DAY 9 – MOTHER UNDEFILED, PRAY THAT WE RECEIVE THE GIFT OF WISDOM!
Good and upright is the LORD; therefore he instructs sinners in his ways. He guides the humble in what is right and teaches them his way. All the ways of the LORD are loving and faithful toward those who keep the demands of his covenant (Psalm 25:8-10).
The moral life of Christians is sustained by the gifts of the Holy Spirit. These are permanent dispositions, which make man docile in following the promptings of the Holy Spirit (CCC 1830).
The seven gifts of the Holy Spirit are wisdom, understanding, counsel, fortitude, knowledge, piety, and fear of the Lord. They belong in their fullness to Christ, Son of David.109 They complete and perfect the virtues of those who receive them. They make the faithful docile in readily obeying divine inspirations. Let your good spirit lead me on a level path (Psalm 143:10). "For those who are led by the Spirit of God are children of God" (Romans 8:14,17).
The Gift of Wisdom: The first and highest gifts of the Holy Spirit. It makes the soul responsive to God in the contemplation of divine things. Where faith is a simple knowledge of the articles of Christian belief, wisdom goes on to a certain divine penetration of the truths themselves. Built into wisdom is the element of love, which inspires contemplative reflection on these divine mysteries, rejoices dwelling on them, and directs the mind to judge all things according to their principles (Fr. John Hardon, Modern Catholic Dictionary).


Today, Chrissy Teigen's daughter — Luna Stephens — is giving other celebrity kids a run for their money in her mother's latest Instagram photo. As fans of the model and social media enthusiast know, Chrissy loves to share photos of her kiddos with her millions of Instagram followers. Whether it's a family shot with the kids in tow or a solo shot of daughter Luna or son Miles, one thing is always for sure — Chrissy's kids know how to melt hearts.
Today, Teigen opted for a solo photo of her only daughter. In the sweet new snapshot, little Luna wears a huge smile on her face as she poses in front of a bunch of stone columns. The toddler looks dressed to impress as she sports a furry pink jacket on top and a black and white patterned skirt on the bottom.
To complete her adorable look, Luna rocks a set of pigtail buns and a pair of pink boots with bunnies. Like other photos that she posts of her kids, this one has earned Teigen a ton of attention — attracting over 263,000 likes in addition to 1,100 comments in relatively short order.
Some fans were quick to comment on how adorable the 2-year-old is, while countless others couldn't get over how much she looks like her famous parents.
"OMG. What a cutie patootie," one fan commented.
"Im lovin' that jacket girlie!! And the cute hair!" a second user wrote.
"Luna is beautiful just like her mommy," another follower chimed in.
One of the main reasons why Teigen is one of the most well-liked celebrities in Hollywood is due to the fact that she's incredibly open and honest on both social media and in interviews. Most recently, Teigen made headlines for discussing her relationship with husband John Legend.
As the Inquisitr recently shared, the mother of two opened up about what she has learned about relationships since tying the knot in 2013.
The model turned cookbook mogul also opened up about what she and John fight about the most, telling the publication that they most frequently bicker over scheduling issues — as well as communication issues.
Leave it to Chrissy to be an open book on anything and everything.


Step back in time to the 1860s and you would have seen the Sisters of the Good Shepherd provide shelter, food and work for thousands of vulnerable and poor women and girls at The Abbotsford Convent. Not so today. After The Sisters moved out in 1975 the convent sat empty for some time until its resurrection as an artist's space.
In stark contrast to the drab daily routine strictly enforced by the nuns, The Abbotsford Convent is now a space like no other in Melbourne. It serves as a creative space for writers and designers, art organisations, rehearsal and development, and includes indoor and outdoor function spaces, a school, a radio station, a bakery, cafes, restaurants, bars and more.
There is lots to see and do at the convent which boasts ten different buildings. For $15 you can take the 2pm guided tour on Sundays (find the store and pay when you get there) to hear all about the history of the site and what it's used for today. If you're looking for a cheap day out browse the store which includes a gallery or visit during one of the many markets or events held here.
If you're after a bit of evening action the outdoor Shadow Electric Cinema runs during the warmer months and is within the Shadow Electric bar so you won't have to venture far for your refreshments. If you're looking for something a bit more substantial (and unusual) stop by Lentil as Anything where there is always a yummy range of vegetarian meals on offer. The 'unusual' in this restaurant is you pay what you feel the meal was worth. There is no menu or set prices here! If you've only got time for coffee and cake take your sweet tooth along to the Convent Bakery.


