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Nancy Lawrence
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More on Beau Brummell and a Short Story
Posted on November 5, 2019 by Nancy Lawrence
One of my favorite places to shop is my neighborhood antique mall and in Denver we have several. On Broadway, just south of the downtown area, is Antique Row, where antique stores of different varieties pack a seven block stretch. There you'll find an amazing collection of other people's trash and treasures, just waiting to be taken home and given a new life. It's a bargain hunter's dream.
A few weeks ago, I made my annual pilgrimage to Antique Row. While I was browsing through some neatly arranged baskets filled with ephemera, I came across a magazine dated 1901, and in that magazine was a story about Beau Brummel, the arbiter of Regency fashion and champion of sport during the period when George IV was still Prince of Wales.
Beau Brummell immortalized on a 1930s cigarette card.
The story, written by Stephen F. Whitman, is titled "Brummell: An Enigma" and it included some beautiful black and white illustrations.
There are some characters of Regency England that really intrigue me: Lady Jersey, The Golden Ball, and Caroline of Brunswick, to name a few. So when I saw this story about Brummell (also a favorite), I started reading it right there in the store, and decided (as if I really needed to make a decision!) to take the magazine home with me and read the rest.
I wasn't disappointed. Although the story is written in a style popular a century ago, I thought it ticked all the boxes that are part of Beau Brummell's lore:
His immaculate appearance
His three-hour dressing sessions before going out
His legendary falling out with the Prince of Wales
I enjoyed the story, and thought I'd share it with you. So here, for your reading pleasure, is "Brummell: An Enigma," along with the original black-and-white magazine illustrations.
In those days when gentlemen both rose and retired by daylight, and felt themselves but poorly occupied unless engaged in cultivating the vices of the period, society placed a greater tax upon health and morality than now.
George, Prince of Wales, who detested the government that restricted his wild extravagances, was sliding down the dizzy descent of his own choosing, and after him, with as close an imitation of the royal mode as possible, slid the court. Wales was a good leader, and the speed never slackened on his account, although to a person of an anticipatory nature, it would be evident that all this must end somewhere and sometime, with a crash a little above the ordinary.
The future, however, seldom bothered the prince. It was the present that he lived in—the crimson nights of drinking and gaming and prize fighting and love making and, unpleasant but necessary adjuncts, the gray mornings of ever increasing lethargy and stupor.
Royal of line, and of conduct most unroyal, he was a strange prince. And his court, with their exquisite garb and speckled souls, their perfect manners and love of blood and brutality—complex beings steeped in affectation—were the strangest birds that ever picked a quarrel and arranged a duel with smiles and gentle words, or passed eagerly from a lady's perfumed boudoir to the reek of the prize ring.
One fine January afternoon, they were beginning to straggle into Watier's Club for a bit of breakfast, just as they always did, these small-waisted, square-shouldered gentlemen of pale, emotionless faces and superb carriage.
The great foyer, with its glistening chandeliers and many little glass laden tables, was presenting each moment a scene of greater animation. White wigged lackeys slipped among the chairs, their swift movements contrasting peculiarly with the languid action of the courtiers they were serving.
They were nearly all there now, fresh from their three hour ordeal with hair dresser and valet—spotless, immaculately clothed. The broad oak doors would swing shut after the last of them by half past two. No, not the last of them, after all.
At twenty minutes of three, a gentleman, remarkable for the tightness of his pantaloons, the splendor of his ruffles, and the cock of his Corinthian beaver, alighted from his covered chair, fastidiously picked his way across the muddy gutter, and ascended the broad steps with a manner that was a work of art.
A passing carter pulled up his horses with a jerk, and peered after the erect, perfectly groomed figure, while a chandler and a bakery boy gaped, wide eyed, into the great doorway, until the sudden and unexpected descent of a very large footman put them to flight.
In the foyer, at this particular moment, a man in a rather startling canary waistcoat and glistening Hessians was turning the crackling leaves of the great betting book, and reading the recent wagers in a drawling undertone, for his own amusement evidently, as the succession of absurd bets caused absolutely no change in the immobile faces of the group about him. Wagers at Watier's, even the most reckless and silly sort, were of too common occurrence to excite even passing interest.
"Mr. Moore wagers Mr. Haddon thirty guineas," he read softly; "thirty guineas that Mr. Moore will drink thirty cases of Burgundy in a week." He paused and raised his eyebrows a trifle. "If the bet is to be really decided," he commented in the same tone, "I shall bet that he will, too." He turned to the next entry. "Mr. Brummell wagers Mr. Raikes fifty guineas that ruffles will go out within the year."
Two or three men turned slowly in their chairs and regarded him inquiringly. The subject of dress seemed to have partially awakened them from the general apathy.
The gentleman of the canary waistcoat reread the last entry, and pushed the book back among the glasses and bottles on the table with just a shade of annoyance.
"You might almost call that absurd," he remarked, frowning. "Are hats and shoes going out, pray? Then, why ruffles? I hold that to a gentleman they are entirely necessary—it would be folly to dispute it for a moment. And how, I would like to know, shall they be put out?"
"The way it will be done, my dear Bully, will be by my ceasing to wear them."
The voice came from the door, and involuntarily every head turned in that direction.
On the threshold stood the gentleman who had but a moment before attracted the admiration of the carter, the chandler, and the baker's boy. He glanced about him slowly, tapping his snuff box with his fingers, and wearing on his pale face an expression half indifferent, half inscrutable, that clothed it like a mask.
At his entrance, an outsider's opinion of all the rest would have changed swiftly and readjusted itself. The other men, with their airs and style and mannerisms, had suddenly become but imitations of an original. And this man was the original.
He moved across the room deliberately and quietly, bowing slightly now and then, swinging his cane and flicking his snowy ruffles with an air that was perfection.
When he finally chose a seat at a table, the men about it made room for him with a readiness that had almost a hint of alacrity. Brummell, the arbiter, the beau, who had the prince's highest favor, was not the person to confer the honor of his company indiscriminately, even among the elect of Watier's.
When the lackey had brought him his tiny glass of maraschino, he made no offer to engage in the conversation, which finally took on life again to some extent, and wandered through the themes of horses, women, prize fighters, and tailors, but never beyond.
In a pause, it was noticed that Brummell's gaze, which had been traveling languidly about the foyer, was fixed upon two card players as near to annoyance and disgust as that gentleman ever permitted himself.
