text:
Resolution was a brig built in Spain and launched in 1800 that was probably a prize. The Brethren's Society for the Furtherance of the Gospel among the Heathen purchased her in 1802 for service as a Moravian Church mission ship. These vessels made an annual voyage from London to the Moravian Church mission stations in Labrador every summer bringing provisions and exchanging missionaries. The Church sold her in 1808 and she was wrecked on the coast of Africa in 1810.

Resolution first appeared in Lloyd's Register in 1802 with J. Fraser, master, and, owner.  The only information on her held in the church archives states that she was "...a Spanish vessel ... captured and sold as a prize."

In November 1803, a French frigate twice captured Resolution, but she was able to escape due to the weather. On 18 November a French frigate chased Resolution, caught up with her, and forced her to remain in company. The sea was too rough though for the French to be able to send over a boat and take possession. During the second night after her capture, Resolutions captain was able to escape in the dark. Two days after her escape, Resolution encountered the same frigate again, and again had to accompany her. This time too the weather prevented the French from taking possession. The following night Resolution was able to sail away, this time for good.

Resolution continued in service as a mission ship into 1808 when the missionary society reportedly sold her in the autumn.

On 19 January 1809, Resolution, Blakely, master, arrived at Portsmouth, bound for Africa. However, a gale there on 30 January cost her her bowsprit, foremast, and rigging.

On 5 May, Resolution, Blakesby, master, sailed from Portsmouth for Gorée as part of a small convoy. On 31 May Resolution, Blakesby, master, was at Madeira, having come from London. Lloyd's List reported on 28 August 1810 that Resolution, Blaksley, master, had been totally lost on the coast of Africa.

The Register of Shipping for 1810 carried the annotation "LOST" by her name.

Lloyd's Register continued to carry her with unchanged ownership through to 1814, though by 1811 her master was A. Fraser. She was no longer listed after 1814.

Citations

References

1800 ships
Ships built in Spain
Captured ships
Age of Sail merchant ships of England
Maritime incidents in 1810


It's evolved over and over since it's inception in 1956. From judges and juries to televoting, right through to various formats for semi-finals and pre-selections. There's no real black and white rules for how the contest is hosted and, in a way, that's the joy of it.
The core Eurovision team, along with each year's hosting broadcaster, adapt it as they see fit. Though nothing is ever really drastically different year-to-year, the most recent major change was the splitting of the jury and televoting points delivery, brought in for the 2016 contest – a decision we believe was fantastic.
We were delighted for the consistently amazing Ukraine when Jamala won the 2016 contest in Stockholm and equally delighted with the prospect of visiting Kyiv as our travels across the wonderful continent of Europe continue. However, worries about the volatility and in some ways instability in Ukraine with the added pressure of hosting such a global event were raised fairly instantly.
Both the incumbent host broadcaster NTU as well as the European Broadcasting Union, assured that these problems would be overcome and the contest will be as successful as ever.
Fast forward to early 2017 when, on the day it was briskly announced that the tickets would be on sale within 24 hours, it was also announced that a majority of the top-tier organising committee had resigned, citing inability to continue the project with several factors impeding its delivery. Not ideal with 100 days to go to any event. Cue mass anxiety amongst fans.
Adding insult to injury in 2017, OGAE – the national, official fan clubs in individual countries – bodies had been told they would not be given any concessions for ticket packages for loyal members (something that's been a two decade-strong tradition).
Another issue in 2017, the announcement there will be no EuroClub accreditation for fans, in a city that isn't internationally upheld as being LGBT-friendly, another major concern for a majority of attending fans.
It isn't our prerogative to sit here and declare "how dare they mess this up, they are useless and couldn't organise a piss up in a brewery". None of us are at that committee table, we aren't seeing what's going on (or not going on) behind the scenes and in even the smallest decision making processes. We all, as fans, only know so much. It's highly unlikely that any host broadcaster would want to mess up the contest on purpose – especially one that has indeed hosted before.
Each year the winning artist's song, representing their country, delivers the right to that country to host the contest the following year. Every competing delegation wants to showcase their city, their country and their broadcaster in the best light, and errors along the way – though often expected and some unplanned and unprepared for – are sadly frequent.
Over the years, ticketing issues have been almost an annual issue, expected to rise blood pressure like clockwork every year. There are many who have forked out considerable amounts of money on flights and hotels in anticipation of the contest, much of which won't be able to be refunded if things don't go to plan. Side note: leaving hotels and flight bookings until after securing tickets, however risky, would incur extortionate costs.
But let's not make Ukraine or indeed Kyiv a scapegoat for a consistent problem; let's look at solutions in future. The contest is a mammoth task for any European city to host, with estimates of about 25,000 fans, press and delegations descending on a city for at least a week. With certain requirements not open to discussion (roofed venue, infrastructure capabilities, press and staff centre..) it's far more than hosting an event in a large venue on one night of the year.
Is it time that, regrettably, we say goodbye to the baton passing from winner to winner and create a fair, transparent and open bidding process for hosts? Remember, the winner is given the right to host the next contest, not the obligation. It's happened before where winning countries haven't been able to host (Israel, Monaco, Luxembourg) and each time the show has gone on elsewhere with success. Australia has competed twice and if their performance is anything to go by (top 5, runner-up) they're on a fast approach to winning, when a similar setup will happen – a proxy city will host on their behalf; the show will not go Down Under.
Think about it: putting hosting duties out to tender gives opportunities to countries which may be celebrating major anniversaries; cities that have the Capital of Culture status; destinations that can actually afford to host forward; and makes sure there are a shortlist of potential, capable hosts for a following year, where hosting stipulations can be met confidently. The winning country should of course be included in that tender, having as much a chance (if not a favourable chance) as any other.
It also gives a chance for competing countries who are long-awaiting that lucrative first win (Portugal, Iceland, Malta) to finally host on home turf, even if they haven't won. Not quite as glorious or desirable for them, but it could be an option.
But in a situation like 2017, it's sadly becoming clearer and clearer that for whatever reasons Ukraine hasn't been provided with the appropriate assistance, or simply don't have the expertise to put on the show; there are now a good handful of different examples.
Eurovision has always been about bringing music lovers from across Europe together. It will continue with that same ethos for many decades to come we hope. The contest has adapted before, and the contest is bound to change again and perhaps lessons need to be urgently learned from this year's debacle so far. We still have big hopes that Kyiv will put on a great show, but we're equally worried of putting one of the world's most iconic music events in doubt and ultimately riling the fans up the wrong way.


text:
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Why immersive tech need artificial intelligence
The combination of virtual reality and artificial intelligence will be "mind blowing and profitable," according to Lorenzo Zanni and Stan Moote. The cool thing about immersive technology like virtual reality ( VR ) is that it transforms us into an interactive virtual world (full 360 degrees). VR at IBC2016 So how does artificial intelligence ( AI ) fit with VR ?
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If AI is typically defined as intelligent technology capable of replicating human learning and problem-solving skills, the trick with VR will be for AI to anticipate what the viewer wants to see and prepare as it streams out to their headset. Gamers are doing this now by starting to incorporate AI alongside canned player action responses. This way when a player does something out of the norm, a new reaction is "dreamed up" by the AI engine.
The virtual world is growing
This adds a whole new dimension to the virtual world and there is no reason why this can't be used for predicting even simple reactions – such as understanding where the viewer will most likely be looking to assure the appropriate resolution is ready to view even when the viewer's head moves quickly. The recent IABM End-User Survey revealed that 10% of end-users have already launched some sort of VR offering. Some 45% said that they are "likely" or "very likely" to launch a VR video offering in the next two-three years while 45% said that they are "unlikely" or "not at all likely" to do so.
While the industry is very excited about this new technology, there are indeed some caveats to make. VR technology for content acquisition and production is already available but it is priced at a premium compared to other formats – even UHD. At the final consumer end, awareness of the new technology is not high and headset prices remain steep.Most importantly, VR technology requires the […]
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redpajama_set_name: RedPajamaCommonCrawl


The republic of Georgia has been a favorable destination for Egg Donor and surrogacy services. Commercial surrogacy is legal in Georgia since 1997.
According to Georgian legislation, commissioning parents have a parental right over the surrogacy child and their names will be mentioned in the baby birth certificate. No surrogacy mentioned, even if commissioning parents use an egg donor or a sperm donor.
Commissioning parents to need to provide a signed surrogacy agreement between them and the surrogate mother, a certificate of embryo transfer into the uterus of the surrogate mother issued by the IVF clinic and a certificate of childbirth issued by the hospital to initiate the process of baby exit.
To be eligible for surrogacy program, the commissioning parents should be married heterosexual couples.
We are partnered with one of the most leading fertility clinic and surrogacy agency in Tbilisi with years of experience in successfully handling delicate surrogacy cases. When it comes to choosing a surrogacy agency, we make sure to have years of association with many successful cases with a cross-reference. We consistently choose a disciplined team of professionals who understand the sensitivity and dedication for such services.
We have negotiated an affordable and cost-effective surrogacy in Georgia to make parenthood available to most IPs.
Commercial surrogacy is allowed since 1997, thus, the right of IPs are well protected.
Good pool of healthy and prove egg donors of all origin.
Plenty of young and healthy surrogate available with no waiting list.
Georgian law is clear that the gestational carrier has no parental rights over the child and she has no ability to keep the child.
Please contact our Case manager for further information about our low-cost Georgia surrogacy option.


