text:
Home Blog Not a Niche: This Entrepreneur's Formula for A Winning General Store
Not a Niche: This Entrepreneur's Formula for A Winning General Store
Venetia Anderson Success Stories
17 Apr, 2019 9 min read 5 comments
Chris Wane is proof that persistence pays off. It took him five failed ecommerce stores and hundreds of trialed products before he struck a winning formula. He battled through self-doubt and negativity from others around him, who laughed and dismissed his budding business as a "get rich quick scheme." He began with rocky financial foundations, and came worryingly close to losing his entire budget.
Less than two years later, his dropshipping store Big Red Gadgets has generated over $537,457 in revenue. With a profit margin of 20% bringing his take-home amount to over $100,000, Chris' life has transformed before his eyes.
Discovering Dropshipping
What is Dropshipping?
Finally Cracking the Code
Achieving Financial Freedom
Chris' Winning Product Selection Strategy
Chris' Facebook Advertising Strategy
Step 1: Audience Targeting
Step 2: Testing His Sales Pitch
Step 3: Campaign Optimization
Step 4: Conversion Campaign
Chris' Advice for Beginners
Rewind three years, and Chris Wane was much like any other 27-year-old. He was living in his hometown, just outside of Manchester in the UK, and working a full-time job. But the cubicle life didn't agree with him, and he knew it immediately. "I can't see myself staying in an office the rest of my life," he says. "I've always wanted to run my own business, but never known how to do it."
And when he discovered dropshipping through a video on YouTube, it seemed like a way into business and out of his current financial situation.
Dropshipping is an ecommerce business model that allows entrepreneurs to run an online store and sell products without having to purchase inventory upfront. Only once you've made a sale do you pay your supplier, who then ships the products directly to your customer. You can use a marketplace like Oberlo to connect your store to thousands of suppliers and products.
Back then Chris was living each month paycheck-to-paycheck, and the stress of having no savings and no wiggle room in his budget weighed heavily on his mind.
"So when I first heard about dropshipping I was like, 'This is actually really accessible for me.' Even in the financial state I was in, it was still an option."
He thought if he could do it right, he could make an extra $200 a month, just enough to help out with his bills and give him some extra money to put aside for travel.
But, there was one problem that stood in the way. He had no idea how to do it.
"When it came to Shopify and designing the stores and how to advertise it, I didn't know what I was doing," he says.
So he began joining Facebook groups. And devouring dropshipping blogs. And watching hours upon hours of YouTube videos.
And finally he was ready to begin. Next came the trials, along with many, many errors.
Following the advice of other entrepreneurs he'd seen online, he started a niche store. The first one sold snowboarding gear. But he couldn't make any sales. The next one sold beard oil, because after all, it was pretty trendy at the time. But again, it didn't work. Finally he tried setting up shop in a niche he was more familiar with, fitness equipment. But once again, the store was unsuccessful.
Looking back, it's easy for Chris to see now that there was so much he didn't understand about how to run his businesses. "It was naivety from my point of view around what I could do, and it just didn't work," he says.
He was exhausted from trying and failing over and over again, but wasn't ready to give up yet.
"I said to myself, 'Right, this is gonna be the last time I try this now, it's gonna be my sixth attempt.'"
This time instead of building another niche store, he decided to go in the other direction.
"I went into a general store because I thought instead of building a store and failing, then building another store and failing, let's just build one store I can throw any product on at first and just see if it works," he says.
So in August 2017, Big Red Gadgets was born.
He set himself a budget of $300 to find a profitable product, and dove headfirst into studying more to fill his knowledge gaps.
"The difference with Big Red Gadgets is the amount of hours I've put into actually researching and reading. I mostly try to understand how Facebook ads works because that's where all the traffic is being driven from," he says.
After scrubbing up on Facebook advertising knowledge, he began testing different products, running Facebook ads to gauge his customers' reactions.
The stakes were high, and Chris knew he really wasn't in a position to waste any money. He started slowly, spending $5 a day to run a single ad for a product.
"I remember on the very first day, and it didn't make a sale and I was like, 'Oh my god, I can't afford to lose $5. What am I doing this for again?'"
But he steeled his nerves and held out for the results on the next day.
"The second day, it made a sale and my profit margin was $15, so I'd spent $10 on my ads and made $15. I had made a fiver, and I remember I was running around the room thinking, 'Oh my god, I'm gonna be rich. I made a fiver!'" he says, laughing.
The high of the first sale wore off, and Chris started to notice that as he continued to spend more on ads, the rest of his $300 budget was quickly drying up. And he was growing concerned that he still hadn't found a product that was selling consistently.
It was a chance recommendation from a friend that turned his fortunes around.
"My best friend is really into cycling, so he came around to my house one day, and I was just flicking through AliExpress trying to find some products. I said to him, 'You are into cycling. Have a look at these products, which would you buy?' He found this pair of cycling glasses and said, 'I would buy them.' So I threw them up on the store, and it just blew up straight away."
And when we talk about blow ups, this one was nuclear.
Thanks to the cycling glasses, Chris' Big Red Gadgets store generated over $13,000 in sales in just under six weeks.
By the time I spoke to him in April 2019, his store's revenue had ballooned to over $500,000 USD.
It's been almost two years now since Chris first launched Big Red Gadgets, his last-ditch effort at trying to grow an ecommerce business.
In the time since then, he's seen his life transform. Although he's still working at his full-time job, he's found that the financial freedom that his business has given him has changed his life for the better.
"It's definitely relieved the stress of living paycheck-to-paycheck."
Since then, he's been able to afford to buy a car and take a long-awaited vacation to the United States, where he spent three weeks road tripping from New York to LA.
He's also been able to take care of some of the smaller, often overlooked things in his life. He could afford to finally make repairs to his home and decorate the areas that had long been neglected.
"It's all the little things," he says. "I like how I don't have to check my bank account every day just to make sure I've got enough for this and enough for that. It definitely just takes the weight off."
Apart from his first winning product – the cycling glasses – Chris has also found success on Big Red Gadgets with snowboarding accessories, jewelry, sunglasses, and home decor products. One particular snowboarding product generated $100,000 over three months.
He owes his success in part to his clever Facebook advertising sales funnel (more on that later), but also to his keen eye for product selection.
After spending the past two years searching for and testing new products – "I've probably tested 300-400 products" he says – Chris has built up a strategy for finding those with the most potential.
When Chris is evaluating potential products he looks for products that:
Solve a problem for the customer
Can appeal to a large, mainstream audience
Has a 'wow' factor that will serve as a scroll stopper
Have very high order counts (over 10,000)
Aren't currently being advertised on social media
He's tried in the past to offer products with relatively low sales, but it never really worked out. So now he sticks to products that have already proven they're popular.
After finding a potential winner with high order counts, he heads over to Facebook to search for anyone currently advertising the product.
He'll look for posts promoting the product with high engagement, or any that look like they've come from a big dropshipping business.
If he can't find evidence of anyone that's having success on Facebook, he counts that as a win.
It was this exact tactic that helped him to find the lamp that went on to generate $18,800 in sales in three weeks.
"This lamp, for example, had over 10,000 orders on AliExpress. But I've never seen any other dropshippers running it, and I've never seen an ad for it," he explains.
"Those are the kind of the products that I like to go for, the ones that are obviously doing really, really well, but I've never really seen advertised."
After checking product's potential through the order numbers and social media platforms, he'll do one final check.
He heads to Google Trends to review the product for seasonality. Here, he's looking for peaks and troughs in the popularity of the product throughout the year. Ideally he's looking for something that is popular year round, or that is just about to approach its peak in popularity.
Check out the graph below, tracking the volume of searches for 'snowboarding gloves'.
It's your best bet to try and sell this kind of product in early November, when demand is beginning to rise. By March, you're better off looking for something else.
It took months and months of mistakes with his advertising before Chris was able to begin to get an understanding of the strategy that worked best for Facebook advertising.
"A lot of my experience has come from trial and error, from failing within Facebook, with getting it wrong," he says.
While initially he followed the advice of many others to target audiences on Facebook based off different interests, he's skeptical about if this is still the best targeting method in 2019.
Facebook, after all, has continued to get smarter every day. All the data it's collecting from all the thousands of ads running on the platform has been fed back right back into itself. Now the advertising algorithms are exceptionally clever at finding the right people to show your ad to.
Instead of manually picking interests to align with his target audience, Chris now leaves most of the heavy lifting of finding the right audience to Facebook's algorithms.
"I've had more success in the last two weeks, running products to everybody. Like no interest targeting, just completely open to ages 18 to 65+ in the UK, US, Canada, Australia, wherever."
Chris' decision to use broad targeting with his ads in the product testing stage comes down to optimizing for one thing: CPM.
CPM, or cost per thousand, is a term that is used to measure the amount of money it costs to get your ad in front of 1,000 people. When you're running ads to a smaller, more defined audience (including using lookalike audiences), you'll be charged more to reach 1,000 people than if you are just targeting a very broad audience.
For example, Chris tried running ads using a lookalike audience, and he found that Facebook would charge him $15 to reach 1,000 people. But with broad targeting, his CPM would be as low as $5. That means, for $15 he'd be able to reach 3,000 people.
"So, you get three times as many people for the same price, and you still only need one sale in that," he says.
Chris' next step is to then create three different variations on his ads, changing the copy slightly for each one. The idea here is to test different sales pitches, as you never really know which message is likely to resonate.
"I've been quite surprised about what the ad that I thought was gonna do well has done the worst, and the one that I didn't think it was gonna do well is actually the one that everyone's clicking and liking and sharing," he says.
From there, he creates a campaign in Facebook Ads Manager, selecting the "engagement" optimization.
Wait, why would you run engagement based ads? Don't you want to make sales, not just collect Facebook likes?
Great question. The answer is… it's cheaper.
Facebook charges much less for campaigns that are optimized for engagement. That means in this early product testing phase, when you're still trying to figure out if your ads and products are connecting with your audience, you're better off spending less.
"I don't have to spend much on these ads, probably $30-40 to see which age range and demographics are performing and which ads people are liking and clicking through the most," Chris says.
After running tests to see which audiences and sales pitches are working, Chris creates a second campaign. This time, he'll optimize his campaign for "conversions", and copy over the ad creative and audience demographics from his most successful ad from the previous campaign.
This campaign is intended to push customers down his sales funnel, encouraging them to convert into paying customers.
To wrap it all up for you, Chris' Facebook advertising strategy is:
Target people broadly, with no interest-based targets.
Run engagement-optimized ads at the beginning (they're cheaper).
Create multiple versions of the ad with different copy.
Create conversion-optimized ads based off the winning ad copy, reducing the demographics of your ad targeting to the ages and countries that are performing best.
In the past two years, Chris has been through it all. He's been moments away from throwing in the towel and walking away. And now? He's planning how to turn the business into his financial escape plan.
"That's my next goal, trying to retire from it. I mean, I'm a bit of a way off that, but that's the dream."
For anyone who is just starting out dropshipping, know that you're going into battle. You're going to have to face self doubt, as well as skepticism from people around you.
Chris' advice? Don't listen.
"When I started I was laughed at and told that is was just another 'get rich quick scheme' and 'it won't work'," he says. "If I had listened to those people I'd still be stuck in the same routine I was 18 months ago, struggling month to month. I think if you want something in life you just have to put the work in and go out and get it."
Chris is currently teaching other's how to replicate his success with his Advanced Dropshipping program.
16 Dropshipping Tips for New Entrepreneurs You Need to Know
The Single Product Website: This Entrepreneur's Simple Formula for Success
Venetia Anderson>
Venetia Anderson
Venetia Anderson is a content marketer at Oberlo. She's passionate about discovering great stories from entrepreneurs, as well as plants and disco music. Follow Venetia on Twitter at @venetia__a.
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text:
```sh
npm install --save node-friendly-response
```

