text:
Using the prompt provided, learn to create a character-based fictional scene, balancing narrative description, dialogue, and internalization and burying exposition so it does not intrude into story delivery. You'll keep the plot moving with conflict and action and integrate it with character development.
How to prepare.
1. To create the scene, you may need to learn details about something you may need to know more about: flying terrorism. Some research may be needed as you work.
2. You need to determine the desires, motivations, strength and flaws of each of the characters. (Pilot, copilot, flight attendant, suspicious passenger.)
3. As in all good fiction, you'll need to immerse conflict among characters, with the environment, internal (should I or shouldn't I, what will happen if I do?), and in the plot. Learn to have conflict working on every level. Example. He tuned the radio to Poughkeepsie ground control. Flat. Not useful. To make it interesting (if it's worth it for the story and story?space is available). The copilot reached up to lock the radio into 121.5 before he tried Poughkeepsie ground control. His hand shook, he twisted the knob, which broke and fell off onto the floor. They had to declare emergency, prepare ground control for the worst. He twisted the knoblesss dial but fingers slipped with nervous sweat in the thin metal projection . You'll need to develop an always increasing sense of good judgment This seems overwritten but will give an idea of how potential for conflict lies in every situation. Look for conflict development in the tools available to a writer–dialogue, plot, characterization, narrative description, even direct exposition.
4. You'll need to determine story purpose for this scene (as for every scene). Does it advance plot, characterization, setting, theme and meaning? A purpose will filter extraneous material not related to the story, an urge that plagues all amateur storytellers because it fills space and requires less thought. For examples of purpose: In this scene I want o advance characterization of "X" by showing how his/her failure to learn regulations will threaten survival, or I want to deliver "Y"'s attraction to Z. [This is literary, character-based fiction, and the characters are driving the plot with their desires and motives (maybe the flight attendant's love for the copilot interferes with the jealous pilot's decisions for survival), not just reacting to the plot (look out for United 704, it's coming toward us."]
5. Finally, consider the best narration for the scene. Who is telling the story? Do you want it to be an unidentified narrator at a distance looking back, a narrator in scene, a narrator that enters single or multiple character(s) heads through specific points of view, or combinations of these. If you chose 1st person, be sure you are fully aware of the limitations and strengths of 1st person POV so you don't work against your purpose for the scene.
Essays you may find useful
Desire and Motivation
Overuse of 1st person POV
And you can search specific topics in THE FICTION WELL
Write a scene no more than 1000 words using this scenario:
A commercial airline flight. The female flight attendant notices a swarthy passenger in 28B making excessive frequent trips to the rear rest room, always carrying a black satchel and wearing heavily tinted glasses. The terror alert is red. She is suspicious.
She calls the pilot and copilot and with her hand cupped over the microphone, raises the alarm.
The pilot and the copilot begin to plan behind the locked door, keeping in touch with updates with the flight attendant. But they do not get along well together, and under the threat emotions flare.
Rewrite and take it from there. Confrontation. Examine passenger and bathroom. Alert passengers or not. Prepare for early landing. And so forth. All the time revealing character and keeping the plot moving (this should be easy because the plot is already in motion). Set the scene but use no undisguised exposition. [And write through your narrator. Don't become the narrator. Authorial intrusion diminishes the potential of a well-imagined narrator and character(s), even in first person.)
Thanks for participating.
Submit your work below if you would like William H. Coles to provide free online comment.
Work submissions for Assignment 6: Create a character-based fictional scene
Work from Ophelia InFimbria
A new member of the writing forum is nervous that the admired novelist will regret inviting her to join.
This little fear of rejection began twenty-three years and two months ago, a day she will remember throughout her lifetime as the day of the evening she met him, a young man reserved and handsome in the way she liked: he, a promising writer and scholar.
The young woman wrote a poem inspired by her love for the young man.
Proudly holding the note close to her heart, she walked into his room. The young woman carefully placed it in the middle of the desk, knowing that he would see the soft ivory stationary atop the dark oak. Anticipating his arrival and so pleased in knowing she created something beautiful to give to him.
He slowly opened the door to the room, nodding to the young woman the same way he had the first time they met and handsome in the way she liked.
She observed Him reading each verse and then watching his hand reaching for a red pen, the ink blanketing the words, the delicate paper, the poem shredded, ruined by the paler in a heavy hand.
Recalling the criticism of the person she most trusted opened the old wounds to the present day paused for a moment. Twenty-three years and two months before her reading the excerpt from the novel "I'm In The Room", by the forum novelist and meeting the main character Allen.
Allen is a young man from a small town making big plans for the next chapter of his life as a college student. Allen is introduced to the reader as the all-American boy longing for acceptance and on par with protagonists' 20th-century American literature. We see Allen as our son, our nephew, our kin.
Allen, the pedigree unique to 20th-century American writing as the prized sporting breed taking first place in the arena; stylized as the signature brand unique to American Literature, oversized and abundantly good for the heart and soul enriched with an understanding of the collective human experience of yearning for approval . An ever-present optimistic view of love, family, success, and winning.
The main character Allen has a sensibility true to the standard. . The published author creates Allen in line with the fine tradition and reverence of the past.
I wrote this today feeling the warmth and the burn of an old flame.
Well done. No critique necessary or appropriate. You have your own unique style and presentation. And you have achieved what I believe you wanted to achieve, telling your story in your own way.
For what it's worth, I had difficulty in following the story line and wasn't sure about the purpose of the story, what idea or emotions you wanted me to take away from the reading. Overall, was confused about the emotional timeline of the action and the change from in scene to narrative, primarily descriptive, writing. It's all stylistic, and justifiable, so just take my reactions as one reader's "take away."
You certainly have a gift. All the best in your writing career.
Thanks for contributing,
2 thoughts on "Work from Ophelia InFimbria"
Thank you for the critique. You are certainly right about the flow of the writing as well as the disconnect from narrative to the pow wow of my take on the protagonist, 20th century American Literature.
I sent the sample to you because I am blocked and cannot think of a way for a smooth transition to pull the sample/piece to my liking as asked by the writing prompt.
I am applying for my MA and or MFA, and I a received 100% from whom ever in the English department. I should be happy but I can do better.
Fiction is make-believe, invented stories. They may be short stories, fables, vignettes, plays, novellas, or novels. Although writers may base a character on people they have met in real life, the characters and the experiences that the character faces in the story are not real.
Assignment # 6
Transway Air flight 92 cruised at 500 mph above a blanket of white, softly-mounded clouds floating in an azure-blue sky. The commercial plane's departure from the busy cosmopolitan airport terminal was forty-five minutes behind schedule—delayed for repairs.The first officer discovered the faulty seatbelt during the required pre-flight cabin inspection.
The aircraft's bathroom door opened. A tall man wearing a well-fitting dark suit exited. His burnished brown face was accented by the white turban wrapped around his head. Dark sunglasses shaded his eyes. He strode to seat 28-A carrying a black briefcase.
"Excuse me, Miss, what do you make of that guy?" the inebriated business class passenger seated in 20-A asked the female flight attendant wheeling the food cart down the aisle.
"Is there a problem, sir?" Paula's foot shifted the cart's wheel-brake lever, and she leaned close to the man.
"Third time he's been to the bathroom to piss since we took off," the man said. His breath smelled of alcohol.
"Kind of suspicious, you know," said his neighbor in seat 20-B. "There's been talk in the news about possible terrorist attacks."
Paula dug her fingernails into the palm of her hand. The latest bulletin from NTAS warned of an imminent terrorist attack. Her main concern was allying fears, avoiding pandemonium among the passengers at forty-two thousand feet.
"He's one of them." The passenger wiped a trickle of sweat from his forehead.
"Relax, sir." Paula pressed a bag of peanuts into his beefy hand.
"God knows what's in his black bag," the woman seated across the aisle chimed in. "And why the sunglasses?"
Paula looked at the wary, worried faces of the passengers staring at her. Her trembling fingers fidgeted with the blue scarf around her neck. Caution was required when informing Captain Jackson of a possible terrorist on board.
"Sir, nothing to worry about," Paula announced loudly with false heartiness. "We should reach Denver in time for your conference. I'll express your concerns to the pilot."
Walking down the aisle to the tail of the plane, Paula peered at the passenger seated in 28-B. The black bag was on his lap.
"Hand me the in-flight digital tablet," she said tersely to the male flight attendant.
"Checking on the passenger registration list, Paula?" he asked.
Seat 21-B was assigned to a Dr. Anish Amur. Could be just an average, law-abiding citizen. She cupped her hand over the microphone and whispered, "Captain, we have a possible situation. Passengers fidgety. Suspected terrorist on board."
"Oh, shit, Paula." In the cockpit, Captain Jackson's eyes swept the instrument panel. The closest airport wasn't equipped to accommodate large aircraft. His hands remained steady on the control yoke. No time for panic.
First Officer Nancy Lew heard Paula's message on the paired headsets she and the Captain were wearing. "Credible threat, Captain?" she asked.
"We'll have to find out, now won't we?" He spoke into his headset. "Paula, give me the particulars."
Captain Jackson listened, asked a few questions, nodded, then said, "Okay, next time the guy leaves the bathroom, Paula, check it out. Keep the mic open. And speak up. The area microphone in here might catch the action."
"What if she finds explosives? In the bathroom?" The First Officer asked. "Paula might not be able to handle it. Her age and all?"
"She'll handle it. I'm not so sure about you."
First Officer Nancy Lew muttered under her breath. She handled Jackson's sexual peccadillos. Now this bastard's unsure of her competency in the cockpit? She scanned the instrument panel bending her head to shield her burning cheeks. Her new lover, an airport mechanic, thought her competent; his wink while repairing the damaged seatbelt before take-off affirmed his belief in her: she had followed directions explicitly.
Captain Jackson saw a blip on his radar. The jet was approaching the nearest airport. His forehead puckered; too short a runway for landing a Boeing 747. He radioed the control tower. "Transway Air flight 92. Possible terrorist on board."
"Captain Jackson?" Paula's voice crackled over the headphones. "He's leaving the bathroom now. I'll check it out. In a few minutes."
"Good luck, Paula."
Nancy Lew sniffed. "Trusting our fate to—"
"God damn it! And you would suggest?" Captain Jackson's eyes blazed.
"Your gun, Captain."
Captain Jackson, a trained Federal Flight Deck Officer, was permitted to possess a firearm in the cockpit.
After the suspected terrorist exited the restroom, Paula waited three minutes before entering.
She pulled on vinyl gloves and conducted a methodical search: the commode, the urinal, the stainless-steel sink, cabinets and overhead bins. Rummaged in the wastebasket, checked the paper towel dispenser, pulled the toilet paper roll and inspected the holder.
"Nothing," she said. But why did the man carry the black bag with him into the bathroom? What was in it? Paula decided she'd force Dr. Anish Amur's hand.
Stepping out of the restroom, Paula fell heavily, twisting her leg under her. Her screams were heard over the area microphone in the cockpit.
Passengers gasped, stood up and began rushing down the aisle.
"Return to your seats," instructed the male flight attendant speaking over the intercom. And buckle your seatbelts."
"Make way. Please, make way. I am a doctor." Dr. Anish Amur, carrying his case, rushed to Paula's side, knelt beside her, and opened his black case.
"Jesus, Mary, and Joseph," shouted the passenger in seat 20-A. "He's got a bomb."
The cockpit door opened. Captain Jackson aimed the gun he was holding at the Doctor's head.
"No!" Paula screamed. She sat up and threw herself against Dr. Amur's chest. "The bag. Hold only medical equipment."
"Let me out of here." The passenger in the seat with the repaired seatbelt tugged repeatedly at the latch. "Let-me-out-of- here!" She heard the loud click. The bomb placed beneath her seat detonated.
Hi Cathryn,
(As a favor–I admit it's for brand recognition primarily–when referring to me, please spell the last name as COLES, not Cole.)
You've a nice scene going here. However, it has a stilted quality and there is a pervasive question as to whether this could really happen. And the scene effectiveness (ability to engage and entertain) could be improved. You want to immerse the reader in the scene and avoid giving the sense that the author is telling the scene, a scene that is far away. Instead the author grips the reader's attention in writing and presentation so the reader forgets they are reading a description of a story and experiences an immediacy, feels emotions, conflicts, suspense (reader becomes a part of the story). The reader engages in the imagery, accepts what the characters are saying and thinking, and feels the momentum. (You might think of John Gardner's concept of continuous involvement in the "fictional dream," which requires avoidance of anything in the storytelling that breaks that dream and draws attention outside the bubble of the story as it unfolds.) All this has to do with how a story is constructed, and learning what causes breaks in the fictional dream: lack of credibility, inappropriate syntax, misspellings, inaccurate word choice or metaphor, lack of coherence among ideas, authorial intrusions, offensive thoughts, improbable action, poor vocabulary sources, verbosity, grammar errors, unimportant ideas, excessive description, etc.
Reader involvement is not easy to teach because much of it is subjective and individual to the author. Yet there are ways of thinking and expression that can help attain consistent reader engagement and emotional connection. I'll give a few ideas that might relate to your scene, but there are many things to learn that are discovered by studying great stories you love.
