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On Beauty with Rachel Goodwin
Photo: Katie Jones
Welcome to ON BEAUTY, a monthly feature highlighting creative, like-minded people who inspire us.
Rachel Goodwin is the makeup artist behind some of the most iconic celebrity looks of our time. And certainly, her experience, accolades, and A-List clientele set her apart. But it's her genuine warmth, passion, and authenticity that give us a very real We'll have what she's having complex. We were so delighted to sit down with her in her charming studio and discuss what gets her inspired, the ever-changing industry, and the sacred art of transformation.
I take very seriously the energy that I bring to each client. I'm there to lift them up and bring them into their strongest, boldest, most beautiful self.
First of all, this is a perfect little space.
Creating a sanctuary wherever I am is something I'm very good at. That's where I get all my strength and resilience to go out into the world.
Ok, let's start at the beginning—you have a unique story.
I was born in Long Island. My parents were awesome hippie teenagers who fell in love and decided after Woodstock to get married and have me—and, subsequently, couldn't figure out what to do with their lives. There was a really bad economy and young men were not having the best time finding jobs, so my dad decided to join the Navy. That brought him to San Diego, stationed in Coronado.
We moved and I went to kindergarten and started my California journey right on the beach on a beautiful little isle, but we were, like, where the hell are we? My dad went out on a ship for months at a time and my poor young mom—who was 21—was lonely and felt alienated from where she grew up, so they ended up not being able to make it through that. My mom met a man who she fell in love with from Marin County and decided to move to the Bay Area. So I ended up in Marin County by the time I was six.
I just loved it there. It was an artist enclave back then, affluent in parts, but it wasn't what it is now. It was mostly Deadheads. Lots of standing next to Jerry Garcia in line at the grocery store, all of Santana. Journey was a big deal. It was very musical, very artistic. It was also a time when music was colorful and bright and vivid and New Wave and New Romantic and there was punk…it was very free.
We didn't have a stable life. I never went to the same school more than one year. I'd sometimes live in San Diego, then come back and live with my mom in Marin. And then I was adopted by another family when I was ten. It was my best friend's mom who was, like, I'm taking you. I look at that with such wonder now, because she was already a mother of three daughters and I'm sure she thought four sounded nuts. She saw a little girl in need. As a mom, I see it for the absolute selflessness it was. So, I have a foster family, as well, and they're incredible. I feel that was a turning point for me in the sense that I got a little stability in my life.
I don't really have stories that played out for years at a time. I was a bit of a nomad.
How do you think that informed your career path?
Being able to step back from it now, I see that I was always able to adapt to any scenario, and I genuinely knew how to take care of myself. I was an only child, so I'm really comfortable being alone, I'm really comfortable having my own thoughts and ideas. I don't get led down other people's pathways. I feel autonomous. So that's probably been helpful.
Can you pinpoint when you were first attracted to beauty and makeup?
I started drawing my mom and her friends when I was, like, five. My mom was super into fashion—and she was hot! She was stylish, she was chic, she knew all the models, all the designers. I knew who Norma Kamali, and Ralph Lauren, Yves Saint Laurent were very early on. All the other kids had Holly Hobbie lunch boxes—I had a Twiggy lunch box. So, when she and her friends would get ready to go out to the clubs, I was so enamored with what they were doing. I was, like, they have to be the most glamorous things I've ever seen.
I'm a naturally curious person. I'm inspired by what I see and what I encounter on a daily basis. There's the self-care piece, which is getting quiet, and there's the part that's just participating in life. You have to be in life to be inspired.
Then it transitioned; I found a picture of Marilyn Monroe. I was nine or ten and I was just, like, who is this miraculous creature? I read every single thing I could possibly find on her, then I started recreating her face. I'd draw her constantly, then I started using my mom's makeup to draw her exact makeup on my own face. And then I needed victims! I always say, not an eyebrow was safe. There was no one in my life whose eyebrows made it out ok.
It went from Marilyn—she was my gateway star—into all of my other love affairs: Jean Harlow, Carole Lombard, Marlene, Garbo. The screen sirens of the Golden Age became these archetypes for me to work through, and that became another obsession. If you can't tell, I'm obsessive. I go in deep.
When did you realize that makeup artistry could be a job?
I'd never heard the words "makeup artist." I knew that I was looking at images of women who I was enamored with and almost felt like goddesses of another dimension. I didn't know that there was necessarily someone who was creating the makeup that was making me so enamored. When I was 15, my foster mom's husband's sister was a makeup artist, and we got invited to her wedding here in LA. It was a small wedding and her friends were all there and all the people she knew in the industry and I heard them talking…I took all this in and thought, I have to figure this out.
What was your first makeup job?
My first real formal paid makeup job was a music video for Journey. It was at the Skywalker ranch, and I was like, I get to actually go there!? I grew up next to it and never went. Another artist hired me to help her and I got to do all the guys' makeup. I grew up loving Journey, so for me, it didn't matter if they were on the other side—I still couldn't believe it.
That was my first time being exposed to the idea I had to be using whatever my gifts were to support other artists and be in that artistic environment. I just wanted to be in their presence. It was like my life's blood, my calling. Now it's mostly actors, sometimes musicians, and obviously models, as well. They're these weird, nomadic, creative tribes—that's where I've lived for the last 25 years, and I love it.
So things snowballed from there?
Then I did a movie called Till Death Do Us Part—a low budget film. They were, like, we don't have any money for you, but we can give you a budget to create a kit. I was, like, great! I had to go into a mortuary and learn how to make people look like cadavers. That was interesting. Then I went into learning stage makeup from a woman at the San Francisco Opera. And then I started working at different makeup counters. I got lots of experience and gathered all the makeup I'd needed for my kit. At the time it felt so out of reach to be able to get ahold of all the makeup you'd need to have a full makeup kit.
San Francisco is a liberal, fun, amazing, artistic town. There were lots of bondage clubs that used to do fashion shows at night—I started doing makeup for the shows. I would go in and create looks for these radicals…it's really fun seeing all this stuff on Instagram and these drag shows now because that was my life for the longest time. I loved it. I lived for any time I could use glitter. That was really my aesthetic, it very much came out of the punk era, the New Romantic era of radical gender-bending. I didn't understand people who didn't understand that that was the way the world was. I lived in an area and a space in which all that stuff was not only accepted but fully celebrated.
Give us a glimpse of your makeup vibe back then.
Siouxsie Sioux and the kind of girls I looked up to were radicals. My first concert was the Eurythmics and then The Cure. I would go to school with lipstick smeared across my face. For me, makeup was a way of expressing your identity—there was a way of using it that felt like catharsis. I did not think of makeup as a way to be pretty. I never thought of makeup as a means to be acceptable. I thought of makeup as a way to tell a story: how I felt that morning, whether it was pink eyeshadow or whatever—that was my mood, my expression, my feelings on my face. That was the way I connected to myself and my tribe.
That is a perfect snapshot, thank you.
It really wasn't until I got to New York and into the fashion world in which I was kind of slapped around, like, you can't look like this, you can't be like this, you've got to be invisible. I got there with my bright pink hair and blue eyeshadow and it was like…girlfriend, what are you doing? I immediately started working on disappearing.
Yes, the style in New York at the time was a little more…minimal.
New York in the 90s was not about that kind of attention. The fashion world, especially, it was about no makeup, sort of these sexless twigs. I'd come from the supermodel era, that's what really threw me into having to be in fashion, these amazing women like Cindy and Linda! And by the time I got to New York, it was the Ambers and the Kates. It was a different sensibility entirely. It was stripped down, bare-bones. The only people getting to do really fun makeup were in Europe.
I mostly worked with Linda Cantello who was a brilliant artist, but at that time I would have my hands slapped if I even tried to put foundation on someone. You were not allowed to cover up anyone's skin. I was always about color, bold choices and bright, vivid representations. It was not the time for it. I was there for a little while and I never really felt like I found my footing. I assisted amazing people, I met some of my closest friends to this day—my ride or dies. And then we decided to come back here [Los Angeles] and I went back into the music world because at that time, that's where things were fun. Music videos were still a real thing and you could do incredibly creative work. And they also wanted to pay me! Imagine that! So I was, like, sign me up!
How novel!
That was a dream come true. I met this incredible stylist who was actually part of the New Romantic movement in London. Her name was Kim Bowen, she discovered Pat McGrath, she's a creative force, and she was doing so many incredible things at the time. She plucked me up, saw my potential, and started hiring me a lot. And we did every kind of thing you can imagine: Smashing Pumpkins videos, Marilyn Manson videos, Gwen Stefani, Pink, George Michael…there's nobody I wasn't involved with at that time who was doing creative stuff. We would do these fantastical things, and it was just where I was meant to be. It was so fun. I got to utilize all my theater makeup background, and my love and passion for the music world, and I also got to integrate fashion. It was all the things I'd honed up until that point.
What was a turning point in your career?
When I moved out here, celebrities started to take over magazine covers. Models had been on the covers up to that point—this huge shift started to happen. I got booked with David LaChapelle to do a cover for Flaunt magazine with Brittany Murphy—at the time she was coming out of Girl, Interrupted, and she had her first big cover. We did this really cool mime cover and it started a whole new trajectory for me. I started to get booked on more actresses who were having moments. They would book me to do their magazine covers, or if they had a premiere, and that's how I really started in the celebrity world.
It was a different scope, but also great timing. It was the perfect transition and I took to it really well because the fashion photographers who were shooting these actresses wanted someone with a fashion background. They didn't want someone who only knew how to do red carpet—they wanted someone who understood how to do editorial makeup, something a bit more creative. So I was in the right place, right time, right moment.
Is there a pivotal moment you can point to?
I think it was a few years later—I got booked on a cover with Natalie Portman in Tahiti for American Elle and it was Gilles Bensimon, who was a legend. That cover was a really big deal and getting flown to a wild Tahitian island to do it…I was so thrilled and remember feeling like that was a turning point for sure. People suddenly knew who I was.
The industry today is a whole new world. How do you feel about social media and the digital space?
I've thought about this quite a bit because this subject comes up all the time with artists. I think we've all come to the conclusion that, you know, it's never going back, so you may as well get on board. But I do think it's becoming clear that there are huge ramifications for how you participate. I think it's going to be more and more evident going forward—the mental health issues around it, the responsibility we each have. And I think that because we've been doing this for a long time, we have a different perspective versus artists who are just coming in because they're coming into a different business.
I'm working on projects now that I couldn't have even dreamed up for myself—that have the potential to challenge me and utilize my gifts in ways I could never have even considered—thanks to the social world that we're in.
Is it more competitive?
Yes, I feel like it's a fierce competition thing. I did a post recently about it because I was feeling really depleted, and I saw someone I follow post something about alignment versus hustle, and I felt it in my bones. I have to constantly remind myself that I'm not in a race, I'm not in a competition. It was always a competitive field—I'm not going to lie and say it was some easy breezy field. No one gets into that upper upper echelon easily. It's always a difficult journey.
Time has been accelerated now on Instagram because there's really no trajectory you need to follow the way we had to follow it. Which is fun and sort of exciting, but also kind of scary for artists because there are doors that can open too early. And I think a lot of young artists don't understand that sometimes opportunities come when you're not ready, and sometimes you can rise and sometimes you can't. You want things to happen to you quickly because that's the nature of being a human, but I beg of you to take your time because the truth is, when it's not earned, you just immediately disregard it and move to the next thing, anyway. I think we all need to take a deep breath.
Are there any upsides?