"Who is that person?" he asked, nodding his short auburn curls. "That person in the buff coat. Who, in Heaven's name, is he?"
Two or three men turned and looked.
"It's Jack Payne and some Lincolnshire friend of his," said one. "Why?"
Brummell closed his eyes gently.
"Why?" he repeated, in a tone that made the other flush uncomfortably. "Good God! Look at his coat. Can't you see at this distance that it was made for a hansom driver or a bailiff? And I suppose that hat on the chair is his? Look at it. I ask you, gentlemen, if this is Watier's or a diving cellar? How in Heaven did a man with such a hat and coat get in here?"
Everyone turned now and regarded the offender. "He's from Lincolnshire, Brummell," repeated the man who had spoken before, "and a friend of Payne's. What is a person to do?"
Brummell nodded to a waiter.
"Turn my chair around," he said. "The other way. There. And another maraschino. A friend of Payne, then? I shall never forgive Payne for bringing him here in that coat! I feel quite ill, upon my word."
He sipped his cordial delicately, wrinkling his brow from time to time. The others were silent and rather uncomfortable. The Lincolnshire person, however, continued to play cards, unconscious of offense.
A young man with a flushed cheek and hollow eyes threaded his way among the tables, and tapped the Beau on the shoulder.
"Morning, Brummell," he said in a low voice. "The prince has just driven up and gone into one of the private rooms. He wants to see you."
Brummell frowned slightly for a moment, and played with his glass. Then he looked up.
"'Our Ben' is up early today," he said, with a little smile. "It must be important business that brings him out at three."
He finished his glass without the slightest haste. Finally he rose.
"We'll go to him," said he. "Keep on this side of me, Lee, that's a good fellow. I wouldn't look at that coat again for worlds. Come on."
They passed out through one of the side doors, Brummell swinging his slender cane and humming an air from the opera. In the corridor he paused and regarded the other for a moment by the dim light.
"Jack," he drawled, "I've had a sort of foolish desire to see you get on in the world, but you seem determined to drag yourself back. I've done all I could for you. Last week I gave you my arm from the club to St. James' in the height of the afternoon, but I really can't do it again. My boy, your clothes look as if you were your own tailor. Let me see that hat."
He took it gingerly between his thumb and forefinger, and regarded it, shaking his head.
"Out of date," he said sadly; "out of date by three months. Look at that clouded cane—I don't have to tell you that it's archaic. Now, take a word of advice from Beau Brummell. You have the income to dress; you have the figure to put clothes on. Brace up. You may be possible some day, really. Good bye, good bye." He sauntered down the corridor, humming lightly to himself.
Finally he came to a door which a footman in the royal livery opened. He passed in, and laid his hat down on a table garnished by a number of bottles, although there was but one occupant of the room—a heavy man, with a round, red face, half concealed for the moment by an elevated glass. Brummell shut the door and sank into a chair. The prince put down the glass.
"Morning, George," he said discontentedly, frowning at the bottles. His hands, resting on the edge of the table, were twitching now and then involuntarily. Brummell noted it carelessly from where he sat. The effects of inherited ills developed by extreme dissipation were a source of interest to him, although no one would have suspected him of being interested in anything.
"Morning, George," replied Brummell, opening his snuff box and passing it over. The prince waved it aside, and poured himself another glass.
"You're out early today," said the Beau, with a little yawn. The prince twisted uneasily in his chair.
"'Od's bones, man," he said, "I know it. It's no pleasure for me to lose my sleep. The fight wasn't over till four this morning. I suppose you know that the black won? He had the Smasher a sheet of blood from his hair to his waist before he put him under."
Brummell frowned. "Very careless of the Smasher," he murmured, flicking his ruffles.
"I've lost a hundred guineas on the ass, whom, you may be sure, I won't dignify by my money again."
Brummell picked up an uncorked decanter and held it to his nose.
"Canelle!" he said, with a faint grimace. "Wales, when will you learn to leave that alone? I abhor the stuff. You will be wearing ear muffs and pitching coppers next, I imagine."
The prince growled unintelligibly, and dived into his snuff box. Brummell hummed softly to himself, and noted that the other appeared to be suffering somewhat from embarrassment.
"I suppose," he said, after a moment, "that you didn't send for me to drink that stuff under my nose? If you did, I must send for some gentleman's mixture, out of self protection. Just ring the bell, will you, George, and order a bottle of maraschino?"
Wales' red face turned a bit ruddier, and he glared covertly at the other. There were some who said that someday Brummell would go a step too far. Perhaps Brummell liked to play with fire, but if it once got beyond his control—The Beau might be arbiter, but Wales was the prince.
"We'll let that wait," growled the latter. "I've got something to say to you. They say you cross the Channel tomorrow?"
Brummell nodded languidly. "I've got to run over to Lyons to decide on some waistcoat patterns I'm having made. It's a devil of a bother, but a man must wear clothes. Why?"
The prince fidgeted uncomfortably for a moment.
"Because," he said, "I've important papers that ought to go to Paris—papers I can't trust to everyone—and as you're going to Lyons, I thought—"
"Exactly," said Brummell. There was an awkward pause. "I suppose," remarked the Beau, "it's those foreign loans again?"
"Precisely," replied the prince very eagerly. "That is it, precisely. You're one of the few that know the particulars, you see. And then," he added peevishly, "I can never tell when a letter gets to its place without being opened. You know," he leaned forward cautiously, "you know the last ruling of Parliament on it. They know I must get money somewhere. Today I thought I saw a man—" he stopped. His hands were twitching again. Brummell watched him with half shut eyes. It was a half formed delusion with Wales that spies of Parliament dogged him constantly. His father had had delusions, too; and—everyone knows the rest.
"It wouldn't inconvenience you much, would it?" asked the prince at length.
Brummell looked at the ceiling. He was thinking of the old king with the wrecked mind, and the old king's son had to repeat his question.
"The mail from Lyons to Paris," said Brummell, wrinkling his forehead, "is atrocious, and the people one has to travel with are perfectly unmentionable. However, I should be going to Paris soon, and it may as well be now as later. Have you got the letters with you?"
The prince began to fumble in his pocket hurriedly.
