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Last edited by Kashicage
3 edition of The London Stone found in the catalog.
by Sarah Silverwood
Published 2012 .
Juvenile fiction,
Good and evil,
Imaginary wars and battles,
Statement Sarah Silverwood
Series Nowhere chronicles -- book iii
LC Classifications PZ7.S588455 Lo 2012
Pagination 299 pages ;
ISBN 10 1780620675, 1780620691, 1780620683
ISBN 10 9781780620671, 9781780620695, 9781780620688
The London Stone, most recently a feature in a Cannon Street cricket supplier, is now once more in danger as the building that houses it is under threat from redevelopment. It isn't much to look at: just a piece of scarred white stone with traces of mortar. Jim Stone is an Associate Professor of Photography at the University of New Mexico. His photographs have been collected by the Museum of Modern Art and The Smithsonian American Art Museum, among many others. Books of his work includeStranger Than Fiction (Light Work, ),Historiostomy (Piltdown Press, ), andWhy My Pictures are Good (Nazraeli Press, .
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The London Stone by Sarah Silverwood Download PDF EPUB FB2
The London Stone marks the end of the Nowhere Chronicles. There are definitely more developments in the last book but there are also quite a few questions left unanswered which I would have preferred to have them answered/5(6).
The London Stone: Book 3 (The Nowhere Chronicles) Paperback – August 7, by Sarah Pinborough (Author) › Visit Amazon's Sarah Pinborough Page. Find all the books, read about the author, and more.
See search results for this author. Are you an author. Learn about Author Central Author: Sarah Pinborough. We recommend booking The london stone tours ahead of time to secure your spot. If you book with Tripadvisor, you can cancel up to 24 hours before your tour starts for a full refund. See all 3 The london stone tours on Tripadvisor/5(18).
The London Stone (The Nowhere Chronicles) Paperback – August 1, by Sarah Silverwood (Author) › Visit Amazon's Sarah Silverwood Page. Find all the books, read about the author, and more. See search results for this author. Are you an author. Learn about Author Central. Sarah 5/5(2).
The London Stone by Sarah Pinborough,available at Book Depository with The London Stone book delivery worldwide/5(41). The earliest written reference to the London Stone is in a book belonging to King Athelstan in the early 10th century. It was used as a common transportation landmark in.
The London Stone, box and iron grille are a Grade II listed monument. The London Stone, from which all distances, were measured in Roman times. Cannon Street the main east-west road through the City, site of the London Stone for over years. VISITOR INFORMATION The London Stone book Hours: On a public street.
Connecting the fantasy of Brutus with the London Stone seems to have been the invention of a Welshman, Reverend Richard Williams Morgan, who in wrote a book, The British Kymry or Britons of Cambria, in which he apparently accepts the fantasy of Brutus as historical fact.
And that, apparently, is where the warning proverb comes from too. The London Stone, staines. K likes. Welcome to the tail of the underdog.
Staines most established and progressive, besterest Music bar, putting on. Jim Stone is an Associate Professor of Photography at the University of New Mexico. His photographs have been collected by the Museum of Modern Art and The Smithsonian American Art Museum, among many others.
Books of his work include Stranger Than Fiction (Light Work, ),Historiostomy (Piltdown Press, ), and Why My Pictures are Good (Nazraeli Press. The London Stone has been stolen and the Dark King rules the Nowhere. Only Mona and the new Seer dare to stand against him, leading an underground rebellion in the frozen wasteland but what chance do they have, against both the Army of the Mad and Arnold Mather's soldiers.
The London Stone: Book 3 by Sarah Pinborough | Editorial Reviews. Paperback $ Paperback. $ NOOK Book. $ View All Available Formats & Editions. Ship This Item — Qualifies for Free Shipping Buy Online, Pick up in Store is currently unavailable, but this item may be available for in-store : Book your tickets online for The london stone, London: See 18 reviews, articles, and 23 photos of The london stone, ranked No.1, on Tripadvisor among 2, attractions in London/5(18).
London Stone is the name given to a number of boundary stones that stand beside the rivers Thames and Medway, which formerly marked the limits of jurisdiction (riparian water rights) of the City of London History. Untilthe English Crown held the right to fish the rivers of England and charged duties.
The London Stone. Usually housed at Cannon Street, embedded into a wall at around knee height, is the mysterious London Stone.
It is the remnant of a larger boulder that stood on the south. Oolitic Limestone to be precise. That type of stone came to London with the Romans, who created their settlement Londinium in 43AD.
The apocryphal version of the story goes that it came to London along with Brutus of Troy, there's very little evidence suggesting he even existed, but legend says he founded Britain. London Stone UK suppliers of bespoke natural stone, contemporary paving and crafted stonework for patios, gardens and exterior work.
Call to request a brochure. "The London Stone has been stolen and the Dark King rules the Nowhere. Only Mona and the new Seer dare to stand against him, leading an underground rebellion in the frozen wasteland-- but what chance do they have, against both the Pages: Get this from a library.
The London Stone. [Sarah Silverwood] -- "The London Stone has been stolen and the Dark King rules the Nowhere. Only Mona and the new Seer dare to stand against him, leading an underground rebellion in the frozen wasteland-- but what chance.
A Short Course In Photography by Barbara London, Jim Stone and a great selection of related books, art and collectibles available now at.
Books Best Sellers & more Top New Releases Deals in Books School Books Textbooks Books Outlet Children's Books Calendars & Diaries Audible Audiobooks The London Stone: The Nowhere Chronicles Book Three and over 8 million other books are available for Amazon s: 2.London Stone was temporarily removed to the Museum of London in whilst this building was redeveloped.
Its return to its historic location was marked by an unveiling ceremony performed by the Lord Mayor of London on 4th October Barbara London has authored and co-authored many photography books from their first editions to their current ones, including Photography, Photography: The Essential Way, A Short Course in Photography, A Short Course in Digital Photography, The Photograph Collector's Guide, and more.
Jim Stone is Professor of Photography at the University of New Mexico.
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text:
Lando, R2-D2 get TV spinoff series, Patty Jenkins to direct next "Star Wars" movie
Walt Disney Co on Thursday announced a raft of new "Star Wars" content for movie theaters and its streaming service, including a feature film from "Wonder Woman" director Patty Jenkins.
The entertainment company detailed 10 new TV shows based on favorite characters from the sci-fi saga, including smuggler Lando Calrissian and droids C-3PO and R2-D2.
The announcement by Lucasfilm president Kathleen Kennedy came during a presentation for investors and follows the success of the "Star Wars" hit spinoff series "The Mandalorian" on Disney+ since November 2019.
Kennedy said the "The Mandalorian," featuring fan favorite Baby Yoda, had opened "an entirely new era for `Star Wars`" and the chance to explore some 25,000 years of history in the galaxy far far away.
The Jenkins feature film, called "Rogue Squadron," will premiere in movie theaters at Christmas 2023. Kennedy said New Zealand director Taika Waititi was still writing the screenplay for another as yet untitled film in the franchise that Disney announced in May.
The announcements came a year after Disney decided to pause the development of "Star Wars" movies, one of the industry`s most lucrative franchises, to focus on TV shows following the relatively disappointing box office takings for "Solo" in 2018.
On Thursday, Kennedy said two "Mandalorian" spinoff series, called "The Rangers of the New Republic" and "Ahsoka" would come to Disney+ at Christmas next year.
Actor and singer Donald Glover will reprise his role as the dashing smuggler for TV series "Lando," while Hayden Christensen will return as Darth Vader in "Kenobi," based on Jedi master Obi-Wan Kenobi, for what Kennedy called the "rematch of the century." Production on "Kenobi" is due to start in March.
Disney also announced a new spy series called "Andor," featuring "Rogue One" rebel alliance intelligence officer Cassian Andor that started filming in London two weeks ago.
"This is a new era for `Star Wars` and Lucasfilm with expanded opportunities for continued innovation, high quality story-telling and cinematic experiences like never before," Kennedy said.
Animated series coming to Disney+ in the next few years include "A Droid Story," featuring the beloved C-3PO and R2D2, and "The Bad Batch" about experimental clones.
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Environment Secretary Owen Paterson is leading a trade delegation to Paris to boost British food and drink sales in France.
British produce has been getting more popular with the French in recent years, and Mr Paterson believes we can sell even more of it.
Since 2000, UK food exports to France have doubled from £1.1 billion to £2.2 billion, including four times the sales of cheese such as stilton and cheddar, and triple the_ _sales of whisky and beer.
English sparkling wine is also rivaling Champagne in top awards and is increasingly served in leading Paris restaurants.
The delegation will tonight promote British food at a "St George" reception where "les Rosbifs" will serve traditional roast beef to French food importers.
Tomorrow Mr Paterson will meet the French Food Minister and accompany British producers to SIAL, the world's biggest food trade fair.
Food and farming is worth £89 billion to the UK economy and employs 3.5 million people. Last year UK food and drink exports increased by 9 per cent to £18.2bn, marking the seventh consecutive year of record growth.
In January Defra launched the Farming, Food and Drink Exports Action Plan to help more food and drink companies venture into overseas markets. In May Defra helped secure a £50 million agreement to export British pork to China.
The St George reception is organised by EBLEX, the levy organisation for beef and sheep meat producers in England.


attacks of cardiac distress accompanied by apprehension.
(3) Sense of impending doom—formerly, angor animi.
Sir William T., Scottish physician, 1824-1907.
Therefore, these 11 patients with persistent, but mild angor pectoris received sustained medical treatment.


