After releasing their third album, "Mr. Spaceman", Young Lions are on the rise. Having wrapped up their East Coast Confessions Tour just last week, it's clear the boys from Brisbane are dedicated to making their talents known! Displaying a bucketload of energy for the fans attending mostly sold out shows, Young Lions are obviously an act not to be missed and the appraisal from music industry icons proves that they are destined to be a roaring success from their fusion in 2013. Having received high reviews from the likes of Rolling Stone and The Music about their "arena-ready" sound, it's no surprise this Brissy band have already charted #3 on iTunes Global and have made themselves known as a band to watch!
During the hustle and bustle of tour life, the lads of Young Lions gave us a peek inside the rockstar life of being kind and working hard! Keep your eyes peeled to gain some solid advice below!
We are all super varied with our musical backgrounds, and that's really played a big part in our sound over the years. Mostly we loved music that was raw and honest. Zach had a lot of rap influences such as Eminem, then had a big Blink 182 phase. Big Dad-ish influences like Dire Straits and The Beatles played a big part as well. Nowadays we are still all over the shop from Just Like Thieves through to Kanye.
There's SO much to learn – and you'll always find yourself learning new things. The best advice we have is to be kind and work hard no matter what level you're at. Taking a sleeping bag and towel for some camping will save heaps of money too. Try to save hotels for when you can really afford them… we still camp now even though we're starting to get to that level where we can afford them though. It's just too much fun.
The tour for our last album "Mr. Spaceman" was huge for us. We really stepped up production and put our all into it which really paid off. Other than that just meeting people to build a good team around was been imperative. Band life is easy when everyone has a unified goal and works well together.
Less time used more efficiently. Other than that just more time practicing at home then coming together ready to go rather than wasting hours all together learning things from scratch.
Have things well organised and don't trust that people will do what they promise you. Do the research yourself and be cautiously optimistic rather than blindly trusting people.
Choosing support tours that didn't sell well and spending money where it really wasn't necessary. Make sure you prioritise things properly and don't put your music in the hands of people that aren't as passionate about it as you are. There is SO much you can do yourself in terms of releasing and distributing music so go the extra effort and reap all the rewards. Basically – we would keep on top of finances and spend it wisely if we had our time again.
The exploitation of shareholders of social media companies is a huge one. There are a lot of huge bands now that wouldn't have gotten to where they are without classic early social media platforms like Myspace to get them to where they are. Facebook really suppresses reach unless you have ample money to spend – there is a lot of undiscovered talent out there that deserves to be heard. In regards to solving this issue, we'd certainly jump onto a new platform and focus our attention on that if one popped up which will happen at some point!
Check out the Savvy Seven archives for more great music industry advice!


Congratulations to Wolfgang Bergmeier, Associate Professor of Biochemistry and Biophysics who has been awarded the 2016 ATVB Special Recognition Award in Thrombosis.
On Oct. 20, 2016, Aziz Sancar, MD, PhD, 2015 Nobel Laureate, Sarah Graham Kenan Professor of Biochemistry and Biophysics, delivered the annual Norma Berryhill Distinguished Lecture.
Nobel Prize Winner Aziz Sancar, MD, PhD and Melina Kibbe, MD join only twelve current and former UNC School of Medicine faculty members in the prestigious National Academy of Medicine.
Renovion and EpiCypher, spinouts from the work of David Henke, MD, and Brian Strahl, PhD, respectively, were celebrated at the 2016 National Council of Entrepreneurial Tech Transfer's University Startups Demo Day.
From a new study published in Structure, researchers in the lab of Nikolay Dokholyan have discovered a way to protect neurons from toxic effects by countering the tendency of the protein SOD1 to clump in motor neurons.
The state's highest civilian honor, the North Carolina Award, will be presented to six distinguished North Carolinians on Thursday, September 22. Congratulations to Drs. Aziz Sancar and Paul Modrich who are among the six honorees.
Congratulations to Biochemistry and Biophysics faculty Jean Cook who was promoted from associate professor to full professor effective August 1, 2016.
Dr. Henrik Dohlman, Professor of Biochemistry & Biophysics and joint in Pharmacology has been named Chair of the Department of Pharmacology, effective Oct. 1, 2016.
Findings from the lab of Dr. Richard Wolfenden, Distinguished Professor of Biochemistry & Biophysics show that rates of spontaneous DNA mutation could have been 4,000 times higher than they are now, thanks to a hotter planet billions of years ago.
Each year on Independence Day, the organization publishes its list entitled "Great Immigrants: The Pride of America" to honor the accomplishments of notable immigrants. Dr. Aziz Sancar, 2015 Nobel Laureate in Chemistry is a 2016 Carnegie Corporation honoree.
Congratulations to Jill Dowen, PhD, Assistant Professor of Biochemistry & Biophysics and Biology for her selection as a 2016 Sidney Kimmel Foundation Scholar in cancer research.
Published in the journal Science, a study by researchers in the Kuhlman lab offers a new route to design the 'cellular machines' needed to understand and battle diseases.
Researchers in Brian Kuhlman's lab use lasers to switch proteins off and on to watch how quickly cells react to their new reality.
The Department continues to rank highly for NIH funding among all Biochemistry departments in the US. In 2015, the Department secured 15.1 million in federal funding and ranks 8th.
In the December 2015 issue, ASBMB Today features Dr. Henrik Dohlman, Professor of Biochemistry & Biophysics in a "Generations" spotlight that speaks to the importance of education and a shared passion for science and hard work in the Dohlman family.
On March 23, 2016, Carolina's two Nobel laureates, Oliver Smithies, Distinguished Professor of Pathology and Aziz Sancar, Distinguished Professor of Biochemistry & Biophysics meet with new UNC system President Margaret Spellings.
Congratulations to Dr. Charles Carter, Jr., Professor of Biochemistry & Biophysics and Dr. Eric Brustad, Assistant Professor of Chemistry and Dr. Rihe Liu, Professor of Pharmacy, who have been awarded a major grant from the Foundation for Applied Molecular Evolution of the John Templeton Foundation.
Congratulations to Dr. Gary Pielak! He is the 2016 recipient of the Carl Branden Award from the Protein Society for his contributions to the field of protein chemistry.
Seven hundred girls from seven cities in Turkey will engage in science, technology, engineering, and math education during a series of three-day conferences.
Congratulations to Dr. Aziz Sancar, Distinguished Professor of Biochemistry & Biophysics, who received the 2016 Lifetime Achievement Award from the Triangle Business Journal and is named as one of their Healthcare Heroes for the year.
On January 15, during Teacher Appreciation night, Aziz Sancar of UNC and Paul Modrich of Duke were honored as "Heroes of the Game" for their shared 2015 Nobel prize in chemistry.
2015 Tar Heels of the Year are Aziz Sancar of the University of North Carolina and Paul Modrich of Duke University.


text:
using System;
using System.Collections.Generic;
using System.ComponentModel.DataAnnotations;
using System.Linq;
using System.Text;
using System.Threading.Tasks;

namespace EFDemo.MultipleDB.Models
{
    public class Blog
    {
        [Key]
        public int BlogId { get; set; }

        [StringLength(128)]
        public string Name { get; set; }

        public virtual List<Post> Posts { get; set; }
    }
}

redpajama_set_name: RedPajamaGithub


Located in sunny South Florida, Rexmere Village Manufactured Home Community provides a comfortable lifestyle with attractive surroundings. Many activities can be found at Rexmere Village that will suit your active lifestyle. And, within just a short distance, you will be close to many local attractions. Rexmere Village gives you the community atmosphere for all ages that other manufactured home communities don't offer.
Residents enjoy such amenities as wide lighted streets and sidewalks throughout the community; an 18-acre freshwater lake that's great for fishing from the park dock; and a large clubhouse, with both a large and a small hall for homeowner functions. Our clubhouse boasts an exercise room and sauna, basketball court, tennis courts, two playgrounds, and an extra-large swimming pool with plenty of tables and chairs for your comfort. In addition to all that, residents enjoy other conveniences such as an RV and boat storage area, community parties and picnics, an informative newsletter, and much more.


