Scleral contact lenses are a type of RGP (Rigid Gas Permeable) lens used for conditions such as keratoconus and pellucid marginal cornea degeneration. However, incorrect care of scleral contact lenses and solutions can increase the risk of eye infections and corneal ulcers. Risk factors for acquiring an eye infection include improper lens cleaning and disinfection, poor hygiene practices and smoking. Following your practitioner's hygiene regime, along with regular reviews, will minimise this risk.
Orthokeratology is a safe, reversible and effective vision correction solution. However, incorrect care of contact lenses and solutions can increase the risk for eye infections and corneal ulcers. Risk factors for acquiring an eye infection include improper lens cleaning and disinfection, poor hygiene practices and smoking. Following your practitioner's hygiene regime, along with regular reviews, will minimise this risk.
Step 1 Remove lenses from the cleaning solution case and rinse with saline. If using hydrogen peroxide solution a minimum soaking time of 6 hours is required for the acid to neutralise to saline.
Step 2 Fill the bowl of the lens with a lubricating eye drop or saline solution. If using the tripod method, place the lens on the middle finger, index finger and thumb. If using a suction tool, place the lens on the tip of the scleral suction tool. Ensure you are facing down horizontally, looking into a flat mirror. Reach around with your dominant hand to lift up the top lid, and use your non-dominant middle finger to hold the lower lid open. Using the mirror, place the lens on the eye. The suction tool must be squeezed to release the lens. To save confusion, it's a good idea to always insert the right lens first.
Step 3 If you happen to drop your lens, use saline solution to rinse. Place the lens in the palm of your hand and rinse thoroughly for 5 seconds.
Step 4 Dry and wipe out your lens case with a tissue. Leave the case lid off to air dry while wearing your lenses.
You may experience some discomfort if the lens is not in place correctly on the eye or if a foreign body, such as an eyelash or make-up pigment, is trapped underneath the lens. If this is the case, remove the lens and reinsert.
CAPTION: Tripod method. A rubber inserter can also be used to hold the lens if dexterity is a problem – ask your optometrist about this.
CAPTION: Different suction tools available for scleral lenses.
Always clean your lenses after wear. An effective cleaning process is vital to ensure comfortable, hygienic and infection-free contact lens wear. With correct cleaning, contact lenses will feel better on your eyes, allow better eye health and vision, and dramatically reduce bacteria and other contaminants. There are multiple types cleaning solutions: Peroxide based systems like AO Sept and multipurpose rigid lens solutions like Menicare and Boston Simplus. There are several steps involved in cleaning and storing scleral lenses that vary depending on the system.
To clean: Place a few drops of multipurpose contact lens solution on the palm and the lens, then rub with your finger-pad for at least 10 seconds on each side. The back surface (concave) is best cleaned by moving your thumb across the surface. This step removes material that deposits on the lens during wear. Whilst Ortho-K lenses are strong, with incorrect technique or too much force they can break.
Scleral lenses are made of a strong polymer which resists damage in normal wearing circumstances. It is very rare for a lens to break in your eye unless something hits your eye or your removal technique is incorrect/very forceful. The solutions you use to clean your lenses will not weaken or degrade them ‒ not even the powerful Progent fortnightly deep cleaner. However, they can still break if mishandled. There are some tricks you can learn to minimise this chance.
Forcing the lens to bend excessively while cleaning. Some friction force is required to clean a scleral lens using your cleaning solution, but not too much. The resistance from your skin surface will be sufficient to clean the lens. If too much force is applied on both sides of a scleral lens, the lens will flex and eventually snap.
Normally a lens will take less than one week to arrive from the lab when ordered. If you are very dependent on the lens, we will of course ask our lens company to manufacture it as soon as possible. Because of the inevitable waiting time, we encourage all scleral lens wearers to have a spare set of lenses available for a situation where a lens is lost or broken. We also offer 50% off the full price for a spare lens if purchased within 12 months of the original.
Never clean or store your scleral lens with soft contact lens solutions. These products work in a different way to the scleral lens solutions and will not clean and condition your scleral lenses.


1. (a) Explain how vacuum pressure is measured with the help of a U-tube manometer.
(b) The barometric pressure at sea level is 760 mm of Hg while on a mountain top it is found to be 735 mm of Hg. If the specific weight of air is assumed constant at 11.8N/m3, calculate the height of the mountain.
high end to 0.625m diameter at the low end. Quantity of water flowing is 0.1m3/s. If the pressure at the high end is 98.1kN/m2, find the pressure at the low end.
between the pipes are abrupt.
litres/sec. (include all minor losses).
8. (a) Derive an expression for the minimum starting speed of a centrifugal pump.
(b) Discuss the performance of multistage pumps.


text:
How to Fight Terrorism in Nigeria
By ElombahNews	 On Sep 8, 2015
It is no longer news that terrorism is now an, if not the main, issue in African politics today. The terrorist did their very worst on 2 April, 2015. The Garrissa University terror attacks in Kenya by the notorious al-Shabab
terrorist group which left 148 innocent students dead should at least be enough to convince even the most ridiculous doubting Thomas of the reality of the threat pose by these groups on our existence as a continent. The question then is how to fight it!
There have been various suggestions on how to deal with this disturbing trend. One central aspect in all the suggestions is the role of the Military. The perhaps only point of disagreement is methods or mode of its (Military's) involvement.
Before we go on, we need to make some important clarifications. We have no issue against using the military to tackle terrorism can at best provide mixed results. This is from the fact that the military operates on conventional principles in prosecuting convention wars. National Armies are expected to observe certain laws in war such as treaties governing "Prisoners of War" and the likes. Professional Armies are by law prevented from training under aged as soldiers. Extraterritoriality often extended to friendly or allied militaries, particularly for the purposes of allowing that military to simply pass through some territories during war. All these do or may not apply to unconventional groups like guerrillas or terrorists. It is therefore illogical to fight unconventional elements using conventional means!
It is time for a more pragmatic approach to tackling this issue. The recent successes recorded by local hunters, in Nigerian towns of Mubi, Michika, and Madagali, and the efforts of the local group called Civilian Joint Task Force(JTF) in rolling back the notorious Boko Haram in Nigeria provides a vital clue to kick start the process. The success recorded by these efforts proves that the military may lack the thorough analyses as a result of poor institutional and system processes to really root out this menace.
To curb the menace of terrorists, there is need for a trans-border approach. We say these because terrorists are groups without territories of their own. This is where the African Union (AU) and other sub-regional blocs come in.
Like I argued in an earlier article the AU needs to do more than just depend on army recruits from member states. It must itself have its own standing High Command for its own specific operations and enforcements of its sanctions. The Union which has a rich history of armed struggle against colonialism, having through it powerful Liberation Committee, trained guerrilla groups against colonial and apartheid regimes, must rise up to its new challenge without much ado. The Union must ignite its historic spirit of struggle, and face this monster of terrorism.
It is on this note that I recommend an Anti-Terror Department (ATD) or any other suitable name under the direct supervision of the African Union (AU) for the specific purpose of combating terrorism. The ATD must be well-funded by member states, voluntary donations from individuals and organisations whose objectives are incidental with those of the African Union. It must have a secretariat of its own, and an effective means of propaganda. You heard us right "Propaganda" in the fight against terror.
We are equally recommending the ATD be trained under the guidance of professional soldiers in the art of conventional warfare. The ATD must be granted the full powers of extraterritoriality throughout the continent. This condition is not negotiable.
In some cases some governments for foreign policy reasons or any other politically-motivated reasons sponsor or harbour terrorist groups. This is where the efficacy of the propaganda machinery of the ATD will be put to test. The AU must do all within its powers: political, economic, social or any other to put pressure on such government by cutting of its arms supplies.
Volunteers for operations for the ATD must be regularly paid from funds available at its disposal. They must all be of African descent. Their camping base must be in strategic places in North, Central East and Southern Africa for effective operations.
The Garrissa University attacks and other nefarious activities of al-Shabab in East Africa and Boko Haram in West Africa should be seen as early warnings by the AU for further attacks whose next port of call is highly unpredictable.
We are aware some may take our recommendations as too simplistic. We agree. But a quick reminder here is that the United States-led North Atlantic Treaty Organisation(NATO) have for more than a decade been in Afghanistan fighting Al-Qaeda and the Talibans the only mistake has been fighting terror using conventional methods!
Olalekan Waheed ADIGUN is a political risk analyst and an independent political strategist for wide range of individuals, organisations and campaigns. He is based in Lagos, Nigeria. His write-ups can be viewed on his website http://olalekanadigun.com/; Tel: +2348136502040, +2347081901080, Email: olalekan@olalekanadigun.com, adgorwell@gmail.com. Follow me on twitter @adgorwell
Nigerian Fugitive, Wale Kekere-Ekun, Jailed For Life in UK for Murder
UN empowers clinics to treat rape victims, pregnant IDPs