"Here it is," he said quickly; "only one letter, to be given to a Vicomte de Vigny, who'll wait in the foyer of the opera from seven on, Friday and Saturday nights. I'm sure it's very good of you—"
Brummell rose and took the letter. "Don't mention it, George," he drawled, "don't mention it. I wouldn't do it for everyone, however. I'm off on the mail at seven o'clock tonight." He paused and regarded the prince, with his head on one side. "Who is your tailor now?" he asked suddenly. Wales, who had also risen, hesitated and looked down at his clothes anxiously.
"Bennet," he said; "the same, you know. Don't you like my coat?"
The Beau looked at the garment from three positions, with very much the manner of a person contemplating a rare curiosity.
"Do you call that a coat?" he asked softly. "Just as you say, of course. Well, allons—au revoir."
Outside the door, he paused and addressed the footman.
"His highness wants a bottle of maraschino," he said, and passed on. And at seven that night he took the mail for Dover.
The tempo of conversation alone would have hinted to an observer that it was a Gallic, and not a Saxon, assembly, and the appearance of the women would have decided the suggestion.
It is remarkable that a narrow channel alone separates two countries whose women are so strikingly dissimilar.
The men—but the difference here was most noticeable in the covered lip, and the quick movements of the hands when conversation became lively. Over there in London, it was all smooth, calm faces above white ruffles and the deliberate tapping of snuff boxes. Here in Paris, it was fierce little mustaches, and much shrugging of shoulders, changing of pose, flashing of eyes.
The scene was pleasantly animated. The opera foyer was crowded with the bright toilettes of the women and the light coats and gold spattered uniforms of the men, that blazed and sparkled under the immense glistening candelabra. Through the open doors on one hand, the strains of the orchestra, playing the entr'acte, drifted in and mingled with the laughter and murmur of voices, while through the tapestry swathed windows on the other came the faint rattle of the Rue Richelieu.
Presently, after the crowd had moved back again, with bows and smiles, to the boxes, the second act of "Héro et Léandre" began.
It was while Mlle. Armand was singing her celebrated aria that Brummell passed through the arched main entrance and into the opera foyer, swinging that slender cane of his, and glancing about lazily through a ribboned quizzing glass, which he held daintily to one imperturbable eye.
A man moved from beside the auditorium entrance, and came towards him quickly. Before he had taken a dozen steps, the Beau's gaze, which seemed to rest on him with the utmost indifference, had taken in every detail of his appearance—a dark, rather hard face, evening clothes with which Brummell could find no glaring fault, a diamond or two that sparkled from finger and ruffle, excellent legs, and a certain air.
"Monsieur is from London direct?" asked he stranger courteously. The Beau executed one of the bows for which he was famed.
"If monsieur is the Vicomte de Vigny," said he, "I have the extreme pleasure of transferring to him a letter from—" He paused and appeared to be intently studying the top of his snuff box. The pause lengethened out.
The Frenchman regarded him curiously, and then shrugged his shoulders, dived into his pocket and drew out a slip of paper, which he held out towards Brummell. The Englishman looked at it through his glass, without offering to take it, however. Across it was scrawled one words, "Wales." Brummell bowed again, and, taking from his coat the prince's letter, handed it to the other.
De Vigny broke the seal and began to read. Brummell sauntered a little distance away, and helped himself to a pinch of snuff, after which he inspected his surroundings with vague interest. In the auditorium the aria was over, and Léandre, somewhat throaty, was singing to an appreciative chorus.
Finally, the Frenchman came over to the Beau, holding the open letter in his hand.
"Do you intend, monsieur," he said, with a frown of perplexity, "that the lady shall accompany you?"
Brummell stared at him for a moment. "The lady?" he asked finally.
De Vigny's shoulders went up. "Yes," he said, "certainly, the lady. Why not?"
Brummell laid three fingers gently upon the sleeve of his coat, and motioned towards the door.
"Monsieur le vicomte," he remarked, "I think that we may consider this in a private room, with discretion."
They went out together into the night, and down the Rue Richelieu a bit they came to a brilliantly lighted wine house, beside the Library.
When they had passed in and made their way between the crowded tables of the salle, they were shown to a private room. Waiters lit candles, brought wine and cards, and left them.
Outside of the door was a hall, beyond was the salle. On the other side, a window looked out on a little clump of poplars and a flower bed. Beyond that was a wall and the housetops, pale in the moonlight.
Brummell seated himself, and regarded the other attentively for a minute.
"You were speaking over there, monsieur le vicomte," said he suavely, "of a lady. I should be delighted now to hear more on the same subject."
De Vigny drank wine and smiled.
"You seem to be somewhat in the dark," he said, "and I can hardly understand it. When I was told to meet a gentleman at the opera down there, I thought it was I who should take the orders; but it seems the wind blows the other way. The lady, naturally, is the lady in the case—Mademoiselle Vassey, the debutante at the opera this year. You know the fancy his highness has taken to her, and that it is his wish to introduce her at the court. Mademoiselle, on the other hand, does not exhibit that appreciation which might be expected, perhaps because she is so young—altogether an ingénue, and does not know enough of the world to appreciate the prince's philanthropy. Therefore, she is to be persuaded by other means." He broke off, and unrolled the letter again.
"By other means," he repeated lightly. "His highness, you see, has just written that she is to be conveyed to London. You understand. What hesitation mademoiselle's unwillingness might cause us will easily be overcome by the prince's power and resources. Therefore, I asked you if you were going to accompany the lady, and you will perceive that we have again arrived at that question."
There was a little pause, in which Brummell poured himself a glass of wine with the utmost deliberation. His rather pale face bore a peculiar pallor, which was unusual. People who knew him as intimately as he ever permitted knew that mark. Buck Ainsley had known it at Tunbridge Wells. But that is ancient history.
He sat forward now, and began to speak. With his first word, de Vigny looked up in surprise. It was as though it was another man's voice, and the face caused him still greater astonishment; for once, that mask of languid apathy and indifference was off. Perhaps, for a moment, the Frenchman thought that another being looked at him out of the gleaming eyes opposite, and that another voice spoke through the thin lips.
"You have just told me some very interesting things, monsieur," said the Beau, "and I owe you some tale in return. Had I known the contents of that letter you hold in your hand when the Prince of Wales asked me to bring it here as a favor, by God, sir, I would have torn it up and cast it in his teeth. Furthermore, while you did not know my name, you did very delicately honor my appearance by considering me equal to assisting you in a most despicable crime—I shall call it nothing else, sir. Let me assure you that George Brummell is not in the habit of acting as a kidnapper, even for a royal maniac, or of sitting in the same room, sir, with one of his servants; and, while I believe you are no more a vicomte than I am the Pope of Rome, I take great pleasure in telling you that it is extremely doubtful that you ever pass out of this room other than feet first."
