybe not in the ways you expect) and whether you're equal to the task (probably not, but if you keep going you will very likely become so).
Revision is a key to this process, especially for those of us who don't plan everything out in advance, and for those of us who do but are willing to go along when the material has other ideas. (More about planners, seat-of-the-pantsers, and improvisation in "Whatever Works," "Notes and More Notes," and "Backstory Happens.")
With nonfiction, I usually know where I'm going at the start but often I don't end up in quite that place. With fiction, my usual is to put a few actors onstage, give them a task, and see what they do with it. I write it all down and sometimes give direction, which sometimes the actors ignore.
In "When Chitchat Takes the Wheel" I blogged about critiques I did recently of two first-novel manuscripts. Both were full of promise — vivid settings, interesting characters — but both bogged down in dialogue that went on forever and didn't develop the characters or move the plot forward.
In one case, several characters held differing views about issues crucial to them and to the plot, but they never discussed them with each other. You and I both know how that works, right? When you strenuously disagree with someone you want to get along with, you skirt the contested territory and talk about other things. This makes for amiable relations but it does not make for interesting fiction. Be brave, I told the writer. Let them go at it and see what happens.
In the other case, the endless chitchat had a different cause: the protagonist had no memories from before her mid-teens, but her traumatic early years were key to the plot. Survivors of traumatic events do repress their memories, but giving this character complete amnesia about her upbringing did not serve the novel well. Other people remembered what she did not, so (1) she was a sitting duck for the villain, and (2) she didn't know enough to go in search of her own past. Be brave, I told this writer too. Let your protagonist have some of her life back.
I just finished reading a novel with a promising premise: a family's determination to avoid dealing with a tragic event leads to problems down the road. This premise is common for good reason: it often happens in real life, and there's so much a writer can do with it. But this writer made choice after choice that kept the tragic event at arm's length, both for the characters and for the reader. For instance —
Everyone affected by the event is warned not to talk about it, ostensibly to protect the one who is supposedly too fragile to handle it.
They actually obey the warning.
The novel's sole point-of-view (POV) character is fearful and not given to thinking too hard about the past or anything else.
The characters rarely interact on any but the most superficial level.
As a result, the characters don't develop and neither does the plot. Each character has a shtick, and the dialogue is often clever, but the novel came across more as sitcom than as family drama. Not surprisingly, the writer had to resort to melodrama and last-minute surprises to tie everything together. The result is less than satisfying.
What would I have said if I'd been hired to critique this novel as a second or third draft? Let your characters have their memories and their voices back. Instead of one POV character, try it with three: the three who experience the tragic event as children and then grow up with the memories, the questions, and the silences. And don't lock them in their closets, impervious to the world and each other. Challenge them! Challenge yourself!
When Chitchat Takes the Wheel
September 29, 2016 / Susanna J. Sturgis	/ 4 Comments
Dialogue is a challenge. It's got to sound real, but it can't be too real because in real life people often go on at great length without saying much of anything. If your characters go on at great length without moving the plot forward in some way, your readers will zone out. (For some tips about writing dialogue, see "4 Ways to Write Better Dialogue" and "Monologue About Dialogue.")
I recently critiqued two first-novel manuscripts. Both were rich with promising material, and both bogged down in endless stretches of what I can only call chitchat: the protagonist talking with friends, relatives, and casual acquaintances about things that had nothing to do with plot or subplot.
What to do when you come upon long rambling dialogue while revising your own work or critiquing someone else's? Here's an idea: Ask what the writer is avoiding. (The writer, need I say, can be you.)
In one of the manuscripts I was working on, the chitchat was occasionally interrupted by passionate monologues by different characters (rarely the protagonist). These monologues had plenty to do with the plot, but they read like position papers, not fiction.
Travvy carries on a one-sided dialogue with an offstage tractor.
These monologues did serve an important purpose, however: they made it clear that the characters disagreed with each other strenuously and eloquently on issues that were not only important in themselves but closely related to major themes in the novel. I knew that this material could fuel riveting, even dramatic dialogue — if only the writer would let the characters engage with each other.
