Some new drivers were added ( cgtwelve, mgx ), others got improvements ( SX acceleration, support for 8bit tcx ).
Sun CG3 - has kernel support and works in X with the wsfb driver, the hardware doesn't support a hardware cursor or any kind of acceleration so we won't bother with a dedicated X driver. The hardware supports 8 bit colour only.
Sun CG6 family, including GX, TGX, XGX and their plus variants - supported with acceleration in both the kernel and X with the suncg6 driver. Hardware cursor is supported, the hardware supports 8 bit colour only.
Sun ZX/Leo - has accelerated kernel support but no X yet. The sunleo driver from Xorg should work without changes but doesn't support any kind of acceleration yet. The console runs in 8 bit, X will support 24 bit.
Sun BW2 - has kernel support, should work with the wsfb driver in X.The board doesn't support a hardware cursor or any kind of acceleration. Hardware is monochrome only.
Weitek P9100 - found in Tadpole SPARCbook 3 series laptops, supported with acceleration in both the kernel and X with the pnozz driver. Hardware cursor is supported. The console runs in 8 bit, X can run in 8, 16 or 24 bit colour.
Sun S24/TCX - supported with acceleration in both the kernel and X with the suntcx driver. A hardware cursor is supported ( only on S24, the 8bit TCX's DAC doesn't support it ).The console runs in 8 bit, X in 8 or 24 bit.
Sun CG14 - supported with acceleration ( using the new sx driver ) and hardware cursor in both the kernel and X. The console runs in 8 bit, X in 24 bit. The X driver supports some xrender acceleration as well.
Fujitsu AG-10e - supported with acceleration in both the kernel and X, a hardware cursor is supported. The console runs in 8 bit, X in 24 bit.
IGS 1682 found in JavaStation 10 / Krups - supported, but the chip lacks any acceleration features. It does support a hardware cursor though which the wsfb driver can use. Currently X is limited to 8 bit colour alhough the hardware supports up to 24bit.
Sun CG12 / Matrox SG3 - supported without acceleration in both the kernel and X. The console runs in monochrome or 8 bit, X in 24 bit.
Southland Media Systems (now Quantum 3D) MGX - supported with acceleration as console, X is currently limited to wsfb in 8 bit. No hardware cursor support in the driver yet .
All boards with dedicated drivers will work as primary or secondary heads in X, boards which use wsfb will only work in X when they are the system console. For example, you can run an SS20 with a cg14 as console, an AG-10e and two CG6 with four heads.
There is also a generic kernel driver ( genfb at sbus ) which may or may not work with graphics hardware not listed here, depending on the board's firmware. If it provides standard properties for width, height, colour depth, stride and framebuffer address it should work but not all boards do this. For example, the ZX doesn't give a framebuffer address and there is no reason to assume it's the only one. Also, there is no standard way to program palette registers via firmware, so even if genfb works colours are likely off. X should work with the wsfb driver, it will likely look a bit odd though.
Boards like the CG8 have older, pre-wscons kernel support and weren't converted due to lack of hardware. They seem to be pretty rare though, in all the years I've been using NetBSD/sparc I have not seen a single user ask about them.
Finally, 3rd party boards not mentioned here are unsupported for lack of hardware in the right hands.
Graphics hardware supported by NetBSD/sparc64 which isn't listed here should work the same way when running a 32bit userland but this is mostly untested.
With the latest updates to NetBSD 7, the Raspberry Pi port now supports hardware acceleration using the built-in Broadcom VideoCore IV GPU. This enables 3D graphics acceleration and hardware accelerated video playback, a first for NetBSD/arm.
For both omxplayer and ioquake3, make sure that the user running them has permissions to /dev/vchiq. In addition, ioquake3 needs permissions to /dev/wsmouse.
The default GPU memory allocation may not be sufficient for ioquake3. Add gpu_mem=128 or gpu_mem=192 to /boot/config.txt if you run into any issues.
More information can be found on the NetBSD Wiki.


text:
Antique Maps of Utah, Nevada, and Colorado/
1864 Johnson Map of Idaho, Dakota, Nebraska, Kansas and Colorado
NEDKCOIAKA-johnson-1864
Johnson's Nebraska Dakota, Colorado Idaho & Kansas.
1863 (undated) 13 x 16 in (33.02 x 40.64 cm)
This is Johnson and Ward's rare 1863 map of the territories of Idaho, Dakota, Nebraska Colorado and Kansas. Depicts this area during an interesting transitional phase shortly following the formation of Idaho in 1863 but predating the formation of Montana in 1864. Thus we see a massive Idaho consisting of all of modern day Wyoming, Idaho and Montana. Shows the three proposed routes of the Pacific Railroad including the northern route, as suggested by Governor Stevens, the central route proposed by Lieutenant Beckwith, and the southern route as suggested by Captain Gunnison. Features the fretwork border common to Johnson's atlas work from 1863 to 1869. Steel plate engraving prepared by A. J. Johnson for publication as plate no. 55 in the 1863 edition of his New Illustrated Atlas… This is the last edition of the Johnson's Atlas to bear the Johnson and Ward imprint.
Alvin Jewett Johnson (September 23, 1827 - April 22, 1884) was a prolific American map publisher active from 1856 to the mid-1880s. Johnson was born into a poor family in Wallingford, Vermont where he received only a based public education. He is known to have worked as school teacher for several years before moving to Richmond, Virginia. Johnson got his first taste of the map business and a salesman and book canvasser for J. H. Colton and company. The earliest Johnson maps were published with D. Griffing Johnson (no clear relation) and date to the mid-1850s, however it was not until 1860 that the Johnson firm published its first significant work, the Johnson's New Illustrated (Steel Plate) Family Atlas. The publication of the Family Atlas followed a somewhat mysterious 1859 deal with the well-established but financially strapped J. H. Colton cartographic publishing firm. Although map historian Water Ristow speculates that Colton sold his copyrights to Johnson and his business partner, another Vermonter named Ross C. Browning (1832 - 1899), a more likely theory is that Johnson and Browning financially supported the Colton firm in exchange for the right to use Colton's existing copyrighted map plates. Regardless of which scenario actually occurred it is indisputable that the first Johnson atlas maps were mostly reissues of earlier Colton maps. Early on Johnson described his firm as the "Successors to J. H. Colton and Company". Johnson's business strategy involved transferring the original Colton steel plate engravings to cheaper lithographic stones, allowing his firm to produce more maps at a lower price point. In 1861, following the outbreak of the American Civil War the Johnson and Browning firm moved their office from Richmond, Virginia to New York City. Johnson and Browning published two editions of the Johnson Atlas in 1860 and 1861. Sometime in 1861 Browning's portion of the firm was purchased by Benjamin P. Ward, whose name subsequently replaced Browning's on the imprint. The 1863 issue of the Family Atlas was one of the most unusual, it being a compilation of older Johnson and Browning maps, updated 1862 Johnson and Ward map issues, and newer 1863 maps with a revised border design. The 1864 issue of the Family Atlas is the first true Johnson and Ward atlas. Johnson published one more edition of the atlas in partnership with Ward in 1865, after which Johnson seems to have bought out Ward's share the firm. The next issue of the Atlas, 1866, is the first purely "Johnson" atlas with all new map plates, updated imprints, and copyrights. The Family Atlas went through roughly 27 years of publication, from 1860 to 1887, outliving Johnson himself who died in 1884. Johnson maps from the Family Atlas are notable for their unique borders, of which there are four different designs, the "strapwork border" from 1860 to 1863, the "fretwork border" from 1863 to 1869 and the "spirograph border" in 1870 – 1882, and a more elaborate version of the same from 1880-1887. In addition to the Family Atlas Johnson issued numerous wall maps, pocket maps, and in the 1880s the Cyclopedia. Johnson maps are known for their size, accuracy, detail, and stunning, vivid hand coloring. Johnson maps, purely American in their style and execution, chronicle some of the most important and periods in American history including the Civil War, the Westward Expansion, and the Indian Wars. Today Johnson's maps, especially those of the American west, are highly sought after by map collectors and historians.
Johnson's New Illustrated Family Atlas, 1863 Johnson & Ward Edition. Johnson's New Illustrated Family Atlas was produced in numerous editions from about 1860 to 1887. Johnson's first atlas was mostly likely the 1859 edition of Colton's General Atlas which both aesthetically and comprehensively very similar to the 1860 first edition of the New Illustrated Family Atlas. Johnson's atlas was noteworthy in its day as one of the few commercially produced American atlases that could compete with more established European Atlases. Although he called the atlas 'Steel Plate' on the title page for marketing purposes, Johnson in fact incorporated modern lithographic printing techniques and lower quality woven wood pulp paper to economically produce large format maps in quantity. He also began publishing the New Illustrated Family Atlas on the cusp of the American Civil War, a decision that proved fortuitous, as the war corresponded to a general increased interested in cartography. For the most part, Johnson's Atlas was sold by subscription; nonetheless it became so popular that for at time he was considered the largest publisher in the world. Other than the first edition, the atlas itself has no true editions. Rather, Johnson incorporated updated maps as they became available, so each example of the Johnson atlas might well contain unexpected and scarce individual maps. Johnson's map of the American Southwest, for example, appeared in more than 17 different states, each illustrating minor variations to the rapidly chasing geography of that region. Moreover, Johnson's offered a service whereby he would mail updated map pages that could be tipped into older atlases to keep them current. Generally speaking, Johnson's atlas was issued in four periods - each defined by a distinctive decorative border. The earliest edition featured a strapwork border that appears as rolled and decoratively cut leather. This border work remained in use until 1863. In 1864 Johnson started using an updated fretwork or grillwork border that resembles worked iron - as in a decorative fence. This border was in use from 1863 to 1869. The 1863 edition of Johnson's atlas used both borders and is considered transitional. From 1870 to 1882, Johnson introduced a new border that featured elaborate Spirograph style geometric designs, which was used from 1870 to 1882. After 1880 a new border different but aesthetically similar to the Spirograph border began appearing. Certain editions of the atlas issued from 1880 - 1882 were transitional.
Good condition. Lower margin extended. Minor damage near page number. Minor verso repars of close tears confined to margins. Light toning.