He rose quickly from his seat, picked up the prince's letter, which had fallen between the bottles, and lit it in the flame of the candelabra. When it was blazing well, he tossed it on the floor, and rang the bell. A servant appeared at once.
"Go into the main salle," he said, "and pick out two officers sitting together—any two. Bring them here at once."
He turned and regarded de Vigny, who had risen and, with a black face, was pouring out a continuous stream of assorted oaths and blasphemy of a personal trend. The Beau smiled slightly. Now, strangely enough, the mask was slipped back. He was almost the Brummell of Watier's again.
"Very diverting." he remarked. "If you will pardon me for a moment—"
He sat again at the table, and, drawing out his tablets, scribbled:
"Mademoiselle:
The desire of a certain Personage to present you at a Court across the Water has tonight placed you in a Danger which I, although not having the extreme Pleasure of your Acquaintance, am Happily able to Dissipate. Hereafter, I should advise you to surround yourself with Safeguards of the Strongest Sort."
He hesitated a moment, and then folded it unsigned. On the outside he wrote:
"Mlle. Vassey, l'Opera, Rue Richelieu."
Then he tore off another sheet, and wrote:
Just a Line to correct a Mistake. I am neither your Servant nor your Intriguer, and I Marvel at your Presumption in confiding such an Office to any Person above the caste of a Bailiff.
I regret that you must Procure a New Vicomte, as this one is about to join his Illustrious Ancestors.
It would appear that you might have skimmed Drury Lane for a more sure and less Particular Messenger than
. . . .George Brummell.
This he folded, and on the cover he wrote:
"George, Prince of Wales. Burlington House, London."
So, once again, the, arbiter was playing with fire, and the little flame within the letter was to run many miles ere long, and kindle a blaze of no small proportions. Perhaps he foresaw something of it as he sealed the papers and put them in his pocket, but his movements were as slowly decisive as ever, and now his face was immobile again. His pride had been outraged, and that Corinthian honor of his had been belittled. Because of that, there could be no two ways of procedure. He was Brummell.
Whatever his reflections were, they were soon ended. He glanced up, and regarded the Frenchman, who was looking out of the window at the moonlight, his face swollen with passion and his mouth muttering lurid curses.
Brummell yawned behind his slim white hand.
"You are a very unfortunate vicomte," he said, with a little smile, "but you are having a considerable honor done you at the last."
De Vigny wheeled fiercely, and stretched out a shaking hand towards the other.
"At the last!" he cried hoarsely. "Ha! In five minutes you will be sticking on my sword point, you white cheeked, thin waisted English dandy!" He said more besides. He was not afraid anymore—he had only been startled during that little while that Brummell's face had been somewhat different.
The English dandy took a pinch of snuff, and raised his eyebrows. Then the door opened and two officers entered. They bowed, and came forward quickly. The Beau waved his hand gracefully towards de Vigny.
"This gentleman and I," said he, "have differed. I regret the necessity of taking you from your table, but I am sure that you will be witnesses of a very short settlement. If I might make the suggestion, I would recommend monsieur, who, I perceive, is of the Royal Horse, to my vis-a-vis."
The soldier nodded, and pronounced his name and that of his companion.
"Colonel Mouilly. The Vicomte de Renanie. The servants, you know, are curious. These little affairs are noised about very quickly. If anything is to be done, it must be at once."
The Beau picked up his cane, and twirled it lightly. "My name is Brummell," he said.
Colonel Mouilly stared. "George Brummell of Watier's?" he cried, finding the English names difficult. "Name of God! I knew I had seen you somewhere! De Renanie, look! When I was in London last year, it was this gentleman who fought a prize fighter in that punching ring of these English—fought him with his bare hands for an hour, on a wager. Monsieur Brummell, I know you. You are the man who is bloodied by a prize fighter, and yet who will wash in nothing but silver. Ah, you English!"
He smiled, probably at the recollection. Then he recovered himself, and locked the door quietly. De Renanie was moving back the table and chairs with a despatch which proclaimed no ignorance of the impending pastime. Brummell had carefully removed his coat, and was engaged in turning back his sleeve ruffles with the most scrupulous attention.
"I am delighted to have a real vicomte with us at last; the air has already cleared it little." He spoke softly, as though to himself. While he was loosening his waistcoat de Renanie came across to him.
"Monsieur Brummell," said he, "you across the water have stopped carrying swords. Will you take mine?"
The Beau picked up his cane again with a glimmer of acknowledgment about his mouth.
"A sword is a handy thing," he said, "is it not?"
Then he twisted the stick between his hands, and from its interior drew out a long, slim blade.
"I have often thought, monsieur le vicomte," he remarked reflectively, bending it against the table, "that this cane of mine is an example of how the exterior may deceive. It applies—" He looked up absently towards the ceiling. "Yes, I may say that it applies admirably to . . . some men."
De Vigny, stripped to his shirt, was beating his sword savagely against his thigh. He sneered angrily, and reached for a glass of wine.
Brummell tightened his waistband deliberately, and then sauntered forward into the middle of the room. Where the ruffles of his sword arm were turned back, the muscles swelled like twisted strands of rope.
Brummell tightened his waistband deliberately, and then sauntered forward.
"It is chilly here, gentlemen," he drawled; "shall we get to work?"
The officers bowed, arranged the lights, and stepped back. Instantly, the two blades crossed and ground together, clashed and ground again.
Outside, in the little hallway, a waiter leaned against the bolted door, and listened to the faint metallic clashes and thud of feet. Once there was a moment's pause, and then it began again. Inside of two breathless minutes, there was a muffled cough, an exclamation, and a fall. Shortly, the bolt was drawn.
In a little while there issued forth two French military men and a gentleman faultlessly attired, and English by his dress. They sauntered towards the salle, talking together lightly.
"You are quite right," the Englishman was saying, as he swung his cane, "the lunge you speak of is the surer move in that case; but I think you will agree with me that the other is a very pretty play."
At the entrance to the salle they stopped.
"You go back to England at once, monsieur?" asked the colonel.
Brummell's eyes turned indifferently towards the closed door of the little room they had left.