It wasn't hard to see why this writer was reluctant to do this. Both she and her protagonist are dealing with explosive issues that people have a hard time talking about without blowing up.
Writing takes courage. Often when we set out on a journey we don't know how much will be asked of us. If we did know, we might not take the first step. But as we travel, we become braver, more willing to open closed doors and break new trail. Revision works the same way: in revision, we develop not only the skill but the courage to grapple with the questions we're asking of ourselves and our characters.
In the other manuscript I was critiquing, the same symptom — endless chitchat on topics peripheral to the novel — had a different cause. The protagonist remembered nothing of her traumatic childhood and early adolescence, and she was so ashamed of her later adolescence and young womanhood that she wouldn't talk about it even to her husband and closest friends. This gave her little to talk about besides chitchat.
Worse, because her repressive upbringing was key to the plot, it made her a sitting duck for the villain, who wasn't hampered by amnesia or reticence.
Survivors of violent and traumatic events often repress memories of those events, but though it's possible that someone might have no memories of her first 15 years, it's certainly not inevitable. Most important, it wasn't an interesting choice for this particular character in this particular novel. Interesting choices open up possibilities. This particular choice closed them off.
I suggested that this writer give her protagonist increased access to her own past and the willingness to share some of the grim details with those she trusts. At the very least, it will give the protagonist something to talk about, and greatly cut down on the chitchat.
September 14, 2016 / Susanna J. Sturgis	/ Leave a comment
I seem to have taken up semi-permanent residence in Revisionland. Not only am I working on draft 3 of Wolfie, my own novel in progress, my recent jobs have included two critiques of first novels and a line edit whose structure needs a little tweaking. Editor that I am, with a fair amount of reviewing experience under my belt, I love revising and rewriting and recommending what other writers might do to improve their current drafts.
Most mornings I begin my writing session by lighting a candle or two, then picking The Writer's Chapbook* from the table on my right, opening it at random, and reading the first quote that catches my eye. This morning the book opened to the "On Films" section, and my eye fell on a lengthy quote by novelist and screenwriter Thomas McGuane. After noting that in the novels of William Faulkner ("who frequently had his shit detector dialed down to zero") "wonderful streaks" often alternate with "muddy bogs" that need to be slogged through, he continues:
Everyone agrees that Faulkner produced the greatest streaks in American literature from 1929 to 1935 but, depending on how you feel about this, you either admit that there's a lot of dead air in his works or you don't. After you've written screenplays for a while, you're not as willing to leave these warm-ups in there, those pencil sharpenings and refillings of the whiskey glasses and those sorts of trivialities. You're more conscious of dead time. Playwrights are even tougher on themselves in this regard. Twenty mediocre pages hardly hurt even a short novel but ten dead minutes will insure that a play won't get out of New Haven.
Me (right) in rehearsal, spring 1994, Vineyard Playhouse.
From the mid-1980s till the end of the 1990s, I was very involved in community theater, mostly as a stage manager, actor, or reviewer. (No, I did not review plays I was involved in. However, I often reviewed plays directed or acted in by people I knew. This taught me tact. Whole other subject. I've written about reviewing before — see "Reviewing Isn't Easy" — and surely will again.) No surprise, then, that when I'm writing fiction, I often feel like I'm blocking scenes or directing them and that my characters are doing improv up on stage.
Both of the first-novel manuscripts I critiqued recently hold plenty of promise, but both are currently weighed down with loaded with dead air. In both cases, much of the dead air is dialogue. To both authors I suggested: "Imagine you're watching these scenes on a stage. Read them out loud. How long before you start to doze off, fidget, or throw tomatoes?"
A novel might survive "twenty mediocre pages," as McGuane suggests, but five pages of dead air might well be fatal, especially if they come near the beginning, and especially if you're a first-novelist trying to get past one of the gatekeepers: agent, publisher, reviewer, or even readers willing to give unknown writers a chance.
Put your talking, puttering-about characters up on stage or on a movie screen. How long would you sit still?