redpajama_set_name: RedPajamaCommonCrawl


text:
Utah Historical Markers
Making Utah History one Marker at a Time
List of Markers
Author Archives: Aaron Stark
The Old Fort
Published April 24, 2020 / by Aaron Stark / Leave a Comment
Write-up by Aaron Stark
Placed by: Daughters of the Utah Pioneers, No. 253
GPS Coordinates: 40° 30'54.5″N, 111° 24'46.0″W
Historical Marker Text (Center Plaque):
THE OLD FORT In 1858 a group of men came from Provo, surveyed the valley into 20-acre plots, and selected the townsite of Heber. The following winter twenty families stayed here. As protection from the Indians, they built a fort 1 block south and 1 block west from this site. Homes built of cottonwood logs and joined together formed the outside walls of the fort. A schoolhouse 20 by 40 feet was built within the fort with two fireplaces and a stage. The building also served for church and socials. In 1860 the fort was enlarged to house forty-four families.
Center Plaque of Marker. Photo by Aaron Stark
Historical Marker Text (Left):
Elizabeth Carlile
George Carlile
John Carlile
C. N. Carroll
Jean Clotworthy
John Crook
James Carlile
James Davis Richard Jones
Left Plaque of Marker. Photo by Aaron Stark
Historical Marker Text (Right):
James Laird
Hyrum Oaks
Thomas Rasband
Alex Sessions
Bradford Sessions
Charles Thomas Elisha Thomas
Right Plaque of Marker. Photo by Aaron Stark
Full Image of Marker in-front of a Smiths Marketplace. Photo by Aaron Stark
Extended Research:
During the 1850s some settlers at Provo, in Utah County, began to feel squeezed out of the best plots of land. The first settlers had claimed the prime spots which left newcomers looking for new opportunities. The settlement of Heber City, in Wasatch County, was thus a spillover of settlers from Provo. Most of Wasatch County's early population thus came from Utah County as people moved from Provo to claim land in Heber Valley.
The major obstacles to settling Heber Valley were its cooler climate and the treacherous route through Provo Canyon which made it difficult to access. To make the settlement of Heber Valley possible, colonizers first had to build a road through Provo Canyon.
By 1852, a man by the name of William Gardner explored a hazardous route into Wasatch County and then proposed a road be built there. Just before the end of the Utah War in 1857, a group of men pitched a proposal to leaders of the Church of Jesus Christ of Latter-day Saints to construct a road into Heber Valley. In response, on 6 June 1858, Brigham Young, LDS president and former territorial governor, along with a group of volunteers, met in Provo and formed the "Provo Kanyon Company," organized to build the road.
The company completed the construction of the road by 1859, thus making the settlement of Heber Valley possible.[1]
Layout of the Old Fort. Photo by Utah Centennial County History (Wasatch County)
In the winter of 1858, even before the road was finished, a group of men explored the land in Heber Valley and made plans for a new settlement. By the following year, the settlers built a fort as the initial communal structure. Over time the building became known as the "Old Fort." The settlers chose a fort as their initial structure principally for the protection they believed it would provide. Their fort was rectangular in design with settlers' cabins forming the outside walls. Native Americans were a common threat at the time and the fort served as a safe haven for the Mormon settlers. Ultimately, however, it was Native peoples who needed protection from Mormon settlers who displaced Native Americans and occupied their land. By late 1859, eighteen families had moved to the fort as their new home. Within the same year, settlers dedicated the fort to Heber C. Kimball, an LDS apostle, and the fort, the new community, and the surrounding valley thereafter carried his name. By 1860 nearly sixty-six homes had been built in the fort although the town remained isolated due to the challenges that deep snow and winter weather presented. By 1864, residents began to move from the fort and form a city outside its walls.
Growth came rapidly to the new thriving city of Heber. By 1868, the Desert News reported that Heber City was in a "very prosperous condition and that the facilities for farming and stock raising are excellent…"[2]
Excerpt from The Wasatch Wave in July 1957
Even though the "Old Fort" was eventually abandoned, it nonetheless represented the first Euro-American settlement of the valley. By the 1950s, community members expressed a desire to commemorate the town's beginnings at the Old Fort. From 1957 to 1959, the Daughters of Utah Pioneers (DUP ) worked on marking the land where the Old Fort was originally built. It was their desire to forever commemorate those settlers who first came to Heber Valley and called it home. On 21 July 1959, the DUP placed a stone marker that holds the three plaques discussed here.
More from The Wasatch Wave in July 1959
In the twenty-first century, Heber City has grown from its beginnings at the Old Fort into a developed and thriving settlement. In 2003, CNN Money placed Heber City on its "Best Vacations" list. Calling Heber City "an uncrowded weekend haven," CNN extolled the city's scenic beauty and outdoor potential.[3] Only two years later CNN Money called Heber "a fast-growing metropolis at 15.1% growth."[4] Even on TripAdvisor, Heber is marked as a popular location to visit. Overall, Heber has experienced steady growth since the days of its founding, the rate of which has only accelerated since 1940.
Heber City Census:
Year Population Growth Annual Growth Rate
1940 2,748 – 0.00%
1950 2,936 188 0.66%
1980 4,362 1,117 3.00%
2010 11,512 4,221 4.67%
Heber City today. Photo by Trip Advisory
[1] Embry, Jessie L. A History of Wasatch County. Salt Lake City: Utah State Historical Society, 1996.
[2] "Deseret News: 1860-08-08: Improvements in Provo Valley." Utah Digital Newspapers. Accessed January 29, 2020.
[3] "Best Vacations: Heber Valley, Utah." CNNMoney. Cable News Network. Accessed April 1, 2020.
[4] Christie, Les. "The Nation's Fastest-Growing Areas." CNN Money.com, September 22, 2005.
For Further Reference:
"Deseret News: 1860-08-08: Improvements in Provo Valley." Utah Digital Newspapers. Accessed April 2, 2020. https://newspapers.lib.utah.edu/details?id=2584652&q=(Heber+City)&sort=rel&year_start=1857&year_end=1860.
Secondary Sources:
Embry, Jessie L. A History of Wasatch County. Salt Lake City: Utah State Historical Society, 1996. https://issuu.com/utah10/docs/wasatchcountyhistory
"History: 'Discovery, Paradise Land, and Timeline.'" History | Heber City, UT. Accessed April 1, 2020. https://www.heberut.gov/229/History.
Jenson, Andrew. Encyclopedic History of the Church of Jesus Christ of Latter-Day Saints. Salt Lake City, UT: Printed by Deseret News Publishing Company, 1941.
Christie, Les. "The Nation's Fastest-Growing Areas." CNN Money.com, September 22, 2005. http://cnnmoney.printthis.clickability.com/pt/cpt?expire=&title=Nation%27s+fastest+growing+metro+areas+-+Sep.+22,+2005&urlID=15626342&action=cpt&partnerID=2200&fb=Y&url=http://money.cnn.com/2005/09/22/pf/fastest_growing_metropolises/index.htm.
"Best Vacations: Heber Valley, Utah." CNNMoney. Cable News Network. Accessed April 1, 2020. https://money.cnn.com/2002/03/26/pf/saving/travel/bpvac_heber_valley/index.htm
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In this video, Michael White, co-author of Sales & Marketing Channels, discusses the importance of using a structured approach to your distribution strategy.
Sales and Marketing Channels takes a multi-sector approach with a series of specialist sections for application to any business. It addresses emerging business models and buying behaviours with practical steps, ensuring maximum leverage of channel partners at every stage of the go-to-market process.


Even though the term friendship is loosely used in our culture for our associates and acquaintances, I place a high value in those I call and regard as friends. Let me share my perspective on how friendship weighs on me.
I grew up being very selective of those I deal with and call friends. I always have a low key personality and tend to gravitate towards people with similar personality traits. I believe in the notion to look out to people who share like values and principles came from the influence of my mom. She has a strong belief that kids tend to fold easily under peer pressure and friends are a good measure of our types. She often refers to the famous saying "show me your friends and I will tell you what you are". This has a profound impact on me to this day, although I've made a big improvement.
My experience has thought me a lot over the years. I didn't want to be a vessel of moving genes from one generation to the other causing me to open up more in reaching out to broad range of people. Against my fears, I felt the need to move to the center and build relationship with others not alike me. It was a steep climb and a difficult endeavor to build tolerance. This has been a great learning experience to discover in me more than I knew I've possessed. A great deal of self awareness came into light in my life. After all, I came to the realization that we may be different, have contrasting personalities, beliefs and desires, but we very well share deeper inner ability to relate and enjoy doing the same things. These little things actually create the strong bonds that develop into many of my true friendships.
The core basis of friendship to open your life to others also comes with its own aches. In my own experiences which are not unique to me, I've had my own share of disappointments. Not every good deed gets rewarded with good. We are vulnerable anytime we expose ourselves to others. Few friends have betrayed my trust. Often said "friendship is forever", they made me rethink this theory quite a few times.
Indeed, few good ones makes it worth the sweat, especially when a friend is a joy to talk to when you need an ear to listen to you, when a friend makes you laugh whenever you feel down, when a friend laughs at your jokes even if they don't appear to be too funny etc. I appreciate all my friends especially the ones who can go for a long period of time without speaking and never question our friendship. My friends enrich my life, and I cannot imagine life without a single friend.
Riema is a wife, mother, entreprenuer, philanthropist and a blogger. You can follow her journey in her blog.