"I shall be leaving Paris," said he, "but not for England yet. You have been to Avignon, messieurs?" The two soldiers nodded. "I sometimes think," said Brummell softly, "that it is the fairest spot there is. It is not the place so much, perhaps, as the—associations. The cool remembrance of a week spent there will carry a man through the furnace of the London season."
He paused and regarded them curiously. "You have the honor, messieurs," he said, smiling, "to have heard me speak in a most unusual vein. What odds? This is Paris, not London." He bowed low to them, and, passing between the tables, went out into the moonlit street.
The fresh, pale green of spring was rustling above the Mall. From the trees and lawns came the songs of birds, and from farther off the dull rumble of the London streets. The afternoon crowds were filling the broad walk, and it was all sunshine, bright gowns, and faultless coats under the moving branches.
Three men had paused to speak to an old gentleman sitting on one of the benches.
"Take my word for it, boys," he was saying, his wrinkled face twisted with a wry smile. "Take old Captain Grownow's word for it, he's off at some game that will set you all staring when he comes back. Four months? Ha! What's that to a young man? He went in a hurry, but George Brummell's not the boy to do old things. He's up to something, I know. I was a bit of a Mohawk myself once, before you young bucks began to ruffle it."
"He went without a word," said one of the others, "and, egad, there's been not a hint of him since. Even the prince—" He stopped, and looked around him.
Old Grownow looked up curiously. "They tell me it's not all straight between George and Wales now," said he. The others nodded.
"Worcester has spread it that Wales will not hear his name now," said one. "But that came up some time after George had gone."
The crowd was thick in the walk now. A man resplendent in a blue coat and Hessians made his way towards the little group about the bench, with a near approach to haste.
"Bully, Payne, he said at once, "who do you think is coming up the Mall?"
The four turned, and perceived, at some distance, a well known erect figure, walking slowly and bowing from side to side with an elegant grace. He had come back.
In a few moments he reached them and smiled. People along the walk moved as slowly as they could without stopping altogether. The whole Mall seemed to know at once that Brummell was back again.
"Heigho," he yawned, in his old way. "It's good to be back in town again."
His eye fell on Raikes, and he raised his hand gently to a quilted cloth he wore folded about his neck.
"They're not going to wear ruffles anymore, my boy," he said seriously. "You notice I've stopped it. I believe—" He looked up at the trees for a moment. "Yes, I believe we had a little wager on it, didn't we?"
There were a dozen young bloods in the group now, cocking their hats and fingering their snuff boxes. The old captain laughed from his bench.
"London is itself again," he chuckled. "We were lost without an arbiter, George."
The Beau turned. "Impossible, captain," he said, with one of his rare tones of sincerity and deference remarkable in him. "While you are here, London does not lack an arbiter. In your youth, sir, you were a great man, and your fame still lives on. You were the only man of your day who knew and appreciated the niceties of dress."
Another figure hurried up, and, catching Brummel by the arm, pulled him aside. It was young Jack Lee. His face was agitated.
"My God," he whispered, "why did you come back now? The prince has been against you for months. Someone has told him that you are here, and he swore that he would cut you in the Mall. You know what that means, George. Go away—go away at once, before it is too late."
Brummell's eyes narrowed. "Where is he?" he asked, turning quickly.
The other made a covert gesture with his hands. "He's coming down the walk," he groaned. "But you have time, George; you have time."
The Beau laid his hand gently on the other's shoulder. "You're a good boy, Jack," he said. "He will cut me to break me, then? Indeed, he seems to forget that I am George Brummell." He turned to the others. "Gentlemen—" He looked around the little circle— "the prince is coming. Let us go and meet him."
They set out along the middle of the walk under the great trees, Brummell a little in advance. Jack Lee was pale, and from time to time glanced ahead fearfully. Perhaps Brummell was a little paler than usual, too; but it was the pallor that had come on him in the Paris wine house.
Word of the impending meeting and the prince's threat must have flown on wings, for the grass was crowded with ladies and beaux alongside that part of the path where the two parties must meet. They were nearing each other now, and the crowd of onlookers grew hushed.
It was quite evident to the dullest that if Wales intended to keep his word and cut the Beau, it would mean ruin to Brummell. It flashed through the minds of the intimates of both principals in the scene that the arbiter had perhaps played with the prince once too often, in some way.
There was hope yet, though, if Brummell would bend. Everyone felt that there was hope yet.
Wales was ten feet away now. The only sounds were the crunch of gravel and the voice of the prince, who was engrossed in talking to Lord Worcester. When the presence of so many people in so deathly a silence forced itself on his mind, he looked about him in astonishment.
As he saw the Beau, his stout face darkened and stiffened. The memory of that letter burned his brain like fire, and fire seemed to smolder in those bloodshot eyes. Brummell's little following, hardly wishing to be identified in the probable disaster, had fallen back. Jack Lee walked on beside the Beau.
Now the prince and the arbiter were almost abreast. They looked into each other's eyes.
Then Brummell turned to Lee, and his voice cut the still air with a distinctness that was startling.
"Jack," said he, with just a shade of interest and amusement in his voice, "I wonder who Worcester's fat friend can be? I'm a little surprised at his lordship for bringing him to the Mall in such a coat."
"I'm a little surprised at his lordship for bringing him to the mall in such a coat."
A gasp went up along the Mall, and Jack Lee clenched his fists.
And the prince—the prince grew almost pale, as pale as was possible for him; opened his mouth, shut it, and passed on.
Then Brummell, with the same slow step that he had neither slackened nor hastened, passed on between the frozen lines of people—cold, graceful, perfect, with a far-away, abstracted look in his eyes, and a face that held the vestige of no emotion under the sun.
The story ends a bit abruptly and at a place where I'd love to know more, especially in regard to what Brummell did next; but overall, I enjoyed this story. I also liked the insights the author imagined in regard to Brummell's personality. He made him the consummate Corinthian—cool, urbane, witty, and powerful. That's a characterization Georgette Heyer and other Regency romance authors perpetuated for decades.
I hope you enjoyed the story, too. Please let me know what you thought of it!
Posted in Regency Life, Research and History	| Tagged Beau Brummell, Brummell: An Enigma, Free Story, Prince of Wales, Prince Regent, Short Story, Stephen F Whitman
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Definition - What does Fire Fighter mean?
A fire fighter is a person or employee who fights and extinguishes fires. This individual has theoretical and practical knowledge about procedures by which to extinguish fires using the correct type of extinguishers or other appliances.
A fire fighter is also commonly referred to as a fireman.
