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A Victorian Age Fun Fact, New Release Review and Giveaway! A GIFT FOR GUILE by Alissa Johnson (The Thief-takers #2)
Published by beckymmoe on June 30, 2016
Fun Fact about the Victorian Age
Before the electric light bulb took over the world, gas lighting was where it was at. Cheaper and brighter than candlelight, gaslight was in widespread usage in England by the mid 19th century. But the extra light and convenience came with some serious disadvantages. At the very least, the impure gas used at the time was likely to give off a foul smell and leave grime and soot on your walls. More importantly, little to no regulation of the industry made having your home or business outfitted for gaslight something of a risky proposition. There was no way of knowing if you received shoddy workmanship. Fires, explosions, leaks and carbon monoxide poisoning, while not exactly commonplace, were still very real dangers.
About A Gift for Guile:
She's a liar.
She's a con.
She's a thief.
And God help him, but he'll do anything to keep her safe.
Beautiful and conniving, maddening and brilliant, Esther is everything private detective Samuel Brass shouldn't want. Esther knows she's put herself in terrible danger, but nothing will stop her from making amends—not her family's enemies, not old fears, and certainly not the domineering, interfering, and undeniably handsome former officer of the Scotland Yard. Yet whenever he's near, Samuel makes her long for a life that can never be hers…and wish she were worthy of being saved.
Second in an exciting late Victorian romance series from a RITA Award nominee!
Samuel grabbed Esther and shoved her behind him just as the gig raced by, launching a great wall of ditch water over the curb and onto him.
It soaked him through to the skin, and there was nothing he could do but drag a hand down his face and flick the excess moisture from his fingers.
Esther snickered. Actually, she coughed, but it was a hide-the-snicker sort of cough. It didn't fool anyone.
He glowered at her.
She snickered again.
"Get in the carriage, Esther."
For once, she complied without argument. She clambered inside, one hand covering her mouth. The moment the door was closed, her laughter filled the carriage.
"Oh. Oh, Lord." She flipped up her veil. "I'm sorry. I'm terribly sorry. But the state of you. Good heavens." She calmed herself a bit and reached over to pat his knee. "My hero."
Then she laughed some more.
He ought to be offended, really. Annoyed at the very least. But he couldn't seem to move beyond amazed.
He'd never heard her laugh before. Not like this. Not with her head tipped back and the sound just flowing from her.
Samuel wracked his brain for a single memory of Esther laughing, really laughing, and came up blank. Years ago, when she'd been little more than a girl, she had giggled. Once or twice, she may have chuckled. Certainly, he'd heard her snicker. But he hadn't heard her laugh. Not as a child, and not since he'd known her as an adult.
The woman simply didn't laugh in front of him.
It seemed an odd thing not to have noticed before now. Stranger still that he should find an ordinary sound so extraordinarily appealing. There was a sweet, clear tone to it that made him think of wind chimes. Not the tinny sort Mrs. Lanchor had hung in the garden two years ago (and the beast had mauled into oblivion three days ago) but the solid sort that put one to mind of woodwinds.
Her laugh reminded him of wind chimes that reminded him of woodwinds. By God, he was England's finest poet.
"You've changed," he murmured. There used to be a brittleness about her, a deep unhappiness she kept hidden away along with her kindness and honesty, all buried beneath a layer of cool indifference. He couldn't see that brittleness anymore.
"Beg your pardon?" Her laugh tapered off slowly, and she looked at him uncertainly. "I didn't mean to cause offense." A spark of mischievousness lit in her blue eyes. "Well, maybe a little offense, but—"
"I'm not offended… Maybe a little offended," he corrected with humor. "But I wasn't implying that you've changed for the worse. It's for the better."
"Oh." Her lips curved in a small, hesitant smile. "Thank you."
"You're happier, aren't you?"
"I am," she agreed, and so readily that he could only assume she'd given the matter some thought recently. "I am starting to be."
"It is nice to see." It was more than nice. It was something else, something more.
Here, he thought, was the woman he'd caught glimpses of before. The remarkable one who amazed and fascinated him. Only it wasn't just a glimpse. He remembered her insistence that he wasn't a hard man and her defense of the little boy. And he wondered now if the traits he admired in her had never been quite as buried or transient as he imagined. Anything could seem like a glimpse, he realized, if one looked away too quickly.
How have I never read anything from this author before? Must. Remedy. SOON.
I absolutely adored everything about A Gift for Guile. Esther and Samuel were wonderful characters–definitely not perfect by any means, and boy did they have a talent for making the other one crazy!–but wow, were they absolutely perfect for each other. Their banter seriously had me giggling practically nonstop for pages at a time (thank goodness no one was around during my lunch break. I'm pretty sure they would have been speculating about my sanity. More than usual, anyway) and my ecopy has so. Many. Highlights. Really, it was getting ridiculous. 🙂
(And oh, poor Samuel. The guy just couldn't get a gift that was truly for Esther–and he tried so hard! But when he finally does, boy does he! The guy's good…I guess that's why he's a detective, huh? ;))
The relationship angst was 100% believable, and nicely resolved in a way that felt natural. There was a good dollop of suspense thrown in–just enough to make one anxious, but it didn't go overboard. Really, the writing here was wonderfully balanced–I honestly couldn't think of any way the story could have been improved.
A Gift for Guile clearly follows the events of book one, A Talent for Trickery , which are alluded to, but it worked just fine as a standalone. Esther and Samuel spend this entire book away from the other series characters, in fact, so really, starting with this book was not at all an issue. (But, yeah. I'm going to be reading book one ASAP. Because did I mention I can't believe I haven't read anything by Alissa Johnson before? Truly, what was I thinking?) Here's hoping there's more to come in this series! (There is at least one more sibling…maybe more–so there's hope!)
Alissa Johnson lives in the rolling hills of the Ozarks, where she is hard at work on her next romance.
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What Is Solana (SOL) Used For?
Solana is a blockchain project that aims to use Distributed Computing to provide the world with free and limitless access to supercomputing power. Solana is a new-generation blockchain based on innovations developed over the past ten years, during which Bitcoin, Ethereum, and other blockchains were launched.
The project aims to create a decentralized network of computers worldwide without any individual or company controlling it. The Solana blockchain will be similar to how Bitcoin or Ethereum run on top of a network of computers running their software. The difference, though, is that their technology would be able to provide supercomputing power for individuals in need and will do so free of cost with an integrated P2P marketplace for computing power for all users across the globe to create an ecosystem where positive change can happen.
1. Pricing Rewards
2. Processing Power For Computational Power
3. Large Scale Data Analysis
4. Cloud Storage
5. Decentralized Marketplace
6. Smart Contracts
7. Scalability
8. Quantum Computing Resistant
9. Real-Time Transaction Processing
Companies use their customers' computing power to access services like social networking, entertainment, and other online platforms. Solana plans to enable users to be rewarded with Solana tokens for using their computer's processing power. Solana price will be determined by how much the user is willing to pay for the service, which is included in the cost of their products and services.
One of the main concerns of the present day is how to preserve the environment. Solana plans to make this a reality by using its technology to provide every individual across the globe with access to supercomputing power and build an ecosystem where users can donate their unused processing power in exchange for Solana tokens. The process of putting Solana's decentralized processing power to good use is called Proof of Contribution. It is a process that enables the users to donate their processing power in return for the ability to verify transactions on the blockchain or for free and limitless access to supercomputing power.
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Many data currently stored in various cloud storage platforms need to be getting proper attention because of their size. Solana price plans to use its decentralized supercomputing network to process large amounts of data and provide users with results quickly. Solana intends to expand its ecosystem by providing users with a platform that will enable them to join the network and store and analyze large amounts of data in exchange for rewards. They will also allow users who cannot afford the hardware and software requirements for analyzing large amounts of data to rent storage space and processing power from others.
Another big problem that is facing us in the present day is the threat of cyber attacks. Solana has developed a security solution enabling users to encrypt their stored data using "secret sharing." The secret sharing technique allows users to split their data into multiple parts, which are held on different computers around the globe. This way, if one part of the data stored in a specific location becomes compromised, there will still be other undamaged parts across the network that are keeping it safe from being accessed by hackers. Solana will also use quantum-proof algorithms to protect its system.
Solana's technology will provide its users with a platform where they can buy, sell and trade computing resources anytime without any restrictions. It will also aim to build a decentralized marketplace where users can interact, share and sell their products and services. It will provide a marketplace where users can access supercomputing power that is otherwise unavailable due to large amounts of data or processing power requirements for a specific task or project.
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Solana plans to use the smart contract functionality of Ethereum, one of the most widely used network platforms, to create a decentralized network where computational problems are submitted to the web, and people willing to donate their processing power can do so and get rewarded in return. It will also allow users to create infinite intelligent contracts and submit them to the blockchain.
The Solana blockchain was designed to achieve millions of transactions per second, making it capable of handling large amounts of data and processing power requirements by organizations and companies in a brief period without having to spend too much on buying supercomputing power from big cloud computing providers. It will use a multi-threaded Byzantine Fault Tolerant consensus with several key points that make it capable of achieving lightning-fast speeds.
Solana uses a much different approach for reaching consensus compared with other blockchains. Bitcoin and Ethereum have to agree on the order and time of every single transaction that is being made as well as its contents. Solana achieves consensus by making transactions immutable, similar to how transactions are recorded in traditional accounting systems. It means that every part of the transaction contains proof that cannot be altered once it has been verified by all parties involved in the network.
Solana's blockchain is designed to allow for rapid transaction processing. It means that when a pre-approved money transfer is made, it can be done in a matter of minutes rather than waiting for days. Solana will use a solution pioneered by Ethereum called Plasma that allows the transfer of funds to happen instantly with zero fees.
RELATED: Best P2P File Sharing Programs and Applications
The Solana project has been designed in such a way that it can help to transform the present-day world. It will make advanced scientific research, small and large-scale data analysis, and big-data processing much easier and cheaper than it is today. The members of the network will fully control its decentralized ecosystem. It will allow them to keep their data safe from cyber-attacks while benefiting from the growing supercomputing power available in this blockchain.
Arlo Gralla
Arlo Gralla is the senior editor of blogsdna.com; He holds the degree in Electrical Engineering. His love for sharing Information with others brought him to blogging and digital marketing. He has more than 7 years of writing and sharing his opinion about different technology. On this site, Arlo Gralla is going to share everything about Laptops Reviews, Headphones Reviews, and other Gadget Reviews. He believes that he knows just about all there is to know to help you choose the best!
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redpajama_set_name: RedPajamaCommonCrawl