The Biker Who Made His Pipe Dream A Reality. Introducing: Bike Surfing!
Guy Lifts 100lbs Over His Head While Doing A Chair Split. Crazy!
This Dog Was Missing for 5 Days And When He Finally Reunited With His Owner…HAPPINESS!
This Guy Shows You How It's Like To Play Grand Theft Auto in Real Life. WOW!
This Dad Will Show You How Parents Need to Handle Kids Who Are Shaming Their Parents. The Message He Shares Is Unbelievable!
When This Boy Took The Stage To Perform "We are The World" Everything Stopped for a Moment!


text:
A look back at EUROSONIC 2019
10/31/2021 02/12/2019 by Ruth Ranacher
At Pavillon ESNS 2019 (c) Rainer Praschak
February 12, 2019 / festivals, news, pop/rock/electronic
If you want to know which up-and-coming musicians not to miss out on in 2019, you have to travel to the north of the Netherlands, to Groningen, at the beginning of the year, to the Eurosonic Noorderslag Festival. This is where the "who's who" of the European pop world meets. At Eurosonic 2019, taking place from 16 to 19 January, one could discover hot new bands for the 33rd time. With a total of nine acts, Austria was represented by more acts than ever, showcasing 5K HD, AT PAVILLON, AVEC, DORIAN CONCEPT, MAVI PHOENIX, MOLLY, NAKED CAMEO, PETROL GIRLS, and THORSTEINN EINARSSON. Proof that the upward trend and the density of promising acts in this country is now also recognised abroad.
What does Europe sound like? A look back at ESNS 2019
There were some innovations at the festival this year. The conference, which is an integral part of ESNS, focused on diversity and sustainability. Over 4,000 industry representatives and music professionals from 44 countries attended the festival. A total of 342 acts could be heard in 42 locations, this time with a focus on Slovakia and the Czech Republic.
From an Austrian perspective, Eurosonic 2019 was a success from the very beginning. At the Music Moves Europe Talent Awards, which replaced the EBBA Awards, two local acts were among the 12 winners. AVEC (in the category Singer/Songwriter) and STELARTRONIC (in the categories Electronic Music as well as Public Choice Award) were awarded the coveted trophies. AVEC received the award during the show and was impressed by the atmosphere: "It was wonderful to be at Eurosonic, the moment we got the award is one I will never forget. For me, ESNS 2019 is an exchange of great new music and a discovery of wonderful, talented artists and musicians".
AVEC – MMETA Show at ESNS 2019
45 MINUTES THAT HAVE TO BE PERFECT
On the first evening the Tyrolean band MOLLY played at the renowned club Vera. MOLLY tells us about the moment in retrospect, "…just before we went on stage. You drive so many kilometres, rehearse for so many hours, invest so much money and it is distilled down to 45 minutes that have to be perfect. You get nervous, but after the first song we were fully into it."
5K HD at ESNS 2019 (c) Rainer Praschak
Molly (c) Nonja
Naked Cameo at ESNS 2019 (c) 2c Rainer Praschak
Mavi Phoenix at ESNS 2019 (c) Rainer Praschak
Petrol Girls at ESNS 2019 (c) Rainer Praschak
Dorian Concept (c) Rainer Praschak
ESNS 2019 (c) Rainer Praschak
AVEC at ESNS 2019 (c) Rainer Praschak
It was exactly this moment, the band in anticipation of their performance, that was also remembered by Bernadette Karner, their manager. "As well as looking for familiar faces, such as media representatives, national and international promoters, in the audience and the positive feedback in the following days during a festival that was anything but short of good bands," she adds: "For me, Eurosonic 2019 means the achievement of an intermediate goal. MOLLY were able to prove their strengths under the best possible conditions at an important time, shortly before the release of their debut album. It was possible for the professional audience to form a unbiased opinion without any restrictions".
For the Austrian industry representatives, the second festival day started at the Austrian Networking Lunch, organized by Austrian Music Export and Factory 92. There, many took the opportunity to make new contacts and to meet and talk to promoters, festivals and booking agents from all over Europe in a relaxed atmosphere.
In the evening all artists from Austria were busy on the stages of Eurosonic Noorderslag. Thorsteinn Einarsson performed in the Doopsgezinde Kirk, a church. Thorsteinn Einarsson describes his favorite moment of the performance: "Right at the end when the outro of "Swingset" was built up. The mood became better and "bigger" the more the outro built up and at some point all hands were up, everyone clapped along and we all lived and shared this "moment" in this church. That was very special."
The gig of Mavi Phoenix on one of the main stages of the festival, the Grand Theatre, was mentioned again and again as a "must see". The hype was also obvious by the likes und comments on the festival app. Needless to say, the venue was well filled when Mavi Phoenix entered the stage and gave a convincing performance. She proved that she is definitely an artist to watch in 2019.
A little later Naked Cameo stood on stage in the Barn. The band, whose sound oscillates between electronica, pop and R&B, including organic beats and extended synths, also performed at Reeperbahn Festival in Hamburg in autumn.
Ein Beitrag geteilt von Naked Cameo (@nakedcameo) am Jan 20, 2019 um 8:34 PST
At Pavillon's main goal in Groningen was to establish connections to neighbouring countries at ESNS. Their gig – and recent debut album – certainly helped this idea. The band was able to convince the audience and received positive feedback by locals and attending industry delegates alike. And what exactly does the other side of the stage, the audience, look like? Zock, the drummer of the Petrol Girls explains: "Eurosonic 2019 was a good opportunity for us to play in front of an almost unfamiliar audience, which is a rare and exciting challenge, especially for our singer Ren. Within our scene, concert goers are used to hearing political announcements between songs, which seems rather unusual at a showcase festival".
The designated artist village was also a nice addition for the band: "After a stressful day of travelling we found the extremely generous artist area including artist boats. We are normally quite rarely spoiled with such pleasant conditions. The Poolcentrum as a venue was also a pleasant surprise – it was definitely the perfect size and atmosphere for our show".
In the Groninger Forum, a location normally used as a cinema, 5K HD had a huge stage for their show. The top-class ensemble, consisting of the renowned musicians of the Austrian band Kompost 3, Martin Eberle (wind), Benny Omerzell (Keys), Manu Mayr (bass) and Lukas König (drums) as well as the singer Mira Lu Kovacs from Schmieds Puls, gave a terrific performance in the well-filled venue where some international festival bookers had gathered.
The very last gig with Austrian participation was held by Dorian Concept. Performing alone, he made the Simplon's floor shake and the visitors bounce with his virtuoso skills on microKORG. Even the spectators in the back rows of the Simplon were able to follow the dexterity and the unique use of the microKORG via the sophisticated live visuals.
Now we excitedly wait to see what the gigs at ESNS 2019 will bring to the acts that performed this year – and we also have an insiders´ tip: The festival regularly publishes ETEP results, lists about bookings and radio airplays of the bands that are represented at the respective editions of the festival. With their appearances at Eurosonic 2019, the bands from Austria have definitely put themselves on display in a highly professional manner at one of Europe's biggest showcase festivals.
Rainer Praschak – translated by Dave Dempsey
Eurosonic Noorderslag
9 Austrian Acts at Eurosonic Noorderslag 2019
Categories festivals, news, pop/rock/electronic Tags 5K HD, At Pavillon, Avec, Dorian Concept, Eurosonic Noorderslag, Eurosonic Noorderslag 2019, Mavi Phoenix, Molly, Naked Cameo, Petrol Girls, Thorsteinn Einarsson Post navigation
FLUT: "To focus on the whole picture"
A look back at MENT LJUBLJANA 2019


text:
Domestic Violence Speaker
I Am Domestic Violence © 1998 Wambui Bahati | All Rights Reserved.
Because I Am Domestic Violence is so unique, it is often hard to describe exactly what the production is. When one organization reached out and had questions about the one-woman show and workshop, rather than go back and forth with emails about how I Am Domestic Violence is presented; Wambui decided to make a video showing what the show, I Am Domestic Violence, looks like. We have decided to share that video on this platform for any organizations who might be interested in this production. Please contact us through the 'booking form' (at the bottom of this page) if you would like further details.
"Here is what I have to say:
In 1999, I attended an event at the YWCA in High Point, NC. I had no idea that I was witnessing the first of what would become a national phenomenon! Wambui Bahati presented, "I Am Domestic Violence". It was as inspiring, life-changing, thought-provoking, and relevant then as it is now . . . " (READ MORE)
I Am Domestic Violence provoked solemn reflection Wambui Bahati's challenging one woman show electrifies - - - Posted by Kyle Walsh on Fri, Mar 30, 2012 at 2:30 PM
"I am domestic violence!" Wambui Bahati shouted from the crowd, surprising the audience. I, too, was surprised—though for a different reason. I'm not usually a fan of solo theatre performances, and given the subject matter, I came into the Spatz Theatre somewhat skeptical of how the show would go. Domestic violence is a subject that could be difficult to cover solo; but Bahati has clearly perfected her one woman show. Her transition between characters was seamless, even in the middle of stories of utter tragedy, she would slide into a character that would both make the audience roar with laughter and brim with emotion . . .
©1997 Wambui Bahati | All Rights Reserved. I Am Domestic Violence
'I Am Domestic Violence' Goes Down Under - Australia
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State/Prov*
Where did you hear about Wambui? ---Select---I saw her at another event. A friend or associate told me about her. Surfing the Internet Other
Which presentation are most interested in?* ---Select---"I Am Domestic Violence" Inspirational/Motivational Speaker Mental Health Show:"Balancing Act" Mental Health Recovery Speaker Stand-up Comedy Host / MC Other
If you answered "other" in the field above, please explain.
What is the date of your event?
In what city will the event be held?
Who will attend your event? i.e., students, mainly women, business people, doctors, general public, etc.
How many people will attend?
What is the goal of this event?
What is main 'message', 'feeling' or 'tool' that you would like your audience members to leave with?
Would you like to tell us anything else?
Please enter the word that you see below.
Download 'I Am Domestic Violence' One Sheet Here
* The Play
* After the Play
* The Book
* The Reviews
* The Domestic Violence Speaker
I thought Wambui Bahati's performance was incredible. She did an amazing job distinguishing between characters and keeping the performance humorous yet serious at the same time. She could make a character funny while still sending a serious message to her viewers . . .
I thought the performance was excellent. She got everybody into it from the beginning by starting in the audience and she keep everybody's attention . . .
Wambui Performs "I Am Domestic Violence" - Photo courtesy of Marc Golub Photography
I really enjoyed Wambui Bahati's performance. She had a very live approach in capturing the audience's attention. I liked how she played several character skits to show the different roles of domestic violence. I learned that Domestic Violence is everywhere and that if affects all walks of life . . .
The message I heard from her was that it is never too late to start living your life. She was a victim of domestic violence and finally broke free, had mental illnesses and was dealing with insecurities inside of herself. However, none of that got her down. She changed her name and started her life over basically and discovered herself. She wrote a book since then and even has written her own scripts such as I am Domestic Violence. She inspired me to look at life with a different view. Her words and her performance made me realize that life is short and you must live it while you can and live it for you.
Click Here for More Reviews and Testimonials