Close reading is a challenging skill to teach precisely because we are already adept at it. As initiates into the discipline of literary criticism, we can analyze texts without having to think about what specific intellectual processes are taking place inside our heads. But that kind of self-reflectiveness is absolutely necessary for effective teaching. To our students, close reading can seem like a mysterious and arcane set of practices. Until we can understand for ourselves what we do when we engage in literary analysis, we cannot expect to be able to teach them that skill.
This essay is the product of that kind of reflection about the act of literary criticism, and the resulting methods have served me well in the classroom. I offer them especially for newly minted instructors of literature to adopt (or adapt), and I encourage more senior instructors to undertake the same sort of reflective process while considering these suggestions in order to improve upon their existing teaching approaches.
My method of teaching close reading is one of demystification that attempts to make the practice as transparent as possible. In brief terms, it boils literary analysis down into three simple, discrete steps: (0) Understanding, (1) Noticing, and (2) Explaining. An introductory session on close reading proceeds through four phases: (I) an explicit effort to correct common misconceptions about literary criticism, (II) an explanation of each of the three close reading steps, (III) a class discussion of a sample poem through which the three steps are reinforced and put into practice, and (IV) an examination of potential close reading mistakes that our collective analysis avoided.
A preliminary note: The approach outlined here is grounded in a New Critical orientation to texts. In my experience, students find this brand of close reading easier to grasp than other, more contemporary approaches, at least in their earliest efforts. Just as newer modes of critique built upon and reacted to the New Criticism, students can benefit from learning a formalist method of approaching texts before moving on to work grounded in theories of deconstruction, New Historicism, or reader-response criticism.
We first address some common misconceptions about literary criticism. The goal here is to confront directly and explicitly the erroneous ideas about close reading that many students bring to the classroom with them from high school.
There is nothing mystical about what critics do when they analyze texts—rather than being issued magic goggles that enable them to see things in a text that are invisible to others, critics actually engage in a process that anyone can learn. This is an important point to convey because students often approach close reading as if it were a kind of hocus-pocus, leading them into other common mistakes, like making things up that merely sound good rather than actually observing and explaining textual details.
Close reading is not speculation. Students can make two mistakes when they attempt to perform close readings without sufficient preliminary guidance. First, they may try to discern characters' motives: for example, asking why Caroline Compson is such an inadequate mother in Faulkner's The Sound and the Fury. Short of some expertise in psychoanalytical criticism, which of course our beginning students lack, this type of question is not one that a text can answer for us. Second, students may try to discern an author's intentions. As we know, authorial intent is forever hidden from us (or can be unreliable when it is available), and therefore such questions lead in an unproductive direction. By addressing these potential mistakes very explicitly, we can encourage students to avoid them and to instead focus on tangible textual details to analyze and explain.
Close reading is not BSing or fancy, pretentious, abstract theorizing. Under the rubric of "making things up," all too many of our students were rewarded in high school for producing deep-sounding but virtually empty or contentless accounts of the texts that they studied. Students will duplicate this error in their early college-level work unless they are explicitly instructed that the object of literary analysis is not merely to sound smart but rather to generate coherent arguments, based on objective textual facts, that any reasonably sensitive reader of a text can understand.
Having talked about what close reading is not, I proceed to reveal what close reading is: (0) Understanding, (1) Noticing, and (2) Explaining. The value of breaking close reading down into these three basic steps is that it demystifies the process and makes it more accessible to students; it also gives students a very practical and readily understandable guide for how to start a task that can seem daunting and perplexing. Most of the information that follows is material that I also share with my students—in order to make the process of close reading as transparent as possible, it makes sense not merely to instruct but also to comment on the rationale behind the instruction at the same time.
The act of understanding a text's surface meaning is listed as "step zero" in the process in order to emphasize that summary and paraphrase are not adequate substitutes for close reading. The most common error that students commit in their early efforts at textual engagement is undoubtedly to summarize or paraphrase rather than to analyze. This simple numbering trick will immediately and successfully convey to your students that they should not waste valuable time and space in their papers engaged in the mode of summary and paraphrase.
Conversely, to list (rather than simply to omit) understanding a text's surface meaning as an important albeit preliminary step in the process of close reading is to deliver another key lesson to your students: They must be able to summarize or paraphrase accurately before they can go on to the more penetrating work of close reading and analysis. Students sometimes want to run before they can walk, reading between the lines before bothering to read and understand the lines themselves, often leading to blatant misinterpretations. Listing this phase of the process as "step zero" communicates this important lesson very clearly and helps students avoid a common pitfall.
Because many students come to us with significant deficits in terms of their sensitivity to textual nuances, noticing details of language can be the hardest part of close reading for them. Introducing this step calls for great sensitivity and sympathy, and it works best when it is reinforced with a discussion of details noticed in a sample text.
A common mistake that students may make at this phase, and about which they should be explicitly warned, is an error of focus: encourage students to examine small-scale details in a text (like word choice and punctuation) rather than large-scale features (like plot points and character profiles). Attention to large-scale features, particularly by students who are new to close reading, is likely to lead to summary and paraphrase rather than analysis.
Students are often reluctant to examine micro-level textual features out of a fear that such details are mere minutia about which there can be little to say or write. In order to allay this concern—and to show that precisely the opposite is true—I sometimes use an analogy from Doctor Who and describe a text as being like a TARDIS, bigger on the inside than it is on the outside. There is actually a great deal of analytical work to be done with seemingly minor authorial choices, whereas (beyond summary and paraphrase) there is relatively little to say about broader issues.
The issue of authorial choice is also an important topic to mention at this juncture. Students might wonder why such minor details could possibly matter. The proper response is to note that all writers make choices, and that especially good writers make especially good and careful choices, choices that are worth examining. Be careful, however, not to frame the issue of authorial decision-making in terms of trying to discern an author's subjective intent, a trap into which many beginning close readers can fall.
Finally, for students who are unsure about what kinds of details count as things that are worth noticing, I emphasize that there are no wrong answers: any feature of a text that they find to be unusual, strange, surprising, or interesting can be a good place to focus their attention. Other beginning close readers also find comfort in the notion that questions and problems can be good places to start a textual analysis—a very good close reading can emerge from an attempt to understand a troubling or confusing portion of the text.
The final close reading step is for your students to explain the effects of the textual details that they have noticed. Explaining is about moving beyond what is interesting and on to what is significant. Your students' goal here is to construct an argument about how particular authorial choices affect the text as a whole. You might even want to consider imposing a playful ban on the term "interesting," encouraging students instead to use the word "significant"; this shift in terminology can help prompt your students to begin building arguments rather than just listing random observations about a text.
This is another occasion on which you can stress the importance of avoiding issues of authorial intent. Make the underlying concern transparent to students by noting that the goal is not to read the author's mind or to discover the purely subjective reasons behind why he or she might have made particular choices; instead, the aim is to reveal the objective effects of those choices.
Discussing the differences between subjectivity and objectivity can also help your students to avoid the common misconception that literary analysis is about explaining what a text means "to me." You will often see idiosyncratic and even fanciful interpretations in your students' early close reading efforts unless you communicate very clearly to them that their purpose in writing is to present an argument that any careful reader of the text can understand.
On the subject of argumentation, introducing this final step is also an opportunity to explain to your students that their arguments should be controversial. An interpretation that is obviously true is very likely to resemble a summary or paraphrase. Instead, your students should aspire to the kinds of theses about which reasonable readers could either agree or disagree.
After introducing and commenting on each of the three close reading steps, we put those steps into practice by analyzing a sample poem. Poetry, because of its density, richness, and brevity, tends to work best for this purpose. I use Percy Bysshe Shelley's "Ozymandias" because I have found it to be especially accessible and teachable, but in principle any sample text could be used to the same effect.
The accompanying video shows more clearly than I can communicate here what exactly I strive to accomplish with "Ozymandias" as a sample text, but a few points bear emphasis. First, it is important to approach your work with a sample text with a theory or account of the text already in mind; you have to know where you want your students to arrive in order to be able to guide them to that point, and knowing your intellectual destination will also help you to channel a wider range of student comments into the right direction. Second, be prepared to correct students who stray from the path that you want them to follow or who make common close reading mistakes; your corrections should be gentle, of course, but you should not be afraid to use errors as teachable moments. Finally, strive to show that steps one and two of close reading are recursive: after we explain a few textual details, those explanations ideally will begin to coalesce around a particular theory of the text—show students to use such developing theories to explain other details that they have noticed.
Take a moment to praise and celebrate your students' first close reading efforts; you might be genuinely surprised at what a good job they are able to do after receiving your early guidance, and it is vital that you show them where their efforts have been particularly successful. This moment or two to pause and reflect will segue nicely into the final phase of your session: explaining what mistakes their collective close reading work avoided. This is a final opportunity to get your students to buy into this approach to textual analysis, and as such it makes good sense to sell these methods while your students' success with them is still fresh.
Ÿ Your students avoided a search for so-called "hidden meanings." New close readers can mistakenly believe that authors plant secret Easter eggs into their texts for later readers to discover, leading students to believe that close reading is an obscure process of decipherment. Instead, explain that your students simply noticed the choices that the author made through a keener attention to textual details.
Ÿ Your students avoided a moralistic approach of searching for "life lessons" in the text. Didactic theories of texts are commonly propounded in high schools, but they are less appropriate for college-level work—encourage your students to focus on how texts work rather than the more rudimentary question of what texts can teach us.
Ÿ Your students avoided the mistake of "relating" to a text. "Relateability" is a common notion that students may import from their high school work with literature, and the odious word itself is the bane of many a literature instructor's existence. A student who tells you that he or she can "relate" to a piece is really telling you more about himself or herself than about the text. Emphasize that the goal of close reading is to provide insights about the text rather than insights about its reader.
Ÿ Your students did not pretend that the text was easy. Students often believe that the objective of working with a text is to render it unproblematic or easily digestible, resulting in essays or papers that tend to oversimplify the text. Stress that students should be shedding light on textual complexities and nuances rather than trying to get to a single "right" answer.
Ÿ Finally, your students avoided fanciful and idiosyncratic claims—claims about what the text means "to me." Because your students are probably used to being praised for such interpretations, it is worth repeating the point that a reading should articulate a credible argument that other careful readers can comprehend.
I wish you the best of luck in introducing your students to the art of close reading. This essay and the techniques that it outlines are works in progress, and I welcome your feedback and ideas—please feel free to e-mail me at jdw14@pitt.edu.


