text:
Uncategories Subway Surfers Mod APK v2.14.4 Download (Unlimited Coins/Keys)
Subway Surfers Mod APK v2.14.4 Download (Unlimited Coins/Keys)
Subway Surfers Hack APK: In today's time, everyone wants to play the game, that the children of today are very interested in the game, that is why it is considered to be the best game to play, this game for children and older too Have been. If you are also interested in this game, you will like the Subway Surfers Mod APK game very much.
Because this is a game that is very fun and we get a chance to win money too. If you want to download it for free, you can do it from Play Store, which has been installed over 500 million.
If you want to open all the options in this, then you have to download it from our website here. All of which will be unlocked with money and money and you will get many keys. Meaning the key will be found in your free four times.
If you like to play the game, you must have installed this game on your smartphone and played it, because today the game has been the most played in the world, which has been the highest user in Android devices.
So people will be looking for mod versions on Google, how to unlock all the features, you don't need to go anywhere we'll tell you how to download subway surfers mod apk in this post and tell you about this app, what this game is and how to install it on your Android device, so read carefully.
PUBG Mobile Mod APK Download for Android
If it comes to subway surfer apk, it comes in a running game, which is a boy in this game, he runs very fast and runs a cop behind him. To catch the boy, the policeman runs behind him and along with the policeman is a dog who runs next to the policeman.
When the boy is tired or stumbled, the dog grabs him and arrests him. That's how there is some story, which we will tell you next. So this game has become very popular and is still being played the most today. So if you want to download it, we'll give you the link below, which you can easily download. You can also install more on your Android device.
What is Subway Surfers Mod APK
Subway surfers Mod APK are a type of game that comes in the running category, in this game I have already told you that there is a boy who runs and has a dog behind him, who tries to catch him and the dog is the policeman behind the dog, who tries to take it to his local square.
This game has some story. This game has been teamed up by Denmark's company kilo and SYBO Games. This game has been made available on all platforms, such as Android, iOS, Windows, Mac, etc.
This game makes full use of the Unity game engine to run. Engine makeup plays the entire team role of a graffiti artist from Supriya. One of those who have a job is to apply graffiti at the Metro railway station, and the inspector and his dogs run away, but if I run like railroads, I keep holding their gold coin, their location is excellent, the dog.
But the condition of the dog, which is a boy, gets worse. Only then do they arrest, the boy is left again and again, so there is a lot of danger when he is walking. But the last is caught.
Shadow Fight 2 Mod APK Download for Android
If you talk about the most downloaded sun, then the most downloaded in 2017, and today the game has more than 5 million downloads, so it's a very top game.
Subway surfers mod apk on your Android device without any restrictions which will be able to download it in the latest version, you can play it without restrictions, which can enjoy it plenty and unlocked all the features, by downloading and using mod rites for touch.
Features of Subway Surfers Mod APK
In fact, this has been added to the wonderful and high-quality colorful and bright HD graphic Subway Surfers Mod APK, which looks great for everyone.
It's going to get you the latest version, which will take beautiful.
Subway surfers I can find you the latest hidden level eggs and much more on Android devices.
You will be able to run the game very fast, and the Alabjia has also been added, which can easily move forward.
You can connect with your friends and challenge them and add them to any social media platform.
You can get the hunt prize in the latest version, and you can also take part in a claim with others.
Subway surfers mod apk I have everything open so that you can play with any board or character. It won't get locked on any option.
Subway Surfers Mod APK Download Latest Version
If you want to download subway surfers mod apk, which is in with the latest version, you don't have to go anywhere because you'll find the link below to download the mod in this post with the latest version, which will enable you to download the game easily.
The game is updated on January 15, 2020, and 1,000,000,000+ more installs have been installed when it comes to installing the game on the Google Play Store. Now it has version 1.113.0 lamps in the current, and the game can install devices requiring Android devices of 4.1 and above. Subway surfers can download mod apk to give you the button below, click on it and direct.
If you are willing to download, click on the download button below.
As soon as you click on the download button, the download will start.
You have to wait a little bit to download.
Now as soon as the download is done, you now have to install it on your Android device, which you can follow the steps below.
Download Subway Surfers Mod APK
File size 91.6 MB
App by Kiloo
How to install Subway Surfers Mod APK
If you install it on your Android device, install the subway surfers mod apk on your device already, uninstall it first.
Just open this game on your Android device, which you have downloaded the application, but before that, you must enable the option of unknown sources.
Click on the AB Mod APK file and click on the install button.
Now it may take some time to install, so you have to wait for the process to install.
I hope this game will be installed on your device, now you open and click on the unlimited key of subway surfers and you will come to the home screen on which you type and start playing the game without restrictions.
We brought you the popular game of the whole world in this post, which you might have liked and you must have installed it on your Android device, so friends if you've liked this game, share this post on social media as much as we like and subscribe to our Facebook Telegram page. Thank you.!☺
The post Subway Surfers Mod APK v2.14.4 Download (Unlimited Coins/Keys) appeared first on APKsPure.
source https://apkspure.com/arcade/subway-surfers-mod-apks/


text:
Year End Sale: Subscribe now and save up to 77%
Democrats urge DHS to waive fees for Afghan migrants
Families evacuated from Kabul, Afghanistan, walk through the terminal to board a bus after they arrived at Washington Dulles International Airport, in Chantilly, Va., on Tuesday, Aug. 31, 2021. (AP Photo/Gemunu Amarasinghe) more >
By Stephen Dinan - The Washington Times - Tuesday, August 31, 2021
A group of Democrats is urging Homeland Security to cancel the fees that normally would have been charged for Afghans who are being evacuated to the U.S., saying they are worried the need to pay will hold up some applications and cost some would-be migrants their lives.
Rep. Jim Himes, who is leading the push, said they don't want to see corners cut on the security side.
"But charging a filing fee that holds up the entire process and potentially costs refugees their lives doesn't make Americans any safer," he said. "It's exactly the type of red tape we need to cut through if we're serious about saving as many lives as we can."
Parole applications normally require a $575 fee, though a waiver is allowed. But it must be applied for specifically.
The nearly three dozen lawmakers Mr. Himes is leading said they want the waiver to be automatic.
"Put simply, vulnerable Afghans shouldn't have to demonstrate their financial need during a crisis in order to have their parole request considered. Without adjustments, this process will create an unnecessary backlog for humanitarian parole requests," the lawmakers wrote in a letter Monday to Homeland Security Secretary Alejandro Mayorkas.
Originally the pitch for allowing a surge of Afghan migrants was to rescue people who'd assisted the U.S. war effort in the country, though at this point those cases appear to be a small portion of the tens of thousands whom the U.S. evacuated.
Most are coming under parole, a special humanitarian exemption to the law that allows them to enter for a set period of time. They then must seek some more permanent status, or else leave at the end of their parole.
They are required to have proof of self-sufficiency, either by themselves or a sponsor.
The lawmakers said their offices have received tens of thousands of inquiries from Afghans interested in reaching the U.S.
U.S. Citizenship and Immigration Services, which handles the applications, is almost entirely funded by fees, and the agency is already struggling with a major financial imbalance. Waiving the Afghans' fees would deepen that situation.
Congress could step in with taxpayer money.
• Stephen Dinan can be reached at sdinan@washingtontimes.com.

redpajama_set_name: RedPajamaCommonCrawl


text:
Imperial Valley News
Imperial Valley News Center
Texas Man Pleads Guilty to Conspiring to Provide Material Support to a Foreign Terrorist Organization
Dallas, Texas - A Fort Worth man Wednesday pleaded guilty to a federal terrorism charge, announced Assistant Attorney General for National Security John C. Demers and U.S. Attorney Erin Nealy Cox for the Northern District of Texas.
Michael Kyle Sewell, 18, who was arrested in February, formally pleaded guilty to conspiracy to provide material support to Lashkar-e-Taiba, a Pakistani-based foreign terrorist organization also known as LeT.
According to court documents, Sewell admitted to encouraging an individual, identified in court documents only as coconspirator 1, to join LeT.
Sewell then provided the coconspirator, who he spoke to on social media, with contact information for an individual he believed could facilitate the coconspirator's travel to Pakistan to join LeT. Unbeknownst to Sewell and the coconspirator, the facilitator was an undercover FBI agent.
Sewell and the coconspirator discussed what the coconspirator should say to the undercover agent who posed as the facilitator, in order to gain the facilitator's trust and be permitted to join LeT. Sewell also contacted the facilitator to vouch for the coconspirator's authenticity.
Sewell now faces up to 20 years in federal prison and a fine of up to $250,000. He will be sentenced on Aug. 12, 2019 in Fort Worth.
The Federal Bureau of Investigation and its Joint Terrorism Task Force members, including the Arlington Police Department, the Fort Worth Police Department, the Tarrant County Sheriff's Office, the Naval Criminal Investigation Service, Homeland Security Investigations, and the Texas Department of Public Safety conducted the investigation. Assistant U.S. Attorney Jay Weimer prosecuted the case with the assistance of Trial Attorney Bridget Behling of the National Security Division's Counterterrorism Section.
Latest Earthquakes
Copyright Infringements
Executive Order on Maximizing Use of American-Made Goods, Products, and Materials
Proclamation on Made in America Day and Made in America Week, 2019
White House Regarding Victory in Ninth Circuit Sanctuary Cities Case
President Trump on Supporting the Passage of the U.S-Mexico-Canada Agreement
President Trump at the Presidential Social Media Summit
Chicken Noodle Soup product recall
Latin American authors reshaping world literature
Governor Brown Issues Proclamation Declaring Harvey Milk Day
Vice President Joe Biden statement in Support of the Solidarity Sabbath Initiative
To handle big data, shrink it
© 2019 Imperial Valley News


