text:
The Hilaria (; Latin "the cheerful ones", a term derived from the borrowed adjective  "cheerful, merry") were ancient Roman religious festivals celebrated on the March equinox to honor Cybele.

Origins
The term seems originally to have been a name which was given to any day or season of rejoicing. The hilaria were, therefore, according to Maximus the Confessor either private or public. Among the former, he thinks it the day on which a person married, and on which a son was born; among the latter, those days of public rejoicings appointed by a new emperor. Such days were devoted to general rejoicings and public sacrifices, and no one was allowed to show any symptoms of grief or sorrow.

The Romans also celebrated hilaria as a feria stativa, on March 25, the seventh day before the Calends of April, in honor of Cybele, the mother of the gods; and it is probably to distinguish these hilaria from those mentioned above, that the Augustan History calls them Hilaria Matris Deûm. The day of its celebration was the first after the vernal equinox, or the first day of the year which was longer than the night. The winter with its gloom had died, and the first day of a better season was spent in rejoicings. The manner of its celebration during the time of the republic is unknown, except that Valerius Maximus mentions games in honour of the mother of the gods. Respecting its celebration at the time of the empire, Herodian writes that, among other things, there was a solemn procession, in which the statue of the goddess was carried, and before this statue were carried the most costly specimens of plate and works of art belonging either to wealthy Romans or to the emperors themselves. All kinds of games and amusements were allowed on this day; masquerades were the most prominent among them, and everyone might, in his disguise, imitate whomsoever he liked, even magistrates.

The Romans took this feast originally from the Greeks, who called it Ἀνάβασις, Latin Ascensus: the eve of that day they spent in tears and lamentations, calling it Κατάβασις (Latin Dēscensus). Greek writers later borrowed the Latin name as Ἱλάρια, as appears from Photios I of Constantinople's Bibliotheca in his codex of the life of the philosopher Isidore of Alexandria.

Festival structure
Sallustius, writing in the 4th century AD, described the basic multi-day structure of the festival as it related to the myth of Cybele and Attis: "And at first we ourselves, having fallen from heaven and living with the nymph, are in despondency, and abstain from corn and all rich and unclean food, for both are hostile to the soul. Then comes the cutting of the tree and the fast, as though we also were cutting off the further process of generation. After that the feeding on milk, as though we were being born again; after which come rejoicings and garlands and, as it were, a return up to the Gods."

According to the calendar in the Chronography of 354, ten days before the calends of April was the Arbor Intrat, or "entering of the tree". According to Arnobius, in his Against the Pagans (book V), this involved cutting down a pine tree and setting it up in a place of honor inside a temple of Cybele. Fleeces of wool would be tied around the tree trunk, representing the goddess wrapping the dying Attis against the cold. The branches would be decked in wreathes of violets, as "the Mother adorned with early flowers the pine which indicates and bears witness to the sad mishap." The priests would ritually mourn for the dead Attis, beating their chests and wailing. Following this, according to Arnobius, worshipers would fast and, in particular, abstain from bread, "in imitation of the time when the goddess abstained from Ceres' fruit in her vehement sorrow", and they would enter a state of mourning, wounding their arms and breasts.

The full festival can be tentatively reconstructed (with the days of the festival literally translated) as follows:

 15 March. "The Reed Entered". Its exact significance is uncertain (the reeds may refer to the river bank where Attis was exposed as a child and rescued by Cybele). A nine-day period of abstinence from bread, pomegranates, quinces, pork, fish, and probably wine began. Only milk was permitted as a drink.
 22 March. "The Tree Entered" (Arbor intrat). A pine tree is felled. The tree is set up at the Temple of Cybele, its trunk wrapped in wool, and its branches decked with wreathes of violets.
 23 March. A day of mourning.
 24 March. "The Day of Blood" (Sanguis). Frenzied rites including scourging and whipping. Castration rituals would take place on this day. The tree is symbolically buried.
 25 March. "The Day of Joy" (Hilaria) celebrating the resurrection of Attis. This was the hilaria proper (as opposed to the mournful tone of the previous days).
 26 March. A day of rest.
 27 March. "The Washing" (Lavatio). Added by Marcus Aurelius.
 28 March. Possible ceremony at the Vatican sanctuary. Appears in the Calendar of Philocalus.

Other
According to the Calendar of Filocalus from 354, a Hilaria of Isis was part of the Isia festival, taking place on its final day, November 3.

On this day
Herodian details an assassination plot by Maternus against Emperor Commodus that was to occur on the hilaria. Maternus planned to disguise himself and his followers as members of the Praetorian Guard, and proceed among the true members of the Guard, until they were close enough to kill Commodus. However, one of Maternus's followers revealed the plot ahead of time, betraying him because, according to Herodian, his men "preferred a legitimate emperor to a robber tyrant". On the day of hilaria, he was beheaded and his followers punished. The public celebrated the emperor's safety, and Commodus sacrificed to Cybele for protecting him from harm.

Notes

References

Mary Beard, John North, Simon Price. Religions of Rome. Cambridge University Press. 1998. . pp 133–134.
Robin Osborne. Studies in Ancient Greek and Roman Society. Cambridge University Press. 2004. . p 365.
"Hilaria". Oxford English Dictionary. Oxford University Press. 2nd ed. 1989.

Ancient Roman festivals
Cybele
March observances

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text:
Breach Of Trust Could Make You Liable
By: Anna Esposito (Mississauga Business Times – October 2011)
In the construction industry, using a corporation to conduct business is not a foolproof way to avoid personal liability. While liens under the Construction Lien Act are relatively well known, the 'trust remedy' is sometimes overlooked, with serious consequences.
If a company runs afoul of the trust provisions of the Construction Lien Act, directors, officers and other persons who have effective control of the corporation, or its relevant activities, may find themselves personally liable.
All amounts received by an owner, contractor or subcontractor in connection with a construction project are impressed with special qualities. Everyone in the construction pyramid who comes in contact with the project trust funds has certain obligations to the beneficiaries of the trust fund. Failure to meet those obligations constitutes a 'breach of trust.' In the case of a corporation, the officers, directors, agents and key employees of the company may be personally liable for the breach of trust.
Obligations of an owner's trusts
A number of different trust funds will exist during the life of a typical construction project, each of which may become a trap for the unwary.
All amounts received by an owner that are to be used to finance the construction is a trust fund which the owner cannot use for any purpose until the contractor hired to make the improvement has been paid in full by the owner. Where the contractor is to be paid upon the issuance of a certificate by a payment certifier, or where a certificate of substantial performance has been issued, then any amount received by the owner thereafter is a trust fund which cannot be used for any other purpose until the contractor is paid in full.
If an owner sells the improved property, the net proceeds of sale also constitute a trust fund and the owner cannot use those proceeds for any purpose until the contractor has been paid in full.
More than 10 years ago, a commercial landlord and its principal experienced firsthand the onerousness of the owner's trust obligations. Here are the short strokes of that case.
Westcola hired a contractor to rehabilitate its underground parking garage. A certificate of substantial performance of the work was issued. Westcola received rents, paid utility bills, maintenance costs, insurance, property taxes, and other overhead expenses in the normal course, just like any landlord would.
The unpaid contractor successfully sued Westcola and its principal for breach of trust, since the monies in the owner's hands when a contract has been certified to be substantially performed, or received by the owner thereafter, is a trust fund in an amount equal to the unpaid price of the substantially performed contract for the benefit of the contractor.
Westcola was surprised to learn that, in this case, the rents collected were trust funds and, in the absence of payment, the landlord was liable for breach of trust. The principal of Westcola was surprised to learn that he was personally liable for the unpaid contract price.
Contractor's and sub-contractor's trusts
A contractor hired by an owner also has trust obligations. All amounts received by the contractor on account of the work constitute trust funds for the benefit of the trades and suppliers who worked on the project and who are owed amounts by the contractor. The contractor is prohibited from using any of the money received from the owner until all of its subcontractors and suppliers have been paid in full for what they supplied to the project.
A breach of trust is committed where project funds are used to pay any kind of overhead expense (rent, insurance, lease payments, legal and accounting expenses, general wages etc.) before the labour and materials in connection with the specific project are paid in full.
Similarly, sub-contractors and suppliers, at all rungs of the construction ladder, must hold the amounts they receive, and not use the funds for any purpose, until their trades and suppliers have been paid in full for the project.
Each project must be looked at separately and 'robbing Peter to pay Paul' is definitely a breach of trust if the 'borrowed' monies are not replaced and suppliers of services and materials remain unpaid.
Every director or officer, and any person who has effective control of a corporation or its relevant activities, who acquiesces in conduct that he or she knows or reasonably ought to know, amounts to a breach of trust by the corporation, is personally liable for the breach of trust.
When determining who has control of a corporation, the courts may disregard the form of any transaction and the separate corporate existence of any of the entities involved. With the help of the trust provisions of the Construction Lien Act the corporate veil, which normally affords good protection against personal liability, can successfully be lifted in the construction industry.
Anna Esposito is a Certified Specialist – Construction Law, a Fellow of the Canadian College of Construction Lawyers (CCCL), and is the head of the Construction Law Practice at Pallett Valo LLP, Mississauga's largest business law firm. She can be reached at aesposito@pallettvalo.com or by phone at (905) 273-3022 ext. 260.
We have used over 10 Pallett Valo lawyers on different matters and find that they are always responsive.
Dr. Don Pinchin, Pinchin Environmental Ltd.