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8 Times Stephen Fry Absolutely Killed It As The Host Of The BAFTAs
Marie Claire February 14, 2016 6:04 pm
stephen-fry-L.
Celebrating the wit-laden genius of Stephen Fry as the host for the past 11 BAFTA shows.
2016 marks the 11th year in which Stephen Fry has lent his acerbic wit and classically British humour to the
British Academy of Film and Television Arts (BAFTAs) in Leicester Square. Although not as naughty as Ricky Gervais, Fry somehow manages to subtly take the piss out of the whole of Hollywood, whilst still being completely affable, and the look on everyone's faces is always priceless.
Here's 8 times Stephen Fry killed it (sometimes very controversially) as the BAFTAs host.
1. When he made a thinly veiled Donald Trump dig
Last night Fry congratulated Bryan Cranston on his role in Trumbo and quipped: 'I believe you're already planning on making a modern day sequel, where bigotry stalked the land and progressive throught is banned throghout America. Working title: Trumpo.' We like what he did there.
2. When he upset the whole of Twitter
As of Monday 15th Feb (the night after the 2016 BAFTAs) Fry is without a Twitter account. The host deleted his account after receiving major backlash from trolls who didn't take kindly to his quip about Jenny Beavan, his close friend who won Best Costume Designer for Mad Max. When Beavan accepted her gong in a very dressed-down outfit, Fry joked that: 'only one of the great cinematic costume designers would come to an awards ceremony dressed as a bag lady.' Which would be a burn except Fry later posted a photo of him and Jenny together to prove how chummy they are, but then deleted his Twitter after a bit of a rant. Come back Stephen – we think you're hilarious.
3. When he turned the air blue in 2002
'As the Archbishop of Canterbury likes to say on these occasions, that's enough tedious wank from me, let's party' he quipped in a send-off back at the BAFTAs in 2002. This (along with a few other close-to-the-bone-quips) resulted in a few complaints to the BBC via Ofcom that year. Oops.
4. When he let it all out in 2002
2002 was the year Fry really threw caution to the wind; the comedian planted a full-on smooch on the lips of legendary actor Ian McKellen when he welcomed him to the stage (the two are both openly gay) leading the chair of the parliamentary Select Committee for Culture, Media and Sport to complain to the Daily Mail that Fry was apparently 'dragging the BAFTAs into the gutter'. (Ooh-er). He also joked about being a rent boy: 'I don't think my months of research on the streets of Soho were wasted, and nor do my clients'.
5. When he revealed that he's a fan of *that* American Pie scene
Back in 2013, Fry was talking about the mind-bending psychological thriller film Life Of Pi and mentioned that he'd got it confused with the movie American Pie, you know, with Stifler's Mum and loads of sex. 'Sadly it featured no young men pleasuring themselves with fruit filled pastries' he said, 'I suppose, we'll have to wait for the director's cut'. Big LOLs.
Videos you may like:
Here's why Kate Middleton reportedly asked everyone to call her Catherine
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Everything you need to know about Meghan Markle's engagement ring
6. When he laughed at all the celeb names
On Cuba Gooding Jr. Fry said: 'They named a country, a cigar and a missile crisis after him' (haha) and when talking about Penelope Cruz he commented that '[she's] so popular that they've named a beach, a park and a leisure activity after her.' Cue lots of confused celebs.
7. When he grammar-corrected a BAFTA winner on-stage
Cambridge-educated Fry just couldn't help himself during the 2014 BAFTAs when David O'Russell collected his Best Original Screenplay award with an emotional, but grammatically incorrect acceptance speech – which you can see Fry rip apart in the vid below…
8. When he made an actual joke about 12 Years A Slave
It's not often you can put put LOL and the film 12 Years A Slave in the same sentence, but in 2014 Stephen Fry managed just that. Talking about his reaction on seeing the flick he said: 'It filled me with a mixture of shock, fear and horror that I haven't experienced since seeing myself naked in Sherlock Holmes: A Game of Shadows.' Ahhh Stephen.
Confused about the coronavirus rules on co-parenting? Let two experts explain


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Q: how to send email from an app in objective C i am creating an app when a user clicks contactUS button a UIAlertview will appear where it consists of name , email textfield , when user clicks send UIButton , i should get an email saying user wants to contact me and user should receive a email saying thank you for the email . I want to know how to do it ,any help would be helpful .

A: Check out Apple's MailComposer example. This will show you everything you need. http://developer.apple.com/library/ios/#samplecode/MailComposer/Introduction/Intro.html#//apple_ref/doc/uid/DTS40008865

redpajama_set_name: RedPajamaStackExchange


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Capt Amarinder urges Centre to take tough stand on China if diplomacy not working
Asserts that India cannot keep allowing its land to go away
cityairnews Jun 5, 2020 07:36 0
Chandigarh: While not advocating war, Punjab Chief Minister Captain Amarinder urged the Centre to take a tough stand on the continuing border stand-off with China if the neighbouring country was not responding to diplomatic efforts to resolve the issue.
The problem needs to be resolved through negotiations and diplomacy, but "we cannot turn our back to the threat posed by the aggressive moves of the Chinese at the border," he said, in response to questions during his video press conference.
As sovereign nations, both countries should find a diplomatic solution to the problem, said Captain Amarinder, adding that India "does not want war but we will not accept bullying by China." "We want peace, but they cannot push us around," he said, asserting that the Chinese had to be pushed back, out of the Indian territory.
Asserting that India cannot keep allowing its land to go away, the Chief Minister said if the threat is not countered, the Chinese will demand more and more land in the future, which cannot be permitted at any cost. Citing the Dokhlam incident, he pointed out that such provocations on the part of China were common, and they had encroached Indian territory even in Aksai Chin, and had resorted to similar actions in Arunachal Pradesh. Attempts have been made by China in the past to lay claims on Indian land in Himachal Pradesh and UP too, the Chief Minister pointed out.
China has to leave the Indian territory into which they have now moved and on which they have no right, said Captain Amarinder, warning that the Indian armed forces were now much more modernised and equipped than they were back in 1962, and "China cannot not afford to take us lightly."
Asked about the threats of disturbance to mark the Operation Blue Star anniversary, the Chief Minister said nobody would be allowed to disrupt the peace of Punjab, which had lost 35,000 lives during the dark days of terror. No Punjabi wants this, he said, adding that it was only a handful of anti-India elements that continued to try and provoke people in the name of Khalistan every now and then.
Capt Amarinder
tough stand
Punjab CM announces SIT to probe illicit liquor trade and smuggling
Punjab Cabinet approves fee hike for MBBS course in govt...
Trident Group in collaboration with Punjab Government commences...
3rd Dr AS Atwal Memorial Lecture
Ex-commandant donates Rs 5 lakh out of his pension account...
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CT UNIVERSITY STUDENT DESIGN MASKS MATCHING WITH DRESSES


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Wondering what to do with your old Credit Cards & Hotel Room Keys?
For sometime now, I have been saving all my hotel room keys, thinking that eventually I will use them for some sort of art piece to commemorate all my travels. Some of them are beautiful, pretty art pieces, others plain, but together I feel sure they will be useful. Well, today a friend sent me… Continue reading Wondering what to do with your old Credit Cards & Hotel Room Keys?
Does your Princess need a Crown?
Well, here is a good example of how you can make one using Prima Marketing's Flowers! We have a nice selection to choose from with new stock available shortly after CHA. And, another cool thing about Prima Marketing's products is the packaging they come in is so beautiful it can easily be re-purposed for other… Continue reading Does your Princess need a Crown?


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I find myself feeling discouraged all too often, asking the same question over and over again, even though it has been answered for me a million times. How can I make a difference in this ministry? It's funny how quickly we forget, how quickly we fall back into helplessness, and how quickly we try to take things upon ourselves, instead of letting God lead and control. One of the craziest things that I have learned since being a part of GCMI is that the number one way to build relationships is simply to talk. Crazy, I know. Ministry can be messy and confusing and full of blurred lines, but all of that comes later. It's the first part that I see myself, my Equip team, and others struggling with. If we would just open our mouths and invest in the millions of people that we see every day, change would surely have an opportunity to show its face. We would see a change of heart, a change of life, and a change that only God can bring; hope in the faces of those we come into contact with, building relationships, bringing life, and restoring what has been lost by the power of the Holy Spirit.
My husband and I have been reaching out to a guy the same age as us. He is from Yemen and works at a corner grocery store. He told my husband a few days ago that he trusted us, because we let him talk to and interact with our sixteen month old daughter. Most of the women that he sees with children shun him when he tries to talk to their babies, but he simply loves children because they are very prized and valued in his culture. He is constantly calling our daughter an angel, admiring her friendliness and beauty. The relationship that we have with our Yemen friend has developed through many conversations, leading to a friendship that is definitely beginning to shift from superficial, small-talk to deep conversations about real life, God, and burdens. And to think that something as simple as hello could be the gateway to a real and beautiful friendship! Our friend is Muslim and my husband is now having conversations about his religion and culture; something our friend is very eager to talk about. As the friendship deepens, we will hopefully begin to introduce the idea of a God who loves and desires a relationship with him. Maybe our friend will quickly accept the Gospel or maybe it will take years for him to allow Christ into his heart or maybe he will stay Muslim for all of his life. But, whatever happens, we will pray for our friend and trust that God can move in his heart, revealing the salvation that we find in Christ.
Sometimes it seems like ministry is for the brave, the strong, and the wise, but even the simple and weak can make a difference. God has given us the ability to have a relationship with Him that is full of beauty, grace, hope, and restoration. Why then would we not extend that same kind of relationship to others? That's what we all long for, right? To be known, valued, heard—so it only makes sense that we would be investing in those around us, showing love and interest in who they are as individuals.
Love reading your blog. What you shared is simple yet deeply profound. You, Gabe, and Olivia (Angel) are in our prayers!


