The genius of poetry must work out its own salvation in a man; it cannot be matured by law and precept, but by sensation and watchfulness in itself.
John Keats (October 31, 1795 – February 23, 1821) was one of the principal poets of the English Romantic movement.
And doubly sweet a brotherhood in song.
Writh'd not of passed joy?
Was never said in rhyme.
Shed no tear! O shed no tear!
The flower will bloom another year.
Weep no more! O weep no more!
Young buds sleep in the root's white core.
Of pure ablution round earth's human shores.
Are misery, and will not let them rest.
Making him see, where Learning hath no light.
Here lies one whose name was writ in water.
My chest of books divide amongst my friends.
Full of sweet desolation—balmy pain.
The sweet converse of an innocent mind.
The day is gone, and all its sweets are gone!
Sweet voice, sweet lips, soft hand, and softer breast.
I am certain of nothing but the holiness of the heart's affections and the truth of imagination — what the imagination seizes as beauty must be truth — whether it existed before or not.
The imagination may be compared to Adam's dream — he awoke and found it truth.
O for a life of Sensations rather than of Thoughts!
I scarcely remember counting upon happiness — I look not for it if it be not in the present hour — nothing startles me beyond the moment. The setting sun will always set me to rights, or if a sparrow come before my Window I take part in its existence and pick about the gravel.
The excellency of every art is its intensity, capable of making all disagreeables evaporate, from their being in close relationship with beauty and truth.
At once it struck me what quality went to form a man of achievement, especially in literature, and which Shakespeare possessed so enormously — I mean negative capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.
They will explain themselves — as all poems should do without any comment.
Works of genius are the first things in this world.
Nothing is finer for the purposes of great productions than a very gradual ripening of the intellectual powers.
Poetry should be great and unobtrusive, a thing which enters into one's soul, and does not startle it or amaze it with itself, but with its subject.
We hate poetry that has a palpable design upon us — and if we do not agree, seems to put its hand in its breeches pocket. Poetry should be great and unobtrusive, a thing which enters into one's soul, and does not startle or amaze with itself, but with its subject.
Many have original minds who do not think it — they are led away by custom — Now it appears to me that almost any man may like the spider spin from his own inwards his own citadel.
If Poetry comes not as naturally as the leaves to a tree it had better not come at all.
In Poetry I have a few axioms, and you will see how far I am from their centre. I think Poetry should surprise by a fine excess and not by singularity — it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance — Its touches of Beauty should never be halfway thereby making the reader breathless instead of content: the rise, the progress, the setting of imagery should like the Sun come natural to him — shine over him and set soberly although in magnificence leaving him in the luxury of twilight — but it is easier to think what Poetry should be than to write it — and this leads me on to another axiom. That if Poetry comes not as naturally as the leaves to a tree it had better not come at all.
Scenery is fine — but human nature is finer.
Every mental pursuit takes its reality and worth from the ardour of the pursuer.
I compare human life to a large mansion of many apartments, two of which I can only describe, the doors of the rest being as yet shut upon me.
I am certain I have not a right feeling towards women - at this moment I am striving to be just to them, but I cannot. Is it because they fall so far beneath my boyish imagination? When I was a schoolboy I thought a fair woman a pure Goddess; my mind was a soft nest in which some one of them slept, though she knew it not.
There is an awful warmth about my heart like a load of immortality.
I begin to get a little acquainted with my own strength and weakness. Praise or blame has but a momentary effect on the man whose love of beauty in the abstract makes him a severe critic on his own works.
I have written independently without Judgment. I may write independently, and with Judgment, hereafter. The Genius of Poetry must work out its own salvation in a man: It cannot be matured by law and precept, but by sensation and watchfulness in itself — That which is creative must create itself — In Endymion, I leaped headlong into the sea, and thereby have become better acquainted with the Soundings, the quicksands, and the rocks, than if I had stayed upon the green shore, and piped a, silly pipe, and took tea and comfortable advice. I was never afraid of failure; for I would sooner fail than not be among the greatest.
I think I shall be among the English Poets after my death.
The poetical character... is not itself — it has no self — it is every thing and nothing — It has no character — it enjoys light and shade; it lives in gusto, be it fair or foul, high or low, rich or poor, mean or elevated. — It has as much delight in conceiving an Iago as an Imogen. What shocks the virtuous philospher, delights the camelion poet.
A poet is the most unpoetical of anything in existence; because he has no identity — he is continually informing — and filling some other body.
A man's life of any worth is a continual allegory — and very few eyes can see the mystery of life — a life like the Scriptures, figurative... Lord Byron cuts a figure, but he is not figurative. Shakespeare led a life of allegory: his works are the comments on it.
Nothing ever becomes real till it is experienced — Even a proverb is no proverb to you till your Life has illustrated it.
I myself am pursuing the same instinctive course as the veriest human animal you can think of — I am, however young, writing at random — straining at particles of light in the midst of a great darkness — without knowing the bearing of any one assertion, of any one opinion. Yet may I not in this be free from sin?
Call the world if you please "The vale of soul-making."
I have two luxuries to brood over in my walks, your loveliness and the hour of my death. O that I could have possession of them both in the same minute.
Some think I have lost that poetical ardour and fire 'tis said I once had- the fact is, perhaps I have; but, instead of that, I hope I shall substitute a more thoughtful and quiet power.
"If I should die," said I to myself, "I have left no immortal work behind me — nothing to make my friends proud of my memory — but I have loved the principle of beauty in all things, and if I had had time I would have made myself remembered."
You are always new. The last of your kisses was ever the sweetest; the last smile the brightest; the last movement the gracefullest.
You might curb your magnanimity, and be more of an artist, and load every rift of your subject with ore.
I can scarcely bid you good-bye, even in a letter. I always made an awkward bow. God bless you!
Caught from the early sobbing of the morn.
Pausing upon their yellow flutterings.
Inconstant, childish, proud, and full of fancies.
And open face of heaven.
"Sonnet. To One Who Has Been Long in City Pent"
That falls through the clear ether silently.
Of mighty workings in a distant mart?
Listen awhile ye nations, and be dumb.
The poetry of earth is never dead.
"Sonnet. On the Grasshopper and the Cricket"
That my own soul has to itself decreed.
'Tis might half slumb'ring on its own right arm.
To sooth the cares, and lift the thoughts of man.
There is not a fiercer hell than the failure in a great object.
The imagination of a boy is healthy, and the mature imagination of a man is healthy; but there is a space of life between, in which the soul is in a ferment, the character undecided, the way of life uncertain, the ambition thicksighted: thence proceeds mawkishness, and the thousand bitters which those men I speak of must necessarily taste in going over the following pages.
They alway must be with us, or we die.
Till it is hush'd and smooth!
The clear religion of heaven!
In every place where infant Orpheus slept.
Upon the forehead of humanity.
Of love, that fairest joys give most unrest.
But ah! she is so constant and so kind.
So many, and so many, and such glee.
That large utterance of the early gods!
As if the ebbing air had but one wave.
The days of peace and slumberous calm are fled.
That is the top of sovereignty.
Knowledge enormous makes a God of me.
But weep, and weep, that they were born so fair?
Is — Love, forgive us! — cinders, ashes, dust.
Spares the next swath and all its twined flowers.
Then glut thy sorrow on a morning rose.
Turning to poison while the bee-mouth sips.
St. Agnes' Eve — Ah, bitter chill it was!
And silent was the flock in woolly fold.
Flatter'd to tears this aged man and poor.
The silver snarling trumpets 'gan to chide.
The music, yearning like a God in pain.
Asleep in lap of legends old.
A poor, weak, palsy-stricken, churchyard thing.
Rose-bloom fell on her hands, together prest.
Her rich attire creeps rustling to her knees.
As though a rose should shut and be a bud again.
In blanched linen, smooth, and lavender'd.
And lucent syrops, tinct with cinnamon.
In Provence call'd "La belle dame sans mercy."
In all the house was heard no human sound.
And the long carpets rose along the gusty floor.
These lovers fled away into the storm.
Cool'd a long age in the deep-delved earth.
Already with thee! tender is the night.
But, in embalmed darkness, guess each sweet.
To toil me back from thee to my sole self!
Fled is that music: — Do I wake or sleep?
What leaf-fringed legend haunts about thy shape?
Pipe to the spirit ditties of no tone.
Stanza 5. The final lines of this poem have been rendered in various ways in different editions, some placing the entire last two lines within quotation marks, others only the statement "Beauty is truth, truth beauty," and others without any quotation marks. The poet's final intentions upon the matter before his death are unclear.
A very odd young man, but good-tempered, and good-hearted, and very clever indeed.
What harm he has done in English Poetry. As Browning is a man with a moderate gift passionately desiring movement and fulness, and obtaining but a confused multitudinousness, so Keats with a very high gift, is yet also consumed by this desire; and cannot produce the truly living and moving, as his conscience keeps telling him. They will not be patient neither understand that they must begin with an Idea of the world in order not be prevailed over by the world's multitudinousness: or if they cannot get that, at least with isolated ideas: and all other things shall (perhaps) be added unto them.
Here are Johnny Keats's piss a-bed poetry [...] There is such trash of Keats and the like upon my tables, that I am ashamed to look at them [...] No more Keats, I entreat: flay him alive; if some of you don't I must skin him myself: ther eis no bearing the driveling idiotism of the Mankin.
The Edinburgh praises Jack Keats or Ketch, or whatever his names are [...] why, his is the Onanism of Poetry -- something like the pleasure an Italian fiddler extracted out of being suspended daily by a Street Walker in Drury Lane. This went on for some weeks: at last the Girl went to get a pint of Gin -- met another, chatted too long, and Cornelli was hanged outright before she returned. Such like is the trash they praise, and such will be the end of the outstretched poesy of this miserable Self-polluter of the human mind.
Mr Keats, whose poetry you enquire after, appears to me what I have already said: such writing is a sort of mental masturbation -- he is always frigging his Imagination. I don't mean he is indecent, but viciously soliciting his ideas into a state, which is neither poetry nor anything else but a Bedlam vision produced by raw pork and opium.
My indignation at Mr. Keats's depreciation of Pope has hardly permitted me to do justice to his own genius, which, malgre all the fantastic fopperies of his style, was undoubtedly of great promise. His fragment of Hyperion seems actually inspired by the Titans, and is as sublime as Aeschylus. He is a loss to our literature.
Keats, entirely a stranger to error, could believe that the nightingale enchanting him was the same one Ruth heard amid the alien corn of Bethlehem in Judah; Stevenson posits a single bird that consumes the centuries: "the nightingale that devours time." Schopenhauer — impassioned, lucid Schopenhauer — provides a reason: the pure corporeal immediacy in which animals live, oblivious to death and memory. He then adds, not without a smile: Whoever hears me assert that the grey cat playing just now in the yard is the same one that did jumps and tricks there five hundred years ago will think whatever he likes of me, but it is a stranger form of madness to imagine that the present-day cat is fundamentally an entirely different one.
In the latter part of that year's summer  I first saw him. It was on the Hampstead road that we were introduced to each other…. …in that interview of a minute I inwardly desired his acquaintanceship, if not his friendship… He was small in stature, well proportioned, compact in form, and, though thin, rather muscular; — one of the many who prove that manliness is distinct from height and bulk. There is no magic equal to that of an ingenuous countenance, and I never beheld any human being's so ingenuous as his. His full fine eyes were lustrously intellectual, and beaming (at that time!) with hope and joy. It has been remarked that the most faulty feature was his mouth; and, at intervals, it was so. But, whenever he spoke, or was, in any way, excited, the expression of the lips was so varied and delicate, that they might be called handsome.
Keats was in childhood not attached to books. His penchant was for fighting. He would fight any one – morning, noon, and night, his brother among the rest. It was meat and drink to him. Jennings their sailor relation was always in the thoughts of the brothers, and they determined to keep up the family reputation for courage; George in a passive manner; John and Tom more fiercely. The favourites of John were few; after they were known to fight readily he seemed to prefer them for a sort of grotesque and buffoon humour. I recollect at this moment his delight at the extraordinary gesticulations and pranks of a boy named Wade who was celebrated for this.... He was a boy whom any one from his extraordinary vivacity and personal beauty might easily fancy would become great — but rather in some military capacity than in literature.
He was called by his fellow students 'little Keats,' being at his full growth no more than five feet high.... In a room, he was always at the window, peering into space, so that the windowseat was spoken of by his comrades as Keats's place.... In the lecture room he seemed to sit apart and to be absorbed in something else, as if the subject suggested thoughts to him which were not practically connected with it. He was often in the subject and out of it, in a dreamy way.
He never attached much consequence to his own studies in medicine, and indeed looked upon the medical career as the career by which to live in a workaday world, without being certain that he could keep up the strain of it. He nevertheless had a consciousness of his own powers, and even of his own greatness, though it might never be recognised.... Poetry was to his mind the zenith of all his aspirations: the only thing worthy the attention of superior minds: so he thought: all other pursuits were mean and tame. He had no idea of fame or greatness but as it was connected with the pursuits of poetry, or the attainment of poetical excellence…. He was gentlemanly in his manners and when he condescended to talk upon other subjects he was agreeable and intelligent. He was quick and apt at learning, when he chose to give his attention to any subject. He was a steady quiet and well behaved person, never inclined to pursuits of a low or vicious character.
He was under the middle height; and his lower limbs were small in comparison with the upper, but neat and well-turned. His shoulders were very broad for his size; he had a face, in which energy and sensibility were remarkably mixed-up, an eager power checked and made patient by ill-health. Every feature was at once strongly cut, and delicately alive. If there was any faulty expression, it was in the mouth, which was not without something of a character of pugnacity... The head was a particular puzzle for the phrenologist, being remarkably small in the skull; a singularity he has in common with Lord Byron and Mr Shelley, none of whose hats I could get on.
And don't you remember Keats proposing 'Confusion to the memory of Newton' and upon your insisting on an explanation before you drank it, his saying, 'Because he destroyed the poetry of the rainbow by reducing it to a prism? Ah, my dear old friend, you and I shall never see such days again!
I remember… his first introduction to Mr. Haydon; and when in the course of conversation that great artist asked him, "if he did not love his country," how the blood rushed to his cheeks and the tears to his eyes, at his energetic reply. His love of freedom was ardent and grand.
He is studying closely, recovering his Latin, going to learn Greek, and seems altogether more rational than usual — but he is such a man of fits and starts he is not much to be depended on. Still he thinks of nothing but poetry as his being's end and aim, and sometime or other he will, I doubt not, do something valuable.
He, who is gone, was one of the very kindest friends I possessed, and yet he was not kinder perhaps to me, than to others. His intense mind and powerful feelings would, I truly believe, have done the world some service, had his life been spared — but he was of too sensitive a nature — and thus he was destroyed!
[Keats] was the very soul of courage and manliness, and as much like the holy Ghost as Johnny Keats.
With Wordsworth, mortality is often just under the surface, as it was with Keats, another child of his time, who believed, because of the Enlightenment, that we are material beings in a material universe and that we must just accept that fate. We are mortal, but with no divine shoulder to lean on, and we will never understand the deepest truths, which, contrary to all the protestations of the Enlightenment, neither reason nor science can reach. Keats had a tragic sense of life. He is recognizably a Romantic; there is no Enlightenment Utopia waiting for him.