redpajama_set_name: RedPajamaCommonCrawl


text:
The Loop Sports
Chicago Sports News and Opinion
TLS Podcasts
The Chalk
MKF
Cubs Game Story
Cubs: Almora Continues Power Surge in 14-6 Defeat of Nationals
Albert Almora continued his power surge on Friday night as the Cubs clubbed six home runs in a 14-6 win over the Nationals. Daniel Shepard has the details of the victory here.
by Daniel Shepard
Chicago Cubs outfielder Albert Almora is in the midst of his fourth season at the big league level. All spent on the north side of Chicago, the 25-year-old has developed a knack for being a defensive-minded center fielder with his bat often lagging well behind his work in the field.
While posting solid defensive metrics despite playing only sparingly, Almora has yet to really find his groove at the plate, perhaps due to his lack of regular playing time. Even after appearing in 152 games last season, Almora racked up only 479 plate appearances, as he often entered games late for defensive purposes.
Almora's platoon role with the Cubs has revolved around his inability to consistently hit right-handed pitching. For his career. Almora is slashing .278/.308/.390/.698 against right-handed pitchers, numbers that rise to .296/.347/.438/.785 when southpaws are on the mound.
Despite those marks, 11 of Almora's 19 career home runs entering play on Friday came off right-handed pitchers, a figure that is no doubt the product of facing more righties than lefties over the course of his career. To back that up, Almora owns a .142 ISO when batting against left-handed pitchers, a mark that dips to just .113 against right-handers.
While Almora was touted as a solid offensive player coming out of the draft, the Cubs have yet to see the outfielder's offensive ceiling. For his career, Almora has posted a slash line of .284/.321/.406/.727, establishing himself as a player who will record a solid batting average but not much else. His 5.1 percent career walk rate would challenge Javier Baez while his 93 wRC-plus slots Almora as a below average offensive player.
Sure, that last figure suggests Almora has been just seven percent worst than league average over the course of his early career, but that number is being propped up a bit. Across Almora's first 179 big league games, he posted a wRC-plus north of 100, hitting a combined 11 home runs during the regular season.
Since then, across another 191 contests spanning the 2018 and 2019 seasons, Almora has managed only eight more home runs and posted wRC-plus's of 89 and 70 respectively. Last season saw Almora post the worst offensive campaign of his career as he slashed .286/.323/.378 with a .305 wOBA and lackluster .092 ISO. Each of those last two numbers represented career-lows for Almora as he drew a walk only five percent of the time while striking out at a 17.3 percent clip (career marks).
Partly due to his work on the defensive side of the ball, Almora was slightly above replacement level in 2018 despite his terrible offensive numbers. Even with an additional 150 plate appearances from 2017 to 2018, Almora was only able to match his 1.1 WAR from '17, making fans question if this was the outfielder's offensive limit.
Judging by what Almora has done over the course of his career and so far in 2019, it would seem the best offensive version of Albert is one that is right around league average. This season, the Cubs would gladly take the league average version of Almora, but that has not been what they have received so far.
Through 39 games entering play on Friday, Almora was besting many of his career worst offensive numbers. With a .248/.285/.368 slash line, Almora has amassed a wOBA of only .275 this season with a 70 wRC-plus to boot. As for his peripheral numbers, while Almora's strikeout rate is down from last season (16.8 percent), so is his walk rate (4.0 percent). That number would represent a career-low for Almora as he has never drawn more than 24 free passes in a season.
Looking deeper than some of the surface numbers, one can see a few bright spots for Almora this season. First off, on defense, Almora entered play without an error to his credit and ranks fourth in the majors with four outs above average at the center field position.
Offensively, Almora entered play in the midst of a solid stretch of play. From May 7 through first pitch on Friday, Almora was slashing .265/.265/.500/.765. As you can tell from the line, Almora had not drawn a walk over his last 34 plate appearances, a streak that extended into Friday's action. Nevertheless, what he has done is begin to tap into his more at a higher clip, mashing two home runs and collecting two doubles over his last nine games.
Those knocks have helped to amass a .235 ISO for Almora over this recent stretch of play, as he has posted a healthy 11.8 percent strikeout rate to go along with his new-found power-stroke.
For his effort, Almora has put together a 99 wRC-plus over the last handful of games, giving fans and the front office alike a glimpse of what he can be on the offensive side of things.
No doubt helped by this recent power surge, Almora entered play with an ISO of .120 on the season, a 28 point increase from a year ago. Additionally, despite his 61.1 percent ground ball rate (career high), Almora has posted a hard contact rate of 30.6 percent, the highest of his career if it holds throughout the season.
As has been documented above, Almora struggled mightily in 2018. On 369 batted balls last season, Almora collected only five barrels according to Statcast. The season prior to that, Almora racked up 10 such barrels in only 251 batted balls, giving him a solid 4.0 barrel rate.
With his struggles in 2018, Almora's barrel rate dipped to 1.4 percent, a number that fell within the bottom four percent of the league. In 2019, that number that returned back to 4.1 percent as the Cubs outfielder has managed four barrels in just 98 batted balls entering play. Even with that, however, Almora's average launch angle is the lowest of his career of 6.6 degrees while his .247 expected batting average and .268 xwOBA would follow if they hold for the remainder of the season.
Nevertheless, Almora's 32.7 percent hard hit percentage ranks as the highest of his career while his 22.2 percent whiff rate represents the best mark of his career.
With his good run still in full-swing, Almora found himself hitting out of the eight-hole in Joe Maddon's lineup on Friday night in Washington. Facing one of the toughest pitchers in baseball in the form of Max Scherzer, many knew runs would be a premium in our nation's capital.
Early on, however, it seemed neither Scherzer nor Cole Hamels (the Cubs' starter) was at the top of their game. Starting with the home club's starter, Scherzer walked lead-off man Kyle Schwarber on four pitches to kick-off Friday's contest. Just a pitch later, and only five into the game, the Cubs had two runners on base against Scherzer as Kris Bryant ripped a solid single through the left side of the infield behind Schwarber.
For Bryant, the slugger's streak of reaching base in 25 straight games entering play was extended with that base knock, running that number to 26, the longest active streak in baseball.
Over the last handful of games, the Cubs have struggled with men in scoring position, hitting just .135 and collecting a mere seven hits in their last 67 plate appearances with a run-scoring opportunity. On Friday, it seemed the Cubs would only further add to that number as Anthony Rizzo grounded into a 3-6-1 double play.
Despite the twin-killing, Rizzo's ground ball moved Schwarber to third with Baez due at the plate and two away. Baez has been one the Cubs' most consistent players this season, entering play with a .326/.360/.611/.972 slash line with 11 home runs and 29 RBI. On pace to challenge his MVP-caliber numbers from last season, Baez added to his RBI column by slapping a double into left field and giving the Cubs an early 1-0 lead on Friday against Scherzer and the Nationals.
That knock moved Baez's hitting streak to 15 games, the longest current run in the majors.
After finishing the first inning with a strikeout of Willson Contreras, Scherzer was able to retire Daniel Descalso with a fly out to kick-off the second frame. Luckily for the Cubs, however, Jason Heyward found some good graces, ending his 0-for-22 run with a floater into right-center that resulted in a single for the veteran. Despite getting off to a red-hot start at the plate, Heyward entered play hitting in the lower .200's and batting out of the seven-hole.
With that being said, his one out single in the second sat the table for Almora to stretch the Cubs' lead in the early-going against Scherzer. On an 0-2 count, the veteran right-hander tossed Almora a nasty-looking 83 MPH change-up that drifted well inside. No matter the location, the Cubs' outfielder was able to pull his hands in, sending the Scherzer offering 445-feet to left field at 106.9 MPH. The longest home run of his career, Almora's towering shot in the second inning extended the visiting club's lead to 3-0.
Reinforced by his home run on Friday, Almora has vastly improved his numbers against off-speed pitches. In 2018, Almora hit .171 with an expected batting average of .162 on off-speed pitches, adding a slugging percentage of just .257 to the mix. This season, those numbers have ticked up dramatically thus far in 2019. Entering play, Almora was hitting .286 on off-speed pitches with an expected batting average of .288 and a slugging percentage 100 points higher than 2018's mark.
To boot, Almora began play averaging .302 with a .444 slugging percentage against fastballs, numbers that fall in-line with his 2018 figures.
Staked to a 3-0 lead courtesy of Almora and Baez, Hamels was never the sharpest version of himself on Friday. Early on, the first inning represented the first of many tight ropes the left-hander would walk as he loaded the bases with two away. Nevertheless, as remained the theme throughout his outing, Hamels worked himself through trouble, inducing a fly out to escape the jam.
In each of the fourth and fifth innings, Hamels found himself in challenging situations as the Cubs clung to a one-run advantage. With runners on second and third base and no outs in the fourth, Hamels recorded a strikeout, fly out and ground out to hold the Nationals at bay. In the fifth, Hamels once again allowed Washington to load the bases, this time with two outs, before striking out Michael Taylor to quite the threat.
Perhaps as a bit of irony, the only runs allowed by the veteran on Friday came as a result of the first two batters of an inning, one that otherwise would have been a 1-2-3 frame. In the third inning, Victor Robles was clipped with a pitch by Hamels and was allowed to walk home courtesy of an Anthony Rendon two-run long ball that made the score 3-2 Cubs.
Cut to a one-run lead, the Nationals threatened in each of the fourth, fifth and sixth innings. As mentioned above, Hamels quieted two of those rallies, with the bullpen stepping up and shutting the Nationals down in the sixth. Despite Kyle Ryan allowing two runners to reach base with one out (single and walk), Brad Brach entered and needed only one pitch to induce a 6-4-3 double play to put an end to the threat from the home team.
Due to the multitude of base runners and sticky situations allowed by Hamels on Friday, the left-hander's pitch count quickly jumped out of control. For that reason, Hamels only completed five innings, needing 101 pitches to do so. Of those offerings, though, Hamels induced 10 swinging strikes, two each on the five different pitches he featured (two-seam fastball, four-seam fastball, cutter, change-up and curve-ball). Additionally, Hamels added eight called strikes, three with his cutter and another two on his change-up.
While he was able to limit the Nationals to only two runs over five innings, Hamels' command was never really present as he amassed 60 strikes, leaving the remaining 41 to be called balls. Hamels' final line looked like this: five innings, seven hits, two earned runs, three walks and five strikeouts on the aforementioned 101 pitches to lift his season ERA to 3.13.
With Hamels out of the game, the bullpen was tasked with eating four innings to lock down the win. No matter their success of late, insurance runs are always a good idea, especially against a potentially potent Nationals lineup. In each of the final three innings, insurance runs are exactly what the Cubs got.
Thanks to a two-run home run by Kris Bryant, the Cubs took a 5-2 lead into the latter portions of Friday's contest. For Bryant, his 401-foot blast to center field represented his ninth long ball of the season, pushing his RBI total to 28 in the process and further building the .914 OPS he took into play.
Bryant and the Cubs would not be done supplying power on Friday night, however, even as the Nationals rallied to cut their lead to just one run. Courtesy of three straight singles and a balk in the bottom of the seventh, Washington made the score 5-4 still in favor of the Cubs.
While Carl Edwards Jr. supplied the balk, he also made a great play to keep the Nationals from tying the game in the seventh. Just a handful of pitches after balking in Washington's fourth run of the game, Edwards spiked a curve-ball in front of home plate that completely eluded Contreras behind the plate. Thinking the ball had kicked into foul territory, Contreras run toward the first base dugout as Brian Dozier broke for home from third base.
Instead of rolling out of play, however, the ball kicked up in the air and landed in front of home plate, allowing Edwards to field it and induce a run-down that retired Dozier and preserved the Cubs' lead.
Perhaps sensing that five runs would not be enough, the Cubs together another rally, this time in the eighth inning. Sat up by Almora who singled to kick-off the frame, Schwarber worked a 12-pitch at-bat from Kyle Barraclough before sending the 13th pitch from the reliever into the bullpen in left field, stretching the Cubs advantage to 7-4.
As it turned out, that at-bat spelled how the inning would go for the Nationals as the Cubs tacked five runs their lead in the eighth, making what was once a close game a 10-4 contest. All told, the Cubs sent 10 men to the plate, scoring five of them as Bryant added a solo blast to the mix for his 10th of the season and second of the day.
Despite allowing the Nationals to rack up 13 hits, Hamels and the Cubs' bullpen limited the home team to six runs. For the Cubs, they strung together 18 hits with five coming in the eighth, plating 14 runs in the process while going just 3-for-12 with runners in scoring position.
Perhaps for good measure, Bryant continued pounding the baseball on Friday. This time in the ninth inning with a runner on base, Bryant punished his third ball of the game, sending an offering from Matt Grace 410-feet to left field. Off the bat at 108.3 MPH, it was the hardest hit of his three home runs on Friday as his first two exited the lumber at 102.3 and 99.7 MPH respectively.
All told, Bryant finished the night 4-for-6 with three home runs, five RBI and three runs scored, collecting long balls number nine, ten and 11 on the season. For the slugger, it is his second three home run game of his career as the Cubs plated a total of 11 runs in the final three innings.
Bryant's two-run shot in the ninth not only gave him a long ball in the seventh, eighth and ninth frames but it moved the Cubs' lead to 12-4. Well, just two batters later, Contreras entered the action, crushing a two-run bomb of his own just over the right field wall. That home run by the Cubs' back-stop was his 11th of the season, already more than he hit in 138 games last season. Additionally, Contreras' home run gave the Cubs six home runs on the night and capped the scoring Cubs' scoring at 14 runs as the Nationals added two to their tally in the ninth to cap the overall scoring at 14-6 in favor of the visiting club.
Overall, the combination of Contreras and Bryant went 8-for-11 with four home runs, seven RBI and four runs scored on Friday in an absolute drubbing of the Nationals.
With the win, the Cubs improve to 26-16 while the Nationals fall to 18-26 on the season.
Next Up for the Cubs
The Cubs will continue their three-game set with the Nationals on Saturday at 6:15 pm at Nationals Park. Taking the ball for the Cubs will be left-hander Jon Lester (3-1, 1.16 ERA). Since returning from a hamstring injury on April 25, Lester has been at the top of his game. Across 24.2 innings spanning four starts, the southpaw has yielded just four runs (one earned) on 22 hits while striking a combined 25 batters.
Three of those four outings have resulted in wins for the Cubs as the left-hander has lowered his ERA more than a full run to where it stands now at a sparkling 1.16.
Opposing Lester on the mound Saturday will be right-hander Stephen Strasburg (3-3, 3.63 ERA). Like his counterpart, Strasburg has also been solid over his last handful of starts. Since May 1, the veteran has made three starts, spanning 19.1 innings and posting a 3.26 ERA in the process. Across that same time frame, Strasburg has struck out 27 batters versus just six walks.
Follow Daniel Shepard on Twitter-Feature Photo Credit: The Loop Sports
TagsAlbert Almora • Chicago Cubs • Cole Hamels • Kris Bryant • Kyle Schwarber • mlb
1 comment on "Cubs: Almora Continues Power Surge in 14-6 Defeat of Nationals"
Barry Parshall
Anyone know if anyone has hit 3 HRs in 3 consecutive innings before? And of course he can go for #4 in the 1st inning tomorrow night.