*The Writer's Chapbook: A Compendium of Fact, Opinion, Wit, and Advice from the 20th Century's Preeminent Writers, ed. George Plimpton (New York: Penguin, 1989). I've got the revised, expanded version of the first edition. A completely overhauled edition was published in 1999, including some of the original excerpts but also more quotes from more recent and more diverse writers. Both editions are out of print but used copies can be found. That's how I got mine. Highly recommended.
Editing on Paper
Back to Wolfie World
Group(s) Work
Why "Exact Match" Is Not Reasonable
Mini-Interview with Leslie Pietrzyk
Subversive Cookbookery
Adventures in Copyright
On Crossing Borders
Should You Quit Writing?
audience author's voice blogging bookselling characters Chicago Manual of Style computers creative blocks critique Cynthia Riggs deadlines details dialogue dictionaries dogs economics ethics Facebook fantasy feminism fiction fountain pens fun gatekeepers genre hyphenation imagery imagination inspiration internal editor journalism longhand Marge Piercy Martha's Vineyard memoir music nonfiction parts of speech Perfectionista performance place placement plot poetry point of view politics process procrastination proofreading publishing punctuation reading references research reviewing revision risk rules sentences spelling story structure Sturgis's laws style style sheets theater The Mud of the Place time Ursula K. Le Guin usage villains walking Wolfie words writers' groups
Susanna J. Sturgis
Susanna edits for a living, writes to survive, and has two blogs going on WordPress. "From the Seasonally Occupied Territories" is about being a year-round resident of Martha's Vineyard. "Write Through It" is about writing, editing, and how to keep going. She also manages the blogsite for the Women's Committee of We Stand Together / Estamos Todos Juntos, a civic engagement group on Martha's Vineyard.
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Record-breaking cold temperature expected to hit Australia
Australians are bracing for a sudden snap of freezing weather which is expected to result in record-breaking cold temperatures for most parts of the country.
However ski resorts, which have been suffering from one of the worst ski seasons on record, will welcome the news that some major mountains are expecting up to 50 centimeters of fresh powder over the weekend.
Suburban areas are expected to receive flurries as well, with the Bureau of Meteorology and weather website Weatherzone predicting snowfall as low as 600 meters, a topographic height which includes the Blue Mountains region of Sydney as well as some of Melbourne's eastern suburbs.
"Snow should fall almost right along the Victorian and NSW ( mountain) ranges, falling as low as 600 meters, most likely in southernmost parts," Weatherzone said on Thursday.
Temperatures across South Australia, Tasmania, Victoria, New South Wales, the ACT, Queensland and the Northern Territory are expected to crash well below the winter average, and Weatherzone said the cold snap would bring Antarctic-like winds to southern parts, notably Melbourne, Hobart, Adelaide and Sydney.
Some regions are likely to experience their coldest temperatures since 2009.
"Shower will at times and in some places contain small hail stones and, combining with the bitterly cold and strong winds, will add to an already exceptional chill, making the actual temperature feel as much as five degrees colder," the website read.
Australia's capital city Canberra is expected to freeze through its coldest week in more than six years, while other major metropolitan cities will likely dip below freezing, a rare occurrence during the Australian winter.
Source:Xinhua - globaltimes.cn
Αναρτήθηκε από xronos στις Thursday, July 09, 2015
Ετικέτες Australia, cold, ski facilities, snowfall, Tasmania, temperatures, Weather forecasts


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Loop Lens
Our Endz
Man booked for stabbing death of ex-girlfriend in St Bess last Sunday
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Female bar operator shot while resisting armed robbery in St Elizabeth
New PNP candidate for East Portland within two weeks, says Phillips
Bartlett commits Tourism Ministry to build on Rum Festival
Thomas and Harris take top spots in Shelly-Ann Fraser-Pryce 5K
'Bad Boys for Life' debuts so good with box office top spot
PHOTOS: Family, friends and colleagues bid farewell to DJ Venom
Review: Dubplate sound clash stole the show at Rebel Salute night two
McCain's cancer diagnosis jolts Senate
Loop News Created : 20 July 2017 World News
In this July 11, 2017, file photo, Sen. John McCain, R-Ariz., arrives on Capitol Hill in Washington. McCain has been diagnosed with a brain tumor after a blood clot was removed.