text:
"No such thing as a 'Canadian'": Memory, Place, and Identity in Mavis Gallant's Linnet Muir Stories
Kate Smyth
Articles, Issue 4 2015
In Mavis Gallant's six Linnet Muir stories, identity is continually re-constructed through memory. Paul White states that "shifts in identity are highly complex, sometimes unstable, and often have reversible elements built into them" (King, Connell, and White 3). This instability links the themes of identity, memory, and nation in these stories, which are relevant not just to Canada but on a transnational scale. These shifts in identity can occur as a result of migration between one place and another. They influence, and are influenced by, perceptions of the past that are dependent on experience in the present. According to Maurice Halbwachs, humans "preserve memories", and they are "continually reproduced" (47) in the present. Through these memories, "a sense of identity is perpetuated" (Halbwachs 47). The complex and contradictory relationship between remembering and forgetting in the Linnet Muir stories highlights this idea of a continual perpetuation of identity and the complexity and instability of identity development.
When Salman Rushdie draws on the famous opening line in L.P. Hartley's The Go Between (1953) and claims that "the past is a country from which we have all emigrated" (12), he suggests that diasporic or transnational individuals can never return to their home as they remember it because their idea of home remains in the past, and inevitably becomes corrupted by the inaccuracies of memory. The Linnet Muir stories suggest that although the past is continually manifested in the present through memory, these memories, and the places to which they are linked, are constantly subject to re-interpretation and fragmentation. This short story cycle—with specific focus here primarily on two of the six stories, "In Youth is Pleasure" and "Varieties of Exile"—is united by consistency of setting, character, and theme. However, it argues for a rejection of identity and place as unified and fixed entities. Form and content combine in these stories to suggest that rejecting clarity, closure, and linearity opens up entrenched discussions of national identity in Canada and argues for more fragmented and diverse understandings of identity and place of belonging. This understanding is bound up with the fragmented, contradictory, and non-linear workings of memory and forgetting, which relate to the development of Linnet's perceptions of self and place of belonging in these stories.
The first section of this article explores how the short story, as a fragmentary form, is particularly apt to explore the experience of fragmentation or destabilisation of identity and place for the character Linnet Muir. It examines the semi-autobiographical relationship between Gallant as writer and Linnet as fictional character. This short-story cycle, set in 1940s' Montreal, is taken from Gallant's collection Home Truths (1981), where notions of "home" and "truth" are subjective concepts. In the stories, the narrator is an older Linnet at an unspecified later time who is remembering, and writing about, the experiences of her eighteen-year-old self and her earlier childhood. The stories blur the boundaries between fact and fiction. Both the younger and older Linnets make statements and engage in acts that are incongruous and contradictory. This highlights the complexity and mutability of identity, a theme that runs through much of Gallant's work. Drawing on the writing of Maurice Halbwachs and Anne Whitehead, this article explores how memory and forgetting are essential to these unstable and contradictory aspects of identity, and how the active or conscious forgetting of traumatic or troubling memories of the past is sometimes necessary in order to survive and prosper in the present.
The second section of this article explores the ways in which Canada, and approaches to Canadian literature and short fiction, have changed over time. Gallant, as a Canadian writer, engages with the development of a growing preoccupation with the meaning of Canadianness in the twentieth century. The title of this paper is taken from a statement made by the strong-willed Linnet in one of the six stories, "In Youth is Pleasure", which quickly establishes this link between identity and place:
In those days there was almost no such thing as a "Canadian". You were Canadian-born, and a British subject, too, and you had a third label with no consular reality […]. In Canada you were also whatever your father happened to be, which in my case was English. He was half Scot, but English by birth, by mother, by instinct. I did not feel a scrap British or English, but I was not American either. In American schools I had refused to salute the flag. (HT 220)
Movement from one place to another, and the mutability of identity connected with this, is essential to these stories. Instead of the labelling demonstrated in the above quotation, the short-story form points to a fluidity of identity that is linked with a fluidity of place. Gallant's characters are often migrants, émigrés, and exiles. They are people who live without a sense of belonging in a "foreign" landscape, or who, like Linnet Muir, return to what should be "home" and still feel exiled. Memory and forgetting are essential to these perceptions of belonging.
The third section of this article builds on the links between the short story and mutable boundaries of place and identity. The short-story cycle in particular is a form that presents a challenge to nationalistic and unified notions of belonging. The Linnet Muir short-story cycle suggests the importance of delimiting identity and place through recognising the contradictions inherent in these ideas. These contradictions present a challenge to the binaries of fiction and non-fiction, nation and non-nation, and memory and forgetting, which all feature in Gallant's stories.
As a form, the short story has historically suffered significant theoretical neglect in comparison with other genres such as the novel or poetry. This has changed considerably since the late twentieth century. Charles E. May states in The New Short Story Theories (1994) that the argument in Short Story Theories (1976), which claimed that the form was an "underrated art", is "no longer necessary" due to a "'renaissance' of interest" in the short story (xi). The Canadian short story in particular has been an important contributing factor to this change. Canadian short-story writers have featured regularly in critical discourse, the most notable perhaps being Alice Munro who won the 2013 Nobel Prize in Literature. Following the announcement of the prize, Munro told interviewer Adam Smith of her wish for short stories to "come to the fore" because many writers still view them as precursors to writing a novel. The short story is a highly relevant and important form for exploring human experiences of dislocation and alienation in the twentieth and twenty-first centuries. Nadine Gordimer, writing in 1976 (when the story form was "underrated" according to May) states that "our age is thrashing about desperately for a way out of individual human isolation" (266). Ailsa Cox argues that the short story is "the perfect form for a heterogeneous and fragmented culture" (2), and can engage with the experience of what Frank O'Connor calls socially "submerged population groups" (86) that suffer domination and control by stronger population groups (such as Canada in its relationships with Britain and the US). The Linnet Muir story cycle looks at what O'Connor terms the "outlawed figures wandering about the fringes of society" (87). These are transnational figures for whom identities and home-places are "plural and partial" (Rushdie 15). They are reflective of the landscape of movement and the twentieth-century modernist culture in which Gallant is writing, and also can be read in terms of a more contemporary rejection of national unity and wholeness of identity.
Despite having published over one hundred short stories in The New Yorker, as well as thirteen short-story collections, two novels, one work of non-fiction, and a play, Gallant remains relatively unknown in Canada and elsewhere in comparison, for example, with Alice Munro. This may partly have been caused by Gallant's decision in 1950 to leave Montreal, where she was born in 1922, for Paris, where she was based until her death in 2014. A transnational figure herself, Gallant wrote and published in English but lived in French. Rather than Canadian magazines, she generally chose to publish in The New Yorker, where editor William Maxwell provided support and encouragement. Although written with precision and detail, her stories reject unity of character and plot, making them integral to this discussion of place and identity as fluid concepts that cannot be rationalised into distinct and unchanging categories. Clare Hanson states that the "formal properties of the short story—disjunction, inconclusiveness and obliquity—connect with its ideological marginality and with the fact that the form may be used to express something suppressed/repressed in mainstream literature" (2). Gallant's stories explore what happens when memories are actively "suppressed/repressed", and the effect this has on one's sense of belonging and identity in a society. They tend to focus on several core ideas: identity (Canadian, European, North American, expatriate, transnational), self-exile, the inability of people to communicate with each other, the mutability of human relationships, and the past as experienced in the present through memory. Her characters tend to be loners who are excluded in some way (perhaps of their own volition) from their social and cultural surroundings.
Through the Linnet Muir stories, and the character of Linnet herself, Gallant's perceptions of Canada and transnational identity are at least partially reflected. Gallant claims that Linnet "isn't myself, but a kind of summary of some of the things that I once was" (Hancock 88). Like Linnet, her father was Anglo-Scottish and her mother was American. Gallant was an only child. When she was ten, her father died of kidney failure but this was kept from her (Linnet eventually discovers her father either died of tuberculosis or by suicide). Gallant's mother quickly remarried. She and Gallant had a troubled relationship. Gallant spent years believing that her father had simply returned to England, and waited for him to come back to Canada. In the stories, this is Linnet's experience too. After the death of her father and her mother's remarriage, Gallant was sent to boarding schools in the US and Canada. Like Linnet, Gallant graduated high school in New York and returned to Montreal, alone, at the age of eighteen. Whereas Linnet works in a misogynistic city planning office, Gallant was an unappreciated journalist at the Montreal Standard. Linnet marries and continues to live and work in Montreal while her husband is away at war. Gallant's six-year marriage ended in 1947. She sold a story, "Madeline's Birthday", to The New Yorker for the first time in 1950 and moved to Paris to write full-time. At the end of the story cycle, Linnet remains in Montreal, though her narrative is open-ended.
In The Paris Review, Gallant tells Daphne Kalotay that the stories are "as close to autobiography as fiction can be." However, despite the connections between Linnet and Gallant, Linnet is still a constructed character. In her 1978 interview with Geoff Hancock, Gallant states that autobiography "would be boring" and that this short-story cycle is reality "necessarily transformed" (Hancock 88). Yet, as Gallant tells Kalotay, "anything based directly on memory arrives in one's mind in the form of fiction". In a similar vein to Rushdie's notion of "restoring the past to myself" (10), Gallant's writing of the Linnet Muir stories in 1981 are "a reconstruction of a city [Montreal] which no longer exists" (Hancock 88). This highlights the instability of memory and its propensity towards, as Rushdie says, "creat[ing] fictions" (10). Linnet's aims in returning to Montreal in "In Youth is Pleasure" are to learn what happened to her father and to rediscover what she later recognises as a "dream past" (HT 228) like Rushdie's "imaginary homelands" (Rushdie 10). For the eighteen-year-old Linnet, this return becomes an effort to release herself from her past through forgetting, as will be discussed below.
Although Montreal, and Canada in general, has changed over time, Gallant tells Kalotay in The Paris Review that "Canada in the early fifties was an intellectual desert." This prompted her decision to leave. Linnet's idea that, in the 1930s and 40s, there was "almost no such thing as a 'Canadian'" (HT 220) was influenced by a lack of Canadian cultural and literary development. Richard Gwyn states that there was "a persistent fear" that Canada would "gradually fade away" with a "regretful sigh" (7). Canadian literary culture began to improve after the Massey report of 1951 and the creation of a number of government-sponsored institutions such as the Canadian Council for the Arts (1957), as well as Robert Weaver's work on promoting the short story. The 1960s and 1970s saw a rise in what Robert Thacker calls "a more conscious Canadianism" (Kröller 188) due to the nationalistic thinking prompted by the 1967 Canada centennial celebrations and, among other things, the influence of Prime Minister Pierre Elliot Trudeau.