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Posted inBuncombe, Politics & Government
Asheville water bill headed to final House vote
by Kirk Ross April 12, 2013 July 8, 2020
Angie Newsome/Carolina Public Press
A bill setting the stage for the transfer of ownership and operation of the Asheville water system from the city to a new water and sewer district board, passed a key vote in the state House Thursday afternoon.
In a 68-42 vote on the second reading, the House approved H488, the Regionalization of Public Utilities, sponsored by Asheville-area Reps. Tim Moffitt and Nathan Ramsey and Hendersonville Rep. Chuck McGrady. But it held off making a final vote on the measure to allow additional time for review of the bill with an amendment by Rep. Skip Stam, of Apex, the second-highest ranking member of the body.
Stam's amendment, which passed the House 104-5, followed concerns raised earlier this week in the House Finance Committee about the statewide implications of the bill. Though tailored for the merger of the Asheville system with Buncombe County and northern Henderson County, the bill applies statewide, setting up a mechanism to convert certain municipal systems into separate regional water and sewer system authorities.
Stam and others worried that the rules might apply to counties like Wake and Durham that may not want the change and sought language that further tightens how the new rules would apply.
Rep. Tim D. Moffitt
Moffitt said he met with Stam after the Finance Committee meeting to begin working on an amendment. Prior to the the House vote on Thursday, Moffitt also met with members from Wake County and other concerned local delegations to offer assurances that the bill would not have unintended consequences in their areas.
During floor debate, Ramsey told House members that the bill would solve long-term water issues between Asheville and its neighbors.
"This is not a partisan issue back home," he said. "This is an effort to bring our community together."
Rep. Nathan Ramsey
McGrady took exception with opponents of the bill who claimed Asheville was being treated unfairly.
"That's poppycock," he said.
City leaders, he said, were trying to reframe the debate.
"Asheville has a history of using water as a weapon against its neighbors," McGrady said.
Asheville Democrat Rep. Susan Fisher said she was angry over the distortions being used by her Republican colleagues.
Truth delivered daily
Rep. Chuck McGrady
"They have what appear to be good strong points, but there is more to the story," she said.
The board of the new district, she said, would not be as accountable as an elected body and its make up gives disproportional representation to Henderson County residents.
Representatives on the board of the new district would be appointed by county commissioners from each county it serves along with representatives appointed by the municipal governments in the counties.
Henderson County has .2 percent of the total water accounts, Fisher said.
Rep. Susan Fisher
"This bill would give Henderson County 20 percent of the board seats, the same number of board seats as it would give Asheville that has 56 percent of the water accounts," she said.
During the week, city officials continued to lobby against the bill.
At the Finance Committee meeting, City Manager Gary Jackson defended the city's operation of the system and deemed the merger "high risk/low return." He said the transition costs would add up to no financial benefit from the new system in its first nine years.
"House Bill 488 sets a bad precedent," he said.
Although — in both the House floor debate and the committee hearings — Moffitt said the bill was intended to allow any system in the state that wanted to merge to do so in an orderly way, legislators took aim at the the local nature of the statewide legislation.
Rep. Deborah Ross, D-Raleigh, said it was "never any kind of fun" watching a fight within a delegation, but having it spill over into other parts of the state was worse.
"Forget about the Asheville-Buncombe County dispute," she said. "I've got to vote against this because it's bad to make the rest of the state have to be pulled into your mess. This is not the right way to make public policy."
The bill remains on the House calendar and could see a final vote on Monday after which it would move to the Senate.
Asheville bills moving through the Senate
Final votes on Asheville water system coming up
State water committee to Asheville: Find a local solution or we'll act
Tagged: grid, slider
Kirk Ross
Based in the Triangle, Kirk Ross is the capital bureau chief for Carolina Public Press. Contact him at kross@carolinapublicpress.org.
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In XWiki all pages are editable (provided you are logged in and/or have the edit rights). To edit a page, all you have to do is to click the arrow in the "Edit" button. Please note the location of the "Edit" button varies depending on the skin your wiki is using.
Since XWiki is an application wiki, not all users will need to use the same features. This is why XWiki comes with a Simple and an Advanced editing mode. Users can easily choose which editing mode they prefer on their profile (available at the top right of the page when you are logged in). This way, standard users do not have to choose between editing modes they may not be familiar with. By default new users are given the Simple editing mode but they can switch to the Advanced mode as described below.
Experienced XWiki users will want to use all the editing choices (particularly those who want to use XWiki programming features). They can choose to switch to advanced mode on their user profile page (see image below). Following this, clicking on the arrow in the "Edit" button on any page will display the full editing menu, letting the user choose which mode he wants to use ("Wiki", "Inline form", "Objects"...).
Access Rights Editing Mode. Note that this menu entry will only appear for Terminal pages. For Nested Pages, you'll be able to access rights by clicking on the "Administer Page" entry in the "More Actions" menu (3 vertical dots menu).
In addition, advanced users have the ability to create Terminal pages (i.e. pages that can't have children).
A wiki document's version is composed of two numbers. Saving a major change will increase the first component and reset the second to "1", while a minor edit will just increase the second component.
The minor edit checkbox is meant to mark the fact that superficial changes were made to the document. Such changes may include, but are not restricted to: spelling error corrections, text rearrangements, formatting. It is the editor's responsibility to distinguish between major and minor changes.
By default, minor edits do not appear in the "What's New" page and in the document history. The option "Show minor edits" will list all the versions, including minor ones.
The Version summary field allows entering a short description of the changes made to the document in the version that is being saved. It is displayed in the history page and it is meant to increase comprehensibility of the content's evolution.
The Cancel button causes the changes to be discarded and forwards to the document view mode.
The Preview button shows the document as it would look with the current changes saved, but does not actually change the document. From the preview mode, the user will be able to cancel the changes, return to edit mode or save the changes. This button is not available in all edit modes.
The Save & Continue button submits the current changes and returns to the current edit mode.
The Save & View button submits the current changes and returns to the document view mode.
The Autosave feature automatically saves the document you're working on as a minor version at a given interval. Just check the Autosave checkbox next to the action buttons, at the bottom of the editing area. You can optionally change the autosave interval by entering the desired number of minutes in the input following the checkbox.
