text:
Keep the Faith peti je album američkog rock sastava Bon Jovi, izdan 1992. godine nakon četverogodišnje pauze. U te 4 godine puno se nagađalo o raspadu benda pošto se, nakon dvogodišnje turneje, svaki član benda sam vratio doma. Ulje na vatru dodala su i samostalna studijska izdanja određenih članova benda. Tako Jon Bon Jovi 1990. izdaje solo album Blaze Of Glory (u biti soundtrack za film Young Guns 2) s kojim je postigao veliki uspjeh, a Richie Sambora izdaje Stranger In This Town. Godine 1992. Alec John Such slomio je ruku te je morao pronaći potpuno novi način držanja bas-gitare za vrijeme svirke. Međutim album je bio najzrelije ostvarenje bedna do tada. Iako nije imao pretjerano velike hitove u SAD-u (ako izuzmemo Bed Of Roses) album je odlično prošao u Europi. U Sjedinjenim Američkim Državama prodao se u oko 3 milijuna primjeraka, a u svijetu u 17 milijuna.

Singlovi
S albuma je izdano nekoliko singlova, od kojih četiri u SAD-u, a čak 6 u Velikoj Britaniji. Dok je pjesma Bed of Roses bila jedini američki Top 10 hit, s druge strane Atlantika, bilo ih je čak tri.

Bed Of Roses: billboard-#10; UK-#13
Keep The Faith: billboard-#29; UK-#5
In These Arms: billboard-#27; UK-#9
I'll Sleep When I'm Dead: billboard:#97; UK-#17
I Believe: UK-#11
Dry County: UK-#9

Album je bio 1993. najprodavaniji album u VB i Kanadi, a među 50 najprodavanijih albuma u SAD.

Popis pjesama
"I Believe" – 5:58
"Keep the Faith" – 5:46
"I'll Sleep When I'm Dead" " – 4:43
"In These Arms" – 5:19
"Bed of Roses" – 6:34
"If I Was Your Mother" – 4:27
"Dry County" – 9:52
"Woman in Love" – 3:48
"Fear" – 3:06
"I Want You" – 5:36
"Blame it on the Love of Rock and Roll" – 4:24
"Little Bit of Soul" – 5:44
"Save a Prayer" *
"Starting All Over Again" *
[*] na nekim međunarodnim izdanjima

Osoblje

Bon Jovi
Jon Bon Jovi
Richie Sambora
Alec John Such
Tico Torres
David Bryan

Albumi Bon Jovija
Albumi iz 1992.

redpajama_set_name: RedPajamaWikipedia


A Complete Curriculum On How to Work With Freelancers.
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Learn how your employees think to present yourself as an attractive employer to freelance hiring pools. When you can attract the real talents in your industry, you give your business the best chance of success.
Explore ways to reverse-engineer your competitors' success so you never miss this moving target.
Many employers are reluctant to outsource labour, especially overseas; low-quality work and missed deadlines can cost employers high-profile clients whose business is worth much more money than outsourcing could ever save.
Best practices outlined in this course will help you save money on labour without compromising on quality, so you can keep your clients happy and your profit margins high.
Learn how to avoid some of the most common problems encountered while outsourcing work to foreign and domestic freelancers. Study secure hiring practices, and learn ways to attract only reputable talents in your industry.
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Can I share this course with my colleagues?
Yes. You can purchase a single copy of the employer course, and distribute as many copies of the employee module as you need! You have lifetime access to the online course. The course outlines actionable techniques to keep you and your employee on the same page from first contact to finished project in no time. Add more text if needed here.
The entire course can be covered over 2 hours. Drawing from almost two decades of experience, the "fluff-free" lessons here should equip with you the knowledge you need to reduce your risk and make educated, big-picture decisions when outsourcing to foreign or domestic freelancers.
A Canadian employer with 15 years of experience shares ways to attract quality employees. Learn the importance of getting to know your freelancers to develop a healthy working relationship. Discuss cultural considerations for employers working with foreign resources. Read 5 guidelines for best practice when working with a strong foreign resource whose services you'd like to retain.
Review some of the common communication hiccups you'll encounter while outsourcing work. Learn to bridge the communication gap by overcoming language barriers and differences in word meaning. Acquire a simple technique to ensure your freelancers understand your instructions, and study 7 ways you can improve communication with your remote workers.
Discuss why it pays to present yourself as an attractive employer to freelance hiring pools. See how you match up with your competition, and start learning from their mistakes. Reverse-engineer the success of your competitors' success, and begin standing out to top talents in your industry.
Discuss one of the key problems employers face while working with foreign and domestic freelancers. Take responsibility for your project and learn the techniques you need to avoid misunderstandings. Learn dialogues you can use to improve clarity and increase your freelancer's sense of accountability.
Reinforce the importance of quality communication and enhance your project management skills. Discuss why and how you should assess your employees strengths, and assign them to appropriate tasks. Review a freelance web development case study to understand the mindset of a freelancer accepting work they're unqualified for.
Discuss ways to avoid 8 of the most common problems you will encounter while outsourcing work to foreign and domestic freelancers. Learn how to deal with phony portfolios, vanishing acts, time differences, security risks, dishonesty, and more. Build a proper professional relationship, and see whether or not your freelancer is doing extra work on the side.
Review the best money management strategies to use when working with freelancers. Discuss the benefits of a milestone payment system, and learn how to build verifiable "milestone" goals. Learn how to deal with price hikes and inflated proposals. Study one strategy you can use to lower proposal costs and keep your freelancers motivated to perform.
Freelancers will sometimes send work too early, and it's not your job to finish an alpha-stage product; establish proper testing protocols with your freelancers, and learn what to do when they send you buggy or erroneous work.
Discuss the importance of visualization for your success in any endeavour. Review how a perfect project should look from beginning to end, and see the target your freelancers will be aiming for once they read the free companion course.
Read a quick case study to reinforce the unacceptability of project delays. Review the ways they cost you money, and learn how to deal with freelancers who consistently miss their deadlines. Discuss simple ways to reinforce timely work deliveries using bonus and penalty systems.


text:
English Nederlands Polski русский
Deligoût about Spiromatic
One of the key elements to making a good Brussels waffle is that the liquid dough should be as homogenous as possible. This alone is good but not enough: for consistent quality, the dough properties should remain identical all year round.
We are very satisfied of the partnership that Spiromatic has created in assisting us with the design, installation and commissioning of this novel and highly consistent automated liquid dough production unit.
In the recent years, it became evident that capacity was too small to face growing demand and as they could not expand Jean started to search for a new place where he could grow his business, but also enhance his production tool in terms of consistency, automation and hygene.
One of the key element to making a good Brussels waffle is that the liquid dough should be as homogeneous as possible.
Looking at their planned growth in the years to come, Deligoût set the ambitious goal to have enough capacity as to multiply by 6 the current volume.
Deligoût wants to convert their batch oriented process into a continuous process.
Spiromatic began the development of a revolutionary application of the Magnet for Emulsion technology. This essentially consists in the high speed circulation of water through a venturi whereby flour is added in a controlled manner. A magnetic field is applied which further enhances the shearing effect and thus the homogenization of the product after a few passes through the system.
In order to ensure a continuous process, up to 3 tanks are required, one for the work in progress, another one being cleaned and the last acting as a buffer between the liquid dough production and it's actual usage in the production line.
13 ton flour silo and a waffle-mix big bag station both leading to a dynamic sifter above the weigh hopper.
Fully automated system: Deligoût only buys the raw components and the system runs entirely on its own until the dough is ready.

redpajama_set_name: RedPajamaCommonCrawl


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Last updated on November 29, 2012.


Lost Coast OG was bred by crossing Pakistani Kush and Lemon Thai with Chemdawg #4. This strain plants have wide internodal spacing, filled with clusters of rock-hard, golf ball-sized buds below the massive terminal colas. The variety grows rapidly, so this plant should be induced early, when planted where space is limited. Lost Coast OG has taste, dominated by citrus and sour scents, with the legendary Kush flavour. The effect is strong, energetic and joyful, promoting communication. This strain is also recommended for medical users and helps with chronic pain, migraines, depression and a number of other medical conditions.


text:
Мэттью Томас Мартин Коннолли (; 24 сентября 1987, Барнет, Англия) — английский футболист, защитник «Кардифф Сити».

Карьера
Воспитанник «Арсенала», но за основную команду Коннолли не провёл ни одного матча, зато стал капитаном дублирующий команды «Арсенал». В 2006 году из-за недостатка игровой практики на высоком уровне был отправлен в аренду в «Борнмут», а потом в «Колчестер Юнайтед». В общей сложности Коннолли сыграл 5 матчей и забил 1 гол за «Борнмут» и появлялся в 16 матчах и забил 2 гола за «Колчестер Юнайтед».

В 2008 году подписал контракт с «Куинз Парк Рейнджерс».

Достижения
«КПР»
 Чемпионат Футбольной лиги Англии: 2010/11 (1-е место, выход в Премьер-лигу).

