Summary: Bullying is a form of aggression where a person uses their strength or influence to intimidate another person.
Bullying is a form of aggression in which one individual is exposed to deliberately harmful actions by a more aggressive person. Bullying can be physical (e.g., hitting, pushing, tripping), verbal (e.g., name calling, insults, put-downs), social (e.g., social isolation, rumours) or cyber (e.g., threats or insults spread through internet or cell phone).
It is also possible for the same child to be both a bully and a victim. There are also "provocative victims" (term coined by Olweus, 2001), who display negative behaviours that annoy bullies and lead them to take action.
School bullies typically watch out for situations in which they know they can get away with bullying behaviour. They target other children that seem unlikely to be protected by other children. They behave as bullies more intensively at times and in places where there is not enough adult supervision.
Children who are neither bullies nor victims also play an important role in maintaining bullying or helping stop it. Bystanders can encourage the bullies, defend the victims, inform adult authorities, or do nothing at all.
Although a great many children are victims of bullies at some point in their lives, only a very small minority are victimized regularly and repeatedly. Research has shown that this minority is not very likely to "outgrow" the problems caused by the victimization. Without help, chronic victims are often lonely, unhappy, and depressed for many years after the bullying has started.
Doesn't talk much about school. Children who are being victimized may seem unclear or evasive when asked how their day went.
Changes his/her routes to school. They may ask to be driven directly to the school entrance in order to escape from being bullied on the way. If they walk to school, they may choose an indirect route to avoid places where bullies are known to gather.
Has unexplained physical complaints (e.g. headaches, stomach aches).
Appears sad, moody or irritable, particularly after coming home from school.
Arrives home missing possessions or arrives home hungry (because the bully took their lunch or lunch money).
Acts aggressively towards others, e.g. bullies siblings.
Brings home or asks for 'gifts' of money or other items for or from 'friends' at school.
Recognize that bullying is serious and that something must be done. Some parents were bullied themselves and remember bullying as a normal part of growing up. It is not!
Inform the school and work together with them.
Talk to your child about your concerns and ask about bullying. This can be challenging because bullies often threaten their victims with retaliation if adults are told about the bullying. Your child may be afraid of being a "tattle-tale", feel ashamed or embarrassed. Your child may believe that telling will make things worse or that adults may be unable or unwilling to do anything to help. Let your child know that in order for things to get better, s/he should talk to a trusted adult so that others can help.
OF ALL THE THINGS YOU CAN DO, THE MOST IMPORTANT IS DIRECT ACTION TO STOP THE BULLYING.
Spend positive time with your child to build channels of communication. If you talk regularly with your child and get to know his/her friends, it will be easier to pick up on possible bullying.
Although social skills training is not likely by itself to end the bullying, teaching your child social skills so that s/he can form more friendships may help. You might enroll him/her in an organized social skills group. The more friends your child has, the more protected s/he is from bullying.
Don't try disciplining the bully without support from others. It is generally unwise to discipline other people's children. Consider informing the bully's parents directly. If at school, inform the school. With bullying that is occurring in other places (such as organized sports), inform those in charge (e.g. the coach).
Consider counselling for the victim in addition to direct action to stop the bully. Seeing a therapist/counsellor may help your child learn how to cope with the bullying as well as learn new ways of coping to avoid being a victim. However, the consensus of authorities in the field favours a more direct approach in which the bullying is stopped directly.
Do not excuse the bullying as being normal behaviour. Bullying is often the first step to more serious problems such as skipping school, alcohol/drug use and even criminal activity.
Increase supervision. Ask others about your child's behaviour, rather than waiting for someone else to report it.
Talk with your child and make it clear that bullying behaviour is not tolerated. The child must learn that there is no excuse for bullying. He/she will only learn that if adults accept no excuse.
If there is bullying, intervene immediately with appropriate, non-physical consequences, e.g., removal of privileges for a period of time.
Give praise for caring and respectful behaviours.
Create opportunities for your child to do good things for others.
Eliminate physical punishment in the home, as studies show bullies are often raised in home environments where physical punishment is used.
Model non-aggressive ways of solving conflict.
Adults must not encourage any aggression, even in subtle ways. Sports coaches must make it clear that they support healthy competition but not bullying. If adults do nothing or say nothing about bullying, children will think that these adults approve of it.
How are bully/victim problems prevented?
It is important for parents to work together with the school (or those in charge of the recreational setting where bullying is happening).
1) Enlist the help of other children who are not directly involved. These children should learn what bullying is and what is wrong with it. They should be taught to inform adults immediately if they suspect someone is being bullied.
2) Authorities should talk together with the bully and his/her family. The bully finds out in this way that every one knows about the bullying. There should be an appropriate, brief, and non-physical consequence for the bullying. It may be useful to increase supervision of the playground at recess time.
Some schools use packaged anti-bullying programs, in which teachers, pupils, and parents participate. These programs usually include devising, implementing, and publicizing school policies against bullying. School-wide campaigns raise awareness about the problem and encourage children to report bullying. Sometimes, children are designated as special monitors to resolve conflict if they can or to report problems. These programs have been successful in some communities, schools and classes but unsuccessful in others. Therefore, each intervention should be evaluated in a systematic way.
Although it is important to advocate for anti-bullying programmes in schools and communities, it should not be assumed that any program developed to fight against bullying will work. It is a mistake to invest energy and enthusiasm in these programs unless an evaluation of the effects of the program is planned.
Olweus, D. (2001). Peer harassment: A critical analysis and some important issues. In J. Juvonen & S. Graham (Eds.), Peer harassment in school: The plight of the vulnerable and victimized (pp. 3-20). New York: The Guilford Press.
Written by the Dr. Barry Schneider, Psychologist at the University of Ottawa, and the eMentalHealth Team.
Information about bullying from KidsHelpPhone.
Information about bullying and cyberbullying, with resources and videos.
Bullying.org's purpose is to prevent bullying in our society through education and awareness. We provide educational programs and resources to individuals, families, educational institutions and organizations. We make available online learning and educational resources in order to help people deal effectively and positively with the act of bullying and its long-lasting negative consequences.
Information about bullying from the Centre for children and families in the justice system.
National, not-for-profit, registered charitable organization with a mandate to reduce youth violence and make our schools and communities safer.
Information about bullying for parents, youth and policy makers.
Information about bullying on the Tel-Jeunes website. Tel-jeunes is a free, confidential resource for young people throughout Quebec, available 24 hours a day, 7 days a week.
Information about bullying from the City of Montreal geared for children and youth.
PREVNet is a national network of Canadian researchers, non-governmental organizations (NGOs) and governments committed to stop bullying. Website has a section on 'Bullying Resources' with practical information for children/youth, parents and professionals.
Numerous resources for parents, as well as for children to help protect children from being victimized by bullying, cyberbullying, and the internet.
Provides practical research- and expert-based information on school-based programs to prevent interpersonal violence, that are relevant for girls and boys, young women and young men.
The WITS Primary Program is a peer victimization, anti-bullying prevention program that involves families and communities. The acronym refers to four simple conflict resolution strategies: Walk away, Ignore, Talk it out and Seek help.


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Anna Louisa Karsch (née le  à Hammer et morte le  à Berlin), était une poète allemande connue de ses contemporains sous le pseudonyme "Die Karschin".

Biographie

Origine et jeunesse
D'origine humble, Anna Louisa Karsch est née en 1722 à Hammer en Silésie. Sa vie a été marquée par la pauvreté et deux mariages abusifs. Fille d'un aubergiste, elle est élevée après la mort de son père en 1728, chez un parent à Trzciel qui lui apprend à lire et à écrire et lui permet d'acquérir des bases en latin car elle n'avait reçu aucune éducation formelle. En 1732, ayant atteint l'âge de se rendre utile, sa mère l'a fait revenir comme nounou et femme de ménage.

En 1738, elle se marie avec un drapier, Michael Hirsekorn, avec qui elle a quatre enfants. C'est à cette époque qu'elle écrit ses premiers poèmes, mais son mari se montre violent et n'accepte pas sa passion. En 1748, il demande le divorce et, enceinte, elle doit retourner chez sa mère sans soutien.

Début de la reconnaissance
En 1749 elle se marie avec le tailleur Daniel Karsch de la ville polonaise de Wschowa avec qui elle a trois autres enfants. Mais comme le précédent, ce mariage n'est pas heureux, car Karsch est un gros buveur. À côté de l'éducation des enfants, elle commence à écrire des poèmes pour les fêtes de famille  et obtient une petite notoriété en Silésie voisine. Après le déménagement de la famille à côté de Głogów en 1755, elle devient un poète à la réputation et au talent grandissant et à qui on fait appel pour écrire des vers pour les occasions familiales et solennelles comme les mariages, les funérailles des paysans et des événements sociaux. Cela attire l'attention d'un enseignant local qui lui procure son aide. Ses poèmes paraissent dans les journaux locaux en Silésie et un groupe de disciples essentiellement composé de pasteurs luthériens et leurs épouses se forme.

Pendant la guerre de Sept Ans et la campagne de Prusse contre l'Autriche en Silésie, elle compose de nombreux poèmes à la gloire du roi Frédéric le Grand et de la Prusse qui la font connaitre à travers le pays jusqu'à Berlin. C'est à cette époque qu'elle se sépare de son deuxième mari parti à la guerre. Son poème Klagen einer Witwe (« Lamentations d'une veuve ») attire l'attention d'un général prussien, le baron Rudolf Gotthard Von Kottowitz. En 1761, avec l'aide de ce dernier, elle entre à la cour de Frédéric et dans les salons littéraires où elle fait sensation par sa capacité à créer des poèmes à partir des mots ou des expressions qu'on lui donne.