##### Require it as a node module...

```js

var express  = require('express');
var Response = require('node-friendly-response');

var app = express();

app.get('/', function (req, res) {
  res.ok({ message: 'Hello World!' })
});

```

## Using it with Bluebird

```js

var express  = require('express');
var Bluebird = require('bluebird');
var Response = require('node-friendly-response');

var app = express();

app.get('/', function (req, res) {
  Bluebird.resolve({ message: 'Hello World!' })
    .tap(__doSomething)
    .then(function (data) {
      res.ok(data);
    })
    .catch(function (err) {
      res.internalServerError(err);
    });
});

```

## Express response errors handle

```js

var express  = require('express');
var Bluebird = require('bluebird');
var Response = require('node-friendly-response');

var ResponseError = Response.ResponseError;

var app = express();

app.get('/', function (req, res) {
  Bluebird.resolve( req.body )
    .tap(function (body) {
      if (!body.value) {
        throw new ResponseError.BadRequest('Property "value" is mandatory');
      }
    })
    .get('value')
    .tap(function (value) {
      if (value !== 42) {
        throw new ResponseError.PaymentRequired('$$$$');
      }
    })
    .then(__doSomething)
    .then(res.ok.bind(res))
    .catch(ResponseError, res.sendError.bind(res));
});

```

## Available Status Codes

```js
res.continue  // send a response with status 100
res.switchingProtocols  // send a response with status 101
res.processing  // send a response with status 102

res.ok  // send a response with status 200
res.created  // send a response with status 201
res.accepted  // send a response with status 202
res.nonAuthoritativeInformation  // send a response with status 203
res.noContent  // send a response with status 204
res.resetContent  // send a response with status 205
res.partialContent  // send a response with status 206
res.multiStatus  // send a response with status 207

res.multipleChoices  // send a response with status 300
res.movedPermanently  // send a response with status 301
res.movedTemporarily  // send a response with status 302
res.seeOther  // send a response with status 303
res.notModified  // send a response with status 304
res.useProxy  // send a response with status 305
res.temporaryRedirect  // send a response with status 307

res.badRequest  // send a response with status 400
res.unauthorized  // send a response with status 401
res.paymentRequired  // send a response with status 402
res.forbidden  // send a response with status 403
res.notFound  // send a response with status 404
res.methodNotAllowed  // send a response with status 405
res.notAcceptable  // send a response with status 406
res.proxyAuthenticationRequired  // send a response with status 407
res.requestTimeout  // send a response with status 408
res.conflict  // send a response with status 409
res.gone  // send a response with status 410
res.lengthRequired  // send a response with status 411
res.preconditionFailed  // send a response with status 412
res.requestTooLong  // send a response with status 413
res.requestUriTooLong  // send a response with status 414
res.unsupportedMediaType  // send a response with status 415
res.requestedRangeNotSatisfiable  // send a response with status 416
res.expectationFailed  // send a response with status 417
res.insufficientSpaceOnResource  // send a response with status 419
res.methodFailure  // send a response with status 420
res.unprocessableEntity  // send a response with status 422
res.locked  // send a response with status 423
res.failedDependency   // send a response with status 424

res.internalServerError  // send a response with status 500
res.notImplemented  // send a response with status 501
res.badGateway  // send a response with status 502
res.serviceUnavailable  // send a response with status 503
res.gatewayTimeout  // send a response with status 504
res.httpVersionNotSupported  // send a response with status 505
res.insufficientStorage  // send a response with status 507
```

## Available Errors

```
ResponseError = ResponseError.InternalServerError

ResponseError.BadRequest
ResponseError.Unauthorized
ResponseError.PaymentRequired
ResponseError.Forbidden
ResponseError.NotFound
ResponseError.MethodNotAllowed
ResponseError.NotAcceptable
ResponseError.ProxyAuthenticationRequired
ResponseError.RequestTimeout
ResponseError.Conflict
ResponseError.Gone
ResponseError.LengthRequired
ResponseError.PreconditionFailed
ResponseError.RequestTooLong
ResponseError.RequestUriTooLong
ResponseError.UnsupportedMediaType
ResponseError.RequestedRangeNotSatisfiable
ResponseError.ExpectationFailed
ResponseError.InsufficientSpaceOnResource
ResponseError.MethodFailure
ResponseError.UnprocessableEntity
ResponseError.Locked
ResponseError.FailedDependency

ResponseError.InternalServerError
ResponseError.NotImplemented
ResponseError.BadGateway
ResponseError.ServiceUnavailable
ResponseError.GatewayTimeout
ResponseError.HttpVersionNotSupported
ResponseError.InsufficientStorage
```

## It works with request module too

```js
var request = require('request');
var Response = require('node-friendly-response');

request('http://google.com', function (err, httpResponse, body) {
  if (httpResponse.isSuccess()) {
    __doSuccess();
  }
  if (httpResponse.isRedirect()) {
    __doRedirect();
  }
  if (httpResponse.isClientError()) {
    __doClientError();
  }
  if (httpResponse.isServerError()) {
    __doServerError();
  }
  if (httpResponse.isError()) {
    __doError();
  }
})
```

### This module provides...

```js
res.isInfo()  //  For status codes 1xx;
res.isSuccess()  //  For status codes 2xx;
res.isRedirect()  //  For status codes 3xx;
res.isClientError()  //  For status codes 4xx;
res.isServerError()  //  For status codes 5xx;
res.isError()  //  For status codes 4xx and 5xx;
```

### and also...

```js
res.isContinue()  // if status code is 100
res.isSwitchingProtocols()  // if status code is 101
res.isProcessing()  // if status code is 102

res.isOk()  // if status code is 200
res.isCreated()  // if status code is 201
res.isAccepted()  // if status code is 202
res.isNonAuthoritativeInformation()  // if status code is 203
res.isNoContent()  // if status code is 204
res.isResetContent()  // if status code is 205
res.isPartialContent()  // if status code is 206
res.isMultiStatus()  // if status code is 207

res.isMultipleChoices()  // if status code is 300
res.isMovedPermanently()  // if status code is 301
res.isMovedTemporarily()  // if status code is 302
res.isSeeOther()  // if status code is 303
res.isNotModified()  // if status code is 304
res.isUseProxy()  // if status code is 305
res.isTemporaryRedirect()  // if status code is 307

res.isBadRequest()  // if status code is 400
res.isUnauthorized()  // if status code is 401
res.isPaymentRequired()  // if status code is 402
res.isForbidden()  // if status code is 403
res.isNotFound()  // if status code is 404
res.isMethodNotAllowed()  // if status code is 405
res.isNotAcceptable()  // if status code is 406
res.isProxyAuthenticationRequired()  // if status code is 407
res.isRequestTimeout()  // if status code is 408
res.isConflict()  // if status code is 409
res.isGone()  // if status code is 410
res.isLengthRequired()  // if status code is 411
res.isPreconditionFailed()  // if status code is 412
res.isRequestTooLong()  // if status code is 413
res.isRequestUriTooLong()  // if status code is 414
res.isUnsupportedMediaType()  // if status code is 415
res.isRequestedRangeNotSatisfiable()  // if status code is 416
res.isExpectationFailed()  // if status code is 417
res.isInsufficientSpaceOnResource()  // if status code is 419
res.isMethodFailure()  // if status code is 420
res.isUnprocessableEntity()  // if status code is 422
res.isLocked()  // if status code is 423
res.isFailedDependency()  // if status code is 424

res.isInternalServerError()  // if status code is 500
res.isNotImplemented()  // if status code is 501
res.isBadGateway()  // if status code is 502
res.isServiceUnavailable()  // if status code is 503
res.isGatewayTimeout()  // if status code is 504
res.isHttpVersionNotSupported()  // if status code is 505
res.isInsufficientStorage()  // if status code is 507
```