The upside is that there is potential for artistic connection and collaboration like never before, and that is wildly exciting. Things that you are genuinely passionate about on your artistic journey, you can explore in new ways that may have never been possible. I'm working on projects now that I couldn't have even dreamed up for myself—that have the potential to challenge me and utilize my gifts in ways I could never have even considered—thanks to the social world that we're in.
I think people are ready for information they weren't ready for before because they've been inundated with the first level of things. I think that has primed the people who have been diligently working on themselves and doing incredible things behind the scenes—their time is about to come. I think shit's going to get real. I look at what's happening and sometimes get discouraged or disgruntled about how it focuses on what I think are the most banal pieces of the human experience, but I'm noticing the trend towards something different. There are a lot of people coming forward with concepts that used to seem super fringe—suddenly becoming more mainstream. We've just scratched the surface, we've gotten to the first chapter, and there's this whole book that's going to be written.
Also—the mute button—it's like therapy.
There's a lot of emotion in my makeup because I'm an emotional person. I don't do the same thing on everyone—I feel them out, I feel their spirit, I feel their sensibility, them as a person. And that's what you see.
That's a reassuring perspective!
I'm choosing to view it that way! The thing that does worry me about that is creating an echo chamber. I don't want to see things that make me feel less than, but I don't want to only see things that I agree with. So it's a fine line because I don't personally think it's ok to live in a curated existence where you only see things that reinforce your own beliefs. It's important to be challenged and to know that there's a whole world out there that is working very differently.
Your own social media presence feels very inclusive and positive.
I feel a responsibility to not always be sharing just the successes of my life because I don't feel it's serving anyone. It's been more than twenty years since I've been on this career path, and I've had so many ups and downs. It doesn't matter how far I've come, I still experience them, so being the kind of person who doesn't talk about that…why? How am I helping the people coming up behind me, how am I being even worthwhile to myself? At this point in my life, I'm more interested in being of service to other people. It feels way better and more important when I walk out the door and leave my children for any number of hours, that I'm doing something worthwhile with my time.
Do you find inspiration in the online space?
I definitely get how this [phone] can be used to be inspired, but if I'm just focused on my phone or computer, something about the emotional quality isn't there. And there's a lot of emotion in my makeup because I'm an emotional person. I don't do the same thing on everyone—I feel them out, I feel their spirit, I feel their sensibility, them as a person. And that's what you see. If you look at my client and you just look at the makeup, I don't feel like I've done my job. I want you to see something new about them that you've never thought about.
Painting someone's face is an intimate act. I take very seriously the energy that I bring to each client. I'm there to lift them up and bring them into their strongest, boldest, most beautiful self. It's very much an emotional intelligence-heavy job.
How do you get into the creative zone?
Sometimes I take a bath and listen to music, sometimes it's really being in nature. Sometimes it's just getting still. My favorite places in the world are bookstores and museums and forests—that's really where I can be my most clear. But in the real world when that can't happen, there's a beautiful thing about this digital world of ours: we used to have to rip things out of magazines, put them in folders, put them on boards. Now, you can literally go through your Pinterest board and be like, I'm feeling like I want to talk about blue or I want to talk about skyscrapers, whatever, and you can have a board in two minutes.
So, I like to do both, the digital and the analog, and then bring them together. The analog stuff is being in the real world. I'm a naturally curious person. I'm inspired by what I see and what I encounter on a daily basis. There's the self-care piece, which is getting quiet, and there's the part that's just participating in life. You have to be in life to be inspired.
How do you tackle creative roadblocks?
I have two favorite books that I pull out when I'm feeling depleted creatively. One is called Steal Like an Artist, and it's a reminder that there is nothing new under the sun but the way you interpret it is new. And usually, that means what my son and I like to call "mashups." You're not here to copy something verbatim. You're here to put it in a blender and bring it out in a new way.
And one is The War of Art, and that basically talks about being in tune with your muse. The more aligned you are with your soul's purpose, the more resistance you're going to get from the universe, right? Every time an artist gets to that point where they think they're about to have a breakthrough, you get the cosmic slap-down and the tests come through. You're like, fuck, now what? It's going to pull your attention away, it's going to make you think you're not worthy. All this ugliness comes up. So when I'm in that mode, when I start to feel like everything's been done, I have nothing new to contribute, I'm not doing the right thing—I go to one of those books and get myself back on track.
I'm sure it's hard to choose but what's one of your favorite looks?
Most recently, I would say the British Vogue cover that I did with Emma last winter was such a career high. First of all, I love British Vogue, I love Edward Enninful as an editor, I love the magazine right now, what it stands for, the inclusion and the brave, bold choices—and I got to do makeup. A lot the fashion magazines at the highest level, it's very beautiful natural makeup which has its time and place. But on this particular cover, I got to do something that has spoken to my heart since I was very young: blue eyeshadow and a red lip—together. Which is one of my favorite things on the planet earth. Some people may hate it, but for me, there's something transcendent about it! The cold and the warm, the over-the-top nature of that combination. And to get to do that on a Vogue cover was just spectacular.
Celebrities have a team to help them look and feel good. Who is on the team that makes you look and feel good?
Oh, good question. To be honest, I'm fairly basic in that regard. My good friend Fallon Chavez comes to my home at any hour, any time I need to have my roots done. That's been a game-changer. When I get a chance to be alone and do self-care, I go to Crystal Spa—it's a tiny little spa in the top of a Korean mall in Koreatown and it has a Himalayan salt room, a charcoal room, and a cold room. I eat kimchi and have corn silk tea, I lie around on the Himalayan salt and I come home and feel like a new person. That is the way I do right by me.
As as far as facials and such, I don't get to do them very often, to be honest. If I am in New York, I see Tracie Martyn. They make a beautiful product, they use natural ingredients, and they're passionate. I vote with my money in the sense that everything I purchase—everything I involve myself in—I have to be aligned with their philosophy. So Tracie is great in that way.
I will say, my favorite thing to do is dance. I go to Gold's Gym or to Swerve on 3rd. I have a dance teacher, Michelle Akda—she's been such an incredible gift to me. My neighbors introduced me to it, and ever since I've been absolutely devoted. It's Latin and funk and hip hop, and I'm obsessed with K-pop so I got her to break down BTS's routine. Dance has become pure catharsis and my way of managing my stress levels and my happiness. I'm in my body and out of my brain. There's a woman in her late 70s, and I swear to god, she was the person where I was like, if she can make it here and do this routine, I can get my ass get here and it has been the best thing I've ever done.
It's everything I'm about in the world. It showcases what beauty can be in its highest form. What rituals are about. Beauty rituals in their inherent core began as sacred acts, and this line, every single piece, is getting you to participate in a sacred act.
What motto are you living by?
"If it's not a hell yes, it's a no."
What's your favorite ritual?
Makeup. I give myself between five and ten minutes because I always say there's no such thing as a five-minute face. But if I can give myself ten minutes, I feel like I'm winning. In that moment, I leave one person behind and find the person that's going to take on my day. My inward self is transitioning into my outward self. That's a ritual I feel is practical magic. I didn't realize I was participating in it when I was younger, but as I've gotten older…it's kind of like how Beyoncé says she's got Sasha Fierce. It helps my energy shift into my outward persona.
What's your favorite scent?
My favorite smell of all time is rain after a really dry spell on the cement. I looked it up and it has a name, that smell is called petrichor. That and the smell of the forest floor, like rotting leaves in Marin County at Samuel P. Taylor Park. The trees are California bay, so it's an herbaceous rot and I freaking love it!
Any tips for long-haul flights?
Drink a lot of water! Do not get drunk on the plane! I've learned that the hard way, it just doesn't help! I have this Altitude Oil and I've been carrying it in my bag. I inhale it and it calms my nerves because the airport stresses me out, the idea of leaving stresses me out, the idea of being in a metal tube in the sky stresses me out. I've really gotten into using my headphones and doing meditations. And I don't do the masks that other people do, but I have started using sleep masks which essentially give you the same effect but without looking like a crazy person next to a stranger. So that has changed the game because your skin doesn't get stripped from all the recycled air. Watermelon rind juice is another—it keeps you from getting depleted.
When I know that my immunity's been compromised, I get an IV drip, and that will immediately restore me from a crazy long journey. And I mean, that's an extreme thing. I don't like needles but I have never seen my body bounce back quicker. I have to get things done quickly and efficiently! I have two small children and a career—I don't have time to waste! What's going to work!?
Favorite beauty food?
Dave Asprey's collagen bars. Collagen is a gift that keeps on giving.
Do you have a vice?
Ice cream is my main vice. I know that sounds really boring. I've had many vices in my life and now it's just ice cream. I started an Instagram account just for my ice cream obsession called The Sunday Times. That's how passionate I am about ice cream. When I'm in crisis, I turn to ice cream. Ice cream and cannabis…
Is cannabis really a vice?
I think some people think it is. I don't really use it in a way in which it's to my detriment, but it's there when I need it, which makes it feel like a vice. If we're talking escapism? Downton Abbey. Here I am looking very old and boring but those are my vices. My version of the Kardashians is the Crawleys. I'm one of those. And I know I'm supposed to give up coffee, but I can't. I just drink one beautiful cup of coffee every single morning and I enjoy the smell, I enjoy the process, I enjoy listening to the grinding if it, I love everything about coffee, so I can't give it up. I believe it's good for me because I enjoy it so much.
Do you have any charms or talismans?
My grandmother, when she passed away, one of her favorite symbols was a scarab. Her nickname was June bug, and June bugs are essentially scarabs, so I have her scarab on my dresser. Also, as a Scorpio, my natural state is death and rebirth and rebirth and death and digging in the muck to create gold…it's like the alchemy symbol. So that's always helped me through life—even when you're in the difficult stuff, that's where you're going to find all the good. It's a really powerful symbol to me.
How did you discover In Fiore?
I've been a fan since Danilo introduced me to it years ago. I knew about it, but I didn't really know. And Danilo, being a San Francisco bud, a creative soul partner—he is just such a force of creativity in the world. I've been lucky enough to work with him for many years, and every time I work with him, I'm in awe of his extraordinary talent. So when he introduced me to it, I was like, of course it's something great. He loves it, I'm going to love it, what is it?
He'd always bring the perfumes, and then Julie sent me some things that I started to play around with. I was like, whoa—these are next level. It's more than a natural beauty line. It's an artisanal…otherworldly…intention-setting…frickin'…it's unreal. It's everything I'm about in the world. It showcases what beauty can be in its highest form. What rituals are about. Beauty rituals in their inherent core began as sacred acts, and this line, every single piece, is getting you to participate in a sacred act.
I am a fan of artisanal beauty, and most artisanal beauty is inherently natural because the people who take the time to create things with that level of intention typically are coming from a more conscious awareness. I'm not a fast food eater, I want a meal prepared with love. So that's kind of how I translate it. I mean, Night Queen is something I find to be totally transcendent, the balms take me out of the world in which my child is screaming for his next glass of juice and make me feel like I'm part of another dimension that I want to be in!
That is why I love Julie's products—they feel bigger to me than results. Meanwhile, they do create results, but it's not even about the results. I'm not even thinking about that when I'm using them. I'm thinking about how wonderful they feel, how wonderful they smell, I'm thinking about how beautiful the bottle is. Julie is another creative soul doing something with equal passion that I can connect with.
What's your favorite In Fiore product?
The fragrance is Night Queen, and I'm partial to the Vis Clair Suprême because I'm just in love with it right now. I could go on and on but let's just keep it at those two because we'll be here for hours if we don't.
Read More On Beauty