Note that this feature is still not fully mature since it creates a new revision of the document every N seconds (where N is the time interval you specify). This means a document may have a lot of revisions which will potentially hamper performances and history readability. In the future one idea is to implement the notion of pseudo versions.
This is a mode you should be familiar with if you're already a wiki user. In this mode you can enter text using a simple Wiki Syntax. Note that the Help Application provides help on the syntax when editing a page.
You have the option to choose what syntax you want to use for writing the content of the page (see the XWiki Syntax Guide for more details and the Rendering wiki for a full list of available syntaxes). To choose the syntax to use for the current page, go in wiki edit mode and in the Information Panel select the syntax to use.
By default only the latest XWiki syntax is enabled, but you can configure other syntaxes, as shown in the screenshot below.
If you already have content for the page in a given Syntax and you try to change the Syntax to another one then XWiki will propose to convert your content to the new Syntax if it knows how to perform that conversion (converting to XWiki Syntax 2.0+ will always prompt for a conversion). The quality of the conversion will usually be good but may depend on the quality of the original Syntax; for example converting from XWiki Syntax 1.0 to XWiki Syntax 2.0+ may not generate perfect result and you'll need to review manually the result.
This mode is ideal for first time users or people who do not want to use the Wiki Syntax. It's a mode similar to the one used by your favorite word processor in which you see how what you type is rendered. There's a toolbar available to add special effects to your text, add images, insert links, add macros, etc.
Read the documentation for using the WYSIWYG editor for more details.
Starting with XWiki 7.2, the concept of setting the page parent has been deprecated in favor of the Nested Pages feature. The location of a page is no longer controlled by the "parent" field. In order to change a page's location you now need to Rename or Move it to another location.
XWiki < 7.2 In order to have an organized structure of your page, when you create a new page in a space, its parent will be automatically set to be the WebHome page of the space in which you create the page.
If you want to change the parent of the page, you have to edit the page with wiki or wysiwyg editors.
Click on the small pencil above the page title in order to edit the page parent.
If the page has no parent set, the breadcrumbs feature will not show the path to navigate from the Main.WebHome to the page. These pages are called orphan pages.
Please note that when you copy a page, its parent field will not be updated accordingly to the new space the copy is in. You will have to do that manually.
It's possible to hide (or unhide) pages. When a page is hidden, it'll still be visible if you navigate to it but it'll disappear from Search, Page Index, Navigation Trees, etc. However the hidden page will still be visible to users who've configured their user profile to show Hidden Pages. By default users don't see hidden pages.
When you're a "Simple" user, you only have a single Edit button available and when clicked that takes you to the default edit mode. If the page you're editing is configured to use the "Form" editor then you won't see the side panel as on the screenshot above. Thus you'll need to switch to being an "Advanced" user and Edit in Wiki or WYSIWYG mode.
Hiding is not replacing permissions which is what you'll use if you want to make pages not visible to some user or group.
Inline mode, or Form mode, is a special feature of XWiki, that allows administrators to define patterns of structured information (like a blog entry, or a standard tax form). Pages containing such structured information can be edited and re-edited as simple HTML Forms, which have (almost) the same structure as the displayed page. Thus, when clicking the edit button, it seems that the page content can be edited in-place, or inline and the form view is automatically displayed.
Note that it is beyond the scope of this simple guide to explain the programming technique supporting this feature. Please check the Developer's Guide to find out more about programming with Objects/Classes and Forms.
In XWiki it's possible to attach Objects to pages. Objects are simple sets of properties with values that add additional information about a page. For example a security right can be added to a page to control its rights, a blog object is attached to a page representing a blog entry, etc. Again, it's beyond this simple guide to explain this programming technique. Please check the Developer's Guide to know more about programming with Objects/Classes.
We've seen that some pages can have Objects attached to them. Some pages can also be Object definitions, a.k.a Classes. The Classes editing mode calls the class editor on the current page, allowing to edit the Classes attached to the document. Again, it's beyond this simple guide to explain this programming technique. Please check the Developer's Guide to find out more about programming with Objects/Classes.
This mode allows you to control the access rights for the page you're viewing (you need to have the required access rights to modify a page's rights). See the Rights Management topic for more information.
A full-screen mode is available in XWiki. When editing a page either in Wiki or WYSIWYG mode, clicking on the button at the top right of the edit box will send the editor in full-screen mode. You can then edit your page as usual and click on the button to return to the usual interface when you are finished.
Pages have both names and titles. The page name is used in the URL to the page while the title is used to display a user-friendly short description of the page. The title is used for example as the top level headings when viewing a page.
Page titles can be set while editing documents in Wiki or WYSIWYG modes.
Titles are not mandatory by default but it's possible to configure XWiki to make titles mandatory.
The title's content is parsed using Velocity so you're also allowed to put Velocity content in there in addition to plain text (this is for example useful when wanting to internationalize titles). Note that you're not allowed to use any wiki markup.
When a page has no title set then XWiki will use the page name as its title.
It's also possible to configure XWiki to extract the topmost heading from the document's content. For example if you have a level 1 heading, it'll be used as the page title. If you don't have a level 1 heading but have a level 2 heading then the level 2 heading will be used as the page title. The heading level depth XWiki used for titles is controlled in XWiki's title configuration. Since you're allowed to use any wiki syntax in headings, if a page doesn't have a title set (and titles are not mandatory) then any wiki markup in the topmost headings will get rendered when displaying the extracted title for that page.
By default, when you edit a page, a lock is put on the page, till you either Save or Cancel the edition.
If you navigate away from the page without Saving or Cancelling, the lock will remain for a predetermined period of time (the duration can be configured). This is why it's recommended to Cancel if you're not making any change to the page instead of just closing your browser tab for example.
Anyone trying to edit a page that is locked will see the following warning message allowing you to know that the page is locked and also to force the lock.
If you force the lock then the last user who saves will overwrite the content with his version of the page.
Starting with XWiki 11.2RC1 we detect during the edition of a document if a conflict might happen when saving the page.
If this warning occurs, this means someone edited and saved the document while you were working on it. In that case, you need to copy the changes you made in the editor and open again the document in edition, to re-apply your changes.
Since 10.3, extension pages are protected against editing (unless explicitly indicated otherwise in the extension) to avoid mistake a user could make while still allowing advanced users to force it if really required.