Apogée
Ses dons naturels en tant que poète stupéfient ses contemporains. Son ami et conseiller littéraire Johann Wilhelm Ludwig Gleim lui donne le surnom de Sapho allemande en 1761. Frédéric II décide de lui donner une pension et  de faire construire une maison pour elle. Jusqu'à 1762, des bienfaiteurs financent la vie d'Anna Louisa Karsch à Halberstadt et Magdebourg. Elle fréquente couramment la cour de Friedrich II et de la reine Élisabeth-Christine de Brunswick-Wolfenbüttel-Bevern à Magdebourg. Elle entretient des contacts étroits avec le prince Ferdinand de Brunswick-Lunebourg, le comte Heinrich Ernst zu Stolberg-Wernigerode et le comte Christian Friedrich zu Stolberg-Wernigerode. Elle écrit des textes pour Anne Amélie de Prusse, l'abbesse de Quedlinbourg.

Mais le temps passant, sa notoriété à la cour diminue et elle retombe dans la pauvreté. À la mort du roi, elle s'approche de son successeur, Friedrich Wilhelm II (Frédéric-Guillaume II) en 1787, qui accepte de respecter la promesse de son prédécesseur. On lui construit une maison dans laquelle elle continue à composer des poèmes, jusqu'à sa mort en 1791. Après son retour à Berlin, elle doit alors, de nouveau, financer elle-même le nécessaire pour subsister. Son ami, Daniel Chodowiecki qui réalise des miniatures, lui demande de les compléter avec sa poésie. Johann Wilhelm Ludwig Gleim l'incite également à faire publier son premier recueil de poèmes Auserlesene Gedichte qui lui permet d'obtenir un petit revenu, mais il est totalement ignoré par la critique.

Fin de vie et postérité

Anna Louisa Karsch entretien une correspondance avec Goethe qui lui rend visite en 1778. En 1784 une sculpture la représentant, première statue publique pour un poète germanophone, est installée dans le parc "Spiegelsberge" près d'Halberstadt. Actuellement, elle se trouve dans le musée Gleimhaus à Halberstadt.

Après sa mort en 1791, sa fille Caroline Louise von Klencke qui eut souvent des relations difficiles avec sa mère publie l'année suivante, un nouveau recueil de ses poèmes. Sa tombe se trouve dans l'église Sainte-Sophie à Berlin-Mitte et porte l'inscription Kennst Du, Wandrer, sie nicht / So gehe und lerne sie kennen (La connais-tu, voyageur ? Et bien va, et apprends à la connaître). En 2001, on lui consacre une rue Anna-Louisa-Karsch-Strasse à proximité de son ancienne maison.

Sa fille Caroline Luise von Klencke est devenue poète et dramaturge respectée, et sa petite-fille Helmina von Chézy (1783-1856), né Wilhelmine von Klencke à Berlin, est devenu un auteur, dont la pièce Rosamunde (1823) fut accompagnée d'une musique  de scène par Franz Schubert.

Œuvre
 Auserlesene Gedichte von Anna Louisa Karschin, 1764 (Édition Gleim).
 Gedichte von Anna Louisa Karschin geb. Dürbach. Nach der Dichterin Tode nebst ihrem Lebenslauff herausgegeben von ihrer Tochter C. L. v. Klenke geb. Karschin, 1792.
 Leben der A. L. Karschin, geb. Dürbach, 1762, EA 1831.

Éditions récentes:
 B. Beuys (Hrsg.): Herzgedanken. Das Leben der "deutschen Sappho" von ihr selbst erzählt. Francfort-sur-le-Main, 1981.
 R. Nörtemann (Hrsg.): Mein Bruder in Apoll. Briefwechsel zwischen Anna Louisa Karsch und Johann Wilhelm Ludwig Gleim. 2 vol., Göttingen, 1996.
 Gerhard Wolf (Hrsg.): O, mir entwischt nicht, was die Menschen fühlen. Gedichte und Briefe, Stimmen von Zeitgenossen. Märkischer Dichtergarten. Berlin, 1981.
 Regina Nörtemann (Hrsg.):  Die Sapphischen Lieder: Liebesgedichte. Göttingen, 2009.

Notes et références

Bibliographie
 Elisabeth Hausmann (Hrsg.): Die Karschin – Friedrich des Großen Volksdichterin. Ein Leben in Briefen. Societäts-Verlag, Francfort-sur-le-Main, 1933.

 Theodor Heinze: Anna Luise Karschin. Eine biographische und literaturgeschichtliche Skizze. In: Zu der 15.März stattfindenden öffentlichen Prüfung aller Klassen… und zur Feier des Geburtstags Sr. Maj. des Königs am 22.März, vormittags 11 Uhr ladet im Namen des Lehrerkollegiums ergebenst ein der Director….. Gymnasium zu Anclam. Anklam, 1868.
Rob McFarland: "Füße im Steigvers mit weiblichem Ausgang: Anna Louise Karsch's Poem Cycle Die Spaziergänge von Berlin and the Pre-History of the Flaneuse." Lessing Yearbook XXXVI (2006). .

 Ute Pott: Briefgespräche. Über den Briefwechsel zwischen Anna Louisa Karsch und Johann Wilhelm Ludwig Gleim. Mit einem Anhang bislang ungedruckter Briefe aus der Korrespondenz zwischen Gleim und Caroline Luise von Klenke. Wallstein-Verlag, Göttingen, 1998,
 Uta Schaffers: Auf überlebtes Elend blick ich nieder. Anna Louisa Karsch in Selbst- und Fremdzeugnissen. Wallstein-Verlag, Göttingen 1997,  (zugl. Dissertation, Universität Köln, 1996)
 H. Schlaffer: Naturpoesie im Zeitalter der Aufklärung. Anna Luisa Karsch (1722–1791). Ein Portrait. In: Gisela Brinker-Gabler (Hrsg.): Deutsche Literatur von Frauen. Band 1. Beck, Munich, 1988, , S. 313–324
 Gisela Stockmann: Anna Louisa Karsch. Volksdichterin. In: Dies.: Schritte aus dem Schatten. Frauen in Sachsen-Anhalt. Dingsda-Verlag, Querfurt, 1993,

Voir aussi

Liens externes

Naissance en décembre 1722
Naissance dans la voïvodie de Lubusz
Naissance dans le royaume de Bohême
Décès en octobre 1791
Décès à 68 ans
Décès à Berlin

