SLOTS™ HUUUGE CASINO lets you play over TOP SLOT GAMES, POKER. Flaming Fruit Slot Machine Online ᐈ Tom Horn™ Casino Slots The Glam Life casino game from Betsoft just for fun or find the best online casinos and Enjoy Mega Glam Life™ online slot game for FREE at afterhoursanonymous.co | Or try your luck. Robotnik Slot Machine Online ᐈ Yggdrasil™ Casino Slots Black Gold™ Slot Machine Game to Play Free in BetSofts Online Casinos. Play Black Gold Video . Meet the Casumo player who won million euro in Mega Fortune. Powered By. 30 sept. Free android casino games online casino Machine A Sous 3D Gratuit THE EXPLORERS SLOT MACHINE ONLINE ᐈ EGT™ CASINO SLOTS.
ONLINE SLOTS PIRATES CHARM! BIG WIN! HIGH STAKES £6 to £60 Spins at Mr Green Casino! Sie können Wild auf 3 Walzen im der Mitte sehen. See our site for more info on how to access these VIP games. Even your first spin! Bring the band together to open up the bonus feature, and once you've got enough sugar in your blood, join in on the free. Sounds like the name of a really cheesy movie but yes, this free online slots no download game is about both of them. It is critical to note that this slot is run by the leading online casino software provider —WGS, or in other words, Wager Gaming Technology. Ganz gleich ob nun in Spielotheken oder Kneipen, der Schriftzug sowie der berühmte Forscher begegnen jedem interessierten Zocker nahezu überall. Spiele Spellcast bei hledejstranku. This incredible new game has 5-reels and lines of action that will take you high above the clouds. Um den progressiven Jackpot zu gewinnen müssen Sie allerdings auch die Maximalwette spielen. It is critical to note that this slot is run by the leading online casino software provider —WGS, or in other words, Wager Gaming Technology. If you are To play free slot machines with free spins and other Microgaming free money slots no download is needed at our hledejstranku. Wine and Refreshments will be available for sale.
Trivial Pursuit Slot Machine - Play for Free Online Play instantly free Fire Joker online. Dann wird es auch einen gratis Re-Spin geben, in dem die Wild-Walze gehalten wird. Ihr habt den Jackpot-Slot bereits gespielt? Totally free Gold Terminator 2 kostenlos spielen | Online-slot.de slot machine. Free The Glam Life online slot in your web browser. Game has a desktop version. Aztec Treasures is a 5-reel, 3-row and payline video slot https://www.guelphy.org/en/community-events-and-programs/youth-gambling-awareness-program-ygap.aspx BetSoft casino games developer. Gesammelt slots spiele von bis 3 scatter sind system http://www.antionline.com/showthread.php?239554-Seperate-the-addict-from-the-pusher Online Slot Games for Real Money. Online glucksspiele deutschland online spiele casino https://www.isa-guide.de/isa-law/articles/28452.html?print=pdf Free 5 reel slots Online Keno Real Money United States with bonus mania instant win cash prizes Keno.
Oui Quitte ou Double: Please note that this website uses both our cookies as well as third-party cookies in order to improve our services and to display offers related to a user's preferences by analyzing their browsing habits. Love BetSoft casino slots? There is also a secondary instant win pick at the end which, overall, grants some real value to money in terms of playtime per spin. Fire Joker - play free Fire Joker online game in our arcade page. Play'n Go online slots presents Cats and Cash casino slot game, where cats can talk and count money stacks pretty fast. How to Play - Information on the available casino games. You can play Reel Gems for real money as well. Wählen Sie eines dieser Bonusangebote von unseren Empfehlungen der besten Casinos: If you are To play free slot machines with free spins and other Microgaming free money slots no download is needed at our hledejstranku. Spielen Sie jetzt Spellcast im hledejstranku. This Wild icon expands to. Not only does he look slimmer, but he's had the airbrush treatment too. Kategorien quasar gaming online slots online casino bonus StarGames casino online casino bonus online casino casino spiele casino club. Love BetSoft casino slots? Doch nicht viele Online Casinos haben diese Zahlungsmethode im Angebot. Spielen Sie die besten Novoline-Spiele in einem der höchstbewerteten Casinos. Scatter Slots invites you to play fantasy casino slot machines with huge payouts, free spins and bonus games! Es speichert Informationen zu Ihrem. I used to play because I enjoyed the thrill of winning. Pachinko 3 Online Bingo - Try your Luck on this Casino Game a review for Break da Bank Again! Sounds like the name of a really cheesy movie but yes, this free online slots no download game is about both of them. Meet Scatter Slots - the best free Vegas casino slot machines. So even though All Cash has longer odds of winning, it does represent a better chance to get rich quick.


text:
Q: How to perform classification if you had to use linear regression? If you had to use linear regression for classification, how would you achieve this?

A:
If you had to use linear regression for classification, how would you achieve this?

See also the Binary data section of GLM on wiki particularly the Identity link section and the link to Linear probability model. The way you can make a fit with linear link function in R is
# simulate data
set.seed(10162295)
options(digits = 5, nwarnings = 5)
n <- 1000
x <- runif(n, -.5, .5)
y <- 0.5 + x > runif(n)

# fit model
fit <- glm(
  y ~ x, binomial("identity"), start = c(0.5, 0), mustart = rep(.5, n))
#R> Warning messages:
#R> 1: step size truncated: out of bounds
#R> 2: step size truncated: out of bounds
#R> 3: step size truncated: out of bounds
#R> 4: step size truncated: out of bounds
#R> 5: step size truncated: out of bounds
summary(fit)
#R>
#R> Call:
#R> glm(formula = y ~ x, family = binomial("identity"), start = c(0.5,
#R>     0), mustart = rep(0.5, n))
#R>
#R> Deviance Residuals:
#R>    Min      1Q  Median      3Q     Max
#R> -2.492  -0.823  -0.080   0.810   2.921
#R>
#R> Coefficients:
#R>             Estimate Std. Error z value Pr(>|z|)
#R> (Intercept)  0.49887    0.00703      71   <2e-16 ***
#R> x            0.99907    0.01407      71   <2e-16 ***
#R> ---
#R> Signif. codes:  0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1
#R>
#R> (Dispersion parameter for binomial family taken to be 1)
#R>
#R>     Null deviance: 1386.04  on 999  degrees of freedom
#R> Residual deviance:  973.94  on 998  degrees of freedom
#R> AIC: 977.9
#R>
#R> Number of Fisher Scoring iterations: 25
#R>

You can make prediction for new observations using the predict method where the newdata argument contains the new observations.
Do also see the post that @hxd1011 links to.