1. Consider, for a moment, that stories are simply information organized to get an idea across in a believable way with involvement in story. What might we consider as crucial information in your story-scene?
Airplane in flight.
Flight attendant. Pilot. First Officer.
Passenger who suspects doctor.
Suspicious-looking doctor who is not guilty.
Seatbelt "repaired" before takeoff causing delay.
Bomb implanted at seatbelt installation when "repaired."
Bomb explodes at "seatbelt" seat.
Nervous passenger.
Based on this list, I've highlighted unnecessary and non-relevant ideas, descriptions, characters, excess words.
Examples of extraneous ideas unrelated to story (RED) of material unrelated to story momentum (GREY). Verbosity is underlined.
Coles Assignment # 6
Transway Air flight 92 cruised at 500 mph above a blanket of white, softly-mounded clouds floating in an azure-blue sky. The commercial plane's departure from the busy cosmopolitan airport terminal was forty-five minutes behind schedule—delayed for repairs. The first officer discovered of a faulty seatbelt during the required pre-flight cabin inspection.
"Excuse me, Miss, what do you make of that guy?" the inebriated business-class passenger seated in 20-A asked the female flight attendant wheeling the food cart down the aisle.
"Oh, shit, Paula." In the cockpit, Captain Jackson's eyes swept the instrument panel. T [for] the closest airport. It wasn't equipped to accommodate large aircraft. His hands remained steady on the control yoke. No time for panic.
Captain Jackson saw a blip on his radar. The jet was approaching the nearest airport. His forehead puckered; too short a runway for landing a Boeing 747. He radioed the control tower. "Transway Air flight 92. Possible terrorist on board." [The runway was too short.]
She pulled on vinyl gloves and conducted a methodical searched: the commode, the urinal, the stainless-steel sink, cabinets and overhead bins. Rummaged in the wastebasket, checked the paper towel dispenser, pulled the toilet paper roll and inspected the holder.
Stepping out of the restroom, Paula fell heavily, twisting her leg under her. Her screams were heard; over the area microphone in the cockpit.
Passengers gasped, stood up and began [a few] rushed down the aisle.
"Return to your seats," instructed the male flight attendant announced. speaking over the intercom. And buckle your seatbelts."
"No!" Paula screamed. She sat up and threw herself against Dr. Amur's chest. "The bag. Hold only medical equipment," the doctor said.
placed beneath her seat detonated.
These changes are only to give you an idea about how an author might bring the reader into the scene. And note that once you change something, inevitably something else will need to be changed. Like painting a portrait, one change usually demands another.
It's helpful to get things in order and to prioritize and place what you need in a scene by imagining the scene in detail. Some authors, like film producers, use a storyboard to sketch out each scene. This helps avoid the unnecessary and the redundant, and helps find the right detail to stimulate the reader's imagination to complete the scene images, with accurate positioning and prioritization.
Keep up the good work. Thanks for the submission.
Bill Coles
3 thoughts on "Work from Cathryn"
Apologize for the misspelling of your last name; how I kept missing the lettere "s" is beyond me! Visual-perceptual problem, perhaps? Very sorry, indeed.
Thank you for taking the time for your very detailed analysis of my story.
I almost skipped this lesson(and perhaps I should have). Exceedingly challenging assignment. I wil read and reread your suggestions, practice writing "in-scene" as you emphasize,and keep plugging away if only for my self-improvement, enlightenment, and personal gratifcation as a writer.
Again, many thanks,
Cathryn,
Thanks for your comment. I felt a tone of discouragement that I don't want to foster. First, in-scene writing is a choice one makes for acomplishing what one wants to accomplish. Most effective stories have from 70/30 to 50/50 in-scene to narrative ratio for literary works. But your skills in narative should never be abandoned and there are no rules that garauntee satisfaction. In the exercise, suggestions (probably too extensive) were not critical–just to show how a story grabs and holds concentration is another way of saying it–but demonstrative of how an effective story is void of anything that doesn't promote plot progression, characterization, or image generation. Stories generate momentum in an imagined story world. It's a rocket traveling to the moon and there is no possibility of a side trip to Mars or pausing to gaze at the Milky Way. And that was the purpose of the last exercise–to recognize when backstory or unnecessary action or feelings that are detrimental to story are changed or removed and that in the writing an author doesn't let excess or inaccurate word choice,fuzzy syntax,excessive veerbage–for examples–prevent the "rocket's" unimpaied trip to the moom. You're doing great. Enjoy your improvement when it occurs! You've already come a long way as writer and storyteller and your desire to be better will make the process of learning increasingly rewarding and enjoyable.
Cathryn D'Aldi
Thanks for the wonderful words of encouragment; indeed I was wallowing in a morass of self-doubt, but thanks to your empathy and caring, I am "refuled"; going to "jet off" and begin the next lesson.
I looked critically at a piece I am writing for an on-line writing group, and after reading what you had suggested, jettisoned the excess garbage out the cargo-bay door! On to the moon!
Oh, thanks so much for caring.
Elizabeth breathed deeply and cupped her hand over the microphone. "Captain, we have a suspicious passenger in seat 28B." Sliding her finger down the passenger manifest, she added, "His name is Henry Bradey."
"What do you mean, suspicious?" Howard asked.
She imagined a sneer on his face. She would have notified him earlier, as soon as Bradey's first trip to the rest room, but she didn't want to suffer his attitude. "He's been to the rest room three times, and he takes a black satchel with him. He looks Arabic. I think Bradey must be a false name."
"You're profiling him because he looks foreign. TSA checks these things."
"But the terror alert is red. I'm scared."
"I'll send Tim back."
"We shouldn't alarm the passenger. Who knows what he might do."
"Well, you know Tim. He's discreet."
Tim, the first officer, was the least discreet person she knew, but at least he was reasonable. Howard, a smallish man, proper and trim, looked as if he were born in a uniform. Tim, at least six-two, ballooned out of his uniform as if it couldn't contain him.
"Where is he?" Tim asked. They stood at the edge of first class. Elizabeth nodded her head, ever so slightly.
"He looks kind of crazed, but not all that Arabic, more like a drugged out has been rock star." Tim said.
"He looks like an Arab to me. Don't stare at him," she whispered.
Tim nodded, "Keep us updated. I'll tell Howard this guy could be for real."
When Tim told Howard, Howard gave him a disgusted look and said, "Take the controls, I'll call for an emergency landing. We're only twenty minutes out of Pittsburgh."
"Why don't I go back there and clock the guy?"
"That's against protocol."
"Not if we are in imminent danger. If he has a bomb, he could trigger it at any time. I'll take him by surprise. He won't know what hit him."
"It's my call. I say we sit tight."
"Son of a bitch, you'll get us killed." Tim loosened his tie, but took the controls.
Howard's felt Tim's eyes on him and he cursed himself for being unable to keep a steady hand as he took the radio. His voice wavered. He hated Tim for what he must think of him, but he managed to arrange the landing. "They'll have a S.W.A.T. team and Hazmat there. We have to circle until they are ready."
Tim wouldn't look at him.
Howard contacted Elizabeth. "Anything happening back there?"
"He's still in his seat, but he's fidgeting like a nervous bird."
"Don't worry. We're making an emergency landing in Pittsburgh. When we start the final descent, tell the passengers it's a mechanical problem, but that there is no danger."
"But won't he guess we know about him and trigger the bomb?"
"It's regulation."
Henry Bradey wanted to pray, something he hadn't done since he was a boy. He was surprised, but unafraid, that his moment of death was near. He never expected to get this far. At last, his fate was in his hands alone. He was in control. His device was small, but powerful, and ready. He'd checked it three times.
Once he'd calmed his soul and savored his accomplishment, he would set off the bomb.
Howard was nervous. He knew it would take time for ground control to get ready, but Tim had been circling for forty minutes and they hadn't heard a word. "I'm going back to take a look," he told his first officer. Tim glanced at him, but said nothing.
"Elizabeth, what's he doing?" Howard whispered in her ear.
She nearly jumped out of her skin, not having heard him approach. "He's settled down, but I don't think he's sleeping. He keeps a firm grasp on his bag."
Howard looked at the suspect, just as Bradey opened his eyes. Howard quickly looked away, but Bradey's eyes had the look of madness. Elizabeth was right, he thought; this man was dangerous.
"I'm going to the rear rest room to look around," Howard said.
Howard sensed the suspect tighten the grip on the satchel as he passed. Howard willed himself not to look back.
Inside the rest room, he found nowhere to hide an explosive device. But then, he didn't know much about these things. He should have let Tim subdue him. Now it may be too late.
It wasn't prayer, but Bradey reached a trance-like state. When he opened his eyes, he saw the captain staring at him. It was no incidental glance. Bradey, though, was calm. He readied his trigger when the captain approached, but relaxed as he passed by him, back to the restroom.
Certain the prissy captain would not discover where he placed the bomb; Bradey decided to wait until the captain came forward in the cabin. Then he would call out, "Oh, captain," as he passed. When their eyes locked, he would press the button and wait for the recognition of what he had done to appear on the captain's face.
Tim couldn't sit any longer. He took the plane to a safe height, and set it to auto-pilot. Then he hurried to the passenger cabin. Bursting through the first class curtain, and past Elizabeth, he saw Howard rushing Bradey. Bradey reached into his satchel just as the captain struck him from behind. Tim, there in a flash, tore at the man's arm with determined force. Elizabeth dislodged the bag from his weakened grasp.
Later, after the tension had eased within them, the flight crew reunited on the ground. Howard, tidy as ever despite the struggle, said, "You were right, Tim." I should have listened to you from the beginning."
Elizabeth, flustered, looked at Howard in surprise. In all the time they worked together, she had never heard Howard admit a mistake.
Tim looked at Howard with mock disgust, "You just wanted the glory for yourself."
"But the terror alert is red. I'm scared." I'd delete this; it sounds like misplaced or unnecessary exposition, and is therefore ineffective dialogue. "I'm scared." is better standing alone here.
"We shouldn't Don't alarm the passenger. Who knows what he might do." This is a tense situation. Keep dialogue tight, sparse.
"Well, you know Tim. He's discreet. Tim is descreet."
Tim, the first officer, was the least discreet person she knew, but at least he was reasonable. Howard, a smallish man, proper and trim, looked as if he were born in a uniform. Tim, at least six-two, ballooned out of his uniform as if it couldn't contain him. Good.
"He looks kind of crazed, but not all that Arabic, more like a drugged-out has-been rock star." Tim said.
When Tim told Howard, Back in the cockpit, Howard gave Tim a disgusted look and said, "Take the controls, I'll call for an emergency landing. We're only twenty minutes out of Pittsburgh." "We're twenty minutes out. Take the controls. I'll call for direct access. Emergency." I think this has a more spoken feel.
"Why don't I Go back there and clock the guy!"
"Against protocol."
"Not if we are in imminent danger. If he has a bomb, He could trigger a bomb at any time. I'll take him by surprise. He won't know what hit him. I could surprise him."
Howard's hand shook felt Tim's eyes on him and he cursed himself for being unable to keep a steady hand as he took the radio. and his voice wavered when he talked to the tower. [Note: there were too many words here, and the rhythmic progression got out of whack.] He hated Tim for what he must think of him, but he managed to arrange the landing. "They'll have a S.W.A.T. team and Hazmat there. We'll have to circle divert until SWAT and Hazmat are there." until they are ready." [This is getting the dialogue as succinct as possible without losing meaning, and without using dialogue that sounds like exposition.]
Tim wouldn't look at him. looked away. [Avoid negative construction here. It stops momentum.]
Howard contacted called Elizabeth. "Anything happening back there?"
"He's still in his seat, but he's nervous." [The deleted metaphor was not exactly on target, and any metaphor in this dialogue will be difficult to pull off.]
"Don't worry. We're making an emergency landing in Pittsburgh. When we start the final descent, On final, tell the passengers it's a mechanical problem. , but that there is No danger."
"But won't he guess we know about him and He'll trigger the bomb!"
"Just do it. It's regulation."
Henry Bradey wanted to pray, something he hadn't done since he was a boy. He was surprised, but unafraid, that his moment of death was near. He never expected to get this far. At last, and his fate was in his hands alone. He was in control. His device was small, but powerful, and ready. His small, powerful device was ready; he'd checked it three times.
Howard was nervous. He knew it would take time for ground control to get ready, but Tim had been circling They'd circled for forty minutes and hadn't heard a word. "I'm going back to take a look," he told his first officer. Tim who glanced at him but said nothing.
Howard looked at the suspect, just as Bradey opened his crazed eyes. Howard quickly looked away, but Bradey's eyes had the look of madness. Elizabeth was right, he thought; this man was dangerous.
"I'm going to the rear ll check out the rest room to look around," Howard said.
Howard sensed the suspect tightened his the grip on the satchel as he passed. Howard willed himself not to look back.
Inside the rest room, Howard found nowhere to hide a no explosive device. But then, he didn't know much about these things. He should have let Tim subdue him. Now it may be too late.
Tim couldn't sit wait any longer. He took the plane to a safe height, and set it to auto-pilot. Then he hurried to the passenger cabin. Bursting through the first class curtain, and past Elizabeth, he saw Howard rushing Bradey. Bradey reached into his satchel just as the captain struck him from behind. Tim, there in a flash, tore at the man's arm with determined force. Elizabeth dislodged the bag from his weakened grasp.
Nicely done. I've mainly worked on prose, dialogue in particular. In this piece, often too many words express thoughts that are not needed. It's about pacing, especially in a tense situation. And learn to identify exposition in dialogue in your revision process. Exposition in dialogue kills the effect of being in scene for the reader. You can get exposition in dialogue effectively at times, but it has to be skillful and not call attention to itself. Check the essay "Dialogue."
Thanks for the submission!