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Email: patti@winstanleyconsultants.com
Meet Patti
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Meet | Patti
Patti has represented businesses and corporations at matchmaker meetings, has traveled to conferences on their behalf, and has taught strategies for making the most of those meetings.
Patti Winstanley is a visionary leader and experienced business development professional with proven results in relationship building, business processes, certification, sales, profitability, and customer growth. She is passionate about coaching businesses to grow.
Called "The Connectanator" by those that know her. Patti helped businesses of all sizes build their sales channels, community partners navigate their procurement networks to increase opportunities for their constituency and match corporations with reliable vendors that meet their procurement needs and goals.
She is a staunch supporter of education having lead the Austin ISD Reagan Early College High School Community Advisory Committee as Co-Chair for over 10 years, including the addition of the college credit program.
Patti served as the Small Business Chair on the Greater Austin Chamber of Commerce Executive Board, and Chair of the WBENC National Conference and Business Fair- Host Committee. She volunteered to be a speaker or panelist across the US, on behalf of the Military Boots to Business Program, SBA, The Procurement Assistant Centers, Small Business Development Centers, and The Texas Governor's Commission for Women – Small Business program.
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She has used her experience as a teacher for the US Military Boots to Business program, has been on panels for the Go for the Greens Foundation, the SBA, WIPP, Small Business Development and Procurement Technical Assistance Centers, and the Texas Governor's Commission for Women's Small Business Forum. She mentors businesses in how to smoothly move on to the next generation or new owners and partners, write a capabilities statement, a 60-second elevator speech and other marketing strategies.
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Monte's One Stop Blog!
Stuff that's important to me!
A Special Interview: Craig Leon, Producer of the Ramones' Classic First Album!
In 1976, the iconic punk band The Ramones recorded their first album in under two weeks and on a budget of $6400.00 dollars. Released in April of that year, the album boldly introduced the Ramones to the world, and is now recognized widely as one of the most important pop music albums ever recorded. The album was seminal in launching punk music in the United States and the U.K., and sounds as fresh and innovative today as it did 40 years ago.
In honor of its 40th anniversary, Warner Brothers/Rhino has released a commemorative set that celebrates this ground-breaking album. The set includes three CDs packed with rarities and outtakes, two live performances, and both a remastered stereo and never before released mono version of the album. A vinyl version of the mono mix is also included, and extensive liner notes, an essay on the band, and rare photos round out the package. It's a great way to learn all about this seminal band and its four founding members, all of whom took on the last name Ramone to symbolize their unity of sound and purpose: Jeffrey Hyman, known as Joey (vocals); John Cummings, or Johnny (guitar), Doug Colvin, or Dee Dee (bass); and Tommy Erdelyi, or Tommy (drums).
The original album was produced by Craig Leon, who oversaw all the remixing of the new release and also made sure that the package was as musically comprehensive as possible. Craig is a musical giant who has also worked with Blondie, the Talking Heads, and other groundbreaking punk and new wave bands. Over time Craig has gravitated toward classical and electronic music, and he continues to produce, orchestrate, and record a wide range of artists, as well as his own original music. He is currently working on new electronic and classical music that will soon be released, and he is currently touring to support his most recent release, "Nommos." You can learn more about Craig on his wikipedia page, and of course, keep up with his website and facebook page for all the latest developments.
Craig and I talked about the new release, his role, and the legacy of this album in the rock and roll pantheon. I am grateful that Craig took the time to talk, and I hope you enjoy our conversation.
Getting The Project Underway
Monte: How did the idea a 40th anniversary release of the first Ramones album come about?
Craig: Warner Brothers was planning to do it. I got a call from a friend, Mickey Leigh, who was (Joey's) brother. He and Dave Frey, who manages the estate of the Ramones, asked me if I wanted to get involved with it. They had given me one of the gold albums in 2014, and while we were talking about that, they said, you know the 40th anniversary is coming, wouldn't it be great if we could get it sounding like it was originally?"
I said, fine, let me run with that, let me put everything we had wanted to do on the record, try and collate everything that was recorded back in those early days. I didn't get everything. I think there were are some things that nobody has…the one thing nobody has is the very first demos that Tommy played for me when he came into my office, and asked me if I could help him copyright them, and take them around to record labels. I had a copy of them but that was many years ago.
Monte: Were there things you were able to do in the studio now that you weren't able to do the first time around?
Craig: This is pretty much the record that we wanted to make when we first thought of doing the record, but we were limited in a number of things back then. We wanted a mono and a stereo version. The stereo version was going to be ultra-bizarre, like a parody of the Beatles, these old recordings where you'd have half the band on one side, half the band on the other, and the vocals down the middle. And that was really because they only had three and four track recorders, so they'd have all the band playing at once, maybe a sax solo while they were singing, and then maybe just the tambourine or the backing vocals on the other channel.
But also, it was very indicative of how the Ramones actually played live back in those days. They didn't have a complicated PA system, and that was one of the reasons we had to make a cheaper record, so they could afford, out of whatever limited budget there was, to get a better PA system.
When they played live, they had bass on one side of the stage, guitar on the other, and Joey would be in the middle. So that is how they sounded when they were live. It was very distinct sounding.
Also the band liked the idea of things from the 1960s. We loved the sound of old rock and roll records in very direct mono, and we loved the sound of old Beatles records and Herman's Hermits…The Who's Live at Leeds was one of John's favorite records. That was the ultimate – Pete Townsend on one side, John Entwistle on the other, drums and vocals down the middle.
Monte: Did you and the band achieve what you set out to do?
Craig: I wanted to do something on the first record that was radically different, that set them aside from everyone else, that announced that they were there with their sound.
In those days, when you were signing a band, you were trying to get them recognized and known on the first record, and maybe pick up a fan base on the second. And then maybe, if you were lucky, start getting hits on the third or fourth album. That was the plan. I think Tommy had a bit of an idea that he wanted the band to sound more 1976 contemporary, instead of bizarre. I think he wanted them to sound more commercial. But that was kind of insane…you're going to try to sound real commercial and sing about beating on the brat with a baseball bat, and I'm a Nazi baby yes I am…
But that was the dichotomy of the Ramones. They were joking and they were serious about everything they said at the same time.
Monte: Well sometimes you listen to their records, it's like listening to the Beach Boys.
Craig: There's a lot of harmonies and things that you don't hear on the reissues, that are very clear now. There's double tracking and triple tracking and four-part harmonies on many of the songs, background textures, oohs and aahs, guitar overdubs, there's all kinds of studio techniques. In fact it's state of the art recording for its time period.
We used everything that was at our disposal. (But) 1976 was a lot closer to 1960 in terms of equipment than where we are now. There was no digital technology, obviously. Digital delays were around but they were very new and there weren't that many of them around. There were compressors and limiters and there were echo chambers, and effects that you could get with slowing down and speeding up tape. You could change signals in feedback…but that was about all that you could do. You would have to get an effect by sending something out of the room, or putting a mic down a toilet and trying to see if the sound would reverberate…people were always experimenting with that kind of stuff. But there was no way to seamlessly edit things.
When it first came out, it came out pretty much the way I wanted it to come out, considering what we had. There were a couple details that we fixed on this record. One, we got a mono version, which I think is great. The original monitor mixes that we did, we were going for the mono. The original mixes were very monophonic. They had stereo echoes but everything was down the middle.
We didn't make the stereo version until the very end. We couldn't put out the mono because our distributor didn't make mono records anymore. But we wanted one. The other thing is originally, we wanted to do the record at Abbey Road (in the UK) until we realized we didn't have the money to do it. Abbey Road has a secret weapon, which was a very heavy compressor to make things loud on the radio. It's like current digital mastering, but it was much warmer, and it was a very specific effect. It was a modified compressor that only they had.
We didn't use that on the first album. We got close to it, with the brilliant mastering engineer Greg Taube, who kind of replicated it. It was the best that we could do with the equipment that was available. But, I did the (new release's) stereo version through those compressors at Abbey Road as well. That's what we're hearing now. It's the only time that it's the original two-track from the studio that you're hearing, and not a later copy.
The stereo version is an off-kilter nod to the recording techniques of the 60s but it also represents how the band set up and sounded on stage. The mono version has more direct power.
Monte: Do you prefer the stereo or mono version?
Craig: I like them both! Both versions sound great. And we worked very hard with the (Abbey Road) remastering guys, they're big Ramones fans, and they really went out of their way. I'm pretty picky. Bur they were very patient and did it, and went through all the test cuts and everything else.
Monte: In your liner notes you said that they had the first 35 songs or so all planned, including the chronology for their release…I found that very thoughtful of them, very shrewd.
Craig: We changed a few things, but it was pretty much that way. And they had other songs as well, but it's pretty close. There was this image that the Ramones portrayed that was aided by Punk Magazine and such, that they were a bunch of slovenly idiot-savants that just got together and played real loud in somebody's basement, and went in and recorded it in two minutes, and that was it. They got together and had band meetings and band discussions, (discussing) how they were going to look, everything. Everything was planned out.
Monte: Nobody would say they were world-class musicians, but they seemed to have a very innate sense of what was the right sound for the kind of music they wanted to make.
Craig. Yeah. They were world-class musicians for what they did, which was all you have to be. I work in classical music a lot. Richard Wagner was an orchestral composer and he played really crap piano! Didn't matter, he was a genius orchestrater. So it's the same thing. Johnny Ramone was a genius at playing the guitar style that he played. You wouldn't expect him to play a Wes Montgomery solo. Though if he put his mind to it, he could've!
Monte: Johnny said a number of times that they weren't looking to bury rock and roll, they were looking to revive it.
Craig: They were in love with rock and roll – but the REAL rock and roll! The 50s, the girl groups, the doo wop, Eddie Cochran, Sun Records, all that kind of stuff. And they loved some contemporary bands. They loved the Stooges, the New York Dolls, the Bay City Rollers they loved! It was honest for what it was.
Monte: That came out in a couple of their songs…
Craig: Too much of a homage on one of them! (note: the famous "Hey Ho, Let's Go" chant in Blitzkrieg Bop was inspired by the Bay City Rollers song "Saturday Night.") It wasn't that they hated rock and roll, they hated the excessive, "microphone up your butt" rock and roll that was happening (at the time), when people were re-recording each string of an acoustic guitar to get a strum!
Monte: So that gets to this musicianship that they had, and the idea that they knew what they had to do to make their career happen.
Craig: When they were sitting in bars and were completely unknown they were planning out what guitars they were going to buy, all that kind of stuff. Tommy was the guy who articulated that. He had somewhat of a knowledge of technology, and he articulated that on behalf of the rest of the band. The other guys weren't great communicators. He put that into perspective. That's why I gave him an associate producer credit on the album. He was the designer of the band's sound live, which I was actually translating to record.
It was a performance art piece that he was doing at the beginning, which came from his knowledge of filmmaking. It wasn't haphazard. And yes, they yelled on stage, and everything fell apart, and they'd start the wrong song, and everything, but that was because everything was so intense that they worked themselves into a frenzy when they were actually playing. But it was intended. Their whole sound, their whole look, was exactly what they wanted to do.
People are surprised when they hear the Ramones demos. They sound remarkably like the Ramones. Well, EVERY band in those days sounded like their demos. It's not like today, where eighteen Swedish guys go into the studio and communicate with a bunch of guys in LA, and each guy does one bar of a song and you slap background singers on top of it and that's your record.
Monte: To me it's become more about the producers than the artists.
Craig: I'd call them corporate mechanics. There are a few producers that are around that I really rate highly. There's a number in classical and jazz that are (very good).
Monte: What are your thoughts about that Johnny's down-stroke, slashing style of play? I know of no other guitarist that did that.
Craig: Ah, the down-stroke…that was his style and his technique. That's how he sounded; what came out of the amp was what he did. We did do a number of EQ things, a number of overdubs, it's not just one guitar on the album on every song. Some are like that but there's many where there's composite guitars and stuff. But that doesn't matter. It's what the guy's playing, it's what he did. And I respected that. He had a completely unique style, and he added his dimension to the litany of what guitar players do. There's a lot of other people that can't do what he did.
There's a lot of flashy guitar players, supposedly, who can't play straight down-strokes at 180 beats per minute for three minutes.
I work every day now with what the world would call world-class musicians. From Luciano Pavorotti to the London Chamber Orchestra, (and many others). I record those people and I conduct myself. Those people do what they do and it's captured by the microphones in the studio. And it's the same techniques that were used with the Ramones. The engineers and I were capturing what they actually did. That's what recording was.
Monte: Now Tommy was not as enthusiastic about being the drummer if I recall.
Craig: He was their manager, and then he was their drummer. (At the outset Joey) was the drummer, but that stopped. As Tommy became the drummer and the spokesman, he was courting Danny Fields and negotiating for Danny to manage them. It was Danny and Lisa Robinson that first started writing about them.
But Tommy was really the brains, and he didn't like going out on the road apparently. He wanted to produce the band. I think he wanted to be the Brian Wilson of the group, so to speak. I saw them over the years but we never really talked about that stuff. The last time I saw Tommy before he died, we were at a party in New York, and we talked about bluegrass. That was what he was playing.
Monte: What did you hear when you heard his drums? What did you want to capture?
Craig: First of all, he was really metronomic, and really robotic as the drummer. That was really good, that kept them together at those high speeds. He came up with the idea that he should play with a click track in the studio so they didn't run away with themselves. Dee Dee and John had a tendency to go too fast. So, he was actually reining them in. He played the whole album with a metronome set up in front of him. He didn't want the click because it bothered him, so we used a classical one, with a little orange light. We turned it way up and he'd sit there studiously playing along to it, like someone who was playing classical music.
And their recording techniques…one journalist who hit it right on the head was Tim Summer of the Observer, who said that if anything, their comparative peers were (the German band) Kraftwerk, believe it or not. A lot of that stuff I loved, which is evident in my electronic records, in Suicide, Front-242, a lot of stuff I've done over the years. Tommy was a very futuristic drummer at that time, he wasn't sloppy, and he wasn't blues oriented. He was power oriented.
Monte: What was his hi-hat and snare technique? With Marky, he prides himself on hitting every one of those 16th notes. But with Tommy, he was almost a little more laid back, almost quieter than you'd expect him to be.
Craig: He used an open hi-hat a lot, and he kind of let it reverberate. It wouldn't, believe it or not, be a very distinct hi-hat sound. We actually miked the hi-hat from underneath, because it sounded too washy when we did it the conventional way, on top. So we miked it from underneath and from a distance. It was the hardest part of the drum sound to actually get.
It was just his style. It was closer to how Ringo Starr played on the ride cymbal. Think about it. Listen to the Beatle's English recordings, where they didn't have all that stupid echo up front. They remixed everything for America. (They) used to remix all the Beatles records, trying to make them sound "better" for American radio, put all kinds of echo on them and mess up everything. The Beatles hated that. But if you listen to those early Beatles records, that ride cymbal is very similar to how Tommy played open hi-hat.
Monte: By the time they got to Marky, the drums were louder on the recordings but with Tommy, it seems to me like they let Dee Dee and Johnny handle the volume.
Craig: Yeah… Tommy played real light. Tommy, if he had put his mind to it, could have been a jazz drummer. Clem Burke is a fabulous jazz drummer, but you'd never know it.
Monte: He's a fabulous drummer. He was a Ramone for two shows too!
Craig: He's a Ramone now, for the tribute concerts that Mickey Leigh does. He plays the whole record exactly at the right nuance, and he plays the cymbal crashes exactly at the right volume. He's got the whole album down.
Monte: You mentioned that Joey's brother did background vocals on the record. I don't think that was well known.
Craig: They kind of hid that fact; a lot of people did a lot of things on the record. But there was an image, and it was correct, actually, everything was named Ramones. If they started saying Craig Ramone and Mickey Ramone, and all that, people would look at it and say, oh, there's nine people in this band.
Monte: It gets back to that image, that performance art aspect that you mentioned, that here's these four scraggly guys, a band of brothers, all dressed the same in the leather jackets and the torn jeans, here's the music and it's in your face, it's what we do, we are the Ramones. It was just part of that whole concept.
Craig: Exactly. They didn't really want to say anything else. That was the way it was. Mickey had a hell of a time getting acknowledged.
Monte: And you have said that Joey was very reliable, on any song he always sounded the same, always exactly on cue, that they knew their songs so well that Joey knew exactly what to do when he came in to do his vocals.
Craig: Absolutely. Once he adapted a phrase it would be the same way, every time. When we went back to the original multi-track I had of some of the trial vocals, there were some earlier takes that we didn't quite like – you (listen) to them and they are exactly the same. Very minor differences between all of them.
Monte: And Dee Dee…I imagine he was a little harder to rope in?
Craig: He had an incredibly bad mic technique for a recording studio. Too energetic, and that's why we had to have other people do the quieter background vocals. He did all the energetic ones. And he did all the counts, obviously.
Monte: But no one could sing that part in 53rd and 3rd like Dee Dee.
Craig: Right, he's singing lead on that, and everything he did was perfect for what it was supposed to be. (But) he couldn't do the textures that I wanted on the record, and the band wanted on the record too. They wanted those Beach Boys harmonies, and things like that. But he couldn't do it. So that's why Mickey and others had to do it.
Strangely enough, a friend of mine in another band that I was going to be producing for another label, Elliot Kidd, knew background singers in Connecticut where he grew up. I told him, I don't think (Dee Dee's) going to be able to do some of this, you told me that you knew a background singer?" He said "yeah, let me give you the guys number." So I called him while we were in the studio and I wrote his name down on one of the track sheets, it says "Michael Bolaton," and of course that's Michael Bolton. He almost was on the album, but we didn't have the budget to pay him.
Monte: If you listen to the fourth album, it's a bit of a departure. On the first three you heard more of a maturation, but on the fourth one (Road to Ruin), it's a departure. I always assumed they were trying to broaden their appeal a bit, but maybe it also has something to do with when the songs were written – that they were written specifically for that album?
Craig: I think some of the early ones showed up. But they got kind of desperate for a hit, and the one thing that ruins any musician is getting desperate for a hit. If you get desperate for a hit, you're not going to get it. And they proved that point. I think their biggest mistake was the next album (End of the Century), when they went to Phil Spector. Not to knock Phil Spector, arguably one of the greatest producers in rock and roll history, but they went desperately looking for a hit at a time when Phil couldn't even get a hit with his own work. I think that was the beginning of a very long period of time when they absolutely were not going to get a hit.
Monte: My impression is that after a while they accepted that, and ended up making some great records later in their career.
Craig: Oh yeah, they made some great records later on. But there was a whole period when they were trying to get a hit.
Monte: I remember hearing the album produced by Graham Goldman (Pleasant Dreams) for the first time and thinking, this isn't the Ramones.
Craig: Well, he wasn't the Ramones. He was a very slick, very accomplished pop producer. But maybe that's what they were thinking, that they needed that. It's funny that they never came back to me. I never cared about that, but of all the producers that they worked with, I went on and had a number of hits in Europe.
(Maybe) things would have changed, but you can't really look at alternate universes and try to say, "this would have been better." But the producer can only help someone that has a hit in them – you can't really impose that on someone.
Monte: Did you have any idea that the album would leave such a legacy, and also, was this a gratifying experience for you personally, to shape the album the way you wanted to shape it?
Craig: The first one is easy: absolutely not. I had no idea it would be so influential. In fact anybody in those days didn't think in terms of something lasting 30 or 40 years. There was no idea that our generation that bought rock and roll records would continue buying rock and roll records when they were (in their 80s). It didn't happen. In fact people bought rock and then matured into whatever the hell else they matured into. So no, no concept whatsoever.
I'm very happy that we did do this reissue, because it's 100%, as opposed to 95%, of what I thought the album should be. I was very happy to be a part of it. It's a very important record to me. And that I had this (opportunity) is great. If I'm around for the 50th, I'll be a lucky guy. If I'm around for the 60th, that'd be even better! But until then, this will be the definitive version.
I know that it's an expensive proposition for a fan to buy this particular set, but if you really want to know the Ramones, you should listen to this. If you happen to have one of the original pressings from the first run, that's cool. But there are very few of those. But otherwise if you really want to know what the band was about, then listen to this record. It is pretty much the definitive statement.
Labels: Music, Ramones, The Arts
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Hangin' with My Window Man by Carolina Valdez
November 9, 2016 JM Snyder
Hangin' with My Window Man by Carolina Valdez is now available!
Ryan Halloran is attracted to Boon Andrews the moment he sees him on the window cleaners' gondola outside his high rise office. But horror sweeps through Ryan when a gondola cable snaps, and his call to 911 saves the lives of Boon and his co-worker.
Although the near-fatal accident brings these two men together, never could two men be further apart in lifestyle and social status. Boon, a tattooed high school drop-out, wears earrings and dresses in frayed cutoffs and Doc Martens boots, and he cleans pools and windows for a living. Ryan, however, holds a master's degree from the most famous film school in southern California and, as the elegant, cultured, and self-controlled vice president of a motion picture studio, he dresses in Versace suits and Bruno Magli shoes.
Despite their differences, Ryan not only responds to Boon's carefree spirit and relaxed manner, he lusts for him. And Boon discovers his craving for nude sex play with this man turns out not to be based on gratitude that Ryan saved his life, but out of love.
As Ryan wrestles with work problems that could mean the loss of the film studio, he also falls deeply in love with the one-of-a-kind Boon. But when they start appearing in public together, and a former lover makes an appearance, the differences in their social status may well destroy their future.
START READING!
Carolina ValdezGay Erotic Romance
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A hand-knotted Indo-Persian Bijar area rug. This rug features geometric medallions with a traditional Herati pattern in hues of indigo, pale pink, powder blue, peach, and burgundy. It has repeating floral figures to the guard borders with a Herati main border. The rug is finished in long ivory cotton warp fringe. Unlabeled.
- to fair; general traffic wear.
- 3'6 x 5'6 approx.