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Montreal – Claude Castonguay, considered one of the fathers of Quebec's health care system, says the system needs in-depth reform.
"The future of our health care system is a fundamental issue," he told a Montreal audience today. "If the necessary changes are not made, our system cannot survive. That is a certainty from which we cannot escape."
Speaking at a luncheon sponsored by the Montreal Economic Institute, Castonguay said, "We have to move beyond patchwork solutions and filling the gaps in order to respond to the problems that arise continually. For far too long, corrective measures have tried to plug the holes in the system at a cost of billions of dollars. Fundamental changes are necessary."
Castonguay set out a step by step process to reform health care in Quebec beginning with the fundamentals, the very governance of the Canadian health care system, which he says must change. He said the most significant change is the separation of the roles of the purchasers and the providers of health care services.
Castonguay said the Régie de l'assurance maladie should become the purchaser of hospital and ambulatory services, as well as, evaluating the performance of such institutions.
"The new concept of purchasing care would have significant indirect effects," he told the Montreal audience. "Firstly, it would bring about certain decentralization at the institutional level. It would reverse the very strong, paralyzing tendency towards the centralization of decision making powers in our system at the Ministry level. Secondly, the new separation of roles would have the effect of lessening the overly great politicization of our system."
Castonguay said the sharing of functions proposed between the Ministry and the Régie would allow Quebec's health care system, following the example of numerous countries of the European Union, to embark on promising reforms both for the mid and long-term.
"The future of our health care system is a fundamental issue," he said. "If the necessary changes are not made, our system cannot survive. That is a certainty from which we cannot escape."
Castonguay left his audience with seven recommendations, which he said would "allow us to save our health care system and its essential universal character." The proposals are:
Allocate to the Régie de l'assurance maladie the functions of purchasing health care and evaluating the performance of institutions.
Accelerate the development of medical clinics in areas where the needs are greatest and according to the model which offers the best guarantees from the point of view of quality, cost of services and the adaptation to the environment that is being served.
Optimize the use of hospital equipment making it accessible to private practice on weekends and evenings which could generate revenue and reduce wait times for the public system.
Opt for a coverage plan for long term care for the aged so as to concentrate the resources on priority services and on the greatest needs including, for vulnerable persons, a caregiver assistance program.
Abolish the prohibition regarding private health insurance.
Abolish the divide between public and private.
Modernize the Canada Health Act.
Castonguay is a signatory to the Canadian Health Care Consensus Group (CHCCG), whose members came together to provide a platform for bold, reasoned and practical plans for genuine reform of the health care system.
The CHCCG, coordinated by the Atlantic Institute for Market Studies (www.aims.ca), includes medical practitioners, former health ministers, past presidents of the Canadian Medical Association and provincial medical and hospital associations, academics, and health care policy experts, all of whom are signatories to the Statement of Principles.
The Montreal Economic Institute is an independent, non-partisan, non-profit body that takes part in public policy debate in Quebec and across Canada, offering wealth creation solutions on matters of taxation, regulation, and reform of health and education systems.
A transcript of Castonguay's comments to the Montreal Economic Institute are available in French and English on the CHCCG website at www.consensusgroup.ca or through the Montreal Economic Institute website at www.iedm.org
Follow these links to read Towards significant changes – in English – en francais.
For further information, contact:
André Valiquette, M.A, APR
Directeur des communications / Director of Communications
Institut économique de Montréal / Montreal Economic Institute
Téléphone: 514-273-0969 / Cell : 514-574-0969 / avaliquette@iedm.org
Barbara Pike
Atlantic Institute for Market Studies
902-429-1143 – office / 902-452-1172 – cell
By Atlantic Institute for Market Studies| 2007-05-16T00:00:00+00:00	May 16th, 2007|Media Releases|Comments Off on Health Care
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A Tiny Step in the Right Direction
July 23rd, 2018 | Comments Off on A Tiny Step in the Right Direction
The Comeau Ruling is In
April 19th, 2018 | Comments Off on The Comeau Ruling is In