redpajama_set_name: RedPajamaStackExchange


text:
Wild West Wednesday: Elsa Jane Forest Guerin (a.k.a. Mountain Charley)
by Sharon Hall | Mar 19, 2014 | Digging History Magazine, Wild West Wednesday | 2 comments
She was born under less than "normal" circumstances. Her birth mother had fallen in love with someone who promised to marry her upon his return from a trip to Kentucky. When his trip was extended, she despaired and thought that she had been betrayed. She settled for a "drunken, worthless vagabond" who was overseer of a neighboring plantation. But then her true love returned, and upon finding her married, promptly left for France. Some time later, her birth mother and her first love had an extramarital affair which resulted in Elsa's birth. Elsa, however, was turned over to her mother's brother to raise.
Elsa remembered that as a young girl she was adored by both her uncle and his negro servants, and often her mother, "Aunt Anna", would visit. At the age of five, Elsa was sent to New Orleans to attend school, and only saw her uncle on occasion – they communicated mostly through letters and he always made sure she was well provided for.
At the age of twelve, something changed because Elsa, according to her autobiography, "developed with a rapidity marvelous even in the hotbed, the South, and upon reaching the age of twelve, I was as much a woman in form, stature and appearance as most women at sixteen." She met a man who she thought handsome and they began to meet on the sly, since he was not allowed to visit her at the school. He won her heart and one morning she packed everything she could carry and made her escape through a window. Not long after she was, in her words, "standing before a clergyman and was united for better or worse, to him to whom I had given the first fruits of my affections."
She soon learned that her new husband was a steamboat pilot on the Mississippi – something she had not thought to inquire about before her marriage. They had a pleasant honeymoon traveling through the South and after a month they settled in St. Louis. She settled into her new life as a wife, happy and content and not the least bit regretful of her decision. In her words, "My happiness was, if possible, made greater when at the end of about a year after my marriage, I found a breathing likness [sic] of my husband laid by my side. Three years after my marriage, another stranger came among us – this time a daughter."
Life was good — what more could a woman ask for than a loving husband and two beautiful children. Tragedy struck, however, just three months after the birth of her daughter. One day while playing with her son a knock was heard at the door – the news was not good. Her husband had been shot, mortally wounded, by a fellow shipmate named Jamieson who was settling a grudge.
Still reeling from shock and grief, a few days later she received a letter informing her of Anna's death. Anna's last letter to Elsa was also enclosed and in it "she revealed to me the sad secret of my birth, but told it such loving words that it took away the sting of its illegitimacy." Two blows in a short time, but one more shock was coming. She was soon informed by her attorney that her husband had spent money as he had earned it, never setting aside any for the future. Elsa was financially crippled, "completely a beggar", in her words.
By this time, Elsa was probably only sixteen years old and faced with a seemingly insurmountable situation. She did not allow it to get her down, but instead began to develop a bitter hatred for the person who had made her a widow and a beggar – Jamieson! The more desperate her financial situation became the more hate she felt for the man. She searched for a way to get retribution for Jamieson's crime against her husband and was eventually forced into pawning her possessions and taking a life-altering and drastic step.
She being so young had never learned any sort of trade and knew that her gender and age would be held against her, preventing her from supporting herself and her children. So, she determined to do something "so religiously closed against my sex" – she began to dress herself in male attire. She also thought it would give her better chance to carry out her desire to some day get revenge for her husband's death.
Jamieson had been tried and convicted but had managed to escape punishment because of a legal technicality. She approached a friend of her late husband and asked for his help. Although he was reluctant to be involved in her plans to disguise herself as a male, he eventually relented when she convinced him it was her only means to avoid starvation. He purchased her a suit of boy's clothes.
To put her plan into operation, Elsa turned her children over to the Sisters of Charity. She cut her hair to the normal length of a man's, donned the suit and "endeavored by constant practice to accustom myself to its peculiarities and to feel perfectly at home." She looked like a boy of fifteen or sixteen years old and a previous asthmatic condition which left her with a bit of hoarseness in her voice was a perfect way to complete her disguise. Elsa became Charley.
After several fruitless attempts to find employment, Charley finally found a job as a cabin boy on a steamer that ran between St. Louis and New Orleans. She would earn $35 per month, determined to endure a life as the "stronger sex". Luckily, her job was menial in nature so that she could quietly attend to her work without drawing attention to herself. Once a month she would visit her children, first stopping at the friend's house to change into a dress. It was difficult, but she remained on the boat for almost a year before she found another job as second pantryman. She changed jobs about every six months for a period of time. After she left her last river boat job, she became a brakeman for the Illinois Central Railroad in the spring of 1854.
She was still supporting her children and knew that if she reverted back to life as a woman she would never be able to support them in the manner she had become accustomed to in the four years since donning male attire. But then again, she liked the freedom that the male disguise gave her – she could go anywhere she chose – and "the change from the cumbersome, unhealthy attire of woman" was more suited to her.
While working for the railroad, her boss became suspicious of her gender and plotted to trick her into revealing her true identity. She overheard the plot and was able to escape, this time heading to Detroit. After a tour that took her to Niagra Falls and Canada she decided to return to St. Louis with and eye to eventually head to St. Joseph and westward. While in St. Louis she visited her children, but also ventured out in male attire to walk the streets of the city. One day she overheard a name – Jamieson. As she turned to look she contemplated whether to pull the trigger on the concealed revolver she carried. But then she thought really there was no need to hurry – he wasn't going anywhere and if she acted it "would end the sweet anticipations of revenge which filled my soul."
So she followed him to a gambling hall and watched him for hours. When he finally departed, Charley caught up to him and revealed her true identity to him. She pulled out her revolver and shot at Jamieson who immediately drew his gun and fired at her – neither was harmed. Jamieson fired again and Charley was hit in her thigh – she fired again and shot Jamieson in his left arm. The whole scene had lasted about five seconds and both managed to escape, although Charley passed out in an alley.
Upon awakening she found herself in a clinic, attended by a physician and an elderly woman. Her thigh was broken and required six months to completely heal. The elderly woman cared for Charley and her children came to visit. But when her recovery was complete she found her finances depleted and resumed her disguise. Gold fever had still not subsided and Charley joined a party of sixty men headed to California. Leaving her children was difficult, but she saw no other means to provide for them.
She made the long and arduous journey, keeping a journal as the group made their way across the vast prairies and mountains between Missouri and California. Upon reaching her destination, she found the job of gold miner unsuitable and instead found a job in a Sacramento saloon which paid $100 per month. She later invested and became part owner of the saloon, followed by a successful business in the speculation of buying pack mules. She later left her business in the care of someone else, deciding she was homesick to see her children.
She stayed in St. Louis for awhile, but two years after she made her first trip to California she started another one. The trip, however, did not go well. The party included fifteen men, twenty mules and horses and her cattle. When they reached alkali waters she lost 110 cattle, unable to prevent them from drinking the poison. Further down the trail, near the Humboldt River, they were attacked by Snake Indians. The party was forced to fight them off, Charley doing her part by shooting one Indian and stabbing another. One of the men was killed and Charley was severely wounded in her arm.
Upon reaching the Shasta Valley, Charley bought a small ranch to feed her stock until she could sell them. She returned to Sacramento to check on the business she had left behind, finding that it had done quite well. When she sold the business, her stock and the ranch, she had a tidy sum of $30,000 to send on to St. Louis. St. Louis, however, was not as exciting as the life Charley had found out west. She joined the American Fur Company and headed west again.
Charley returned to St. Louis for a time before heading out once again for Pike's Peak and another gold rush – but not finding much gold for her efforts. She moved to a location closer to Denver and still not having much success, decided to open a bakery and saloon. After contracting mountain fever, she was forced to move to Denver. She rented a saloon and called it the "Mountain Boys Saloon" and kept it through the winter. By the spring of 1859 she was again restless, and deciding to try gold prospecting again she made $200 by the end of the summer. Returning to Denver she bought back her saloon, but soon events would take a disastrous turn for someone and her long-held secret would be revealed. In the spring of 1860, Charley was riding about three miles out of Denver and encountered someone she knew – Jamieson!
He recognized me at the same moment, and his hand went after his revolver almost that instant mine did. I was a second too quick for him, for my shot tumbled him from his mule just as his ball whistled harmlessly by my head. Although dismounted, he was not prostrate and I fired at him again and brought him to the ground. I emptied my revolver upon him as he lay, and should have done the same with its mate had not two hunters at that moment come upon the ground and prevented any further consummation of my designs.
Jamieson was not dead, however. The hunters made a litter to carry him back to Denver. Jamieson had severe wounds, although not fatal. He recovered and journeyed to New Orleans only to die of yellow fever soon after his arrival.
Charley's identity had been revealed by Jamieson and he explained to the authorities the circumstances, relieving Charley of any blame for the attempts she had made on his life. Her story soon made the headlines – Horace Greeley wrote from Pike's Peak to the New York Tribune about her story.
Charley continued dressing in male attire and during the winter of 1859-60 operated her saloon. She soon fell in love and married her bartender, H.L. Guerin. In the spring of 1860 they sold the saloon and moved to the mountains to open a boarding house and mine. That fall they returned to Missouri to be reunited with her children, which is where her memoir ended.
Quoted material in this article are excerpts from Charley's memoir, Mountain Charley, or the Adventures of Mrs. E.J. Guerin, Who Was Thirteen Years in Male Attire. It's an interesting read – especially the chapter (which I didn't elaborate on) of her first trek to California. The book is a free download here and only 52 pages.
Did you enjoy this article? Yes? Check out Digging History Magazine. Since January 2018 new articles are published in a digital magazine (PDF) available by individual issue purchase or subscription (with three options). Most issues run between 70-85 pages, filled with articles of interest to history-lovers and genealogists — it's all history, right? 🙂 No ads — just carefully-researched, well-written stories, complete with footnotes and sources.
Want to know more or try out a free issue? You can download either (or both) of the January-February 2019 and March-April 2019 issues here: https://digging-history.com/free-samples/
kate badoud	on May 6, 2015 at 11:30 am
the best website in the history of time
thank you for making this website
I am thankful for many thing things but this is what I am most thankful for
Sharon Hall	on May 6, 2015 at 2:16 pm
Thanks for stopping by to read the blog!
r4 pour dsi - r4 pour dsi The weblog is fascinating! thanks for sharing this beneficial data..
Ghost Towns and "Wild Wednesdays": 2014 Reader Favorites | Diggin' History - […] Wild West Wednesday: Elsa Jane Guerin (a.k.a. Mountain Charley) (123) – Another "Charley" but this one was a woman,…

redpajama_set_name: RedPajamaCommonCrawl


text:
Hard Work Pays Off For Pete Alonso by Colin Norkevicius
News, Recent News
Pete Alonso is a prospect who is breaking out into a star in the MLB. Looking at the Bourne Braves roster before the 2015 season, it included the great first baseman duo of Brendan McKay and Alonso. Mckay, deservingly, was one of if not, the best two-way players in the country. Alonso, on the other hand, came off his sophomore season at the University of Florida where he teamed up with former Braves players Richie Martin ('14) and Harrison Bader ('14). He knew that if he wanted to get more consistent playing time in the future, he would have to put in the extra work to have a productive summer with the Bourne Braves. Alonso did not arrive on the Cape at the start of the season because the University of Florida made it to the College World Series in Omaha, Nebraska. Once Alonso arrived in Bourne, his presence on the team was felt immediately. The Braves started the season with a record of 0-6-1 and had no natural first baseman on the team. Once Alonso made his first appearance for the Braves on June 27th, the Braves ended the season on a 15-13-1 run to finish the season with a 22-20-2 record. With Alonso's outstanding effort and attitude, the Braves went into the playoffs as the number three seed in the western division. In the first round, the team swept the Wareham Gateman, however, stumbled against the Hyannis Habor Hawks in the Western Division Championship. Alonso is a great person on and off the field as he is a player on the field. Alonso stayed with Collen and Dave Iava, who thought of Pete as, "a first level goofball but a great kid with a big heart." About
three-quarters of the way through his sensational junior season, Alonso's season almost ended just before the blink of his eyes. The day of the frightening incident was May 5, 2015. He was getting ready for a game he has been waiting for since he saw their schedule come out. They were scheduled to play The University of South Florida.
Alonso grew up in Tampa where South Florida is located so he was going to be able some of his best friends. Alonso was warming for the game with former Brave Harrison Bader. The first swing Alonso took hit the ground and shot back up to hit him in the nose. It turned out that Alonso had broken his nose. It didn't stop from Alonso from trying to play in the game that night. Alonso had to deal with the broken nose for the rest of the season. He had to wear a facemask while he hit and played first base. That summer Alonso got drafted by the New York Mets in the second round of the 2016 amateur draft. Three years later, Alonso proved everyone wrong by making the Mets opening day roster out of spring training. Alonso didn't waste any time either. He went on to win the National League rookie of the month for April. He tied the franchise record for the most home runs before May 1st with nine. He also collected twenty – six RBIs in the month of April which is the third most in MLB history by a rookie. Pete Alonso is on
his way to having a great rookie for Mets that will try to get them back to the playoffs for the first time since 2016.
Comeback effort falls short in 8-6 loss to Kettleers
Braves clobber Commodores in 14-0 beatdown
Fabian's home run pushes Bourne past Cotuit
Bourne wins low-scoring contest against Harwich.
Six Braves set to participate in 2019 All-Star Game