Canadian literary critics and writers at this time celebrated writing that was perceived as having "typically Canadian preoccupations" (Hammill 11). In Survival (1972), Margaret Atwood argues that "Canadian literature is undeniably sombre and negative" and this is "a reflection and a chosen definition of the national sensibility" (245). Linnet Muir agrees with this, claiming that, for people in Montreal, "'like' and 'don't like' were heavy emotional statements" (HT 229). Contemporary Canadian literatures are too varied to be limited to such generalisations and nationalist categorisations. However, in 2004, Gerald Lynch states that the Linnet Muir story cycle "exhibits the defining feature of the genre [of the story cycle] in Canada: the concluding return movement to a home that is always paradoxically constitutive and delimiting, however contrary may be the attitude towards home of the narrated Linnet, of the narrating Linnet, and, presumably, of that obdurate expatriate, Mavis Gallant herself" ("An Intangible Cure" 2). Gallant's writing challenges nationalist preoccupations while paradoxically subscribing to them. In 1978, Gallant stated that, despite living in Paris for most of her adult life, she never gave up her Canadian citizenship: "I would be a Canadian even if Canada ceased to exist, because it is a part of being myself. I have no identity problem concerning Canada … In fact, I don't believe anyone has. It's something people like to imagine about themselves because it sounds tense and stormy and romantic" (Hancock 86). However, Gallant never returned to live there permanently.
This idea of imagined national identity, to which Atwood also refers, is important to consider in relation to Gwyn's claim that all nation-states are "exercises in the collective imagination" (21) and Benedict Anderson's notion that the nation is "an imagined political community" (6). This outlook is too reductive and suggests unified notions of identity and place within a cohesive nation. In contrast, Stephen Clingman states that a national boundary is "nothing other than movement, perpetually dissolving as it shifts" (2). This sense of fluidity and mutability of national boundaries can also be applied to the boundaries between fiction and non-fiction in Gallant's work, and between memory and forgetting, in the construction of identity, as this article will explore later. Nadine Gordimer argues that the short story captures the inconsistency and instability of identity and human relationships. Gordimer claims that the human contact is "like the flash of fireflies" (264), and that this allows short-story writers to illuminate particular moments in the present. However, the Linnet Muir story cycle suggests that "the light of the flash" (Gordimer 264) is sparked by the past and by memory as experienced in the present. Both Gallant and the older narrator Linnet write stories about the past while paradoxically suggesting the erasure of the past through writing.
Aida Edemariam claims that Gallant had "a fantastic memory—you tell her a story once and she can remember it twenty years later" ("Foreign Lands"). Gallant constructs these partly-fictional Linnet Muir stories through non-fiction (i.e. memory). Walter Benjamin's ideas on remembered experience, as examined by March-Russell in The Short Story: An Introduction (2009), are useful here. Benjamin argues that there are two types of remembered experience: Erfahrung, where unexpected events stay in the individual's mind, and Erlebnis where the mind attempts to protect itself from further surprise or distress by arranging these experiences into a linear narrative: "Whereas the experience of Erfahrung continues to resonate, the experience of Erlebris can only be consciously recalled" (March-Russell 23). Conscious recollection of events "diminishes the effect" of spontaneous memory of recent events and is less "authentic" (March-Russell 23). While this theory may not be entirely empirically accurate, it is useful in a consideration of the way Gallant uses memory (non-fiction) and imagination (fiction) in her stories. Because the Linnet Muir stories are primarily based on events that happened to Gallant decades before, she does engage in Erlebris (conscious recall), and it is no less effective than Erfahrung (involuntary, often traumatic memories). Gallant's excellent memory, as Edemariam describes above, allows her to recollect an event or experience decades later and re-interpret and re-form it into fiction.
Within the story cycle itself, memory and forgetting are also essential to Linnet's identity. Janice Kulyk Keefer states that in Gallant's stories, memory is "rooted in childhood" (98). In "Voices Lost in Snow", the narrator Linnet remembers that, when she was a child, her father was "proud of [her] quite surprising memory, of its long backward reach and the minutiae of detail [she] could describe" (HT 291). However, after her father has died, in "Varieties of Exile", the narrator Linnet recalls that, for her eighteen-year-old self, "nothing could live except present time" (HT 279). The younger Linnet actively forgets or represses past traumatic events. As the narrator Linnet suggests, this kind of conscious forgetting influences how her young self's identity develops. Whitehead states that, towards the end of the nineteenth century, memory was thought to have often "become pathological" (85) and that this notion has continued to the present day. According to Whitehead, "forgetting is an active agent in the formation of memories", and memory and forgetting are both "necessary to life" (121).
Gallant also engages in active forgetting. She claims that "once something is written, I forget its source" (Hancock 88). She uses writing as a way to "filter" reality and turn it "into that other reality called fiction" (Hancock 88). Once this takes place, she states that "the original ingredient ceases to exist. Ceases to exist in memory, that is" (Hancock 88). Whitehead states that forgetting is inseparable from memory and argues that "some measure of forgetting is a necessary requirement for personal and civic health" (157). This is reflected in the Linnet Muir stories, where the eighteen-year-old Linnet's insistence on living in the present is a rejection of the trauma of the past and an attempt to stop re-living the loss of her father and the breakdown of her family.
The death of her father is compared in "Varieties of Exile" with the death of English remittance man Frank Cairns, with whom Linnet has an ambiguous though not quite romantic relationship. Frank, who describes Canada as a "bloody awful country" (HT 277), is killed when fighting in the Second World War. When Linnet learns of his death, she states, "Nobody knew I knew him, and in Canada it was not done to speak of the missing. I forgot him. He went under" (HT 281). This statement is contradicted by the fact that the narrator Linnet has remembered him in order to write about him now, in the present. This suggests that forgetting is similar to White's description of identity development as a process that is "reversible" and "unstable" (King, Connell, and White 3).
Frank is unable to integrate into Montreal society. In his mind, he re-constructs England into what Rushdie calls an "imaginary homeland" (10). Vijay Mishra claims that this kind of construction results in a "state of melancholy" for the transnational individual because "the past cannot be constructively interpreted" (9). Linnet is "happy for him that he would never need to return to […] the loneliness and be forced to relive his own past" (HT 279). She compares Frank to her father, who was also a remittance man, and to herself as a transnational figure and exile. Having returned to Montreal at eighteen, Linnet relives her own past through reminiscences about her childhood, and her parents, especially her father. When she first returns to Montreal, her version of Rushdie's "imaginary homeland", Linnet literally carries her father's English past: an Edwardian picnic hamper which her father had brought from England twenty years before. It had "been with [her] since childhood, when his death turned [her] life into a helpless migration" (HT 219).
Linnet is one of O'Connor's "outlawed figures" (87). The past and her interpretations of it are bound up with the older Linnet's perception of herself at eighteen as a transnational figure for whom home is an unstable and imagined idea. Despite returning to Montreal, Linnet has no concrete sense of home, due in part to her father's death and the breakdown of her family, and in part to her migratory childhood attending school between the US and Canada. Gallant herself considered Canada as home despite having not lived there permanently since 1950.
This conflicted notion of home is a focus in the story, "With a Capital T", where the young Linnet meets her godmother Georgie Henderson in Montreal. The last time she met Georgie was with her father when she was a child. Linnet states that Georgie's "chain-smoker's voice made me homesick, though it could not have been for a place—I was in it. Her voice, and her particular Montreal accent, were like the unexpected signatures that underwrite the past: If this much is true, you will tell yourself, then so is all the rest I have remembered" (HT 324). This links memory, identity, and place together and suggests their collective mutability and unreliability. It evokes the unreliability of memory for the narrating Linnet and for the young Linnet, and for Gallant herself. Linnet's homesickness is based not on Montreal but on a shifting and unstable sense of identity due to migration throughout her childhood and the breakdown of her family. Because her idea of home is imagined and based on unreliable memory, returning to her physical home-place does not negate her continuing sense of exile.
The narrator Linnet is still reliving her past, though she has become less arrogant and single-minded. She recognises the conflicting identity issues of her younger self, for example, her self-identification as a Socialist and her contradictory nationalist mentality that is prone to generalisations. Linnet views the refugees of the Second World War in 1942 as "prophets of a promised social order" (HT 261), that focuses on equality and understanding. But, at nineteen, she does not realise that the refugees actually hate each other: "National pigheadedness, that chronic, wasting, and apparently incurable disease, was known to me only on Canadian terms and I did not always recognise its symptoms" (HT 261). She did not recognise them in herself. By the end of the story, the refugees are "going through a process called 'integrating'. Some changed their names. Others applied for citizenship" (HT 281). They are now uninteresting to the young Linnet, who has "become patriotic" (HT 276), and was only fascinated by them because they were unfamiliar. The narrator Linnet recognises the contradictions here. Eighteen-year-old Linnet is interested in difference but only on a surface level. She Others the refugees as a unified, labelled group. Her loss of interest in them rests on their integration into her view of national Canadian culture. The older Linnet recognises her younger self as paradoxically both resisting and subscribing to fixed notions of Canadianness.
Contradictory and paradoxical ideas about the self and belonging run through these stories and are directly related to memory and forgetting. The active forgetting Linnet engaged in with Frank Cairns reoccurs with Georgie: "I did not forget her, but I forgot about her" (HT 329). And the young Linnet engages in the same process in relation to her father. She learns that he either shot himself or died at sea and, because no one will tell her exactly what happened, she must choose what her father's story was, and what her own story will be. This choice is being re-worked into fiction by the narrator Linnet, who is remembering the experiences later in life, implicitly making clear that Frank, Georgie, and her father were not irreversibly forgotten. The young Linnet put her father's death into a drawer in her mind and decided that "if I was to live my own life I had to let go […]. After that there was scarcely even a mention" (HT 235). However, the narrator Linnet's use of the word "scarcely" implies that the memory did recur. Here, the reversibility and instability of memory and forgetting links with White's idea of identity shifts as "reversible" and "unstable" (King, Connell, and White 3). The narrator Linnet recognises that, at eighteen and nineteen, her life "moved all in a rush, dislodging every obstacle it encountered" (HT 329). Later, when her life "slowed" and the "noise of it abated", she "could hear the past" (HT 329). The tense here suggests that, for the older Linnet, the past is always present and continually affects her writing, as it does for Gallant herself.
The act of active or conscious forgetting can be associated with freedom from a traumatic memory. For example, Cynthia Sugars notes that in Gail Anderson-Dargatz's Turtle Valley (2007) the characters are "turned into amnesiacs" so that they experience "a form of liberation from the weight of familial history and genetic memory" (197). For one character, writing acts as "a means of memory loss. She writes, in other words, in order to forget" (Sugars 194). The semi-autobiographical nature of the Linnet Muir stories, and the sudden death of Gallant's father in real life, suggest an exploration of traumatic childhood experiences by Gallant through her writing. The complexity of these stories rests on the link between Gallant remembering her childhood and early adulthood, adapting it into fiction and, as suggested by her declaration to Hancock above, forgetting it as a cathartic process. The narrator Linnet's claim that she "could hear the past" suggests that, as she matured and gained patience, she became more capable of remembering her past trauma and then uses those memories to re-structure the past into these stories. According to Karen Smythe, this suggests a link between the "unreliability of any one memory and the act of writing down that memory" (78).