Last year, it was about respect.
This year, it's about history.
Let's see, there was the Walton Gang of UCLA and the Grant Hill-Christian Laettner-led Duke Blue Devils of the early 1990s.
Since UCLA's streak of seven national championships was ended by North Carolina State in 1974, only Duke, in 1991 and '92, has been able to defend a national title.
Simon says Arizona can do it. Bibby says it too.
The Arizona Wildcats enter tonight's West Regional game against Nicholls State at Arco Arena with perhaps the most legitimate shot at defending a title since Jerry Tarkanian's Runnin' Rebels raced full-speed into the 1991 tournament before being derailed by Duke in the national semifinals.
Arizona returns all five starters and its top three bench players off the team that defeated three top-seeded teams en route to last year's championship.
You want to pick against that?
The Wildcats did it with a freshman at guard, Mike Bibby, and largely without offensive contribution from their top scorer, forward Michael Dickerson, who had a miserable tournament.
Since Arizona cut down the nets in Indianapolis last spring, sophomore Bibby has developed into the nation's top point guard--he was named a first-team All-American this week--while Dickerson sizzled down the stretch in the Pacific 10, scorching UCLA for 30 points in his last pre-NCAA tuneup.
"Looking back at the game, I think it was one of the best that Mike Dickerson has ever had," Arizona Coach Lute Olson said.
Last year, getting out of the first round was an accomplishment for Arizona, Olson's impressive resume in Tucson tainted by first-round NCAA upset losses in the 1990s to Santa Clara and Miami of Ohio.
After surviving early-round scares from South Alabama and College of Charleston, the Wildcats defeated Kansas, Providence, North Carolina and Kentucky to win the title.
This year, the first round is no longer a proving ground.
"I feel that anything less than getting to the Final Four could be considered a failure," senior forward Bennett Davison said this week.
What's this? Davison already looking ahead?
"I would like to see Duke in the final," he said. "I would like to have another chance against them and see if we could beat them this time."
Davison was referring to Arizona's eight-point, early-season loss to Duke in the Maui Invitational.
Arizona has reason to be cocky. The Wildcats seem perfectly cast for NCAA tournament play. They have the best backcourt trio in the country in Bibby, Miles Simon and sixth man Jason Terry, complementing a tall, quick and athletic front court that gives plodding opponents fits--ask last year's Kansas team about this.
"The pressure is not on us, I don't think," Bibby said. "We just have to go out, stay loose, have fun, and get our running game going. The pressure is going to be on the other teams to try and beat us."
But what about that late-season loss to USC at the Sports Arena? Wasn't that a sign that Arizona can be beaten?
Maybe, but remember that Arizona was swept by Stanford and California leading into last year's tournament.
Dickerson says Arizona is ready to rumble.
"It can be hard to get up for some of the games," Dickerson admitted. "We have been on both sides of the fence. We used to leave in the early rounds of the tournament. But then last year, we had the chance to beat a lot of the teams and go further in the tournament."
Arizona figures to easily advance out of Sacramento to next week's regional games in Anaheim, where more interesting possible matchups--Maryland in the semifinal; then perhaps Cincinnati in the final--await.