text:
Fear Factor: Understanding the Fear of Writing
August 4, 2016 Jillian	Leave a comment
We all know the feeling of fear. It can be spurred by so many things, whether abstract or concrete, whether facing us now or just being a thought in our minds. And different people, of course, are afraid of different things. There are so many kinds of horror that the different media today basically has everything for everyone who wants to feel fear – and excitement and adrenaline rush from watching horror movies. But of course, the fear we get from movies – whether they're in-your-face gore-fests or the subtle and creepy kind – is different from the fear we get when we deal with things in real life. The real-life things we're afraid of aren't ghosts, or monsters, but smaller, more pressing concerns that we have to deal with every single day. A missed deadline. Quota we failed to meet. Running late for exams. They sound simpler, but you can't just turn off the screen on them and forget about them.
Now, I said different people are afraid of different things, but I think it gets more weight in real life when I say that different people with different preoccupations are afraid of different things that may or may not happen. That sounds like a mouthful, right? In any case, by saying that, the point is this – that writers deal with the fear of things that possibly only they can feel. And writers may be in the unique position of being afraid of the precise same thing that they need to do. Writing.
The fear of writing may stem from many things. The likeliest reason may be writer's block – one moment you're writing something great and you're feeling good about yourself, the next moment you have nothing and you start panicking and you're not really sure if you should pick up the pen and write again. It's a real fear that just about any writer has encountered. And that's just the beginning. In her article "The Four Fears That Stop You From Writing" for terribleminds, Andrea Phillips outlines the four fears that: fear of the lack of talent, fear about feedback, fear about publication, and fear about being judged. These are very real fears, and Phillips articulates them well. Take this one about the very basic fear of the lack of talent:
Writing is an uncomfortable act. You're making yourself vulnerable — exposing the softest, squishiest bits of your psyche and putting them out there in public where people will know what is in your deepest heart of hearts, and just might stomp on it with extreme prejudice.
Your good ol' reptile brain perceives this as a threat to your personal safety. No sense hating the reptilian bits of your brain, though. Its job is to minimize risk, and it does it to keep you as fat and happy as it can. So it comes up with tons of fantastic reasons for you to not actually take any risks at all.
Phillips nails it. Scared of being called talentless, scared of experiencing prejudice, you, the writer, just decide not to write at all. Which effectively stops everything else, from feedback to publication, in its tracks. It's understandable, but also ultimately something that you have to overcome if you really want to write. As Phillips says at the end of her article:
…The absolute best work you have in you is always going to be the stuff that's closest to your heart, the stuff that's absolutely the hardest to let another human being read. It's risky to show people those deep and true parts of yourself, but life is risk. Look that fear in the eye, spit it in the face, and then write more effing words.
Those are four basic, general fears, of course. But Dan Blank's article for Writer Unboxed, "Writers: What Are You Afraid Of?" looks at fears specifically pointed out by authors. It's worth reading, but the part that really struck me was this:
Too often, I believe "new" writers assume that if they just get over some mythical hump in their writing career, that things become easier, at least on an emotional level. I haven't found that to be the case when talking with writers. Everything is relative, and no "success" can stop us from being human beings who oftentimes run on survival instincts, and who have a difficult time processing a complex social world.
All this to say: I don't think fear is a shameful thing that we must rid ourselves of. It is a natural part of taking the risks that writers do. And that the logical reaction to fear should indeed be bravery.
Here, Dan Blank is referring to being afraid of continuing to publish your work even after you've already published something and it's gone on to be successful. Success is not a deterrent, and authors – whether or not they've already been published and have been successful – still need to deal with the fear of being criticized or being ignored when they're next work is on the line. So fear isn't just something that sits with writers who haven't proven themselves yet. Fear assails everyone – whether you're successful or not. Is that a comforting thought? It depends on you of course, but it may be a consolation if you think about how you and your favorite writer are possibly constantly in the same boat.
So what now? We acknowledge that we get scared of writing, of getting published, of getting feedback, of getting rejected. How do we overcome these? I'm sure we have a lot of personal strategies to overcome the fear of writing, and if they've been effective, then we should keep going with them until we feel at ease enough to start writing again. You can always look for suggestions, like "The Definitive Guide to Overcoming Your Writing Fears,"or you can always wing it and look for something else to do – walk around, listen to music, absolutely try to ignore the fear for a little while.
Fear of writing – and just about anything that's closely associated with it – is normal, and there's no shame at all in acknowledging that you're afraid. What counts is understanding that fear, and taking steps in willingly overcoming them. There's no end to it, of course. You'll experience fear over and over again. But what's important is that you always get the job done, even if "the job" is just writing a few paragraphs a day – just to beat that fear into shape.
Do you know other things that writers are afraid of? Do you have strategies when overcoming the fear of writing? Let us know in the comments, or tweet us @creativwriters!
Channeling Creative Forces: The Reasons Why We Should Make Art
July 25, 2016 Jillian	Leave a comment
A few years ago, Neil Gaiman, delivering a commencement speech to graduating university students, implored everyone to do one thing: make good art. Make good art regardless of the circumstances. Make good art in the face of adversity, or happiness, and all the emotions in between. It's an inspiring statement that can fuel our drive to do something creative, regardless of what kind of art it is, whether written, visual, or aural.
Still, what we don't really talk about is the vast number of reasons why we should make art – whether it's good or bad (it really depends on who's evaluating the piece of art, anyway). In this post, I'll talk about a few things I saw on the Internet about making art – primarily through the visual and the written media – and why we should make art. And the reasons go beyond just wanting to pen a single story that encompasses a certain experience, or to make some thoughts known through verse.
One of the more immediate ways that art is made is through the written word. Writing is a highly accessible activity that doesn't have to take up much of one's time – unless one is inclined to, of course. It could be quick, like a line or two that you think is particularly brilliant that you want to write down just in case you might need it later. It might be a longer, more arduous process, such as the writing, trimming, and perfecting of a poem, or the writing of a novel. It is also pretty much everywhere, and not necessarily confined to creative or literary pursuits, although we are here to talk about art.
Another is, of course, the visual medium. And as far as hobbies can go, it may also be as inexpensive as writing. Just a pen, some paper, and imagination, and you're good to go. Of course, visual art is such a broad term, and encompasses a lot of things from paintings to sketches to sculpture, maybe even advertisements and photographs.
We're familiar with so many forms of art, but again, I'll lead you back to the question of why we should make art in the first place. Artists in their respective fields have weighed in on the issue already, as the post "Why We Make Art" by Jeremy Adam Smith, published on the Greater Good Science Center website, proves. Smith asked some artists to answer the question why, and the responses are diverse. Gina Gibney, the artistic director for the Gina Gibney Dance Company, for instance, shares this:
I make art for a few reasons. In life, we experience so much fragmentation of thought and feeling. For me, creating art brings things back together.
Harrell Fletcher, who started the website Learning To Love You More with Miranda July, responded thus:
In my case, the projects that I do allow me to meet people I wouldn't ordinarily meet, travel to places I wouldn't normally go to, learn about subjects that I didn't know I would be interested in, and sometimes even help people out in small ways that make me feel good. I like to say that what I'm after is to have an interesting life, and doing the work that I do as an artist helps me achieve that.
For Fletcher, making art appears to open the world to him – a wonderful reason, certainly, to make art. Then there is James Sturm, who responds to the question thus:
Perhaps the only insight I've gained is the knowledge that I have no idea and, secondly, the reasons are unimportant.
The view that the reasons for making art are unimportant is interesting, certainly, and not the kind of perspective you'd come across everyday. Or at least, perhaps something that people won't admit to. In a way, however, Sturm's response can be related to the idea that art serves so many purposes and cannot be boxed into a single. Make art – the reasons, whether you have them or not, are not that important. What is important is that you make them. In any case, art can have various meanings, besides, to anyone who's beholding it, or reading it, or listening to it.
"Why make art" is not a question that can only be answered by supplying personal reasons, however. In Sean Kane's article for Tech Insider, "7 science-backed reasons you should make art, even if you're bad at it," tells readers exactly that: scientific reasons that answer the question of why you should make art. In the article, Kane says:
Painting, sculpting, dancing, making music, and all the other artistic pursuits have benefits that go far beyond pure enjoyment or cultural creation — these activities can also strengthen your brain and improve your mood. Here are seven reasons to give yourself time to make art, even if you think you're bad at it.
The science-backed reasons may surprise you. Mindless sketching (under certain circumstances), for instance, actually helps you focus. Writing about your problems can help you cope with them. Making art can basically act as one huge stress reliever. And in this day and age, we need all the stress relief we can get. But the benefits of making art are there, and should be reason enough for you to make art, if in case you're someone who has no gigantic literary or artistic ambition that you're itching to fulfill.
I'm sure there are a million and one more reasons why we should make art, and I doubt I've been able to cover them all in one post. However, it's safe to say that the general, big vision, the big picture, that we want to put into view is this: we should make art because making art heals, fulfills, and communicates. Making art allows us to talk about certain subjects and deal with certain things. It helps us to share or articulate our experiences and thoughts with others. It allows us to touch others' lives. With these ideas in mind, we can safely say that whoever you are, you should make art. Even if it's just one doodle, or one line, or one note at a time.
I've rounded up a few links related to the topic. Check them out!
10 Reasons You Should Write Something Everyday
Why Do We Make Art? Author Explores the Depths of Leonardo Da Vinci's Brain to Find Out.
Artgasm: Why You Ought to Make Some Art
Do you know any articles or reasons – personal, scientific, or otherwise – why we should make art? Do you have art to share? Let us know in the comments, or tweet us at @creativwriters!
Rising From the Ashes: Accepting Rejection
Pretty much everyone knows that most people who have become successful originally started from the bottom then made their way up. It's a fact of life – one should work hard to achieve their dreams. These dreams become the individual's drive to do something, motivating and making them soldier on regardless of how many failures and rejections get in the way.
Soldiering on is, of course, easier said than done. Just as it's a fact of life that we'll get rejected a lot over the years, whether it's for a job or for a manuscript that we're trying to get published, it's also a fact of life that it's not easy to deal with. Far from it, really. Rejection the first or second or nth time may be enough to get you to think that maybe what you're doing isn't really for you, and there's no point in going on and walking the same path. Of course, some may have an easier time accepting rejection more than others. Still, whoever you are, it helps to understand the possible reasons why your work is getting rejected – and then rising up from the ashes and moving on from there.
So let's get started. Rejection needs no introduction – it simply means that your work is not deemed fit for publishing, for reasons that probably won't be disclosed to you. It doesn't mean that what you've written isn't good. It just means, perhaps, that what you've written doesn't fit the vision that the agents you've sent your work to are envisioning. It certainly helps to have that mindset. So first, you do have to try and understand what goes on in the selection process, and then understand why you get rejected – and really, it's not personal. In the article "25 Things Writers Should Know About Rejection," author Chuck Wendig gives some twenty-five excellent things writers should be aware of when faced with rejection. It's a list worth reading – especially if you need someone to help you shape up after the initial rejections you've received – but the last item is particularly valuable and worth taking into heart:
A writer without rejections under his belt is the same as a farmer with soft hands; you shake that dude's hand and you know, he's not a worker, not a fighter, and wouldn't know the value of his efforts if they came up and stuck a Garden Weasel up his ass. Rejections are proof of your efforts. Be proud to have 'em.
It's great advice, something to keep in mind, and something that can help you get back up and start writing again. Or at least begin reading whatever you've sent, now with an objective eye and a heart open to the flaws that your work has. Rejections are, as Wendig says, a sign that you're doing something – and the more you do something, the more you improve on it, right? In a way, yes – but also learn from the rejections and try to understand what you've done wrong.
With that said, what could be the actual reasons why agents reject author submissions, in the first place? Like I said earlier, it's not really personal – and novelist and photjournalist Heather Hummel talks about this in her blog post for The Huffington Post, "Why Agents Reject 96% of Author Submissions." Reasons can range from something simple as spelling and grammar (which should be reason enough for you to stop procrastinating and proofread your work!) to concerns like genre confusion and weak query letters. These more, say, technical concerns may easily be forgotten in the process of actually writing your work – and may be something you fail to remember when you decide to get out and submit it to different publishers. Remember that there's more to writing than actually writing your work – and that the more you familiarize yourself with important concerns as submission guidelines and query letters, the better your chances may be of getting accepted.
Now let's recap what we've said so far. Rejection is not personal, and there are many reasons why you can get rejected. Now it's easier for you to look back and see what you've done wrong, and start working again! But hold up – maybe there's something else stopping you, and it's probably that nagging sense of doubt that you won't be able to get your work published, anyway. Well don't worry – I've already said earlier that a lot of people who are successful had to work hard for it. You probably know it already but wouldn't believe it still, but many big-name authors whose work have gone on to become classics or bestsellers have experienced rejection, the same way you're experiencing it now.