Sen. John McCain's diagnosis of brain cancer jolted the Senate where Republicans and Democrats offered prayers and words of encouragement for a six-term lawmaker with a war hero past.
"The outpouring of bipartisan respect and love for John McCain as he faces this cancer battle reminds us that after all the meanness there is a human side to politicians," said Sen. Dick Durbin, D-Ill., said Thursday. "Count this Democrat in John McCain's corner."
Said Sen. David Perdue, R-Ga.: "John McCain is a friend, a mentor and a true patriot. If anyone can tackle a challenge like this, it's him."
The 2008 Republican presidential nominee and Vietnam prisoner of war who has spent more than three decades in Congress was diagnosed with an aggressive type of brain cancer. The 80-year-old Arizona lawmaker has glioblastoma, according to doctors at the Mayo Clinic in Phoenix, where McCain had a blood clot removed above his left eye last Friday. He and his family are considering further treatment, including chemotherapy and radiation.
"Subsequent tissue pathology revealed that a primary brain tumor known as a glioblastoma was associated with the blood clot," his office said in a statement late Wednesday.
According to the American Brain Tumor Association, more than 12,000 people a year are diagnosed with glioblastoma, the same type of tumor that struck McCain's close Democratic colleague in legislative battles, the late Ted Kennedy of Massachusetts. The American Cancer Society puts the five-year survival rate for patients over 55 at about 4 percent.
The senator and chairman of the Armed Services Committee had been recovering at his Arizona home. His absence forced Majority Leader Mitch McConnell, R-Ky., to delay action on health care legislation.
South Carolina Sen. Lindsey Graham said he spoke to McCain Wednesday evening and that McCain said: "Yeah, I'm going to have to stay here a little bit longer, take some treatments. I'll be back."
In a statement on Twitter, his daughter, Meghan McCain, spoke of the shock of the news and the anxiety over what happens next. "My love for my father is boundless and like any daughter I cannot and do not wish to be in a world without him. I have faith that those days remain far away," she said.
As word spread of his diagnosis, presidents past and present along with McCain's current and former Senate colleagues offered support in an outpouring rarely seen in Washington.
"Senator John McCain has always been a fighter. Melania and I send our thoughts and prayers to Senator McCain, Cindy, and their entire family. Get well soon," President Donald Trump said.
Barack Obama, who dashed McCain's dreams of the presidency, said in a tweet: "John McCain is an American hero & one of the bravest fighters I've ever known. Cancer doesn't know what it's up against. Give it hell, John."
McCain has a lifetime of near-death experiences — surviving the July 1967 fire and explosion on the USS Forrestal that killed 134 sailors; flying into power lines in Spain; the October 1967 shoot-down of his Navy aircraft and fall into Truc Bach Lake in Hanoi; and 5 1/2 years in a North Vietnamese prison.
"The Hanoi Hilton couldn't break John McCain's spirit many years ago, so Barbara and I know — with confidence — he and his family will meet this latest battle in his singular life of service with courage and determination," said former President George H.W. Bush.
Politics aside, McCain and Bill Clinton developed a strong friendship, and the former president said: "As he's shown his entire life, don't bet against John McCain. Best wishes to him for a swift recovery."
The junior senator from Arizona, Republican Jeff Flake, said Thursday that McCain told him about his tumor only at the end of a telephone conversation, saying he was "feeling fine, but I might have some chemotherapy in my future." Flake said on ABC's "Good Morning America" that his colleague is "optimistic, obviously. He's John McCain. That's what we'd expect."
In the past, McCain had been treated for melanoma, but a primary tumor is unrelated. Doctors said McCain is recovering from his surgery "amazingly well" and his underlying health is excellent.
With his irascible grin and fighter-pilot moxie, McCain was elected to the Senate from Arizona six times, most recently last year, but twice thwarted in seeking the presidency.