A fire fighter may be an appointed or a trained person who rushes to the scene of a fire and uses an extinguisher or other tools to put out the fire. Usually, fire departments, other organizations and big enterprises have their own fire fighters, whether contracted or trained for voluntary services. Fire fighters may also perform HAZMAT search and rescue duties. Most fire fighters are also trained to provide medical first aid. Some are specialist fire fighters, such as structural fire fighters or wildfire fire fighters. Professional fire fighters of the government and other public services are highly trained, wear special personal protective equipment and gear and use special vehicles and equipment.


There are 6 shops proposing this game for download at an average price of $ 8.23. We found the best promotion ongoing with a discount of 64%.
It's a little rough around the edges but Meridian actually makes for quite an entertaining addition to the RTS genre, as typified by Starcraft and Command & Conquer. It's quite remarkable for the simple fact that's the work of basically one guy but it also adds in some nice adventure/RPG elements as well as some meaningful decision making. The plot finds you as a pioneering explorer on a new world, where you must engage in combat with the natives, while also making plenty of decisions as to how to build up your base and develop your resources. You can chat with your crew, with the outcomes having effects on the future, while combat is pretty deep, with lots of units, abilities and options which you can customize and make use of in your own way to play how you want to. You can adopt a trading approach if you're not into combat, research powerful weapons so you wipe your enemies from the face of the planet with sheer force or take a stealthy approach and sneak around. Meridian doesn't offer a whole heap that's new to the genre, but it does it with a general sense of passion and commitment. As the work of one person, it doesn't really shine in any one aspect, with some bland music and solid visuals, while the campaign itself is a little underwhelming and gets repetitive. There are some strange gameplay choices too, such as an inability to repair buildings, which make things a bit baffling at times, but on the whole this is a solid if not quite classic addition to a crowded genre.


text:
The Paisano • October 15, 2015 • https://paisano-online.com/6146/magazine/a-closer-into-the-conversation-partners-program/
A closer into the Conversation Partners Program
Photo courtesy Alfredo Silva
Imagine moving to a new country, attending a different university while trying to adapt to an unknown lifestyle. It sounds pretty intimidating, but UTSA's English as a Second Language Services (ESL Services) has found a way to help these students at UTSA with The Conversation Partners Program (CPP).
ESL Services is an instructional program for students whose dominant language isn't English, offering different English for International Students (EIS) classes along with other programs like The Intensive English Program (IEP), the International Teaching Assistants (ITA) and — of course — CPP.
CPP pairs international students with native English speaking students in order to help them better adjust to the San Antonio community. The formal partnership is semester-long arrangement in which the partners meet at least once a week at a location or event of their choice (ie. seeing a movie, studying at the library, visiting La Cantera).
During the event, the partners are free to talk and simply enjoy each other's company. As a result, the program not only helps international students improve on their English speaking skills, but also gives native students to connect on an intercultural and global level.
UTSA senior Alfredo Silva is one of the students from the CPP that found this connection. He joined the program his sophomore year after seeing an ad on campus.
"I told myself 'If I were in a foreign country, I would more than appreciate it if a local student wanted to help me learn the language on their own time," Silva says.
From there, Silva met Shicheng Zhou — an international student from China. By coincidence, Alfredo had been planning on going to China the following summer. Upon explaining this to Zhou, the two struck a deal: if Silva taught Zhou English, then Zhou would teach him Chinese.
Rather than the required once per week meeting for the program, Silva and Zhou decided to go beyond the norm, seeing each other almost everyday. This was the unusual start to a unique friendship.
"Zhou learned so much English, he began to start asking me to teach him Spanish," Silva says.
Between teaching each other about their languages and cultures in addition to seeing each other on a daily basis, the two became best friends.
Fast-forward two years later to August 1, 2015, and Zhou stands proudly as a groomsmen at Silva's wedding. Side by side with Silva's closest friends and family to watch his best friend get married, you'd think Zhou would have known Silva his whole life.
"I am extremely grateful that I was given the opportunity to make a new friend , who eventually became one of my best friends," Silva says.
The program has truly given more than the two ever thought it would. As a result, Silva has even encouraged many of his friends to try the program as well.
Considering the program is free, an easy way to learn about a different culture in your own backyard and the possibility of new friendships, why not try it out?
For more information on the program and how to get involved, visit http://education.utsa.edu/bicultural-bilingual_studies/ESL_Services/.

redpajama_set_name: RedPajamaCommonCrawl


Wird wieder mal Zeit, das Handwerk zu zelebrieren. Kein Problem mit diesem wunderschönen Video von geekhouse bikes, die in Boston Fahrradrahmen zum größten Teil komplett von Hand bauen.
Buying a bicycle from an independent builder means that each frame is built one by one and with love. Whether you choose a stock or a custom model each frame is built specifically for you. Our products use a large percentage of domestic tubing and locally machined parts. We work off of a sustainable and green business model, and absolutely love what we're doing. There is a large difference when buying a Geekhouse and we'd love the opportunity to create your next dream bike.
Und weil's gerade passt, hier noch mein Lieblings-Fixed-Gear-Video.


text:
DYNAMISM
Created with perfect balance between strength and emotion.
TEST DRIVE Find My Local Dealer
THE SPIRIT OF ALFA ROMEO, TAKEN TO A NEW LEVEL
Since 1923 the Quadrifoglio has been the emblem of all Alfa Romeo racing models. Invented by the winner of the Targa Florio, the legendary driver Ugo Sivocci, the four-leaf clover still stands tall today as a trademark of uncompromising performance and Italian passion for motor racing. All the Brand's sportiest models have borne the Quadrifoglio and the very first Alfa Romeo SUV, is no exception: Stelvio is the very first Quadrifoglio that is also an SUV. Conceived to be the best in its class and excel in terms of power, dynamic performance and handling capabilities, it is created to embody "La Meccanica delle Emozioni",
SCULPTED TO PERFECTION
A timeless icon, re-imagined
Giulia Quadrifoglio was the first chapter of a huge comeback and Stelvio Quadrifoglio is destined to continue this proud heritage. From the iconic front Trilobe to the muscular lateral bodywork, the high-performance version of Alfa Romeo's first SUV truly embodies the iconic, Italian approach to car design. Perfectly proportioned, styled to stand out and created to deliver incomparable driving pleasure.