However, the young Linnet rejects memory in favour of relentless movement, a repression of trauma, and a focus on the present. Though the story cycle is a Künstlerroman, the young Linnet impulsively burns her writing in an effort to discard the past. After she leaves her job as a trainee engineer in Montreal, although she "had scrupulously noted every detail of the office, and the building it was in", within a few months she "would walk by it without remembering [she] had ever been inside" (HT 279). The older Linnet thinks that the way her younger self "kept moving on" was "careless" (HT 278). Even at that age, the narrator Linnet states, she knew that "discarding" (HT 281) her psychological trauma and distress in this way was a "variety of exile" (HT 281). This links with Linnet's feelings of homesickness after meeting Georgie, and suggests that the older Linnet views forgetting not as a beneficial and therapeutic exercise but as a loss that contributed to the young Linnet's sense of dislocation and lack of place of belonging in Montreal. However, this temporary forgetting was necessary in order to survive the trauma of the loss of the father and the dislocating transnational migration of her childhood. Whitehead proposes that active forgetting is beneficial, not when it pertains to indefinite repression of the past, but when it "holds the past in reserve" (157). The young Linnet does not truly forget events but temporarily represses them until she is more capable of dealing with them, through writing in the form of short stories.
The short story form is a "catalyst" (March-Russell ix) in the investigation and integration of cultural ideas, and Viorica Pâtea argues that the form "has a liminal quality, constantly attempting to dissolve the boundary between the known and the unknown, the visible and the invisible, the surface and the inner secret of things" (16). This connection of the short-story form with "boundary", and the narrator Linnet's linking of memory and forgetting with a "variety of exile" and a sense of placelessness, suggests that the short story—specifically the short-story cycle—is an important lens through which to examine Clingman's idea of shifting national boundaries and White's suggestion that "shifts in identity" are "unstable" and "reversible" (King, Connell, and White 3). As discussed above, the young Linnet's sense of place and home is variable and shifting. Her sense of exile continues in Montreal, despite this being her place of birth. Once she decides to detach herself from the trauma of her father's death, her idyllic childhood memory of Montreal and the "dream street" of her childhood neighbourhood "evaporated" (HT 235). It was what Rushdie describes as an "imaginary homeland" (10) of the migrant figure, which never existed and was constructed through unreliable and unstable memories.
The relation of the short-story form to these issues of identity, memory, and place can be traced back to the coining of the term at the end of the nineteenth century and the general replacement of spoken stories with printed stories (in the West at least). This signified a change in literature's relationship to dynamic political, economic, cultural, social, and psychological circumstances. March-Russell draws on German philosopher and critic Walter Benjamin's writing in 1939 (just two years before Linnet returns to Montreal in "In Youth is Pleasure") to suggest that one reason for these detrimental changes is modernism and urbanisation, which caused families to disperse. According to Whitehead, processes of modernisation contributed to an increase in "traumatic symptoms which became the focus of Sigmund Freud's psycho-analysis" (84). These "traumatic symptoms"—including problematic perceptions of one's identity and memories—continued to affect alienated and isolated individuals and groups into the twentieth century, especially with the influence of the First and Second World Wars. Ailsa Cox states that, in "The Lonely Voice", O'Connor identifies "formal fragmentation with a fractured interior consciousness", and Cox relates this to "the modernist sensibility which informed the development of the literary short story in the twentieth century" (5).
Since the appearance of the modern short story, it has been consistently compared with the novel, and often found wanting by critics and readers of the twentieth century. When speaking to Kalotay in 1999, Gallant stated, "Many novel readers don't like collections of stories—I think that they dislike the frequent change of time, place and people." A form that bridges the gap between the short story and the novel is the short-story cycle, which provides continuity of theme, place, and/or character, such as in the Linnet Muir stories. Gerald Lynch's book on the English-Canadian short-story cycle, entitled The One and the Many, highlights how White's idea of shifting identities and Clingman's notion of shifting boundaries can be applied to, and demonstrated through, the short-story cycle form. In relation to this form, Lynch describes the "one" as the overall narrative, and the "many" as the individual stories included in it. Clingman also considers the nation in terms of "the one" and "the many", where the "the many" refers to identity issues in relation to "migration" and "exile" (5) and "the one" relates to "questions of location […], identity […] [and] nationality" (5). "The many", Clingman says, with its variety and sense of possibility, is "often sacrificed for the sake of singular identities" (5). The short-story cycle allows for, as Michelle Gadpaille asserts, a "sense of unity and sustained atmosphere provided by common setting, strong characterisation, and quiet, ironic commentary" (13). However, it also indicates "unity in disunity, reflecting a fragmented temporal sense, and incorporating a more authentic representation of modern sensibilities" (The One 18). The story cycle often evades finality and resolution, as the last story tends to refer back to the preceding stories in the cycle. In a challenge to a nationalistic search for unity and wholeness, Lynch claims that the short-story cycle "subverts the impression of completion, of closure, and totality" (The One 18). This subversion of unity and clarity in the short-story cycle highlights the form's importance in this discussion of the destabilisation of the binaries of fiction and non-fiction, nation and non-nation, and memory and forgetting in Gallant's Linnet Muir stories. It also suggests the centrality of the form in advancing the critical conversation on transnational identity and migration as it relates to memory and forgetting on a broader scale.
White argues that there are "a series of possible shifts in identity that occur in relation to migration" (2). The Linnet Muir stories provide examples of such identity shifts, from the transnational experiences of Linnet's father and Frank Cairns as English remittance men in Canada, the obliquely mentioned and generalised refugees who integrate into Montreal society, and Linnet, who must migrate within and between the US and Canada, and remains in "exile" after returning to Montreal. Hanson suggests that the short story allows for "gaps and absences" as well as "mystery" and "uncertainty" (25), which makes it an important form in a transnational rejection of completion, unity, and wholeness. The short-story cycle in particular, as discussed by Lynch, is a form that resists completion and closure, and thus has specific relevance to an investigation of shifting notions of identity and place.
Marlene Goldman claims that "remembering and forgetting provide the foundation for human identity" (123). The shifts in the younger Linnet's identity are bound up with memory and forgetting. The active forgetting with which Linnet engages is reversible and unstable, as White claims identity is. Through writing, the narrator Linnet, and Gallant herself, access the memories that were placed, as Whitehead states, "in reserve" and re-organise and re-imagine them through the suitably fluid and circular form of the short-story cycle.
The nature of the short-story cycle is one of fragmentation and partiality and, contradictorily, of unity of setting and character. This sense of contradiction is integral to the Linnet Muir story cycle, and to Gallant's writing of it. Just as the young Linnet states that she actively forgets or represses people and events of her past that trouble and disturb her, Gallant claims to actively forget the memories upon which her stories are based after she has written them. But the memories are preserved in Gallant's short fiction. In the Linnet Muir cycle, the older Linnet revives the "forgotten" memories, suggesting that active forgetting is not a fixed process, and the contradictions presented in relation to memory and forgetting in the stories suggest a necessity to question the reliability of narration. Everything, Gallant implies, is subject to change and reinterpretation, which suggests that Gallant's claim to "forget" memories entirely once the writing process is complete should also be questioned.
This rejection of clarity and completeness also applies to the construction of Canadianness and national identity in the stories. While it is no longer true that there is "no such thing as a 'Canadian'", the Linnet Muir story cycle proposes that there are many definitions of Canadianness, and that a sense of belonging is not just based on physical place. It also relies on the constantly shifting factors of identity, human connections, and the relationship of the past to the present. The younger Linnet's paradoxical rejection of, and subscription to, forms of Canadian nationalism indicates that identity is not a coherent entity and is subject to inconsistency. Through challenging the binaries between fiction and non-fiction, nation and non-nation, and memory and forgetting, the Linnet Muir story cycle advocates for more open and diverse interpretations of identity and place, and a destabilisation of entrenched and dividing notions of boundary.
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1991. Print.
Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: Anansi, 1972. Print.
Clingman, Stephen. The Grammar of Identity: Transnational Fiction and the Nature of the Boundary. Oxford: Oxford UP, 2009. Print.
Cox, Ailsa. Teaching the Short Story. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011. Print.
Gadpaille, Michelle. The Canadian Short Story. Toronto: Oxford UP, 1988. Print.
Gallant, Mavis. Home Truths: Sixteen Stories. New York: Random House, 1985. Print.
—. "Foreign Lands." Interview by Aida Edemariam. The Guardian. London. 21 Feb. 2004: n.p., Web. 25 Jan. 2014.
—. The Selected Stories of Mavis Gallant. New York: Random House, 1996. Print.
Goldman, Marlene. "'Their Dark Cells': Transference, Memory, and Postmemory in John Mighton's Half Life." Canadian Literature and Cultural Memory. Ed. Cynthia Sugars and Eleanor Ty. Ontario: Oxford UP, 2014. 118-133. Print.
Gordimer, Nadine. "The Flash of Fireflies". The New Short Story Theories. Ed. Charles E. May. Athens: Ohio UP, 1994. 263-267. Pint.
Gwyn, Richard J. Nationalism without Walls: The Unbearable Lightness of Being Canadian. Toronto: McClelland & Stewart, 1995. Print.
Hanson, Clare. Rereading the Short Story. Basingstoke: Macmillon, 1989. Print.
Halbwachs, Maurice, and Lewis A. Coser. On Collective Memory. Chicago: U of Chicago, 1992. Print.
Hammill, Faye. Canadian Literature. Edinburgh: Edinburgh UP, 2007. Print.
Hancock, Geoff. Canadian Writers at Work. Toronto: Oxford UP, 1987. Print.
Kalotay, Daphne. "The Art of Fiction 160." The Paris Review. 1999. Web. 2 Nov. 2013.
Keefer, Janice Kulyk. Reading Mavis Gallant. Toronto: Oxford UP, 1989. Print.
King, Russell, John Connell, and Paul E. White. Writing across Worlds: Literature and Migration. London: Routledge, 1995. Print.
Kröller, Eva-Marie, ed. The Cambridge Companion to Canadian Literature. Cambridge, UK: Cambridge UP, 2004. Print.
Lynch, Gerald. "An Intangible Cure for Death by Homesickness: Mavis Gallant's Canadian Short-Story Cycle 'Linnet Muir'." Transient Questions: New Essays on Mavis Gallant. Amsterdam: Rodopi, 2004. 1-28. Print.
—. The One and the Many: English-Canadian Short Story Cycles. Toronto: U of Toronto, 2001. Print.
March-Russell, Paul. The Short Story: An Introduction. Edinburgh: Edinburgh UP, 2009. Print.
May, Charles E. The New Short Story Theories. Athens: Ohio UP, 1994. Print.
Mishra, Vijay. Literature of the Indian Diaspora: Theorizing the Diasporic Imaginary. London: Routledge, 2007. Print.
O'Connor, Frank. "The Lonely Voice." Ed. Charles E. May. Short Story Theories. Athens: Ohio UP, 1976. 83-93. Print.
Pâtea, Viorica, ed. Short Story Theories: A Twenty-first-century Perspective. Amsterdam: Rodopi, 2012. Print.
Rushdie, Salman. Imaginary Homelands: Essays and Criticism, 1981-1991. London: Granta, 1991. Print.
Smith, Adam. "Transcript of the telephone interview with Alice Munro following the announcement of the 2013 Nobel Prize in Literature". Nobelprize.org. Nobel Media AB 2014. Web. 28 Jan 2015.
Smythe, Karen. "To Be (and Not To Be Continued): Closure and Consolation in Gallant's 'Linnet Muir Sequence'." Canadian Literature 129 (1991): 74-86. Humanities Full Text [H.W. Wilson]. Web. 5 Dec. 2014.
Sugars, Cynthia. "Scrapbooking: Memory and Memorabilia in Gail Anderson-Dargatz's The Cure for Death by Lightening and Turtle Valley." Canadian Literature and Cultural Memory. Eds Cynthia Sugars and Eleanor Ty. Ontario: Oxford UP, 2014. 183-98. Print.
Whitehead, Anne. Memory. London: Routledge, 2009. Print.
"To Make For Myself a Person": Immigrant Identities in Anzia Yezierska's Bread Givers
Consuming Beauty: Mass-Market Magazines and Make-up in the 1920s