Have your most important sewing tools close at hand and organized with these adorable cups that feature a different kitty on each. The handle on the cup will allow you to easily carry your essentials from your sewing machine to your ironing board or other work stations. The finished size fits an average-size mug or coffee cup, and 3 different kitty designs are included.


This is the first book-length project to examine, side by side and through close textual analysis, the medieval adaptations of Vergil, Lucan, and Statius from Latin into Irish Gaelic. By juxtaposing the Imtheachta Aeniasa, In Cath Catharda, and the Togail na Tebe more closely to the Aeneid, the Bellum Civile, and the Thevaid than has ever been done, Harris is able to detect patterns of nuance in all three adaptations which go beyond the obviously historical generalizations about times and customs.
This book examines the fairy-tale as a significant influence on place in the literature. The rapid development of children's fiction in the nineteenth century occurred shortly after the widespread circulation of fairy tales. Fairy tales are a particularly concrete, visual, and cinematic form of writing, a genre in which place plays a significant role. Children's authors use fictional landscapes in a variety of traditional and innovative ways to create compelling, powerful texts.
Brings together all the Latin poetry of Walter Savage Landor, who believed that Latin was the only language suitable for memorializing the great contemporary political struggles of his lifetime. He set himself up as the bard of anti-tyrannical revolutionary moevements in Italy and elsewhere and published approximately 550 poems between 1795 and 1863. Many of these excellent poems reflect contemporary outlooks, prejudices, and sensiblities of English Romanticism to such a degree that they can legitimately be considered specimens of English Romantic poetry. Many of them offer fresh and illuminating insights about the poet's life and personaly and constitute a treasure trove of valuable material that hass beeen nhelgected by biographers, literary scholars, and critics. This edition presents all of his Latin poetry, together with critical introduction, facing English translations, and copious annotations.
What sets mankind apart from all other species is not the naked skin, the upright stance, the use of tools or the capacity for thought and emotion. Not even the ability to speak makes the difference. The true 'sapiens factor,' the element which turned ape into man, was the transition from verbal communication to verbal thought.
Our forebears started out like any other great ape. Even the development of speech did not help to improve life much compared to that of other hominoids. But around 40,000 years ago, human cultural evolution exploded. Something very impressive takes place within a time span that would normally pass unnoticed. Compared with the preceding pace of evolution, there is an explosion of innovation. A new factor is at play here – what is the 'sapiens factor'? Available data strongly indicate that what moved our forebears away from all other mammals, including other hominids, was not their use of words to communicate, but that they used them in a new way. Our ancestors moved the handy denominators for reality, which words are, from the realm of communication into the realm of thought.
The Celtic language of Galatian is a unique example of a language which migrated into the heart of the Greco-Roman world during classical times and there survived for centuries. This study collects and analyses for the first time the entire corpus of the Galatian language, using inscriptions, papyri, and references in the classical authors. The study also explores the linguistic viability of Galatian in ancient Asia Minor and the relation of Galatian to the Celtic languages of western Europe.
A reconsideration of the conception of educated speech in England has become vital in view of recent sociolinguistic change, which made easily recognizable regional affiliations and further-reaching cosmopolitan tendencies involved in the patterning of current educated speech. Recognising the fundamental role of regional accent in the historical development of the English language, the book is meant to lay the foundations for a revised concept and a model of current educated pronunciation. This book contains fifteen color plates and fifteen black and white illustrations.
This book represents the definitive explanation of the literary device of the Key Signifier, a phrase which was coined by the author at the 2005 International Meeting of the Society of Biblical Literature in Singapore. This book serves as a handbook for understanding the literary device and for learning how to identify and use it in one's own composition, work of art, film or TV media.
Recognizing the device of hidden meaning in a language opens up new possibilities in exploring the prehistoric past. This books presents some mechanisms for deciphering such hidden or lost meanings and uses that to introduce a series of essay on language history change.
This is the first book to carefully analyze the linguistic conventions associated with Irish English folklore. Other books have studied linguistics in this language variety by studying letters, and all have ignored the use of folklore in constructing language conventions. This is the first book to discuss how peasants played a role in the construction of the Irish English languages.
The main purpose of this volume is the study of linguistic and discursive aspects of nineteenth-century Irish-English. The purpose is to introduce new insights into the historical evolution and development of this variety of dialect. This is done through the investigation of particular texts that fit a typology that until now have never been used as a source of historical dialect material. The texts chosen are written transcriptions of oral tales narrated by Irish peasant storytellers.
There has been little research on the role phonological memory plays in different aspects of children's second language development. The present study investigated the developmental relation between phonological memory and second language acquisition in grade 6 Francophone children enrolled in a 5-month intensive English program in Quebec's Saguenay region.
This study critically examines Black aesthetic theory. The sociopolitical sensibilities of Black aesthetics may be viewed as a response or a critical "talking back" to the power structures in society that consciously perpetuate a dominant narrative of the beautiful or what it means to be beautiful. Ultimately it attempts to situate Black aesthetics in the context of education as a language through which to make meaning of the term social justice.
How has the American deficiency in foreign language study affected foreign policy, diplomacy, the economy, and most of all national security. This book showcases how the use of a second language can be helpful in political and economic circumstances. Various policy initiatives are analyzed to discuss their efficiency in bringing languages to American citizens. A recent study found that only 25% of Americans are fluent in a foreign language. Stein-Smith argues that once you remove the first generation immigrant population from those numbers you are left with an extremely negligible number of citizens who can functionally speak a foreign language. This is problematic for many social, political, and economic reasons. In a globalizing world America needs to be competitive by teaching foreign languages to its populace.