POWER IN ITS MOST BEAUTIFUL FORM
Breath-taking at first sight
From the air vents on its hood to the dedicated bumpers and wheel arches, from the 20" alloy wheels to the exhausts specifically created for a powerful, adrenalised sound: everything about Stelvio Quadrifoglio's look is aggressive, surprising and unmistakable at first sight. The search for balance is reflected in its essential and muscular lines, perfectly balancing style and dynamism.
THE LINES TRUE DRIVERS PREFER
The panoramic view begins with the interiors
Sit at the wheel of Stelvio Quadrifoglio and you are immediately struck by the refinement of its interiors, a superb attention to detail and the use of exclusive materials like the leather luxuriously framing the 7" TFT display and 8.8" Alfa™ Connect Nav 3D monitor. Upholstered in leather and Alcantara®, its seats lend it further sportiness and elegance, whilst Sparco seats, with a carbon shell ensuring absolute support even during the sportiest driving, are available on request. The interiors are customisable in three different colours. Alcantara®/leather and carbon fibre finishes for the steering wheel are available on request.
UNCOMPROMISING EXCELLENCE
Quadrifoglio's unique hallmarks
Stelvio Quadrifoglio features a unique driving position: high yet sporty. In a cockpit that is minimalist in its design and sophisticated in its details, the driver is always at the centre of the driving experience. Likewise, in the interior, where excellence in performance meets maximum comfort, the most exciting driving emotions find freedom of movement. Details like the red start button with steering-column mounted aluminium paddle shifters elevate the performance-centric details to new heights, ensuring the driver knows: this isn't your ordinary SUV.
EXCLUSIVE ALFA ROMEO INNOVATION
Unique technical solutions
The Alfa™ Chassis Domain Control (CDC) is the brain that integrates the actions of the Electronic Stability Control (ESC), Alfa™ DNA with RACE mode, Alfa Active Torque Vectoring, Alfa Active suspension, and the Integrated Brake System (IBS). Moreover, the Alfa Romeo Q4™ All-Wheel Drive System guarantees maximum traction in all road conditions, while Torque Vectoring improves traction in the acceleration phase reducing understeer or oversteer. The Alfa link suspension system, the lightweight platform, the perfect 50:50 balance between the two axles, all guarantee extraordinary dynamism.
ALFA™ CDC
Confidence comes from control
Aboard Stelvio Quadrifoglio, safety systems and all its active systems involving behaviour on the road are instantly coordinated by the exclusive control unit Alfa™ Chassis Domain Control (CDC). From the Alfa™ DNA Pro to the Alfa™ Active Suspension, from the Alfa™ Active Torque Vectoring to the Alfa™ Integrated Brake System (IBS), all the functions are synchronised to ensure the driver is rewarded with that unmistakable Alfa Romeo touch: unparalleled driving pleasure.
The ultimate safety systems
Stelvio Quadrifoglio features Forward Collision Warning (with Autonomous Emergency Braking and pedestrian detection function), Lane Departure Warning, Adaptive Cruise Control, Stop&Go function and Blind Spot Monitoring that continuously monitor the presence of obstacles alongside the vehicle. These advanced devices ensure a high level of safety in any driving condition.
The Integrated Brake System (IBS) is an electro-mechanical device combining the functions of both the stability control system and the braking system. Besides ensuring important weight optimisation, IBS offers high-precision braking inputs from the pedal, thereby providing immediate feedback. Furthermore, when the ABS steps in, brake pedal vibration is reduced, working in tandem with stability control.
ALFA CDC
Thanks to Apple CarPlay integration, part of the Alfa Connect system, it is easy to use an iPhone while staying focused on the road. The following video clearly explains the Apple CarPlay features.
Discover the video
Unfortunately, not all functions are available in some countries. For more information, please see: https://www.apple.com/it/ios/feature-availability/
Thanks to Android Auto™ integration, part of the Alfa Connect system, it is easy to use your smartphone, while staying focused on the road. Keep track of your favourite things, like news, instant messaging or music, with Android Auto™. Learn more by watching a short video.
Unfortunately, not all functions are available in some countries. For more information, please see: https://www.android.com/intl/it_it/auto/
SEND MESSAGES – SMS
Staying in touch with everything you love is easier than ever. Once you connect your iPhone using Alfa Connect, the Bluetooth enabled tool will start receiving, reading and sending SMS notifications using the car display. Learn more by watching a short video.
Thanks to Android Auto™ integration, it is easy to use the Google Maps function. Once the voice command has been activated, simply say "Navigate to..." followed by the destination. It is also possible to look for specific places, such as pharmacies or the closest petrol station. The following video clearly explains how to use the navigation function using Android Auto™. Have a look.
MAP CARE
Be ready to explore the world on a whim. With Mopar® Map Care, the service that updates your map every three months, you will always know where to go. Want to learn more? Simply log-on to maps.mopar.eu, enter the VIN of your car and check whether new updates are available. For more information on how to install the feature, click on the 'Instructions' tab on the personal page of the website. Learn more by watching a short video.
Unleash the most powerful emotions
With its aluminium engine, Stelvio Quadrifoglio's performance goes beyond pure power. What makes the driving experience on Stelvio Quadrifoglio so truly extraordinary is its perfectly balanced power-to-weight ratio: the best in its class. In mere seconds, the 375kW 2.9-litre 6 cylinder Bi-Turbo engine is capable of triggering power, energy and precision, whilst at the same time maintaining a level of agility and handling unimaginable for any other SUV.
A perfect balance of power and emotion
Stelvio Quadrifoglio is at the top of its category in terms of performance. It mounts a 375kW 2.9-litre 6 cylinder Bi-Turbo, aluminium monobloc engine, coupled with the new Q4 traction system. An optimal power density ensures outstanding acceleration. Furthermore, the Stelvio Quadrifoglio delivers a truly impressive fuel efficiency rating, thanks to its exclusive cylinder de-activation system (CEM) and weight reduction solutions, such as the carbon fibre driveshaft.
Acceleration: From 0 to 100 km/hr in 3.8 seconds
Top speed: 283 km/hr
Passion changes everything for the better
Stelvio Quadrifoglio's sportiness finds its best expression in the 8-speed automatic transmission that, in RACE mode, enables gear changes in a mere 150 milliseconds. The transmission can be engaged, either with the gear lever central tunnel, or with the paddles mounted laterally on the steering wheel. The speed of gear change varies with the driving mode selected: meteoric in RACE mode and greater comfort and efficiency in ADVANCED EFFICIENCY mode.