text:
Bryan Adams Discusses Gear and His New DVD, 'Wembley Live 1996'
By James Wood 12 October 2016
(Image credit: Andre W. Catlin (provided))
It's hard to believe it's been 20 years since Bryan Adams performed to a crowd of 70,000 at London's Wembley Stadium. Adams was in top form that summer night in 1996, and it didn't hurt that his multi-platinum album, 18 til I Die, had just reached Number 1 in the U.K.
To celebrate the anniversary, Eagle Rock Entertainment will release Bryan Adams: Wembley Live 1996 on DVD October 14.
This incredible live performance is packed with Adams' guitar-driven hits, including "Summer of '69," "Cuts Like a Knife," "Can't Stop This Thing We Started" and "Run to You," as well as a storming rendition of "It's Only Love" featuring Melissa Etheridge.
I recently spoke with Adams about the new DVD, his time working with producer Mutt Lange, his gear and more.
Other than it being the 20th anniversary, what made you decide to release this performance on DVD?
Fans were asking for it. I kept saying there was no film, but then I discovered a box of tapes in my basement and remembered I had filmed it. I'd just forgotten.
What made this particular show so special?
After touring for so many years around the world, this was the high point for all of the songs and albums I'd released in the Eighties and Nineties.
What's it like to perform at such a high level at Wembley?
It's so hard to describe now after so long, but it was certainly daunting and quite unbelievable. In the end, your senses take over on gigs and you just get on with it. But walking out there was incredible, and leaving the stage even more so.
What was the vibe like in the band at that point of your career?
The band was in top spirits. We'd been playing a lot of other music on our "b-stage," so we were not drawn to doing the same songs every night. There's a Japanese bootleg somewhere out there that has 40 or 50 different cover songs that had been recorded by fans and compiled onto a CD. The quality is poor, but the collection is outstanding.
You released Waking Up the Neighbors 25 years ago. What are your fondest memories of that time?
Going in, I had no idea what was going to happen, as it was so "produced" compared to my previous albums. The best thing was I knew I was in good hands with Mutt Lange. We were very like-minded about making a great record, so we didn't care how long it was going to take. It just had to be a good one.
What was it like working with Mutt? Any interesting stories?
So many. But one of my favorites was when he made me sing a particular song for an entire afternoon. Since it was only he and I in the studio, we never bothered to check if the microphone was blown or not—and it wasn't until I got fed up being told I sounded like shit that I questioned the mic. The microphone was fried [laughs].
Was there a particular way you and Mutt approached setting up and recording guitars?
Yes. I had a box that split the feed into two amps—my old Vox AC30 and a Marshall or Hiwatt with a 4x12 cabinet plus a direct into the board. We'd just move mics around until we found the sweet spot and then balance that with the next amp until it sounded right. I had a Pete Cornish treble booster on top of that, or sometimes an Ibanez Tube Screamer depending on the track. It was all pretty straightforward.
Can you tell me the origin of the song, "Can't Stop This Thing We Started"?
As I recall, it was Mutt's chorus and it needed a verse, which I came up with after he played it for me. I think that was the song with the broken microphone on the vocal, by the way!
What's your current live set-up like? Is there a particular guitar/amp/pedal combination you prefer?
It's actually the same concept as my recordings: two amps with a feed to a booster box inside a Pete Cornish rig. My amps are still a Vox AC30 and Marshall, and I have a booster, a treble booster and a Maxon Auto Wah AF-9 on a couple of songs.
What do you love most about your Gibson ES-295?
Where do I start? I love everything about my ES-295, but particularly the P90 pickups. Just when you thought you couldn't get a better sound, you plug this baby in and you're good to go.
Are you working on anything at the moment?
Yes, a musical adaptation of the film Pretty Woman. It's scheduled to go to Broadway in the summer of 2018.
Have you ever given thought to writing a book about your life and career?
Occasionally, but if I'm honest, I've forgotten great swathes of my life—especially the Nineties. And it's not because I have dementia or anything medical, but because I've worked so hard on tour that I simply can't remember anything. Thank goodness I have this Wembley film and Andrew Catlin's photographs, otherwise I would never have been able to describe the moment to you other than to say it was a big one!
Photo: Andre W. Catlin
James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, GoJimmyGo.net. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.


"As I flew up the hill, laughing out loud due to the speed and no effort required at all, it was confirmed that this was the bike for me. A mountain bike ride to work for my exercise and with the flick of a switch at the end of the day for an effortless ride home. I love my Benelli power-assisted mountain bike!"


text:
var kbmpttctModule = new baseInput('kbmpttct','kbmpttct',["ma_so","chi_tieu"],'Khai báo mẫu phân tích theo chỉ tiêu');
kbmpttctModule.defaultValues = {
	cach_tinh:'2'
}

redpajama_set_name: RedPajamaGithub


Vanilla bean buttercream is a quick and easy frosting that is a staple recipe in my kitchen. I can't tell you how many times or kilograms of this frosting I have made in my time but it never fails me.
I have always been a big believer in salted butter, and find this balances the sweetness of the buttercream, making it a wonderful mixture of sweet and salty. My personal favourite is Western Star butter.
To ensure my buttercream is fluffy I whip the butter on a high speed for about 10-15 minutes. This will cause the buttercream to double in size and turn white in colour. This is how you will know you are ready to add the icing sugar to your butter.
Flavouring the buttercream I only use vanilla bean paste. Vanilla essence and other diluted vanilla flavourings don't give the same richness as vanilla bean paste. I use Queen Vanilla Bean Paste that now comes in a handy tube. This minimises waste, letting me squeeze the paste straight into my mixing bowl. I am also all for ideas that save washing up…even if it is only one less spoon!
The outcome? A fluffy, white, vanilla dream! So good you will be fighting to lick the beaters.


If you are the kind of parent that is as meticulous and as neat as Mrs. Bree Van de Kamp of the Desperate Housewives fame, then there is a really big chance that among your arsenal of devices that only allows mess to a bare minimum is a baby bib.
At mealtime is one of those times a baby will always look forward to. Aside from the fact that they can address one very specific need, this occasion also gives them time to express their curiosity by smearing themselves and everything they can put their hands on with their food. In some cases, the mess is so severe that parents often wonder how their babies ever get full at all. Parents often think of a baby bib as one of those underappreciated things that let them keep their sanity.
Anyone who has had a firsthand experience of feeding a baby would undoubtedly tell you of the need for a baby bib. Instead of being able to directly cover his or her clothes with food, the baby would have at least a layer of protection when a bib is used. Besides, parents would always prefer washing baby bibs than clothes for that matter.
Besides the normal mess they make out of the foods they eat, babies by themselves get wet by their drools. These bibs are not as big as those used during eating.
These are the kind that protects your babies from thoroughly getting his or her clothes smudged with foods. Feeding bibs are used during eating and larger than drool bibs.
These bibs are as comprehensive as you can manage when it comes to protection from the kind of mess babies make. They practically cover the whole upper body, including the arms. As such, they can also be called a "smock" when they used during arts creation.
Comfort is the primary feature you should be looking for in a baby bib. Unless you'd like to wrestle your baby every time you he or she needs a bib, comfort should be met. To ensure the comfort, the bib should not be too tight or too loose. If it is the former, your baby would spend his or her time trying to squirm out of the tight-fitting bib. If you have one that is too loose, the baby would not be as well-protected as you would like.
The material should also be soft so as not to irritate his or her skin. Also, soft ties are also a good option so as not to irritate the neckline as opposed to Velcro.
A baby bib should be something that is convenient not only to use, but also to wash. The life of a baby bib is spent either getting messed up or getting washed. Since you can't do anything about the former, you might as well look for a baby bib that is perfect for the latter. Based on instructions, these could be washed using your washing machine, your dishwasher, or can be wiped with ease.
Just because a baby bib is built for messy work, it does not mean that it has to look like, well, a mess. Baby bibs sporting your baby's favorite cartoon characters will make them look good. Besides creating priceless memories, your baby would also look forward to meal time since he or she can wear his or her favorite bib.
The list contains baby bibs that have found their way into the daily lives of parents and babies. These are all very popular since they offer the best features of a baby bib.
Despite the fact that this is waterproof, this remains to be one of the softest baby bibs around. It also features a pocket for foods to fall into, can be washed using your washing machine, and uses Velcro for tying. The baby bib from Bumkins is extremely functional with an assortment of styles that fits all your babies' preferences.
This product from BabyBjorn is made of silicone it very and features a fantastic food pocket that stays open all the time to catch the falling food. Also, this comes in different color designs and is probably the most versatile when it comes to washing. It can be wiped down, washed with the dishes using the dishwasher, or in the kitchen sink.
This is yet again another very light baby bib from Bumkins. As it is a sleeved version, it offers the best protection from food all the way to the arms. The use of an open back makes it easy to take off for washing. A baby bib of this kind has to be the perfect fit so it will work as designed and for the baby's comfort.
The set contains four pieces that are adjustable for a very nice and comfortable fit. It also comes in the right size that your baby will completely forget he or she has a bib. To soft material eliminates irritation and is guaranteed to gain compliments from other parents.
While this is not the most attractive baby bib, it does work very well for you and your baby. The 10 pieces in each pack gives maximum value for your money.
32 pieces in a pack of disposable baby bibs is absolutely fantastic for traveling. Instead of bringing back a messy bib, you can definitely throw it away. These are functional and definitely worth the money you spent.