Jaffa Biscuits, do you love them? Do you call them biscuits or cookies? I had forgotten about these yummy lunch box delights until a lovely reader asked a question about the recipe the other day and I had to pop on in and take a look. I was happy to be reacquainted with the recipe and it was also a good opportunity to make the biscuits again and take some new photo's as the old ones weren't much chop to say the least!
The girls inhaled them and I may have snuck in a few straight out of the oven, I also saw GT munching on them as well so it's safe to say they are winners!
These are perfect for morning tea, afternoon tea, recess or anytime you just want a bickie! They are very easy to make and quick but you do need to factor in a 30 minute chilling time too.
I have made them with gluten free flours, regular flour and with spelt before and all taste great. Anything with choc chips goes down well doesn't it?!
The recipe makes quite a lot of bickies so I usually halve the raw dough at the stage when they are being rolled into logs and wrap one up in cling film and pop in the freezer (keeps for a couple of months) so that when I need some "baked goods" in a hurry I can just whip it out, slice it up and cook for 15 minutes and freshly baked biscuits straight out of the oven are done!
I'm sharing both the regular and Thermomix methods so scroll on down if you are after the Thermomix one.
Stir in the flours and choc chips.
Knead with your hands to combine and then shape into 2 or 3 logs (depending on whether you want to freeze any for another time). Put in the fridge until firm (about 1/2 hour) wrapped in cling film.
Once the chilled logs are firm cut them into 1 cm disks & then put on the trays and bake for about 15 mins.
Transfer to a wire rack to cool and enjoy!
Just in case you needed a visual of the "logs" here you go!
If you love your Thermomix like I do I've been shopping here for extra bits to go with it.
I have signed up to the Alyce Alexandra affiliate programme as I love the products and it makes no difference to you what so ever but if you purchase something through the link I get a small commission to keep me in coffee!
Do you like the "Jaffa" flavour? Any favourite biscuits in your house?
Hi, just wondering on the Theromix recipe you have 5 strips of orange rind (where the normal recipe you don't). Is that there the 5 strips of orange rind amounts to 2 tsp or am I adding the extra 5 strips to the 2 tsp?
Thanks so much for asking I've fixed up the recipe now as it was a bit confusing 5 strips = 3 tsp and that's all you need in total.
I love Jaffa anything… And everything and these look delicious. Hurrah for freezer biscuits!
I don't like actual oranges but I love jaffa flavour!
I've never made Jaffa biscuits but I think that needs to change…yum!!!
Let me know if you try!
They seem to go down well with most people!


Uddeholm Vanadis 30 Super Clean is a cobolt alloyed powder metallurgy high speed steel with excellent compressive strength and good abrasive wear resistance. Uddeholm Vanadis 30 Super Clean is suitable for demanding cold work applications and for cutting tools as an alternative to AISI M42 or other co-alloyed HSS. The pm process gives a good machinability and grindability as well as a good dimension stability during heat treatment. In east/south east asian countries served by Assab Uddeholm Vanadis 30 Super Clean is sold as Assab pm 30 Superclean.


[17:56] - Flight RFR0100 is ready to depart EGQS with a final destination of ENBO.
[20:58] - Landed at -503fpm. With 3789kgs of fuel onboard and a pitch angle of 12deg.
[20:59] - Arrived safely at ENBO. We hope you enjoyed your flight!


text:
llallawavis
What is "llallawavis"
Llallawavis scagliai (Magnificent Bird of Scaglia) is a large, extinct predatory bird from Pliocene Argentina. Its fossil is the most complete fossil of a phorusrhacid (or "terror bird") yet found.
The fossil, discovered in 2010 in sediment among the cliffs above La Estafeta beach, contains the complete palate, complete trachea, skull, voice box, and eye bones. The fossil shows L. scagliai was a medium-sized phorusrhacid around four feet tall and lived in Argentina approximately 3.5 million years ago during the Pliocene Epoch.
L. scagliai likely roamed in grassland and weighed around 40 pounds (18 kg). The joints separating the skulls bones were fused, unlike modern birds, and that may have helped it batter prey. CT scans of its inner ear show that it could only hear frequencies between about 380 and 4230 hertz, and probably had a deep voice to match.
The below cladogram is simplified after the analysis of Derange et al. (2015).
words rhyming with llallawavis, words from word "llallawavis", words starting with "l", words starting with "ll", words starting with "lla", words starting with "llal", words starting with "llall", words ending with "s", words ending with "is", words ending with "vis", words ending with "avis", words containing "l", words containing "la", words containing "lal", words containing "lall",

redpajama_set_name: RedPajamaCommonCrawl


He graduated first among 242 engineers from the School of Civil Engineering in 2009 with Diploma Degree: 9,47 (Excellent). His thesis was evaluated with 10. He received the first medal (Prometheus Pyrforos) and the first award from the Dean of School of Civil Engineering Ioannis Golias and his diploma from his mentor Professor Manolis Papadrakakis (3 June 2010).
First applicant accepted by the Postgraduate Program "Analysis and Design of Earthquake Resistant Structures"
Honorary distinction. "First DASTA NTUA Competition of Innovation 2013"
Panagiotis on the nationwide TV broadcast "ΣΚΑΪ τώρα".
1. kathimerini.gr, December 28, 2015.
He is a Ph.D. candidate working under the guidance of Professor Manolis Papadrakakis at the National Technical University of Athens (Laboratory of Structural Analysis and Seismic Research, Structural Engineering Department, School of Civil Engineering).
He teaches the academic course STATICS ΙΙΙ-Structural Analysis of Framed Structures and has supervised ten theses overall.
He is a professional civil engineer and member of the Technical Chamber of Greece.
First award (among 194 projects) in the First Panhellenic Youth Entrepreneurship & Innovation Competition "ideatree" 2014.
3rd Angelopoulos CGIU Fellowship 2015.
5th prize (among 422 startups) in the 5th Panhellenic Competition i-bank "Innovation & Technology" 2015.
Honorary distinction (among 188 projects) in the 3rd Applied Research & Innovation Competition "Greece Innovates" 2015.
Karakitsios on the TV program hosted by Fanis Papathanasiou and Marion Mihelidaki on the Hellenic Broadcasting Corporation (Friday, 16th October 2015).
Karakitsios on the TV program of SKAI "Πρώτη γραμμή" hosted by Vasilis Lyritzis and Dimitris Oikonomou (Wednesday, 13rd January 2016).
Panagiotis Karakitsios is the Founder & CEO at Geomiso (www.geomiso.com).
Geomiso is the first worldwide fully integrated CAD/ CAE software (disruptive innovation), which solved a major industrial problem (remained unsolved since 1960) bridging the gap between these two global markets, disrupting them and creating high added value for both the engineers and the engineering applications. It utilizes the new technology of isogeometric analysis. It is is able to design and analyse complex CAD models, from a wide spectrum of applications (automotive, aerospace, naval engineering, defence, architecture, construction, consumer products, biomechanics). Therefore, engineering applications end up being better and more optimized.
Geomiso is creating the new generation of engineers, more familiar with CAD.
1. protothema.gr, July 1, 2014.
3. kathimerini.gr, December 16, 2014.
4. protothema.gr, November 9, 2015.
5. protothema.gr, January 20, 2016.
6. real.gr, May 13, 2016.
7. kathimerini.gr, June 23, 2016.


Gosh Patisseries Coffee Latte cake will pick you up! Coffee sponge cake is layered up and decorated with coffee latte buttercream. Sprinkled with dark chocolate balls, we can then add your own personal message. Why don't you add some of our embellishments, we recommend the chocolate cigarillos!
Why not add a few of your own embellishments from our list of decorations, you can add up to four, enjoy designing your cake!


text:
GOP Strategist Warns of 'Three-Alarm Fire' After Democratic Challengers Out-Fundraise Republican Senators in Three States
By Jason Lemon On 10/29/19 at 4:07 PM EDT
U.S. Republicans GOP Joni Ernst Martha McSally
Scott Reed, a senior political strategist at the U.S. Chamber of Commerce, warned that the Republican party has been "shaken" and is "worried" after three GOP incumbent senators have been out-fundraised by their Democratic challengers ahead of the 2020 election.
"The party was shaken by that," Reed, who previously served as the executive director of the Republican National Committee (RNC), told Axios in reference to GOP Senators Susan Collins of Maine, Martha McSally of Arizona and Joni Ernst of Iowa. "We're all worried," he added.
He described the situation with the incumbent senators as "a three-alarm fire," as there is growing concern among Republicans that their party could lose control of the Senate and the White House to Democrats in the national election next year. Currently, Democrats only control the House of Representatives.
Senator Martha McSally (R-Arizona) speaks during a Senate Armed Service Committee on prevention and response to sexual assaults in the military on March 6 in Washington, D.C. Mark Wilson/Getty
'Devin Nunez' Trends After Trump Misspells Republican Rep.'s Name
Analysts Decry 'Smear Campaign' Against Lt. Col. Alexander Vindman
Top Republican Defends Vindman Testifying in Impeachment Probe
"We have to spend early because the climate stinks," Reed told Axios. "All these incumbent senators have terrible job approvals and terrible favorables."
McSally was outraised by Democratic challenger former astronaut Mark Kelly, who took in about $2.5 million more than the Republican incumbent during the third quarter of fundraising. Collins' challenger, Maine state House Speaker Sara Gideon, has outraised the Republican senator by more than $1 million. In Iowa, Ernst only managed to bring in a little under $1 million, while her Democratic challenger Theresa Greenfield brought in $1.1 million.
"We are confident in our plan and in our candidate," Dylan Lefler, McSally's campaign manager, told Newsweek in a statement. "Martha McSally stands with Arizona; Mark Kelly stands with the socialists who run his party, which generates out-of-state contributions but not many votes in a state that prefers common sense leadership over what's being offered on the presidential debate stage."
Kevin Kelley, spokesman for Collins' campaign, told Newsweek that the "campaign knows it will be outspent by out-of-state, special interest groups but we are confident that Senator Collins will have the funds she will need to ensure that the people of Maine are reminded of her long record of bipartisan accomplishments."
Senator Susan Collins speaks at the hearing on Type 1 Diabetes at the Dirksen Senate Office Building on July 10 in Washington, D.C. Jemal Countess/JDRF/Getty
Newsweek has also reached out to the campaign of Ernst for comment in regards to the fundraising situations and Reed's remarks.
An Emerson poll conducted last week found McSally to be narrowly trailing Kelly in Arizona by 1 percentage point, 45 percent to 46 percent. Another survey by the polling organization focusing on Iowa earlier this month found that Ernst maintained a 7 percent lead over Greenfield, 47 percent to 40 percent. Public Policy Polling also released a poll this month that showed that 50 percent of Maine responded disapproved of Collins, with her narrowly losing to a generic Democrat candidate 41 percent to 44 percent.
Although Reed expressed significant concern about the possibility of Republicans losing control of the Senate, he told Axios he believes the president still has a 50-50 chance of winning re-election. "He's still wildly popular in the middle of the country," the strategist said.
GOP Strategist Warns of 'Three-Alarm Fire' After Democratic Challengers Out-Fundraise Republican Senators in Three States | U.S.