text:
Q: Wordpress: Show trashed posts by date trashed I'm using this code...

<?php
$args = array(
    'posts_per_page'  => 10,
    'orderby'         => 'post_date',
    'order'           => 'DESC',
    'post_status'     => 'publish, trash'
);

$query = new WP_Query( $args ); ?>
<?php while ($query -> have_posts()) : $query -> the_post();
?>

        <?php the_title(); ?>

Post Created on: <?php echo get_the_date(); ?>

Post Trashed on: <?php echo "???"; ?>

<?php
endwhile;
wp_reset_postdata();
?>

...to display a list of the most recent 10 published or trashed posts.
But regarding the trashed posts that get returned, they need to be the date the post was trashed, not when it was created.
To further illustrate the problem, If there were some posts from over a year ago, and I trashed them today, they wouldn't appear in this list because they are not amongst the most recent 10 posts in the database.
What needs to happen is that if I did trash a very old post right now, then it would appear in this list (at the top of the list in fact - because I trashed it just now).
So ultimately what this list needs to reflect is:

*

*Any new post that was added, showing the date the post was created.

*Any post that was trashed, showing the date the post was trashed.

Think of it like an activity log (this is ultimately what it is), showing a combination of posts recently created and posts recently trashed, with their respective published and trashed dates next to them.
Thanks in advance.

A: use 'orderby' => 'modified', when you trash a post it changes the modified date, you can also display it using echo get_the_modified_date()
or by using get_posts()
$args = array(
    'posts_per_page'  => 10,
    'orderby'         => 'modified',
    'order'           => 'DESC',
    'post_status'     => 'publish, trash'
);
$query = new WP_Query( $args );
$posts = $query->get_posts();
foreach ( $posts as $post ) {
    _e($post->post_title ' - Modified On:'. $post->post_modified);
}

redpajama_set_name: RedPajamaStackExchange


text:
Q: Converting a byte array to string and back My python back end uses byte arrays like this '\x00k\x8bEg' as IDs. In order to correctly display them in my nodejs front end I use the operations seen bellow
hex_data = binascii.hexlify('\x00k\x8bEg')
text_string = hex_data.decode('utf-8')

this might return back something that looks like this : 006b8b4569
I would like to revert this operation and get back my original ID from the string object that I create, so as to be able to select the desired item from a dictionary.
I tried doing
raw_bytes = binascii.unhexlify('006b8b4569')

but the result is not my original ID.
How can I successfully perform this translation back and forth?

A: You have to reverse the steps properly.
>>> bytestream = b'\x00k\x8bEg'
>>> hex_data = binascii.hexlify(bytestream)
>>> str_data = hex_data.decode('utf-8')
>>> str_data
'006b8b4567'
>>> binascii.unhexlify(str_data.encode('utf-8')) == bytestream
True


text:
Q: Creating a DateTime using AutoMapper I am struggling to create a DateTime object from (year, month, day) which is being returned from the database. I am rather new to AutoMapper so a nudge in the right direction would be great.
Here is the ViewModel containing the DateTime object and the three values that need to be used to create the DateTime:
public class EnquiriesListViewModel
{
    // other field elided
    public sbyte flightDay;
    public sbyte flightMonth;
    public bool flightYear
    public DateTime flightDate;
    // other field elided
}

I would like AutoMapper to construct the flightDate from the other three values. I have tried various approaches, some of which didn't even compile!
Like this:
Mapper.CreateMap<enquiryListEntry, EnquiriesListViewModel>()
    .ForMember(dest => dest.flightDate,  /* what goes in here? */);

Looking forward to your responses.
M

A: Mapper.CreateMap<enquiryListEntry, EnquiriesListViewModel>()
    .ForMember(dest => dest.flightDate, opt => opt.MapFrom(src => new DateTime(src.flightYear, src.flightMonth, src.flightDay)));

Should do it.

A: This solution is coming too late but its good because it applies to .NET 4.6.1
Mapper.CreateMap<enquiryListEntry, EnquiriesListViewModel>()
      .ForMember(dest => dest.flightDate,
                 opt => opt.AddTransform(src => new DateTime(src.Year,
                                                             src.Month,
                                                             src.Day)));


You proponents of the torturous live-dismemberment of children in the womb, just knock it off already. Your pro-abortion euphemisms — "pro-choice," "reproductive freedom," "women's rights" and other such propagandist nonsense — have run their shameful course.
As you regressive "progressives" like to say, "The science is settled." Pre-born babies are objectively and empirically distinct persons with emotions, autonomy (though in a dependent stage of human development, not unlike post-birth babies) and the unalienable human rights intrinsic to all human beings.
Watch this amazing 4D ultrasound video posted on the "Meddy Bear" Facebook page and, absent some deeply-rooted, self-deluded and pathological ability to rationalize (a disturbing hallmark of the moral-relativist cultural and spiritual phenomenon), you will be left no other "choice" than to admit that the "pro-choice" myth is as dead as the death it represents.
Simply breathtaking. As would you if, God forbid, you were captured and tortured to death by Islamic State radicals, these busy little babies, too, feel immense physical pain and terror when their arms, legs and heads are ripped off by pro-choice extremists.
Just as, and despite the Supreme Court's tortured reasoning in its scandalous Dred Scott decision, blacks were never really "three-fifths" persons, but, rather, were, are and always will be precious whole persons worthy of dignity and respect — so, too, and likewise despite the high court's equally tortured and shameful reasoning in Roe v. Wade, are the pre-born.
Merriam Webster defines "homicide" as "a killing of one human being by another." Moms, when you put a contract on the life of your child at the hands of Planned Parenthood assassins, you are, without any question, committing a homicide for no other reason than to accommodate your selfish wants or ill-informed fears (the latest studies show that abortion is rarely, if ever, necessary to save the life of the mother).
If you have committed this horrible sin — this crime against God and your dead child — then know this: There is forgiveness available in and through the person of Christ Jesus alone. You need only ask and you will be forgiven. If, after watching this video, you are hurting with the knowledge of this horrible thing you have done, cry out to Jesus. No one else can absolve you of this crime or otherwise comfort you in your merited grief.


Your body likes to stay the same. It's called homeostasis.
Your body does NOT want to change. Sometimes it will work really hard to keep you from changing. But change CAN be good if it's done right.
Are you down to the last 10 or 20 pounds and can't seem to get it off? It might be time to change things up.
Switch from high carb to low carb or vice versa. Try intermittent fasting. Try a refeed day or even week (a day when you consume a NORMAL amount of calories NOT a binge). You need to "shock" your body into NOT being in homeostasis anymore- and that means doing things differently.
The most common thing to do is to cycle lower calories with refeed weeks or sometimes even months (also known as cutting and bulking cycles). This gives the body a chance to reset itself and get your metabolism humming along again. It will adjust to the lower calories which is why you only want to do low cal for 6 to 8 weeks at a time.
When I work with creating a caloric deficit with my athletes- I like to start small, especially on days they are training.
Then on rest days, we can play around with it a bit- I might have them try intermittent fasting, low carb, etc or just cutting the total calories all together.
I also find that if my athletes feed themselves for their needs and let the exercise and post exercise burn create the caloric deficit this is far more effective then trying to eat 1200 calories a day and get through a work out. You can read about chronic undereating here.
However you have been doing it in the past, if you are stuck, we need to make changes to get you unstuck.
This could be as simple as adding in some refeeds, or you might need to change up your macro ratios altogether to see what you can do.
As a rule, I find that my women athletes do best with a higher carb, moderate to low fat, higher protein way of eating. Most men just need to make sure they are getting adequate protein intake and eating enough overall.
That all being said, every person is different. Some people don't like the higher carbs- it makes them feel bloated or weighed down, and other people really like to eat a lot of fat or don't want to count their protein intake.
And again, if you are stuck, look at how you're eating and figure out what you need to get the system shaken up and burning fat again.
The other factor that you want to consider is stress.
If you've been low cal or low carb for a while and that tire around your tummy won't go away AND you are stressed out all the time– it's not gonna budge till you work on your cortisol levels.
If you're trying to lose weight but have other life things going on balance your diet first in a healthy fashion. DON'T worry about cutting calories until life is in balance, then go from there.
Being on a diet is hard enough, managing life while on a diet is just ridiculous. And yes life is still going to happen, but if you are in a place say where you've just started a new job or are going through emotional issues just feed your body good, whole, healthy foods. Don't try to compound your stress by trying to manage a diet too.
So the takeaway here: If you are stuck trying to lose those last few pounds and the scale won't budge– look at ways you can shake things up to get things rolling again.
If you've been low cal/low carb for awhile try either a refeed day or week depending on how long you've been dieting.
If you've been low carb for a while, try going high carb (ease back into it slowly to manage the bloated feeling).
Lastly, if you still feel stuck, consider upping your calories to a healthier range but still at a deficit. Maybe somewhere around 1800 to 2400 depending on gender, age, and activity levels. Consider adding in some moderate aerobic activity- such as 30 to 45 minutes on the assault bike three times a week. Or take a 30-minute walk. This kind of exercise burns fat the best and will not add to your strain or put you at a risk of over-exercising.
Good luck and as always I am a comment or an email away if I can help you on your nutrition journey!