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The Making Of An Evergreen Title - Subway Surfers
Srikanth V
Updated July 2, 2019 - Check out this case study to learn more about how we helped Kiloo boost ad revenues by 20%!
Why Subway Surfers Continues To Be A Top Title
If you love playing games on your smartphones like I do, it is also likely that you periodically check out the top apps/games on the store, in search of your next addiction. The past few years have seen many garage (read indie) games achieve blockbuster status, Flappy Bird or Ketchapp's 2048 come to mind. However, there are few games that are always at the top in of the app-store charts and are always in a user's consideration list.
Do you have a mobile app? Interested in monetizing it? Reach out today to learn more about how we can help!
Here is an attempt to unpack one such super-title - Subway Surfers and understand the elements which make them tick on a super competitive app store.
Subway Surfers is an endless running casual mobile game, downloaded almost a billion times across platforms. The game was co-developed by Denmark based Kiloo and Sybo Games. Launched in May 2012, the game continues to feature in the list of top downloaded games.
Recency factor of Subway Surfers
Pick any evergreen gaming title and you will find that the latest update to the game is no older than 30-45 days. A Subway Surfers game update for instance involves a totally new game location (new city) every 3-4 weeks. For a jaded subway Surfers user, there is a whole new look and feel to the game, while the ground rules for game play still hold. There are new city-specific characters, skateboards and so on. The studio dedicates a team of artists, developers, testers and so on to focus solely on updating game versions and ensuring that the game remains fresh.
Keep game objectives/mechanics simple and consistent across updates
While it is important to give a fresh look and feel to the game with updates/new levels, it is also critical to keep game objectives consistent. It can be bothersome for the user if the game objectives on an update or a new level are unrelated/different. Across game versions, users on Subway Surfers maneuver their way through obstacles and collect coins in the process. Even the game dynamics around power-ups remains consistent across updates.
In-game user retention - Daily Challenges/Loyalty bonus
While a top app-store position may drive a good set of new users to your game, game developers around the world will tell you that the larger challenge is to keep an existing user base engaged on the game. If you check Day 7 retention (an accurate metric to gauge game retention), these super titles command a number greater than 25%. To give you a perspective, most casual games on the store find it impossible to get into double digit percentages. Subway Surfers also incentivizes users to complete a "Daily Challenge". It is also interesting to note that these daily challenges are built into the core game-play. Users are then rewarded with bonus coins and the incentives get bigger if you complete multiple daily challenges in a row.
Creating a sense of urgency - Rewarding for loyalty
In addition to adding new characters/levels/game elements, the game also create a sense of urgency amongst their users by limiting availability of these products for only the first few days of the product launch. These games also offer loyal players free characters, making it lucrative for users to come back to the game more often.
Optimized across devices
A large chunk of smartphone sales today is propelled by the advent of sub-$100 Android devices, putting smartphones within the reach of users across developing markets. While an iPhone may seamlessly render your latest high-adrenaline racing game, a fair share of handsets do not support games high on graphics and memory usage. Even if they do, the gameplay is heavily compromised and non-uniform across users. Developers at Subway Surfers for instance, test every single game update across a spectrum of devices and ensure optimum performance across devices. The other possible impact is that users on low-end devices refuse to update to the newer versions of your game fearing compromised gameplay. There is a tendency to latch on to older versions, which typically do not carry most new game features.
Additionally, these sub $100 android devices only carry a few hundred MBs of storage space and installing a new app very often calls for uninstalling a game installed prior (and you don't want your game to be that one)
Make the most of social platforms/gamification within users
While it is a no-brainer now to incorporate social platforms in your game, it takes some real effort to make these platforms work for you. Gathering Facebook page Likes at massive scale can prove to be a highly efficient way of acquiring new users and ensuring maximum adoption of a game update across existing users.
Social platform based leaderboards are a norm now, and games these days reward you if you are lucky to have friends engaged on the game!
Games like Subway Surfers really take this to the next level by setting up time-bound localized leaderboards (may or may not be linked to social platforms) where you not only get to compete with your friends and beat them, but also track how well you are doing on the game with respect to users in your city/country.
Well optimized monetization experience
Over 90% of the apps on the store opt for a freemium model and the sole motive is to maximize app reach across users. Research would tell you that only a small subset of users are willing to make in-app purchases and hence it is all the more critical to supplement the IAP revenue stream with a well thought out ad monetization strategy. In order to make your ads non-intrusive to the game experience, you will need to place your ads in what is called a "logical pause point" in the game. It is also important to associate the right ad-format at the right pause point. For instance, a full screen interstitial ad would make sense when there is minimal in-game activity. In Subway Surfers, the user is shown an interstitial ad when he/she hits the home button after losing a life. Adding Custom frames to your static interstitial ads would create a uniform look and feel to ads from multiple ad providers (Subway Surfers uses the standard frame as given in the screenshot across ads from all their ad network partners)
Rewarded video is the new kid on the block, loved by developers and users alike. Rewards from these units keep the user playing (game developers love high engagement rates), and users love the rewards that let them play more (no money spent on IAP). Further more, the effective revenues generated from these ads are far higher than other ad-formats. Once a day, a user is rewarded with 2 keys (check the 2 keys button on the screenshot above) if he/she choses to watch a video ad; These rewards also act as a forcing function for a user to play the game daily. One good way to fine tune your ad experience is to work with a limited set of ad-providers, and standardize ad experience across ad providers.
Thanks to their partnership with InMobi, Kiloo has been able to boost ad revenue globally by 20% while also ensuring that they are only serving high quality ads to their players from the world's biggest brands. For more details, check out our case study.
How Are In-App Advertising Rates Calculated?
How Does In-App Advertising Work?
52 In-App Advertising Statistics You Should Know
4 Examples of Programmatic Advertising Done Right In Apps
In-App Ads.txt: What You Need to Know [VIDEO]
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Ginger Cream
This recipe for Ginger cream was written for Vogue in December 1958. More importantly, it was written by the doyenne of food writing, Elizabeth David. It's the kind of dessert that has all the elements required for a Christmas celebration: it's luxuriously decedent, it's an exotic antidote for short days and bare branches and it has the subtle slow burn of ginger that awakens the taste buds and helps a rather fatigued digestive system cope with those unavoidable festive indulgences.
I was very young when I tried ginger for the first time. My grandfather kept pieces of candied stem ginger in a cork stoppered jar beside his chair and one day, one of those seductively sugared morsels found its way into my mouth, for no better reason than because I asked if I could try a piece and my grandmother said it was 'far too grown-up for children'. There'a something magical about the exotic, that moment when tiny taste buds are exposed to the fierce and the firey; that transfer of first taste to facial expression, reflected back at you by an expectant onlooker watching it all unfold blow by blow.
For me, that first taste was more like my first encounter with a ginger cat; soft, sweet, purringly reassuring even, but with sharp claws. Perhaps it could be said, a little bit like Elizabeth David herself; the kind of gastronomic grown up that is so exotically alluring and all knowingly fabulous, but just a little bit scary at the same time. It wasn't exactly love at first bite, but just like my well-worn collection of Elizabeth David's paperbacks, ginger has become a mainstay I wouldn't be without.
Ginger originated in China before spreading to India, South-east Asia, West Africa and the Caribbean. It then traveled to Europe along the Middle Eastern trade routes and was introduced to England before the Norman Conquest in 1066. It eventually became so popular at the English dinner table that, by the 14th century, it sat beside the salt and pepper on most tables; in it's dried form it was used as a meat seasoning. Queen Elizabeth is credited with inventing the first gingerbread man as a token gift for visiting dignitaries
This unassuming drab, paper-bag-beige rhizome seems to have adapted like a chameleon to every cuisine and course; from soups to meat, pickles, juices, cocktails, desserts, and patisseries, it seems to find a perfect niche where ever it lands. Ginger also has the ability to aid digestion and relieve nausea, not to mention it's more racy reputation as an aphrodisiac. South Pacific islanders have used it in love potions and spells for its so-called magical qualities to arouse desire. It's also mentioned as an aphrodisiac in the Kama Sutra, and in France, Madame du Barry, mistress to King Louis XV is said to have served ginger to him, and a host of other lovers, in the pursuit of passion.
I made Ginger Cream last Sunday in the lazy late morning light; slow stirring with a wooden spoon by the AGA listening to the gentle melody of Etude by Joep Beving fall off the keyboard like autumn leaves from the plane trees outside my window. Custards take time; a low flame and careful attention—perfect contemplative cooking for winter hibernation.
Here's what we're listening to at the moment—the perfect playlist to while away the hours of a misty winter's morning. Enjoy! Misty Morning Playlist
Dessert, Recipes
Raw turnip and radish salad with edamame »
« Beef and Stout casserole with dumplings