Ссылки
 Matthew Connolly profile

Футболисты Англии
Игроки ФК «Борнмут»
Игроки ФК «Колчестер Юнайтед»
Игроки ФК «Куинз Парк Рейнджерс»
Игроки ФК «Рединг»
Игроки ФК «Кардифф Сити»
Игроки ФК «Уотфорд»


text:
Progress Report on Intelligence Community Implementation of Safeguards for Personal Information Under Presidential Policy Directive 28
Arnold & Porter Advisory
By John B. Bellinger, III Charles A. Blanchard Ronald D. Lee Jeffrey H. Smith Nicholas L. Townsend
On October 17, 2014, the Office of the Director of National Intelligence ("ODNI") released a report1 on implementation of Presidential Policy Directive 28 ("PPD-28") regarding Signals Intelligence ("SIGINT") Activities, which President Obama issued in response to leaks by Edward Snowden and the recommendations of the President's Review Group on Intelligence and Communications Technologies.2 ODNI's report, which was required under Section 4 of PPD-28, found that all elements of the Intelligence Community ("IC") are on track to have policies and procedures in place to implement PPD-28 by January 17, 2015.
The report states that "[m]ost agencies already have adequate existing procedures for some aspects of PPD-28." However, updates to IC agencies' existing policies and procedures regarding handling information collected through SIGINT and establishment of new policies and procedures will be required. In particular, the Central Security Service at the National Security Agency ("NSA") is developing a set of supplemental procedures to build the requirements of PPD-28 into the policy framework that governs the U.S. SIGINT System. ODNI's report anticipates that IC agencies other than the NSA will update their policies and procedures as well, but notes that the changes other IC agencies "will be required to make will be narrower than NSA's" because other IC agencies are generally consumers of SIGINT, rather than collectors.
The ODNI report outlines key principles that all IC agencies must incorporate in their policies and procedures implementing PPD-28 in order to ensure protection for personal information collected through SIGINT. Such policies and procedures will:
Include limitations on the use of SIGINT collected in bulk, such as restriction to use for the six purposes specified in PPD-283 and prohibiting use of SIGINT for suppressing or burdening criticism or dissent, disadvantaging persons based on their ethnicity, race, gender, sexual orientation, or religion, or affording a competitive advantage to U.S. companies and U.S. business sectors commercially;
Incorporate the principles for the collection of SIGINT outlined in PPD-28, including ensuring that new and unique SIGINT collection programs or significant changes to existing programs are authorized by law and are not conducted for a prohibited purpose, ensuring that civil liberties and privacy protections are integral considerations in the planning and execution of SIGINT collection activities, and ensuring that such SIGINT activities are as tailored as feasible and that IC agencies focus collection on specific foreign intelligence targets or topics;
Set appropriate standards for querying SIGINT data, including seeking to structure queries or search techniques to identify intelligence information relevant to a valid intelligence or law enforcement task and minimizing the review of personal information not pertinent to intelligence or law enforcement requirements;
Establish that the mere fact that SIGINT is about a non-U.S. person is not sufficient to permanently retain or disseminate such information;
Consider as a default position subjecting non-U.S. person information to the same retention periods afforded to U.S.-person information under the Attorney General approved guidelines;
Require that IC agencies make a written request to the ODNI for an extension of the five-year retention period that includes a specific justification for the extension and the views of the relevant privacy and civil liberties officer;
Establish procedures that permit dissemination of personal information of non-U.S. persons collected through SIGINT only if the dissemination of comparable information concerning U.S. persons would be permitted under Section 2.3 of Executive Order 12333;
Require adequate training as a condition of access or handling of unevaluated and unminimized personal information in SIGINT;
Make available information on how IC personnel report privacy and civil liberties complaints and other violations of law;
Require that, when a significant compliance issue involving personal information collected through SIGINT occurs, it must be reported promptly to the head of the IC agency who will notify the ODNI so that ODNI can determine if corrective action is necessary; and
Develop robust oversight and compliance programs to ensure adherence to PPD-28, including mechanisms for periodic auditing and review of each agency's practices for protecting personal information contained in SIGINT by privacy and civil liberty officers.
IC agencies' implementing policies and procedures will be publicly released to the maximum extent possible, consistent with classification requirements. Such policies and procedures will be carefully analyzed by privacy advocates and telecommunications, social media, and other technology companies.
Interim Progress Report on Implementing PPD-28 by Robert Litt and Alexander W. Joel (October 17, 2014), available here.
Presidential Policy Directive (PPD-28) - Signals Intelligence Activities, available here.
Authorized purposes include: (1) espionage and other threats and activities directed by foreign powers or their intelligence services against the United States and its interests; (2) threats to the United States and its interests from terrorism; (3) threats to the United States and its interests from the development, possession, proliferation, or use of weapons of mass destruction; (4) cybersecurity threats; (5) threats to U.S. or allied Armed Forces or other U.S. or allied personnel; and (6) transnational criminal threats, including illicit finance and sanctions evasion related to the other purposes named above.
Data Security Breaches
Telecommunications, Internet & Media
John B. Bellinger, III
Charles A. Blanchard
Ronald D. Lee
Jeffrey H. Smith
Nicholas L. Townsend
Proposed Changes to March-In and Other Bayh-Dole Regulations for Federally-Funded Inventions
OFAC Issues Guidance on the Implementation of Trump Executive Order Banning Transactions Involving the Securities of "Communist Chinese Military Companies"


If your property is focused on going green, these are improvements you need to make. Considering eco-friendly features is main steps you can take in your bathrooms. After all, plenty of water is utilized here. From water-saving toilets to showerheads that limit the quantity of water you utilize, there are new systems available that will help you spend less and resources. Search for features which may have the WaterSense label for confidence that the product meets EPA recommendations.
Adele's cottage-style bathroom is merely as wonderful as her vocals. The master suite has two large closets and a excellent and beautiful bathroom. Her sanctuary has gray beadboard wall surfaces, multi-light home windows, a skylight, hardwood floors, which typically cost between $250 and $7,000 to set up, a large bathtub and shower covered in white subway tile. All I could say is, gorgeous!
I think we can all agree that these celebs are living large and that they have the stunning bathrooms to demonstrate it. Think about what styles and features you like best and make an effort to match the appearance in your own home at a budget you are able. I hope you had the maximum amount of fun as I did oohing and aahing over a few of the hottest star bathing rooms in Hollywood.
The word on the road is that she snagged a modern and remodeled modern kitchen with stainless appliances and rock counters. Furthermore, Amy likes a breathtaking master suite complete with its walk-in closet, two times vanity and vapor shower. Let's declare it, how can we not be at least somewhat jealous?


Paul writes of travail, intense laboring with pain and sorrow and anguish, a birthing -- so that he might see Christ formed in these, his beloved Galatians. He writes in present tense; the story isn't completed. He is writing while yet in the pangs of childbirth.
He had travailed on their behalf once before, when he first saw them established in the knowledge of Christ's provision. His previous labor had brought them deliverance from idols and gained them salvation through Christ.
But here we are, finding that they have wandered from the solid truth of the gospel, embracing the law, rather than the liberty of grace. And so, he finds himself once again in the pains of childbirth, desperate to see them go on to maturity, committed to their continued well-being.
The passage does not imply a need for renewed regeneration. Paul is, however, clearly concerned about their need to apprehend Christ -- that they might be, as Matthew Henry wrote, "...more confirmed and established in the faith of the gospel." They were in danger of being side-tracked, not maturing, failing to grasp all He had for them.
And so Paul labored once more. He travailed, anguished. He felt pain and sorrow. I'm willing to bet that he spent time on his face, weeping before God, moaning with grief for the lost time, the lost treasure in their heavenly account. Not afraid, but deeply moved with sadness.
Childbirth is arduous, exhausting, inescapable. Waves of discomfort, (dare I say it?) pain, sweep over you. I distinctly recall saying to my doctor, when in the midst of such pain and sorrow, "It's a good thing there's a baby at the end of all this."
Paul travailed with hope. He had a vision, a goal. He entrusted God with his labor -- the first time, the second time, and I'm sure, every time.
Thank you so much for writing this! As I was reading this, I felt a desire to write a spoken word piece on this verse/concept. Therefore, I shall begin writing one!
I appreciate you and your work, and I hope to come over sometime soon an spend some time with Merrick and everyone.


On Monday January 14th Bedford Hills Volunteers responded to a motor vehicle accident on Bedford Road in the area of Shady Brook Lane. Rescue 10 was first arriving to the scene and located a two vehicle accident with a vehicle off the roadway into a tree, all occupants were deemed out of the vehicle. Crews had to cut the tree back to access the patient and controlled traffic until the vehicles were removed from the roadway. The scene was turned over to Bedford Police and Firefighters cleared the scene at 17:07 hours.


I also have a desktop version of this game in the works, but as of right now I have a "playable" twitter-based version of the game. I'll be posting a new puzzle every day.
Thanks! If you have any puzzle ideas you can submit them via the pinned tweet.
It would be cool if the bot replied or interacted to replies in some way. I think this is awesome though.
I also had once the idea to use twitter as backend for a multiplayer game and löve as engine.
Could you make this twitter client open source to github?
Sadly the api of twitter is very limited, you cannot post too many tweets :/. But worth a try .
omg how did you did it.
I would love to try making this sort of software experiments.


