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Film festivals vs the big streamers
Cameron Williams: Australian film festivals, Netflix and Amazon
Cameron Williams, co-founder of Graffiti With Punctuation and The Popcorn Junkee, is a writer and film critic based in Melbourne. Cameron Williams, co-founder of Graffiti With Punctuation and The Popcorn Junkee, is a writer and film critic based in Melbourne.
I Don't Feel at Home in this World Anymore
You can stream the big hits of the 2017 Sundance Film Festival right now, before the Australian film festivals kick into gear. Once, it would be a long wait to hear if any Sundance hits had made the festival cut. American indies are a mainstay of film festivals in Australia because they draw crowds and switch people on to the wider scope of a festival program. As the film industry deals with the changing viewing habits of audiences, so too are Australian film festivals.
Local festivals are slowly losing access to films that were once guaranteed to be 'sold out' due to the aggressive buying tactics of the major streaming services: Netflix and Amazon. As these films disappear, Australian film festivals face the creative challenge of programming to audiences who have every excuse to stay at home. The streaming giants don't like to share their films with festivals unless they're premieres, and Australia rarely gets a shot at those.
Shifts in how we engage with technology accelerate cultural change and Australian film festivals are now facing the might of streaming services nudging in on their turf. Is this shift suffocating local film festivals? Or are we entering a new age in which festivals will revitalise cinema when many naysayers are proclaiming its demise?
What are the streamers buying?
The 2017 budget for streaming giant Netflix is a reminder of their might: $US 6 billion. Close behind is Amazon, spending $3 billion in 2016, which they're expected to triple this year. But what are they buying? Aside from their crop of original television series, they're producing and buying films for distribution to their subscribers—and they've got a taste for indies. At Sundance 2017, Amazon inflamed the bidding war for The Big Sick, a comedy based on the lives of writers Kumail Nanjiani and Emily Gordon that buzzed with positive word of mouth following the premiere. Amazon bought The Big Sick for $12 million. The major difference between Amazon and Netflix is that Amazon partners with cinema distributors to ensure the films it invests in get theatrical releases. Amazon has collaborated with Lionsgate to distribute The Big Sick in America, while Roadshow will handle the roll-out in Australia.
Award-winning streamers—anti-cinema?
Sundance saw another milestone reached this year when the highest honour at the festival, the Grand Jury Prize, went to Macon Blair's I Don't Feel at Home in this World Anymore (2017), a Netflix original film. Netflix doesn't play ball with cinemas. CEO, Reed Hastings, who didn't hold back during a recent interview, asked, "How did distribution innovate in the movie business in the last 30 years? Well, the popcorn tastes better, but that's about it." He defended his stance by adding, "We are not anti-theatre, we just want things to come out at the same time."
Netflix releases its films exclusively to subscribers globally on the same day. I Don't Feel at Home in this World Anymore premiered at Sundance in January and was released globally a month later. Netflix does give its films a cinema run in America thanks to a deal with iPic Entertainment, a small chain with 15 cinemas. Under the deal, iPic shows 10 Netflix movies on the same day as their online releases. Audiences who turn out to see these films in a cinema are small, but the deal allows the company to qualify its titles for the Academy Awards. To date, Netflix has netted seven Oscar nominations and won its first this year for the short documentary White Helmets. A deal in Australia has yet to be struck to put Netflix films in cinemas.
In the past in Australia, there would be a wait to see the Grand Jury prize-winner from Sundance at a major film festival. Sydney Film Festival (SFF) and Melbourne International Film Festival (MIFF) are fed with the films from prestigious international film festivals. The wait time is getting shorter, and in some cases, completely bypassing festivals. What does this mean for Australian film festivals?
Snapping up festival fare
American indies are still a staple of film festival programming in Australia. These films are a major lure for crowds because they're an easy sell compared with an eight-hour Romanian black and white film. They sit in the eye of the zeitgeist because people must see these films to have a stake in the conversation; plus, there's the 'see for yourself' factor around any major award winner out of any festival. SFF often nets the Palme d'Or winner from the Cannes Film Festival, for instance Amour in 2012 and Winter Sleep in 2014. SFF has developed a reputation for being able to fast-track films from the French Riviera to Australia because they pull crowds, and Sundance has the same power.
Streaming services are sucking these titles out of festival consideration because they want subscribers to see these films for the first time at home; it's what subscribers are paying for. In recent years, competition to secure American indies has been tight and it looks likely to dry up if the streaming buying power isn't going away. From Sundance 2017 Amazon paid $6 million for a Grateful Dead documentary, $3 million for a comedy called Landline and $2 million for a documentary about the terrorist group ISIS called City of Ghosts. Netflix bought the international rights for Australian filmmaker Cate Shortland's Berlin Syndrome and two documentaries: Casting JonBenet and Chasing Coral.
The service also bought the rights to a documentary titled Joshua: Teenager vs Superpower, about a Hong Kong college student who helped inspire a 79-day protest that shut down the city's financial district in 2014. In 2016, Amazon paid big to secure the rights to Manchester by the Sea after it played Sundance and kept it locked away all year, avoiding all Australian film festivals and rolling it out for awards season where it became the first film funded by a streaming service to win multiple Oscars.
The shortening release window
In Australia the release window is also shortening for when a film plays a festival and when it's general release. SFF just released the first-look titles for their 2017 program and one of the big-ticket items is David Lowery's A Ghost Story, which premiered at Sundance this year and was snapped up by Madman for distribution in Australia. Hours after A Ghost Story was announced as part of the SFF program, Madman dated it for a general release: 13 July, one month after SFF ends. Unless you're the kind of person who has to be the first to see it, A Ghost Story can be skipped in favour of something not slated for release in the next month, if at all. Of course, there are exceptions: Kelly Reichardt's Certain Women played SFF in 2016 and failed to get a distributor despite critical acclaim, good word of mouth and an outstanding cast—Kristen Stewart, Laura Dern and Michelle Williams. The Australian Centre of Moving Image in Melbourne and Golden Age Cinema in Sydney have announced they will screen Certain Women for a limited season in mid-April 2017.
Lily Gladstone, Certain Women
MIFF's Michelle Carey: What challenge?
The Artistic Director of MIFF, Michelle Carey, doesn't view the rise in streaming services as a hindrance to the way film festivals in Australia deal with indies. "We are still screening as many American indies as we ever have," Carey said. "In fact, I would say there has been a resurgence in this genre, if one were to call it that, but less at the Netflix/high profile Sundance end of the scale and more at the truly independent or auteur end of the spectrum. I'm thinking here of filmmakers such as Alex Ross Perry, Eliza Hittman, Dustin Guy Defa or the Safdies."
Streaming services like Netflix and Amazon operate like Hollywood studios when it comes to producing and buying power. A film can be made independently but once a million-dollar cheque is signed, it becomes part of the system. Joe Swanberg, one of the princes of indie filmmaking and a one-time special guest of MIFF, will have his new film, Win It All, released by Netflix in April.
A new wave of independent filmmakers—who are discrete from the system—are rising in the ranks and their playgrounds continue to be film festivals. But just how much of a draw are American indies anyway?
"High profile American films do draw large audiences, perhaps because they often arrive at Australian festivals surrounded by a lot of buzz and with PR muscle behind them, moreso than films from other countries," Carey says. "No one does buzz like the Americans! But one could also say the same thing about a new Olivier Assayas, Park Chan-wook or Claire Denis film. They would probably get just as big an audience at festivals."
Having that mix of auteurs and up-and-comers will present the vital challenge to film festival programmers when there's a James Franco-sized hole in their schedule. Carey points out the perceived gap may be a myth: "There hasn't been a discernible absence of any sort of films, so it hasn't really left a gap to be filled. We try to program as diverse a range of amazing films as possible and our festival is large enough that even more niche propositions can get great, responsive audiences."
Flying the flag for cinema & festivals
In a recent op-ed piece for IndieWire, the co-founder and CEO of Alamo Drafthouse cinemas, Tim League, spoke out against the comments of Netflix's CEO, cited earlier, stating, "We are in very different businesses. Netflix is in the business of growing a global customer base by being the best value proposition subscription content platform. But here's my business: cinema. Cinemas are in the business of offering an incredible, immersive experience that you simply cannot duplicate at home. Our job is to put on a show and provide a great value proposition for getting out of the house, turning off your phone and enjoying great stories in the best possible environment. At our best, cinemas should also be local community centres with a real, tangible relationship to their surrounding neighborhood."
Michelle Carey shares a similar outlook. "Festivals must continue to present films in the best way possible so the power of story, image and sound can wholly envelop the viewer and transform them. And the other fundamental thing about festivals is that they are about the experience of sharing a film with a large crowd, encountering films one would not find otherwise, meeting the filmmaker in person, hearing the often extraordinary back-stories to these films."
What thrives in the face of the challenges film festivals face against the streaming giants is an unrivalled passion for cinema.
Cameron Williams, co-founder of Graffiti With Punctuation and The Popcorn Junkee, is a writer and film critic based in Melbourne.
© Cameron Williams; for permission to reproduce apply to [email protected]
ACMI: Digital comfort
RealTime : RT 52
film by other means
erice & kiarostami in dialogue at acmi : RT 85
Diegesis : RT 62
Unravelling McFamily-sized myths
Luke Goodsell: Kitty Green's Casting JonBenét : RT 138


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Q: Cannot invoke 'presentViewController' Swift I am trying to display a NSViewController as i click a button in an other NSViewController. My NSViewControllers are designed with xib.
Ive looked around a bit and have come up with
class TimesVC: NSViewController{
...
    @IBAction func editButton(sender: AnyObject) {
         let vc:EditMenuVC = EditMenuVC()
         self.presentViewController(vc, animated: true, completion: nil)
    }
}

but that last line has the error:
"Cannot invoke 'presentViewController' with an argurment list of type (EditMenuVC, animated:Bool, completion:nil)"
The other ViewController I am trying to open is called "EditMenuVC" and also uses a xib.