redpajama_set_name: RedPajamaCommonCrawl


text:
Woodcrest Cinema
1400 Haddonfield-Berlin Road,
1 screen
2 people favorited this theater
Previously operated by: Jerry Lewis Cinemas
Functions: Auto Repair Shop
Previous Names: Jerry Lewis Cinema, Route 295 Cinema
Cinemark 16 and XD
Little Theatre
Echelon Mall Cinemas
White Horse Pike Drive-In
Built in the parking lot of the Woodcrest Shopping Center at Route 561 and Browning Lane (just off Interstate 295).
Originally opened September 16, 1971 as a Jerry Lewis Cinema, this house suffered a fairly typical fate for a theater from that concept; rebranding as an independent cinema, a brief run as an adult theater and ultimately conversion to a non-cinematic use, in this case a tire store.
Contributed by RickB
rivest266 on June 19, 2016 at 9:16 am
September 16th, 1971 grand opening ad in photo section.
rivest266 on June 25, 2016 at 11:17 am
June 1st, 1973 grand opening ad as Route 295 cinema in photo section.
NJguy080 on March 7, 2017 at 2:11 pm
I assume that by 1973, the theater wasn't a Jerry Lewis Cinema anymore since they had a policy of showing only "family friendly" movies.
toksook on March 9, 2018 at 6:38 pm
In the early-to-mid 1980s (prior to becoming Trio Tire), the theater became a video arcade named "Blast from the Past". Spent many quarters there as a kid!
dallasmovietheaters on April 17, 2020 at 12:41 pm
In 1975, Dolphin Corp. took over the Route 295 Cinema showing XXX films closing under much scrutiny in June of 1978. It was sold holding a re-re-grand opening (ad in photos) July 26, 1978 return to family fare for the former Jerry Lewis Cinema / Route 295 Cinema as the Woodcrest Cinema. The theatre failed to find its audience closing April 22, 1979 with "Midnight Express."


Your friends will be very jealous when you show them this amazing red lightsaber with sound effects! The silver handle looks incredible when teamed with the glowing red laser beam blade.
The sound effects are motion-activated and we've even included 3 x AAA batteries so you can use your space sword as soon as it arrives!
Thank you so much for the outfit. The size was great and it looked really authentic. Also I received it on time and in great condition. Altogether a great shopping experience.
Great product but only worked for a couple of hours, will have to try and fix it before I dress up again.
Looks fantastic, I'm sure my son will be thrilled come christmas.
Exactly what was described as. Kids absolutely love it. Best bit, it has an off switch!
Loud and battery lasts a long time.
A bit cheap looking and somewhat fragile but I suppose you get what you pay for. My son loves it though but I can't see it lasting long.


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text:
Hunt to face Johnson in swimwear contest
Friday June 28th 2019
Boris Johnson and Jeremy Hunt will face each other in the all-important swimwear round of the Conservative Party leadership race this weekend.
The contest is expected to draw a large audience of the party faithful and will take place in the Bournemouth Grande Hotel which features an ample Ballroom, unlike some of the swimwear.
Both men are in peak physical condition, following months of early morning photo-ops while pretending to be out jogging, so the audience is in for a real treat over the seven rounds of swimsuit modelling.
"It's a chance for the two men to show us what they're made of," says Major Fishlove-Smyth, Conservative Party chair for Hastings.
"We all know that Johnny foreigner prefers a speedo, and I for one want to be sure that our future prime minister can carry himself on the world stage in a pair of budgie smugglers if he has to.
"Say what you like about Theresa May, but if she'd been negotiating in a thong, Brussels would be one of the home counties today."
Boris Johnson, who remains the front-runner going into the contest following a memorable performance in the Judges' Houses round, has been careful not to reveal too much during his campaign to date; a principle the Tory grandees in the front row are particularly keen to see him uphold this weekend.
"The worst thing that could happen now is Boris coming on stage with his 'johnson' dangling from the leg of his shorts again," the Major said.
"My wife has been barely able to look at a pork chipolata since his infamous 'white elephant' impression at the 2015 party conference."
Chuka Umunna enters Tory leadership race
MP for Streatham, Chuka Umunna, is set to shake up the Conservative leadership race later today by announcing his bid to be the next prime minister and Tory leader.
Following a short stint as a Liberal Democrat, Mr Umunna joined the Conservatives earlier this week and says he now wants to lead the party before quitting to join the Greens in the Autumn.
"What the Conservative Party are looking for is someone who can deliver Brexit, someone who really understands the complex dynamic of leaving something only to be politically and financially worse off," political analyst Charles Fishlove-Smyth told us.
"In Chuka, I think the Tories have found that man, just look at his track record for leaving.
"He left the Labour Party at a time when Jeremy Corbyn needed his help to climb down off the fence."
"Now he's left the Liberal Democrats just as they are set to regain a small amount of relevance in Westminster."
"But most importantly, he left Change UK, in Nando's, without paying the bill, a move which is sure to appeal to the wing of the Conservative party that's gagging for a no-deal Brexit.
"The only black mark against Mr Umunna is that he's always been in favour of remaining in the EU, but the same can be said about Mr Johnson and Mr Hunt so maybe that doesn't really matter."