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I have been a university professor for over 15 years, teaching statistics and research to undergraduate and graduate students. I am also a breast cancer survivor. Going through this life-changing event encouraged me to make some positive life improvements—which led me to make a career pivot from academia to business, ultimately seeking the Harvard Business Analytics Program to help bridge that gap.
The Harvard Business Analytics Program was instrumental in providing the knowledge, skills, and tools necessary to transition my academic background to an applied business analytics career. I believe the single most important attribute of the program is that it offers business analytics training from three separate schools: Harvard School of Business, the School of Engineering and Applied Sciences, and the Department of Statistics.
Another important point to mention is that I chose this program because I am a college professor and know the limitations of an online-only program. The Harvard Business Analytics Program allows the flexibility to complete your coursework individually, while also including a face-to-face component.
In fact, I personally spend more time interacting with my classmates in this hybrid program than my face-to-face students do in a 3-credit-hour classroom environment.
I am actively seeking a new job and the courses, professors, and cohort have played a huge part in that endeavor. The lessons are exceptional. Nearly every time I sit down and work on my readings, lectures, class meetings, and group work I leave with a sense of accomplishment and feeling of success. I have no idea how they do it, but the faculty has pulled off the remarkable! All the sessions are interwoven beautifully and greatly relevant to today's digital society.
How will what you've learned make you a leader in your industry? OR How has it made you a better leader in your industry?
As the courses progressed, the Leadership, Innovation, and Change course taught me so much about the importance of being a disruptor and how those skills can make or break an industry.
The collaboration experience has been dynamic, organic, and easy. Not only do we collaborate within the synchronous courses, but we collaborate outside of coursework. Several of us are working on or helping each other with business use cases. We are constantly interacting through Slack and when the conversation exceeds a chat environment we will jump on Zoom and finish our collaborations. We even have a "come and go" virtual happy hour via Zoom every Friday evening where we grab a beverage of choice and talk about anything and everything. We interact so much as a group, that when we saw each other for the first time in person we greeted one another like old friends.
Is there a particular moment—either part of a course, with a professor, or with a peer—that stands out to you as particularly influential?
I have had "ah ha" moments in every course and sometimes several in a short time period. However, for me, as a woman, one of the most influential components of this program was learning from and getting to know Margo Seltzer. She exemplifies a woman of the digital age. Margo is intelligent, but not aloof, assertive, but not aggressive, confident, but not uppity, all while embracing her role as a female and mother. I can only imagine how difficult it was to choose a career in a male-dominated industry and not just survive but thrive. Marge inspired me to be a strong female role model and pursue the career I deserve.
Do it! The coursework and professors are world-class and will teach you more than you ever thought possible. The integration of three renowned Harvard schools creates a learning matrix that I have never seen in academia. Finally, the Harvard brand and the exceptional networking from your peers makes this program invaluable.
The immersion experience was magical! It was interesting that we could check in between 5:00 to 7:00—but everyone was there by 5:00 or even before because we were all excited to meet in person.
Going to the immersion was absolutely no problem with my schedule since we were provided the dates from the beginning. In fact, professionally I had colleagues texting me the whole time asking about it. Everyone was excited that I was actually studying on the Harvard campus.


Trish, Alex, and Sage: The Monday Muse: Will She or Won't She?
Will Alex finish the winter 4Ks this season? As of right now, we've four hikes to go. Two of those hikes, Mt. Jefferson and Mt. Monroe/Mt. Washington, require extensive above-treeline travel on steep and icy slopes. Perfect weather will be required. How often does the Presidential Range get perfect weather? Not that often.
For us, perfect weather means wind speeds of no more than 25mph and a wind chill value of no lower than -10. In the summer, we don't mind winds up to 50mph if there are large boulders to cling to and walk between, but a high wind speed during the winter increases the chance of a hiker slipping on ice and snow. In no way am I going to risk my kid sliding off the mountain.
Not only do we need perfect weather for those two hikes, we need those perfect-weather-days to coincide with dates Hugh can take care of Sage. This will be tricky, as Hugh's work demands are constant and it's difficult for him to rearrange things at the last minute.
Looks like tomorrow might have decent weather...but we won't be able to take advantage of it as Hugh will be out of town. I don't see another opportunity for the rest of the week. We're going to end up having only 20-22 days with which to find two good weather windows.
If we don't get those two perfect weather days, then Alex will have to wait until the next winter season to finish this list. She wants to finish this year -- badly -- but, as always, safety comes first. Many folks are comfortable hiking Washington in high winds and frigid temperatures, but I'm not one of them.
The other two hikes, the Twins/Galehead and Mt. Flume, don't require great weather. Both hikes are mostly in the trees and I don't feel there's much risk involved, as long as the temperatures aren't too cold and the trails are easy to follow or break. Though both of those hikes will be tiring and difficult, I'm confident we'll get them done before March 20.
But Mt. Jefferson and Mt. Washington/Monroe?
Fear not, I put in a request for good weather.
Hope you find someone to look after Sage assuming the weather holds for tomorrow. I sent you a pm about it via views.
Pam, many thanks for your kind message! I appreciate your family's generous offer. Unfortunately, we can't hike tomorrow; I sent you a reply via VFTT.
Will Alex's last winter 4k be announced beforehand to cheer and congratulate you both at the top?
Thanks, we hope to announce the finish beforehand. If all goes well, then we'll finish on Mt. Flume sometime before March 20.
However, right now, we're not 100% confident we'll finish this year. We still have three exposed peaks -- Jefferson, Washington, and Monroe -- to ascend. We are watching the forecasts every day and we will do what we can (within the realms of our personal comfort levels) to get these peaks out of the way. However, there's always the possibility that the forecast will remain uncooperative for the next two weeks...in which case, we'll go ahead and get Flume, then wait and get those three Presidentials next winter season. Alex will be sorely disappointed, but we're totally at the mercy of the weather right now.


text:
Yuri Kutsenko (Tavrovo, 5 de marzo de 1952-Bélgorod, 22 de mayo de 2018) fue un atleta ruso especializado en la prueba de decatlón en la que llegó a ser subcampeón olímpico en 1980.

Carrera deportiva
En los JJ. OO. de Moscú 1980 ganó la medalla de plata en la competición de decatlón, con una puntuación de 8331 puntos, tras el británico Daley Thompson y por delante del soviético Serguéi Zhelánov.

Referencias

Atletas de la Unión Soviética en los Juegos Olímpicos de Moscú 1980
Medallistas olímpicos de plata de Moscú 1980
Medallistas olímpicos de plata de atletismo
Medallistas olímpicos de plata de la Unión Soviética
Decatletas
Rusos del siglo XX