text:
When and how were trop melodies first written down?
We know that the trop (cantillation) marks were added to our written Tanakh text by the ba'alei hamesorim (Masorites) around the 8-10th century CE. They were recording an oral tradition that, I assume, was passed from generation to generation from Sinai.
My question is about the musical rendering -- when, and how, did the particular melody for each trop symbol/family start getting recorded in a durable form? I've studied folk music; I know that minor variations in oral musical transmission are hard to avoid despite people's best efforts. (A memorized text has some more opportunities for reinforcement.) "When" will vary by community, of course -- there are at least a couple dozen different localized sets of trop melodies. I'm interested in a general answer and information on the musical history of any specific trop systems.
Musical notation (at least in Europe) goes back to at least the 6th century CE, though its form and versatility have varied over time. There might have also been some other system of writing it down that wasn't formal music notation; I remember, when I was learning my haftarah portion, writing dots above some of the phrases to show melodic shape (up/down, long/short) even though it wasn't a full musical notation. (It was a study aid.)
history music trop-cantillation
very related judaism.stackexchange.com/q/22586/759 – Double AA♦ Dec 7 '15 at 1:38
hebrewbooks.org/pdfpager.aspx?req=44787&st=&pgnum=6 essentially argues that the existence of different Meshartim (which don't serve multiple functions) proves the notes have musical meaning. – Double AA♦ Nov 3 '16 at 2:02
Related: literature.stackexchange.com/q/1370/481 – MTL Feb 9 '17 at 19:01
There is no one answer for this question. Because there seems to have been three distinct developments for the Cantillation: Ashkenazi, Old Mizrahi, and Modern Sephardi.
The Ashkenazim are noted as being the first to develop musical motifs for all of the cantillation symbols. This makes the most sense since Europe was very focused on writing down music, and for adapting the music system based on the Greek tone system. So for the Ashkenazi communities of yore and today, they are more used to thinking of the te'amei miqra as a musical system, rather than a grammatical system that occasionally uses musical motifs to aid in grammatical emphasis. They were notating their system before the 15th century. In the 1500s we have Sephardic scholars mentioning that the Ashkenazim have already written down and put their cantillation to music. For written Ashkenazi sources, much has been discussed and brought down. Here is a snippet of information along with the source to find out more:
The most valuable of them all, for the Ashkenazic traditions, is to be found in Cantor Abraham Baer's "Ba'al Tefillah," 1877, pp. 30-42. The value of the earlier tables (e.g., those of Bartolocci, A. Kircher, P. Guarin, etc.) is detracted from by unnecessary elaboration, and especially by experiments in transcribing the notes backward, so as to go with the Hebrew from right to left, which have misled later students. Such, too, is the case with the transcription made by the monk Böschenstein for Reuchlin, and printed in his "De Accentibus" (Hagenau, 1518), at end of Book III., where the cantillation, reversed and given in the tenor as a canto fermo, is ludicrously accompanied by three other harmony parts. But Reuchlin's tenor cantillation, when retranscribed, is particularly valuable as showing that the tradition has not appreciably varied in four centuries, save possibly in the rarer jubilations, such as "Ḳarne Farah," where license is always taken.
Source: http://www.jewishencyclopedia.com/articles/3986-cantillation
Old Mizrahi communities, whether Yemenite, Iraqi, Egyptian, etc, had very few melodies for select symbols. Even into the modern times the Yemenites only have 8 musical motifs, with the Karaites having a similar system. The Karaites are considered a reliable source since it's also likely that Ben Asher (author of the masoretic text) was a Karaite and just as we can rely on his text, we can also rely on their musical system.
Sephardic and Mizrahi authors going back to the 1300s into the 1500s write that their cantillation system has very few musical motifs, with most of them sharing the same motif, or not having any musical value at all. They also note this is in stark contrast with the Ashkenazim who have music for all the symbols and have already written them down:
Image from Idehlson's Thesaurus of Oriental Hebrew Melodies Vol II
By 1798 we start seeing shifts in the Mizrahi/Sephardi communities. In 1798 the French Musicologist Guillaume André Villoteau noted the Egyptian musical cantillation system. His notation shows musical motifs for 19 of the cantillation marks, but still lacks musical motifs for all the symbols. More than likely the expanding of music to cover most of the symbols was due to the mixing of various Jewish communities and their musical systems. Which brings us to Modern Sephardic.
The Modern Sephardic melodies are all very similar, culminating into something called the "Sephardi Yerushalmi" tradition. Even if you were to listen to the "Egyptian" or "Syrian" systems, you will see bits and pieces of it in the Yerushalmi and vice versa. Now nearly if not all of the cantillation symbols for the Sephardim have musical motifs, matching the Ashkenazi system in that now it's more of a musical system than a grammatical system. i have acquired sheet music from the Egyptian Alexandrian community before the 1950s expulsion that shows musical motifs for nearly all the symbols, but still lacks a tune for Qarneh Farah.
It seems highly unlikely that the Rambam would have relied on a Karaite text for Tanakh. – Double AA♦ Dec 7 '15 at 19:17
"From documents found in the Cairo Geniza, it appears that this most famous masorete (and, possibly, his family for generations) were also, incidentally, Karaites. It should not be surprising to discover that many masoretes, so involved in the Masorah, held Karaite beliefs. After all, it was the Karaites who placed such absolute reliance on the Torah text. It would be natural that they would devote their lives to studying every aspect of it. The surprising element was that being a Karaite didn't disqualify Aaron [ben] Asher in the eyes of Rabbinic Jews (like RaMBaM) bit.ly/1NGgmTI – Aaron Dec 7 '15 at 19:21
Right. They have no evidence, but like to speculate controversially. WADR to those who can't imagine two people named Ben Asher in the world (GASP!) I'll stick to believing in Rambam's being consistent, thank you very much. – Double AA♦ Dec 7 '15 at 19:24
Wow, thanks! One question: how do you know that Ashkenazim were notating their music system before the 14th century? – Monica Cellio Dec 7 '15 at 19:25
@MonicaCellio i've added more sources to more specifically answer your question of how do we know they were notating before the 14th century. i changed it to 15th century and have added sources regarding it – Aaron Dec 7 '15 at 19:37
Not the answer you're looking for? Browse other questions tagged history music trop-cantillation .
Were our symbols for trope and nekudos created by the Masoretes, or transmitted by them?
What is the origin for the names of the various trope/cantillation signs?
Were the various "songs" that were sung by individuals or groups of people sung using "trope"?
How many Maccabees were there and what were their names?
Trop of tvir and dargah
When and What was the first Hebrew Sefer published?
How to sing Karnei Farah and Yerach Ben Yomo
How was the Torah written by Moshe (were there spaces)?
What dates were the Talmuds and Midrashes written?
Using Eicha trop when learning
Creating songs in your head (lyrics and melodies) on Shaabath
Who built the first Jerusalem wall and when?


text:
Gaslight Theatre (TV series) is a 60-minute UK anthology television series produced by and airing on the British Broadcasting Corporation (BBC) in 1965. It consisted of six 19th century melodramas presented in the spirit of the Victorian theatre. Among its guest stars were Ronnie Barker, Joss Ackland, and Patricia Routledge.

Episodes

Maria Marten; or, The Murder in the Old Red Barn - adapted by and starring Alec Clunes; with Eira Heath in the title role.
Sweeney Todd; or The Demon Barber of Fleet Street by Dibdin Pitt, first staged in 1847. Adapted by Alec Clunes and starring Alfred Marks as the murderous barber.
Britons to the Rescue; or, English Virtue Preserved in South America - a TV adaptation by Alec Clunes, of Paul Meritt and Henry Pettitt's British Born, a patriotic melodrama first staged in 1873. Starring Alfred Marks, Ronnie Barker and Patricia Routledge.
The Blood-Craz'd Scourge of the Redskin Wilderness; or, What You Will - an adaptation of the 19th-century American revenge melodrama Nick of the Woods; or, the Jibbenainosay by Louisa H. Medina. Starring Ronnie Barker and Joss Ackland.
The Drunkard; or, The Sins of the Parents Shall be Visited . . . An adaptation of the 19th-century American melodrama The Drunkard; or, The Fallen Saved by W. H. Smith. Starring Ronnie Barker and Warren Mitchell.
The Worst Woman in London by Walter Melville, 1899. Starring Ronnie Barker and Warren Mitchell.

All episodes were directed by Bryan Sears.

References

External links

1965 British television series debuts
1965 British television series endings

redpajama_set_name: RedPajamaWikipedia


text:
Q: When is a fragment not attatched to an activity but only a context? At the docs for Fragment.getActivity() it says: Return the FragmentActivity this fragment is currently associated with. May return null if the fragment is associated with a Context instead.
But how can a fragment not be associated with an activity? I mean, don't I always need an activity to show anything in Android?

