Carved botanical accents and a lightly weathered finish give the Mirrored French Chic Coffee Table the appearance of an authentic vintage piece. Perfect for the formal living room, it reflects light beautifully while offering the advantage of easy maintenance. A unique addition to any vintage French inspired space, it happily supports your morning coffee or evening cocktails.
Dimensions: H: 18.5" X W: 51.5" X D: 30"
H: 18.5" X W: 51.5" X D: 30"


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'I love to work hard': The Milwaukee Admirals give this former Wisconsin Badgers hockey player a fresh opportunity
Dave Kallmann
The focus hasn't changed in more than a decade. Joseph LaBate, first and foremost, wants to play full time in the National Hockey League.
But if he never skates on NHL ice again he can grind out a living in the American Hockey League, hopefully win a title, stay involved in the game afterward, use his degree from the University of Wisconsin — he's just one French class away — or continue to expand his real estate portfolio. Maybe all of those things.
Whatever happens, he'll be OK.
That's just not why he's here.
After six full seasons in the AHL, the 28-year-old, 6-foot-4 forward landed with the Milwaukee Admirals for the season that begins at 6 p.m. Saturday against the Grand Rapids Griffins at the UW-Milwaukee Panther Arena.
"I think that's why you see a guy like him change teams or go to a different organization is to get a fresh opportunity," Admirals coach Karl Taylor said. "If you look at the track record here in Milwaukee … there's been Colin Blackwell, Jared Tinordi, Freddy (Gaudreau). All these guys that have come in got second chances in other places, and now they're full-time NHLers again.
"We've converted three or four AHL contracts over my time here into NHL contracts. That's very rare. I think people in his situation see that and think, hey, they do reward merit there, it's not just words, so I'm going to get that opportunity."
Joseph LaBate played at Wisconsin before starting professional hockey career
LaBate (pronounced lah-BAHT) took part in the 2011 NHL scouting combine as a senior at Academy of Holy Angels in suburban Minneapolis, was drafted by Vancouver in the fourth round and then followed through on his college commitment with four years at Wisconsin.
"At that age I wanted to play professional hockey, and getting drafted was just a steppingstone to that process," said LaBate, who finished with 31 goals and 52 assists for 83 points in 150 games at Wisconsin.
"It's a long process, and I've been through a lot."
What LaBate didn't exactly envision — because who as a high schooler would? — were three seasons in Utica, New York, and three in Belleville, Ontario. In 296 AHL games he has 99 points (47 goals, 52 assists) to go along with 471 penalty minutes.
His three NHL stints with Vancouver in 2016-17 totaled 13 games with no goals and no assists.
"Life's unpredictable and you just roll with it," LaBate said. "I've had a couple of injuries in my career that I've had to work through but I've always come out stronger.
"If I envisioned my career, I'm not sure I ever thought I'd be playing in those cool cities and stuff, but it's super special. I've got to see a lot of really cool places, got to meet a lot of really special people in my pro career, so I'm really proud of it and super excited to be here."
LaBate brings his hardworking style to the Milwaukee Admirals
Which brings him to Milwaukee, a blue-collar town with a hardworking team that won the regular-season title in 2020 when COVID-19 caused the league to end play early.
(An aside: It's also just five hours from home, the value of which was driven home last season when LaBate was essentially trapped on the northern side of the U.S.-Canada border.)
"I play with an aggressive style, but I like to think I play a 200-foot game," he said when asked to describe his game. "I do all the little things — I try to — and I try to be as consistent as possible. I take a lot of pride in that.
"I think I bring some leadership to this leadership group. That hardworking style they have here just matches really well with my game."
Asked the same question, Taylor paid LaBate the ultimate compliment: "He might be the hardest-working guy I've ever seen.
"Very aggressive. Plays the right way. But he doesn't manage his energy. It's all going to be laid out there, and when it runs out he'll deal with it. He's only got one speed. He's fun to watch."
Coincidentally, LaBate will play his home games in the same arena where he first attended an AHL game.
UW teammate Brendan Woods left school after their sophomore season to finish the year with the Charlotte Checkers, and his second game came against the Admirals in Milwaukee with some fellow Badgers in the seats. The two remain good friends, and LaBate expects the retired Woods will attend some of his games at the Arena.
Ten years after being drafted, LaBate further understands the odds he faces to make it in the NHL but also knows they can't matter. Effort leads to success, success brings attention and attention brings opportunity. An opportunity is what he wants.
"It's within reach," LaBate said. "It's up to me, up to timing, up to playing the right way.
"You just embrace the process. I love challenge, I love difficulty. It's kind of my personality. I love to work hard. When you're not in the NHL you make the most of it. … I just think about the day-to-day and just bringing my best self every day."

redpajama_set_name: RedPajamaCommonCrawl


My sister always wanted to go to Rome, so last Christmas, I offered her to pay for her flight to Rome, whenever she would want to go. As her birthday was mid-June, we decided to book a 4-days trip to Rome starting on the date of her birthday.
I honestly didn't know what to expect from Rome at all, and I'm happy to say that I got amazed by this great city! It was a big surprise to me and I'm glad I had the chance to go, even if it was just for a few days!
You have sooooooo many things to see in Rome! In 4 days, we only had time to visit a quarter (not even I'm sure) of all the places we were planning on seeing!
The first monument we saw was the Colisseum. If you ever go to the Colisseum, I recommend you to use Fun Tour to get a guided visit. They have guides for different languages, the offer includes a skip-the-line ticket and even if we didn't book in advance, we got to do the visit on the same morning. Our guide was fun, but she also knew what she was talking about and could answer each and every question that the people of our group could have. The visit was approximately 2 hours and a half and included the Colisseum, but also the Roman Forum and the Palatine Hill. It was really really interesting and you can easily imagine yourself back in the time of the Gladiators.
During the following days, we also had the chance to see Piazza di Spagna, Piazza del Popolo, the Terme Romane, Piazza San Pietro with the Basilica di San Pietro, etc.
The only thing that you should know before going is that the most touristic places are quite expensive… The prices for places like the Vatican, the Basilica di San Pietro, the Colisseum, etc. varied from 25€ to 60€ depending on what options the offer includes.
I would advise booking any tickets in advance so you can have time to check the different options and prices.
The architecture in the city is awesome. You can find something interesting to take pictures of at each street's corner and you get continuously surprised! Rome managed to keep the history of its City and included it in the modern version of Rome. Both history and modernity are kind of melting together to give you this interesting atmosphere in the city. It's like going back in time while walking in the streets.
Also, I really liked the intimate and cocooning atmosphere of the city. You can find little narrow and empty streets connecting to bigger places, which are great if you want a moment of calm between your visits. It was a great experience to walk around!
One of the nice things about Rome is that you can do a loooooot just walking around the city. The majority of the monuments and places to see or to visit are generally within a decent walking distance from each other. Which means, that you can walk all day long to connect the different places you want to see. I also love to lose myself in the streets and not knowing where I go, which might just lead you to an awesome place that you may have not found if you were following your map only. You should try that! It's a great feeling and it's fun!
Well, I mean, you're in Rome… Italian food, duh!
Italian food is definitely one of my favorites! These Italians know how to cook! I tried pasta, risotti (I still remember this salmon risotto…Yummy!), mixed platters of cheese and cold cuts, bruchetta, etc. and I can say that I haven't been disappointed in any of the dishes I tried.
So I would suggest you eat in as many restaurants as you can during your next trip to Rome!
In other words, Italian food is yummy so come and enjoy it during your visit!
Rome has such lovely parks to visit… These are great places for a picnic if you want a bit of calm for a nap, to rest your legs or just to walk around and enjoy the shadow of the trees.
I had the chance to go to the park and the garden of the Villa Borghese and it was absolutely lovely! In the middle of the park, we found a little lake where you can either hire a boat to go around (and honestly the prices were more than reasonable) or just walk around it.
The lake is surrounding the Tempio di Esculapio, so my sister and I decided to do a nice walk around the lake instead of the going closer by boat. To be honest I wanted to hire a boat but my sister was not so keen on it. As you need a minimum of 2 people per boat: I couldn't go on my own. So yes, I got a bit screwed… but well, it was so pretty that I feel lucky I could go around anyway! Moral of the story: go to parks in Rome!!!
This was one of the biggest surprises I had in Rome: the local people. Before I go to Rome, I heard so many bad things about Italian people and I was a little nervous about the idea of going to Rome without speaking Italian. Well, do you know what? I shouldn't have been!
From the first few minutes in Rome, right after we got out of the airport, my sister and I had the chance to meet a local guy who helped us go to the City center! We were speaking French trying to figure out, which bus was best for us and if we had the right ticket, etc. This guy heard us and jumped in in the discussion to confirm that we were at the right station, waiting for the right bus, with the right ticket. As he was taking the same bus and metro than us, he stayed around and let us know where to go out of the bus, where to get the metro, etc.
At the guest house where we were staying, same surprise! Our lovely host welcomed us warmly and even gave us some tips on nice restaurant around the guest house, as we were really hungry at the time we arrived!
Same surprise in the restaurants where the waiters were trying to understand us (even when they couldn't speak English) and were showing some enthusiasm every time we were trying to order or communicate in Italian (I just mean the few sentences that were given in our tourist guide haha).
I can now say myself that Italians are understanding, welcoming and really helpful people! Dear Italian people, thank you so much for making us feel welcome to Rome!
As you can imagine, Rome is sunny… It makes everything so much better! The colors of the city feel brighter, the people look happier and it makes your time there more enjoyable! The best time to go is May, June or September. I would avoid going in July or August as the weather will be way to hot and the number of tourists will be even bigger!
The attractions of Rome (like the touristic places I mentioned above: the Vatican, Villa Medicis, the Colisseum, etc.) are the only things that I found expensive in Rome.
– The restaurants were cheap (but yummy!).
– The accommodation was cheap: We were not in the city center itself, but we were 3 minutes away from the metro station Cornelia on the line A (so really accessible and 20 minutes from the city center).
– The food in the supermarket was cheap: Perfect if you want to buy food for a picnic or to cook at your accommodation for instance.
– The transports are not expensive either. I would avoid the taxi at the airport though! They have a fixed rate of 30€ to take you to the city, which is a bit sad when you can get there for 1.50€ by taking the bus and the metro.
Don't get me wrong, I'm not saying that it's the cheapest place I've been to! I'm just saying that it was less expensive than what you can expect from a big touristic city like Rome. In comparison to Paris or London for instance, it's really cheap!
10. The ice creams in Rome!!!
I would suggest you go to the Gelateria S.M. Maggiore near Cavour, which is from far my favorite! The ice creams were so yummy and tasty, that it was hard to choose which flavors to get!
Have you ever been to Rome? If yes, what was your experience?
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This is the second post I have read about Rome recently and bloggers are definitely doing a good job of selling it to me. I hadn't considered it before then. It looks amazing! Thank you for sharing, love your pictures.
Haha I'm glad you're getting convinced! It's definitely worth it! AND the flights are not that expensive if you're flying from London 😉 Hurry up to book!!!! Thank you for the comment and the compliment!
Indeed I definitely recommend it! It's great place if you like history, architecture and food 😀 I hope you'll get the chance to go soon!
I've always wanted to go to Rome but still haven't yet, this makes me want to go more!
I hope you'll get the chance to go there! It's awesome! Magical, unique and authentic!