Why is it that my bench and squats are lower than my deadlift pr's? It's simply because my squats and bench are weaker than deadlift obviously. I'll get much stronger on bench and squats, I just gotta keep working on them and I have been working on them every week. I figured out why my pr's haven't been going up rapidly on squats and bench. I think it's because for the first two sets on squats and bench, I've been doing hypertrophy training for muscle development really. I gotta stop that and gotta start doing a lot more heavy sets and low rep ranges.
I gotta start doing something like that and I will. If I keep doing squats and bench like that, my personal records will definitely go up pretty fast.
Usually for bodybuilding, I would only do 4 sets of each workout for strength training it's different. In strength training, you gotta do more than 4 sets I hear.
I want to be able to squat and bench over 200 and hopefully catch up to my deadlift numbers too.
Powerlifting training is definitely slightly different than bodybuilding training. Both are not the same 'cause bodybuilding focuses on hypertrophy which is muscle development and powerlifting is all about strength training. I am loving strength training, though and glad I got into it finally.
I want to be really strong and want to be able to lift over 300 lbs. on all three deadlift, squats and bench. I'm already getting close to 300 on deadlift but still got ways to go on squats and bench.
I want to be great at upcoming powerlifting meets and want to be the best I can be so I'm preparing myself to be great. I'm hoping to do another powerlifting meet in the Spring and I think there's a few of them I want to do in the Spring so during the off season through the Winter, I'm doing my best to prepare and practice. Powerlifting is an awesome sport and I'm glad I got into it.


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Our usual Blog authors are lawyers employed by Ryan Carlisle Thomas and/or its associated entity, Stringer Clark.
From time to time, we may also publish blogs authored by other staff members or guest bloggers. Where this is the case, it will be made clear. Any advice applies to Victorian State law as at the date of first publication. The information is a general guide only and is not a substitute for legal advice applicable to a user's own circumstances.
Residents of other Australian States or Territories or countries are advised to seek legal advice from a lawyer practising in their own area, as laws may vary from region to region.
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22 February Orchard of rotten apples: foreign farm workers exploited Investigations into the exploitation of migrant labour in the farming sector, including raids on farms, have been taking place around the country following a recent case in the Federal Court. By Ryan Carlisle Thomas
21 February Union test case to challenge supermarket labour tactics New union test case to send message to major horticulture industry users like Coles and Woolworths that they can no longer turn a blind eye to exploitation of labour. By Ryan Carlisle Thomas
20 February Child abuse in Catholic Church: here are the (awful) statistics According to the Royal Commission into Child Sexual, the Catholic Church has paid out more than $276 million in response to claims of abuse. Of 4445 complaints made, 46% were about schools. By Amy Olver
16 February Does Catholic Church law lead to the cover up of abuse? To what extent does the Catholic Church's own canon law lead to the cover up of child sexual abuse committed by people in religious orders? By Kate Malone
14 February Does Catholic Church's screening process stand up to scrutiny? What is an appropriate screening process for entry into a Catholic religious order, especially one working with children? This was the topic as the Royal Commission continued its investigation into training of priests and nuns within the Church. By Ryan Carlisle Thomas
9 February History of abuse in juvenile detention: let's not repeat it The public has called on the Victorian State Government to get tough on youth crime following rioting by residents at Victoria's Parkville and Malmsbury youth justice centres, as well as a recent spate of violent crime by adolescent groups. By Ryan Carlisle Thomas
7 February If I am paid cash in hand, am I covered by WorkCover if injured? WorkCover Victoria will accept your claim for income replacement and assistance with medical bills, regardless of the manner in which you have been paid for your work. By Ross Inglis
6 February Sex abuse stats "tragic and indefensible" says Catholic Church, but continues to defend claims for compensation Despite admitting damning Royal Commission stats, the Catholic Church continues to rigorously defend claims for damages resulting from child sexual abuse. By Amy Olver
31 January Bourke Street tragedy - counselling help for victims, witnesses and relatives It is useful for people to be aware that, among the range of services at hand to help those affected, is the Victorian Government's Victims of Crime Assistance scheme. By Ashleigh Kemp
31 January Police apology to child sex abuse victims delayed Victoria's Police chief commissioner, Graham Ashton, has said it is likely that the police will issue an apology to survivors of institutional child sex abuse for failing to take seriously and act on complaints of abuse over many years. By Amy Olver
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Anna Sharpes
My Self Reflection
I give this class a two thumbs up! It was a really fun class and I feel like I learned a lot. Definitely way more than I did before the quarter had started at least. Learning about the different realities, the degrees of freedom, and more was very interesting. Especially learning how to create our own Augmented Reality effects, and learning about the different type of technology that uses these realities in our research table projects. I feel like I maybe could have done a little better for the Spark AR projects, I know there were at least two that had extra work that would have been really cool, but I was struggling too much to be able to get the effect to work correctly with it that I had to end up just leaving the extra stuff be in the end. It also doesn't help that I had so many other projects to work on for other classes too, I felt like I didn't have as much time as I would have liked.
For the assignments I liked that there were videos to watch about how to do the Spark AR assignments, it was nice to be able to watch and follow along as someone else created the effect. The only thing I didn't like about that particular assignment was having to write out the procedure step by step, even though I know it didn't have to be exact, I didn't think it was exactly necessary. The other assignment and projects were completely fine, although the group project was a little confusing because it didn't feel like there was a set of instructions or a good direction to follow. Even though I think my group did pretty ok still without a set direction to follow. I think my favorite assignment/project was doing the table research assignment because it was interesting to discover different technology that uses the different realities and how they are being created to help with mental health, exercise, or just for fun.
I think the best part of class honestly was doing the group project. I think it's always fun to be grouped with people, discussing ideas and working together. Sometimes being in a group is not the best because it can sometimes feel like I'm doing all of the work, but everyone worked really hard and put the time in to try to do our best for this project. The only thing I can think of that could be the worst about the class was writing down the steps of the procedure for each Spark AR project. Otherwise, I think this class was great and I'm really glad I registered for it. One experience that brought me delight was when I was able to finish the shaders project and was taking pictures/videos of myself, it was always funny and cool to see the effects work and how they changed my appearance or the world around me in the camera's view. I think I will apply what I learned to my future as a designer by maybe making my own kind of reality applications, whether it be augmented reality or virtual reality or something else, to create fun worlds, puzzles, games, and more for people to explore and enjoy. I think that would be very cool to do, especially since I know that I want to create stories that people would enjoy.
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Saudi Arabia: Women To Drive, a battle for dignity
Founder Manal Al Sharif talks to ANSAmed
(ANSAmed) - ROME, OCTOBER 8 - She's young, beautiful and feisty, and she is the founder of the Saudi Women To Drive campaign, which is part of a larger action called My Right To Dignity: her name is Manal Al Sharif, and ANSAmed interviewed her in Italy, where she attended the International magazine journalism festival in Ferrara.
She reached the festival at the wheel of a car, from the UN High Commission for Human Rights in Geneva, for the right to drive in her home country of Saudi Arabia is symbolic of the larger issue of full citizenhood.
''In my country, a man comes of age at 18, a woman never: she needs permission from a male guardian for every life choice, from studying abroad to looking for a job,'' Sharif told ANSAmed. And, while no law expressly forbids Saudi women to drive, they are de facto banned from getting behind the wheel.
The motor registry software does not issue licenses to female drivers, and women have in the past been sentenced to flogging for being caught at the wheel.
Having become famous for posting a YouTube video in which she is seen driving a car, having started a national women's mobilization and paid for it with nine days in jail, Sharif sued Saudi authorities. That legal battle has been stuck in a civil court for six months, although the floggings appear to have stopped, Sharif pointed out.
On June 17, the second anniversary of her campaign, which has thousands of Facebook and Twitter supporters, Sharif co-signed an appeal to King Abdullah, in which she points out that denying women the right to drive is ''based on customs and traditions that do not come from God.'' Sharif, married and with a child, now lives in Dubai, from where she continues to fight her battle for women's rights in her native Saudi Arabia. A country which, she points out, is a signatory to the Convention on the Elimination of All Forms of Discrimination against Women (CEDAW), adopted in 1979 by the UN General Assembly. (ANSAmed).
ALL RIGHTS RESERVED © Copyright ANSA