Toronto is Canada's biggest city and the one that most people discuss when they talk about this wonderful country. The reason is that it is a world class city with amenities that rival some of the top cities in the world.
This is particularly the case regarding business. Toronto is one of North America's business hubs with many of Canada's top businesses calling it home. It is also a city that is thriving in new business growth and as a result it attracts lots of investors.
For this reason, Toronto is ideal for hosting an investor conference. If you have this in mind, Here are the things that you can do to host a successful investor's conference in Toronto.
The best way to make sure that attendees get to your event safely and on time is to provide transportations to and from the event. You need to provide transportation at central locations and for anyone arriving via the airport or bus stations. Toronto is a big city and attendees can easily get lost or end up stuck in traffic. There are plenty of bus rental options in Toronto to make sure that conference attendees can easily get to-and-from the airport, their hotel, or other shuttle bus pick-up points without having to worry about navigating the city on their own. Providing comfortable air conditioned and heated buses with professional drivers allows them to relax and leave the driving to someone else.
Is it convenient? Can you easily get to the venue from all parts of the city? Is there easy access to the airport major bus stations and other forms of transportation? Can you locate it easily if you do not know the city?
Can the venue accommodate the needs of guests? You want to make sure that the venue can accommodate all of your guests and fulfill their needs. You should make sure that they have wheelchair access and can accommodate people with mobility issues. The venue should also meet all legal requirements for those with other handicaps. You should specifically inquire about the bathrooms, elevators and entrances. Also there should be seating space for wheelchairs in any of the meeting halls or rooms.
One of the things that makes for a wonderful conference is the speakers you hire. Do your homework and hire the best speakers you can afford for your conference. You can use the internet to gauge the feedback on speakers that you are considering. Today people are glad to give their opinions online, of what they thought about someone who gave a speech to them or ran a seminar. Use this to determine who to hire. Look for those speakers who are both knowledgeable and passionate and who are interested in providing more than they are being paid to do. Selecting the right person will improve attendance at your event and keep your attendees happy.
They will be many different important investment topics covered at your conference and some of your attendees will only be interested in specific subjects. Because of this, you need expert speakers in a wide range of investment subject matters to insure that everyone feels accommodated. Think about your attendees and make sure there a speaker and a topic covered at your conference for each of them.
One of the main reasons that people come to investment conferences is to meet people they have heard about and to make new contacts in the field. Because of this, you conference attendees will expect that there is considerable formal time to do some networking. You should plan a few cocktail mixers or a luncheon to give people a chance to mingle and get some personal time with others at the conference. Make sure that you make it informal enough that it is easy for people to approach and be approached.
Toronto is a lovely city that your conference attendees will be excited to visit. Make sure that they have a wonderful conference by following these tips.