text:
E00318: Eusebius of Caesarea, in his Ecclesiastical History, gives a list of nineteen Christian leaders martyred alongside numerous other Christians in various regions of the East during the tetrarchic persecutions (304-313). Written in Greek in Palestine, 311/325.
posted on 2015-02-23, 00:00 authored by Bryan
Eusebius of Caesarea, Ecclesiastical History 8.13, 9.6
Eusebius lists the following martyred bishops and priests:
At Nicomedia:
Anthimos, the bishop of Nicomedia, is beheaded
Loukianos, a presbyter of Antioch, offers a brave confession and is martyred.
In Phoenicia:
Tyrannion, bishop of Tyre
Zenobios, presbyter of Sidon
Silvanos, bishop of Emesa, with others
In Antioch:
The bishop of Antioch is thrown to the sea
Zenobios, a physician, is tortured and martyred
In Palestine:
Silvanos, bishop of Gaza, is beheaded with 39 others at the copper mines of Phaeno.
Peleus and Neilos, Egyptian bishops and companions are burnt at the same mines.
The presbyter Pamphilos, pride of the church of Caesarea, is martyred. Eusebius states that he will write about him separately.
In Alexandria and Egypt:
Petros, bishop of Alexandria, with the presbyters Phaustos, Dios and Ammonios
Phileas, Hesychios, Pachymios and Theodoros, bishops
Thousands of others died around the world, and their stories are to be recounted by those that witnessed them with their eyes. Eusebius intends to write a separate account about martyrdoms he has witnessed himself (8.13.7).
In book 9, Eusebius mentions again the martyrdoms of Silvanos of Emesa with two anomymous Christians (devoured by the beasts), Petros of Alexandria (decapitated) with several other Egyptian bishops, and Loukianos of Antioch at Nicomedia (died in gaol). Here he dates these martyrdoms to the persecution of Maximinus Daia (312).
Text: Schwartz et al. 1999. Summary: E. Rizos.
Evidence ID
Saint Name
Anthimos, bishop and martyr in Nicomedia, ob. 303/311 : S00124 Phileas, bishop of Thmuis, martyred in Alexandria, ob. 303/313 : S00125 Loukianos, martyr of Nicomedia : S00151 Tyranniōn, martyred bishop of Tyre, ob. 303/313 : S00152 Anonymous Mart
Saint Name in Source
Ἄνθιμος Φιλέας Λουκιανὸς Τυραννίων Πάμφιλος Σιλβανός Ζηνόβιος Σιλβανός Ζηνόβιος Πηλεύς, Νεῖλος Πέτρος Φαῦστος Ἡσύχιος Παχύμιος Θεόδωρος
Related Saint Records
https://oxford.figshare.com/articles/Z_nobios_presbyter_of_Sidon_and_martyr_in_Phoenicia/13729780
https://oxford.figshare.com/articles/Silvanos_from_Gaza_and_his_companions_martyrs_in_Palestine/13729648
https://oxford.figshare.com/articles/Theodoros_bishop_and_martyr_of_Egypt/13736977
https://oxford.figshare.com/articles/Peleus_Neilos_Patermouthios_and_Elias_martyrs_in_Palestine/13729660
https://oxford.figshare.com/articles/Anthimos_bishop_and_martyr_of_Nicomedia/13729453
https://oxford.figshare.com/articles/Hesychios_bishop_and_martyr_of_Egypt/13729792
https://oxford.figshare.com/articles/Phaustos_Faustus_martyr_of_Alexandria/13729939
https://oxford.figshare.com/articles/Phileas_bishop_of_Thmuis_martyr_of_Alexandria/13729456
https://oxford.figshare.com/articles/Tyranni_n_bishop_and_martyr_of_Tyre/13729537
https://oxford.figshare.com/articles/Loukianos_Lucian_of_Antioch_theologian_and_martyr_of_Nicomedia_and_Helenopolis/13729531
https://oxford.figshare.com/articles/Petros_bishop_and_martyr_of_Alexandria_and_companion_martyrs/13729789
https://oxford.figshare.com/articles/Pamphilos_martyr_of_Caesarea/13729498
https://oxford.figshare.com/articles/Silvanos_bishop_and_martyr_of_Emesa/13729783
https://oxford.figshare.com/articles/Zenobios_physician_and_martyr_of_Antioch/13729786
https://oxford.figshare.com/articles/Pachymios_bishop_and_martyr_of_Egypt/13729552
https://oxford.figshare.com/articles/Martyrs_unnamed_or_name_lost/13729267
Type of Evidence
Literary - Other narrative texts (including Histories)
Evidence not before
Evidence not after
Activity not before
Activity not after
Place of Evidence - Region
Palestine with Sinai
Place of Evidence - City, village, etc
Place of evidence - City name in other Language(s)
Caesarea Maritima Caesarea Maritima Καισάρεια Kaisareia Caesarea Kayseri Turris Stratonis
Major author/Major anonymous work
Eusebius of Caesarea
Cult activities - Non Liturgical Practices and Customs
Composing and translating saint-related texts
Cult Activities - Protagonists in Cult and Narratives
Ecclesiastics - lesser clergy Ecclesiastics - bishops
Eusebius lived in Caesarea Maritima in Palestine between c. AD 260 and 340. He was a pupil and friend of the martyred Christian intellectual Pamphilus. Under Constantine, he emerged as one of the most influential Christian figures of the Roman Empire, and was ordained bishop of Caesarea. Written between 311 and 325, Eusebius' Ecclesiastical History is the first literary work to employ the methodology and objectives of classical historiography – which, since Herodotus and Thucydides, had traditionally focused on military and political events – in a novel field, the history of the Christian community. The first paragraphs of the work outline its chronological framework and thematic range: it is a narrative of events in the life of the Christian community from the times of Christ and the Apostles to the times of Eusebius (c. AD 260-340); it records the leaders of the most important communities (i.e. successions of bishops in Alexandria, Antioch, Rome and Jerusalem); it records the most notable exponents of Christian doctrine and their works, and also the main heresies and their proponents; it finally records persecutions and people that suffered and were martyred during them. The Ecclesiastical History is mostly a synthesis of quotations and summaries from other sources, for which Eusebius often gives concrete references. Thus his work preserves excerpts from early Christian texts which do not survive in their full form. Eusebius' source material is mostly Greek texts, originating from Christian communities in Anatolia, Syria, Palestine and Egypt. These areas constitute the main geographical range of his narrative, while his information about Christianity in the western provinces of the Roman Empire (except Rome) is very limited. The text survives in several Greek manuscripts, in a Latin translation by Rufinus, and in Syriac and Armenian translations.
With this special enumeration of martyred clerics, Eusebius concludes his account of the persecutions under Diocletian and Galerius in the East. The most prominent of the figures mentioned in this section are Anthimos of Nicomedia, Loukianos of Antioch, Pamphilos of Caesarea, Peter of Alexandria and Phileas of Thmuis, all of whom had well-known and popular cults in Late Antiquity. The end of the paragraph anticipates the publication of a collection of extensive martyrdom accounts of which Eusebius was an eyewitness, leaving the rest of the stories to be recounted by people who witnessed them with their own eyes. Eusebius apparently fulfilled his promise by writing the collection known as Martyrs of Palestine, which is appended to the end of book 8 of the Ecclesiastical History in some of its editions (see E00294). This collection indeed includes the three martyrdoms mentioned here for Palestine (Silvanos; the Egyptian bishops Pēleus and Neilos with their companions; Pamphilos of Caesarea; see E00388, E00384, E00391).
Edition: Schwartz, E., Mommsen, T., and Winkelmann, F., Eusebius Werke II: Die Kirchengeschichte. 3 vols. (Die Griechischen Christlichen Schriftsteller der ersten drei Jahrhunderte NF 6/1-3; Berlin: Akademie Verlag, 1999). Translations: Lake, K., Oulton, J.E.L., and Lawlor, H.J., Eusebius of Caesarea: The Ecclesiastical History. 2 vols. (Loeb Classical Library; London and Cambridge, MA: Heinemann and Harvard University Press, 1926). Williamson, G.A., and Louth, A., Eusebius: The History of the Church from Christ to Constantine (London: Penguin, 1989). Further reading: Chesnut, G. The First Christian Histories: Eusebius, Socrates, Sozomen, Theodoret, and Evagrius. Atlanta: Mercer University, 1986.
Evidence - The Cult of Saints in Late Antiquity
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Ready-to-Use Truk-Kit® is designed to fit behind the back seat of a truck. Kit is packaged in a heat-sealed polyethylene bag.
Features/Benefits Ready-to-Use Truk-Kit® is designed to fit behind the back seat of a truck. Kit is packaged in a heat-sealed polyethylene bag.


Insulin Pump Pocket Layering Band by Pocket Innerwear – Pocket Innerwear Inc.
SMALL FITS 24"-30" MEDIUM FITS 28"-36" LARGE FITS 32"-42" XLARGE FITS 36"-46"
This PumpBand is insulin pump clothing ELEVATED. You will not find a more versatile way to wear and protect your pump. I'm sure you've tried other insulin pump clothing or tried to make our own. Stop the madness. This is better than any diabetes armband or other insulin pump clothing on the market. Our PumpBand is sleek and comfortable. It can literally be worn under everything! Or you can wear it as a bandeau top! Slide it down on your hips, up on your natural waist or up around your chest. Say yes to wearing dresses and skirts. Don't worry about leggings with no pockets-- our PumpBand sets you free to carry your pump without fear of dropping it or not having a place to put it. This insulin pump clothing will change your whole life. And we are so excited to be a part of it.
STOP. EVERYTHING. This piece of clothing is going to change your life. First of all: Watch this video. You can move the PumpBand around to work with what you're wearing and where your site is. Type 1 diabetes is an exhausting disease and we are trying to make your care and your life a little easier. This band truly does that. If your a guy this is perfect to wear under your shirt if you dont want your pump visible. For the Gal's use it when wearing a loose top or a dress? Put your PumpPocket centered on your chest (instead of in your bra). Wearing a tight top? Move it to the side at your rib cage. Wearing a tight or short shirt? Move the band down to your hips. We want you to have more freedom from your pump and more choices in your clothes. If you just want to move that trusty insulin pump around, you've got options. We can't wait to hear what you think!
Fits US Sizes 12mth-4T waist size 16"-19"
*For International orders please allow 3-6 weeks for delivery. Please make an educated decision regarding your shipment. You are free to choose the least expensive option of shipment through the United States Post Office, however, they are the least reliable option in international shipping and we will not offer refunds for undelivered packages. Choosing UPS or FedEx is much more reliable and we will make sure you either receive your package or receive a refund if the package is lost in transit. The most cost efficient way to ship your package is an envelope. We will put as many pieces as possible in an envelope (about 4 adult pieces and up to 6 children's pieces). We will contact you via email if your order does not fit in an envelope.