### and also... listeners for events...

```js

var ServerResponse = require('node-friendly-response').ServerResponse;

ServerResponse.onContinue(callback)  // if status code is 100
ServerResponse.onSwitchingProtocols(callback)  // if status code is 101
ServerResponse.onProcessing(callback)  // if status code is 102

ServerResponse.onOk(callback)  // if status code is 200
ServerResponse.onCreated(callback)  // if status code is 201
ServerResponse.onAccepted(callback)  // if status code is 202
ServerResponse.onNonAuthoritativeInformation(callback)  // if status code is 203
ServerResponse.onNoContent(callback)  // if status code is 204
ServerResponse.onResetContent(callback)  // if status code is 205
ServerResponse.onPartialContent(callback)  // if status code is 206
ServerResponse.onMultiStatus(callback)  // if status code is 207

ServerResponse.onMultipleChoices(callback)  // if status code is 300
ServerResponse.onMovedPermanently(callback)  // if status code is 301
ServerResponse.onMovedTemporarily(callback)  // if status code is 302
ServerResponse.onSeeOther(callback)  // if status code is 303
ServerResponse.onNotModified(callback)  // if status code is 304
ServerResponse.onUseProxy(callback)  // if status code is 305
ServerResponse.onTemporaryRedirect(callback)  // if status code is 307

ServerResponse.onBadRequest(callback)  // if status code is 400
ServerResponse.onUnauthorized(callback)  // if status code is 401
ServerResponse.onPaymentRequired(callback)  // if status code is 402
ServerResponse.onForbidden(callback)  // if status code is 403
ServerResponse.onNotFound(callback)  // if status code is 404
ServerResponse.onMethodNotAllowed(callback)  // if status code is 405
ServerResponse.onNotAcceptable(callback)  // if status code is 406
ServerResponse.onProxyAuthenticationRequired(callback)  // if status code is 407
ServerResponse.onRequestTimeout(callback)  // if status code is 408
ServerResponse.onConflict(callback)  // if status code is 409
ServerResponse.onGone(callback)  // if status code is 410
ServerResponse.onLengthRequired(callback)  // if status code is 411
ServerResponse.onPreconditionFailed(callback)  // if status code is 412
ServerResponse.onRequestTooLong(callback)  // if status code is 413
ServerResponse.onRequestUriTooLong(callback)  // if status code is 414
ServerResponse.onUnsupportedMediaType(callback)  // if status code is 415
ServerResponse.onRequestedRangeNotSatisfiable(callback)  // if status code is 416
ServerResponse.onExpectationFailed(callback)  // if status code is 417
ServerResponse.onInsufficientSpaceOnResource(callback)  // if status code is 419
ServerResponse.onMethodFailure(callback)  // if status code is 420
ServerResponse.onUnprocessableEntity(callback)  // if status code is 422
ServerResponse.onLocked(callback)  // if status code is 423
ServerResponse.onFailedDependency(callback)  // if status code is 424

ServerResponse.onInternalServerError(callback)  // if status code is 500
ServerResponse.onNotImplemented(callback)  // if status code is 501
ServerResponse.onBadGateway(callback)  // if status code is 502
ServerResponse.onServiceUnavailable(callback)  // if status code is 503
ServerResponse.onGatewayTimeout(callback)  // if status code is 504
ServerResponse.onHttpVersionNotSupported(callback)  // if status code is 505
ServerResponse.onInsufficientStorage(callback)  // if status code is 507
```

### and also... listeners for error events...

```js

ServerResponse.onResponseError(callback); // if status code greather than 400
ServerResponse.removeAllListeners(events); // remove all listeners for an event, the events is an array of status codes or the string 'response_error'

```

## License

```
The MIT License (MIT)

Copyright (c) 2015 Federico Scarpa <fedescarpa@gmail.com>.

Permission is hereby granted, free of charge, to any person obtaining a copy
of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is
furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all
copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE
SOFTWARE.
```

redpajama_set_name: RedPajamaGithub


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text:
Q: Incorrect type of ClaimsIdentity read from session cookie after recycling of worker process In a VS 2012 / .NET 4.5 / ASP.NET MVC 4 application I have a custom identity type derived from ClaimsIdentity. It just adds a few readonly properties to the base class that read values from some claims for convenience:
public class AppIdentity : ClaimsIdentity
{
    public AppIdentity(IEnumerable<Claim> claims) : base(claims, "Custom")

    public string CustomProp { get { return FindFirst("CustomClaim").Value; } }
    // etc.
}

In a custom ClaimsAuthenticationManager I convert the incoming principal into a principal that wraps the above identity, create a token for this principal and write the token to a cookie:
var claims = new List<Claim>
{
    new Claim("CustomClaim", "CustomValue"),
    // etc.
};
var newPrincipal = new ClaimsPrincipal(new AppIdentity(claims));
var sessionToken = new SessionToken(newPrincipal, TimeSpan,FromHours(24));
FederatedAuthentication.SessionAuthenticationModule
    .WriteSessionTokenToCookie(sessionToken);

If I fetch the identity for subsequent requests in a controller action like so...
var identity = ClaimsPrincipal.Current.Identity;

...I find that sometimes the runtime type of identity is AppIdentity and sometimes it is only its base type ClaimsIdentity. My custom claims are always present inside of the Claims collection of identity.
The identity seems to "lose" the type AppIdentity that I expect when the worker process gets recycled. I'm only using an IIS Express development server in this project at the moment and I can force this behaviour when I do a small change in web.config for example. After that the identity always has the type ClaimsIdentity and not AppIdentity anymore.
Question: Is this approach to save a custom claims identity type in a cookie wrong and possibly not supported? Does a session cookie store the type information of a derived ClaimsIdentity at all (which would be necessary, I guess, to materialize the correct identity type from the cookie)?

A: The type identity gets lost during serialization roundtrips. I wrote about it here:
http://leastprivilege.com/2012/10/08/custom-claims-principals-in-net-4-5/

A: You can implement a simple HttpModule that checks the incoming identity in the principal, and converts it to your own implementation
public class MyClaimsAuthenticationModule : IHttpModule
{
    public void Init(HttpApplication context)
    {
        context.PostAuthenticateRequest += Context_PostAuthenticateRequest;

    }

    public void Dispose()
    {
        // Nothing to dispose, method required by IHttpModule
    }

    void Context_PostAuthenticateRequest(object sender, EventArgs e)
    {
        var transformer = FederatedAuthentication.FederationConfiguration.IdentityConfiguration.ClaimsAuthenticationManager;
        if (transformer != null)
        {
            var context = ((HttpApplication)sender).Context;
            var principal = context.User as ClaimsPrincipal;

            var oo = principal.Identity is DaIdentity;
            if (!oo)
                principal = new ClaimsPrincipal(new DaIdentity(principal.Identity as ClaimsIdentity));

            var transformedPrincipal = transformer.Authenticate(context.Request.RawUrl, principal);

            context.User = transformedPrincipal;
            Thread.CurrentPrincipal = transformedPrincipal;
        }
    }
}

And then register it in Web.config like this
 <modules runAllManagedModulesForAllRequests="true">

      <add name="TestAuthenticationModule" Type="MyAssemby.MyClaimsAuthenticationModule, MyAssembly" preCondition="managedHandler" />

      <add name="SessionAuthenticationModule" type="System.IdentityModel.Services.SessionAuthenticationModule, System.IdentityModel.Services, Version=4.0.0.0, Culture=neutral, PublicKeyToken=b77a5c561934e089" preCondition="managedHandler" />
      <add name="ClaimsAuthorizationModule" type="System.IdentityModel.Services.ClaimsAuthorizationModule, System.IdentityModel.Services, Version=4.0.0.0, Culture=neutral, PublicKeyToken=b77a5c561934e089" preCondition="managedHandler" />
      <remove name="FormsAuthentication" />
      <remove name="WebDAVModule" />
    </modules>

redpajama_set_name: RedPajamaStackExchange


AWE-INSPIRING AUTUMN Floral Arrangement in Floral City, FL - FLOWERS BY BARBARA INC.
These vibrant fall flowers from FLOWERS BY BARBARA INC. will make any occasion special and memorable. Show loved ones how glad you are to have them in your life with our Awe-Inspiring Autumn arrangement. Order flowers online or call our shop today!


Early Years is staffed by experienced, qualified teachers and teaching assistants with vast knowledge of child development and the needs of our community. They plan and work together as a team to ensure children achieve their true potential.
At Rednal Hill we follow the 2017 Early Years Foundation Stage Statutory Framework which covers expectations for children from birth to five years of age. In addition, we plan for individual needs, different learning styles and the interests of our children. We are committed to play-based, active learning. We know that rich, memorable contexts for learning connect with the children's interests and inspire children and promote greater levels of involvement. Children have ownership of their learning, providing them with the motivation to use their independent learning skills and their creative, imaginative and investigative thinking.
Children work towards the Early Learning Goals across seven areas of learning. The three prime areas are crucial for igniting curiosity and enthusiasm for learning, forming relationships and thriving.
Alongside these areas there are four Specific Areas, through which the Prime Areas are strengthened and applied.
The Early Years Foundation Stage curriculum underpins all future learning by supporting, fostering, promoting and developing children's positive attitudes towards their learning.
Teachers are experienced within the Arts and all children have opportunities to learn through music, storytelling, and art. Many of our staff have visited Anna Ephgrave Children's Centre in Caterhatch, London, and all staff are trained in the Early Excellence pedagogy. This inspiring and proven philosophy places the child at the centre of their own learning.
Well planned, play based, active learning, both indoors and outdoors, is a key way in which young children learn with enjoyment and challenge.
Ongoing observations of learning inform next steps on a daily basis. Staff plan together on a weekly basis in team meetings to plan each stage of learning and a whole school approach ensures consistency.
First hand activities, using an enquiry based learning model helps our children to develop confidence, concentration, co-operation, curiosity, creativity, independence, self- esteem, the ability to communicate as well as enthusiasm and enjoyment for learning.


The Ghost Chair. There is something about lucite that I love. It is clean. A little funky. A kick!
Last week I was doing my job ... shopping for clients and finding pieces to inspire me and them.
Lucite just kicked it up a notch!!


text:
Presbytis natunae (Сурілі натунський) — вид приматів з роду Presbytis родини мавпові.

Опис
Це відносно невеликі, тонкі примати з довгими задніми ногами і довгим хвостом. Хутро сіро-коричневе на спині, черево світліше. Обличчя темне, з вражаючими яскравими кругами навколо очей і яскравою областю морди, на верхній частині голови є шевелюра.

Поширення
Живе в північних островах Натуна біля північно-західного узбережжя Борнео, Індонезія. Проживає, в тому числі у первинних і вторинних лісах і каучукових плантаціях.

Стиль життя
Мало що відомо про їх спосіб життя. Вони живуть у невеликих групах від двох до шести тварин, зазвичай з одного самця, одного або кількох самиць і потомства. Вони деревні й денні. Їхня дієта повинна складатися з рослин, в основному молодого листя, насіння і плодів.

Загрози та охорона
Вид знаходиться під загрозою в частині ареалу через полонення особин як домашніх тварин, але головним чином триваючу деградацію і скорочення лісу. Внесений в Додаток II СІТЕС, але не захищений національним законодавством.

Посилання
 Nijman, V. & Lammertink, M. 2008. Presbytis natunae. In: IUCN 2013
 ARKive

Мавпові
Ссавці Азії

redpajama_set_name: RedPajamaWikipedia


text:
Paducah är en ort i den amerikanska delstaten Texas med en yta av 3,9 km² och en folkmängd som uppgår till 1 458 invånare (2010). Paducah är administrativ huvudort i Cottle County.

En tidig bosättare, R. Potts, anlände till Paducah i mitten av 1800-talet från Paducah, Kentucky. Han erbjöd mark åt alla nya bosättare som var beredda att stödja namnförslaget Paducah efter orten i Kentucky.