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Freezone Promotion
Freezone Development Training
FZ Consultants
Africa Freezone Directory
Free Trade Zone Scheme: Model for Infrastructure Devolution
Mohammed Momoh Free Trade Zone, Trade and Industry Free Trade Zone
Martins Odeh
Periods gone by when nations' development indices, growth and viability were measured based on solid infrastructure. The parameters shifted slightly to include income capital per head powered by both National Domestic Product (NDP) and Gross Domestic Product (GDP) respectively. These economic trajectories are like rockets as they propel seamlessly without special consideration for nations that lag behind.
Not done, the trajectories again, leapfrogged from just considerations of infrastructure, national domestic product and gross domestic product of countries to include nations' External Reserves (ERs) and Human Capacity Resource (HCR). Judging then from the above, it is no gainsaying that our country has continued to grapple with the challenges of meeting these global economic expectations
Credit must, however, be given to the United Nations and other Development agencies that have and continued to extend plethora of economic interventions to the developing economies, albeit with minimal impressions due to the herculean nature of these deficits.
Beyond just setting up socio-politico cum economic goals, development can only happen when result-oriented development concepts evolved, are understood and can be applied within the content of specific conceptualization and public acceptability. The Free Trade Zones Scheme, is therefore, a good example of a global development model with capacity to propel industrialization in developing economies.
It is imperative to state that the developed economies have continually leveraged on the zone scheme, a concept that supports free market system within an enclave to grow in lips and bounds with positive ripple effects in the nations and citizens.
In the light of this, developing nations like China, Brazil, Malaysia, Taipei, United Arab Emirate (UAE), Dubai to be specific, South Africa, Kenya, Egypt and host of others have long found economic respites in zone operation.
No doubt, the free trade zone concept remains a wonderful global economic concept that promotes Foreign Direct Investment (FDI), Local Direct Investment (LDI), Manufacturing and Production, Employment, Revenues, Infrastructural transfer with industrialization as its ultimate end product. It is indeed a one-stop-shop business ecosystem where operators and investors are exempted from taxes, levies and duties within the zone to enhance export.
Nigeria has never been found wanting in policy development, conceptualization or adoption. The constraint has always been with clear lack of political-will to religiously implement such a policy. The country like its peers mentioned above signed off to free trade zone concept in 1992 when the Nigeria Processing Zones Authority (NEPZA) was established by an Act of parliament to oversee the scheme.
The attempts of previous governments in sustaining the scheme cannot by any stroke of imagination be eroded, but the fact is that not much attention was given to this regulatory body to contribute substantially to the country's industrialization.
Respite, however, came when President Muhammadu Buhari returned from an on-the- spot tour of the scheme in China in 2016. The Chinese Government had during the period of the country's `isolation' used the zone concept to develop its infrastructure, revamped the economy to a competitive level that today stands as an envy of the world.
President Buhari had to quickly re-evaluate NEPZA and its workforce with the bid to strengthening it in order to replicate the China's model of free trade zone. An all-encompassing economic development model that does not localize development. It remains the desire of the president to use the zone scheme to firmly integrate the country.
Like a servant who understands the mind of his master, Prof. Adesoji Adesugba, himself, a renowned International Investment Promoter, has been brought into the saddle by the president as Managing Director and Chief Executive Officer of NEPZA to fast track all processes that could facilitate the success of the scheme.
As a measure of commitment to the success of the scheme and beyond improving on the budgetary allocation for NEPZA, the president went further to approve six Special Economic Zones (SEZs) across the six geo-political zones of the country. These zones when fully developed would alter the country's present development obscurity.
Prof. Adesugba upon assumption of duty on July 1, 2020 reeled out five focus areas which included Medical/Pharmaceutical, Technology, Agriculture, Mining and Tourism. The indefatigable managing director has neatly intertwined these abovementioned areas to power these approved six special economic zones made by the president.
Already, tangible steps have been taken to commence the development of three of the approved special zones for the year billed to be sighted in Lagos, Kwara and Katsina States respectively. The ones for Ebonyi, Benue and Sokoto would constitute the second phase of implementation.
Furtherance to this, the Authority took delivery of the Certificate of Occupancy for 500 hectares for the Medical Special Economic Zone and 276 hectares for Agro-allied Special Economic Zone respectively March 10 in Ilorin.
The NEPZA Chief Executive had described Kwara state as a charming investment destination while making his remark at the occasion.
Adesugba had hinged his remark on what he called: " the glaring improvement on infrastructure in the state by Gov. Abdulrahman Abdulrazaq'', which according to him has increased the value of the state as a "magnetic" investment destination.
The NEPZA boss further stated that history was been made with the take-over of the site for the special economic zones, adding that arrangements were underway to commence the development of the locations as both state-of-the-arts medical and business hubs.
Adesugba also explained that the medical zone would be home to world class hospitals and pharmaceutical industries while the agro-allied zone would serve as convergence spot for agricultural food chain where farmers, agro-allied investors and industries would reap the economic advantages associated with zone operation.
"Investment does not stay in the air, investment goes to destinations, investment looks for succor where it is most welcomed. Investment goes to where there is a will to support it. We have discovered that Kwara state seems to be a welcoming state that we can work with in terms of setting up of a special economic zone.
"I dare to say that this must have been the contemplation of those who have been here before me and that of President Muhammadu Buhari who is supporting the industrialization of Nigeria and also ensuring that we who are the implementers do our jobs unhindered.
"The vision of the president is to use the free trade zone scheme to fast track the industrialization of the country. Let me reiterate by saying that the opportunity to warehouse trade zone is open to all states of the Federation.
"This is why Kwara state happens to be one out of the six special economic zones we are supposed to start-off with. And today, we are happy to be here to start off with Kwara among the first three that we are working on this year.
"We will work with the state to provide the state-of-the-art infrastructure. We will work with you to promote investments in the area. Already, we have prospective investors and companies from Turkey, Egypt, China and other parts of the world asking us where to locate their industries. This would definitely be a good location for them'', Adesugba said.
On his part, Abdulrasaq said the importance of the zone scheme on economic emancipation could not be easily measured, adding that the upcoming Kwara SEZ would accelerate infrastructure development and job opportunities for youth in the state.
Abdulrasaq explained that free trade zone created unique opportunities globally, adding that Kwara would fully key into the scheme to stimulate wealth.
"These zones will serve as stimulants for exports and a strategic point for technological transfer. With these two special economic zones, Kwara state is in a strong race to compete nationally and beyond'', the governor said.
While the Lekki axis of Lagos would harbour the Medical Special Economic Zone, the Katsina Special Economic would be sighted in Funtau as a Fabric zone. Plans are also underway for the Funtau SEZ to warehouse a Medical SEZ and other allied industries.
The aforementioned structure would bestow these various business enclaves with status of smart cities warehousing world class hotels, real estates, golf courses, helipads as may be necessary, as well as leather tared road networks.
The conglomeration of these proposed special economic zones across the country would reduce these known development deficits and to serve as model for infrastructure devolution that enhances industrialization.
This lofty project when completed would also marginally disable the obvious imbalance in the country's development template, just as its success would boost all the tranches of development indices earlier mentioned.
Odeh is the Head, Corporate Communications, NEPZA.
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How 'Free' Killed Video, And What We Can Do To Save It
by Steven Rosenbaum , Featured Contributor, November 20, 2017
On Feb. 14, 2005, three partners gathered at a pizza parlor in San Mateo, Calif. Like most startups, they'd found a problem they wanted to solve. They were making videos with their friends of hanging out at social events, just what kids do — and they had no way to share them. YouTube was born, and user-generated video (UGC) took off like a rocket.
Massive user engagement uploads and views followed. People liked YouTube because it was easy, it was fun, and it was free.
But behind the scenes, Chad Hurley, Steve Chen, and Jawed Karim had a problem. The server and traffic bills were growing exponentially. Sequoia Capital stemmed the bleeding with at first $3.5 million, and then $8 million.
Just a year and a half after its launch, YouTube was sold to Google for $1.65 billion in stock.
But the costs continued to mushroom, and the looming legal threats from copyright holders hung like a cloud over YouTube's future. People were uploading movies, music, and all sorts of digital video that made the sharing site popular with copyright scofflaws. Perhaps not surprising, but YouTube would need deep pockets to address it. Viacom filed a billion-dollar lawsuit against Google for copyright infringement in 2007.
And YouTube's problems have been growing worse by the day for 10 years, creating what is now a massive gap between what video was — television — and what it strives to be: useful, engaging, nichified, targeted motion media delivered by the internet.
So far it's been an ocean of tears as companies have tried to meet audience demand for relevant video, and been crushed trying to compete with the powerful economics of "free."
Angel.co lists 5,880 video startups, many more than I need to name here. But here's just a few you may remember: Revver, Blip.TV, Joost, 5min, Motionbox, Ramp, Pluto TV, Vidyard, Airtime, Daily Motion, Tout, Metacafe and Frequency.
5,880 startups with an average valuation of $4.5 million equals $26.4 billion.
And so every day, when you read about another company "pivoting to video," it's worth noting that so far, with the benefit of hindsight, and BILLIONS of dollars spent, no one has made that work — not in technology, content, aggregation, or curation. There are many "at bats" — and so far, all strike-outs.
So what happened, and what's next?
After Google purchased YouTube, the search giant set out to bring its powerful and successful AdSense offering to long-tail video. YouTube had the videos, it had the creators — now it just needed to get the AdWords economic engine to point its efforts at video.
Google tried with any number of products, but the model didn't translate. Text ads were easy to make, low-cost to place, and understandable. Video ads, even with a number of self-serve tools, just didn't catch fire. Google was a public company (since August 2004) and as such needed to find big opportunities that could generate big new sources of revenue.
Madison Avenue — with its coffers full of brand advertising spend — wasn't about to buy into Google's UGC YouTube offering.
"We are in the advertising business," Eric Schmidt, Google's CEO, told The New Yorker back in 2008. The purchase of DoubleClick for $3.1 billion made clear that Google was going to buy its way into the swank private clubhouse of brand advertising.
The company's mission back in 2008 was "to organize the world's information and make it universally accessible and useful." Making information accessible takes on the established makers and publishers of media, whose raison d'être is to own and distribute content.
So today 300 hours of video are uploaded to YouTube every minute. But the vast majority of that video doesn't meet the rather stringent requirements of big brand advertisers. And as long-tail video advertising hasn't really showed up, YouTube is in the complicated spot of being both a disrupter of web video, and a net loser of revenue.
Statisticbrain.com reports that the annual cost of running and maintaining YouTube is $6.3 billion, while the annual revenue generated from YouTube is $4 billion. That's a loss of more than $2 billion. And before you think that Google partners are the big winners in this equation, Statisticbrain notes that the average YouTube partner earns just 32 cents per 5,000 views — or a CPM of .064. Those numbers sting.
Wondering how this works, I asked an insider at Google if the company ever considers abandoning the free YouTube upload business to start charging for users whose videos weren't monetizable (which is most of them). The answer? "Sure, we talk about it, but then we realize our comScore numbers would plummet, and we leave things as they are."
So, here we are. Video uploads are free. Anyone who charges for video services has to compete with Google. And even as video becomes the format of choice for both advertisers and consumers in the mobile web, finding business models for creators and networks seems like a distant mirage in the desert.
We're at the cusp of a next-generation video offering: YouTube, but with a modern mix of free, paid, and sponsored revenue elements. Video makers and uploaders are pushing at the edges of the one-size-fits-all thinking that has made YouTube the upload site of choice.
With strategic focus, Facebook has made uploads to its platform the preferential way for display video for its 2.07 billion monthly active users. LinkedIn has rolled out a somewhat limited video upload offering. Twitter, Snapchat, and Instagram all now invite uploads. And Amazon, with its massive AWS infrastructure, has taken a cautious step into video uploads with Amazon Video Direct, though ironically it requires an .srt subtitle file, and recommends using the YouTube automated transcription tool to create the lower third text.
— Video isn't free to make.
— Video isn't free to store.
— Video isn't free to deliver.
As long as YouTube continues to rely on its big brother Google's ad revenue to underwrite its video losses, the video space is stuck, unable to connect revenues, audiences and makers.
Just around the corner, there is a new generation online video platform that provides a flexible, fast, multiplatform solution to turns video's many speed bumps into an economic SaaS solution. Upload once, publish to many platforms — and pay with either advertising avails or a service fee.
Consumers need more quality curated video. Advertisers need more targeted video opportunities. And publishers need more videos on their pages that come with an equitable shared economic benefit. Video 3.0 is on the horizon. Stay tuned!
google, online video, video, youtube
3 comments about "How 'Free' Killed Video, And What We Can Do To Save It".
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Ed Papazian from Media Dynamics Inc, November 20, 2017 at 3:02 p.m.
A most interesting report, Steven. Thanks.
Mario L Castellanos from New Ventures Technologies, November 20, 2017 at 8:45 p.m.
xavier mantilla from Big Data solutions for companies, November 21, 2017 at 10:12 a.m.
The ad monetization model on video has become tough if you rely on YouTube distribution. Great stories can be told by brands, and so storytelling has grown, and ad agencies can benefit from that side of the equation, while using the YouTube platform with the little cost associated to it, but an ad network play - that is where they are stuck as a company. Great article.
Read more comments >
STEVEN ROSENBAUM, senior advisor, Oaklins DeSilva+Phillips
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Alibates Scrapers from 14WC408
Date: 1000-1500 CE
These scrapers were collected from an archeological site near the Smoky Hill River in Wallace County and donated in 2018 to the Kansas Historical Society. Scrapers such as these would have been hafted on a handle and used to scrape hides. They would have required periodic resharpening. All five scrapers were made of Alibates flint, a silicified or agatized dolomite from the Canadian River valley in the Texas panhandle.
Alibates Scrapers from the Saxman Site, 14RC301
Shown are five scrapers that were collected from the Saxman site in Rice County and donated to the Kansas Historical Society in 2017. Scrapers such as these would have been hafted on a handle and used to scrape hides. They would have required periodic resharpening. All five scrapers were made of Alibates flint, a silicified or agatized dolomite from the Canadian River valley in the Texas panhandle. The Saxman site, a large Great Bend aspect village, was occupied by ancestral Wichita peoples.
Alibates Scrapers from the Tobias Site, 14RC8
These seven scrapers were excavated during the 1977 Kansas Archeology Training Program field school at the Tobias site in Rice County. Scrapers such as these would have been hafted on a handle and used to scrape hides. They would have required periodic resharpening. All seven scrapers were made of Alibates agatized dolomite from the Canadian River valley in the Texas panhandle. The Tobias site is a Great Bend aspect (ancestral Wichita) village that had dense artifact deposits, house remains, and numerous deep trash-filled storage pits. The site is listed in the National Register of Historic Places.
A Lithic Collection from 14CT312
Date: 1-1000 CE
These three chipped stone tools were collected from an Early Ceramic period archeological site in Chautauqua County and donated to the Kansas Historical Society in 1976. Shown from left to right is an alternately beveled knife, a scraper, and a large corner-notched dart point fragment. Repeated sharpening on the knife's alternate sides created the bevels. Scrapers, such as this one would have been hafted onto a handle and used to scrape hides. The scraper would have required periodic resharpening. The dart point and the alternately beveled knife get their pinkish color as a result of the material being carefully heated before manufacturing to improve the chert's knapping qualities. Dart points would be mounted to the dart foreshaft, which would in turn be connected to the dart shaft. The assembled dart would then be thrown with an atlatl (spearthrower).
Artifact Collection from 14JW304
Date: Unknown
These five artifacts show the variety of the collection from an archeological site in Jewell County. On the top row, from left to right, is a scraper and modified flake made of Florence chert and a biface made of Smoky Hill silicified chalk. On the bottom row, left to right, is a beveled knife, a projectile point preform, and an expanding stemmed dart point fragment, all made of Smoky Hill silicified chalk. Florence chert outcrops in the Flint Hills of Kansas and Oklahoma. Smoky Hill silicified chalk is a good quality knapping material that is exposed in linear beds in northwestern Kansas and western Nebraska.
Artifact Collection from 14MY395
These three artifacts were collected from an archeological site in Montgomery County and donated to the Kansas Historical Society in 1975. The site was listed as an Early Ceramic period site, but with the inclusion of the Historic pipe it shows that people were at the site long after that time period. Shown are a small scraper made on Permian chert, a corner notched dart point made on heat treated Permian chert, and a fragment of a molded ceramic pipe bowl.
Artifact Collection from 14OB302
Sometimes even a small collection of artifacts can help Archeologists learn about what activities occurred at a site. For example, the artifact collection from 14OB302 only contains three artifacts: a flake, an endscraper and a pottery rim. The flake is of Smoky Hill silicified chalk, which outcrops in western Kansas. The endscraper, however, is made Florence chert, which outcrops in the Flint Hills to the east of Osborne county. Finally, a rim sherd from a ceramic vessel was also recovered. The collared rim was cord marked on the exterior and had a series of parallel lines on the interior. Archeologists can use the rim sherd to date the site to the Middle Ceramic period. Perhaps the people at the site used (or lost) the endscraper to process a hide, in addition to making and discarding a large flake of the local material.
Artifact Collection from Rock Creek in Pottawatomie County
These 16 lithic artifacts were donated to the Kansas Historical Society in 1964, sadly, with no further provenience than that they were collected in the 1930s from a site west of Louisville, Kansas, along Rock Creek. The collection includes hide scrapers, knives, and corner notched dart points. Two of the dart points were reworked into another tool, perhaps after breaking. Several of the artifacts show a pink color, an indication they were heat treated prior to their completion in order to make a better knappable chert.
Artifacts from a Lithic Workshop, 14GO405
Shown are some of the artifacts collected from a lithic workshop and donated to the Kansas Historical Society in 1986. Those shown here were all made of Smoky Hill silicified chalk and include scrapers, bifaces, and modified flakes. Smoky Hill silicified chalk is often referred to as Smoky Hill Jasper and numerous other names. The chert outcrops in Gove County and many other western and north central Kansas counties. Shown here are some of the wide variety of colors found in this chert.
Chipped Stone Tool Cache from the Mem Site, 14MN328
These three tools from a cache were excavated in 1986 during a highway salvage project at the Mem site. The three tools were recovered from a large bell-shaped storage pit. Shown here is a biface, which with more work could have been turned into a specific tool, a chipped stone axe, a cutting tool that has two indented areas on either side of the middle where the tool was hafted to a handle, and a large scraper. Archeologists theorize that large scrapers such as this one may have been used when intensive hide scraping activities were occurring. The Mem site, in Marion County, is a Great Bend aspect, ancestral Wichita village. The project was undertaken by Kansas Historical Society archeologists and Kansas Anthropological Association volunteers.
Chipped Stone Tools from the Pratt/Wing Site, 14PT1
Shown in this slide is some of the chipped stone tools that were recovered from the Pratt/Wing Archeological Site. The Pratt site was a Pratt Complex Middle Ceramic Period village in Pratt County. The slide shows an assortment of chipped stone tools including side notched arrow points, drills, scrapers, hafted knives, alternately beveled knives and Harahey knives.
Deer Mandible Tools from the Country Club Site, 14CO3
These two deer mandible tools were excavated from a Great Bend aspect (ancestral Wichita) village site in Cowley County during Phase IV archeological investigations in 1995. One mandible is nearly complete, the other has the horizontal ramus. Both mandibles show signs of modification and polish. The smaller one seems to have been stabilized with a wash of glue. Tools such as these could have been used as hide scrapers, corn shellers, or as an agricultural tool to aid in planting seeds. The site had been much impacted by a water line, golf greens, roads, and highways. Excavations had been occurring at the site since 1916.
Diminutive Scrapers from the Tobias Site, 14RC8
These diminutive scrapers were recovered at the Tobias site in Rice County and donated to the Kansas Historical Society in 2020. Scrapers are used to scrape hides and would have required periodic resharpening. These small scrapers may have had an unknown special use or been made for children's use. The Tobias site is a Great Bend aspect (ancestral Wichita) village that has dense artifact deposits, house remains, and numerous deep trash-filled storage pits. The site is listed in the National Register of Historic Places.
Elk Antler Scraper Handle from the Thompson Site, 14RC9
This elk antler scraper handle was recovered from the Thompson site in Rice County and donated to the Kansas Historical Society in 1963. The elk antler would have been smoothed and shaped and had a hide scraper attached to the base of the tine. A series of incised lines were added to the underside. The site, listed in the National Register of Historic Places, was a Great Bend aspect (ancestral Wichita) village occupied during the Late Ceramic Period.
End and Side Scraper from 14WO306
The scraper shown here was recovered from an archeological site in Woodson County, thought by the archeologist who discovered it to represent a Pomona occupation. The scraper is made of Permian chert and had been heat-treated prior to its completion in order to make a better knappable chert. Scrapers may have been hafted onto a handle and used to scrape hides. They would have required periodic resharpening.
Gravers from the Paint Creek Site, 14MP1
These three gravers, sometimes called perforators, were collected at the Paint Creek village site in McPherson County, Kansas. They were donated to the Kansas Historical Society in 1971. Gravers are a chipped stone tool with a sharp point used to cut softer materials than the stone. These were made on scrapers, originally used to scrape hides. The Paint Creek site is what archeologists call part of the Little River focus of the Great Bend aspect (ancestral Wichita), whose people practiced fishing, hunting, gathering, and agriculture.
Lithic Collection from 14RP313
These chipped stone tools are part of the lithic collection from an archeological site in Republic County occupied during the Middle Ceramic period. Shown here are a side-notched arrow point made of Smoky Hill silicified chalk from western Kansas and Nebraska, a heat treated scraper made of Permian chert, and two pieces of debitage, one of which has also been heat treated.
Modified Bone Tool
Date: 1000 CE-1800
This modified bone tool was recovered from a site in Edwards County and donated to the Kansas Historical Society in 1995. Originally it was likely either a deer or bison scapula that was modified into a hoe. At some point the hoe broke and this piece was then modified into a scraping too, as is evidenced by the beveled edge. The donor of the piece may have varnished the tool. There are also fibers adhering to the back of the tool.
Round Scraper from the William Young Site, 14MO304
Date: 4250 - 2850 BCE
This round scraper was recovered on the surface of the William Young site in Morris County by Kansas Historical Society archeologists. Scrapers such as this one would have been hafted on a handle and used to scrape hides. It would have required periodic resharpening. The William Young site is a Munkers Creek phase habitation site. The Munkers Creek phase describes a stone tool technology restricted primarily to the Flint Hills. During this time most of North America was in a prolonged drought so severe that Archeologists thought people left the Plains. Munkers Creek artifacts show that people stayed, but they may have chosen their habitats carefully.
Scraper form 14GT301
This small scraper was recovered from a Prehistoric camp site on a bluff south of the Cimarron River in Grant County. The scraper is made Alibates Agatized Dolomite, found along the Canadian River in Texas, and a highly prized trade item.
Scraper from 14CW315
This scraper was recovered from a village site in Crawford County. The scraper is made of Permian chert from the Flint Hills region and has been heat-treated prior to its completion in order to make a better knappable chert. Scrapers may have been hafted onto a handle and used to scrape hides. They would have required periodic resharpening.
Scraper from 14DN402
Date: 6000-1 BCE
This scraper was collected from a Middle to Late Archaic period site in Dickenson County and donated in 2005 to the Kansas Historical Society. The scraper is made of Florence chert which outcrops in the Flint Hills of Kansas and Oklahoma. Scrapers such as this would have been hafted on a handle and used to scrape hides. It would have required periodic resharpening.
Scraper from 14ED1
This small scraper was recovered from an archeological site in Edwards County and donated to the Kansas Historical Society in 1995. It likely would have been hafted on a handle and used to scrape hides. It would have required periodic resharpening.
Scraper from 14PT420
This scraper is made of Alibates agatized dolomite from the Canadian River valley in the Texas panhandle. Scrapers such as this would have been hafted on a handle and used to scrape hides. They would have required periodic resharpening. The scraper was recovered in 1994 by Kansas Historical Society archeologists at a Middle Ceramic period Pratt complex village in Pratt County. This scraper suggests either trade with people further south or travel by Pratt complex people to the Texas panhandle.
Scraper from 14TO309
This scraper came from the surface of a Late Ceramic period archeological site in Trego County. It was recovered during the 1997 Kansas Archeology Training Program field school and was knapped of a chert called Smoky Hill silicified chalk. It was likely hafted onto a handle and later used to scrape hides. It would have required periodic resharpening.


