Product filters allow your customers to quickly find just that product they are looking for.
in this way it is possible to create even more filters that will allow your customers to filter products according to e.g.: width, diameter, profile, tread pattern, etc.
in window "Bulk generation of filter values" keep marked "generate values from product producer" and select one of the following options: "keep the original filter values and add new values" or "delete all filter values and add new values"


The advantage of this educational program is a broader approach to the role and process of formation of not only interiors and exteriors environment, but also urban events, festivals, exhibitions, etc. The Graduate can be firmly confident that he can objectively assess the level of the subject-spatial and digital environment and give methodological recommendations that can significantly improve it, as well as directly implement the project.
Disciplines aimed at the study of information technologies, creative programming and modern digital equipment allow you to penetrate into the process of creating a digital artifact and to create works of digital art with a full understanding of the possibilities of the technology of their creation.
The educational process in the master's degree is built so that undergraduates will deepen their knowledge and skills in information and communication, organizational and management activities. This is facilitated by familiarity with the activities of design firms and studios where undergraduates are involved in innovative work.
During the training master's undergraduates will expand their knowledge in the field of artistic, creative and project work in the field of design and digital arts. In addition, they continue to study academic drawing and painting and often create real creative works, so in the learning process, they actively participate in various art exhibitions and competitions.
The combination of design and digital arts allows graduates to carry out successful practical design and creative art activities based on the understanding and competent use of digital technologies.
makes an expert assessment of the completed projects and the transformations of the subject-spatial and digital environment.
You will learn to depict the world around you and to create real creative works.
Design and execution of the project in the material.
You will learn how to design and to create projects of modern actions and events. Learn to create artifacts in the field of digital arts.
You will learn to work with modern programming languages, as well as with the necessary innovative equipment aimed at creating artifacts in the field of digital arts.
History and methodology of design projects.
You will learn to understand the laws of the formation of the subject and digital world and to see the ways of its further development.
You will learn to explore the world of things by which interior space is organized and learn how to make it more beautiful and comfortable.
The applicant should have a Bachelor's or Specialist's degree in arts and humanities. The relevant diploma should be issued within the last 5 years.
To pass the entrance test successfully, the applicant will need some knowledge of history, design and design methods, as well as the basic knowledge of digital arts and related methodology.
The applicant is expected to be able to speak English and read and translate texts in Russian using a dictionary if necessary.
A master's student has practical training in institutions and organizations close to or similar to those that are stated in the subject of master's research, that's why the bank of practices is very diverse. It can be: city administration, shopping or entertainment centers, educational and medical institutions, cafes and restaurants, as well as advertising agencies or design firms. In any case, the undergraduate is acquainted with the work of the institution, its location, subject-spatial environment and the possibilities of using the elements of digital arts, in addition, one provides guidelines for improving the methods of their implementation.


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Huntington Democrats: the Anti-Innovation Party
Site Admin | December 19, 2016
The anti-innovation party strikes again: Huntington Democrats Mark Cuthbertson & Tracey Edwards are pushing new legislation to crush the popular home-sharing service Airbnb.
published in The Long Islander, 12/15/16:
The Huntington Town Board at its Dec. 7 meeting proposed two laws that would effectively close the door on the services. The first would prevent accessory apartments from being used as "transient" rental properties, which is a term that would be created by the law and is defined as residential properties rented for a period of less than 30 days. The second resolution would prohibit town-issued rental permits from being issued to owners of transient rental properties...
Councilman Mark Cuthbertson is co-sponsoring both resolutions with Councilwoman Tracey Edwards...
Josh Meltzer, head of New York Public Policy for Airbnb, stated in an email on Wednesday that the service not only assists residents in earning extra money, "but also contributes to spending at small businesses in our communities."
Meltzer continued, "We hope Huntington follows the lead of municipalities around the state that have crafted clear, simple, enforceable rules that promote public safety and responsible home sharing."
Public hearings on the Huntington Town Board's proposals have been set for Jan. 10, 7 p.m., at Huntington Town Hall.