Kända personer från Paducah
Clarence Hailey Long, cowboy, inspirationskälla för reklamkampanjen Marlboro Man

Referenser

Externa länkar
Officiell webbplats

Orter i Texas
Cottle County


Continuing in the theme of gardens and greenery to admire, this afternoon we visit Sydney store .
Cultivator and designer Emma McPherson takes us though her unique showroom, workshop and nursery space which opened in Manly last year.
Inside Sydney plant and design store, . Photo – .
The Plant Room, featuring a showroom, retail space, workshop area and nursery, opened last year. Photo – .
Plants and handmade natural items from local and international makers on display. 'The Plant Room is everything I love in one room and a beautiful place to hang!' tells Emma. Photo – .
'In the 70s, most houses were filled with plants, and then the minimalist 90s hit and most of those plants ended up as compost… As a society, I feel we're becoming more conscious, and I think living with plants is a part of the shift towards conscious living,' says Emma, when asked about the indoor greenery 'craze'. Photo – .
Plants and pots to covet! According to Emma, plant care is all about watering your plant's like you're the rain, feeding them like you do your children, and cutting off their dead bits like you do your hair! Photo – .
Cultivator, designer and founder of The Plant Room, Emma McPherson. Photo – .
Inside the showroom. Photo – .
'Everything you need for an inspired life, in one spot!' This was the dream of Emma McPherson, when she founded late last year. Her 'mixed-bag' venture stocks plants alongside ceramics, furniture, artwork and artisan products from local and international makers. And despite its singular name, it also offers collaborative workspaces and a nursery, in addition to its main retail concept.
The initial idea was ignited by a conversation Emma had with a friend on the importance of living with nature, rather than separate from it. With a diverse background including stints in the hospitality industry, as well as working in psychotherapy, Emma first began planning her new creative direction in 2014, eventually opening The Plant Room in 2016.
holds workshops to do with plants and personal growth, is planning charitable community events, and offers interior design and styling services. The space is also available for photo shoots and events.
Emma McPherson pictured in her showroom, . Photo – .


text:
package com.facebook.buck.artifact_cache;

public enum CacheResultType {

  /** Artifact was successfully fetched from cache */
  HIT(/* success */ true),

  /** Artifact was missing from cache */
  MISS(/* success */ false),

  /** An error occurred when fetching artifact from cache */
  ERROR(/* success */ false),

  /** The rule was uncachable */
  IGNORED(/* success */ false),

  /** The cache skipped checking this result */
  SKIPPED(/* success */ false),

  /** The cache contains this artifact, but was not fetched */
  CONTAINS(/* success */ true),

  /** Artifact cache not queried because the local cache key was unchanged. */
  LOCAL_KEY_UNCHANGED_HIT(/* success */ true),
  ;

  private boolean success;

  CacheResultType(boolean success) {
    this.success = success;
  }

  /** Whether the artifact was successfully fetched. */
  public boolean isSuccess() {
    return success;
  }
}


text:
Q: Is it possible to send an HTTP request from actions on google 's projects using trivia(one of the templates)? I created a quiz application that I can use at Google homes.
Actions created a quiz using templates trivia (one of the templates) in Google on google.
I want to send http request according to the number of correct answers.
Please advice me.

A: The trivia template doesn't support this feature.
However, Google open sourced the original version of trivia, and you're able to use the source to adapt it to your own needs. It uses the previous version of the library, but should still work.


text:
The Old Army Coat è un cortometraggio del 1914 diretto da Kenean Buel e interpretato da Benjamin Ross e Alice Joyce. Prodotto dalla Kalem Company, il film venne distribuito nelle sale il 17 agosto 1914 dalla General Film Company.

Trama
Trama e critica in inglese su Stanford University

Produzione
Prodotto dalla Kalem Company

Distribuzione
Il film venne distribuito nelle sale il 17 agosto 1914 dalla General Film Company.

Collegamenti esterni

  Alice Joyce WebSite su Stanford University


There was a flip chart hanging around one of my office meeting rooms recently and on it was written the question: "What is blocking you from becoming the best version of yourself?"
At first I paid it no attention, it was a question that I had heard several times in different Christian settings over the last couple of years. But the more I looked at it, the more annoyed I felt.
Patrick J Adams' character in Suits 'fakes it to make it'. I took to researching this idea a little more and to be honest I felt pretty confused. Lots of the articles that I explored were really brilliant and offered fantastic and positive advice. Time's 'How to be the best version of yourself' article by Ken Mazaika offers tips like, 'Accept help from others,' and 'Celebrate the small wins', all things that I would wholly advocate. So why was I so uncomfortable?
Having spent two years working on our new book The Power of Belonging with Rob Waller, I know I have become super-sensitive to issues of true belonging. Since I've written a book based on the premise that many of us feel like a fraud, at least some of the time, you can see where I am coming from. It wasn't the content that I found shallow, it was the very principle that there might be virtue in creating a 'version of you'.
I wondered how we had become so pragmatic about dialling up 'different faces in different spaces'. But then it struck me that it's a natural progression in a culture that has advocated the 'fake it to make it' mode of achieving. Before I sound too self-righteous, I was totally sucked in by college dropout Mike Ross (Patrick J Adams) in Suits Series 1, who becomes a competent legal associate despite having never attended law school. We love a fantasy in which all of the struggles and challenges of life are edited out and we are living the dream without any of the downside. But how fulfilling is it really?
The prerequisite to our belonging is our authentic presence, since you cannot belong if you cannot be known. If you do 'Fake it and make it', you land in a gilded cage where your material success is founded on a relational deceit. To succeed requires you to maintain the fraud, but to belong requires to do the opposite.
If there is any virtue in 'Fake it to make it', surely it is the simple acknowledgement that we are faking it and that we have some greater understanding of who we really are. The 'version of you' idea is altogether more malign, because it suggests our duplicity is credible: that there are innumerable versions of us being authentic and human. Which one of these belongs here is anyone's guess, since life becomes a terrifying matrix of interchanging relational combinations that we test for best fit.[Belonging]In a culture marked out by 'loneliness in plain sight' belonging has never felt so urgent and yet seemed so far away from people's experience. The same could be said for God, but one is the remedy of the other. We cannot offer God a 'version' of ourselves since he knows us truly, and despite knowing us better then we know ourselves, he loves us and claims us as his own: 'You are mine' (Isaiah 43:1).
If we are ever going to belong in life, it is going to be because we risked really showing up. That means letting go of 'versions of you' and all kinds of fakery for the sake of success. Just as our belonging to God is established on our true selves, so is our relationship with each other.
Life is messy and full of down sides, but I would rather risk being known, than live behind a version of me.
'The Power of Belonging: Discovering the Confidence to Lead with Vulnerability' is published by David C Cook. For more information or to buy see www.powerofbelonging.com.
Rev Will van der Hart has been a priest in the Church of England for 15 years and is currently pastoral chaplain at Holy Trinity Brompton in London. He is a director of the Mind and Soul Foundation.


text:
About MRI
Disease & Research Directory
Pentlands Immunologics
Home > Research > A-Z of Diseases > Haemonchus contortus
Haemonchus contortus
Scientists at Moredun, lead by Dr David Smith, have successfully developed a vaccine for Haemonchus contortus (Barber's Pole Worm), the most important roundworm parasite of sheep and goats in the world.
Barbervax® was registered for use in Australia in early October 2014 and provides farmers with a revolutionary new tool to combat Barber's Pole.
The basis for Barbervax® was devised after many years of research at Moredun and commercialised during the last five years through a collaboration with the Albany laboratory of the Department of Agriculture and Food, Western Australia, where it is made by Wormvax Australia, a subsidiary of Moredun.
Barbervax® works against all Barber's Pole worms including drench resistant ones. It offers a more sustainable form of control, because it is extremely unlikely that vaccine resistant worms will develop. Using Barbervax will reduce the need to use those drenches which are still effective on a particular farm, therefore prolonging their life.
Barbervax® contains tiny amounts of protein purified from the lining of Barber's Pole intestines. Like all vaccines, it works by stimulating the natural immune response in the animal after injection. The antibodies produced circulate in the sheep's blood, so that the parasites drink antibodies with their blood meal. These antibodies attach to the lining of the Barber's Pole intestine, blocking digestion and starving the worm so that it produces far fewer eggs and dies.
Parasitology at Moredun
Dr David Smith
Dr George Newlands
Barbervax Website

redpajama_set_name: RedPajamaCommonCrawl


#84- What Was the Vodka War?
#83- Who Invented Your Favourite Food?
#77- Was There a Real Pied Piper?
#76- How Does Jon Waterlow Make Sense of Stalin Jokes?
#72- Did Emperor Hadrian Murder His Teenage Lover?
#71- Who Invented Your Favourite Sport?
#70 - What are the Secrets of the Diefenbunker?
#69- What Does Gary Lachman Think About the Mother of the Occult?
#65- Was There a Real Hunt for the Fountain of Youth?
#61- What's the Problem with Socrates?
#57- Was There a Real Prester John?
#48- What Does Mark Adams Think About Atlantis?
#47- Who Was the Queen of the Pirates?
#43- What is Phantom Time?
#37- Did Robert Johnson Sell His Soul to the Devil?
#34- Did Archimedes Build a Death Ray?
#31- What Was the Charge of the Light Brigade?
#30- Will the Real Anastasia Please Stand Up?
#24- Did Ty Cobb Kill a Guy?
If Joan of Arc's rise to fame was unexpected, then her success on the battlefield was completely flabbergasting. Joan would score a series of impressive victories over the English and clear a path to Rheims so her Dauphin could become King of France….
#18- Was There A Female Pope?
#14- Did Gods Colonize The Pacific?
#11- What Is The Spear Of Destiny?
#8- Who Were the Hash Smoking Assassins?
#5- Did Shakespeare Write The Plays?
#3- Was There A Real Labyrinth?
#2- Did Nero Really Fiddle As Rome Burned?
#1- Was Queen Elizabeth Actually A Man?