Although J.R.R. Tolkien is well known for The Hobbit, The Lord of the Rings and The Silmarillion, the material which laid the groundwork for what must be the most fully realised sub-creation ever to spring from a single imagination was begun many years before the publication of The Hobbit, and indeed Tolkien continued to work upon its completion until his death in 1973.
The History of Middle-Earth is one of the largest works of 'literary archeology', and was marvously undertaken by J.R.R Tolkien's son Christopher Tolkien. During the 1980s and 1990s, Christopher Tolkien edited the vast collection of manuscripts together with maps and illustrations and published most of his father's Middle-Earth writings as the 12-volume History of Middle-earth series.
In addition to the source material and earlier drafts of several portions of The Lord of the Rings, these books greatly expand on the original material published in The Silmarillion, and in many cases diverge from it. Part of the reason for this is that Christopher Tolkien heavily edited The Silmarillion to ready it for publication, in places incorrectly because he was unaware of the existence of much material which had come to light only long after publication. These later books also reveal which parts of The Silmarillion Tolkien developed more than others.
HarperCollins will now reprint all volumes and keep the original look & feel, so that people wishing to complete there series will be able to do so now!
Also exciting is that we will see a hardcover edition of the History of Middle-earth Index released that will match the original series!
Originally the books were planned to be released on 4 March 2010, but this has been delayed. The republication of the History of Middle-earth series is now planned to coincide with the relaunch of the Tolkien website, www.tolkien.co.uk. So, the books will be available from 7th April. Also the publication of the limited edition poster of Oliphaunt will be delayed to the 7th of April. We can except interviews and other special features on this new site.
The first of a two-book set that contains the early myths and legends which led to the writing of Tolkien's epic tale of war, The Silmarillion.
The Book of Lost Tales stands at the beginning of the entire conception of Middle-earth and Valinor for the Tales were the first form of the myths and legends that came to be called The Silmarillion. Embedded in English legend and English association, they are set in the narrative frame of a great westward voyage over the Ocean by a mariner named Eriol to the lonely Isle where the Elves dwelt; from them he learned their true history, the Lost Tales of Elfinesse. In the Tales are found the earliest accounts of Gods and Elves, Dwarves, Balrogs and Orcs; of the Silmarils and the Two Trees of Valinor; of the geography and cosmology of Tolkien's invented world.
The second of a two-book set that contains the early myths and legends which led to the writing of Tolkien's epic tale of war, The Silmarillion.
This second part of The Book of Lost Tales includes the tale of Beren and Lúthien, Túrin and the Dragon, and the only full narratives of the Necklace of the Dwarves and the Fall of Gondolin, itself the finest and most exciting depiction of a battle that Tolkien ever wrote. Each tale is followed by a commentary in the form of a short essay, together with texts of associated poems, and contains extensive information on names and vocabulary in the earliest Elvish languages.
The third volume that contains the early myths and legends which led to the writing of Tolkien's epic tale of war, The Silmarillion.
This, the third volume of The History of Middle-earth, gives us a priviledged insight into the creation of the mythology of Middle-earth, through the alliterative verse tales of two of the most crucial stories in Tolkien's world – those of Turien and Luthien. The first of the poems is the unpublished Lay of The Children of Hurin, narrating on a grand scale the tragedy of Turin Turambar. The second is the moving Lay of Leithian, the chief source of the tale of Beren and Luthien in The Silmarillion, telling of the Quest of the Silmaril and the encounter with Morgoth in his subterranean fortress.Accompanying the poems are commentaries on the evolution of the history of the Elder Days. Also included is the notable criticism of The Lay of The Leithian by CS Lewis, who read the poem in 1929.
The fourth volume that contains the early myths and legends which led to the writing of Tolkien's epic tale of war, The Silmarillion.
In this fourth volume of The History of Middle-earth, the shaping of the chronological and geographical structure of the legends of Middle-earth and Valinor is spread before us.We are introduced to the hitherto unknown Ambarkanta or "Shape of the World", the only account ever given of the nature of the imagined Universe, ccompanied by maps and diagrams of the world before and after the cataclyusms of The War of the Gods and the Downfall of Numenor. The first map of Beleriend is also reproduced and discussed.In The Annals of Valinor and The Annals of Beleriend we are shown how the chronology of the First Age was moulded: and the tale is told of Aelfwine, the Englishman who voyaged into the True West and came to Tol Eressea, Lonely Isle, where he learned the ancient history of Elves and Men.Also included are the original 'Silmarillion' of 1926, and the Quenta Noldorinwa of 1930 – the only version of the myths and legends of the First Age that J R R Tolkien completed to their end.
The fifth volume of the History of Middle-earth, containing the early myths and legends which led to the writing of Tolkien's epic tale of war, The Silmarillion.
At the end of 1937, J R R Tolkien reluctantly set aside his work on the myths and heroic legends of Valinor and Middle-earth and began The Lord of the Rings.This fifth volume of The History of Middle-earth completes the examination of his writing up to that time. Later forms of The Annals of Valinor and The Annals of Beleriand had been composed, The Silmarillion was nearing completion in a greatly amplified form, and a new Map had been made. The legend of the Downfall of Numenor had entered the work, including those central ideas: the World Made Round and the Straight Path into the vanished West. Closely associated with this was the abandoned 'time-travel' story The Lost Road, linking the world of Numenor and Middle-earth with the legends of many other times and peoples.Also included in this volume is the The Lhammas, as essay on the complex languages and dialects of Middle-earth, and an 'etymological dictionary' containing an extensive account of Elvish vocabularies.
The first part of The History of The Lord of the Rings, an enthralling account of the writing of the Book of the Century which contains many additional scenes and includes the unpublished Epilogue in its entirety.
The Return of the Shadow is the story of the first part of the history of the creation of The Lord of the Rings, a fascinating study of Tolkien's great masterpiece, from its inception to the end of the first volume, The Fellowship of the Ring.In The Return of the Shadow (the abandoned title of the first volume of The Lord of the Rings) we see how Bilbo's magic ring evolved into the supremely dangerous Ruling Ring of the Dark Lord; and the precise, and astonishingly unforeseen, moment when a Black Rider first rode in to the Shire. The character of the hobbit called Trotter (afterwards Strider or Aragorn) is developed, and Frodo's companions undergo many changes of name and personality.The book comes complete with reproductions of the first maps and facsimile pages from the earliest manuscripts.
The second part of The History of The Lord of the Rings, an enthralling account of the writing of the Book of the Century which contains many additional scenes and includes the unpublished Epilogue in its entirety.
The Treason of Isengard continues the account of the creation of The Lord of the Rings started in the earlier volume, The Return of the Shadow.It races the great expansion of the tale into new lands and peoples south and east of the Misty Mountains: the emerence of Lothlorien, of Ents, of the Riders of Rohan, and of Saruman the White in the fortress of Isengard.In brief outlines and pencilled drafts dashed down on scraps of paper are seen the first entry of Galadriel, the earliest ideas of the history of Gondor, and the original meeting of Aragorn and Eowyn, its significance destined to be wholly transformed.The book also contains a full account of the original map which was to be the basis of the emerging geography of Middle-earth.
The War of the Ring takes up the story of The Lord of the Rings with the Battle of Helm's Deep and the drowning of Isengard by the Ents, continues with the journey of Frodo, Sam and Gollum to the Pass of Cirith Ungol, describes the war in Gondor, and ends with the parley between Gandalf and the ambassador of the Dark Lord before the Black Gate of Mordor.The book is illustrated with plans and drawings of the changing conceptions of Orthanc, Dunharrow, Minas Tirith and the tunnels of Shelob's Lair.
In the first section of Sauron Defeated Christopher Tolkien completes his fascinating study of The Lord of the Rings. Beginning with Sam's rescue of Frodo from the Tower of Cirith Ungol, and giving a very different account of the Scouring of the Shire, this section ends with versions of the hitherto unpublished Epilogue, in which, years after the departure of Bilbo and Frodo from the Grey Havens, Sam attempts to answer his children's questions.The second section is an edition of The Notion Club Papers. These mysterious papers, discovered in the early years of the twenty-first century, report the discussions of an Oxford club in the years 1986-7, in which after a number of topics, the centre of interest turns to the legend of Atlantis, the strange communications recevied by other members of the club from the past, and the violent irruption of the legend into the North-west of Europe.
The first of two companion volumes which documents the later writing of The Silmarillion, Tolkien's epic tale of war.
After the The Lord of the Rings was at last achieved, J R R Tolkien turned his attention once again to 'the Matter of the Elder Days'. The text of the Annals of Aman, the 'Blessed Land' in the far West, is given in full; while in writings hitherto unknown is seen the nature of the problems that Tolkien explored in his later years, as new and radical ideas, portending upheaval in the old narratives, emerged at the heart of the mythology, and as the destinies of Men and Elves, mortals and immortals, ecame of central significance, together with a vastly enlarged perception of the evil of Melkor, the Shadow upon Arda.The second part of this history of the later Silmarillion is concerned with developments in the legends of Beleriand after the completion of The Lord of the Rings.
The second of two companion volumes which documents the later writing of The Silmarillion, Tolkien's epic tale of war.
In The War of the Jewels Christopher Tolkien takes up his account of the later history of The Silmarillion from the point where it was left in Morgoth's Ring. The story now returns to Middle-earth, and the ruinous conflict of the High Elves and the Men who were their allies with the power fothe Dark Lord. With the publication in this book of all J.R.R. Tolkien's later narrative writing concerned with the last centuries of the First Age, the long history of The Silmarillion, from its beginning in The Book of Lost Tales, is completed; and the enigmatic state of the work at his death can be understood.This book contains the full text of the Grey Annals, the primary record of The War of the Jewels, and a major story of Middle-earth now published for the first time: the tale of the disaster that overtook the forest people of Brethil when Hurin the Steadfast came among them after his release from long years of captivity in Angband, the fortress of Morgoth.
The concluding volume of The History of Middle-earth series, which examines the Appendices to The Lord of the Rings.
The Peoples of Middle-earth traces the evolution of the Appendices to The Lord of The Rings, which provide a comprehensive historical structure of the Second and Third Ages, including Calendars, Hobbit genealogies and the Westron language. The book concludes with two unique abandoned stories: The New Shadow, set in Gondor during the Fourth Age, and the tale of Tal-elmar, in which the coming of the dreaded Numenorean ships is seen through the eyes of men of Middle-earth in the Dark Years.With the publication of this book, the long history of J.R.R. Tolkien's creation is completed and the enigmatic state of his work can be understood.
Complete integrated indices of History of Middle-earth volumes to complement the hardcover reprint of the series.