Welcome to Flying Mission News.
The purpose of the site is to help keep you up to date with what's going on in the FM world. From the sidebar on the right you may select from recently posted news items, categories, or a monthly archive.
Note some names have been changed to preserve individual privacy.


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Your Search Returned: 8 Results
Is Comrade Bulgakov Dead? & Mikhail Bulgakov at the Moscow Art Theatre
Anatoly Smeliansky Published by Used Copy
Very good condition - with d/j
Bulgakov Six Plays - The White Guard & Madame Zoyka & Flight & Moliere & Adam and Eve & More
Mikhail Bulgakov trans Michael Glenny et al intro Lesley Milne Published by Methuen
Mikhail Bulgakov was one of the Soviet Union's finest playwrights, whose work was often at odds with the Soviet State This volume brings together his major dramatic achievements,including The White Guard,…
Large Cast Male, 4 Female
Mikhail Bulgakov adapted Keith Reddin Published by Dramatists Play Service
Winner of the Joseph Jefferson award for Best Play - a writer's dream turns into a nightmare as Sergei Maxudov's novel is finally going to be presented as a play at the Theatre of Moscow, and the rehearsals…
Frank Galati from Mikhail Bulgakov Published by Dramatists Play Service
An up-to-date, highly theatrical, and very funny adaptation of Bulgakov's classic satire about the problems faced by modern Russian society in its attempts to turn the peasantry and the proletariat into…
Zoya's Apartment
Mikhail Bulgakov - Translated by Nicholas Saunders & Frank Dwyer Published by Samuel French Inc
The apartment is a brothel in Moscow and Zoya is the brassy madam, indefatigable in her desire to leave Soviet society behind and emigrate to Paris. The brothel's front is that of a dressmaking shop and…
Master and Margarita
Jean-Claude van Itallie from Mikhail Bulgakov Published by Dramatists Play Service
Also known as The Devil Comes to Moscow The devil, his acrobatic cat and other colorful cronies come to Stalin's Moscow to wreak hilarious surreal havoc on the lives of writers, critics and bureaucratniks…
Collaborators - Olivier Award - Best Play 2012
John Hodge Published by Faber & Faber
Olivier Awards 2012 - Best Play Moscow, 1938 - a dangerous place to have a sense of humour; even more so a sense of freedom Mikhail Bulgakov, living among dissidents, stalked by secret police, has both…
3 Winters
Large Mixed Cast
Tena Stivicic Published by Nick Hern Books
An epic family drama that spans 50 years of upheaval in Eastern Europe Echoing Chekhov and Bulgakov, 3 Winters presents a portrait of an eclectic family, held together by the courage to survive Set in…


U.S. President Donald Trump took his case for U.S.-Mexico border wall funding to prime-time television Tuesday night, as he looked to convince Americans that border security — amid an influx of Central American migrants — must be strengthened before a partial government shutdown can be ended.
Scroll down for archived live blog coverage of Trump's remarks and the reaction.
Trump's speech was followed by a rebuttal from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Pelosi accused Trump of using fear over facts, while Schumer implored the president to end the shutdown immediately and re-open government.
The situation at the border was dubbed a "humanitarian and national security crisis" by Trump in a Monday tweet announcing his speech.
Trump did not follow through on his recent threats to declare a national emergency that would allow him to build the wall without Congressional approval.


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NOW AVAILABLE FOR 2019-20 ACADEMIC YEAR!!


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Star Wars: Secrets of the Empire Is a Disney-fied VR Experience
VR / June 20, 2018
This is the Star Wars VR experience you're looking for!
By Matt Cabral
Within moments of stepping into the virtual world of Star Wars: Secrets of the Empire, Disney Springs Orlando's location-based, hyper-reality experience from Lucasfilm, ILMxLAB, and The VOID, guests – assuming the role of Rebels disguised as Stormtroopers – find themselves seated in a stolen Imperial cargo ship traveling to Mustafar on a dangerous, intel-gathering mission.
While the prospect of infiltrating the volcanic planet as one of the Empire's blaster-wielding baddies should immediately sell Star Wars fans on this highly immersive virtual reality adventure from a galaxy far, far away, VR enthusiasts might be more impressed by the seemingly simple act of taking a seat in the hijacked transport without fear of falling on their backsides. As anyone who's fumbled through a virtual reality demo or attempted to set up a dedicated VR space in their home will attest, casually dropping into a chair while wearing a real world-obstructing headset isn't a feat to be taken lightly.
According to The VOID's co-founder and chief creative officer Curtis Hickman, asking guests to physically sit in this digital space is an important first step in setting up an experience that goes far beyond your typical romp through a virtual world. "When people get into The VOID, we want them to learn to trust it, and the physicality of it, immediately. he said. "A good way to do that, is to have them sit down, because they're trusting the weight of their body on a virtual object."
Of course, once Secrets of the Empire earns the trust of its participants, the sky – or galaxy – is the limit. By cleverly combining virtual reality tech and gear with interactive sets, sensory effects, physical props, and enough fan-servicing authenticity to fill the Millennium Falcon's cargo hold, the experience delivers a bar-raising, immersion-ratcheting ride that'll have both Star Wars and VR fans rethinking the potential of their favorite pastimes.
Once behind the VR goggles, guests become part of the official Star Wars timeline, taking part in a pre-Rogue One story featuring Cassian Andor, K-2SO, and an unforgettable encounter with one of the series' most iconic foes. But while the story and characters play an integral role in making you feel like you've been dropped into your very own sci-fi saga, it's the blending of all the aforementioned elements that, according to Hickman, significantly separate this Star Wars adventure from one you might experience in your living room or at a movie theater.
"We take virtual reality to the next level, to a place that's beyond what you're able to do at home, and let you step beyond reality and introduce new worlds you feel immersed and present in." A big part of pulling off this "next level" VR is exposing participants to various sensory and physical effects, such as floor and seat vibrations that make that initial transport trip feel like the real deal. The cargo ship rumbling beneath your bottom and feet is just the beginning though, as stepping off the ship puts you on Mustafar, where you can actually feel the heat and smell the burning embers.
Toss in a short skiff trip across a lava lake, and you can add fear-of-falling-into-a-molten-pit to the list of sensations you might feel. Of course, a quick, fiery death might be preferable to a long drop down a bottomless pit. Secrets of the Empire's Death Star-like base delivers an incredible sense of place, a feeling that becomes incredibly, scarily apparent anytime you cautiously peer over an edge like the one Emperor Palpatine was dropped over by Darth Vader.
When on steadier virtual ground, guests do some actual walking during the adventure. While you're physically strolling through The VOID's carefully staged areas, you'd never know you were anywhere but the story's infiltrated base. Perhaps it was the trust established at the journey's start, but I confidently strode a path that didn't actually exist, one that snaked through a secret, Imperial structure that would feel right at home in any Star Wars film.
My confidence wavered a bit when I was spotted by Stormtroopers, but it skyrocketed right back when I reached for a virtual blaster on a rifle rack and was rewarded with, well, a physical prop that perfectly filled in for the Stormtroopers' signature weapon. Once armed, Secrets of the Empire's incredibly believable world became a battlefield that would put any first-person shooter's front lines to shame. From behind the blaster, I traded bolts with my targets, took cover, and even felt the brute force of my enemies' firepower.
That last effect literally hits home, as participants also wear haptic vests. According to Hickman, however, this integral piece of gear does more than just deliver the occasional jolt. "You know where you've been shot, and how hard you got hit, because there is haptic on the front and the back of the vest you're wearing." he said, "The immediacy of the danger becomes more relevant when you can actually feel the impact."
Feeling the varying hits – on different parts of your body – from blaster fire and explosions is the sort of cool effect people will instantly recall upon exiting Secrets of the Empire, but the attraction's also brimming with nuanced touches that do their part to put you in this world. Accurate body tracking, for example, ensures you see a pair of Stormtrooper arms when you lift your actual limbs in front of your face. This carries over to your teammates as well (groups of up-to-four can tackle the journey together), who look exactly like Stormtroopers from head to toe.
This also speaks to the social aspect of the experience, something that's frequently absent when you're wearing isolating VR gear. Guests can communicate over built-in headsets, an aspect that's encouraged during some of the story's puzzle elements. For me, though, it was watching my fellow infiltrators instinctively take cover, or simply seeing them stand by my side, that made me feel like Han Solo and Luke Skywalker on their way to rescue Princess Leia.
The first thing I wanted to do upon completing my mission was tackle it all over again. On top of offering a thrilling, immersion-cranking experience to rival any theme park's e-ticket attraction, Secrets of the Empire's packed with authentic, fan-pleasing elements and Easter Eggs that can't possibly be consumed in a single visit.
Whether you're a Star Wars fan, virtual reality enthusiast, or count yourself among both camps, Secrets of the Empire – at Orlando's Disney Springs, Anaheim's Downtown Disney, and other The VOID locations – should be on your radar.
Matt Cabral is a contributor to IGN. Talk Disney with him on Twitter at @gamegoat.
HTC Releases New Specs For Its Upcoming Cosmos VR Headset
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Superhot VR - Quest Launch Teaser