text:
SHERIFF MAL VS MURDER IN JOSS WHEDON'S 'FIREFLY' #14
BOOM! Studios, in collaboration with 20th Century Fox today unveiled a first look at FIREFLY #14 from New York Times best-selling writer Greg Pak (Ronin Island), artist Lalit Kumar Sharma (Daredevil), colorist Francesco Segala (Mighty Morphin Power Rangers), and letterer Jim Campbell (Coda), along with series creator & story consultant Joss Whedon (the visionary writer/director behind Buffy the Vampire Slayer, Marvel's The Avengers and more) continue the iconic worldwide pop culture phenomenon's sold-out return to comic books. Available in stores February 2020.
Mal matches wits with a serial killer! The newly minted Sheriff Mal (don't call him that, though) and Boss Moon are given their first big case as local law enforcement—to hunt down and arrest a serial killer haunting their new town! As Mal and Moon dig deeper into the mystery behind the suspicious murders, a surprising new benefactor strolls in, offering new technology and new beginnings for the townspeople...all courtesy of the Blue Sun corporation.
FIREFLY #14 features a main cover by Marc Aspinall (Buffy the Vampire Slayer), along with variant covers from artist Daniel Warren Johnson (Murder Falcon) with colors by Mike Spicer, and more.
Created by Whedon and set 500 years in the future in the wake of a universal civil war, FIREFLY centers on the crew of Serenity, a small transport spaceship that doesn't have a planet to call home. Captain Malcolm "Mal" Reynolds, a defeated soldier who opposed the unification of the planets by the totalitarian governed Alliance, will undertake any job — legal or not — to stay afloat and keep his crew fed. Thrust together by necessity but staying together out of loyalty, these disparate men and women are seeking adventure and the good life, but face constant challenges on the new frontier, such as avoiding capture by the Alliance, and evading the dangers you find on the fringes of the universe.
FIREFLY #14 is available February 19, 2020 exclusively in comic shops (use comicshoplocator.com to find the nearest one) or at the BOOM! Studios webstore. Digital copies can be purchased from content providers, including comiXology, iBooks, Google Play, and Madefire.
Available now, Firefly: Legacy Edition Book One collects previously released Serenity comics for the first time under one cover in a new value-priced format as Mal & the crew ride again in these official sequels to the critically acclaimed Firefly television series and Serenity film.


Contact Pugmire Ford of Cartersville today for information on dozens of vehicles like this 2019 Ford F-150 King Ranch. You appreciate the finer things in life, the vehicle you drive should not be the exception. Style, performance, sophistication is in a class of its own with this stunning Ford F-150. At home in the country and in the city, this 2019 4WD Ford F-150 King Ranch has been wonderfully refined to handle any occasion. Smooth steering, superior acceleration and a supple ride are just a few of its qualities. Just what you've been looking for. With quality in mind, this vehicle is the perfect addition to take home. This is about the time when you're saying it is too good to be true, and let us be the one's to tell you, it is absolutely true.


Neonatal Apnea is a topic covered in the Select 5-Minute Pediatrics Topics.
Apnea of infancy is an unexplained episode of cessation of breathing for 20 seconds or longer or a shorter respiratory pause associated with bradycardia, cyanosis, pallor, and/or marked hypotonia in infants with gestational age (GA) of 37 weeks or more at the onset of apnea.
Apnea of prematurity (AOP) is a pause of breathing for >15–20 seconds or accompanied by oxygen desaturation (Spo2 ≤80% for ≥4 seconds) and bradycardia (heart rate <2/3 of baseline for ≥4 seconds) in infants born <37 weeks GA.
Periodic breathing is a normal neonatal breathing pattern, defined by ≥3 pauses, each ≥3 seconds, with <20 seconds of regular respiration between pauses.
Apnea and bradycardia occur in ~2% of all healthy term infants.
AOP is inversely correlated to GA. It occurs in <10% of neonates 34–35 weeks GA and in almost all neonates <28 weeks GA at birth.
Prematurity is the most common cause of apnea.
Immature chemoreceptors in brainstem and in the periphery (carotid body) may lead to decrease in respiratory drive and apnea.
Newborn infants have enhanced sensitivity of respiratory control system to inhibitory neurotransmitters (such as gamma aminobutyric acid [GABA], adenosine, serotonin, and prostaglandin) that can lead to apnea.
Prolonging expiratory time (but not increasing frequency or overall tidal volume) may lead to less minute volume as well as uncoordinated movements of respiratory muscles in response to hypercapnia, resulting in apnea.
Activation of laryngeal chemoreceptors (via superior laryngeal nerve afferents) as seen in GER can result in apnea, bradycardia, and hypotension.
Neonates spend majority of their time in active sleep. Apneas are more common during active sleep when respirations are irregular.
Changes in neuromodulatory inputs and generalized inhibition of skeletal muscle activity during sleep are also contributory.
Cabana, Michael D., editor. "Neonatal Apnea." Select 5-Minute Pediatrics Topics, 7th ed., Wolters Kluwer Health, 2015. Medicine Central, im.unboundmedicine.com/medicine/view/Select-5-Minute-Pediatric-Consult/14064/all/Neonatal_Apnea.
Neonatal Apnea. In: Cabana MD, ed. Select 5-Minute Pediatrics Topics. 7th ed. Wolters Kluwer Health; 2015. https://im.unboundmedicine.com/medicine/view/Select-5-Minute-Pediatric-Consult/14064/all/Neonatal_Apnea. Accessed April 24, 2019.
Neonatal Apnea [Internet]. In: Cabana MD, editors. Select 5-Minute Pediatrics Topics. Wolters Kluwer Health; 2015. [cited 2019 April 24]. Available from: https://im.unboundmedicine.com/medicine/view/Select-5-Minute-Pediatric-Consult/14064/all/Neonatal_Apnea.


text:
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	* Aura component to panel.cmp
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	    			context.verifyModalElements(cmp);
	    		}
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	testModalDetailOnly:{

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			'class': "testClass",
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	    			// Assert
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			'class': "testClass",
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redpajama_set_name: RedPajamaGithub