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Victory Square Technologies Declares a Special Common Share
Victory Square shareholders of record as of the close of business on December 17, 202 will be entitled to receive the Second Tranche Dividend of Immersive shares.
Victory Square to dividend out approximately 4,500,000 common shares in Fantasy 360 Technologies Inc. dba Immersive Tech ("Immersive") to its shareholders.
The Dividend represents the second tranche of Immersive shares to be issued by way of dividend pursuant to Victory Square's news release dated August 12, and December 3, 2021.
Victory Square already Issued a special common share dividend of its portfolio companies GameOn Entertainment Technologies Inc. (CSE:GET) and Fantasy 360 Technologies Inc (CSE:VRAR) earlier in the year.
Not for distribution to United States newswire services or for dissemination in the United States
VANCOUVER, British Columbia, Dec. 07, 2021 (GLOBE NEWSWIRE) — Victory Square Technologies Inc. ("Victory Square" or "VST" or "Company") (CSE:VST) (OTC:VSQTF) (FWB:6F6) is pleased to announce that, further to its news release dated August 12, 2021 and December 3, 2021, it has declared the second tranche of its previously announced special dividend of common shares in the capital of its portfolio company Immersive to shareholders of Victory Square (the "Second Dividend"). This Second Dividend represents approximately 4,500,000 shares in Immersive ("Immersive Shares"), which when added to the 4,500,000 Immersive Shares previously issued by way of dividend by Victory Square to its shareholders earlier this year, represents a total of 9,000,000 Immersive Shares issued by way of dividend to Victory Square shareholders.
The Second Dividend will consist of approximately 4,500,000 Immersive Shares, which will be eligible to Victory Square shareholders of record as of the close of business on December 17, 2021 (the "Second Tranche Dividend Record Date"), at a rate of approximately 45.838991 Immersive Shares for each 1,000 Victory Square shares held (assuming no additional shares of VST are issued prior to the Second Tranche Dividend Record Date). The Second Tranche Dividend ratio is based on 98,169,700 Victory Square shares issued and outstanding on the date hereof.
The Second Tranche Dividend is expected to be completed on or about December 30, 2021.
ABOUT FANTASY 360 TECHNOLOGIES INC. D/B/A IMMERSIVE TECH
Immersive is building the Physical Metaverse through its location-based Platform. Since 2016 Immersive has been an industry leader in Social Entertainment, Virtual Reality (VR) and Augmented Reality (AR) entertainment attractions. With its Hardware Platform UNCONTAINED and its Software Platform Uncontained/OS, the company helps its stakeholders build user experiences unmatched in realism, depth and immersion. The company builds experiences on its platforms for some of the world's largest companies including: Intel, Bayer, Capital One, Scotia Bank, the US Food and Drug Administration, Allegiant Airlines and more.
Shafin Diamond Tejani
Director and Chief Executive Officer
Victory Square Technologies Inc.
www.victorysquare.com
For further information about Victory Square, please contact:
Contact – Edge Communications Group
Email: ir@victorysquare.com
ABOUT VICTORY SQUARE TECHNOLOGIES INC.
Victory Square (VST) builds, acquires and invests in promising startups, then provides the senior leadership and resources needed for fast-track growth. VST's sweet spot is cutting-edge tech that's shaping the 4th Industrial Revolution. Our corporate portfolio consists of 20+ global companies using AI, VR/AR, and blockchain to disrupt sectors as diverse as fintech, insurance, health and gaming.
What we do differently for startups
VST isn't your ordinary investor. With real skin in the game, we're committed to ensuring each company in our portfolio succeeds. Our secret sauce starts with selecting startups that have real solutions, not just ideas. We pair you with senior talent in product, engineering, customer acquisition and more. Then we let you do what you do best — build, innovate and disrupt. In 24-36 months, you'll scale and be ready to monetize.
What we do differently for investors
For investors, we offer early-stage access to the next unicorns before they're unicorns. Our portfolio represents a uniquely liquid and secure way for investors to get access to the latest cutting-edge technologies. Because we focus on market-ready solutions that scale quickly, we're able to provide strong and stable returns while also tapping into emerging global trends with big upsides.
VST is a publicly-traded company headquartered in Vancouver, Canada, and listed on the Canadian Securities Exchange (VST), Frankfurt Exchange (6F6) and the OTCQX (VSQTF).
For more information, please visit www.victorysquare.com.
ABOUT THE CANADIAN SECURITIES EXCHANGE (CSE)
The Canadian Securities Exchange, or CSE, is operated by CNSX Markets Inc. Recognized as a stock exchange in 2004, the CSE began operations in 2003 to provide a modern and efficient alternative for companies looking to access the Canadian public capital markets.
Cautionary Disclaimers
This news release shall not constitute an offer to sell or the solicitation of an offer to buy any securities in any jurisdiction. Any securities referred to herein have not been, nor will they be, registered under the United States Securities Act of 1933, as amended, and may not be offered or sold in the United States or to a U.S. Person absent registration or an applicable exemption from the registration requirements of the United States Securities Act of 1933, as amended, and applicable state securities laws.
This news release contains "forward-looking information" and "forward-looking statements" (collectively, "forward-looking information") within the meaning of applicable securities laws. Forward-looking information is generally identifiable by use of the words "believes," "may," "plans," "will," "anticipates," "intends," "could", "estimates", "expects", "forecasts", "projects" and similar expressions, and the negative of such expressions. Forward-looking information in this news release include statements about Victory Square's payment of the Second Dividend and about the continued listing and trading of Immersive Shares on the CSE.
Forward-looking information is subject to known and unknown risks, uncertainties and other factors that may cause VST's actual results, level of activity, performance or achievements to be materially different from those expressed or implied by such forward-looking information. Forward-looking information is based on the reasonable assumptions, estimates, analysis and opinions of management made in light of its experience and perception of trends, current conditions and expected developments, and other factors that management believes are relevant and reasonable in the circumstances at the date such statements are made. Although Victory Square has attempted to identify important factors that could cause actual results to differ materially from those contained in forward-looking information, there may be other factors that cause results not to be as anticipated. There can be no assurance that such information will prove to be accurate, as actual results and future events could differ materially from those anticipated in such information. Accordingly, readers should not place undue reliance on forward-looking information. All forward-looking information herein is qualified in its entirety by this cautionary statement, and Victory Square disclaims any obligation to revise or update any such forward-looking information or to publicly announce the result of any revisions to any of the forward-looking information contained herein to reflect future results, events or developments, except as required by law.
Neither the CSE nor its Regulation Services Provider (as that term is defined in the policies of the CSE) accepts responsibility for the adequacy or accuracy of this release.
Tags: CommonDeclaresShareSpecialSquaretechnologiesvictory
Compass Rose launches new tech practice with addition of veteran strategist Kelly Hutchinson
Data443 Returns to Sponsor Black Hat USA Conference
How the fifth industrial revolution will impact the future of work
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As a State party to the International Covenant on Economic, Social and Cultural Rights (ICESCR), Spain is required to submit regular reports to the Committee outlining the legislative, judicial, policy and other measures they have taken to implement the rights set out in the treaty. After its last session on 21 and 22 March, the Committee published yesterday its concluding observations on the rights record of Spain, which contain the main matters of concern as well as concrete recommendations.
In its concluding observations to Spain, the Committee repeatedly refers to the situation of inequality and discrimination against Roma people, singling them out one of the most vulnerable groups in Spain.
The Committee recommends that the State party adopt the necessary legislative measures to ensure that these rights enjoy the same level of legal protection as the civil and political rights and take necessary steps to render them justiciable in domestic courts, including the possibility of appeal before the Constitutional Court.
The Committee also recommends that the State party establish an effective national mechanism for the implementation and follow up of the recommendations made by this Committee.
The Committee understands that the State is in a process of post-crisis economic recovery but is seriously concerned about the disproportionate adverse impact that austerity measures, are having on the enjoyment of economic, social and cultural rights by the most disadvantaged individuals and groups that has contributed to widening the gap between the rich and the poor. Therefore, it urges the State party to "ensure that the austerity measures applied are temporary, necessary, proportionate and non-discriminatory, and respect the core content of the rights, so that they do not disproportionately affect the rights of the most disadvantaged and marginalized individuals and groups".
The Committee also recommends that the State carry out "a thorough evaluation of the effects of such measures on the enjoyment of economic, social and cultural rights in particular by disadvantaged and marginalized individuals and groups, such as Roma".
The Committee is concerned that Act 62/2003, which transposes the Race Equality Directive 2000/43/EC, "is little-known and incomplete, it does not protect against multiple forms of discrimination nor does it provide for adequate sanctions and procedural safeguards. This means that Spain does not have a comprehensive legislation on non-discrimination. In addition, the Committee is concerned that the measures adopted have not allowed to effectively combat the persistent de facto discrimination against certain groups, among others, the Roma community.
Therefore, the Committee urges the State "to adopt a comprehensive non-discrimination Act that guarantees sufficient protection, and that, among other things, explicitly includes all prohibited grounds of discrimination listed in Article 2, para. 2 of the Covenant; provides a definition of multiple discrimination, direct and indirect discrimination according to the obligations of the State party under the Covenant; prohibits discrimination in both the public and private spheres; and includes provisions to obtain redress in cases of discrimination". It also recommends that it "redouble its efforts to prevent and combat persistent discrimination, particularly against Roma (...), even by carrying out awareness raising campaigns."
Although the Committee acknowledges the efforts undertaken by the State to improve the quality of Education, it expresses concern about the high rates of grade repetition in secondary school and early school leaving. Despite of a slight decline, the rates of early school leaving in Spain remains the second highest in the European Union and disproportionately affects children belonging to more disadvantaged groups, in particular Roma children and adolescents. The CESCR is also concerned about "the persistent school segregation that, in some cases, is a result of residential segregation, and that particularly affects disadvantaged and minority groups such as Roma and migrants". Therefore, the Committee urges Spain to "continue to reduce the rates of early school leaving and grade repetition in secondary school, adopting a strategy that addresses the socioeconomic factors that may influence the decisions to prematurely leave education and pay due attention to the most affected groups, in particular to Roma children and adolescents, migrants ".
It also calls on the State to "intensify its efforts to combat school segregation, including that resulting from residential segregation that disproportionately affects Roma children and adolescents, as well as migrants."
Finally, the Committee expresses its concern that "the dissemination and promotion of the cultural identity and historical legacy of the Roma population continues to be limited", and urges the State to "favor the promotion, conservation, expression and dissemination of cultural identity and historical legacy of the Roma community ".
From Fundación Secretariado Gitano we share the analysis of the Committee with regards to the situation of the Roma community and the areas where they face serious and "disproportionate" inequalities, the "persistent" discrimination and school segregation, as well as the need to promote the cultural identity and the historical legacy of the Roma people.
We are pleased to have contributed to having the economic, social and cultural rights of Roma people taken into consideration in the monitoring processes and mechanisms established by international organizations such as the United Nations. We now trust that Spain will take the steps to implement the Committee's Recommendations to meet its international obligations.
The report is available here (under "Concluding Observations") (only in Spanish).