redpajama_set_name: RedPajamaCommonCrawl


text:
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AARP Wisconsin accepting 2023 Community Challenge grant applications
AARP Wisconsin
AARP Wisconsin invites eligible organizations and governments across the state to apply for the 2023 AARP Community Challenge grant program, now through March 15.
These grants fund quick-action projects that help communities become more livable in the long-term by improving public spaces, transportation, housing, civic engagement, diversity and inclusion, and more.
Now in its seventh year, the program is part of AARP's nationwide Livable Communities initiative, which supports the efforts of cities, towns, neighborhoods and rural areas in Wisconsin and across the entire country to become great places to live for all residents, especially those age 50 and older.
"By 2030, one out of every five Americans will be 65 or older, but many communities may not be ready to support the needs of residents of all ages and abilities," said AARP Wisconsin State Director Martha Cranley. "The AARP Community Challenge grant program has demonstrated that by supporting local leaders and organizations' efforts to strengthen their communities, we can improve the quality of life for the very young, the very old and everyone in between."
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Previous Community Challenge grants have led to impressive results with nearly half of grantees leveraging their projects into additional funding support from private and public sector partners and eight in ten overcoming barriers and advancing change.
In 2023, AARP is accepting applications across three different grant opportunities, two of which are new this year. All projects must be consistent with AARP's mission to serve the needs of people 50 and older along with other eligibility criteria.
AARP will prioritize proposals that are inclusive, address disparities, and directly engage volunteers age 50 and older.
New this year, the program will provide capacity-building microgrants paired with additional resources, such as one-on-one coaching, webinars, cohort learning opportunities and more for improving walkability and starting or expanding a community garden.
Also new this year, the Community Challenge will also offer demonstration grants. A portion will be focused on transportation improvements with funding support provided by Toyota Motor North America. Another portion of demonstration grants will focus on promoting greater awareness of the benefits of accessory dwelling units as a housing solution.
AARP will also offer grants under a flagship opportunity to support projects that improve public places; transportation; housing; diversity, equity and inclusion; civic engagement; community health and economic empowerment; and new this year community resilience; and digital connections.
Since 2017, AARP has awarded more than $12.7 million to over 1,060 projects through the Community Challenge to nonprofit organizations and government entities across all 50 states, the District of Columbia, Puerto Rico and the U.S. Virgin Islands. The program provides direct support to all community types, including rural, suburban and urban communities with a special focus on the needs of those 50 and older.
The Community Challenge is open to eligible nonprofit organizations and government entities. Other types of organizations are considered on a case-by-case basis. Grants can range from several hundred dollars for small, short-term activities to tens of thousands for larger projects.
The application deadline is 4:00 p.m. March 15. All projects must be completed by Nov. 30, 2023. To submit an application and view past grantees, visit www.AARP.org/CommunityChallenge.
Enjoy your golden years and celebrate National Senior Citizens Day with these quotes that emphasize the power of getting older.
American senior adults are concerned about the cost of medication. Buzz60's Keri Lumm shares the results of a new study conducted by OnePoll on behalf of ClearMatch Medicare.
Throwback from Tribune files: Life in the La Crosse area in the 1950s
1951: La Crosse Central High School
Students and a Navy color guard unit gather outside La Crosse's old Central High School, 16th and Cass streets, for a Memorial Day ceremony in 1951 to honor the school's alumni who gave their lives in service of their country. Anyone who has additional information about this photo or wishes to donate other pictures of the Coulee Region may contact the La Crosse Public Library Archives at 608-789-7136.
La Crosse Public Library archives
1951: YMCA at Seventh and Main streets
A 1951 Tribune photo of the main lobby in the old YMCA building at 617 Main St. shows desk clerk Henry Sjolander visiting with Cletus Henry, who was then a resident of one of the many dormitory rooms there. The YMCA was at this location for 60 years, from 1909 to 1969, in a four-story building now occupied by Western Technical College's Administrative Center. Anyone with more information about this photo or wishing to donate photos of the Coulee Region may contact the La Crosse Public Library Archives at 608-789-7136.
1954: Triangle Cafe
The Triangle Cafe, which opened in 1951, was a popular breakfast spot in downtown La Crosse. Shown in this 1954 photo are, from left, owner H.F. (Herb) Troyer, Betty Troyer, Mary Kreutzer and Thomas Baldwin. The restaurant's building at 601 Main St. was demolished to make room for Gateway Terrace Condominiums.
Tribune file photo
1954: Estell Tall Fashions
Ester MacKenzie, left, and Eleanor Armstrong, were co-owners of Estel Tall Fashion, a women's clothing store at 720 Main St. The store's name, the women told the Tribune, was arrived at by combing the names of the two owners. The store, the women said, focuses on the fashion needs of taller women. "Tall girls," Armstrong said, "shouldn't be afraid to admit their height. After all, most top models are tall."
1954: Howards Clothes
Howards Clothes employees, from left, Raymond E. Wrobel (president, general manager and part owner), Rudolph Secky, James Wagner, John McCown and John D. Desmond Jr. (secretary, treasurer and part owner) are pictured in 1954 inside their store, which opened in 1926 at 112 S. Fourth St., which is now home to Deaf Ear Record Exchange.
1954: Crescent Jewelers
Manager of Crescent Jewelers Sam Horwitz, left, is shown here in this 1954 photo with, from left, Marion Horwitz, Robert Hurin and Ronald N. Boettcher. The building at 429 Main St. has housed a jewelry store since 1881 when it was Irvine Jewelers, The business was purchased by Isador Horwitz in 1950.
1954: Tom's Speedometer Shop
Tom's Speedometer Shop employees — from left, bookkeeper Mrs. Keenan, owner Tom Keenan, manager Floyd Tolley and technician Robert Olson — are shown in their store in this 1954 photo. Tom Keenan opened the speedometer repair business in 1928 in the back of a Second Street garage. It later moved to 614 Main St. In later years, the business mainly did locksmith work and lamp repair. It closed in 2008. Today, the location is home to resale shop.
1954: YMCA basketball
Tip-off action during a 1954 boys basketball game in the gymnasium of the old YMCA building at 617 to 629 Main St. A La Crosse YMCA basketball team was among the first to play the sport when it was introduced here in 1894, at a time when there were 11 players to a team and scores of 5-0 were common, according to local history files. Anyone with more information about this photo or wishing to donate photos of the Coulee Region may contact the La Crosse Public Library Archives at 608-789-7136.
1954: 5 and 10-cent Store fire
Ladders and hoses were plentiful as La Crosse firemen battled a blaze at the R.E. Osborne 5 and 10-cent Store on Dec. 13, 1954. The fire, which began in the basement of the Osborne store at 1201 Caledonia St., gutted the building and an adjoining business, the Haraldson Shoe Store at 1203 Caledonia St. (not shown). The Osborne building was later razed and replaced by a one-story building that was home to a Ben Franklin store for many years before being occupied by the building's current tenant, Options Clinic. This view of the fire was taken from St. Paul Street and also shows the Buckhorn Tavern at 621 St. Paul St. This building remains standing today and is now home to Dewey's Side Street Saloon. Anyone with more information about this photo or wishing to donate photos of the Coulee Region may call the La Crosse Public Library Archives at 608-789-7136.
La Crosse Fire Department
1955: La Crosse Beauty School
From left (standing) student Dale Twedt, instructor Gene Harding, student Bea Anderson and instructor Ravenhall Stevens work on the hair of students, from left, Ardyth Eagon and Elizabeth Mezera, at the La Crosse Beauty School in this 1955 photo. The school opened at 718 Main St. in 1952. Today, the building is home to Treasures on Main.
1956: Christmas shoppers in downtown La Crosse
A circa 1956 view of Christmas shoppers in downtown La Crosse, with the camera looking east on Main Street from the northwest corner of Fourth and Main streets. The woman at left foreground is looking at a display window of the old Bob Cline Jewelry Store at 331 Main St., where that business operated from 1953 to 1958, according to city directory files. Anyone with more information about this photo or wishing to donate photos of the Coulee Region may contact the La Crosse Public Library Archives at 608-789-7136.
1956: Central High School Memorial Day assembly
The school color guard marches past students during the 1956 Memorial Day assembly at Central High School, then located at 16th and Cass streets. This ceremony was part of an ongoing annual tradition at Central dating back to 1923 to honor the school's war dead. The members of this color guard were Bill Cornell, Dick Matl, Jim Hamilton and Don Lintelman, according to Central yearbook files. Anyone with more information about this photo or wishing to donate photos of the Coulee Region may contact the La Crosse Public Library Archives at 608-789-7136 .
1957: Kroger
The La Crosse Tribune published this special section to mark the 1957 opening of a Kroger supermarket in the Village Shopping Center. The food store became a Quillin's supermarket in 1971. In 2011, the 35,000-square-foot building was razed to make way for a Festival Foods that opened later that year.
1957: Jackson Plaza
This is the cover a special section of the La Crosse Tribune marking the 1957 opening of Jackson Plaza on the South Side of La Crosse. Although the businesses have changed many times over the years, the strip mall remains at 19th and Jackson.
1957: Old Style newspaper advertisement
This advertisement for Old Style Lager appeared in the La Crosse Tribune in 1957.
1958: 1st National Bank
This page was part of a special section the La Crosse Tribune published in 1958 to mark the opening of the new 1st National Bank building in La Crosse. The financial institution saw several name changes — and the building at the corner of Fifth Avenue and King Street had several remodels — before it took on the Wells Fargo name in 2000.
1958: State Bank of La Crosse
This full-page advertisement, published in the May 23, 1958, La Crosse Tribune, announced an open house at the remodeled office of State Bank of La Crosse, located at the corner of Fourth and Main streets. A second renovation in 1997 included removing the granite panels that were installed on the south side of the building in 1958. The granite was replaced with limestone, creating a match to the original stone, which was quarried from Grandad Bluff. The institution, which today goes by the name State Bank Financial, was founded in 1879 and has occupied the building since 1913.
1958: Heat exchanger plant
Trane workers check over equipment in 1958 at the company's new $12 million, 76,800-square-foot heat exchanger plant near the corner of Ward Avenue and Losey Boulevard.
1958: American Legion parade
Spectators crowd the 400 block of Main Street on July 27, 1958, to watch a parade honoring the American Legion.
This parade capped off the Legion's annual Wisconsin state convention then being held in La Crosse for the first time since 1932. An estimated 40,000 people turned out for the "mammoth parade," which was nearly three hours long, according to Tribune files.
Anyone with more information about this photo or wishing to donate photos of the Coulee Region may contact the La Crosse Public Library Archives at 608-789-7136.
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All Showbiz
top telly
Late Late Toy Show 2020 pulls in record-breaking 1.7 million views across weekend
Elsa McEvoy
THE Late Late Toy Show 2020 pulled in a record-breaking audience of 1.7 million across the weekend.
The festive special aired on Friday night last and many of the children who featured on it stole the hearts of the nation.
The Toy Show hit almost 2 million views over the weekend
And managed to raise €6.5 million for children's charities across Ireland
Viewers were bowled over by Galway girl Saoirse Ruane, whose story inspired the establishment of The Late Late Toy Show Appeal.
Adam King from Cork won the hearts of the nation with his aspirations to work in ground control at NASA.
The show also featured a surprise duet from Dermot Kennedy with Ballina's Michael Moloney, and little rock star Noah Rafferty being gifted a guitar from U2's Edge.
A heart-warming performance of Rule the World was sung by Eva Norton who was joined by children from across the globe, sending messages to their loved ones back home.
Eva was joined virtually on lead vocals by Take That's Gary Barlow.
This year's Toy Show evoked a generosity like no other in viewers at home and across the world at the weekend, raising a staggering €6.5 million for The Late Late Toy Show Appeal.
With presenter Ryan Tubridy at the helm, the core message of this year's show was one of celebration of the wonderful children of Ireland - those here and those who can't make it home this Christmas - during what has been a difficult year for all.
MASSIVE VIEWS
1.5 million viewers watched the entire show themed The Wonderful World of Roald Dahl on RTÉ One on Friday night, representing a 79% audience share.
TV viewing to Friday night's show is now at 1.7 million, taking catch-up viewing on Saturday & Sunday into account.
This makes it one of the highest rating TV programmes, on a single channel, on record.
Online, The Late Late Toy Show exceeded 500,000 streams live and on-demand across the weekend, in what was a record-breaking weekend on RTÉ Player.
The Late Late Toy Show (RTÉ One and RTÉ News Irish Sign Language Toy Show versions) had 359,000 live streams.
A further audience of 176,000 watched The Late Late Toy Show repeat on Saturday on RTÉ One.
#The Late Late Toy Show Singalong had 450,000 viewers watching, and a 34% audience share on RTÉ One.
'PHENOMENAL'
Across RTÉ Social, The Late Late Toy Show videos on RTÉ's Instagram and Facebook accounts had 5.85m views and generated total interactions of 830,000, while #LateLateToyShow was the number one worldwide trend on Twitter.
Speaking today, Ryan Tubridy said: "The true essence and magic of The Late Late Toy Show was really captured this year with the wonderful children involved.
"To hear that it was beaming into 138 countries across the globe is just phenomenal.
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"The fact that children and their families who might not be able to get back home this Christmas got to join with us in unison was very important to us.
"The Irish people continue to astound with their ability to dig deep and support The Late Late Toy Show appeal, raising much-needed funds and truly exceeding all expectations with their generosity.
"I think it's safe to say we are truly humbled by the reaction to the show."
Late Late Toy Show
Ryan Tubridy