Paul Day is the General Manager and Head Coach of the Philadelphia Wings. Paul is a highly respected former professional lacrosse player, coach, and executive, and a decorated 27-year police officer, and the first head coach and general manager of the Philadelphia Wings, the City's new National Lacrosse League franchise.
During a 22-year lacrosse career, Day appeared in the National Lacrosse League finals nine times, capturing five titles, as a player, coach or general manager. He did this all while maintaining a 27-year career as a full-time sergeant for the Niagara Regional Police Service, specializing in street crime, intelligence and recruiting. He retired from the force in 2017 to focus his efforts on the Wings.
A native of Peterborough, ON, Day used to ride his bike to the local library and watch 8 mm movies on a projector of old Philadelphia indoor lacrosse. He and his wife, Angela, have two children, son, Mac and daughter, Abby.
Get the opportunity to ask Coach lacrosse and team questions. Click above to submit!
Landon Miller, a proven lacrosse manager and executive, will serve as the Philadelphia Wings' Assistant General Manager. Landon re-joins Paul Day after the 2 worked together in Rochester from 2011 to 2015 winning a NLL record 3 straight championships. Landon will reprise his same role here in Philadelphia working directly with Paul Day on the up coming expansion draft, free agent signings, entry draft and player contract negotiations.
Landon comes from Six Nations, a native reserve in southern Ontario, where Lacrosse is a way of life and not just a sport. Although stepping away from the NLL after the 2015 season to pursue business opportunities, he has been an executive of one of the most successful Jr. A lacrosse programs in Canada. Landon has been the Vice President and President of the Six Nations Arrows Jr. A team since 2007. As the VP and President he has won 4 National Championships and more recently won 3 of the last 4 Minto Cups. Landon was also selected as General Manager by the Iroquois Nationals world indoor team and is excited to take on his role here in Philadelphia.
Tracey Kelusky previously was the Offensive Coach for the New England Blackwolves for four seasons. A native of Peterborough, Ontario, Kelusky racked up 383 goals, 440 assists and 823 points during an NLL career that spanned 195 games over 14 seasons. He announced his retirement from the NLL, while playing for the Wings, in September of 2014 before joining the Black Wolves as an assistant coach. In the 2014 season for the Wings he played in 17 games, scored 22 goals and had 25 assists.
For the past few summers, Kelusky served as an assistant coach with the Peterborough Lakers of Major Series Lacrosse, and he was also an assistant coach with Finland during the FIL World Indoor Lacrosse Championships in 2015.
The No. 1 overall pick in the 2000 NLL Entry Draft, Kelusky was the Rookie of the Year in 2001, and went on to become a five-time NLL All Star. He was also MVP of the All Star game in 2005, and he earned the NLL Sportsmanship Award in 2007. In 16 playoff games over 10 seasons, Kelusky had 37 goals, 30 assists and 67 points. The 37 playoff goals rank ninth all time in NLL history. He won NLL championships with Calgary in 2004 and 2009.
In September of 2016, Kelusky was honored for his stellar NLL career with induction into the National Lacrosse League Hall of Fame in his second year on the ballot.
Kelusky also had 499 points in 159 regular season games with Major Series Lacrosse and Western Lacrosse Association teams from 1993-2013.
Internationally, Kelusky was a member of the Canadian team that won the 2003 FIL World Indoor Lacrosse Championship. Black Wolves head coach Glenn Clark and fellow assistant coach Jim Veltman were also members of that team. He also captured gold indoors with Team Canada in 2007 and 2011. Kelusky also helped Team Canada win the Silver Medal at the 2002 World Lacrosse Championships, and played for Team Canada in the 2002 and 2004 Heritage Cups.
A former University of Hartford star, Kelusky still holds the program record for goals in a season (59 in 2000). He also holds the top two career marks for goals per game in a season (4.21 in 2000; 3.18 in 1999), the top mark for points per game in a season (5.93 in 2000), and stands second all-time career goals (139), points (209) and single season point total (83 in 2000). He was inducted into the University of Hartford Alumni Hall of Fame in 2006.
Kelusky, who owns Evolve Elite Lacrosse, lives in Peterborough, Ontario with his wife Emily and son Kellar.
Ian Rubel joins Coach Day's staff for the new era of the Wings as the Defensive Coach. Rubel began his lacrosse career as a teenager playing for the St. Catharines Spartans organization. In 1998 he earned a spot with the St. Catharines' Junior A Athletics where he is now the Defensive Coach. In 2000, Ian signed with the Victoria Shamrocks, a Senior A team in the Western Lacrosse Association, where he played for three seasons. His time with the Shamrocks led to a career with the National Lacrosse League where he played for the Columbus Landsharks, Toronto Rock, Minnesota Swarm and the Rochester Knighthawks. With the Toronto Rock, Ian played on three championship teams; 2002, 2003, and 2005. Along the way he also represented Canada in a Heritage Cup game.
Ian's years playing competitive lacrosse paved the way into coaching. He quickly moved up the ladder and in 2013 was named Head Coach of St. Catharines Junior A Athletics, a position he holds today.


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Our Fourth-Century Fathers
by George Grant
Like America's Founding Fathers, the Patristics are often invoked but seldom actually read. They are often referenced but seldom actually quoted. Though they are at the heart of the traditionalist sloganeering, they have in fact, only rarely actually contributed to the traditions they supposedly have inspired. Today they are the great unknowns, these Church Fathers. Even in those communions that place much emphasis on Apostolic Succession — the Catholic, Orthodox, Anglican, and Copt — there is scant knowledge of those who succeeded the apostles. Their words and works are seldom more than anecdotally revered.
The irony of this goes beyond the obvious — the fact is the writings of the Patristics are imminently readable and widely available. The earliest Christians were both literate and literary. They were people of the Book and of books. As a result, their refined letters, sermons, tracts, commentaries, manifestos, credos, dialogs, proverbs, epigrams, and sagas were carefully preserved and anthologized through the centuries. The harried and persecuted believers during the imperial epoch took solace in their pastoral wisdom. The pioneering Medievalists grounded their worldview on Patristic foundations throughout the era of Christendom. The reforming Protestants carefully considered their precepts during the tumultuous days of the Reformation. Indeed, nearly every generation of Christians through the end of the nineteenth century made a study of their ideas an elementary aspect of classical education.
Alas, reading their works demands a certain amount of diligence, thoughtfulness, and discernment — as is necessarily the case with all substantive writing — which is probably why reading and studying the Patristics passed out of favor during the late, great twentieth century.
Theoretically, the Patristics continue to be appealing to us. We repeat the pious reforming litany — let's get back to the pattern of the early church; let's restore the integrity of primordial worship; and let's strip away the accumulated layers of traditional practices, rituals, and ceremonies. Somehow we imagine that the Patristics support us in this. We suppose them to be simplistic, primitive, and primal. So, we are often surprised to discover them to actually be complicated, refined, and mature. And if there is one thing that the modern church is in rebellion against, it is depth, sophistication, and acumen. The result is that we carry on with a blithe, "don't confuse me with the facts" naiveté.
Generally speaking, the epoch of the Fathers was, in the Western Church, the first five centuries after Christ. In the Eastern Church, the Patristic Age may be extended to embrace John of Damascus in the middle of the eighth century. Scholars have traditionally arranged the writers, not unnaturally, into four groups. In the first group are the Apostolic Fathers and the Apologists, or those writers who were roughly contemporary with the formation of the New Testament canon. These all wrote in Greek. In the second group are those writers from the third century — approximately from the time of Irenaeus to the Nicene Council. They wrote partly in Greek and partly in Latin. In the third group are the Post-Nicene Latin Fathers — those writers from the age of the great Ecumenical Councils. In the fourth group are the Post-Nicene Greek Fathers — those writers from the Golden Age of Byzantium.
Most modern collections of the Patristics include only writings from the first group — which is a great pity. The apex of the Patristic period was actually the fourth century — an amazing hundred year span that began with Athanasius (296–373) standing contra mundum, against the world, and ended with Augustine (354–430) laying the very foundations upon which Western Civilization would be built. In between, men like Alexander of Alexandria (267–328), Julius of Rome (337–352), Hilary of Poitiers (315–368), Basil of Caesarea (330–379), Gregory of Nazianzus (330–390), Martin of Tours (335–397), and Gregory of Nyssa (335–-394) fought and won the great struggle for biblical orthodoxy against the Arians — and launched early broadsides against the heresies of the Appolinarians and the Monophysites. It was in the fourth century that John Chrysostom (344–407) reinvigorated both the preaching and the liturgy of the church. It was in the fourth century that Jerome of Bethlehem (347–420) did the essential textual work that the church would rely on for more than a millennium afterward. It was in the fourth century that the errors of Pelagianism, Donatism, and Celestianism were exposed.
At a time when the Gospel is under assault like no other time since the fourth century, it would stand us in good stead to see the patterns of faithfulness from that epoch's heroes; it would behoove us to learn from their lives and ministries; it would surely be of benefit to follow the footsteps of their greatest battles — that we might be fit to fight our own.
As a result, reading these Fathers, learning from these Fathers, and imitating these Fathers would not merely be an exercise in antiquarian curiosity — or of nostalgic idealism. Instead, it could very well be, apart from the study of the Scriptures themselves, the most relevant of all our discipling pursuits.
The Ancient Church
Dr. George Grant is pastor of Parish Presbyterian Church (PCA) in Franklin, Tenn., president of King's Meadow Study Center, and founder of New College Franklin. He is author of The Micah Mandate.
More from George Grant
God Omnipotent Reigns
A Soul Ablaze
The High Call of Service
Nursemaid to the World: The Church Amid Adversity and Sickness
Church History in Christ
All Resources by George Grant