A: It seems you're confusing the iOS UIViewController, where there's a function that matches that signature:
https://developer.apple.com/library/prerelease/ios/documentation/UIKit/Reference/UIViewController_Class/#//apple_ref/occ/instm/UIViewController/presentViewController:animated:completion:
versus the MacOS X NSViewController, whose closest matches are as follows:
https://developer.apple.com/library/prerelease/mac/documentation/Cocoa/Reference/NSViewController_Class/#//apple_ref/occ/instm/NSViewController/presentViewController:animator:
https://developer.apple.com/library/prerelease/mac/documentation/Cocoa/Reference/NSViewController_Class/#//apple_ref/occ/instm/NSViewController/transitionFromViewController:toViewController:options:completionHandler:

redpajama_set_name: RedPajamaStackExchange


First, Jean, let me say thanks for having me back to Jean Book Nerd! I'm so happy to be here again!
My first introduction to YA happened before I knew what YA literature was. I was a teen reading Anne of Green Gables, A Girl of the Limberlost, Captain Blood, Early Candlelight, Jane Eyre, The Call of the Wild, Pride and Prejudice, A Wrinkle in Time, The Once and Future King, Crime and Punishment, and everything else I could get my hands on, so my understanding of what young adults read was very fluid and broad. I ended up writing YA because I wrote the best book I possibly could, a futuristic story about a teenage midwife in a dystopian town. That novel, Birthmarked, launched my YA writing career, and I've been happily writing novels with teens in them ever since.
Readers might be surprised to learn that I'm okay with dogs now. I used to be afraid of them, but since my daughter adopted a rescue dog who is very gentle (and not too smelly), I've internalized that I do not need to go on high danger alert for all dogs. I named a dog in the Vault of Dreamers series Waffles in honor of my daughter's dog.
Did you learn anything from writing THE KEEP OF AGES and what was it?
Writing The Keep of Ages taught me a bit more about how weird my mind can be. I often think of myself as this calm, sunny person who loves her family and works pretty hard. Yet this book imagines a very dark place and explores some cut-throat ideas about stealing the essence of people. It compelled me to face some of my murky uncertainties.
What was the most surprising thing you learned in creating Berg?
There is a small moment in The Rule of Mirrors (The Vault of Dreamers 2) when Berg is overheard having a conversation with his daughter, and for some reason, it really resonates with me. He's a great bad guy--truly evil--and it turns out he's a disappointing father, as well. It might have been wise to balance out his character by showing he's a good dad, but I went the other way with Berg, and not even his daughter likes him. I get a big kick out of that. To my surprise, I actually ended up with some sympathy for him. He feels real to me.
Now more than ever, stay strong and keep dreaming.
I wrote a letter to my Aunt Nancy a few weeks ago. She and I correspond by regular mail and occasionally telephone each other because she doesn't have a computer. She's my bookish aunt and very special to me. In fact, I dedicated The Keep of Ages to her.
This depends on the reader, but I'll suppose you're someone like me. A book that totally blew me away and still lingers with me ages later is Ayn Rand's Anthem. Trying to make sense out of how she uses "we" is dazzling at first, and then it changes how you see yourself in the world.
I have a regular blog on my website, and I usually pop by Twitter, Facebook, Instagram, and Goodreads when I'm taking a break from writing. If readers write to me via email or regular mail, I always reply as soon as I can.
Inky blackness presses against the windshield. It spreads, clinging, an ultra-blackness that blots out the stars, the road, and the headlights.
I realize exactly what's at stake, but I'm not going to sacrifice myself for any cure.
I haven't thought about my grandma in a long time. She let me sit on her lap and showed me the funnies. She would reach each bubble of words aloud as I pointed to it. Sometimes I would go backward, and she'd read the words in backward order. I loved that. It was like my finger magically controlled her voice.
Apart from a lone cicada's keening, the desert evening is quiet. I lean my shoulder against a boulder and aim my binoculars toward the boxcars, where the empty laundry line cuts through the heat of our backyard like a white slash.
"That isn't really when I met her," he says.
Without warning, all the sands of the beach down below appear to lift into the air. The grains line up in rows, sort themselves into a pattern of sizes, and then drop back exactly as they were. It's a visual feat that defies all logic, and I'm no closer to understanding than I was before.
Without turning on the light, I find my blankets and my pillow near the couch where Dubbs is still sleeping, and I settle in for the rest of the restless night.
The dreamers may be dead individually, but together, they're something alive.
MMMM someone I can tell anything to would be my husband.
I can tell anything to my husband.
I can tell anything to my boyfriend.


Prime Minister Imran Khan's 'Naya Pakistan' just passed legislation loosening the country's previously difficult visa procedure. This legislation allows most of the world's nationalities to either receive a visa on arrival or electronically, which will not only boost tourism and facilitate business dealings, but also show the international community that Azad Kashmir is truly free and not 'Pakistan-occupied' as India falsely alleges.
This is all part of Imran's 'Naya Pakistan' vision of revolutionising his country's domestic and foreign affairs. This legislation is expected to immensely boost Pakistan's tourism industry and facilitate the clinching of international business deals along the China-Pakistan Economic Corridor (CPEC).
The future influx of tourists to Pakistan's world-renowned mountains and beaches will help to dispel the country's negative reputation that was manipulatively cultivated by the United States (US) and India as part of their years-long infowar against the country. This will powerfully prove that Pakistan has been deliberately misportrayed this entire time and prompt people to question what else the western mainstream media has been lying about when it comes to the South Asian state.
As far as the business angle of this decision is concerned, Pakistan can greatly speed up the time that it takes for it to actualise its geopolitical destiny as the 'zipper of Eurasia' in utilising CPEC as a platform for super-continental integration. This can ultimately culminate in Pakistan becoming the 'convergence of civilisations' by bringing together the diverse interests of China, Central Asia, Russia, Turkey, Iran, the Arabs, and Africa and directly counteracting the US' 'clash of civilisations' stratagem.
The most immediate impact of PM Imran's move, however, is that people will be able to see that Azad Kashmir is truly free and not 'Pakistan-occupied' like India falsely alleges. This can in turn help Pakistan contradict one of the most malicious myths spread about it since independence. The rest of the world will now be able to see with their own eyes that the population there doesn't behave like their counterparts across the Line of Control.
The part of Kashmir under India's control can legitimately be described as Indian-occupied because of how much the population is fiercely resisting New Delhi's 'authority' in response to the rampant abuses that the state regularly carries out against them. This abuse actually goes to great lengths. New Delhi, in an attempt to suppress the voices of the Kashmiris, often shuts down the internet and assassinates activists in cold blood. There have been equally extreme cases of foreigners (especially journalists) being barred from the region for 'security purposes'.
Altogether, the grand strategic impact of 'Naya Pakistan's' visa liberalisation law is that the country is confidently opening up to the outside world in order to bring regular folks, business people, and ultimately even entire civilisations together on its territory. This will showcase its recent socio-economic and security successes while simultaneously having a powerful effect in reshaping international perceptions, especially when it comes to Kashmir because of how much Pakistan's transparency contrasts with India's secrecy.


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Red Dead Redemption Runs At Better Frame Rate On Xbox One, Screen Tearing Removed
Rockstar Games has finally released Red Dead Redemption for the Xbox One backwards compatibility. This game was originally leaked at the start of the backwards compatibility program but was quickly taken down by Microsoft.
Red Dead Redemption is one of the most requested game by fans and knowing the demand, it looks like Microsoft has worked hard on the emulation of the game on Xbox One to make sure that majority of the issues that were part of the original Xbox 360 version are removed for this Xbox One backwards compatibility release.
Digital Foundry has done an extensive frame rate analysis of the new game and has concluded that the game now runs at a mostly solid 30 fps on the Xbox One compared to the original Xbox 360, where it used to drop frame rate during some of the key moments and cutscenes.
According to their video, the lowest recorded frame rate for Red Dead Redemption on the Xbox 360 is around 20 fps and that was for an extended time. Meanwhile the Xbox One version drops to 26 fps on its lowest at one point but retains mostly solid 30 fps, even at points where the Xbox 360 version dropped to 20 fps. This is in addition to the removal of screen tearing which was still present in the Xbox 360 version of the game.
Red Dead Redemption is currently a part of the Ultimate Game Sale for Xbox One and can be bought for cheap. It is the best time to get the game now if you wish to replay it on your Xbox One.
Microsoft Red Dead Redemption Xbox One
Microsoft purchases ZeniMax Media; now owns Bethesda, id Software, Arkane Studios and more
Xbox Series X & Xbox Series S confirmed to have WiFi 5, not the latest WiFi 6
Xbox Series X & Xbox Series S: things included in the box
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First Look at the Allegedly New Xbox One Store; Windows 10 Gets New Xbox App
Red Dead Redemption Remake in development for 2021 release [Rumor]