Okay, so who are these authors, exactly? A quick Google search will lead you to a lot of lists detailing how authors got rejected by publishers. Alice Vincent's article on The Telegraph, "The rejection letters: how publishers snubbed 11 great authors," is one such informative list. You'll find that all manner of writers – from T.S. Eliot to J.K. Rowling – have been rejected, one way or another. Stephen King's Carrie, for example, was rejected by a publisher, because they were "not interested in science fiction which deals with negative utopias. They do not sell." Of course we all know by now how big Stephen King is, or how successful Carrie has become – even spawning movie adaptations. Herman Melville's Moby Dick was also rejected by Peter J. Bentley, who wrote: "While this is a rather delightful, if somewhat esoteric, plot device, we recommend an antagonist with a more popular visage among the younger readers. For instance, could not the Captain be struggling with a depravity towards young, perhaps voluptuous, maidens?"
There are more lists on successful people getting rejected – whether they're writers or not. "20 Brilliant Authors Whose Work Was Initially Rejected," on Buzzfeed, and the article "Best-Sellers Initially Rejected" on LitRejections, are two such pages showing you that, yes, people who are big now had to struggle with rejection before. Lists like these should help put things into perspective – if or when you get rejected, just remember that you're part of a long line of authors who had been rejected initially, but had found their way up afterwards.
So there. Hopefully this pretty long article has helped you to ultimately understand, cope with, and move forward from rejection. Again, all this is much, much easier said than done. But just keep your eyes on the prize, and eventually you'll get to where you want to be.
Did you like this article on rejection? Or maybe you know more articles about successful writers who got rejected? Whatever your thoughts are on the subject, share it with us in the comments, or tweet us at @creativwriters!
Practically Speaking: Practical Writing Advice from Writers, for Writers
We've talked – and written – about a lot of stuff related to writing, and some of them are quotes and writing advice from authors both big and not-so-big. And while a lot of pieces of advice, and a lot of quotes, are helpful and inspirational, sometimes those big pushes won't always be enough. You've listened to stuff like "write what you love," "write what you know," and the not-always-reliable "show don't tell." You've seen people give you advice, and you've seen people tell you they can't give you advice, because writing's an individual experience and everyone else's advice can only get you so far. You've tried to process material and learn from what others have done, and tried to do or to deviate from what's been done before. And all of this is well and good when you tell yourself that you just need to get some more motivation – even just a tiny morsel of it – for writing.
But writers don't need only advice to keep them motivated. Writing is, after all, more than just the act of writing. Throughout the writing process and beyond, there are practical tips that any writer can find useful – whoever you are, whatever genre you're writing in, and regardless of what how motivated or un-motivated you are.
Here are some amazing and very much useful practical tips that you don't always get when you ask people for writing advice!
"Read craft guides." This one's from author Marissa Meyer, who writes in her blog:
I have read dozens and dozens over the years, and I learn something new with every guide I read. Some are full of general advice, while others focus on one specific craft element like setting or characterization. There are also books on living a writer's life while maintaining your sanity, or setting goals for yourself, or how to market your work once it's published.
"Find three trusted readers, not just one." A valuable tip from Brian A. Klems, published on Writer's Digest. It's a tip that makes a whole lot of sense, as – Klems notes – "reading is subjective," and different readers will react differently to your draft. One may find strong points, for instance, in the parts which another reader thinks is weak. Three readers will provide three perspectives, and gives you the chance to decide which parts could and should be revised. Klems writes thus:
So when you're ready, find three trusted readers who will review your draft at the same time. Don't read their critiques until you have all three. That way, you won't be crushed if one person doesn't respond the way you'd hoped, and you'll be able to pick and choose the suggestions that most resonate with you. It's your novel, after all. Input is absolutely critical, but in the end, you have to sift through it and be faithful to your own voice.
The post "Practical Tips on Writing A Book from 23 Brilliant Authors." We're not gonna cut corners here. This entire post has a lot of great practical writing advice and should be read in its entirety. Here are some of my favorites.
Advice from Bill Wasik–
The first tip is that readers expect books to be exhaustive on their subjects. That doesn't mean they want the books to be long — it means that they expect that you will cover all the basic ground that needs to be covered to understand the subject, even if they know some of it already.
This is a basic piece of advice, but it can't be overstated when you're trying to go from magazine-length to book-length writing: hone your outline and then cling to it as a lifeline. You can adjust it in mid-stream, but don't try to just write your way into a better structure: think about the right structure and then write to it. Your outline will get you through those periods when you can't possibly imagining ever finishing the damn thing — at those times, your outline will let you see it as a sequence of manageable 1,000 word sections.
From August Kleinzahler–
I find it helpful sometimes — and still to my surprise — trying to explain to someone what it is I'm trying to write about, usually someone bright but in a different intellectual zone, and not a writer. Or, likewise, in a letter or email to such a person.
And from Jonah Lehrer–
My one piece of advice is to insist that your editor be brutal — there should be red pen on every page. At least in my experience, the book only gets decent during this phase, as all the darlings and digressions get killed. It's such an important process, and yet too many editors are too meek (or overworked) and too many writers resist their edits. A good editor is a great thing.
As you can see, these pieces of advice run the gamut from being useful during the writing and pre-writing process, and being useful after writing. And there's certainly a whole lot more out there, and will often involve stuff when you get down to business: should I self-publish or shouldn't I? Where do I take my work now? How should my work be marketed? You probably won't rest easy until you actual get the finished work in your hands — and even then there will still be a lot of hoof-work to be done.
But always remember that there's a place to start, and often it starts at the beginning of your writing process. Be rigorous in every aspect of your work, and eventually, you might be the one dishing out some great practical writing tips!
Do you know any other great, practical writing advice? Let us know in the comments, or tweet us at @creativwriters!
Happy Endings?: Quitting Writing
Behind every finished book, short story, poem, or play, is a timeline of seemingly endless revisions and edits, and countless nights of frustration trying to finish a draft. It's no secret that writing is more taxing than it looks. It's not just about writing, but articulating, and articulating effectively. And there are a lot of times when you believe that what you're writing is not good, and what you've articulated isn't engaging. And these are the times when we think that it's better to quit writing. Do something else, perhaps, and put writing aside.
The question is, though: should you really quit? There's no single correct answer to that question, definitely. The first thing you might do is weigh the pros and the cons of quitting writing. But then you'll also have to ask yourself what it means for you to quit. Do you quit trying to be a "serious" writing, writing to get published? Or do you quit writing as a hobby, and focus on other things instead? You may ask people for advice, but it'll vary, of course. And it won't be easy when you try to decide.
In his article "How De We Know When It's Time to Quit Being A Writer?", Chuck Sambuchino shares his own story. It's worth reading, certainly. However, what stuck to me was his parting words. He places us in a position where we're compelled to think about whether or not we should just quit writing. And then he says:
The answer, of course, is simple: Can you quit? Chances are, you probably cannot. So keep writing, Dear Writer – because that is what you are. Whether or not you have a novel in bookstores. Whether or not the whole world has read your writing. Whether or not anything of yours is ever published, as long as you live, you are still a writer. It is part of who you are. Keep writing. It is never time to quit.
It is definitely nice advice, and one that we'll want to follow. You'll probably not want to quit if you've always loved writing, anyway. But while you may soldier on, there are some who do not want to continue. Lisa Kerr shares her own experience in the article "Why Quitting Writing Was the Best Thing That Happened to Me:"
Quitting gave me what I needed to feel healthy again; it gave me the distance from what (and who) was unhealthy for me. I needed to enjoy writing again without the self-imposed pressure to publish with a leading agent. I needed the freedom to drink a beer and sew some crooked triangles on a quilt. I needed to get dirty with watercolors in my studio—splashing paint around, digging in the colors with my fingers. I needed to stop being worried about the cutthroat people I'd worked under.
For Lisa Kerr, trying to force herself to write was already becoming unhealthy for her. It wasn't a question of being passionate about writing. It was a question of whether or not writing was still something she enjoyed. And distancing herself from writing gave her the energy she needed to get back on track.
In the end, it is you who can decide whether or not you want to quit. You should weigh in pros and cons, and decide if you want to quit for good, just plain quit, or distance yourself from your writing for a while. In the end, choose what's healthy for you, and things may fall into place.
To end this post, here's a link to an article: An Open Letter to Writers Struggling to Find Their Courage. May it give you help and hope.
Write Fantastic: SFF Authors on Self-Publishing
July 8, 2016 July 12, 2016 Jillian	Leave a comment
The books everyone sees on display in bookstores' shelves more or less went through a traditional publishing process. It was a product pitched to a publishing house, edited by a professional editor, publicized, marketed, perhaps promoted tirelessly, both online and off. But a lot of authors know that the traditional publishing process is a lot of work, too. And for some, the end product might not feel like it was worth all the effort. There is, however, a different avenue to get books published: the self-publishing route.
Self-publishing is exactly that: you publish your own work instead of getting them through so many different channels. Many authors saw it as a golden opportunity, especially as authors like Amanda Hocking became successful through self-publishing. There is, however, a problem with that kind of platform, as Ben Galley points out in his article on The Guardian, "Is the self-publishing stigma fading?":
The brutal truth is that when you can publish anything, people will do exactly that. The market was flooded with indie literature and, sadly, a large percentage of it was substandard. Bad editing, awful covers, and mediocre content were rife. Advice was scarce, the methods many and varied.
And this is true. But, as Galley points out in the same article, there are a lot of independently-published works that are also good and worth readers' time and money. Self-published authors themselves acknowledge that it's not easy to get your work noticed in places like Amazon, where a lot of other works are being sold. Self-published works are being consumed, however, regardless of whatever genre they're in. More works means more books for readers to discover. Thinking about the sheer number of books that one can come across on the Internet is daunting, certainly, so it's definitely helpful to look at lists (like this one by author Michael J. Sullivan, about his favorite self-published fantasy works).
For authors, meanwhile, who do want to explore self-publishing, some successful self-published authors have already shared their tips over the internet.
Author Hugh Howey, who wrote the post-apocalyptic novel Wool, says that he originally tried to go through the traditional publishing route. In an interview originally appearing on Wired.com, he shares:
…I kind of got peer-pressured into going that route and ended up with a small press and everything went well, but I guess what I saw was, the way that they were publishing it, all these tools were available to me, so I thought, "I can do this."
Ultimately, he decided to self-publish:
Self-publishing, for me, was a way of getting published and the other way took years of querying, trying to land an agent, trying to get a publishing contract, a year from the publishing contract to actual publication, so it was never about making money or trying to get into bookstores; for me, it was all about writing stories and trying to distribute them.
It was helpful to Howey, certainly, and the exposure his book got only encouraged him to write more.
Another fantasy author, David Dalglish, had believed that self-publishing wasn't good. He writes, in his guest post for Fictorians:
In college I'd taken plenty of Creative Writing classes, and my favorite teacher had a single day each semester devoted to discussing the pure business of publishing. I still remember what she said: self-publishing meant the end of your career as a writer. You'd never be taken seriously again, because self-publishing was the route of the desperate, and those unwilling to put in the time and effort to get published traditionally.
It did work for David Dalglish, who was, originally excited just to have five people he didn't know pay for the book he published. As for advice or tips on self-publishing?
The terrible truth is, I'm not sure what worthwhile advice I have to give. Why?
Because if I tried self-publishing from scratch right now, I'd fall flat on my face. That's how much the self-publishing world has changed. Let me explain. Self-publishers are like locusts (I'm serious, hear me out). For every one person that is respectful, and putting time into their craft, and willing to abide by the rules, there are five who won't, and will simply swarm in, regardless of the damage it might cause. So one of the earliest ways I got sales was by chatting with people on the Fantasy forums on Amazon. But once people realized that could earn sales, those forums were bombarded with spam, sock puppets, people recommending their own books regardless of the topic. Once upon a time, a reader could make a post saying "I just finished this book by David Authorguy, and it was great!" and you'd nab ten to fifteen sales just like that. The same went for the 99 cent price point. It was an easy way to get noticed, and undercut competition. But now? Pricing 99 cents does nothing, absolutely nothing, to make you stand out.
Dalglish's guest post was written back in 2012, and the self-publishing may have changed since then. Regardless, it's still not an easy task getting your work noticed through different channels – self-published or otherwise. But Dalglish's words on the subject of publishing and writing are worth taking into heart:
And I don't mean crank out crap. Imagine that you have a fan base out there, one you're steadily growing. Every book you write, make sure it's something that audience will love and devour. With each new book, you'll gather in the new, and satisfy the old.
I'm starting to ramble, so I'll cut it off here. In short, if you want to self-publish, go in wide-eyed, your pride swallowed, and your ears open. Treat your readers, who are also your paying customers, with respect and courtesy. Don't make excuses, but instead have the best editing you can have, the best cover, the best formatting, and the best presentation. Most of all, the best story.