This is a moving story of how an ordinary family learnt to cope with the incurable, debilitating and often terminal disease of Pancreatitis. The first symptoms appeared when Andrew was just fifteen and after 20 years he lost complete pancreatic function. This robbed him of his job, wife, home and self-respect.
Often mistaken for an alcoholic or drug addict, it was a constant struggle to receive any help. He could 'live on the streets as homeless without detriment, the same as any other homeless person'.
This resulted in deep depression, self-harm and several suicide attempts. There is no justice.
Like many people, Brenda Prentice does not like to see injustice. When her adopted son, who was chronically ill with 20 years of Pancreatitis, became homeless, he was told he could 'live on the streets as homeless like any other homeless person'. There was no help from Social Services, the Housing Authority or some Medics. She took up the issues with the Healthcare Ombudsman, Local Government Ombudsman and the Parliamentary Ombudsman to no avail and after five years all denied any wrong doing. The way he was treated brought further mental health problems of depression, self harm and attempted suicide.
Oh no! That feeling, the usual discomfort that I permanently suffer has just altered ever so slightly. I feel the blood rush to my face and that horrible realisation, that paranoia. My mood drops like a leaden weight and my mind switches so all that I can now think of is getting home quickly.
I just received the first signal from my body that I am about to have another attack of Pancreatitis. It could be a false alarm; God knows I have them almost every day lately. I just know by the constant discomfort, others may call it pain but I term it as discomfort, pain is something else that I have, it is starting to burn. It will eventually be a nagging burning pain situated on the upper right of the abdomen, which will gradually increase and then radiate across my chest and around to my lower back. However, before we get there I will have a lot more to get through first. "Here we go." I am now feeling queasy and break out into a light cold sweat. I feel the urgent need for bowel movement but know that if I sat on the lavatory nothing will happen. Now I am burping, bringing up small amounts of acidic bile and have rampant heartburn. While I quickly clear my desk, a colleague looks across at me and instantly knows by the grey hue of my face and sweaty brow that I am beginning an attack. They have seen this before at my office. Previously someone used to drive me the twenty three miles home while I would throw up into a bag throughout the journey but nowadays I prefer to get home under my own steam (a mixture of retaining a small amount of dignity and preventing the problem of having to leave my car at work for however long). I have since learnt how to throw up and drive at the same time. Speed is of the essence though I am also aware that if I react quickly when I get the signals I can often make it home before the vomiting really kicks in.
I manage to pull up on my drive, throw open the car door and projectile vomit across the lawn. I haven't managed to get my seat belt off in time and manage to splash vomit all over me and the car door, interior of course. As I get out of the car I find I can not stand up straight now because of the pain. I walk into the house stooped over and crawl straight up the stairs to the bathroom. I feel slight relief to be home now but that feeling of relief is over very quickly as I start vomiting again. When I have an attack I can see the layers of food come back up in the order that I ate them (often going back days) looking almost the same as it did on the plate. I remain in the bathroom about three quarters of an hour throwing up spending the time contemplating what had triggered this particular attack. Was it something I ate? Was it stress? Had I physically overdone it? I monitor the layers of vomit for clues as to when exactly my wonderful pancreas decided to start eating itself again and my stomach stopped digesting this time. Once the solids are up, I am now only bringing up clear frothy bile. I retire to my bed with a sick bucket and a large bottle of water. That will be me for probably the next forty eight hours or so.
NAUSEA and nauseam, It's not the pain at the moment. My tormentor is nausea, don't get me wrong, the pain is there alright but the nausea just takes over in waves for forty minutes or so and then I will retch and retch until I bring up some more frothy yellowish bile. This is followed by about five minutes of relief from the nausea which allows me to concentrate on the pain for a short time. A deep pain is now in the centre of my body like someone or something has bored a six-inch hole through me and is now honing it out slowly with some kind of cheese grater device. This deep pain radiates out into my chest and back along my shoulders and taut neck muscles and even down my arms. Apart from this I have pain (a secondary pain) from my abdominal muscles, as if I had done ten rounds sparring with Ricky Hatton while he practises his body punching techniques, a consequence of thirty-six hours of vomiting and retching. My joints all hurt from lying in the same position for thirty-six hours. Curled now in the often-used foetal position I have broken out in a drenching sweat and am soaking wet from head to toe and beginning to chill. I know I have to change my wringing wet T-shirt and pants but the malaise won't let me. The malaise that has stopped me from getting up to pee to an extent that my bladder also aches, the malaise that prevents me from even changing channels (by remote control) on the ever constant day-time drivel pouring from the TV, a TV that I don't lift my head to watch at any point in the forty-eight hours curled up in bed but find the sound comforting and a way of knowing what time of day it is. The shivering eventually forces me to slowly drag the soaked shirt off my back and change clothes for the second time this morning. My mind is in a sort of delirium state now. I go for the pee that I have been bursting for and notice that the colour is dark almost black and it reeks. This is a sign that I am dehydrating and I promise myself to sip more water. I am at that critical point where I have to make sure that I do not dehydrate or go into shock (as has happened previously) as that will mean hospitalisation which I like to avoid at all costs. Back in the foetal position the nausea is back with a vengeance following the exertion of peeing. My imagination starts to kick in as I mentally scream "For Gods sake give me a f***ing break". I am screaming at my pancreas, a pancreas that I hold a vivid image of. He looks like a huge short fat slug with a head but no neck - a kind of Jabber the Hut character with a nasty looking face of that animated germ from a recent TV ad for Domestos or some toilet cleaning product. The face has a look, an indignant smirk that says belligerent all over it. It is green or grey or yellowish brown and the body is covered in weeping sores that occasionally erupt like tiny volcano spewing out steam and a snot-like consistency. Slimy fluid that the evil pancreas is completely covered in. This slime appears to be eating him like hydrochloric acid or something (pancreatic enzymes presumably), and it gently smokes. It coughs, wheezes and dribbles from its mouth and seems to have difficulties breathing or moving. Often I imagine this monster to be strung or suspended on taut piano wires attached to the linings of my rib cage etc and when I move or roll over this pancreas of mine rolls around, gets knocked about against my other internal organs bouncing off my lungs, kidneys, spleen and heart gradually coming to rest uncomfortably on my liver. Sometimes it feels as if it's made of very heavy bloated granite and presses against my intestines and bladder.
This pain is ludicrous now, I feel very emotional. I well up but don't cry I am feeling sorry for myself. Why me? What did I do to deserve this? It's at these times that my mortality crosses my mind, I don't ever feel suicidal at all but I have often felt that death would be a great relief at the peak of an attack. This makes me wonder if you take all your "baggage" with you to the afterlife, your diseases and chronic pain and constant indigestion. Do they go with you? If so, it crosses my mind that I am going to hell either way!
It's been over forty-eight hours now. The nausea has gone and I haven't vomited for a few hours. We are moving into the pain stage, the hundred variations of pain, and the colours of pain. The many descriptions of pain - light, heavy, nagging, niggling, aching, twinges, searing, sharp, dull, hot, cold, excruciating, blinding but most of all depressing bloody pain. I suffer from all of these at times and it takes away any feelings of hope that I may have for the future - a bleak looking future that is riddled with more ailments like diabetes, osteoporosis and of course pancreatic cancer.
"Cheer up it could be worse" someone said to me recently, which, unfortunately I find very difficult to believe. It couldn't possibly get worse, I have very little left to lose (here comes another list) after all in three and a half years I have managed to shed the following; hope, good health, marriage, business and job, social life, weight, dignity, humour, confidence and finally (judging by this tirade) my mind. Happy days!


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Q: Explain this ColorBox code in detail I am trying to learn the real nitty gritty details of Javascript, so I would appreciate it if someone could explain this code for me.  In ColorBox, the author defines his public method as so:
publicMethod = $.fn[colorbox] = $[colorbox] = function (options, callback) {
    // do stuff...
};

Other public methods are then defined such as:
publicMethod.remove = function () {
    // do more stuff
};

In practice, I know that these function can then be called as $.colorbox() and $.colorbox.remove(), but I'm a little confused by the actual syntax.  Specifically, what is happening when he assigns "$.fn[colorbox]" and "$[colorbox]" to publicMethod?
Do you have any commentary on this code?  Is this a good design pattern?  Are there other patterns you would recommend?

A: In JavaScript each object is an associative array at the same time, object properties are also array keys. This means that obj.prop = 1 and obj["prop"] = 1 are exactly the same thing. Also, methods are simply properties that have a function as their value. So $["colorbox"] = function() {...} creates an anonymous function and assigns it as property colorbox of the object $ ($ is a regular variable name in JavaScript), this function becomes method $.colorbox() then. Note that I used the string "colorbox", your code example has it without quotation marks however - which would interpreted as a variable name, so a variable colorbox with the value "colorbox" is probably used there.
Functions are objects as well so you can set custom properties on them. In the example the property remove is being set on the function object and becomes its method.