The yoga and style event that I hosted at Yoga Six happened on July 16th! Finally! I say "finally" only because I was so nervous and anxious about the event. It was the first ever blogger event that I've had to host on my own (aka without Jenna), so the planning, inviting, planning, and inviting have been my biggest priorities over the last few weeks. So how did this event come to pass in the first place? Well, I've mentioned Yoga Six on the blog a few times now. In April, they asked if I would be a community ambassador for them, which consisted of me being able to practice at the studios for free in exchange for me bringing a friend to class every other week, posting periodically on social media, and then ultimately hosting a workshop.
When it came down to planning a theme for a workshop, I was at a loss! I still consider myself fairly new to Yoga, so I certainly didn't want to paint myself as some expert. I wanted a theme that felt like "me" and the idea I came up with was a style event. Specifically, providing attendees style inspiration for taking their workout outfits from yoga to real life. I was thrilled that Laura with The Fashion Lane agreed to bring her truck to the event so that people could shop after their workout. Ok, so that was all fine and dandy, but now what to do about refreshments?!
Naturally I wanted to keep the menu super light and generally health conscious since this was fitness related after all. I loved the idea of having pre-portioned little cups of hummus with carrots as dippers. Super easy, and it provided for a nice pop of color. I just bought some regular and garlic hummus from Trader Joe's. Highly recommend.
As much as I would have loved to have alcohol at this event, it didn't seem appropriate. But then what do people drink at events if there is no alcohol? I decided to take a stab at making some fruit infused water. I experimented with recipes the weekend before so I could figure out what my favorites were and determine how much in advance I needed to make it to achieve the most flavor. My taste test after 24 hours of infusing did not seem long enough to me, so I made these on Thursday evening for the Saturday afternoon event.
I made (2) carafes each of (3) different flavors: 1- mango and cantaloupe, 2- cucumber and mint, and 3- pineapple, strawberries, and blueberries. Each carafe was one liter. My sister in law asked what recipes I used, and I really didn't use any. I got ideas for fruit pairings from Pinterest and also asked a few friends what their favorites were, but otherwise just filled 1/3 of the carafe with fruit and the rest with water. I did add (2) packets of sweetener to each carafe to help bring out the flavor a little better. All of the fruit I purchased from Trader Joe's. I found their fruit was juicier than my neighborhood grocery store.
If you've seen photos from any family birthday, you know that we always have cookies at our events. I thought it would be adorable to have cookies here, too, and when I saw this pin on Pinterest, I forwarded it to our cookie guru and she was totally willing and able to replicate them. She lives nearby and just bakes them out of her home! If you're local to the Metro East St. Louis area (aka the Illinois side of the river) and are interested, let me know and I can hook you up with her!
I wanted to keep the colors bright, and especially centered around the color orange and I figured that greens and yellows would be the perfect complements. Luckily, I had a couple serving dishes that would be perfect for this. I just had to borrow a couple of large platters and the ice tubs from my mother in law, and then I went to a local party store to pick up the cups, plates, napkins, and tablecloth.
For the other snacks, I bought some of Trader Joe's Spinach and Kale Greek Yogurt dip to serve alongside various crackers, toasts, or more carrots! Fruit is so pretty on its own, so I cut up some seedless watermelon and dressed it with some cantaloupe, grapes, and blueberries.
A couple of things I missed - I totally forgot to get photos of the gift table which bums me out! I had 10 gifts to giveaway, and I'm sad I didn't get to document that! Every person that attended was entered to win one of the prizes. The event was only an hour and a half, an hour of that being yoga! That only left thirty minutes for people to eat and shop, and I didn't want to waste everyone's time while they watched me draw names. So, while everyone was getting their yoga on, I had the girls at Yoga Six draw the names so I could label each prize with the winner and have them ready to hand out once class was over.
The other thing I missed was that I never got a photo of the Fashion Lane Truck parked in front of the studio!!! Ugh, such a missed opportunity. But this is why you need people 100% not involved in the event assigned to take photos! The husband was helping me get people signed in and such, so I know his head was spinning. Originally, I had only wanted him to take photos, but he certainly did a lot more than that! Oh well, lesson learned!
Speaking of photos, the husband attempted to take action photos of the crowd, but I'm most certain that anyone in those photos will kill me if I posted them. Eating is generally not a good action to be doing while being photographed. Nor is talking. So I will spare people that mortification and share this weird shot of my face as I'm talking about these handouts I did for the event.
Again, since time was limited, I really didn't have time to do a formal presentation or style session. But I still wanted to deliver on my promise of making this an actual "style" event so I thought the best compromise was to put together this flyer with exclusive content along with a link to read more on a hidden page of my blog. I didn't want to shove this in people's faces as they were trying to check in and get settled into class, so I simply put one in each of the gift bags and left a stack of them on the table for people to grab at their leisure. I then followed up with a thank you email to everyone that attended and attached a PDF file of the handout to ensure everyone had the opportunity to see it in one way or the other!
Carrie was the first one to arrive at the event, so she was lucky enough to get the one posed photo I took of the entire event. She wasn't able to stay for yoga (hence her adorable outfit) but she came to mingle and shop and it was so nice to finally meet her in person!
Whew!! It was nice to see this all come together! I ended up having 30 people show up for the event, which absolutely excites me! I was thinking I would be lucky if 10-15 people showed up, so I was very overwhelmed by the support! If I could do it again, I wouldn't have put the start time of the event the same time as class was starting. I would have started the event about a half hour or so before class, and then kept the half hour after class making it 2 hours total. And like I said, I shouldn't have had the husband helping me do stuff in addition to taking the photos. Like a wedding, I should have made a checklist of photos I wanted and included a group photo of the whole crowd - perhaps in the actual studio.
My ambassador time with Yoga Six has officially ended, but if it tells you how much I truly do love the studio, I just purchased a block of classes because I definitely want to continue to practice there, whether I have to pay or not! It's challenging and exciting and I burn a ridiculous amount of calories, so I don't want to see all that come to an end! I would still love to meet you for class one day if you are local! Just let me know!!
Thanks for reading this if you've gotten to the end! And a special shout out to a few of the local bloggers that attended the event: Jenna, Psyche, Olivia, Jeanne and Emily (who are 2/3 of Fashion by Committee)!
I was there in spirit, this event looked like so much fun.
It came out so well...those cookies look awesome!
Great event! So much fun! Thank you for hosting. The infused water was a great treat after the class. I loved my door prize and have been using all the goodies, especially the yoga mat cleaner.
You are so sweet!! I am so glad I got to meet you in person!! One of these days we will have to make our yoga schedules align! Thanks again for everything!
Thank you for the great event! It was great to finally meet you! I find the event well thought out and the fashion lane truck was a nice addition. I love my CC cross body bag prize, been using it whenever I can (though being a shortie I had to punch extra holes in the strap to shorten it). Thanks again!


text:
Skyggen är en bebyggelse i Högås socken strax norr om kyrkbyn Högås i Uddevalla kommun  i Bohuslän. Skyggen avgränsades som småort av SCB 2020.

Referenser

Orter i Uddevalla kommun
Småorter i Sverige

redpajama_set_name: RedPajamaWikipedia


We've expanded upon our wording etiquette guide and added a section to our website to make it easier for you while making decisions about your invitations. Additionally, there are website and information card options to peruse. We hope these guidelines are helpful, as we want to make sure every detail is covered in your invitation process. Feel free to reach out to us if you have more questions!
This month we're starting a new series covering all the ins and outs of designing and printing stationery in our shop. While discussing all the wedding invitations we've done this year, we realized that most of our clients had similar questions about design, wording and printing, in general. We realized it would be a fun project to dive deep into each aspect of the process, so that is exactly what we've decided to do!
We're hoping to provide an extended glossary of sorts, for all things letterpress. Each post will cover a different aspect of the process of designing and printing letterpress, mostly in reference to wedding invitations. This week, we're going to answer some basic questions that we often get when first speaking with a client. Let's get started!
Letterpress printing is relief printing where type and image are literally "pressed" into paper. Although movable type can be dated back to 1040 in China, Johannes Gutenberg invented the first actual printing press in 1440. In all that time, some things have changed, but it remains a 100% manual process. Each piece of paper is fed and printed by hand on one of our vintage Golding Jobber presses. While some printers continue to set wood and metal type, we rely on plastic plates made from photopolymer. By using polymer plates, we're able to print our artwork from digital files, giving us more freedom in our designs.
Why should I choose letterpress printing for my wedding invitations?
Your invitations are the first glimpse your guests will have of your wedding, so it's nice give a good impression (pun totally intended). With letterpress you can run your fingers over the type and feel the indentation in the paper. There is no mistaking a letterpress-printed item for something mass-produced. Your guests will love the luxurious paper, the imprint of letters and images and the weight and feel of the invitation in their hands. These invitations will tell your guests that this is a wedding not to be missed.
Why should I work with a stationer?
We have years of expertise working with clients to create beautiful, custom designs. We're very proud of the experience and skills we've earned from all of our hard work. Designing and printing is what we love to do, so we work hard on each and every project that passes through our shop. We have become adept in listening to clients' ideas and preferences and translating those visions to the stationery design. We know what works well and how long it will take to print a suite so we can make sure to meet deadlines and stick to a budget. Planning a wedding can be a lot of work and by hiring a professional stationer, couples can rest assured that the invitations will be perfect and they can move on to focus on another part of the planning process.
What makes letterpress invitations more expensive than digital printing?
Letterpress is a manual process, so there is a lot of time invested in each piece. We mix many of the colors by hand and each color is printed separately, which means that there are multiple set-ups for each job. We use the highest quality materials available to give you the highest quality work. The paper we use is from a local company, Reich Paper, and is specifically made for letterpress printing. All this hard work, does make letterpress a but more expensive, but we think it's worth it.
The main limitations for letterpress printing are the number of colors and certain design elements. Remember that each color is printed as a separate layer, so the more colors you have, the more expensive the job becomes. Large, solid areas are not great for letterpress printing, as they are hard to keep consistently solid. Often, those areas print a little "salty", meaning the color of the paper may show through. If a vintage, handmade look is what you're going for, then that might be perfect for you. Size is also a big limitation. We recommend 5 x 7" for an invitation, although we can go a bit larger.
Another request we often get is to print a light colored ink on dark paper. Most letterpress inks are translucent, so they don't completely cover the paper. We recommend doing the exact opposite and printing dark ink on a light paper. Rich, black ink on crisp white paper is a printer's dream!
I am a designer. Can I send you my design to letterpress print?
Definitely. We can print directly from your artwork files (Illustrator) or, if you have just an element you'd like to include, like a hand drawn image, we can help translate this to letterpress and design around that. For details on submitting a file for us to letterpress print, please view the Print Your Design page on our website.
I'm on a budget, but I love the look and feel of letterpress? What are some ways I can cut costs?
Keep the number of colors to a minimum. We do a lot of one color invitations, and they are classic and just as beautiful as multi-color jobs. There are lots of creative ways to cut costs also, like using a cute gift tag as an RSVP or combining several bits of information into one card. Although it is traditional, you can forgo the use of an inner and an outer envelope. Finishing services, add greatly to the cost, so if you love the look a painted edge, consider doing that for the invitation card only. Whatever your budget, we'll work with you to create a beautiful set of invitations.
Alright, I'm interested! How does the process work?
The first step is to take a look at our website. Pick out some templates, fonts and colors and let us know what inspires you. To give you an estimate, we'll need to know roughly what quantity you need and what pieces you'd like to have printed. Once you've decided to work with us, there is a 30% deposit and then the real work begins! We'll send your designs as digital proofs and make any edits you'd like before we have plates made, cut your paper and start printing.
How many colors can you print and how do I choose?
We recommend using 1 or 2 colors on your wedding invitations. We print one color at a time, so the more colors you use, the more time consuming, and therefore expensive.
We have a range of colors on our website that you can choose from. Keep in mind that colors can appear dramatically different on screen.
We can always send a sample of a printed color, so you can have a better idea. If you are interested in a color that isn't listed on our site, then you can send a physical swatch for us to match. Even better, if you have access to a Pantone book (it must be Pantone Uncoated), let us know color code.
I'm very interested and would love a closer look at your work. Can I come in for an appointment?
Sure! We are available for appointments from 10 am - 5 pm, Monday through Thursday. Set up a time and we'll happily go over all the details with you in person. If you live internationally, fear not! We have extensive experience working with clients overseas, so although you can't pop in for a visit, we would love to work with you.