text:
Chapter 5: But His Name's Not Tenniel
"Hey Alice! Tell us another story about Wonderland!"
"Yeah, tell us how you murdered all those poor, innocent Card Guards!"
Alice gave the children surrounding her a flat look. "Those 'poor, innocent Card Guards' attempted to stab me or blow me up multiple times," she replied, running the duster over the fireplace mantel.
"Yeah, because you were coming at them with a knife," Elsie pointed out.
"They started it. If they didn't want me coming at them with a knife, they shouldn't have attacked me as they did with their staves."
"Who tried to do what?"
Alice looked over to see Victor standing just inside the door, his sketchbook tucked under his arm and an inkwell and quill in his hands. "What are you talking about?" he continued with a puzzled frown.
"Didn't you know? Her own head tried to kill her," Ollie spoke up before she could say anything. "Loads of times."
"Yes, and I think this lot likes hearing about me nearly getting exploded or decapitated or shot," Alice said, folding her arms and regarding the children gathered around her coolly. They just smiled at her, all innocence. "But one must give their audience what they want. What brings you out here?"
"I thought I'd try to draw something," Victor said, holding up the quill. "I don't think I'll find many butterflies in London, so I was going to make do with objects about the Home first. . . ." He shrugged with his free shoulder. "I can leave if I'm bothering you."
"They're the ones bothering me," Alice said, waving a hand to encompass the crowd of children. "You can stay and draw whatever you like. Besides, I probably won't even notice you're here. If I don't tell them a story, they'll never let me be."
"Yes, because you're so intent on finishing the dusting," said Abigail, rolling her eyes.
"If it wasn't for me, you'd live in worse squalor than you already do," Alice retorted. She put down the duster and leaned against the fireplace. "So – you want to hear about me versus the Card Guards, hmm?"
"You versus anything," Reggie said. "Tell us about fighting the Army Ants – you never talk enough about them."
"All right. I hope you don't mind hearing about slaughter while you're trying to draw," she added as Victor sat down at the table at the other end of the room. She couldn't imagine he'd enjoy hearing about her cutting a bloody swath through Wonderland. Poor man would probably get sick.
"I can tune things out when I'm drawing," Victor replied, flipping open his sketchbook. "Don't let me interrupt you."
Well, she'd given him fair warning. If he got ill, it was his own fault. Alice turned her attention back to the children. "So – after gulping down the Drink Me potion the Mayor Elder had gifted me with and leaping through the tiny, mysteriously-convenient portal in the Skool's Observatory, I found myself in the Vale of Tears, no larger than your average beetle. It was a dull and dreary place indeed – all the world except the two feet directly in front of my nose was completely swallowed by grey mist. Have you ever seen anything like that?" The children shook their heads. "It's the most disconcerting thing in the world. You feel like nothing exists until you actually run into it – and even then you're not sure. If I hadn't been so determined to find Rabbit, I don't think I could have brought myself to move. As it was, I wandered about in the grey for a while, wondering just how lost I was getting and if I'd ever see any signs of life beyond the occasional droopy flower ever again, until I found myself at the base of a huge waterfall – well, huge by the standards of insects," she amended. "It was probably nothing but a tiny trickle down a minuscule crack to normal humans. But to me it was taller than the tallest buildings of Europe or America. And of course, I managed to catch sight of none other than that dratted White Rabbit mere seconds before he darted into a hole that's promptly blocked by a falling boulder. As usual, I'm forced to take the long way. . . ."
The children stood in front of her, rapt, as she told them of her long struggle up the face of the waterfall – dodging the boulders the Ants sent tumbling down at her at every turn, leaping from ledge to crumbly earthen ledge with nothing to save her from the deadliest of drops but her own meager arm strength should she miss, and avoiding the attentions of the curious Mechanical Ladybirds with their devastating payloads. "I think the tiny regiment of three were shocked to see me reach the top in one piece," she commented. "Not that it stopped them from trying to snip me in two with their mandibles once I got up there. I returned the favor to the first Ant with my Vorpal Blade, slashing through his thin neck and sending his head toppling over the side into the abyss. His brother-in-arms sought to avenge him by stabbing me with his bayonet – I blocked him with the Blade, then beat him senseless with my Croquet Mallet. Well, rather more than senseless – it took me a moment to realize the only reason he was still twitching was because of the constant stream of electric shocks my Mallet was assaulting him with. The third wisely stayed on his side of the river and relied on his marksmanship to fell me. Unfortunately, he was a very poor shot, and I pelted him with my Cards until he was the one lying in twain in a pool of his own green blood. Even if I hadn't had to go wading upstream to continue my journey, I probably would have done so anyway. After that fight, I was absolutely covered in guts and gore. And the green didn't go nearly as well with my dress as the red blood of the Card Guards did."
The children grinned and giggled, eating up the description of the pain and suffering of her enemies. Alice had learned early on that they enjoyed hearing every gruesome detail of her adventures – maybe because listening to the agonies of others distracted them from their own. At least it made them a receptive audience. She continued on, telling the children about the Pool of Tears and the shell-less Mock Turtle, and about the horrific leaf ride he'd led her on down the rushing streams. She vaguely noticed Victor looking up from his doodling to watch her about midway through the story, then turning to a new page in his sketchbook, but she didn't think anything of it. "And what do you think was waiting for me right after Mock floated on ahead? Another bloody drop! I just barely leapt to safety on dry earth. Well, I say safety – there were two Ants waiting there for me, muskets at the ready. Fortunately we had a rock between us I could dart behind and avoid their shots."
"What did their uniforms look like?"
"Blue shirts, with three gold stripes at the end of the sleeves and gold epaulets on the shoulders," Alice replied – then blinked. Wait, that hadn't been one of the children. She looked up to see Victor hunched over his sketchbook, quill waving as he scratched away. "Why do you want to know?" she added.
"Hmmm?" Victor continued scribbling for a moment, then blinked and raised his head as the question registered. "Oh! Um – w-well. . . ." He glanced at the sketchbook, then sat up and turned it so it was visible to the crowd. Curious, Alice went over to see what he'd drawn, the children trailing after her.
Her eyes went wide. Before her, laid out in sharp black ink, was the scene of a vicious battle. On the one side was an enraged Army Ant, wielding a bayonet with deadly efficiency. On the other – was herself, fending off his attacks with her Vorpal Blade, brow creased in lethal concentration. Just like at the top of the waterfall, she thought, the scene replaying itself in her mind. Granted, Victor hadn't gotten it quite right – the Alice on the page was attired in her London clothes, and the ant's uniform wasn't yet complete. But the movement, the weapons, the furious look in their eyes – it was almost like he'd been there. I'm not that good a storyteller, am I?
"Wow," Ollie whistled, impressed. "You're good."
"Lots of practice, I assure you," Victor said with a shy smile. Turning his gaze to Alice, he added, "I just couldn't help but get caught up in your story. And drawing Army Ants and Vorpal Blades seemed so much more interesting than half-empty bookshelves. . . ." The smile faded. "But if you don't like it, I can get rid of it. No trouble."
"No, don't," Alice said immediately, shocked he'd even consider destroying such a piece of art. "It's amazing. How did you draw the ant so well? I half-expect to leap off the page."
Victor chuckled. "Butterflies may be my favorite object of study, but I like all insects. I've made quite a few drawings of ants before." He turned the sketch back around. "Never clothed, though," he admitted, adding the epaulets to the Ant's shoulders. "You're sure you don't mind? I'd hate to think I was intruding on your world."
"They draw scenes from my Wonderland all the time," Alice said, jerking her head toward the children. "They're not half as good as you are." She ignored the dirty looks this prompted from Reggie and Abigail, intent on watching Victor.
"As I said, I've rather more experience with a pen." He finished the epaulets and glanced up at her. "Is that right?"
"Almost. There's a stripe on the collar about halfway up. . .yes, just there," she nodded as he added the final detail. "That's perfect."
"Are you gonna put it on your wall?" Abigail asked.
"If he'll let me," Alice said, giving Victor a hopeful smile.
"Oh – y-yes, if you like it that much. . . ." Victor added his signature to the bottom, then carefully tore the picture free. He presented it to her with a little flourish. "All yours."
"Thank you very much," Alice said, taking the sketch and looking it over again. It was astonishing how well he'd managed to translate her words into visual form. "If I ever decide to write a book, I want you to be my illustrator."
Victor blinked. "I'm – I won't say I don't have talent, but–" He looked down at his hands, then back up at her. "That's not something I've ever considered. At least, not for fictional books. I've always sort of wanted one of my scientific drawings published. . . ." He twisted his fingers together. "Do you really think I'm that good?"
"Better, honestly. I've seen some truly dreadful picture books. You should consider it, if you ever decide you want a job in something other than fish." Alice glanced back at the children. "I think that's enough story time for now."
"Aww, but you haven't told us how far you got down the river," Reggie complained.
"I'll tell you more after lunch, if you like. I want to hang this up – and I need to finish the dusting before Dr. Bumby complains."
The children grumbled, but dispersed, going to play with the toys scattered around the room. Victor stood up. "Er – can I get you the pins?" he offered.
"That would be nice – if you knew where they were," Alice pointed out, smirking playfully. "You can hold onto it while I get them and help me find a good place to hang it." She handed him back his sketch. "Go wait for me in my room. I expect you can find it, given that it's right next to yours. I do hope your head doesn't pop from entering it without a chaperone to watch over us," she added, bracing herself for the flustered fuss that was sure to follow. After all, if he'd been that embarrassed to find her in her nightgown once. . . .
To her surprise, Victor smirked back at her. "Oh, you needn't worry. I've already been in Victoria's room unchaperoned – and uninvited. Well sort of. . . ." he amended, fussing with his tie a little. "The point is, I know it's not the end of the world."
". . .You, of all people, invaded a lady's bedroom," Alice said, completely thrown. "When did you do that? The five seconds you had alone together before the rehearsal?"
"No – I was trying to get some help with Emily at the time," Victor explained. "I'd asked her to bring me back to the Land of the Living to meet my parents, hoping they could help me explain how I hadn't meant to marry her. I expected to find them at the Everglot mansion, but our carriage was missing, so I went to the front door to ask the Everglots. However, I overheard them talking about me on the other side, and they seemed rather – u-upset, so, out of desperation, I climbed up to Victoria's room to seek her aid. She did invite me in, but going behind her parents' backs probably negates her permission. . . ." He shook his head and sighed. "And it didn't make any difference in the end anyway. In trying to lead up to my situation gently, all I did was ensure Emily caught us together at the most inconvenient moment possible."
"What, did you go the extra mile and kiss Victoria?"
". . .Almost the most inconvenient moment possible," Victor corrected himself. "I spotted her climbing over the balcony just before my lips touched Victoria's. It's good that I did, too – she was upset enough with me after discovering Victoria without that."
"And for good reason – why didn't you ever tell her that you already had a fiancee?" Alice had to ask, rocking back on her heels.
"Because, as Lord Everglot liked to say, I can be a real ninny," Victor muttered, cheeks flushing as he looked at the floor. "I suppose I can blame being in shock at first – suddenly having a woman rise from the dead in front of you and drag you down to the Underworld would addle the best of people. But after hearing Bonejangles's song, about how she was betrayed by someone she loved. . .the obvious answer seemed far too cruel. How on earth do you politely tell someone, 'I'm terribly sorry, but I thought your hand was a twig?'" His hand founds its way to his tie again. "It's pathetic, really. . .in trying not to hurt her feelings, I think I caused her the most pain I've ever caused a person."
He looked exactly like a kicked puppy, Alice decided. Her heart went out to him despite herself. Perhaps the incidents he mentioned were all the products of a sick, deluded mind, like everyone else thought they were, but still. . . .
"An imaginary wound is still a wound," a smooth voice said, and she looked over Victor's shoulder to see a familiar blood-flecked smile grinning at her. "You should know that better than most."
"Oh, shove off," Alice snapped, waving her hand irritably at the grin.
Victor's head snapped back up, his eyes wide with shock. "B-beg pardon?"
"Not you," Alice assured him. "Just one of my imaginary 'friends' interjecting on the situation." She gave the smile a glare, and it faded away into nothingness. "Speaking of which, I can see how trying to tell someone you thought they were a harmless branch would be difficult. On the other hand, it would have saved you a lot of trouble."
"Yes," Victor agreed with a sigh. "But I can't go back and change the past. And considering the end she got, I'm not sure I'd want to. Everything we went through led to her finding her peace. Isn't that more important than what happens to me?"
"Not being an expert on theological matters, I couldn't say."
"Are you two just going to stand there forever, or are you actually gonna hang up that picture so we can have story time later?" Elsie called from across the room.
"For that, you can wait until I've polished the knick-knacks before hearing anything else," Alice shot back, eliciting a chorus of groans. "She has a point, though – let me go get those pins." She turned away and headed into the hall. Well, she thought, shaking her head. I would have never suspected him of sneaking into someone's bedroom, no matter the situation. He was so nervous and shy when he first arrived. . .how many more surprises does he have in store for me?
She located the pins and went to her room. Victor was standing just inside the doorway, looking at the collection of pictures on her wall. "Are all of these from the children?" he asked, his eyes traveling over images of murderous chessmen, demented hatters, and card guards being messily dismembered.
"A couple," Alice said, feeling a flicker of embarrassment. "The majority are ones I've drawn myself. My skills don't quite match up to yours." Though they used to – whatever happened to that talent I displayed at Rutledge?
"They're all very – bloody," Victor said, glancing at her.
"That's what Wonderland was like at the time," Alice replied, taking his sketch and looking for an appropriate section of wall to stick it on. "I told you it didn't take well to me going mad. I had to fight my way across it to try and earn my sanity back. Which included being forced to kill a few old friends. Didn't that story of mine give you a clue?"
"Er – I suppose," Victor whispered, grimacing at the pictures. "T-that must have been terrible."
"It certainly wasn't fun," Alice agreed, finding a spot above her bed. "But I persevered in the end." She stretched herself and laid the drawing flat. "Hold this in place, will you?"
Victor obligingly set a hand against it. As Alice pinned the corners, his gaze drifted to the photograph hanging nearby. "Is that your family?" he asked.
Alice nodded. "Mama, Papa, Elizabeth, and me," she said softly. "Some anonymous person sent it to me. I wish they'd put a return address – I'd like to thank them. I think every other memento I could have had of my family burned in the fire. Except for my favorite toy rabbit, but that's been missing a – a long time." And when I find out who stole it from my room at Rutledge. . . .
"I'm sorry to hear that," Victor said, voice low and sad. He leaned closer, examining the image of Lizzie. "You look rather like your sister."
"I suppose I do," Alice admitted. Unconsciously she hugged herself. "I'm older than she was when she died now. I always threatened her that one day I'd be the older sister. . . ." She looked away, feeling tears pricking the corners of her eyes.
As usual, Victor's tie was the victim of his feeling awkward. "Ah – i-is there anything I–" he started.
Alice shook her head, getting control over her emotions. "Unless you can raise them from the dead, no. I'm fine, I really am." Maybe if she said it enough, it would end up being true. "You know, technically you drew me all wrong," she added, wanting to distract him from her moment of weakness.
"Did I?" Victor looked back at the sketch he'd made. "I thought it was a pretty good likeness. I confess I've never been as good with people as I am with insects, though."
"Oh it's a fine likeness – of me here," Alice said. "But I look a bit different in Wonderland. Longer hair, nicer clothes – prettier overall."
"Oh, I see," Victor said with a half-smile. Then, with a little wince, he hastily added, "Er – not to imply you're not pretty here, of course."
"You didn't insult me," Alice assured him, smirking. There were the nerves she found so hilarious. "I know I don't have the best looks." She fingered her tangled hair. "Ten years in the looney bin will do that to you."
"Yes, but –"
Why did he constantly cut himself off? "Yes?" Alice prompted.
Victor hesitated, then looked her full in the face. "Do excuse me if this is too forward – but you've got the most gorgeous eyes I've ever seen."
She hadn't expected that. She'd expected more flustered half-sentences, a generic declaration of loveliness that she could easily dismiss. Not something that sounded so sincere and sweet. "Is that why you kept staring at me when we first met?" she asked as she tried to work out what one did with a genuine compliment.
Victor nodded, twisting his tie some more (he was going to rip it in two if he wasn't careful). "I'm sorry, it was quite rude of me, but – well, I've never seen eyes quite like yours before. Any color beyond deep blue or brown is a rarity in Burtonsville. The green you have is just so – vibrant." He shrugged, giving her a tiny smile. "I like it."
. . .She was blushing. She did not like feeling awkward like this. And yet, she couldn't really be angry with him. What sorcery was this? "T-thank you," she said, hating that little stutter. That was his thing, damn it. She forced herself back under control. "You've got rather unusual eyes yourself. I was wondering if you had anything but pupil."
Victor let out a weak laugh. "Family trait."
"Is it also a family trait to be skinny as a rail and so pale I doubt you've ever seen sunshine?" Alice asked, folding her arms. She knew she was leaning toward being nasty, but she wanted him to pay for that blush.
Victor, however, didn't seem to notice – he merely nodded. "I'm every inch a Van Dort in that respect," he said, smoothing out his tie. "Though even Father says I'm the most extreme example in a while. Except in height."
"I disagree – you've got a foot on me if you've got an inch," Alice said, looking him up and down. "How tall are you?"
"Six feet, three inches. But I promise you, that's just about average for my family – for Burtonsville in general, really. We're almost all very tall or very short. My great-grandfather Horace Van Dort was seven feet tall."
"Seven!" Jealousy welled up within Alice – she'd always wanted to be even a half-inch taller. Why was it some people got all the luck? "You're a family of bloody giants. Or, well, you would be if you had the muscle to go with your absurdly tall frames. I'd ride around on your shoulders so I could tower over everyone else if I wasn't afraid your spine would break under even my undernourished weight."
Victor laughed. "I'm sorry to disappoint. Though I suppose you could try if you liked. . . ."
Alice shook her head, amused again. "No – thinking about it, I'd bang my head on every doorframe." She glanced outside. "You should probably go get your sketchbook. I wouldn't be surprised if some enterprising child has decided to doodle in it by now."
Victor somehow managed to turn whiter than he already was. "Oh no!" He bolted out the door, nearly tripping in his haste.
Alice drew back a step, surprised by the look of terror on Victor's face. Was it really so horrible if one of the children added their own special touch to his sketchbook? Then again, she wouldn't exactly be happy either if someone drew all over her pictures, crude as they were these days. And the children did like to tease him about his reasons for being here. They'd probably draw something disgusting in it just to rile him up. She hoped he saved it before that could happen. Nobody deserved something like that memorialized in one of their prized possessions.
She turned back to the sketch now hanging on her wall. He really did have talent. She could practically hear her Vorpal Blade clanging against the Army Ant's bayonet, and feel the breeze ruffling her hair and skirts. She reached up and brushed her fingers over the ink Alice. Seeing her London self in battle. . .she liked it. It made her feel – powerful. Like she was just as capable of fighting, of surviving, as her Wonderland self was. That was a feeling she hadn't had since she first left Rutledge. It was good to have it back.
She saw Victor pass by out of the corner of her eye, clutching the book to his chest. "Did they get at it?" she asked.
Victor shook his head. "Thankfully no. I've got some important sketches in here."
"Good." She paused, then on impulse added, "You know, if you want to hear some more stories of Wonderland, all you've got to do is ask. I don't mind telling you. Especially if you favor me with some more drawings."
Victor smiled. "I'd be happy to draw more pictures for you. Wonderland sounds like an amazing place. Dangerous, but amazing."
"It is," Alice said, feeling a pang of longing. She missed her childhood dreamland a lot. Even if large parts of it had tried to kill her on her last visit. The Village of the Doomed, the Pale Realm, the Wonderland Woods. . .even at their absolute worst, they were more interesting than dull and dirty London. Maybe – maybe she should try to make another daydream trip there. . . ?
No. That would be counterproductive to convincing the world she was well and could stand on her own two feet. Better to keep it to stories – no matter how much it hurt to abandon her old friends. They were probably happier without her anyway, considering most of them had ended up dead for a while thanks to her. And besides, she thought, frowning at another grin that flickered briefly into existence, they know where to find me if they must have my company. "I'll have to tell you about the days when it was simply amazing."
Victor nodded. "I'd like that." He continued on into his room, apparently to store the sketchbook somewhere safe. Alice watched as he closed the door behind him, then turned one last time to his sketch. Earlier, she'd thought he would just be fun to have around, to tease every once in a while. Now, though. . .
Now she was wondering if she might actually get a friend out of all of this.
On To Chapter Six --->
<--- Back To Chapter Four