A: According to the Mozilla javascript guide, the square brackets are used as property accessors, in this case.  See https://developer.mozilla.org/en/JavaScript/Guide/Working_with_Objects

A: Colorbox author here and I wanted to say Wladimir is exactly right.  I used the bracket notation so that the variable (colorbox) could be shortened when ran through a minifier, as the same string was used repeatedly in the source.
In JavaScript, objects (in this case, the function expression) are passed around through reference.
So $.colorbox, $.fn.colorbox, and publicMethod all point to the same object.  When a new property is added to publicMethod (ie publicMethod.remove = function(){};), $.fn.colorbox also receive the property as both reference the same object.
$.fn.pluginName is the convention for jQuery plugins, and $.colorbox is just an alias for that.  publicMethod was a shorthand for $.fn.colorbox used within the plugin that would be shortened when the script was passed through a minifier.

redpajama_set_name: RedPajamaStackExchange


Carol Evans, who previously served as Vice-Chair, is the first woman selected to lead the Spokane Tribe of Indians sovereign government.
Evans grew up on the Spokane Reservation, and both her parents are members of the Tribe. After graduating from Wellpinit High School, Evans enrolled in Eastern Washington University. She earned a Business Administration degree from EWU and eventually became a Certified Public Accountant, inactive. She was Executive Director of the Spokane Indian Housing Authority before joining tribal government as an accountant, eventually becoming Chief Financial Officer for 28 years.
Evans' mother was the first woman elected to the Tribal Council, serving two terms from 1983-1989.
Evans joined the Tribal Council herself in 2013 and was re-elected in 2014. Council members are elected to staggered 3-year terms, and the 5-person Council selects a Chair and Vice-Chair annually.
Tomorrow, Tuesday, August 25, Poole's Public House will be accepting donations to help Inland Northwest wildfire victims. The entire staff at Poole's will also be donating their tips for the day and Poole's Public House will make a donation by matching servers' tip totals. Nicola Semb, a server at Poole's Public House came up with the idea to get involved by donating tips. All donations will go to the local chapter of the American Red Cross. This is in conjunction with the STCU/KREM CARES Help2NW donation campaign. Poole's Public House is asking local food and beverage businesses to join in the fundraising effort.
Poole's Public House is located at 101 E Hastings Road. For more information find them on Facebook, or call 509-413-1834, poolespublichouse.com.
Ruby Hospitality, Spokane developer Jerry Dicker's hotel and restaurant company, has purchased the historic Montvale Hotel in a foreclosure sale. The 36-room boutique hotel opened in 1899 and is the oldest hotel in the city. The hotel will continue operating throughout the remodeling and upgrading process. Plans include a lobby expansion into the corner retail space which will include a community coffee shop serving both hotel guests and the public. Extensive renovations are underway. Dicker also plans to reopen a restaurant in the old Catacombs space in the basement area that was once the boiler room of the hotel. Scratch Restaurant and Rain Lounge will probably remain tenants on the first floor.
This Saturday, August 29, The Friends of Manito's (TFM) Fall Plant Sale will be held from 8am to 3pm, East of the Gaiser Conservatory in Manito Park. This is TFM's 25th anniversary and this year's sale will have a large selection of perennials and long blooming plants. In addition, unusual and hard to find shrubs and vines, drought tolerant plants and ornamental grasses will be for sale. Kids activities will be going on throughout the day and music will be performed by the Barking Katz.
Long awaited Panera Bread has opened in Spokane Valley at 15716 E. Indiana, just east of Sullivan across from the Spokane Valley Mall. Panera's mission is to bring the tradition of freshly baked artisan bread to neighborhoods in cities throughout the country and that's just what they are doing here. They're much more than bread though...they serve soups, salads and pastas, breakfast, and a wide variety of sandwiches.
You can check out their menu and even order online at panerabread.com.
Homegoods, a home decor store owned and operated by the company that also operates TJ Maxx and Marshall's, opened their first store in the Inland Northwest yesterday at 15224 E. Indiana Ave. in the Spokane Valley Mall. Homegoods offers high-end designer goods found in department stores and specialty stores at discount prices. For more information and to see their many products go to homegoods.com.
Baker Construction and Development is BUSY!
- Washington Federal Bank, Spokane Headquarters, 4610 N. Division, 2-story ground up.
- Meadowwood Technology Campus, 80,000sq ft, concrete tilt up structure for the new Comcast customer service center in Liberty Lake's Meadowwood Technology Park.
For more information on Baker Construction and Development go to their website at bakerconstruct.com. Their offices are at 2711 E. Sprague and the phone number is 509-535-3668.
The Spokane Guilds' School & Neuromuscular Center is excited to announce Korin Michielli and Tammy Sweeney have been promoted. Korin has been promoted from the Events Manager position to Development Director; she has been with the organization for nearly 5 years. Tammy has been promoted from the Assistant Events Manager to the Events Manager and has been with the organization for nearly 2 years.
Former Inland Northwest Bank employee Chad Burchard has re-joined the bank as a senior vice president and chief lending officer.
Local hot tub manufacturer and retailer Apollo Spas is moving their north side store to a larger space on I-90 at 11604 E. Indiana in Spokane Valley and plans to consolidate their Spokane Valley store at that location in 2018. The new store, which sells Apollo and Arctic spas will eventually have 38,000sq ft of space. Apollo will also change their corporate name to Arctic Spas.
The Salvation Army hands out a record 5,207 Backpacks!
The Salvation Army's annual Backpacks For Kids Distribution & Resource Fair concluded last week with a record distribution. The Salvation Army handed out 5,207 backpacks filled with school supplies. Those backpacks helped 1,978 Spokane area families. All backpacks are separated by gender and grade level and contain the needed supplies required by the school district.
This month's Cowboy Supper Shows at the Rockin' B Ranch are this Friday & Saturday, August 28 & 29. Celebrating their 21st season, the Riders of the Rockin' B supper shows are not to be missed. Each show features a hilarious outdoor melodrama, full BBQ supper, and cowboy trail music. The remaining performances of the season are on September 25 & 26 and October 9 & 10.
For tickets and more information, visit www.RockinBRanch.com or call 509-891-9016.
This Wednesday, August 26, kicks off the new 'Community Leadership Breakfast Series,' at the Southside Senior & Community Center, presenting former U.S. Representative George Nethercutt, who will speak on 'Restoring American Citizenship.' A served breakfast will precede Mr. Nethercutt's remarks. The event begins at 8am.
This presentation marks the debut of the Center's 'Community Leadership Breakfast Series,' in which the community can attend and interact with some of the region's most dynamic and accomplished leaders as they address topical subjects in an informal setting. Mr. Nethercutt will also address concerns of relevance to seniors. Humorist Tim Behrens will provide some brief entertainment.
Tickets are $25 and includes breakfast. Call 509-535-0803 and ask for Community Breakfast tickets. Southside Senior & Community Center is located at 3151 East 27th Ave., on Spokane's South Hill.
SCORE Workshop on QuickBooks Financial Management this Wed.
This Wednesday, August 26 from 8:30am to 12:30pm, Spokane SCORE Chapter 180 presents a workshop on QuickBooks Financial Management for Small Businesses. A QuickBooks expert will guide you through using QuickBooks as a bookkeeping and financial management tool. Learn tips and shortcuts, and the keys to financial management, along with resources and financial management practices.
Workshop cost is $40 pre-registered, $50 at the door, and $15 for an additional person from the same company. Location is the SBA Training Room, 801 W Riverside, Suite 444. To register, visit www.scorespokane.org.


The Umoja Festival entertainment is a unique combination of contemporary and ancient art forms. In African tradition, permission from the elders of the village is sought because of their wisdom, knowledge and experience. The Umoja Festival has always observed this tradition in seeking permission to begin the festival from the elders of the Portsmouth community.
This year will feature Brian McKnight, Chrisette Michelle, and K'Bana Blaq.
Ethnic foods, a marketplace of sculptures, paintings, prints, baskets, quilts and other assorted hand-crafted wares contribute to the ambiance of the Festival.


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Home > News > Csodak Palotaja Permanent EXHIBITION Moves to CAMPONA
Csodak Palotaja Permanent EXHIBITION Moves to CAMPONA
Cushman & Wakefield, the world's largest privately-held commercial real estate services firm has secured a 1,670 sq m premium space for Csodak Palotaja (CsoPa) exhibition at the successful family shopping and entertainment centre, Campona on behalf of the landlord CBRE Global Investors.
CsoPa is a permanent exhibition of science toys and installations formerly located in Millenáris Park and will open its gates at the new Campona location in November. The new location of CsoPa is easily accessible for visitors coming both from Budapest and the countryside and together with the unique Tropicarium provides a whole day leisure programme for big and small.
Viktória Szabó Partner and Head of Retail at Cushman & Wakefield Budapest said: "We are extremely happy to welcome CsoPa in Campona Shopping Centre. We are confident that this new location is the best choice for such a well known and well visited exhibition and with this new transaction we can say, that Campona is the most attractive family shopping centre in town and we hope this will attract even more retail and leisure tenants to the scheme. Besides the on-site retail team, Cushman & Wakefield Property Management department highly contributed to the success of the transaction as well."
András Marton, Asset Manager at CBRE Global Investors added: "It is a great pleasure to welcome such a large and successful tenant in our scheme. CsoPa fits really well into the tenant mix of the centre and we hope it will attract even more visitors to the building which is currently undergoing a minor facelift and new marketing campaign."
Katalin Mizda, Managing Director at CsoPa commented: "We are very happy with our new location in Campona. For a long time we were looking for a space which has better access to the highways so even our visitors from the countryside can reach us easier. The location and milieu of Campona fits our mission and the flexibility of the landlord also helped our decision to move here."
Cushman & Wakefield is the exclusive letting agent and property manager of Campona Shopping Centre.
The 53,000 sq m Campona Shopping Centre is situated approximately 8 km south of Budapest City Centre in the XXII. district, easily accessible both by car and public transportation. The busy M0 motorway, which encircles the southern part of the city is 2 minutes drive away and provides easy access to the city's most affluent catchments areas.
Brands present here include: Tesco, Charles Vögele, H&M, ..... etc
Orsolya Németh
Cushman & Wakefield receives property management and exclusive leasing mandate of the year
European Office Rents Grow for Eighth Consecutive Quarter
Buddha Original Sushi & Wok Bar opened in Váci Greens D
Cushman & Wakefield's office agency team leased close to 42,000 sq m in H1 2018 in Budapest


Project CARS Official Forum > Other Games > Project CARS > Project CARS on Xbox One > Twin-Race Weekends in Online?
View Full Version : Twin-Race Weekends in Online?
I thought this option would be in the game at launch, but apparently not.
Any idea if it will be added at some point? A lot of our planned leagues use a Twin-Race format.