MacEwan I, Chou B, Moretz J, Loredo L, Bush D, Slater JD. Effects of vertebral-body-sparing proton craniospinal irradiation on the spine of young pediatric patients with medulloblastoma. Adv Radiat Oncol. 2017 Apr-Jun; 2(2):220-227. PMID: 28740935.
Chappell MD, Li R, Smith SC, Dressman BA, Tromiczak EG, Tripp AE, Blanco MJ, Vetman T, Quimby SJ, Matt J, Britton TC, Fivush AM, Schkeryantz JM, Mayhugh D, Erickson JA, Bures MG, Jaramillo C, Carpintero M, Diego JE, Barberis M, Garcia-Cerrada S, Soriano JF, Antonysamy S, Atwell S, MacEwan I, Condon B, Sougias C, Wang J, Zhang A, Conners K, Groshong C, Wasserman SR, Koss JW, Witkin JM, Li X, Overshiner C, Wafford KA, Seidel W, Wang XS, Heinz BA, Swanson S, Catlow JT, Bedwell DW, Monn JA, Mitch CH, Ornstein PL. Discovery of (1S,2R,3S,4S,5R,6R)-2-Amino-3-[(3,4-difluorophenyl)sulfanylmethyl]-4-hydroxy-bicyclo[3.1.0]hexane-2,6-dicarboxylic Acid Hydrochloride (LY3020371·HCl): A Potent, Metabotropic Glutamate 2/3 Receptor Antagonist with Antidepressant-Like Activity. J Med Chem. 2016 12 22; 59(24):10974-10993. PMID: 28002967.
Zhao X, Allison D, Condon B, Zhang F, Gheyi T, Zhang A, Ashok S, Russell M, MacEwan I, Qian Y, Jamison JA, Luz JG. Correction to The 2.5 Å Crystal Structure of the SIRT1 Catalytic Domain Bound to Nicotinamide Adenine Dinucleotide (NAD(+)) and an Indole (EX527 Analogue) Reveals a Novel Mechanism of Histone Deacetylase Inhibition. J Med Chem. 2016 Mar 10; 59(5):2267. PMID: 26882000.
MacEwan IJ, Glembotski NE, D'Lima D, Bae W, Masuda K, Rashidi HH, Mell LK, Bydder M. Proton density water fraction as a biomarker of bone marrow cellularity: validation in ex vivo spine specimens. Magn Reson Imaging. 2014 Nov; 32(9):1097-101. PMID: 25240720.
Antonysamy S, Condon B, Druzina Z, Bonanno JB, Gheyi T, Zhang F, MacEwan I, Zhang A, Ashok S, Rodgers L, Russell M, Gately Luz J. Structural context of disease-associated mutations and putative mechanism of autoinhibition revealed by X-ray crystallographic analysis of the EZH2-SET domain. PLoS One. 2013; 8(12):e84147. PMID: 24367637; PMCID: PMC3868555.
Zhao X, Allison D, Condon B, Zhang F, Gheyi T, Zhang A, Ashok S, Russell M, MacEwan I, Qian Y, Jamison JA, Luz JG. The 2.5 Å crystal structure of the SIRT1 catalytic domain bound to nicotinamide adenine dinucleotide (NAD+) and an indole (EX527 analogue) reveals a novel mechanism of histone deacetylase inhibition. J Med Chem. 2013 Feb 14; 56(3):963-9. PMID: 23311358.


Oasis Gospel and Healing Festivals.
This man had been deaf for 20 years and God restored his hearing in both ears during this 5-day festival. This woman testified that God removed 12 years of chronic headache pain during prayer. God healed this woman from 9 months of paralysis. After prayer, God healed this woman of 6 years of chronic pain. This woman's hearing was restored after being deaf for 4 years. This man's heart pain vanished after prayer and now he believes! This man's chronic stomach pain vanished after prayer.


Collectors are human and make mistakes!! Pay attention to every detail!
For a first time home buyer whats the average loan amount?
Whats the avg loan amount for a first time home buyer with a 620 fico?
What is credit appraisal ? How credit appraisl happen in commercial vehicle loans?
You have your own home day care at home?
Is it wise to refinance a fixed mortgage with a 2-year ARM?
for a person who has a low credit score. which company is most lenient and would give me a chance?
USDA Rural Housing Loans Foreclosures & Fixer Uppers?
CA won't accept PFD – Now What?
I'm 21 y.o. college student, having 3 credit cards limiting 700/750/500 with a credit score of 706 for 2 years, Is this good or bad among my peers and for my age?
Medical debt questions. Please help.
Is there a shoallas that will buy my doll house?


A disclaimer: I read this in French, and my French is far from perfect. So it's entirely possible that I've missed nuances of language and subtext that make this book better than it seems.That being said, I found this a fairly derivative and uninteresting noir story. It reads like a not-particularly-creative rip-off of Raymond Chandler, but Malet's hero, Nestor Burma, parrots Philip Marlowe's cynicism and hard-boiled exterior without absorbing any of the pathos and self-loathing that make Marlowe such a great character. The other characters are equally stock: the neurotic and beautiful femme fatale, the sneeringly caustic career criminal, the faithful wisecracking secretary. Nothing new here to make it worth reading.On another note, it makes a good read for practicing French comprehension, as the language is so repetitive.
I read this over a weekend – I love these Nestor Bruma detective novels. The only downside is that they are French trasnlations and about 6 or 7 out of 40 or 40 have been transalted.
Léo Malet - Léo Malet est né à Montpellier en 1909. Attiré par l'écriture et l'anarchie, il décide à l'âge de 16 ans de « monter » à Paris, ou pour survivre il effectue une multitude de petits métiers. En 1930, il fait la connaissance d'André Breton et découvre le surréalisme, dont il devient un familier. Après la guerre, Léo Malet rencontre Louis Chavance qui lui suggère d'écrire des romans policiers, un genre encore inexistant en France. Malet produit alors d'alertes contrefaçons de Hard boiled américains qu'il signe des pseudonymes de Frank Harding ou Léo Latimer. En 1943, il publie sous son véritable nom, 120 rue de la gare, un roman policier très français qui met en scène pour la première fois l'illustre Nestor Burma. C'est en 1953, lors d'une promenade, que Léo Malet aura l'idée de faire de son privé un nouveau « piéton de Paris ». Le soleil naît derrière le Louvre inaugure la série des Nouveaux Mystères de Paris, un an après. Chroniques réalistes de la vie des quartiers parisiens, Les Nouveaux Mystères de Paris donnent définitivement à son personnage ses lettres de noblesse. Avec 55 titres (dont 29 consacrés à Nestor Burma), Léo Malet a bien mérité des Lettres françaises. Il est mort en 1996.(source: Pocket)+++++++++++++++++++++++++++Leo Malet was born in Montpellier. He had little formal education and began work as a cabaret singer at "La Vache Enragee" in Montmartre, Paris in 1925.In the 1930s, he was closely aligned with the Surrealists, and was close friends with André Breton, René Magritte and Yves Tanguy, amongst others. During this time, he published several volumes of poetry.He died in Châtillon, a little town just south of Paris where he had lived for most of his life, four days before his 87th birthday.Though having dabbled in many genres, he is most famous for Nestor Burma, the anti-hero of Les Nouveaux Mystères de Paris. Burma, a cynical private detective, is an astute speaker of argot (French slang), an ex-Anarchist, a serial monogamist and an inveterate pipe smoker. Of the 33 novels detailing his adventures, eighteen take place in a sole arrondissement of Paris, in a sub-series of his exploits which Malet dubbed the "New Mysteries of Paris" quoting Eugene Sue's seminal "feuilleton"; though he never completed the full 20 arrondissements as he originally planned. Apart from the novels, five short stories were also published, bringing the total of Burma's adventures to 38.The comic artist Jacques Tardi adapted some of his books much to the author's approval claiming that he was the sole person to have visually understood his books; Tardi also provided cover illustrations for the Fleuve Noir editions of the novels, released from the 1980s onward.