text:
Book of Glorious Joy (D101-017)
This was a fun one to do. Jamie "Trotsky" Revell did about three supplements worth of Gloranthan setting books about the West for Issaries INC. When Moon Designs took over Gloranthan publishing, for various reasons the chief of which those books represented a "Medieval West" rather than a "Bronze Age Ancients West", they declined to publish them. So they offered me the chance to put it out as a fan publication and I lept at it.
I called it the Book of Glorious Joy, like it was an in-game sorcerer's Grimoire, to dispel the negativity around the book, that had arisen because it was rejected manuscript. And it worked! Peter Town did some fantastic character pieces, much of which now adorns the pages of OpenQuest 3rd edition, and it turned out to be a nice chunky supplement.
The book had decent sales as well which makes my inner-publisher glow, so it wasn't just fan service.
Eventually, after five or so years of being available and sales dwindling to nought, I called time on it which gave it a nice flurry of end-of-life sales (again inner-publisher happy).
A fun book, that while not being 100% Glorantha was a high point of my publishing up in 2011 when it came out. Also, you might see the cover, modified, as the cover of a big setting/adventure book for OpenQuest 3, that expands and details the Empire of Gatan called "Dark Corners of the Empire" at some point next year. So as a source of inspiration, it will live on 🙂
Posted on August 24, 2021 August 25, 2021 Categories General, HeroQuest GloranthaTags D101 Games at 60Leave a comment on Book of Glorious Joy (D101-017)
Adventures in Wordplay issue 1 The Drowned Lands (D101-016)
A very brief post for this one.
The Drowned Lands was a very short sandbox for Wordplay the Big Five (D101-09), written by Paul Mitchener. It was a post-apocalyptic setting based in a near-future where the sea level had raised by fourteen metres, and the weather was constant rain. It was a nice little British Post-Apoc setting, set around Paul's home city of Southampton, where you discovered the setting and plot through play. Oh, and it had intelligent sentient bipedal Bears 🙂
I pulled it after two months because I wasn't happy with the art I had thrown together for it. A selection of images from Wikimedia commons which I put through a "Rainy" filter. See the cover below for an example. I got a fuller release when I redid the Big Five as the Worlds of Wordplay.
Currently, it's passed back to Paul, so it may see the light of day again.
Posted on August 23, 2021 Categories WordplayTags D101 Games at 60, Paul MitchenerLeave a comment on Adventures in Wordplay issue 1 The Drowned Lands (D101-016)
Life and Death (D101-015)
I rounded off 2010, a bumper year of releases with Life and Death, a setting and adventure book for OpenQuest. I started writing about 2006, so it felt like an eternity when it finally came out, to relatively little fanfare. But I was happy and proud of it.
I already told Life and Death's origin story in OpenQuest 1st Edition's (D101-06) post since it's so interwoven with that rule set's beginnings.
So go read it there.
It's my fantasy love letter to George Romero Zombie movies, where a magical apocalypse was brought on by a proud, vain Lion Emperor trying to ascend to the Houses of the Gods. Instead, he ends up wiping them from existence along with the route to the afterlife, which was my rationale for all the undead folk hanging around. It was inspired by a Glorantha fan saying rather angrily on one of the Glorantha-yahoo-lists 1 that you couldn't just wipe Glorantha's Mythology and Gods out like erasing a Hard Drive. Which got me thinking, what if you could. I also knocked the idea that after the erasing of Mythology/Gods, the five city-states of the region the adventures were set in were magically isolated by force fields up to ten miles from their city walls.
It came in two versions. The initial release was in 2010, which had two adventures. A short one-shot introduced the setting called Dead Pot Country, where the characters investigated a missing merchant's son in a land where a dead river civilisation, think Mesopotamia, buried its dead in large ceramic pots in ordered fields. Which the characters had to go tromping across, breaking the seals and disturbing the zombies. And the longer second adventure, which was Life and Death itself. In part 1, you go to a militaristic, xenophobic city-state in the grips of, you guessed it, a zombie plague and discover the culprit behind the Zombie apocalypse. In part 2, you go up into some nearby hills and find out the secret of why the path to the world's afterlife is blocked, and make the final choice between Life and Death.
In 2014 an updated version of the book was released that had two new introductory adventures. Joining the Guild, where the characters run for their lives in an ancient city-state and end up joining the Adventurer's Guild. Real basic stuff to introduce the setting and the system to new players. Their new Guild's first job is to teleport them to old ruin in the second adventure – The Dust of Eternity – overrun with guess what? That's right, Zombies! But zombies that still half-remember their lives moan and groan and have behaviours based on that 2.
I have a soft spot for this, so it's coming back in an expanded/revised version for OpenQuest at some point. BUT it was a pain to write due to various internal conflicts, which made every step forward hard-won. So I'm not in a great rush. When I do bring it back, I will have a clear head and write with joy. Perhaps I'll get the other five books3 in the series that this was meant to be the first written too 3 😀
1. Remember those? Glorantha had at least two official Yahoo groups during the HeroWars/HeroQuest period, from 1999 to the early 2010s. Faults aside, that's where I first connected with the Gloranthan Fan Community.
2. I was big into playing the first Bioshock game at the time.
3. The plan was one book per city in the setting, including the ruined city of the Lion Emperor.
Posted on August 19, 2021 August 23, 2021 Categories OpenQuestLeave a comment on Life and Death (D101-015)
Gloranthan Adventures #1 New Beginings (D101-014)
During the 90s, in my formative years of running RuneQuest, one of my favourite fanzines, when I could get it was RuneQuest Adventures. Every issue took you on a guided tour of Glorantha, in the form of a series of linked adventures. Issue 3 for example The Block, was based around the Block in Prax and the adventure locations around it. As well as notes on the Stormbull cult, it had a fantastic adventure where the dungeon was the hollowed-out skeleton buried under a hill. So this was my primary inspiration for the Gloranthan Adventures fanzine, of which this is the first of two issues 1.
My records show this one too along with Hearts in Glorantha #4 (D101-010) was released in time for the bi-annual gathering of Glorantha fans at Continuum 2010.
First, for the record, of the covers Jon Hodgson has done for me over the years this is one of my favourites ever, depicting an Orlanthi Stormlord flying menacingly as farmsteads in the burn-in valley below. As well as being a cracking illustration it sets the scene for the content within its covers.
The four adventures in the book rise from my early days as a HeroQuest evangelist at my local conventions 2. I took the Sartar setting, that every Gloranthaphile has at least a passing familiarity with and is dead easy to explain to newcomers. Then I threw every chaos foe against a small "peace" clan, called the Silverwinds, who was woefully ill-prepared for such an assault on their way of life. Although there is a bit of clan politics in it, one of my aims was to provide a working example of a clan that the players could be members of, its fairly and squarely leveraging the HeroQuest system to provide an epic crusade against chaos. Think 13th Warrior mixed with Jason and the Argonauts and you've got the measure of it. 3
1. GA 2 Red Sun Rising appears four years later, and I've still got a cover and a good 30-40 pages for a series of Troll adventures, which is the unreleased GA 3.
2. When I was leading the Ring of HeroQuest Narrators which mutated into the semi-official Masters of Luck and Death and then imploded!
3. The set-up for the adventures, divorced from the Sartar Timeline, and general approach do a bit of roleplaying then fight a chaos thing, actually make it more like 13th Age Glorantha mini-campaign well before that book was put out.
Posted on August 18, 2021 August 19, 2021 Categories General, HeroQuest GloranthaTags D101 Games at 60Leave a comment on Gloranthan Adventures #1 New Beginings (D101-014)
Wordplay Basics (D101-013)
This was a blink and you miss it, in the bumper year of releases in 2010. Basically, a promotional book for Wordplay the Big 5 (D101-09), that had a good chunk of the system. These days I would have done a Quickstart set of rules with an adventure. After a couple of months, I realised it wasn't driving sales to the Big 5 as I had hoped, so it was quietly pulled. Did however form the template for OpenQuest Basics further down the line in 2014.
Posted on August 18, 2021 Categories WordplayTags D101 Games at 60Leave a comment on Wordplay Basics (D101-013)
Ye Little Book of HeroQuest Fantasy (D101-011 + D101-012= D101-023)
Ok, this is a composite entry that covers three releases.
Ye Little Book of HeroQuest 1 Dungeoneering (D101-011), released Sept 2010.
Ye Little Book of HeroQuest Fantasy, Dungeoneering, cover by John Ossoway
Ye Little Book of HeroQuest Monsters (D101-012), released Nov 2010.
HeroQuest Monsters, cover by Simon Bray
Both of which were only available in pdf.
Ye Little Book of HeroQuest Fantasy (D101-023) which appeared years later in 2015 and is the combined pdf/print version of the above.
HeroQuest Fantasy cover by Jon Hodgson
In 2009 if memory serves me rightly Moon Design offered the HeroQuest Gateway license 2 to potential third-party publishers. I had already done some generic gaming with HeroQuest, so thought let's give it a go.
The "Ye Little Books of HeroQuest Fantasy" was meant to have been a series of cheap and cheerful short releases, a sort of counterpoint to all the D20 and even Savage Worlds pamphlets that were flooding drivethrurpg.com in those days. Looking at my folder on my hard drive, I also had plans to do "Adventures", "Heroes", and "World Building" as part of the series.
So I quickly brought the project together. HQ was easy to write for and I think each release only took a couple of evening writing sessions to write because I had a laser-sharp focus on what I was doing 3.
Dungeoneering was well-received. In its lifetime it was a Silver Medal seller on Drivethrurpg.com. Monsters did less well but still got a Bronze medal over its lifetime. I'm not surprised since it was basically a generic listing of typical fantasy critters, using the descriptions and art from OpenQuest at the time, and we've all got far too many books of that sort of nonsense 😀
I decided when I was putting the project together the whole series would then only get a full release as a printed version when all parts had been out. This is why there's a huge delay between the pdf releases and the combined version. I kept putting it off because I kept thinking that I would do the other parts, which for one reason or another never happened. Truth be told by the time I put out YLBoHQ Fantasy, I was quite jaded with the whole idea because being a HQ Gateway publisher had not been the road to instant fame and fortune that I had expected it to be 4. I'd not had that crucial moment of self-realisation that the pdfs had actually sold quite well and had been well received by fans, who quietly emailed me politely asking when they were going to see the other parts. In short, I should have put my head down and got on with it 😀