Home » Blog » Paul & Linda M.
Jeff Riehm helped my husband and me through the process of selling and buying a house. We have sold a house before, but it was the first for buying and selling at the same time. I could tell when we first met Jeff that he was the realtor for the job. He is someone you can depend on to be there for you from the first day through the closing. He helped us with what our house needed in order to show well, and he helped us find our next home. He even came out and helped us with the yard work. He proved to us what we knew; that his out-going, friendly personality will sell our house fast. It sold in one week at the first open house. He is a networking, energetic realtor and now, a friend. God Bless You Jeff!


Medieval Spanish Chef: AÑEJO - RECIPE FOR MATURE COCKTAILS!
AÑEJO - RECIPE FOR MATURE COCKTAILS!
Remove the mouse from the cheese before the friend arrives.
I love your sense of humour! Please note: wine can also be young, but añeja will become a friendship based on such good grounds. Nothing easier and more authentic. Spanish refranero is full of proverbs: "con queso pan y vino se anda el camino" (and with someone to share them, too).
Ah, in other words: the best route is one with cheese, bread and wine and of course a good friend!


Welcome to Sentinel RV Park, Tucson's newest RV park. Here, you and your family can experience the best Tucson has to offer. With over 300 restaurants, shops and attractions within minutes of the park, you have unmatched access to arts, culture and entertainment for your stay.
Explore Tucson via light rail right from the park and experience the iconic 4th Avenue, Downtown, Tucson Convention Center and the University of Arizona districts. Take the park's free shuttle to the surrounding area.
Or take a hike to the top of Sentinel Peak to view a fabulous Tucson sunset.
Sentinel Peak RV Park was named after the original "A Mountain." In 1915, University of Arizona fans whitewashed a huge letter "A" on the side of Sentinel Peak to celebrate a victory, and the name "A Mountain" stuck.
There is easy access from the Junction of I-10 & Exit 257. Merge onto N Freeway St., then W 0.4 mi on W Speedway Blvd., then S 0.1 mi on N Grande Ave. and the park is on your left. The sites are paved and they have long pull-thrus for your Big Rigs, too. 450 Grande Ave., Tucson, Arizona, 520-495-0175.
You can visit their website at: www.sentinelpeakrv.com.


Robert Thomas Taylor was the son of William Taylor. The CWGC give his mother's name as Rachel. Robert was born about 1893 in Drumglass, Co Tyrone. Robert Taylor enlisted in Dungannon. Private Robert Thomas Taylor was serving with the 1st Battalion of the Royal Inniskilling Fusiliers when he died of wounds in France on 3rd July 1916, age 23.
Gezaincourt is a village a little south-west of the town of Doullens, halfway between the main roads from Doullens to Abbeville and Doullens to Amiens. The Communal Cemetery and Extension are on the east side of the village. There is a Commonwealth War Graves Commission signpost outside Doullens on the road towards Amiens.
2 1901 Census lists Taylor family Lists 'Thomas' as age 22 living with the family at house 95 in Church Street Cookstown.


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Q: Как зациклить карусель? Привет, ребят, подскажите, как зациклить карусель вот эту: jquery-waterwheel-carousel? Зациклить в смысле, когда активен последний элемент карусели, за ним сразу идёт следующий элемент и карусель получается идёт по кругу, не перескакивая. Расковырял скрипт, но всё равно не доходит до меня, как это организовать. Буду очень признателен за ответы.
Сайт карусели

Код карусели

A: Просто когда доходишь до конца/начала - вырезаешь первый/последний элемент и вставляешь после последнего или копируешь, после этого аналогично со следующими.
A: Запихиваешь карусель в функцию и в корне функции указываешь эту же функцию
function Karusel () {
    Karusel();
}


Event venue business plan writinggroups319 web fc2 – Yet, for many recently involved partners the duty onward can now and again seem to be daunting. For many people, the primary port involving speak to is definitely the word wide web where one can very nearly remove your self during a labyrinth of wedding event resources. We tend to recommend you make payment for several hours on the net mutually and immerse her in such a weird new arena of weddings. Images and even Hitched are of help UK tools, with many more, even though Martha Stewart and then All the Greyback are web-sites which pinpoint the National wedding day economy in which a large amount of our traits first of all originate.


text:
West Fertilizer Blast Cause Remains 'Undetermined'
Melissa Stusinski
West, TX — The cause of the West fertilizer blast that killed 15 people and injured hundreds was declared "undetermined" on Thursday. Authorities have yet to find the reason why the town's fertilizer plant exploded on April 17.
Investigators have searched through the remains of the plant, moved tons of debris, and conducted more than 400 interviews. But they have yet to find the missing piece of evidence that shows why the plant blew a massive crater in the ground last month.
The cause of the blast has been narrowed down to three possibilities: a problem with one of the plant's electrical systems, a battery-powered golf cart, or a criminal act. They have already ruled out several other possibilities, including someone smoking and a rail car on site loaded with fertilizer.
Kelly Kistner, the Texas assistant state fire marshal, explained that the West fertilizer blast was actually made up of two explosions. The first was small and happened about 20 minutes after the fire was reported. The second, much larger, blast happened a split second later when about 20 to 34 tons of ammonium nitrate stored in the plant ignited.
Another 28 to 30 tons stored on site, along with a rail car carrying roughly 100 tons of the hazardous chemical, did not explode. Kistner added of the investigation, "It's like taking a large puzzle, putting it on the coffee table and trying to put the pieces back together, but you don't know if the pieces are all there to begin with."
Most of those who were killed in the West fertilizer plant explosion were firefighters and paramedics responding to the initial fire. The town of West has just 2,000 people and volunteer firefighters.
Both blasts happened because of ammonium nitrate, a dry fertilizer. The small explosion produced enough heat and shock to make the remaining fertilizer inside the storage building to explode. Kistner added, "To put this in a different perspective, the ammonium nitrate that exploded was equivalent to approximately 15,000 to 20,000 pounds of TNT."
State officials have already announced a criminal probe into the West fertilizer plant blast.
NBA Rumors: Heat Could Trade Four Players And Draft Pick For Jrue Holiday, Per 'Bleacher Report' January 18, 2020
WWE Rumors: Bray Wyatt Reportedly Advertised To Face Legend At Saudi Arabia Show January 18, 2020
Lola Consuelos Brings Kelly Ripa To Tears With Throwback Video: 'Mommy' January 18, 2020
Dasha Mart Bares It All In Risque Nude Photo For 'Playboy Mexico' January 18, 2020


We appreciate this not being so overpowering! Just a subtle fragrance that permeates the one room. Also, not 'chemically' smelling like a lot of the rest!!
was skeptical when my husband purchased but fills the room with a scent that isn't too overbearing and very nice!
Very good frangrance. I like so much. This frangrance is very good, super calm. I recommend acqua aroma Everday collection.


Going as far back as the late 1890's Renault's first vehicles were manufactured by founder Louis Renault along with members of his family under the first company name of Society Renault. Along with his two brothers two friends also helped in the manufacture of the first cars – their first one was the Voiturette and was sold in December of (18)98. What had been done to sell it was a test drive by their father's close friend and associate, who was impressed by it and bought it immediately afterwards. After this success they then began to drum up publicity in motorsports such as auto racing and other events.
Their company – within a year of its first car – began producing the first sedan, and by the end of the decade in 1910 they had branched into the manufacture of trucks, taxis, and other vehicles. During the First World War the Renault factories produced ammunition, armament, and many other needed materials, and afterwards focused on many successful car lines. However during the Second World War, Renault was taken by the Germans and forced to serve the Third Reich's war machine. When the liberation of France occurred in 1944 Louis Renault was imprisoned, in which before he was able to have his day in court he was found with his neck broken. After this all of his assets were seized by the French government and the car manufacturing company was turned into a public manufacturing corporation under a man named Lefaucheux.
After the war and during its time as a public industry in France it was many new and innovative designs, and was able to compete heavily with other popular car manufacturing firms at the time, such as Volkswagen and even against the Beetle they maintained popularity. They continued to build massive and widespread support of their vehicles through genius marketing involving automobile racing and rallies.
By the 70s they had bounded into success that pushed them further, and even during the energy crisis of 1973 their top selling model, the economic based Renault 5, sold extremely well and continued to do so until it was replaced in the mid 80's by the Super5. The late 70s was the era and legacy of partnerships for Renault, seeing a partnership with AMC and the formation of smaller firms in other European countries, in addition to agreements and technical information trades with Peugeot and Volvo, and even involvements and expansions into the South American markets.
However by the early 80s poor production quality plagued the lines, and by 1981 restructuring had to begin. In 1984 they were loosing millions of dollars, in fact, billions of francs – 12 billion in one year. A new chairman was appointed, named Georges Besse, and was charged with turning Renault around.
In swift action Georges cut many aspects of Renault, cutting costs and cutting losses. His changed were widespread and reverberated throughout the company – but in 1986 he was murdered outside his own home by Action Directe, a terrorist leftist group. His successor, Levy, continued the former's policy and the deficit was eliminated by the latter 80's. After this in the mid 90's Renault became privatized and a traded company, then they made a shocking move by forming an alliance with the Japanese automaker Nissan in 2000.
Since then the profits have risen an astounding 45% for Renault, and a 5% increase in worldwide sales – about 2.5 million vehicles. New plans include a program to sell 800,000 more cars next year, and the introduction of the new Laguna.