text:
A method for constructing sliding windows leak from noisy cache timing information
Rei Ueno, Junko Takahashi, Yu ichi Hayashi, Naofumi Homma
Systems & Software Division
INF - Applied Information Sciences
This paper presents a method for constructing an operation sequence of sliding window exponentiation from the noisy cache information of RSA, which can be used for a cache attack using sliding windows leak (SWL). An SWL attack can retrieve the secret keys of RSA with non-negligible probability if the SWL is correctly captured. However, in practice, it is not always possible for an attacker to acquire a complete and correct operation sequence from cache information observation. In this paper, we first show that the capture errors in an operation sequence can be evaluated based on the Levenshtein distance between correct and estimated sequences. The dynamic time warping algorithm is employed for quantitative evaluation. Then, we present a method of accurately estimating a complete and correct operation sequence from noisy sequences obtained through multiple observations. Furthermore, we show the effectiveness of the proposed method through a set of experiments performed using RSA software in Libgcrypt. As a result, we can identify the correct operation sequence from approximately 100 observations of cache traces.
Journal of Cryptographic Engineering
Flush + Reload
Sliding windows exponentiation
Dive into the research topics of 'A method for constructing sliding windows leak from noisy cache timing information'. Together they form a unique fingerprint.
Experiments Engineering & Materials Science 100%
Ueno, R., Takahashi, J., Hayashi, Y. I., & Homma, N. (2021). A method for constructing sliding windows leak from noisy cache timing information. Journal of Cryptographic Engineering, 11(2), 161-170. https://doi.org/10.1007/s13389-020-00230-x
A method for constructing sliding windows leak from noisy cache timing information. / Ueno, Rei; Takahashi, Junko; Hayashi, Yu ichi; Homma, Naofumi.
In: Journal of Cryptographic Engineering, Vol. 11, No. 2, 06.2021, p. 161-170.
Ueno, R, Takahashi, J, Hayashi, YI & Homma, N 2021, 'A method for constructing sliding windows leak from noisy cache timing information', Journal of Cryptographic Engineering, vol. 11, no. 2, pp. 161-170. https://doi.org/10.1007/s13389-020-00230-x
Ueno R, Takahashi J, Hayashi YI, Homma N. A method for constructing sliding windows leak from noisy cache timing information. Journal of Cryptographic Engineering. 2021 Jun;11(2):161-170. https://doi.org/10.1007/s13389-020-00230-x
Ueno, Rei ; Takahashi, Junko ; Hayashi, Yu ichi ; Homma, Naofumi. / A method for constructing sliding windows leak from noisy cache timing information. In: Journal of Cryptographic Engineering. 2021 ; Vol. 11, No. 2. pp. 161-170.
@article{92d512192f5547238775bb0010d7268f,
title = "A method for constructing sliding windows leak from noisy cache timing information",
abstract = "This paper presents a method for constructing an operation sequence of sliding window exponentiation from the noisy cache information of RSA, which can be used for a cache attack using sliding windows leak (SWL). An SWL attack can retrieve the secret keys of RSA with non-negligible probability if the SWL is correctly captured. However, in practice, it is not always possible for an attacker to acquire a complete and correct operation sequence from cache information observation. In this paper, we first show that the capture errors in an operation sequence can be evaluated based on the Levenshtein distance between correct and estimated sequences. The dynamic time warping algorithm is employed for quantitative evaluation. Then, we present a method of accurately estimating a complete and correct operation sequence from noisy sequences obtained through multiple observations. Furthermore, we show the effectiveness of the proposed method through a set of experiments performed using RSA software in Libgcrypt. As a result, we can identify the correct operation sequence from approximately 100 observations of cache traces.",
keywords = "Cache attack, Flush + Reload, Libgcrypt, RSA, Sliding windows exponentiation",
author = "Rei Ueno and Junko Takahashi and Hayashi, {Yu ichi} and Naofumi Homma",
note = "Funding Information: This research has been supported by JSPS KAKENHI Grants No. 17H00729, No. 19H21526, and 20K19765. Publisher Copyright: {\textcopyright} 2020, The Author(s).",
journal = "Journal of Cryptographic Engineering",
publisher = "Springer Science + Business Media",
T1 - A method for constructing sliding windows leak from noisy cache timing information
AU - Ueno, Rei
AU - Takahashi, Junko
AU - Hayashi, Yu ichi
AU - Homma, Naofumi
N1 - Funding Information: This research has been supported by JSPS KAKENHI Grants No. 17H00729, No. 19H21526, and 20K19765. Publisher Copyright: © 2020, The Author(s).
N2 - This paper presents a method for constructing an operation sequence of sliding window exponentiation from the noisy cache information of RSA, which can be used for a cache attack using sliding windows leak (SWL). An SWL attack can retrieve the secret keys of RSA with non-negligible probability if the SWL is correctly captured. However, in practice, it is not always possible for an attacker to acquire a complete and correct operation sequence from cache information observation. In this paper, we first show that the capture errors in an operation sequence can be evaluated based on the Levenshtein distance between correct and estimated sequences. The dynamic time warping algorithm is employed for quantitative evaluation. Then, we present a method of accurately estimating a complete and correct operation sequence from noisy sequences obtained through multiple observations. Furthermore, we show the effectiveness of the proposed method through a set of experiments performed using RSA software in Libgcrypt. As a result, we can identify the correct operation sequence from approximately 100 observations of cache traces.
AB - This paper presents a method for constructing an operation sequence of sliding window exponentiation from the noisy cache information of RSA, which can be used for a cache attack using sliding windows leak (SWL). An SWL attack can retrieve the secret keys of RSA with non-negligible probability if the SWL is correctly captured. However, in practice, it is not always possible for an attacker to acquire a complete and correct operation sequence from cache information observation. In this paper, we first show that the capture errors in an operation sequence can be evaluated based on the Levenshtein distance between correct and estimated sequences. The dynamic time warping algorithm is employed for quantitative evaluation. Then, we present a method of accurately estimating a complete and correct operation sequence from noisy sequences obtained through multiple observations. Furthermore, we show the effectiveness of the proposed method through a set of experiments performed using RSA software in Libgcrypt. As a result, we can identify the correct operation sequence from approximately 100 observations of cache traces.
KW - Cache attack
KW - Flush + Reload
KW - Libgcrypt
KW - RSA
KW - Sliding windows exponentiation
JO - Journal of Cryptographic Engineering
JF - Journal of Cryptographic Engineering


The Güdel Group is a manufacturer of high-precision machine components and a supplier of sophisticated automation solutions. The company's product range encompasses linear tracks, racks, pinions, transmission systems, linear modules and gantry robots. Güdel selects the appropriate products to create complete systems with intelligent control capability for use in the following industries: automotive, tire, metal, railways, intralogistics, pharmaceuticals, wood, renewable energies, aerospace and aeronautics. Güdel technology is a byword for innovation, quality and modularity.
High Precision Gearboxes for all industrial fields and is renowned for the quality of its products with standard backlash, low backlash and zero backlash.
Guideway systems for medium duty applications are based on standardized guideway rollers and vee bars. The systems are especially suitable for applications requiring high velocities, low friction, exact positioning and quiet operation.
Güdel products are manufactured for the use in industries of Aeronautics, Armament, Printing, Special Machines, Nuclear, Robotics, Space Craft, Vacum and Petro chemistry.
Güdel is using high tech software for calculations that sopports Quick and simple dimensioning for applications and Modern approach to clients needs. Solutions adapted to requests respecting quality with Standard delivery time and prices adapted to urgent needs.
Thanks to over 60 years experience in manufacturing, Güdel is skilled in different methods of production, treatments and finishes. The materials and lubricants are determined according to the field of application, customer's requirements and required performance. Güdel imposes its ranges of machining and controls.


text:
NBC 5 may refer to one of the following television stations in the United States:

Current

Owned-and-operated stations
KXAS-TV in Dallas/Fort Worth, Texas
WMAQ-TV in Chicago, Illinois