1. The game is currently being rebranded as QuestWorlds and is due a new edition from Chaosium (current owners of the game) soon(ish). The actual rules have been released for free.
Go check out the Questworlds SRD.
For the purposes of this article, I've kept with the old brand name, which has been sold back to Hasbro so they can bring back the board game of the same name, for historical reasons. Plus referring to it as "the-game-formally-known-as-heroquest" is a bit longwinded 😀
2. The HQ Gateway license was actually quite elegant. It nicely explained what you could do with the HeroQuest ruleset, basically do supplements/adventures without going too risque (or edgelord as we call it now) in a way that would damage the brand and reputation of Moon Design, and no Glorantha (but I had a separate license for that). And that was it. No approval process, apart from Moon Design giving you a license in the first place.
3. One of the successes of this project, was that I really got the whole idea of writing a scope, refining it, and then delivering it without scope creep. Well for the first two releases any way 🙂 This success helped me in other D101 Games releases further down the road. If nothing else it made me the master of putting out short pdf to print fanzine sized books, which are now actually good sellers and quite popular.
4. This was quite a depressing internal battle that I fought with myself over the next five years or so. 2010 was a great push to get as many books out, in the effort to become a "name" publisher. Something I've realised further down the road, due to my personality, I'm not all that interested in. For me, it's the creation of the work. I've seen some RPG creators go to great lengths to publicise their works, and it just strikes me as vulgar. It coincided with a slump in my energy levels. Work and having two kids were to blame here 😀
Posted on August 17, 2021 August 18, 2021 Categories General, HeroQuest GatewayTags D101 Games at 60Leave a comment on Ye Little Book of HeroQuest Fantasy (D101-011 + D101-012= D101-023)
Hearts in Glorantha issue four emerged in Summer 2010, just in time for Continuum 2010, which despite its general all games appeal, was still a major Glorathaphile gathering due to its roots.
This was the last of John Ossoway's covers, and personal high-point with it featuring virtually no-Dragon Pass material (aka "those hairy barbarians" as one reader succinctly put it). Instead, it had part of Jamie "Trotsky" Revell's Western Glorantha supplement in the form of the Kingdom of Joruna. D101 would go onto publish a full book worth of his work as the Book of Glorious Joy (D101-011) a year later. I did a mini-setting, the town of Vastar in the Lunar Heartlands, which would be the first trip I would make to this region before 2015's Red Sun Rising (aka D101-035 Gloranthan Adventures #2).
Posted on August 17, 2021 August 21, 2021 Categories HeroQuest GloranthaTags D101 Games at 60Leave a comment on Hearts in Glorantha #4 (D101-010)
Wordplay the Big Five (D101-009)
This one was one of our big game releases and quite a significant milestone for D101 Games.
Wordplay the Big Five, cover art by Jon Hodgson
Wordplay was Graham Spearing's D6 Dicepool narrative game that he wrote under a creative common's license. My original publication plan was to do a standalone Fantasy game using rules and the Empire of Gatan setting from OpenQuest for D101. As well as contributing a setting or Theme, called Infinite War, to Graham's big release of Wordplay, alongside three other themes. Mark Galeotti's Cold Crusade (mythological superheroes), Charles Green's Keep Portland Weird (Urban Fantasy) and Graham's Epic Fantasy theme. For various reasons, Graham's release of the core rulebook fell through, and Wordplay, the Big Five, was my release of the core rules + the themes as they were in 2010.
Here's the content's page
Everything was pulled together at breakneck speed, as was typical of D101 early releases, still keeping to a fast and furious Punk Rock ethic of Do it! The artists of Hearts in Glorantha came through big time. Peter Town and Ilkka Leskelä stand out especially as heroes who opened up extensive portfolios of illustrations that nicely illustrated a narrative game. Ilkka also, some fantastic full pagers, which he allowed me to use again in the recent OpenQuest 3rd Edition. This one especially stands out for me.
Fantasia by Ilkka Leskelä
The book sold moderately well, making its costs and a little bit of profit, and was critically well accepted. It was also the first big book RPG that I wasn't the primary author of but instead focused on being a publisher. Which was a good experience in itself and made me more confident later on.
Posted on August 16, 2021 August 18, 2021 Categories WordplayTags D101 Games at 60Leave a comment on Wordplay the Big Five (D101-009)
Monkey, The Storytelling Game of the Journey to the West (D101-08)
Monkey started as an idea back in the mid-90s. I was stuck for what to read in Fantasy and asked my mate Keary Birch for a suggestion. He pointed me in the direction of the Journey to the West or "remember that TV series on BBC2 during the 80s", as he put it.
My next port of call was Monkey – the James Whaley translation and the abridged version published via Penguin Classics. The full version of the book, which I got to just after 1st edition was finalised, is a four-volume series of 100 chapters, with each volume clocking in at 1000 pages. James Whaley's version is only 40 chapters, missing out much of the repetitive monster-of-the-week type chapters that make up the bulk of the Journey itself and heavily abbreviating the start and end of the Journey. This version is very accessible to English audiences but at the cost of some detail and narrative logic.
I was immediately struck by the fact that this could be a Roleplaying game. There was a party of Adventurers, the Pilgrims: Tripitaka the Monk and his immortal guardians, Monkey, Pigsy, and Sandy. They have the main goal, go to India to pick up the missing scrolls of Buddhist teaching and return them to China, and be admitted into Chinese Heaven as Immortals. Along the road, a mythic version of the real-life Silk Road, the pilgrims have to battle and drive off villainous demons who are keen to eat the Monk because doing so will gain whoever does so great power. So there's a goal and conflict right there.
As well as the Whaley translation, I drew from two other sources of inspiration.
My shakey remembrance of watching the Japanese TV series Monkey, or Monkey Magic, from the early 80s every Thursday Night on BBC 2 as kids.
My young son was also a Monkey fan 🙂
What I'd learned about Taoism and Buddhism from my own life experiences at the time. For example, the central Yin / Yang card drawing mechanism was drawn from the importance of that concept is not only the martial arts that I had been studying at the time, which were forms of Taoist Internal Alchemy, but also I Ching divination system. The necessity of the characters to be nice and protect mortal characters came from the book's reflection of Buddhist teachings and the fact that the characters, all through powerful immortals, were being coached by Buddhist gods to mend their wayward ways so they could be readmitted into Chinese Heaven.
I had spent a good fifteen years putting Monkey together when I finally go the first edition out in 2010. Internals were done on the cheap via clip-art.com where I raided their ancient Chinese category. Also of note on this front, the 15th Century woodcuts that illustrate Monkey Subdues the White Bone Demon, which is based on one of the chapters from the full novel. Because they were in the public domain, I could use these fantastic pictures of Monkey and the rest of the pilgrims to do full-page illustrations.
The cover was technically the first of the Jon Hodgson covers I commissioned. I consciously put Monkey to one side while I got more publishing experience putting out Hearts In Glorantha (see D101-03 to 06), OpenQuest (D101-06) and the Savage North (D101-07). It had to wait until July 2010.
Another D101 Games first, was that Paul "The Tweadmeister" Mitchener did proofing/editorial for the game. Neil Gow (publisher/author of Duty and Honour/Beat to the Quarters) was officially the games' Monkey's Uncle due to the excellent advice and encouragement that he gave over its rather wobbly development.
The book's release coincided with Continuum 2010, a sell-out on a small (50 copies) but significant scale.
I was immediately aware of its shortcomings and planned a 2nd edition ( D101-045) which was finally released in 2018. It is available from the D101 Games web store.
Monkey at D101games.com
Also, it has a blog that has more about the game and its inspirations.
Monkey Magic blog.
Posted on August 7, 2021 Categories General, MonkeyTags D101 Games at 60Leave a comment on Monkey, The Storytelling Game of the Journey to the West (D101-08)
The Savage North (D101-07)
Aha, this one is definitely one of my favourites.
I realised quickly once OpenQuest 1st Edition came out that it needed an adventure/scenario pack which quite frankly showed how awesome it was. Life and Death was planned to do that, but I had descended into a pessimistic revise/rewrite loop which meant it wasn't getting done any time soon. My friend John Ossoway had a series of old RQ3 Conan scenarios, which featured monsters from the HP Lovecraft Cthulhu Mythos, which he casually mentioned over a lunchtime meetup. Excited by the idea, I convinced John to let me release it as an OpenQuest adventure.
So the plan was.
For me to create a new setting. Which was faithful to the essence of Pseudo Vikings and a frozen North, fighting eldritch horrors in the wilderness, but didn't include Howards or Lovecraft's IP. This led to the creation of the Savage North, which is made up of three kingdoms. The two kingdoms, the Drakkar, Nortland and Sonderland*** and the misty hill land of Bogdan.
To do editorial on John's adventures, strip out the Conan + HP Lovecraft IP and convert it all to OpenQuest. This led to many bloodthirsty demons replacing Lovecraft's creations since I'm a bit of an 80s body-horror fan (Clive Barker, Chronenburg etc.). The adventures formed a mini-campaign, which took the characters up a glacier and through the underground dungeons that riddled it to face waking evil Serpentmen Priests. Then south for a spot of monster hunting while safely escort a Druid who was turned into a pig to a sacred grove to be turned back into a human. Finally, the campaign ended with a dungeon lair of a demi-lich on a remote island and a race against time to prevent the master from resurrecting as a full member of the undead nobility. The whole thing was very Old School with dungeons and set-piece encounters along wilderness journies. John wrote one section of the first scenario to provide an excuse to replenish the party after it suffered a Total Party Kill.
John did all the internal art, including this map of the Savage North.
The Savage North map by John Ossoway
It was one of the most fun collaborations that I have been involved in, and that playful sense of fun translated into sales, with it meeting my expectations. One of D101 Games' best sellers, it was a no-brainer when I did the OpenQuest 3rd edition that there should be a new version of the book entitled Saga of the Savage North.
I threw together this web comix from John's art, and I think it sums up the sense of mischievous fun we had 😀
*Drakar was a land of pseudo-Vikings, with a touch of the North East of England where I'd lived as a teen. There's an Angel of the North, a massive statue that comes to life and crushes its enemies, a city called Newcastle, the twin river gods Way-Ai and Kan-Ai and Howay the Hunter God.
Posted on August 4, 2021 Categories General, OpenQuest, Savage NorthTags D101 Games at 60Leave a comment on The Savage North (D101-07)