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Sixties fundraiser will be swinging
THE audience will be transported back to the 60s when a wealth of South Cheshire talent takes to the stage.
Charity champion Irene Edwards, of Woolstanwood in Crewe, is staging a 60s themed fundraising spectacular at Nantwich Civic Hall to raise funds for Christie Cancer Hospital, Manchester, where she was treated 10 years ago.
Irene, who has raised thousands of pounds for the hospital in recent years by staging a variety of shows at the Lyceum Theatre in Crewe, wanted to hold a show in Nantwich after deciding on a temporary change of venue.
She said: 'We decided on a 60s theme because we wanted to do something different.'
Tickets for the show on February 24 have been selling well and Irene says people will be surprised by the talent on offer.
She added: There's a fantastic lineup of local talent from South Cheshire and The Potteries. Sixties singer John Robinson will be performing as well as three singers called 3-D Vision. Two of them have been performing at my shows at the Lyceum Theatre.'
Crewe's Masquerade School of Performing Arts will also be performing as well as 60s group Casino.
Tickets at £5 are available from Irene Edwards on 01270 583275, Nantwich Civic Hall on 01270 628633 or the Lyceum Theatre box office on 01270 537333.


Cleansing herbal blend made with the aim of refreshing your body and mind. Drink during the day as a hot or cold drink. To vary the taste from each cup or during the day, add a licorice root to stir, a slice of ginger or a fresh mint leave. Studies in herbs are worth following when interested in maintaining healthy living, considering reducing headaches and to support the body nutritionally.


The latest breakout style in men's apparel is a trip back to the future.
For awhile, men were cutting ties with the necktie, and it slipped out of vogue.
But now, reports Seth Doane, it's hip to be retro.
Younger men, in particular, are taking to the growing trend, Doane says.
He observes that, while many politicians are going sans tie in an attempt to appeal to a younger audience, young men have been putting them back on. Ties are almost a cover-page uniform on magazine covers this week; they're on TV; and they're on the likes of J-T -- Justin Timberlake, among other celebs.
Says GQ Style Editor Adam Rapoport: "It's about attitude, it's about style, it's about flair. It's not about looking button-down."
Tie-clad celebrities adorn GQ's cover.
"I think you're seeing a lot of younger guys wearing ties now, but they're not business ties," Rappaport notes.
Tie fan Benjamin Moore could wear a t-shirt and jeans to work, but he often chooses to put on a tie.
Moore says he saw a man recently wearing a tie -- and hoodie!
Grabbing a cappuccino before work, Moore said it's cues from celebrities that push these trends, and having the option of wearing or not wearing a tie makes wearing one more appealing: "I think companies are becoming more relaxed in what they're allowing people to wear. Before, a tie was a requirement, and now, it's like an option for people."
According to groups that keep track of this sort of thing, while tie sales are down among older populations, they're up among 18 to 34 year olds -- by more than 13 percent in just a year.
"We're seeing a lot of younger customers coming into our store," observes Robert Dundon, president of Thomas Pink USA.
It's been in the tie business more than two decades.
Now, Thomas Pink is seeing an up-tick in customers interested in ties for weekend wear.
Dundon says ties appeal to young men again because there's "been a backlash to the whole casual dress thing. I think that's part of it. I think also, it's about -- you can be dressed up and still be cool."
GQ's Rappaport says, " ' Casual Fridays' are so schlumpy, it's guys in bad khakis and even worse dress shirts, kinda tucked and unbuttoned one button, like, 'Ooh, I'm getting crazy! ' "
The designer sportswear brand Theory didn't even sell ties two years ago. Now, it's branched out to include neckwear after seeing a demand in the marketplace.
But this isn't your father's tie.
"Wearing it with a ripped pair of jeans or a cool cardigan or a cool tight skinny jacket," says Theory President Chris Manley, "it's the way to hip it up and make it look modern."


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Midwives save lives. Now we have to save our midwives
A midwife checks on infants in the pediatric intensive care unit in Cox's Bazar, Bangladesh. Credit: Carly Learson / UNFPA
The provision of protective equipment for midwives and other maternal healthcare workers should remain a top priority for health services dealing with the COVID-19 pandemic, the United Nations Population Fund, UNFPA, has advised in a guidance note for health authorities.
Amid reports that protective equipment is being repurposed for COVID-19 testing clinics, the United Nations sexual and reproductive health agency is urging governments and health authorities to prioritise maternal healthcare as an essential service in the fight against the novel coronavirus and provide the protective equipment these workers need to minimise their risk of contracting the virus.
Despite worldwide shortages of protective equipment, UNFPA calls for authorities to step up efforts to ensure that midwives - usually women - working on the frontlines of the COVID-19 pandemic are not sent into unsafe working conditions without adequate protective equipment.
Catherine Breen Kamkong, Sexual and Reproductive Health Regional Adviser for UNFPA Asia-Pacific, said maternal health workers provide an essential service and have a right to full access to protective equipment, as well as a safe and respectful working environment.
"Maternity services, whether in a clinic or in the community, are essential core health services," she said.
"We want to make it clear - maternal health workers are already providing essential services, and should not be redeployed to other coronavirus response services. Doing so will compromise the health and safety of pregnant women, and new mothers and their babies."
Breen Kamkong noted that UNFPA works with midwives and other health workers in places where health systems are already overstretched, and where their care for pregnant women saves lives every day.
"Pregnant women, babies, and families rely on the services they receive from midwives - if these health workers become infected because they do not have access to protective equipment, and services for pregnant women are reduced or stopped, we will see an increase in childbirth-related deaths."
"We have made such huge gains in reducing preventable maternal deaths, encouraging women and their families to prioritize safe delivery with a skilled midwife in a facility - we do not want to see this progress derailed because the midwives can't come to work anymore."
The full guidance note is available HERE
Linking women's economic empowerment, eliminating gender-based violence and enabling sexual and reproductive health and rights
Given many shared objectives between programmes and policies working to promote and advance women's economic empowerment, their sexual and...
We are frontline GBV responders: Supporting survivors of gender-based violence during COVID-19
Women are bearing the brunt of the COVID-19 pandemic in a number of ways. Gender-based violence is one of the worst. But thanks to the courageous and...


Duchess originated in Russia in the 17th century. In 1835 the Massachusetts Horticultural Society imported the first of many apple varieties from Russia. These were Alexander, Tetofsky, Red Astrichan and Duchess of Oldenburg. Mass Horticultural was the early precursor to the USDA, the University breeding programs and Cooperative Extension. They regularly imported, tested and disseminated fruits and other plants from around the world. Until Duchess of Oldenburg was imported, northernmost Maine remained without apples. Neither the varieties of Europe, nor their seedlings, were hardy enough to withstand the winters north of Bangor. Duchess brought the apple to the coldest parts of our state, as well as to the coldest areas of New York and New England, the plains states, the upper midwest and much of Canada. Duchess was planted extensively wherever growers needed varieties with extreme cold hardiness. It isstill popular today in most of northern New England, especially Aroostook County where its name is practically synonymous with the word apple. In talking with Duchess growers over the years, it has often sounded to as though each Duchess is unique. All the trees were referred to as "Duchess" but growers would be likely to say that this Duchess was better than that Duchess. John suspects that up there most -or perhaps even all – the Duchess trees were planted as seedlings, not as grafted trees. In a culture with a long tradition of planting apples from seed, this is not too surprising. What is remarkable though is that Duchess is one apple that produces generally true to type seedlings. There are old fields in Aroostook that have been overgrown almost entirely with Duchess seedlings. You can wander through thickets of apple trees for hours tasting Duchess seedlings. They are all variations on a theme, and nearly all taste quite decent.
Duchess is the parent of one Aroostook variety and thought to be the parent of another. In fact, it has been the parent of a great many varieties in the past century. It is a variety with a multitude of desirable qualities, not the least of which are its incredible ruggedness and hardiness. Duchess seedling trees also make very good, uniform rootstock called Borowinka on which to graft other varieties.
Highly esteemed for all sorts of cooking, Duchess is an excellent pie apple. It makes a zesty pie, and it cooks up quickly into thick, creamy sauce. Duchess fruit is also excellent for tart fresh eating.