text:
Classic Literature: Varney the Vampire
"Presently the corpse opened his eyes and glared full at them. Oh, such glistening, lead-like orbs, that froze the very current of their blood"
Varney the Vampire, Chapter 143
I must admit that to feature "Varney the Vampire. or, the Feast of Blood", which was written by James Malcolm Rymer, as a piece of classic literature is, for a couple of reasons, a bit of an oxymoron.
Firstly, the work is not that well known, which makes it difficult to argue its classic status. There are no films directly based on the saga that I am aware of and the name of Varney is seldom borrowed (though there are exceptions that prove that rule). I am sure that many will say they have heard of Varney and its central figure Sir Francis Varney but how many can say they have read it, at least in entirety? For myself I had read extracts certainly and had the complete work in pdf form. But it is such a large tome that there was no way I was going to read it electronically. This article came about after I purchased the critical edition produced by Curt Herr, and yes, I did read the entire saga before writing this.
Secondly it is difficult to call Varney classic literature when by all standards it isn't really that good in a literary sense. Don't get me wrong, it was never meant to be. Varney started life as a serial of Penny Dreadfuls and was published as such between 1845 and 1847. In many respects Penny Dreadfuls were the literary equivalent to soap operas, produced weekly and sold for a penny an issue, and one can see within them that awful repetition and meandering that the modern TV phenomenon is also full of. They were also produced by writers often paid by the word (leading to more literary meandering) and rarely, if ever, proof read. Typesetting errors and typographical errors were the norm.
Varney ran for an inordinate length of time, when such a serial could be cancelled at a moment's notice – if the readership lost interest and thus they were not turning the required profit. As such we find that the text itself is self contradictory in lore, events are forgotten and names become confused. However, the worst sins within Varney are in the early to central chapters and the last third of the saga has much to offer, as Herr himself points out. That is not to say that there isn't anything worth reading in the first two thirds of the mammoth publication, but that the worst excesses of the Penny Dreadful genre are played out in that section.
However Varney, from a vampire genre sense, is classic literature in that it very much bridges the gap between Polidori's The Vampyre and Stoker's Dracula (As an aside we actually have a character called Count Pollidori at one point). We can see the definitive influence Sheridan Le Fanu's Carmilla had on Stoker and, whilst there is no evidence that Stoker had read any/all of Varney, it is difficult to imagine that Stoker was unaware of the saga.
Indeed Herr points out, in the footnotes to the critical edition, that the turning of Clara Crofton – towards the end of the saga – has many similes with the events surrounding Lucy Westenra in Dracula. The turning itself seems slightly at odds with the lore Rymer introduced (as we shall see) but that is hardly surprising in itself. There is a beautiful description; "and in another moment that white clothing was observed to be in motion. Slowly the dead form that was there rose up, and they all saw the pale and ghastly face. A streak of blood was issuing from the mouth, and the eyes were open."
Yet despite the ghastly apparition of the raised Clara, she like Lucy, in death and repose, looks more beautiful than when she was alive. The tales' similarities might be accidental but it is telling that there are resemblances at all. Further, Rymer occasionally put text of other, invented, Penny Dreadfuls within the text of Varney and at one point we are treated to a vampire one called "The Dead not Dead" – a title reminiscent, as Herr again points out, to Stoker's The Un-Dead (Dracula's working title). We should also remember that there is the line in Dracula "and if my death can do her good even now, when she is the dead UnDead, she shall have it freely" (chp 15), and the phrases 'dead UnDead' and 'Dead not Dead' are similar enough to give pause for thought.
More than that, the nineteenth century literary vampire tended to be rather one-dimensional as a character – a criticism often laid at Stoker. People look to Anne Rice, and her Vampire Chronicles, for the popular inception of a vampire with layers (though perhaps the series Dark Shadows got there first); vampires who felt guilt at their acts and yet were pushed to commit them by their infernal instincts, who were capricious and yet generous and who searched for a meaning to their damned existence. Anne Rice was over 100 years too late, Varney did all that and more; sadist and saint, murderer and saviour, Varney was a complex vampire character unbeknown before and for many years afterwards.
It is pointless, within the confines of this article, to try and relay a plot – though in general it saw Varney involved in many a machination, attempting to acquire either wealth or virgin's blood – as the saga is so huge. However, what I will do is look to some of the more interesting (if contradictory) lore, genre staples and genre oddities that I noted down as I read through the tome.
The first thing we should ask ourselves is who is Varney? The answer, unfortunately, is that we do not know. Rymer, through the life of the text, changed Varney's background many times. At one point Varney states that he is 180 years old, at another point he states that he was born, under the name Sleighton, in the reign of Edward the 3rd (1327 – 1377), which would make him more around the 500 mark. This is likely down to faults within the text, rather than any trickery on the part of the character, due to the nature of the Penny Dreadful writing process.
Likewise we do not know how he came to be. We meet a vampire intimated to be his sire and we also hear that vampires come about as a punishment for murder of the innocent. It is suggested that Varney killed his wife or lover, at one point, and his child at another. When we hear that vampirism is a punishment we see a group of vampires (including Varney), summoned, to raise ritually a newly created vampire from the grave. This happens with Clara Crompton, Varney raises her, but she was not guilty of murder – she was merely the victim of a vampire and her birth into the ranks of the undead was part of a sadistic revenge Varney gave out for an act of chivalrous charity (her brothers fished his dead body from the sea). Yet Varney tells Flora Bannerworth, the first vampire casualty detailed in the saga, that a vampire bite will not turn a victim.
It is interesting to note that a red herring is thrown into the early plot that indicates he might have been revived through experimentation with electricity upon his hanged corpse – bringing a modern (post-cinema view of) Frankenstein to mind also. This electrical revival is not the case, and the reviving was coincidental to the experiment (or so I interpreted that section, at least). Later, Rymer likens the effects of the moon (which we shall detail later) to such experimentation when he writes: "Suddenly there was a movement in the form of the dead man −− a spasmodic jerk of the whole muscles of the frame, as if a galvanic battery had been applied to it;"
The vampire must feed on blood. We hear some folklore that suggests: "those who know about vampires say there are two sorts, one sort always attacks its own relations as were, and nobody else, and the other always selects the most charming young girls."
As for Varney, well he is partial to the charming young girls (for that read virginal girls) and has a wont to marry them, often, before feeding. Clara also feeds on young girls and is an early example of female vampire/female victim feeding pattern – predating Carmilla. Whether the vampire can eat and drink normal fare fluctuates; at one point Varney ravenously eats, at another he eats to disguise himself and at yet another he does not partake of mortal food.
The fact that Varney gets these girls to marry him (he has been married several times we hear) is unusual in itself as he is not the dashing hero. He is overly tall, with a ghastly complexion and described often as ugly. Indeed one of the reasons he wants money is as a lure for maidens to marry him as well as to gain a standing in society. The text is a little fluctuating as to whether he has fangs. Sometimes fangs are mentioned, other times teeth. At one point someone mentions a protruding tooth at the front and at another long front teeth are mentioned, both of which brought to mind Nosferatu. At yet another point Varney is described as having tusk like teeth.
Vampires in Varney do not shape change, he is likened occasionally (in his manner of movement) to a wolf – though we should remember that the vampire and the werewolf were interchangeable as concepts at the time – and Annette Lake states that, when attacked by Varney, she dreamt that it was a wolf attacking her before she awoke to see the vampire. Bats are not mentioned – Stoker introduced that bit of lore – and the bat winged demons on the cover of the first issue were artistic and not story integral.
There is a hint of mesmeric eyes but this occurs just once and most of the time Varney's victims cry out – leading to his detection by others in the household. Like other nineteenth century vampires sunlight is not an issue but, in this, the vampire is not indestructible; he can die by very ordinary means, such as a gunshot or sword strike. More than this, lack of blood (though feeding frequency seems quite moderate) can kill the vampire. However, this is not true death and exposure to moonlight, as with Polidori's Lord Ruthven, will revive the corpse again:
"No sooner was the whole of the body, the breast, and the face illumined, than there was a particular quiver through that form"
True vampiric death is difficult to achieve, to say the least. Stopping exposure to moonlight may cause the body to rot after a time and the peasants believe that staking will hold the corpse down and allow it to rot (not necessarily through the heart either, a stake through the stomach is mentioned at one point). Varney, when at his most self-loathing with regards his 'condition', attempts suicide. At one point this is attempted by drowning, hoping that the moonbeams will not penetrate the ocean – unfortunately this is when the Cromptons fish his body from the sea. He finally succeeds – at the very end of the saga – by jumping into the fiery mouth of Vesuvius.
I have barely scratched the surface of Varney the Vampire – literally a full book, indeed many volumes, could be written about him, his adventures and his likely impact on the genre. It can be a slog to read but the rewards are there for the genre fan, especially towards the end of the tale. I would recommend Herr's critical edition as illustrated at the head of this article, which has copious footnotes and critical essays on Varney and the Penny Dreadful form itself.
In Paperback @ Amazon US
In Paperback @ Amazon UK
Labels: classic literature, vampire, Varney the Vampire
OllieMugwump said...
A long, rambling serial yes, but it has some classic moments.
Incidently; in which chapter does Varney gather with the other vamps to raise a new one?
I'd very like to read that.
Hi Ollie, its during the London Hotel section chapters 187 - 188 has the actual resucitation at a churchyard in Hampstead
Thanks very much. That's a great scene, plus the fact Mr. Brooks is;
"A man of good repute, Varney," said the first speaker. "A smooth, fair-spoken man, a religious man, so far as cant went, a proud, cowardly, haughty, worldly follower of religion. Ha, ha, ha!"
who is condemned to vampirism for brutally murdering his nephew.
It's great to get back to a 'real' vampire story, as recently I've been torturing myself through Meyer's "Twilight" - as Basil Fawlty in "Waldorf Salad" - "Painful!"
It is a wonderful scene...
I quite liked Twilight, not so much for the vampirism but for the characterisation which worked rather well.
Thanks for your great review of my edition of Varney- It's really appreciated! I have a book signing coming up and I'd like to copy your review to include in my Press Kit. May I copy it?
Best~
Curt Herr
Curt - with pleasure
In the first part of Varney theres a chapter dedicated to the "Interview with the Vampire". That would seem to suggest to me that Rice was a fan. I've noticed other tributes to classic horror in the few pages Ive read from her. (Im not really a fan).
ALso In the Vampire soap opera Dark Shadows theres a whole plot line about an ancient family portrait that looks exactly like Barnibus (is that the vampires name? Its been a while). Thats a plot device also used in the opening chapters of Varney.
Im reading the ebook right now. Very entertaining.
Cheers anon...
Certainly one would hope Rice was aware of Varney - though how much of an inflluence he was I don't know.
The portrait was a good old Gothic plot device and - vampire wise - was first used in Varney, good spot.
Hope you enjoy the e-book, not my favourite format it has to be said (hence waiting for a decent paper based version) but do hang in there because the series really is at its best towards the end
Hey Guys- Some cool stuff on Varney here.(!) One word of caution though. Borgo Press has reprinted the series with their own subtitles such as "The flight of the Vampire" or "The Coming of the Second Vampire"- These subtitles have nothing to do with the original series by James Malcolm Rymer. You are better off reading the new complete edition published by Zittaw Press.
cheers anon - although you'll note that was the edition used to write the article, thanks for the heads up about the new editions.
For anyone reading this, the Curt Herr edition on Zittaw press is, as far as I am concerned, pretty much the definitve version
Zahir Blue said...
As you know (since you commented upon it) I've written my own review. While I agree there's some ripping good stuff, the overall writing is very nearly painful to get through. Still, it has indeed many of the virtues you describe. An acquaintance once opined that someone should "translate" Shakespeare in modern English. I replied by quoting a speech that showed Shakespeare's English is perfectly intelligible if the actor is good and understands the text. Varney on the other hand is just not-well-written. To rework it into something more cohesive and enjoyable would make for a worthwhile project, methinks.
Zahir, fair comment, hence me saying at the head "it is difficult to call Varney classic literature when by all standards it isn't really that good in a literary sense."
I actually thought Varney might make a nice (rewritten) weekly (or less frequently) podcast - an audio drama as such. But the effort involved made me drop the concept like a stone - just in the rewrite in play form, never mind the acting, directing, recording and production.
An actual rewrite (in prose form) would work and the detritus could be dropped as well.
It may have been the junk literature of it's time, but right now I am finding it a totally thrilling and entertaining read.
Some of the writing is wonderful - eg the descriptions of moonlit landscapes.
Varney's escape across the rooftops scene is burned into my memory.
You really do root for the Vampyre.
He is so much a modern individual, sensitive, strong, flawed, multidimensional.
NR, I agree. There is no way I could have read the entire thing without the elements you describe.
There are some repetative moments, especially in the first saga, but the last 1/3 of the entire thing is absolutely wonderful stuff.
Hope you enjoy it all - Varney deserves more exposure to the public generally, perhaps in the form of a TV serial... but I might wish for it, however it'll probably never happen.
JaredMithrandir said...
How is Clara described? Is she still on the loose when the story ends?
Unknown, I put a description of Clara in the text above. She ended up laid to peace...
A mob took her coffin and body, intent on burning it. However there was torrential rain and so they decided to bury her at a crossroads (there was also talk of staking her). When she opens her eyes, at the bottom of the crossroads grave) the mob run in fear.
It is actually Varney - now remorseful over the fact that he turned her - who finishes the job...
However, in the Varney mythology, should she be dug up and exposed to rays of moonlight...
Thanks. I think it's be cool to write a Modern set Sequel where Varney and Clara both get revived. Varney returning would require a Volcanic Eruption though, talk about an epic opening.
It would be... perhaps I'd have some backstory around Clara being revived some decades before... giving her opportunity to get used to her vampire powers and then reading about an eruption and realising that Varney may be revived....
ideas abound (the eruption would have to be the opening chapter though).
You should order The Vampire Omnibus, an anthology book by Peter Hanning. It contains some pretty rare old Vampire stories, most interesting to me was "The Skeleton Count and The Vampire Mistress" it was also published as a Penny Dreadful about 20 years before Varney.
I have that volume :) I actually looked at the skeleton vampire etc as a guest blog here
I would disagree with the attack not being Eortic, I found ti pretty erotic. I discus the story on my Tumblr.
http://jaredmithrandir.tumblr.com/post/27389186399/the-skeleton-count-and-the-vampire-mistress
I think my position isn't that the reader won't find it erotic (or indeed that there wasn't an erotic element for the perpetrator) but, much more so, that the attacks on women and children were for ease, as a first consideration...
I hope that makes sense, it is rather early in the morning as I type that and the double negatives were swaying before me!!
I've read that other Supernatural creatures appear in Varney too, including Werewolves. it's not really what your blog is abut, but I am curious how the rules for Werewolfism work in Varney. Is there a a good Werewolve blog that has discussed it?
Hi unknown... werewolves are mentioned, in respect of Varney, by Herr in that lupine traits are attached to Varney - though he never transforms/shapeshifts.
Perkowski argues that the Serbo-Croatian "vukodlak" never meant werewolf in an English sense but vokodalak (another form of the word) does translate to wolf-pelt and the 1862 tome Der Werwolf describes the buried werewolf as rising revenant like and perhaps even drinking blood.
I am afraid that I am not aware of a werewolf blog that has gone into this in depth. I cover this briefly in my book "the Media Vampire" pp267-272 (also touching the subject when mentioning the film Isle of the Dead and in the chapter on Varney). The book is available from Amazon US, Amazon UK
and Lulu (sorry for the blatant product placement.)
You said there we meet a Vampire implied to possibly be Varney's Sire? Does he/she have a name? or an implied ethnic background?
How many other Vampires show up in the saga? Is this "Count Pollidori" a Vampire?
Since the rules in Varney are largely modeled after Lord Ruthven, I'm wondering if there is a mysterious character I can imagine to be Lord Ruthven. It'd suit my interest in Wold newton Universe pretty well.
With regards Varney's implied sire, given the nature of the saga he may or may not be, the story changes so often.
Whether there is a name or an ethnic background I can't remember. I suspect that no name is given and I suspect the ethnicity is not addressed - however without trawling through the saga I can't say.
There are a few vampires through the saga – we meet several raising another vampire for instance (a scene which is referenced in the comments), but few are in detail. Again – without trawling through the saga it would be impossible for me to tell you exactly how many.
Count Pollidori was a human character, the father of a young woman who is saved by a stranger (Varney) who then offers his daughter in marriage as thanks.
If you wanted to imagine Ruthven in this universe I am sure you could but I don't think there was a character designed to be Ruthven.
It turns out from further investigation that "The Skeleton Count and the Vampire mistress" is a Hoax, it was made up by the Author of the Ominbus, it's real existence isn't any more valid then Joseph Smith's Golden Tablets.
Going over the Chapter Titles I notice reference to a "Hungarian Nobleman". And Admiral Bell tells a story about "The Beautiful Belinda". I wonder if those are Vampires.
I'd like to see the evidence of the hoax if you have it - not that I disbelieve (or otherwise).
Re the chapter titles, to be fair I'm not about to delve back in (at least not tonight) but at at least one chapter of Varney was a faux penny dreadul about vampires.
http://john-adcock.blogspot.com/2010/06/elizabeth-caroline-grey.html
It's a shame cause the story is a good read.
Thanks Jared. Note that it is at "probably a hoax" - but the health check is there.
Unfortunately my blog post on the story itself is a guest blog hosted on another blog, so I have left a comment with the link you provided.
fenris said...
Wordsworth Editions have published a complete & unabridged version of Varney, the Vampyre as a single paperback that is much, much cheaper than any edition previously available. So now there's no excuse for not owning this flawed but essential epic, which (in my humble opinion) should proudly sit upon every vampire fan's bookshelf alongside their copy of Dracula.
Indeed mine does sit next to the New Annotated Dracula. I would still recommend the version mentioned in the article but nice to know that folks ona budget cab also get it
The Zittaw Press edition does sound highly desirable, but as you say Taliesin, some of us do live on a budget. Thanks to the Wordsworth edition, I now own and can enjoy a classic vampire tale that previously I couldn't have afforded.
Have recently discovered that Varney appears in Merriwether: God's Demon-Thumper, a graphic novel about a demon-hunting vicar produced by independent British publisher Black Tower Comics.
God's Demon-Thumper and it's sequel Merriwether: The Test of Satan are exclusively available from Black Tower Comics' on-line shop both separately and also compiled together as The Collected Merriwether;
http://www.lulu.com/spotlight/hoopercomicsuk
cheers for that Fenris :)