While commending the Chancellor of the Exchequer for announcing in his Spring Statement the funding of free sanitary products in secondary schools, UK education unions deeply regret that he did not address the national school funding crisis.
"Parents, teachers, heads, school staff and MPs from across the House will be dismayed that the Chancellor did not address the national school funding crisis," stressed National Education Union (NEU) Joint General Secretary Kevin Courtney on 13 March. He was reacting to the Spring Statement of Chancellor of the Exchequer Philip Hammond.
On behalf of the National Association of Schoolmasters Union of Women Teachers (NASUWT), General Secretary Chris Keates insisted that "the forthcoming full three-year spending review is needed urgently to tackle the serious financial pressures affecting delivery of education and other vital public services for children and young people".
Underlining that "the era of austerity will continue despite the Chancellor's statement," she highlighted that "teachers and headteachers will be looking to the government urgently to address the years of real-term cuts to school budgets and the drastic erosion of teachers' salaries, which has contributed to the current teacher recruitment and retention crisis".
"The fact that so many families cannot afford sanitary products for their children is in itself a shameful indictment of the Government's policies, which have hit the poorest hardest, and especially children and young people," she criticised.


text:
Edwick travels tough road to fulfil dream of becoming a teacher
January 9, 2019 The National Youth & Careers
By BENJAMIN KOITAKA
CHIMBU girl Edwick Kaupa had a double celebration last Christmas – the birth of Jesus and her recent graduation at the Don Bosco Technical Institute in Port Moresby.
Edwick, who wants to become a teacher, graduated with a Bachelor in Technical Education majoring in computing technology and minoring in English.
She hails from the Kuble-Meru clan of the Kawaleku tribe from Boromil village in the Gumine district.
"I guess not all my best friends know about my story because I'm a bit embarrassed to tell them," she said.
"I made a choice not to tell them because I don't want them to think I'm pathetic.
"I decided to keep it a secret but a very important person in my life encourages me to write something about myself."
Edwick comes from a strict Christian family and the eldest in her family from her dad's first wife.
"I never really had a very good childhood experience. I went through some very difficult times as a result of my daddy having so many wives apart from my mum."
She had a difficult relationship with her dad's other wives.
"(They) hated me so much and I really don't know why."
Edwick did not let her mother know.
"I was too young to understand how she felt but I guess I know now," she explained.
"She was hurt so much but she never gave up because she has a very big heart for my siblings and me.
"She endured everything she encountered."
Kaupa attended the Boromil Primary School in 1997 in grade one, until she reached Grade Five.
She then attended Kujip Primary School in Jiwaka up to grade eight in 2004.
"Unfortunately, I was not accepted for grade nine."
In 2015, she returned to Boromil to repeat grade eight and passed.
She attended the Kundiawa Lutheran Day High School where she completed grade 10.
She was excited when told she would continue her secondary education at the Rosary Secondary School.
"I was just 17 when I completed my grade 12 in 2009."
But she felt let down when she could not further her education at a tertiary institution.
"I let my parents down because I was not accepted. I had dreamt to become a teacher and that dream was shattered."
She spent 2010 and 2011 gardening, joining youths in the Tilapia farming project.
Her break came in 2014 when her father and stepmother suggested that she undertook the entry test at Don Bosco Technical Institute (now the Don Bosco Technical College in Chimbu).
"Before I started the test, I prayed to God that it is my chance to prove my worth to my dad and step-mum because they thought of me as dumb and useless."
Principal Sister Leena John told her that if she received a letter in the post, it would mean she was accepted.
The letter arrived on Oct 24.
"I was overcome with emotion. I knew I had another chance to prove to those who thought I was a loser, a failure, useless and a ples meri (village woman)."
While at Kumgi, she read so much about the Don Bosco Technical Institute and wanted to further her studies there.
Rector Father Albert Lenon told her it was possible but she should first do well in her studies at Kumgi.
"I found out that DBTI offered a Bachelor's degree in technical teaching.
"I focused on my goal of attending DBTI by doing my studies extremely well. I showed my results to Fr Albert. I drafted a letter to the principal of DBTI Fr Ariel Macatangay."
Fr Albert, while waiting for his flight to go to the Philippines, called her up and said she had been accepted at Don Bosco.
"Even though it was on self-sponsor, being accepted was melodious to my ears. It was my first time to leave my family especially my dad and mum but I had to be strong for I was so determined to study."
Edwick came to Port Moresby with her dad to enrol.
She graduated with a Diploma in Computing Technology in 2015. The dream of pursuing a degree was so strong she resisted the temptation of looking for a job with the diploma qualification she had.
In 2016, she was accepted and graduated in 2018.
"It took me five years but it was fine with me."
Edwick feels blessed somehow to have come through that long tough road.
"I had lots of experiences about life. If you have a nice ride all through your life, you wouldn't understand what I'm talking about," she said.
"My life was full of surprises in the past 22 years. And I'm looking forward to more in coming years."
School conducts student entry test
One thought on "Edwick travels tough road to fulfil dream of becoming a teacher"
Quincy says:
TO the beautiful woman, congratulations!
I am inspired by your story.

redpajama_set_name: RedPajamaCommonCrawl


-added different AC unit on the turret as vehicle->exhaust tuning option. Features a rotating fan!
Hooray hooray, another Abrams is here! But this time it's something for everyone. Those who love it clean, those who love it all beefed up and so on and so forth. Please note that I want to add more things (see below), but I am leaving for vacation and wanted to give you this one at least.
By default you get a clean Abrams in M1A2 configuration with the remote MG and CITV on the left side.
This mod has a full set of LODs (0-4), dirt mapping and normal, as well as specular textures for a realistic look.
The camonet can be colored by changing the primary color.
The RC MG on the right side can be disabled by disabling extra 1 (car components).
It includes a custom layout for 3 people, passenger can use the remote MG on top (although that needs some more work).
I am going to add a few other things as tuning parts such as bags and misc equipment, an alternate (older model) AC unit aaaand yea. That's about it.
@SkylineGTRFreak Check dm on forums please!
@SkylineGTRFreak What would be cool is if you add the IAE engines for your A321 as an upgrade. I would donate but it is entirely up to you.
@ApacheSS hm, maybe GTA uses a different scale. As you saw, actually the whole tank is modelled with real life dimensions in mind (at least in ZModeler).
@TheDutch09RedBird so technically like the A320?
@SkylineGTRFreak Excatly, would luv to see it and its a great idea! I wouldn't mind donating for it, but it depends how busy you are.
why crashes me the game when i press F to pitot it???
I'm unable to get the plow, tried Menyoo customs, as well as native trainer customs, can anyone suggest me any more such customs tuner to try to get the plow?


Most of my projects are in the categories photography ↪, time-lapse and websites. So that's where you'll find them. There's not much of late, mostly due to changes in my professional and private life.
Finally a web project again! The first responsive site I ever created (not counting my own front page here). Read more.
Inspired by Dash, I created a new version of my website from scratch. Amazing how easy things have become with HTML5 and CSS3. Well… Maybe that only holds true for projects as easy as this site.
Project done with Google App Engine. Read more.
When you're studying at a University of Applied Sciences you're doing a lot of projects! Some of them are listed here.


text:
using namespace v8;
using v8::Local;
using v8::Object;

// special object to request nowrap creations
// not available to javascript.
Nan::Persistent<v8::Object> vtkNodeJsNoWrap;

extern void vtkCommonCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkCommonMathNodeJsInit(v8::Local<v8::Object>);
extern void vtkCommonMiscNodeJsInit(v8::Local<v8::Object>);
extern void vtkCommonSystemNodeJsInit(v8::Local<v8::Object>);
extern void vtkCommonTransformsNodeJsInit(v8::Local<v8::Object>);
extern void vtkCommonDataModelNodeJsInit(v8::Local<v8::Object>);
extern void vtkCommonColorNodeJsInit(v8::Local<v8::Object>);
extern void vtkCommonExecutionModelNodeJsInit(v8::Local<v8::Object>);
extern void vtkCommonComputationalGeometryNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersGeneralNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingFourierNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersStatisticsNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersExtractionNodeJsInit(v8::Local<v8::Object>);
extern void vtkInfovisCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersGeometryNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersSourcesNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingFreeTypeNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingContext2DNodeJsInit(v8::Local<v8::Object>);
extern void vtkChartsCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOLegacyNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOXMLParserNodeJsInit(v8::Local<v8::Object>);
extern void vtkDomainsChemistryNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingOpenGL2NodeJsInit(v8::Local<v8::Object>);
extern void vtkDomainsChemistryOpenGL2NodeJsInit(v8::Local<v8::Object>);
extern void vtkIOXMLNodeJsInit(v8::Local<v8::Object>);
extern void vtkParallelCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersAMRNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersFlowPathsNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersGenericNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingSourcesNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersHybridNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersHyperTreeNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingGeneralNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersImagingNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersModelingNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersParallelNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersParallelImagingNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersPointsNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersProgrammableNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersSMPNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersSelectionNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersTextureNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersTopologyNodeJsInit(v8::Local<v8::Object>);
extern void vtkFiltersVerdictNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOImageNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingHybridNodeJsInit(v8::Local<v8::Object>);
extern void vtkInfovisLayoutNodeJsInit(v8::Local<v8::Object>);
extern void vtkInteractionStyleNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingColorNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingAnnotationNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingVolumeNodeJsInit(v8::Local<v8::Object>);
extern void vtkInteractionWidgetsNodeJsInit(v8::Local<v8::Object>);
extern void vtkViewsCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkGeovisCoreNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOAMRNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOEnSightNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOExodusNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingGL2PSOpenGL2NodeJsInit(v8::Local<v8::Object>);
extern void vtkIOExportNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOExportOpenGL2NodeJsInit(v8::Local<v8::Object>);
extern void vtkIOGeometryNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOImportNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOInfovisNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOLSDynaNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOMINCNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOMovieNodeJsInit(v8::Local<v8::Object>);
extern void vtkIONetCDFNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOPLYNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOParallelNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOParallelXMLNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOSQLNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOTecplotTableNodeJsInit(v8::Local<v8::Object>);
extern void vtkIOVideoNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingMathNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingMorphologicalNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingStatisticsNodeJsInit(v8::Local<v8::Object>);
extern void vtkImagingStencilNodeJsInit(v8::Local<v8::Object>);
extern void vtkInteractionImageNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingContextOpenGL2NodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingImageNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingLODNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingLabelNodeJsInit(v8::Local<v8::Object>);
extern void vtkRenderingVolumeOpenGL2NodeJsInit(v8::Local<v8::Object>);
extern void vtkViewsContext2DNodeJsInit(v8::Local<v8::Object>);
extern void vtkViewsInfovisNodeJsInit(v8::Local<v8::Object>);
extern void vtkNodeJsPlusInit(v8::Local<v8::Object>);

void init( Local<Object> exports )
{
	vtkNodeJsNoWrap.Reset( Nan::New<v8::Object>() );