NOTE: Renting our equipment requires that you view the safety video associated with your rental. Click here to watch the safety video.
Fun For You Rentals suggests that you bring a camera, driver's license, snowsuits, snow boots, gloves, goggles or sunglasses, water or Gatorade, backpack, a lunch if you're going to be out all day, and a credit card.
Does Fun For you Rentals rent out snowsuits?
Yes. We offer small, medium, large, and extra-large; we also offer snowsuitsin kid's sizes. Price is based on availability. Please inquire when you make your reservation.
What does Fun For You Rentals provide?
Fun For You Rentals provides you with one full tank of gas a helmet. Bring your own goggles.
When do I need to be at the Fun For You Rentals office?
Please arrive 1.5 hours before your rental sessions starts. We have two sessions: 9-12, and 1-4. So please arrive at 7:30 am for the 9:00 session and 11:30 for the 1:00 pm session.
Do I drive my car to the trailhead?
If you have a hitch and tow package you can tow trailers with your vehicles. If you don't have a truck or tow package we will provide a vehicle to tow trailers at no extra charge.
What kind of insurance do I need to drive towing vehicles?
We require you have full insurance coverage on your vehicle policy with rental option. We will treat it as a rental vehicle. It's no additional cost to use our vehicles to tow machines.
Does Fun For You Rental provide maps?
Yes. We provide maps to get you from the office to your trailhead; we provide maps of your chosen snowmobile tour.
How does Fun For You Rentals charge your deposit?
When you make your reservation, 50% of your total reservation cost is charged to the credit card you supply 48 hours before your booked session. Once we charge your credit card it is unrefudable.
Does Fun For You Rental refund deposits?
We do no refund deposits on cancellations within 48 hours of your scheduledsession. Since we do not charge your card before that 48 hour window, you do not incur any charges on cancellations made before the 48 hours.
What trails do are in the area?
There are a variety of public trails in the Breckenridge and Vail areas. Please call for specific details. Some trails require a US Forest Service charge of $6 per person over 16 years of age. Please have cash on hand for these charges. The US Forest Service only accepts cash; this is payable at the trailhead.
Does Fun For You Rentals offer overnight snowmobile rentals?
Yes we do! We charge an addition $500 deposit per snowmobile for overnight rentals. Please call for details.
If you get stuck and need to be extracted, we provide numbers for you to call for help. Please be aware that charges apply if we have to come pull you out.Be safe! Don't do the adventure alone, always ride with a buddy.
Will I have phone signal on the trail?
You will have limited coverage. Be aware of locations on the trail where you have coverage by checking your phone from time to time.
Are there bathrooms on the trail?
Are there trail speed limits?
Yes, there are speed limits. You will be ridingon public lands. These trails are patrolled by local law enforcement. Speed limits are 30 MPH. If you are ticketed for speeding, you can expect to pay $500 to $1,000 in penalties. Penalties must be paid in person in Grand Junction Colorado. Speeding is the number one reason for accidents. Slow down, be safe – enjoy your ride!


Total Workshop search results: 13. Displaying Page 1 of your woodworking search phrase DECK BOARDS.
This very comfortable chair can be made from as little as a dozen pieces of 1x4x96 inch boards. You could leave the wood natural and let it weather grey or paint/stain it colors of your choice. Make for comfortable seating on the deck, at the dock or around a fire pit. Videos will come soon of the building process.
Build this rolling pegboard tool cart and get your garage or workshop organized.
Build this outboard motor ski-board for thrills. Deck and bottom are of plywood. This craft pattern shows working drawings for a ski-board of standard design, with full-size patterns for curves. This is a vintage woodworking plan. Visit our FAQ page for a full definition. View the Larger Image Slideshow to see the actual item you are buying.
Make your own cutting boards using these free step-by-step instructions.
While installing the handrail on my newly constructed deck, I found that the 45 degree miters I had so carefully cut did not fit tightly together. As it turned out, a variation in the deck meant that the boards came together at an angle slightly less than 90 degree.
Build this folding trellis to help support your vegetables or plants as they grow.
This is a link to a Google 3D SketchUp drawing for a square picnic table that seats 8, made entirely form cedar decking boards. You will need the SketchUp software to download this drawing and its freely available online. We do not provide support for this software. Not all drawings have the measurements displayed but you can use the measurement tool in SketchUp to easily and accurately determine the dimensions of each lumber part. Most drawings do not have instructions, its assumed you can build it based on the completed drawing provided.
When I needed an outfeed support for some long cedar deck boards I was ripping on my tablesaw, my sawhorses were not tall enough nor would they allow the wood to slide past. Fortunately, some leftover 1/2 inch electrical conduit and PVC pipe provided a solution. My wooden sawhorses now serve double-duty as adjustable outfeed supports.
The kitchen pavilion, with its smooth tile floor, paneled interior and high cupola roof, is the perfect backyard room addition. It is designed to hold everything a gourmetcook needs: a refrigerator, cupboards,shelves, a sink and over 14 feet of counter space for extensive food preparation. This 8- x 12-foot do-it-yourself kitchen unit is sheathed in APA Texture 1-11 plywood siding, and fully trimmed for a professional, finished appearance. An attractive semicircular, 6- x 12-ft Redwood deck, featuring an outdoor bar, expands both the size and efficiency of the pavilion.
Link Type: free plans | Link Source: APA Home Projects | Visit the category | Fix Link?
This is a link to a Google 3D SketchUp drawing for an Adirondack style chair for smaller children. Made entirely from cedar decking boards, it is easy to build. You will need the SketchUp software to download this drawing and its freely available online. We do not provide support for this software. Not all drawings have the measurements displayed but you can use the measurement tool in SketchUp to easily and accurately determine the dimensions of each lumber part. Most drawings do not have instructions, its assumed you can build it based on the completed drawing provided.


text:
Плачинда Володимир Петрович (26.07.1938-01.11.2002) — український мовознавець, історик, шевченкознавець, фахівець із біографістики й документалістики.

Життєпис
Народився в с. Клинці (нині село Кіровоградського району Кіровоградської області). За активну громадську позицію був виключений із філологічного факультету Київського унніверситету (закінчив його пізніше — 1963). Працюючи теслею на будівництві Київської ГЕС, записав від селян с. Хотянівка Вишгородського району Київської області близько 300 діалектних слів, що згодом увійшли до «Атласу української мови». Працював у Центральному будинку народної творчості УРСР (1963-64), редакції журналу «Народна творчість та етнографія». За самостійність і неординарність мислення був відрахований з аспірантури кафедри української мови Київського університету (1966). Понад 27 років працював у видавництві «Наукова думка» (1966-94), де був членом правління й завідував редакцією науково-популярної літератури. Підрахував, що за рік особисто відредагував близько З тисяч сторінок, зокрема праці М. Амосова, Г. Писаренка та ін. Працював начальником управління у Міністерстві України у справах національностей та міграції (1994—1995), у Секретаріаті ВР України — у секторі підготовки до видання документів ВР України, зокрема, взяв участь у редагуванні стенограм (з 1995) та Конституції України 1996. Був помічником народного депутата І. Біласа.

Знавець українського громадсько-політичного руху 2-ї половини 19-го століття, який вивчав за архівними першоджерелами. Виявив нові документи про Т.Шевченка, зокрема про його друга А.Козачковського, проводи труни з тілом Т.Шевченка в Києві. Системно вивчав життя, громадську діяльність і наукову спадщину сина кирило-мефодіївця й приятеля Т.Шевченка, винахідника радіотелемеханіки М.Пильчикова та філолога, члена-кореспондента Петербурзької академії наук і дійсного члена Наукового товариства імені Шевченка П.Житецького.

Автор монографій «Микола Дмитрович Пильчиков» (К., 1983) та «Павло Гнатович Житецький» (К., 1987), що викликали резонанс як в Україні, так і за кордоном (публікація Марка Антоновича в «Українському історику», 1988, ч. 97-100), статей про І.Срезневського, Т. Рильського та ін. Підготував до друку повний текст і коментарі до мемуарів С. О. Єфремова «Про дні минулі» (Молода нація: Альманах (К.), 2002, № 1 — 2004, № 4), де широко використав невідомі доти архівні матеріали.

Узяв участь в енциклопедії «Українська мова», «Українській літературній енциклопедії» (статті про О.Бодянського, П.Житецького, О.Котляревського, М.Максимовича, М.Тулова, К.Шейковського та ін.). З доповідями про Т.Шевченка, П.Житецького, П.Чубинського, С.Єфремова брав участь у наукових конференціях.

Займався просвітницькою діяльністю, публікуючи з 1960 популярні статті в журналі «Народна творчість та етнографія», збірниках «Наука і культура: Україна», «Шевченківський збірник» та інших наукових і науково-популярних виданнях.

У перші роки незалежності займався громадською роботою — очолював комісію у справах культури та охорони історичного середовища Старокиївської районної ради народних депутатів у м. Києві (1990-94).

Брат письменника і суспільно-громадського діяча Сергія Плачинди (1928—2013).

Помер у м. Києві.

Посмертно обраний членом Національної спілки письменників України (2003).

Джерела та література
 Білокінь С. І. Плачинда Володимир Петрович //

Література
 Плачинда Сергій. Материк доброти в океані байдужості. «Столиця», 2003, 7-13 листопада;
 Наша Спілка: Під завісу року. «Літературна Україна», 2004, 1 січня;
 Сасина М. Подвижник на ниві творення. «Молода нація: Альманах» (К.), 2004. № 4 (33);
 Жадько Віктор. Некрополь на Байковій Горі. К., 2008.

Уродженці Кропивницького району
Українські мовознавці
Українські шевченкознавці
Українські історики
Члени НСПУ
Помічники народних депутатів України


text:
Gmelina fasciculiflora, known as the northern white beech is a species of trees endemic to the Queensland tropical rain forests, Australia, of the mint (Lamiaceae) plant family. It is one of four recognised species of the genus Gmelina found in Australia.

Taxonomy
Gmelina fasciculiflora was first described by English botanist George Bentham in his Flora Australiensis in 1870, from a collection by Dallachy. Its species name is derived from Latin and means "flowers in clusters".

Description
It shares characteristics with the more southerly white beech. Having pale twigs, similar shaped opposite leaves with a stem around 2 cm long. Leaves, however, are glossy and not nearly as hairy as the southern species. The leaves are 12 cm long and 7 wide. Flat glands may be seen at the base of the leaves as well as hairy domatia on the underside of the leaves. Purple spotted cream coloured flowers appear from February to May on large panicles. These attractive flowers are around 2 cm long. They later form purple coloured fleshy fruit in the form of a flattened drupe, 1 to 2 cm in diameter, ripening from September to January. As with the white beech, the fruit has a strong scent, and the aril quickly turns brown when exposed to the air. Stains on clothing from the flesh of this fruit are difficult to remove.

Habitat and ecology
The natural habitat is both lowland and highland rainforests of northeastern Queensland. The fruit are eaten by the wompoo fruit dove.