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THE EXILE
Identity/Class: Extra-Terrestrial technology user
Occupation: Tester of Worthiness
Group Membership: None
Affiliations: Fantastic Four, Fantastic Four Android doppelgangers of the Mad Thinker, familiar Alien
Enemies: Fantastic Four, his own force-field
Base of Operations: Four Freedom Plaza, New York
First Appearance: Marvel Comics Presents#66/3 (1990),
Powers/Abilities: Unknown power level. He can manipulate the most sophisticated technologies with the energy of his suit.
History: An unknown time ago the Exile lived on a distant planet but he did something very bad and had to leave his home planet. Since then he called himself the Exile and wandered many years through the galaxy, unable to return to his home planet. He took notice of the Fantastic Four, when one of Reed's machines opened an inter-dimensional doorway by accident. He began to investigate the heroes and discovered many super-powered beings on earth. He began to test if they were worthy of their powers.
(MCP64/3 - BTS) - The Exile starts his tests on the Fantastic Four. He manipulates the Molecular Regenerator of Reed Richards and an alien comes through and attacks Reed. Reed overcomes his ignorance and saves the dying alien. Reed passed the test of the Exile.
(MCP65/3 - BTS) - The Exile activates the Fantastic Four Android doppelgangers (created by the Mad Thinker) and sends Susan Richards' doppelganger to her house. Somehow it takes away the mind of Susan. Later the android finds out that it is not the real Susan and finds Susan Richards lying in her room. The Android sacrifices its own existence to return its mind into the real Susan Richards. Susan passed the test of the Exile.
(BTS) - The Exile wants to start the Test of Ben Grimm but an accident happens and he gets trapped in a web made of the opposite energy to the one of his suit. He can't get out of it and anytime he touches the web it causes an explosion.
(MCP66/3) - Thing wakes up by an emergency call of Reed Richards who tells him that their Android doppelgangers are reactivated. Thing fights them until a powerful energy finishes them. Thing goes to the center of the energy and a big explosion stops him for a moment. The Exile congratulates Thing for saving them some more minutes by absorbing the excess energy with a door. The Exile hopes that everything he heard about Ben Grimm is true, because only then they will survive. The Exile is still trapped in the web.
(MCP67/3) - The Exile tries to explain everything to Thing. He tells him about the trap he tried to build for Thing and the accident that brought him into this web. It shifts constantly and the Exile is afraid of the big explosion. Meanwhile Johnny Storm defeats the reactivated Androids. The Exile tells his story to Thing and what he did to Reed and Susan. Thing only becomes angry at him because he was next on the Exiles list. Thing wants to help the Exile anyway to get out of the web because an explosion could destroy the building.
(MCP68/3) - Thing is joined by his team-mates and they see the trapped Exile. The Exile explains his plans to Mr. Fantastic. He just wants to know if the Fantastic Four are worthy of their powers. He wanted to be sure that they are not easily corrupted and weak-willed like most other creatures with great power. The Fantastic Four work together to free the Exile. The Exile is surprised that Susan tries so hard to save his life after what he did to her. The Exile gets free and looks at the Fantastic Four. Reed is angry at him and the Exile leaves with words that show his own guilt from the past. It seems that he wasn't worthy of his powers and he envies the innocence of the Fantastic Four.
Comments: Created by Robert Denatale and Tom Morgan.
The F4's android doppelganger first showed up in Fantastic Four I#96.
Profile by Markus Raymond
CLARIFICATIONS: The Exile should not be confused with:
Exile, took over Nightmare's realm @ Nightmare#1
Exiles, a group of alternate earth heroes @ Blink#4, Exiles#1
Exiles of the Ultraverse, Rachel Deming's group, @ Exiles#1(Ultraverse title)
Exiles of the Ultraverse, of which Sienna Blaze and the Juggernaut of the Marvel Universe were both members, @ All-New Exiles#1
Exiles, old allies of the Red Skull @ Tales of Suspense I#41?, Captain America I#102
Exiles, an unofficial band of Yuri Garnogg's gang of underground mutants, @ Soviet Super Soldiers#1
familiar Alien
The Alien came through the molecular regenerator of Reed Richards which was manipulated by the Exile. It attacked Reed but he managed to knock it out. Reed found out that it was dying and worked on a way to communicate with the Alien. With the brain pattern of the Alien recorded he found out that the Alien saw everything different. He adjusted the brain scanner and stepped into the Alien's world. The Alien was now able to see Richards and asked him to end his misery of madness. Richards explained to the alien that it wasn't mad but trapped by his machine when it teleported and that his machine recreated an unstable body for the Alien. The Alien learned that Earth is full of life and promised that the plans to colonize or invade this world will be stopped. Richards brought the Alien back to his machine and sent it back to his home world.
The Alien looked familiar to Reed because the molecular regenerator tapped somehow into his brain to find a pattern. So I've chosen to name it familiar Alien (how unoriginal)
--Marvel Comics Presents#64/3
Marvel Comics Presents#66, p24 (main image)
#68, p23, pan3 (head shot)
#64, p19, pan1 (familiar alien)
Other appearances:
Marvel Comics Presents#64-65 (1990) - Robert Denatale (writer), Mike Harris (pencils), Sam Grainger (inks), Terry Kavanagh (editor)
Marvel Comics Presents#65 (December, 1990) - Robert Denatale (writer), Tom Morgan (artist), Terry Kavanagh (editor)
Marvel Comics Presents#67-68 (January, 1991) - Robert Denatale (writer), Tom Morgan (artist), Terry Kavanagh (editor)
All other characters mentioned or pictured are ™ and � 1941-2099 Marvel Characters, Inc. All Rights Reserved. If you like this stuff, you should check out the real thing!