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← With the Picture Fans
Family Life and Work Experience Before 1918 →
Cheap Amusements
Source: John Collier, 'Cheap Amusements', Charities and the Commons, 11 April 1908, pp. 73-76
Text: For four months a joint-committee of the Woman's Municipal League and the People's Institute has been engaged in an investigation of the cheap amusements of Manhattan Island. The committee has been composed as follows: Michael M. Davis, Jr., secretary of the People's Institute, chairman; Mrs. Josephine Redding, secretary of the Woman's Municipal League, secretary; Mrs. R. H. McKelvey, Miss Henrietta B. Rodman, Miss Alice Lewisohn, Mrs. F.R. Swift, Michael H. Cardoza, Charles H. Ayres, Jr., John Collier, and W. Frank Persons. The investigation has been made financially possible through the Spuyten Duyvil branch of the Woman's Municipal League. The writer has acted as field investigator.
Attempt has been made to cover all phases of the cheap amusement problem, excluding from the detailed investigation dance-halls and skating-rinks on the one hand and high-priced theaters on the other. Legal and business aspects have been studied as well as educational and sanitary. The subject-matter has been fourfold: melodrama, vaudeville and burlesque; nickelodeons, or moving picture variety shows; penny arcades; and miscellany. The miscellany are anatomical museums, fake beauty-shows, etc., which are confined to a limited area of the city where they maintain a difficult existence. They can be passed over in the present brief report. What follows sums up the results of the investigation.
The whole topography of the cheap-amusement problem has changed within the last six years. To illustrate: the old-time crass melodrama has been in large measure dethroned, crowded out by the cheap vaudeville and the nickelodeon. The cheap vaudeville has spread widely and has become a problem in itself; it plays a fairly constructive role in a few instances, and in several is about the vilest and most brutalizing form of entertainment in New York. Withal, it generally keeps within the bounds of the laws protecting public decency, which are largely matters of interpretation, but only through agitation, hard fighting and a constantly aroused public sentiment can it be kept within bounds. But even the cheap vaudeville has been eclipsed by the tremendously expansive nickelodeon, the number of which in Greater New York, has grown in a few years from nothing to more than six hundred. The nickelodeon is now the core of the cheap amusement problem. Considered numerically it is four times more important than all the standard theaters of the city combined. It entertains from three to four hundred thousand people daily, and between seventy-five and a hundred thousand children. And finally, the penny arcade has sprung into mushroom existence, has proved itself to be irredeemable on the educational side and without the elements of permanent growth in popular favor and has worn out its public. It is now being driven from the field by the nickelodeon.
Not only the superficial aspect, but the essential nature of the cheap amusement problem has changed and changed for the better. Constructive elements have entered and triumphantly made good with the public, so that now the cheap-amusement situation offers an immediate opportunity and a rousing challenge to the social worker. The nickelodeon's the thing, and the story of its development is instructive.
Five years ago the nickelodeon was neither better nor worse than many other cheap amusements are at present. It was often a carnival of vulgarity, suggestiveness and violence, the fit subject for police regulation. It gained a deservedly bad name, and although no longer deserved, that name still clings to it. During the present investigation a visit to more than two hundred nickelodeons has not detected one immoral or indecent picture, or one indecent feature of any sort, much as there has been in other respects to call for improvement. But more than this: in the nickelodeon one sees history, travel, the reproduction of industries. He sees farce-comedy which at worst is relaxing, innocuous, rather monotonously confined to horseplay, and at its best is distinctly humanizing, laughing with and not at the subject. Some real drama: delightful curtain-raisers, in perfect pantomime, from France, and in the judgment of most people rather an excess of mere melodrama, and in rare cases even of sheer murderous violence. At one show or another a growing number of classic legends, like Jack and the Beanstalk or Ali Baba and the Forty Thieves, can be seen any night. The moving picture repertoire amounts to tens of thousands, and is amazingly varied. One firm alone in the city has two million feet of "film" stored away until it can be used again as fresh material, after the public has forgotten it. In addition to the moving-picture, the nickelodeon as a rule has singing, and almost invariably the audience joins in the chorus with a good will. Thus has the moving-picture-show elevated itself. But the penny arcade has not elevated itself, and the cheap vaudeville, if anything, has grown worse.
The nickelodeon is a family theater, and is almost the creation of the child, and it has discovered a new and healthy cheap-amusement public. The penny arcade is a selfish and costly form of amusement, a penny buying only a half-minute's excitement for one person. Its shooting-gallery and similar features are likewise costly. In the short-lived pictures there is no time for the development of human interest, but the gist of a murder or of a salacious situation can be conveyed. So the penny arcade has resembled the saloon, from which the family has stayed away; and everything artificial has been mustered in to draw the floating crowd. As for the cheap theater, it has had a false tradition behind it, and managers have taken for granted that a low-priced performance could be given only by an inferior cast. So when the cheap theater has departed from the crudest melodrama it has gone over into inferior vaudeville and has depended on illegitimate methods for its success. This is the rule, although there are exceptions, and vaudeville at best has only a limited interest for the great, basic, public of the working and immigrant classes in New York.
But the nickelodeon started with a free field and a marvelous labor-saving device in the moving-picture, and it began above all as a neighborhood institution, offering an evening of the most varied interest to the entire family for a quarter. Thus the nickelodeon grew as solidly as it grew swiftly, and developed a new amusement seeking public, the public that has made the nickelodeon what it is. Right here is found the most significant aspect of the present amusement situation. All the settlements and churches combined do not reach daily a tithe of the simple and impressionable folk that the nickelodeons reach and vitally impress every day. Here is a new social force, perhaps the beginning of a true theater of the people, and an instrument whose power can only be realized when social workers begin to use it.
The investigation led almost immediately to constructive opportunities. On the legal side, an anomalous situation was found. In no existing law, state or municipal, was penny arcade or moving picture mentioned. These theaters were grouped by construction as common shows, along with ferris wheels and bicycle carrousels, and were put under the authority of the license bureau. But where the standard theater is regulated in the minutest detail as regards its building requirements, by written law, there is no law and no printed specification for the moving picture show, which plays with fire. The theaters are controlled by the police, in whom responsibility is centered, and who co-operate with the proper departments. But the nickelodeon is controlled by the license bureau, a clerical department, and up to ten months ago it went to all intents and purposes unsupervised. Then popular agitation and the initiative of a hard working official in the fire department, set the city's machinery at work, and a good deal has been done. The moving picture show is reasonably safe from fire now; it is not yet safe from contagious disease, and the air is often very bad.
As a first step toward adjusting the legal situation, the investigation committee framed a bill, which has been introduced by Assemblyman Samuel A. Gluck at Albany, and which has passed the Assembly by a large majority. Barring unforeseen obstacles it will pass the Senate at the present session. This bill provides for the raising of license fees on nickelodeons from $25 to $150 a year, for the placing of this license under the direct control of the police, along with the license for standard theaters, and for the exclusion of school children from nickelodeons during school hours and after eight o'clock at night, except when accompanied by guardians. This bill went to Albany with the endorsement of various civic organizations, the Board of Education, and the Moving Picture Association itself which has shown every desire to co-operate in the improvement of moving picture standards.
On the side of co-operation with the moving-picture business looking toward more elevated performances, and even the improvement of the artistic and educational quality and of sanitary conditions through direct competition on a commercial basis, the opportunity is immediate and large. In this field it is probable that the drama machinery of the People's Institute will be turned to use in some co-operative plan, giving endorsement to the best of the shows and receiving in return the right to regulate their programs. Settlements on their own initiative could do valuable work in this way. The investigation committee, which is to be perpetuated as a sub-committee of the drama committee of the People's Institute, will in all probability start one or more model nickelodeons, with the object of forcing up the standard through direct competition, of proving that an unprecedentedly high class of performance can be made to pay, and perhaps, in the event of success, of founding a people's theater of the future.
Comments: John Collier was an American social worker working for the New York People's Institute. Michael M. Davis of the same organisation later produced an important study of commercial entertainments, including cinema, The Exploitation of Pleasure: A Study of Commercial Recreations in New York City (1911). Charities and the Commons was a weekly journal dedicated to social and charitable themes. Penny arcades would often include moving pictures, usually of the peepshow variety.
Links: Copy at Internet Archive
by Luke McKernan Posted on October 18, 2014
This entry was posted in 1900s, Journals, USA and tagged Arcades, Audiences, Comedies, Documentary and non-fiction, French films, Hygiene, Industrials, John Collier, Licensing, Melodrama, New York, Nickelodeons, Prices, Singing, Travelogues. Bookmark the permalink.


Did you know that only 1% of youth will talk to a professional first when they need to talk? So, who are they talking to? Youth talk to other youth, their peers (Youth Net/Réseau Ado, 2005 as citied in Community Helpers Program Coordinator's Guide, 2008).
Through this program youth will have the chance to: meet with other helpers to talk about youth issues, learn helping skills and receive resources and information they can use in the future.


Me and my denim. Just cant live without it. Like I have said many times already and I guess you are tired of me saying it so...but here I go again...it matched absolutely anything! Like with this dress from H&M, which by the way so incredibly cheep!! Just 14,90€. Ridiculous.
The boots, well anyone who is in to fashion will know they are the must item of the season, the cut-out boots inspired by Balenciaga. I finally have my pair, got these from Office.
El denim y yo...No puedo vivir sin el. Como he comentado ya tantísimas veces que estaréis hartos de leerlo, pero voy a decirlo por la décima vez ya: el demin se puede conjuntar con cualquier cosa, como por ejemplo este vestido tan femenino de H&M, que por cierto fue toda una ganga de temporada ¡tan solo 14,90€! Es una locura.
Y las botas, bueno, esta botas os sonarán muchisímo si seguís las tendencias día tras día; estas inspiradas en las cut-out de Balenciaga son de Office.


Elk River Golf Club was rated as one of the best places to play by Golf Digest in 2008. ERGC is located just 45 minutes northwest of downtown Minneapolis. It is a member-owned, championship course extending playing privileges to the public.
Subtle doglegs and strategically located trees require careful placement of tee shots on most holes. The terrain is generally rolling, with each hole designed for thoughtful and interesting play. Water hazards must be negotiated on eleven of the eighteen holes.
Wildlife abounds in the surrounding woods and marshland, creating a feeling of the original rural environment from which the course was carved.
We feel Elk River Golf Club is a cut above the rest, and a lot of golfers apparently agree, because over 90% of our first time players return to play our course again! Put us to the test and try playing our course and judge for yourself. You could find a new home at Elk River Golf Club.


Quick #Sackvillan Test # 101 Dairy Queen History | Sack-Vegas!!!!
Name all present and past locations of Sackvegas Dairy Queens. *Bonus* Name Bedford ones….I think one was the original location in our area.
Posted by Sacky on March 28, 2013 in Quick test your Sack-Vegasserness!.
Sackville Drive & Beaver Bank, where the Blockbuster used to be! Bedford's was arcoss form Mill Cove Plaza where Starbucks is now.
That's right…not BBank Road. Good catch Mike!
Alli you were right. The original DQ in Bedford was at on the Bedford Highway,it is now a market. Then they moved to the strip mall on Hammonds plains road.
Old DQ in Bedford was where Papa Marios is now.