Cultivation and uses
Gmelina fasciculiflora has grown and flowered well in cultivation in Brisbane, where it has been planted in public parks. The timber is fairly soft for a hardwood and acidic. It is not resistant to termites. It is highly regarded for carving in Queensland.

References

Flora of Queensland
Trees of Australia
fasciculiflora


text:
I'm going to assume everyone reading this sentence has seen the movie Hocus Pocus. Or you've at least heard of Hocus Pocus. If you haven't, here's a handy little Wikipedia entry that details this lackluster Disney film which experienced a major renaissance in the 2000s thanks to a little channel called ABC Family airing the film six times a day in the weeks leading up to Halloween. Over night, Hocus Pocus went from Disney dud to cult classic.
The film debuted in the summer of 1993, which makes little sense considering its subject matter. I find it odd that I didn't go to the theater to partake in person because high school Lincee was obsessed with Bette Midler in a way that leaps over the boundaries of embarrassing. Who rocked out to the Beaches soundtrack every day driving to school? THIS GIRL!
Bette was the Alpha sister in a trio of witches. Sarah Jessica Parker was the ditzy sister and Kathy Najimy was the doting sister.
That's right. My beloved SJP of Footloose and Girls Just Want To Have Fun fame and my favorite part of Sister Act (hello Najimy) were the sidekicks to Bette's glorious lead role. This is a trifecta for what I consider to be a perfect recipe for purchasing opening night tickets.
Alas. I did not go. In fact, I don't even remember hearing about the movie. It all makes sense, knowing now that Hocus Pocus didn't slay the box office with Bette, Sara J. P. and Najimy's abundant talent. And I was not cool enough to have the fancy Disney channel. There's no way I could have seen it in college or in my early 20s.
I guess that's why I became ridiculously excited when I stumbled upon it decades later as an adult who chooses to pay way too much for cable. I heard whispers of this darling little show, so when I saw in on my channel guide, I squealed, settled in with some popcorn, a cold Dr Pepper, Halloween-themed Oreos, and prepared myself to behold the wonder that is Hocus Pocus.
Here's the deal: Hocus Pocus creeps me out.
For years, people would tell me that Bette Midler's version of "I Put a Spell On You" was a highlight of the movie. I had no idea what they were talking about because I shut the TV off after watching poor Thackery Binx being turned into a cat for heroically trying to save his little sister from having the essence sucked out of her body by three witches.
Do you know what else is unsettling? The haunting song Sarah Jessica Parker sings to lure Emily into the cottage. When I told my friend Stephanie I needed to figure out when Disney was going to air Hocus Pocus because I was going to try and watch it again ten years later, she skipped into the other room to recover her personal DVD copy singing that eerie song the entire way.
No m'am.
That afternoon in the comfort of daylight, I sat back down to give this cherished classic another go. Like a normal person, I fast forwarded past all the scary beginning. I stopped at the part where Max lights the virgin candle and the Sanderson sisters come back.
Sarah Jessica Parker is hilarious, except when she sings that horrible song on her broom again. Watch her reactions. Her comedic timing is incredible. (See: "Amok, amok, amok," being pushed into the "black river," and any time she talks about a boy.)
Najimy's bottom lip quirk was pretty impressive too, not to mention the fact that she rode a vacuum cleaner to the graveyard, which was pretty funny until I was distracted by the dude with the sewed up mouth. No thank you.
I will say the chemistry between the Sanderson sisters is legit. The way they walk in sync and compliment each other in a scene is remarkable. Yes, "I Put a Spell On You" is definitely a showstopper, and I did laugh a lot, but I must report that the squishiness outweighed the fun factor.
Survey Says: Hocus Pocus still creeps me out.
Tags: Hocus Pocus
LegallyBlondeMommy
I agree with all of this. I saw it in the movie theater near Halloween time ($1 discount theater), and was really creeped out. I think all three actresses are incredible, yet the overall affect is just odd. It's just not classic Disney fun. However, I was in the minority in my house, as my mom and sister absolutely loved it (and still do to this day). *Sigh*
Full disclosure: I owned a copy of Hocus Pocus, because high school Julie was ALSO obsessed with Bette Midler in a way that leaps over the boundaries of embarrassing. And yes, THIS girl also rocked out to the Beaches soundtrack on the regular (and the For the Boys soundtrack… did you have that one, too??). I've also seen her in concert five times, and have tickets to see her in Hello Dolly on Broadway next month (squee!). At any rate, I'm pretty sure that 14-year old me loved Hocus Pocus, but I loved pretty much anything Bette did back in those days. As an adult, I have to agree – it's pretty creepy 🙂
Amy at Suburban Soiree
I didn't like it either! Glad I'm not alone. Lol
Oh my goodness no. I started watching one time because people had talked about it and it was on all the time. I didn't make it 20 min. Horrible.
Katie Martin
It creeped me out when I was little but now as a full fledged adult I love it!!!! Billy the Zombie does kinda make my stomach turn but it's just creepy enough to make me feel like "ooooh it's Halloween!" Seriously, Hocus Pocus is as scary of a movie I can watch. But I LOVE IT!
Knox12
This movie has always freaked me out. I thought maybe it was just because I had seen it a few times as a kid, but as an adult it still makes me uncomfortable. The best part of this movie is that the kid's name is Thackery.
IHGB Movie Review: Aladdin
Movie: AladdinRated: PGStarring: Mena Massoud, Naomi Scott, and Will SmithThe Trailer: The…
2019 Summer Book List
I kid you not when I say that this is…


text:
References of "Steveker, Lena 50040175"
Bücherschau
Steveker, Lena ; Laqué, Stephan
in Shakekespeare Jahrbuch (2021), 157
Tiffany Stern, ed. Rethinking Theatrical Documents in Shakespeare's England. London: The Arden Shakespeare, 2020.
Steveker, Lena
in Shakespeare Jahrbuch (2021), 157
The Politics of Happiness in Richard Brome's The Queen and Concubine
in Critical Survey (2020), 32(3), 70-81
Drama written for the commercial stage during the 1630s has long been seen as falling neatly into two categories: the majority of plays is seen as reflecting a courtly taste for cultural escapism believed ... [more ▼]
Drama written for the commercial stage during the 1630s has long been seen as falling neatly into two categories: the majority of plays is seen as reflecting a courtly taste for cultural escapism believed to have been cultivated during a time in which the court increasingly found itself in opposition to the rest of the country. In contrast, a smaller group of plays is read as 'opposition drama' voicing thinly veiled discontent with Charles I's personal rule. In this article, I challenge this critical dichotomy by arguing that Richard Brome's The Queen and Concubine, written for the King's Revels company in 1635-36, affirms notions of good government which are central to Caroline ideals of kingship. As I show, Brome's play uses its female protagonist Eulalia, banished Queen of Sicily, in order to promote a politics of happiness that draws on the iconography of Charles I as well as on ideals of statecraft endorsed by the English king in the 1630s. [less ▲]
Telling Tales of Empire in Contemporary British Popular Culture
in Habermann, Ina; Krug, Christian (Eds.) And Hereby Hangs a Tale: A Critical Anatomy of (Popular) Tales (2020)
Virginia Mason Vaughan. Shakespeare and the Gods. London: Arden Shakespeare, 2019; and Jonathan Bate. How the Classics Made Shakespeare. Princeton: Princeton University Press, 2019.
Robert Eaglestone, ed., Brexit and Literature: Critical and Cultural Responses, London & New York: Routledge, 2018.
in Journal for the Study of British Cultures (2019), 26(1), 221-223
Dickens as an Agent of Change
Steveker, Lena ; Frenk, Joachim
Book published by Cornell University Press - 2nd ed. (2019)
Sixteen scholars from across the globe come together in Charles Dickens as an Agent of Change to show how Dickens was (and still is) the consummate change agent. His works, bursting with restless energy ... [more ▼]
Sixteen scholars from across the globe come together in Charles Dickens as an Agent of Change to show how Dickens was (and still is) the consummate change agent. His works, bursting with restless energy in the Inimitable's protean style, registered and commented on the ongoing changes in the Victorian world while the Victorians' fictional and factional worlds kept (and keep) changing. The essays from notable Dickens scholars—Malcolm Andrews, Matthias Bauer, Joel J. Brattin, Doris Feldmann, Herbert Foltinek, Robert Heaman, Michael Hollington, Bert Hornback, Norbert Lennartz, Chris Louttit, Jerome Meckier, Nancy Aycock Metz, David Paroissien, Christopher Pittard, and Robert Tracy—suggest the many ways in which the notion of change has found entry into and is negotiated in Dickens' works through four aspects: social change, political and ideological change, literary change, and cultural change. An afterword by the late Edgar Rosenberg adds a personal account of how Dickens changed the life of one eminent Dickensian. [less ▲]
Steveker, Lena ; Gruss, Susanne
Early Modern Spectacles
Englands dramatische Geschichte: Shakespeares Histories
in Singh, Sikander; Leber, Manfred (Eds.) Literatur und Geschichte (2018)
A. S. Byatt, Possession (1990)
in Reinfandt, Christoph (Ed.) Handbook of the English Novel of the Twentieth and Twenty-First Centuries (2017)
A. S. Byatt's novel Possession (1990) revolves around questions of writing the past, more particularly the Victorian past, from the perspective of the late twentieth century. As outlined in the essay ... [more ▼]
A. S. Byatt's novel Possession (1990) revolves around questions of writing the past, more particularly the Victorian past, from the perspective of the late twentieth century. As outlined in the essay, Byatt's novel stages various forms of possession, both material and immaterial, linking them to issues of identity and female autonomy as well as to epistemological and ethical notions of poetry and imagination. Possession is an ambivalent text in that it problematizes the ontological, epistemological and methodological problems of writing the past; at the same time, the novel asserts the desire to acquire knowledge of the past, exploring literary genres, poetry and imagination as various means of opening the past to the present. As a Neo-Victorian text, Possession re-evaluates perceived cliches about the Victorian age, rewriting it as an era of a benign humanism that counteracts late-twentieth-century doubts and insecurities. [less ▲]
Andrew Escobedo, ed. Edmund Spenser in Context. Cambridge: Cambridge University Press, 2017.
in Symbolism (2017), 17
Allison P. Hobgood. Passionate Playgoing in Early Modern England. Cambridge: Cambridge University Press, 2014.
in English Studies (2016), 97(3), 342-343
Book published by AMS Press - 1 ed. (2015)
Returns to Religion
Alternative Worlds: Popular Fiction (Not Only) for Children.
in Berberich, Christine (Ed.) The Bloomsbury Introduction to Popular Fiction (2015)
English News Plays of the Early 1620s: Thomas Middleton's A Game at Chess and Ben Jon-son's The Staple of News.
in Davies, Simon; Fletcher, Puck (Eds.) News in Early Modern Europe: Currents and Connections. . Leiden: Brill, 2014. 215-229. (2014)
Precarious Selves in Contemporary British War Novels
in Korte, Barbara; Régard, Frédéric (Eds.) Narrating 'Precariousness': Modes, Media, Ethics (2014)
This essay takes its cue from Butler's notion of precariousness, delineated in her study Precarious Life: The Powers of Mourning and Violence (2004). But while Butler is concerned with the events of 9/11 ... [more ▼]
This essay takes its cue from Butler's notion of precariousness, delineated in her study Precarious Life: The Powers of Mourning and Violence (2004). But while Butler is concerned with the events of 9/11 as the US-American seminal catastrophe of the early twenty-first century, this essay focuses on fictional representations of WWI and WWII, the two wars which turned out to determine European and, indeed, World politics throughout the twentieth century. The novels discussed in this essay are examples of how fictional texts of both the twentieth and the twenty-first centuries are involved in critically (re)evaluating the British perspective on these two wars which can be described, each for its own particular cultural, political and ideological reasons, as having exposed the precariousness of human existence. Pat Barker's Regeneration trilogy (1991-1995) is engaged in demythologizing WWI as a 'great' war. A.L. Kennedy's Day (2007) is concerned with undermining the notion of WWII as a 'just' war the British fought in defence of civilization and humanity. Each novel problematizes the damaging effects which the inhumane conditions of industrial warfare have on human psychic stability. Both Barker's trilogy and Kennedy's novel feature protagonists whose traumatic war experiences have caused them to develop split personalities; and it is with the help of these characters' mental instabilities that the texts negotiate the precarious consequences entailed in a self's complete loss of control and power over one's own well-being. Next to discussing each author's particular representational strategy of narrating her protagonist's split into self and internal other, the essay also analyses the different ideological agendas underlying Barker's and Kennedy's texts. As the essay shows, both writers' protagonists strive to reconcile self and internal other in order to reaffirm their identities. But while Kennedy's Day is indebted to liberal humanism in its celebration of 'high' art and its supposed unifying effects on human Selfhood, Barker's novels suggest a reconciliation of traumatized self and internal other which is best analysed through the lens of Levinasian ethics. The Regeneration trilogy, the essay argues, privileges a concept of dual, if not multiple selfhood by representing healing as the ethical acceptance of difference, not its repression or expulsion. Thus, Barker's novels defy the violence which, according to Levinas, comes from subjecting the other to the self's understanding. [less ▲]