text:
You are at:Home»Topics»ARTS IN SOMI»ARTS IN SOMI
By SOMI Magazine Publisher on August 2, 2016 ARTS IN SOMI, AUGUST/SEPTEMBER 2016, Topics, Volume XI
HIGHLIGHTS FROM OUR NEIGHBORS AT THE U
LOEW ART MUSEUM
The Lowe Art Museum unveils new exhibitions this fall in time for the Art Basel season.
Titus Kaphar: The Vesper Project
September 8 – December 23, 2016
The Vesper Project is the intensive engagement with the fictional history of the Vespers, a 19th-century New England family who were able to "pass" as Caucasian despite the fact that their mixed racial heritage made them black in the eyes of the law.
Donald Sultan: The Disaster Paintings
September 29 – December 23, 2016
A critically important series in the oeuvre of American painter, sculptor, and printmaker Donald Sultan.
1301 Stanford Drive | 305.284.3535 |
A long-running performing-arts theater presenting plays & musicals, plus workshops & classes located at the Riviera Shopping Plaza directly north of Sunset Place on US1.
AUGUST 5 – 27
Music and lyrics by Lin-Manuel Miranda. Book by Quiara Alegría Hudes. Conceived by Lin-Manuel Miranda.
In the Heights tells the universal story of a vibrant community in New York's Washington Heights neighborhood – a place where the coffee from the corner bodega is light and sweet, the windows are always open and the breeze carries the rhythm of three generations of music. It's a community on the brink of change, full of hopes, dreams and pressures, where the biggest struggles can be deciding which traditions you take with you, and which ones you leave behind. In the Heights is the winner of the 2008 Tony Awards for Best Musical, Best Score, Best Choreography and Best Orchestrations, the Drama Desk Award for Outstanding Ensemble Performance and Outstanding Choreography, and the Grammy Award for Best Musical
Show Album.
For additional information on these and other programs, please call ASC at 305.666.2078, or go online to | 1560 S Dixie Hwy, Coral Gables, FL 33146
THE WIRTZ GALLERY
Located in the lobby of the First National Bank of South Miami, each month The Wirtz Gallery presents local & international artists. Gallery hours are Monday to Thursday 9a-4p, and Friday, 9a-6p. Artist receptions are generally held on the second Friday of the month from 6-9p and are open to the public.
Untitled, 18 x 26, ink on Yupo Paper
For the month of August, the organic abstract art of Cuban-born Marlon Costa will be featured. His work has recently been exhibited in the Coconut Grove Art Festival as an "up and coming" local artist. His work relays in color, composition and emotion; transmitting years of self-taught experimentation with fluid media to show movement and complementing contrasts within his paintings.
In September, The Wirtz Gallery is collaborating with the University of Miami Art and Art History Department to present "New Works" from UM Graduate Students, including painting, printmaking and more. Graduate student artists and their works are: Jeannette Stargala, Response 1 serigraph, monotype; Karla Kantorovich, In Conversation, mixed media on canvas and Beatriz Rodriguez, The Rider on Thornbush Valley, dry-point on plexiglass. For more information about the exhibition or the University of Miami Wynwood Gallery contact Milly Cardoso, Gallery Director and Curator at [email protected] Follow us on Twitter and Instagram:
@umartgalleries.
The Rider on Thornbush Valley Response1
OTHER ARTISTIC VENUES
Two retail locations in SOMI that have a unique artistic presence are arango and The Archive. Both are located on Sunset Drive, however at opposite ends of town: 5864 Sunset Drive & 1559 1/2 respectively.
Marcela Garcia Bonini "Urban Landscapes" exhibit opening at The Archive.
The Archive Fine Art & Collectibles is located directly east of Red Road (1559 1/2 Sunset Drive). The Archive shows a number of resident artists and exhibits featured artists on a periodic basis.
arango has enjoyed over fifty years in presenting Miamians modern design in housewares, furnishing and accessories.
For decades, arango was a fixture at Dadeland. Last fall, arango went from the mall to main street (5864 Sunset Drive). The store regularly features exhibitions of modern design artists with their collections.


south on foot. Officers with Scott Police Department and Lafayette Parish Sheriff's Deputies began searching the area and located the subject attempting to hide in the cemetery on Cameron St.
Schedule I, Possession of Schedule II, Possession of Schedule III, and Hit and Run, in addition to being cited for Driving Under Suspension. No bond has been set at this time.


There's something that rum and vodka have in common, and that is they're almost always consumed in a mixed drink. With vodka, it's plain to understand—there isn't much to it. Certainly there are vodkas of higher quality, but we're talking about something that tastes exactly like rubbing alcohol versus something that tastes less like rubbing alcohol.
Rum is odd then, since it has a distinctive flavor. Cheaper rums tend towards acetate or overpowering vanillin. But a decent aged rum has its caramel and vanilla esters atop the magical transformation of sugar cane into distilled manna. It can be almost singularly drinkable! Good aged spiced rums can be sipped, but there, the spices bring their own characteristics. A fine sipping rum is a rare breed.
A few weeks back, the interesting bottle-shopping site, Flaviar, offered Zafra Master Reserve, a rum aged for 21 years and matured in bourbon casks. One of the interesting aspects of Flaviar is that bottles come and go; there is no long-term stock, so if an eye-catching bottle is offered, the temptation to buy it ratchets up, as it has a limited lifespan on the site. The incentive to buy increased, since the bottle of Zafra apparently retails for over $90, but Flaviar was offering it for $45. I'm of the opinion that a 21-year old bottle of anything is worth at least $90, so it was very, very difficult to resist the purchase.
I swear it was the moth that drank all that!
I will save everyone the exposition for a moment—you're all dying to know, I'm sure!—but my biggest regret with this purchase is that I did not buy multiple bottles. This is an astoundingly great bottle of booze. One can choose to ignore that it is just rum. It is smooth and flavorful and rich, at least as good as any fine whiskey or añejo tequila I've ever had.
In the interest of science, I made a variation of a Dark and stormy cocktail out it. It was perfectly delicious, but also an incredible waste of two ounces of the finest rum. I'll now drink it exclusively in a lowball glass with a drop of water, which makes it the fourth liquid I enjoy at room temperature, the others being water, Samuel Adams Utopias, and Michter's straight rye.
The $90 retail price does not seem like it's held fast by many merchants. A search on the ol' Googs gives a price around that $45 mark, so it might be possible to get more bottles for this insanely reasonable price. Zafra Master Reserve is a product of Panama and is 80 proof. My review bottle was bottled in 2016.