Affiliated stations
KALB-TV in Alexandria, Louisiana
KATH-LD in Juneau, Alaska
KDLV-TV in Mitchell, South Dakota
Simulcast of KDLT-TV in Sioux Falls, South Dakota
KFYR-TV in Bismarck, North Dakota
KGWN-DT2 in Cheyenne, Wyoming
Simulcast of KNEP in Sidney, Nebraska
KING-TV in Seattle/Tacoma, Washington
KOAA-TV in Pueblo/Colorado Springs, Colorado
KOBI in Medford, Oregon
KSCT-LP in Sitka, Alaska
KSDK in Saint Louis, Missouri
KSL-TV in Salt Lake City, Utah
KVZK-5 in Pago Pago, American Samoa
KXGN-DT2 in Glendive, Montana
WCYB-TV in Bristol, Virginia
WLWT in Cincinnati, Ohio
WMC-TV in Memphis, Tennessee
WPTV in West Palm Beach, Florida
WPTZ in Plattsburgh, New York / Burlington, Vermont
WRAL-TV in Raleigh/Durham/Fayetteville, North Carolina

Former
KDLT-TV in Sioux Falls, South Dakota (1983 to 1998)
KHAS-TV in Hastings/Lincoln/Kearney, Nebraska (1956 to 2014)
KNHL in Hastings/Lincoln/Kearney, Nebraska (Analog/DT1 from 1956 to 2014 and DT2 from 2018 to 2022)
Was a simulcast of KSNB-TV in Superior, Nebraska on DT2
KRGV-TV in Weslaco/McAllen/Harlingen/Brownsville, Texas (1954 to 1976)
KSTP-TV in Saint Paul/Minneapolis, Minnesota (1948 to 1979)
WABI-TV in Bangor, Maine (1953 to 1959)
WAVE-TV in Louisville, Kentucky (1948 to 1953; now on channel 3)
WFRV-TV in Green Bay, Wisconsin (1959 to 1983)
WHAM-TV/WROC-TV in Rochester, New York (1954 to 1962)
WNEM-TV in Bay City/Flint/Saginaw, Michigan (1954 to 1995)

redpajama_set_name: RedPajamaWikipedia


The hot adhesive module is a precision built mechanical device that accurately delivers Hot Adhesive via a nozzle. The module often gets the blame for misbehaving when in fact a poorly operating module is in fact trying to tell you something. It is all to easy to blame the module.
Does this sound familiar. " Mr Fitter the box is not gluing ? No glue coming from the module better change it out . " A new module and nozzle are fitted and the problem goes away for a while.
No or little adhesives coming from module nozzle.
Adhesive weeping through the center weep hole.
In most cases the module had misbehaved after 4 to 6 weeks of operation. Why the failure?
The first thing to establish is, has the misbehaving module been fitted to a new or old / existing hot adhesive heater block?
What adhesive is being used?
What are the operation specifications of the adhesive?
Adhesive s play a major roll in the performance and life span of a module. The better the adhesive the less the gel / char, the greater the module life.
The greatest enemy to a module is Char or Gel.
Please read the comments carefully as each statements could cause a module to fail and what can go wrong when fitting a new module to an old heater block.
The heater block is 2 , 3 ,4 or more years old and was last serviced ? Module Heilcoils could be stretched or damaged causing a module to leak between the manifold and heater block.
The heater block has heated and cooled many many times making the inside of the heater block a perfect environment for the growth of gel and char.
The heater block has machining dead spots, these are places that trap hot adhesive and act like a back water. Adhesive will burn, degrade, and gel in these dead spots.
The RTD ( resistance thermal device ) sensor has a life span, we suggest 2 years. When the RTD sensor has failed and needs to be changed . The fitter will more than likely use ceramic nuts to join the RTD electric cables .
A good cable join should have little to no resistance BUT over a period of time with the heating and cooling of the heater block the cable joint deteriorates and a resistance forms within the joint. This resistance will cause false temperature readings at the gun.
The air valve needed to operate the module has become lazy over many operations. This may result with a restricted air flow into the module. The result a slow module opening.The same can be said for the module air exhaust.
A restricted air flow will result in a slow module shut off.
The air valve needs to give a clean burst of air at 5.5 to 6.5 bar.
The air valve needs to be capable of excepting exhausting air at 180 c .
Many a problem can arise from the incorrect air valve being fitted to a hot adhesive gun. Modules has been changed, when in fact the air valve has been at fault.
Remember that 1 PSI of air pressure gives you 14 PSI of adhesive pressure on a 14 to 1 pump and 1 PSI of air pressure gives you 20 PSI of adhesive pressure on a 20 to 1 pump.
A correctly operating hot adhesive system will have a fluid pressure ranging from 200 PSI to 600 PSI .
A pump pressure over 600 PSI could indicate a fault in the melter ,hose ,filter ,gun heater block and module or nozzle.
I have established that un-serviced melters,pumps, hoses and gun bodies will more than likely have one or more faults.
So why does an unserviced Hot Adhesive System cause a module to malfunction?
RTD giving false readings to melter. The heater block and module temperature could be plus or minus 20 deg from the melters set point display. In the case of the temperature being greater than the set point , the adhesive will start to burn, gel or gum this may result in a poor adhesive flow from the nozzle.
More adhesive is required so the fitter turns up the pump air pressure. 60 PSI at the pump means 840 PSI at the module.
Higher temperature inside the module has changed the adhesive viscosity. The adhesive now thinner puts extra strain on the module seals.
Still not enough adhesive so the fitter ups the pump pressure to 65 PSI module pressure now 910 PSI.
The boxes are now sticking. How long can the module seals that are designed to operate up to 700 PSI last ?Five weeks later and the new Module fails . Is replacing the module going to fix the problem?
I can write this story on the miss behaving module 3,4 or 5 ways and the conclusion is always the same. The solution is yearly servicing combined with using a good adhesive.
Now let's talk about why a new module will misbehave in a new gun. Not common but we have had reports were a module has failed on a new gun after 2 or 3 months of operation.
The New gun is fitted it an old hose. Adhesive flow through the hose is poor . As the module is the exit point of the adhesive the module shows a poor flow of adhesive. Fitter says change the module.
A new gun is fitted to an old air valve. The Air valve has restrictions and can not supply sufficient air flow to allow the module to snap open.As the module is the exit point of the adhesive the fitter says change the module.
A new module fitted to a new multi module gun has been connected to a hose and heated . The current operation does not call for all modules to be used.The air valve to the module is switched off. Over time the module heats and cools. Non flowing adhesive inside the module starts to gel.
The module is now called upon for use as the new operation requires this module to be used.The module operates but is lazy. Fitter says change out the module. All is now good. Has the fitter fixed the problem?
In this case the fitting of an extra hose and gun that can be switched off when not in use would have been a solution.
The next time your module starts misbehaving badly ask the question ? Why? In most cases the failed module is trying to tell you Hay somethings up here.It is very rare for an Industry Standard module just to fail for no apparent reason.