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redpajama_set_name: RedPajamaGithub


Wonderful opportunity to to build your dream home on 7.89 acres next to MN DNR Land. Nice walkout lot with no builder restriction. Driveway access already complete. Very affordable & contract for deed terms available!


Catelynn Lowell Reveals Plans For More Kids After Miscarriage & Rehab: 'We Want More' — But When?
Catelynn Lowell and Tyler Baltierra recently revealed that they suffered a miscarriage, but they haven't lost hope for a bigger family. They opened up about wanting more kids in the future.
The devastating announcement of the couple's miscarriage came on the Feb. 26 episode of the MTV show. After the reveal, Tyler took to Twitter to express his heartbreak. "That baby may have not been fully grown in the womb… but it was fully grown in our hearts. For every parent out there who has lost a baby… it is not your fault & it is more than acceptable & understandable to mourn the loss of that baby & take your time to grieve," he tweeted.


I wish there was more to see at the map store. There are a couple maps of Freeport, a gift shop, and a tiny collection of coins but that's about it. I wish they had more to offer so they would flourish, not lie dormant. Technology… I love you and hate you at the same time.
The Muddy Rudder is about a 1/4 of a mile up the road from Delorme's so we stopped there for lunch. I had purchased an awesome Living Social Deal for lunch. It was $25 for $50 worth of food and drink and with a promo code (from the ad on the right side of this blog), I was able to receive an additional % off that! I love a good deal!
The food was decent. Sarah made fun of Bill and I as we had burger and salad in a seafood restaurant while traveling the coast… but it was a good choice. Tip: if you want your burger well done, order it medium… 🙂 The appetizer was the prettiest thing about the place and a favorite, spinach & artichoke dip.
We wandered the grounds out back and took a few photos. You can view them on our Wayward Wanderers Facebook album. Of all the things at this stop, Sarah playing The Flintstones theme song on our way out was the highlight. The people in the waiting area applauded her as she took a bow. Fun. It's all fun.
I know you are curious so I will give you a little rough history, but you really need to see it for yourself one day… Over 200 years ago a man bought this acreage and turned it in to farm land. He was very successful but one day passed it on to his sons who decided to grow strictly potatoes. Gardening lesson: potatoes are very rough on soil and if you plant them in the same spot year after year, it ruins the soil. Sheep farming lesson: sheep pull grass out of the ground when they eat. They do not eat it like a cow might, grazing the top. These two lessons should have been taught to the Tuttle sons as it was the demise of the grass on this property. In less than one year, all the grass and ground cover blew away. In 1919, when the Tuttle's finally gave up and left, it was baron.
The next owner purchased it for only $300 and tried to manufacture many things from the silt like glass and brick. The silt was so fine that none of it worked. The museum and tours did however, and in 1925 they opened to the public.
I was impressed with the temperature change. While it was normal temperatures when we were there, the tour guide said often there is a 30 degree or more difference from the gift shop to the desert right next door.
Another attraction at this location is the butterfly house. You can never go wrong with butterflies! The first time Sarah and I met, we went to a butterfly conservatory so it's kinda "our thing".
Next stop, big boot at L.L. Bean and to exchange Sarah's backpack. That is the number one perk to shopping L.L. Bean. Sarah now has a brand new backpack to start 7th grade and it was FREE. Their lifetime guarantee is like none other!
So we jumped back in the car and headed further up Route 1 North. The plans we had were for Sunday so when we got to Boothbay and Sarah was sleeping, we decided to carry on to Rockland, Maine since we didn't make it there the last time we went to the Maine Coast. We were using Priceline to secure a hotel and the Boothbay area was sold out for the most part anyway, at least at a discounted price so we thought we might have better luck further north. I used my travel apps for an hour straight, the entire way to Rockland, and could not locate a hotel that was affordably priced. It's the first time, in all of our travels, this had happened and I think both Bill and I felt a little uncomfortable because of it. It would have been different if it were only us, but we had Sarah with us and wanted to keep things fun for her.
I don't know why we lose sight of the fact that ALL THINGS HAPPEN FOR A REASON and EVERYTHING WORKS OUT but we do from time to time. This is what happened: We made it to Rockland, glimpsed the town so we know we want to go back, found a hotel BACK IN BOOTHBAY, booked it through Priceline, and headed back. On our way back, my phone rang and it was Fisherman's Wharf, the hotel we booked, telling me they overbooked… what? YOU'VE GOT TO BE KIDDING ME!?! That's exactly what I thought… for a split second until they said we would be staying at one of their sister locations… get this- the Tugboat Inn! For those of you that read our blog post from Maine is for Lovers: Portland and other Maine Coastal Towns, you will remember this is the restaurant we happened upon in April when nothing was open in Boothbay yet. This is where the idea of a second trip with Sarah was formed!
It all worked out even better than we expected it to. It cost more than we wanted to spend but the Tugboat Inn would have been more money if we booked it directly, we had great parking, a great location, and a free buffet for breakfast the next morning. You can read my review for Tugboat Inn on Trip Advisor .
Once we checked in, we tried to chase the sunset but instead wound up at a dead end. We didn't mind though. It was nice to be out of the car! Beautiful and quaint homes lined the streets and everywhere we looked, there were pictures to take. Check them all out on Facebook in our Boothbay Harbor, Maine: Trains in Maine & Automobiles photo album.
We walked around, enjoying the Super Moon as it lit up the walking bridge that joins both sides of the harbor. The bridge is the longest wooden foot bridge in the US and was built in 1902! The Bridge House sits in the middle over the water.
One of the best and biggest pizzas I've ever had is what we decided on for dinner. We carried it back to the room, devoured the tasty green pepper and onion slices, changed and hit the hot tub. One of the best parts of the trip was Sarah's discovery of the "secret hot tub" right on the dock that we enjoyed after hours, right outside our door. It was magical and the perfect way to put us to bed. And did it ever! We all zonked out rather quickly.
We had 2 Living Social Deals left for our trip, both located in Boothbay. The first stop was the Maine State Aquarium. Even the ride to the aquarium was fun as we wound our way around the coastal road. Gorgeous scenery!!
The aquarium was small but well done. We all enjoyed the experience. The little sharks we got to pat were funny as they bobbed their little bodies out of the water. It was like they were confused and thought they were seals.
We also really liked the section where we could handle various sea life. We held baby lobsters, crabs and starfish.
They had a great collection of lobsters and we all learned something new. Rarer than the blue lobster are albino lobster. And rarer still are bicolored lobsters. I had no idea! Above is a picture that captured all 3 kinds.
The next stop was the Boothbay Railway Village. We rode the train around the small village twice before they dropped us off for a self guided walking tour. No, the train was not as small as the one Bill is sitting on… The walking part was most enjoyable for me. While the conductor told us about the displays, it wasn't really explained that well and I noticed some of the people didn't even look at some of the sites. We, on the other hand, checked it all out. We explored the antique automobiles dated back as far as 1902. It was a great display and all the vehicles were in mint condition. Even Sarah picked her favorite auto out! We took tons of photos so if you are a car enthusiast like Bill, make sure to check out Wayward Wanderer's Facebook page!
The miniature railroad is awesome! They have been working on this since 2006 and it shows! The detail of the buildings, streets, people and trains is spot on and we spent quite a while there, photographing different scenes.
You'll notice in this picture the detail of the people heading to church for a wedding. And behind this church a train is whizzing by the intersection. Incredible and well worth the stop!
We took in the rest of the place fairly quick. The railroad museum was interesting as we hopped on the old handcar and pretended we were back in the old days. We tried to pat the goats but they weren't interested in us, us without any grain. The town hall was fun to see Sarah play the piano again and perform on the stage there… or at least pretend to perform. I was a willing audience.
The one disappointment of the entire trip was we didn't try Moxie. I love it, as many Mainers do, but Sarah had never tried it. And still has not. 🙁 Even HER café didn't sell it when we stopped in Wiscasset for a late lunch. Oh well, next time. We enjoyed other beverages and filled up on a great lunch before walking across the bridge. This made Bill and I happy since we talked about doing it last time and because the mile walk was much needed before our jaunt back home.
By the time we got home, we were exhausted! We sure know how to make the most of our weekend trips!
For more photos and to see what else we have going on, like us on Facebook.