text:
Meet Alee
Commission Samples
Art with a Cause
"As an artist, I am driven by the joy my work offers to others. I enjoy seeing the world through a different lens as I paint—one that reminds me of the intricate and often unseen beauty that constantly surrounds us. I hope to share the same perspective with others through each stroke of color and composition I create."
Alee Johnson Halsey is an artist that has been sharing her creations with others since childhood. What began as personal gifts to friends and family has matured into a full-fledged business over the past eight years. Her love for the outdoors and travel translate to the canvas when she explores landscape en plein air or draws upon natural imagery and travel experiences to create abstract works.
She enjoys taking an impressionistic approach to subject matter, and has a keen appreciation for emphasized color, expressive strokes, and tactile elements that she feels enhance the experience of art.
Alee graduated from Washington and Lee University with dual bachelor's degrees in Studio Art and English. She gains endless sources of inspiration for her work from the Blue Ridge Mountains all the way to the crystal coast beaches in her home state of North Carolina. Alee's current studio residence is in Charlottesville, Virginia.
© ALEE JOHNSON 2016 – UNAUTHORIZED USE AND/OR DUPLICATION OF ART BY ALEE WORKS WITHOUT EXPRESS AND WRITTEN PERMISSION
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Hannah Beck
Featured Musician
By Evan Gillespie
When 20-year-old singer/songwriter Hannah Beck won the top prize at this summer's Sonshine Festival tournament, a nationally recognized Christian music competition, it was merely the latest milestone in a professional music career that had already been rolling for half a decade. When Hannah was 15, her pastor asked her to perform an original song in church each week, and the young writer found herself on a path that came as a bit of a surprise.
"I think back then music was more of a pipe dream to me," she says. "I've always been a girl with multiple interests. Even now, I constantly am adding new hobbies and topics to my repertoire of research projects and library book lists, but music still remains my go-to and longest constant."
Pipe dream or not, there was no denying that music was very important to her, and she seized the opportunity given to her by her pastor to use her songs to make a difference.
"At 15, music played multiple roles in my life. It was my constant companion, [my] diary and the way I'd release and express emotions," she says. "Music was my avenue to dream and imagine beyond what was in the here and now. So, through that, I would dream big. I wanted to learn how to be better and excel further. Any opportunity that came to share [my music] was a privilege. It meant that I could give life to my most recent beloved piece in front of an audience and hopefully impact someone with what I'd written. In those moments, my scribbles on notebook paper felt like something bigger than me, and that's exactly what I wanted."
She continued to play and sing, but the on-stage aspect of her music proved to be a challenge for a young performer who was still not quite sure who she was.
"I don't think my goal has ever been to be a 'professional singer,'" she says. "I love to write and play, don't get me wrong, but being on stage, conversing with people and engaging the crowd are not my strong suits. Those are definitely areas I am continually having to push myself to grow in."
Her inexperience came to the fore when she went into the studio to make her first recordings : two EPs and 2013's full-length album, Lost in You. The songs on those records are the work of a young writer who hadn't yet seen much of the world. And yet, Beck finds value in the naivete of those years.
"Lost in You was a compilation of my first two EPs," she says. "I came into the studio at 16 to roll out my first set of tracks completely unlearned and fresh to the process of indie music. At the time of [the first two EPs], I came from a rather sheltered environment, so my knowledge of pop culture was pretty embarrassing. I think that was good, though. Growing up without being tainted by the outside world gave me a chance to build a foundation for depth and songwriting through experimentation."
The process of recording, too, helped Beck to grow and to develop realistic expectations for her music.
"Looking back," she says, "I would think that initially I was pretty naïve with any goals I had. As with any musician, I think everyone walks into the studio for the first time wanting to record their project and just suddenly make it. It's natural. You fall in love with your craft regardless of how radio-worthy or well written it is, and you just expect everyone else to be mesmerized with it, too. Especially on first projects, I think it can be a night and day difference from when you begin the process to the time you come in for your next album in vision."
That complex maturation process, Beck thinks, resulted in an album, this year's Written on You, that is richer and more in touch with the broader world.
"Fast forward two years from the release of Lost in You," she says, "and I would say that the Lord allowed me to embrace culture at an excellent time. Written on You is a totally different take on songwriting and faith than any other project I'd ever done. It came out of more life experience and awareness of people and their struggles."
And she must be right. When she took the stage at the Sonshine Festival in Somerset, Wisconsin, this year, something clicked. Of all the acts that participated in the festival's music tournament, the judges liked her best.
"Sonshine Fest was an incredibly humbling event for me," she says. "Festivals haven't necessarily been my target audience. We've discovered that my niche is in more intimate settings such as churches or conferences where I can spend time being more faith-based and explanatory in my sets. Festivals are all about the performance. People come to get a good show, and going into this one, we practiced a lot."
Once again, Beck was surprised by her success.
"When I found out I'd won, I was amazed," she says. "You never know what the judges are looking for in these competitions, and I was up against people from nearly every other genre imaginable. It was an excellent chance to practice being on a legitimate stage, but I didn't expect to walk away with the win."
When asked about the future of her music career, Beck is humble and resolutely down-to-earth.
"There is no guarantee of further growth; it's all one great big unknown," she says. "I find myself deliberately wanting to choose contentment with where God has chosen to put me for now and do my best not to become enslaved by always wanting more. My goal isn't necessarily to be the next big thing if that's not what God would choose."
And the young woman who's always devoted herself to many interests refuses to confine herself to a narrow career path.
"There are a lot of avenues alongside my music that I am pursuing," she says. "I am planning to launch an online support group for Christian women struggling with women's health challenges and infertility. I'm hoping to take my daily radio show/devotional, Blessed Womanhood, and expand to a few more stations. There are several writing projects underway that I hope to have available down the road."
Still, no matter where she goes next, it's clear that music will always be there by her side.
"Music is definitely a road that I'm destined to walk down in one facet or another," she says. "It's been a pivotal part of my life since before birth, as my mother will tell you. I can't help but want to impact people through song. How, specifically, I do that will really depend on the season of life I'm in."
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Vidal Sassoon (U.S. and U.K.), Toni & Guy (Santa Monica and Dallas) and Bumble and Bumble Academy (New York).
I have 30 years experience in the business, the last 20 of them at Joshua Christopher Salon. I have spent the last 5 years as creative director before partnering with Chris Nunez to open Armando- A Joshua Christopher Salon. I am a Wella Master Colorist and a B&B Master Stylist.
My vast experience will help steer each client to the correct color, cut, and style for their individual personality and lifestyle. Most important is having fun while doing it!