text:
Patrick Stump/Pete Wentz
Original Female Character(s)
Domestic Fluff
Podfic Welcome
The Kings of Baking
TooRational
"You don't think we need a scale?" Patrick says, his eyebrow raised so far up that he can feel the pull on his forehead.
Written for earlgreytea68's prompt on quarantine-fueled fob ficathon: Maybe something with baking?? Pete's like "sure, lets bake a cake, we dont need to follow ~~directions!!"
For earlgreytea68.
The ficathon is still active and has some kick-ass fills so go check them out, and leave some prompts while you're at it!
Disclaimer: Lies, untruths, complete fabrication, made for fun. Imagine we're in an alternate universe in which a butterfly batted its wings and, like, something something *mumble* ~LOVE! Blessings on all these lovely people and their loved ones, may they live in happiness and health for a very, very long time. (And if you dare bother them, I'm personally going to kick the shit out of your disrespectful ass. You've been warned.)
It's his 'Pete has an Idea and I'm gonna have to deal with it, won't I?' eyebrow. It's been appearing a lot lately.
"Yeah, you measure that shit with love, Patster," Pete says, rummaging around the cabinets for… bowls? Ingredients? Common fucking sense?
"Don't call me that," Patrick says automatically, and then, because he's known Pete way too long to be distracted by Pete's many nicknames for him, "First you don't need instructions, despite the fact that neither of us has ever even glanced at an oven, let alone baked a cake, and now you don't need a scale?"
"Nope," Pete says, then lets out a triumphant noise and starts pulling out their cereal bowls.
They have only three, since three of them live here, so it takes approximately two seconds to do it. Pete hums pensively at the bowls, then opens another cabinet and looks at the glasses.
Patrick watches the proceedings as if it's a David Attenborough-narrated episode about the mating habits of Black widow spiders: fascinated despite himself, and vaguely terrified.
"Besides, I have something better than instructions. I have a recipe."
Pete slides a wrinkled post-it with barely legible text crammed tight on both sides of the cheery yellow surface toward Patrick.
"This is your recipe?" Patrick says in disbelief, and if this continues any longer, Patrick is going to strain his eyebrow. It's totally going to get stuck in a weird position and he's going to look like Chris Evans in 'Scott Pilgrim vs. the World'.
Only, you know, not nearly as hot.
The recipe is pretty simple, and it's in cups and spoons which explains the no need for a scale bit, but still.
This is a bad idea.
"You're going to burn down the kitchen," Patrick says with the utmost confidence because a) Pete is absolutely capable of burning the kitchen down, and in fact, Patrick is surprised it hasn't already happened; and b) Patrick wants nothing to do with it.
"No, I'm not. Come on, where is your sense of adventure, Patrick?"
"I left it in my other pants," Patrick says wryly, and gives himself exactly five seconds to bask in Pete's laughter and the glow in his chest that it causes.
It's one of the rare things Patrick allows himself. There are so many times he shuts down his own reactions and desires, pulls back and away when all he wants is to come closer, but Pete laughing — the crinkly eyes and the wide, toothy smile — is too good to pass up. And he's proud of himself, not only for unleashing it onto the world but for making Pete happy, even if only for a moment.
"As much as I want to talk about your pants and what, exactly, it takes for them to come off, we have a cake to bake," Pete says with way too much enthusiasm.
Patrick is still suspicious, his blush makes no difference, okay?
"Tell me again why we're doing this?"
"Because it's Joe's birthday, and he's our friend, and he deserves we do something nice for him," Pete says. Then, after a pause, he adds, "Also, we're broke as shit and I stole all the ingredients for the cake from my mom."
Patrick sighs.
"Fine, I'll help, but only because you might burn down the apartment otherwise. I don't have the money or the patience to deal with that."
"You're a real saint, Pattycakes," Pete says solemnly, then yelps when Patrick hits him on the bicep for the nickname.
"What do you have so far?" Patrick asks, and Pete pulls out a bag with ingredients seemingly out of thin air. He takes the ingredients out and puts all of them on the counter, one next to the other.
They both peer at the recipe, then at the ingredients.
"You sure you took the right stuff?" Patrick asks, and Pete frowns at him.
"You think I don't know what sugar and flour look like?"
Patrick purses his lips not to smile. "Well…"
"Shut up and read the recipe," Pete says grumpily.
"Twelve spoons of all-purpose flour," Patrick reads, then, "Big spoon or little spoon?"
Pete blinks at him. "What?"
"Well, are we measuring the ingredients in big, soup-spoons or in one of those tiny coffee spoons? Because I don't think we have the coffee ones," Patrick says.
He opens their cutlery drawer to check.
Pete looks at him with wide eyes.
"I didn't even think of that. You are brilliant," he says, grining, and smacks a wet kiss on Patrick's cheek.
"Ugh, stop doing that," Patrick says, wiping his cheek on the shoulder of his t-shirt and praying he doesn't blush too visibly, again. He ignores the skip in his heartbeat easily, he's an expert at doing that already.
The thought makes him pause. This has been going on for long enough that Patrick's an expert at hiding what effect Pete has on him and how he makes him feel.
Isn't that fucking depressing.
"No small spoons," Patrick declares after a few seconds of shuffling through the drawer — which, by the way, why do they have a meat tenderizer? Whose mother was so optimistic as to pack that? The only use that utensil will see is if someone breaks into their shitty apartment and they need a weapon to defend themselves.
"Well, since it would be a very tiny cake if we used small spoons, let's try with large ones?" Pete says, and Patrick nods.
"Okay."
They 'measure out' the sugar, butter, and flour into cereal bowls, pour the milk and crack the eggs into a beer glass and a water glass respectively, and then come across a problem.
"What's a teaspoon?" Patrick says, and then, "Oh, that must be the little coffee spoon! Oh, we don't have that."
"Meh, we'll wing it," Pete says and uses a big spoon to first put a random amount of baking powder in one shot glass, then a random amount of vanilla extract into the other.
"That's it," Patrick says.
They both look at what they've accomplished for a moment.
"This looks just like on the baking shows, Patrick! Isn't that awesome? We're so good at this," Pete says, looking pleased.
Patrick hums.
He has to admit that the whole thing is going incredibly well so far. No fires, no floods, no cut-off fingers? It's a goddamn miracle.
"Shit, we don't have a bowl to mix it all in," Pete says.
A thorough search of the kitchen cabinets turns up a dusty, pale green plastic bowl that's probably meant to hold fruit. They give it a cursory rinse before setting it in front of their ingredient collection.
"Okay, we are on our way," Pete says and reaches for the first cereal bowl.
"Wait!" Patrick yells, and Pete freezes, flour in hand. "Do we mix it all in together, all at once?"
They both squint at the recipe again.
"Is that a line there?" Patrick asks, and Pete brings the note closer to his nose.
"Yeah, I think so. Look, these ingredients below, that's for icing."
They both pause, and look at each other.
"Pete. Pete, we can't do icing," Patrick says, unable to hide the panic in his voice.
"Patrick—" Pete starts, but Patrick has already vanished down the rabbit hole.
"No, this is madness, Pete! What were we even thinking, baking a cake? We don't even know how to boil eggs. Eggs, Pete! A cake is much bigger than eggs! And now icing on top of that? No. No," he says in what he hopes is a determined voice, but is probably closer to frantic.
Pete rolls his eyes at him but in a fond sort of way, then grabs Patrick's shoulders and shakes him a little.
The only thing that accomplishes is that Patrick is now panicking and wants to kick Pete.
"I brought a can of whipped cream and bananas, too; we can use that as decoration. We are not going to be making icing, so would you please chill, dude."
And that… actually sounds good. Tasty, too.
"You've thought about this," Patrick accuses.
"Of course I did. I want to make an edible cake for Joe, this isn't a prank or something," Pete says, almost offended, and oh wow. Just when Patrick thinks he's discovered all the different layers to Pete, just when he thinks this stupid crush can't develop any further, Pete does something like this: thoughtful, and caring, and nice, just because he can, because he feels like it.
It's infuriating.
It's murder for Patrick's poor, unsuspecting heart.
He smiles at Pete, hoping all his embarrassingly mushy feelings aren't obvious in his eyes, and nods.
"Okay, let's do this."
They mix the ingredients in by hand, taking turns when they get tired — and it takes ages because Pete insists it isn't supposed to be lumpy with flour; which, Patrick knows that, but it doesn't stop him from whining about his arm hurting — but in the end the mix looks like the batter Patrick's mom makes, smooth and yellow.
Pete dips a finger in to taste.
"Isss goo'," he mumbles around his finger, and there is no way Patrick has the emotional constitution to survive Pete Wentz sucking on his finger in Patrick's vicinity, not now, for fuck's sake, he's already weak — so he fakes a cough and takes the post-it again.
"Pour into a buttered tin and bake on— "
Patrick pauses.
"Shit," Pete says.
They stare at their poor, perfectly smooth batter.
"We don't have a tin, Pete!" Patrick hisses. "How did you intend to bake a cake without anything to put it in?!"
It's possible Patrick is overreacting just a tiny bit, but they're so close to making an actual cake.
A cake! Pete and him have used the kitchen, and almost made a cake; and without major disasters, too.
It's a historical day, is all Patrick's saying, and they can't fail now.
"I forgot," Pete says, and throws himself into the kitchen chair.
"Ugh," Patrick says and drops his head into his hands, elbows on the kitchen counter.
"We could always borrow one from our moms?" Patrick says after a long pause, and Pete scoffs.
"It'd take too long to drive there and back. We have to make the cake and let it cool, and Joe is coming home in, like, three hours."
Patrick is out of ideas, unless using one of their pots and pans is plausible, and he's just about to suggest that when Pete suddenly sits up and snaps his fingers.
"No, wait, I've got it. We'll ask the old lady that lives below us. I'm sure she has a tin we can borrow," Pete says, and marches out of the kitchen.
Patrick gapes after him, then rushes to follow.
"Don't worry, I've got this," Pete says confidently as they arrive at the old lady's door.
Patrick is pretty sure Pete doesn't have this, but it'll be interesting to watch, in any case.
Pete knocks on the door to the apartment, and they both jump as a terrifying screech comes from inside it. The door creaks open a few moments later and a tiny, hundred-year-old woman looks up at them.
Holy crap, Patrick is actually taller than someone.
"Hi, Mrs. Jadaszewski, is it?" Pete says with a smile, using his best 'I'm so reliable and mature' voice that never fails to fool all the adults he uses it on.
Patrick has no idea how they all fall for it, it's like willfully ignoring everything your eyes are telling you because of how charming Pete is behaving. Then again, Patrick is definitely not the one to talk about resistance to Pete's charms; just look at their entire band history.
And by the way, when in the hell did Pete learn to pronounce that surname?
"We were just wondering if you had a baking tin we can borrow? It's our friend's birthday, you see, and we really wanted to do something special for him, and we already made the cake batter and everything. We'd bring it back in a couple of hours, clean and everything, promise."
"Of course, dear. Oh, but how sweet of you, to do that for your friend. Wait here, I'll go get my tin," the lady says and walks away, leaving the door ajar.
Something screeches again, the sound much louder since the door is open, and they both jump again.
"Ah, don't worry. That's just Frank," the old lady says, handing a round tin to Pete.
"Who's Frank?" Patrick asks, curious despite himself.
"My cockatoo," she says. "He's a grumpy one. Why, just yesterday he tried to smother poor Mr. Snuggles because he woke him up from his nap."
"Who's Mr. Snuggles?" Patrick asks again, because what the hell, he's in too deep now, might as well.
"My lizard," the old lady says.
Before Patrick can ask any more questions — what kind of lizard is Mr. Snuggles; and how, exactly, does a cockatoo smother any sort of lizard? — Pete steps on his foot not-too-discreetly.
"Okay, thank you so much! We'll bring the tin back soon," Pete says, too loud in the small hallway, then turns to leave.
"Bye," Patrick says, waving at the nice lady, and follows after Pete.
Tin in hand, they make a triumphant return to their kitchen.
"Okay, let's finish this thing," Pete says determinedly.
They butter the tin generously and pour in the mixture. Once the tin is safely in the oven, they set the alarm for when the cake is supposed to be done.
"We. Are. The Kings of Baking," Pete says, both arms up, and then bounces over to Patrick and tries to suffocate him with a full-body hug.
Patrick laughs, and he's in too good of a mood to push Pete away so he hugs back, breathing in the scent of vanilla, butter, and Pete's aftershave; and he sort of melts into Pete's arms, holds on a little tighter than he should, fingers digging into the muscles of Pete's t-shirt- covered back that smidgeon harder than he usually lets himself, and his head drops with no input from his brain, lips grazing against the warm skin where Pete's shoulder meets his neck for one heartbeat, then two—
"Patrick?" Pete says quietly, and awareness pours in like ice-cold water.
Patrick lets go immedately and pushes at Pete's waist, panic rising to choke him because this is Patrick's worst fucking nightmare. He trusts Pete implicitly, with everything, up to and including his entire future, but not this. He can't let Pete find out about this.
And while Patrick is sure Pete won't mock him, or laugh at him, or any of a dozen other nightmare scenarios his brain is suddenly filled with, the fact remains that the best— the very best case scenario here is pity, and awkwardness, and Pete staying close to Patrick because he feels obligated to, or because of the band, and just putting up with Patrick, and Patrick can't deal with that.
He wouldn't be able to survive that.
Patrick is also fucking stuck because Pete, the asshole, has locked his arms and legs, and is somehow impossible to budge.
"Let me go," Patrick says desperately, and tries to push him away again, but Pete tightens his hold on Patrick like the contrary shit he is.
"No, Patrick, Patrick," Pete says, and then because he knows Patrick, "Don't kick."
Patrick stills, chest heaving and forehead grinding against Pete's collarbone, and repeats: "Let me go."
It comes out way too soft and plaintive.
"No," Pete says, low, and gravelly, and straight into Patrick's ear. "I stole you fair and square. You're mine now. I'm not letting go."
Oh fuck.
"Don't," Patrick says shakily, and means don't make me hope, and don't do this if you don't mean it, and don't break my heart.
"Patrick," Pete says, and there is something in his voice, something Patrick doesn't recognize, doesn't dare to put a name to. "Trust me."
And that is… a given. It's a simple fact. After all, when hasn't Patrick trusted Pete?
It kind of makes Patrick think he should trust Pete in this one, last thing, too.
And it's enough to stop Patrick from bolting when Pete loosens his hold and pulls back a little.
It's enough for him not to move away when Pete's cheek brushes against his, when he feels Pete's hot breath on his face.
It's enough to draw all the courage he has in his body, to let his eyes slide shut, to lift his head a little and tilt it blindly towards Pete.
It's just enough to stop him from shaking into pieces as Pete takes him apart, kiss by kiss, touch by touch, wall by crumbling wall.
It doesn't hurt at all.
In fact, it pretty much feels like heaven.
Half an hour later, the alarm goes off.
They barely manage to untangle themselves for long enough to take the cake out of the oven.
As always, tumblr! Come and chat.
hirikime, howboutscrewoff, SaintOfLosAngeles, throwupsparkles, Geekasaurus_me, looselips, toomanycats, Lovelypeterick, Smegzies, gerardwayseyebrows, Boroda_Merlina, TheBluestBluebird, glitterandrocketfuel, marianna_night, jazzthecat, peeksandvalleysandalleys, sdlibrarian, anonoa, InfiniteGoals, sleepingducks, suse, naw2702, shallowlives, Fidoris, penchant, intocooperstown, xerox296, BadSideOf45, ghosthe, thepagesofthebibleinthedrawer, andwhatyousaid, carbonbased000, soniashade, StephG, and Honestmouse as well as 14 guests left kudos on this work! (collapse)