What counts, in the end, is that authors work hard to write great books, and then work as hard to get them exposed to the public. It's definitely not going to be simple or easy, and it might take a few tries to get things going, but there's certainly reward to get from writing good works and publishing them through the right channels.
Here are other helpful links that you might want to check out:
David Dalglish's Goodreads. He has responded to a lot of Ask-the-Author questions, and you might find useful things there – from tips to details about his books.
Interview with author Daniel Arenson. Another self-published fantasy author, and one of the people whose works Michael J. Sullivan recommends. Arenson's website also has free books you can get.
The Power of Influence: How One's Creativity Can Influence Others
June 29, 2016 Jillian	Leave a comment
We always talk about inspiring and influencing through creativity and creative works, but although it's something we know instinctively, it always pays to have some great, concrete examples of how creative works have influenced others. It pays to acknowledge the fact that, of course, being influenced is inevitable. Once, one of my professors overheard a creative writing student claiming that they're adamantly avoiding reading anything because it will affect their writing. My professor scoffed at this, and I would have, too. Attempting to deny others' influence – so long as it's good influence, the kind that makes you productive – may very well equate to denying your own work any relevance in any genre, in any aspect of life. It denies acknowledging your own roots – how you've come to fall in love with art and creativity, in the first place, or how you've come to think and act in certain ways. Influence is important, in other words, and it pays to always know what your influences are, for your own work to spring from them.
In this post, I'll run through a few works and articles in which famous writers and artists acknowledge how existing works have already influenced them, whether the influence is on a specific work or on their entire creative oeuvre.
The Ecstacy of Influence by Jonathan Lethem
Speculative fiction writer Jonathan Lethem released this collection of essays that, as the title suggests, largely discusses what has influenced him in various points in his life. Lethem talks about his relationship with the works of various writers and artists, from Philip K. Dick and J.G. Ballard, to Marvel works. It's an interesting collection because you'll be able to see how Lethem reacts to the figures that have shaped his life and form his interests – even as he speaks in his own voice and talks about his personal experiences.
Dwight Garner wrote about Lethem's book in the New York Times. Read it here.
Turning Point: 1997-2008 by Hayao Miyazaki
Turning Point: 1997-2008 is a collection of essays, notes, interviews, poems, and illustrations by – or conducted with – Hayao Miyazaki, the ever-famous director of such films as Princess Mononoke and Spirited Away, and is just about synonymous with the Japanese animation studio, Studio Ghibli*. This is just a half of the series of books revolving around such a collection of material from Miyazaki, but 1997-1998 talks primarily about three of his most famous films – Mononoke, Spirited Away, and Howl's Moving Castle. You'll read in the notes and interviews about Miyazaki's influences – and it's not the kind of influence on which Miyazaki was compelled to build on, if that makes sense. Miyazaki shows that influence is not always following a certain tradition or style set by certain artists. He talks about Akira Kurosawa's Seven Samurai, which he saw was a misrepresentation of certain aspects of Japanese history. He in turn attempted to amend this in Princess Mononoke. He talks about how Osamu Tezuka has influenced him – but only through certain works, and not Astro Boy. It's an interesting read, certainly, as Miyazaki gives a lot of great insight on his work, and on what foundations he built them on.
A Drifting Life by Yoshihiro Tatsumi
Manga artist Yoshihiro Tatsumi's A Drifting Life is one huge book. Using manga as the medium to deliver his memoir, Tatsumi shows what the sights and sounds of his childhood were, what kind of world he was growing up in, and the effects of it all on his work. He was, like Miyazaki, inspired by Osamu Tezuka – but his was a glowing, wide-eyed, absolute admiration towards the Astro Boy creator, whom he managed to meet during his childhood. The book shows not just Tatsumi's admiration for Tezuka, but also the other factors that influenced his manga style – films (the techniques used in which he incorporated in his work), existing four-panel manga (which he tried to distance himself from when he wanted to innovate), and the people around him. It just goes to show that influence isn't just from one writer, or from something absolutely positive – influence goes in bits and pieces. How to craft everything was left to Tatsumi himself.
These are just a few works that show how others have managed to influence artists and their creative works. I repeat – it pays to acknowledge others' influence. If you don't particularly like how you're being influenced, attempt to subvert it, or try to make something new out of it. If you like how the influence has come across to you, then by all means work with it. Creative works and creativity pulse with life — not just yours, but also others who have come before you, and who have lived and done their work before you. Consume a lot of material, and use them to your advantage. Let influence make you grow. The good work will certainly follow.
The Right Notes: Writing While Listening to Music
When writing, people tend to do everything they can to make themselves feel absolutely comfortable and to ease themselves into the writing mood. This involves a lot of pre-writing rituals that may vary from person to person: walking around, talking to yourself, eating certain types of food, brewing coffee and smelling its aroma, exercising – the list is long, and for some, overwhelmingly so, and very much specific. But there's one ritual – whether before writing, or during the process itself – that a lot of people do as, for one way or another, it could help in the writing process. I'm talking about listening to music.
Even outside of the act of writing, music is already an effective mood-setter for just about anything in our daily lives. The kind of music you play at the start of your morning can make or break the rest of your day. The music played on air while on your morning drive can either make you feel at ease in traffic, or irritated. A lot of times, when we want to feel certain things, or are in a certain mood, we listen to music. Music is effective in making you cope with certain situations, or making you enhance your experience of a situation. That's perhaps part of the reason why movie awards shows recognize their scorers, or why video game reviewers also consider how good the music is when reviewing a game.
That said, what is the effect of music to the writer? In "How Music Affects the Writing Process" by Nona Mae King, King outlines how turning on her music actually begins her writing process. She says that "silence is distracting," and that music ultimately helps her keep her focus. King also says that music enhances the mood that helps her "create a writing soundtrack… for a specific scene, character, era, or particular intensity [she wants] to impart to [her] readers." In a way, it works similarly to how music sets the mood for certain scenes in movies and TV shows so that viewers may get further absorbed in what's happening, or how video games use music to make the player feel more involved in exploration and battle.
And going away a little bit from writing, Gregory Ciotti in the article "How Music Affects Your Productivity" says that music's "effectiveness is dependent on how 'immersive' a task is… the creative demand of the work." Ciotti says that music certainly helps make repetitive tasks more enjoyable. However, it doesn't take just any kind of music – familiar music would be better and less distracting. Much better if there were no lyrics. Ciotti's article touches on the idea that music certainly helps you focus – and not just in writing, but in many other day-to-day activities, often ones that are mundane and repetitive.
Going back to writing, there's certainly a positive effect for the writer who listens to music while writing. However, it's not always the case. I know someone who tends not to listen to music while writing, as she finds this distracting.
Ultimately, it depends on you as a person. If you think music sets the mood and helps you write, then listen. If not, then there's definitely no pressure. In any case, going back to my first point, it's always valuable to know what makes you comfortable enough to get into the writing mood, and what makes you distracted. Do what's best for your writing, and if it involves listening to music for your writing to be able to hit all the right notes, then by all means do so.
Right Spaces and Proper Places: The Importance of Knowing Where and When to Write
One of the things about writers is that they're not always in the mood to write, because of little details under specific circumstance. It's frustrating when you're walking around and getting all these brilliant ideas to write down, just to have them all melt into the air when you finally get home and sit down to write. It may be because suddenly your location has changed and your environment has shifted. It may be because your house is not exactly conducive for writing. It may be one of many things, but all you can think about is how such a brilliant idea of yours has disappeared, and that you are unable to work on it again. It will be replaced by another brilliant idea, perhaps, something that comes to you while you're walking, or watching other people, or doing various other things, and then it might disappear again. A vicious cycle, certainly.
This kind of situation – something that frustrates just about any writer – is the reason why it's important to be aware of the kind of writer you are when it comes to writing in certain locations. No one can tell you where you can write effectively – only you know where and what kind of situation you must be in for you to be able to write effectively. It's always reasonable to try out a lot of places – bring your notebook around, and write your ideas, or verses, wherever. It may be the park, or your favorite cafe. A restaurant in a mall, or somewhere in your school campus. It may even be at home, perhaps, or in your car. Whatever the case, it's important to know where.
However – and this is also valuable to understand – you won't always be comfortable writing in the same old places all the time. One coffee shop, for example, may be a good place for you to write your verses, but when you come down there to write your short story, it suddenly becomes off. The music grates, the smell of coffee makes you uneasy, and the quiet chatter of other customers might jar your head more than a little. So you set off, and find perhaps another coffee shop, or an entirely different place for you to write. And no one can tell you, I repeat – you'll be the only one who'll be able to understand that a certain situation is good enough to make you write. Sometimes, it's not even a question of where but a question of when. Small details like the weather and what time of the day it is all contribute to your writing mood.
So what can you do about it? Don't fight the feeling, but rather be prepared for flashes of creativity. Bring a notebook, or a laptop, that you can access immediately to pin down ideas. That should keep you going, even if the verses aren't full or the story is not complete. But the important thing is that you don't use the place and the time as an excuse not to write, as not trying to write at all is much worse than writing something you're not satisfied with.
So go around, look for the right place, and be prepared. You'll eventually get in the zone and write down that brilliant piece.
Is the Author Dead?: Why We Should Read Authors' Nonfiction (and What We Can Learn from It)
Books are always the creation of their respective authors, and are therefore informed by a number of things concerning the author: what topics the author might be interested in, what particular events may have transpired in the author's life that inform the events in his or her book, and who or what might have spurred the author to write that particular story. Stories spring from an amalgam of resources and references, but how all these are tied together is all up to the author, which may tell the reader what the author wanted to say, precisely, or what the text itself is supposed to do to the reader.
Of course, it's not always easy to actually involve the author in the reading of the text, for various reasons. One may be that readers don't exactly know a lot about an author, to begin with, or the context that produced that particular text. There is, too, a sort of resistance to the idea of reading a text in light of its author. French literary critic Roland Barthes, for example, said that "the image of literature to be found in ordinary culture is tyrannically centered on the author, his person, his life, his tastes, his passions," and that to truly understand literature, one must metaphorically kill the author: "the birth of the reader must be at the cost of the death of the Author." In other words, if the reader thinks about the author and his or her life while reading the author's text, it might immediately color the reading of that text. So just don't think about the author and read the stuff and interpret it on your own.
But authors aren't always dead, and the meanings they try to weave into the text don't disappear just because you remove the authors themselves from the picture. Sure, it's frustrating – especially in high school English classes – when you're asked to share what you think the author said, because it might make you feel like an uncertain mouthpiece for that author. But literature is the product of a sort of co-authorship between the reader and the writer: the writer, of course, writes, and this writing is informed by their reality and what they want to comment on, while the reader interprets the text based on what they know of it and what they know of themselves. When a piece of literature becomes too difficult to understand, meanwhile, it's always helpful to find out what the author might have meant by it, so there's always one good thing to do when you're stuck like that: read up on the author's comments on the work, if there are any.
In this day and age, especially, a lot of authors do opinion columns on the Internet and elsewhere, share their thoughts over on social media, and release nonfiction books – usually collections of essays – talking about their work and their writing process. For both readers and writers, all these nonfiction material are helpful in two primary ways: to understand the author's intents and the author's work, and; to study the author's craft. This is especially helpful when you yourself are trying to write, and are trying to figure out how others have done it – or have tried to do it, at least. What did those writers do to arrive at the point where they're writing smoothly? What inspired them? What did they want to accomplish? These are questions that you can look at and think about when you're reading nonfiction by authors, as often the nonfiction works themselves reveal how the writer thinks.
So what's our take-away from this? It's not enough to just write, the same way that it's not enough to just read books and leave them at that. It's always helpful and enriching to understand the authors behind the works, and to ultimately draw from what you've read and learned and apply them to your own writing. Remember: the author can't die.
What's In A Name?: Famous Authors Who Wrote/Write Under Pen Names
Book Marketing Spotlight: BookFrenzy Studios
It's A Steal! (Or, Creativity Through 'Copying') 14 Nov , 2014
Tap Into your Subconscious for Better Ideas 02 Dec , 2014
How To Stay Popular in the Creativity World 14 Nov , 2014
Feed your Creativity…For Real 30 Nov , 2014
Constant Writing as a Cure for Less Creative Days 20 Nov , 2014
The Creative Process, and Why You Should Go On (Even If You Feel Bad) 02 Dec , 2014
Book Marketing Spotlight: BookFrenzy Studios | Creativinfluence on Watching and Waiting: Book Trailers and How They Help You
Lawanda on Tap Into your Subconscious for Better Ideas
Deandra on How To Stay Popular in the Creativity World
ony w800 camera price in usa on Writing Is A Lifelong Commitment
What It Means to Write | on What It Takes to Write
DIY Book Covers Templates
Creativindie
Creativinfluence All rights reserved.	Theme by Colorlib Powered by WordPress