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There is every reason to believe that van Gogh suffered from a focal epilepsy accompanied by simple focal and complex focal seizures.
Even if all van Gogh's unexplainable and 'strange' behaviour cannot be interpreted as symptoms of epilepsy (as has often been rashly attempted in many works about the painter's illness and in descriptions of his short, and apparently hectic life), there can be no doubt that van Gogh suffered epileptic seizures at irregular intervals in the last two years of his life.
Of course, the etiology of his epilepsy can no longer be definitively ascertained. It was probably a symptomatic type of epilepsy. A difficult, protracted birth, pronouncedly abnormal behaviour in childhood but normal intelligence, and focal and possibly also secondary generalized epileptic seizures pointing to the temporal region as the focus of the epileptic activity: these mosaic stones fit together to make a picture of a residual epilepsy after cerebral damage caused in early infancy.
Perhaps there was also a genetic tendency to epilepsy in the family: there are indications that van Gogh's mother's sister, his brother Theo, and his nine years younger sister Wilhelmine also suffered from epileptic seizures for a time.
As already stated, van Gogh did not suffer from epileptic seizures until the last two years of his life, in what was remarkably his most artistically creative phase.
It will never be known in how far the therapy-resistant seizures played a role in van Gogh's decision to commit suicide. However, the painter's letters reveal that his seizures were a source of great suffering for him.
His last words, spoken to his brother on his deathbed, enable us to guess some of the tragedy he himself felt about his life which had been so full of misfortune and disappointment: 'Sorrow is eternal'.
Poster by the Epilepsy Foundation of America.
The poster shows the picture 'Bank of the Oise at Auvers', which Vincent van Gogh painted in July 1890, shortly before his death.
In the last two years of his life, van Gogh suffered repeated epileptic seizures.