text:
Player-coach Kelly Smith commits future to Arsenal Ladies
Last updated on 29 January 201429 January 2014 .From the section Football
Kelly Smith has signed a new contract with Arsenal Ladies to continue in her role as player-coach.
The 35-year-old captain, who is England's all-time leading goalscorer, was appointed manager Shelley Kerr's assistant in August 2013.
Kelly Smith in focus
Born: October 1978, Watford
Clubs: Wembley, Arsenal, Seton Hall Pirates, Philadelphia Charge, New Jersey Wildcats, Boston Breakers
Club honours: Uefa Cup, Super League, four Premier League titles, three FA Cups,
England caps: 115
England goals: 46 goals (an English record)
GB caps: 4
Smith said: "I'm delighted to have agreed a new contract with Arsenal."
She follows Rachel Yankey, Alex Scott, Emma Byrne, Jordan Nobbs and Danielle Carter in committing her future to the Gunners this pre-season.
Smith, who has scored 46 goals in 115 appearances for England added: "Coaching has provided a fresh and exciting challenge for me, and I'm really enjoying combining my new role with my responsibilities on the pitch."
General Manager Vic Akers said: "Kelly has been an exceptional player for us over the years and has now become an exceptional coach too.
"Her experience, her passion and her knowledge of the game are all having a really positive impact on the rest of the squad, and helping with the development of the younger girls in particular."
Listen: Women's Ashes - England struggling against Australia despite Brunt's 5-60 in crucial Test
FIA planning new race-management structure
From the section Formula 1
Everton to hold final manager job talks


Number of Nights: 12 nights lodging.
Trip Details: Join SSC as we travel to Athens, the capital of Greece, and the Islands of Mykonos, Santorini, and Crete. Greece is considered the cradle of Western civilization, and the birthplace of democracy, philosophy, literature, major scientific and mathematical principles, drama, and the Olympic games. This trip is packed with history, exploration, culture, and great cuisine! In addition to on land site-seeing and excursions, you will also view Athens and the islands from the Aegean Sea and the Sea of Crete as we make our way from Athens to the three Isles on three high speed ferry's. And you will have free time for self-exploration.
Athens brings together the best of the ancient and contemporary of Greece, with its sun-bleached ruins and deep blue skies, museums, sandy beaches, waterside nightclubs, inspired cuisine and passionate music. We will see the Acropolis, Museum, Temple of Zeus, Hadrian's Arch, Temple of Athene Nike, The Erechtheion, Theatre of Dionysus, the Parthenon, the National Garden, Tomb of the Unknown Soldier, and the Greek Parliament. We will stop at the Panathenaic Stadium, host of the 1896 Olympic Games, and walk through the Plaka neighborhood with its narrow streets, churches, Byzantine architecture, museums, café's, shopping.
Mykonos is made up of breathtaking beaches, elegant boutiques, fine dining restaurants, and lively bars and nightclubs where partying is a round the clock affair. All this against a backdrop of scenic whitewashed houses, iconic windmills, and picturesque churches. We will test out the beaches, visit the Monastery of Panagia Tourliani with its gold plated iconostasis remains, and take a walking tour of a Mykonos town where we may see "Pelican Petros".
Santorini, one of the Cyclades islands in the Aegean Sea, was devastated by a volcanic eruption in the 16th century BC, forever shaping its rugged landscape. The iconic whitewashed houses in the main towns of Fira and Oia line the cliffs overlooking the sea, and the beaches that are made up of black, red, and white lava pebbles. Our hotel is located in Fira, the island's commercial heart, close to museums, restaurants, and shopping. Going out in the evening is like a fairy tale, and the bars and clubs constitute a dominant party scene.
Crete, Greece's largest island, is the oldest wine-producing area in Europe, with a wine tradition that is more than 4000 years old. We will stay in the city of Chania, which is one of the biggest island cities, with lots to do and explore.
This trip is 14 days, includes 12 nights lodging (3 nights at each location), daily breakfast, welcome dinner with Greek music and folk dancing, four full-day excursions, roundtrip air from Dulles to Athens and home from Crete, all ground transfers, and high speed ferry transfers.
Lodging: 3 nights, Hotel Center Square Athens***; 3 nights, Hotel Alkistis*** in Agios Stefanos, Mykonos; 3 nights, Hotel Horizon Resort*** at Santorini (some will be at Hotel Sunshine***); 3 nights, Hotel Arkadia at Chania, Crete.
Features Included (Meals, Side Trips, Etc.): Standard trip package includes roundtrip bus to Dulles, roundtrip air, 12 nights lodging, daily breakfast, dinner first night, 4 tours – one at each location, porterage at Mykonos, all ground transfers, and high speed ferry transfers.
Trip Cost – Standard Package per person double occupancy: The trip price is estimated at $3,100 per person double occupancy. The estimate is due to the airfare. Pricing for airfare will not be available until later in October. We have included airfare cost of $1,000 in the estimated price above. When the airfare is available the price of the trip will be adjusted accordingly.
Initial Deposit Amount: $775.00 Due Date: Due with application. The name on the application must be printed, legible, and must match exactly your passport name. Changes after booking have a $300 fee.