Yesteryear 48 Inch Ceiling Fan by Palco International Corp.
Breeze ceiling fan by Breeze Industries Inc. 48 inch three metal blade ceiling fan from the late 1970s. The finish is in a gold brown color. The metallic brass blade badges were homemade by a previous owner, these are not original to the ceiling fan. Was sold with a 5 speed wall control. This ceiling fan is called the "Breeze". J-Hook is used to mount. Fan one is light kit adaptable. Fan two is non light kit adaptable. Made in Hong Kong. Breeze Industries was located in Deerfield Beach Florida. Some of these ceiling fans are label Palco International Corp. The original wall speed controls for these ceiling fans didn't last very long, Any of these types of ceiling fans that are still in use today, more than likely the original speed control was replaced with something else long ago. Neat fan!!


text:
Q: Unable to SSH into server when using passwordless SSH keys This is probably an idiotic question, but I'll try and provide as much information as possible. If you need any extra details, then please let me know.
I have a Mac running Ventura and an AlmaLinux virtual machine running in VMWare Fusion Pro 13. AlmaLinux is version 9.1.
First I created my SSH keypair on macOS:
ssh-keygen -t ed25519 -f ~/.ssh/localdevonly

Then I made a config file in ~/.ssh/config also on macOS.
That file contains this:
Host localdev
    HostName 172.16.91.137
    User simon
    IdentityFile ~/.ssh/localdevonly

Then I uploaded the SSH public key:
scp ~/.ssh/localdevonly.pub simon@localdev:/home/simon/.ssh/authorized_keys

I changed the permissions on the authorized_keys file in AlmaLinux:
chmod 444 ~/.ssh/authorized_keys

Then I added the SSH key to the SSH Agent on macOS:
ssh-add ~/.ssh/localdevonly

Then I try to login from macOS:
ssh localdev -v

Which gives the following output:
OpenSSH_9.0p1, LibreSSL 3.3.6
debug1: Reading configuration data /Users/simon/.ssh/config
debug1: /Users/simon/.ssh/config line 1: Applying options for localdev
debug1: Reading configuration data /etc/ssh/ssh_config
debug1: /etc/ssh/ssh_config line 21: include /etc/ssh/ssh_config.d/* matched no files
debug1: /etc/ssh/ssh_config line 54: Applying options for *
debug1: Authenticator provider $SSH_SK_PROVIDER did not resolve; disabling
debug1: Connecting to 172.16.91.137 [172.16.91.137] port 22.
debug1: Connection established.
debug1: identity file /Users/simon/.ssh/localdevonly type 3
debug1: identity file /Users/simon/.ssh/localdevonly-cert type -1
debug1: Local version string SSH-2.0-OpenSSH_9.0
debug1: Remote protocol version 2.0, remote software version OpenSSH_8.7
debug1: compat_banner: match: OpenSSH_8.7 pat OpenSSH* compat 0x04000000
debug1: Authenticating to 172.16.91.137:22 as 'simon'
debug1: load_hostkeys: fopen /Users/simon/.ssh/known_hosts2: No such file or directory
debug1: load_hostkeys: fopen /etc/ssh/ssh_known_hosts: No such file or directory
debug1: load_hostkeys: fopen /etc/ssh/ssh_known_hosts2: No such file or directory
debug1: SSH2_MSG_KEXINIT sent
debug1: SSH2_MSG_KEXINIT received
debug1: kex: algorithm: curve25519-sha256
debug1: kex: host key algorithm: ssh-ed25519
debug1: kex: server->client cipher: chacha20-poly1305@openssh.com MAC: <implicit> compression: none
debug1: kex: client->server cipher: chacha20-poly1305@openssh.com MAC: <implicit> compression: none
debug1: expecting SSH2_MSG_KEX_ECDH_REPLY
debug1: SSH2_MSG_KEX_ECDH_REPLY received
debug1: Server host key: ssh-ed25519 SHA256:bVk7Pm91A5qGjVI+6o+nAo8+4qm+sIyrgmZiwJhH1Dw
debug1: load_hostkeys: fopen /Users/simon/.ssh/known_hosts2: No such file or directory
debug1: load_hostkeys: fopen /etc/ssh/ssh_known_hosts: No such file or directory
debug1: load_hostkeys: fopen /etc/ssh/ssh_known_hosts2: No such file or directory
debug1: Host '172.16.91.137' is known and matches the ED25519 host key.
debug1: Found key in /Users/simon/.ssh/known_hosts:1
debug1: rekey out after 134217728 blocks
debug1: SSH2_MSG_NEWKEYS sent
debug1: expecting SSH2_MSG_NEWKEYS
debug1: SSH2_MSG_NEWKEYS received
debug1: rekey in after 134217728 blocks
debug1: get_agent_identities: bound agent to hostkey
debug1: get_agent_identities: agent returned 3 keys
debug1: Will attempt key: /Users/simon/.ssh/localdevonly ED25519 SHA256:CsSaNoNXrF/Fdxfiaj8NR1b1TC2/lRy7aXpyt7Bm9sk explicit agent
debug1: Will attempt key: simon@Simons-Mac-Studio.local ED25519 SHA256:ADJnS0Xnk/Al1TJrahM8AWDXKhrapjwxhz9P17z3cUw agent
debug1: Will attempt key: MuzikStrm ED25519 SHA256:hu4rJT60Pk1Jx9IT73wlmrLPIg6ya3In1JdNFkIVlso agent
debug1: SSH2_MSG_EXT_INFO received
debug1: kex_input_ext_info: server-sig-algs=<ssh-ed25519,sk-ssh-ed25519@openssh.com,ssh-rsa,rsa-sha2-256,rsa-sha2-512,ssh-dss,ecdsa-sha2-nistp256,ecdsa-sha2-nistp384,ecdsa-sha2-nistp521,sk-ecdsa-sha2-nistp256@openssh.com,webauthn-sk-ecdsa-sha2-nistp256@openssh.com>
debug1: SSH2_MSG_SERVICE_ACCEPT received
debug1: Authentications that can continue: publickey,keyboard-interactive
debug1: Next authentication method: publickey
debug1: Offering public key: /Users/simon/.ssh/localdevonly ED25519 SHA256:CsSaNoNXrF/Fdxfiaj8NR1b1TC2/lRy7aXpyt7Bm9sk explicit agent
debug1: Authentications that can continue: publickey,keyboard-interactive
debug1: Offering public key: simon@Simons-Mac-Studio.local ED25519 SHA256:ADJnS0Xnk/Al1TJrahM8AWDXKhrapjwxhz9P17z3cUw agent
debug1: Authentications that can continue: publickey,keyboard-interactive
debug1: Offering public key: MuzikStrm ED25519 SHA256:hu4rJT60Pk1Jx9IT73wlmrLPIg6ya3In1JdNFkIVlso agent
debug1: Authentications that can continue: publickey,keyboard-interactive
debug1: Next authentication method: keyboard-interactive
debug1: Authentications that can continue: publickey,keyboard-interactive
debug1: No more authentication methods to try.
simon@172.16.91.137: Permission denied (publickey,keyboard-interactive).

I have no idea how I can fix this problem. I'm stumped. If someone could point me in the right direction I would really appreciate it!

A: On the server, /var/log/secure would have flagged that the authorized_keys file or ~/.ssh dir wasn't accepted due to permissions (mode) or ownership.

A: Please, set the following permissions and try again:
chmod 600 ~/.ssh/authorized_keys
chmod 700 ~/.ssh
And it is better to use ssh-copy-id instead of scp command.