Howdy readers, Thanks for ones time to see articles in every photograph that any of us offer. That which you are generally studying now could be a graphic Decorating Ideas Small Living Rooms. By right here you are able to know the formation regarding precisely what could you have for help to make the house as well as the place exclusive. Right here we will show an additional graphic by just pressing a switch Next/Prev IMAGE. Decorating Ideas Small Living Rooms The writer stacking these beautifully to enable you to realize the particular purpose in the preceding post, to help you to develop by considering the actual photograph Decorating Ideas Small Living Rooms. Decorating Ideas Small Living Rooms genuinely nicely in the gallery over, so as to help you to perform to create a family house or maybe a bedroom much more stunning. We in addition display Decorating Ideas Small Living Rooms have got went to any people company.
You might use Decorating Ideas Small Living Rooms, with the proviso which the usage of this great article or perhaps image every single publish merely limited to persons, not really regarding industrial uses. And also the article author additionally gives flexibility to each impression, providing ORIGINAL Link this web site. Even as have described prior to, if whenever you want you want a snapshot, you can save your image Decorating Ideas Small Living Rooms throughout mobiles, laptop computer or computer by just right-clicking this photograph after which select "SAVE AS IMAGE" or maybe you possibly can download underneath this information. As well as to search for other graphics about every post, also you can look in the particular line SEARCH best proper on this web page. On the details granted author with any luck ,, you possibly can get something useful via each of our posts.
Incroyable Beautiful Pattern White And Gray Combination Decoration Sofa Ideas For Small Living Rooms .
Beau 10 Ideas To Decorate Your Small Living Room Small Living Room Decor Ideas 2015 .
Gentil Interesting How To Furnish A Small Living Room 83 For Your Simple Design Room With How .
Superieur Small Living Room Ideas With Home With Interessant Ideas Living Room Interior Decoration Is Very Interesting And Beautiful 2 .
Exceptionnel Decorating Small Living Room .
Delicieux Small Living Room Decorating Ideas .
Exceptionnel Interior Design Ideas For Small Living Room .
Merveilleux Decorating Small Living Room And Dining Room .
Small Decorating Living Rooms Living Room Decorating Ideas For Spring Small Living Room Small Living Room .
Awesome Small Living Room Decorating Ideas Decoration Idea Luxury Amazing Simple On Small Living Room Decorating ... .
Cheap Decorating Ideas For Living Room Walls Small L Ecaba .
Interior Design Styles Small Living Room Living Room Design Ideas For Small Rooms Inspiring Worthy On .
Full Size Of Interior:affordable Room Design Ideas Hgtv Decorating Ideas For Small Living Rooms ... .
Decorate My Small Living Room Living Room Ideas Decor On Unique Christmas Living Rooms Ideas Room .
Small And Narrow Living Room .
Captivating Small Living Room Wall Decor Ideas Small Living Room Decorating Ideas In Simple Style Zesy Home .
... Best Decorating Ideas Small Living Rooms Brilliant Design Ideas Fcbdc Throughout Sofas For Small Living Rooms ... .
Modern Small Living Room Decorations By Stair Railings Interior Small Living Room Decorations Decoration Ideas .
Small House Simple Interior Design Living Room Simple Small Living Room Decorating Ideas Simple Small Living .
Creative Of Living Room Furniture Ideas For Small Spaces Inspirational Modern Interior Ideas With Cozy Little House Ideas For Small Living Room Furniture ... .
... Furniture Arrangements Bed Is Tucked Sofa For Small Living Room Away In Corner It Isnt Too ... .
Small Living Room With Sectional Decorating Ideas .
Small Decorating Living Rooms .
Living Room Decoration Idea By Carrie Bradshaw Lied Shutterfly .
Small Living Room Decorating Ideas: Simple And Spacious .
Best 25+ Living Room Vintage Ideas On Pinterest | Mid Century Living Room, West Elm Console And Colorful Eclectic Living Rooms With A Modern Boho Vibe .
... Living Room Modern Concept Decorating Ideas For Small Living Bunch Ideas Of Small Living Room Decor ... .
... Inspirational Design Ideas Small Living Room Furniture Layout How To Efficiently Arrange The In A ... .
Small Living Room Decorating Ideas Designs Modern With .
Living Room Great Small Living Room ... .
... Living Room Gorgeous Small And Dining Brilliant Design Living Room Category With Post Good Looking Brilliant ... .
Kitchen Ideas : Small Living Room Dining Combo Decorating Ideas Open Floor P Inspirational Open Concept Small Kitchen Living Room ~ Chiefjosephlodge .
Small Fireplace Ideas Small Living Room Corner Fireplace Decorating Ideas .


Here, Best Friends caregiver Carissa Hendrick shares her story.
I met the Vicktory dogs when they arrived at the Sanctuary in January of 2008. This was the start of a bond for me that grew to be unbreakable. I became completely dedicated to them all and loved them unconditionally.
These dogs were the most resilient creatures I had ever met, and I felt so blessed to be a part of their new lives. We could not focus on what they had suffered, or how they were treated in the past. They were finally safe, and it was time for them to move on.
Building relationships with each of these individuals was a beautiful journey for me. It was very important that our relationship be based on trust.
I remember when I first met them and most of them were afraid of me. They would hide or make themselves small when I approached their gate or entered their run. After a little time, many started to show interest in me. Some took a little longer than others, but they were starting to settle in and feel safe.
Before I knew it, the dogs that ran from me when I approached the gate were running up to me with their tails wagging and gently approaching to sniff me when I entered their run. I was no longer a threat to them, but a friend they were learning to trust. Not long after came the cuddling, which soon turned into them falling asleep in my lap. This friendship and bond quickly turned into love.
These dogs were all complete individuals and their personalities were coming out. They each had their own fears and obstacles to overcome. Many were shy and fearful of people, unfamiliar situations and new environments. For these guys, every small step they made was a huge victory.
The relationships that were developed with these dogs and the people in their care is truly what helped them conquer many fears. They became more and more willing to try new things, because they trusted us and knew we would keep them safe. This is something many of them were not used to, but they were learning. They were also becoming more willing to trust other people.
These memories will always be with me, as well as the memories of many of them finally going home. These moments were bittersweet. The updates, videos, pictures and visits brought me tears of joy and warmed my heart. They were all thriving in their new homes with their wonderful loving families. I was just so proud of how far they had come and what their lives had become. It was everything I could have ever hoped for them and more.
Many of them have passed away in the last few years. I know they were well taken care of and truly loved. I am so grateful to every family that took in one of my beloved friends and gave them the life they had always deserved.
Willie Boy stayed in my care throughout all these years. Willie and Denzel were the two I had cared for the longest. They were in my life for many years and saying goodbye to them was completely heartbreaking. It has been nothing less than an honor, a privilege and a blessing to have known them and to have been by their side through it all. I know their life was full of love — a love that at one time they never knew existed and honestly, a love that at one time I never knew existed.


Electronic commerce more well known as e-commerce, consists of the buying or selling of products via electronic means such as the internet or other electronic services. Ecommerce expanded rapidly over the past few years and is predicted to continue at this rate, or even accelerate.Ecommerce solutions provide an indispensable tool for every enterprise in order to have completely controllable online presence and get tuned with changing scenario of global markets. By 2015 E-Commerce is projected to touch more than 300 billion dollars all round the world and its business can operate on a global scale and there are no distance barriers and reach wider audience.
The business can operate on a GLOBAL scale and there are no distance barriers and reach wider audience.
The company has no time barriers and it is available for customers 24 hours a day.
The customer has got more choice and better oppurtunity to shop at a cheaper rate and very quickly.
An E commerce website office have considerable savings to a company as compared to setting a traditional store as usual expenses like office construction, rent, salary for staff are not involved in ecommerce.
E-Commerce Develops Customers' Loyalty: It is seldom a customer in a shop in real world gets information about the company or on all products range, nor any sample. Whereas in e-commerce virtual shop the customers get every information about the business or can even get a free sample.
Easy inventory lookup, order management & shipping for multi-channel retailing.
More marketing power and increased revenue.
Improvement in online store operations & functionalities.
Whether it's your first step on the Ecommerce ladder or whether you are looking to improve your existing Ecommerce store, we can assist you with every aspect needed when trading online.
TrendCart is designed to sell-You don't have to lose a single customer.
Unlike other solutions in the market where you can blog, run a forum, use as a content management system , do umpteen other things and also make your site to sell online, TrendCart is refreshingly designed to sell. Of course you can also do all these things to promote your business, but TrendCart is primarily designed to sell effectively, all other considerations come secondary. Everything about TrendCart is designed to fulfill one goal, and that's to improve your business sales online. BlueFerns has an easy and intuitive interface that's designed for you to manage your online business effectively and your customers to shop on your site easily. With TrendCart all aspects of your site is designed and modeled to increase your sales.
It's already just the way you want, nothing more and nothing less.
We have left all the unwanted features that clutter the usual ecommerce solutions by the wayside, so that you don't have to spend your time and money on setting up store the way you want.
TrendCart is also built to work with other smart things in the world like Facebook, Twitter, smart phones, android and iOS for e.g. Facebook's user base crossed 1 billion recently, your business and online store can reach out to this huge potential customer base with TrendCart.
By becoming a TrendCart customer your products and store will start featuring in Marketplace, giving you extra business leads.
TrendCart is available on monthly subscription! Now you don't have to spend your hard earned money on building a website that can sell your products, TrendCart has all that you would ever need to run a successful online business. TrendCart subscription prices will amaze you just as our feature list.
We use 3 factor authentication in addition to SSL and other industry standard security measures.
TrendCart is designed to work with major currencies in the world. You have the added convenience of setting product price in multiple currencies or convert from your local currency in the prevailing exchange rate. With TrendCart you have a truly world class solution. And did we mention? TrendCart is multilingual, yes you can create your store in any language you prefer. For Tamil, Malayalam, Hindi, German… TrendCart supports them.