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Home > Dodgers > An Overview of the Dodger's Season and The Way Forward
An Overview of the Dodger's Season and The Way Forward
Scott Andes October 20, 2020 Dodgers	1
In 2020 the Los Angeles Dodgers began their 131st season as a member of Major League Baseball. The first 68 seasons were played in Brooklyn before moving to Los Angeles in 1958. The Dodgers entered the season coming off seven consecutive NL West Division titles and 106 wins last year, yet haven't won a World Series championship since 1988.
Entering spring training there was high hopes for the Dodgers this season, then on March 12, the MLB announced the start of the season would be delayed due to the COVID-19 pandemic. Initially thought to be a two-week delay turned into months and finally on June 23, a 60-game schedule was implemented by commissioner Robert Manfred. While a 60-game schedule was more like a sprint than a marathon, Major League Baseball would be played.
The Dodgers schedule began against the Giants and they started the season with a 2-2 split against the Giants before winning eight of their next 10. After dropping three of their next four, including two against divisional rival San Diego, the Dodgers went on a tear, winning 19 of their next 22. Their 30-10 start tied their best 40-game start in history of the franchise. In addition, it was the best start in all of Major League Baseball since the Mariners went 31-9 in 2001. All told, the Dodgers cruised through the rest of the season and finished with the best record in the league. Their dominance was displayed in all aspects, leading the league in both runs scored and fewest runs allowed.
In the NL Wild Card round, the Dodgers defeated the Brewers in two games behind the strong pitching of Julio Urias and Clayton Kershaw. They outscored the Brewers by a combined total of 7-2. Although the Padres had a strong regular season with 37 wins, they were no match for the Dodgers in the Divisional Series. Los Angeles swept the Padres in three by a combined score of 23-9. Urias, Kershaw and Dustin May recorded the wins. On to the NLCS and the Dodgers faced the Braves. Struggling much of the beginning of the series, the Dodgers lost three of the first four, with their only win early in the series being a 15-3 thrashing in the third game. Urias got the win in that one, with losses to Kershaw, Blake Treinen and Tony Gonsolin in the other three. After being down 3-1 in the series the Dodgers stormed back to win three consecutive games to capture the NL Pennant.
The Dodgers fielded the following starting lineup for much of the season: Will Smith at catcher, Max Muncy at first base, Chris Taylor at second base, Corey Seager at shortstop, and Justin Turner at third base. In the outfield was Joc Pederson or AJ Pollock in left field, Cody Bellinger in center field, and Mookie Betts in right field. The starting pitchers were Clayton Kershaw, Dustin May, Julio Urias, Tony Gonsolin, Walker Buehler, and Ross Stripling. Kenley Jansen was the closer out of the bullpen.
Statistically speaking, Mookie Betts and AJ Pollock led the team with 16 home runs, followed by Corey Seager with 15. Seager led the team in RBI with 41, followed by Betts with 39. Seager also led the team in hits with 65 and batting average at .307. On the mound, Kershaw led the team in wins (6), innings (58 1/3), strikeouts (62) and ERA (2.16). Kenley Jansen led in saves with 11 while posting an ERA of 3.33.
NLCS Game 7: Dodgers Complete Incredible Comeback To Win National League Pennant
World Series Game 1: Dodgers Open With Convincing Win
Could Andrew Toles Bat Lead-off in 2017?
Yasiel Puig is Heating Up, and He's Attracting Heat. Look Out!
More Than a Trayce of Walk Off Goodness Defeats Rockies 4-3
One thought on "An Overview of the Dodger's Season and The Way Forward"
Amazing season. Really surprised me that they basically dominated all comers. Yes, I do expect perfection every time they take the field. I'm just a World Series Championship starved Dodger Fan. This could be the year, for sure!