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10 Ways Low Budget Shoots Differ from Micro Budget Ones
February 10, 2016 July 17, 2018 neilosemanbudget, career, cinematography, tips
My camera and lighting crew for last year's feature
I've been working in the film business for 16 years now, but until very recently I hadn't really worked on a 'proper' production, one that had a budget above five figures. Here are some differences I noticed stepping up from micro-budget to low budget…
Formal crew structure. There is a proper separation between departments, even between camera and lighting (which is quite strange for the DP, in charge of both). Woe betide anyone who moves set dressing without asking the art department, or who plugs something in without checking with the sparks, or who stores equipment in a room without asking locations.
Proper production and locations departments. The feature I worked on last year had two producers, a line producer, a production manager and a production co-ordinator, plus a locations department. I'm used to productions where one person does all those jobs, and often directs as well. Figuring out which person to approach about any given issue was fun! (Creative Skillset's website is a good place to check if you're not sure who does what.)
Advance prep. With a large crew, time cannot be wasted waiting for things that could have been pre-rigged. Heads of department are expected to think ahead and splinter their crew if necessary to be ready for things coming later in the day or week. For a DP this most commonly means pre-rigging distro and/or lighting.
Delegation. Aside from operating the camera, I did little hands-on work on the recent feature shoot. Lens changes, grip rigging and lighting set-ups are all handled by other people on the instructions of me, and of the gaffer and the 1st AC. Sometimes this means the DP can go and have a cup of tea, but often it provides important thinking and planning time – an opportunity to reccie the next set and design the lighting, or to review footage in the edit room, or reccie a possible location with other HoDs, or discuss the afternoon's shots with the director. It's impossible to do this sort of forward planning if you're changing your own lenses and setting your own lamps up.
Hard wrap times. On micro-budget shoots the wrap time is a theoretical concept, with no more relevance to reality than an episode of Sponge Bob Square Pants. On a bigger production, you wrap at wrap time, because if you don't then the gaffer might pull the plug. Occasionally the crew will be asked if they are willing to go over by half an hour, say, in order to complete a scene. But everyone must agree, and that half hour must be deducted from the next day.
Lunch break, not just lunch. In micro-budget land, getting lunch at all is not a given. But when you do get it, you're often expected to eat as quickly as possible and get straight back to work. On a bigger production you get your hour lunch break come hell or high water. And there's proper catering. With desserts!
Reliance on the crew. If you're working with a small camera and mains power, you can stay late with the director and steal a few extra shots, if necessary. But when everything's run off a generator, which only the gaffer is qualified to operate, and your camera package is almost too heavy to lift onto your own shoulder, and you have no idea how half the bits and bobs connected to it work because your ACs always deal with it, you really can't do anything on your own.
Permissions and qualifications. For insurance reasons you must have qualified people overseeing the electrics and the rigging. You must also check with the locations department before using any space or equipment or filming in any area that was not discussed and signed off in preproduction.
Paperwork. Most HoDs seem to have some kind of daily paperwork to do on a larger production.The DP happily escapes this (the ACs handle the camera reports), though they do have to complete a risk assessment before shooting commences.
People management. Because of the size of the team under you, people management becomes a major part of an HoD's job. I'll go into more detail on this in a future post.
Stop/Eject Postproduction Budget Breakdown
April 3, 2014 July 15, 2017 neilosemanbudget, crowd funding, distribution, financing, producing
Back in November 2012 I posted and analysed the preproduction and production budget for my short film Stop/Eject, a 17 minute fantasy-drama which was shot on a DSLR. Now I'm going to do the same for the postproduction budget, including distribution and marketing. We're currently selling Blu-rays and digital rentals of Stop/Eject, to raise money for further film festival entries, so please support us by buying a copy if you find this blog useful.
Download the budget here as a PDF (35kb).
As you can see, we had almost £2,000 available to us in post, some of which was left over from production, but most of which came from a crowd-funding campaign. You can read my evaluation of that campaign in an earlier post.
None of the cast or crew were paid at any stage of making Stop/Eject, and indeed I tried not to spend anything at all on postproduction. The VFX artists worked on their home computers, editor Miguel Ferros used his own Mac-based Avid system, colourist Michael Stirling used his company's DaVinci Resolve projection grading suite, sound editor and designer Henning Knoepfel used his own Mac for the audio work and pulled in a favour to get a free studio day for the ADR, and re-recording mixer Jose Pereira used the studio at the college where he lectures. Scott Benzie composed the music in his home studio and we recorded it for free with four live players at Worcester Tech College.
So except for a suite of clock sound effects, which Henning convinced me were necessary to help the audio tell the story, the main costs in postproduction were those incurred by people travelling so that we could be in the same room for some of the work, and eating lunch on those occasions. It's important to at least make sure people are fed when you can't pay them a fee. The most expensive of these days was the ADR session, which involved me and two lead actors travelling from Hereford, Birmingham and Bath respectively to the studio in east London.
Even in today's digital world, some files are just too damn big to send online, and such was the case with the Avid media output by Miguel ready for the grade. I therefore purchased a USB hard drive, which ended up being couriered across London a couple of times to get to where it needed to be. After the film was completed, I used the same drive to archive all of the Stop/Eject assets and project files.
In order to run the crowd-funding campaign, which lasted for most of postproduction, we needed to build our own website and cut a trailer using library music. We also attended several events to promote the campaign and the film in general, one of which charged an entry fee.
Glossy script book
The £79.47 spent on producing the crowd-funding rewards (a.k.a. perks or gifts) was racked up mostly by the hardback glossy script books, costing about £25 each (ex. VAT). The sponsorship level required to qualify for one of these books was £100, and since you also got a DVD, Blu-ray and premiere invite for that amount, there can scarcely have been £60 left of the donation for us to spend on actually making the film! It just goes to show that you should carefully cost up your rewards before you offer them.
That £79.47 isn't the whole story though, since the next three items listed – the screening venue hire, Blu-ray stock and dupes – were all partly for sponsors as well. (A £10 donation got you an invite to the premiere, £30 got you a DVD and an invite, and £50 got you a Blu-ray, a DVD and an invite.)
£25.61 bought me fourteen blank Blu-ray discs, most of which I got through in trial and error as I authored and tested my first ever BD. The £265.30 spent on dupes got us 60 DVDs and 50 BDs, all with full colour on-disc artwork, inlays and cases. 20 of those discs went to sponsors and approximately 50 to cast and crew, with the rest being reserved for press and festivals.
I deliberately completed the discs in time for the premiere so that I could hand many of them out in person and reduce postage costs. For those that I did post, I used only pre-loved jiffy bags which I had been collecting for some time.
All in all, I'd say almost 11% of the £1,584 raised through crowd-funding was spent on creating and delivering rewards, a little more than I would have liked. Ideally you want to spend no more than 10% of your budget on rewards.
Stop/Eject press kit
As detailed in another post, I created Stop/Eject's Digital Cinema Package at home using free software, but did have to buy a hard drive for it and a flight case, since I intended to ship it to international festivals for screenings.
To promote the film at festivals and beyond, we had 50 full colour folders printed, each containing five single-sided monochrome pages of text. We also paid £10 to submit Stop/Eject to The London Film Review, the hope being that good reviews would increase our chances of festival selection.
And that only really leaves the festival entry fees themselves. We've entered 25 to date, and the money we're raising now should allow us to enter another 20 or so. In a future post I'll provide a list of the festivals entered, their deadlines and fees, and the selection results.
How to Make a Fantasy Action Movie for £28,000
November 30, 2013 July 15, 2017 neilosemanbudget, funding, sales agent, vault, vault postproduction, vault preproduction, video
The last of the Soul Searcher anniversary featurettes is a completely frank and open breakdown of the budget. Find out how I raised the money, what I offered my investors, what distribution deals were put on the table, how much the film made worldwide and how much of that money came back to me (you may be shocked). Most importantly, discover exactly what was spent on each element of the budget, from travel and catering to make-up and lighting.
Corrections: 1. UKTI stands for UK Trade & INVESTMENT, not Industry; 2. After completing the programme I discovered two more distribution contracts I was offered, both from Californian companies. Neither offered an advance. One proposed taking a 25% cut of the profits, the other 40%; 3. I misspelt Kevin MacLeod's name, apologies. Visit his website at http://www.incompetech.com
For more information on film distribution I recommend The Guerrilla Filmmaker's Movie Blueprint by Chris Jones.
Planning VFX
January 14, 2013 August 2, 2016 neilosemanbudget, cinematography, directing, producing, scheduling, VFX16 Comments
A few years back I taught a module on Visual Effects for filmmaking degree students at the SAE Institute in north London. Rather than getting into the nitty gritty of how to actually do VFX, it focused instead on how directors and producers should approach and plan for them.
Here is one of the examples I gave, using a shot from my 2005 feature Soul Searcher. Joe Fallow (Ray Bullock Jnr.) sprints down the platform of Hereford station as the Hades Express departs, bearing away the villain of the piece and the kidnapped love interest.