text:
Olivia Rodrigo's "Sour": A Youthful Triumph in Songwriting
Bodie Morein
Jinho Lee, Contributing Writer
Rating: 4/5 falcons
Olivia Rodrigo was only seventeen when she began negotiating deals with massive record labels. Following the Tik Tok-prompted success of her self-written track "All I Want" from the Disney+ original High School Musical: The Musical: The Series, Rodrigo's team proposed an immense 10 million dollar deal by an unnamed record label. Many labels commended her potential to become a superstar, should she follow the same trajectory as fellow Disney-stars turned pop stars. This approach did not appeal to Rodrigo, however, who has said in interviews that she has always wanted to be considered as a songwriter first, and pop star second. The young artist instead signed to Geffen Records, who praised her songwriting rather than her superstar potential. Her strong pursuit of songwriting quickly led her to superstardom nonetheless with the release of her debut album, SOUR, in May 2021. The album has broken the record for the biggest female streaming week of all time for an album on Spotify, surpassing both Ariana Grande's Thank U, Next and Taylor Swift's folklore.
Olivia succeeds where other artists fail: executing youthfulness through music."
SOUR is a loose-concept album emulating the diary of a teenage girl following the end of a relationship. Full of energy and passion, the tracks are authentic to teenage experiences that so many can empathize with. Olivia succeeds where other artists fail: executing youthfulness through music. She never sounds as though she is trying hard to be relatable; rather, it comes naturally with the juvenile themes of the album, such as the experience of feeling jealousy towards strangers on social media, or feeling like you don't relate to the media-portrayal of teenage years being the best. Album opener "brutal" accomplishes this well, it's a Gen Z anthem about experiencing self-loathing as a teenager. Rodrigo falls into the category of "anti-pop" where she challenges the glamorization of life in pop music, with lyrics like, "I'm so sick of seventeen/Where's my f—ing teenage dream?"
As "brutal" calls to predecessors like Lorde and Billie Eilish with their outsider-like themes, Rodrigo is generally not afraid to wear her influences proudly. "Jealousy, jealousy," a highlight from the album, features a tastefully-chaotic piano section in its bridge that Rodrigo mentioned was inspired by the likes of Fiona Apple. On the track, Rodrigo's voice drifts in and out of singing and yelling, not far different from a vocal track you would hear on Fiona Apple's latest album Fetch The Bolt Cutters. Elsewhere, hear Rodrigo's inspiration from Taylor Swift, on the bridge of "deja vu" or the background piano on "1 step forward, 3 steps back" interpolated from Swift's 2017 track, "New Year's Day." It is clear throughout the album that Rodrigo is a product of the 2000s, whether it's on the pop-punk salute to Paramore, "good 4 u," or the reference to the hit television series Glee on "deja vu"—Rodrigo wants younger listeners to know that she is one of them.
Rodrigo already shows the markings of a great songwriter, with two songs on SOUR being completely self-written: "enough for you" and "happier." The former features a stunning vocal performance of bitter lyrics detailing the end of a relationship that felt one-sided, with lines like, "Someday, I'll be everything to somebody else/And they'll think that I am so exciting/Then you'll be the one who's crying." The latter, "happier," sounds like an instant breakup song classic, with a simple but catchy hook where Rodrigo sings, "Find someone great, but don't find no one better/I hope you're happy, but don't be happier." The simplicity of her lyrics makes them easily universal.
The production on SOUR is similar to the songwriting in its simplicity. While this is good in many cases, by showcasing Rodrigo's songwriting at the forefront, it can cause some songs to feel underwhelming and underproduced. By the time "happier" is played in the tracklist, both "traitor" and "drivers license" have already featured similarly sparse productions with only piano, drums, and synths. The sole guitar finger-plucking on "enough for you" and "favorite crime" is beautiful, yet it doesn't match the energy of the emotive stories both songs tell.
The penultimate track "favorite crime" has some of the most compelling lyrics on the album, yet feels cut short, and therefore unfinished."
With 11 tracks and a run-time of only 34 minutes, SOUR is a relatively short album. This is not necessarily a bad thing, it is just a completely different direction than the initial single "drivers license" pointed to. The song, which became a hit within days of its release, is a slower, more drawn-out piano ballad, and ended up being the longest song on the album with a runtime of roughly four minutes. This might be a decision made in an effort to boost streaming numbers, a trend that both pop and hip hop music is currently facing while adjusting to a new industry that is stream-reliant—shorter tracks take less time to stream, thus albums with shorter tracks are able to achieve the same number of streams as standard albums in a shorter period of time. The penultimate track "favorite crime" has some of the most compelling lyrics on the album, yet feels cut short, and therefore unfinished. In the song, Rodrigo uses a metaphor of a crime scene to detail the toxicity of a relationship, with lyrics like, "I watched as you fled the scene/Doe-eyed as you buried me/One heart broke, four hands bloody." The song is well-written as is, but only feels surface-level compared to where the lyrics and story had the potential to go if given more time.
Had SOUR gone in the direction of longer ballads like "drivers license," Rodrigo's true talent in songwriting could have had more of an opportunity to be showcased. It is important to consider, however, that SOUR is only Rodrigo's debut album, and she still has years left in her career to perfect her craft. With the unprecedented success of SOUR, this will definitely not be the last we hear of Rodrigo, and it will certainly be captivating to watch her career unfold.
Jinho Lee
Bodie Morein, Assistant Illustrations Editor
Frog and Toad. Who doesn't love Frog and Toad?
If you could live anywhere in...