text:
KAMALA HARRIS ENDS PRESIDENTIAL BID, BUT VOWS TO HELP DEFEAT TRUMP
December 2019 Articles
By Chris Jennewein, Times of San Diego, a member of the San Diego Online News Association
Photo: Senator Kamala Harris. Courtesy of the campaign
December 3, 2019 (San Diego) -- Sen. Kamala Harris announced Tuesday that she is ending her campaign for the Democratic presidential nomination.
The junior Senator and former Attorney General of California was one of the first to announce a candidacy, but has been lagging in the polls and fundraising in recent months.
She described the decision as one of the hardest in her life.
"To my supporters, it is with deep regret—but also with deep gratitude—that I am suspending my campaign today," she said. "But I want to be clear with you: I will keep fighting every day for what this campaign has been about. Justice for the People. All the people."
She said the campaign "uniquely spoke to the experiences of black women and people of color," but found it "harder and harder to raise the money we need to compete."
She added that though she is no longer running for President, "I will do everything in my power to defeat Donald Trump."
Harris reportedly told aides of her intentions in an all-staff call and plans to travel to early primary states this week to thank them in person.


text:
Biografia
Non si conosce molto della sua vita. Fu membro dei canonici regolari di Kraśnik; nel 1540 circa fu forse organista nel convento di Kraśnik, vicino a Lublino. Probabilmente è uno dei due Jan, dei quali il primo conseguì un dottorato in arti e filosofia nel 1499, il secondo una laurea in arti nel 1508 all'Università Jagellonica di Cracovia. Dal 1537 al 1548 creò la sua famosa intavolatura per organo, il cui titolo è  Tabulatura Ioannis de Lyublyn Canonic[orum] Reg[u]lariu[m] de Crasnyk. È la più grande intavolatura per organo del mondo (più di 350 composizioni e un trattato), nonché una delle più antiche. Contiene molte composizioni di Nicolaus Cracoviensis e numerose intavolature di pezzi di Josquin Desprez, Heinrich Finck, Clément Janequin, Ludwig Senfl, Claudin de Sermisy, Philippe Verdelot, Johann Walter e altri.

L'Intavolatura
Giovanni di Lublino fu probabilmente anche il primo possessore dell'intavolatura per organo oggi conservata nella biblioteca dell'Accademia polacca delle scienze con collocazione Ms. 1716. Forse ne è in parte l'autore. Il suo nome appare, goffrato, solo sulla copertina, mentre in una delle pagine interne si trova la firma "Valentinus scripsit". L'opera, di 520 pagine, è considerata la più vasta fonte di musica organistica europea; contiene trascrizioni di musica vocale sacra e profana, musica organistica sacra indipendente e preludi e danze. Contiene inoltre un trattato ed esercizi sulla composizione e l'improvvisazione organistica e consigli per l'accordatura degli organi. Buona parte del repertorio ci è arrivata in forma di intavolatura anonima, ma in molti casi l'autore è stato identificato e in altri ancora rintracciato attraverso altre fonti. In totale, vi si trovano 20 compositori tra francesi, olandesi, tedeschi e italiani; fra i polacchi, Seweryn Koń e le iniziali di Nicolaus Cracoviensis e Nicola di Chrzanów (NC N.Ch., NZ).

Bibliografia
 Piotr Poźniak, Jan z Lublina, in: Encyclopedia of Music PWM, vol. 4, PWM, Cracovia

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


This is Part 4 of the Logo Design Round-Up series. This ongoing series showcases a collection of logos and brand marks, self submitted by a bunch of freelance designers and creative folk in many creative areas. These designers use the logos to sell, promote, brand and market their various skills.
Let me begin with how I came up with my business name, which was a huge struggle and really came by accident. I agonized for 3-4 days of trying to come up with a really cool name.
I took a little break. A few days later, when I was off doing something completely different, like working out. The words Mayhem Studios popped into my head. I thought, OK that sounds cool, that's it!
The design of my logo was slightly easier. I knew I wanted it to be clean, simple and modern. I also knew I wanted to use a red and black for a strong bold mark.
The inspiration for the logo came from the simplicity in nature, architecture, type and life. Using type as a design element, like the plus sign or brackets, simple yet effective.
Overall, I was happy with the design but not exactly sure if it was right. Since, I was in a rush to get the business running and get some business cards printed. I decided I would go with this design for now. I can always come back and redesign it.
That day never came. I was extremely busy with projects. After awhile, it was too late to redesign the logo, as everyone strongly identified me with Mayhem Studios and that logo. One day, I may still rebrand myself.
Motivations of the company name (big head design) and logo was inspired by the fact that I actually do have quite a large noggin and my friends made it a point to make sure i knew that.
I really LOVE house-a-rama Kingpin font (the letters), and I decided to feature the shilouette of my head as a nifty little badge. The inspiration for this logo really just came from my love of large bold type and short concise logos.
I choose this style over others because I felt it conveyed a fun sense of design. I love graphic design, and find it fun to just sit and create but know well enough not to take myself too damn seriously.
Based around my last name, I created my logo to demonstrate my minimalist design ideals. Completely done in different faces of Helvetica, this logo incorporates a tree based on my last name coupled with blue and deep gray contrast to separate concepts.
Since I use my own name, I needed something that clearly defines what I do, as well as showing off that simple, elegant typesetting makes a huge difference. This logo can easily be modified by changing a layer or two in order to place it on a dark background.
It took me a while to come up with the concept for this logo. I had a little trouble trying to figure out how to conceptualize the words Color and Burned. Eventually, I decided that I preferred combining the words so instead of Color Burned it just became Colorburned – sort of like the word Sunburned.
Eventually, I found a font that I liked and some Twitter friends helped me with ideas for the flame and finally the logo took shape.
Simplicity is the main concept for my logo because that's who I am. There is nothing flashy or detailed, just straignt-forward and to-the-point.
Some might say it's boring, but I think it's classic, and timeless.
I chose Avenir (Ed: I LOVE Avenir) as the typeface because it is intended to be a more organic, and humanistic approach to a purely geometric typeface. it has vertical strokes that are thicker than the horizontals and an "o" that is not a perfect circle. These nuances aid in legibility and give Avenir a harmonious and sensible appearance.
A splash of color complements the online experience.
As far as the logo goes I had to redesign it from my previous one I had for a portfolio class. I happened to be playing around with the DEF part of DEFgraphics, trying to turn the words into an image more so than reading it. Turning it on its side formed an eye, which represents an eye for creativity. That's how I got my logo.
eGrace Creative is so named because of an answered prayer. My wife and I struggled with infertility and were finally given one daughter. We haven't been able to have anymore since. We named her Ella Grace and she's not only the most beautiful creation I've ever seen, she's also one of the most creative people I've met.
She's six, and puts my design skills in perspective with her finger paints, crayons, scissors and glue. Hence – eGrace Creative.
the logo itself contains an e, g, and c, matches the color scheme of my web site, and has a clean and professional style. I used both a serif and sans serif font.
My site has been online for 10 years, and the name plays off of the notion that settling down to work is a matter of hitting the (typewriter) keys, so for a long time the font I used were very typewritery and either typewriters or keys were depicted.
The current mark is a bit simpler and more of an abstraction of an old typewriter key. The fainter keys spiraling in the background are supposed to hint at movement, but I haven't settled in my mind if that works or not.
I wonder if designers are ever satisfied with their own branding? I know I'm still playing with mine.
As with any graphic designer who has been around longer than a heartbeat, my logo has endured a number of changes over the years. I've been using the Jeff Andrews Design business name since 1996, and though simple and seemingly unimaginative, I find that people that I work with rarely forget my name. For me, it works.
In this latest evolution of my mark, I took a real "back to basics" approach. I've always been a fan of the clean, design work that came out of the 50's and 60's and looked there initially for inspiration. It was a grueling 4 year process, but in the end I think the new logo evokes a simpler, cleaner, more mature aesthetic that I hope is mirrored in my current work.
To be perfectly honest, I tend to have short-lived love affairs with fonts, and right now I repeatedly find myself using Rockwell a lot.
As far as coming up with a logo for "my brand", I needed something strong and bold to sit in the corner of my blog site after going with a dark/distressed background. And to go along with the distressed motif, I frayed the word "design" and did a little photoshop smudging.
I wish I could say this all has some kind of meaning, but it was all done out of speed and necessity more than anything else. As far as the face off to the right, that happens to be a tattoo I designed for myself years ago influenced by my Thai heritage, so I decided that I'd consistently use it in some form.


Rich Stroffolino takes a look at what Juniper Networks presented at Networking Field Day last week. What really interested him was the company's philosophical approach they laid out during the event. Instead of trying to simply implement a ton of features for network automation, Juniper takes a much more systematic approach. They laid out their ultimate goal, to create a fully self-driving network. In the presentation, they outline what it will take to get there, and how their current solution fits into that roadmap.


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« Butchers Blind: Destination Blues
In Memoriam: 2014 »
Mark Erelli: Milltowns
A deeply felt tribute to New England singer-songwriter Bill Morrissey
When a song is recorded, its performance is frozen at a point in time that instantly begins to age. But when a song is passed along, it is reborn every time it is performed anew. The same can be said for songwriters: when their lives end, their performances pass into record and memory, but their songs continue to be renewed in the performances of others. And so it is with New England singer-songwriter Bill Morrissey, whose passing in 2011 closed the book on his life as a performer, but whose songs remains alive in the voices of others.
Mark Erelli is one of those voices, and as a disciple of Morrissey, he's reflected the teacher's craft in his own work. To repay the debt, Erelli's recorded an album of Morrissey covers, capped by an original composition that reflects on the bookends of their relationship: the first time they met and the last time they performed together. It's a bittersweet close to an album of covers that is itself a bittersweet catalog of longing, missed opportunities, farewells, happenstance, wanderlust and resolution that's sometimes happy, sometimes resigned.
Morrissey's songs are filled with details that could probably be traced to specific inspirations. He intertwines people, places and things, employing emotions, actions and even geographic details as the seeds of his observations. He steps inside his characters as they observe themselves and others, and distills these thoughts into lyrics whose truth seems to have been latent, waiting to be exposed. His characters struggle with the harsh realities of the Northeast's declining milltowns, banal jobs, dashed dreams and harrowing reflections of their own mortality.
As drawn by Erelli's selections from Morrissey's catalog, love is a restless siren whose call is as likely to be heard departing as it was arriving. But there are bursts of hope, such as the optimism that pours out of "Morrissey Falls in Love at First Sight" and the expectations of "Long Gone." There's also humor, albeit of a gallows variety, as "Letter From Heaven" imagines a hereafter where one's heroes have shucked off their Earthly foibles. Perhaps Erelli imagines that this vision of heaven welcomed the songwriter himself, as the closing elegy "Milltowns" laments the songwriter's struggle with alcohol.
Erelli's talent as a musician is magnified by his taste as a producer. Performed and produced in large part by himself in his basement studio, the guitars, dobro, mandolin, harmonica, bass and drums all appear naturally in place, with nothing missing and nothing extra. Even the overdubs of his guest musicians and vocalists sound as if they were added extemporaneously. It's a mark of his instrumental and studio prowess that the layering sounds so organic, showing absolutely no trace of construction.
The fealty to Morrissey and the craft of his songwriting add up to something much more than a covers album; it's a personal tribute from someone who knew, worked with and learned directly from the subject. Morrissey's songs were passed to Erelli in much deeper form than a recording or sheet music, or even a performance; Morrissey's legitimization of the Northeast as a place from which gritty, honest folk music could spring was a legacy that launched Erelli's career, and something for which Erelli is obviously deeply grateful. These performances remind us that a songwriter's songs make an indelible mark on the world as their DNA is passed in an intergenerational chain. [©2014 Hyperbolium]
Mark Erelli's Home Page
Bill Morrissey's Songbook
Milltowns by Mark Erelli
Tags: Folk, Singer-Songwriter
This entry was posted on Tuesday, December 9th, 2014 at 6:57 pm	and is filed under CD Review, Free Stream, Video. You can follow any responses to this entry through the RSS 2.0 feed. Responses are currently closed, but you can trackback from your own site.