Finished shot from Soul Searcher
The train was a 1:18 scale miniature and was dropped into the live action plate by means of a simple, static matte drawn in Photoshop – essentially a splitscreen effect.
But what if I, as director, had chosen a different camera angle?
Alternate angle 1
To achieve this version, the model train would have needed to have been shot against a green screen to make it appear in front of Joe and the platform. This would have complicated shooting the miniature slightly, as lighting for a green screen can be quite time-consuming.
Here we have the opposite; now Joe is in the foreground, so he's the one that needs to be shot against a green screen. Since he and the station are full size, the green screen would need to be much bigger and would require much more light. And remember we're now talking about an impact on the main unit's time on a location, rather than a small model unit in a studio, so the cost implications are magnified.
Finally, what if I'd gone for a camera move? Now we're into motion control rigs, to record the camera's movement on location and applied a scaled-down version of that same move to the camera shooting the miniature. Either that or the live action plate has to be 3D-tracked in post-production, and that tracking data fed into the motion control rig that shoots the miniature. More time, more people, more equipment, more money.
This is the first step in planning for VFX: understanding how your choice of shots influences the techniques required to achieve them and therefore impacts on the schedule and the budget. Stay tuned for more on this topic, and remember you can watch Soul Searcher in full for free at neiloseman.com/soulsearcher
Stop/Eject Production Budget Breakdown
November 4, 2012 August 2, 2016 neilosemanbudget, crowd funding, financing, preproduction, producing, production2 Comments
Delivering the Derby fundraising lecture in March
This post has been created and published because the total raised in Stop/Eject's post-production crowd-funding campaign has passed the £1,100 mark. I'm going to look at how the money you all contributed in pre-production was spent in order to get Stop/Eject in the can.
Stop/Eject was originally meant to be filmed in autumn 2011 under the auspices of another production company. Prior to the project's postponement and subsequent resurrection as a crowd-funded movie, Sophie and I spent some money on set dressing (£149.76), costumes (£206.20) and travel (£60). We absorbed these costs personally and they're not included in the budget.
(If you don't follow my blog regularly, you may wish to check out the following resources first so you have a clearer picture of the project I'm discussing: the trailer, a blog post summarising how the shoot went, an evaluation of the shooting schedule, a playlist of behind-the-scenes videos from the shoot. Stop/Eject was a twenty page script that took five and a half days to shoot.)
As you can see, the crowdfunder.co.uk campaign was the main source of income, although a significant amount was donated after this campaign closed, in cash or via the Paypal button I had on this website for a while. Two of the three Soul Searcher lectures were failures, with few or no attendees; only the Derby lecture (done as part of a Five Lamps Film Night) took more cash than it cost me to travel there. Selling Benedict Cumberbatch's costume from The Dark Side of the Earth's pilot was the last part of the pre-production funding jigsaw.
Costume designer Katie Lake models one of the outfits purchased in 2011.
Moving onto the expenditure, the first thing you have to do with any type of fundraising is deduct the costs involved in that fundraising process – in this case crowdfunder.co.uk's fee and the production and postage of the rewards/perks for sponsors. These costs represent less than 8% of the budget, which I think is pretty good value.
Under pre-production you can see that more props and costumes were purchased in 2012, in addition to those we'd already bought in 2011. The total costumes outlay across the two years was £407.94, making it one of the largest costs of the production. This was due to the high number of story days in the script (eleven), each of which required a new outfit. A significant chunk of the props budget went on 400 cassette cases for the scene in the Tape Archive, while the construction materials included the wood and antique doors which the alcove set was made from. Auditions were held at Conway Hall in Holborn, London, owned by the very strange but pleasingly cheap South Place Ethical Society.
If you have a problem, if no-one else can help… (photo: Colin Smith)
Travel is the biggest expense under production and indeed for the entire project, totalling £1,049.49 if you include the van costs and the pre-production and 2011 costs, even though some of the local crew waived their mileage and parking expenses. The high travel expenditure was partly due to many key cast and crew members living at least a two hour journey away from where we were filming, but even on more local projects I've often found that travel can be the most expensive element (assuming you're not paying anyone fees). Hiring the van was relatively cheap in the grand scheme of things, and was worth every penny and more. Without it we couldn't have moved the alcove set or some of the larger props around, and squeezing all the equipment into cars would have been a nightmare.
I was very surprised how little we spent on food and catering. £248.33 fed about ten people for five and a half days. Many of the meals were cooked in advance, frozen and reheated on set or cooked from scratch on set by Katie or Debs, but we bought takeaways for everyone on at least two occasions. That figure also includes supplies like plastic beakers, disposable plates, bowls and cutlery and a thermos flask. We borrowed a fridge and a hotplate and brought our own microwave along.
When drawing up a new budget for Stop/Eject after its initial postponement, accommodation seemed like a killer cost that might prevent the film from ever being made. Research indicated that I could expect to pay around £2,000 to hire a holiday cottage large enough to house everyone for a week. As it turned out, we found Magpie, not only a brilliant location for the shop and many other settings, but also a place where some of us could stay (albeit in less than ideal conditions). The owner asked just for a token amount to cover the utilities costs, and with Sophie's spare room also put to good use we only had to hire one hotel room for one night.
If you're wondering where I got the public and employers' liability insurance from, the answer is Essex Insurance Brokers. They specialise in short-term policies for low-budget filmmakers and you can get a quote and activate a policy in just a few minutes using their web form. If that sounds like a blatant advert, let me counter it by saying they were utterly unhelpful and a bit rude when I tried to get insurance for The Dark Side of the Earth's pilot from them.
Steve Lawson's kindly-lent jib in action outside Magpie. Photo: Paul Bednall
Finally, a word on the stuff we didn't spend money on. None of the cast and crew were paid, which caused lots of stress and hassle in the month leading up to the shoot as several crew and both lead actors pulled out in order to do paying work that clashed. As a result I've sworn never to do anything again but simple little one-day shoots unless I can afford to pay people. Feel free to remind me of this if I ever seem to be going astray. We also spent nothing on equipment hire. Most of it (camera, lenses, tripod, dolly, shoulder rig, smoke machine) was mine and the rest of it was borrowed. Thanks to Steve Lawson for loan of the jib, Colin Smith for the Glidecam and additional lights, The Rural Media Company for an additional light and some sound kit, and Ian Preece for the sound recorder.
When all the figures were totted up, I was as shocked as anyone to see we'd come in more than £400 under budget. This meant we were able to set our post-production crowd-funding target at £1,500 rather than the £2,000 we had planned. We're now less than £400 away from that target, so please help us get there by toddling over to stopejectmovie.com and hitting Donate. And if you're curious to know how the budget of a indie feature film breaks down, choose the £10 "Line Producer" reward and you'll get a full and detailed analysis of Soul Searcher's monetary ins and outs.
October 26, 2011 October 28, 2011 neilosemanbudget, stunts, video1 Comment
A decade ago I was editing The Beacon, my stupid Malvern-based action movie made for about £3,000. The Cardboard Chase is most people's favourite scene, but a close second for me would have to be the car chase:
Setting up car-mounted cameras
Pretty silly, huh?
The car chase was shot over three days, mostly on Castlemorton Common in Malvern. It was done totally guerrilla style – no permissions, no insurance, no safety briefings, no stunt co-ordinator. The red car belonged to one of the crew, whilst the blue one was purchased secondhand for the production at a cost of £120, then taxed for £90 and insured for LJ, the lead actress, to drive at £235. (This was just standard car insurance so she could drive it on the road legally, and in no way covered it for film stunt use.)
The crash was shot on private land. The white car belonged to a friend of mine who was going to scrap it anyway. Crazy cast member Si Dovey offered to double for LJ driving the blue car towards the white one (sorry, I know nothing about makes of cars so colours will have to suffice to identify them) and miraculously came out alive, despite not even wearing a seatbelt on the second take. Getting the wrecked cars towed away afterwards (which was a major hassle) cost £75, bringing the grand total for the sequence to £520.
So an action-packed car chase can be shot pretty cheaply, but of course you shouldn't try it under any circumstances because it's extremely dangerous and highly illegal on public land.
Additional (27/10/11): By the way, you can download the whole budget for the film, if you're so inclined, from The Beacon page.
The Beacon's Budget
August 10, 2011 March 30, 2014 neilosemanbudget
How did I make a 75 minute action movie for less than £5,000? Well, now you can download the budget and find out for yourselves. Discover more about the making of The Beacon by watching David Abbott's behind-the-scenes documentary or by delving into the blog archives from the time.
The Beacon budget download (.xls, 16kb)
The Dark Side Guide to Building a Set
August 3, 2010 August 4, 2013 neilosemanbudget, preproduction, production design, video
Essential viewing for any producer or director considering shooting their next project on stage, this featurette covers all the issues you'll encounter in planning, building and striking a set – including the all-important question: how much will it cost? I share everything I learnt about working with sets while making the demo sequence for my fantasy-adventure feature The Dark Side of the Earth, starring Benedict Cumberbatch (Sherlock), Kate Burdette (The Duchess) and Mark Heap (Spaced, Green Wing).