When your boss asks you to do something, write it down, send yourself an e-mail reminder or put it on a sticky note, but if you don't write it down it will get lost and probably not get done. You may think you have a good memory and why bother, but there will be so many little things come across your desk that it is easy to forget and writing it down is a good habit to get into. It also eases your boss's mind when they see you write it down, it gives them confidence it will be taken care of.
Have a system to follow up on items your boss has asked you to do or things you know you need to do. This can be as simple as having hanging file folders marked from January to December and then you just put items in the appropriate month that you need to bring forward for your boss. I put a sticky note on it, or write, the day I will need it, i.e. bf Dec. 15. I love this system and at the end of each day I go through my folder and pull out what I need for the next day. I also use Tasks in Outlook to follow up on electronic items. If I send someone an e-mail asking for something, I drag and drop the the e-mail into my Tasks and set a reminder for when I want to follow up. It is easy and I never lose track of things.
When you are copied on an e-mail, read the whole message, don't just skim it. There could be a message for you. i.e. My boss will send an email with a cc to me and on the last line or buried in the message he will write something like "I have copied Patricia to set up a teleconference at a mutually convenient time." So it is important to read the whole message.
If you are sent an email with a request to do something either asap or later, did you do it or have you written it down to do it later? Do you track your e-mails by either putting them in folders, or in your tasks? If your boss has to continually go back and ask did you do this or that, then they may as well have done it themselves in the first place.
If you have been asked to do something and don't fully understand what is expected of you, don't be afraid to ask questions. Sometimes e-mail is not the best way to communicate and it needs to be followed up by a phone call or face-to-face short meeting.


If you're interested in getting started in comedy, Los Angeles is a great place to be. But there are so many classes out there, it can get a little overwhelming. Whether you want to focus on stand up, sketch, improv, or try a little bit of everything, this list will tell you the best places to go to become as funny as possible!
If you love Key & Peele or one day hope to write for SNL, a class at the Upright Citizens Brigade Theater is a great place to start. Everybody starts with Sketch 101, where you learn the basic rules of sketch and practice everything from political pieces to straight up parody. The teachers are mostly accomplished TV writers and many graduates have gone on to incredibly successful careers in film and TV. Even if you aren't aiming to be a professional writer, it's still a great class to learn more about comedy and hone your skills.
The IO is the OG improv theater in LA and they still provide a wonderful place to learn all about improv. In their classes, you'll learn the basics of long form with a focus on listening and performing truthfully. Classes are a mix of experienced actors and people who've never stepped a foot on the stage and you all get to work together to make each other better. Again, this isn't a class for professional hopefuls only, the class will help you learn how to be a better listener, a more engaging conversationalist, and can ease any public speaking fears. Plus, you'll probably become the funniest person at work, which is always a plus.
If you're serious about making a career in comedy, then the Groundlings might be your ideal training ground. The theater boasts impressive alumni like Will Ferrell, Kristen Wiig, Phil Hartman, Melissa McCarthy, and many more. The school is very structured. As you pass each level, you learn improv, character development, and sketch writing. Not everybody that goes to the Groundlings will be allowed to complete all the classes. If they feel you aren't a right fit, they won't pass you to the next level. It all sounds a little harsh, but if you like their style of comedic characters and really want a career in comedy, it's a good place to start.
An NYU graduate who recently worked on Netflix's Girlboss and performer at the Upright Citizens Brigade Theater, Emily Schmidt is an amazing teacher. She often holds small group classes that help you break down the structure of a sitcom and get started in writing your own. She's also available for private coaching, where she gives thoughtful, detailed notes on how to continue improving your script. Most importantly, she always makes your ideas better and gives you the confidence to finish your projects, no matter how hard writing block might hit. Miss Schmidt's classes are offered periodically (and they're insanely affordable, BTW), so feel free to contact her at emilyschmidtcoaches@gmail.com for more info on upcoming classes and coaching.
Stand up is notoriously hard to teach and is the hardest kind of class to find on this list. Though one person might not be able to teach you how to be funny, Greg Dean can take your inner comic and make her shine. There is a specific skill set in writing jokes and professional comedian Dean knows how to teach it. In his beginner class, you'll learn joke writing basics and performance skills to make the most of your words. Stand up is a nerve wracking endeavor, but this class makes it a lot easier and a lot more fun.
Ashley Ward recently moved to LA after many years as the Queen of New York improv and all Angelinos should count themselves lucky. Whether you have an improv group that needs a teacher or you have a solo or sketch show you'd like to develop, Ms. Ward will help you out considerably. Her years of teaching make her an ideal mentor and it doesn't hurt that she's also supremely hilarious. Her most recent improv class just started at the Nerdist, but you can also reach her on Twitter.
Tara Copeland is a truly magical teacher. She takes the typically fear inducing musical improv (where you make up and sing songs on the spot) and makes it the most fun thing you'll ever do. An extremely talented improviser herself, Ms. Copeland uses love and enthusiasm to make every student feel comfortable and do their very best. Everyone loves Copeland's class whether you're a karaoke master or you can't hold a tune. You'll learn the tools to be a funnier and more confident performer and you'll always leave class with a smile on your face. It's part of the UCB school, so please note the classes prerequisites.
So get out there, get learning, and see you onstage!


beautiful post! youre seriously so insightful and mature, i would never have been able to write something like this. and brownie points because castle is AMAZING! especially him and alexis together, i so agree with you.
"We're giving readers the opportunity to love more. "
I love love LOVE that. What an original and empowering way to think about writing.
I believe books helped me develop a deeper way of connecting with people; I can't walk in someone else's shoes, but I can imagine.
Also, I used to wish Anne Shirley were real because we would've been besties. I could trump Diana any day!
The Anne books made everything look prettier. Like trees and fallen leaves and clouds. It's amazing how much books can change us, isn't it?


text:
@interface NENNewsPost : NSObject
// 来源(用户名+用户来源)
@property (nonatomic, copy) NSString *from;
// 用户名
@property (nonatomic, copy) NSString *name;
// 用户来源
@property (nonatomic, copy) NSString *source;
// 内容
@property (nonatomic, copy) NSString *body;
// 带属性的内容
@property (nonatomic, copy) NSAttributedString *attributeBody;
// 是否显示了全部内容
@property (nonatomic, assign, getter=isShowAll) BOOL showAll;
// 点赞数
@property (nonatomic, copy) NSString *vote;
// 时间
@property (nonatomic, copy) NSString *time;
// 用户头像
@property (nonatomic ,copy) NSString *timg;
// 用来拼凑详细评论url
@property (nonatomic, copy) NSString *pi;
// 引用的评论(存储NENNewsQuotePost对象)
@property (nonatomic, copy) NSArray *quotePosts;

+ (instancetype)newsPostWithListDict:(NSDictionary *)dict;
@end

redpajama_set_name: RedPajamaGithub


Concrete flatwork is the concrete work along a horizontal plane, such as patios, sidewalks, floors, and concrete stairs. Concrete flatwork can be both indoor and outdoor projects, and we can incorporate more interesting concrete flatwork into projects, such as stamps or molds being applied to patios or sidewalks. Bud's Concrete is fully qualified to complete any type of concrete flatwork project, including concrete repairs or maintenance. For an experienced and efficient concrete contractor, contact Bud's Concrete Inc.