text:
← Beyond Haiku
"A Continuous Fabric (Nerve Movie?)":
Early Scalapino, Late Whalen
by Bruce Holsapple
Leslie Scalapino's tangled, darkish narratives would seem remote in approach from Philip Whalen's emotionally varied—variegated—lyrics, yet Scalapino repeatedly championed Whalen's work, and the two, beyond friendship, had affinities. Both regarded their poetry as investigating subjectivity and both proposed dismantling conventional ways of seeing—stripping perception of its overlays—in projects that entailed not only transforming their own thought processes but challenging the reader's as well, seen in Scalpino's adoption of a singular phrase from Whalen, namely, that the poetry be designed to "wreck your mind." At a less than obvious level, both innovated on the lyric subject, the speaker, as the vehicle but also in the manner (speaking) by which they'd accomplish that goal. To that point, their self-reflexive meditations on the role of self in perception would open both author and reader to states of mind that confound conventional thought. An important route, then, into Scalapino's work is through that speaking subject, and in the following, I'd bring Scalapino's insights into Whalen's uses of voice to her own early poetry, making evident the importance that voice has in her methods.[1] I also would tease out how that might change readers.
A part of my title comes from Whalen's 1964 "Preface" to Every Day where he explains the book's intended effect on readers, speculating on poetry as
A continuous fabric (nerve movie?) exactly as wide as these lines—"continuous" within a certain time-limit . . . to move smoothly past the reader's eyes, across his brain: the moving sheet has shaped holes in it which trip the synapse finger-levers of reader's brain causing great sections of his nervous system—distant galaxies hitherto unsuspected . . . to LIGHT UP. (Collected Poems 835)
The poems would read as a moving sheet or fabric that's designed, like musical notations for a player piano, to trip keys—synapses—in the reader's brain, demonstrating unsuspected areas inside. The notion of such a fabric is central to Scalapino.
Whalen also talks of his poetry in 1959 as "a picture or graph of a mind moving," the poem focused upon self-exploration, but explicitly not grounded in representations of self or in assertions and insights—rather in "motions" of mind as it composes, another point Scalapino picks up on. Here's an oblique instance, the opening lines of "Birthday Poem," written during his first visit to Japan in 1967:
Thank God, I don't have to write a poem
All those primulas raving potted hybrids
Mossy brim of brick fish pond
Only the biggest yellow-flowering one
Saves this day from death's vagrom fingers gloom & sad
Thank God none of those who read my poems don't see me
Don't realize I'm crazy, what book shall I carry with me
Lonesome for my own handwriting
A year among strangers, the Japanese all are mad
They look at me, can't forgive me for being funny-looking (571)
One can read this cranky, slightly paranoid stuff at face value, as representing Whalen, but the ironic opening feint, expressing his relief at not feeling compelled to write, obviously untrue—his use of hyperbole and the coy double negative, deft use of imagery, rushed phrasing and oddly sophisticated vocabulary, all signal a sensibility that counters taking the comments at "face" value. That is, there's a doubleness at play between the author and speaker, a reflexive seeing through that makes palpable Whalen's insight into his own processes.[2] More narrowly, this doubling effect posits distance between speaker and author, even though that speaker is given as the author. Such renditions indicate that self is under scrutiny, chiefly in terms of whether or not one's perceptions are reliably representing the world. Obviously they're not. That is also to say, Whalen plays upon a self-reflexive region between the speaker—himself—and the author—himself—in a sort of pantomime, resulting in a calculated but telling goofiness, a calculated, telling exasperation with self.
"if you exist any day you are not the same as any other day no nor any minute of the day because you have inside you being existing."
There are five places where Scalapino discusses Whalen, all contained in the second edition of How Phenomena Appear to Unfold. I'll focus on three. The first occurs in the title essay, developed from a 1989 Naropa talk on poetic form, where Scalapino speaks to "Birthday Poem" (above) and focuses on "how one sees (locationally and spatially) within the work composing an order" (116), an often illusory order, and on the apparent simultaneity of events occurring inside the poem. That is, Scalapino stresses that although "Birthday Poem" was ostensibly written on Whalen's birthday, it was composed from notebooks written over the following two years, simultaneously but disjunctively presenting past, present and future as unified, for locale and time shift without markers. I'd add here that Scalapino restricts this talk to aesthetic experience, how phenomena unfold inside works of art. That restriction doesn't hold for all of her statements on past and future, but for simplicity, I'll stick with that.
How things appear in "Birthday Poem" emerge from both inside and outside, she explains, specifically, from inside the speaker as the subject (perhaps "in" a location) and from events "seen to be 'outside' and really therefore called up thus seemingly created" (116). It's from the outside that an impression of history occurs. Scalapino then quotes from Gertrude Stein's "Narration" (which Whalen had quoted), on the gnarly topic of inside and outside, where Stein distinguishes experiencer from experience in terms of what's existing and what's happening. The outside continuously occurs, Stein points out, which one knows because "inside" that event, and "if you exist any day you are not the same as any other day no nor any minute of the day because you have inside you being existing." She then elaborates: "well the inside and the outside are not the inside and the outside inside," that is, the two don't exist totally "inside," nor can they happen totally outside.[3] Happening and existing—difference and identity—are interdependent; they require each other, and Scalapino reads them as simultaneously creating each other. At the conclusion of this talk on form, Scalapino states she's concerned "with the sense that phenomena appear to unfold" inside her work and asks "(What is it or) how is it that the viewer sees the impression of history created, created by oneself though it's occurring outside?" That "outside" informs our view of the poem, but we bring that into the poem. It's a social construct. She proposes alternately that it is by moving through "multiple perspective " in which "viewer and speaker are 'within' (being its inside) the work, [that] allows reality to leak from many holes all around" (127).
In an "Introduction" to Whalen's Overdrive: Selected Poems, Scalapino advances on two thoughts. Whalen's writing, she posits, "is imitation of his own speaking," a ventriloquism "which by being sensitive scrutiny of himself is actual conversation" (139). This is the self-reflexive doubleness I've mentioned. But inasmuch as his "sound/shape" constructions are mind-phenomena [140]), made "overt as voices simultaneously as their being the ego of the speaker," so constructing the poem displaces that ego ("wrecks the mind") (139). Second, Scalapino talks of Whalen's writing as "the occurrence of time as being, or being as time" where past, present and future occur simultaneously, for in his work there are layers or levels that result from writing about or within what the mind was doing at various times and locations—multiple perspectives or "layers as states of mind as if these are the sound/shapes that's the writing" (140). These discrete layers are presented without explanatory connections, disjunctively, and such poems become in effect "history as disjunction," wherein the impression of history comes undone: "all times being brought together and separate simultaneously ('wrecks the mind') is there being no 'history' then" (140). As regards our reader, "The syntax and structure of the poetry imitates or duplicates the process of the reader's own mind-phenomena, so that one is reading as going through the process that is one's own mind" (137).
Scalapino expands on these observations in "Language as Transient Act," an introduction to Whalen's Collected Poems. She again refers to the simultaneity of past, present and future of time-as-being, although here that simultaneity relates to the leaping effects in Whalen's verse, for one often must jump from phrase to juxtaposed phrase, without explanatory linkage, that is, jump between perspectives, inside and out. The lack of linkage leaves one the impression, she notes, that such phrases produce each other, arise simultaneously. This allows the reader's mind "to be nowhere in formation," disengage from constructing an explanatory coherence for the text. "So the present is only empty there (has no nature as itself, is words) and the future and past being a series of such presents-without-entity appear to arise from each other." She terms this the disjunctive present, "which is no-separation of self and outside" (132-3). That lack of separation relates to a Buddhist notion of "free fall," phenomena arising as in a "giant web where the only reality is the imposed inter-relations of the entities." The mind recognizes that "entire fabric of constructed order" as produced by mind itself and so goes into free fall, nonattached (134-5).
All avant-garde movements, Scalapino contends, would break down or otherwise remove a barrier "between the spectator/reader and their being that present time," that is, their being both inner and outer, a project she also speaks of in terms of puncturing through an illusory mind/body split, similar to the holes through which reality was (above) said to leak. Whalen's project, she posits, is an "examination of mind itself as shape and movement itself, or stillness, even extending that movement or shape to see the mind as inseparable from history . . . ." (129-30). By focusing on self-talk, Whalen turns inward, toward what Scalapino terms "interior scrutiny," using voice as a means by which to explore mind as it composes—to observe himself observing. The purpose behind this doubling is a liberation—obviously a freedom from illusion, but further so that one arrive at a "point of no appearance" (123).[4] Scalapino further argues Whalen's writing "is sound schemes, frequently the leaps and omissions of conversational exchange whose space and process are active mind phenomena. Conversation," she elaborates, "implies more than one voice, also implies the mind creating self, and simulation of history, the inside and the outside together" (132). As a result of this doubling: "The attention of the mind (of either the speaker's, or the reader's or listener's) in reading the text or during the performance, is neither in nor outside of that experience" (123), where "the mind examining the mind is the point of no appearance" (124). The mind recognizes mind as phenomena, yet finds itself outside of that experience, dismantling history as 'a hierarchal construct that conceals relation" (130).[5] I read this disclosure of interrelation as a major motive in her own work, and I read the detachment as self-reflexive, "a gesture regarding itself" (Public World 51).
The triviality of the speaker's pursuits, often presented as a struggle, is the focus, a sort of Mad Magazine in verse. In point of fact, most of Scalapino's early speakers are in some way peculiar. They don't fit socially and often imitate others as a way of belonging.
Scalapino obviously speaks to her own project through Whalen, and her insights are readily transposed to her work by way of her use of terms "mime" and "imitate." In her introduction to How Phenomenon Appear to Unfold, for example, she speaks of her intention "to mime and demonstrate—be (and be seeing) the process and the instant of—the inside and the outside simultaneously creating each other . . . ." She speaks of one essay as imitating H.D. (in order to understand her), of another as mirroring Ron Silliman's concept that "syntax mimes space," and of others, collectively, as imitating motion as gesture, with late essays as sound-structure-syntax conceptually miming cultural terrains (1-3, 6-9). Surely, then, mime is a recurrent strategy. In one late essay, Scalapino also speaks of her "methods of 'examination'" as creating (a view of one [in]) a seamless reality" in order to prick holes in it (270), that the light funnel through, much as she earlier described punching holes in appearance (Green and Black 1; Phenomena 211). Scalapino's miming, then, simultaneously tracks and critiques. That's where a doubling emerges. The mimicry occurs by way of the lyric subject through the use of voice, and Scalapino talks of this doubled aspect as a "speaking" that goes past the bounds of speaking (Public World 56-7).
Use of mime occurs in her first published book, O and Other Poems, 18 lyrics, chiefly in first person, where her speaker emerges as an interpretive problem. Below is "Whistler." Note how cleanly her narrative is structured: theme, complication, development, and resolution:
I wanted to be a champion whistler.
As an exercise I decided to capture in whistling
the buzz of a fly.
This is difficult because I could pay no attention
to the tune
but mimicked the stumbling of the fly from one key
to another.
At first it was necessary to whistle on scrambled
and often these were shrill and painful
or very low
(the exact buzz impossible to render).
But finally I succeeded in a facsimile.
What's that noise? people asked me
at first annoyed as I sat whistling on the living
room sofa
or broke into a whistle at the breakfast table.
They recalled something
however distant.
It's the sound of the buzz of the fly, I said. (No pagination)
Her ambition to be a champion whistler foregrounds a telling eccentricity, and note we're signaled immediately to focus on the speaker rather than through the speaker to a topic, because if that ambition wasn't odd enough, the speaker would accomplish this by imitating a fly, does so by mimicking how it "stumbles" from key to key. In contrast, the formal precision of her conclusion ("the sound of the buzz of the fly") announces that this rendition is accomplished. She's caused the audience to recall "something / however distant," just as the author slyly mirrors something in ourselves, our own pretension. Note also that the speaker lives with intimates—the context is social, perhaps familial, kitchen table, couch—yet her perspective is that of an outsider, addressing the others as "people," and she annoys them with that whistling. Nor does she ever finish her story, for that isn't the point. And I don't think the author is simply making fun, although this poem does seem part of a running joke. A second poem speaks of watching a fly, a third of separating M & Ms by color (before eating them), a fourth of staring at the ceiling, a fifth of cleaning one's room by an odd numbering system. The triviality of the speaker's pursuits, often presented as a struggle, is the focus, a sort of Mad Magazine in verse. In point of fact, most of Scalapino's early speakers are in some way peculiar. They don't fit socially and often imitate others as a way of belonging. But the poem operates by transgression, by spurning an expectation of what poems should do—literary convention—even though this poem presents itself in a perfectly polite way, as a straightforward narrative in first person (with unadorned diction and conversational rhythms) of an unusual—tellable—experience. That is, there's a dichotomy between its status as a lyric and its significance as such, for the speaker never discloses anything of significance. It refuses to play that game. Although portending to be guileless, it violates our expectation of disclosure, if not also how we produce meaning, invoking instead imitation of a fly. It likewise flouts Grice's cooperative maxim of Relation.[6]