	vtkCommonCoreNodeJsInit(exports);
	vtkCommonMathNodeJsInit(exports);
	vtkCommonMiscNodeJsInit(exports);
	vtkCommonSystemNodeJsInit(exports);
	vtkCommonTransformsNodeJsInit(exports);
	vtkCommonDataModelNodeJsInit(exports);
	vtkCommonColorNodeJsInit(exports);
	vtkCommonExecutionModelNodeJsInit(exports);
	vtkCommonComputationalGeometryNodeJsInit(exports);
	vtkFiltersCoreNodeJsInit(exports);
	vtkFiltersGeneralNodeJsInit(exports);
	vtkImagingCoreNodeJsInit(exports);
	vtkImagingFourierNodeJsInit(exports);
	vtkFiltersStatisticsNodeJsInit(exports);
	vtkFiltersExtractionNodeJsInit(exports);
	vtkInfovisCoreNodeJsInit(exports);
	vtkFiltersGeometryNodeJsInit(exports);
	vtkFiltersSourcesNodeJsInit(exports);
	vtkRenderingCoreNodeJsInit(exports);
	vtkRenderingFreeTypeNodeJsInit(exports);
	vtkRenderingContext2DNodeJsInit(exports);
	vtkChartsCoreNodeJsInit(exports);
	vtkIOCoreNodeJsInit(exports);
	vtkIOLegacyNodeJsInit(exports);
	vtkIOXMLParserNodeJsInit(exports);
	vtkDomainsChemistryNodeJsInit(exports);
	vtkRenderingOpenGL2NodeJsInit(exports);
	vtkDomainsChemistryOpenGL2NodeJsInit(exports);
	vtkIOXMLNodeJsInit(exports);
	vtkParallelCoreNodeJsInit(exports);
	vtkFiltersAMRNodeJsInit(exports);
	vtkFiltersFlowPathsNodeJsInit(exports);
	vtkFiltersGenericNodeJsInit(exports);
	vtkImagingSourcesNodeJsInit(exports);
	vtkFiltersHybridNodeJsInit(exports);
	vtkFiltersHyperTreeNodeJsInit(exports);
	vtkImagingGeneralNodeJsInit(exports);
	vtkFiltersImagingNodeJsInit(exports);
	vtkFiltersModelingNodeJsInit(exports);
	vtkFiltersParallelNodeJsInit(exports);
	vtkFiltersParallelImagingNodeJsInit(exports);
	vtkFiltersPointsNodeJsInit(exports);
	vtkFiltersProgrammableNodeJsInit(exports);
	vtkFiltersSMPNodeJsInit(exports);
	vtkFiltersSelectionNodeJsInit(exports);
	vtkFiltersTextureNodeJsInit(exports);
	vtkFiltersTopologyNodeJsInit(exports);
	vtkFiltersVerdictNodeJsInit(exports);
	vtkIOImageNodeJsInit(exports);
	vtkImagingHybridNodeJsInit(exports);
	vtkInfovisLayoutNodeJsInit(exports);
	vtkInteractionStyleNodeJsInit(exports);
	vtkImagingColorNodeJsInit(exports);
	vtkRenderingAnnotationNodeJsInit(exports);
	vtkRenderingVolumeNodeJsInit(exports);
	vtkInteractionWidgetsNodeJsInit(exports);
	vtkViewsCoreNodeJsInit(exports);
	vtkGeovisCoreNodeJsInit(exports);
	vtkIOAMRNodeJsInit(exports);
	vtkIOEnSightNodeJsInit(exports);
	vtkIOExodusNodeJsInit(exports);
	vtkRenderingGL2PSOpenGL2NodeJsInit(exports);
	vtkIOExportNodeJsInit(exports);
	vtkIOExportOpenGL2NodeJsInit(exports);
	vtkIOGeometryNodeJsInit(exports);
	vtkIOImportNodeJsInit(exports);
	vtkIOInfovisNodeJsInit(exports);
	vtkIOLSDynaNodeJsInit(exports);
	vtkIOMINCNodeJsInit(exports);
	vtkIOMovieNodeJsInit(exports);
	vtkIONetCDFNodeJsInit(exports);
	vtkIOPLYNodeJsInit(exports);
	vtkIOParallelNodeJsInit(exports);
	vtkIOParallelXMLNodeJsInit(exports);
	vtkIOSQLNodeJsInit(exports);
	vtkIOTecplotTableNodeJsInit(exports);
	vtkIOVideoNodeJsInit(exports);
	vtkImagingMathNodeJsInit(exports);
	vtkImagingMorphologicalNodeJsInit(exports);
	vtkImagingStatisticsNodeJsInit(exports);
	vtkImagingStencilNodeJsInit(exports);
	vtkInteractionImageNodeJsInit(exports);
	vtkRenderingContextOpenGL2NodeJsInit(exports);
	vtkRenderingImageNodeJsInit(exports);
	vtkRenderingLODNodeJsInit(exports);
	vtkRenderingLabelNodeJsInit(exports);
	vtkRenderingVolumeOpenGL2NodeJsInit(exports);
	vtkViewsContext2DNodeJsInit(exports);
	vtkViewsInfovisNodeJsInit(exports);
	vtkNodeJsPlusInit(exports);
}

NODE_MODULE( addon, init )

redpajama_set_name: RedPajamaGithub


Delicious Caramelized Brussels Sprouts makes an amazing side dish for the holidays and beyond.
There was a time I would never touch a brussels sprout. Now, I can't find enough ways to cook them. My favorite way is to roast them with bacon and I've made it many times. As I was making caramelized onions for a steak last week, I thought why not try this with the sprouts? And a new favorite side dish was born.
I can't believe how much I enjoy brussels sprouts. I even tried growing them in my veggie garden this year, but the snow came hard and fast and froze my sprouts. And they were doing really well too up until then. This was my first year with the veggie garden and I learned a lot of what NOT to do as well as what was successful. I think I'm ready for next year.
These caramelized brussels sprouts turned out great. I usually don't like to sweeten my veggies, but a little bit of brown sugar in this dish gave it just enough sweetness without being overpowering. Now hubby loves sweets very much so I had a feeling this would become favorite for him. And it did.


There are currently no known outstanding effects for the Broadcasting Act 1981.
1. The Independent Broadcasting Authority.
2. Function and duties of Authority.
4. General provisions as to programmes.
5. Code for programmes other than advertisements.
6. Submission of programme schedules for Authority's approval.
10. Provision by Authority of second television service.
11. Nature of the Fourth Channel, and its relation to ITV.
12. Provision of programmes (other than advertisements) for the Fourth Channel.
13. Advertisements on the Fourth Channel.
14. Provision of teletext services by Authority.
15. Code for teletext transmissions.
16. General advisory council and specialist advisory committees etc.
17. National advisory committees for Scotland, Wales and Northern Ireland.
18. Local advisory committees for local sound broadcasts.
19. Duration of contracts for programmes and prior consultation etc.
21. Provisions to be included in contracts for programmes.
22. Provision for news broadcasts.
23. Newspaper shareholdings in programme contractors.
24. Buying and selling of programmes by programme contractors.
25. Wages, conditions of employment, and training of persons employed by programme contractors.
26. Accumulation of interests in sound programme contracts.
Information as to programme contracts etc.
27. Information as to programme contracts and applications for such contracts.
28. Government control over Authority as to hours of broadcasting.
29. Government control over Authority as to certain other matters.
30. Prevention of exclusive arrangements for broadcasting events of national interest.
31. Co-operation of Authority with BBC in the use of broadcasting installations.
32. Rental payments by programme contractors.
33. Provisions supplemental to s. 32.
34. Instalments payable on account by programme contractors in respect of additional payments.
35. Provision for supplementing additional payments.
36. Television and sound broadcasting to be separately financed by Authority.
37. Application of any excess of revenues over expenditure.
38. Advances to Authority for purposes of local sound broadcasting.
39. Payments by Authority to Welsh Authority.
40. Contributions towards cost of Broadcasting Complaints Commission.
41. Grants by Authority to local sound programme contractors.
44. Machinery for settling terms and conditions of employment of Authority's staff, etc.
46. The Welsh Fourth Channel Authority.
47. Function, powers and duties of Welsh Authority.
48. Sources of programmes (other than advertisements) in Welsh.
49. Advertisements on the Fourth Channel in Wales.
50. Modification of certain provisions relating to the IBA.
52. Finances of Welsh Authority and accounts, audit and reports.
53. The Broadcasting Complaints Commission.
55. Making and entertaining of complaints.
57. Publication of Commission's findings.
58. Duty to publicise Commission.
59. Annual reports of Commission.
60. Power to modify Part III in relation to programmes broadcast on the Fourth Channel in Wales.
62. Variation and revocation of directions and notices.
64. Power to repeal or modify provisions of Act which relate to television in Wales.
65. Consequential and transitional provisions and savings.
66. Short title, extent and commencement.
Machinery for settling terms and conditions of employment of Welsh Authority's staff etc.


Although we make every effort to prevent items running out of stock, occasionally as a result of the popularity of an item, a product must be placed on backorder.
If this should happen, we will ship the in-stock portion of your order immediately and ship back-ordered items as they become available.
If you prefer that your orders only ship once all items are in stock, please contact a MMC International B.V. representative.


Why exactly does an exothermic reaction shifts towards the formation of products? What's the reasoning behind it?
An exothermic reaction shifts toward the formation of products because the products are at a lower energy level than the reactants. The universe naturally wants to gravitate to the lowest energy level and the most chaos through entropy. Because of this the decomposition of a complex (high energy) molecule to a simple (low energy) molecule is readily seen. An example of this is the propensity for complex hydrocarbons to be combusted quickly into carbon dioxide and water but the reverse isn't true. Such a reaction would give off heat as it is broken down hence the term "exothermic"
An exothermic reaction tends to make products since the energy of the products are lower than the energy of the reactants (hence the release of energy). Since it's more favorable to be at a lower energy state, the reaction will often be spontaneous and make products. However, in regards to equilibrium, let's imagine that heat was added to the system. According to Le' Chatelier's Principle, chemical reactions adjust so as to minimize the effect of changes. This means that when we add heat, the reaction will want to counter that by expending energy, meaning that it would go in the reverse reaction (the endothermic reaction).
We can consider heat to be a product of an exothermic reaction. Therefore raising the temperature (adding heat) adds more "product," so the reaction shifts towards reactants.