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Cyber Monday Laptop deal: The VR-ready Lenovo Legion 7i Gen 6 is $350 off, but the deal ends soon
By Ian Stokes published 29 November 21
Save 15% on this powerful gaming laptop - ideal for running AAA games and VR headsets.
(Image credit: Lenovo)
Cyber Monday is almost over, but we're sneaking this Lenovo Legion 7i deal out the door at the last minute. If you're looking for an extremely capable gaming laptop that can even handle VR gaming, then this deal is for you.
Right now, you can get the Lenovo Legion 7i Gen 6 for $1929.99 at Lenovo, down from it's usual price of $2279.99. You just need to enter the discount code BFDAILYDEALS20 at checkout. That's a $350 saving on this powerful and stylish gaming laptop that comes with an 11th generation I7 CPU, 16GB RAM, and an NVIDIA GeForce RTX 3070 graphics card.
You also get a 1TB SSD for storing all your games and files on too. On top of that, it's got a QHD (2560 x 1600) anti-glare display and colorful backlit keyboard.
Lenovo Legion 7i | 11th Gen i7 | 16GB RAM | NVIDIA GeForce RTX 3070 | 1TB SSD
Was $2279.99 now $1929.99 at Lenovo
Save $350 on this dedicated gaming laptop from Lenovo. The Lenovo Legion 7i is packing the latest hardware and it's perfect for gaming, whether you're blasting your friends in Halo Infinite or experiencing VR perfection in Elite Dangerous.
Another fantastic deal for people looking to get into VR gaming, especially if you'd already snapped up one of the Cyber Monday VR headset deals and now want a super-powered rig to run it from. The Lenovo Legion 7i has a tasty GeForce RTX 3070 graphics card that is brilliant for VR gaming, and should be able to handle AAA games for a few years to come too.
If you've grabbed a cheaper, standalone VR headset like the Oculus Quest 2, then you don't need a laptop to power your setup (though you can still plug it in for a power boost), but for people who bought any of the other best VR headsets out there like the HTC Vive Cosmos Elite or Valve Index then you'll want something like the Lenovo Legion 7i.
Even with the discount, the Lenovo Legion 7i is a decent investment of cash, but luckily it's well equipped to function as your everyday laptop too, as well as a gaming machine. The high resolution screen means it's perfect for watching movies and TV on Netflix or other streaming services, many of which are also on sale for Cyber Monday. At the same time, the powerful specs and large screen mean it's ideally suited for use as a photo and video editing laptop.
If you're looking for something a little cheaper to power your VR setup though, you can still grab the Dell G15 Special Edition Gaming Laptop for just over $1500. The graphics card isn't quite as good as the Lenovo's but it's also $400 cheaper.
Be sure to check out Space.com's Cyber Monday Space deals, or our guide to the Cyber Monday camera deals.