If you own or rent a single family home or duplex in the City of Los Angeles, you may be at risk!
The City proposes to ban all "multiple-lease" agreements in duplexes or single family residences within the City of Los Angeles.
See this new, important section for information on the Los Angeles ordinance proposal, and the action you need to take.
The Sober Living Network and the Los Angeles County Sober Living Coalition are actively opposing this ordinance. Our letter to the Planning Commission, highlighting serious legal questions, is online. Read it here.
These and similar studies suggest that sober living should play a prominent role in publicly supported efforts to combat the social toll of addiction and drug dependency. However sober living is virtually ignored by most governmental sources of funding.
Network Board member and past President Susan Burton was named one of the 10 CNN Heroes of 2010.
Management assistance to five Southern California county sober living coalitions, including effective implementation of standards by their members.
A voice for adequate recognition, respect and legitimacy for community recovery support resources.
A resource to local and state governmental and administrative bodies on the policy implications of regulations concerning drug and alcohol rehabilitation and treatment, as well as land use and zoning issues that affect the health and viability of community recovery resources.
The Sober Living Network is a nonprofit tax-exempt public benefit corporation that gratefully accepts donations from those who understand the need for long-term recovery supportive housing and other community-based means of addressing the disease of addiction.


text: Charles Ellsworth Grapewin was born in Xenia, OH. Little was known of Grapewin's early life, apart from the fact that he ran away from home at age 10 with the express purpose of joining a circus. Grapewin worked as a juggler, roller-skating acrobat, and trapeze artist for P. T. Barnum, alternating stints under the big top with seasons in vaudeville. As an actor with various stock troupes, he also wrote sketches and plays as he drifted toward New York. In 1896, Grapewin married actress Anna Chance, daughter of Chicago Cubs manager Frank Chance. Grapewin and Chance performed together in vaudeville and in such early motion picture experiments as "Chimmie Hicks at the Races" and "Chimmy Hicks and the Rum Omelet" (both 1900), short subjects financed by Biograph and exhibited via Mutoscope, a rival of the Nickelodeon. Grapewin made his Broadway debut as the star of the 1905 musical farce "It's Up to You, John Henry," alongside Chance. He co-wrote the 1904 musical "The Awakening of Mr. Pipp" with George Hobart and directed Hobart's "The Big Stick" on Broadway in 1908. Based in Long Branch, NJ, in a home he designed himself, Grapewin spent eight months out of each year touring, opening for or appearing alongside such popular stage acts as Sophie Tucker, Ed Wynn, Fannie Brice, and Fred and Adele Astaire. During these years, the actor amassed a scrapbook of glowing reviews in which he was heralded from coast to coast as a redoubtable farceur and a guaranteed mirth-maker. During summer, the trouper owned and captained a semi-professional baseball team, Grapewin's National Stars, known alternatively as The Invincibles. Though they had no children, Grapewin and Chance retired ultimately from the rigors of show business to live a quieter, more sedentary life in California. Finding work with General Motors and investing wisely, Grapewin amassed an estimable savings. With the stock market crash of 1929, the couple lost their nest egg, forcing Grapewin back to work as an actor-for-hire, though he also authored several books. He appeared with his wife in some two-reel comedies, among them "House Cleaning" for Universal and Paramount's "Jed's Vacation," based on one of Grapewin's old vaudeville sketches.Grapewin made his feature film debut in the early Universal talkie "The Shannons of Broadway" (1929), adapted from James Gleason's Broadway farce of the same name. In the film, Grapewin was well cast as a crusty small town hotelier with whom stranded vaudevillians James and Lucile Gleason must flop for the night. In one stroke, Grapewin's lot as a character actor was fixed in Hollywood and he would go on to offer a wealth of variations on the archetype through the ensuing years. At Warner Brothers, he appeared in the Depression drama "The Millionaire" (1931), an important early credit for James Cagney, and went on to support such other rising stars as Spencer Tracey in "Disorderly Conduct" (1932), John Wayne in "Lady and Gent" (1932), and "No Man of Her Own" (1932), the first film to pair Clark Gable with Carole Lombard. In these and other films of the time, Grapewin drifted seamlessly between such unprepossessing cinematic vocations as politician, doctor, criminal, clerk, boxing coach, green grocer, and drunk.Grapewin appeared in a number of whodunits, including "The Woman in Room 13" (1932) with Ralph Bellamy and Myrna Loy, "The Night of June 13th" (1932) with Clive Brook and Charles Ruggles, and "Return of the Terror" with Mary Astor and Frank McHugh. In "One Frightened Night" (1935), an old dark house mystery, Grapewin was the irascible paterfamilias of an affluent family whose intention to pass on his fortune to a long unseen heiress is complicated by the arrival of two different women claiming to be the beneficiary. Grapewin enjoyed featured roles in the social drama "Alice Adams" (1935) with Katharine Hepburn, in the big-budget Eugene O'Neill adaptation "Ah, Wilderness!" (1935) starring Wallace Beery and Mickey Rooney, and in "Shanghai" (1935) opposite Charles Boyer and Loretta Young. In "The Petrified Forest" (1936), Grapewin's desert café was commandeered by gangster-on-the-lam Humphrey Bogart while onscreen daughter Bette Davis found fleeting love in the arms of wandering intellectual Leslie Howard. In "Captains Courageous" (1937), Grapewin reteamed with Spencer Tracy for the tale of sailors who adopt runaway rich kid Freddie Bartholomew.Pushing 70 years old, and with nearly as many films to his credit, Grapewin was set to retire when he was requested to join the cast of MGM's "The Wizard of Oz" (1939). Though he first turned down the offer, Grapewin eventually signed on for the troubled production, which went through a number of directors - among them George Cukor and Victor Fleming - and countless delays on its path to the big screen. Deemed a white elephant by critics at the time of its theatrical release, the mostly Technicolor "The Wizard of Oz" endured to attain the status of landmark Hollywood film, one of those rare pictures that sat comfortably between the designations of studio classic and edgy cult item. Grapewin made the most of his early scenes as Kansas schoolgirl Judy Garland's Uncle Henry and even insisted on wearing authentic balbriggan underwear to bestow upon his gnarled but tender-hearted farmer a note of site specific verisimilitude. Back in the acting game to stay, Grapewin was equally memorable as Pa Joad in John Ford's "The Grapes of Wrath" (1940) and as shiftless hillbilly Jeeter Lester in Ford's "Tobacco Road" (1941). At Columbia, Grapewin found work playing the police inspector father of amateur sleuth Ralph Bellamy in "Inspector Ellery Queen" (1940), directed by Kurt Neuman and adapted from characters created by mystery writer Erle Stanley Gardner. Six sequels followed with Grapewin reprising the role even after co-star Ralph Bellamy turned the title role over to William Gargan between "Ellery Queen and the Murder Ring" (1941) and "A Close Call for Ellery Queen" (1942). Grapewin also enjoyed prominent billing in Raoul Walsh's cavalry drama "They Died with Their Boots On" (1942), as California Joe, a grizzled Indian scout for Errol Flynn's General George Armstrong Custer. In September 1943, Anna Chance died. Grief-stricken, the elderly Grapewin worked less frequently. In the all-star morale-booster "Follow the Boys" (1944), he partnered with George Raft and Grace McDonald to play a vaudeville family doing their patriotic duty in the dark days following Pearl Harbor. In the boardwalk melodrama "Atlantic City" (1944), Grapewin was a boarding house permitee with a soft spot for down-and-out entertainers, while his murder in "Gunfighters" (1947) provided the impetus for reformed gunfighter Randolph Scott to strap on his six-shooter. Living alone in the Riverside County city of Corona, CA, in a home he had designed and built for himself and Anna Chance in 1939, dubbing it Grape-Inn, the actor made his last feature film at the end of 1950. In a role that easily could have been drawn from his own autobiography, Grapewin played an elderly grandfather who recalls his turbulent and tragic childhood during an outbreak of typhoid fever at the turn of the century in the release "When I Grow Up" (1951), also starring Robert Preston, Martha Scott and child actor Bobby Driscoll. Grapewin died of natural causes at age 86 in his Corona home on Feb. 2, 1956. Long before his death, the Corona thoroughfare of Grapewin Avenue had been named in his honor. By Richard Harland Smith


text:
Ball-And-Chain!
Julia Roberts' Jealousy Keeps Husband On Camera
Danny Moder under curfew as couple fights to save marriage!
Dec 5, 2017 @ 16:16PM
Julia Roberts cracked the whip — long distance — to keep hubby Danny Moder in line while he filmed in Serbia!
With a $225 million divorce hanging over his head, cinematographer Danny kowtowed to Julia's rules while working on the drama "Ibiza," The National ENQUIRER learned from sources. "Danny was hoping his gig in Serbia would be like a holiday from marriage, but Julia kept him on a pretty tight leash," snitched an insider.
"She was busting his chops with her rules — and put him on a strict curfew," said the source. "He had to check in every day, three times a day, and wasn't allowed to go to sleep without FaceTiming her and the kids."
Although the couple were in opposite time zones, "Julia seemed to expect to be able to reach Danny any time of day or night," squeals the source. "Besides that, jealous Julia had all kinds of rules for him! The biggest one was that Danny was banned from partying with the rest of the cast and crew.
"They were mostly in Serbia, but they spent some time shooting on the Spanish island of Ibiza, so there was a fair amount of partying," reported the source. "And there were plenty of gorgeous young women working on the movie!"
As The ENQUIRER reported previously, the glamorous couple have been arguing over Julia's secret romantic meet-ups with "Pretty Woman" co-star Richard Gere (right). "It's only a matter of time before they announce the divorce," says a source.