No Moons on Fingernails: What Does It Mean?
Why Don't I Have Moons on My Fingernails?
Fingernail moons are the rounded shadows at the base of your nails. A fingernail moon is also called a lunula, which is Latin for little moon. The place where each nail begins growing is known as the matrix. This is where the new cells are made that will make up the nail. The lunula is part of the matrix.
What does it mean to have no moons on your fingernails?
Not being able to see your fingernail moons doesn't always mean that something is wrong with your health. Sometimes, you may only be able to see lunula on your thumbs, or possibly not on any fingers at all. In these cases, the lunula is most likely hidden under your skin.
Azure lunula describes the phenomenon where the moons of the fingernails take on a blue discoloration. This may indicate Wilson's disease, also known as hepatolenticular degeneration. Wilson's disease is a rare inherited genetic disorder that causes an excess amount of copper to accumulate in the liver, brain, and other vital organs.
Pyramidal lunula occurs when the moons of your fingernail form in a triangle shape. Most often, this is caused by an improper manicure or another kind of trauma to the fingernail. The moons may stay this way until the nail grows out and the tissue fully heals.
These conditions should be treated by a doctor, so contact your doctor if you develop lunula with red discoloration.
In most cases, having no moons on your fingers isn't a sign of something serious. However, if you're not seeing moons, or if you're seeing changes to the shape or color of your moons along with other symptoms, you'll want to visit your doctor. They'll make sure you don't have an underlying health condition that needs to be treated.
What Does It Mean to Have Half Moons on Your Nails?


text:
<?php
/**
 * Created by PhpStorm.
 * User: xiaohongyang
 * Date: 2015/6/4
 * Time: 14:36
 */

//namespace app\modules\admin\controlles;
namespace app\modules\admin\controllers;

use yii\base\Event;
use yii\web\Controller;
use yii\web\View;

class IndexController extends BaseController{

    public function init()
    {
        parent::init();
    }

    public function actionIndex()
    {

        $this->layout = 'frame';

        \Yii::$app->view->on(View::EVENT_BEGIN_BODY, function () {

        });

        return $this->render('index');

    }

    public function actionHead()
    {

        return $this->render('head');
    }
}


Textures of Memory, the Poetics of Cloth proposes cloth as a poetic language. Through its vocabulary – fold, drape, stretch, Stein and tear – it signifies an emotional range from intimacy, comfort and protection, to more disquieting state of restriction, fragility, loss and impermanence. A 40 page full colour catalogue accompanied the exhibition and included the essays 'Acts of memory' by Pamela Johnson and 'Folds, fragments, surfaces: towards a poetics of cloth' by Pennina Barnett.
Artists include: Polly Binns, Caroline Broadhead, Alicia Felberbaum, Marianne Ryan, Verdi Yahooda, Anne Wilson.


Growing the sport of cycling. We want to reach more people and get more people to enjoy cycling. We're ready made to take people by the hand. They can join our club, take part in rides, travel with us, buy our products and read our content. The opportunity is to build the community with Rapha Racing Club (RCC) at the centre.
It's about execution. We don't look at the danger as being things like Brexit and the competition because we see the challenge as our own execution and our internal delivery. We want to do this is an exceptional way. Apart from that we don't see anything in the way.
We had four or five years with nobody else in the market. We made lots of mistakes in these early years and we grew quickly and I would not want to take any of that back. But we'd have done physical retail earlier. And we'd have launched our women's range earlier.
Stores as distribution points is fading. It's helpful to click & collect but it's hard to justify them because there are more efficient ways to get goods to people. However, physical stores will remain relevant but more for as part of conversations – between customers and not just between the retailer and their customers. They will be a community hub and for this we should see more content in-store. We refer to our stores as Clubhouses rather than shops.
We're not about bleeding-edge technology but it's very important to keep moving. We've a hell of a lot to do. Our Point-of-Sale is pretty rudimentary. We're investing in a new solution, which will give us an 'endless aisle'. From the community side of things like managing rides we've apps that we'll use to digitally connect people.
We've a good grasp of what we do and we've people outside the company who handle all this. Control is not necessarily something we want to do. I'm only a control freak as far as being a brand guy.
It's more about brands I admire than retailers. Apple is interesting. They do their branding at scale with their stores. Also there's Nike with their Nike Towns, which effectively started the Clubhouse idea. As far as the retail experience goes and done at scale then Nike is very impressive. Then there is Paul Smith – who just does what he wants. And I like emporiums such as Stanfords, where I know I can wallow in maps.
I've never really looked at retail as something we're in. We're the combination of media and retail and a brand.
The retail team are in this industry. But for me I do not know who the movers and shakers are.


text:
/* Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *      http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package org.flowable.engine.impl.db;

import java.util.regex.Matcher;
import java.util.regex.Pattern;

import org.flowable.common.engine.api.FlowableException;
import org.flowable.common.engine.api.FlowableWrongDbException;
import org.flowable.common.engine.impl.FlowableVersions;
import org.flowable.common.engine.impl.db.AbstractSqlScriptBasedDbSchemaManager;
import org.flowable.common.engine.impl.db.DbSqlSession;
import org.flowable.common.engine.impl.db.SchemaManager;
import org.flowable.engine.ProcessEngine;
import org.flowable.engine.impl.persistence.entity.PropertyEntity;
import org.flowable.engine.impl.persistence.entity.PropertyEntityImpl;
import org.flowable.engine.impl.util.CommandContextUtil;

public class ProcessDbSchemaManager extends AbstractSqlScriptBasedDbSchemaManager {

    protected static final Pattern CLEAN_VERSION_REGEX = Pattern.compile("\\d\\.\\d*");

    public void schemaCheckVersion() {
        try {
            String dbVersion = getDbVersion();
            if (!ProcessEngine.VERSION.equals(dbVersion)) {
                throw new FlowableWrongDbException(ProcessEngine.VERSION, dbVersion);
            }

            String errorMessage = null;
            if (!isEngineTablePresent()) {
                errorMessage = addMissingComponent(errorMessage, "engine");
            }
            if (CommandContextUtil.getDbSqlSession().getDbSqlSessionFactory().isDbHistoryUsed() && !isHistoryTablePresent()) {
                errorMessage = addMissingComponent(errorMessage, "history");
            }

            if (errorMessage != null) {
                throw new FlowableException("Flowable database problem: " + errorMessage);
            }

        } catch (Exception e) {
            if (isMissingTablesException(e)) {
                throw new FlowableException(
                        "no flowable tables in db. set <property name=\"databaseSchemaUpdate\" to value=\"true\" or value=\"create-drop\" (use create-drop for testing only!) in bean processEngineConfiguration in flowable.cfg.xml for automatic schema creation",
                        e);
            } else {
                if (e instanceof RuntimeException) {
                    throw (RuntimeException) e;
                } else {
                    throw new FlowableException("couldn't get db schema version", e);
                }
            }
        }

        logger.debug("flowable db schema check successful");
    }

    protected String addMissingComponent(String missingComponents, String component) {
        if (missingComponents == null) {
            return "Tables missing for component(s) " + component;
        }
        return missingComponents + ", " + component;
    }

    protected String getDbVersion() {
        DbSqlSession dbSqlSession = CommandContextUtil.getDbSqlSession();
        String selectSchemaVersionStatement = dbSqlSession.getDbSqlSessionFactory().mapStatement("org.flowable.engine.impl.persistence.entity.PropertyEntityImpl.selectDbSchemaVersion");
        return (String) dbSqlSession.getSqlSession().selectOne(selectSchemaVersionStatement);
    }

    @Override
    public void schemaCreate() {

        getCommonSchemaManager().schemaCreate();
        getIdentityLinkSchemaManager().schemaCreate();
        getEntityLinkSchemaManager().schemaCreate();
        getTaskSchemaManager().schemaCreate();
        getVariableSchemaManager().schemaCreate();
        getJobSchemaManager().schemaCreate();

        if (isEngineTablePresent()) {
            String dbVersion = getDbVersion();
            if (!ProcessEngine.VERSION.equals(dbVersion)) {
                throw new FlowableWrongDbException(ProcessEngine.VERSION, dbVersion);
            }
        } else {
            dbSchemaCreateEngine();
        }

        if (CommandContextUtil.getDbSqlSession().getDbSqlSessionFactory().isDbHistoryUsed()) {
            dbSchemaCreateHistory();
        }
    }

    protected void dbSchemaCreateHistory() {
        executeMandatorySchemaResource("create", "history");
    }

    protected void dbSchemaCreateEngine() {
        executeMandatorySchemaResource("create", "engine");
    }

    @Override
    public void schemaDrop() {

        try {
            executeMandatorySchemaResource("drop", "engine");
            if (CommandContextUtil.getDbSqlSession().getDbSqlSessionFactory().isDbHistoryUsed()) {
                executeMandatorySchemaResource("drop", "history");
            }

        } catch (Exception e) {
            logger.info("Error dropping engine tables", e);
        }

        try {
            getJobSchemaManager().schemaDrop();
        } catch (Exception e) {
            logger.info("Error dropping job tables", e);
        }

        try {
            getVariableSchemaManager().schemaDrop();
        } catch (Exception e) {
            logger.info("Error dropping variable tables", e);
        }

        try {
            getTaskSchemaManager().schemaDrop();
        } catch (Exception e) {
            logger.info("Error dropping task tables", e);
        }

        try {
            getIdentityLinkSchemaManager().schemaDrop();
        } catch (Exception e) {
            logger.info("Error dropping identity link tables", e);
        }

        try {
            getEntityLinkSchemaManager().schemaDrop();
        } catch (Exception e) {
            logger.info("Error dropping entity link tables", e);
        }

        try {
            getCommonSchemaManager().schemaDrop();
        } catch (Exception e) {
            logger.info("Error dropping common tables", e);
        }
    }

    public void dbSchemaPrune() {
        if (isHistoryTablePresent() && !CommandContextUtil.getDbSqlSession().getDbSqlSessionFactory().isDbHistoryUsed()) {
            executeMandatorySchemaResource("drop", "history");
        }
    }