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Q: Magento get coupon description I am trying to retrive the text set in the Magento Coupon Description field to use as part of a validation rule. Does anyone know how to load a coupon price rule using the coupon code and retrieve the associated coupon description text?

A: Under Magento 1.3, you can use this code (not tested as I have no 1.3 within easy reach) :
$rule = Mage::getModel('salesrule/rule')->load($code, 'coupon_code');

if ($rule->getId()) {
    $description = $rule->getDescription();
}

A: I have used in magento 1.9 and below code is working fine for me.
$oCoupon = Mage::getModel('salesrule/coupon')->load($couponCode, 'code');
                $oRule = Mage::getModel('salesrule/rule')->load($oCoupon->getRuleId());
                $message = $oRule->getData();
                $description = $message['description'];

                $this->_getSession()->addError(
                    $this->__($description, Mage::helper('core')->escapeHtml($couponCode))
                );

A: $oCoupon = Mage::getModel('salesrule/coupon')->load($couponCode, 'code');
$oRule = Mage::getModel('salesrule/rule')->load($oCoupon->getRuleId());
var_dump($oRule->getData());

you can refer for same Magento - get rule from coupon code


Cost of Removal Companies – A Quick Guide.
Looking for removal companies to help you with a house move is the logical step, especially if you have a lot of goods to transport. After finally deciding when your house removal is going to be, the more pressing question becomes "what is the cost of removal companies" Of course, the cost of the house move always depends on the scope of the project, but there are certain areas in which you can prepare yourself financially.
The price of your house removals largely depends on the location and length of your move. When it comes to local house moves, removal companies usually have a steady for two men and a van for a move that takes a between 3 and 5 hours. If you are moving long-distance, however, you should prepare for a higher, fixed price. As stated earlier, however, the actual cost of removal company you'll have to pay really depends on a number of factors, so don't take our word for it – consult your with your movers and get a removal quote. With Let's Move Removals, you can get an instant quotation, free of charge. We can tell you how much your house move will cost you after an initial assessment of the scope of your house removal.
What to look for when estimating the cost of removal companies?
Though there may be no reliable way of gauging a removal company cost, without contacting them, there are several factors that may very likely influence your price. For example, local moves don't usually charge by the pound or per mile, but rather by the hour. The minimal charge is usually 3 hours, so that the removal company can be protected from very short house moves. The base rate for the 2 movers and van services can vary by location, so always make sure what the average charge is in your area. If you're also in need of a packing service, keep in mind that local packing services cost is calculated in addition to the house move cost, with a price per hour per packer. The larger your move and the more movers you'll need, the more you should be prepared to pay – the best way to estimate the cost of large removal is to ask for a house survey. This will allow your movers to calculate the exact volume of your goods and assign the right resources.
What's the general cost of removal companies?
This removal cost guide would not make sense if we did not show you what the cost of hiring a removals company actually is in numbers. So here it is. Below you can see different prices depending on the volume and resources needed. We assume access to the property is from a ground floor and the parking spot for our removal van would be within 15 meters to the door of the property.
3 bedroom house (1200 cf3) requires at least 3 men + 2 removal vans or 1 lorry. Time needed 6-8 hours. Cost £400-£750, however in case of any house move larger than 2 bedroom house/flat the site survey is required.
Note: All prices above are general estimates based on a certain criteria, therefore, please keep in mind that your cost of removal may be different. All the prices shown are subject to VAT.
Cost of removal companies – is it worth it?
Let's think about it. What is money and how do we earn it? In simple words we trade our time to get paid. Therefore money = time, however the money can be always replenished, but not the time. Now you may not realise, but without experience and the right resources your house move along with the preparation and packing can take days. Days which depending on your situation you could spend at work or working on your own business. Therefore if you do not hire professional movers you not only loose the time but also money. Additionally you are exposing yourself to damaging your goods due to the lack of experience, with both packing and moving. On the other hand if you do hire professional movers they will take care of everything for you in a day or two, while you are working as normal. The best part is that you do not even have to be present, your goods are handled with care by experienced removal company.
To finally answer the questions is the cost of removal companies worth it? YES!


Dolce Strings has been entertaining audiences for over a decade. We have performed at various Chicagoland events such as wedding ceremonies, cocktail hours, receptions, art gallery openings, theater productions, fundraisers, church services, and private recitals. Outside of Chicago, Dolce String members have performed all over the world including London, Edinborough, Amsterdam, Liverpool, Glasgow, Paris, Hamburg, Beijing, and Kobe. We all take great pride in our work and dedication to our craft. But most importantly, we are passionate about music and truly enjoy performing.


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text:
Just like a Human Being
EC and the Attractions, 1978
If had to choose one song that fulfills the promises that rock and roll makes, it'd be "Lipstick Vogue," the ferocious track Elvis Costello cut with the Attractions in late 1977/early 1978 at Acton Studios, in London. Written in a flurry, the song's rhythm was inspired by Costello's rides on the Metropolitan London Underground as those journeys dovetailed with the propulsive Byrds track "I See You," from Fifth Dimension (1966). Lay the rocking to-and-fro of a tube ride over Jim McGuinn and David Crosby's raga-inflected soundscape and you have the taut sinew of "Lipstick Vogue." Costello later said, "I didn't mention this bit to [Attractions drummer] Pete Thomas at the time, so what you hear is all his own work," adding, "I stand by every word."
"Lipstick Vogue" is a remarkable performance. Thomas's driving drums, a snare-and-tom attack that ebbs and flows throughout—a pulse that quickens and slows and quickens—, Bruce Thomas's high-end anxiety on bass, and Steve Nieve's paranoid organ lines amp the energy and anxiety levels of the song, and sound like nothing less than the inside of your body the moment when you're angry, resentful, proud, and vindictive, your heart racing and blood pounding. The song's subject is Costelloian: a hot-temper persona rails against someone who's self- and surface-obsessed, mean, teasing, and dismissive, unable or unwilling to see the heart and depth of the man she's throwing away. The chorus suggests that the singer sees something more in her than she does, that she's more than just a prevailing fashion or style; that she can't or won't see this fill him with spite. That old story. The song features one of Costello's most biting opening verses, spat out in Elvis's signature early-career style:
Don't say you love me when it's just a rumor
Don't say a word if there is any doubt
Sometimes I think that love is just a tumor
You've got to cut it out
and other lines that have become iconic:
Sometimes I almost feel just like a human being
You say I've got no feelings, this is a good way to kill them
You want to throw me away but I'm not broken
But it's the Attractions' performance that elevates and adds dimension to the anger and resentment in the lyrics. As in all great rock and roll, it feels as the musicians have to catch up to the song though they're the ones playing it, creating yet chasing after something that in its eight-note urgency, blend of loud and quiet passages (the vitriolic verses and chorus, the take-a-deep-breath middle), and hurtling, forward momentum embodies what the lyrics alone can't fully. I love a song that sounds at the end as if the band was amazed at where their playing took them.
What does rock and roll promise? That a song you can never quite catch up to can say everything you're feeling in a moment of passion.
Look at this kicking garage band, from a June 21, 1978 show for Rockpalast at WDR Studio L, in Cologne, West Germany. Incendiary:
Labels: 1978, elvis costello, elvis costello and the attractions, lipstick vogue, live shows, performing, rock and roll, the byrds, this years model
this CD was my drive-home music yesterday. What a drum-heavy record, there are three cuts that start with drum intros, one with a drum outro and two that start with bass and drums. How did he go from Clover on "My Aim..." to this great band?
Luck, good timing, and smarts!
Will someone please give those guys some sandwiches.
On the Outside
Work-a-Day Worlds
That's my DNA
When we were kids
Writing about music
Fascinate