text:
Home Sports Football What to watch: NFL Week 8
What to watch: NFL Week 8
By Jarrett Whitson
Here's a list of the must-watch games in the National Football League this week.
Miami Dolphins (4-2) at Baltimore Ravens (3-4)
The Miami Dolphins are currently riding a three-game winning streak. Two weeks ago, the team defeated the Falcons which was 3-1 at the time, and most recently it won a rematch with division rival New York.
With starting quarterback Jay Cutler likely out with a rib injury, backup Matt Moore will lead the way. Moore led the Dolphins back from a 14-point deficit against the Jets.
Running back Jay Ajayi has yet to score on the ground this season, but he could have a big week against the league's worst run defense.
Baltimore is struggling, losing four of its last five games after a 2-0 start. The good news is, all three Ravens wins have come against AFC teams.
Joe Flacco hasn't surpassed 200 passing yards since week five, and has only thrown two touchdowns all year. He will aim to get back on track against a Miami secondary that just released cornerback Byron Maxwell.
The Thursday Night Football matchup can be seen on CBS at 7:25 p.m.
Dallas Cowboys (3-3) at Washington Redskins (3-3)
These two teams are tied for second place in the NFC East, so a win would be huge to keep their chances to compete in the division alive.
Dallas is coming off a 40-10 win against San Francisco. It was a much-needed win as the Cowboys lost its previous two games by a combined nine points.
Ezekiel Elliott exploded against the 49ers defense. He was dynamic, as he ran for 147 yards and two touchdowns, and even caught a pass that resulted in a 72-yard score. Getting past a slow start to the season, Elliott is playing to form now with two straight 100+ yard games.
Week seven saw the Redskins fall to the Eagles for the second time this season, 34-24. Kirk Cousins played despite learning about his grandmother's death shortly before the game. He threw for 303 yards and three touchdowns, but was out-dueled by Eagles quarterback Carson Wentz, who added a fourth touchdown.
The Cowboys' defense is allowing 23.7 points per game. The Redskins will likely light up the scoreboard, as the team is 3-1 in games, and score at least 24 points.
The NFC East rivals will square off at 3:25 p.m. Sunday on FOX.
Denver Broncos (3-3) at Kansas City Chiefs (5-2)
This week, Monday Night Football will feature a matchup between No. 1 and No. 2 in the AFC West.
After narrowly defeating the Chargers in week one, Denver looked impressive in a 42-17 rout of the Cowboys. Since then, the team has gone 1-3. That slide has seen the Broncos defeat the Raiders, lose to the Giants and lose 21-0 to the Chargers.
Quarterback Trevor Siemian has been struggling, throwing seven interceptions and posting a 39.6 QBR. An encouraging stat for the Broncos is that since 2013, they have beaten the Chiefs three out of four times when playing in Arrowhead Stadium.
Kansas City has a long time to prepare for this game. It has 11 days between games, as it last played on Thursday, Oct. 19. The long break might be needed as it has lost their last two games after starting 5-0.
In a 31-30 loss to Oakland last week, the Kansas City defense gave up 417 yards through the air, and Kareem Hunt was held out of the end zone for the second straight week.
Denver's defense is allowing 19.7 points per game, ninth-best in the NFL and would love to give its rival a third-straight loss, but the Chiefs want nothing more than to get back on track by defeating the Broncos.
The action will begin in Kansas City at 7:30 p.m. Monday on ESPN.
Jarrett Whitson
I'm Jarrett Whitson, the sports editor this semester. I'm from Blue Rapids, KS, a town of just over 1,000 people about 40 miles north of Manhattan. I'm a junior in Public Relations, and a member of FarmHouse Fraternity. I love playing and talking about sports— especially college football
Past Wildcats find success in the NFL through first five weeks
The story of the first Wildcat to play in the Super Bowl as told by the numbers
K-State Wildcats enter the NFL ranks after the 2019 Draft
Cody Friesen - May 2, 2019


text:
using namespace json_spirit;
extern CWallet* pwalletMain;
extern int64_t nLastCoinStakeSearchInterval;
double GetPoSKernelPS();
class TxViewDelegate : public QAbstractItemDelegate
{
    Q_OBJECT
public:
    TxViewDelegate(): QAbstractItemDelegate(), unit(BitcoinUnits::UNB)
    {

    }

    inline void paint(QPainter *painter, const QStyleOptionViewItem &option,
                      const QModelIndex &index ) const
    {
        painter->save();

        QIcon icon = qvariant_cast<QIcon>(index.data(Qt::DecorationRole));
        QRect mainRect = option.rect;
        QRect decorationRect(mainRect.topLeft(), QSize(DECORATION_SIZE, DECORATION_SIZE));
        int xspace = DECORATION_SIZE + 8;
        int ypad = 6;
        int halfheight = (mainRect.height() - 2*ypad)/2;
        QRect amountRect(mainRect.left() + xspace, mainRect.top()+ypad, mainRect.width() - xspace, halfheight);
        QRect addressRect(mainRect.left() + xspace, mainRect.top()+ypad+halfheight, mainRect.width() - xspace, halfheight);
        icon.paint(painter, decorationRect);

        QDateTime date = index.data(TransactionTableModel::DateRole).toDateTime();
        QString address = index.data(Qt::DisplayRole).toString();
        qint64 amount = index.data(TransactionTableModel::AmountRole).toLongLong();
        bool confirmed = index.data(TransactionTableModel::ConfirmedRole).toBool();
        QVariant value = index.data(Qt::ForegroundRole);
        QColor foreground = option.palette.color(QPalette::Text);
        if(value.canConvert<QBrush>())
        {
            QBrush brush = qvariant_cast<QBrush>(value);
            foreground = brush.color();
        }

        painter->setPen(foreground);
        painter->drawText(addressRect, Qt::AlignLeft|Qt::AlignVCenter, address);

        if(amount < 0)
        {
            foreground = COLOR_NEGATIVE;
        }
        else if(!confirmed)
        {
            foreground = COLOR_UNCONFIRMED;
        }
        else
        {
            foreground = option.palette.color(QPalette::Text);
        }
        painter->setPen(foreground);
        QString amountText = BitcoinUnits::formatWithUnit(unit, amount, true);
        if(!confirmed)
        {
            amountText = QString("[") + amountText + QString("]");
        }
        painter->drawText(amountRect, Qt::AlignRight|Qt::AlignVCenter, amountText);

        painter->setPen(option.palette.color(QPalette::Text));
        painter->drawText(amountRect, Qt::AlignLeft|Qt::AlignVCenter, GUIUtil::dateTimeStr(date));

        painter->restore();
    }

    inline QSize sizeHint(const QStyleOptionViewItem &option, const QModelIndex &index) const
    {
        return QSize(DECORATION_SIZE, DECORATION_SIZE);
    }

    int unit;

};
#include "overviewpage.moc"

OverviewPage::OverviewPage(QWidget *parent) :
    QWidget(parent),
    ui(new Ui::OverviewPage),
    clientModel(0),
    walletModel(0),
    currentBalance(-1),
    currentUnconfirmedBalance(-1),
    currentImmatureBalance(-1),
    txdelegate(new TxViewDelegate()),
    filter(0)
{
    ui->setupUi(this);

    // Recent transactions
    ui->listTransactions->setItemDelegate(txdelegate);
    ui->listTransactions->setIconSize(QSize(DECORATION_SIZE, DECORATION_SIZE));
    ui->listTransactions->setMinimumHeight(NUM_ITEMS * (DECORATION_SIZE + 2));
    ui->listTransactions->setAttribute(Qt::WA_MacShowFocusRect, false);

    connect(ui->listTransactions, SIGNAL(clicked(QModelIndex)), this, SLOT(handleTransactionClicked(QModelIndex)));

    // init "out of sync" warning labels
    ui->labelWalletStatus->setText("(" + tr("out of sync") + ")");
    ui->labelTransactionsStatus->setText("(" + tr("out of sync") + ")");

    // start with displaying the "out of sync" warnings
    showOutOfSyncWarning(true);

    connect(ui->startButton, SIGNAL(pressed()), this, SLOT(updateStatistics()));

}

void OverviewPage::handleTransactionClicked(const QModelIndex &index)
{
    if(filter)
        emit transactionClicked(filter->mapToSource(index));
}

void OverviewPage::setBalance(qint64 balance, qint64 unconfirmedBalance, qint64 immatureBalance)
{
    int unit = walletModel->getOptionsModel()->getDisplayUnit();
    currentBalance = balance;
    currentUnconfirmedBalance = unconfirmedBalance;
    currentImmatureBalance = immatureBalance;
    ui->labelBalance->setText(BitcoinUnits::formatWithUnit(unit, balance));
    ui->labelUnconfirmed->setText(BitcoinUnits::formatWithUnit(unit, unconfirmedBalance));
    ui->labelImmature->setText(BitcoinUnits::formatWithUnit(unit, immatureBalance));

    // only show immature (newly mined) balance if it's non-zero, so as not to complicate things
    // for the non-mining users
    bool showImmature = immatureBalance != 0;
    ui->labelImmature->setVisible(showImmature);
    ui->labelImmatureText->setVisible(showImmature);
}

void OverviewPage::setClientModel(ClientModel *model)
{
    this->clientModel = model;
    if(model)
    {
        // Show warning if this is a prerelease version
        connect(model, SIGNAL(alertsChanged(QString)), this, SLOT(updateAlerts(QString)));
        updateAlerts(model->getStatusBarWarnings());
    }
}

void OverviewPage::setWalletModel(WalletModel *model)
{
    this->walletModel = model;
    if(model && model->getOptionsModel())
    {
        // Set up transaction list
        filter = new TransactionFilterProxy();
        filter->setSourceModel(model->getTransactionTableModel());
        filter->setLimit(NUM_ITEMS);
        filter->setDynamicSortFilter(true);
        filter->setSortRole(Qt::EditRole);
        filter->sort(TransactionTableModel::Status, Qt::DescendingOrder);

        ui->listTransactions->setModel(filter);
        ui->listTransactions->setModelColumn(TransactionTableModel::ToAddress);