Who Is Outpatient Best For?
Outpatient drug rehab programs can be an option for individuals whose life requires that they live at home, or for those who are seeking treatment on a smaller budget. These programs, however, are best utilized for mild to moderate addictions.
Outpatient programs may be most beneficial for individuals who have recently relapsed after a period of sobriety, or for those looking to "step down" or continue treatment after an inpatient program. In either of these cases, individuals who have a support network in place prior to beginning treatment are best suited for this method of care.
When addiction has progressed to chronic levels of abuse, and especially if a person has unsuccessfully tried to quit in the past, outpatient care may not be sufficient. But for those individuals who seek help before their addiction progresses, outpatient treatment may successfully equip you to build a sober life.
Who Does Outpatient Treatment Work Best For?
Outpatient addiction treatment programs work best for people who wish to continue with treatment after leaving an inpatient program.
If your addiction is at the early stages, and relapse is not a recurring part of your personal history, an outpatient program may be worth considering. These programs also work well for individuals who have recently relapsed.
Outpatient treatment is ideal for people whose substance abuse or addiction is still fairly manageable. It is effective for individuals who have a strong network of support—friends, family, church, and/or peer support groups—outside of treatment.
Compared to inpatient programs, outpatient rehabs offer more scheduling options and are typically less costly. During outpatient treatment, an individual can typically live at home, work part-time, and carry on with most of life's responsibilities. Should a person need extra support, some facilities offer sober living options to accommodate these needs during treatment, and even after.
Has a substantial support system.
Lives in an environment with minimal addiction triggers.
Suffers from mild to moderate addiction for less than a year.
Does not exhibit strong withdrawal symptoms.
Doesn't suffer from a co-occurring mental health disorder.
Find An Outpatient Treatment Program Today.
How Long Are Outpatient Drug And Alcohol Rehab Programs?
Outpatient treatment generally lasts from one to three months, depending on the facility and the needs of the individual participant. To accommodate the different schedules and lifestyles of their clients, programs may be found with both day and evening sessions. Most outpatient programs require a minimum commitment of hours and/or days spent in treatment.
The intensity and number of days or hours spent in therapy depends on the program itself. In most cases, participation may range from three- to eight-hour sessions, five to seven days a week.
When considering these guidelines, don't be quick to pick the program which requires less time. Beating an addiction requires hard work, diligence, and ample time spent within treatment. Without these things, you're leaving yourself ill-equipped to deal with the challenges a newly sober life throws your way.
What Does Treatment At An Outpatient Program Look Like?
Day Programs: These highly-structured programs require you to meet five to seven days a week. You'll engage in therapy, counseling, and at times peer support, as well as a variety of other treatment modalities.
Intensive Outpatient Programs (IOP): The number of days and commitment of time is generally less with IOPs versus within day programs. Here, you may only meet four times a week for shorter sessions (three to four hours versus six or eight). As you progress with success through treatment, the frequency and/or duration of treatment may be gradually reduced.
Some individuals may also choose to seek continuing care through a mutual support (self-help) and/or counselor-led group.
Is Detox A Part Of Outpatient Treatment?
Should a client experience withdrawal symptoms once the substance is removed, such as anxiety, sweating, tremors, and more, a medical detox should strongly be considered for a successful recovery. Drugs which foster strong physical dependencies and addiction, such as alcohol, benzodiazepines, and opioids, often necessitate this care.
Without a medically-supervised detoxification, withdrawal symptoms can become severe and painful. As an added concern, those facing withdrawal from alcohol or benzodiazepines should know that withdrawal may progress to deadly levels if not properly treated.
Most outpatient programs do not include a medical detox, so at the very least a short-term inpatient detox program may be necessary. While there are outpatient detox programs, severe addictions to certain drugs are best treated within inpatient care. People who need a medically-supervised detox should also consider inpatient drug rehab after, which allows them to move from detox to rehab without leaving the facility.
Undergoing a medical detox prior to progressing to an outpatient program might not be enough care for many individuals. Detox only treats the physical addiction. After this process is complete, the psychological addiction remains. The psychological impact of addiction can be very deep-rooted, in a way which is often difficult to treat within the constraints of an outpatient program.
Will Outpatient Rehab Work For Everyone?
Many addicted individuals may draw more benefit from a residential inpatient drug rehab program. This may be because their addiction is more progressed or deeply embedded within their life. People who have little to no support, a mental health disorder, or find that they're struggling to remove triggers from their life may also experience greater success within these programs.
Severe addictions, such as those to alcohol, benzodiazepines, and strong opioids (like heroin and prescription painkillers), are generally best treated in an intensive inpatient drug rehab program.
Addiction treatment to these substances is often a two-pronged approach. That is, treatment should start with a medical detox prior to treatment. Outpatient programs don't always offer this seamless transition or intensity of care.
Mental illnesses can trigger substance abuse and cause it to worsen once a person begins self-medicating. Sometimes an addiction causes the actual mental illness to develop. Whatever the case, these individuals need individualized dual diagnosis care.
Many times the mental illness hasn't been diagnosed, or properly treated. Failure to treat both substance abuse and mental health disorders simultaneously can lead to failed treatment, drop-out, or relapse. Outpatient programs don't often offer the therapies, number of sessions, or focused care which these individuals need.
Addiction leads many people to alienate their loved ones. The most vital and engaging recoveries are those which work hard to mend these hurts and engage the support of loved ones.
Without this support, a person is far more apt to convince themselves that they're not worthy of treatment, give up on their treatment goals, and relapse. Your loved ones can boost your morale, self-confidence, and hope during this transitional and transformative time.
Cues for drug use exist all around us, with each addicted individual experiencing their own specific triggers. Triggers may be people, places, or things. A sound, smell, image, a certain road or song—all of these things could cause a person's thoughts to jump back to substance abuse.
A significant portion of treatment should be devoted to helping you cultivate coping and relapse prevention skills so that you can overcome triggers. For a person newly in recovery who hasn't yet adopted or developed these skills, triggers can be very dangerous. Some individuals have many triggers in their life, so remaining at home and in their community could expose them to such a number that they relapse.
Some individuals in outpatient rehab face a greater risk of relapse, as a result of easier drug access, less structure, limited access to therapy and treatment modalities, and decreased measures of support. Outpatient rehabilitation is an effective option only under certain circumstances. Before you make your decision, let us help you take a look at your life and your needs.
If you're struggling with abuse or addiction, we can help you find the rehab treatment program that best suits your needs. The sooner you seek help, the sooner your body and mind can begin to heal. Contact RehabCenter.net today for a confidential assessment.


This year's keynote theme was on the 'Social Cost of Gambling Harm'. Keynote speaker was the Reverend Tim Costello, spokeman and director of Alliance for Gambling Reform & Chief Advocate of World Vision Australia. Tim spoke on how Australians have become the world's most prolific gamblers, as gambling is normalised in our society and marketed as entertainment. But the social costs of gambling harm are enormous: relationship difficulties; emotional or phychological distress; financial, health, cultural problems etc. And these negative effects seem to fall disproportionately on those with low incomes and the disadvantaged, including culturally, linguistically and religious diverse communities. Click here to view keynote speech.
Entertainment during the day included the Brimbank Multicultural Community Choir, led by Veronica Gauci and singing in over 20 languages; and the Vietnamese Lion Dance whose dance symbolised good luck, health and prosperity.


The cottage "Pod Berezami" is located in Piliptica, 3.5 km from the village center and 800 meters from the nearest ski lift. In the cottage there are two floors, on the first floor there is a living room with a sofa bed, wardrobe, TV; kitchen (gas cooker, fridge, electric kettle, dishes, table) and a bathroom. On the second floor there are 4 double rooms with double or single beds. On the territory of the cottage "Under the Birches" there is a gazebo, BBQ, swing. A grocery store is located 50 meters away. Distance to Ivano-Frankivsk - 148 km, the city of Lviv is 198 km away.
Description of the room: On the ground floor there is a living room and kitchen, and on the second floor there are 4 double rooms with double or single beds. Bathroom on the first floor.
The cottage "Pod Berezami" is located in Piliptica. The distance to the ski resort "Pilipets" is 800 m, to Ivano-Frankivsk - 148 km, to the city of Lviv - 198 km.
By train in Uzhgorod direction or by the Lvov-Mukacheve electric train to Volovets station, then by bus or taxi to the village of Pilipets. Own car on the highway "Kiev-Lviv-Chop" (M-06).


text:
Q: Complement of a Conic is Affine I've been studying quasi-projective varieties, and on the Wikipedia page it says the complement of a conic in $\mathbb{P}^2$ is affine, but it does not justify it or say what it is isomorphic to (or give a citation). I'm trying to figure out how that's true.
I know that to be affine it must be isomorphic to a Zariski-closed set, but what is the complement of a conic isomorphic to?

redpajama_set_name: RedPajamaStackExchange


'sorry, but you're not eligible for the concession until you're 61. The curator smiles sweetly, handed me a guidebook, and noted that the Picasso stereographs were free anyway. Touché.
As good as the exhibit was, though, it wasn't close to being the highlight of this weekend. Neither was it the spectacular spring weather, the secluded cottage set in lush English gardens, nor even the lavish Moroccan dinner.
All wonderful in their own right, to be sure.
But it wasn't an adventure.
It wasn't, for example, a balloon ride.
It was a perfect evening in Royal Victoria Park, light gusts of wind and a cloudless sky. Three hot-air balloons were spread over the the clipped grass; the passengers were huddled around their respective pilots getting instructions. Our guide from Bath Balloons described how we could fill the envelope, tumble into the basket, navigate over the farmlands, brace for landing. I was only half tuned-in, pulling on heavy gloves to hold the airbag open as it filled. It was all too cool for words (and who listens to warnings).
The envelope pulled hard as the fans drove the air in: the pilot warned that he was going to light the burners. The flames and heat were intense from where I stood as the whole envelope filled and started to rise. People were directed into the basket, I made a headfirst tumble, apologizing. There was a sway, a whoosh of flame: we were off.
At first it's like being in a glass elevator: the ground simply, silently drops away. At about 500 feet, it gets vertiginous. I'm very aware that I'm standing in a thin basket with nothing but air beneath me, and hook one arm around the padded brace.
The city of Bath opened out beneath us.
We ascend to 1500 feet, trailing the other two balloons. There is no wind or sway (I suppose we are moving with the air currents). After a few minutes confidence returns and I release the support and start to take in the views across yellow rapeseed fields and red-tiled villages.
I can only liken it to taking a bicycle into the countryside. it's not just the silence and freedom of standing in open air, a thousand feet up, but also the connection to the sounds and smells drifting up from below. The balloon drifts across the countryside at a good clip, moving up and down as the pilot adjusts the vents and burners, consulting maps and advising air traffic control. The scenery is stunning, light and shadow, color and contrast. Nobody says much, but just leans over the basket taking it all in.
We all share a bottle of champagne, pose for a group photo, wave at cars and backyard sunbathers (Too low, shouts one man, caught in his underwear). The other two balloons drop into a field near Pensford, but we've moved a bit south and drop low over homes in Bishop Sutton. I start to appreciate the difficulty of getting a balloon down: a promising field is ruled out when two horses appear, another is refused because of fresh-planted crops.
We cross Chew Valley Lake, the shoreline absolutely lovely in the sunset. The chase vehicles have to go around the long way; we find one field after another dotted with trees and hedges, while Blagdon Lake looms ahead in the dusk. The pilot brushes a tree, then another, advises everyone to brace for a sudden landing. A drop, a bump, a thump, and we're down on the shore, two glorious of flying hours from Bath.
Papa Bush celebrated 80 with a skydive. Me, I celebrated 60 with a balloon ride. 'Really an amazing experience: many thanks, Chris, for arranging it.
And yes, an ex-flautist can still do his candles.
The crowds were already gathering, people pouring down the stairs into the Bond Street Tube Station by 3 pm. Most have a four-day weekend and were trying to get a jump on others similarly leaving London (the Evening Standard predicted that over half the people living in London would leave for the holiday break).
I was in for investor meetings and to take advice on our organization and funding – all of the pieces seem to be falling into place. There's a lot of writing still to be done, and I spent the train ride south scribbling Urgent notes into my diary and notebook, prioritizing.
Still, it's a holiday weekend, and the British are onto something when they make firm plans for a break, an outing, and some rambles in the countryside this time of year. I haven't been to the rolling hills and orchards of Somerset, southwest of Bath, and friends suggested that it would make a perfect weekend this time of year. Cottages were still available for hire, despite the number of people traveling, and the weather forecast couldn't be better.