    @Override
    public String schemaUpdate() {

        PropertyEntity dbVersionProperty = null;
        String dbVersion = null;
        String feedback = null;
        boolean isUpgradeNeeded = false;
        int matchingVersionIndex = -1;
        int version6120Index = FlowableVersions.getFlowableVersionIndexForDbVersion(FlowableVersions.LAST_V6_VERSION_BEFORE_SERVICES);

        DbSqlSession dbSqlSession = CommandContextUtil.getDbSqlSession();
        boolean isEngineTablePresent = isEngineTablePresent();
        if (isEngineTablePresent) {

            dbVersionProperty = dbSqlSession.selectById(PropertyEntityImpl.class, "schema.version");
            dbVersion = dbVersionProperty.getValue();

            matchingVersionIndex = FlowableVersions.getFlowableVersionIndexForDbVersion(dbVersion);
            isUpgradeNeeded = (matchingVersionIndex != (FlowableVersions.FLOWABLE_VERSIONS.size() - 1));
        }

        boolean isHistoryTablePresent = isHistoryTablePresent();
        if (isUpgradeNeeded && matchingVersionIndex < version6120Index) {
            dbSchemaUpgradeUntil6120("engine", matchingVersionIndex);

            if (isHistoryTablePresent) {
                dbSchemaUpgradeUntil6120("history", matchingVersionIndex);
            }
        }

        getCommonSchemaManager().schemaUpdate();
        getIdentityLinkSchemaManager().schemaUpdate();
        getEntityLinkSchemaManager().schemaUpdate();
        getTaskSchemaManager().schemaUpdate();
        getVariableSchemaManager().schemaUpdate();
        getJobSchemaManager().schemaUpdate();

        if (isUpgradeNeeded) {
            dbVersionProperty.setValue(ProcessEngine.VERSION);

            PropertyEntity dbHistoryProperty;
            if ("5.0".equals(dbVersion)) {
                dbHistoryProperty = CommandContextUtil.getPropertyEntityManager().create();
                dbHistoryProperty.setName("schema.history");
                dbHistoryProperty.setValue("create(5.0)");
                dbSqlSession.insert(dbHistoryProperty);
            } else {
                dbHistoryProperty = dbSqlSession.selectById(PropertyEntity.class, "schema.history");
            }

            // Set upgrade history
            String dbHistoryValue = "upgrade(" + dbVersion + "->" + ProcessEngine.VERSION + ")";
            dbHistoryProperty.setValue(dbHistoryValue);

            // Engine upgrade
            if (version6120Index > matchingVersionIndex) {
                dbSchemaUpgrade("engine", version6120Index);
            } else {
                dbSchemaUpgrade("engine", matchingVersionIndex);
            }

            feedback = "upgraded Flowable from " + dbVersion + " to " + ProcessEngine.VERSION;

        } else if (!isEngineTablePresent) {
            dbSchemaCreateEngine();
        }

        if (isHistoryTablePresent) {
            if (isUpgradeNeeded) {
                if (version6120Index > matchingVersionIndex) {
                    dbSchemaUpgrade("history", version6120Index);
                } else {
                    dbSchemaUpgrade("history", matchingVersionIndex);
                }
            }

        } else if (dbSqlSession.getDbSqlSessionFactory().isDbHistoryUsed()) {
            dbSchemaCreateHistory();
        }

        return feedback;
    }

    public boolean isEngineTablePresent() {
        return isTablePresent("ACT_RU_EXECUTION");
    }

    public boolean isHistoryTablePresent() {
        return isTablePresent("ACT_HI_PROCINST");
    }

    protected boolean isUpgradeNeeded(String versionInDatabase) {
        if (ProcessEngine.VERSION.equals(versionInDatabase)) {
            return false;
        }

        String cleanDbVersion = getCleanVersion(versionInDatabase);
        String[] cleanDbVersionSplitted = cleanDbVersion.split("\\.");
        int dbMajorVersion = Integer.valueOf(cleanDbVersionSplitted[0]);
        int dbMinorVersion = Integer.valueOf(cleanDbVersionSplitted[1]);

        String cleanEngineVersion = getCleanVersion(ProcessEngine.VERSION);
        String[] cleanEngineVersionSplitted = cleanEngineVersion.split("\\.");
        int engineMajorVersion = Integer.valueOf(cleanEngineVersionSplitted[0]);
        int engineMinorVersion = Integer.valueOf(cleanEngineVersionSplitted[1]);

        if ((dbMajorVersion > engineMajorVersion) || ((dbMajorVersion <= engineMajorVersion) && (dbMinorVersion > engineMinorVersion))) {
            throw new FlowableException("Version of flowable database (" + versionInDatabase + ") is more recent than the engine (" + ProcessEngine.VERSION + ")");
        } else if (cleanDbVersion.compareTo(cleanEngineVersion) == 0) {
            // Versions don't match exactly, possibly snapshot is being used
            logger.warn("Engine-version is the same, but not an exact match: {} vs. {}. Not performing database-upgrade.", versionInDatabase, ProcessEngine.VERSION);
            return false;
        }
        return true;
    }

    protected String getCleanVersion(String versionString) {
        Matcher matcher = CLEAN_VERSION_REGEX.matcher(versionString);
        if (!matcher.find()) {
            throw new FlowableException("Illegal format for version: " + versionString);
        }

        String cleanString = matcher.group();
        try {
            Double.parseDouble(cleanString); // try to parse it, to see if it is
                                             // really a number
            return cleanString;
        } catch (NumberFormatException nfe) {
            throw new FlowableException("Illegal format for version: " + versionString, nfe);
        }
    }

    protected boolean isMissingTablesException(Exception e) {
        String exceptionMessage = e.getMessage();
        if (e.getMessage() != null) {
            // Matches message returned from H2
            if ((exceptionMessage.indexOf("Table") != -1) && (exceptionMessage.indexOf("not found") != -1)) {
                return true;
            }

            // Message returned from MySQL and Oracle
            if ((exceptionMessage.indexOf("Table") != -1 || exceptionMessage.indexOf("table") != -1) && (exceptionMessage.indexOf("doesn't exist") != -1)) {
                return true;
            }

            // Message returned from Postgres
            if ((exceptionMessage.indexOf("relation") != -1 || exceptionMessage.indexOf("table") != -1) && (exceptionMessage.indexOf("does not exist") != -1)) {
                return true;
            }
        }
        return false;
    }

    public void performSchemaOperationsProcessEngineClose() {
        String databaseSchemaUpdate = CommandContextUtil.getProcessEngineConfiguration().getDatabaseSchemaUpdate();
        if (org.flowable.engine.ProcessEngineConfiguration.DB_SCHEMA_UPDATE_CREATE_DROP.equals(databaseSchemaUpdate)) {
            schemaDrop();
        }
    }

    protected SchemaManager getCommonSchemaManager() {
        return CommandContextUtil.getProcessEngineConfiguration().getCommonSchemaManager();
    }

    protected SchemaManager getIdentityLinkSchemaManager() {
        return CommandContextUtil.getProcessEngineConfiguration().getIdentityLinkSchemaManager();
    }

    protected SchemaManager getEntityLinkSchemaManager() {
        return CommandContextUtil.getProcessEngineConfiguration().getEntityLinkSchemaManager();
    }

    protected SchemaManager getVariableSchemaManager() {
        return CommandContextUtil.getProcessEngineConfiguration().getVariableSchemaManager();
    }

    protected SchemaManager getTaskSchemaManager() {
        return CommandContextUtil.getProcessEngineConfiguration().getTaskSchemaManager();
    }

    protected SchemaManager getJobSchemaManager() {
        return CommandContextUtil.getProcessEngineConfiguration().getJobSchemaManager();
    }

    @Override
    protected String getResourcesRootDirectory() {
        return "org/flowable/db/";
    }

}


text:
Q: Icon cannot align to div center when use bootstrap.css Here is my code
I use following code to align icon to div center:

like following:

But when I add <link rel="stylesheet" href="../node_modules/bootstrap/dist/css/bootstrap.css">, icon become align to top

I don't wanna use bootstrap .btn, is there any way to align icon to div center even I use bootstrap.css?

A: I don't know why you use style="" I would prefer to create CSS classes, but in case you need to do it that way then is ok.
You can play with line-height, for example: line-height: 34px:

<link href="https://maxcdn.bootstrapcdn.com/font-awesome/4.7.0/css/font-awesome.min.css" rel="stylesheet"/>

A: Flexbox is a beautiful thing
I've split up you HTML and CSS just so it's easier to read.
I've added these 3 lines
display: inline-flex;
align-items: center;
justify-content: center;

*

*Line 1 set the display mode to inline (externally) and flex
(internally)

*Line 2 vertically aligns the contents centrally

*Line 3 horizontally aligns the contents centrally

.webview-back.icon {
  width: 34px;
  height: 34px;
  background-color: lightgray;
  display: inline-flex;
  align-items: center;
  justify-content: center;
}
<link href="https://maxcdn.bootstrapcdn.com/font-awesome/4.7.0/css/font-awesome.min.css" rel="stylesheet" />
<link href="https://maxcdn.bootstrapcdn.com/bootstrap/3.3.7/css/bootstrap.min.css" rel="stylesheet" />

Hope you find this helpful

redpajama_set_name: RedPajamaStackExchange


Make no mistake: Decisions made by President Trump and the Republicans in Congress remain the primary threat to the stability of the market and the future of the ACA.
Medicaid is an important source of funding for hospitals and health systems in communities across the country. And a stronger health care system benefits all consumers, not just those with Medicaid coverage.
The American Health Care Act is not a suitable replacement for the Affordable Care Act and should be rejected.
The latest health care proposal out of Congress would cut funding for Medicaid expansion and financial assistance that helps low-wage works and moderate-income families.
Extending Medicaid benefits low-income adults, their families, the health care system, and state economies. It is important to maintain the current federal Medicaid financing structure to help keep the program strong.