Home » Atlanta REIA Blog » Articles » The Profit » November 2014 » Would You Believe Sellers Think Differently Than Buyers? What a Shocker!
Over the years I have heard a myriad of reasons why each seller wants or needs to sell their house. Some needed to sell because the size of their family had grown and they have simply outgrown the house they have. Possibly I could sell them one of my other houses in exchange for the house they need to sell. Some sellers have reached retirement age and no longer need such a large house to take care of. Again, I might be able to sell them one of my houses or find them a house they would be happy with, buy it and exchange my house for their house. I call this "double dipping". Some sellers may have had a job transfer and need to sell their house quickly because they are now making two house payments they can't afford to make, the house they left and the house they are now living in. Some sellers may no longer be able to take care of the property because of their age or physical condition or, they can't afford the monthly payments any longer. Some sellers may simply want to rid themselves of the large monthly payment they are paying and are having trouble making each month while trying to save their credit score. Some seller's have back property taxes they can't pay and their lender is threatening foreclosure if they don't. You will never know what motivates the sellers until you ask.
Some sellers who have a problem in their life may only want enough money from the sale of their house to take care of their problem. Some sellers want an income stream every month over the long term, and some sellers are simply out of their minds wanting more for their property than it is worth. However, no matter what the reason why the seller wants to sell their property it is your responsibility to find the reason why they are selling and then try to solve the seller's problem, if you can and still make a profit.
Many sellers want debt relief while other sellers want as much money as they can get from the sale because they believe that the money they receive from the sale of their house will be the only money they will have to comfortably live the rest of their lives or to pay off debt or take that once in a lifetime dream vacation they've always wanted to take. Other seller's believe that the money from the sale of the largest asset they will ever own is all they will ever have to live a somewhat comfortable lifestyle. When this is the case most sellers are harder to negotiate with especially if they live in the house they are selling because of their emotional attachment. You will find sellers who think they deserve top dollar for their property even if it isn't in perfect condition. Every seller's motives will always be different from what you will automatically assume. You simply can't know without asking.
Next month I will continue this line of thinking that will help you become a better negotiator and help you make far more profits from the deals you do.


Dazzling by day, seductive by night, Waterford Crystal drinkware is forever captivating with its timeless radiance. Whether it's a wedding, new home, anniversary or great achievement, celebrate life's special moments with the sparkle of Waterford drinkware. Browse our entire online collection of wine glasses, champagne flutes, tumblers, decanters and barware.


text:
Q: Flex DateTimeAxis Duplicate Axis Label Values This simple code results in November 7th in 2 places on the horizontal dateTimeAxis:
<mx:Application
        xmlns:mx="http://www.adobe.com/2006/mxml">

    <mx:Script>
        <![CDATA[
            import mx.charts.series.LineSeries;
            import mx.collections.ArrayCollection;

            [Bindable]
            public var ac:ArrayCollection = new ArrayCollection(
                [
                    {completions: "11636", date: new Date(2010, 10, 7)},
                    {completions: "33060", date: new Date(2010, 10, 8)},
                ]);
        ]]>
    </mx:Script>

    <mx:Panel title="Bar Chart">
        <mx:BarChart id="myChart"
                      dataProvider="{ac}">
            <mx:horizontalAxis>
                <mx:DateTimeAxis dataUnits="days"
                                 displayLocalTime="true"/>
            </mx:horizontalAxis>
            <mx:series>
                <mx:LineSeries xField="date" yField="completions"/>
            </mx:series>
        </mx:BarChart>
    </mx:Panel>
</mx:Application>

Change the dates to November 8th and 9th and all is good....
Anyone have any ideas how to fix this?

A: It looks like it has something to do with UTC time as this fixes it:
<mx:DateTimeAxis dataUnits="days" displayLocalTime="true" labelFunction="formatDate"/>

public function formatDate(value:Date, prev:Date, axis:IAxis):String
{
    return dateFormatter.format(new Date(value.fullYear, value.month, value.dateUTC));
}

But, I'd rather not do this...

A: Firstly, good man for putting in the entire app code (handy for running).
Copied it and ran it in Flex Builder 3, and it gave me the two dates, 11/7/10 and 11/8/10. Which is what you were looking for (given that month is zero based). Must be a locale thing.
Here is a debug view of the first date, maybe check details against yours (note the time offset)

A: brian bishop mentioned timezone offset, so that got me thinking. here's a simpler app:
<s:Application xmlns:fx="http://ns.adobe.com/mxml/2009"
               xmlns:s="library://ns.adobe.com/flex/spark"
               xmlns:mx="library://ns.adobe.com/flex/mx" minWidth="955" minHeight="600"
               creationComplete="application1_creationCompleteHandler(event)">

    <fx:Script>
        <![CDATA[
            import mx.events.FlexEvent;

            protected function application1_creationCompleteHandler(event:FlexEvent):void
            {
                var d1:Date = new Date(2010, 10, 7);
                var d2:Date = new Date(2010, 10, 8);
                // put breakpoint here...
            }
        ]]>
    </fx:Script>

</s:Application>

and here's what the properties look like on my machine (in Denver) (note the timezoneOffset property. the difference i suspect is because 11/7 was daylight savings day):

for some reason, datetimeaxis with displayLocalTime=true, converts d2.date to 7 instead of 8.

A: I used the below function for Date comparison in my application instead of having new Date(obj) and it worked for me.You can also give it a try!
Note:'value' param was a String "02/07/2011" in my case.
private function isoToDate(value:String):Date
        {
            var dateStr:String=value;
            dateStr=dateStr.replace(/\-/g, "/");
            dateStr=dateStr.replace("T", " ");
            dateStr=dateStr.replace("Z", " GMT-0000");
            dateStr=dateStr.substr(0, dateStr.lastIndexOf("/"));
            return new Date(Date.parse(dateStr));
        }