redpajama_set_name: RedPajamaCommonCrawl


Last year The Telegraph's Ellie Pithers described her as "The Royal Ballet's diminutive star-in-waiting". A year later, Francesca Hayward is their newest (and youngest) Principal dancer. Here she speaks about the challenges of preparing for her "first big classical, tutu role" and why The Nutcracker holds a special place in her heart.
What were your first thoughts when you found out you would be debuting as the Sugar Plum Fairy this season?
I was ecstatic when I found out! I knew that The Sugar Plum Fairy would be my first big classical, tutu role so I immediately thought about how much of a challenge it would be but couldn't wait to start tackling it.
I can't wait to experience what it must feel like to dance this role. I know it's going to be exhausting but I know it will be one of those roles that gives you so much more back.
How do you hope to make your Sugar Plum fairy stand out among the others? What do you hope to bring to the role?
I think that The Sugar Plum Fairy should have a few different qualities – regality, warmth and charm and a loving and joyful relationship with her Sugar Plum Prince. I hope I can bring across some of these things, if not this time then maybe in years to come if I am still lucky enough to be dancing this role.
The Royal Ballet's The Nutcracker is the first ballet I ever saw when I was two years old (on a video in my living room) so every time I am cast as a new role in it (Partychild , Snowflake, Maid, Mirliton, Clara, Rose Fairy) I feel so happy. To now have the opportunity to dance the principal role is a huge personal accomplishment. Everything about the role is iconic for me – the costume, the wig, the choreography and the music. I can't believe it will be me dancing this!
I have rehearsed for about a month. Learning the steps didn't take too long but working on each one in fine detail has been an ongoing process.
I am dancing with Alexander Campbell which I'm very happy about as he is a great partner. He has also danced this before so he has been very helpful. I like how calm he is when he is dancing and also how musical he is. It makes things a lot easier!
Peter Wright (this production's choreographer) came to my first few rehearsals which was wonderful. He has such an incredible eye for detail and invaluable advice on not just how to do the steps technically but how to be the character and perform them.
I have worked with Lesley Collier everyday too. Lesley was the first Sugar Plum Fairy I ever watched (on said video when I was two years old!) and I am still in awe of her. Anthony Dowell was her partner in the recording and Anthony came in to coach us too! To have them there watching me dance The Sugar Plum Pas de Deux and not the other way round was a very surreal moment.
It's very hard to choose just one part but possibly the end of the Pas de Deux as it is so famous and it is such a satisfying moment to dance with the music.
What brand of pointe shoes do you wear and do you do anything to them to prepare them for a performance?
I wear Bob Martin Bloch's. I always darn the tops, pour a small amount of shellac into the tip to make them last for as long as possible. I also cut out some of the shank with a Stanley knife for a better line of my foot and I bash them on concrete to make them less noisy!
What should audiences look out for in particular when they come to see The Nutcracker? What is your favourite moment?
I think that the story is the most important part of The Nutcracker so I would like to think that the audience are completely carried away with it from start to finish. I can't pick out a particular moment. I love it all.
Life's too short so just go for it.
Elephants. They are incredibly intelligent and emotional animals.
Tickets for Francesca's performance as the Sugar Plum Fairy on December 24th are available here. For information about returns and Friday rush please click here.
Lovely interview with someone who I'm sure career will go far.


Since early February, a coalition of immigrant-rights advocates, lawyers and community members have been working on a detailed sanctuary city policy that they hope the City of Denver will adopt into law.
The policy was unveiled on Thursday night at the Denver Inner City Parish before a standing-room-only audience that numbered in the hundreds and included three members of Denver's City Council and representatives from the mayor's and city attorney's offices.
The policy is a response to the Trump administration and recent actions by Immigration and Customs Enforcement in Colorado; during the two-hour presentation, there were multiple references to the recent detention of Arturo Hernandez Garcia, the deportation of Maria de Jesus Jimenez Sanchez, Jeanette Vizguerra being in religious sanctuary, and the Meyer Law Office capturing a video of undercover ICE agents inside a Denver courthouse.
"What families need right now is a safe zone, a safe zone from rogue ICE agents," said Diane Guerrero at the start of Thursday's event. Guerrero, whose parents were deported when she was fourteen and who is a well-known author and actress who's starred in Orange Is the New Black and Jane the Virgin, added some star power to the evening. She said that she was visiting Denver specifically to meet with Vizguerra and to help advocates pressure Denver to pass sanctuary policies.
Diane Guerrero speaking at the event.
"We are asking city leaders to clarify their position," said Guerrero.
The organizations involved with drafting the policy included Mi Familia Vota, the Colorado People's Alliance, Together Colorado, Padres y Jovenes Unidos, the Meyer Law Office, the American Friends Service Committee, the Colorado Immigrant Rights Coalition, and the University of Denver's Criminal Defense Clinic.
Hans Meyer, whom Westword recently profiled in the cover story, "IRE and ICE," was on hand to describe how the proposed policy would prevent ICE agents from conducting operations in "sensitive locations" like courthouses, schools and probation offices.
While Meyer credited city officials for taking some steps, such as sending a letter to the local ICE field office director asking that those types of locations be respected, he said that he would like to see more safeguards in place.
Hans Meyer and other immigration-rights advocates want Denver to adopt sanctuary city policies.
Meyer Law Office Policy Director Julie Gonzales also said that Denver Public Schools has already rejected one subpoenas from ICE asking for a student's records.
Julie Gonzales is the full-time policy director at the Meyer Law Office.
There were emotional moments at the meeting when the room heard from community members who have been directly impacted by immigration enforcement. Arturo Hernandez Garcia's wife, Ana, made an impassioned plea for people to call or e-mail ICE to request that her husband, who was detained at his workplace on Wednesday, not be deported.
Another woman, Norma Morones, described how she had been apprehended on an ICE detainer and how that experience made her afraid to interact with local law enforcement — even as a neighboring girl was being abused by her parents and was asking for Morones's help.
"If the City of Denver adopts this policy, it will create a clear line between immigration and local law enforcement," said Morones.
Toward the end of the presentation, city officials at the event were questioned about whether they would adopt, or at least consider, the proposed sanctuary policy.
Cristal DeHerrera of the City Attorney's Office was called to the podium first, bu declined to give a clear "yes" or "no" answer, despite being pressed for one and receiving some heckling from the crowd.
"We are all victims of this broken immigration system; we don't like it any more than you do," said DeHerrera.
She acknowledged that city officials were unaware of some of ICE's practices until recently, including that agents are acting undercover in courthouses.
"We've been having collaborative conversations," said DeHerrera, adding that the city has just introduced a new option to mail in pleas to courthouses instead of having to attend in person (reducing the risk of arrests by ICE for undocumented persons).
Representatives of the mayor's office also provided Westword with a summary of the ways in which Denver is supporting the immigrant community and how it does and doesn't interact with ICE. Here is a link to that summary, which mentions a new law addressing anti-immigrant graffiti and harassment that will be introduced before a Denver City Council committee Wednesday, May 3.
After DeHerrera spoke, City Councilman Paul Lopez was also asked if he would champion the proposed sanctuary city policy.
The other two councilmembers at the event — Jolan Clark and Robin Kniech — nodded when asked if they'd take a similar position to Lopez's.
"You know we'll keep you informed as we go forward," Meyer Law's Gonzales promised the crowd.
Clarification: Due to misinformation given at the presentation, this article initially misreported how many and the nature of ICE subpoenas rejected by DPS.


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"The Rocket Farmer" by Julie C. Day rides the border between SF and the fantastic. In it, a bitter divorced mother and her angry teenaged daughter have to come to terms with the family history of rocket farming. The main conceit, that the family has a 1000 year tradition of raising rockets is an interesting one. However, the melding of that with the family dynamics is uneven. The ending seems a little too pat and the allegory of the story could use further development. That said, the writing is solid and the ideas good.
"Gods in the Blood (of those who rise)" by Tim Casson is a tightly woven story exploring concerns of genetic manipulation and evolution. The lead character, Everett, teaches at a public school that is in slow decline. He is obsessed with the decline in the general population as a result of progress that has allowed those with a lower IQ to survive. His paranoia and anger is clearly conveyed in a claustrophobic writing style that easily brings his issues to the fore. The story takes a twist when it seems that there is perhaps some validity to his theories. The interlacing of Sumerian myth adds a nice element without removing the question of whether Everett is hallucinating or has discovered something significant.
Michael Reid's "If Your Powers Fail you in a City Under Tin" is set in a future where magic has returned to the world after the God Beast tore a hole into this dimension. Jun, a portalist with control problems and a haunted past, starts to panic when his lover, Riel, disappears while fighting for the UN. As a week passes without word, Jun finally discovers how to control his abilities and makes an attempt to rescue Riel. There is a lot to like about this story, specifically a complex and interesting world, but the plot itself is thin. The majority of the story is spent creating the world, but as a result the plotline is neglected and the rediscovery of Jun's powers feels very much like a too convenient Deus ex Machina. While I like the world, I felt that the story existed to showcase it, and not the other way around.
Eliot Fintushel creates a world in which people are partnered by genetic match in "Chubba Luna." Sweeney, the protagonist, lives in a chaotic world where society has almost broken down and due to NPJ, Non-Punitive Justice, there are few consequences for any actions. He, Mo, Sheila Mo's paired partner, and the Bartender gather together to argue, drink and decide what to do with their lives and partners. The story has positive elements, but lacks any real plot and the world building seems fairly sloppy.
"When I Close my Eyes" by Chris Barnham is the story of the first manned expedition to Titan. Darlo, one of the team, becomes trapped in an ice cave and has to make his way out while dealing with visions of his dead wife. When he discovers that there is life on the moon and that it seems to dislike his light he has to rely on faith in his hallucinations to save him. The story, an explorer facing a hostile environment is a common one, but Barnham does a good job of mixing the psychological elements to add depth to the piece. While not a great piece, it is well written and worth the time to read.
"Cryptic Female Choice" by Andy Dudak is the first person narration of a woman choosing the genetic traits of her child. Thanks to the Carbonhousian spermathecal, women can store and mix and match genetic qualities from multiple mates in order to create a baby. However, conservative forces have fought against those who make use of it. The writing is solid, but the piece feels trite and predictable. The story is another in a long line of Handmaiden's Tale inspired dystopian pieces and doesn't add anything new. All the expected tropes are present. The allusion to the Spanish Inquisition, the inversion of female stereotypes applied to men, patriarchal oppression based on fear, etc. etc. etc. For those who like this genre, this is a decent example, but don't expect any new ground to be broken.