text:
A Watering Hole, Woodyer & the World-turned- Upside-Down
Whitley is the area of Southern Reading, between the town and Shinfield, from the high ground alongside the Shinfield Road right down to Foudry Brook and the Kennet. The area around Northumberland Avenue is thought to be the home of Iron Age Reading. A large number of finds from that period suggests the existence of a hillfort that has since been obliterated by the housing.
Whitley was a Saxon hamlet settled on a small area of land cleared from the woodland on the edge of Windsor Forest. The name means 'White Clearing,' perhaps referring to the local geology. The manor appears in the Domesday Book of 1086 as Witelei. Before the Norman invasion, it had been owned, along with other Berkshire manors, by a certain Edward. By then, it was held by Theodoric the Goldsmith. He was a German immigrant who had been living in London for some years, making jewellery for the Royal family. His chief country estate became Kennington in Surrey, but the Conqueror also gave him five wooded Berkshire manors where charcoal could be made for smelting metal. The main one was at Hampstead Norreys, but he may have visited Whitley occasionally. Living there were two villeins (tenant farmers), two bordars (cottage dwellers), two serfs and their families. As well as the usual agricultural land, there were twelve acres of meadow (presumably along the Kennet) and a fishery.
In the 12th century, Whitley was given to the monks of Reading Abbey. It was one of their closest manors and so a deer park was quickly established around the manor house in the 1160s. It was here that the abbot would entertain his guests with a day's hunting. The park and its house were up on the high ground adjoining the Shinfield Road, but there were also monastic granges on the manor, like Whitley Park Farm. Their produce was apparently collected at the 'long barn' that once adjoined the Four Horseshoes Pub at the junction of Long Barn Lane and the Basingstoke Road. The Abbey also had a 'conduit' on Whitley Hill, over a spring that supplied the monks with fresh water. After the Dissolution of the Abbey, Whitley Park was granted to various well-known Reading families: the Englefields, Knollyses and Vachells. They did not live there, but leased the place out to the Watlington family. Richard Watlington was at Whitley Park from around the 1560s and was Mayor of Reading, like many of his descendants. Some time before 1679, they rented the house to the Kendrick baronets. The first was a grandson of the philanthropist John Kendrick's brother. The great heiress, Frances Kendrick was the last to live there before moving on to Calcot Park shortly before 1707.
A serious outbreak of plague visited Reading in 1638 and the Corporation decided that victims should be banished to specially built 'boarded houses' on the remoteness of Whitley Hill. Four years later, during the Civil War Siege of the town, 'Harrison's Barn' on the same hill (now the corner of the Basingstoke Road and Christchurch Road) was made a Royalist outpost from Reading's main defences, along this major southern route into town. Many soldiers were stationed there. They dug huge banks and ditches with diamond-shaped bastions around it. It would have been the first place to fall when the Parliamentary army overran the town. It seems likely that the great house at Whitley Park was destroyed at this time and may not have been rebuilt until the Kendricks took on the estate.
Whitley remained a series of scattered farms and cottages until the 18th century, when proper hamlets began to emerge along the road from Basingstoke into Reading: around the 'World Turned Upside Down' at the Manor Farm Road junction and further north near the Bourne Avenue junction. The local pound for lost cattle and smithy were near the World Turned Upside Down. Great and Little Lea Common & Whitley Wood Common, in the south of the manor, were enclosed in 1858. Christ Church was built in 1861/2 by architect, Henry Woodyer, in order to accommodate the increasing congregation at St. Giles'. By the 1870s, there was a small hamlet at the junctions of Whitley Wood Lane and Whitley Wood Road, and this is what grew to become what we today call 'Whitley Wood'. Country villas of the gentry also began to be built on the edge of Reading, south of the junctions of Basingstoke Road, Christchurch Road and Whitley Street: Whitley Lodge, Whitley Grove, Whitley Place and Whitley Hill (later called Whitley Rise). The area would eventually become known as 'Whitley Pump' after the popular watering hole that replaced the old conduit at the road junction (see photograph). By the 1890s, another hamlet was developing around the Four Horseshoes and, within twenty years, this had joined up with the houses spreading south from Whitley Pump. After the First World War, Reading contributed to the National campaign to provide council housing for the returning soldiers by building steadily over most of Whitley and Whitley Wood.
© Nash Ford Publishing 2001. All Rights Reserved.