redpajama_set_name: RedPajamaStackExchange


Red wines are popular today because of its exquisite taste and captivating aroma. Everyone loves it because the taste is superb unlike other beverages. There are very few exceptions to that all over the world.
The main red color is extracted from the skins. The extracted skin is called tannin. Tannin is the red skin in red wine that gives a phenomenal textural drying sensation. The sensation of dryness is felt at the back of your mouth.
When you sip a red wine, the first thing you are going to notice is that it does taste dry. The meaning of this is that the wine is not sweet; a sweet red wine in rare today because of its components.
e is a wine that is dry. These types of wine have no residual sugar because they are considered expensive. Sweet wines are inexpensive and cheap compared to this kind of red wine. There are several topics about red wine that you should know. Let's discuss about a wine that is smooth in acidity. The acidity that it contains will make you feel the dryness on the sides of your tongue.
However, the difference about this is that it is smooth and light kind of red wine. It is like drinking and drying your mouth afterwards. You can say that the tannin over powers the red wine.
the back of your tongue. Tannin is being used to add volume in the wine. Without it, it will surely be hard for us to enjoy our exotic red wines at home or at a ceremony.
In drinking red wines, we can have a dry, smooth acidity, a bit of bitterness and tannin; we can also have a wine with quite a bit of body based from that tannin. After that, the tannin will mixed into the alcohol. The alcohol is being extracted right after the red grape is fermented. The alcohol came from the grapes. It is one of the luxurious way to ferment the red grapes into our sophisticated red wines. They are full bodied and dry with a hint of bitterness and a little bit of tannin. No one could ever resist this kind of red wine because it has the total package that you will definitely love!
Wine has been here making us endure the best taste. Every occasion, our celebration will not be complete without wine. From red wines, to white wines, rose to sparkling and dessert, wines have been dominating the drink industry. Wines could be identified mainly by the grape selection used to make the wine and the area where the grapes are grown. Wines identified on the basis of grape range are called varietals and those categorized on the basis of area are called by the region itself.
First, you need to pick up the grapes from your vineyards. Most vineyards start with white grapes and then with red varietals. The grapes are usually gathered in bins and then later on be sent on the crushing pad. The process will turn grapes into juice and then to wine.
Crush the grapes. There is a wine making machine called destemmer that will remove the stem from the cluster. After removing the grapes from the stem, it will lightly crush the grapes.
Ferment the grapes into wine. When you say Fermentation, the sugar will be converted to alcohol. There are plenty of methods and machineries that can be used for this process, in different kinds of grapes. For red and white grapes, the yeast will be added so fermentation can happen into the wine. For red wines,the carbon dioxide will be released throughout the fermentation process. The techniques also make the grape skins will rise too. Wine makers must also punch over to keep the skins in interaction with the juice. For red wines, the grapes will be pressed once fermentation is done.
Age the wine. Aging the wine will make it have a long lasting and beautiful taste. They say the longer you age wine, the better. There are various of wine that can be aged to several years, to several months, stainless steel to oak, new oak to used barrels, oak barrels, and even numerous stages of toasted barrels.
Put the wine in a bottle. When the wine maker is done with the full expression of aging the wine, then it will be time put the wine into the bottle. Most dry red wines will need aging of eighteen (18) to twenty four (24) months.
Wine will surely make us drink more. The process of doing wine can be simple but it takes lots of knowledge. Wine has become the world's famous drink because of its magical taste. The taste of wine varies depending on how long you stored it. The longer you preserve the wine, the better it will taste. The most complicated process in making a wine is the fermentations as we all know it will be tedious to convert its sweet taste to alcohol. Overall, wine continues to dominate the store.. and need we say more?
What Are The Different Types Of Wine Openers?
We all love drinking wine, don't we? Wine has been here making us endure the best taste. Every occasion, our celebration will not be complete without wine. From red wines, to white wines, rose to sparkling and dessert, wines have been dominating the drink industry. Wines could be identified mainly by the grape selection used to make the wine and the area where the grapes are grown. Wines identified on the basis of grape range are called varietals and those categorized on the basis of area are called by the region itself.
The process of making wine is not that complicated. The process of doing wine can be simple but it takes lots of knowledge. Wine has become the world's famous drink because of its magical taste. The taste of wine varies depending on how long you stored it. The longer you preserve the wine, the better it will taste. The most complicated process in making a wine is the fermentations as we all know it will be tedious to convert its sweet taste to alcohol. However, the most exciting is opening the wine.
Twist Corkscrew. The inventor of Twist Corkscrew is Reverend Samuell Henshall. The handle is made easy to twist. It is the simplest of the wine bottle openers. There is a concave disc between the handle and the screw allows the cork to slide out the bottle neck.
Waiter's Corkscrew. This type of wine opener is known by several names including sommelier knife or wine key. The type of corkscrew has been around since 1882. The handle can come in variety materials like wood, metal or plastic.
Air Pressure Wine Openers. Instead of having a traditional corkscrew, this kind of wine opener may be good for you as it requires you to insert a hollow needle down through the cork. The air pressure wine opener has minimal physical force requirement. It also removes the cork faster than other type of wine opener.
Winged Corkscrew. This kind of wine opener is popular because of its double lever variety which can be traced back to patent H. S. Heely from 1888. The double levers make it simpler and easier to open the wine because it requires less effort.
Electric Wine Openers. This type of wine opener is simple and easy to use. IT involves the corkscrew that will spin around on its own when you press the button. Because of the process, the extraction becomes easy.
Lever Corkscrews. This type of wine opener is often called as the "bunny ears". The lever system resemble of the long ears of the rabbit. This corkscrew is designed for beginners because of its ease of use.
Air Pump Corkscrew. This is an unusual style of the opener has similarity to the air pressure wine opener. The Air Pump Corkscrew pushes air into the bottle until the cork pops out.
These are just the most common wine opener. The 7 corkscrews are done to help people enjoy wine. What about you, which one do you prefer to use?
Malbec. This kind of red wine originated in Argentina. It tastes like black fuits, but the oak is more aggressive. It has nomal flavours of coffee and chocolate. You will surely love this kind of red wine if you are someone who like bold tasting food and drinks.
Zinfandel. This kind of red wine has exotic fruits flavoured. It has a style from medium to full-bodied. What's amazing in this red wine is that you can pair it with various kinds of food.
Merlot. This kind of red wine is more fruit forward compared to other red wines. It is zesty, with a twist. You will surely love this red wine because it dominates America like it's a huge storm.
Chardonnay. This kind of white wine is special because tastes like yellow citrus. Usually, it is from medium to full bodied. This white wine is also dry. The Chardonnay is also at its best when oaked aged. It has buttery sensation in the mouth.
Pinot Grigio. This kind of white wine is pure red that tastes like cherry cranberry. It is dry and light bodied. The Pinot Grigio is harvested in France. It has sweet tannins and high acid. A lot of people who tried this agreed that it tasted like apple or pear.
Riesling. This kind of white has the balance of sweet and acidic. It also has honey flavors and minerals. The white wine tastes like citrus. It has high acids and sweets that you will surely love. This white wine has a sweet and sour punch that you can pair with delicious meals.
Sauvignon Blanc. This kind of white wine has aggressive citrus taste that is perfect for parties or other high class ceremonies. This white wine is dry and usually harvested in France. It also has a grassy fragrance that is perfect for pairing in seafoods.
Syrah. This kind of red wine often tastes like blueberry and plum. The Syrah red wine is full-bodied and usually cultivated in France. You will surely adore this kind of red wine because it is blended with Grenache.
Pinot Noir. This kind of red wine is dried and light bodied. Like other types of wine, this Pinot Noir is harvested in France. It also has soft tannins but higher acid compared to other brands. The grapes used to cultivate this wine flourish in cold climates.
Cabernet Sauvignon. This kind of red wine tastes like black cherry. You can also tastes the cedar in this wine. Cabernet Sauvignon's grapes are cultivated in Bordeaux area. It has bold tannings that can complement the taste of lamb, beef, and other smoked meats.
What Are The Most Common Types Of Wine?
Our illustrious Manic Monday host Mo has served up Rip as this week's prompt. I can't wait to see what the other Manic Minions have done with it!
So many possibilities came to mind, but in the end I decided to go with the first Rip I thought of, which was Ripple Wine. I know, I know, you're all surprised, right?
It was 1972 when I was first able to legally purchase and consume alcohol. In the aftermath of a night at the Drive-in drinking Seven & Sevens, I quickly discovered that I did not care for hard liquor – at all. It certainly was not my finest hour, but the lesson was very well learned. And that's all I'm going to say about that!
Some of the drinks I tried and dismissed were Sloe Gin Fiz (doesn't that just sound cute!) and Harvey Wallbangers (too sweet & too much acid). Someone eventually introduced me to Boones Farm and Ripple. They were both too sweet for me but I did like them enough to realize that red wine would be my drink of choice.
I will always remember my very first glass of a magnificent wine! Mmmmmm. A Wine lover was born! Château Lafite Rothschild – I just wish I could afford to drink it!
When I Googled Ripple Wine I was somewhat surprised to learn that Ripple, an inexpensive fortified wine produced by E & J Gallo Winery, is no longer made! I couldn't even find a photo, other than this screen shot someone made from a Sanford & Son video clip.
Thanks for stopping by. I hope you enjoyed my little tRip down Memory Lane! I wish you all a wonderful Manic Monday!
I am the "go-to gal". I always have been, since childhood. For those of you new to my world, I am the oldest of eight, count 'em, eight children. I am the consummate organizer. I bring order to chaos. I can and I do.
I am sure many of you have been in situations where a family member, friend or co-worker has come to you for advice. Then almost immediately upon receiving these pearls of wisdom from you they leave, thanking you countless times for your insight and compassion.
Moments later, days later or weeks later, they have totally ignored every single word you have said, especially any words of caution you imparted specifically regarding what they should avoid at all costs.
Here it comes. The phone call. The crying call. The "what do I do now" call. The "please don't say I told you so" call.
Do you honestly think I went to all that trouble just so I could say "I told you so"? Do you sincerely believe in your heart of hearts that I really wanted you to do the opposite of what I suggested you do? Do you actually buy in to the idea that I get satisfaction from watching you suffer continuously and needlessly as you repeat the same mistake over & over again?
Sometimes, just sometimes, people make me wish I were wrong.
Truly, there are times when there is no consolation in being right, especially when someone you love gets hurt. Again.
I phoned one of my SisterDears Sunday afternoon. Kevin, one of her twin 8 year old sons, answered the phone. The conversation went exactly like this:Me: Hi, Kevin, how are you?
Our Manic Monday host Mo has given us the word Fresh this week.
I give you Fresh from my garden Sunday morning – some Honeysuckle Vines!
Honeysuckle is mentioned in many songs and books, but my favorite Honeysuckle lyric is Jimmy Buffet's "Tin Cup Chalice".
A Fresh song from an always Fresh singer-songwriter about a fragrant & Fresh Honeysuckle Vine Fresh from the garden!
I'm betting that this was a Fresh take on this week's theme. I'll bet nobody else even thought of Honeysuckle Vines!
Daughter, Sister, Wife, Mother and Friend. One of 4 Sisters. Wife to a Cop. Mother to a 20 year old Bipolar daughter, 16 year old son and 8 year old Autistic twins. Life is never dull at SisterDear3's house!
I've moved back to blogger! Please update your bookmarks and come visit me.
This site will soon be taken down.


didn't have such a vivid imagination—he's forever dreaming up fanciful schemes that will never see the light of day.
would spend more time playing sports and less time studying.
would spend less time tending rare orchids and indulging in fois gras and find a useful, productive profession.


Whether by the beach, lake or mountain, the modest bach is an iconic part of our history and culture and sums up the meaning of escape from the city and ordinary working life.
Liz Kerby's colours for this Piha bach reflect the bush-clad hills and stormy coastline, using Resene Bluegrass on a tongue-and-groove wall that runs through the entry way and behind the dining space. All of the floors were painted in Resene Quarter Foggy Grey.
Layouts are determined as much by relaxed attitudes as modest budgets. Hence the lack of front entries, says Gerald. "Baches can be quite casual in the way bedrooms come off living areas and so on. They have multi-purpose spaces. A bedroom might be behind sliding doors.
"You can use basic materials and colour more playfully. Old baches were typically slapped together with fibre-cement cladding. It was easy to knock them up in plywood, so we've tried to use these sorts of materials. They're really low maintenance and easy to paint," he says.
Gerald Parsonson's clients Richard Stewart and Kerry Sexton wanted their holiday home in Te Horo, north of Wellington to feel like a bach, not a house that happens to be at the beach. He designed a small 87m2 retreat that was economical to build in fibre-cement and batten cladding with a simple pitched roof angled to catch the nor-wester breeze and shelter from southerlies. This bach recently won Gerald a Resene Total Colour Award for both its interior and exterior.
Designer Anna Major from Haus of Design in New Plymouth also encourages her clients to be sympathetic to the surrounding beauty. "In Taranaki, we're inundated with beauty in our mountain and coastal areas." For remote locations, security is often key, says Anna. When she designed a new bach in Oakura recently, it was about creating the ability to lock up and leave, so she specified sensor lights and aluminium joinery.
Anna Major designed a bach with two personalities – choosing bold Resene Pioneer for the exterior but a more muted palette inside with plywood finished in Resene Aquaclear, walls in Resene Sea Fog and a feature wall in Resene Gravel.
Beachy – use Resene Colorwood Whitewash and chalky whites like Resene Merino, along with faded blues and green-edged sand colours like Resene Slipstream and Resene Smoothie. Decorate with driftwood, shells, beach ornaments, Cape Cod chairs, ceramic or metallic fish, colourful canvas stripes, log fires and window shutters.
Retro – play up the heritage aspect of existing baches. Update existing retro kitchens with colourful cabinetry and funky handles, kitsch art and objects from junk shops, second hand furniture, Crown Lynn china and old photos in frames. Retro colours to try include teals, mustards and oranges like Resene She'll Be Right, Resene Cleopatra and Resene Adrenalin.
Nautical/boathouse – decorate with whitewashed floors and walls, painted oars, marine inspired tongue and groove, colourful canvas stripes, charts and maps, natural rattan shades and weathered surfaces. Try accents of navy and stormy blues like Resene Submerge and Resene Coast.
Surfy – use primary accents alongside surf boards, surf shop art, caps and bags in surf brands, denim cushions and surf break prints. Colours to try are fresh yellows, reds and greens like Resene Chorus Line, Resene Poppy and Resene Away We Go.
Rustic and raw – use plywood, concrete, upcycled timber furniture, chunky tables, rusted metals. Protect timber walls and ceilings with a durable urethane like Resene Aquaclear, timber floors with Resene Qristal ClearFloor and concrete floors with Resene Concrete Wax.
When Maurice Reeger of MnM Design created his own alpine retreat, he used Resene Elephant as a cool counterpoint to timber linings.
Header image: Interior designer Anna Major from Haus of Design created a contemporary interior with a muted palette for this Taranaki bach using plywood finished in Resene Aquaclear urethane and walls in Resene Sea Fog.