text:
Watching A Random Episode Of A TV Show I've Never Seen: Gilmore Girls Edition
By Derek Lawrence, October 21st 2014
Gilmore Girls: Season 5 (Digipack)
For some reason I decided it would be interesting to watch an episode of a random show that I've never seen and see how much I can make my head hurt while writing a running diary. This could either be awesome or the worst thing ever written.
What Show: Gilmore Girls, Season 5 Episode 17: Pulp Friction
Why: I had heard of the show, but decided I needed to do this when the internet went crazy that it was added to Netflix. This episode was chosen mostly out of my love for Mr. Quentin Tarantino.
What I Know: Not too much except that my girl Lauren Graham is the star. I can't count the number of times that she has made me cry on Parenthood.
We don't get a previously on. Damn you Netflix.
0:00: Some guy is yelling about people returning ribbons. Kirk, the ribbon guy is having a back and forth with Luke. Apparently Luke just reconciled with someone named Lorelei and somehow that is related to the ribbons. Now Kirk is in a screaming match with a woman named Lulu. She won't give back the ribbon because its pink. "This is bigger than your love of pink," yells Kirk as he chases after her. This guy is quite the character. Here comes my girl Lauren though to save us. My detective skills tell me that she is Lorelei because she is kissing Luke. Like a nice boyfriend he offers her coffee. "Say that slower and with your pants off," responds Lauren. Wow she is a firecracker, I love it. Next up she does a Godfather impersonation. She is officially my dream girl, this Luke must be a real idiot to of let her go. Kirk has returned with Lulu's shirt which happens to have the ribbon on it. Poor Lulu is now off wandering the streets with no shirt.
0:02: Judging from the opening credits this is a buddy cop show starring a young girl and Lauren Graham. OMG Melissa McCarthy is in this!!!! Why did no one tell me this? Now I understand the internet's obsession.
0:03: Here comes the young girl from the credits and she is with my boy Cary from The Good Wife. This show is bringing out all of my favorites. Judging by Cary's turtleneck he is rich. He has a key to cafeteria so its time for some ice cream. Young girl get sidetracked though by some cocoa puffs. Puffs and ice cream, someone is going to have a stomach ache tomorrow. She wants to pay for her puffs. Thats not how stealing works you silly girl. As they go to find the ice cream she leaves some money, what a sweetheart. That is a power couple if I've ever seen one.
0:05: My girl Lauren and Melissa McCarthy are together. And Melissa is pregnant. And yes I will most likely refuse to use their character names. Travel Magazine is coming to photograph them for being one of the top 10 inns in Connecticut. To make matters even better there are cakes on every table. Now that is my kind of inn. A flamboyant gentlemen named Michelle comes in. I think he asks who missed Michelle but not sure since I can't understand a word that is coming out of his mouth. He just got back from California where he found a place that everyone talks like him. I need to get that address so I make sure to never go there. He brought gifts: a snow globe for Lauren and a book for Melissa. Kind of a crappy present for Melissa, she could get a book anywhere. Guess what Michelle says. Lauren answers, "You got your boobs done by same person who did Pamela Anderson's." Boom Lauren served him. Apparently he got scouted to be on The Price is Right while at the farmers market. Melissa ain't buying what he's selling. Michelle admits he might've had to stand in line and wear a crazy shirt to get on the show. Despite his lies he won over $100,00 in cash and prizes. Then why the cheap gifts asks Lauren. Another strong zinger from my girl. Lauren 2, Michelle 0.
0:08: Kirk wants these ribbons so bad that he followed a lady into the bathroom to retrieve hers. Lauren is inhaling some fries and now she wants some pie. Bad news though lame Luke didn't save her a piece of pie. She left him a voicemail but he isn't smart enough to check it. I'm not buying it, even my grandma can do that. Lauren puts herself number one on his speed dial, but what about the voicemail?? It seems kind of a big step considering you guys just reconciled. She is heading back to the inn and reminds Luke that they have a date on Sunday. "I'll leave you a voicemail letting you know your chances of getting lucky," she says. Please someone help this poor guy learn to check his voicemail! On her way out Kirk tells her she is beating Luke with the ribbons. What is the deal with these damn ribbons? Loser in the ribbon contest pays for dinner. Luke doesn't remember agreeing to that. "I must have left that on your voicemail," says Lauren. If this was NBA Jam she would be on fire.
0:11: We now find out that the buddy cops are mother and daughter. They're going to go shopping later. The young girl is going to Friday night dinner which prompts an evil laugh from Lauren. How bad could this dinner be?
0:12: Judging by his personality Kirk seems to be pretty lonely. "You probably sleep over at each other's houses," he asks Luke about his relationship. Personal question brah. Lulu is his first girlfriend. Might not be his girlfriend for much longer after the shirt incident I'm thinking. "I had an imaginary girlfriend but she left me," he says. Also he lives with his mother, who is supposedly allergic to Lulu. I didn't get much of a glimpse of Lulu but I'm thinking she could do better. Luke is life coaching Kirk, telling him he needs to grow up and be a man. Interesting coming from a 40-year old that's always wearing a backwards baseball cap.
0:14: Lauren's daughter is at a rich persons house. This must be the dreaded Friday night dinner. Rory is her name and these are her grandparents. In that five-seconds we just scored some real valuable intel. Grandma is being pretty snotty to the maid Olympia. Bombshell dropped by Rory that Mama isn't coming tonight. Grandma looks real sad as she stares off at the now extra plate. Why isn't Lauren coming? She might get Olympia fired. Quick fade to black and now dinner is over and Rory is leaving. Grandpa thinks it was a pleasant evening. "What dinner where you at," replies Grandma. She is so mad that Lauren wasn't here that she goes straight for a drink. She then refers to Luke as a filthy diner owner and wonders what the problem is. I'm thinking maybe that. Apparently Grandma talked to Luke to help him reconcile with Lauren. They wonder if maybe he didn't go through with it. Grandma now calls Luke an imbecile. Now I'm getting why Lauren did the evil laugh.
0:17: It's shopping time. Lauren couldn't find anything. She is sad that she has no look. It's so bad that she wants to follow some lady to steal her clothes. Uh oh nice day ruined when they see Logan aka Cary having coffee with another girl. Damn I was about to defend my boy and say they could just be studying, but he is holding hands and gave her a little cheek kiss. Rory isn't worked up about it but Mom is. Rory says its no big deal cause her and Cary are keeping things casual. "Aren't you guys sleeping together," asks Lauren. "Its college," responds Rory. Play on playa.
0:18: Back to the inn and the reporter is here. Michelle appears to be the front desk attendant, but the only thing he is attending to is causing a scene in front of the reporter.
0:19: Rory is working hard at her desk and here comes Cary aka Mr. Casual. He knows he was busted at the coffee place. She is cool, no strings attached remember she says. Yeah I do remember Natalie Portman could've done so much better. And now he wants to get coffee with Rory, what a coffee slut.
0:20: Its time to take some pictures of the inn. Michelle is going off again. His Price is Right winnings are here. It's an RV and he's furious that they won't give him $100,000 instead. He's being so rude to this poor delivery guy, told him to drop dead. Michelle doesn't even deserve this RV. They need to move it ASAP though to get these pictures taken. Michelle is going to try and move it but I'm guessing that isn't going to work out especially since he's comparing it to a space shuttle. It's too late the reporter is calling it all off. Lauren is going off on Michelle. You tell him! She should fire him while she's at it.
0:23: Guy walks up to Rory reading and asks "Business or pleasure." What a line killa. He gets right to it and invites her to a Quentin Tarantino themed party. Sounds awesome even though this guy seems like a dweeb.
0:24: Michelle is showing his motor home to some people instead of working and for some reason Lauren feels bad about yelling at him. C'mon girl he deserved it, he is a horrible human being. Then just as Michelle is about to take only $20,000 for the motor home Lauren saves the day. Now she is talking it up the customers, what an angel she is. She apologizes to him and he's still being mean. "I couldn't run this inn without you," Lauren says. I have a hard time believing that.
0:27: Wow Lauren is looking good, she must've found her look. She calls Rory to tell her that she isn't feeling it. Rory calms her down and then catches Mom up on her playa ways. Luke shows up and in the upset of the century he isn't wearing a baseball cap. That must be a work only thing. Instead he is black and leathered out. In his truck she finds a reggae CD and she isn't digging it. He isn't a reggae kind of guy according to her. You would think he cheated on her with the CD the way she is acting.
0:30: Time for the Tarantino party. Are these the kind of parties they have at Yale? Makes me wish I was a lot smarter. Australian John Travolta from Pulp Fiction is the birthday boy. Oh snap Cary is here with a date. He is dressed as Bruce Willis from Pulp Fiction, pretty solid choice. We get a real awkward stand off between the two couples.
0:31: Luke and Lauren are back from dinner. This show really doesn't like showing dinners. They hear a noise in the garage. Luke grabs a shovel, he is ready to bring the pain. What do they find? Kirk is naked and sleeping in a boat. He took Luke's advice and left his mother's house. Lauren is letting him stay in Rory's room for the night. I hope Luke didn't check the voicemail because I don't think he's getting any tonight.
0:34: Rory's date Robert is rambling about getting an inheritance and having a bunch of illegitimate kids as life goals. I think he is joking. Australian Travolta is drunk and hits on Rory. Here comes Cary and he looks jealous. He thinks Robert is a jerk. Yep he's definitely jealous. They run off to the corner and he makes his move. He wants them to go, someone is regretting his casual relationship. Rory is on fire.
0:37: Lauren is real worked up about Rory being a playa. She misses being able to play the mom card with her. Kirk walks by still with no clothes and Luke chases after him. Maybe Luke will get lucky tonight.
0:39: Here comes Grandma into the diner and watch out she looks pissed. "What is wrong with you besides your obvious lack of fashion sense," she yells at Luke. Damn she really hates this guy. He secretly calls Lauren and puts the convo on speakerphone. Look who can use his phone all of a sudden! Lauren makes her entrance. Grandma wants all the credit for fixing their relationship but apparently she is the one who broke it. That doesn't surprise me considering all the shots at Luke. Damn Lauren tells Momma to shut up. "I got to say I'm suddenly a big fan of speed dial," adds Luke. Well done sir.
0:41: Rory tells her mom that Kirk asked if he could stay at her dorm. Kirk needs to be locked up. The ladies gossip about their love lives.
0:42: Michelle has sold the motor home, but guess what he finds in it. Come on you can do it. Yes, Kirk and he is still naked! In summary we have seen Kirk take a woman's shirt off her in public, follow a woman into the restroom, ask to live in a young girl's dorm and break into both a shed and motor home. Like I said lock him up.
Conclusion: It's killing me not knowing the deal with those damn ribbons. Why were they so special? And most importantly: FREE MELISSA MCCARTHY!!!
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text:
Here's a story for you that you probably haven't heard before… Back in 1978, a young punk rocker called Tony Keating started writing songs and looking for an appropriate singer to front a new band. A stroke of luck occurred when one of his friends spotted a young black, girl called Chas at a tube station. She was trying to tear a poster down from the wall and singing to herself… Her appearance and voice impressed the friend who promptly asked if she would be interested in joining Tony's band. The two were put in touch and everything fell together. As chance would have it, Tony already had an offer to use another friends' recently assembled 4-track studio and so, a mere two weeks after their first rehearsal, the band (now named Bona Rays, which will be explained further on) went in to record two songs, 'Poser' and 'Getaway Blues'. The results sounded good, especially 'Poser', but although they tried to get the tape heard by various record labels, no-one showed any real interest. The recordings made it as far as an acetate disk which remained with Chas, while Tony kept the master tapes safe. The band continued writing and rehearsing although not playing live until late 1979, by which time they had changed their name to 'Violent Marriage'. A second single was produced by Kirk Brandon, but soon after this, Tony decided that he no longer wanted to play guitar and a replacement was found, whilst Tony took over as manager. In 1984 they changed their name to 'Our Heroes' and released a 12" EP, 'Now The Scars Are Healing' on the Icon label. However, although it received a healthy amount of airplay, the record didn't sell as much as expected and soon after the band broke-up, although Chas and Tony remained firm friends.
Sadly, it looked as if Bona Rays would be mostly forgotten until chance took another hand in proceedings. Chas was moving to a new house and decided to sell her old records, taking them to the Flashback record shop in Islington. Once the transaction was done, shop owner Mark Burgess became intrigued by a 7" acetate disk included in the pile of vinyl. He played it on the shops' stereo system and was impressed by what he heard, a raw blast of vintage punk rock / new wave. At that very moment, Chas walked back into the shop with some DVD's that she also intended to sell, but instead ended-up recounting the history of the acetate. Mark was suitably excited by the songs and their story and promptly offered to release the single on the shops' own label… which is where we find ourselves right now.
I was offered a chance to interview Chas and Tony and, after hearing the single, I jumped at the chance. One of the things I enjoy doing with this website / fanzine is documenting bands or artists who have great stories which might well be lost to time if they're not recorded now. Bona Rays fitted this category perfectly and so, here's what I was able to discover…
Had either of you been involved with any bands before Bona Rays?
Chas ; No… I was only 17 or 18 at the time and it was only a few months after I'd left school. But I'd really wanted to join a band for some time and this was the first opportunity I got.
Tony ; I was in a band with two lads, Grant De Mayer (Bass)and Andy Nun (drums). Unfortunately, both got jobs and decided to focus on their careers, but I knew that I needed to be in a band. I wrote my first song with them, 'Subway, Metro, Underground'… I can still remember it, so perhaps we should resurrect it - a 1977 original!
The story goes that Chas was spotted singing whilst waiting for a tube train…
Chas ; There was an amazing poster pasted up on the wall and in those days there was no CCTV so you could climb over to the other side of the tracks… As long as you didn't touch the live rail you'd be okay, so I was trying to get this poster off the wall… the funny thing is, now, I can't even remember what it was for! Anyway, I heard a train coming so I got back up on the platform and I was singing to myself, really loudly. This guy had been watching me and when he heard me singing, he came up to me and said that he thought I had the image and the voice that his friend needed for a band he was putting together…
Were you surprised when this stranger came up and asked if you'd be interested in joining a band?
Chas ; No, not really… I seem to have this kind of magical thing in my life that when I've decided that I really want to do something, something happens that lets me do it. In this case, I really wanted to join a band and I really liked the whole ethos of 'do-it-yourself', so this was perfect for me.
What kind of music were you listening to at that time?
Chas ; While I was at school I suppose I was into the kind of things that a lot of black people were into, like Earth Wind & Fire and stuff like that. But I never bought those kind of records and at home I'd listen to things like Genesis, with Peter Gabriel, David Bowie, Marc Bolan… Marc Bolan had actually lived quite near to where we were living at one point, before he got famous, and had worked for a time at the local Wimpy Bar… We'd see him in there and then a few months later he was on Top of The Pops, so I started thinking, well, if he can do it, maybe I can? Anyway, just as I was about to leave school, the whole Punk thing happened. The thing that got me really interested was when the Stranglers released 'Peaches'… DJ's like Dave Lee Travis and Tony Blackburn wouldn't play that on Radio One, even though it was a hit, because they didn't like the lyrics. So it was released it as a double A-side and they'd play the other song, 'Go Buddy Go' instead. I was working for a while in a place where they played Radio One all the time, and I'd just have to wait for them to play something good like that or Roxy Music or something by David Bowie…
People often assume that black kids around that time were only listening to Soul or Reggae and, although many of the early Punk bands embraced Reggae, it doesn't seem that many black people got into the Punk scene…