Dragging and dropping Groups, Projects and Customers across their stages is now improved. Auto-scrolling means you can more easily drag across multiple stages.
Items are automatically placed at the top of a stage when moved from one stage to another.


Point one on the Canada Post list is actually community mailboxes, but then their video goes on to talk about how people are ordering more things online and want them to be delivered to their homes. Those packages are only coming to our homes after we go get them, either from the "convenient" group mailbox located somewhere in the neighbourhood or at a retail postal outlet, more than likely a subcontractor who can manage to pay lower wages… But more about those things later. For this point, they will have to be banking on our desire to opt for "home-adjacent" or "home-proximate" delivery instead of choosing one of those private companies that will actually still come to our door to deliver, and even come back if we're not there the first time.
One of the original "P"s! But I'm not sure that the "P" I learned about was about increasing the price of a letter by almost 35% in one fell swoop while broadening the delivery area to the "adjacent" or "proximate" that I mentioned in the first point. Less is more, right? So less service ought to be worth more money. You just have to love logic.
They claim that opening more franchise outlets is all about making things more convenient for us all. The franchise outlets are located in businesses that are not bound by the collective agreements that Canada Post signs with the union representing its employees. I still remember my first experience of having missed a parcel delivery many years ago where the parcel was redirected to a franchise outside of my neighbourhood when there was an actual post office with employees earning a living wage and with benefits that was not only in my neighbourhood, but also physically closer. I'm sure that was all about the convenience to me, right? Oh, and the best part of this is the suggestion that it will simplify our lives because we can do our other shopping at the same time in the same place. Because filling my shopping bags is uppermost in my mind as I struggle under the weight of the packages from my multiple online purchases that wouldn't fit in the community mailbox parcel section.
Canada Post calls this one "streamlining" of their process, meaning that they hope to employ fewer people to run ever more sophisticated machines to sort and direct our mail. Oh, and they would also like to add to the carbon footprint they leave by having more vehicles out there delivering to those community mailboxes, instead of pesky letter carriers wasting time actually talking to people along their routes. Machines don't chit-chat, or check in on lonely seniors, for that matter. Waste, waste, waste.
And then there's this thing that I presume a machine did to this letter I recently got from all the way across town. By the looks of it and the fact that it took three days to make it across town, I would suspect if fell out of the machine or got caught in the efficient machinery for a while.
Canada Post has always been such a leader on the labour relations front. They calculated the time it should take someone to go to the bathroom and reprimanded those who took longer. They installed cameras everywhere in their facilities (there are those machines better than people again) to watch their staff at all times. They went through a series of hiring scabs — er, replacement workers — during labour disputes and then they got the federal government to order workers back from a lock-out at conditions poorer than the employer's last offer. Now, a lock-out is an employer decision, not a union job action, so I guess it just makes sense to punish the employees for that, right? The brilliant plan now is to take advantage of coming retirements to "only hire the staff we need" for the new, leaner, meaner services. Because cutting staff positions is always good for the economy, right?
If you want to see their lovely PR video on YouTube you can go here (I won't be embedding that on my blog). Oh, but don't expect to be able to share your point of view there, as comments have been disabled. Disagreement must not be very productive.


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What does AVUM stand for?
AVUM stands for "Aviation Unit Maintenance"
How to abbreviate "Aviation Unit Maintenance"?
What is the meaning of AVUM abbreviation?
The meaning of AVUM abbreviation is "Aviation Unit Maintenance"
AVUM as abbreviation means "Aviation Unit Maintenance"


text:
17 July 2015 / SF Restaurants, Food & Drink / Jay Barmann
Petit Crenn Aims For Early August Debut In Former Bar Jules Digs
Ever since we learned in April that the replacement for longtime Hayes Valley neighborhood favorite Bar Jules would be a new casual spot from chef Dominique Crenn, called Petit Crenn, I've been eager to know more about what to expect. Today we get some further details from Eater, about the menu; the innovative, all-day, European neighborhood-spot format with a family-style prix fixe at night; and the opening timeframe, which will be "early August."
Crenn says she's looking to make of the small restaurant something a little different than was there before, and more like "a big dinner party" with more family-style service and casual food than the dinner-party-esque format of Lazy Bear. But like Lazy Bear, there will be just two seatings every night, at 6:30 p.m. and 8:30 p.m. Everyone will pass dishes around the room, helping themselves, with cooks delivering the food themselves. The menu will change daily, and will be a hearty five-course affair.
Also, this is going to be an all-day restaurant, with French pastries and egg dishes served starting at 7 a.m., salads and tartines in the afternoon until 4, and there will be an a la carte bar menu for walk-ins starting at 5:30 p.m. featuring oysters and a few other items.
The dinner menu, directed by Crenn and executed by executive sous chef Aaron Thayer, will make wood-oven-roasted fish and vegetables the star, which Crenn says is "an homage to the cooking of my mother and grandmother, really." (Crenn's family comes from Normandy.)
She's brought in former Dry Creek Kitchen wine person Courtney Humiston to direct the wine program, which will lean in a French direction and feature a big selection of rosés and Champagnes.
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This Week In SF Food: Trestle Team Signs On For Mid-Market, And Basically Everyone Quits At BDK
This week, the SFist food desk had news on Tsk/Tsk, an interim bar takeover from the Bourbon and Branch team, debuting tonight on Divisadero. Meanwhile on Market Street, there was word of
Apartment Sadness: Live In A Sad Sunset Garage For $1300
In a bid to provide affordable housing for area students, one Sunset family is generously offering the use of their converted garage for a mere $1300 a month. A few years ago, a
Jay Barmann
Jay C. Barmann is a fiction writer and web editor who's lived in San Francisco for 19 years.


text:
Sidney Corbett (* 26. April 1960 in Chicago, Illinois) ist ein US-amerikanischer Komponist Neuer Musik, E-Gitarrist und Professor für Komposition an der Hochschule für Musik und Darstellende Kunst in Mannheim. Seit 1985 lebt er vorwiegend in Deutschland.

Leben
Corbett wurde als älterer von zwei Söhnen einer jüdischen Mutter und eines katholischen Vaters in Chicago geboren und zog 1968 mit seiner Familie nach Kalifornien. Mit fünfzehn Jahren spielte er bereits als Gitarrist in verschiedenen Bands in Los Angeles und komponierte bald darauf seine ersten klassischen Klavierstücke.

Nach seinem Abschluss in Philosophie, Musik und Komposition an der University of California, San Diego, wo er Bernard Rands und Pauline Oliveros kennenlernte, setzte Corbett sein Kompositionsstudium an der Yale University fort und lehrte dort bereits 1985 als "Teaching Fellow in Composition". 1989 promovierte Corbett dort mit einer Analyse des Werkes Hyperprism des französischen Komponisten Edgar Varèse. Der Titel seiner Dissertation lautete Metaphor Structures in Contemporary Music. Dort beeinflussten vor allem Jacob Druckman, Martin Brezsnik und Morton Subotnick seine eigene musikalische Entwicklung. 1985 bis 1988 studierte er in György Ligetis Kompositionsklasse an der Musikhochschule in Hamburg und erhielt den BMI Student Composer Award.

Corbett blieb nach 1987 zunächst in Deutschland, lebte die meiste Zeit in Stuttgart und schlug sich als freischaffender Künstler, Musik- und Englischlehrer durch. Zeitweise lebte er auch in Paris. Erste Auftritte beim Gaudeamus-Festival in Amsterdam 1988 und der Biennale in Zagreb im selben Jahr markierten die Anfangspunkte seiner Karriere als Komponist. 1993 wurde seine erste Sinfonie Tympan vom Radio-Sinfonieorchester Stuttgart uraufgeführt; von dieser Zeit an folgten weitere Auftragsarbeiten und zahlreiche Auftritte. 1994 erhielt er erstmals einen Ruf als Gastprofessor an die Duke University in Durham, North Carolina, wo er zwei Jahre Komposition und Analyse zeitgenössischer Musik lehrte. In den USA erschien zeitgleich die erste CD Long Distance mit Seth Josel an der Gitarre in New York, gefolgt von seiner ersten deutschen Solo-CD Waking an Angel im Jahr 1998 bei Kreuzberg Records in Berlin.

Ab 2000 lebte Corbett in Berlin. In dieser Zeit wurden seine Werke in Europa und in den USA bekannt; auch Radio Moskau und Radio Tokio nahmen seine Musik in ihr Repertoire auf. Mit Noach wurde 2001 Corbetts erste Oper nach einem Libretto von Christoph Hein am Theater Bremen uraufgeführt; danach folgte erneut eine Periode mit Kammermusikprojekten u. a. mit dem Modern Art Sextett in Berlin. 2003 lernte Corbett seine Frau Eva kennen und ist inzwischen Vater von drei Kindern, mit denen er in Schwetzingen lebt.

2004 komponierte er mit seiner zweiten Sinfonie Immaculate sands und dem Violinkonzert Yael zwei größere Orchesterwerke. Yael wurde mit dem Solisten Kolja Lessing 2005 in Stuttgart uraufgeführt. Der DLF Köln veranstaltete im selben Jahr ein Porträtkonzert mit dem Titel Exits über Sidney Corbett und im Jahr 2006 erschien seine zweite Solo-CD Que hora es in paradiso?, beides mit Seth Josel als Solist an der Gitarre. Seine dritte Oper Keine Stille außer der des Windes wurde Ende Januar 2007 in Bremen uraufgeführt.

Gemeinsam mit Stefan Bolanz, Lam Thuy Vo und Rolf Fabian Laumer gründete Corbett 2005 die Band Vierte Heimat, die bisher in Berlin und Brandenburg auf Partys und Events für Liebhaber elektronischer Musik teilnahm, u. a. beim Turbo Tanztheater im Tacheles.

Parallel zu seiner Haupttätigkeit als Komponist ist Corbett seit Jahren als Autor von Texten zu musikalischen Themen und als Kompositionslehrer tätig. Seit 2006 ist Corbett Professor für Komposition an der Hochschule für Musik und darstellende Kunst in Mannheim. 2015 übernahm er die Verantwortung für das Programm der dortigen Gesellschaft für Neue Musik. 2018 war Corbett "Composer in Residence" beim Daegu Festival in Südkorea. Im Laufe seiner Karriere erhielt Corbett Kompositionsaufträge u. a. von den Berliner Philharmonikern, der Staatskapelle Berlin, vom WDR, SDR und SWR.

Corbett pflegt eine lebenslange Liebe zu Baseball und American Football. Von 1992 bis 2000 war er Mitglied bei den Stuttgart Reds.

Stil
Corbetts frühere Werke seit 1997 zeigen eine stärkere Ausrichtung an der melodischen Linie. Diese Periode kulminiert 2000 in Noach. Nach dieser Zeit beschäftigt er sich stärker mit Pulsierungen, Überlagerungen von Zeitstrukturen – den rhythmischen Aspekten Neuer Musik. Diese Periode hält bis heute an. Gesang bleibt über beide Phasen hinweg ein wichtiges Element.
Themen und Gedankenwelt von Corbetts Werken ziehen ihren Inhalt aus der Literatur und den Bildenden Künsten, dies wird auch an den Titeln erkennbar. Die Basis für theologische Inhalte verdankt Corbett seinen jüdisch-christlichen Wurzeln und seiner Aufgeschlossenheit gegenüber den buddhistischen Lehren und mystischen Themen allgemein.