text:
Какофония — многозначный термин:

 Какофония — сочетания звуков, воспринимаемые как хаотическое и бессмысленное их нагромождение
 «Cacophony» — американская хеви-метал группа, существовавшая в 1986-1989 гг.

redpajama_set_name: RedPajamaWikipedia


The wine list at the Hong Kong restaurant Mirror has two white wines, three reds and four flavored sodas.
What's more, the executive chef, Jeremy Biasiol, suggests food pairings with each soda, just as he would with wine. Lavender, for instance, goes well with pork, cheese or chocolate; cucumber soda makes for a natural pairing with salad or salmon.
Gourmet sodas aren't new — over the past decade in the U.S., a number of brands have made strong sales headway, including GuS (short for Grown-Up Soda), Izze Sparkling Juice and Fizzy Lizzy. They are turning up on the menus of high-end restaurants, including Thomas Keller's French Laundry, which offers Dry Soda and GuS, and Dan Barber's Blue Hill New York restaurant in Manhattan, which this month is offering adult pop from Brooklyn Soda Works.
Will it catch on in Hong Kong?
"The taste of the soda is good — very subtle, with soft bubbles, little sweetness, and just a tint acidity, but it's a hard sell," says David Lai, the chef at On Lot 10 restaurant in Hong Kong's Sheung Wan district. When you sit down in a restaurant, he says, you think of water or wine.
Even so, he is thinking about creating a soda-and-food pairing menu with Dry Soda. "It's a real issue for people who can't drink alcohol to not be overlooked," he says.
And the soda sells well at Mirror, according to Mr. Biasiol. Since Dry Soda first made the restaurant menu in February, it has accounted for 10% to 20% of total beverage sales. For 45 Hong Kong dollars (US$6), a diner gets a 355-ml bottle — enough for two, and the restaurant pours the soda into champagne flutes for extra pizzazz. Customers are encouraged to order a different flavor to pair with appetizers and entrées.


In the flashforward at the end of season three of Agents of S.H.I.E.L.D. we saw Dr. Radcliffe create an A.I. named Aida, and TVLine has just reported that Mallory Jansen will be playing the role in the fourth season.
Jansen is best known for playing the role of Queen Madalena in the recently-cancelled Galavant, and has also had roles in Young and Hungry and Baby Daddy.
Mallory Jansen joins other newcomers to the show such as Gabriel Luna as Robbie Reyes/Ghost Rider, Jason O'Mara as the new director and Parminder Nagra as a political figure who is opposed to Inhumans.
Agents of S.H.I.E.L.D. returns September 20th on ABC at 10p.m.


text:
The Agnelli Family and its Companies respond to the COVID-19 emergency
In response to the COVID-19 emergency, the Agnelli Family and its Companies have put in place a series of measures, in coordination with the Italian Civil Protection Department, to support the Italian national health service in its care of the sick and to provide assistance to those who currently require it, or who will do so in future.
The Agnelli Family has made a €10 million donation to the Italian Civil Protection Department, as it manages the emergency at national level; and to Specchio dei Tempi /La Stampa (a social assistance organization which operates in the Region of Piedmont), to respond to the local health and social needs in the city of Turin and Piedmont.
EXOR and its subsidiaries Fiat Chrysler Automobiles, Ferrari and CNH Industrial - together with companies from outside the Group, including Ermenegildo Zegna and Pesenti Group – have sourced and purchased a total of 150 ventilators, alongside other medical equipment from various overseas suppliers, and are preparing for their immediate air transport to Italy.
the automotive long-term rental company Leasys (FCA Bank) has provided the Italian Red Cross and ANPAS (the Italian National Association for Public Assistance) with a fleet of vehicles for the distribution of food and medicine to the sick, the elderly and people in need of assistance across Italy.
EXOR, FCA, Ferrari and CNH Industrial remain in close contact with the Italian Department of Civil Protection, to provide the Country with scouting services – free of charge – to identify medical equipment and healthcare products available internationally, and to provide assistance with customs related matters to ensure expedited import to Italy.
These initiatives are in addition to those already in place:
#DistantiMaUniti, a fundraising initiative promoted by the Juventus Football Club, which is live on the gofundme platform (www.gofundme.com/f/distanti-ma-uniti-dona-insieme-alla-juventus)
#restoascuola, an initiative promoted by the Agnelli Foundation, together with the La Stampa and Specchio dei Tempi Foundation and La Stampa newspaper, to support long-distance teaching in schools, especially for those students who experience greater barriers to learning.


text:
2 Buffett Stocks That Look Like Great Buys in November
By David Jagielski – Nov 5, 2021 at 7:15AM
Merck has a COVID-19 pill that, if approved for use, could generate billions for the company next year.
Kraft is one of Buffett's largest holdings and the company just reported a solid earnings beat.
Both of these stocks trade at relatively low forward price-to-earnings multiples.
NYSE: MRK
$271B
They have solid fundamentals, their shares are cheap, and they also pay dividends.
If you're looking for a top stock to hold in your portfolio, a good starting point can be to look at the stocks held by Warren Buffett's conglomerate, Berkshire Hathaway. It can give you some easy ideas of potential long-term investments that you can tuck away in your portfolio for years.
Two stocks from that list that strike me as particularly strong buys this month are Merck (MRK -1.23%) and Kraft Heinz (KHC). They're stable companies with some recent catalysts that could propel their shares higher in the months ahead.
1. Merck
Healthcare company Merck makes for a solid investment as the business routinely reports strong numbers; in each of the past three years, it has netted a profit margin of at least 14%. And when the company released its quarterly results on Oct. 28, Merck showed strong growth with sales rising by 20% to $13.2 billion for the period ending Sept. 30. Its pharmaceutical business grew at a rate of 18% and animal health sales also increased by 16% year over year. That growth helped the company's net income double to over $4.5 billion.
But what investors are likely most bullish about right now is the company's COVID-19 pill, molnupiravir, which has demonstrated in a phase 3 study that it can cut the risk of hospitalization or death for people with mild or moderate COVID-19 by 50%. The company estimates that if the Food and Drug Administration (FDA) approves the drug next month, it could generate up to $7 billion in revenue through to the end of next year.
Yet, despite all the positive news, Merck's stock trades at a relatively modest forward price-to-earnings (P/E) multiple of less than 16. That's lower than healthcare giant Johnson & Johnson, which investors are paying 17 times future earnings for. Given the potential boon Merck may get if its COVID-19 pill is approved, the stock could soon look like a bargain. Combine that with a safe business and a stock that pays a dividend yield of around 3% (well above the S&P 500 average of 1.4%), and this becomes of the better buys out there right now.
2. Kraft Heinz
Food company Kraft Heinz, known for its many popular brands, including Jell-O and Maxwell House, is routinely one of Berkshire's top holdings. A big part of the reason Kraft makes for a sound investment is the strong brands it has in its portfolio that are staples in households across the globe. And that power enables it to more easily adapt to the pandemic than other companies might be able to.
For instance, Kraft is coming off a solid earnings beat in its most recent quarter -- benefiting from price increases that helped offset inflation. For a company without strong brand recognition, an increase in price could be catastrophic to its top and bottom lines. For Kraft, however, its net sales of $6.32 billion for the period ending Sept. 25 were down just 1.8% year over year and beat analyst expectations of $6.05 billion. Its adjusted per-share profit of $0.65 was also higher than Wall Street's projections of $0.58. The strong performance should serve as a reminder to investors the resiliency that Kraft possesses, even amid such challenging times. It also doesn't hurt that big-box retailer Walmart is its largest customer (it accounts for more than one-fifth of Kraft's revenue).
And like Merck, Kraft pays an above-average dividend yield of 4.4%. Its quarterly payment of $0.40 is currently well below the $0.65 adjusted earnings per share the company reported this past quarter, which should give investors some confidence that even given the current adversity (e.g., supply shortages, inflationary pressure), the payout can continue.
It's also a relatively cheap stock as it trades at a forward P/E of 13. By comparison, consumer goods company Kellogg trades at more than 15 times its future profits. Kraft is a stable buy that can be an excellent option for investors who are focused on both value and dividends.
David Jagielski has no position in any of the stocks mentioned. The Motley Fool owns shares of and recommends Berkshire Hathaway (B shares). The Motley Fool recommends Johnson & Johnson and recommends the following options: long January 2023 $200 calls on Berkshire Hathaway (B shares), short January 2023 $200 puts on Berkshire Hathaway (B shares), and short January 2023 $265 calls on Berkshire Hathaway (B shares). The Motley Fool has a disclosure policy.
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Stephanie needed a smaller vehicle for her adventures!
After purchasing a vehicle from West Coast Ford Lincoln in 2012, Stephanie and her husband came back to the dealership to purchase a second vehicle this summer. Already owning an F-150 which they purchased last year, these two avid mountain bikers who travel to Whistler frequently decided they needed a smaller vehicle for shorter excursions. With Jimi Garvey's help at the dealership, the couple purchased a 2013 Ford Escape.
Congratulations Stephanie on your new purchase!
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«Вертикальный лес» () — жилой комплекс из двух башен высотой 110 и 76 метров. Два небоскрёба сооружались в миланском районе Порта Нуова в 2009—2014 гг. Авторы проекта — итальянские архитекторы , Джанандреа Баррека (Gianandrea Barreca) и Джованни Ла Варра (Giovanni La Varra). Особенность проекта заключается в том, что на террасах, окружающих каждый из этажей, размещены зелёные насаждения: здесь высажены около 900 деревьев, 5000 кустарников и 11 тысяч травяных дорожек.