text:
Access to bank finance for UK SMEs in the wake of the recent financial crisis
Marc Cowling, Weixi Liu, Ning Zhang
Centre for Change, Entrepreneurship and Innovation Management
In this paper we use empirical evidence from the UK to consider how entrepreneurs demand for external finance changed as the economy continued to be mired in its third and fourth years of recession and whether or not external finance has become more difficult to access as the recession progressed. We find that older firms and those with a higher risk rating, and a record of financial delinquency, were more likely to have a demand for external finance. The opposite was true for women led businesses and firms with positive profits. In general finance was more readily available to older firms throughout the recession but banks were very unwilling to advance money to firms with a high risk rating or a record of any financial delinquency. We find that a maximum of 42,000 smaller firms were denied credit November 2011, which was significantly lower than the peak of 119,000 reported by Cowling, Liu and Ledger (2012) for the UK in the winter of 2009.
International Journal of Entrepreneurial Behaviour and Research
https://doi.org/10.1108/IJEBR-06-2015-0126
Small firms.
10.1108/IJEBR-06-2015-0126Licence: Unspecified
Cowling Small Business Financing.pdfAccepted author manuscript, 729 KBLicence: Unspecified
Dive into the research topics of 'Access to bank finance for UK SMEs in the wake of the recent financial crisis'. Together they form a unique fingerprint.
Small and Medium-sized Enterprises (SMEs) Business & Economics 100%
Finance Business & Economics 63%
Financial Crisis Business & Economics 47%
External Finance Business & Economics 47%
Recession Business & Economics 31%
Rating Business & Economics 24%
Empirical Evidence Business & Economics 12%
Credit Business & Economics 12%
Cowling, M., Liu, W., & Zhang, N. (2016). Access to bank finance for UK SMEs in the wake of the recent financial crisis. International Journal of Entrepreneurial Behaviour and Research, 22(6), 903-932. https://doi.org/10.1108/IJEBR-06-2015-0126
Cowling, Marc ; Liu, Weixi ; Zhang, Ning. / Access to bank finance for UK SMEs in the wake of the recent financial crisis. In: International Journal of Entrepreneurial Behaviour and Research. 2016 ; Vol. 22, No. 6. pp. 903-932.
@article{3effa7c8b53543bc9993461b711694f2,
title = "Access to bank finance for UK SMEs in the wake of the recent financial crisis",
abstract = "In this paper we use empirical evidence from the UK to consider how entrepreneurs demand for external finance changed as the economy continued to be mired in its third and fourth years of recession and whether or not external finance has become more difficult to access as the recession progressed. We find that older firms and those with a higher risk rating, and a record of financial delinquency, were more likely to have a demand for external finance. The opposite was true for women led businesses and firms with positive profits. In general finance was more readily available to older firms throughout the recession but banks were very unwilling to advance money to firms with a high risk rating or a record of any financial delinquency. We find that a maximum of 42,000 smaller firms were denied credit November 2011, which was significantly lower than the peak of 119,000 reported by Cowling, Liu and Ledger (2012) for the UK in the winter of 2009.",
keywords = "Banks, Finance, Financial Risk, Small firms.",
author = "Marc Cowling and Weixi Liu and Ning Zhang",
doi = "10.1108/IJEBR-06-2015-0126",
journal = "International Journal of Entrepreneurial Behaviour and Research",
Cowling, M, Liu, W & Zhang, N 2016, 'Access to bank finance for UK SMEs in the wake of the recent financial crisis', International Journal of Entrepreneurial Behaviour and Research, vol. 22, no. 6, pp. 903-932. https://doi.org/10.1108/IJEBR-06-2015-0126
Access to bank finance for UK SMEs in the wake of the recent financial crisis. / Cowling, Marc; Liu, Weixi; Zhang, Ning.
In: International Journal of Entrepreneurial Behaviour and Research, Vol. 22, No. 6, 01.01.2016, p. 903-932.
T1 - Access to bank finance for UK SMEs in the wake of the recent financial crisis
AU - Cowling, Marc
AU - Liu, Weixi
AU - Zhang, Ning
N2 - In this paper we use empirical evidence from the UK to consider how entrepreneurs demand for external finance changed as the economy continued to be mired in its third and fourth years of recession and whether or not external finance has become more difficult to access as the recession progressed. We find that older firms and those with a higher risk rating, and a record of financial delinquency, were more likely to have a demand for external finance. The opposite was true for women led businesses and firms with positive profits. In general finance was more readily available to older firms throughout the recession but banks were very unwilling to advance money to firms with a high risk rating or a record of any financial delinquency. We find that a maximum of 42,000 smaller firms were denied credit November 2011, which was significantly lower than the peak of 119,000 reported by Cowling, Liu and Ledger (2012) for the UK in the winter of 2009.
AB - In this paper we use empirical evidence from the UK to consider how entrepreneurs demand for external finance changed as the economy continued to be mired in its third and fourth years of recession and whether or not external finance has become more difficult to access as the recession progressed. We find that older firms and those with a higher risk rating, and a record of financial delinquency, were more likely to have a demand for external finance. The opposite was true for women led businesses and firms with positive profits. In general finance was more readily available to older firms throughout the recession but banks were very unwilling to advance money to firms with a high risk rating or a record of any financial delinquency. We find that a maximum of 42,000 smaller firms were denied credit November 2011, which was significantly lower than the peak of 119,000 reported by Cowling, Liu and Ledger (2012) for the UK in the winter of 2009.
KW - Banks
KW - Finance
KW - Financial Risk
KW - Small firms.
U2 - 10.1108/IJEBR-06-2015-0126
DO - 10.1108/IJEBR-06-2015-0126
JO - International Journal of Entrepreneurial Behaviour and Research
JF - International Journal of Entrepreneurial Behaviour and Research
Cowling M, Liu W, Zhang N. Access to bank finance for UK SMEs in the wake of the recent financial crisis. International Journal of Entrepreneurial Behaviour and Research. 2016 Jan 1;22(6):903-932. https://doi.org/10.1108/IJEBR-06-2015-0126


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text:
Q: issues getting events data using facebook graph api v2.5 Hello i'm trying to get some event information using the facebook graph api v2.5 but I keep getting the error message facebook.GraphAPIError: Unknown path components: /144259682284406. It works without the fields when I don't specify v2.5 however I need to use v2.5 to get the necessary fields

/v2.5/144259682284406?fields=events{name,id,timezone,start_time,end_time,picture,description,category,type,attending_count,interested_count,declined_count}
  Blockquote

A: The exact same request worked in Graph API Explorer or when calling the API via URL directly – so it must have been something in how you pass the parameter in your SDK code.
Checking http://facebook-sdk.readthedocs.org/en/latest/api.html it turns out, that the API version has to be passed when the facebook.GraphAPI object instance is created,
graph = facebook.GraphAPI(access_token='your_token', version='2.2')

That way the SDK will take care of putting that version string into the URLs that the API requests are made to by itself, so that you don't have to take care of that any more in the following code where you make the API calls.

A: Try this ;)
The id 144259682284406 you are using is a page object and if you want to get page events you should query like this:
page/events/?fields=field1,field2,... in your case:

/v2.5/144259682284406/events/?fields=name,id,timezone,start_time,end_time,picture,description,category,type,attending_count,interested_count,declined_count


The natural world is marked by an ever-increasing loss of varied habitats, a growing number of species extinctions, and a full range of new kinds of dilemmas posed by global warming. At the same time, humans are also working to actively shape this natural world through contemporary bioscience and biotechnology. In Cloning Wild Life, Carrie Friese posits that cloned endangered animals in zoos sit at the apex of these two trends, as humans seek a scientific solution to environmental crisis. Often fraught with controversy, cloning technologies, Friese argues, significantly affect our conceptualizations of and engagements with wildlife and nature. By studying animals at different locations, Friese explores the human practices surrounding the cloning of endangered animals. She visits zoos—the San Diego Zoological Park, the Audubon Center in New Orleans, and the Zoological Society of London—to see cloning and related practices in action, as well as attending academic and medical conferences and interviewing scientists, conservationists, and zookeepers involved in cloning. Ultimately, she concludes that the act of recalibrating nature through science is what most disturbs us about cloning animals in captivity, revealing that debates over cloning become, in the end, a site of political struggle between different human groups. Moreover, Friese explores the implications of the social role that animals at the zoo play in the first place—how they are viewed, consumed, and used by humans for our own needs. A unique study uniting sociology and the study of science and technology, Cloning Wild Life demonstrates just how much bioscience reproduces and changes our ideas about the meaning of life itself.


Marty Solomon joins Gus and Aaron for Holy Week to talk about celebrating Easter well amidst cultural tensions.
How you spend your time reveals a lot about your priorities. This week, Aaron Couch and Gus Simpson talk about the importance of prioritizing relationships with others as we follow Christ.
Aaron Couch and Gus Simpson look at Jesus's life as a model for how to set appropriate boundaries in relationships, and the role boundaries play in a healthy community.
Continuing in our Shaping Faith series, Aaron Couch and Gus Simpson tackle forgiveness: what it is, what it isn't, and practical ways to keep from unnecessarily taking up an offense.
We're taking a short break from our regularly scheduled Shaping Faith programming this week. Make sure to join us at Real Life on Thursday or Sunday for a special message from Charlie Couch. We'll return to our supplementary Shaping Faith content with next week's episode.
Aaron Couch makes a biblical case for relationship as he and Gus Simpson talk about the importance of owning our place in the community we are a part of.
Wrapping up the Core 4, Aaron Couch and Gus Simpson talk about why fasting is such a crucial — yet misunderstood — discipline in our church culture, and give some practical tips to build a healthy fasting practice.
Continuing alongside Real Life's Shaping Faith series, Aaron and Gus talk about Aaron's personal growth in worship as a spiritual discipline, and take a look at some of the biblical ideas surrounding worship.
Aaron Couch and Gus Simpson talk about the Bible and some practical ways to build a discipline centered around the Text.
For the next few months, A Better Conversation will be in parallel with Shaping Faith, our current sermon series at Real Life exploring Christian disciplines. Today, Aaron and Gus take a look at prayer — what it is, why we practice it, and how it changes our hearts and minds.
Aaron and Gus sit down for an interview with our old friend Dr. Dusty Van Hofwegen, a working scientist and microbiologist, about the real and perceived divisions between the Church and the scientific community.
Aaron Couch and Gus Simpson take a look at the biblical view of marriage, some misconceptions about marriage, and practical tools for becoming a better partner and spouse.
Aaron Couch sits down with Peter and Claire Roise, advocates for abuse awareness, to shed some light on the many forms relational and spiritual abuse can take, and how the Church can help bring awareness and healing.
For the uninitiated, Aaron Couch and Gus Simpson provide a look at what discipleship is, how it works, and why Christians are called to be disciples of Jesus who make disciples.
Aaron Couch and Gus Simpson take a deeper look at eight of the literary genres we find in the Bible and how we should approach them.
With the holidays upon us, many of us are spending extra time with friends and family, and might be feeling just a bit strained in those relationships. We figured this is a good time to talk about some of the components of healthy relationships. Whether you're struggling with your spouse, your kids, or your mother-in-law, here are some things to keep in mind. Merry Christmas!
Last year, Real Life helped plant Mission Ridge Church in Missoula, Montana. In today's episode, we talk to Paule Patterson, lead pastor of Mission Ridge, about the ups and downs of starting a new church in a new town.
Aaron Couch and Gus Simpson continue their look at why it's important to study the Bible in context, and the different lenses we can use to do so.


text:
Q: What is the best way to provide files for download from an AWS EC2 instance? So I am supposed to create an application that uploads files(images) to an AWS Ec2 instance running Linux. I used Flask to create the upload logic and a simple HTML webpage to upload files.
After this I am supposed to generate a thumbnails and web optimized images from these images and store them on a directory and then provide the "web-optimized" image directory for download. How do I achieve this?
I have asked this previously here. I have pasted the code that I am using on that thread as well.
So my questions are :

*

*Is it a good idea to use pscp to transfer files to the EC2 instance?