THE golfing legend had an incredible comeback to win his fifth Green Jacket, and his girlfriend was there to celebrate with him.
Tiger Woods, 43, won his first major title since the 2008 US Open to record a shocking victory at The Masters in Augusta.
It was 14 years since his last Green Jacket, and two years since he had told friends he was quitting the sport after slipping out of the top 1,000 in the world rankings.
He won his 15th major even after being behind after 54 holes — something he'd never achieved before.
Watching on from the sidelines was his stunning WAG, Erica Herman.
Wearing a sultry black wide-brimmed hat and an off-the-shoulder red top, the 34-year-old was seen pumping her fists as she celebrated Woods' historic win.
After finishing his putt on the 18th hole, Woods threw his arms in the air with delight.
He then was greeted by his son, Charlie, who he scooped up into his arms.
Woods then hugged his mum, his daughter, Sam, and finally, Erica.
The pair have reportedly been dating since November 2017, after they were spotted hugging when Woods won the Presidents Cup.
Since then, she has been seen supporting him at many of his tournament appearances, including the 2018 Ryder Cup, The Match: Tiger vs Phil, and The Tour Championship 2018.
When Woods won The Tour Championship, he was seen sharing a kiss with Erica, in a pic that went viral on social media.
It's thought the pair may have met through Erica's job, when she was a restaurant manager at a business owned by Woods in Jupiter, Florida.
Before The Masters, the couple hadn't been since December, when they attended a Presidents Cup media opportunity in Melbourne, Australia.
The pair have kept a low profile, and largely live a quiet life in Florida.
Speaking after his stunning victory, Woods told reporters: "When I tapped the putt in, I don't know what I did, but I know I screamed."
Referring to his dad, Earl Woods, who died in 2006, he went on: "To have my kids there, it's come full circle.
"My dad was here in '97, and now I'm the dad with two kids here."
On Sunday, Daily Star Online reported one lucky punter won £975,000 for Tiger Woods' US Masters win — the biggest payout by William Hill in golfing history.


text:
Director: Carlson
another 2001 documentary. a bit like hoop dreams in its subject and scope, but has a different approach, method, and conclusion. it's a really well done (except some of the music) look at high school football in the city where football was born – massillon, ohio. it does a surprisingly good job of staying objective – it presents both the benefits and pressures of being a star football player in a city where the sport is paramount, without casting judgment. there are interviews with townspeople and students who think that the football program has a stranglehold on the community in general and the school specifically. it addresses the issues of school funding, players getting away with more than they should, and more. overall it's just a very comprehensive and objective look at the role the football program plays in this town of 33,000 people. though it follows three players on the team it doesn't get as close to them as hoop dreams did – though intimate things are revealed the audience doesn't get to know the players as well as they do in hoop dreams. as a social studies person i found it really interesting, but i think it appeals to people who are interested in sports (specifically football) or the documentary genre as well.


text:
using AssessMusic.Data.Model.Contracts;
using System;
using System.ComponentModel.DataAnnotations;
using System.ComponentModel.DataAnnotations.Schema;

namespace AssessMusic.Data.Model.Abstracts
{
    public abstract class DataModel : IAuditable, IDeletable
    {
        public DataModel()
        {
            this.Id = Guid.NewGuid();
        }

        [Key]
        public Guid Id { get; set; }

        [Index]
        public bool IsDeleted { get; set; }

        [DataType(DataType.DateTime)]
        public DateTime? DeletedOn { get; set; }

        [DataType(DataType.DateTime)]
        public DateTime? CreatedOn { get; set; }

        [DataType(DataType.DateTime)]
        public DateTime? ModifiedOn { get; set; }
     }
}

redpajama_set_name: RedPajamaGithub


Posted by Admin | January 3, 2019 | Action, Open World / Sandbox, RTS, Simulation, Strategy, Survival.
Medieval Kingdom Wars Free Download PC Game Cracked in Direct Link and Torrent. Medieval Kingdom Wars – Rewrite medieval history through bloody siege combat in a fusion of RTS and Grand Strategy genres. Rule, build, and serve your King as a minor lord in….
You start the game as a minor noble, in service to your King. With over a dozen nations and over 50 Lords to choose from, each playthrough is truly unique and tells it`s own story.
There are many ways to play the game. The Grand Campaign. Classical RTS skirmish with solo, coop and multiplayer options. And a story driven introductory campaign that introduced the player to the the time period through 9 crafted scenarios.
Everything takes place in real-time, with rogue like game progression – everything you do is constantly saved, even during the battle. There are no second chances, no turns, or multiple reloads.