Описание
Вертикальный лес увеличивает биологическое разнообразие. Это способствует формированию городской экосистемы, где различные виды растений создают вертикально направленную среду, которая может быть заселена птицами и насекомыми (с первоначальной оценкой в 1600 образцов птиц и бабочек). Таким образом, Bosco Verticale может послужить фактором для стихийного заселения флоры и фауны города.

Вертикальный лес помогает создать необходимый микроклимат и фильтровать мелкие частицы пыли, содержащиеся в городском воздухе. Разнообразие растений будет способствовать повышению уровня влажности, поглощению углекислого газа, производству кислорода, а также защите людей и зданий от солнечной радиации и шумового загрязнения.

Две башни Bosco Verticale были признаны лучшими небоскрёбами 2014 года, получив премию International Highrise Award, вручаемую каждые два года Музеем архитектуры во Франкфурте.

Примечания

Литература
 Зелёные наваждения. Журнал «MAXIM» № 1, 2013.

Ссылки

 «Вертикальный лес» в Милане признан лучшим небоскрёбом 2014 года — ee24.ru.
 Информация о проекте на официальном сайте студии Boeri.

Здания и сооружения Милана
Небоскрёбы Италии
Достопримечательности Милана


The new Aardman Animations movie "Shaun the Sheep" contains woofs, oinks and bleats aplenty. But the inventive comedy from the Bristol, England-based makers of stop-motion animated hits such as "Chicken Run" and "Wallace & Gromit: The Curse of the Were-Rabbit" surprisingly lacks one auditory element: a single spoken word of dialogue.
"The best movies are the ones you can watch without any volume on, so that was our goal," said Richard Starzak, the Aardman veteran who wrote and directed "Shaun the Sheep" with Mark Burton.
Based on a British children's TV show that is itself a spinoff of the 1995 Wallace and Gromit short film "A Close Shave," the "Shaun the Sheep" movie opens in Los Angeles on Wednesday as a kind of "Ferris Bueller's Day Off" for livestock. The film follows its ebullient, woolly protagonist and his flock as they head to the big city to find their farmer, who is suffering from amnesia. Along the way they buy disguises, dine at fine restaurants and rub elbows with celebrities, all the while attempting to elude an arrogant animal-control officer.
Like the best of Aardman's oeuvre, the movie feels both decidedly British and wholly universal. The farmer's Wellington boots and Fair Isle sweater place him squarely in the U.K., but the film's dialogue-free format has helped it to play well to a broad range of countries and ages, including 20-somethings in China and Japan, 30-somethings in Germany and children and senior citizens in Britain. The story is larded with slapstick gags that work with any age — you can get a lot of mileage out of a nearsighted farmer and his loyal dog — and sly, more adult references, including a cone-wearing cat who bears a chilling resemblance to Hannibal Lecter.
In an interview at Lionsgate, the film's Santa Monica-based U.S. distributor, Starzak and Burton discussed the roots of their unconventional storytelling approach, which was born not of artistic ambition but financial necessity.
In 2007, when Starzak started writing and directing the "Shaun the Sheep" TV show, which aired on the Disney Channel in the U.S., he needed to keep budgets down. Manipulating characters' mouths was time-consuming for animators and, therefore, expensive.
"The initial idea was labor-saving," Starzak said of the lack of dialogue. "I knew it would help us internationally a bit, but I had no idea — Shaun's gone really global now. That's been the big surprise. The lovely thing is when you go to China and everyone laughs in the same place."
Starzak, who previously went by the name Richard Goleszowski, started out fetching coffee and props at Aardman in the 1980s. He worked as an animator and director on projects as varied as the video for the Peter Gabriel song "Sledgehammer" and a British TV special about Rudolph the Red-Nosed Reindeer's overweight son, Robbie. He's the shy, self-effacing member of the filmmaking duo, while Burton, who wrote dialogue for "Chicken Run" as well as the script for DreamWorks Animation's "Madagascar," is more gregarious. Together, they have a dryly humorous rapport.
Burton teased Starzak when the latter paused before listing his film references for "Shaun the Sheep."
"You're trying to sound film-literate, but you can't. Your crib sheet's gone missing," Burton said. "Uhhhhh … 'Casablanca.' "
Actually, the list includes classic film comedians like Charlie Chaplin, Buster Keaton, Laurel and Hardy and Jacques Tati.
When Starzak pitched Aardman founders Peter Lord and David Sproxton on a feature-length treatment of the character, their first reaction was cautious, Lord said.
"We looked at each other and said, 'Really?' " Lord said by phone, adding that Starzak "was very convincing and has a very sure instinct. We thought it would be a challenge and great fun."
The filmmakers declined to disclose a budget for "Shaun" other than to say it is significantly less than Aardman's last feature, the 2012 "The Pirates! Band of Misfits," a visually ambitious stop-motion film Lord directed for $55 million. They secured financing from French-based production company StudioCanal and produced the movie in three years, a brisk pace by the standards of the medium.
The movie eschews several conventions of big-budget American animated movies, including using globally famous voice actors. Justin Fletcher, a children's television personality in the U.K., supplies Shaun's voice, which is really an expressive collection of bleats, baaaas and whimpers, while comic John Sparkes voices the flock's often befuddled farmer via some emotive Welsh mutterings. British-Iranian comic Omid Djalili plays Trumper, the villainous animal-control officer.
"What we said to the voice cast was, 'We could be making 'Battleship Potemkin.' This is the most serious thing," Burton said. "You spend a lot of time describing to them what's going on emotionally, and then they come up with some noises. You say, 'Try saying it. Now express that without the words.' "
Aardman is enjoying something of a moment culturally. This weekend, the Academy of Motion Picture Arts and Sciences is hosting three events celebrating the studio's work, including a panel on Sunday at Siggraph, the computer-graphics conference at the L.A. Convention Center. In Paris, an Aardman exhibit at the Art Ludique-Le Musée has been drawing crowds since March.
Reviewers often praise Aardman's movies for their warmth and reliance on stop-motion, a century-old technique that reveals the artist's hand in a way that feels increasingly rare in the era of computer animation. But even by the studio's high standards, "Shaun" is a success with critics, earning a 100% fresh rating on Rotten Tomatoes. The movie, which has grossed about $60 million internationally since it opened abroad in February, seems poised to be a far more modest success at the U.S. box office than films from large animation studios like Disney or DreamWorks Animation.
"We never think, let's not do what the big studios do," Lord said. "We do what we love. We believe there's a kind of magic and a kind of humanity about this technique. Maybe it's not slick, not noisy. But surely a change of diet is a good thing for audiences."
Starzak and Burton said they have begun sketching out plans for a sequel.
"There was a time when reviewers were referring to the dying art of stop-motion animation, but every time they said that, they were talking about another film that was vying for an Oscar," Starzak said. "It's a question of, it'll survive if we make the movies good enough."


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Graptopetalum Rose – rodzaj roślin należący do rodziny gruboszowatych (Crassulaceae DC. in Lam. & DC.). Obejmuje co najmniej 18 gatunków występujących naturalnie w południowej części Stanów Zjednoczonych i Meksyku. Rodzaj ten jest ściśle powiązany z eszewerią, ale posiada płatki uwydatnione od środka korony kwiatu, z czerwonymi kropkami lub plamkami.

Morfologia
Pokrój Roślina wieloletnia lub krzew.
Liście Naprzemianległe, zebrane zazwyczaj w rozetę.
Kwiaty Krótkie zebrany w pojedynczych kwiatostanach. Mają 5 prawie równych działek kielicha oraz 5-7 płatków zrośniętych u spodu. Posiadają 5-10 pręcików zakrzywionych do zewnątrz.

Systematyka
 Pozycja systematyczna według Angiosperm Phylogeny Website (aktualizowany system APG III z 2009)
Rodzaj ten należy do podrodziny Sedoideae, rodziny gruboszowatych Crassulaceae DC. in Lam. & DC., do rzędu skalnicowców (Saxifragales Dumort.) i wraz z nim do okrytonasiennych.

 Pozycja systematyczna według systemu Reveala (1993-1999)
Gromada okrytonasienne (Magnoliophyta Cronquist), podgromada Magnoliophytina Frohne & U. Jensen ex Reveal, klasa Rosopsida Batsch, podklasa różowe (Rosidae Takht.), nadrząd Saxifraganae Reveala, rząd skalnicowce (Saxifragales Dumort.), rodzina gruboszowate (Crassulaceae DC. in Lam. & DC.), podrodzina Sedoideae, plemię Sedeae

 Wykaz gatunków

Przypisy

Gruboszowate


2 $4,000 Scholarships will be awarded by the AAUW Stanwood Camano Branch.All students male/female who meet the eligibility requirements are encouraged to apply: Current resident of the Arlington,Stanwood,Camano Island area and/or be a graduate of Lakewood, Arlington, Stanwood or Lincoln Hill High Schools. Must have completed at least 2 years of accredited college or university by June 2017 with verifiable plans to continue upper division or master's level post graduate work at a 4 year college or university in the fall of 2017. All requested items must be postmarked by May 15, 2017: completed 2017 Application Form, Official copy of all college transcripts, 2 mailed confidential letters of recommendation from college instructor or counselor and a person in your community, 300 word essay related to AAUW Mission and a brief personal statement emphasizing your goals, plans, accomplishments, employment, volunteer work, funding circumstances, etc. Submissions must be postmarked by May 15, 2017. Recommendation letters must be mailed not emailed.