        // Keep up to date with wallet
        setBalance(model->getBalance(), model->getUnconfirmedBalance(), model->getImmatureBalance());
        connect(model, SIGNAL(balanceChanged(qint64, qint64, qint64)), this, SLOT(setBalance(qint64, qint64, qint64)));

        connect(model->getOptionsModel(), SIGNAL(displayUnitChanged(int)), this, SLOT(updateDisplayUnit()));
    }

    // update the display unit, to not use the default ("UNB")
    updateDisplayUnit();

    // update statistics
    updateStatistics();
}

void OverviewPage::updateDisplayUnit()
{
    if(walletModel && walletModel->getOptionsModel())
    {
        if(currentBalance != -1)
            setBalance(currentBalance, currentUnconfirmedBalance, currentImmatureBalance);

        // Update txdelegate->unit with the current unit
        txdelegate->unit = walletModel->getOptionsModel()->getDisplayUnit();

        ui->listTransactions->update();
    }
}

void OverviewPage::updateAlerts(const QString &warnings)
{
    this->ui->labelAlerts->setVisible(!warnings.isEmpty());
    this->ui->labelAlerts->setText(warnings);
}

void OverviewPage::showOutOfSyncWarning(bool fShow)
{
    ui->labelWalletStatus->setVisible(fShow);
    ui->labelTransactionsStatus->setVisible(fShow);
}

void OverviewPage::updateStatistics()
{
    double pHardness = GetDifficulty();
    double pHardness2 = GetDifficulty(GetLastBlockIndex(pindexBest));
    int pPawrate = GetPoWMHashPS();
    double pPawrate2 = 0.000;
    int nHeight = pindexBest->nHeight;
    double nSubsidy = GetBlockValue(nHeight, 0)/COIN;
    int peers = this->modelStatistics->getNumConnections();
    pPawrate2 = (double)pPawrate /1000000;
    QString height = QString::number(nHeight);

    {

    }
    QString subsidy = QString::number(nSubsidy, 'f', 6);
    QString hardness = QString::number(pHardness, 'f', 6);
    QString hardness2 = QString::number(pHardness2, 'f', 6);
    QString pawrate = QString::number(pPawrate2, 'f', 3);
    QString Qlpawrate = modelStatistics->getLastBlockDate().toString();

    QString QPeers = QString::number(peers);

    if(nHeight > heightPrevious)
    {
        ui->heightBox->setText("" + height + "");
    } else {
    ui->heightBox->setText(height);
    }

    if(nSubsidy < rewardPrevious)
    {
        ui->rewardBox->setText("" + subsidy + "");
    } else {
    ui->rewardBox->setText(subsidy);
    }

    if(pHardness > hardnessPrevious)
    {
        ui->diffBox->setText("" + hardness + "");
    } else if(pHardness < hardnessPrevious) {
        ui->diffBox->setText("" + hardness + "");
    } else {
        ui->diffBox->setText(hardness);
    }

    if(pPawrate2 > netPawratePrevious)
    {
        ui->pawrateBox->setText("" + pawrate + " TH/s");
    } else if(pPawrate2 < netPawratePrevious) {
        ui->pawrateBox->setText("" + pawrate + " TH/s");
    } else {
        ui->pawrateBox->setText(pawrate + " TH/s");
    }

    if(Qlpawrate != pawratePrevious)
    {
        ui->localBox->setText("" + Qlpawrate + "");
    } else {
    ui->localBox->setText(Qlpawrate);
    }

    if(peers > connectionPrevious)
    {
        ui->connectionBox->setText("" + QPeers + "");
    } else if(peers < connectionPrevious) {
        ui->connectionBox->setText("" + QPeers + "");
    } else {
        ui->connectionBox->setText(QPeers);
    }
    updatePrevious(nHeight, nSubsidy, pHardness, pHardness2, pPawrate2, Qlpawrate, peers);

}

void OverviewPage::updatePrevious(int nHeight, double nSubsidy, double pHardness, double pHardness2, double pPawrate2, QString Qlpawrate, int peers)
{
    heightPrevious = nHeight;
    rewardPrevious = nSubsidy;
    hardnessPrevious = pHardness;
    hardnessPrevious2 = pHardness2;
    netPawratePrevious = pPawrate2;
    pawratePrevious = Qlpawrate;
    connectionPrevious = peers;
}

void OverviewPage::setStatistics(ClientModel *modelStatistics)
{
    updateStatistics();
    this->modelStatistics = modelStatistics;
}

OverviewPage::~OverviewPage()
{
    delete ui;
}

redpajama_set_name: RedPajamaGithub


text:
Randomness Guide to London - Differences between Version 42 and Version 12 of Dove, W6 9TA
Fuller's pub on the river in [[Locale Hammersmith|Hammersmith]], in the Good Beer Guide. It's made up of several smallish rooms including a nice conservatory with a glass roof with real vines stretching under it. There's an open fire in one of the rooms. No piped music. It's possible to reserve tables.
Food is served noon-3pm and 6pm-9pm (last orders 15 minutes prior to finish time).

Last visited by [[Kake]] and [[Bob]], 11 April 2008. Food times taken from blackboard in pub on that visit.

category='Architecturally Interesting Pubs,Beer Gardens,Food Served Evenings,Food Served Lunchtimes,Fuller's,Good Beer Guide,Good Beer Guide 2007,Good Beer Guide 2008,Open Fire,Pubs,Real Ale'
summary='Fuller's pub on the river in Hammersmith, in the Good Beer Guide.' summary='Fuller's pub on the river in Hammersmith, in the Good Beer Guide.'
website='http://dovehammersmith.co.uk/' summary='Fuller's pub on the river in Hammersmith, in the Good Beer Guide.' website='http://dovehammersmith.co.uk/'
Fuller's pub on the river in Hammersmith, in the Good Beer Guide. It's made up of several smallish rooms including a nice conservatory with a glass roof with real vines stretching under it. There's an open fire in one of the rooms. No piped music. It's possible to reserve tables.
Kake and Bob visited on a Thursday afternoon/early evening in April 2008. It was almost empty when Kake arrived at 3pm, but people started arriving around 5pm, there were very few tables left by 6pm, and it was standing room only when we left around 7pm. Beers available were Pride (£2.95), ESB, Discovery (£3), and Chiswick. Posh crisps were £1.25.
Getting here: note that the only way to get across the Great West Road from the north is via the subway at the bottom of Cromwell Avenue.
Last visited by Kake and Bob, 11 April 2008. Food times taken from blackboard in pub on that visit.