A: Fragments are not required to be associated with a FragmentActivity. Instead, they are actually associated with a FragmentController, which FragmentActivity happens to create and manage on your behalf, calling the appropriate dispatch methods as necessary as the hosting activity is created, started, etc.
This level of indirection is how Facebook's Chat Heads (which displayed a Window managed by a Service) is able to reuse the same Fragment instances that a FragmentActivity uses and how building Navigation apps for Android Automotive (which use a CarAppService to display the Automotive app) allows you to also reuse Fragments.
Of course, if your Fragment is always created from within one of your Activities, then, yes, you can absolutely assume that requireActivity() will return a FragmentActivity anytime isAdded() returns true - i.e., between onAttach() and onDetach(). That does indeed include in lifecycle methods such as onViewCreated() or anything associated with your Fragment's views (such as an OnClickListener).

A: 1- "... is it truly safe to call requireActivity() ...?" No, as you can see from the implementation of the method:
/**
 * Return the {@link FragmentActivity} this fragment is currently associated with.
 *
 * @throws IllegalStateException if not currently associated with an activity or if associated
 * only with a context.
 * @see #getActivity()
 */
@NonNull
public final FragmentActivity requireActivity() {
    FragmentActivity activity = getActivity();
    if (activity == null) {
        throw new IllegalStateException("Fragment " + this + " not attached to an activity.");
    }
    return activity;
}

In case the activity is null, this method will throw an exception and if you had not handled this exception as probably you might not have handled nullity of the getActivity() the app would crash. Compiler does not show a warning simply because there is a null check in this method.
2- "But how can a fragment not be associated with an activity? I mean, don't I always need an activity to show anything in Android?"
True. An attached fragment needs an activity, but, simply because a getActivity() method is called does not mean its fragment is in attached state. So, it might happen in listeners or some callbacks, that one might call getActivity() while activity is destroyed eg. due to a rotation. Because of such situation you should check the nullity of returned value by getActivity(). When the activity is destroyed, the Associated context is not the activity's context. There are several interesting insights into this matter and good suggestions that you can read about them here: getActivity() returns null in Fragment.

A: "But how can a fragment not be associated with an activity?" - You can always create an instance of your fragment without attaching it to any activity. However, it will just won't show up in the screen (i.e. the lifecycle methods will not kick in), if you do not attach it to an activity. This is an interesting thread to read.
"I mean, don't I always need an activity to show anything in Android?" - Yes.
I found this google developer training link very useful to understand the lifecycle callbacks between activity and fragment. Quoting from that link here.

Each lifecycle callback for the Activity results in a similar callback
for each Fragment, as shown in the following table. For example, when
the Activity receives onPause(), it triggers a Fragment onPause() for
each Fragment in the Activity.

Also, the SO link @Sina posted in his answer has some insights about when you might expect the getActivity to return null.


High School Basketballer's "Prom-posal" Has Internet In Tears | KIIS 1011 Melbourne.
This is one of the most touching stories we have read in awhile.
Trey Moses is an American senior at Eastern High in Louisville, Kentucky and is a popular basketball player and like most students set to graduate, prom is front of mind.
And to make the most of the night he decided to ask his best friend to be his date - just so happens his bestie has down syndrome.
The two bonded after Trey joined the Eastern's Best Buddies program which pairs up students to provide support and build friendships with peers who have intellectual and developmental disabilities.
Since tweeting out photos of his prom proposal, he has made worldwide news - and now he hopes to get the attention of none other than Taylor Swift, who is his best friend Ellie's favourite musical artist.
A hashtag #GetTaylorToEllie2015 has been trending across twitter, while a number of friends, fans and news outlets are getting on the bandwagon to help their cause.
Taylor Swift is yet to respond to the campaign but we anticipate that a response at the very least is likely to happen!
How could she not reply these besties!


text:
Las Vegas City Council Approves Cannabis Consumption Lounges
By Steve -
Facebook Twitter LinkedIn StumbleUpon Reddit Share via Email Print
The Las Vegas Strip is about to get even brighter.
City council members cleared the way for cannabis consumption lounges to open on Wednesday and opposed a motion to prevent Las Vegas from allowing these businesses. according to Las Vegas Review Journal.
The vote came after the Nevada Cannabis Compliance Board gave the facility its final approval in June.
The board at the time set the procedures for becoming an owner of the lounge.
"The regulations approved today, along with the consumption lounge licensing and operational outline, lay the groundwork for greater inclusion in the Nevada cannabis industry," the board said in a June release. All applicants are required to submit a diversity plan outlining actionable steps and goals for meaningful inclusion.In addition, half of the independent consumption lounge licenses in the first round are must be awarded to applicants for
"Before the open license period, [Cannabis Compliance Board] We plan to roll out tools and resources such as worksheets, video tutorials, and live webinars to help interested parties access the same information and successfully submit their applications. "CCB plans to begin the first licensing round for consumption lounges in the fall, allowing the first consumption lounges to open as early as the end of the year."
The final regulatory approval comes nearly a year after Nevada legislators approved funding for the Cannabis Compliance Board, which is responsible for overseeing consumption lounges in the state.
Nevada cities can opt out of allowing consumption lounges in their jurisdiction. according to review journal, "After failing to respond to a letter from the Nevada Cannabis Compliance Commission earlier this month, the city automatically opted into the licensing process, but still had the opportunity to change course on Wednesday."
Alderman Victoria Seaman filed a motion to opt out, but it was defeated 5-1 on Monday.
Seaman said voters told her, "I don't support this because they want to be more in tourist areas, not residential areas." As quoted by review journal.
But some see the lounge as another boon to Las Vegas' vibrant tourism industry. It also serves as a haven for the thousands of out-of-towners who come to the city each week.as a local news station KSNVMore In other words, the state's "current laws leave many people from out of town illegally consuming drugs on the streets and in hotel rooms," but cannabis lounges would change that.
according to review journal.
"I think it is important for the city to consider the business opportunities that consumption lounges present. It's also important to mitigate." Alderman Olivia Diaz said to review journal after Wednesday's vote"We still have a long way to go and some work to do."
newspaper reported Twenty licenses will be awarded statewide for cannabis consumption lounges, half of which will go to social equality applicants — individuals in communities disproportionately affected by the war on drugs.
cannabis compliance committee announced Earlier this month, the application period for potential cannabis consumption lounge owners began on October 14 and ends on October 22.
The Best Detox Kits and Detox Drinks to Pass a Drug Test
House Committee Approves Two Bills To Expunge, Seal Pot Records
bringing you that fire! stay tune for more posts.
Delaware Lawmakers Renew Effort To Legalize Pot
Arizona Bill Would Provide Grants for Magic Mushroom…
Upstate New York Officials Clash Over New Cannabis…