text:
// ----------------------------------------------------------------------------------
//
// Copyright Microsoft Corporation
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
// http://www.apache.org/licenses/LICENSE-2.0
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.
// ----------------------------------------------------------------------------------

namespace Microsoft.Samples.WindowsAzure.ServiceManagement
{
    using System;
    using System.Collections.ObjectModel;
    using System.Runtime.Serialization;

    [DataContract(Namespace = Constants.ServiceManagementNS)]
    public class Disk : IExtensibleDataObject
    {
        [DataMember(EmitDefaultValue = false, Order = 0)]
        public string AffinityGroup
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 1)]
        public RoleReference AttachedTo
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 2)]
        public string OS
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 3)]
        public bool IsCorrupted ////Indicates whether the lease backing this Disk has been violated.
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 4)]
        public string Label
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 5)]
        public string Location
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 6)]
        public int LogicalDiskSizeInGB
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 7)]
        public Uri MediaLink
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 8)]
        public string Name
        {
            get;
            set;
        }

        [DataMember(EmitDefaultValue = false, Order = 9)]
        public string SourceImageName
        {
            get;
            set;
        }

        #region IExtensibleDataObject Members
        ExtensionDataObject IExtensibleDataObject.ExtensionData
        {
            get;
            set;
        }
        #endregion
    }

    [CollectionDataContract(Name = "Disks", ItemName = "Disk", Namespace = Constants.ServiceManagementNS)]
    public class DiskList : Collection<Disk>
    {
    }
}

redpajama_set_name: RedPajamaGithub


text:
Citizen science helps bridge research gap
By Krishna Ramanujan |
The practice of science traditionally operates in labs, field stations and offices, isolated from mainstream culture, which can lead to public skepticism of research and limited communication between scientists and laypeople. The solution, says a Cornell researcher, is citizen science – public participation in gathering data for studies in disciplines ranging from fish, birds and weather to stars and health.
So said Cornell Lab of Ornithology researcher Caren Cooper, during a Feb. 16 presentation, "Citizens of Science: When Advances Are Powered by Crowds," at the American Association for the Advancement of Science annual meeting in Chicago.
Cooper's presentation outlined how citizen science can relocate science from cultural fringes and foster its growth in mainstream society as an ongoing collaboration between the public and professionals. Citizen science is known to co-create reliable scientific knowledge and encourage social networks and individual investments in community that make democracy work better, according to Cooper.
"The information gathered by everyday people has brought scientific findings to light," she said. "Without data from the public, scientists might not have learned that birds are breeding earlier in response to climate change, that leaf decomposition is greater at forest edges, or that the human navel contains an enormous diversity of microbial life," she added.
Along with discussing current trends and frontiers in citizen science, Cooper also announced the launch of the Citizen Science Association (CSA), a global network of citizen science practitioners. The CSA will offer free inaugural memberships for 2014, Cooper said.
Joe Schwartz
bjs54@cornell.edu


Congratulations to our nominated writers and translators! This is just a sampling of WLT's extraordinary content from the past year—as always, choosing from more than a hundred contributors proved exceptionally difficult. This year also marks Li-Young Lee's second nomination; his poem "Seven Marys" (WLT, July 2006, 27) was chosen for Pushcart Prize XXXII back in 2008.
As 2018 comes to a close, WLT's editors would like to thank the many writers, translators, reviewers, contributing editors, University of Oklahoma colleagues and students, and readers who make World Literature Today a vital contribution to the conversation about international literature and culture. As stewards of the magazine's ninety-two-year history, we're remarkably privileged to share this work with the world.


At www.howtofixaholeinthewall.com browse consumer guidance on ceiling drywall inspection, to replace torn sheetrock texture, profesional advice on replacing wall texture while you explore details on recommended solutions for patching the wall issues. Get estimate on discount drywall prices, emergency storm repair for your house or industrial building, as you research house renovation helpful tips on renovating plaster. Refer to informative online journal on installing sheetrock by skillful local pros in your city. Review ratings on the best 10 service pros near you for your homes or commercial jobs. Search information on framing lumber, low-dust mud, pliers, wall compound, moulding & millwork & taping tools. www.howtofixaholeinthewall.com offers customers a way to save money while buying the right wall taping tools, sheetrock tape, bolt cutters, utility knives, wall tape, wallboard, joist hangers, primer & pry bars & hammers. Our page contains a list of all the products and deals that are offered by your suppliers and contractors from across the nation. If you are unsure with regards to what product is the right fit for you, use seller contact page to get support directly from professional.
Browse advertisement and business classified ads of licensed stucco wall companies in van buren, ar for free estimates on drywall texture, sheetrock repair service, ceiling patch, wall repair & plaster installation. Find and browse through deals on products for wall framing restoration, knockdown texture repairs, replacing ceiling texture, stucco maintenance and Wall installation for commercial and residential use. You may also peek through blog site to seek help and ask queries, use our program for cost calculations and request quotations from accredited drywalling and siding contractors in your area.