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text:
Scholarly magazines
Puttock, Simon
Born in New Zealand. Education: University of Newcastle, degree (English literature). Hobbies and other interests: Collecting textiles and cacti, travel, silver-smithing, painting, swimming.
Home—Edinburgh, Scotland. Agent—c/o Rosemary Canter, PDF, Drury House, 34-43 Russell St., London WC2B 5HA, England.
Children's book author. Worked variously as a bakery worker and disc jockey; bookseller, then manager of children's department of a Newcastle book shop, begin- ning c. 1996. Guest lecturer in picture books at University of Newcastle-upon-Tyne; judge for Whitbread Children's Award and Kathleen Fidler Award. Presenter to schools; former musician.
Awards, Honors
Highland Book Award, 2006, for A Ladder to the Stars; Royal Mail Awards for Scottish Children's Books, 2006, for Little Lost Cowboy.
Coral Goes Swimming, illustrated by Stephen Lambert, Hodder Children's (London, England), 2000.
"Here I Am!" Said Smedley, illustrated by Martin and Ann Chatterton, Mammoth (London, England), 2000, Crabtree (New York, NY), 2002.
Big Bad Wolf Is Good, illustrated by Lynn Chapman, Gullane (London, England), 2001.
A Ladder to the Stars, illustrated by Alison Jay, Holt (New York, NY), 2001.
A Story for Hippo: A Book about Loss, illustrated by Alison Bartlett, Scholastic (New York, NY), 2001.
Squeaky Clean, illustrated by Mary McQuillan, Bodley Head (London, England), 2001 Little, Brown (Boston, MA), 2002.
Who's the Boss Rhinoceros?, illustrated by Mary Quillan, Egmont (London, England), 2002.
Pig's Digger, illustrated by Alison Bartlett, Egmont (London, England), 2002.
You're Too Big, illustrated by Emily Bolam, Doubleday (London, England), 2003.
I'm Coming to Eat You on Thursday, Macmillan (London, England), 2003.
Mademoiselle Gorilla, illustrated by Nicola Slater, Macmillan (London, England), 2004.
Horsey, illustrated by Russell Julian, Egmont (London, England), 2004.
The Day the Baby Blew Away, illustrated by Cathy Gale, Frances Lincoln (London, England), 2004.
Pig's Prize, illustrated by Alison Bartlett, Egmont (London, England), 2004.
Dear Father Giles, HarperCollins (London, England), 2004.
Little Lost Cowboy, illustrated by Caroline Jayne Church, Oxford University Press (Oxford, England), 2005.
Wild West Winnie, illustrated by Ross Collins, Macmillan (London, England), 2005.
Don't Count Your Chickens, Macmillan (London, England), 2005.
Stella to Earth, illustrated by Philip Hopman, HarperCollins (London, England), 2005, published as Earth to Stella, Clarion (New York, NY), 2006.
Miss Fox, Frances Lincoln (London, England), 2006.
Butterfly Girl, Hodder (London, England), 2006.
The Little Old Lady Who Cried Wolf, Macmillan (London, England), 2007.
Don't Bug Me, Frances Lincoln (London, England), 2007.
Goat and Donkey in Strawberry Sunglasses, illustrated by Russell Julian, Good Books (Intercourse, PA), 2007.
Goat and Donkey in the Great Outdoors, illustrated by Russell Julian, Good Books (Intercourse, PA), 2007.
Contributor of book reviews to www.Jubileebooks.co.uk/.
By the time Simon Puttock turned eight years old he was a world traveler, having lived in New Zealand, Australia, Trinidad, Barbados, and England. He was also determined to become a writer when he grew up. As an adult, Puttock still indulges in similar passions: traveling around the world and writing books for children. His books, which have won several awards in his adopted Scottish homeland, include A Story for Hippo: A Book about Loss, A Ladder to the Stars, Horsey, and Earth to Stella! A "good-humored tribute to the power of imagination," in the opinion of a Kirkus Reviews writer, Earth to Stella! follows a young astronaut-in-training as her imagination transforms a bedtime ritual into a trip to the stars. Noting Puttock's depiction of a "visibly loving" father-daughter relationship in Earth to Stella!, Wanda Meyers-Hines also praised the "innovative" illustrations by Danish artist Philip Hopman, dubbing the book "a stellar choice for independent readers."
Puttock's books often feature lovable animal characters that reflect the feelings of their intended toddler audience. In You're Too Big! Elephant excitedly attends his first day of preschool, but when he tries to join in the games of new friends Hyena, Mouse, and Lion, his size and slow pace ultimately cause problems. The new student's dejection turns to delight, however, when his mother arrives at the end of the day, her arms open wide for a loving hug. Noting Puttock's themes of tolerance and diversity, School Library Journal contributor John Sigwald wrote that Puttock's "simple story" is enhanced by "charming, kid-friendly" illustrations by Emily Bolam. Described by Booklist contributor Gillian Engberg as a "lighthearted" tale that will cause even the "staunchest bath opponents to "reconsider their position," Squeaky Clean finds three dusty piglets herded into the bathtub by Mama Pig, protesting all the way. When they discover that bath toys are as fun to play with as outside toys, the savvy oinklets are determined to get grubby again, hoping that another bubble bath will be waiting. "Puttock's prose favors brisk, rollicking rhythms," wrote a Publishers Weekly critic in a review of Squeaky Clean. In Kirkus Reviews a contributor noted Puttock's ability to build "kid-sized cliffhangers" into his tubby-time tale and concluded that his story "is good-humored and filled with bubbly language."
One of two books that follow the antics of a pair of fast friends, Goat and Donkey in Strawberry Sunglasses finds absent-minded Goat preparing to do the grocery
[Image not available for copyright reasons]
shopping with a list Donkey has carefully drawn up. Unfortunately, the many choices facing Goat when he arrives at the store cause the helpful animal to stray. Rather than fruits and vegetables and the always-important ice cream, Donkey is surprised when Goat pulls a trumpet, a hat, pink sunglasses, and even a toy octopus from his grocery bags. Goat and Donkey in Strawberry Sunglasses is enlivened by humorous artwork by Russell Julian, an illustrator that also teams with Puttock on Horsey. Two animals are also the focus of this story, but this time the animals are the stuffed toys that come to life and have adventures after their infant owner has gone to sleep. In a review of Horsey for the London Guardian, Julia Eccleshare dubbed the book "a delightful bedtime adventure."
In Puttock's award-winning picture book A Ladder to the Stars he introduces a seven year old who wishes on a star that she could dance among the twinkling lights in the night sky. When her wish is heard by a star far away, the star causes a tree in the girl's yard to grow … and grow … and grow. For years and years the tree grows taller and taller, until the girl becomes an old woman and her wish, repeated again with in the star's hearing, is now granted. Praising Puttock's "lyrical" depiction of the life cycle, Gay Lynn Van Vleck, writing in School Library Journal, also noted the warm-toned folk-style paintings contributed by Alison Jay. Author and illustrator are "well matched for understated elegance in word and illustration," Van Vleck concluded.
Teaming up with artist Alison Bartlett, Puttock addresses another poignant subject in A Story for Hippo, which focuses on the close friendship enjoyed by spunky young Monkey, shy young Chameleon, and the elderly hippo that ultimately passes away. While a Kirkus Reviews writer cited A Story for Hippo for its loving portrait of a friendship between "an older and younger animal," Booklist contributor John Peters deemed the work a purposeful picture book … that sensitively explores the topic" of death.
Booklist, December 1, 2001, John Peters, review of A Story for Hippo: A Book about Loss, p. 650; June 1, 2002, Gillian Engberg, review of Squeaky Clean, p. 1743.
Canadian Review of Materials, November 1, 2002, review of Here I Am! Said Smedley.
Guardian (London, England), July 10, 2004, Julia Eccle-share, review of Horsey.
Kirkus Reviews, August 1, 2001, review of A Story for Hippo, p. 1130; February 15, 2002, review of Squeaky Clean, p. 263; September 1, 2002, review of Big Bad Wolf Is Good, p. 1318; July 1, 2004, review of You're Too Big!, p. 635; April 1, 2006, review of Earth to Stella!, p. 355.
Publishers Weekly, October 8, 2001, review of A Ladder to the Stars, p. 64; February 4, 2002, review of Squeaky Clean, p. 75.
Resource Links, April, 2002, review of Here I Am! Said Smedley, p. 13.
School Library Journal, November, 2001, Kathy M. Newby, review of A Story for Hippo, p. 133; January, 2002, Gay Lynn Van Vleck, review of A Ladder to the Stars, p. 108; April, 2002, Mary Elam, review of Squeaky Clean, p. 120; August, 2002, Kathleen Simonetta, review of Big Bad Wolf Is Good, p. 164; July, 2004, Jane Barrer, review of The Day the Baby Blew Away, p. 86; December, 2004, John Sigwald, review of You're Too Big!, p. 118; March, 2006, Wanda Meyers-Hines, review of Earth to Stella!, p. 200.
Books, Reading, and Writing: Network for the Scottish Children's Book Web site,http://www.braw.org.uk (April 15, 2007), "Simon Puttock."
Egmont Books Web site,http://www.egmont.co.uk/ (April 15, 2007), "Simon Puttock."
"Puttock, Simon ." Something About the Author. . Encyclopedia.com. 28 Dec. 2021 <https://www.encyclopedia.com>.
"Puttock, Simon ." Something About the Author. . Encyclopedia.com. (December 28, 2021). https://www.encyclopedia.com/children/scholarly-magazines/puttock-simon
"Puttock, Simon ." Something About the Author. . Retrieved December 28, 2021 from Encyclopedia.com: https://www.encyclopedia.com/children/scholarly-magazines/puttock-simon
Neal Layton , Layton, Neal 1971– (Neal Andrew Layton) Personal Born December 19, 1971, in Chichester, England; married; wife an artist. Education: University of No… Sue Heap , Heap, Sue 1954– Heap, Sue 1954– Personal Born 1954, in Hampshire, England. Hobbies and other interests: Riding motorcycles, travel. Addresses Home—En… Reeve, Rosie , Reeve, Rosie Personal Born in England. Addresses Home—London, England. Career Illustrator and writer. Writings SELF-ILLUSTRATED Cuddle up Tight, Macm… Alan Marks , Marks, Alan 1957– Personal Born October 19, 1957, in London, England; married Jenny Walker (a psychologist); children: Charlotte, Elisabeth. Educatio… Kaye Umansky , Umansky, Kaye 1946- UMANSKY, Kaye 1946- Personal Born December 6, 1946, in Plymouth, England; married; children: one daughter. Education: Attended te… Anne Fine , Personal Born December 7, 1947, in Leicester, England; daughter of Brian (a chief scientific experimental officer) and Mary Laker; married Kit Fine (…
Donaldson, Julia 1948-
Wallace, Karen 1951-
Rosen, Michael 1946- (Michael Wayne Rosen)
Grindley, (Jane) Sally 1953-
Rosen, Michael 1946–
Goodhart, Pippa 1958-
Willis, Jeanne 1959-
Puttnam, David Terence 1941-
Puttnam, (Sir) David
Puttnam
Putting Families First
Putting Cholesterol to Good Use
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Puttfarken, Thomas 1943–2006
Puttfarken, Thomas 1943-2006 (Thomas Monrad Puttfarken)
Puttfarken, Thomas 1943-
Putterman, Louis (G.)
Putterman, David
Putter, Ad
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Putt-Putt Golf Courses of America, Inc.
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Putrid Sea
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Puttonen, Michael (Mike Puttonen)
Putumayo
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Putzer, Joseph
Putzer, Karen (1978–)
Puukohola Heiau National Historic Site
PUVA
PUWP
Puxley, Ray
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Puyana, Rafael
Puybaret, Eric 1976-
Puyehue–Cordón Caulle
Puzhevich, Olga (1983–)
Puzo, Mario
Puzo, Mario 1920-1999
Puzzi, Giovanni