*Is it a good idea to use paramiko to run a ssh on the remote instance in order to invoke a shell script that does the image processing (thumbnail web-optimized image generation using python)?

*How do I get the compressed images via a simple download button on the client/host computer?
Thanks.

A: I am not entirely sure if this is one of the limitations that you have to use EC2 instance only. If not I would recommend something like the following if you have to write a robust solution.

*

*Upload the file to an AWS S3 bucket, would be much cheaper to hold all the images (original). Let us call this images_original

*Now you can write a lambda to monitor the bucket, every time a new upload happens, process the image to create thumbnails etc for different resolutions, and upload them to their individual buckets (images_thumbnails, images_640_480 etc).
To transform the images, I don't think you should be doing SSH into a remote instance to run the transform. Its better to use a python native library, such as  pillow inside the lambda itself.
On the client, you can simply access the respective file in the bucket. Eg if you want a thumbnail, you can access the thumbnail_bucket_url/file_name.jpeg etc.
Additionally, you can have a service that gets signed urls from S3.
To learn how to monitor an S3 bucket using a lambda you can refer THIS
One important thing to remember while creating the lambda, all the depending libraries will have to be uploaded as a zipfile.
eg. pip install Pillow -t


This is a gallery of pictures, movies, and info on planes built by Yann, Bertrand, Jean-Claude, Ronan, Martin and other members of the family.
Pictures of the Speed280-powered Demoiselle slowflyer kit. I think this plane is a bit large, heavy, fragile, and not very fun to fly.
Three of the pictures show it with the on-board minicam in lieu of the regular open cockpit.
Design: modified blueprint published in French magazine "Fly".
Mass: 350g without motor and battery; 550g total.
Motor v1.0: Speed 400 6v, direct drive, Gunther prop.
Motor v2.0: Speed 300 with AeroNaut gearbox and GWS prop.
Construction: Jean-Claude Le Cun, Spring 2000.
Design: Delta 400 Kit by RCB (from the Netherland).
Mass: 225g (without battery), 370g total.
Construction: Jean-Claude and Bertrand Le Cun, Summer 2001.
But the one shown on the video is still alive and kicking.
Radio: 2 volz servos (without their soft shell), with a Sky Hooks and Rigging RX-72 receiver.
The wings are made of three sections (double dihedral). Each section is a 20x20cm sheet of 3mm depron folded on a couple of balsa ribs. The bottom fold goes halfway down the width of the wing, resulting in an undercambered "Jedelski" type airfoil. The tail boom were originally made of balsa, but were later replaced with carbon tubes (the balsa was too fragile to sustain rough landing). The N20 geared motor was taken from one of those "roadkill" kits. The prop was turned around and the motor polarity reversed to turn it into a pusher configuration. The nose/fuselage is a piece of yellow foam. The tail is an inverted V. I like inverted V-tails because when turning, the tail acts like a combination of ailerons and rudders. This results in automatically coordinated turns (whereas upward V-tails tend to produce adverse roll in a turn).
The plane flies fine, but the wing loading is a bit high, so flying can be tricky and not for beginners. In particular, it's easy to stall in tight turns.
This is a quickly built and very sturdy depron/carbon micro slope soarer.
The pictures only show the most interesting piece, which is the fuselage design. A 6mm carbon tube runs all the way to the front of the fuse. The fuse itself is built of 6mm depron sheets. This design makes it almost indestructible, and therefore ideal for teaching kids to fly model airplanes.
In the first version, each wing was made of a single 6mm depron sheet heat-gunned into a slightly undercambered airfoil. The new version is made of a 3mm depron sheet folded around a few balsa ribs.
Below is another quickly built depron/carbon slope soarer built by Bertrand Le Cun. The first two pictures show how the wings are constructed (3mm depron folded around 4 balsa ribs).
Design/Construction: Jean-Claude Le Cun, July 2000.
Battery: 2 cells, 800 mAh Tadiran LiMnO.
This Trapanelle was built with "semi-classical" construction techniques (balsa, carbon, iron-on covering, no depron whatsoever). It flies very gently and very slowly.
Flying Carpet: Design/Construction: Ronan LeCun. It's a square piece of 6mm depron heat-formed into an S-shaped self stabilizing airfoil. Two vertical fins ar glued to the back and a heavy piece of metal (nail or piano wire) taped to the leading edge for balance. The lift/drag ratio isn't that great, the weight is a bit high (because balancing requires a lot of weight in the front), but it's fun to watch it glide down from the dune above the beach.
Electric Flying Discus: Design/Construction: Martin Loncelle and Yann LeCun. A small free flight discus powered by a motor/capacitor taken from an E-charger toy airplane. It's a single piece of 3mm depron glued over a 6mm depron fuse (shaped into an S-shaped self-stabilizing airfoil).
E-charger Hovercraft: Design/Construction: Yann LeCun. This is a very simple free "flight" hovercraft powered by an E-charger motor/capacitor. It is made from one of those foam dessert plates found in some cafeterias. Make an elliptical hole in it, glue a tube made of depron (or even strong paper) to the hole. Build a motor mount and add a fin. The only tricky part is to make sure the whole thing is balanced (the center of gravity should at the center of the plate). That's it. Charge up the capacitor, and put the hovercraft on the floor: it will cross the room hovering millimeters from the ground. A lot of fun for a few minutes of building time.
Simple Free Flight Glider: Design/Construction: Ronan and Yann LeCun. A small free flight glider whose wings are a single piece of sanded 6mm depron, and fuselage is a carbon tube (or a hardwood dowel) with a piece of thick solder wound around the front of the fuselage for balance. The V-tail is a piece of 3mm depron epoxied to the carbon tube.


A woman suing her barrister daughter for libel over allegations made in a memoir of her childhood has accused her of being a "wicked thief and a liar".
Carmen Briscoe-Mitchell, 74, told the High Court that Constance Briscoe - who is also a part-time judge - had forged documents for use in her defence.
The mother of 11, of Southwark, south-east London, rejects the claims of routine abuse made in the book, Ugly.
Ms Briscoe, 51, has defended the memoir as substantially true.
Mrs Briscoe-Mitchell said the details in Ugly had "really shaken" her.
Andrew Caldecott QC, representing Ms Briscoe, told Mrs Briscoe-Mitchell that she was making "very serious" allegations of forgery.
She told the court: "I have to stand up for myself when you are trying to get me to admit to lies.
"I will never admit to lies."
Mrs Briscoe-Mitchell also told jurors that when her daughter visited London during her days at Newcastle University, she would "just run around doing shoplifting".
During the hearing the 74-year-old has rejected claims that she beat her daughter with a stick, called her ugly and a "dirty little whore" and hurt her by pinching her breasts.
Mr Caldecott told jurors that the allegations of forgery against his client were false and accused her mother of "saying the first thing that comes into your head".
Ms Briscoe's older sister Patsy also told the court that she did not accept what was written in the memoir.
"I actually couldn't believe what I was reading because it was totally untrue," she said.
She said that when her sister was a little girl, she was "very assertive, bubbly, always cracking jokes and she was funny".
Patsy Briscoe also told the court that an allegation that their stepfather had sexually abused her sister was just "made up".
She added that the motivation for Ugly was to get back at their mother.
"It's all about getting revenge on my mum for writing to the Bar and alerting them what her behaviour and her character is all about," she said."
Mrs Briscoe-Mitchell is also suing the book's publisher Hodder & Stoughton.
Ms Briscoe is one of Britain's first black female judges. Ugly, was published in 2006 and followed by a second volume, Beyond Ugly.


Egina island, only 1 hour by ferry from Piraeus port, is a surprising island in the Saronic Gulf. During this short escape you discover the island on foot and enjoy the splendid views on the mountains of the Peloponnese and the surrounding islands Agistri and Methana. The short break is easy to combine with a stay in Athens.
We developed 2 great walks on Egina. One walk leads you from the fishing town of Perdika to the summit of Egina (532m) from where you have a breathtaking 360o view on the surrounding islands. You walk through ancient olive groves with olive trees of over 500 years old and pass numerous chapels and picturesque churches.
The second walk shows you the incredible cultural heritage of the island: the impressive modern monasteries of Agios Nektarios and Agia Marina, the old Byzantine churches with fresco's in Paleochora and the Ancient Temple of Aphaia, so proudly built on a strategic location.
In the evenings there is ample time to make a stroll through the alleys in Egina town, nipping a Greek Frappe and live the island life along with the Greeks.
Transfer from Athens center or Athens Airport to Piraeus and ferry to Egina. On Egina your luggage will be picked up from the port and you walk to your accommodation in the town.
Todays walk starts from the picturesque fishing village of Perdika. You travel by public bus or by taxi. From Perdika you ascend inland, via old trails along numerous chapels, ruins of old windmills and old threshing floors. You walk through the village Sfendouri and ascend further through a 'moon'-landscape of limestone. The views on the surrounding islands Agistri, Moni and Methana and the mountains of the Peloponnese are superb! You can make an optional loop to the summit of Mt. Ellanio, with 532m the highest summit of Egina. On top is a nice church, the perfect picnic spot of todays walk. After the descend you continue through bare landscape to the 'Eleonas', a plain with huge olive trees, some of which are over 500 years old. The walk ends on the beach of Marathonas. There might be a local bus back to town, otherwise you take a taxi.
The walk from Agios Nektarios to Agia Marina is one of the high lights of the Saronic Islands. You start at the kitschy, massif Monastery of Agios Nektarios, located in the center of the island. You can travel to there by public bus or private taxi. The Monastery is built for the Holy Nektarios who died in 1920. Thousands of religious people come here every year, seeking help from this miracle-working saint. After your visit, you walk a short distance to the old town of Paleochora, located on the top of a hill. In the Middle Ages this was a lively town. Now you can admire 38 Byzantine churches, some in good state, but many are ruined. From Paleochora the walk continues via a ridge along ruins of windmills to a nice view point. You descend along abandoned olive groves to Mesargos and from this village walk on rural roads and dirt tracks to the nunnery Agia Marina. Shortly after the unique Temple of Aphaia comes in sight. After your visit to this Ancient Greek Temple, you descend via a wide track to the seaside resort Agia Marina. From here you return to Egina town by public bus or per taxi.
After breakfast end of arrangement. Travel to Athens or to another island. From Egina there are direct connections to Agistri, Poros and Methana (not daily).
Hotel Danae is situated on the coastal road of Aegina, close to the temple of Apollo, approximately 1 km from the town centre. Its charming atmosphere will capture you from the first moment.
The nearest airport for this arrangement on Egina is Athens. There are many direct charter- and regular flights into Athens airport. Check out information on: www.aia.gr.
You can travel on any ferry or hydrofoil back from Aegina to Piraeus. There are departures between 08:00 and 19:00.
From Piraeus you can travel on the public express bus X96 directly to the Airport or you can travel on the metro line 1 from Piraeus to the center of Athens.
There are always taxi's at the port wiating for passengers.
We can send you GPS tracks of this trip upon request and after booking.
Personal expenses such as lunches, drinks, phone calls, extra transfers etc.