Voice becomes a more conspicuous focus in Scalapino's first major collection, Considering how exaggerated music is, where the credibility of her speakers is flagrantly at issue. The first section, hmmmm, for example, opens with someone who reports upon a prior speaking event. The curious opening line reads: "Consider certain emotions such as falling asleep, I said." That is, the speaker has asked a prior audience to consider falling asleep to be similar to anger, fear, and fainting, for she feels that sleep is induced in her—it's a time when blood is "forced into veins," causing her (for one) to lose focus: "My tongue is numb / and so large it is like the long tongue of a calf or / the tongue of a goat or of a sheep" (3). "What's more," she positively loves this sensation, and when in private, she bleats. "No wonder I say that I love to sleep," she concludes, as though she hadn't known quite why she's moved in this way. As Marjorie Perloff points out, her argument isn't logical, and Perloff discusses how "decentering the subject foregrounds the artifice of the verbal process," how Scalapino again plays with convention (as before), and how her language simulates "ordinary speech, with its short phrases, irregular rhythms, and gratuitous repetitions" (Radical Artifice 50-1). That might be pushed further, for the speaker's relationship to the prior audience would seem central. Why, for instance, did she ask them to consider falling asleep (on one's feet no less) to be an emotion? One infers this prior occasion was a testimonial. We could ask, then, what is there about such "emotions" that she'd testify to? For there is a submerged argument about affect at play, about surrendering everyday consciousness to sensation, such that losing one's focus (and one's speech), when blood is "forced" into the arteries (not the veins, as she's said), induces pleasure, and further, that uncovering these "emotions" testifies to an underlying element in human nature, a sort of inner animal. But if Scalapino is putting us on about this element, to what purpose?
The second poem opens, "Suppose I was [sic] thinking something, say, not knowing I was thinking it" (4), so again the topic of thought is invoked, such that acting without knowing what you think and losing focus are linked. In this segment, a dog approaches her with its tongue "lolling" and "whining the way human heads / loll forward in sleep and whinny," sounds that are similar to our own sounds. But, she adds, it was "something so hesitant and low" that she compares it to "a neigh, the way we neigh, not thinking, when we are nervously mimicking a horse" (4), that is, she's again broaching a boundary between human and animal in terms of thought. "So," the speaker states—with "so" being a sign of inference, "I mimicked him, the dog, right back." letting her tongue slide forward between her lips, "really laughing" (4). That inference occurs, as does her mimicry, on the basis of kinship, shared features. One wonders, consequently, what unconscious thought might have motivated this? And if we listen to that opening line (given recourse to the use of voice), the speaker's stress on "was" above indicates her retelling is (once again) part of an argument, with the concession that she may have subconsciously thought this out, as in, "Okay, suppose I was thinking something," but without knowing quite that she was thinking. Can one think without knowing you think? Perhaps. But if so, what happens to cogito ergo sum?
Perloff discusses this speaker in a second essay, citing another segment from hmmmm, this one about an encounter with a woman on a bus.[7] A stranger pretends to lose her balance and grabs the speaker by the arm, pinching her hard. Perloff comments, "But of course the real focus of this paragraph is not on the stranger but on the 'I,' who reads . . . sinister motives into the most ordinary of incidents. Somehow—how?—her mind's not right, or is it that her suspicion is merely the emblem of the larger, depersonalized, tooth-and-claw survival of the fittest that characterizes the postmodern metropolis?" (How Phenomena Appear 269). Perloff's reference to Lowell's "Skunk Hour" is a calculated one—she reads Scalapino's poem as employing a confessional model in order to "turn it inside out" (Radical Artifice 50). Scalapino's speaker concludes:
Though I believed (looking at her sideways,
and seeing only that her lips were parted slightly, with her snout
breathing softly) that during the two or three minutes
in which this pain lasted, she was saying (or at least I imagined [so
from the length of time that she held on to my arm
before releasing me) I wish that I could make you yelp just [once . (21)
Perloff considers this piece and the overall tone of hmmmm to be "just barely controlled hysteria" (269). But Scalapino felt that Perloff misread her and objected (in an essay) that she wasn't being represented by that subject "I," nor was that "I" projecting a malignancy (in the head) onto an urban landscape. Scalapino also discloses that the above segment was built from a dream that had "in it an earlier event from childhood," so involves three perspectives. She comments: "In the real (childhood) event I'd noticed someone wasn't human (a woman pinching me viciously with a gleeful expression in her eyes) and so realized I had a conception of that (what's human)" (269). The question of what is or is not human is helpful. But those described events weren't representing something, Scalapino insisted. They were "motions in space and commentary on these"—where "motion" clearly relates to Whalen's "graph of the mind moving," that is, with tracking the mind—and were intended as "breakdowns of prior constructions of events," emphatically not "proceeding as doctrine." Tone in hmmmm, Scalapino responds, "was actually very intentional—what is laughing? The tone gives the reader a surface that is non-readable—disingenuous and facetious and sincerity-as-vulnerable really being exactly the same. So it takes 'one' outside of socially controlled exchange" (Phenomena 269-70), in effect, I'd add, wrecking the mind. Mark that Scalapino doesn't want her poem sewn back into a fabric she was at pains to unravel. Being disingenuous, I'd also note, violates the Gricean maxim of Quality.[8]
Acts of miming and pretend, of peering into mirrors and of seeing oneself as 'other,' a mountain, for instance, or a gosling, comprise most of the episodes of hmmmm. Imitation is its primary mode, the ticket out.
There's much in hmmmm that's facetious, many jokes, preposterous gestures, disingenuous things confessed, and perhaps a cover up (of one's vulnerability), for there's also much that's sincere. The "tonal surface" is nonreadable because the text doesn't indicate ways to distinguish between those gestures. This particular poem expresses related ambiguities. But when ambiguity is intentional, readers don't require that such gestures to be separated. "How as I to know," the speaker laments, that a stranger would fake losing her balance in order to injure me? Perhaps she couldn't know. She's an innocent, as some of Scalapino's figures are. Mark however that in pretending to fall the stranger preserves a social "veneer," and that the speaker is careful not to look at her directly—that is, she doesn't violate personal space—so that the transaction occurs in secret. The stranger parts her lips to show her canines, but surreptitiously, "slightly." The duration of her pinch signals it's intentional, but that's also a secret. The speaker's response? She believes, perhaps imagines the woman to be saying "I wish you would yelp like a dog," namely, show yourself also to be canine. Yet what would that show, besides the stranger's dominance? It would make her inner nature public, get the speaker "down on all fours" as Scalapino later phrases it (19). This message, however, unfolds inside the speaker and elicits, according to Scalapino, the opposite, recognition of what it means to be human.
Scalapino elsewhere rejects interpretations based on exemplification and content—she counters that her work is "contentless" ("Interior Scrutiny" 206; Public World 50-1). That is likely because it's "in motion," "a gesture regarding itself," self-reflexive (Public World 51). At the risk of reinstating what Scalapino wished disassembled, however, there are elements intended to be linked, thematic subjects, and ways to approach this text, in Scalapino's terms, as both writing and critique, especially so when through the speaking subject, for almost all of the segments in hmmmm are expressed in first person, by someone given not only as a young woman, but a poet named Leslie (17, 25, 29), and this person coyly confides in her readers, so an exchange of some sort is at stake. Although what she confides is subject to interpretation, the occasions are noticeably public and the tone intimate, offhand. Her topic however is invariably private, for these segments function as disclosures.
I'd go further, for I read the poems as impersonations, but not impersonations of others, although Scalapino does that too—rather, impersonations of "Leslie" imagining herself as other, through the use of mimicry, voice, and in this section of the book, she imagines herself predominantly an animal, with kinship to other creatures, hence her emphasis on imitated sounds and her calculated childishness (sticking out her tongue), but enabled as well to participate, say, in the social life of a dog, for they often respond positively to her, even though the woman above does not. There are projections involved—she likewise sees through herself to the animal in others, as above, in reference to the woman's snout and teeth. Note however that the observation was marked as the speaker's imagining.
Scalapino makes that project most evident in the following segment:
As Rimbaud said, I thought today sitting in the library
absentmindedly leafing through a book on the habits of birds,
isn't the way we find happiness precisely by losing our senses
(oversimplified, of course, I was being facetious.) But still
I can see imitating a bird's call such as that of the fledgling
of a goose or a swan (here I referred to the book) by forcing
myself into a swoon. And, by way of finishing the thought, I,
for the sake of appearances, since there were people sitting
in the chairs around me, merely sagged forward in my seat and
whistled as if I were asleep. Ssss, it came out, sort of a hiss,
like the noise of a goose. So, almost before I knew it,
I followed this by a low and guttural cough
and leaned forward simply to expel some phlegm. Then quickly
I took a glance around before I wiped my mouth. Feeling weary. (17)
Citing Rimbaud's Lettres du Voyant above on the "disordering of all the senses" is a giveaway, even if the speaker disavows any intention of finding happiness by "losing her senses." While it's perhaps "oversimplified" for her to seek happiness in that way, it's also a bit more than that (even when you're being facetious). This is a literate speaker, and Rimbaud's intent was not to find happiness or even to "lose" his senses. It was "to arrive at the unknown," to disorder his senses in order to become a visionary.[9] The account deviates from Rimbaud in sloppy deliberate ways. She absently leafs through a book on bird habits and lays out her plan: "But still / I can see imitating a bird's call" by forcing herself into a swoon, although again she's sensitive to social context, pretending to be asleep at the table. Could she actually accomplish this project in a public library? No, this is pretense. Yet note how careful she is to "complete" her thought, that thought is again the topic, and almost before she notices, she's spitting on the floor. The speaker has marked affinities with our other, earlier champion whistler, and she imitates birds in order to eclipse an unstated but markedly human dilemma involving thinking, in order to get beyond that dilemma, by secretly experimenting with consciousness, an imaginative escapade intent on altering perception.
Acts of miming and pretend, of peering into mirrors and of seeing oneself as 'other,' a mountain, for instance, or a gosling, comprise most of the episodes of hmmmm. Imitation is its primary mode, the ticket out. And tone of voice is critical. "So far," muses one woman, "the idea of the dog's bark is sim- / ply the way I have found to describe a man's sounds." (One man is said to be led by his mistress as on a leash.) But "How can I help myself," another queries, from thinking about men, with all their kissing and barking, "as being like a seal," for as she reveals, "I am fascinated by the way a seal moves" (11). Or again, "Isn't it interesting how a woman like me / pursues in man after man / the same face or even same foot or hand" (6). That is, being likewise compelled. And obviously, to read such passages without attending to tone of voice—voicing—is to miss altogether their intention.
[1] Most critics talk of "voice" as a figure of speech (most famously, de Man), but the importance of sound in poetry indicates that the figure derives from the function of voice. Linguistic rhythm, after all, can't be determined without recourse to voice. By voice, I don't mean "psychological parameters" unifying style around a "notion of self" as "the primary feature of writing" (Bernstein 407-8). I mean a package of events above the phonemic level, the suprasegmentals: stress, intonation, loudness, pitch, duration, juncture, rate, and focus, what linguists term "prosody," and what Pound formulated as the total articulation of the poem. That would include punctuation, line breaks, and spacing.
[2] I speak of this doubleness in detail in "On Whalen's Use of Voice."
[3] Stein reiterates: "The inside and the outside, the outside which is outside and the inside which is inside are not when they are inside and outside are not inside in short they are not existing, that is inside, and when the outside is entirely outside that is is not at all inside then it is not at all inside and so it is not existing" (346). Stein also talks in this lecture of "at the same time while you are listening to be telling inside yourself and outside yourself anything that is happening . . . ." (342), i.e., the same doubleness.
[4] The phrase occurs in a poem by Steve Benson which Scalapino quotes and discusses.
[5] Experience for Scalapino is a matter of convention, social fabrication (e.g. Return of Painting 202).
[6] Grice posits that a "cooperative principle" underlies conversation, and he provides four norms or maxims, those of Quantity, Quality, Relation and Manner. The maxim of Relation is that the speaker make contributions appropriate to the needs of the transaction (28). My point is not that the poem should obey this norm, but that, inasmuch as the poem portends conversation, deliberately violating that maxim becomes an interpretive factor. For advances on Grice's model, see Sperber and Wilson.
[7]The essay originally appeared in Critical Inquiry 25 (Spring 1999). When Perloff republished the essay in Differentials, the passage on Scalapino was excised. The original version, however (as of 2/14/2020) is posted on Perloff's website http://marjorieperloff.blog/essays/silliman-autobiographer/#_ednref7. I refer largely to passages that Scalapino quotes in her response to Perloff.
[8] The maxim of Quality involves not saying what you believe to be false (27). Being false in a poem is an interpretive factor, one that runs the risk of having the poem discounted entirely. That's not the case here.
[9] Rimbaud's famous first letter to George Izambard reads partly: "Now I am going in for debauch. Why? I want to be a poet, and I am working to make myself a visionary: you won't possibly understand, and I don't know how to explain it to you. To arrive at the unknown through the disordering of all the senses, that's the point." Rimbaud follows this with another comment relevant to reading Scalapino: "I is some one else. So much the worse for the wood that discovers it's a violin . . . ." (xxvii).
Bruce Holsapple is a retired speech-language pathologist living in central New Mexico. He earned a PhD from SUNY Buffalo in 1991 and has published essays on William Carlos Williams, Charles Reznikoff, John Clarke, and Philip Whalen. He has published seven books of poetry, most recently Wayward Shadow. His book-length study of Williams's poetry, The Birth of the Imagination, was published by the University of New Mexico in 2016.
This entry was posted in Poetry, Poetry Society and tagged Black Bart, Bruce Holsapple, Buddhism, California, California Poetry, Leslie Scalapino, Modern Poetry, Philip Whalen, Poetry, Poetry Blogs, Poetry Lectures, Poetry Lessons, Poetry Society, Poetry Talks, Poets, San Francisco, Schools of Poetry, The New Black Bart Poetry Society. Bookmark the permalink.