A little over a year ago a young, white male walked into a predominantly black church for a Wednesday night service/prayer gathering. He sat with a group of black worshippers for over an hour. After some time, he chose to shoot the ten people there, killing nine of them. This event shook me. It shook a community. It shook a city.
For someone who is not familiar with the church, there are two important pieces of this setting that I need to shed light on. First of all, Wednesday night services at the church tend to be more casual services than your traditional Sunday service. There are common prayers and scriptures that stay true to the rituals of a Christian service but there's a different vibe in the air of a Wednesday night service. The gathering tends to be more unstructured and revolve around the current mood of the facilitator. If the priest or elderly woke up thinking about grace or forgiveness or doubt, that's typically what gets brought up in Wednesday night services. They've always felt more raw to me. Less rituals and routines and more feelings and desire, which I find more beneficial in helping to understand and learn from one another.
The second important aspect for you to understand is the culture of a black church. In my later childhood years my mother decided to take us to a new church on the other side of town. I remember the feeling I got when my family of six walked into this predominantly black church. First, I remember thinking that I was incredibly underdressed. Think Kentucky derby hats, dresses and suits: bright, bold and exquisitely matching. I'm pretty certain we were in jeans, which immediately gave me anxiety and a rush of awkwardness. I tried to sit as quietly as possible as the congregation loudly sang hymns from the 'African American hymnal.' I wasn't even aware that an 'African American hymnal' existed until that day. So this young girl in jeans and a t-shirt (Me) sat quietly and tried to stay as undercover as possible praying for the service to end so I could tell mom that it was a little weird she brought us to this church across town. Then something happened that I will absolutely never forget.
The priest announced that it was time for the 'peace'. The time of peace in the church is the time that the congregation wishes each other 'God's peace' or 'peace be with you.' This tends to be just your direct neighbors in the pew, so no more than 2 or 3 people. You shake Bob's hand or Lisa's or Kate's and say 'God's peace' or 'peace be with you'. Simple, awkward, and routine for a Sunday service. Since there are 6 people in my family, and we usually take up an entire pew, I've gotten used to selfishly keeping the 'God's peace' between my siblings, my parents and myself. This all changed on that day at St. Philips.
"Peace be with you. And also with you" rang out and prompted the peace of the congregation. Per usual, I turned towards Cassidy (my twin sister) and said 'peace be with you, loser'. Just as I started to lean towards my older sister, Jessica, I noticed that the entire congregation was filing out of their pews. What were these people doing?! One by one, the people of St. Philips' church began walking around to each pew and each person. Before they could say any words of peace they had their arms wrapped around you in a hug. While wrapped in their arms they'd say, 'Peace be with you my child.' There was one woman in particular that I remember from that day. Her name was Annette and she was a larger than life lady who wore a bright lime green hat that matched her patterned bold pink dress. She swallowed me in her hug like a boa constrictor wraps around their prey. She loudly said, 'God's peace baby. Y'all better be staying after the service for some lunch because Aunt Annette cooked something special for today.' Random side note: under no circumstances should you ever refuse the offer of a large black woman's home cooked meal.
So after the service we walked into the church's small foyer area and were lovingly ambushed by the church's members. Still to this day it's the best fried okra, Mac and cheese, fried chicken, and collards I've ever eaten in my life. The car ride home was quiet, as we suffered from food coma symptoms. We were full; full from southern home cooked food, full of love, and full from a delivery of God's peace that I didn't know existed. This fullness continued throughout our time at St Philips. I'd like to think I've experienced what might be considered 'God's peace' many times in my life, and I can tell you that Aunt Annette's hugs are one of those gifts of peace.
I tell you this story because there is great value in understanding the culture of the black church community in order to wrap your head around the June 16th tragedy. Because I'm certain that there was an Annette in that pew. I'm sure she stood up and she wrapped her arms around that boy and she wished him God's peace, just like she's done many times in her life. Because Annette is not a rarity in the black church, she's the foundation. She's the strength, love, forgiveness, and hope that are rooted so deeply in the black church. And when that boy killed those nine beautiful, black people in the Emanuel AME church a year ago there was only one reaction I should have expected to arise from that community. The people of the AME church are loving. The people of the AME are forgiving. The people of the AME church are strong. And that's how Charleston became strong. The Emanuel AME church made Charleston strong.
Viktor Frankl, in his memoir about his time as a prisoner in a concentration camp, wrote 'Between stimulus and response there is a space. In that space is our power to choose our response. In our response lies our growth and our freedom.' This was a hate crime against you and your community. The real tragedy is the familiarity of these events. That hate crimes continue to happen in every community. You chose your freedom by responding with love, forgiveness and strength. May we all choose that path. It's the path that will lead to the burial of hate.
Excluding Christmas and Easter with the family, I have not walked into a church on a Sunday in years. I can't seem to find a church community as welcoming, loving and forgiving as St Phillips. I am humbled and grateful to have been raised in that community. Thank you for making Charleston strong. Thank you for making me strong. Stay strong. Thank you for guiding us, AME.
For more information about this article, contact the church.