Few of the troops serving today have experienced the adulation and respect that can come from a major, national-level parade.
President Trump asked the Pentagon "to explore a celebration at which all Americans can show their appreciation" for America's military, so we might be seeing the first national military parade since 1991. Will it cost millions? Probably. Will there be counter-demonstrations? Sure. Is there a risk of terrorist attacks? Of course. Should it happen? Absolutely, and here's why.
America's military has been constantly at war since 9/11, yet it's been more than 26 years since we've had a national military parade honoring those serving—even though doing so has long been an American tradition. Ironically, in a country in which millions routinely turn out for huge parades for sports teams, several pundits are already grousing about having just one to honor those who go in harm's way on behalf of all of us.
Having served almost 35 years in uniform, I'm convinced that a national-level parade can help address the much-discussed civilian-military "gap," aid recruiting, and—most importantly—give all Americans the chance to come together as one nation. Couldn't America use more of those kinds of opportunities these days?
Analysts across the political spectrum are concerned that with only 0.43% of Americans serving on active duty, the divide between the military and the society it serves is widening.
Accordingly, isn't anything we can do to re-acquaint Americans with their military (and, perhaps even more importantly, vice versa), a worthy investment for American democracy?
Let's get specific: even if the military parade was on the scale of the 1991 effort (estimated to cost around $20 million today), that's a miniscule part of what the Department of Defense already spends on advertising. In 2016 the Government Accountability Office said that the Obama Administration was requesting almost $575 million for the Pentagon "to conduct advertising intended to increase awareness of military service and ultimately generate leads for potential recruits." Obviously, the existing DoD advertising budget can easily cover the event.
Maybe they need more "awareness" about military service. Young people often seek "deeper social connections" and have a "need to be part of something bigger than themselves." The military can uniquely provide that. As one expert put it, there "is nothing in the civilian workforce that can approximate the bonding that occurs in the wardroom, ready room, or foxhole." Those in uniform get through hardships, he says, because "they are all in it together." The "mutual self-sacrifice, teamwork, and covering each other's six" he explains, "contribute to individual bonding, unit cohesion, and, ultimately … camaraderie." For lots of young people that could be exactly what they want.
Unfortunately, military service never even occurs to many of America's best and brightest. Since retiring from the military in 2010, I've run across quite a few people—young and old, but especially young—who have never personally seen, let alone spoken with, an active duty member of the armed forces (or even any veterans—who now comprise just 7.3% of the population).
At most elite universities, for example, the chances of an undergraduate meeting a veteran or serving member of armed forces are very slim. The fanfare of a national parade in a key media market will give at least some of the citizenry who might not otherwise be exposed to the armed forces an opportunity to actually see the wonderful men and women who serve today.
Some critics are claiming—without citing any real data—that the troops don't want a parade. Actually, the troops have never experienced the adulation and respect that can come from a major, national-level parade. Their average age is about 30 so at most they were toddlers when the last military parade of this scale took place in 1991. In truth, there are plenty of indications that troops do want recognition for their service, and it grates on them when they don't get it.
Parades benefit the military in other ways. Former First Sergeant Rod Powers notes that today military parades still operate to "instill pride and discipline" and says military manuals insist that "drill is the foundation of discipline in battle, and that its importance has been proven again and again." He adds that "regular parades in public display the military as a highly trained, disciplined, and professional force." Given the coverage of allegations of military misconduct, the public ought to have the chance their military's disciplined side.
A parade the likes of which we haven't seen since 1991 could help sustain the morale of the force, which has suffered thousands of killed and wounded in the conflicts since 9/11. It can be a meaningful counter to the sense of isolation that I believe is widely-felt in the military, that is, the feeling that the military is "at war" while "America is at the mall." Frankly, Americans owe those who are serving—and their families—a major event like this to recognize successes, even if the war on against terrorists will surely go on.
Whatever "narratives" the press or anyone else may want to propound about a particular politician shouldn't dictate how—or even if—our apolitical military is honored for its warfighting prowess. This is an opportunity for all Americans to set aside, at least for a day, the bitter political "narratives" that are dividing the country.
Of course, no parade could possibly solve America's endemic polarization. Still, if Americans can show themselves that they can come together for this kind of celebration, perhaps we can start the journey to close the partisan divides which are hampering this country from being what Americans want and need it to be.
Isn't it worth a try?
Charlie Dunlap retired as a major general after 34 years in the Air Force Judge Advocate General Corps. He's the Executive Director of Duke Law's Center on Law, Ethics and National Security.


We're excited to annouce the latest additions to our Explain Everything Enthusiasts! We welcome Rosa Liarte Alcaine and Bruce Booher.
And Bruce's great explanation of rewriting a mixed number as a fraction greater than one.
Explain Everything is always looking for new explainers to join our enthusiast program! By joining the Enthusiasts you will receive some great benefits and fun sneak peeks into the future of Explain Everything!
Do you want to join the Explain Everything Enthusiasts? Send your application now! Simply fill out the form on our website and share your creativity!