Lock in a great price for Hôtel de Paris – rated 9.3 by recent guests!
We stayed in the yellow room which was nice and spacious with a big bathroom and a beautiful view onto the Murol Castle. Walking distance to restaurants.
A very comfortable small hotel in a quaint village and a wonderful view of the castle from our bedroom window. The staff were friendly and obliging, while the breakfast selection was sufficiently diverse.
Large room, friendly and helpful staff, generous, varied and high quality breakfast, view from the bedroom. Modern rooms in traditional hotel.
The property was in a quiet side street of the town. It was a 4 day public holiday and there was a Medieval Carnival on our second day, which made the town very lively. It was a short walk to the restaurants and shops. The room was spacious and the facilities good.
La grandeur de la chambre ainsi que de la salle de bain. Le calme. La propreté. L'accueil du personnel.
Un cadre de ville plutot sympa , dans une optique de vie assez artisanal . l'emplacement de l'Hotel est vraiment proche de tout. une chambre cosy , fonctionnel avec un rapport qualité prix super, le tout dans une ambiance super reposante .
Excellent séjour dans cet Hôtel, nous en avons aimé l'emplacement , le calme , le confort, l'accueil , le petit déjeuner, la propreté irréprochable, la vue depuis la chambre, la luminosité, le billard et les jeux de société proposés au salon.
Offering a terrace and ski storage space, Hôtel de Paris is set in Murol, 1.3 mi from Lake Chambon and 3.7 mi from Saint-Nectaire. Guests can enjoy the on-site bar.
Every room offers a view of Murol castle and is equipped with a flat-screen TV and a safety deposit box. Some rooms have a seating area for your convenience. Every room includes a private bathroom. For your comfort, you will find free toiletries and a hairdryer.
Breakfast is served every day and includes pastries, bread, freshly squeezed orange juice, meat, cheese, fruits and eggs. Several restaurants can be found in the village.
There is a shared lounge with a DVD player, video games and a billiards table at the property.
The area is popular for horse riding. Ski equipment hire is available nearby. Le Mont-Dore is 12 mi from Hôtel de Paris, while Super Besse is 10 mi away. Clermont-Ferrand Auvergne Airport is 27 mi from the property.
This property also has one of the top-rated locations in Murol! Guests are happier about it compared to other properties in the area.
This property is also rated for the best value in Murol! Guests are getting more for their money when compared to other properties in this city.
No baby cot can be accommodated.
This double room features a seating area and view.
This twin room has a view and seating area.
This triple room features a desk and safety deposit box.
This quadruple room features a desk and safety deposit box.
Please note that the reception is open from 07:00 to 12:30 and from 15:00 to 21:30. Late arrivals are not possible.
Please note that the balance of the reservation is due upon arrival.
Please note that no refunds are offered in case of early departure.
Please note that breakfast must be reserved in advance.
Baby cots and extra beds are available upon prior request and at an extra charge. For more information, please contact the property. Contact details can be found on the booking confirmation.
Breakfast is served every day from 08:00 to 10:30.
Nothing - everything was first class !
Not the hotel's fault but in late September Murol has very restricted dining alternatives.
The weather was cold and rainny for the 4 day stay, so was not able to fully enjoy the region. In an shoulder season much is closed an beware of French closing hours from 12-12:30 to 14:00.
There were some problems with getting a good WiFi signal, but they seemed to be working on that.
The wifi was very poor and you had to log in again every few minutes.


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This is the story of how Robert Frost discovered, to his dismay, that a group of his letters and manuscripts had been acquired by the Huntington Library in San Marino, California in 1923. The article describes some of the gems in the collection and Frost's repudiation of two of the poems attributed to him.
Bilingual edition of Richard Wilbur's poems, translated into Spanish by Rhina Espaillat. Introduction by Leslie Monsour.
This monograph contains critical and biographical essays as well as an interview with the writer/translator, Rhina Espaillat. "Fascinating. Not possible to put it down once you start reading." --Lewis Turco.
A thoughtful analysis by Jessica Su, exploring aspects of place and time in Leslie Monsour's poems.
Winner of the 2010 Finishing Line Press Open Chapbook Competition.
Over the years, it has been my privilege to praise Rhina P. Espaillat for being one of America's most distinguished poets and translators. Now it's my pleasure to praise her for being funny.
Tapissary is an invented language by artist Steven Travis.
Ed. John Fraser of Halifax, Nova Scotia. A Wintersian alternative to Norton.
Garrison Keillor selects and reads some of my poems for his NPR program.
New online journal in which three of my translations of Sor Juana's sonnets are published as well as a poem.
This link shows a video of a portion of my May 13 talk as featured speaker, preceded by a dramatic performance and introductions by Professors Roberto Cantú and Timothy Steele.
My essays on Rhina Espaillat and Sor Juana Inés de la Cruz appear on this database website.
A video in which I sing some songs and chat with my son, Nicholas.


All papers / articles will be evaluated through a blind review process constituted by drawing experts from Institutions / Universities / Organizations of repute in or outside India.
Only original, unpublished work will be accepted. Any proposal submitted to present identical or significantly similar work already published or under review for some other conference or publication will not be considered. The contributor should certify, in the covering letter, that the manuscript is an original work which has neither been published anywhere nor is it being considered for any other publication / conference at the same time. Authors must type in single line space only. On first page of the contribution title in uppercase letters; author's name and affiliation (in uppercase and lowercase letters) should be there. For multiple authors, one may type the affiliation in one line covering part of the line or covering the complete line. Do not give academic titles such as Dr., Prof., etc. Please e-mail your contribution in MS-WORD format to the Convener of the conference.
The delegates are requested to send extended abstracts of their papers / articles not exceeding 300 words, Times New Roman font, 12 point font size with single line spacing and one inch border on all four sides of the page in MS Word or PDF format only. Abstract should be followed by a few keywords. The abstracts are to be sent to the Conference conveners at FIFC2014@fsm.ac.in along with name and affiliation of the author(s), contact number and active email ids latest by 31st August, 2014.
The full paper should contain 3500 to 4000 words. Each contribution should be organized in the following order: Introduction, Main body of the article, Practical Significance/Usefulness, Conclusions or Summary, Nomenclature, Reference and Appendices (where applicable).
The conference proceedings shall be printed by the offset printing process. To ensure that your contribution is reproduced properly, you should strictly observe the following instructions.
Type the manuscript clearly and accurately. Please use a word processor and a laser printer for the output. Use a font size of 11 pt. for the text. Please use Times New Roman font. Sub-headings must be in the same size but in upper case and bold font. Use MS-Word. The print area should not be more than 4.5" × 7", which means that the maximum width of lines should be 4.5" and the length of the print area should not exceed 7". Reading is most difficult with a pica typeface and hence it is not recommended for use.
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Use fractional powers instead of root signs. Use the slash sign instead of a horizontal line for fractions (e.g. 2/3) whenever possible.
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Creveling, H.F., Stability Characteristics of a Single-Phase Free Convection Loop, 1. Fluid Mech., 67, 65-84,1975.
Kays, W.M., and London, A.L., Compact Heat Exchangers, 2nd ed., McGraw-Hill, New York, 1984.
Japikse, D., Advances in Thennosyphon Technology, in Advances in TIeat Transfer, J.P. Hartnett and T.F. Irvine, Jr., Eds., Vol. 9, pp. I-Ill Academic Press, New York, 1973.
Morgan, R.G., and Schuiltz, D.L., Infiared Scanning in Transient Wind Tunnels, Third Australasian Conference on Heat and Mass Transfer, Univ. Melbourne, pp. 241 -247, May 1985.
Zvirin, Y., A Review of Natural Circulation Loops in Pressurized Water Reactors and Other Systems, EPRI Report NP-16776-SR, January 1981.
Weierman, C., Taborek, 1. and Marner, W.J., Comparison of the performance of Inline and staggered Banks of Tubes with Segmented Fins, presented at the 15th National Heat Transfer Conference, San Francisco. AIChE paper No. 7, 1975.
Chamieh, D.S., Forces on Whirling Centrifugal pump Impeller, Ph. D. Thesis, Div. Eng. Appl. Sci., Calif. Inst. Tech., Pasadena, Calif., 1983.
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I hereby declare that the material being presented by me is my original work, and does not contain or include material taken from other copyrighted sources.
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Accent Chairs, Arm Chairs, Lounge Chairs, Mid-Century Living Room Chairs : Create an inviting atmosphere with new living room chairs.
Shop for Capa Fabric Armless Contemporary Accent Slipper Chair. Get free shipping at Overstock.
Add an element of fun into your home with accent chairs! A chill out spot cannot do without a comfortable chair. This round swing chair meets the mark.