Chas ; Well, I'm probably not the best person to talk about that because I grew up in Surrey and I was the only black person in my school until my sister came there a couple of years later. But my Dad really liked early Genesis, which was how I got into them… There was a radio show called 'Reggae Time' on Sunday afternoons and all of our family would sit down and listen to that, but I found a lot of it really boring. I liked music that had more energy and the sort of reggae that would get played on the radio back then was more like what's called 'Lovers Rock' now, you know, really laid back love songs. It just wasn't for me. I really loved energy and I found that in music of Peter Gabriel, for instance. When Punk appeared, the same year that I left school, it was like I'd found what I really wanted. I felt at home with it from the moment I heard it. One of the first punk gigs I ever went to was at the Roundhouse, with Kilburn & The High Roads headlining. I thought Ian Dury was amazing and I really loved his songs and the way he performed, but bottom of the bill that night were the Stranglers. It was the first time I'd ever heard them, but I knew straight away that this was the thing for me.
When did you first get to meet Tony ?
Chas ; The guy who'd spoken to me at the tube station put us in touch and I arranged to go along for an audition. Tony was only just putting a band together and he said that he'd already tried some girl singers, but they just seemed to turn up and look 'glam', but didn't really want to turn-up for rehearsals. He wanted a singer who had a bit more authenticity. When I went along to audition, I think it was only him there and I sang along to some backing tracks that he already had and once I'd done that, he said, 'You're in !' I mean, it hadn't really crossed my mind that I wouldn't be in because I was so certain that I'd be the best person for the job. I think he'd already decided that I was the right person when we first spoke, but he just wanted to make sure that I could hold a tune. He'd grown up in Kilburn so he'd always been among Irish people and Jamaicans, so the fact that I was black just wasn't a thing for him at all.
What were your first impressions of Chas ?
Tony ; Then as now, she's a phenomenon. I was immediately impressed by her voice and personality. She oozed confidence on the outside, whatever was going on inside… She only told me recently that she needed Dutch courage to go on stage. But she was always a force of nature and I wouldn't have wanted anyone else.
The name 'Bona Rays' was quite unusual, even during the early Punk era… how did that come about ?
Tony ; We had been torturing ourselves over finding a name and Chas turned up one day suggesting the name, Bona Rays. Alan and I agreed, probably out of frustration at not coming up with anything better. Neither he nor I had any idea what it meant and it was only a holding name. We later changed it to 'Violent Marriage', from a newspaper headline, and this was the name we largely gigged under. So, I guess we were not ultimately happy with it, but we liked it enough to release our first single under that name. That said, I like it now, just for the question, what does that mean?
Chas ; I was living in a flat with three gay guys, at a time when they still couldn't hold-hands or be affectionate in public. I think most gay men still didn't even feel that they could tell their parents that they were gay, back then. For me, that seemed like such a horrible situation and I suppose I related to it, as a black person, because there were still a lot of unspoken things that you weren't really allowed to do. Anyway, my flatmates used to listen to these records by Julian and Sandy (characters from the 'Round the Horne' radio show, played by Hugh Paddick and Kenneth Williams) and they used this gay-slang called 'Polari'. I picked the phrase 'Bonar Rays', which I thought meant 'beautiful face', from that (actually, it meant 'beautiful hair'…) because I wanted to show the connection I felt with my gay friends. It was also meant to be ironic because, at that time, I certainly wasn't considered to have a beautiful face for a female singer.
The 'Poser' single was recorded very soon after Chas had joined the band…
Chas ; Yeah, two weeks later ! I think one of Tony's friends had been setting up a small recording studio in his house over in Tufnell Park… It was just a 4-track recorder and he'd stuck cardboard egg-trays all over the walls to try to keep it sound-proofed.
Tony ; I was brought up in the same house as a lad called Phil Forward, who was later know as Phil Jap and achieved minor chart success on a couple of occasions. Phil was very much into mime and synths/string machines and was quite Bowie-esque. I had gone into a 4 track in Kentish Town with Phil and a member of his band, Gary Junk. We recoded a song called 'Walking'. I played guitar and sung on the track. Looking back, Phil was incredibly encouraging and supported me in recording the second song that I ever wrote, when I only had two songs to rub together and only just knew my way around a guitar. So, when Chas and I got together it was natural that we should go back into the studio and record them.
Chas ; Tony already had the music and I quickly wrote some lyrics for the first song, 'Poser', so we went in and recorded it. The other track, 'Getaway Blues', had more of a reggae influence… as I was saying, I wasn't such a big reggae fan at the time, so that was more Tony's thing and, for me, it sort of lacks the energy of 'Poser'. I think because we had such a short space of time between me joining the band and then going in to record the single, it didn't give us much time to rehearse and get ready, so we concentrated on 'Poser' and didn't really figure-out what we wanted to do with 'Getaway Blues'. Maybe it would have been better if we had worked on it a bit more and maybe given it a different arrangement, but as it turned out, I don't think it had much energy in the version that we recorded.
Tony ; This was a time when even going into a 4 track studio was relatively expensive and something that many bands didn't do, certainly not at our stage of development! We had advertised for a drummer and a lad, whose name I cannot remember, came along to the studio for an audition that doubled as a recording session for Poser/Getaway Blues. It was all done in a couple of hours, rehearsing from scratch with Phil and the drummer, and recording. The drummer then decided that we were not for him, even though we wanted him, and went off to join a different band. But I still love the fact that, barely together for a wet week, we'd decided that we were ready to record a single… that's what was in our heads! Phil also produced our next single and later, the 12 inch single by 'Our Heroes' (see below.) He was a good friend and mentor, despite being very different to us musically.
I assume that you would have taken copies of the 'Poser' recordings to record labels to see if they'd be interested in releasing it…
Chas ; We did, but no-one seemed to be particularly interested. There were so many new bands appearing in London during 1978, so I guess our tracks just didn't stand out enough. We hadn't played live at all at that point, so we hadn't had any reviews in the music press and we didn't have any following…
Tony ; We didn't have any management or insight into the business, so basically we arrived at the doors of the major record companies and Indies with cassettes and cover letters, asking to see their A&R. Unsurprisingly, we didn't get past reception and for the most part we were deafened by silence. We had a couple of songs, but no following or gigging experience. I think we got one 'thanks, but no thanks' letter from Cherry Red, although that may have been later-on, when we were trying to find someone to release 'We're Never Going to Miss You'/'Catch 22'… We eventually released it on our own label, Mystery.
Chas : The other thing was that a lot of the independent record labels were only just starting-up at the time that we recorded 'Poser'. If we had done it six months or a year later, I think there would have been a lot more opportunities for us for us. As the band moved on, we also made things difficult for ourselves because we were always bringing new things into the band and our music. At one point we had a synth player, which was very unusual for a punk band, and we also had a sax player for a while. For us, it was great that we were bringing all of these different influences in to the band, but from the outside, it perhaps made us seem like a bit of a hotch-potch. The one time that we came across a small label who were genuinely interested in signing us, they got taken over by Warners just before we signed the contract. Next thing we were told was that we had to go to the Fulham Greyhound and play three songs in front of the new bosses, without even having a soundcheck. They just sat there like Nero, deciding which bands they wanted and which ones they didn't. We were definitely a 'No'.
Did the band play live at all around that time?
Tony ; No, not at all. We didn't play live until 79-80. Our first gig was at Gossips in Dean Street. Chas got us that gig and then I started sending out cassettes to pub venues and Student Unions, cold calling Social Secretaries and going along with a cheap plastic attaché case (because we thought that was what managers carried!) and blagging our way in. Lo and behold, the gigs started rolling in and we played around the country, as far north as Yorkshire and as far south as Devon.
Despite being the founding member, Tony actually decided to stop playing guitar after a while, but then remained involved as a manager…
Tony ; I left because I decided that I was holding the band back musically, as they evolved. This happened just after we recorded a second single, Cover Up/Mind Games, which was produced by Kirk Brandon. The band wanted me to stay and leaving it felt like a bereavement… It was an error on my part, brought on by a crisis of confidence and a feeling that I was letting my mates down. They didn't replace me with a guitarist, or if they did it was incredibly short lived, but with a sax player, Garfield, who sadly passed away back in the 80's. But I only lasted away for a few months before Chas and Alan asked if I would come back as a manager, which I did like a shot. Family is family!
The band would continue into the mid-Eighties, although the name was changed a few times. Was that
because of line-up changes ?
Chas ; In various different forms, it continued for about eight years in total and we really did put a lot of effort into it. After I left school, my mum had given me quite a lot of money to pay for driving lessons, but instead I used it to buy a van for the band. So we travelled up and down the country in this van and we'd play gigs and stay with the bands we played with, or sleep in the van… we fought hard and long, paying our dues. We played at lots of colleges and polytechnics, when there was a really thriving, student music scene. We really played a lot. But the only consistent members were Tony and myself.
Tony ; For the most part we gigged under the name Violent Marriage, but we only released one track under that name, on a compilation album called 'Starforce 1.' The last three years, after I had stopped playing and our keyboard player had left the band the name changed to 'Our Heroes' , who released a 12"single, ' Now The Scars Are Healing', on Icon. I eventually left as manager just after this was recorded. It did well in terms of air play, but not so well in sales.
It sounds as if you actually made quite a lot of recordings while the band were together…
Chas ; Yes, and we've still got them. I've got some photographs and I have a copy of the tape we recorded when we were offered the record deal. But Tony has been really great about keeping copies of everything, so he has the real archive… and he also has a much better memory for names and places than I have !
Tony ; We did several recording sessions, of which about 10 tracks are still in existence. All our trips to the studio, bar the once with Kirk Brandon, had Phil Jap in the producer's chair. The very early Bona Rays set was mostly dropped prior to recording our Bona Rays/Violent Marriage session, but I still remember some of them. Including a dreadful white boy reggae version of 'All the Young Dudes', which seemed like a good idea at the time…
Was there any particular reason why the band eventually came to an end ?
Tony ; I left just after they signed with Icon. Again, I felt that I had done everything that I could. I was bored of working on building sites and I felt that I needed to get an education. I suspect Chas went through a similar process after the 12" didn't do what it was capable of, but you would have to ask her. Chris Calvert, our drummer from 1979/80 until near the end of Our Heroes, joined Seventh Séance, who were also signed to Icon. Garfield ended up joining a big brass sound, soul band. They actually appeared on The Tube, although sadly he had died in between the recording and its transmission. I also suspect that Alan was moving-on, musically. He ended up having some chart success in the mid-nineties with E-Motion and still works as a DJ, writing and releasing electronic music.
Did you continue to be involved in music after the band came to an end?
Chas ; Yeah, I continued to sing after the band broke-up. I did singing-lessons and had a very short-lived career as a backing-singer… which I hated! For me, the bane of my life has always been coming up against clichés and when I was trying to be a backing singer, that's what I faced. Because I had this colour of skin, people would assume that I'd sing in a certain way and when I sang in my style, they wouldn't like it. One guy actually asked me if I could sing a bit more like Aretha Franklin! I couldn't and wouldn't do that because I'm not a Soul Queen, I'm a Punk Rocker! I can't pretend to be something else because, if I'm going to do something, it has to be authentic. I was learning jazz singing for a while, more for the discipline of it than being a particular fan, but I'd also get bookings to sing at parties and things like that, although it was a bit too much like elevator music for me. But I did that kind of thing for a while before I decided that I really hated it. The thing is, I've never thought that I was a great singer and technically, I'm not. But that's never been a problem for me because I'd always rather listen to Tom Waits than Mariah Carey while, technically, she's a great singer and he isn't. It's the same reason why I love Nick Cave… it's the spirit and attitude behind it that matters to me. Authenticity has to be the cornerstone of it.
Tony : I smashed my arm badly in an accident, a few years after leaving the band, and found playing guitar challenging. I turned my creative energies towards poetry and have published regularly, including a collection, with a second one in the pipeline However, the desire to be part of a band has never left me and after a conversation with Mark, from Flashback, I decided to try out playing bass. I found that I can manage a short scale bass, so I'm looking forward to gigging with Chas again. Additionally, if there are any old punks in west Lancashire ( I now live in Ormskirk) looking for a bassist, let me know!
How do you feel about the single finally being released after 42 years ? Were you surprised when Chas first got in touch to say that someone wanted to release it ?
Tony ; I thought that she was winding me up! To say I'm chuffed doesn't come close. Chas and I got together as two18/19-year olds and had faith that we'd made music that was worthy of releasing. We even had the brass neck to record and hawk our couple of songs door to door to record companies. We spent years recording and gigging (often to empty houses) but never doubted that what we had to offer could have a wider audience. Most of all, we loved it. Those days were the happiest of my life, we were constantly broke, travelling around in a Ford Transit van with holes in the floor (we called it Jezabel because it let us down so much.) If we weren't paid, we wouldn't have the petrol to get home or to the next gig, but it was magic.
Chas : I'm really happy about it, as people are hearing it at last and they all seem to be enjoying it. I really like the way that I've been getting along with my life and suddenly, this thing has reappeared and is taking-on a life of its' own. It's been so organic and it thrills me because it's happening in an authentic way. The guy from Flashback heard the acetate and decided that he wanted to release it. He arranged the pressing and the sleeve and I've been doing interviews with various people to help promote it. I love it that, 42 years later, this thing that we did is finally going to be released as a proper single. It's not been by any kind of design, it's just happened because people who are into that genre of music are really into it. It's been like a quantum leap between then and now. It wasn't something I'd thought about for some time, but when things started to come together, I realised that the whole Punk thing is now way-bigger than it was back then and you can see its' influence almost everywhere that you look. It's been one of the most important things in my life and in the way I think. I've never been afraid to think outside the box and just get on with what I'm doing. There are always people who are going to say, 'No, you can't do that', so the best thing you can say in response is, 'Yes, I can!' I've always been like that and it's proven to be a really good approach in the things that I've chosen to do. In some ways it's probably worked against me, you know, like getting married and settling down with a family… But I would never change it!
Tony ; Bona Rays/ Violent Marriage/Our Heroes were my family and this release is the icing on the cake, 42 years after it all began. I'm fucking chuffed and so proud of the band. I still think 'Poser' is a cracking tune and it stands the test of time. Not bad for two chancers in a Kentish Town punk band!
The single 'Poser' / 'Getaway Blues' is released by Flashback records on 28th February 2020.
www.facebook.com/flashbacklondon