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Q: JavaScript Function Not Defined - jQuery Words Rotator Plugin I have a page, with the set up:
<!DOCTYPE html>
    <html lang="en">
        <head>
            <script src="http://code.jquery.com/jquery-latest.min.js"></script>
            <link rel="stylesheet" href="themes/css/jquery.wordrotator.min.css">
            <script src="themes/js/jquery.wordrotator.min.js"></script>
            <link rel="stylesheet" href="themes/css/animate.css">

            <script type="text/javascript">
            $(function () {
                $("#myWords").wordsrotator({
                    words: ['Maths', 'English']
                });
            });
            </script>

The wordsrotator is the code as specified here:
https://github.com/andreapace/wordsrotator/blob/master/jquery.wordrotator.min.js
And built using the example here:
http://www.andreapace.co.uk/wordsrotator/installation.html
However, the error I seem to constantly have is:

Uncaught TypeError: undefined is not a function

Picking up on the Line:
$("#myWords").wordsrotator({

I have tried swapping the order that things are loaded, I have tried various input (e.g. not just 'Maths and English), I have even copy and pasted the code exactly as it is, with no joy.
Any help is massively appreciated.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Mysql return array with right data types I have a database table client which contains a field id INT(6) (with a primary key and auto increment). I select the last id using:
$findClient = mysql_query("SELECT `id` FROM `client` ORDER BY `id` DESC LIMIT 1");
$client = mysql_fetch_assoc($findClient))
var_dump($client);

What happens to be is that the id in the array has become in string while it is an integer in the database. Why can this be resolved neatly? I need it to be an integer.

A: It's normal. All rows that are fetched from a result are arrays of strings.
If You want the id value as int, simply change the data type:
$result['id'] = (int) $result['id'];

A: Since you know that it is int, you can always cast it manually. Otherwise, look at mysql_field_type() to get the type of the field.


Fans of Star Wars and Halloween will be sweet on this special droid whose design is inspired by candy corn. A product of the Droid Factory, R4-BOO18 (get it?) is dedicated to serving the citizens of Cloud City, and you!


text:
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You just bought a Roller Coaster theme park simulation and wanted to add your own songs? This is no problem in Planet Coaster. In just a few steps, you can let every ride in your theme park become your personal jukebox.
Before we show how you add your own music into the game, you need to consider something. Own songs can only be set at the rides and with loudspeakers in the theme park. So you cannot adjust individual music in the menu, etc. In addition, your music doesn't affect the mood of the guests.
- End the game and open the following folder on your PC: Documents\Frontier Developments\PlanetCoaster\UserMusic.
- Copy your favorite music here.
- Restart the game and click on a park speaker or a ride.
- In the drop-down menu you have to select the song.
- You can also adjust the volume.
The own music is slightly quieter than the menu music. However, in the settings, you can make various changes to the volume. In addition, the music doesn't work with triggered loudspeakers, which listen to certain trigger points on a roller coaster.


Dear Esther, and so begins the letter of a lifetime, as you're immersed in a world you've always known but hardly seen.
Originally released as free to play modication, the game was entirely redeveloped for a commercial release in 2012. Featuring a relatively new gameplay model at the time, the game was later mockingly referred to as a 'Walking Simulator' due to its minimalist player involvement – ultimately the only physical thing for the player to do is explore a Scottish island.
Having always wished to travel to an uninhabited Hebridean island this game provided me with the chance to do just that. It's tranquil peace and the history the island preserves, either through basic settlements, shipwrecks or geology, is immense and is created here in painstaking detail. As you wander throughout the game the character's voice sporadically gives you information as to the nature of his recently departed wife, as he recounts instances which led to her sudden death and also comments on the nature and history of this island.
I found that the game is certainly endemic of mental health and mental illness. The character, player unnamed, is certainly suffering from grief and this has led – over time – to illness and despair. In his grief he has essentially come to the most remote place he can find; and his intentions, although morbid, are incredible to watch. As you join him on what is his last journey there's a sense of hope and exploration, an understanding of your own life and a peace you simply don't get from Black Ops.
Originally developed as a research project through The University of Portsmouth the game is the creation of The Chinese Room, responsible for such other BAFTA nominated masterpieces as Everyone's Gone to the Rapture and Amnesia; A Machine For Pigs. But it's Dear Esther which never fails to capture me, despite how many times I've replayed this game, and its entire journey would take you just 90 minutes – something that you can do in an evening, drawing the curtains and submersing yourself in gaming.
Accompanying the game is an incredible soundtrack from Jessica Curry, which is nothing short of immense, and has also been released on Vinyl and CD so popular is the demand. I regret deeply missing the opportunity to see an orchestra tour the UK performing this soundtrack while a gamer engaged in playing this game on a big screen.
One particular scene, perhaps my favourite in the game, involves walking uphill towards an abandoned bothy built by a long since departed Sheppard. As you climb you can realistically feel the strength in the effort it takes, the game adjusting for the end pushing against you. One can only imagine what might happen if this was ever developed into 3D, and despite the harsh weather conditions, it's possibly one of the most hopeful moments in the entire game. There's a real sense of achievement as you finally manage to reach the bothy's door and enter its tiny space.
Eagle eyed fans should also note the original game soundtrack is also available as a free download online from the developer, and you'd be best advised to take advantage of this while it still stands. In August 2018 Sumo Group, the parent company of Sumo Digital, acquired The Chinese Room for GB£2.2 million and thus downsized it to a fourth UK based production under Sumo Group. One can imagine both the "end of an era" but also the developers and founders of the group taking some time to consolidate their achievements while playing Dear Esther.
Walking Simulators may face criticism because you can, of course, always just leave the house and walk yourself – but the additional location of this game, its unique perspective and narration make it quite frankly unmissable. Now I'm off to hunt down a sealed physical copy on eBay. To replay once more.