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Guna Kinne and her Latvian national dress
Curator Karen Schamberger, National Museum of Australia, 14 May 2008
KAREN SCHAMBERGER: Before I begin I would like to thank our registration and conservation staff for preparing the display of items today. Also I would like to point out that the terminology I use for parts of the dress are those used by the donor, Mrs Guna Kinne.
To part with one's Latvian national dress is similar to putting aside an important banner from the past. It is really not a costume, because to wear your own national dress at a costume ball would be in very low taste. It is a symbol of one's ancestry.
Mrs Guna Kinne wrote these words when she donated her Latvian national dress to the National Museum of Australia in 1989. She had assembled the dress over a period of 20 years in Latvia, Germany and Australia and when she donated it to the Museum she wanted to express her life story to the Museum through her dress. When asked by the Museum for more information she said, 'For you to understand the significance of the costume to me, I have to explain the background'.
Guna Kinne was born Guna Klasons on 6 June 1923 in Riga, Latvia. [Shows image] Her father was a sea-going captain and accountant. Her mother was an archivist in Riga's Latvian state archives. Klasons was born and went to school during Latvia's brief period of independence between 1918 and 1939. Latvians had been oppressed by foreign rule for more than 700 years until independence was declared on 18 November 1918.
As Guna Klasons was growing up, the Latvian government emphasised the importance of Latvia's 1000-year heritage by teaching national dressmaking in schools. It was during Klasons' schooling that her national dress became a part of her personal story.
[Shows image] The first part of the dress to be made was the white linen blouse decorated with red and grey cotton cross-stitch embroidery. The material was purchased in Riga in 1937 and was cut, embroidered and sewn by Guna Klasons at high school in 1939 under the supervision of a handiwork teacher.
The blouse is distinctive in its use of a decorative fringe on the collar. Guna noted herself that it is of a different design to that in her pattern book:
A different pattern book was used at school. I made the blouse at school. I had no particular feelings. It was a task we had to do, so I did it. We could actually pick what type of blouse we wanted and from which national region. I picked a particular one from the district of Nica but later I was really emotionally involved. I think I was 17 years old then. My father gave me the material for the skirt, the jacket and the ready-made crown. I thought, 'My God this is a very rich great gift, a national dress', but because I was at that age I also said 'my God all the work that has to go into it'.
The honour of having a national dress ensured she began the process of assembling it, and when she had to flee Latvia the unfinished dress was amongst the few possessions which she took with her. The dress became both a symbol of her Latvian identity and part of her rite of passage from adolescent to adult, from maiden to married woman. In Latvia the crown was the appropriate head covering for an unmarried woman or girl. It would only be once she was in Australia that she could make the appropriate head covering for a married woman.
Essential to the creation of the dress is the publication Novterpa or 'District gowns' that was issued by the Latvian Chamber of Agriculture in 1939. Guna Klasons used the publication to sew the skirt, sleeveless vest and bonnet. It is written in Latvian and contains photographs of parts of the costume and patterns. Her dress is in the style of costumes from Nica. [Shows image] At least 24 district costumes were identified in Latvia. Guna Klasons wrote, 'I expressed a wish to have a Nica dress because it was one of the most beautiful'.
By choosing this Nica dress Guna Klasons was continuing both a regional and a national tradition. Guna Klasons made up the red wool skirt while still at high school in Riga in about 1941. The hem contains a cord to make the lower edge stand out, and the top has an inserted cord to fit any waist. Weaving, embroidering and dressmaking were specialised skills in Latvia as demonstrated by the shops specialising in national costumes, selling dress materials, as mentioned earlier.
Guna Klasons used her dressmaking skills to make up the skirt but she did not weave it. The women of Nica began making red skirts for their national dress in the nineteenth century. Earlier they had been black. They are unlike any other of the Latvian national costumes and the patterns in each skirt are different, depending on the weaver and the taste of the wearer. The region of Nica was expressing its own identity, attempting perhaps to shape Latvian identity through its regional dress. By the early twentieth century, the regional styles of national dress in Latvia were set and in the present day the Nica dress has become a symbol of the Latvian nation as a whole.
The imitation silver brooch was purchased in the same shop as the shirt by Guna Klasons' boyfriend in Latvia in 1942 when silver was unavailable due to the war. The brooch was made by cutting a round sheet of metal and beating it into shape with a hammer in a mould of pitch and tar. Smaller chisels were used to emboss the brooch with various patterns. This brooch also has the traditional type of pin across the front centre. Modern Latvian brooches often have a small pin in the back to ensure that synthetic garments are not torn. The brooch was ethnographically meant to hold a huge shawl on the shoulder but Guna Klasons, as many other Latvian girls, wore it to hold the jacket together at the waistline as she never had a shawl.
To Klasons:
The keeping alive of national heritage seemed to assure that our nation was important enough to have a place amongst other nations. In this light the Latvian national dress became very important and to own and wear one showed the owner's pride in our small, insignificant and struggling nation. It became the custom to wear the national dress at any important national function but also as an alternative to an evening dress. It was a dream of any Latvian woman, especially a young girl, to own a Latvian dress. It was very complicated to make and costly to buy.
Between the wars Latvia had rebuilt its economy and was successfully competing in world markets with its agricultural, food, textile and electronic products. The country also excelled in education. In Europe it was the country with the largest percentage of women students, at 39 per cent, and was placed in second place behind Estonia as having the most students in tertiary education in proportion with population.
Klasons had completed one year of tertiary studies in architecture before fleeing Latvia. Latvia's political instability during this period led to it coming under the rule of an authoritarian dictatorship in 1934. Latvia's independence would not last long. It was invaded three times in the space of five years. The first invasion was in June 1940 by the Soviet Union, the second in June-July 1941 by Germany and in July 1944 to May 1945 by the Soviet Union again. By the end of the Second World War, Latvia had lost one-third of its population, executed, killed in war, murdered in the Holocaust, allowed to die by deprivation in prison camps, deported to the Soviet Union and Germany and scattered in prisoner of war and displaced persons' camps across Europe.
Many Latvians fled Latvia as the second Soviet invasion was coming, including Guna Klasons. She left because, under the first Soviet occupation she:
... saw how life changed in Latvia after the Russians invaded. All of a sudden the shops became empty then gradually some people started to vanish. It was easy to dob in your neighbour as being against Communists if you were angry with him or her. Many people were taken into prison.
Just as her nation was being destroyed, Guna Klasons took with her the remnants of not only her personal life but also remnants of what she knew as the Latvian nation. The unfinished dress, pattern book and some photographs were all that she fled Latvia with in about 1945, with her mother and sister:
At that time the dress including the Latvian jewellery was my most important possession, sentimentally and materially, and I took the dress and the unfinished jacket with me in my suitcase on a ship to Germany, Gdansk, now in Poland while fleeing the USSR army. There was one suitcase for each and the suitcase also included all the belongings and edibles. It was a hard decision what to select. For instance, I remember going to the photograph album. The albums were big and heavy. What to take, what to leave. I selected a portion of the photographs. Also I had to decide whether to take one pair of shoes or two pairs, which dress and how much room there was in the suitcase. So actually taking the national dress was quite important to me at that time because of its sentimental and monetary value. I thought I could buy another pair of shoes anywhere, later, but I couldn't get the national dress.
Guna Klasons' way of preserving and continuing her nation was to preserve and continue to make her national dress. The jacket in particular was not only acted upon as she drew the pattern and then embroidered it but it also acted upon her. When she had worn the unfinished dress in Latvia she had borrowed the jacket. She was able to imagine the finished jacket and despite her difficult circumstances was able to draw the pattern onto the material in pencil from the pattern book and then embroider it. It was finished in 1945 in Germany in the Russian zone. She says:
It was in the suitcase also when I ran to catch the last Red Cross train carrying wounded Latvian soldiers from Gdansk to Berlin. Neither the suitcase nor the dress was harmed in the Berlin bombardments and later I took it to Parchim, in Mecklenburg, which on the close of the war became part of the Russian zone. There, desperate to find my family, always short of food, fearing deportation back to Latvia, obtaining false documentation, forced to find new lodgings because of a Russian officer's rape attempt, I finished the jacket.
The jacket is particularly significant because of the circumstances in which Guna Klasons made it. The jacket is embroidered with double rows of back stitch, which are sewn so close as to appear to be one thick row. The yarn for the embroidered design is traditionally a tightly spun black wool. Possibly as an expression of her individual taste and circumstances, the embroidery is slightly different to the pattern. The coil pattern is larger and more free flowing than that shown in the pattern book. She has also extended the pattern further up the left shoulder.
At the waist and sides of the jacket a fan-shaped piece of fabric is inserted and folds ironed into it. [Shows image] The lining material was hand woven on a farm and obtained on the black market in 1942 when Guna Klasons began to put the jacket together. The jacket material is woven in an eight-shaft twill using white cotton warp and unbleached linen weft. It is close fitting and usually sewn to the wearer's measurements. The Nica vest fabric is believed to have originated during the reign of Duke Jacob or Kurzeme in the seventeenth century. Dutch masters taught linen block weaves and fancy twills to Latvians in weaving workshops set up by the Duke in Rucava which is not far from Nica. Guna continues:
I had the completed costume in my only suitcase when I fled the Russian zone. I was then thrown off the train at the border by Russian soldiers but in the dark, rainy night I, still holding the suitcase, fell down the railway embankment and was able to crawl back up to reach the last freight wagons of the train before it started to move and thus escape to the English zone.
I wore the dress with great pride for the first time there at the Geestacht [which is in the north of Germany near Hamburg] Latvian Displaced Persons Camp dance in December 1945 and met my future husband on that day. The dress was worn at many other dances during that period in DP camps in the English and American zones.
Guna Klasons married Arturs Kinne in a displaced persons camp in Germany in 1946. In the DP camps of Europe, national dressmaking became a way to remember and continue Latvia, as patterns were shared amongst the refugees. Circulating in the DP camps were sets of 18 postcards of folk costume pictures created by Anna Darzina, published by Janis Liepins in Esslingen, Germany, and on this postcard you can see the shawl [shows image] which Guna Kinne never had. You can also see where the brooch would normally have pinned the shawl at her shoulder.
In the same way performances of traditional dance and song were arranged in displaced persons camps on a relatively small scale to continue an important aspect of Latvian tradition outside its occupied borders. National dress is worn by both the audience and performers at the Latvian Song and Dance Festival, [shows image] as can be seen in this photo taken on such on occasion in July 2001, the 800th anniversary of Latvia. This is a tradition that began in 1873 and continues today in Latvia and throughout the Latvian diaspora, including in Australia.
In Latvia the festivals are held every five years. The essential elements of the festival are Latvian folk culture and songs. About 36,000 folk songs have so far been recorded. In the mid-nineteenth century these songs provided the inspiration for classical composers and the formation of choirs for the Latvian song and dance festivals. The festival itself spans a week and consists of concerts, folk craft displays, photographic and art displays, opening and closing ceremonies. There are usually visual references to nature with birch branches tied to platform frames, wreaths of oak leaves wrapped around railings and plenty of floral arrangements.
The performative aspects of Guna Kinne's national dress were to continue, albeit in a different form, in Australia. Mrs Kinne and her husband left the port Bremerhafen in October 1948 and arrived in Sydney a month later. The dress was worn again in Wangaratta, mostly at Latvian gatherings. The silver brooch inlaid with amber stone was used to secure the blouse collar. It was won by Mrs Kinne in a Latvian church bazaar lottery in Wangaratta in the 1950s.
[Shows image] This necklace of natural polished pieces of amber was sent to Mrs Kinne by her husband's sister in the 1950s. Some beads contain traces of visible prehistoric remains and it was worn with the costume on various occasions. Amber is fossilised pine resin. Baltic amber is about 30 to 40 million years old. Deposits are located on both the shore and the seabed. During storms amber is often washed up on the beaches of Latvia and Lithuania and until the beginning of the twentieth century whole families of amber fishermen lived and worked on the coastline near Liepaja on the Baltic Sea.
It was at Wangaratta that Mrs Kinne made the last piece of her dress according to her pattern book, in about 1957, when she felt too old to wear the crown. In Latvian tradition once a woman married, her head covering changed from a crown to a bonnet, thus completing the passage from adolescent maiden to married woman.
Mrs Kinne has worn the dress at numerous nationalistic or social Latvian gatherings. She wore it on one occasion to represent the Good Neighbour movement, greeting the arrival of Princess Alexandra of Kent in Wangaratta on the morning of 16 September 1959. Princess Alexandra spent 20 minutes being driven through Wangaratta with an estimated 12,000 people watching. However Mrs Kinne was not impressed with the visit. She says:
I don't know who invited me to that particular occasion. I don't remember. I knew that there was such a good neighbour organisation but I didn't actively participate. How did I feel when I wore my Latvian dress? Well in a way I was proud to show off the dress because it was unusual, being red and all, but otherwise the reception was rather boring. And also if I had to describe the day, it was standing around for hours and waiting and waiting and then in two minutes the Princess drove past. So that was it.
Wearing the dress in Australia also enabled Mrs Kinne to be overtly politically active when she wore the dress in two Melbourne rallies. The first rally involved walking in a procession to St Paul's Cathedral in 1968 to celebrate the fiftieth anniversary of the declaration of independence of Latvia. The second rally [shows image] was in 1974 to protest against Australia recognising the incorporation of Latvia into the USSR. She said about this occasion:
It was a lot more emotional. Again we grouped together in St Kilda Road but then we walked up Bourke Street. In Bourke Street there were lots of people and some cried out 'you Nazis, you Nazis'. We were so angry. How could they call us Nazis? The Nazis occupied us as well as the Soviets.
The rally was probably worth while because Fraser cancelled Whitlam's decision:
Usually we felt as second-grade citizens in Australia. We all stood out only in a bad way. This was sort of standing out in a good way even if only externally.
As well as wearing her national dress, Guna Kinne and her family continued to remember Latvia in Australia in other ways. Her earliest memory is of a beach resort which the family visited each year. This might be why she painted the beach of Jurmala, which is not far from Riga. [Shows image] This painting hangs in her lounge-room on a wall with a Latvian wooden plate and a painting of the Murray River near Wangaratta. Mrs Kinne simultaneously holds both Gemalla and the Murray River in her mind as places of influence and value in her life and visually makes the connection between the two through her paintings and in her home.
Mrs Kinne and her husband also kept in contact with relatives who remained in Latvia through letters and sending parcels, although to begin with communicating with relatives in the Western world was dangerous for those left inside Latvia. She says:
We sent lots and lots of parcels. Just with clothing and shoes. Anything for everyday usage. Also gifts for weddings, gifts for birthdays and, for instance when I was changing computers, my relative from Latvia said, 'Guna please don't throw it away. Send it to me'. She was just retired from her job. They weren't available over there. I sent my old computer then also a second computer about five years later. Now she bought her own. She could afford it and it is possible to buy one, but then it wasn't. The parcels were very, very important to them in Latvia.
When I interviewed her, Mrs Kinne explained what it was like to travel back to Latvia in 1988 and 1992:
It is too late to return. Both our sons were born in Australia. Both have been to Latvia. I have been back. At first it was a great emotional experience. I could speak to people on the street, visit old familiar areas. It was a sort of very funny feeling, looking at the house where I lived, going past the door and remembering that we left, when we left. Even the flowers on the table and giving the keys to some relatives. We thought we would come back in a short while. My memories, I remember there was a big painting of my grandmother, the piano, the books and all our belongings. The feeling was if I now rung the door bell and I was let in, how much would be left? It was like an open hurt somehow.
In 1989 Guna Kinne made the final decision to finally part with her dress because in her words:
I have no female descendants. I wish to donate the costume to an institution, preferably the National Museum.
This was a poignant moment in her life and the life of the dress, given the significance she had placed on 'putting aside this important banner from the past'. Just as person's life ends, so does the period of interaction between person, object and place and displaying these connections presents the curator with its own challenges.
Guna Kinne's dress connects Latvia and Australia, the protests on the streets of Riga at the Soviet invasion with the protests on the streets of Melbourne 40 years later. Interwoven with her personal story, the story of her dress connects Riga, Gdansk with Geschacht and Wangaratta of Melbourne. Their shared biography offers insights into the relationships between occupied and displaced people, material culture, how objects act and are acted upon in people's lives and national and personal identities.
For Guna Kinne:
A national dress is a symbol for me is a symbol for some other Latvians. It is a symbol for the whole nation of Latvia because if somebody sees a dress, the question is, 'which dress is it?' Ah a Latvian dress, Ah Latvia. It is in a way like a language. You identify a language. Well, it is harder to identify a national dress than a language because there are many, many, national dresses, many nations and many national dresses. But it is like, 'what do you think of the Australian flag?' That is my question to you. It is more or less the same of what I think of a national costume. I can wear it. My husband cannot, but he could because there is a male version. It is a symbol of the nation because when I wear it, I am representing it and it is an honour for me.
QUESTION: I just wondered what year she donated the costume to the Museum?
KAREN SCHAMBERGER: 1989 but she has since, in 2005 she donated the small brooch and also the amber necklace and the booklet as well.
QUESTION: I am quite curious as to why they settled in Wangaratta of all the places in Australia. What took them to Wangaratta?
KAREN SCHAMBERGER: I will have to explain a little bit of her husband's story. Arturs Kinne was a farmer, a dairy farmer in Latvia by trade. When he came to Australia that's what he wanted to do so he wanted to live in a rural area. So first they moved to Maffra and then he eventually found a job in Wangaratta.
QUESTION: I found it amazing that when you consider, and I know I was born in wartime Europe myself, when you have to leave your home and everything behind, which includes foodstuff, you are on the run you only take what you can carry, that she would have brought that with her and the pattern book. I find it amazing, the need to belong. I have read a couple of books about Latvia and how they were first invaded by the Russians first and then when they were on the run from the Russians the Germans took over. There was one story written by a woman here in Canberra called Reach for the Moon. The things you have to leave behind.
Also my family, and I remember being on the run when I was a toddler. I just find it absolutely astounding that you would take material and a pattern book which weighs a lot. That sort of material is a lot of bulk. I find it amazing. It is because of people like her that these sorts of things remain. We left all of that behind. Each time we came back to our house there was more and more plundered. People towards the end of the war people were so desperate they would steal your furniture, not for the furniture but to burn it for fuel, for heat for cooking. I found the story absolutely amazing. Thank you.
KAREN SCHAMBERGER: She is quite an amazing woman when you talk to her.
QUESTION: My people were the first Latvian family to come to Australia. That is why I have come along today. They came here after the 1905 revolution. They didn't seem to put much store in that sort of thing before the First World War from what I can gather from my family. It was only between the wars when they became more nationalistic that this sort of costumes and everything came about. My family actually, some of them danced in national costume, one little piece of which is here in the museum at the 1938 Sesqui-centenary in Sydney. I find it amazing having to flee like that. I have heard many stories of it. That she would take the costume with her. The costume and the nationalism of it really only became significant between the wars. I don't hear much of it or any national really deep things before the first war, although my grandfather helped lead the 1905 revolution there. Thank you for what you have done there with that talk.
KAREN SCHAMBERGER: Thank you for your comments.
QUESTION: Like the previous speaker I would like to congratulate and thank you, Karen. I found that extremely moving. My family had a very similar story to hers. The way you put it all together really told that story very well. Thank you.
KAREN SCHAMBERGER: Thank you.