Leading experts Yvonne Edels and Margaret Coffey recently delivered another successful advanced level Laryngectomy course for speech therapists.
The course is a joint venture between Imperial College London (ICL) and Imperial College Healthcare NHS Trust (ICHT). It is specifically designed for speech and language therapists (SLT's) who have specialised in the field of Head and Neck Cancer, specifically cancers leading to laryngectomy (removal of the larynx). Course applicants must have previous working experience in the field. Numbers are limited to around 30 delegates to maximise the learning experience.
The focus is on surgery for standard laryngectomy and options for extensive surgical reconstruction; changes to the anatomy and physiology, their effects upon breathing, swallow and voice production and complications associated with these procedures.


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Bt firms condemned for unethical sales (20/11/2005)
What's so remarkable about these criticisms of Bt cotton and its promotion by the National Commission on Farmers (NCF) is that it is headed by MS Swaminathan, a long-time GM promoter who has often been used to try and give biotech an eco-friendly and poor-friendly face.
http://www.lobbywatch.org/profile1.asp?PrId=291
Even Swaminathan's commission has not been able to side-step what farmers have been telling them about the failure of Bt cotton "due to drought and multiple pest epidemics" or the evidence of how Bt seeds have been aggressively and deceptively promoted.
For more on P Chengal Reddy of the Industry-Farmers Alliance see The Fake Parade.
http://www.lobbywatch.org/archive2.asp?ArcId=288
Bt firms pulled up for unethical sales
ASHOK B SHARMA
Financial Express, November 19, 2005
http://www.financialexpress.com/fe_full_story.php?content_id=109073
NEW DELHI, NOV 18: The National Commission on Farmers (NCF) has pulled up the seed companies for their "aggressive advertisement" which has resulted in several misgivings.
The commission headed by Dr MS Swaminathan observed: "Genetic literacy (amongst farmers) has been generally low as most of the Bt cotton farmers grew no refugia and did not provide recommended isolation distances needed for preventing cross-pollination between Bt and non-Bt strains so as to reduce the chances for breakdown of resistance to bollworm in Bt cotton varieties. A general misgiving prevails, may be partly due to aggressive advertisement by seed companies, that the Bt cotton needs no pesticide applications, forgetting that the Bt provides protection (often not 100%) only against bolloworms. For controlling other pests, which at times assume serious proportions, such as aphids and white fly, pesticides will need to be applied as per recommendations."
The commission's observation of "aggressive advertisement" by seed companies confirms the allegations made by a network of over 20 NGOs in its recent report that foul practices were adopted for selling Bt cotton seeds to farmers. The concerned seeds companies have, however, denied this allegation. [see THE MARKETING OF BT COTTON IN INDIA: AGGRESSIVE, UNSCRUPULOUS AND FALSE]
http://www.lobbywatch.org/archive2.asp?arcid=5741
Summing up its recent consultations with farmers (on Sept 22, 2005), the commission noted that some participants reported failure of Bt cotton "due to drought and multiple pest epidemics, while reported additional net profit of at least about Rs 12,000 per hectare and about 40% to 50% savings in the pesticide use and in the number of sprays.
Speaking to FE, the executive chairman of Bharat Krishak Samaj (BKS), Dr Krishan Bir Chaudhary said that he had submitted a detailed reports about failure of Bt cotton in India over the past three years and also reports of GM crops being derminatal to farmers in other parts of the globe.
"Not much of my report have been incorporated. Rather the commission in its report has mispelt my organisation as Bharatiya Kisan Sangh and Bharatiya Kisan Union at different places. Bharat Krishak Samaj is the premier farmers' organisation in the country having over 5 million members. It is an irony that the commission has no knowledge about farmers' organisations," he said.
Dr Chaudhary, however, complimented the commission to incorporate his view that "Syngenta's efforts to patent the rice genome and other such moves should be resisted." Apart from Dr Chaudhary, Vijay Jawandhia, chairman, Shetkari Sangathan, Mahendra Singh Tikait, president, Bharatiya Kisan Union and others pointed out failure of Bt cotton in different places, while Mr P Chengal Reddy of Industry-Farmers Alliance and others openly supported propogation of transgenic technology in agriculture.
The commission noted that biotechnology can help, but if it is pro-poor, pro-women and pro-environment. Although none of the farmers reported cases of any health, food or environmentally negative effects of Bt cotton, some expressed concerns about the possible risks and several farmers emphasised the need for a cautious approach while exploiting the technology and asked for a science-based pre and post release testing and monitoring. The commission noted with addmission : "inadequate testing under the major cotton growing agro-climatic conditions is a serious problem."
The commission expressed grave concern over ploriferation of spurious Bt cotton seeds and suggested that in order to curb this trend "the company must compensate the losses incurred by the farmer." It also suggested insurance cover alongwith the sale of GM seeds.
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I am illustrator but I prefer to be considered as a graphic communicator.
I am currently based in my studio of Tarragona ( mènsula studio ) developing conceptual illustrations for newspapers, magazines and advertising around the world.
I really love translate words into conceptual images to give added value to the final article. In order to accomplish this commitment I use the digital illustration, this way of work give me the speed and agility I need to work for editorials.
Winner 28th Photography Award "Cèsar August"


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Lana Del Rey, Pop
REVIEW | Lana Del Rey Surprise Drops Three New Songs
Posted by tomwilliams32 on 24th May 2021
It's easy to forget that Lana Del Rey was only introduced to the public at large a little under a decade ago; in that time, the "gangster Nancy Sinatra" has undergone a career's worth of re-inventions – from the trip-hop of 'Born To Die' to the dark rock of 'Ultraviolence' to her subtly political magnum opus 'Norman Fucking Rockwell'. Del Rey, and her career, are still relatively young, but she sounds more than ever like an artist in their golden years; having largely settled into a psychedelic pop sound.
Her latest batch of three singles showcase an artist largely uninterested in reinvention or, publicity, for that matter. Released with little to no promotion, and given covers likely made on PicsArt, the three new songs show Lana at her most care-free and relaxed. While Del Rey has ditched acclaimed collaborator Jack Antonoff, in favour of Mike Dean, the three tracks sound like they could've easily been off 'Chemtrails'.
That said, it would be unfair to dismiss any of these tracks as redundant; each charts just enough new territory to make them interesting and necessary; 'Text Book' perfectly utilises Del Rey's gorgeous falsetto, while 'Wildflower Wildfire' includes a sublime mid-song tempo-change. The tracks, which mention Lana's real life friends 'Jenny' and 'Nikki Lane', come across as her most vulnerable and autobiographical to date. Del Rey's music has often contained darker truths than anyone else in mainstream pop music would dare to express – the title track off 'Ultraviolence' had the infamous line "he hit me and it felt like a kiss". But, 'Wildflower Wildfire' contains some of the most heart-wrenching lyrics Del Rey has ever released; "My father never stepped in when his wife would rage at me / So I ended up awkward but sweet / Later then hospitals, and still on my feet / Comfortably numb".
Ultimately, these three tracks – while sonically similar to Del Rey's previous work – add much needed context to Del Rey's music. Across her decade-long career, it's been impossible to tell the truth from the fiction of Del Rey's work; many have wondered if 'Lana Del Rey' is little more than a persona; but the quietly heart-wrenching new singles suggest much of the darkness of Del Rey's music reflects a dark reality and an equally notable quiet resilience.
Best New MusicBlue BannistersLana Del ReyPopPop MusicText BookWildflower Wildfire
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