Live dealers are, of course, also just people and therefore make regular mistakes. In most cases, these are minimal mistakes that you will not even affect you as a player. If the error is so large, someone is often called to the table. Such a person will in many cases be the "pit boss". This is an employee who is in charge of the gaming tables in the live casino. These employees will walk around the casino to keep an eye on and help if problems arise with, for example, the dealings. This also ensures some control over live dealers and their tasks. Also, the pit boss keeps an eye on whether the rules are respected. If an essential mistake is made, then the pit boss will be called to the table. He or she will make the decisive decision, which determines the course of play. If, according to the pit boss, there is still a fair game, players will be informed of certain deviations and the game will continue. If it is no longer a fair game, the bet will be returned to the players and the game will end. After that, a new game can be started.
As with all online casino games, it also applies to the live games that if the connection is broken during a game round you will get your entire bet back. As this has a technical problem and is not in your hands, you will be refunded for both your own internet connection problems and a failure in the live casino. If you contact customer service from the online casino, they will be able to track this back easily for you and correct it within the appropriate time. You do not need to be afraid that your data or efforts will be lost during such a malfunction, because the deployment is via the software. The dealer's screen automatically detects what you've put in. This ensures double security and gives you the guarantee that your bet will be recorded at all times accurately.
If anything else would happen, anything that does not look ordinary or fair, please let us know and allow us to help you with your problem. With our live casino experience in combination with the extensive contacts we can help you; any problem you might have.


I absolutely love the look of a quilted skirt! Using machine quilting on full skirts was very popular in the '50s. The best thing is that the quilting adds lots of body, for a very full look.
Did you know the skirt on the cover of my book Gertie Sews Vintage Casual is quilted?
For that skirt, I used a layer of cotton and a layer of flannel and then outsourced the quilting to my mom. Here's a view of the inside.
See how well the skirt is supported by the quilting? It's like magic!
About 3 yards each of the sateen and a backing fabric. I'm using Kona Cotton in Red for my backing.
Cotton batting. I chose a twin size package, and will have plenty leftover.
Spray fabric adhesive, to hold the layers together.
Painters tape (or masking tape), to mark quilting lines.
Lightweight fusible interfacing for the waistband (not pictured).
Also handy: a walking foot for your machine (this keeps the layers smooth while quilting). Having a foot with a "bar guide" is especially handy for this.
Cut your skirt front and backs out in both fabrics and in the batting.
Lay out the layers one at a time and spray with the adhesive. Roll up the next layer, and set it down, unrolling it so that the edges match and they stick together from the adhesive.
Place your tape along the 45 degree angle, starting at one upper corner of the skirt.
Before stitching along your taped line, make a quilting sample! Use a small swatch of all three layers together. Make sure you're happy with your chosen thread color and the width of your stitching lines.
Once you're happy with everything, start stitching along the tape. Remove the tape and stitch parallel lines, using either the guide on your walking foot or more rows of tape.
Next time, on Serial: how to make the crisscrossing lines, matching the quilting lines on the skirt backs, seam finishes, and skirt construction!
Doesn't the quilting of all those lines make the pattern pieces a little bit smaller than they originally were?
I don't think so, but I could certainly be wrong! It didn't make a difference when I quilted with just the flannel; I'll let you know if the batting changes things. If you're concerned about it, you could leave a little extra seam allowance at the side seams and do a basted fitting before sewing the seams.
I love you Gertie! You are so awesome and such an inspiration!
When quilting a quilt the batting and backing are always bigger than the quilt top then trimmed to the finished size. If I were doing this I might want to quilt the fabric before cutting out the skirt pieces (this could be done on pieces slightly larger than the pattern piece to avoid having to quilt all of the yardage at once). Just a thought.
Hi Glynd, I just checked my quilted skirt front against my pattern and it didn't shrink at all, thankfully! I also didn't experience this problem when I made this skirt in cotton and flannel, quilted without batting. I wonder if it's just a concern if you use thicker batting? I like the idea of quilting the fabric first if shrinkage is a concern. You'd just want to make sure to quilt enough so that you could match the quilting lines on the skirt pieces like you would match a plaid.
I think it's probably the size of the finished product that makes the shrinkage obvious. Like if a bed size quilt shrinks 1% it might measure 1" shorter on each side but on a shirt size piece, it wouldn't be noticeable.
The amount of quilting makes a difference, too. More lines = more shrinking.
Fabulously cute!!! I'm a quilter, and NEVER thought to quilt a skirt! On my list. Thank you for sharing!
I love this idea! Would it be possible to make the skirt completely reversible? For example, one side a dotted fabric and the other a floral or solid? That would make it even more versatile! Ic this can be done could you post some hints on how to do it?
I love your ideas and admire what you have done. You are living the life I dreamed of. I am 56 and started sewing at age 11 on my mom's metal Necchi machine. I was already tall and could not wear kids clothes but was too young for women's clothes. I started out by sewing from The Betsey Johnson line of patterns and also patterns by Jane Tise (Sweet Baby Jane). In high school I sewed most of my own clothes or converted and altered vintage clothes. I went to school at The University of Texas at Austin and earned a degree in Textiles and Clothing. Unfortunately it was hard to make a career designing clothes back then unless you relocate to NYC or LA. I think designers have so many options these days with the invention of the internet, social networking, blogs, etsy and so many ways to sell or advertise your hand made items that were not available 20 years ago. Thank you so much for being an inspiration!
Also I'm curious... Do you think Adnan did it?
Yeah, I kind of think he did it! The evidence was pretty shoddy, and I don't think he should have been convicted based on it, but I can't help feeling like he was involved in some way. What do you think?
My rtw going away dress had a quilted skirt 40 years ago.
So that's what that metal thingie is for on the walking foot! I didn't know. Too bad I didn't realize that when I made my quilted dress last fall!! I made it much harder on myself by drawing the lines with a chakoner first. Using that guide would have made it go faster.
p.s. I also didn't use my walking foot at all nor the spray adhesive. Those also would have made it go faster!
Love the rose fabric. I just made the boat neck top from your book, twice. Perfect vacation wear.
Looks like a nice idea, but sandwiching the two fabrics with the batting and sewing the quilting lines would be best done before cutting out the pattern pieces.
Each quilting line will bring the fabric width in ever-so-slightly, but with well over 20 of these lines the amount that the total piece of fabric will ''shrink' by could increase to up to an inch.
I would prepare the quilted fabric first and then cut out my pattern pieces on top of that, so that I wouldn't loose any width in the seams. All that lovely work wasted because it ends up an inch too narrow.
Hi Nessa, I finished the skirt front and checked it against my pattern and it's exactly the same size and dimensions. I'm using thin batting and only quilting every 1.5" so perhaps that keeps it from shrinking. I like the idea of quilting the fabric first if shrinkage is a concern. You'd just want to make sure to quilt enough so that you could match the quilting lines on the skirt pieces like you would match a plaid.
The beauty of your essay is within the wide usage of linking words and phrases to create your online essay writing services a lot of fascinating to the reader and easier to know. Avoid repetition of identical words and phrases, seek for the synonyms and synonymous expressions. you'll additionally use a spread of adjectives, adverbs and verbs to create your essay a lot of engaging to the reader.
What?? This is a sewing blog!
I'm not making a quilted skirt, but I was able to buy the border print in your collection. I had to special order it from my local Joann store, because even though the website said it was available in the store, it wasn't. In fact, by the time I arrived at the fabric store, the border print was out of stock on line! I've never wanted a fabric as much as I wanted this one! It took about a week to arrive. Now I have to think about the pattern, because the pattern you use is cute, but not for my figure. I have lots of choices.
I don't know Gertie, that already looks cute! I need to try this technique.
I had no idea the skirt on the front of your book cover was quilted! It looks great, and is a wonderful idea on how to add extra body to your skirt. Does the extra layer of batting make the skirt any hotter to wear (I live in a hot climate)?


My marketing "data" came from what I could see in the homeowner's front yard. Were there toys in the yard, indicating children lived there? Was a newspaper delivered to the home? Were there indications that someone in the house played sports? Was there a fancy car in the driveway or a well-cared-for garden?
By gathering and analyzing this information, I could define my offer—in this case, which magazines I would present to the homeowner. I had news magazines, magazines for sports fans, children, expectant mothers, car fanatics, and gardeners—literally pages and pages of magazines to choose from—and by using my data to select which ones to show to the homeowner, I found that I could greatly increase my sales.
In effect, I was targeting my market.
When homeowners did come to the door, their eyes would give me a quick scan before they decided whether to give me even a minute of their time.
But as the door inched open a little wider, I would quickly give them just enough information for them to listen to what I said next.
Typically, I would start by briefly describing "magazines their neighbors had just ordered." Then, I would focus the discussion on the magazines I thought—based on my collected data—would be of most interest to the homeowner.
Then I learned not to talk about the magazines, but instead, to describe what the homeowner could get from the magazines—inside information on their favorite sports team, timely tips on how to increase their garden's harvest, or how the homeowner's discussions with friends and coworkers could improve with easy-to-read information about the latest news and developments.
And I would never walk away without asking for the order.
Once I made the sale, I didn't linger. I said "Thank you," and went to the next house.
More times than I care to remember, I got the door shut in my face. But when this happened, I tried to learn from my mistakes, improved my approach and moved on to the next home.
Today, as direct marketers, we certainly have more sophisticated approaches to gather information, but in reality, our sales approach—whether we're working online or with direct mail—is much the same as it was when I was a teenager selling magazines.
Share the same objective—making the sale.
Must show prospects how they will benefit when accepting our offer. We don't sell subscriptions; we offer information that makes the prospect's life more interesting, enjoyable and profitable. We don't sell insurance; we offer security, protection and peace of mind. We won't even promote a cure for cancer, but we will give the prospect hope that their family can be free of its suffering.
Use easy-to-understand language to capture the reader's attention, create interest, show how the offer benefits the prospect, and instruct the prospect to take a desired action.
Evaluate success by measuring our return on investment.
And when things don't go our way, we listen to our customers and adjust our offer so that it better meets their needs.
Selling via direct mail or online today doesn't need to be any more complicated than when I sold magazines as a teenager. After all, the objective remains the same—cost-effectively persuading the prospect to take a desired action.
Walking door to door selling magazines proved to be great training for my direct-marketing career. I just didn't know it at the time.
This entry was posted under Copywriting, Data, Strategy, Thought Provoking. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.