text:
package app.android.chemicals;

import android.content.Context;
import android.net.ConnectivityManager;
import android.net.NetworkInfo;
import android.os.AsyncTask;
import android.os.Bundle;
import android.support.v4.app.Fragment;
import android.util.Base64;
import android.util.Log;
import android.util.Patterns;
import android.view.LayoutInflater;
import android.view.View;
import android.view.ViewGroup;
import android.widget.Button;
import android.widget.EditText;
import android.widget.TextView;
import android.widget.Toast;

import org.json.JSONException;
import org.json.JSONObject;

import java.io.BufferedReader;
import java.io.BufferedWriter;
import java.io.IOException;
import java.io.InputStream;
import java.io.InputStreamReader;
import java.io.OutputStream;
import java.io.OutputStreamWriter;
import java.net.HttpURLConnection;
import java.net.URL;

public class EditSupplierFragment extends Fragment implements View.OnClickListener {

    private static final String LOM = "LOM";
    private Button add_button;
    private EditText name;
    private EditText website;
    private String name_string;
    private String website_string;
    private String key_string;
    private String supplier_data;
    private String USER_ID = "";
    private String TOKEN="";
    TextView textToSet;

    public EditSupplierFragment() {
    }

    @Override
    public void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);

        // get passed Token and Chem Data from Activity
        Bundle bundle = this.getArguments();
        String strings[]= bundle.getStringArray("DATA_ARRAY");
        supplier_data = strings[0];
        TOKEN = strings[1];
        USER_ID = strings[2];
        Log.e(LOM, "chem_data from SuppFragment in EditSuppFrag: " + supplier_data + "\n" + TOKEN + "\n" + USER_ID);
    }

    // Checks if there is a connectivity
    public boolean isConnected(){
        boolean isConnected = false;
        Context context = getActivity();
        ConnectivityManager cm =
                (ConnectivityManager)context.getSystemService(Context.CONNECTIVITY_SERVICE);

        NetworkInfo activeNetwork = cm.getActiveNetworkInfo();
        isConnected = activeNetwork != null &&
                activeNetwork.isConnectedOrConnecting();

        return isConnected;
    }

    public static boolean hasText(EditText editText) {
        final String REQUIRED_MSG = "Text Required";
        String text = editText.getText().toString().trim();
        editText.setError(null);

        // length 0 means there is no text
        if (text.length() == 0) {
            editText.setError(REQUIRED_MSG);
            return false;
        }

        return true;
    }

    @Override
    public View onCreateView(LayoutInflater inflater, ViewGroup container,
                             Bundle savedInstanceState) {

        View view = inflater.inflate(R.layout.edit_supplier, container, false);

        // create button
        add_button = (Button) view.findViewById(R.id.submit_supp_btn);
        add_button.setOnClickListener(this);

        //http://stackoverflow.com/questions/22350683/
        String[] tokens = supplier_data.split("\n");
        Log.d(LOM, "\n\nSupplier_data :" + supplier_data);
        name_string = tokens[0];
        website_string = tokens[1];
        key_string = tokens[2];

        // set EditText values
        name = (EditText) view.findViewById(R.id.supp_name);
        name.setText(name_string, TextView.BufferType.EDITABLE);
        website = (EditText) view.findViewById(R.id.supp_website);
        website.setText(website_string, TextView.BufferType.EDITABLE);

        // assign text to return to id, then set it in OnPostExecute()
        textToSet = (TextView) view.findViewById(R.id.return_text);

        return view;
    }

    public String createParams(String name, String website)
    {
        String params = "name=" + name + "&" + "website=" + website;

        return params;
    }

    @Override
    public void onClick(View v) {
        if(isConnected()){
            if (hasText(name)&& hasText(website)){
                String NAME = name.getText().toString();
                String WEBSITE = website.getText().toString();
                String URL = "http://cs496-final-proj.appspot.com/supplier/"+key_string;

                Log.d(LOM, "Submit clicked :" + NAME + " " + WEBSITE + key_string);

                String params ="";
                if(Patterns.WEB_URL.matcher(WEBSITE).matches()){
                    params = createParams(NAME, WEBSITE);
                    ConnectoinTask supplierTask = new ConnectoinTask();
                    supplierTask.execute(URL, params,"PUT");

                    /** Option to automatically return on previous screen
                     FragmentManager manager = getActivity().getSupportFragmentManager();
                     FragmentTransaction trans = manager.beginTransaction();
                     trans.remove(this);
                     trans.commit();
                     manager.popBackStack();
                     */
                }//if
                else {
                    Toast toast = Toast.makeText(this.getActivity(),
                            "URL is NOT valid! Try again!", Toast.LENGTH_LONG);
                    View view = toast.getView();
                    view.setBackgroundResource(R.drawable.red_toast);
                    //TextView text = (TextView) view.findViewById(android.R.id.message);
                    /*here you can do anything with text*/
                    toast.show();
                    //Toast.makeText(this.getActivity(),
                    //    "URL is NOT valid! Try again!", Toast.LENGTH_LONG).show();
                }
            }//if
        }
        else
            Toast.makeText(this.getActivity(),
                    "No internet connection!\n" +
                            "Turn on connection and continue", Toast.LENGTH_LONG).show();

    }//onClick()

    /**
     *  ConnectoinTask extends AsyncTask()
     *
     *  Creates network connection to internet using parallel thread
     *  separate from main UI thread. doInBackground() function creates thread
     *  where does all the job.
     *
     *  onPostExecute() runs in main UI thread, receives data from doInBackground()
     *  through parameter
     *
     *  http://developer.android.com/reference/android/os/AsyncTask.html
     */
    public class ConnectoinTask extends AsyncTask<Object, Void, String> {
        // get the name of the name of class
        private final String LOG_TAG = ConnectoinTask.class.getSimpleName();

        /**
         * getSupplierDataFromJson()
         *  Parses JSON to get name, website and key
         *  parameters: JSON string
         *  return: String of suppliers
         */
        private String getSupplierDataFromJson(String suppliersJsonStr)
                throws JSONException {

            // These are the names of the JSON objects that need to be extracted.
            final String SUPPLIERS = "suppliers";
            final String NAME = "name";
            final String WEBSITE = "website";
            final String KEY = "key";

            // Raw JSON String to JSON object
            JSONObject suppliersJson = new JSONObject(suppliersJsonStr);

            // String array to save each supplier
            String resultStr = "";
            // Strings to save data
            String name;
            String website;
            String key;
            // Get the JSON object representing the supplier

            name = suppliersJson.getString(NAME);
            website = suppliersJson.getString(WEBSITE);
            key = suppliersJson.getString(KEY);

            resultStr = name;// + "\n" + website + "\n" + key;

            Log.v(LOG_TAG, "Supplier entry: " + resultStr);
            return resultStr;

        }
        @Override
        protected String doInBackground(Object... params) {

            // If there's not enough params - return.
            if (params.length < 3) {
                return null;
            }

            String url_string = (String) params[0];
            String name_value = (String) params[1];
            String method = (String) params[2];

            // create HttpURLConnection object for connection.
            HttpURLConnection urlConnection = null;
            // create Buffer object to save the data stream.
            BufferedReader reader = null;

            // Will contain the raw JSON response as a string.
            String suppliersJsonStr = null;

            try
            {
                URL url = new URL(url_string);

                Log.v(LOG_TAG, "Built URI " + url_string);

                String credentials = USER_ID + ":" + TOKEN;
                Log.v(LOG_TAG, "!!!Built credentials!!!" + credentials);
                String base64EncodedCredentials = Base64.encodeToString(credentials.getBytes(), Base64.NO_WRAP); //or .DEFAULT

                // Create the request to cloud and open the connection
                urlConnection = (HttpURLConnection) url.openConnection();
                urlConnection.setRequestMethod(method);
                urlConnection.setDoInput(true);
                urlConnection.setDoOutput(true);
                urlConnection.setRequestProperty("Authorization", "basic " + base64EncodedCredentials);
                urlConnection.connect();

                // http://stackoverflow.com/questions/9767952/how-to-add-parameters-to-httpurlconnection-using-post
                // http://developer.android.com/reference/java/net/HttpURLConnection.html
                OutputStream outStream = urlConnection.getOutputStream();
                BufferedWriter writer = new BufferedWriter(
                        new OutputStreamWriter(outStream, "UTF-8"));
                writer.write(name_value);
                writer.flush();
                writer.close();
                outStream.close();