Paul "Mungo" Mungeam has never met a corner of the world he didn't want to explore. Over the past two decades, the renowned adventure cameraman—who has logged many hours working alongside Bear Grylls—has traveled to more than 90 countries to capture the most wonderful (and wild) places on Earth. Now, after years behind the camera, Mungo is stepping in front of it with his own Animal Planet series, Expedition Mungo, which sees the London-based adventurer reveal the truth behind the mythical creatures and legends that have been passed down from generation to generation. We caught up with Mungo to learn more about his work, and to get his take on Bigfoot.
How did you arrive at your current position as an adventure cameraman?
Through a friend, I met Simon Niblett (a renowned documentary cameraman). We got on famously. He offered me a job as his camera assistant; TV suited me and I suited it. The rest is history.
Were you aware that such an occupation existed before?
Yes, but I never dreamed that I would one day do it—I didn't think it would ever be within my reach.
What are the key qualifications for the job?
To know your craft. There's no substitute for experience, earned through hard work. Some go to film school, but I learned on the job, more like an apprenticeship. Humility and the right attitude will serve you better in this job than academic qualifications.
What's the biggest misconception people have about what your job entails?
They often think my job is glamorous. I guess, occasionally it can be—granted, I get paid to go to some incredible places around the world—but I work very hard. My job is creative, yet also incredibly physical and all-consuming. The locations are often not glamorous at all, but rather, extreme and regularly very uncomfortable. You have to remember, we are not there on holiday. We are there to achieve what our clients are paying us (pretty well) to deliver.
What is the most rewarding part of the job for you?
I love leading a team. I have risen up through the ranks. I started out making numerous cups of tea and cleaning kits and cars. When I was proven faithful in the small things, I was allowed to move on to greater responsibilities. That's the way I like my team to work. You earn your stripes and you're as strong as your weakest team member. I now enjoy giving others the opportunity once given to me (by Simon).
What's the part you dread most?
B-roll and GVs—the shots that fill in the gaps of more interesting storytelling footage. General views are just that: vistas of your location, etc. They are very important, but I now find them so dull to film.
You've traveled to more than 90 countries in your work as a cameraman; what's the most dangerous predicament you've ever found yourself in?
There have been too many scrapes to pick one. But if you forced me, which I guess you are, I would pick a night camping with a presenter in a small, two-man tent on the saddle of a mountain pass in the Canadian Rockies. Our tent was pitched in a precarious area, very exposed, with sharp drops on either side. Our guides were useless … They had forgotten an extra tent, so slept in a mocked-up shelter. And they had not charged the satellite phone—our only communication with the outside world, in case of an emergency. We were already very vulnerable to the elements, but that night all hell let loose. The wind was like nothing I had heard before. Our ropes and tent pegs were being ripped out of the ground, so I had to keep getting up and out of the tent (in the craziest conditions) to re-secure them. We didn't sleep a wink. I lay there thinking, 'What can I do to make us safer?,' but couldn't think of one thing. We were totally at the mercy of Mother Nature.
It was a very long night. Thankfully we lived to see another day. The [pilot] that ended up risking all to rescue us said he had been out all night, helping people, as three tornadoes had blown through that mountain range in one night. That's three tornadoes! We got lucky.
What's the one place you've traveled to that surprised you the most—for good reasons or otherwise?
Due to watching movies, I always thought deserts would be somewhat romantic and just searingly hot. Having now been to a number of the world's biggest deserts, I can say that there is very little romance about them—apart from the odd, stunning sunset/sunrise. During the day it can be how I imagine the surface of the sun being: hot! Yet, at night, it can also be incredibly cold. A change which, if you are not prepared, can easily cost you your life.
With Expedition Mungo, you've moved from behind the camera to in front of it. What has been the biggest challenge in doing that?
Stepping in front of the camera hasn't been as difficult as some would think. I have spent 20-plus years working with presenters/hosts and helping them come across well, so it's familiar territory. The secret is to be 100 percent yourself. If you try to be someone who you are not, the viewer will very quickly smell a rat. So, what you see of me on Expedition Mungo is 100 percent me; like me, or switch the channel.
Your new series seeks to uncover the truth behind the many legends and mythical creatures we've all heard about. When planning the show, what's the one legend you knew you had to tackle—the one that's always been of interest to you?
What advice would you give to someone looking to follow your career path?
Be willing to start from scratch. Put in years of hard work and learn your craft (if you try to take a short cut, beware: you will get found out). Check out the closing credits of shows that you are inspired by and note the production company who makes it; contact them to see who supplied their technical equipment. Contact the facilities company and see if there are any vacancies to work/learn there.
You need to learn about all the equipment before you'll ever be let loose to shoot a TV show. Plus, it's not all about equipment or filming, but also learning the etiquette of being on a filming set (where to stand and where not to stand, when to talk and when not to talk, etc.).
I would either have made a career as an artist of some kind or I would have joined the Royal Marines Commandos.
I so wish I had five lives, as there's far more I would love to have done. Having said that, I never take for granted how fortunate I am to have a job that I love. I wish the same for you.
Walt Disney once said, "If you can dream it, you can do it!" Why not?
Expedition Mungo airs on Animal Planet on Sundays at 10 p.m. ET/PT. Watch the video below for a sneak peek of tonight's episode, in which Mungo travels to Namibia to learn about the dog-headed pig monster.
If you've ever dreamed of moving to a secluded island to become a farmer, the Isle of Sark is giving you the opportunity. Sark, located in England's Channel Islands, is seeking a dairy farmer to supply milk to the island's population of 500. The only catch is that job candidates must be ready to move there with their own herd of 25 to 35 cows, Atlas Obscura reports.
Sark is a 3-mile long, mile-and-a-half wide island with green pastures, rocky cliffs, and no cars or street lamps. The only way to get there is by boat or one of the ferries that leaves from the nearby Jersey and Guernsey islands.
The last time the island had a dairy farmer was 2017. That year, farmer Christopher Nightingale shut down his business due to issues with costs and land instability. The Isle of Sark held onto feudalism long after the rest of Europe abandoned it, and though the practice technically ended in 2008, it hasn't died completely. Sometimes this works to the community's advantage, like when Nazis invaded in 1940, but it also means that farmers must lease their land for short periods rather than own it.
If you're willing to trade your right to own property for idyllic island living, Sark's dairy farmer gig maybe the perfect fit for you. The island is looking for someone, or a couple, with lots of dairy farming experience, and a herd of Jersey or Guernsey cows, which are native to the Channel Islands. You can reach out to Caragh Couldridge at info@caraghchocolates.com for information on how to apply.
If you're tired of waiting around for Cadbury Creme Eggs to reappear on store shelves in the lead-up to Easter, you might want to go directly to the source instead. As Insider reports, the maker of Cadbury, Milka, and Toblerone chocolate is looking to hire four part-time chocolate tasters.
The company, Mondelēz International, also produces Oreos and Chips Ahoy!, as well as non-chocolatey brands like Ritz, Sour Patch Kids, and Trident. In its job post, Mondelēz says it's looking for someone with "a passion for confectionery and taste buds for detection" to sample new products and provide honest feedback. Applicants who make it past the initial review stage will be subjected to several "choco-challenges" to see if they can distinguish between confections with subtle differences.
While chocolate testers would certainly need to have a taste for sweet treats, the job isn't demanding enough to spoil your appetite. Only about eight hours per week are required, making it an ideal side gig, college job, or opportunity for stay-at-home parents to get back into the workforce. The position is based 39 miles west of London, in Wokingham, England, but the post doesn't say anything about citizenship requirements, so it's presumably open to Americans, Canadians, and other English speakers.
New recruits to the 12-person team will be paid an hourly wage of about $14.30 (comparatively, the UK's current minimum wage is about $10.40 for workers aged 25 and up). While it's not going to make you rich, it's a job many chocoholics would be willing to do for free. The company is expecting a high number of applicants, and explained that there's no use in following up if you haven't heard back within 14 days of applying.
Last year, the company advertised a similar role and received 6000 applications from around the world. If this sounds like a pretty sweet gig to you, you can apply on Mondelēz's website. The deadline to apply is March 8, 2019.


Even though the commercial airline industry is on track to see its best profit ever, the stocks are stuck in a holding pattern.
The benefits of higher ticket prices, strong airline traffic and low fuel prices aren't doing much to lift the stocks. In fact, the NYSE Arca Global Airline Index, which tracks the industry, is down by double digits so far this year.
It's a predicament that Institutional Investor's top-rated airline analyst ties to concerns about potential capacity creep and weak unit revenue trends.
"The fact of the matter is the industry is holding onto about two-thirds of fuel cost savings right now," said J.P. Morgan Chase senior airline analyst Jamie Baker on "Fast Money" this week. "We see a lot to be optimistic about with the stocks and industry fundamentals going into 2016," he said.
Baker also noted that the aftermath of the Paris terror attacks earlier this month shouldn't have too much of an effect on the airlines.
"Airline investors learned do not underestimate the tenacity of travelers when confronted with events like these. The Bali bombing, London, Madrid, Mumbai — none of these events have had a discernible impact on air travel demand," he said.
In this environment, Baker chose Delta Air Lines as his top pick.
"It's Delta where we feel the most certain about our earnings model," said Baker. "Delta significantly overpaid for fuel in the first half of this year because they continue to cling to the antiquated notion of fuel hedging. That turns into an advantage in the first half of 2016. They are likely to show more margin momentum than any carrier in the space."
Shares of Delta are down about 1 percent so far this year.


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Want the latest news, promotions, and updates about Clouds on Water and other inside-scoop announcements only available to my eNewsletter subscribers? I promise not to bombard your inbox with a slew of emails! I send out my eNewsletter every month or so and only when there is something to talk about—like new classes, special discounts, marbling inspiration, and new work.
I'll never sell, trade, or share your information. Nope. Never gonna happen.


got to start painting again.. she wants things done before we go to the i. o. w. start on the stairs tomorrow, that should be interesting..should never have told her im feeling a lot better these days..
Yer too old to paint stairwells matey - there again anybody over 25 is too old to paint them things - if she wan't the place painted she knows the best person to paint it (and it ain't you matey) If she does it herself she can't complain about the job now can she - or is that her intention? Keep you on your toes!
Payin' WoW ain't that a bit risky for you?
I don't think you seem to have got this right somehow! An well puts a little fun in his life I guess!
im spending money like water these days, new three piece suite now, i wonder what she will want next..
Sounds an expensive lifestyle you are getting matey . . . . . ah well can't take it with you I guess!
and at this rate there wont be any..
That's one way of dealing with the problem - spend it!


text:
import { restrictToSchema, composeRules, optional, Rule } from 'rulr';
import statementSchema from '../helpers/statementSchema';
import statementRules from '../helpers/statementRules';
import restrictToValue from '../helpers/restrictToValue';
import SubStatementWarning from '../warnings/SubStatementWarning';
import { isPlainObject } from 'lodash';

export default composeRules([
  restrictToSchema(Object.assign({}, statementSchema, {
    objectType: optional(restrictToValue('SubStatement')),
  })),
  statementRules,
  (data, path) => {
    if (!isPlainObject(data)) return [];
    const objectIsSubStatement = (
      data.object && data.object.objectType === 'SubStatement'
    );
    return objectIsSubStatement ? [new SubStatementWarning(data, path)] : [];
  },
]) as Rule;

redpajama_set_name: RedPajamaGithub