text:
No cause for celebration yet - more to do to stop hepatitis C deaths
In England deaths from liver disease related to hepatitis C fell by more than 16% between 2015 and 2017. As a result, England has achieved the World Health Organization's (WHO's) target to reduce HCV-related mortality by 10% by 2020 three years early.
Australia also already achieved the WHO's 2020 mortality target. Some might say that this is good news - but at Hepatitis Australia we don't agree.
Virtually every hepatitis C death occurs because the gold-standard treatment and care available in Australia did not reach the person that needed it in time.
There is no cause for celebration - the deaths of 1,189 people in 2016-2017 is a national tragedy.
The well-informed have already been cured, but it is clear from the ongoing downward trend in hepatitis C treatment initiations that a much greater level of assistance is required to reach and engage the remaining 150,000 people living with hepatitis C.
Our national target is to reduce hepatitis C attributable deaths by 65% by the end of 2022. Without further action to increase treatment uptake this national target will soon become unachievable - time is running out.
Some new visionary thinking alongside a good dose of political will is needed. To that end we were fascinated to hear about the innovative approach just announced by NHS Englandto find and treat people living with hepatitis C. We now look to the incoming Australian government to back innovations like this to drive the uptake of hepatitis C treatment, save lives and facilitate the elimination of hepatitis C as a public health threat, a legacy that any government can be proud of.
CEO – Hepatitis Australia
Published: 2nd May, 2019
Updated: 5th June, 2019
2020 Nobel Prize awarded for discovery of hepatitis C virus
6 October 2020 - Hepatitis Australia is celebrating the news that the Nobel Prize in Physiology or Medicine 2020 has been awarded jointly to Harvey J. Alter, Michael Houghton and Charles M. Rice 'for the discovery of Hepatitis C virus'.
Not seeking help may place your health, or your life, at risk.
Patient safety and continuity of care is extremely important, particularly for people who have chronic and complex diseases or conditions, which is why Hepatitis Australia has joined the Continuity of Care Collaboration
Australian First for Network Nurse
22 September 2020: Hepatology Nurse Practitioner, Tracey Jones, has become the first Australian nurse to be awarded the Associate Fellow designation from the American Association for the Study of Liver Diseases
Let's Talk Hep on World Hepatitis Day – 28 July
As Australia grapples with COVID-19 outbreaks, it is important to remember that viral hepatitis is also a pandemic. Viral hepatitis can lead to liver cancer and directly impacts nearly 360,000 people in Australia.
Leading organisations unite to discuss COVID-19 impact on hepatitis C elimination in Australia on World Hepatitis Day
24 July 2020 - Australia's leading drug and infectious disease organisations will join forces to call for a re-engagement in elimination of hepatitis C in an online event on World Hepatitis Day, Tuesday, 28 July 2020.
Hepatitis C outbreak ignites debate on needle exchange in Queensland correctional centres
23 July 2020 - Except from article from ABC Far North about hepatitis C outbreak in Queensland correctional centre.