It was the spring before Papa sent Auntie away--before we lost my brother, Jacob. My sister, Constance, had married the fall before and moved to Graniteville.
I was up exploring in the woods, near the Devil's Hand, where Papa had forbidden us to play. The trees were leafing out, making a lush green canopy overhead. The sun had warmed the soil, giving the damp woods a rich, loamy smell. Here and there beneath the beech, sugar maple, and birch trees were spring flowers: trilliums, trout lilies, and my favorite, jack-in-the-pulpit, a funny little flower with a secret: if you lift the striped hood, you'll find the preacher underneath. Auntie had shown me this, and taught me that you could dig up the tubers and cook them like turnips. I had just found one and was pulling back the hood, looking for the tiny figure underneath, when I heard footsteps, slow and steady, moving my way. Heavy feet dragging through the dry leaves, stumbling on roots. I wanted to run, but froze with panic, having squatted down low behind a rock just as a figure moved into the clearing.
I recognized her at once--Hester Jameson.
She'd died two weeks before from typhoid fever. I had attended her funeral with Papa and Jacob, seen her laid to rest in the cemetery behind the church up by Cranberry Meadow. Everyone from school was there, all in Sunday best.
Hester's father, Erwin, ran Jameson's Tack and Feed Shop. He wore a black coat with frayed sleeves, and his nose was red and running. Beside him stood his wife, Cora Jameson, a heavyset woman who had a seamstress shop in town. Mrs. Jameson sobbed into a lace handkerchief, her whole body heaving and trembling.
I had been to funerals before, but never for someone my own age. Usually it was the very old or the very young. I couldn't take my eyes off the casket, just the right size for a girl like me. I stared at the plain wooden box until I grew dizzy, wondering what it might feel like to be laid out inside. Papa must have noticed, because he took my hand and gave it a squeeze, pulled me a little closer to him.
Reverend Ayers, a young man then, said Hester was with the angels. Our old preacher, Reverend Phelps, was stooped over, half deaf, and none of what he said made any sense--it was all frightening metaphors about sin and salvation. But when Reverend Ayers with his sparkling blue eyes spoke, it felt as if he said each word right to me.
"I am he who will sustain you. I have made you and I will carry you; I will sustain you and I will rescue you."
A red-winged blackbird cried out conk-a-reee from a nearby hazel bush. He puffed up his red shoulders and sang over and over, as loud as he could, his call almost hypnotic; even Reverend Ayers paused to look.
I stood right beside Papa, clutching his hand, as dirt was shoveled down on the coffin of poor Hester Jameson. Hester had a crooked front tooth, but a beautifully delicate face. She had been the best in our class at arithmetic. Once, for my birthday, she gave me a note with a flower pressed inside. A violet it was, dried out and perfectly preserved. May your day be as special as you are, she'd written in perfect cursive. I tucked it into my Bible, where it stayed for years, until it either disintegrated or fell out, I cannot recall.
Now, two weeks after her very own funeral, Hester's sleeper caught sight of me there in the woods, crouching behind the rock. I shall never forget the look in her eyes--the frightened half-recognition of someone waking from a horrible dream.
I had heard about sleepers; there was even a game we played in the schoolyard in which one child would be laid out dead in a circle of violets and forget-menots. Then someone would lean down and whisper magic words in the dead girl's ear, and she would rise and chase all the other children. The first one she caught would be the next to die.
I had heard whispers, rumors of sleepers called back from the land of the dead by grieving husbands and wives, but was certain they only existed in the stories old women liked to tell each other while they folded laundry or stitched stockings--something to pass the time, and to make any eavesdropping children hurry home before dark.
I had been sure, up until then, that God in his infinite wisdom would not have allowed such an abomination.
Hester and I were not ten feet apart. Her blue dress was filthy and torn, her corn-silk hair in tangles. She gave off the musty smell of damp earth, but there was something else behind it, an acrid, greasy, burnt odor, similar to what you smell when you blow out a tallow candle.
Our eyes met, and I yearned to speak, to say her name, but could only manage a strangled-sounding Hss.
Hester ran off into the woods like a startled rabbit. I stayed frozen, clinging pathetically to my rock like a bit of lichen.
From down the path leading to the Devil's Hand came another figure, running, calling Hester's name.
It was her mother, Cora Jameson.
She stopped when she saw me, face flushed and frantic. She was breathing hard and had scratches on her face and arms, pieces of dry leaves and twigs tangled in her hair.
"Tell no one," she said.
"But why?" I asked, stepping out from behind the rock.
She looked right at me--through me, almost, as if I were a pane of dirty window glass. "Someday, Sara," she said, "maybe you'll love someone enough to understand."
Then she ran off into the woods, following her daughter.
I told Auntie about it later.
"Is it really possible?" I asked. "To bring someone back like that?"
We were down by the river, picking fiddleheads, filling Auntie's basket with the curled fern tops, as we did each spring. Then we'd bring them home and make a creamy soup stuffed full of wild greens and herbs that Auntie had gathered along the way. We were also there to check the traps--Auntie had caught a beaver just two days before and was hoping for another. Beaver pelts were a rarity and brought a high price. They were once nearly as common as squirrels', Auntie said, but trappers had taken all except a handful.
Buckshot was with us, nosing the ground, ears attentive to every little sound. I never knew if he was all wolf, or only part. Auntie had found him as a pup, when he'd fallen into one of her pit traps after being all shot up by someone. She'd carried him home, pulled the buckshot pellets out of him, stitched him up, and nursed him back to health. He'd been by her side ever since.
"He was lucky you found him," I said after hearing the story.
"Luck had nothing to do with it," Auntie told me. "He and I were meant for one another."
I never saw such devotion in a dog--or any animal, for that matter. His wounds had healed, but the buckshot left him blind in his right eye, which was milky white. His ghost eye, Auntie called it.
"He came so close to death, he's got one eye back there still," she explained. I loved Buckshot, but I hated that milky-white moon that seemed to see everything and nothing all at once.
Auntie was not related to me by blood, but she cared for me, raised me after my own mother died giving birth to me. I had no memory of my mother--the only proofs of her existence were my parents' wedding photograph, the quilt she'd sewn that I slept under every night, and the stories my older brother and sister told.
My brother claimed I had my mother's laugh. My sister said that my mother had been the best dancer in the county, that she was the envy of all the other girls.
Auntie's people came from up north, in Quebec. Her father had been a trapper; her mother, an Indian woman. Auntie carried a hunting knife, and wore a long deerskin coat decorated with bright beads and porcupine quills. She spoke French, and sang songs in a language I never did recognize. She wore a ring carved from yellowed bone on her right pointer finger.
"What does it say?" I asked once, touching the strange letters and symbols on its surface.
"That life is a circle," she answered.
People in town were frightened of Auntie, but their fear did not keep them away from her door. They followed the well-worn path to her cabin in the woods out behind the Devil's Hand, carrying coins, honey, whiskey--whatever they had to trade for her remedies. Auntie had drops for colic, tea for fever, even a little blue bottle that she swore contained a potion so powerful that with one drop the object of your heart's desire would be yours. I knew better than to doubt her.
There were other things I knew about Auntie, too. I'd seen her sneak out of Papa's bedroom in the early morning, heard the sounds that came from behind his locked door when she visited him there.
I also knew better than to cross her. She had a fiery temper and little patience with people who did not see things her way. If people refused to pay her for her services, she'd call on them, sprinkle their homes with black powder pulled from one of her leather pouches, and speak a strange incantation. Terrible things would befall those families from then on: sicknesses, fires, crop losses, even death.
I tossed a handful of dark-green fiddleheads into the basket.
"Tell me, Auntie, please," I begged, "can the dead come back?"
Auntie looked at me a long time, head cocked to the side, her small, dark eyes fixed on mine.
"Yes," she told me at last. "There is a way. Few know of it, but those who do, pass it down to their children. Because you are the closest I will ever come to a child of my own, the secret will go to you. I will write it all down, everything I know about sleepers. I will fold up the papers, put them in an envelope, and seal it with wax. You will hide it away, and one day, when you are ready, you will open it up."
"How will I know I am ready?" I asked.
She smiled, showing her small teeth, pointed like a fox's and stained brown from tobacco. "You will know."
I have been going back in my mind, thinking over how all of this began, piecing things together the way one might sew a quilt. But, oh, what a hideous and twisted quilt mine would be!
"Gertie," I hear Martin say above the clink of a spoon stirring coffee in his favorite tin mug. I imagine the furrow of his brow, the deep worry lines there; how sad his face must be after he spoke her name.
I hold my breath and listen hard.
"Sometimes a tragedy breaks a person," Lucius says. "Sometimes they will never be whole again."
If I close my eyes even now, I can still see my Gertie's face, feel her sugary breath on my cheek. I can so vividly recall our last morning together, hear her saying, "If snow melts down to water, does it still remember being snow?"
"Wake up, Martin." A soft whisper, a flutter against his cheek. "It's time."
Martin opened his eyes, leaving the dream of a woman with long dark hair. She'd been telling him something. Something important, something he was not supposed to forget.
He turned over in bed. He was alone, Sara's side of the bed cold. He sat up, listening carefully. Voices, soft giggles across the hall, from behind Gertie's bedroom door.
Had Sara spent the whole night in with Gertie again? Surely it couldn't be good for the girl, to smother her like that. Sometimes he worried that Sara's attachment to Gertie simply wasn't .?.?. healthy. Just last week, Sara had kept Gertie home from school for three straight days, and for those three days Sara doted on her--plaiting her hair, making her a new dress, baking her cookies, playing hide-and-seek. Sara's niece, Amelia, offered to take Gertie for the weekend, and Sara had made excuses--she gets homesick so easily, she's so frail-but Martin understood that it was Sara who could not bear to be without Gertie. Sara never seemed whole unless Gertie was by her side.
He pushed the worried thoughts away. Better to focus on the problems he understood and could do something about.
The house was cold, the fire out.
He peeled back the covers, threw his legs over the side of the bed, and pulled on his pants. His bad foot hung there like a hoof till he shoved it into the special boot fashioned for him by the cobbler in Montpelier. The soles were worn through, and he'd stuffed the bottoms of both boots with dry grass and cattail fluff, all layered over scraps of leather, in a futile attempt to keep the dampness out. There was no money for new custom-made boots now.
Blight had ruined most of last fall's potato crop, and they relied on the money they got from selling the potatoes to the starch factory to get through the winter. It was only January, and the root cellar was nearly bare: a few spongy potatoes and carrots, some Hubbard squash, half a dozen jars of string beans and tomatoes Sara had put up last summer, a little salt pork from the hog they'd butchered in November (they'd traded most of the meat for dry goods at the general store). Martin would have to get a deer soon if they were going to have enough to eat. Sara had a talent for stretching what little food they had, for making milk gravy and biscuits with a bit of salt pork into a meal, but she couldn't create something from nothing.
Excerpted from The Winter People by Jennifer McMahon. Copyright © 2015 Jennifer McMahon. Excerpted by permission of Random House LLC.
The questions and discussion topics that follow are intended to enhance your reading of Jennifer McMahon's The Winter People. We hope they will enrich your experience of this mesmerizing novel.
1. At the heart of the novel is the longing to be reunited with a loved one who has died. How would you respond to this possibility, even if you could only see your beloved for one week? What risks would you take to take to experience such a reunion?
2. What was it like to read Sara's diary, alternating with scenes from other time periods? Did Sara's words change your vision of the spirit world? Did her bond with Gertie remind you of your own experience with a mother's love?
3. When Alice and her family inhabit Sara's house and her land, how does that environment transform them? Do you believe that the history of a locale can influence your present-day experiences there?