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drawn map sheets will likely be most likely composed by local surveys , completed by municipalities, utilities, tax assessors, crisis solutions companies , in addition to different local businesses ….
sheets will probably be likely composed by local polls , completed by municipalities, utilities, and tax assessors, emergency products and services businesses , as well as different local businesses ….
number of drawn map sheets will be most likely written with local surveys , performed by municipalities, utilities, tax assessors, crisis providers organizations , along with different native businesses ….
drawn map sheets will be most likely composed by local polls , performed by municipalities, utilities, and tax assessors, emergency solutions companies , as well as different regional businesses ….


Subject: Revision of cooking cost @ 5.35% w.e.f. 01.04.2018 during 2018-19 under National Programme of Mid Day Meal in Schools (NP-MDMS) • regarding.
I am directed to say that it has been decided with the approval of the competent authority to increase the cooking cost under National Programme of Mid Day Meal in schools, by 5.35% w.e.f. April, 2018 for the year 2018-19 over and above the existing cooking cost. The cooking cost will be shared between the Centre and States in the ratio of 60:40 for non-North Eastern Region (NER) States & 'Ts with legislature, 100% for UTs without legislature and 90:10 for NER States and 3 Himalayan States viz. Himachal Pradesh. Jammu & Kashmir and uttarakhand. The rates of cooking cost admissible w.e.f. 01.04.2018 during 2018-19 for Primary and tipper Primary class would be as under.
2. The above cooking cost rates indicate the minimum mandatory. contribution by the Centre and State Governments/UTs. However. States UTs may conttribute more than, their prescribed share as some States/UTs had been contributing more than their minimum mandatory share from their own resources fax providing meals with better nutrition under Mid Day Meal Scheme.


text:
SFPO Association
Association AGM 2020
Association Projects
Association Constitution
SFPO NPC (SRA)
NPC AGM 2020
NPC Project Updates
SRA Motivation (2018)
SRA Levy
NPC Membership
NPC Documents
St Francis 2030
Useful Links & Numbers
St Francis Property Owners
Projects being undertaken by the Non-Profit Company in terms of the SRA
Special Rated Area
The SRA came into affect on the 1st August 2018 when a majority vote of property owners within a demarcated area of St Francis Bay (see map of below) voted to have a 25% levy added to their municipal property rates to fund desparately needed projects and services to reverse the deterioration of the beach and roads and combat rising crime within the town.
To best administer the SRA, a separate Non-Profit Company (NPC) has been registered with a Board of Directors who shall oversee and manage the projects that fall within the intended scope of the SRA.
These projects are:-
Security (CCTV)
Beach & Spit
Other projects, services and events that require funding either in full or in part are adminitered by St Francis Property Owners Association with funds collected through membership fees and donations. These projects will be published from time to time when they occur.
A video overview of the benefits of the SRA by Wayne Furphy
Wayne Furphy is the chairman of the St Francis Property Owners Association, as well as the chairman of the Non Profit Company (SRA).
In this video Wayne discusses the benefits of the SRA including the cameras, the work done on the roads, and the river spit and beach project.
Wayne also discusses the recovering property values in St Francis Bay, and the fact that so many people came to stay during the initial COVID period and have been deciding to move into the area on a more permanent basis.
Finally Wayne chats about the funding towards the river, spit and beach restoration project, explaining that The Kromme River Estates, the Kromme Joint River Committee, the Riparians and the Kouga Local Municipality are all contributing towards the funding.
"Without a beach, this town has very limited tourism appeal."
David Truter leads our portfolio of CCTV cameras and Chairs the St Francis Bay Police Sector Forum for security.
The SFPO NPC installed the cameras in early 2019. Crime had been escalating at that time. 18 months later crime has been radically reduced as a result.
For example, we have four LPR's or license plate recognition cameras. In one month we had 250,000 license plates recognised and 11 activations, which means that those 11 licence plate numbers were on the SAPS database of wanted vehicles.
For more on security and cameras, watch the video with David here
https://youtu.be/vzCsqJUZLio
The CCTV cameras continue to perform both a 24/7 monitoring service and an effective deterrent to criminals targeting the St Francis Bay area. The cameras include:
licence plate recognition : 250,000 licence plates were registered on our roads in August of this year, with 14 being identified as wanted by SAPS
Analytic cameras : most of our cameras have AI software that monitor their zones and alert any suspicious activity to the Control Centre operators
PTZ : follow movement of people and are operated by Control Room staff to follow, and zoom in on anything suspicious. These are situated around our primary beaches
We are happy that the CCTV system is operating effectively. We are looking for ways of improving its use, including the access to video footage without compromising the POPI Act nor the rules governing the management and use of footage required for convictions. We investigated the use of drone technology to improve our ability to follow suspects, but given the privacy laws and the regulations governing commercial and private drone usage have decided to await the development of local capability among drone operators in St Francis Bay.
Arterial Roads
The arterial roads we specified in the SRA Business Plan include the Village Entrance, Lyme Road North and South, and St Francis Drive from Lyme Road north to Assissi Drive alongside the Tennis Courts.
Village Entrance
We completed the Village Entrance project a year ago, and the final payment is due to the Contractor in October. Pam Golding are maintaining the gardens on the Village side, and The Links on their side. The Links contributed to this project. The effect of the landscaping is now being seen, especially with the good rains we have received recently.
St Francis Drive
The Municipality, as part of their contribution to the restoration of the roads infrastructure in the SRA demarcated area, re-surfaced some 40% of the arterial roads included in the SRA Business Plan, i.e. St Francis Drive from Lyme Road North to Assis Drive, and a section of Lyme Road South. This work was extended further to Harbour Road, a further 0,5km into Santareme, 0,5km up Tarragona Drive, two streets in Sea Vista, and also repaired the dip in the road between Lyme Road North and the Fire Station. The SFPO upgraded the storm water pipe in the dip near the United Church, and the dip itself was levelled.
The George Road Car Park was paved with the assistance of donations from two property owners some time ago. More recently a road was demarcated for access to the beach for repairing revetments. It is on the southern side of the car park. Bollards have been also recently been installed.
Anne Avenue Car Park was renovated some time ago. The stairs have been removed due to damage during the winter storms and will be repaired and placed back before the holiday season.
Advisian Spit Protection Preliminary Report
River, Spit and Beach
Long Term Solution (Phase 2)
The long term solution includes a groyne field and some 1 million cubes of sand placed on the 2,7km length of the beach from the river mouth to the southern end of Main beach, with the result of widening the beach by some 40 metres. Ongoing sand nourishment will be required to maintain the beach.
The current status of the Long Term Solution (Phase2) project is as follows:
Advisian completed the preliminary design of the long term solution for restoring our river, spit and beach in February 2018, and this is available on our website.
CES have completed the EIA application up to approval of the Scoping phase (August 2019). DEDEAT requested that additional modelling be done to assess the impact of the long term solution on the northern side of the river mouth and the beaches north of the river mouth.
Advisian are performing the additional modelling necessary to address DEDEAT's request, together with amendments made to the long term solution as a result of input from various other parties, including the surfing community.
The additional modelling is based on new surveys of the bay, beach and estuary.
CES are finalizing their documentation after assessing the impacts derived from the additional modelling and will conduct one further round of public participation. They will then submit the final report, the EIR, to DEDEAT early in 2021
Emergency Plan for the Spit
During the past 6 months the Spit has breached four times. The last breach was the most serious. The Municipality and their Consulting Engineers (PRDW) are considering various options to deal with this breach. The SFPO NPC has placed sandbags along the canal walls of several properties in the vicinity of the Pump House.
The Pump House is Municipal property. The other properties are private properties. A large portion of the Spit is now protected by a revetment. It is clear that the implementation of the long term solution needs to begin as soon as possible after DEDEAT approves the EIA application for the long term solution as proposed by Advisian. The emergency repairs to the Spit has been paid by the Municipality. The sandbags have been contributed by the SFPO NPC, and the Riparians have placed and filled the sandbags at our own respective costs.
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Funding Circle Reviews - Is it a Scam or Legit?
If you're looking for a term loan of at least 1 year, Funding Circle has several different options for loans that feature reasonable APRs & the opportunity to pay an origination fee of less than 1%.
Funding Circle is a small business lender offering loans to help you acquire real estate, refinance debt, purchase equipment or hire more employees.
According to their website, they've funded more than $3 billion for small business, an amount that sets them apart from similar SMB-focused companies.
We took a look at Funding Circle's Crunchbase page and discovered the company started in 2010 under the leadership of Samir Desai, Andrew mullinger, Alex Tonelli and James Meekings.
At the time of publishing, Desai was the company's CEO and Mullinger was the company's director. Funding Circle started in London but serves small businesses in the United States, as well.
Crunchbase notes that Funding Circle has raised more than $370 million in funding, an amount that puts the company in the upper echelon of small business lenders we've reviewed.
Funding Circle seems to have the capital and the global experience to be a solid small business lender, but do they live up to the hype?
Once we work through each of these topics, we'll take a few minutes to sum up Funding Circle's pros and cons, as well as providing you an idea of which kind of business owner would be a good fit for the company's loan products.
As we mentioned in the introduction to this review, Funding Circle disburses loans to companies who are looking to borrow money for four specific areas: real estate, debt refinancing, buying supplies or hiring.
Regardless of the reason why you're borrowing the money, you'll be offered what's known as a fixed-rate term loan, which is industry jargon for: a loan with a set interest rate and a set repayment period.
Funding Circle's term loans vary in length from 1 to 5 years and, depending on your business' unique situation, can be funded for up to $500,000.
If you apply for a loan of more than $300K, you'll be required to submit different paperwork than you would for a loan under $300K (more on that in a few minutes).
There are some distinct advantages to a term loan as compared with other types of small business funding like invoice factoring and merchant cash advances from other lenders.
Based on our research, we believe that term loans work in the borrower's advantage simply because the interest rates are far lower than what you'd get with the other products we mentioned.
Funding Circle points this out, too, via a chart that compares various aspects of term loans vs. merchant cash advances.
While merchant cash advances seem like an easy solution, they end up costing you over time.
As Funding Circle points out, merchant cash advances have no fixed interest rate. Rather, they have "very high rates dependent on credit card sales" and the daily interest rates on these loans can equate to extremely high APRs.
Invoice factoring, another type of financing we mentioned earlier, works off a weekly or daily interest rate. It's not uncommon to see a 1% interest rate on your weekly payments. Doesn't sound like much, but paying 4% of fees each month on a, let's say, six-month loan, equal an APR of nearly 50%.
Funding Circle certainly isn't giving you loans for free, but their term loans definitely offer better interest rates than merchant cash advances and invoice factoring.
Aside from the fact that your payments are lower with a Funding Circle term loan because they're spread out over 1-5 years, you also get the advantage of paying back your term loan on a monthly basis.
Merchant cash advances take a percentage of your daily credit card sales, while invoice factoring is typically paid back daily or weekly.
Another benefit? Term loans have fixed payments, so you know what you're going to pay every month.
In order to complete the Funding Circle loan application, you'll need to submit specific sets of paperwork that vary based on the size of your loan.
The reason why the paperwork requirements are different? Companies who make less than $300K are more of a liability to Funding Circle, so they want to see added proof that you're running a stable business.
Another part of the application process requires that you agree to let the lender put a lien on your business and to make yourself liable for the loan in the event that the business can't make payments.
If you own a construction business, for example, a business lien means that Funding Circle could take some of your heavy equipment in order to make up for your inability to pay your loan back. The same could be said about your own possessions – cars, boats etc.
Exactly which pieces of equipment or assists will be subject to a lien should be detailed in your loan contract.
According to Funding Circle, their online application takes about 10 minutes to fill out and funds can be deposited into your business account in less than 10 days.
However, remember that the initial application you fill out on their site is like a pre-qualification on your mortgage. The numbers and rates aren't final and you'll most likely have to provide additional paperwork to your underwriter.
The positive side to this, though, is that, according to Funding Circle's website, you get to work directly with your underwriter. When you work with a bank, you usually correspond with a loan officer who sends your application to underwriting and you never actually talk to the underwriter.
Pro tip: Funding Circle does a soft credit check (won't affect your credit scores) during the application process. Hard checks will only be done for businesses classified as general partnerships.
Your APR is going to vary based on your credit history and the length of the loan. Each length of loan has its own range of APRs, with the low-end being the lowest on a 1-year and highest on a 5-year loan.
Funding Circle says your late fee will be added to the monthly payment you missed and that the fee will be "passed directly onto investors," a practice similar to what Prosper does with personal loans and student loan refinancing.
In our opinion, we think this wrinkle isn't very borrower-focused and could, depending on the amount of your monthly payment, encourage investors to invest in loans in which borrowers are projected to make multiple late payments.
The Funding Circle reviews by experts other than HighYa are generally positive with a couple of well-known sites praising the lender for fast processing, low fees, transparent advertising and no prepayment penalty.
The company gets an A+ rating from the Better Business Bureau. It's worth noting that, of the six consumer reviews on the BBB page, all six are negative.
Some of those complaints indicated a misunderstanding of what a standard loan-application process is like, while other reviewers were annoyed by the constant phone calls they received from Funding Circle.
Funding Circle's fees are very reasonable and transparent. You won't be penalized for paying early and your origination fee could be as low as 0.99%. Also working to your advantage is that you won't get a hard credit check if you aren't a general partnership.
Among small business lenders, Funding Circle's processing time for term loans is average. However, that won't work for businesses who need cash within days. For these types, a merchant cash advance or invoice factoring might be a better – albeit more expensive – option.
Also, we found Funding Circle's high-end origination fee of 6.99% to more than 25% higher than other small business lenders we've review: Bond Street is a good example.
We believe Funding Circle's loans will benefit borrowers who have a long business history, steady revenue and good credit scores.
While we can't vouch for Funding Circle based on personal experience, we do believe, based on our research of this company and others like it, low fees and term loans make Funding Circle a solid choice for funding.
If you are unsure about the company, we suggest filling out applications for multiple lenders. Getting a variety of quotes helps gauge interest rates and see which companies offer the best terms.
To start, read through our review of Bond Street – it follows the same format as you read here and includes a helpful table that compares it with several other lenders you might want to research.
Write a Review for Funding Circle!