text:
Dysaulophthalma nathani är en bönsyrseart som beskrevs av Stiewe 2009. Dysaulophthalma nathani ingår i släktet Dysaulophthalma och familjen Tarachodidae. Inga underarter finns listade i Catalogue of Life.

Källor

Bönsyrsor
nathani

redpajama_set_name: RedPajamaWikipedia


Just like a lot of families. One thing I really enjoy is a nice family meal out. So when I got offered a meal at the The Morris Dancers in Colne, I thought it would be a lovely opportunity for the family to get together to eat.
The Morris dancers which is located on Byron Road in Colne, Lancashire, has recently had a big refurbishment and has a whole new updated menu. I had never been to the Morris Dancers before and neither had my parents so we were all excited to see what it would be like for a meal out.
We booked a table for 4 adults and one child on a Sunday tea time. I was expecting it to be quite busy and it was, though I did notice there was some tables available. I am glad we had our table booked though and so didn't have to wait.
As anyone who may live in Lancashire will know, the weather is generally dire around this time of year and so it was pouring down with rain on the day the day. So unfortunately I didn't manage to get a picture of the venue to pop along side this review.
We sat down at our table and started to look at the menu's. I think the choice was great and the menu was varied. It did take me a while to choose as there was a lot I fancied but everyone else quickly and easily found something they loved the sound of and wanted.
We all decided to have starters and my mum and I chose beer battered salt and pepper mushrooms and my partner and my dad chose garlic prawns.
For mains, I chose the new beef and cheddar suet pudding, my mum chose the half roast chicken with peri peri sauce, my partner chose the all american platter and my dad chose the black and blue steak.
The children's menu I was very impressed with. There was a choice of small dishes for under 5's and one for over 5's. I had a look at the choices for the under 5's for Lily and straight away found her sausage with yorkshire puddings. I knew she would love this. You then get to choose a side, chips, mash etc and also a veg. You also get a drink and a dessert and all for an amazing price of £3.99. Lily loved that she had plenty of choice and could have the kinds of food she wanted. She chose mash and peas to go with her sausage and yorkshire.
The drinks that are on offer with the meal are the usual types, fruit shoots and the fruity water bottles. Lily usually prefers just simple apple juice to the fruit shoots, as do I, but she will drink one if she has to. Which in this case she did as we would of had to pay extra for the apple juice as that wasn't availble with the child's set menu.
When you know what you want, you go up to the bar to place your order. One thing I was impressed with was your choices that you got with your food. For example my mum at the table said she wished hers came with curly fries and as we ordered it at the bar, it was in the choices of sides that she could choose from. We placed our order but unfortunately they had sold out of the beef and cheddar pudding that I wanted. So I had to choose something else. I was recommended the minced beef and ale and vegetable pie, and went a long with that. We were told that there may be a wait on food which we did not mind.
In the mean time we found Lily some colouring sheets and crayons that were put out for the children. I thought this was great as I had actually totally forgot to bring something with me to keep Lily entertained.
Our meal came out a lot quicker than expected and there wasn't a wait at all. They brought our starters and also Lily's main corse, as I had asked for that to come out at the same time.
The starters were really tasty, you got a decent amount of mushrooms and dip and I was happy with that. We had a choice of BBQ dip or sour cream. I was really happy with sour cream but my mum didn't like either sour cream or BBQ and wished that there was a garlic dip available. My partner and my dad both really enjoyed there prawns and said they were cooked perfectly.
I was really happy with Lily's main dish. She got a really decent portion of peas and mash and her gravy came in a little boat instead of on the food. Lily loves to dip her food into the gravy so she was happy that it wasn't poured all over her food.
After we had finished our starters our mains shortly followed.
I must admit, I wish that I had taken a little more time to look at the menu after having been told that the dish I wanted wasn't available. My dish looked the least impressive and I was quite jealous of everyone else's plates of food. My pie was from the 2 meals for £7.50 section so a more basic dish compared to the rest.
We did all really enjoy our food though. For a dish from the 2 for £7.50 menu, it was very tasty and the pie was full of flavour. Everyone else around the table raved about how good their meals were and most of all how it was good quality and amount for the price.
After we had all finished our mains, we decided we would have dessert. There was a good choice of desserts on the menu, though me and my partner were looking for something that was a little more refreshing with more fruit perhaps, but most of it was extra sweet and indulgent. Not a bad thing really as you are meant to over indulge with desserts.
My parents both chose the treacle pudding and my partner and I had a sundae each. He chose the nestle mint aero ice cream and I chose the black forest one.
Lily also had plenty of choice of desserts but I chose her the ice cream where she could put her own toppings on top. I knew she would enjoy doing this and it was a really good idea for a dessert for children.
I think the desserts took the longest of all of the meals to come out, which made Lily impatient. But what child isn't impatient for ice cream? Haha. Soon they were brought to our table but Lily's actually came out last and a good couple of minutes after all ours had come out all at once. Which did get her a little upset that we had got all ours and she didn't have hers. I think its important that a restaurant should make sure the child's dessert comes out first to stop any upsets.
We all really enjoyed our desserts. Our sundae's were really big and impressive. Especially to say that they only cost £3.99/£4.25. My parents found there treacle pudding very tasty, though did find the combination of warm custard and cold ice cream a little strange. Lily was very impressed with her dessert and really enjoyed decorating her ice cream with the chocolate buttons and strawberries.
We were all really stuffed after our food and left feeling very well fed. Our meal came to a lot less than expected and so a meal here is excellent value for money.
We were really happy with our time spent at The Morris Dancers and wouldn't hesitate to eat there again.
You can see the full menu as well as opening times on The Morris Dancers Website.
Nice that you all enjoyed your meal. Sunday can be a nice time to have a family meal at a restaurant. Hopefully the restaurant will take on board your thoughts and feelings ( as well as Lily's) in regards to her ice cream being served a little time after the adults at the table. Young children do not have great perception of time, poor Lily maybe even though no ice cream left for her.
We had a delicious meal last night at a Chinese restaurant. It was lovely to see a number of families were dining out. The staff, and owner were so considerate of the children, as well as the older diners. The children were delighted to watch goldfish swim around in the fish tank, etc. The children were extremely well behaved, which was delightful. They seemed to appear to feel comfortable and welcome. As the staff chatted to them, etc.
Nice to have a delicious treat and to feel comfortable and welcome.
I love a restaurant review; thanks for posting. It does look like good value, and I'm envying the sundae!
Im loving the idea with the childrens menu for under 5's and over 5's - I've never seen this before. Look at that icecream!!
We have a 21st Birthday party to attend. Fiancé excited about what food will be available. We are looking forward to meeting up with family and friends.


The SACP ran against the ANC in a recent by-election, what does it mean?
The South African Communist Party (SACP) has broken with history and challenged the governing African National Congress (ANC) in an election. The SACP's decision to go it alone in the Metsimaholo municipality by-election marks a new low in relations within the tripartite alliance forged during the struggle against apartheid. The other alliance partner is the trade union federation Cosatu. The contest ended in a hung council, with the ANC taking 16 seats, the Democratic Alliance 11, the Economic Freedom Fighters eight and the SACP three. Politics and Society Editor Thabo Leshilo asked political scientist Professor Dirk Kotze about the development.
What is the significance of this development?
The decision to contest an election on its own clearly represents a watershed event for the SACP. It is the first tangible step towards implementation of a resolution taken by the SACP in 2007. Then, unhappy with the ANC's policies in government, the communists raised the issue of contesting elections themselves. It proposed doing this either within a "reconfigured alliance" or having its own candidates contest elections, after which it would come to an agreement with the ANC on how to cooperate in government.
The SACP's decision to go it alone is the culmination of a fallout dating back to 1996. Then, the ANC government under President Thabo Mbeki announced a macro economic framework, known as Growth, Employment and Redistribution (Gear), without substantial consultations with the SACP and Cosatu. Both slammed the policy as being anti-communist and serving the interests of business at the expense of the poor working class.
The SACP, and Cosatu, thought that their fortunes had turned when, with their support, Jacob Zuma was elected president of the ANC in Polokwane in 2007. But it wasn't to be. Both groups have subsequently fallen out with Zuma. The relationship has deteriorated so badly that SACP members in KwaZulu-Natal are being assassinated over municipal council positions.
The Tripartite Alliance can be traced back to the late 1940s and the Communist Party's subsequent underground involvement in the ANC-led Congress of the People in 1955. The Congress Alliance adopted the Freedom Charter as its blueprint for a democratic and prosperous South Africa.
In the 1960s the formation of Umkhonto we Sizwe, the armed wing formed by ANC and SACP members, was arguably the most concrete articulation of the ANC-SACP alliance.
In the decades that followed the SACP played a key role in facilitating the support of the Soviet Union and Eastern Bloc for the ANC and South African Congress of Trade Unions. The communists also shaped the ANC's philosophy around national liberation as the "national democratic revolution" and view of apartheid as "colonialism of a special type".
This influence on the ANC was personified by the likes of leading communists Moses Kotane, Moses Mabhida and Dr Yusuf Dadoo. The SACP viewed the alliance as a popular front uniting the working class and progressive forces in the struggle for freedom.
The SACP is unique in Africa because very few communist parties survived after independence. Most of them were either banned or integrated into nationalist liberation movement governments.
The party's independent participation in the Metsimaholo by-election takes it back to the period before 1950 when communists such as Brian Bunting and Sam Kahn represented the then Communist Party of South Africa in Parliament.
But after that, and after the party was banned, the SACP's revolutionary theory of armed struggle and insurrection excluded an electoral approach.
Once the first inclusive elections were planned in South Africa, the SACP deferred to the ANC as the leader of the national democratic revolution to pursue an electoral approach.
What is the significance for South Africa?
Firstly, no one can continue to argue that the Tripartite Alliance is still a coherent political front bringing together a working class union movement (Cosatu), working class party (SACP) and a multi-class governing party (ANC).
What this means is that the ANC's social democratic character in terms of a partnership with working class organisations has come to an end. The ANC will now have to reconfigure its own identity as a social democratic party, similar to former UK Prime Minister Tony Blair's reconfiguration of "New Labour".
Secondly, the SACP's decision serves as an official recording of the radical changes the ANC's identity has undergone in terms of how it defines its own interests or constituencies. It's finally stating that its core interests and those of the ANC's are in the process of parting ways. In socialist parlance, the ANC's and SACP's class interests have reached a crossroads.
This follows on the earlier decision by Cosatu's largest affiliate the National Union of Metalworkers of South Africa to part ways with the federation and to establish the United Front as its own political vehicle. It's still unclear whether this this will result in a new left political movement. But, all the socio-economic conditions - such as high inequality, unemployment, poverty and social discontent - provide fertile ground for just such a movement.
What are the electoral prospects of the SACP?
The SACP is not in a position to mobilise substantial support in the near future. The left is contested terrain and prone to fragmentation. This is partly the result of personality clashes and ideological hair-splitting.
It could possibly join forces with the National Union of Metalworkers of South Africa which, for the last 30 years, has debated the ideal of a workers' party. This would only be viable if the SACP combined its party programme with the social democratic (social welfare) needs of a rural, non-socialist populace. This would imply making ideological compromises, which is not uncommon for the SACP. It would also require it to establish a real party political infrastructure.