Laut™ is a one of a kind speaker; it stands out because of its balance and harmony when playing music of any kind. With Laut™ you can listen to TV shows, movies and games, and enjoy playing your favorite songs in a unique way.
Laut™ has an output power of 60 watt RMS, 30 watts in the central speaker and 15 watts in each of the satellites. Special music with astonishing potency and purity.
Laut™ is known for its balance and harmony to play music of any kind. It was created to reproduce the whole frequency range with a perfect balance. As a result, you´ll hear a pure, crystalline sound, where each instrument and voice is enhanced to the minimum details. With an exquisite sound it transforms your room into an auditorium.
Laut™ has elegant and progressive aesthetics, a hybrid of classic and modern lines. It has a moderate size of exactly 205 x 300 x 246 mm (subwoofer box) / 100 x 160 x 100 mm (satellite). Pure and elegant lines trace its shape. The perfect device to decorate any space.
This technology produces a broad and extended surround sound. By using cutting edge components, we achieved to maintain its frequency response outside its central axis. This allows enhancing the stereo effect, creating a surround effect. Immerse yourself in a new sound experience.
The metal mesh works as an excellent shield. It allows drivers to remain isolated from any particles that can get them dirty, causing sound distortion or damage.
Each satellite has a 3- inch mid-range made entirely of lignin hemp fiber –just like the central one-, which allows an excellent performance. The suspending ring is made of rubber, which optimizes the movement of the coil.
The central speaker has a 6.5-inch woofer made entirely of lignin hemp fiber. This natural polymer is ultra-durable and lightweight, optimizing the driver's performance. The upper suspension ring is made of rubber, allowing greater displacement sensitivity.
Each playback device needs different types of amplification, according to the intensity of its output. For devices with weaker signals (mp3, smartphones, tablets) input one is used to maximize its output. Input two is used for devices with strong signals (TV, DVD, semiprofessional sound plates). The speaker adapts to the different inputs for better performance while minimizing distortion.


The leading German portal immobilienscout24.de, part of Eden Way network and one of portals where the real estate listed with the Trgostan agency simultaneously appears, has picked up an award for best German portal brand.
The Islands.com voted the island of Brac among 10 best world islands to live on, together with Waiheke(New Zealand), Curacao, Maui, Lomgkawi (Malaysia), Grand Cayman, Palau, Big Pine Key (Florida) and Crete.
Many housing markets in leading economies remain distressed. Of the 27 countries which have already published their Q3 data, more countries have experienced house price falls (17 countries) during the year to date, than have enjoyed price rises (10).


text:
PANTyRAiD- Superior EP
Marty Party and Ooah are both huge names in the glitch and bass music scene and in late 2008, on top of Marty's solo projects, Ooah's work with The Glitch Mob and other various collaborations, they joined forces to create PANTyRAiD. Their mixtape released in the spring of 2009 was a HUGE success with its deep basslines and glitched up crunky vocals. People were all hyped up on PANTyRAiD and they spent months on message boards, Twitter, and Facebook begging for them to release an album. It didn't hurt their popularity that Mary Anne Hobbs was all about the PANTyRAiD.
They gave us a taste of the album by releasing the single "Beba" and the b-side "Get The Money" in May of 2009 on Adam Freeland's label Marine Parade. "Beba" was a huge hit and only fueled the cries for a full length album, which finally came in September of 2009 also on Marine Parade. The Sauce is still Marine Parades' top selling album, but despite its sexy album cover and all the hype, many fans felt it was a let down. It was quite different than the mixtape that people had been listening to for a year. The crunky hip hop vocals were missing and so was much of that heavy dance floor hype that had made the mixtape such a huge hit. None of this means that The Sauce wasn't a great album- it is a great piece of art, but many people were expecting something different. After waiting for so long, it was a huge letdown for those people who couldn't accept the album for what it was- a deep soulful expression of Ooah and Marty's musical vision at that time. Both of them were looking to do something different than they were currently doing musically, and The Sauce was the result.
Both Ooah and Marty are still very busy with their other projects, but they found time to come together and create The Superior EP which was released this week. This EP is 4 songs that "represent the four flavors of the dance floor inspired by the big bass sound of a PANTyRAiD." This EP was specifically made for the dance floor, which can lead one to the conclusion that Marty and Ooah listened to the criticism of The Sauce and tried to make something that their loyal fans would like.
Let's just indulge my fantasy that people actually read the stuff that is written here and want to know what my personal opinion and feelings on a subject are. I have some stuff on my mind and it isn't directed at any one person. It is just all of the little things that continually add up and make me say, I can't stand this anymore! I am so sick of people being negative about EVERYTHING. If you don't like a release, find an album you do like and talk about what you like about it instead of talking about why you don't like an album. The problem with this bass music scene is that there are too many hipsters in it and we all know that hipsters don't like to admit that they like anything that is popular, even if they were the ones who made it popular. They want to be the sole owners of this unique style of music that we have all grown to love and now that it is getting more popular, they need to separate themselves from that which they think is too mainstream. But at the same time, while trying to distance themselves from the "mainstream" they are unwilling to accept change.
An artist does what they do for the sake of art, but there is always that need to make a living. People start having to consider those who view their art if they want to be able to continue to sell it. If nobody wants to buy your art, then you either have to be poor, or you have to figure out a way to compromise by giving the people what they want while also maintaining your artistic vision. Along with needing to make money, it is human nature to try to please people. I don't know anybody who wants to constantly hear their fans complain about how much their art sucks. The goal of the person DJing or producing music is to give the fans music that they like. They actually WANT people to like their music, along with wanting to express themselves artistically. This is the part where the hipster says that the artist is now a sellout. Hey hipster! Guess what? It's actually none of your business. Just because you helped to make something popular doesn't mean you ever had any ownership of it.
Marty and Ooah respect their fans and listened to feedback on The Sauce and gave us four dance floor bangers with The Superior EP. These songs will get a party moving and will most likely make a lot of those fans who were disappointed with The Sauce very happy. Does that mean PANTyRAiD now deserves to be called sellouts? No. It means they put out another release that is going to be a best seller just like the first one. If you happen to dislike it, don't worry. I'm sure there is something out there that you will like. Everything is going to be ok.
Oh I hope people will still read my blog even though I got mad… Oh gosh, what did I do?!!
It's just music, people… buy it, listen to it, be happy.
Grab The Superior EP here!
Follow PANTyRAiD on Soundcloud, Twitter, and Facebook.


text:
/**
 * Function Processor for the CellScript to JS Compiler.
 */

/// public interface ///
module.exports = {

    canProcess: function(leaf) {
        return leaf.type === "unary" && leaf.subtype == "wait";
    },

    process: function(leaf, state) {
        state.print("yield inq.wait(");
        state.processor.level(leaf.items, state);
        state.print(")");
    }

};


Great for any lover of Mr. Whiskers. Designed to fit on standard 2x4 or 4x4 post. High impact poly construction with UV protection to resist fading. Comes complete with tamper resistant mounting hardware. Approximate size 29 3/4"L x 13 3/4" H x 8 3/4" W.


text:
Home » Posts Tagged "anthology"
By Ana Pines on Nov 9, 2012 in See
Soul and R&B singer-songwriter GOAPELE MOHLABANE's music mixes neo-soul, trip-hop, lieder and jazz. In addition to her solo work, she has collaborated with rap/hip hop icons E-40, Clyde Carson and Mos Def. "Goapele" means to move forward in Setswana, a Southern African language. In 2002 she and her family formed Skyblaze Recordings, an independent music label. She released her first nationally distributed album, Even Closer with Hieroglyphics Imperium Recordings and her music was part of the soundtrack to the movie Honey. In 2004, Columbia Records/Sony Music Entertainment Records acquired Skyblaze Recordings and re-released her first album. Even Closer reached #24 on the Billboard Charts for Top Independent Albums. Her second album, Change It All, was released December 2005. On September 14, 2006, the Ella Baker Center honored Goapele with the Human Rights Cultural Hero Award during the Center's 10th...
Anthology – Live Music and Dinner Venue
By Ana Pines on Aug 22, 2012 in Eat, See
If you're looking for a live music and fine dining venue look no further than Anthology located in Little Italy. Framed quotes and paintings of famous artists who've inspired many decorate the venue. The inviting atmosphere makes this a great spot for a date, business meeting, or night out with friends. The layout allows the acoustics to be equally desirable regardless of where you sit, making it a great place to view your favorite artist and also discover new talent. There's nothing more inspirational than a good live show, the atmosphere, audio, and lighting are integral parts of that experience and Anthology does a good job of bringing these elements together. The entertainers also appear on a screen behind them displaying different viewing angles so you don't miss a thing. If you're not interested in watching a show but want...
Salvador Santana at Anthology in San Diego
By Ana Pines on Aug 22, 2012 in See
Salvador Santana began playing the drums at age three-sitting on his father's lap, controlling the snare and tom, as his father worked the hi-hat and kick drum-but his true love was discovered when he began taking piano lessons when he was six. Later, he studied at San Francisco's heralded School of the Arts before attending Cal Arts in Valencia, CA. His education, passion and lineage have turned Santana into a monster on the keys. Music truly thrives in his veins. His maternal grandfather was blues pioneer Saunders King and his paternal grandfather was the internationally celebrated violinist and mariachi bandleader Jose Santana. And, of course, his father is 10X Grammy-winning Rock and Roll Hall of Famer Carlos Santana…who's also a frequent collaborator (Salvador co-wrote "El Farol" from 1999′s smash album Supernatural). Read more at his...


text:
<?php

namespace Happyr\LinkedIn\Http;

/**
 * Class UrlGeneratorInterface.
 *
 * Time to time we need build a URL or get the current URL
 *
 * @author Tobias Nyholm
 */
interface UrlGeneratorInterface
{
    /**
     * Build the URL for given domain alias, path and parameters.
     *
     * @param $name string The name of the domain
     * @param $path string Optional path (without a leading slash)
     * @param $params array Optional query parameters
     *
     * @return string The URL for the given parameters
     */
    public function getUrl($name, $path = '', $params = array());

    /**
     * Returns the Current URL,
     * not persist.
     *
     * @return string The current URL
     */
    public function getCurrentUrl();

    /**
     * Should we trust forwarded headers?
     *
     * @param bool $trustForwarded
     *
     * @return $this
     */
    public function setTrustForwarded($trustForwarded);
}