LOS ANGELES (AP) — A Los Angeles man has pleaded guilty to killing a woman and injuring her 23-month-old daughter in a case of impaired driving.
Prosecutors say 23-year-old Jose Armando Macias Jr. of North Hills pleaded guilty Thursday to gross vehicular manslaughter while intoxicated and driving under the influence.
He is expected to be sentenced to nearly 13 years in state prison under terms of his plea agreement with prosecutors. His sentencing is April 24.
Prosecutors say Macias was driving under the influence of drugs and alcohol the night of Nov. 26, 2017 when he crashed into Ruth Chinchilla as she was getting her daughter out of a car. Chinchilla died at the scene while her toddler suffered serious injuries.
Macias remained at the scene of the crash.
Chinchilla also had two sons.


X³: Albion Prelude plays in a time between the old and the new X Universe. It shows a universe in flux, and prepares players for things to come.
The old X Universe is passing; a new X Universe is about to be created. The X universe is undergoing a period of massive change. What started as a conflict of interest between the Earth and the races of the X Universe has now escalated into a full scale war. Play a part in a war scenario bigger than anything the X Universe has ever seen before!


text:
Q: Install Node.js with downloaded binary on Ubuntu Desktop.. Where do the files go? I've downloaded Node.js directly from https://nodejs.org/en/ onto my Ubuntu Desktop operating system.  I can easily unpackage the node-vX.X.0-linux-x64.tar.xz file, and I can see node directories: bin, include, lib, share.  I'm guessing my download folder, ~/Downloads/node-vX.X.0-linux-x64, is not going to be the final installation location.
My guess would be to copy all of the directory over to  /usr/bin/node/node-vX.X.-linux-x64 but I'm not really sure.
Where do these files go?  (I've tried the readme.md file in the download and the docs on that site.  I would have thought something, somewhere on nodejs.org would have offered a bit of help...)
Is there a special installation step required here?

A: I wrote a tutorial to do exactly what you're asking: How to get Node 6.7.0 on Linux -
it's about Node 6.7.0 but you can just change the version number.
In short:
First get the files:
# If you have a 64-bit system then download binary package:
wget https://nodejs.org/dist/v6.7.0/node-v6.7.0-linux-x64.tar.gz

# If you have a 32-bit system then download a different version:
wget https://nodejs.org/dist/v6.7.0/node-v6.7.0-linux-x86.tar.gz

Extract:
# Extract what you downloaded:
tar xzvf node-v6.7.0-linux-x64.tar.gz

# Change the file ownership:
sudo chown -Rv root.root node-v6.7.0-linux-x64

Then install in ONE of the locations:
# Install files in /usr/local
sudo cp -Rvi node-v6.7.0-linux-x64/{bin,include,lib,share} /usr/local
# (change -Rvi to -Rvf if you want to overwrite existing files)

# Install files in /opt/node
sudo cp -Rvi node-v6.7.0-linux-x64 /opt/node

# Install files in /opt/node-6.7.0
sudo cp -Rvi node-v6.7.0-linux-x64 /opt/node-6.7.0

The difference between those 3 locations in the example is explained better in the article. The consequences are mostly related to PATH and installing multiple versions.
Finish the setup:
You need to make sure that directory where you have the node and npm binaries is in your PATH. See my tutorial for details on how to do that.
Beware of shebang lines:
The shebang line of npm in Node installed from binaries is different than when installed from sources. This is one of the reasons I recommand building from sources if you have time for that. The other reason is that installing from sources you can do make test to test the version of Node on your specific system, which you cannot do when installing from binaries or with nvm.

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