Rev. John Daniel Johnson is a pastor, author and teacher, and has been preaching the love of Jesus for over twenty years. Over the past 20 years he's preached in over 100 churches, led dozens of revival services, and shared the love of Christ in ten different countries and in fifteen different states.
Family—Pastor JD is married to Jessica Lynne (Whittle) Johnson of Adel, Georgia. Together, they have three, beautiful girls: Trinity Hope, Tiffany Faith, and Charity Grace.
Education—Pastor JD has a Bachelor of Theology from the Baptist College of Florida, M.A. of Biblical Studies from New Orleans Baptist Theological Seminary, Completed Graduate work at Liberty University, and attended the United States Army Chaplain Center and School.
Pastor JD is a certified police officer in Troy, Alabama, and a U.S. Army veteran of Operation Iraqi Freedom and Operation Enduring Freedom. He has been serving Mount Zion since February 2018.


text:
RockyMusic
The Musical World of Rocky Horror
Annotated SF/DF
Purity Test
Queerios!
RHPS Fan Club
RHPS FAQ
Brian Thomson Interview (1979) 2,511 views
CATEGORY: Interviews TAGS: Brian Thomson Interview Official Magazine
Exclusive Interview: BRIAN THOMSON
A conversation with the big banana of anti-set design in Rocky Horror.
Interview by PATRICIA MORRISROE
Set designer Brian Thomson could be the curator of a kitsch museum. His living room is crowded with every cliched trinket known to western civilization. The walls are decorated with pictures of Marilyn Monroe, Coca-Cola signs and strange snapshots of Thomson in front of huge plastic bananas. "I just love cliches," he explains. If one should miss the point, a life-size cardboard figure of Cheryl Ladd is stationed behind the television set. "Look over here!" Thomson says. "I have a complete collection of Annette Funicello albums. Now I wonder what happened to my Mouseketeer ears?"
Thomson, who is dressed in his favorite uniform of jeans and leopard-trimmed shirt, links his obsession to his childhood in Sydney, Australia. "When I was growing up television was a relatively new thing. Kids weren't out in the streets, they were at home watching the 'telly.' I learned a lot about American cliches just from sitting in front of the TV set. Americans are often too close to their own culture to pick up on the cliched elements. You may create them, but we enjoy them."
Cliches play an important part in Thomson's visual vocabulary as a set designer. "I love to mix very obvious kitsch elements together. The end result can be quite extraordinary." The Rocky Horror Show is a prime example. A pastiche of campy science fiction, gothic horror and British burlesque, the story piles so many cliches together that it's difficult to determine where one begins and another ends. "The original Rocky Horror script was a mail order catalogue of kitsch ideas, mingled with science fiction and horror. We all brought a lot of our own thoughts into it, and what emerged was a result of this 'mating point,' because, luckily, most of us were thinking along the same lines."
Many of the people originally involved with Rocky Horror had collaborated before. Thomson met Jim Sharman in Australia and worked as set designer on his London productions of Jesus Christ Superstar and Sam Shepherd's The Unseen Hand, which featured Richard O'Brien as a "Space Freak" with musical arrangements by Richard Hartley.
Thomson and Sharman were thinking about B-movies and science fiction long before they met O'Brien on Jesus Christ Superstar. In 1971 they made a low-budget SF film, Shirley Thompson Versus the Aliens, which is almost a Rocky Horror in embryo form. "It's interesting that we were developing the same ideas on a different continent," says Thomson. "The plot involved a group of aliens who took over Luna Park, a Coney Island-type amusement area, and turned it into their Earth headquarters. One day some 'rockers,' people like the Eddie character in Rocky, entered the park and discovered the aliens. We took a very B-movie approach to the film, but it was really an amateurish attempt."
Thomson, Sharman and O'Brien eventually pooled their mutual interests in B-movies and science fiction to fashion The Rocky Horror Show two years later. "While we were rehearsing for The Unseen Hand we'd have these great sing-a-longs. Richard would play the guitar and we'd sing these fifties rock and roll songs. Every so often he would slip in one of his originals so we suspected something was going on. Then one day he announced that he'd written this little musical and would we mind taking a look at it. Everything just finally clicked."
Thomson started work with a bare script, a bare stage and a bone-thin budget. The idea of framing the play within the confines of a movie screen had not been formulated in O'Brien's original concept, so Thomson was given free rein to create the setting as well as the set design.
"One day we were all sitting around wondering how we were going to handle the staging. We wanted a hardware science fiction look, but could hardly afford it on a set design budget of $600. Suddenly I remembered an image I had stored away. A few months before I had gone to the cinema and saw this usherette selling ice cream on the side of the stage with a spotlight shining on her. I thought it was one of the most theatrical things I'd ever seen. I suggested that "Science Fiction," the show's opening number, be sung by an usherette. The setting of the show just evolved from there."
"Once we hit on the idea that it was a derelict cinema we were able to fashion our ideas very cheaply. In a way The Rocky Horror Show is an example of anti-set design. All you are really presenting to the audience is a big white movie screen. Now I've had no stage design schooling, but I reckon one basic principle would be never to put a big white blob in the middle of the stage. Luckily, the big white blob worked quite well."
Thomson has designed the sets for London as well as in Los Angeles, Sydney, Melbourne, New York, Tokyo and Oslo. "The only time the set design failed was in New York. We simply lost control of the show. I wanted to stage it in some old cinema down in Greenwich Village, but Lou Adler, who produced the show in the U.S., wanted to duplicate a cabaret atmosphere. It worked with Rocky in L.A. at the Roxy, but New York is not L.A. Adler pulled out the whole orchestra section of the Belasco Theatre and put in tables and chairs. Waitresses served drinks and hamburgers. It was publicized as "The Beautiful Belasco, New York's first cabaret theater." Well, as it turned out, New York didn't need a cabaret theater and Rocky was a disaster. What Adler didn't understand was that the cabaret angle didn't matter. It wasn't the important thing about the play. Rocky is basically a little show. If you try and approach it as "The Rocky Horror Show — Direct from the West Coast" — you ruin everything."
Thomson was reluctant at first to get involved with expanding the play for the screen. "I had problems because I wanted to set the film in a derelict drive-in cinema, but no one went along with that idea." They wanted to get away from the movie-house location altogether, which made keeping the usherette too obvious a stage device. Consequently, the problem arose of how to handle her opening number.
"The original shooting script had a book opening with visual images from each film mentioned in the song. One page would have a picture from The Day The Earth Stood Still, The Invisible Man, and so forth. I thought that was really boring. More than that, the song is not about seeing images; it's about remembering images. You didn't need any way of depicting these things except in the mind. That's why I didn't go in for a real science fiction or Gothic horror look. We all know that and our image of it is far better than anything I could ever do. I went for the kitsch angle instead."
Thomson got the idea of using the huge lips for the title song from a painting by Man Ray. "We borrowed Richard O'Brien's voice and Pat Quinn's lips. It works well, although I never dreamed it would become a logo." Thomson derives much of his inspiration from art, particularly from Magritte whose acute sense of the absurd appeals to him. "For the movie I thought it was very important to turn Frank into an art connoisseur. He and I have similar taste, although Frank goes a little haywire at times. That's why I threw in the Greek sculpture with a Michaelangelo and a few Magrittes. It's tasteful, but at the same time it's just a little wrong, a little too eclectic. Did you notice the top hat on one of the griffins in the ballroom? That's a Magritte image. Wonderfully surreal."
The first quarter of the film was originally scheduled to be shot in black and white. With Frank's entrance down the elevator the image was to switch to color, his vivid red lipstick the first clue to the change. "The idea was dropped because there was a problem matching in the black and white with the color print. You'll notice that the beginning of the film looks totally washed out. It was done specifically in white, blacks and greys to contrast with the later ballroom scene which was suddenly supposed to explode with color."
If Thomson was concerned about how to handle the set design, his spirits picked up considerably once he saw the location of Frank-N-Furter's castle, an old house once used in Hammer films for gothic horror settings. It was a vintage cliche, just perfect for Thomson. He did eight weeks of pre-production, supervising the design and construction of the half-dozen interior sets in the house and the exterior and interior of the wedding chapel. "First the laboratory in the old house was built and then it was pulled down immediately to make room for the ballroom. At one end we constructed the RKO emblem and the swimming pool. The narrator's study was in a separate room. We thought that the pool would give the "Don't Dream It" number a very sensual feeling. I wanted to make it syringe-shaped to tie it in with the whole drug thing, but that was vetoed."
The film was shot in seven weeks and the time pressures resulted in some quick-thinking script changes. "Jim came over to me one day and said, 'Where's the secret entrance into the lab? You know, the one Dr. Scott comes through.' I had forgotten to put it in. Jim looked at me and said, 'That's just great. How are we going to get Dr. Scott into the lab then?' I was getting a little tired at this point so I told him, 'Just push him through the wall.' That's why Jonathan Adams comes flying through the cardboard like that."
Thomson is the first to point out the film's weak points. In fact, he really doesn't like the movie, preferring the original version that was unveiled at the Theatre Upstairs six years ago. "If Rocky is a success as a film it's due to the kids. At first I thought the whole cult thing was a bit desperate. You know, 'those poor kids with nothing better to do.' But then I remembered how I used to watch the Mouseketeers on telly. It came a lot later to Australia so I must have been in my teens when I watched it. I was as devoted to the Mouseketeers as these kids are to Rocky Horror. Every week I would turn on the telly, put on my ears, and wait for Annette. It's all basically the same thing, isn't it?"
Obscure Distorted Instruments And Imagery
Copyright © 1997 - 2020 Shawn McHorse. Send comments to shawn@rockymusic.org.


What kind of novel should YOU write? Ever wounder what kind is just the right kind for you. Well look no further because this test will give you the help that you need. Don't take it to heart if it isn't the novel that you want to write. This is just for fun.
Writing a novel? Lost as to what you want to write about? Well give this quiz a try and find out what it thinks you should write about. Don't freak out if you don't like it. Have fun and good luck.
Do you love a good love triangle?
Do you love to think about who is the next one to die in a movie?
Is it funny when a person runs into a sliding door?
Is a dragon flying in the sky cool?
Is it cool to try and kill a zombie?
is their a neat sword involved?
Would you like to write about a new frontier in the universe?
Is it amazing to deactivate boobytraps?
Do you love it when someone likes someone and it affects others?
is their an instruction manuel?
Are you into teen troubles?
did I start the teen troubles?
Do you love to find things?
Would you jump off a cliff for fun?
Is there water at the bottom or do I have a rope?
Is a knight in shinning armor cool?
do I get to ride beside him?
no way are you kiding me?