                // Read the input stream into a String
                InputStream inputStream = urlConnection.getInputStream();
                StringBuffer buffer = new StringBuffer();
                if (inputStream == null) {
                    // Nothing to do.
                    return null;
                }
                reader = new BufferedReader(new InputStreamReader(inputStream));

                // get new line
                String line;
                while ((line = reader.readLine()) != null) {
                    buffer.append(line + "\n");
                }

                // Stream was empty.  No point in parsing.
                if (buffer.length() == 0) {

                    return null;
                }
                // save as a String
                suppliersJsonStr = buffer.toString();

                Log.v(LOG_TAG, "Supplier string: " + suppliersJsonStr);
            }//try

            catch (IOException e) {
                Log.e(LOG_TAG, "Error ", e);
                return null;
            }//catch

            finally {
                if (urlConnection != null)
                    urlConnection.disconnect();

                if (reader != null) {
                    try {
                        reader.close();
                    } catch (final IOException e) {
                        Log.e(LOG_TAG, "Error closing stream", e);
                    }//catch
                }//if
            }//finally

            // parse JSON and return string
            try {
                return getSupplierDataFromJson(suppliersJsonStr);
            } catch (JSONException e) {
                Log.e(LOG_TAG, e.getMessage(), e);
                e.printStackTrace();
            }//catch

            return null;
        }//doInBackground

        @Override
        protected void onPostExecute(String result) {
            if (result != null) {
                result = "Edited Supplier: "+result;
                name.setText("");
                website.setText("");
                //textToSet.setText(result);
                Toast toast = Toast.makeText(getActivity(), result, Toast.LENGTH_LONG);
                View view = toast.getView();
                view.setBackgroundResource(R.drawable.red_toast);
                toast.show();
            }
        }
    }

}

redpajama_set_name: RedPajamaGithub


Senior men who return to the workforce after retirement or even during their working years often choose a second career for a change of pace. This "re-careering" is becoming more popular among people in the workforce and about to leave their jobs due to age. It can create an energetic feeling of worthiness in the workplace and bring challenging rewards for longer working years.
Now is a good time for a "re-career" move for seniors because of an impending labor shortage in the U.S., Women for Hire noted. Employers needing new employees and unable to find traditional employees are more open to taking a chance on non-traditional workers, such as seniors starting a new career.
AARP suggested that senior men returning to the workforce in a new role look at jobs in fast-growing, high-demand fields. Among its suggestions are the medical field, retail sales, customer service, and financial services.
The difficulties for senior men choosing a second career might include the perception that they wouldn't be good employees because they are "over-qualified." But there are many employers who view seniors as experienced and willing to make an extra effort in their duties. Seniors are also looked at as being mentors to younger workers.
These jobs give senior men a chance at a second career to make working more interesting, according to AOL Jobs and Career Builder.
1.	The medical service and health care field is growing fast as the American population is aging, AOL Jobs and Career Builder reported. More than 5 million jobs in this field could be available by 2020, according to a 2012 study by Georgetown University Center.
2.	Teaching online and continuing education classes is a growing field, and many seniors have experience in delivering information and working with others.
3.	Starting a business has become a popular second career for senior men. Seniors make up the largest percentage of entrepreneurs, according to a 2012 report from the Global Entrepreneurship Monitor.
4.	Environmentally friendly and green jobs address energy needs as they develop. This is also a growing field.
5.	Financial services jobs include financial adviser, tax preparer, and bookkeeper, Forbes reported. Seniors are experienced in life as well as competent in giving financial advice. Older clients are more comfortable with advisers their own age.
Senior men who return to the workforce after retirement or even during their working years often choose a second career for a change of pace.


This chapter presents a theoretical model of generational succession that demonstrates how the values of one generation interact with and are influenced by others.
History and popular culture are discussed as useful lenses for understanding how a generation is shaped.
The thematic elements and demographic characteristics of the Millennial generation are discussed.
This chapter explores how generational differences influence the understandings, emphases, and applications of student development theory.
Using the literature on teaching and learning in college classrooms, this chapter offers recommendations for enhancing Millennial student learning.
A portrait of the diversity present in the Millennial generation is offered. Those demographics give student affairs practitioners unique opportunities to address social justice issues.
The implications of the arrival of Millennial students for the design and delivery of student affairs? programs, services, and divisions are discussed.


text:
October Country
"That country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and midnights stay." – Ray Bradbury
About October Country
Contact October Country
Essential October Reads
Interview Index
Nonfiction Index
Re-reading King
Tag Archives: Brian Freeman
2014: The Year in Reading
December 31, 2014 by blugilliand
2014 was another in a long line of good reading years for yours truly. It wasn't exactly full of surprises; if you compare this year's list of favorites to that of previous years, you'll see a lot of duplication: Ace Atkins, Stephen King, Joe Lansdale, and Robert McCammon are among the most common denominators. Atkins, King and Lansdale together dominate this year's list, contributing two books each. That's not something that will necessarily change in the coming year: Atkins will be bringing new entries in his Quinn Colson series and his continuation of Robert Parker's Spenser series; King has a new novel (a follow-up to this year's Mr. Mercedes) on deck, as well as a new short story collection; and Lansdale has a new Hap and Leonard book on the horizon. Factor in Clive Barker's Pinhead/Harry D'Amour novel The Scarlet Gospels and I can damn near give you my top ten for 2015 right here and now.
All of these familiar faces may make it seem like I'm in a rut, but that's far from the truth. I found several new authors in 2014 that I'm going to be watching closely in the future, Nick Cutter chief among them. His debut novel The Troop was narrowly edged out of this year's top ten; I was lucky enough to get an early copy of his second novel, The Deep (which comes out on January 13) and that one made the cut – I'll be posting a review early next week that explains why. I was also deeply impressed by Jedidiah Ayres and Mark Morris and several others that I'll be reading from here on out.
One thing I've always struggled with is ranking these year-end lists in any kind of order. Traditionally I've gone numbers one through ten, but this year I abandoned that concept. It's just too hard to pick one favorite out of this group. So, this year's list is ordered alphabetically by author, and as I look back on it now I see ten books that I'll happily revisit in the future.
Here are the books that sunk their hooks deep in my brain in 2014. I hope you'll take a moment to share your own favorites in the comments – I'm always looking for suggestions for something good to read!
Cheap Shot by Ace Atkins
The Forsaken by Ace Atkins
The Deep by Nick Cutter
The Halloween Children by Brian James Freeman and Norman Prentiss
Mr. Mercedes by Stephen King
Revival by Stephen King
Black Hat Jack by Joe R. Lansdale
Prisoner 489 by Joe R. Lansdale
The River of Souls by Robert McCammon
Obsidian Heart Book I: The Wolves of London by Mark Morris
And here, if you're interested, is the complete list of what I read this year:
Undisputed by Chris Jericho
And the Night Growled Back by Aaron Dries
Pulp Fiction: The Complete Story of Quentin Tarantino's Masterpiece by Jason Bailey
Sixty-Five Stirrup Iron Road by Brian Keene, Jack Ketchum, Edward Lee, J.F. Gonzalez, Wrath James White, Nate Southard, Shane McKenzie, Ryan Harding and Bryan Smith
The Shining Girls by Lauren Beukes
The Way of All Flesh by Tim Waggoner
Horror Library Volume 5 edited by R.J. Cavender and Boyd E. Harris
Peckerwood by Jedidiah Ayres
Dust Devils by Jonathan Janz
Alien: Out of the Shadows by Tim Lebbon
The Troop by Nick Cutter
Wonderland by Ace Atkins
City of Devils by Justin Robinson
The End is Nigh edited by John Joseph Adams and Hugh Howey
Joe Ledger: Special Ops by Jonathan Maberry
Rose of Sharon and Other Stories by Gary A. Braunbeck
The First One You Expect by Adam Cesare
Black Chalk by Christopher J. Yates
The King of the Weeds by Mickey Spillane and Max Allan Collins
The Quick by Lauren Owen
A Place for Sinners by Aaron Dries
Borderline by Lawrence Block
The Ninth Configuration by William Peter Blatty
Deep Like the River by Tim Waggoner
Piercing the Darkness edited by Craig Cook
Sunset and Sawdust by Joe R. Lansdale
Carrie by Stephen King
Down by Nate Southard
Brainquake by Samuel Fuller
Scream Along With Me edited by Alfred Hitchcock
Disease by M.F. Wahl
Fangoria: Cover to Cover edited by Anthony Timpone
'Salem's Lot by Stephen King
Jackpot by David Bernstein, Kristopher Rufty, Shane McKenzie and Adam Cesare
Dark Screams Volume One edited by Brian James Freeman and Richard Chizmar
Exponential by Adam Cesare
Posted in Books, Crime, Fiction, Horror, Nonfiction, Recommended Reading, Reviews.	Tagged Ace Atkins, Brian Freeman, Joe R. Lansdale, Mark Morris, Nick Cutter, Norman Prentiss, Recommended Reading, Robert McCammon, Stephen King, Top Ten
Interview: Cemetery Dance's Brian Freeman talks anniversary edition of Stephen King's 'It'
August 29, 2011 by blugilliand
Viking's hardcover edition of 'It.'
Twenty-five years ago this December, my grandmother – the person I hold most responsible for my love of reading – gave me Stephen King's latest book, It, for Christmas. I was 15 years old at the time, already a voracious reader and a bonafide King fanatic. I can't remember a single thing I got for Christmas that year except for that book.
It's sitting on my desk right now as I type this. It was the biggest book I'd tackled at that point, even bigger than The Stand, which I had in paperback (the original version, not the restored version that would hit in hardcover years later). It's what they called a doorstop, a big brick of pages that promised hours and hours of entertainment. The word "IT" is printed on that cover in grungy red letters, and below it there's a sewer grate with a reptilian claw reaching through the slats. Next to it is a little sailboat made of folded paper. It had my imagination cooking before I read the first page.
I lugged that book around for two weeks, reading it every time I had five minutes to sit down and crack it open. It got to the point where my dad, normally a solid supporter of my reading habit, asked if he was ever going to see me again without that book in my hands. He did, eventually, but not until I finished it.
While the ending sort of threw me that first time around, the heart of the book – those long summer days spent down in the Barrens with The Losers Club – remains to my mind some of the finest character work King has ever pulled off. I identified with all of those kids. I felt for them, hurt for them, and found myself scared witless right along with them.
I don't think I'm the only one that feels that way, and I think that's why It is often mentioned when people talk about their favorite King novel. That ongoing goodwill is one reason Cemetery Dance has endeavored to put together a 25th anniversary edition of the book, something that will pay true honor to this classic novel of the wonder and terror of childhood. Recently I talked with Cemetery Dance's Brian James Freeman about this, their latest King project, and you'll see that they are pulling out all the stops to make this something truly special.
OC: To start off, give us a description of the different versions of the anniversary edition of Stephen King's It.
Glen Orbik's art for the Gift version of Cemetery Dance's 25th Anniversary Edition of 'It.'
BF: Sure thing! There is a Slipcased Oversized Hardcover Gift Edition of only 2,750 illustrated copies printed in two colors with two color hot foil stamping, a fine binding, and embossed endpapers. This edition is still available as of right now for preorder.
There is also a Traycased Oversized Hardcover Signed Limited Edition of only 750 illustrated copies printed in two colors and bound in leather with two color hot foil stamping, a satin ribbon page marker and different embossed endpapers, signed by Stephen King and all of the artists. This one sold out in about 24 hours after it was announced.
And finally, there is an Oversized Signed Hardcover Lettered Edition of only 52 illustrated copies printed in two colors and bound in two different fine materials with gilded page edges, imported endpapers, a satin ribbon page marker, and protected in a custom deluxe box, signed by Stephen King and all of the artists. This one will easily be the nicest edition of any book we've ever published and it sold out within minutes of being announced.
If you're curious what makes a Stephen King Gift Edition and Limited Edition different from the normal, mass produced "bookstore" edition you're used to seeing, I recommend collectors visit these two galleries on our website:
Photos of Full Dark, No Stars by Stephen King
Photos of The Secretary of Dreams (Volume Two) by Stephen King
If you've ever wondered what a Deluxe Lettered Edition of a Stephen King book looks like, you can visit these galleries:
Photos of our Deluxe Lettered Edition of The Secretary of Dreams (Volume One)
Photos of From A Buick 8 by Stephen King
How close is the Gift Edition to selling out?
It's about 75% sold out.
How did the 25th anniversary edition come about?
The same way some of our favorite editions have come about over the years: a casual conversation that resulted in a terrific idea that everyone was happy with. A lot of projects are proposed to King every year, so we're always thrilled when he responds to one of our ideas.
How did you settle on Glen Orbik for the cover art and Alan M. Clark and Erin Wells for the interior illustrations?
Glen felt like a natural fit after he painted the Blockade Billy cover for us last year. He has an amazing gift for depth and details. We love working with Alan, so when we decided to add six color plates to the book, he was our first pick. Erin is relatively new to the Cemetery Dance family, but she really impressed me with the way she handled a difficult project for me at Lonely Road Books. I was thrilled to give her the chance to work on this book and she turned in some amazing artwork.
How involved in the process has Stephen King been? Did he have a hand in selecting the artists or approving artwork?
Black-and-white interior artwork from the 25th Anniversary Edition of 'It.'
King generally lets you run with your ideas for these special editions, but he does approve the artists and we send a lot of the artwork his way for feedback.
How does the size of this edition compare to other big books you've published? I'm thinking specifically of the Secretary of Dreams books.
The trim-size will be 7 X 10 like our editions of From a Buick 8 and Full Dark, No Stars (or The Passage by Justin Cronin or The Exorcist/Legion by William Peter Blatty for some non-King examples), but it will have a higher page count than anything else we've ever published. In fact, it will easily be the largest book we've ever published. We had never crossed the 1,000 page mark before this.
So, did your printer have a nervous breakdown when you proposed this book? What have been some of the production challenges you've faced?
The biggest production challenge was keeping the spine width to three inches, which is the maximum our printer can bind.
It is often listed as a favorite among long-time King readers. In your opinion, what is it about the book that's helped it endure?
The way King deftly paints the very real lives and fears of children seems to resonate with readers of all ages. Plus, of course, most people are rightfully afraid of clowns.
King has been a big supporter of Cemetery Dance over the years. How instrumental has he been in the company's success, particularly early on?
Publishing an original short story by him in Cemetery Dance #14 ("Chattery Teeth") was obviously a big moment for the company, along with publishing a special edition of From A Buick 8 in 2002. We've published close to 250 books by many of our favorite authors, but working on the King titles is always exciting.
Any future plans for anniversary or special editions of King books?
Nothing concrete, but we're always open to the possibilities.
Tell us about the art portfolion that's in the works in conjunction with the book. Was that something planned all along, or was it a response to fan requests?
Color interior artwork from the 25th Anniversary Edition of 'It.'
We received a lot of requests from collectors to purchase prints of the artwork, so the portfolio idea grew from those requests. The It Artwork Portfolio is now more than 80% sold out and I expect the rest to be sold by the time they start shipping.
By the way, I produced a small artwork portfolio for my Lonely Road Books Deluxe Lettered Edition of Blockade Billy by Stephen King, so I put that experience to work when we sat down and started planning the It Artwork Portfolio. It's going to be very cool looking.
Do you have a concrete release date for any of the editions in mind?
December of this year. We don't have a "firmer" date than that because the slipcases and traycases are never quite done at the same time as the books, and then it'll take a few weeks to assemble and ship all of the editions.
Posted in Books, Fiction, Horror, Interviews.	Tagged Books, Brian Freeman, Cemetery Dance, It, Limited Editions, Stephen King