text:
Pillow Bra
Cleavage wrinkles
What is Pillow Bra?
How does Pillow Bra work?
Benefits of Pillow Bra
Differences with other Bra´s
Who should wear Pillow Bra?
When to use Pillow Bra
Nuevo Pillow Bra Preformado
TRY IT ON CORSETERÍA LUPE MADRID
THE FEMALE BREAST OVER TIME
Posted by Marta
Breasts have always generated a great deal of discussions and have also been awarded many values and symbolism´s over time. Nowadays they have become an "Object of desire", due in part to the large advertising campaigns carried out by brands which have established themselves in the market as a benchmark for their exposure and care. This, in some way has led to the detachment from their basic function, to feed and nourish offspring. A natural activity which has being to a certain degree sadly maligned.
Painters, photographers, sculptors, humorists, publicists, cinema directors, poets, etc., have dedicated their time and effort in representing them, sometimes in beautiful works of art and precious odes, and in other cases by way of foul jokes, slogans or sayings.
But like all trends and customs, the canons for the beauty of the female breast have evolved and changed through the different ages, as also the interpretation and the treatment that they´ve been awarded.
The goddess Isis granted immortality to those who received nourishment from her breasts. The Amazons mutilated one of them in order to be more skillful with the bow. The Gallic or medieval French-women pleaded mercy to soldiers by showing their breasts, not as a provocation but as a gesture of humiliation and appeal. The Church consecrated them, while at the same time condemned them as a diabolical invention for sexual debauchery, so far as to represent the figure of the woman flat like that of a male by hiding its form. Then they went on to symbolize purity and charity in the 14th century.
However, it is not until the 15th century when at the French Royal courts they received a more erotic consideration. This occurred when the famous Madame de Pompadour who was a member of the French court and was the official chief mistress of Louis XV, ordered a cup to be made from a mould of her breasts in order to convey their sensuality to those who drank from it.
During the French Revolution, the Republic is represented by a woman exposing one of her breasts. During the First World War they were used as a tool for provocation, for example when a French woman facing a German cannon with her bare breasts was depicted, and also during the 2nd WW with the sole aim of raising the morale of the troops using photographs with a deep erotic charge.
Then in the 1970s, when women exposed them without sexual modesty as a symbol of liberation, and once again, in the 1980s, submitting them to that dictations of fashion, which marked a clear trend towards a more abundant bust; Unlike the 1920s and up to the end of 1960s which imposed more languid unisex appearance, as a demonstration, in order to achieve greater equality with respect to men.
Currently, what seems to be the most important thing is their appearance of harmony and aesthetics. Nevertheless, what is evident is that every 30 or 40 years there is a change in the preferences as to the different forms and sizes of breasts. Having said this we must not forget that beauty is not in their size but in its harmony.
I strongly recommend the book, "The Female Breast", as it is an easy reading informative and scientific work, targeted specifically for women and whose publication was commissioned by Dr. Armando Tejerina, son of the author Dr. Florencio Tejerina, creator in 1961 of the first medical unit dedicated to the care of the Breast in Spain at the Provincial Institute for Obstetrics and Gynecology at Madrid. Dr. F. Tejerina, explains in detail the important role that the breast plays in women's lives from different aspects, ranging from its erotic significance; then focusing on the study of the physiology of lactating breasts and the care before and after childbirth in order to ensure the nurturing role. Finally, instructing women in relation to the problems arising from diseases, detection and prevention, and without forgetting the importance of the use of appropriate bra´s at all times, for the maintenance and beauty of the breast.
There is no doubt that this issue is an aspect that women are increasingly aware of and where women are more worried about care and health rather than a specific superficial trend. Despite the subordination that they have received throughout history, the owner is not who caresses it, degrades it, designs it, feeds, or who decides how to expose it as a trend or fashion object, its ours, we are the real owners.
Marta Mª Fernández Cuevas
anti-aging, breast, breast feeding, Chest, cleveage
Newer El Arte del Tatuaje en los senos
Older "Los riesgos de utilizar el sujetador y la talla inapropiada"
¿Size matters?
Normal 0 21 false false false ES X-NONE X-NONE ...
Do you know the risks of using an inappropriate bra?
nineteen − 14 =
Gracias Amigas!
13 December, 2014 No Comments
Pillow Bra en Flash Moda TVE 2/11/2014
28 November, 2014 No Comments
Aegon, un seguro diseñado para tí.
29 July, 2014 No Comments
Pillow Bra en Instagram
About Pillow Bra
Pillow Bra is a registered trademark that holds patents in the world''s major markets. Pillow Bra has been designed and tested entirely in Spain.
Corsetería Lupe S.L.
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Somerset County should benefit - along with 20 other counties in Pennsylvania - from a state court ruling Friday.
County Commissioner Chair Jim Marker said a ruling that the state, not counties, must pay to prosecute crimes that occur in state prisons has been a long time in the making.
"I know its been in the court system for some time," Marker said.
A Commonwealth Court panel ruled 6-1 that a 2000 state law required the state to fund the trials, rejecting the Corrections Department's claim that the law only pertained to escape cases.
The decision will relieve counties of a continuing expense, but could limit the state's discretion to handle inmate misconduct outside the court system.
The county houses two state prisons, SCI-Somerset and SCI-Laurel Highlands.
Marker said the ruling will provide the county with reimbursements they need.
"It will provide some additional reimbursement for expenses that the county will incur during the prosecution and transportation of inmates," Marker said. "The county deals with unfunded state mandates and this has been unfunded, so hopefully now they'll fund it."
Marker said the county will benefit by receiving money they spend.
"The county runs the court system and bears the brunt of the expenses," Marker said. "If these expenses are incurred by the actions of the state, then the state should be reimbursed the tax payers money."
Marker said he is unsure how much money would be reimbursed to the state. A system to track the money will be developed.
"There was no reason to track that at this point," Marker said. "Now we'll have to set-up a system to track those costs."
The matter arose after Montgomery County, home to Graterford State Prison, billed the state for $65,000 in trial costs for 21 alleged crimes committed at Graterford. The Corrections Department said it would only pay for escape trials, prompting Montgomery and 20 other counties to seek an order clarifying the law.
Judge Renee Cohn Jubelirer, writing for the majority, said the court was unswayed by the department's argument that a ruling in favor of the counties would require "massive amounts of funding" to pay for prosecutions and that it may find itself forced to underwrite prosecutions for incidents it currently handles through its internal misconduct process.
"Because (Corrections) proffered no evidence to support this concern, which is rather speculative, it does not outweigh the reasons which support a contrary result," Jubelirer wrote.
Corrections spokeswoman Sue McNaughton said the department was disappointed with the ruling but had not decided whether to appeal. She said the financial impact of the ruling is unclear.
"The department was hoping to have an opportunity to explore costs associated with this through the discovery process with the counties. However, that opportunity never arose," she said.
Montgomery County's chief of litigation, Philip W. Newcomer, said that although the amount of money at stake was not before the court, he acknowledged the ruling will benefit his county's budget.
"It'll have a good long-term impact for us. In the short term, we don't get a slew of these cases in a year," he said.
The amendment passed by the Legislature in 2000 was prompted by a pair of high-profile escapes from the Huntingdon and Dallas state prisons a year earlier. Legislative records indicate the debate focused on a desire to assume the costs of prison breakouts.
But the counties successfully argued that the language of the law went beyond that, forcing the state to pay for trials "for crimes and offenses committed on the grounds or within the buildings of any state penal or correctional institution."
Judge Doris A. Smith-Ribner dissented, saying the majority misinterpreted the law.


Description The attached patch adds an event and a method so that handling of the CachedTexture packet can be pulled out of LLClientView and moved to AvatarFactory. The first pass at reusing textures (turned off by default) is included. When reusing textures, if the baked textures from a previous login are still in the asset service (which generally means that they are in the simulator's cache) then the avatar will not need to rebake. This is both a performance improvement (specifically that an avatars baked textures do not need to be sent to other users who have the old textures cached) and a resource improvement (don't have to deal with duplicate bakes in the asset service cache).
The second patch exposes the cached texture hashes through the SetAppearance packet. This does mean a change to IClientAPI. The patch does not save the hashes in the robust store which means that its unlikely to help much with Robust deployments. With bakes persisted (even persisted in a disk based local cache for example) and the hashes persisted, then bakes on login should only happen if the appearance has changed since the last visit to a region. That has been verified with Simian where the appearance is saved.
FYI... the only reason ROBUST won't benefit is that hash saving is not hooked up in the appearance database code.
* I would say that in LLClientView.SendCachedTextureResponse() could require an IScenePresence rather than an ISceneEntity and then always doing a cast check. But it turns out the argument is entirely unused! Why is it there?
* Some of the argument lines don't have spaces after the commas (as per standard opensim coding formatting).
* It would seem better to me to overload AvatarFactoryModule.SetAppearance() again rather than create a new AvatarFactoryModule.DoSetAppearance() even if the overload will be protected. All those other SetAppearance() methods do just call down to it after all (unless this kind of thing isn't allowed by the compiler).
As for actually storing and repopulating it in Robust, I believe storing could be done by adding key:value pairs to the Data dictionary in the AvatarData(AvatarAppearance appearance) constructor in IAvatarService. This Data dictionary is later used to fill out the entries in the Avatar db table.
Repopulating would be done in ToAvatarAppearance() in the same class, using the key:value pairs received back from the Avatar db entries. A sensible, extensible format which doesn't produce too bizarre XML (see ) would be great.


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Registration will close on Monday, May 20 at at 11:59 PM. At the door registrations will be accepted.


Familiarity with setting up a single-node system using Docker.
This document explains how to set up a multinode system by running the Vespa Docker image on AWS ECS.
Click Add attribute. Set Name=type and Value=configserver and click the green checkbox on the right. Then click Close.
Take a note of the config server Private DNS address on the screen (e.g. ip-10-0-1-194.us-east-2.compute.internal) as we will use this in the following configuration.
If you encounter any	problems see troubleshooting.
See developing applications on adding custom Java components to a Vespa application.


Kite Hill's traditionally cultured Plain Greek-Style Almond Milk Yogurt has all the smooth texture and creamy, tart flavor that you'd expect of Greek yogurt—but none of the dairy or soy. With zero added sugar, this almond milk yogurt has 11g of protein and plenty of live active cultures. The grab-and-go cup makes it easy to start your day with a delicious, healthy breakfast, or to stash in your gym bag for a post-workout boost.
Ingredients: almond milk, reduced fat almond milk, pectin, guar gum, live active cultures.


Polishing & waxing is one of the most confusing subjects for most people, and its fair to say that it's a subject that most people have no reason to be experts in. The subject of Polishing & waxing and proper care of your car's paint is filled with bad information from misinformed people, which is just one of many reasons to have such a service performed by experts who know what they are doing and who use the best products to achieve the result.
Car polish is used before you apply the wax coat and is used to remove grease, dirt, scrapes, and scratches that cannot be removed from washing alone. Polishes are different from waxes as the polish will remove dirt but will not provide any protection. It is used prior to waxing and performed with an electric car polisher.
Car wax is used after washing and polishing to add a layer of shine to the car as well as a layer of protection. Waxing your car's paint will protect your car from UV rays and will prevent pollution and other dust from damaging your car. Polishing & waxing can actually increase the life of your car's paint and it can be very beneficial for resale value to keep your car's paint in great condition.
What Locations Provide The Polishing & Waxing Service?
All Espresso Carwash locations can perform the wax & polish service on your vehicle. We have convenient locations situated nationwide and gift vouchers are available to purchase online. Click the link below to find a location nearest you and book an appointment.


text:
Totah
Born in Rocca di Papa, Italy
Italian painter who was among the young Italian artists of the 1970s who turned away from the hard-edged rigors and austerity of Conceptual art and in the 1980s were deemed part of the Nuova Scuola Romana (New Roman School) and the Roman Gruppo di San Lorenzo. After initially working in mixed media, he adopted painting. Beginning in the mid-1980s, he began a series of works that set objects such as dresses, stools, beds, doors and cathedrals against unspecified, non-descript backgrounds. The backgrounds were often scraped and reworked, the finished surfaces thick with paint and the objects stood alone. He is also well known for his geographical maps which he began painting during the first Gulf War to express his own views about the war. His work was the subject of a retrospective at the Museo d'arte contemporanea in Rome in 2006-2007. His paintings are in the permanent collections of the Comunale d'Arte Moderna in Bologna, the Palazzo Reale in Milan and the Museum Moderner Stiftung Ludwig in Vienna. He lives and works in Rome.
Tutte le Stelle del Cielo, 2006-2007
69 x 61 inches (175 x 155 cm)