If you thought Goa was all about beaches, churches or forts, think again. The eastern and southern borders of the state with Karnataka are dotted with wildlife sanctuaries (WLS) and national parks. Running parallel to Indian Ocean, the Western Ghats or Sahyadri mountain range makes for one big corridor crisscrossing Goa that preserves and showcases the best of flora and fauna. Its unique ecosystem makes it a natural home for big cats like tigers, panthers or leopards, for bisons, venomous snakes like king cobra, winged creatures like kites or eagles and langurs and more.
Out of seven sanctuaries and parks, the first five listed in this guide form a somewhat contiguous terrain along the eastern and southern Goan talukas of Canacona, Sanguem, Dharbandora and Sattari. Bondla Wildlife Sanctuary in Ponda and Dr. Salim Ali Bird Sanctuary in Tiswadi near Panaji are the outliers. These two outliers are not only physically separated but also sport entirely different theme and outlook from the rest. Bondla WLS is extremely popular with kids for it has a zoo inside that exhibits all species of fauna found in Goa. Dr. Salim Ali, on the other hand, is known for its rich diversity of birds. To do Cotigao and Netravali wildlife sanctuaries you could choose to stay overnight in Palolen Beach (Canacona). While for others, Margao or nearby places would be suitable to stay overnight. Some, not all, sanctuaries offer secluded cottages for overnight stay with a daily rent of ₹ 800 for a double room and ₹ 500 for single occupancy.
The best time to visit these forests is between October and March. However to witness the waterfalls in its full glory, monsoons would be best. Gates are open between 7 am and 5:30 pm. The entry fee for adults and kids is ₹ 20 and ₹ 10, respectively. Besides, there are separate charges for cameras and the type of vehicle.
Here are a few tips. Though forest administration permits people on bikes as well as on foot, it is recommended to rent a car as your jungle safari vehicle. If you are seeking adventure and insist on renting a bike, prefer an engine capacity of at least 100 cc to manoeuvre the steep rocky paths. When you hike a trail, pick up a sturdy and long stick (from the forest foliage itself). Remember that carrying arms (guns or blades) inside parks is an offense. Lastly, pack a few sandwiches and bottled water as some of these places may not offer many food options.
Besides exploring these forests, here are some of the other things to do in Goa.
Expect to see bisons (Goa's state animal) and other wildlife crossing your path. You would be safer if you do not honk and simply admire or click pictures without using the camera's flash.
Winnipeg Police Museum and Historical Society Inc.
4Winnipeg Police Museum and Historical Society Inc.


Beautiful interior decors. That's what amecdes brings. Apart from, the interior decors right here designed beautifully utilizing interesting and alluring ornaments and furniture. Greater than that, it's ingenious show brings in amecdes from the smallest to the nice spaces. For more ingenious interior designs, Verify the interior design ideas HERE.
Adorning interior as lovely as stylish is important. That is why amecdes brings the only ingenious decors. Designed from the classic to the very futuristic, amecdes presents the beauty of furnishings, designs and particular characteristic. Completely explored from the public to private area, each area designed elegantly. Do you need to see more Verify this out.
Tabbed as ethan allen outlet discussion, ethan allen outlet houston object, ethan allen outlet near me discussion also ethan allen outlet stoughton ma area of interest along with ethan allen outlet ga topic plus ethan allen outlet charlotte topic plus interior, please don't forget to check out the main article in Ethan Allen Outlet.


Rumble / Everyday Heroes - McKennah and Arial are students at the Bobcaygeon Public School. McKennah is 9 and Arial is 6 and both have hearts of gold. They are about to take part in an amazing act of selflessness and generosity.
Pedal for Hope has come to their school as part of a yearly cycling tour that raises money for pediatric cancer research. Officers pedal for 3 weeks on their holiday time and visit up to 50 schools, involving the kids in one of Canada's biggest fundraisers for pediatric cancer research. They deliver serious messages about healthy living, anti-bullying, cancer prevention and community involvement. They also engage in a lot of fun and silliness, with frozen yogurt eating contests and hilarious skits to deliver cancer prevention tips. The students do the hard work and deserve full credit for the success of this tour which will cross the 5 million dollar mark in this, its 14th year.
The cops were blown away by the sacrifice made by these two young girls. For many weeks, they collected pledges from friends, family, and neighbors, with McKennah being the school's top fundraiser at over $2,400. Arial also raised a very impressive $1,100. Together, they raised more than one third of the school's total of $9,000. With a student population of roughly 250, this total is staggering. Students have fun events, fundraising activities, and shave their heads to collect pledges in order to raise money. In 14 years, Pedal for Hope, and the students who take part have raised 4.8 million dollars for the cause.
Students team up with the cops and their communities and learn that one person can make a difference in the lives of others and that together, the impact is even greater.
These two girls are making an incredible sacrifice by cutting their pony tails and donating their hair to make wigs for young cancer patients who have lost their hair as a result of chemotherapy. For a boy to shave his head for the cause is impressive enough, but for girls, the sacrifice is even more meaningful. It became quite emotional for the girls and for their mothers as the hair came off. Tears of pride flowed and were quickly followed by smiles as the crowd cheered the girls on. Both held their ponytails high for all to see before passing them to the officers. The girls received a hat that bears the Pedal for Hope logo as well at the Canadian Cancer Society logo. This hat cannot be bought or won. Only a person who has sacrificed their hair can proudly sport one of these.
Officers will continue to ride until no parent has to hear those awful words: "Your child has cancer".
None of this would be possible without kids like McKennah and Arial. They are true heroes.
Great that these children sacrifice their hair to raise money.


text:
Briana Corrigan
born on 30/5/1965
Links www.brianacorrigan.com (English)
Briana Corrigan (born 30 May 1965) is a Northern Irish singer. She was the first female singer for The Beautiful South, from 1988 to 1994.
She was born in Northern Ireland, but when she was eleven years old, her family moved from Belfast to Portstewart, County Londonderry. She moved to Newcastle upon Tyne in England at the age of eighteen study for her BA in Creative and Performing Arts and, while there, she began singing with The Anthill Runaways. Go! Discs Records, who were considering signing the band, made her an offer to travel to Hull and sing with Paul Heaton and Dave Hemingway of The Beautiful South. Soon after she was asked to go to Milan with the band to help record their debut album, Welcome to the Beautiful South. She appeared alongside Dave Hemingway on the band's only UK Singles Chart number 1 single, "A Little Time".
After appearing on three albums, Corrigan left the band in 1992 to pursue a solo career. The decision was prompted partly by a desire to record her own work and partly by ethical disagreements with some of Heaton's lyrics, particularly songs such as "36D", which criticized British glamour models and the industry that employed them. Hemingway later remarked, "We all agree that we should have targeted the media as sexist instead of blaming the girls for taking off their tops".[1][2][3]
Her time with the band culminated in one of the fastest-selling British albums in history, Carry On up the Charts The Best of the Beautiful South. After she left the band, she reunited with producer Mike Hedges who had produced the first two TBS Albums, and recorded the solo critically acclaimed album, When My Arms Wrap You Round, in 1996 on East West Records. The first single, "Love Me Now", the UK Singles Chart at No.48.[4] This was the only single released as Corrigan and her Record Company parted company a few months after the album's release.
Corrigan relocated to Dublin, Republic of Ireland where she wrote and recorded an album with ex-A House frontman, Dave Couse. The album was never released although both have recorded songs from that period in later solo works. She was also part of the Dublin music collective, Lokomotive, which released a number of singles on an independent label. Corrigan then stepped away from the music industry to secure a Masters Degree in Creative writing from Queens University Belfast and split her time between bringing up her young family, acting and writing. In 2006, she performed in the first Irish tour of 'Mum's The Word' a West End hit described by Stage magazine as, 'a wickedly funny account of motherhood than nobody should miss'. In 2006, she returned to the studio to write and record a new album. The end result was the 2012 album, Red Bird, released on her own label, Redbird&Anchor Records. The same year she wrote her first play which toured nationally throughout Ireland and Scotland in Autumn, 2012.
Contemporary Musicians, Volume 19. beautifulsouth.org (1 September 1997). Retrieved on 2007-07-26.
The Beautiful South - the Band. BBC (29 November 2001). Retrieved on 2007-07-26.
A Little Time. songfacts.com. Retrieved on 2007-07-26.
Chart Stats: Briana Corrigan - Love Me Now
The Beautiful South
Welcome to the Beautiful South · Choke · 0898 Beautiful South · Miaow · Blue is the Colour · Quench · Painting It Red · Gaze · Golddiggas, Headnodders and Pholk Songs · Superbi
Compilation albums
Carry on up the Charts · Solid Bronze: Great Hits · Gold · Soup
"Song For Whoever" · "You Keep It All In" · "I'll Sail This Ship Alone" · "A Little Time" · "36D" · "Rotterdam" · "Don't Marry Her" · "Perfect 10" · "How Long's a Tear Take to Dry?" · "Livin' Thing" · "This Old Skin" · "Manchester"
Paul Heaton · Dave Hemingway · Sean Welch · Dave Stead · Dave Rotheray · Briana Corrigan · Jacqui Abbott · Alison Wheeler
The Housemartins
This article uses material from the article Briana Corrigan from the free encyclopedia Wikipedia and it is licensed under the GNU Free Documentation License.
For Your Love