text:
Gutter Boys, JB Roe and Cam Del Rosario
Published on September 5, 2019 August 12, 2019 in Articles/Interviews by Denzel Walkes
Q: Who are you and what do you do?
JB: I'm an artist and writer based out of Chicago. I've been making comics a little over 4 years now. I also co-own a small combat sports-themed clothing brand with a focus on Japanese pro wrestling.
Cam: My name is Cam del Rosario and I'm a cartoonist. I'm just another dude.
What work have you done that you're most proud of?
JB: Nothing.
Cam: Echoing JB's sentiment, I also have to go with nothing for this answer. It's not that i'm not proud of myself for getting books out, but the moment that I have the final printed product in my hand, I immediately find things wrong with it and always want to be better the next time around.
Which artists or writers impacted your work and got you in to the game? Do you have any peers that influence your work?
JB: Aaron Conley, a comic artist that's also from my hometown, basically taught me how to make comics when I was a kid, and he was very supportive when I started to actually take it seriously much later down the road. Most of that is because of a local toy designer in Chicago, Ben Spencer, who found me on a toy forum and invited me to table with him at C2E2. This ended up being my first convention, and it got me into making comics/zines by proxy. Without either of those two, I probably wouldn't be doing any of this. There's a ton of other important people who helped me along the way, but those two specifically had the biggest long-term impact I'd say. In terms of artists that influenced me, they're pretty standard: Daniel Clowes, Charles Burns, Jack Kirby, John Romita Sr., David Mazzucchelli, Tony Moore, Goran Parlov, etc. There's a lot of local talent that have informed my work, like Jeremy Smith aka Onsmith, Paul Nudd, Anya Davidson, Bianca Xunise, Sage Coffey, Brad Rohloff, Chloë Perkis, Enrique Guerra, Nicole del Rio, and Yewon Kwon to name just a few.
Cam: I think all of my peers influence my work. We're all in this racket together and in addition to making me want to work harder, they make me want to get better so that I can eventually be on the same level as they are. As far as artists that impacted my work, I'd go with your standard answer of the Hernandez brothers, Adrian Tomine, Herge and Ernie Bushmiller. When it comes to getting into the game, I wouldn't be doing this if a dude named Javier Suarez never showed me how to capitalize on making comics. He's an artist out of Chicago that found me online and we collaborated on a book. He took me around with him to different shows to table and sell the book and the rest is history.
In a medium that's increased in mainstream awareness over the last several years, have you noticed any changes during those years that have impacted your work?
JB: Not really to be totally honest. If anything, the mainstream awareness has made the medium even more misunderstood across the board. It's sort of frustrating. Nowadays, they just use comics to hype and promote movies and TV shows because these companies know that's where the real money is at.
Cam: None of the things going on in mainstream comics really affect my work. I hope that doesn't come off as snobby, but I just don't make comics that I think would fit into that "mainstream" genre. Not to say that I don't have my ear to it, I still read Batman and some other stuff from the big two (Marvel & DC) but it's like stuff that you read when you wanna take your brain out of your head and just be entertained by something dumb.
What are some of the meaningful interactions you've had regarding your work?
JB: I don't know, probably just the moments when people say positive or constructive stuff and just reach out in general. That's always nice. It's also really cool getting to become friends with people I never thought I'd meet, let alone be able to call friends.
Cam: I'm appreciative of any and every one that buys a book from me. The fact that my work gets purchased by people blows my mind and it's meaningful. People will message me and say nice things, which is always cool but I try not to take too much of that into consideration because I still hate my own work for the most part. But it's healthy, I hate it because I just want it to be better and in some weird way, that makes me work harder. It's cool to go to shows though and interact with other cartoonists that you considered idols and "celebrities" and it's always memorable/meaningful when they remember you and stop by your table or say hello at another show down the line.
What advice would you give to someone who is looking to get in to independent comics?
JB: Don't. Just kidding (sort of). I'd say just keep making your own stuff and make as many mistakes as you can along the way. Don't be afraid of making something bad (you will). That doesn't matter. What matters is making comics and racking up a body of work that you'll learn from. You need to have a sort of tunnel vision with this, like any creative endeavor, and ignore the rest. And don't be afraid to ask for help along the way. There are plenty of people in the community, especially online, that are willing to assist if you're not a dick about it. What matters the most is just doing the work, because that's how people will notice you and take you seriously in any way. And whatever you do, do not let others undervalue your work. Time = money, so the more work you put into it, the more your work should be valued.
Cam: Don't do it! And if you are gonna do it, don't ask for advice and just do it. 7. In your years doing the work, what are the important lessons you've learned?JB: I wouldn't call them lessons per se but I've definitely figured out that making comics is a fool's errand. You will make absolutely no money unless you do something in media adjacent to comics, and most people will happily lick a boot if it means getting even the smallest amount of recognition or getting in good favor with certain talking heads and industry types. That being said, it's been very personally rewarding and I can't say enough good things about the great people I've met and grown to admire and respect from doing this dumb racket.Cam: Talk to everyone and continue to be a student of the game. Also, the inside pages of a comic matter, but you gotta hook em in with a good cover. The old saying goes "don't judge a book by it's cover" but to be honest, everyone judges a book by it's cover so make it good. Oh, and don't sit down at your table when you're at a show or else you won't sell anything.
What does your production pipeline look like?
JB: Hard to say to be honest. I'm kind of winging it every single day. Mostly it's just me trying to stick to timelines and making sure I get past the initial bumps of getting the project going. If it's clothing stuff, I usually will have some initial ideas that I then build off of and see which one has legs sooner and go from there. With comics, it's a little more premeditated and I'll often sit on a story or idea for a while before it germinates.
Cam: My production pipeline is like this: I know what shows that I will be doing/have to be at about 6 months to a year ahead of time. In my head, I tell myself that I'll start working on a book 6 months before the show season starts. What actually ends up happening is that I'll just do everything besides work on comics and before I know it, I have 2 months before the show and 24 to 36 pages to finish and I have an emotional breakdown every day until I send it off to the printer. It rules.
Denzel Walkes
Denzel's an independent writer and podcaster from San Diego, CA. In his free time, he dabbles in graphic design, project management, and information technology. Denzel's learning how to run businesses. This site is a testament to the journey.
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