Richard C. Boone was an African-American civil rights activist known for his involvement in the Selma march of 1965. In 1965, Boone led a group of 800 students to Montgomery, Alabama, to join Dr. Martin Luther King Jr. and 25,000 civil rights marchers.
Boone was born on July 7, 1937, in Calhoun, Alabama. He was the son of Dave and Leona Boone. He attended Lab High at Alabama State Teachers' College and joined the Air Force at age 16. He earned his GED and enrolled at Alabama State University, majoring in political science and history. After graduation, Boone moved on to Phillip's Theological Seminary in Atlanta, where he received a master's degree in theology.
Boone became the field secretary for the Southern Christian Leadership Conference (SCLC), a faith-based African-American civil rights organization. He led a group of 800 students from Alabama State University to Montgomery to join 25,000 marchers who had completed their five-day protest march from Selma.
He founded the Alabama Action Committee and focused its efforts in Montgomery, where he staged protests against local businesses, demanding that blacks be integrated into the workforce.
Boone also served as a chaplain in the U.S. Army from 1979 to 1990, a post that took him around the country and to Europe. He died on October 14, 2013 after a struggle with cancer.


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Холоде́нко — фамилия. Известные носители:
 Холоденко, Александр Васильевич (род. 1980) — российский и украинский футболист.
 Холоденко, Арн-Мойше (1828—1902) — еврейский музыкант XIX века.
 Холоденко, Вадим Тимурович (род. 1986) — украинский пианист.
 Холоденко, Валерий Александрович (1945—1993) — ленинградский прозаик.
 Холоденко, Лиза (род. 1964) — американский режиссёр и сценарист.
 Холоденко, Шифра Наумовна (1909—1970) — российская еврейская поэтесса и переводчик.