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Q: How to specify in Gemfile a .gemspec located in a subdirectory of a Git repository I forked the spree repo on github and I would like to specify in the Gemfile of my rails app a gem that is located in the core subdirectory of the main repository.
The folder structure of the repository is the following:
|~spree                   [git root]
| |-spree.gemspec         [spree gem located here]
|~core
| |-spree_core.gemspec    [spree_core gem located here]

In other words, I would like to do something along these lines:
gem 'spree-core', :git => 'git://github.com/spree/spree.git'

The problem is that I'm getting the following error message when I try bundle install:

Could not find gem 'spree-core (>= 0)' in git://github.com/spree/spree.git (at master).
  Source does not contain any versions of 'spree-core (>= 0)'

A: What you can do is create a repo that only contains the core subdirectory and associated spree_core.gemspec file. This will lead to a slimmer installation as well. You can also grab the contents of the directory to bundle with your app and distribute it like this:
gem 'spree-core', :path => 'vendor/gems/spree/core'

The ability of bundler to install from a git repository appears to be somewhat limited according to the documentation where it is expecting spree_core/spree_core.gemspec and not core/spree_core.gemspec instead.
This oversight on the part of the gem creator is common since most do not expect people to be installing anything other than the officially published gem. At least it's nice that the .gemspec file is available as some projects don't even include that much to the dismay of many.

A: This came up first on a google search and the answer given either was never correct or Bundler's changed it's behaviour.
In the OP there was a spelling mistake and the error seems consistent with that being the original problem. Specifically spree-core should not have been hyphenated.
The following should work fine:
gem 'spree_core', github: 'spree/spree'

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Gary has his Bachelor of Fine Arts Degree from the University of Kansas in Lawrence. He exhibits in regional and national art exhibitions and has done several one-man exhibitions. He has been named "Creative Kansan" by Kansas! Magazine's "Who's Who in Kansas." As well as his inclusion in multiple exhibitions, Gary has been a guest artist at the Silver Dollar City National Festival of Craftsmen annual invitational in Missouri, and has several paintings in private collections across the nation, Europe and Asia. His art is currently shown and for sale at selected fine art galleries across the nation.