Andermatt-Sedrun Ski Circus | Andermatt-Sedrun Ski Circus | Ecosign Mountain Resort Planners Ltd.
In November 2007, Paul Mathews, President of Ecosign Mountain Resort Planners Ltd. met with Benno Nager, COO of the Andermatt Alpine Destination Company AG to discuss the phased master planning of connecting the Hospental, Gemstock, Gütsch and Sedrun ski areas in Canton Uri and Graubunden, Switzerland. The first priority was to establish the existing and potential ski slope capacity for each of the areas, the technical and economic feasibility of the potential connections, and the capacity of the beds in each of the various resorts. The study area encompassed those ski areas and most importantly the land areas between totaling an area of 86 square kilometers.
After agreeing upon an overall Preferred Master Plan Concept in 2009, Ecosign moved forward with the preparation of a detailed Ski Area Master Plan for the Andermatt-Sedrun Ski Circus; including the four aforementioned areas. The Master Plan provides detailed planning of lifts, pistes, connecting ski routes and the required village staging facilities. The overall Resort Area Master Plan includes the analysis of the tourist overnight accommodation capacity, parking, access to each skiing region and importantly, convenient lift and piste connections between each of the four primary winter sports regions. This plan also includes detailed programming for skier services both in the base staging portals and the on-mountain restaurants plus proposals for day skier portals with parking and/or train access. Finally, a detailed phasing plan was prepared which matches the current business plan.


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using System.Runtime.InteropServices;

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    public interface IYunYiCdm
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}

redpajama_set_name: RedPajamaGithub