I love PoshLife Hair closures! I have purchased two closures along with their Brazilian bodywave bundles. My closure was lovely it looked very natural and the hair was super soft. I have used my bundles and closure with 3 installs. I love this hair.
I ordered a lace closure with 2 bundles of body wave. My closure is very nice the parting is easy and I didn't have to do to much to make the part look like my own. I cant wait until the deep wave lace closures are available online.


For her senior project at Fort Bragg High School, Mikhaila worked at radio station KCRE in Crescent City, broadcasting on an early morning talk show. KOZT-FM in Fort Bragg helped her complete her project, supporting the creation of her own radio station and program. This was instrumental in winning her the Ron R. Hedley Scholarship for Recording Arts Technology.
Mikhaila is grateful for the financial assistance provided by her scholarships. "I don't know that I would be able to take as many classes if it hadn't been for the scholarships. They pay for a lot." Mikhaila's advice for aspiring students is "Do not procrastinate! Apply for scholarships as soon as you can. Find people who will write your letters of recommendation as soon as possible, to give them time to think about it and time to write it.
For more information about the Mendocino College Foundation activities on the Mendocino Coast or to donate towards any of their programs, contact Coast Development Director Anna Kvinsland at akvinsland@mendocino.edu or call 961-2203.


As the girlfriend of a snowboarding junky, from November onwards I receive daily, detailed snow reports on what is happening across the alps. This year on our annual trip we headed back to Sestrière in Italy so I could get experience of heading off-piste.
Sestrière lies at the heart of the Milky Way which offers almost 400 km of pisted runs. It is an alpine village in Italy situated in Val Susa, 17 km from the French border.
We arrived to blue skies, fresh air and great food at our hotel the Principi de Piemonte which lies to the side of the Sestrière piste, you can board from the door almost onto the slope!
I love the freedom of being in the mountains and the exhilaration that comes from carving through the snow.
Getting ready for a day on the slopes is like a military operation!
First of all you have to play a game of what fits in what pocket!
Then from a hot hotel room try and work out how many layers will be necessary.
It is very true about all extreme sports you don't buy the padding until you hurt yourself. I am now the proud wearer of essential padding including helmet, impact shorts, wrist guards, knee pads and elbow pads.
You will be surprised – once you get used to feeling like a Michelin man! These confidence boosting extra layers really do keep you protected from any big knocks.
The first day always starts with nervous anticipation! Martyn, my boyfriend is a traveler when it comes to snowboarding, we have to tick off every run on the piste map during the week. As we have been to Sestriere before, this year was about new adventures off-piste!
From the lifts you can really scope out the best off-piste areas and look for any dangers. Before going off-piste you need to be comfortable and confident enough to keep going with enough speed to push through the thick powder.
The first thing to remember your first time off-piste is to accept you will spend a considerable amount of time digging yourself out of deep snow, this is part of the fun. When this happens use it as a good rest stop take in the view then try and roll onto your knees, packing the snow around them to give you a good basin which to push up.
Once you're up keep your weight centered over the board, with slightly more weight in your back foot.
Look where you want to go and relax.
Powder is harder than the slope because it has not been groomed ready for you to slice into, therefore you need more speed to carry your weight over the thick layer, which means linking your turns in a long flowing consistency, the bonus is, if you fall over its not going to hurt because it's like falling into a cloud.
For your first time off-piste go with someone experienced and patient! Pick an area which is open preferably where you can see runs and make your way to them once you're tired.
Sestriere is a great region to learn off-piste as there is plenty of safe areas in-between the runs.
Once you feel a little bit more confident and able there is plenty of off-piste on the Sauze D'Oulx side of the mountain too, this is where we went on our third day.
As we got higher I felt the butterflies in my stomach rising in anticipation for what was to come. We walked around the lift and literally slid off the edge it was quite steep and the snow crunched under my board where the top layer had frozen. This off-piste was quite well worn but it was still amazing to be the only two on the slope. we made our way onto the long blue descent and then again popped over the edge into the trees, the conifers were tightly packed and I did my best to follow Martyn's expert line through them. My skill level is not quite as good and I found myself sitting amongst the branches on more than one occasion!
We found a great little cake and drink stop overlooking Sestriere and the mountains beyond. From there we made our way into the clearing a vast space of pure white snow where no one had been. I loved the feeling of making my own tracks and the complete freedom of being able to go where ever I wanted. We ended up at the back of a hotel and used our boards as sledges to get down to the lift ready for round two!
After picking up some lunch supplies we headed back up on the gondola, Martyn casually said "let's stop on those rocks for lunch" I wasn't so keen on the idea of lunch on the edge of a rock but once we got to our lunch spot I changed my mind. We had panoramic mountain views and peace and quiet our own spot on the top of the world.
After lunch we slid off the other side of our rocky out crop carving our own trail into the mountain side back into Sestriere.
Stopping at the bottom for a well-earned hot chocolate and beer stop we planned our next descent. This time the plan was to go off-piste from the Sestriere side and find a place to build a little jump, I had never done any jumps before so was excited about trying something new.
Once off-piste we looked for a spot where we could build a jump, Martyn found the ideal area with a good run off and a nice soft landing. Once we had built the jump (which was hard work) Martyn showed me what I needed to do and we took it in turns Martyn successfully and me nearly successfully in getting air! My biggest issue seemed to be staying pointing down the hill! The landing was soft and I was soon making a little progress!
The sun started to fade as did my energy levels so we made our way slowly through the trees on one last off-piste run off the trip.


This casual yet sparkly bracelet has two rows of multi colored crystals in the front and rainbow colored yarn in the back.
The paw print charm will remind you how you pawed it forward with your purchase and supported animal rescue!
This bracelet can fit the average wrist.
Length is 7" to 8.5"
This bracelet has been designed in honor of rescue girl, Courtney. She was rescued from a high kill shelter in a remote desert of California and was loaded with mammary tumors. After a major mastectomy surgery, Courtney recovered and got to see the beach for the very first time. She loved it, who knew Courtney was meant to enjoy being a beach girl?


There are several places in your shell script where you would like to give the user a usage message (a message describing the proper syntax for the command), but you don't want to keep repeating the code for the same echo statement.
Isn't there a way to do this just once and have several references to it?
If you could make the usage message its own script, then you could just invoke it anywhere in your original script—but that requires two scripts, not one.
Besides, it seems odd to have the message for how to use one script be the output of a different script.
Functions may be defined in several ways ([ function ] name ( ) compound-command [redirections]).
Either the reserved word function or the trailing ( ) must be present.
If function is used, the () are optional.
We like using the word function because it is very clear and readable, and it is easy to grep for; e.g., grep '^function' script will list the functions in your script.
This function definition should go at the front of your shell script, or at least somewhere before you need to invoke it.
The definition is, in a sense, just another bash statement. But once it has been executed, then the function is defined.
If you invoke the function before it is defined you will get a "command not found" error.
That's why we always put our function definitions first before any other commands in our script.
Our function does very little; it is just a printf statement.
Because we only have one usage message, if we ever add a new option, we don't need to modify several statements, just this one.
The only argument to printf beyond the format string is $0, the name by which the shell script was invoked.
You might even want to use the expression $(basename $0) so that only the last part of any pathname is included.
Since the usage message is an error message, we redirect the output of the printf to standard error.