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A Method of Measurement for Visual Complexity in the Environment
"In the context of the ever changing urban landscapes of our era, it seems to be well recognized that one of the major issues of environmental perception is perceptual complexity or diversity. The desired level of complexity in visual scenes in the city has been mentioned often, but the degree of complexity rarely has been quantitatively defined. This paper presents a method of measurement for two different aspects of visual complexity in the environment: one is visual diversity of a scene around a view point, and the other is a sequential change when the perceiver moves through the environment. A personal computer program was developed to assess an array of visual surfaces which surround an observer. The visual surfaces in the environment are first divided into basic units (components) on the basis of their meaning for basic human behavior or 'affordance". The units include such surfaces as pavement, earth, grass, trees, building and sky. The program then assesses surrounding scenes by numerous scanning (visual) lines radiated from a station point in all directions with equal density. Next, it creates a chart which shows the array of visible surfaces of various components. The resulting chart is divided into cells according to azimuth (72 partitions) and altitude (29 partitions) of the direction of scanning lines. Thus it has a total of 2,088 cells, each of which represents one of the components. With this data, the program then calculates number of partitions which divides two neighboring cells of different components. This measure is expected to describe the complexity of the visual scene surrounding the perceiver. As for the sequential variation, the charts obtained by assessing two consecutive station points along the path are compared, and the number of changed cells of the same position is calculated. n order to examine quantitative relations between human responses on the one hand, and the measures obtained by the program on the other, landscapes of nine different housing neighborhoods were assessed. A sequence of scenes along a typical path in each of the nine housing sites was presented to the 43 subjects by a series of slides taken at ten consecutive points each ten meters apart. The subjects were asked to rate each landscape using a bipolar adjective pair of "monotonous vs. varied". The data from this empirical study revealed that the complexity of a place can be well explained by the measures obtained by the program. Although it may require some effort to establish the data of the site for the program, once we have the data, it is quite easy to assess the visual state at any point in a proposed environment. If an environmental designer uses computer aided drafting , the data is obtained without extra effort, the designer can easily and interactively use this program in the design process."
Ryuzu, Ohno. "A Method of Measurement for Visual Complexity in the Environment." In Socio-environmental Metamorphoses: Proceedings 12th International Conference of the IAPS. IAPS. Halkidiki, Greece: Aristotle University Press, 1992.
Influence of Chromatic Complexity and Coherence on Evaluation of Urban Scenes
Naoumova, N. "Influence of Chromatic Complexity and Coherence on Evaluation of Urban Scenes." In Human Experience in the Natural and Built Environment: Implications for Research, Policy and Practice (IAPS 22 Conference, Abstracts of Presentations). IAPS. Glasgow, UK: University of Strathclyde, 2012.
Pleading for the Analysis of Meaningful Environment
Walcher, K, and P. Oldenburg. "Pleading for the Analysis of Meaningful Environment." In Environment and Human Action: Proceedings 8th International Conference of the IAPS. IAPS. West Berlin, Germany, 1984.
Transcultural Adaptation of a Residential Satisfaction Scale, the Iqurp (Fornara, Bonaiuto and Bonnes, 2010) from Italian to French
Rioux, L, and JY Mariette. Transcultural Adaptation of a Residential Satisfaction Scale, the Iqurp (Fornara, Bonaiuto and Bonnes, 2010) from Italian to French In Human Experience in the Natural and Built Environment: Implications for Research, Policy and Practice (IAPS 22 Conference, Abstracts of Presentations). IAPS. Glasgow, UK: University of Strathclyde, 2012.
Research on Evaluating Comfort of Office Environments
Nakamura, V, and M. lnui. "Research on Evaluating Comfort of Office Environments." In Culture-Space-History: Proceedings 11th International Conference of the IAPS. IAPS. Ankara, Turkey: METU Faculty of Architecture, 1990.


Thinking about buying a used car from FIAT of McKinney? Then we recommend that you check out our pre-owned specials first! In doing so, you will have access to some of the best deals now offered at our dealership. The options you see are not only affordable but feature some of the most popular products we have in stock too including models from FIAT, Alfa Romeo, and other beloved brands! Rest assured, each one is even hand-picked by our experts, so you can trust that the quality of our used cars, trucks, and SUVs meet high-standards. That means customers like you who make the trip out from Lucas, Allen, and surrounding areas to work with us will get the value you deserve!
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After taking a closer look at each of our offerings and finding the pre-owned special you like best, get in touch with us! You can call us at (888) 928-7168 during business hours or write to us through our online contact form at your earliest convenience. You are invited to meet with us in person as well if you prefer to consult our representatives directly. Just head on out to our dealership located near Plano and Frisco! We will see to it that you get behind the wheel of your best match for a price that fits your budget. This is how we ensure every experience with us is always worthwhile for FIAT of McKinney customers.