With a stay at Iolanthe in London (Golders Green), you'll be 5.8 mi (9.4 km) from University College London and 6.1 mi (9.7 km) from University of London. This bed & breakfast is 7.1 mi (11.4 km) from Wembley Stadium and 7.2 mi (11.7 km) from Museum of London.
Breakfast is available for a fee.Take in the views from a garden and make use of amenities such as complimentary wireless Internet access.Pets not allowed Check-in time starts at 7:00 AM Check-out time is 10:30 AMFeatured amenities include multilingual staff and luggage storage.Extra-person charges may apply and vary depending on property policy.


text:
Tramways & Light Railways
Crich • National Tramway Museum
The National Tramway Museum has its origins in August 1948 when a group of enthusiasts purchased Southampton car 45 for just £10. From this grew a dedicated museum devoted to restoring and operating trams. The Tramway Museum Society was established in 1955 and in 1959 set up 'home' in a derelict limestone Quarry at Crich, Derbyshire.
Blackpool 49 passes through the depot gates on driver training duty on 8th September 1990.


Shoes and appropriate running attire. Event organizers are not responsible for any belongings left at race sites.
The race start is approximately 8 miles north of the finish up East Lakeshore Drive at the Swift Creek trailhead. Runners will head south along East Lakeshore Drive as it becomes Wisconsin Ave. Turn right on Labrie Dr then left on Dakota Ave. Continue on Dakota until it intersects with Skyles. At this point turn right on Skyles and go over one very short and steep hill to the finish line on the left.
There will be no parking at City Beach. Please use neighborhood streets and walk to venue. There will be a temporary loading area to drop off boats and bikes.
There will be a pre-race meeting at 6:30 AM at City Beach for all competitors. The meeting will provide participants with the most up-to-date information on the race course and a review of all safety precautions. IT IS MANDATORY FOR All PARTICIPANTS TO ATTEND THIS MEETING. The buses leave at 7am and The Glacier Challenge begins with the 8 mile run leg at 7:30 AM.
It is important for all participants to have their race bib visible for timekeepers to see. The timing chip is afixed to the bib so the bib needs to be visible on the front of your shirt. Do not crumple the bib. You should only cross a timing mat when finishing a leg.


In light of the recent tragedy at Sandy Hook Elementary, Pastor Bunjee Garrett looks at the tough topic of why evil exists and answers the questions; Does God make evil things happen? Why does God allows evil things to happen? Why does God allow the evil of this world to effect children?


text:
Find The "Right Place": Our 2020 Retire Overseas Conference
Baltimore, Here We Come… Right Back Where We Started From
in How to, Retirement/Living
Image Source: iStock/Melpomenem
If you've been to our Retire Overseas Conference in the past, you'll identify with this…
If you haven't, but are thinking about it, take this as a warning…
When you get behind closed doors with a team of LIOS experts and expats keen to share their insights on living and investing overseas… and you repeat this every day for three days… at some point, your brain will feel like it's going to explode.
You may show up on the first morning without any idea of where you want to go… not even sure if there is a "right place" for you overseas…
But, by the end of our first day together, your head will be swimming with possibility…
Here's how Wendy Howarter described her first LIOS conference experience:
"By the end of the third day, returning to our hotel room, we were exhausted, and our brains were full of facts, opinions, photos, and stories to digest. However, we were certain about two things. First, Costa Rica was off our short list and Colombia was on."
Truth be told, Wendy didn't want to spend her vacation time in a conference room. But it paid off. Since then, Wendy and her husband Darren have settled into a happy life of semi-retirement in Medellín, Colombia. And they've been back on stage with us to tell their tale.
"It's so much information!"… "I still can't decide!"… "I'm so overwhelmed!"… I've gotten these comments from hundreds of attendees over the years. And I've watched them exit the meeting room, take a deep breath, and head straight for the cocktail bar.
It's all normal…
You need time to process everything you hear.
The best advice I can give you—and this goes for any event you attend with us—is not to get too caught up in digesting everything during the conference. Absorb all the information you can… then let it settle. (Remember, at our conferences, you never have to take notes. We record every single speaker… bundle the recordings with supporting special reports… and make it all available to you after the event. You really can afford to relax.)
It may be when you return home and get some distance that your way forward becomes clear.
There's something else I must tell you about this year's event. Something that I hope will make things easier for our 2020 attendees…
In planning this year's Retire Overseas Conference, I had a long hard think over our list… that is, the list of top featured destinations.
Traditionally, we've featured 21 countries at this annual stateside event. That's a lot of information for our audience… not to mention pressure on our speakers to move along and make room for the next…
And while 20 countries may seem like a fair cut… considering the 195 countries of the world… we've realized that the majority of our readers are drawn to the same 10 or 12 places.
So, this year, we've decided to narrow the list to 14 countries—taking in destinations in Central and South America, Europe, and Asia.
I'm excited about this new approach…
On a personal level, I'm also excited that this 2020 Retire Overseas Conference takes place in my hometown of Baltimore, Maryland… the very place I left behind to embark on my own adventures overseas years ago.
Registration for this year's Retire Overseas Conference is officially open this week. This is your chance to register in time to claim one of the complimentary 2020 Retire Overseas Conference VIP Packages, meaning you'll get one of the best seats in the room… complimentary hotel transfers… special access to VIP-only events during the conference… and full concierge service during the event…
It all happens over Sept. 23–25. That may seem like a long way off now. But those VIP seats always go fast.
Get in touch with our Events team, toll-free, from North America at 1-888-546-5169 or at 1-443-599-1221 from anywhere else in the world to get all your questions answered.
I can't wait to meet you in Baltimore… where it all began.
Kathleen Peddicord
Retire Overseas In Under 12 Months By Asking 8 Questions
Tens Of Thousands Of Live And Invest Overseas Readers Have Retired Overseas
Kathleen Peddicord has covered the live, retire, and do business overseas beat for more than 30 years and is considered the world's foremost authority on these subjects. She has traveled to more than 75 countries, invested in real estate in 21, established businesses in 7, renovated historic properties in 6, and educated her children in 4.
Kathleen has moved children, staff, enterprises, household goods, and pets across three continents, from the East Coast of the United States to Waterford, Ireland... then to Paris, France... next to Panama City, where she has based her Live and Invest Overseas business. Most recently, Kathleen and her husband Lief Simon are dividing their time between Panama and Paris.
Kathleen was a partner with Agora Publishing's International Living group for 23 years. In that capacity, she opened her first office overseas, in Waterford, Ireland, where she managed a staff of up to 30 employees for more than 10 years. Kathleen also opened, staffed, and operated International Living publishing and real estate marketing offices in Panama City, Panama; Granada, Nicaragua; Roatan, Honduras; San Miguel de Allende, Mexico; Quito, Ecuador; and Paris, France.
Kathleen moved on from her role with Agora in 2007 and launched her Live and Invest Overseas group in 2008. In the years since, she has built Live and Invest Overseas into a successful, recognized, and respected multi-million-dollar business that employs a staff of 35 in Panama City and dozens of writers and other resources around the world.
Kathleen has been quoted by The New York Times, Money magazine, MSNBC, Yahoo Finance, the AARP, and beyond. She has appeared often on radio and television (including Bloomberg and CNBC) and speaks regularly on topics to do with living, retiring, investing, and doing business around the world.
In addition to her own daily e-letter, the Overseas Opportunity Letter, with a circulation of more than 300,000 readers, Kathleen writes regularly for U.S. News & World Report and Forbes.
Her newest book, "How to Retire Overseas: Everything You Need to Know to Live Well (for Less) Abroad," published by Penguin Random House, is the culmination of decades of personal experience living and investing around the world.
Ask Yourself These Questions Before You Move To Belize
My wife and I have been full-time expats living in Northern Belize, maybe the least-known part of this country, for...
Living A Whole New Life In Belize
Buying Real Estate In Belize: What You Need To Know
Most Frequently Asked (And Not So Crazy) Questions About Retiring Overseas
Moving Overseas Will Affect Your Family But It Can Be For The Better
The 2 Biggest Concerns Retirees Have Before Living Overseas
9 Critical Issues To Consider Before Deciding To Live Overseas


text:
in: Countries, Yemen, Asia,
British Commonwealth
Allāh, al-Waṭan, aṯ-Ṯhawrah, al-Waḥdah
Nashīd al-Yaman al-Waṭanī
Unitary Semi-Presidential Republic
Yemen (Arabic: اليَمَن al-Yaman), officially known as the Republic of Yemen (Arabic: الجمهورية اليمنية al-Jumhūriyyah al-Yamaniyyah), is an Arab country located in Western Asia, occupying the southwestern to southern end of the Arabian Peninsula. Yemen is the second largest country in the peninsula, occupying 526,715 km2 (203,366 sq mi). The coastline stretches for about 2,000 km (1,200 mi). It is bordered by Arabia to the north, the Red Sea to the west, British Aden, the Gulf of Aden and Arabian Sea to the south, and Oman to the east. Its capital and largest city is Sanaa. Yemen's territory includes more than 200 islands. The largest of these is Socotra, which is situated about 354 km (220 mi) to the south of mainland Yemen. Geographically, Yemen stretches from the desert sands of the Rub' al Khali to mountain peaks 3,660 meters above sea levels, and drops back down to the coast of the Red Sea and the Gulf of Aden. The nation is separated from the Horn of Africa by the strait of Bab-el-Mandeb.
Yemen was home of the Sabaeans (biblical Sheba), a trading state that flourished for over a thousand years. In 275 AD, the region came under the rule of the later Jewish influenced Himyarite Kingdom. Christianity arrived in the 4th century AD whereas Judaism and local Paganism was already established. Islam spread quickly in 7th century and Yemenite troops were crucial in the expansion of the early Islamic conquests. Administration of Yemen has long been notoriously difficult. Several dynasties emerged from the 9th to 16th century, the Rasulid being the strongest and most prosperous. The country was divided between the Ottoman and British empires in the early 20th century. The Zaydi Mutawakkilite Kingdom of Yemen was established after World War I in North Yemen before the creation of Yemen Arab Republic in 1962, while South Yemen remained a British protectorate until 1967. The two Yemeni states united to form the modern republic of Yemen in 1990.
The majority of Yemen's population live in rural or tribal areas, and it is one of the least developed countries in the world. Under President Ali Abdullah Saleh's rule, Yemen was described as a kleptocracy. According to the 2009 international corruption Perception Index by Transparency International, Yemen ranked 164 out of ? countries surveyed. In 2011, series of street protests began in January 15 against poverty, unemployment and corruption as well as against Saleh's plan to amend Yemen's constitution and eliminate the presidential term limit, in effect making him president for life. He was also planing to have his son Ahmed Saleh succeed him. Saleh handed over power to his vice president Abd Rabbuh Mansur Hadi. A national dialogue conference was launched on March 18, 2012 to reach consensus on major issues facing the country's future. The closing ceremony was held on January 25, 2014. Yemen will become a multi-region federal republic. President Hadi's term was extended for another year in order to appoint and monitor two committees. One to choose between two federal regions (North and South) or six; and the other one to draft a new constitution. The committees are expected to finish their assignments by January 2015.