text:
Aboriginal breastplates
Manufacture and designs
Manufacture and typology of gorgets
Aboriginal gorgets fall into recognisable typological sets with similarities of shape and design. They were most commonly made from brass or bronze and less often from copper. Silver plate was sometimes used as a finish. Only one known gorget was made from a precious metal and it was the silver gorget made for Jackey Jackey described in the heroic acts section.
'Billy Boney, King of Poison Creek'
As noted in the introduction, gorgets were usually crescent-shaped and at least twice the size of military gorgets. However, more recent gorgets are unusual shapes and often quite large. The largest gorget found during the research for this book was made for 'Billy Boney, King of Poison Creek'.
It is only known through a photograph of Billy who stands with the plate covering all of his midriff. The blank shapes of the gorgets were produced either by the simple sawn plate or by sand-casting methods. The process of sand-casting involves the creation of a mould in sand into which the molten metal is poured and allowed to cool and solidify.
Indications of sand-casting are small pits and irregularities on the reverse side of the gorget and the moulded appearance of the final shape. The engraved side of a cast gorget was smoothed and finished to allow for decoration. Sawn shapes were cut from metal plates which had been flattened in a rolling mill. Sawn plates have a smoother surface than those which were sand-cast.
The main point that can be made regarding typological similarities between the gorgets is that most appear to follow an established tradition of shape and design. Some gorgets even appear to be by the same maker and mass-produced for a growing market. On the whole, the manufacture and engraving is simple, although most are decorated with some kind of engraved pictorial scene.
Of the gorgets in the National Museum of Australia's collection only two have an inscription embellished simply with flourishes and only one has an inscription alone (collection numbers 1985.0336.0001, A-ON 117, 1985.0099.0001).
Gorget made for 'Tallboy, King of Moorabie'
The National Library of Australia holds a small collection of three gorgets among which is one which is a very good example of the finest gorgets. It was made for 'Tallboy, King of Moorabie'.
In shape and quality it is a close copy of a military gorget and it is decorated with a finely engraved tableau of a rider chasing a herd of horses through the bush with an emu and a kangaroo supporting the inscription. The maker is named on the back: 'J. Fitzsimys, 113 Pitt Street, Arts, Sydney'.
Another of the Library's gorgets, made for 'Mr. Ross, King of Kulkyne and Mornpool', is almost as fine and is suspended on a skilfully handmade chain. Its shape is unusual in that it is peaked at the base giving it a shield-like appearance.
The design and engraving on many of the gorgets are naive, suggesting that they were made by tradespeople rather than fine craftspeople. The quality of lettering used for the inscriptions is also generally simple, employing either a variation on roman, block or copperplate scripts and often poorly spaced.
Gorget made for 'Mr Ross, King of Kulkyne and Mornpool'
The blanks were mass-produced by some companies in England and Australia leaving the engraving to the purchaser. It appears from close examination of the National Museum of Australia's gorgets that some blanks had the same design engraved on the them and that the purchaser then added an inscription.
This conclusion is reached because the same design with the same quality of engraving is apparent on a number of gorgets which have various qualities and styles of inscription. An outstanding example of lettering and design being in completely different styles suggesting the later addition of the inscription is that made for 'Dick, King of Evesham' (collection number A-ON 118).
Aboriginal figures and forms
Only eight of the gorgets in the Museum's collection have designs which indicate Aboriginality by the use of Aboriginal figures and/or artefacts or designs after Aboriginal artforms. The gorget made for Coomee (collection number 1985.0059.0374) is decorated with what appears to be a copy of the decorative or ceremonial scars on her body.
Two gorgets, made for 'Sawyer, King of Wickham-Hill' (collection number 1985.0059.0387) and Dick (mentioned above), have very similar designs which depict Aboriginal men both posing with a spear and a boomerang. However, that is where the similarity between the gorgets ends. Dick's gorget is notable because the man in the design is shown wearing a gorget. People wearing gorgets also appear on gorgets in other collections.
Jemmy, King of Big River
Most human figures engraved on the gorgets show some evidence of contact with colonial society. Very few designs are confined to a wholly Aboriginal subject. One contrary example is the gorget made for 'U. Robert, King of Big Leather and Big River Tribes' (collection number 1985.0059.0364) which has a design of Aboriginal weapons. However, the weapons are crossed and arranged in the fashion commonly employed for weapons in European heraldic designs.
Some designs provide evidence for the impact of colonial society on Aboriginal cultural traditions. For example, designs such as those on the gorgets of Jack the Traveller (collection number 1985.0059.0371) and King John Cry (collection number 1985.0059.0380) show Aboriginal men using flintlock guns rather than spears, clubs or boomerangs to hunt their native quarry.
The skill with which Aboriginal people handled guns was often commented on by colonial writers. The Museum's finest gorget made for 'Billy Hippie, King of Minnon' (collection number 1985.0059.0363), is decorated with a beautifully executed design of an Aboriginal stockman riding a fine horse, skilfully jumping a log in a flat-out chase after some wild cattle. He is outfitted as a dandy colonial stockman but is riding barefoot in the style made famous by Aboriginal people. Many colonial commentators wrote about the skill of Aboriginal riders and how they rode barefoot, grasping the stirrup iron between their big toe and the next.
Billy Hippie, King of Minnon
Native bush scenes
Gorgets were frequently decorated with scenes of native bush, for example, those of 'Thomas Tinboy, King of Nelligan' (collection number 1985.0059.0377), 'Tommy, King of Gongolgon' (collection number 1985.0059.0366), 'Dicky, King of Clyde Road' (collection number 1985.0059.0375) and 'Peter, King of Tchanning' (collection number 1985.0059.0386). The xanthorrhoea is very commonly used in the designs and one is often placed beside the familiar emu and kangaroo.
Surprisingly, the popular and well-known waratah is not so commonly used in the designs on gorgets. Only one of the Museum's gorgets, the one made for 'Tommy, King of Gongolgon', has it as a motif. Small, leafy branches which bear close resemblance to the laurel branches engraved on military gorgets are also a recurring motif in the designs.
Tommy, King of Gongolgon
Coronets, crowns and sunbursts
Some of the gorgets are ornamented with coronets which is a motif clearly borrowed from military gorgets, for example, the gorgets made for 'Timothy, Chief of Merricumbene' (collection number 1985.0059.0378), 'Charley York, Chief of Bullangamang' (collection number 1985.0059.0370), 'Jemmy Muggle, King of Wiggley' (collection number 1985.0059.0376) and 'Tommy, Constable, Wellington' (collection number 1985.0059.0369). However, the royal crown rather than a coronet was usual on military gorgets. The difference between a crown and a coronet is that a crown is only worn by the head of state while a coronet is worn by other noble people.
The crown was used on the military gorgets because the armed forces were in the service of the English head of state. The use of coronets on Aboriginal gorgets suggests an attempt to distinguish the rank of Aboriginal royalty as lower than that of English royalty, placing it on a par with dukes and earls. All the coronets depicted on the gorgets in the Museum's collection are of the same design and with five points and a central diamond flanked by oval or circular jewels.
Another device borrowed directly from English heraldry and used on the gorgets is the centrally placed sunburst design or 'escarbuncle'. The escarbuncle with a face in the centre indicates faithfulness.
The device was used on four of the Museum's gorgets, those made for Tumberilagong (collection number A-ON 115), 'Neddy, King of Neis Valley' (collection number 1985.0059.0383), 'John Neville, King of Mahaderree' (collection number 1985.0059.0381) and 'Charley York, Chief of Bullangamang' (collection number 1985.0059.0370).
Neddy, King of Neis Valley
The gorgets in the Museum's collection which are decorated with emu and kangaroo designs are very similar in all ways and date from the early mid to late 19th century. Most of them were sand-cast brass and are a deep crescent shape. They also share the same sketchy emu and kangaroo. The emus look more like flamingos with their heavy hooked beaks and bulbous heads. The emu was first made familiar to the English public in the published journals of Arthur Phillip (1789) and John White (1790).
The engravings in the journals are no closer to the natural bird than those appearing on the gorgets. However, the kangaroos on the gorgets all appear to be copied after a celebrated oil painting done in 1771–72 by the great English animal artist George Stubbs, called 'the Kangaroo of New South Wales' (now in the collection at Parham Park, West Sussex, England). Stubbs' kangaroo was first reproduced in Hawkesworth's (1773) account of James Cook's first epic voyage in the ship Endeavour to 'the Great South Land', 1768–71.
In June 1770 the Endeavour was damaged on the Great Barrier Reef. Cook took refuge in a nearby coastal river to repair his ship. He named the river Endeavour after his ship. During their short stay in the area, Sydney Parkinson, a scientist and illustrator with the expedition, sketched a kangaroo. His drawings provided the model for Stubbs' painting.
[1] Hawkesworth's engraving after Stubbs was often reproduced in popular accounts of the colony and was one of the most famous images of Australia. Therefore it is not surprising that it was the model for the kangaroos on the gorgets. Stubbs' kangaroo, as are those on most known gorgets, is in the heraldic posture known as 'regardant' or looking back over its shoulder.
Sawyer, King of Wickham Hill
Typological similarities between the gorgets decorated with the emu and kangaroo in the Museum's collection provide the most convincing evidence that many gorgets were mass-produced and that there was more than one maker. Both the blanks and engraved decorations on the gorgets fall into typological groups.
Two of the Museum's gorgets, made for 'Sawyer, King of Wickham-Hill' (collection number 1985.0059.0387) and 'John Neville, King of Mahaderree' (collection number 1985.0059.0381), are identical in size and shape and the decoration is also very similar. They are likely to be by the same maker, while the inscriptions were added later by different hands.
The evidence suggests that the plates were mass-produced in a foundry and then purchased by engravers who provided a basic decoration leaving the centre blank for a suitable inscription. They seem to have been made much in the way trophies are produced.
The people who gave the gorgets to the Aboriginal people named may well have purchased the decorated blanks in anticipation of later use. The gorget made for Sawyer and that made for 'Jemmy, King of Bolara Maneroo' (collection number 1985.0059.0379) are also almost identical in shape but have different styles of engraving.
Four other gorgets in the Museum's collection, made for 'Jemmy, King of Big River' (collection number 1985.0119.0001), 'Mr Briney of Pialliway' (collection number 1985.0059.0385) and 'James Fearnought, King of Merigal' (collection number 1985.0059.0382) also belong to this set.
Another two made for 'Charley York, Chief of Bullangamang' (collection number 1985.0059.0370) and 'Timothy, Chief of Merricumbene' (collection number 1985.0059.0378) also belong but have the distinction of having a coronet incorporated as part of the shape of the plate. The emu on the 20th century repair to Timothy's gorget fits with the set described below as more modern although the kangaroo on the original portion is clearly of the 19th-century style.
The emu and kangaroo design was popular right up to the most recently produced gorgets. Four of the Museum's most modern gorgets have the design. The style of decoration and the lettering on the inscriptions give them their more are modern date. The block lettering and bold heavily outlined designs contrast with the fussier, sketchier designs and roman or copperplate lettering of the early to late mid-19th century.
The shapes of the gorgets are also more rounded than the earlier plates. One gorget, made for 'Bulgra, King of Arremutta' (collection number A-ON 116) is dated 1920 which suggests that the modern gorgets were manufactured in the early 20th century.
Two of the four modern gorgets, made for 'Albert, King of Georges River' (collection number A-ON 119) and 'Billy Kelly, King of Broadwater' (collection number 1985.0059.0367), are very similar. They are almost identical in size and style of decoration. The kangaroos share the same scratching gesture and human-like eye and both creatures are very graphic and cartoon-like.
'King Billy, King of the Barwon Blacks' (collection number 1985.0059.0365) is similar to the last two but is a less professional, more naive design. Bulgra's is the most modern-looking of all the gorgets and resembles advertising imagery of the 1920s. Both the emu and the kangaroo are very naive and cartoon-like with their human eyes and eyebrows. The snake design may have represented the 'totem' or ritual animal of King Bulgra.
Peter, King of Tchanning
Tracing the makers of the gorgets is difficult. Only two of the Museum's gorgets have makers' marks. The fine gorget made for Billy Hippie, described earlier, is marked 'Twemlow, engraver, Sydney'. A copper gorget given to Peter, King of Tchanning, also noted above, has a stamped mark which reads 'Hughes and Kimber, manufacturers, London'.
The off-centre, careless placement of the mark and the fact that it states 'manufacturer' rather than engraver or maker suggests it was a mass-produced blank gorget brought out to Australia for engraving. This gorget provides evidence that the gorgets became one of the commodities produced in England for the colonial Australian market.
Graham Walsh, in a note to the Museum of Victoria, observed that Lassetter and Co. of Sydney 'semi mass-produced' gorgets 'with the king's name and station being filled in as ordered'. [2] He noted that they repeatedly used 'an identical style of engraving on their motifs'. Walsh's remarks help confirm the observations given above made on the basis of the sample in the National Museum of Australia.
Emu and kangaroo designs
On 19 of the 33 gorgets in the National Museum of Australia's collections are depicted an emu and a kangaroo acting as supporters to the central inscription. On one gorget, made for 'Peter, King of Tchanning' (collection number 1985.0059.0386) the kangaroo even has a joey peeping from its pouch. Many other gorgets also have the two creatures as supporters for their inscriptions.
With the waratah, these two creatures became the earliest icons or 'symbols' of Australia used by European colonists. The emu and kangaroo appeared as supporters on 'the first flag designed and made in Australia ... flown at Richmond, New South Wales, early in 1806 ... known as the Bowman flag ... Inspired by news of Nelson's victory of 21 October 1805 at Trafalgar, John Bowman designed and made the flag and flew it on his property, Archerfield'.
[3] The flag, now in the Mitchell Library, Sydney, was made to be a symbol of unity. On it was a composite of the English rose, Irish shamrock and Scottish thistle all on a Norman shield, icons for the heritage of the colonists. Australia itself was represented by the shield's supporters, the emu to the right and the kangaroo to the left. It was 'the first time, so far as is known, that these two supports, now so familiar on the Australian Arms, were ever used in this way'.
[4] The use of the emu and the kangaroo on Bowman's flag indicates that at least by the turn of the 19th century they were recognised within the colony as the unofficial symbols of Australia. Therefore it is not surprising that King Bungaree's gorget, the oldest known, had as its supporters the emu and kangaroo and many subsequent gorgets continued the tradition.
An anonymous writer eulogising Bungaree in 1859 claimed the emu and kangaroo as 'the arms of the colony of New South Wales'.
[5] In fact, the emu and the kangaroo supported the unofficial Australian Coat of Arms and were included in the blazon of the official arms, granted in 1912 by King George V.
[6] The arms of New South Wales, granted in 1906 by King Edward VII, are supported by a lion and a kangaroo.
The armed forces did not acquire a distinctly Australian appearance until the late nineteenth century. The slouch hats and khaki uniforms which came to typify Australian soldiers were not adopted until the 1890s.
[7] Hat badges displayed Australian symbols such as the waratah for New South Wales, black swan for Western Australia and wattle for Queensland. However, it was the First Australian Horse which employed the emu and the kangaroo as the left and right supporters for its crest.
The Citizen Light Horse units were created privately and were usually 'graziers, employers and professional men'.
[8] Mostly bushmen, they came from the same group of people who were presenting Aboriginal leaders with gorgets. Their use of the emu and the kangaroo on their own badges and on those they gave to Aboriginal people was no coincidence. The emu and kangaroo were icons of colonial Australian identity, allegorical symbols of the country.
Gorget made for 'Bobby, Chief of the Yulgilbar Tribe'
Ogilvie and Gilmore, who made the gorget, discussed in an earlier section, for 'Bobby, Chief of the Yulgilbar Tribe', considered the emu and the kangaroo to be important symbols of Australian nationalism. Dame Mary Gilmore presented the gorget to the National Library of Australia in memory of her father, and reminisced about its manufacture. [9] The nationalism expressed in her sentiments and those she perceived in her father's gesture are self-evident. Ogilvie and Gilmore used the presentation of a gorget to an Aboriginal man as an outlet for their National fervour.
It was thought out by my father and his kinsman, Mr Ogilvie, of Yugilbar [sic], about 1870 or 1871. ... My father first cut the form and size in cardboard, and I was present when the design and wording were discussed. Both men had a great belief in Australia and its future and said that, though then only a colony, it would one day be a continental nation and have its own coat-of-arms. What that coat-of-arms would be they could not guess, but they said its 'supporters' would be the kangaroo and the emu, these being Australian and belonging to no other country. ... The 'supporters' were drawn by Mr Ogilvie's eldest son, then 14 years of age, and home from college.
The plate was made under my father's direction. He also procured the wax and acid for the etching of the inscription, but who did the etching I do not remember. The breastplate was of burnished copper. ... Because both my father and Mr Ogilvie saw in the Yugilbar plate the forerunner of the Australian coat of arms, I decided that the commonwealth should have it. ... To-day the plate has lost its sheen, the makers and those for whom it was prepared are long gone, but the 'supporters' on it are, as expected, the 'supporters' of the coat-of-arms of Australia, and in this is the fulfilment of the dream my two dreamers dreamed. [10]
EXPLORE MORE ON ABORIGINAL BREASTPLATES
Use and survival conditions
Epilogue and bibliography
List of breastplates
About the book and website
[1] CM Finney, To Sail Beyond the Sunset: Natural History in Australia 1699–1829, Rigby, Adelaide, 1984, pp 16–17.
[2] GL Walsh, letter from Mr GL Walsh to Mrs Christine Hogarth, Museum of Victoria, 21 June 1979. Quoted in part in Breastplates in the Museum of Victoria, manuscript, Museum of Victoria, Melbourne, 1979.
[3] F Cayley, Flag of Stars, Rigby, Adelaide, 1966, p. 57.
[4] Cayley 1966, pp 57–58.
[5] Anon, 'Memoir of Bungaree in the Australian Home Companion (1859)' in Chapman Ingleton, G (ed.), True Patriots All, or News from early Australia – as Told in a Collection of Broadsides, Angus and Robertson, Sydney, 1952, p. 268.
[6] FG Phillips, 'Coats of arms' in The Australian Encyclopaedia, vol. 2, Grolier Society of Australia, Sydney, pp 434–36, 1963, p. 435.
[7] Australian War Memorial, Colonial Military Gallery: Soldiers of the Queen, texts accompanying ongoing exhibition, 1988.
[8] I Jones, The Australian Light Horse, Time-Life Books and John Ferguson, Sydney, 1987, p. 20.
[9] WF Whyte, 'Supporters of 'Australian' Coat of Arms', cutting from unnamed newspaper in National Museum of Australia, EO Milne Collection, file no 85/310, folio 83, 1949.
[10] Gilmore in Whyte, 1949.