Uses images from English Heritage's unique photographic archive (formerly known as the National Monuments Record) to chart the last 150 years in the life of this extraordinary and iconic site.
Stonehenge is the world's most famous pre-historic monument and, since the middle of the 19th century, probably the most photographed. Using images from English Heritage's unique photographic archive (formerly known as the National Monuments Record), Stonehenge: A History in Photographs charts the last 150 years in the life of this extraordinary and iconic site.
These largely unseen images touch on various moments in Stonehenge's history, from the leisurely tourism in the last years of Victoria's reign to the monument of today, a site visited each year by more than one million people from all over the world.
This book is a celebration of Stonehenge, in fascinating and often very human images. The text is written by archaeologist and television presenter Julian Richards, someone with a genuine love of Stonehenge. This is a book for all who share a fascination with this magical monument.


Thеrе іѕ nоthіng permanent аbоut marriage. Tоо оftеn thе day соmеѕ whеn twо people whо hаd fallen іn love, rеаllу find іt difficult tо еvеn stay undеr thе ѕаmе roof… аnd divorce іѕ inevitable. But whеn thеу hаvе children аnd decide tо gеt divorced, thеn thіѕ decision nоt оnlу affects them, but thе family аѕ а whole. Unfоrtunаtеlу divorces аrе оftеn unpleasant аnd bitter. Evеn іf іt іѕ amicable, іt іѕ ѕtіll thе еnd оf а union. But whеn children аrе involved, thе parents ѕhоuld thіnk оf whаt іѕ bеѕt fоr thе children. A mutual agreement bеtwееn thе spouses whо decided tо divorce, helps іn keeping а dignified relationship wіth thеіr ex-spouse аnd іѕ аlѕо beneficial tо bоth thе child оr children, аnd thе ex-spouse.
It іѕ vеrу difficult, but nоt impossible. Onе оf thе mоѕt important actions tо tаkе whеrе children аnd divorce аrе concerned, іѕ tо mаkе thе child understand thе divorce іѕ іn nо wау thеіr fault. Thе children ѕhоuld bе mаdе tо understand thаt еvеn thоugh thе parents wіll cease tо bе еасh other's spouse, thеу wіll nеvеr cease tо bе thе child оr children's parents. Thе children nееd tо feel secure thеу wіll nоt lose еіthеr parents' love bесаuѕе оf thеіr decision tо divorce. Anу inconveniences аnd unpleasant factors ѕhоuld bе kерt completely аwау frоm thе children. Thеу wіll bе affected enough… еvеn іn thе bеѕt scenario. Thоugh thеу mіght nоt show thе effects outwardly, thеу аrе bеіng affected, nоnе thе less. It іѕ important tо kеер open communication wіth уоur children thrоughоut thе process.
Aѕk thеm periodically hоw thеу аrе feeling аnd іf thеу hаvе questions. Thеу nееd tо knоw thеу саn speak freely аnd аѕk questions аbоut аnуthіng thаt іѕ bothering them. Sometimes, а third-party hаѕ tо bе brought in. Thеу mау nоt wаnt tо share thеіr predicaments аbоut divorce wіth thеіr parents, but thеу dеfіnіtеlу nееd tо put thеіr thoughts іntо perspective wіth thе hеlр оf аnоthеr responsible adult. Unfortunately, divorce ѕоmеtіmеѕ соmеѕ wіth custody battles, whісh саn аlѕо tear thе child оr children apart. It іѕ bеѕt tо discuss custody wіth thе child аnd соmе uр wіth а plan thаt suits all, wіth thе interest оf thе child аѕ іtѕ core premise. Bоth spouses ѕhоuld dо еvеrуthіng thеу саn tо ensure thеіr child оr children, аrе nоt affected anymore thаn thеу hаvе tо be. Remember: thе children dіd nоt аѕk tо bе put thrоugh this. Thеу wіll feel аѕ іf thеу hаvе nо say-so. Sо mаkе ѕurе divorce іѕ аlwауѕ thе absolute lаѕt resort. Divorce іѕ hard tо do, аnd іt іѕ оftеn hard fоr children tо gо thrоugh аѕ well. Reassure уоur children уоu аrе ѕtіll thеіr parents еvеn іf уоu nо longer live together.


A fresh-baked chocolate chip cookie. Made fresh daily!
2 Large Salads (80 oz). 6 Pizzas from our Signature Menu. 2 Garlic Cheesy Breads.
3 Large Salads (80 oz). 10 Pizza from our Signature Menu. 3 Garlic Cheesy Bread.
4 Large Salads (80 oz). 15 Pizzas from our signature Menu. 5 Garlic Cheesy Breads.
6 Large Salads (80 oz). 20 Pizzas from Our Signature Menu. 7 Garlic Cheesy Breads.