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CONTACT ♦ 631 South Third St. Columbus, OH 43206 ♦ (614)464-1774 ♦ Open 10am-11pm Seven Days a Week ♦ GOOGLE MAPS
Naruto: Itachi's Story, Vol. 1: Daylight (Naruto Novels) (Paperback)
By Masashi Kishimoto (Created by), Jocelyne Allen (Translated by), Takashi Yano
(Save: $0.55 5%)
(GRAPHIC NOVEL - MANGA)
This is book number 1 in the Naruto Novels series.
#2: Naruto, Vol. 2 (Paperback): $9.49
#3: Boruto: Naruto Next Generations, Vol. 3 (Paperback): $9.49
#5: Naruto (3-in-1 Edition), Vol. 5: Includes vols. 13, 14 & 15 (Paperback): $14.24
#10: Naruto (3-in-1 Edition), Vol. 10: Includes Vols. 28, 29 & 30 (Paperback): $14.24
#11: Naruto, Vol. 11 (Paperback): $9.49
#13: Boruto: Naruto Next Generations, Vol. 13 (Paperback): $9.49
Paperback (December 6th, 2016): $10.44
Itachi and Sasuke come of age and find their places in the ninja world in this three-volume epic.
A new series of prose novels, straight from the worldwide Naruto franchise. Naruto's allies and enemies take center stage in these fast-paced adventures, with each volume focusing on a particular clan mate, ally, team…or villain.
Uchiha Itachi, four years of age. With the hell of war burned into his eyes, the boy makes a resolution: he will rid this world of all violence. The birth of Sasuke, meeting his friend Shisui, the academy, genin, chunin, and then the Anbu—Itachi races down the path of glory toward his dream of becoming the first Uchiha Hokage, unaware of the darkness that lies ahead…
Author/artist Masashi Kishimoto was born in 1974 in rural Okayama Prefecture, Japan. Like many kids, he was first inspired to become a manga artist in elementary school when he read Dragon Ball. After spending time in art college, he won the Hop Step Award for new manga artists with his story Karakuri. After considering various genres for his next project, Kishimoto decided on a story steeped in traditional Japanese culture. His first version of Naruto, drawn in 1997, was a one-shot story about fox spirits; his final version, which debuted in Weekly Shonen Jump in 1999, quickly became the most popular ninja manga in the world. The series would also spawn multiple anime series, movies, novels, video games and more. Having concluded the series in late 2014, Masashi Kishimoto has kept himself busy this year with the side story Naruto: The Seventh Hokage and the Scarlet Spring and writing the story for the latest Naruto movie, Boruto: Naruto the Movie, both of which will focus on the title character's son, Boruto.
Publisher: VIZ Media LLC
Publication Date: November 1st, 2016
Series: Naruto Novels
Maximum Grade Level: 12
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Exclusive: PopBytes talks with Icona Pop
February 19, 2013 ALEX NAGORSKI
Cocaine binges don't end well for Hannah Horvath.
But in the third episode of the current and second season of HBO's cultural phenomenon, Girls, Lena Dunham's lead character goes on one for the sake of the experience. On a new adventure with her ex-boyfriend-turned-gay-roommate, Dunham's protagonist finds herself in a Brooklyn nightclub snorting lines off of a public toilet and trading her shirt with a stranger's. Yet before the episode's inevitable conflict starts to neutralize her high, Hannah has a rare moment where she lets the loud and pulsing music around her take complete control of her typically guarded self. Concluding the blissful part of her maiden coke voyage, she loses herself in the club's flashing lights while dancing in slow-motion and loudly shouting along to the words of the defiant electropop anthem thumping out of the speakers: Icona Pop's "I Love It."
It's no surprise that shortly after the song's placement on the hit sitcom, "I Love It" debuted on Billboard's Hot 100 (last week at #69). Featuring British singer/songwriter Charli XCX, Icona Pop's American breakout hit has been steadily building momentum since its release last fall. In addition to being featured on Girls, the track also serves as the opening credits song on MTV's Jersey Shore spinoff show, Snooki and JWoww, and on the soundtrack for the video game, Need For Speed: Most Wanted.
Yet Icona Pop's plans for global pop domination have only just begun. Comprised of Swedish duo Aino Jawo and Caroline Hjelt, Icona Pop has crafted an exciting signature sound that combines indie pop with elements of electro house music and hints of punk.
Currently on the road with Passion Pit and Matt & Kim, Icona Pop is slated to release their full-length U.S. debut this spring. I caught up with the charismatic ladies to talk about their tour, upcoming record, aspirations, Girls, and much more.
ALEX: Let me just preface this interview by saying that I really enjoy your album.
CAROLINE: Wow, thank you so much. We like you.
ALEX: How did you two meet?
AINO: Well, we met exactly four years ago. It was like February 2009 and I had just been dumped. After two weeks of lying in bed, one of our mutual friends was like, "you're coming with me" and took me to a party. And Caroline was the one having the party.
CAROLINE: Oh yes, I was always having the best parties in town.
ALEX: I believe it!
CAROLINE: You know, dancing all my heartache and pain away. No, but … I throw a lot of parties. And Aino came to one of them and we felt that we had something special. We were both kind of feeling at the bottom. So I think we were not afraid because we didn't have anything to lose. Something in our bodies just said, "Please don't let this go … just throw yourself out there!" The day after, Aino came to my place and we wrote our first song.
ALEX: Oh wow.
CAROLINE: Crazy, yeah! But I guess if you feel that it's right, then you should just go with the flow.
AINO: Yeah, you shouldn't fight it.
CAROLINE: And after that day, we've been hanging out like 24/7 and now it's been four years! It just gets more fun.
AINO: We should celebrate four years.
ALEX: You totally should! How would you want to celebrate your anniversary?
CAROLINE: We should really do something special.
AINO: We should go on a nice dinner, just the two of us, and drink nice wine.
CAROLINE: Like have a little date.
ALEX: That sounds like a perfect anniversary. So where does the name Icona Pop come from?
AINO: Well, we were searching for a name for a long time because we wanted to have a name that could kind of tell what type of music we loved. And then Caroline's mom went to this Italian dinner and they were talking about our project. And they were like, "Yes, so are they going to be the next pop icon?" And Caroline's mom was like, "oh, that sounded cool!" So, she actually texted Caroline and then …
CAROLINE: Yes, because Icona Pop means "pop icon" in Italian.
AINO: So, it was all Caroline's mom.
CAROLINE: Thank you, mom.
AINO: She's very proud.
CAROLINE: Yes, she's so proud that she's taking all the credit for it!
ALEX: Can you each describe what unique qualities the other member brings to the band?
AINO: To be honest, that would have been easier to do four years ago. We've been on the road and living together, writing together, doing a lot of, like everything together for four years. So, you kind of grow together and I have a hard time separating that because now everything is so natural. You just do stuff and I just do stuff. It's just great fun. I really think Icona Pop is a very good mix between our two personalities.
CAROLINE: I think it's weird that we hang out as much as we do and we never get tired of each other. I think we have to be a little bit weird to be able to do that.
AINO: We have huge respect for each other. We don't fight. We're not mean to each other. We just really respect and read each other very well. And I think that's the key. No one forced us to live together or write together; we just decided we wanted to do it! So, it's all been very natural.
ALEX: How many of the dangerous things that you sing about in "I Love It" have you actually done? Like have you really crashed your car into a bridge?
AINO: Almost!
CAROLINE: In our heads, we've done everything a couple of times.
AINO: Yeah, and now we've been singing about it every day for like a year. So I think that the next time someone tries to break our hearts, then that means …
CAROLINE: Fucking … Woo, don't go there.
AINO: And I think also we're going to have a lot of people on our side when that happens.
CAROLINE: Maybe it won't even be us crashing his car. Maybe it's going to be someone else. Like, "I'm being supportive, you know?"
AINO: Those are hardcore fans.
CAROLINE: Yeah, we should just tell a lot of fans, "Run after him! Hunt him down!"
ALEX: You can put a call to action on Twitter and see what happens.
CAROLINE: Yeah, like a picture of him. Like a "most wanted" picture.
ALEX: Having "I Love It" featured on the soundtrack to the HBO series Girls and as the opening credit song on MTV's Snooki and JWoww has made the song a massive success for you. Do you personally relate more to the ladies on Girls or the ladies on Snooki and JWoww?
AINO: We're definitely more Girls girls. But still, I mean, the song says, "I don't care! I love it!" And I think Snooki and JWOWW don't care about what anybody thinks about what they're doing. And so, I think the song fits them as well.
ALEX: I agree. Your critically embraced debut EP, Iconic, was released last fall. Since then, you've released a full-length album overseas. Do you have plans to release this record in the US? And if so, how will it be different than the international release?
CAROLINE: We have been doing Icona Pop in Sweden for a long time now. We felt that it was time to release an album there, but we're constantly writing new stuff. So, we're gonna have a couple of songs from the Swedish album on the American album. We're actually finishing that right now – that American one. There'll be some new tracks because we always want to have our newest tracks on to express what we are going through right now. But something like "Manners" is gonna be on it because that's a very important song for us.
AINO: And our American full-length will be out very soon.
CAROLINE: Mm-hmm.
AINO: We're just wrapping it up, and to be honest, it feels crazy. It's huge! I'm scared and I'm super excited. We're really ready for it though. It's our baby. So, it's going to be interesting to see how it goes.
ALEX: Absolutely. Who are you working with on the new songs?
CAROLINE: We will always be working with Elof – our main producer.
AINO: Yeah, and our best friend.
CAROLINE: But it's also going to be a lot of collaboration. There are a lot of people involved.
AINO: Yeah, it's going to be a wide mix. And maybe some … I mean, some stuff we don't want to jinx yet because you don't know what's going to end up on the album. But it will definitely be a great mix.
ALEX: That sounds awesome. I'm really excited for it.
AINO: Yay! We're getting pretty excited too.
ALEX: You're currently on tour with Matt & Kim and Passion Pit. And recently, you guys all played the legendary venue, Madison Square Garden, on the same day that snowstorm Nemo hit New York. Can you tell me a little bit about that experience? Were you worried that nobody would come to the show?
CAROLINE: Yeah. We mainly felt sorry for a lot of people, because we got a lot of tweets saying, "oh, we won't be able to come." And we felt so bad!
AINO: Still, I was surprised that there were so many people there when we played. We really had such a good vibe with the people in the front and the people who were dancing, you know, in the back. So, we couldn't be happier. And for us to play there … it's such an iconic venue.
CAROLINE: Yeah.
AINO: That was really something. For us, that felt huge. But we were worried for the audience because we didn't know if they were gonna make it home or if they were going to be stuck in some weird place. But I think everything went kind of smoothly anyway.
ALEX: That's good to hear! You also recently finished opening for Marina and the Diamonds. What were some of the highlights of that tour?
AINO: That was our girl power tour.
CAROLINE: Every night was amazing. All the fans were wearing that little black heart that Marina has on her cheek, and she was painting that on us every night. It was crazy! And there were a lot of heartbreaking stories going on. She's an amazing artist.
AINO: We met so many great fans on that tour. It was really a very good first tour here in the States. We felt so welcome. And I mean, we love Marina. We played with her in London a long time ago and it really felt like a girl power tour.
ALEX: That sounds like it was really fun! Switching gears a little bit, it seems like a lot of interesting pop music these days is coming out of Sweden (i.e. Robyn, Loreen). Being Swedish yourselves, what do you think it is about your homeland that inspires these various performers, producers, and writers?
CAROLINE: We always joke that there's something in the water … but I guess there must be something in the water! It's also … we have summers three months out of the year and then the rest is just dark. So I don't know if that maybe affects people's minds or something like that.
AINO: Maybe it's that it's a very small country and people are very sensitive when it comes to different kind of arts and stuff. I think if you're good at something and if you're working really hard, people will start noticing. And if that happens in a small place, you will end up having a chance to work with other great people.
ALEX: What other pop albums are you most excited about coming out this year?
CAROLINE: Is the Rihanna album out yet? 'Cause in Sweden it's not out.
AINO: Yeah, I'm excited to hear it.
CAROLINE: I'm also excited about Daft Punk. But that's not pop. I don't know who's going to release something new. Beyonce, hopefully?
AINO: Yeah, and I can't wait for Justin Timberlake's album. He really is someone iconic.
CAROLINE: I think there are gonna be a lot of good albums this year. 2013 is going to be an amazing pop year.
ALEX: Yeah, I think so too. I mean, everyone from Britney to Justin to Lady Gaga – it's gonna be big.
AINO: Oh! It's gonna be fun to hear Gaga's new stuff!
CAROLINE: That's gonna be awesome.
AINO: Have you heard anything?
ALEX: No, I haven't heard anything yet but I think it'll be interesting. Ok, for these next few questions, just answer with whatever word(s) first comes to mind. Don't think too hard about it. Ready? Your favorite song of 2012. Go.
AINO: It's an old song but Talking Heads' "This Must Be The Place."
ALEX: I love Talking Heads! Favorite remix of your own songs?
CAROLINE: Style of Eye's remix of "I Love It."
AINO: Yeah, Style of Eye.
ALEX: That's a good one!
AINO: And also Captain Cuts' remix of "Manners". You should listen to it. It's really, really good.
ALEX: Will do! Cake or carrots?
AINO: Cake and carrots.
CAROLINE: Yeah, carrot cake!
AINO: Oooh!
ALEX: Good answer!
AINO: Yeah, actually, that's one of my favorites.
ALEX: Frank Ocean or Chris Brown?
CAROLINE: Definitely Frank Ocean.
AINO: Frank Ocean, big time.
ALEX: I'm so happy to hear that. So to wrap up, where do you ideally see Icona Pop being one year from now?
CAROLINE: We have huge plans for that.
AINO: We're dreamers and we're dreaming big.
CAROLINE: I hope we'll be on our own headlining tour.
AINO: With a full production.
CAROLINE: Yeah and touring the whole world and just doing everything on a bigger scale.
AINO: We have so much strength in our live show so that's a really important thing for us. We've got huge visions. So, I guess that's the dream: to tour the whole world, headline, and of course that our album goes very well.
ALEX: I'm crossing my fingers for you!
Icona Pop's Iconic EP is available now on iTunes.
ALEX NAGORSKI
Alex has been writing for PopBytes since 2011. As the Theater Editor, he primarily focuses on all aspects of Broadway, Off-Broadway, Regional Theater, and beyond. After growing up in Poland, Germany, and Russia, Alex spent several years living in New York before moving full-time to the Berkshires in Massachusetts. To read more from Alex, check out his blog, Headphone Infatuation, and follow him on Twitter @AlexNagorski.
Categories:Interviews, Musicians
Tags:Aino Jawo, Caroline Hjelt, Charli XCX, Icona Pop, Interviews
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