But if you forgot what happened during the first three films, don't worry because Bandai Visual has you covered. They have recently released a brand new 6-minute digest video, and it recaps the sequel series' first three films.
Space Battleship Yamato 2202: Tenmei-hen will premiere in Japan on 27th January, across 29 theatres. It will continue where the third film, Junai-hen, left off. In the film, the Yamato finallt reaches Telezart, however, they suspect that they have a spy on board. And to make matters worse, they have enemies waiting to fight them there as well.


Am I the only person who hadn't noticed that Ascension Day has moved back to a Thursday from this year? (Although Corpus Christi hasn't.) Planning seventh Sunday of Easter (at short notice) for the first time in years.
Noticed it a few weeks ago when I did the psalmists rota and discovered that I needed to concoct something for that Sunday.
I just hope they've made up their minds now and don't go changing it again in a few years' time. And the SSG Liturgy Planner was incorrect.
I find it puzzling that the celebration of the Ascension a feast closely associated with the saving activity of our Lord should have been moved from Sundays (the Lords day and the summit of the liturgical week) while Corpus Christi a feast day which is about a sacrament should have stayed on Sunday.
Ascension Day and Epiphany were probably moved back because they have are shared with other denominations and also occur (biblically for Ascension and by tradition for Epiphany) a set number of days after a previous event (i.e. Easter and Christmas).
Also, moving Ascension Day back allows for a full Novena between Ascension and Pentecost.
Corpus Christi on the other hand has no reason to be on any specific date but does have the tradition of processions which are easier to organise at the weekend.
Also, it brings us into line with much of Europe. I am normally in Lourdes for a week in June and when Corpus Christi was on a Thursday I would find that I would often either celebrate twice (if I travelled to Lourdes on the Friday or Saturday after) or not at all (if I travelled back from Lourdes on the Friday or Saturday after).
I think Corpus Christi was on a Thursday because the Last Supper was on a Thursday. Processions were often held on the following Sunday. The route of the one in Bridport in the 1950s must have been nearly a mile long. It involved enthusiastic singing, rose petals, and a hellfire sermon with Benediction to round it off. No doubt other parishes held similar events.
There was a report on a Catholic website a couple of years back, that in Rome Corpus Christi is celebrated twice. The Vatican celebrates on the Thursday with the traditional procession along the Via Merulana from St John's to St Mary Major, adding to the cutomary traffic chaos no doubt. The city and the rest of Italy celebrated on the following Sunday.