4. Ruthie and Fawn have been raised to question authority and to live a non-materialistic life. What benefits and challenges does their upbringing give them when their mother goes missing? Ultimately, what did Alice try to teach her daughters about becoming fulfilled women?
5. Reread the excerpt from Amelia's introduction on the book's first page. How do Amelia and the other townspeople react to their legacies? Why did Reverend Ayers feel so threatened by Auntie?
6. Martin cherishes Sara and continually strives to please her. Does she love him in equal measure, or does her ancestry make it too difficult for an outsider to fully share a life with her?
7. How was Sara affected by her history with her siblings, Constance and Jacob? Why did their father easily become dependent on Auntie, while Sara's mother didn't trust her?
8. Did Tom and Bridget O'Rourke have ethical motivations? Did Candace? How do the revelations about them affect Ruthie's sense of self?
9. How did you react to Gertie's hunger? What is its significance to the maternal women who must care for her?
10. Discuss Katherine and Gary's love for each other. How does their marriage compare to the others presented in the book? How do Katherine's art and Gary's photography give them a unique perspective on life and memory? What does their story indicate about whether a sleeper should be awakened?
11. Consider the rules for waking a sleeper. What do the words and the ingredients represent in terms of the cycles of life and the nature of death?
12. What were your theories about the many unsolved deaths in West Hall? Did your instincts prove to be correct when the truth about the Devil's Hand was revealed?
13. In The Winter People and previous novels by Jennifer McMahon that you have enjoyed, how is the author able to make surreal situations seem highly realistic? What role do fear and courage play in each of her books?
McMahon is a scrupulous writer, nicely attentive to nuances of character and landscape.
A century after Sara Harrison Shea was found dead behind her Vermont house following the tragic loss of her daughter, Ruthie lives in the same house with her sister and their mother, Alice. When Alice disappears, Ruthie reads Sara's crumbling diary and sees eerie parallels. Twisty psychological suspense following the New York Times best seller Promise Not To Tell.
A peaceful Vermont village turns creepy in this tale of the dead returning to life. Sara Harrison Shea's precious daughter, Gertie, dies in 1908 during a harsh and unforgiving winter in which her mother and father, Martin, struggle to keep food on the table. Gertie isn't the first child Sara has lost, but her death is the one she has the most difficult time accepting. When she refuses to believe that Gertie is gone forever and blames Martin for her loss, Sara sets in motion a tragic and horrifying chain of events that will forever change the lives of everyone around them. Flashing back and forth between Sara's time period and the present, the author evokes a sense of suffering and hopelessness as she gathers a cast of characters who bring out the worst in one another: the mysterious, otherworldly Auntie who raised Sara and died before Gertie's birth; the present-day sisters, Ruthie and lemur-eyed, feverish Fawn, who live with their mother, Alice, known in the town as the Egg Lady; and Katherine, newly arrived, a recent widow and artist who is also mourning her lost son. Alice and her late husband were careful to shield their daughters from the outside world, forbidding them access to the Internet, television and other technology, and home-schooling Ruthie. So when Alice vanishes, Ruthie's search for her causes her to cross paths with people and things she doesn't understand. McMahon, a masterful storyteller who understands how to build suspense, creates an ocean of tension that self-implodes in the last two-thirds of the book. That's when her characters make implausible decisions that cause them to behave like teens in low-budget horror films who know there's a mad killer on the loose, yet when they hear noises in the basement, they go down alone to investigate anyway. Although she writes flawless prose, McMahon's characters' improbable choices derail her story.
The Winter People 4.1 out of 5 based on 0 ratings. 96 reviews.
What a great book this was to read around Halloween! When I started this novel, I was also reading three other books at the same time, but dropped them to focus on this one because I couldn't wait to see what would happen. A small New England town during winter, disappearances, murders, and 'sleepers' - what a perfect setup for a captivating read. I'm not giving anything away when I say the 'sleepers' in this story brought to mind Stephen King's Pet Sematary - the sleepers are mentioned on the first page by Sara in her diary. This is the first book I've read in quite some time where the story is told primarily in varying female perspectives. The reader is taken back to the early 1900's in Sara's point of view and then to present day from Ruthie and Kathleen's perspectives. Sara's husband also gets a couple of chapters of his own, but those just helped me understand Sara even more. It became evident early on there was a connection between most of the characters in this story and the mystery of that is what kept me turning the pages. I enjoyed all the characters in this book, even if I doubted their sanity and innocence at times. As a mother, I could understand Sara's grief, her inability to let go of her child, and the boundaries she crossed to keep that from happening. This was a wonderful blend of thriller, mystery, and horror genres - not the blood and gore type, more of the goosebumps-on-your-arms, hair-on-the-back-of-your-neck-raising, don't-look-over-your-shoulder kind. I haven't read anything by this author before and, looking at some other reviews, this is apparently a different path for her, but I enjoyed the journey. This review is based on a digital ARC from the publisher through NetGalley.
It's been so long since I've had the pleasure of reading a page-turning Gothic novel. Daphne DuMaurier was one of my very favorites, Anne Rice is an awesome writer in this vein, but lately she has gone into new territory that doesn't hold my interest. This book sounds like it will appeal to lovers of dark and spooky nights.
What an amazing book. Its been a while since I've read a really good page-turner!!!
Loved this book. Couldn't stop reading it.
I made the "mistake" of taking this book overseas on my honeymoon and had some serious apologizing to do to my husband. Not only did this book scare the pants off me (read at night at your own risk) but I couldn't put it down! Every spare second I had I was nose deep in it. It was a scary, thrilling page turner I'm too chicken to read again! My husband read it when I was done and he didn't want to shut his eyes either. The ending was a stretch for my taste but it was great none the less. Totally recommend!
4.5 stars What an intriguing and mysterious adventure I found myself on, when I checked this audio out. Two stories that I found myself wrapped up in with characters who were dedicated to their responsibility. The novel begins with Sara's story in 1908, when Sara writes about her life with her husband and her daughter Gertie. It's written in diary format, and as Sara words speak to you, there is pain of lost babies, hard times on the homestead and her life growing up. Sara is head over heels in love with young Gertie and when an incident leaves Gertie dead, Sara grieves terribly. Remembering a spell that she was taught when she was younger, she uses that spell on Gertie. I was nervous as I listened to this audio, afraid of what Sara was producing. Gertie, the child which consumed Sara, her dead child, she has listened once again to her mother and Sara's spell has worked. She has become a Sleeper. What has Sara done? The second story takes place in the current time period. A mother and her two daughters are now living in Sara's home. Everything is fine until one day when the mother vanishes without a clue. The oldest daughter begins to inquire about her mother's absence while the youngest daughter worries and clutches her doll. They cannot find anything about where their mother has gone to. Their traditional game of hide-n-seek begins to give the girls some unusual bits and pieces about the house that they were not aware of and they begin to wonder if these are not clues about their mother's disappearance. They're a bright duo and they begin to investigate these clues, calling upon others to help them. I enjoyed how the two stories begin to come together, the voices of both stories bringing the strange and unnatural elements together. Sara is committed to her Gertie and the girls are committed to bringing their mother back. I really enjoyed this novel, a few times it got redundant and I wanted more story or something to occur but those times were few. I recommend this title, it's an interesting look into what love is and the supernatural.
Great twist on the typical horror story.
Really good book. Kept me guessing till the end.
Wonderfully eerie! Suspenseful, will have you looking over your shoulder!There is a sense of unease that the author creates since page one....a trepidation that keeps its momentum until the last page! I have not read a book this scary since Stephen King's ghost story, " Bag of Bones."
best book of the year !? -- C'mon Globe! interesting idea strung out through pages of banal writing.
Bizarre! Apparently, I'm not on the same page as the rest of the reviewers.
Was well written, clever & spooky. Plot was well developed & paced.
This was the first book by Jennifer McMahon that read and i did the mistake of reading it at night. Let me just say that it creeped me out to the max. This was such an amazing read.Loved the way that the author kept switching between time frames going back and fourth until the conclusion!
The Night Sister by Jennifer McMahon is a dark mystery with layers. I thought I had it figured out, then changed my mind, then changed my mind again, and back again. There are clues, but then something else happens that distracted me from the clues. The story is carried out through generations and is told through multiple point of views in multiple time periods. That sounds like it would be confusing right? But, it's not. It's well told and easy to follow. I felt pulled into the lives of the characters. I even felt chills a time or two, which never happens when I read. This is the first book I've read by this author, but now I have to check out more of her books. The ARC of The Night Sister by Jennifer McMahon was kindly provided to me by the publisher for review. The opinions are my own.
Loved this book. Really creepy but amazing.
As I don't want to give away too much of the story, I will just say that I was highly disappointed. I think this is the third book I've read of hers & by far the worst. I read all of these reviews about it being scary, etc., but I felt none of it. Even though it's been years since I read her Promise Not to Tell, I remember feeling frightened & loving that one. With The Winter People, I kept waiting for it to get interesting, but by the end, I just wanted to hurry up & finish it. I have to say, the ending was probably the most disappointing.
This story was excellent. Jennifer McMahon magically wove together the story line from 1908 and present day. And while technically you could say this is a zombie book, Gertie does come back from the dead, it doesn't have the feel of a typical zombie story. It's more of a mystery with a touch of a ghost story and a bit of horror combined. I don't want to go deeply into the plot because there would be spoilers. That was the joy of reading the book, figuring out the mystery along with the characters of present day. It also has the reader thinking, at first, that it's not possible to bring back the dead. But as you go further into the story, you begin to wonder if it could happen. There are so many unexplained things on this planet, and people have long since believed in the supernatural, so just maybe. The few horror parts were well written, and I could easily picture the scenes. The one in particular that made me a bit squeamish was how they found Sara dead. There's a couple unanswered questions that will leave the reader thinking about the book even after they have finished it. The one that I keep wondering about is Fawn, Ruthie's sister, and her doll. Was the doll really talking to Fawn, since she seemed to know things that a child wouldn't have known. Or was Fawn a bit of a psychic, and could she see into the future. How the book ended left it open for another book, and I would definitely read it. Also with Fawn possibly being psychic, it would compliment Ruthie very nicely if there were to be another book.
What a different, creepy, & well written book. I didn't care for the multiple point-of -view perspectives... however, overall, it was a good horror-fiction.
Written from a few point of views which I usually don't like, but this was written where it is easily followed. Very intense and a great thriller!
Spooky and delicious. Loved it.


A knife that's out of this world!
Although most of the time the materials I use in my knives consist of things that come from mother Earth - in this instance I decided to create a liner locker from an exotic space-age material that is quite literally out of this world.
The scales are made from a special composite carbon material (manufactured by Boeing) used to conduct lightning and static electricity safely around a space shuttle orbiter.
I was lucky enough to be able to purchase one tile of the last 5 that are in existence.
This makes this Safari Line-locker extraordinarily collectable.
Bolster: 416 Stainless steel – mirror polished.