An upstart presidential bid in 2000 didn't last long. Eight years later, he fought back from the brink of defeat to win the GOP nomination, only to be overpowered by Obama. McCain chose a little-known Alaska governor as his running mate in that race, and helped turn Sarah Palin into a national political figure.
After losing to Obama in an electoral landslide, McCain returned to the Senate, determined not to be defined by a failed presidential campaign. And when Republicans took control of the Senate in 2015, McCain embraced his new job as chairman of the powerful Armed Services Committee, eager to play a big role "in defeating the forces of radical Islam that want to destroy America."
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The administration of Yevpatoria, Republic of Crimea, and Russian National Commercial Bank, PJSC concluded an agreement on cooperation in the field of investment activities. Andrey Filonov, Head of the Administration of Yevpatoria, and Alexey Scherbakov, VP – Director for Corporate Business, RNCB, signed the corresponding agreement within the framework of the III Yalta International Economic Forum.
As part of the agreement, the parties will promote and support investment opportunities and projects in the city of Yevpatoria.


Here's a great little project for any budding little artist (or big one! I actually really like playing with it.) Its brush stroke paper put inside an old repainted frame (sans any glass.) What you do is paint on the brush stroke paper with WATER and watch your design magically appear. Then it slowly dries and fades away. My baby can paint on it anywhere and I don't have to worry about her trying to paint the walls with actual paint like mommy does. This is a super easy and cheap project that anyone can do!
Old frame - the paper I bought is approx 8.5 x 11 so the frame was big enough for that. You can cut the paper down to size, no biggie.
1.) Take the back board out of your frame as well as cardboard inserts.
2.) Cut your brush stroke paper to size if necessary.
5.) Put the brushstroke paper back into the frame.
6.) Make sure the glue has dried before painting on it and then GO CRAZY! Paint it with water and then when it dries you can paint it all over again.


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Young Thug Clarifies His Comments on UK Rappers
ByJoe Price
warm apple night @BackwoodsAltar
Image via Getty/Prince Williams
Young Thug recently courted controversy after he made comments some perceived as a diss against UK rappers, and now he's clarified his thoughts. Appearing on the Million Dollaz Worth of Game podcast in an interview with Gillie da Kid, Thug suggested that there "ain't no n***a from motherfuckin' London or Paris with goddamn green eyes talkin' about where he came up at."
Some believed the comments suggested he thought there's no "real Gs" in the UK or France, but he's since intimated that's not the case. In a series of posts shared to his Instagram Stories on Sunday, Thugger made it clear he was talking about white middle-class rappers from London and Paris, not all rappers from both countries.
"On this interview with my n***a Gillie, when I was talkin' about the fucking overseas n***as? N***a, I'm talking 'bout the motherfuckin' middle-class white guys and shit like that," he explained. "N***a I know real Gs out there, n***a. I fuck with real Gs! My motherfuckin' n***a Giggs, all these motherfuckin' n***as, Skepta, all them playas? I fuck with real Gs. These n***as handlin' they business smoking shit. I got plenty gangsta stories about these n***as. I'm most definitely not talking 'it's not no real gangstas out there.'"
Explaining his comments further, Thug also highlighted that his "twin" 21 Savage has family out in the UK, too. "My motherfuckin' twin 21 got family out there stepping. King stepping! I know real steppers out there," he added. "There's no way possible I'm saying there's no Gs out there, them n***as handlin' they business. I'm talkin' middle class."
This isn't the only time Thug has felt the need to clear up some things. Just last month, the rapper said that Jay-Z didn't have 30 stadium anthems, while he himself has at least 40. "Jay-Z ain't got 30 songs like that... the whole stadium finna sing," he said. He was quick to say that he was "talking too fast," and wanted to make it clear that he has respect for Jay and his comments were taken out of context.
Young Thug Addresses His Jay-Z Comments: 'I Was Talking Too Fast'
Young Thug Seemingly Responds to Abuse Allegations by Claiming He's Been Single for 2 Years
Young Thug Suggests Doing a 'Verzuz' Battle With Lil Wayne
NewsControversyEnglandEuropeFranceLondonParisUKYoung ThugSkeptaGiggs