Festivals und Auftritte (Auswahl)
 Gaudeamus, Amsterdam, NL (1988)
 Biennale, Zagreb, HR (1989)
 New Orchestra Project, New York (1989)
 Steirischer Herbst, (1989)
 Ensemblia, Mönchengladbach (1987, 1993)
 Gewandhaus, Leipzig (1995)
 New American Music Festival, Sacramento, USA
 Klangwerkstatt, Berlin (2001)
 Eclat, Stuttgart (2002)
 Philharmonie, Berlin (2004)
 Forum Neue Musik, DLF Köln (2005)
 Kampnagel, Hamburg (2005)

Hauptwerke (Auswahl)

Opern
 X und Y (1995)
 Noach (2001)
 Keine Stille außer der des Windes (2007)
 Das große Heft (2013)
 Die Andere (2016), Libretto: Christoph Hein
 San Paolo (2018)

Orchesterwerke
 Ghost Reveille (1984)
 Posaunenkonzert (1994)
 Yael (2005)
 Exits (2005)
 Among the Lemmings (2009)
 Through a Glass, darkly (2016)
 Paganini Remix (2019)
 Goldberg Hallucination Remix (2019)

Sinfonien
 Nr. 1: Tympan (1992)
 Nr. 2: The immaculate sands (2004)
 Nr. 3: Breathing water (2006)

Vokalmusik

 Caverna (1994)
 Maria Magdalena (2005–2007)
 Lucerna (2007)
 Unsér Súnde (2007)
 Psalm 39 (2010)
 Canticum David (2015)
 Zwei leise Gebete (1994/2017)

Kammermusik
 Die Stimme der Wände (1993)
 Kammersinfonie (1995)
 Gesänge der Unruhe (2003)
 Fractured Eden (2005)
 Lines for Malte Spohr (2006)
 Variationen über einen Gedanken von György Kurtág (2008)
 Only what Disappears (2013)
 Variationen über einen Gedanken von György Kurtág II (2013)
 Überzeichnung (Lines for Malte Spohr) (2018)
 Red Traces (Lines for Malte Spohr) (2018)
 Ararat (2019)
 la voce abbandonata (in memoriam georg katzer) (2019)
 Aporia (2019)

Schriften (Auswahl)
 Auf der Suche: Zum Tode des amerikanischen Komponisten Jacob Druckman. In: Neue Zeitschrift für Musik Nr. 4, Juli/August 1996, Schott Verlag, Mainz
 Die amerikanische Neue-Musik-Szene: Der subjektive Überblick eines Komponisten. In: Musik & Ästhetik, Heft 6, 1998, Klett-Cotta Verlag, Stuttgart
 Verzicht ist eine Antwort (zu den Begriffen Fortschritt, Avanciertheit und Avantgarde). In: Musik & Ästhetik, Heft 33, Januar 2005, Klett-Cotta Verlag, Stuttgart

Literatur

Weblinks
 Homepage Sidney Corbett.
 edition ex tempore + nova vita: Vita Sidney Corbett.
 Edition Peters: Vita + Werkverzeichnis Sidney Corbett

Einzelnachweise

Komponist klassischer Musik (20. Jahrhundert)
Komponist klassischer Musik (21. Jahrhundert)
Komponist (Vereinigte Staaten)
Gitarrist
Hochschullehrer (Musikhochschule Mannheim)
US-Amerikaner
Geboren 1960
Mann


Michael Overa never wanted to teach. He grew up in a middle-class Seattle family with both parents working full time. This allowed him plenty of time to enjoy his books undisturbed. He describes his younger self as nerdy and introverted, traits that kept him out of trouble in his youth and traits he maintains to this day.
He sits on the front of his desk, facing the diverse group of students before him. His laid-back charm, casual style, and warm smile give him an approachable air that fills the room. Cue the cat video — his key to success.
Using the cat's ability of winning the internet to win over his classroom. Overa seems to be one of SCC's highest-rated professors, according to the website Rate My Professor, with an astonishing 5.0 rating.
"That'll go down as soon as I really piss someone off," he said with a laugh.
With over two years teaching ENGL 101 and 102 at SCC under his belt, it seems unlikely the rating will change anytime soon.
Overa says he only checks the site at the beginning of the quarter, so he'll see what students might be expecting of his class. "But honestly, some of the reviews give me the warm fuzzies," he says with a smile.
Overa was a Running Start student at SCC during his senior year of high school, back in '98-'99. He then received a bachelor's degree in English from UW.
"No. I want to write," he'd say.
With a degree in his hands, he set sail for faraway places, spending a few years traveling and living abroad in the U.K., Ireland and then Australia where he avoided teaching jobs by tending bars.
Overa's experience traveling abroad reformed his writing style, giving Overa more wiggle room for writing.
"We take stuff that's happened in our lives and we rearrange it. Once you're a writer the more that you see things the more that you change and become more dedicated to [writing] it," he says.
Overa returned to the U.S. to earn his master's degree in creative writing at Hollins University in Virginia. Hollins is a college known for its writing department and non-competitive writing atmosphere, which appealed to Overa since he saw competition as neither enjoyable or creativity-inducing.
He discovered that his love of writing wasn't just in sharing his own writing – but teaching the love of writing itself. "I have this need, I want to be helpful. Like a weird core to my being, I just really want to be useful," Overa said.
Shortly after his daughter's birth, Overa's wife, Jill, informed him that he could only have two jobs since she would need his help at home. He was teaching at two community colleges and a middle school, volunteering in writing groups, tutoring and indulging in his own writings.
Writers are known to be a bit particular with their props and habits, sometimes verging on peculiar in their rituals. But not Overa. "I don't eat a goldfish or spin around three times," he jokes. He doesn't even listen to music when he writes: it's too distracting.
Not everyone wants to take English, but since it's a requirement, everyone does. Overa has students from all over the world and from all age groups. Some are in Running Start while others have already earned degrees in other countries. With such an incredible mix of students, just trying to figure out what works for everyone can be a challenge.
Showing his passion to affect change in the world, but more closely in his student's lives, Overa seeks to improve communication skills. "I always hope that students will leave my class with a better skill at articulating," he says.
Overa teaches what he uses in his own life. When something is bothering him, he uses the writing process to figure out how he really feels. "Some people go for a walk or run to clear their heads — I write to clear my head," Overa says.
Overa has published two books, "This Endless Road" — a loosely connected collection of short stories — and "The Filled in Spaces" — another collection of short stories.
Fellow SCC English Professor, Katie Johansen, shares an office with Overa. Johansen describes Overa as ambitious, driven, talented and passionate. "He takes it very seriously, he just wants to give his students the best," says Johansen.
Overa's time is currently divided between SCC and Edmonds Community College, where he teaches English 101 and 102 and leads writing workshops. He says he enjoys the natural beauty of the campus. "It's like living in Hobbiton," he says. He appreciates the small class sizes and the ability to really get to know his students.
While he would love to teach more complicated and higher-level classes at a university, he aspires to gain tenure at SCC, which would allow him to dedicate his time to one school and provide diverse writing classes.
Overa makes it clear to his students that his door is always open when they need help. He tells his class about previous students who have later returned for assistance in writing things like a wedding speech, transfer essays, and even an immigration appeal.
"I'm always happy to help current and former students, I feel it's part of the job," Overa says.
If you've been inspired and want to get started using Overa's prehistoric method of typing — just grab some unlined paper and a Pilot G2 gel roller in black. You too can be a geeky, writerly, nerd or just improve your writing skills — he'll teach you how.
Overa's books "This Endless Road" and "The Filled in Spaces" are available from Unsolicited Press through the usual online sources.


A&M Records first assigned Nick to arrange for Claudine Longet. By November 1967, he had recorded one album and two singles with her. Longet's husband, singer Andy Williams, came to several dates then asked DeCaro to arrange for him.
DeCaro produced Longet's later albums with A&M as well as albums for A&M artists Chris Montez and The Sandpipers. These recordings are often considered the quintessential A&M Records sound. Nick also played on many A&M sessions providing the piano and/or accordion parts on sessions including those for Herb Alpert & the Tijuana Brass and the Baja Marimba Band.
In 1969, DeCaro recorded his own album for A&M Records, Happy Heart. Nick's version was an instrumental which was climbing the Billboard chart. Andy Williams wanted to record it as a vocal and asked DeCaro for an arrangement. Nick's arrangement for Williams is almost identical to his instrumental. Williams' version became a hit in 1969. DeCaro's own album featured his skills as a song writer, arranger, pianist, vocalist and producer.
Nick DeCaro was one of the most prolific arrangers in the music industry from the mid-1960s through the early 1990s. He worked with over 300 artists from Mel Carter to Tori Amos, Elton John to Barbra Streisand, and James Taylor to Dolly Parton. In that time he also returned to arrange songs for a myriad of A&M artists.


In the waters behind the breakwater, an area referred to by the Navy as the "D8 anchorage," the Navy conducts weapons and munitions transfers between vessels on the water, the letter explained. Any change to the breakwater could result in changes to wave energy, and even "small swells can generate sudden and random shifts in distance and height" between such vessels.
There is no other area within the San Pedro Bay that would meet the Department of Defense's requirements for the explosives operations the Navy currently conducts, according to Dahlke's correspondence.
The Navy has veto authority over any changes to the breakwater, according to Diana Tang, government affairs manager for the City of Long Beach, who added that the Navy has been informed of the study's progress since it began at the direction of the city council in 2013.


I have been Crafting for awhile, and found a forum to display and share my handmade craft.
I plan to host workshop through my blog, with creative projects, and ideas for anyone at any level.
I have a online ordering system in place for anyone to order online 24/7. When placing an order do not check the "NO CONTACT" box. I will send a "Special Thank You" with every purchase.
Thank You for Stopping by to visit me.


This entry was posted on August 15, 2012, in Children, Elders, Foundation, Multigenerational, Parents. Bookmark the permalink.
Stability and permanence. Take a moment to reflect upon what these mean for you. It probably means something different for everyone. Perhaps for you it is having a stable job, a solid and loving family, a permanent place to call home.
For many children across the United States, the truth is stability and permanence are lost when they are removed from their families and homes and are placed into the uncertainty of foster care.
Recent reports state that, in the United States, there are more than 408,000* children in the foster care system and 2,712,000** children living in public and private kinship care. In Washington State over 10,000 are in foster care and 53,000 are in kinship care. Too many children go without a childhood that prepares them for a bright future.
Hope Lights Community is our solution to eliminate the hopelessness and lack of belonging these children have. It is an innovative approach to how we care for disadvantaged children. Hope Lights is a community created with the purpose of supporting each child and family that lives there — in turn, all members are able to heal and enrich each other's lives.
Learn more about how a multigenerational community model benefits children, parents, and elders in our unique community!
*According to the Adoption and foster Care Analysis and Reporting System (AFCARS) FY2010 data. Click here to view the full report.
**Data taken from the Annie E. Casey Foundation Stepping Up For Kids, Kids Count Policy Report. Click here to view the full report.