Sweet, hearty, a product of winter, and prone to sticking to things, while these words call be used to describe Canadians themselves, I am in fact talking about something that has long been a product of the snowy wonderland that is Canada: maple syrup.
While many people the world over have enjoyed maple syrup before (or at least tried something that was artificially flavoured to taste like maple syrup), this amber hued sweet treat is in fact produced in only a few small areas, chiefly north-eastern North America, which the provinces of Quebec and Ontario being the most prolific sources of maple syrup in Canada (south of the border, Vermont is also renowned for its delicious syrup). Just as only a mere handful of areas produce maple syrup, so too is its harvesting season quite small.
Though, technically, it can be produced at pretty much any point in the year if the weather conditions are right, typically - and traditionally - maple sap has been harvested and then refined into syrup during the last few weeks of winter, with February being one of the most common times of the year for this sweet gift from Mother Nature to be gathered.
In order to morph tree sap gathered (aka, tapped) from maples that are generally 30 years or older into syrup, it is usually boiled in a special building called a sugar shack (aka, a sugar shanty, sugar house, or in French, cabane à sucre) that is designed with a roof that allows the stem from the boiling process to be vented out (it can also be made on a smaller scale by boiling it outdoors in a cauldron or large pot over an open fire).
The finished syrup is graded on a scale depending on both how dense (in Canada syrup must be at least 66% sugar and be created entirely from maple sap to qualify as true maple syrup) and how translucent it is, and then further classified based on its colour.
The grading scales in Canada varies a tad from those in the States, but generally speaking, the higher the grade and the lighter the colour the syrup, the more highly prized it is for use as a condiment. Darker (grade B and C syrups) are often used for cooking, baking and commercial applications, though one can also find darker syrups designed specifically be drizzled over your morning stack of pancakes or waffles.
An individual maple tree can normally be tapped one to three times per year (depending on how big the diameter of its trunk is), producing up to 50 litres (13 gallons) of sap per one to two month harvesting season. Maple trees house starch inside of their roots and truck before winter sets in which is later converted to sugar that appears in the tree's sap come winter and early spring.
It is this starchy sugar that makes maple syrup so characteristically sweet. In order to turn sap into sugar, it is heated and boiled to evaporate the excess water, with the concentrated syrup remaining (akin in a sense to the process of creating caramel or candy from sugar and water at home on the stove).
Long before European settlers set foot on Canadian soil, maple sap was tapped and transformed into syrup by the First Nations peoples of North America, however it was the Europeans who refined and streamlined the process into what it is today (an industry that exports more than $145 million dollars worth of syrup annually). By far the largest producer of maple syrup in the world is the eastern province of Quebec, which is outputs roughly seventy-five percent of the world's total maple syrup (talk about a sweet place!).
Though by no means the healthiest of foods (calorie wise, it's very similar to white sugar), maple syrup does contain small amounts of iron, thiamine, potassium, manganese and zinc, as well as 15 times the calcium levels (and a mere one tenth the sodium) of honey.
It's flavour is both complex and simple (in the sense that it's very much a taste that's unique unto itself), redolent in many ways of dark brown sugar, but with more intense, subtly earthy, ever-so-slightly vanilla-ish notes. Though sweet like honey, treacle and molasses, one taste instantly lets you know that it's discernably different than those three somewhat similar substances, and that is has a pleasing flavour truly all its own.
Imitation maple syrup, though very tasty and pleasing in its own right, is generally milder and more artificial tasting than natural maple syrup, as well as generally costing a fraction of the price of the real deal.
If you've never had a chance to try genuine maple syrup, I highly recommend sourcing a bottle and experimenting with it both as a topping on various foods (pancakes, oatmeal, crepes, waffles, doughnuts, sauces for meat, etc) and as an ingredient in baked and cooked dishes (such as pies, breads, baked beans, cookies, and candied sweet potatoes).
The maple tree, and its sap, have been a part of the Canadian identity for centuries, as evident by the fact that a red maple leaf takes pride-of-place in the center of our country's flag. We're known the world over for our maple syrup products, a fact which tourist shops across the country often capitalize on by selling charming glass bottles (often in the shape of small jugs or maple leaves) of maple syprup and various maple products (fudge, sugar, hard candy, etc) to visitors and locals alike.
Here in Canada genuine maple syrup can be found at nearly any grocery store (as well as some specialty food shops, department stores, gift shops, and various other locations), but it you live outside of North American, it may be trickier to track down.
Luckily however, in today's online world, one can easily order maple syrup products online, with four of the country's best known sources being Jakeman's (who have been in business since 1876), Steeves Maples (founded in 1869), Maple Orchard Farms, and Canadian Organic Maple.
Though I've never had the pleasure of tapping a maple tree or attending a sugaring (syrup making) in person (I'd love to one day), I've certainly tucked into my fair share of maple syrup and maple flavoured foods over the years. Indeed, there's scarcely a food that hasn't been jazzed up with maple syrup over the years here in Canada, where we're partial to everything from maple bacon to maple glazed salmon, maple (usually maple walnut, to be exact) ice cream to maple flavoured popcorn.
During the challenging years of the second world war when sugar rationing was in place, Canadians and Americans alike we encouraged to use maple syrup and maple sugar as a means of sweeting their favourite baked goods and other foods, with various maple syrup recipe booklets even being produced specifically for this purpose. Today, though it's a charming idea to think so, maple syrup is not the chief sweetener in most peoples' homes, but is certainly is one that's widely loved from coast to coast across the nation.
I always keep a bottle of maple syrup on hand, and never tire of using put it to use in both tried-and-true favourite recipes and experimental dishes alike (rarely has it not worked wonders on, and in, everything from chicken wings to apple sauce). This time of the year, as maple sugaring seasoning gets under way in full swing back east, I love to include an even larger number of maple flavoured foods in our weekly menu then usual, in a celebration of one of the country's most famous and beloved foods.
Join me, won't you, and indulge in a generous drizzling of maple syrup this month as Canada's sweetest harvest kicks off once more, helping to make an otherwise dreary, often freezing cold time of the year a whole lot easier - and sweeter - to bear.
I used to love reading the Little House books and I remember them mentioning the sugaring season!
Have you ever tried maple syrup from BC? On the coast, people are starting to tap the bigleaf maples. The syrup has different, and more subtle, flavours than the sugar maple. It might be difficult to find (I've only ever seen it at local markets) but it's definitely worth trying!
Hi Kim, thank you very much for your comment. I have indeed had a chance to try British Columbia made maple syrup and thoroughly adore it. I like a light to medium bodied maple syrup, and really felt that big leaf syrup fit that bill. I hope it becomes more popular and starts getting distributed more across the country and abroad.
Fascinating! Maple Syrup is one of Vermont's main exports and I love driving around here during this time of year and seeing all the little tubes connecting all the maple trees as they're being tapped. I found an early 1940's Vermont Maid Syrup ad in one of my vintage magazines and it made me really excited. So neat to think about how some companies have been around for SO long. I never really liked maple flavored things that much until I moved to Vermont. Now maple soft serve ice cream is my absolute favorite!!
You've got me wishing I bought the jar of real Canadian Maple Syrup I saw last week. I was so tempted but it was so expensive. I do love it so.
It's not cheap here either, even for the mass-marketed real maple syrup, but I'd imagine that being an imported product, it would be even more costly in the abroad. One of the perks of maple syrup though is that you don't necessarily need to use a ton of it at one time, so a even a small bottle or tin can often be stretched across a number of meals.
Hope you and your kids really enjoy it if you do buy a jar.
How fascinating! My granddad has a maple tree in his front yard, and every year he taps it and makes his own maple syrup. When we go up to visit in the summer, we have it on fresh blueberry pancakes.
Mmm, what a yummy post!! As a Vermonter, this is one of my favorite times of year; I love seeing the curls of smoke coming from my neighbors' sugar shacks, and sugar-on-snow parties are a big tradition around here! Pretty sure there's maple sugar in my bloodstream at this point ;) Thanks for a lovely tribute to my favorite food!
I am now drooling over the thought of maple walnut ice cream! It sounds delicious. I had no real idea about the production of maple syrup so that was a really interesting read thanks. I am going to try it with sweet potatoes.
This delightful post will stay with me until I'm certain to stir up a bunch of cornmeal hotcakes or make a batch of maple candied bacon--slow cooked in the oven. A friend in Vermont sent me photos of sugar house ovens stoked and ready to go--quite an amazing thing but I've never seen it in person. Thank you for the reminder of what a labor intensive and wonderful thing we have in authentic maple syrup!
OH, I love mapple syrup so much!!! We don't use it in Europe, but I remember when I lived in Quebec, I went to a "cabane à sucre" in march to eat a good meal and listening acadian music!!!! Liked to eat hot syrup on snow!!!!
How exciting that you got to visit a sugar shack in person, dear Laurence, I've always wanted to do that too. I lived in Ireland for two years and had a very tough time tracking down maple syrup. I was able to do it in Dublin, but it took a lot of searching. When we later moved to a small community down south in County Cork, maple syrup was amongst the Canadian foods my family sweetly sent me in care packages from home. If you'd ever like me to send you any maple syrup from Canada, sweet lady, please don't hesitate to let me know. I'd be delighted to do so.
Ooh my huz and I enjoy real Maple Syrup. The brand most commonly bought and sold in South Australia was and is 'Queen' brand. The label is a stylised maple leaf which boldly states 'since 1897 Queen Australian owned 100% Pure Canadian Maple Syrup certified organic'. I always keep a bottle in the fridge and an unopened bottle in the pantry. Nowadays several new brands and even good quality homebrands have been appearing on supermarket shelves.
It's awesome that you're able to get real maple syrup in Australia. I know that doing so can be challenge for those in some parts of the world (and indeed, when I lived in Ireland, I had a bear of a tracking any down (I eventually did in a specialty store in Dublin, but it was no easy task!). If you've not tried it before, I can't recommend maple syrup on sweet potatoes highly enough!
This is wonderful, Jessica. Near my home there is a county park that always celebrates the start of maple syrup time with a festival...they make the most amazing syrup the old fashioned way. We see a demo of tapping the syrup, there are all kinds of events and things to do and see.
Anyway, what a sweet post, Jessica! I do not believe I have ever tried real maple syrup, only the artificial stuff you get in grocery stores. Of course now you've got me wanting some delicious pancakes or fried mush with some yummy maple syrup.
They are already tapping the trees down the street from my house. I get the best maple syrup out here from the Amish.
Great subject. I *love* maple syrup. It's like drinking milk from a tree. We're near enough to Vermont and New Hampshire to get the real stuff; the first time I tried it I was hooked. I frequently use it instead of sugar in my tea. It adds nice flavor and the same sweetness.
Mmmm! Jessica, what a delicious, sweet post! I love the pics and your wonderful writing. Having grown up in Northern Maine, not far south of Quebec, maple syrup, (the real deal,) was everywhere! We can find it out here easily too, but there's something special about New England or Quebec maple syrup. Now i'm craving yummy French toast drenched with the stuff. I think there's some in our fridge. (There always is.) And maybe this week i'll have to grill some salmon and drizzle it with... yes! you guessed it. Magnificent maple syrup. :) Thanks for sharing this. I love it.
Mary, that sounds so wonderfully scrumptious - especially the maple drizzled salmon. I'm not a particularly big seafood fan in general, but salmon has always been one notable exception and when you combine it with maple, I could eat it by the truckload full.
Hope you have a fantastic maple feast!
Over here in the Netherlands you can only get the real thing in a few places, organic food stores and such, but it's very expensive. It has been appearing more though, especially coupled with bacon. Funny thing: when I first tasted it I realised I must have had it before as a kid, as part of a natural cough syrup or something.
I'm glad to know that it's becoming a touch easier to find in parts of Europe. I lived in Ireland for a couple of years ago immediately after my husband and I were married, and it practically took a team of bloodhounds to track some real maple syrup down there (I eventually did at a specialty shop in Dublin, where it cost me a small fortune, but there's no why this Canadian lass could go without her maple syrup, so I gladly paid it). It is so, so good with bacon! If you like somewhat savoury oatmeal dishes, the two combined in oatmeal are rather incredible together.
Wow, I had no idea of all the details involved in producing maple syrup, this was incredibly interesting to read!
Great article Jessica! Believe it or not, I've never had real maple syrup. It's so expensive down here. Jesse really likes it but we don't eat enough pancakes or waffles to get make it worthwhile to buy some.
I totally believe that - I bet there are plenty of Canadians who haven't either. It's pricey everywhere and artificial maple syrup is tasty (I've met lots of people who said they liked artificial more than the real deal), so I really doubt that you're the odd (wo)man out there at all. I do hope you get to try it one day though - let me know if you do and what you think of it.
I typically have to order my real maple syrup online around here. The first time I did that was to use in the 10 day lemon cleanse but I ended up doing more pancakes than cleanses. Lol. This was such a great informative post. Thanks so much for sharing.
Very cool! I received some maple syrup from Canada once, and it was by far the best syrup I've ever had.
Oh, goodness, somebody get me some pancakes, quick...!
A few years ago I found out that most of the syrup sold in grocery stores is high-fructose corn syrup with artificial maple flavoring. I bought a bottle of the real maple syrup and I will never again buy that fake stuff! The taste is so much better and as it is natural it is somewhat better for you. Yes, it costs a bit more, but it goes farther! Plus, maple syrup production is very interesting. Thanks for a great post!
My pleasure, dear lady, so happy to know you enjoyed it. I agree, the real deal really is the bee's knees and well worth the splurge.
Delicious! New York has a great reputation for Maple Syrup as well. We have a bunch of local farms about three quarters of an hour north of my home in Troy, NY. Local children in that part of the state can even taste the difference between the syrup from different farms!
New York Superior quality Grade A syrup is made only by the evaporation of pure maple sap, and must by weight contain no less than 66 percent sugar.
Grade A maple syrup is classified according to color. The darker the syrup, the stronger the maple taste.
Grade A Light Amber — the lightest of the three classifications with a mild and delicate flavor. It's best for maple cream and molded maple sugar (candy).
Medium Amber — a bit darker with a fuller flavor. This is the most popular grade for table syrup.
Dark Amber — the darkest of the three grades has a stronger maple flavor. This all-purpose syrup is good for cooking, baking and table use.
Extra Dark — used for cooking, strongest maple flavor. Best for cooking.
Grade B — sold in bulk for reprocessing and the manufacture of commercial table syrups. Best for baking.
To substitute maple syrup for white sugar, use ¾ cup maple syrup for one cup white sugar. Reduce the liquid in the recipe by three Tablespoons for each cup of syrup used.
I prefer the taste of wood fire evaporated syrup. That delicious smoky taste!
Hi Kathleen, thank you very much for your fantastic, detailed comment and for that GF recipe, I can't wait to try it out (yum-yum!). You clearly know your maple syrup, my dear friend!
This is wonderful! I was born in Burlington, Vermont and after my parents immigrated from Europe, their first taste of maple syrup was on the site of a maple farm. They still tell me stories from that time, and how lovely it was. That might be why I have such an affinity for maple trees, as I am currently studying their ecosystem interactions as an ecologist!
What an absolutely touching, wonderful link to maple syrup. Thank you very much for sharing this lovely story about your family's ties to this North American delicacy with me, dear gal.


Volumes have been said on this matter, and the conflict and ruckus about where the "hot" one armed bandits are positioned in a casino are still raging – over 60 yrs after slot games were 1st placed in gambling dens.
The traditional rule is that the very best slots were installed just inside the main entry of the casino; so that people passing by would see actual jackpot winners and be influenced to come inside … play. Our inference is that this is no longer true.
Many of the large casinos nowadays are humongous complexes and you no longer can see inside from the sidewalk, so there's no longer a reason to put the 'loose' slot games near any of the doors.
Another standard rule is that loose slots are put on the major aisles in the casinos, again so that more persons could see winning jackpots and be roused to play. Importantly however, we find that this also isn't a universal rule any more.
What casinos found over the years is that people walking down the busy aisles were frequently on the way to somewhere else. If they played the slot machines at all, they would simply put in their loose change because they happened to be walking by. Win or lose, they would very often not stop to keep playing. And the last thing a casino wants is for someone to win a jackpot by playing only a few coins and then not stay to put it all back in!
Nowadays, casinos are constantly changing their perspective about where to place the loose slot games.