A striking balance
Stelvio Quadrifoglio is one of the lightest SUVs in its segment. This feat is attributed to perfect choices: the use of high-strength steel for the body; aluminium for the suspension, doors, bonnet, boot, fenders and engine and a carbon fibre driveshaft. The combination of these elements unleashes an agility without equal. With best in class steering wheel ratio, thanks to the Alfa™Link suspension system, Stelvio Quadrifoglio provides astonishing levels of on-road balance in which Alfa Romeo's renowned handling is clearly recognisable.
ALFA™LINK ACTIVE SUSPENSION
Best-in-class handling
Stelvio Quadrifoglio is equipped with the Alfa™Link Active Suspension: an active system that provides direct control on suspension set-up. The three different modes available, Soft, Medium or Hard allow you to manage the degree of suspension hardness via a simple touch on the DNA control.
ALFA™ ACTIVE TORQUE VECTORING
Handling beyond comparison
Stelvio Quadrifoglio is equipped with Alfa™ Active Torque Vectoring, an innovative system that guarantees optimal distribution on its two rear half-axles thanks to two, electronically controlled clutches. Even at high speeds, during cornering and on any type of road surface, the result is optimum drive performance.
ALFA™ DNA PRO DRIVE MODE SELECTOR
A spectacular drive
Alfa™ DNA Pro instantaneously adapts Stelvio Quadrifoglio's behaviour to the driving mode selected:
RACE: Disables stability and traction controls, enhances exhaust sound and maximises performance for sporty track driving.
DYNAMIC: Providing a sharper throttle response, it increases gearshift speed and modifies the responsiveness of the suspension for sporty on-road handling.
NATURAL: Torque and suspension are calibrated for optimal comfort: the perfect balance for every day driving.
ADVANCED EFFICIENCY: Increases efficiency for maximum fuel saving: the most suitable driving mode in the event of low grip conditions.
ALFALINK™
ALFA™ DNA PRO
The perfect balance between performance and efficiency
Stelvio Quadrifoglio combines extraordinary performance with superior efficiency, thanks to the Alfa™Cylinders' Efficient Management (CEM) system, which allows the 2.9 V6 Bi-Turbo engine to de-activate three cylinders when the driver does not require full engine power. Furthermore, a Start&Stop system of the very latest generation provides additional fuel savings in city traffic
Ultralight materials
The unique lightness and power-to-weight ratio of Stelvio Quadrifoglio are guaranteed by the accurate choice of materials employed in its construction. The high–strength steel of its body and the aluminium of its doors, suspension and engine are both powerful and, at the same time, ultra light, whilst the choice of carbon fibre for its driveshaft is a further example of its innovative, weight saving solutions.
Consumption reduced to the minimum
On Stelvio Quadrifoglio, all its electronic systems operate smoothly, thereby helping minimise fuel consumption. Moreover, its patented cylinder de-activation system (CEM) and coasting function reduce CO₂ emissions and impact on fuel efficiency even further.
STELVIO QUADRIFOGLIO: THE FASTEST SUV EVER*
New record lap time at the Nürburgring
The very first SUV in Alfa Romeo's history has already taken its place at the top of its category.
A benchmark lap time of 7 minutes 51 seconds at the legendary Nürburgring track earned Alfa Romeo's Stelvio Quadrifoglio the title of fastest production SUV on track.
An outstanding achievement made possible by the advanced technology at the heart of this ultra-high performance SUV.
Alfa Romeo now holds two Nürburgring lap time records: the first with Giulia Quadrifoglio (fastest saloon) and now again with Stelvio Quadrifoglio (fastest production SUV).
*I2 Segment
Download the Alfa Romeo brochure
Request a finance quote for the Alfa Romeo Stelvio Quadrifoglio
Experience the Alfa Romeo Stelvio Quadrifoglio
Find an Alfa Romeo dealership closest to you.


text:
Bako Bits: a scary scene at the downtown Chef's Choice Noodle Bar and lamenting the trash that is commonly strewn about town....
* ... SCARY SCENE: There was a scary scene last Friday at the Chef's Choice Noodle Bar downtown when a customer became ill, collapsed and fell to the floor. Eloise Higgins said she was asking people to call 911 to help her husband, Bob, when the Noodle Bar owner, Dr. Nick Hansa, came to her aid. "I realized that Dr. Hansa was there as a doctor, not only a restaurant owner. David Coffey, a customer, quickly put his jacket under my husband's head. I'm sure he prevented a head injury. We would like to thank these three men who cared for my husband until the firemen and Hall Ambulance arrived. The restaurant obviously is the safest and best restaurant downtown!"
* ... OVERHEARD: A Chevron employee who was recently transferred to Bakersfield telling a friend: "I've lived in a lot of places but never in a city where people leave their trash around like here! They just leave it in the park and walk away."
* ... CHECKED BAGS: If you fly at all, you know what a hassle it is boarding a plane when so many people bring oversized bags to store in the overhead bins. Now the major airlines are studying ways to restrict those larger bags by forcing passengers to pay for bringing any bag on board larger than 10 by 17 by 24 inches. Alaska Airlines already has a gate check policy, meaning that oversized bags are diverted to baggage claims at $25 a pop.
* ... PREFIXES: Steve McClaren is among those who remembers when home phone numbers had prefixes to denote where you lived, and party lines were common. "You could tell by the prefix which part of town the person lived. FA (Fairview) was central Bakersfield, TE (Temple) was south, EM (Empire) was east, and EX (Exchange) was north (Oildale). There wasn't much west of Oak Street back then but most had the FA. Later these became the beginning of the 322, 833, 366, and 399 prefixes. I think if a person checked they would find that a lot of the telephone company central exchanges are still named Temple, Empire, etc. As technology has changed over the years, it's hard to tell where a person is at unless you are looking at the area code. Then you still can't be sure. ... I am 61 and have lived here all my life with the exception of four years in the Los Angeles area. It is amazing how this town has grown but has retained a lot of the little town feeling."
* ... PEPPERINE: Dave and Tara Rippy said their daughter, Nicole, graduated from Pepperdine School of Law. She is a product of Castle Elementary, Actis Junior High and West and Bakersfield high schools and later Cal State Bakersfield.
* ... SCHOLARSHIP: Judi Anderson Gahagan dropped me a note to brag about her granddaughter, Amie Lauren Birkes, who was awarded a full scholarship to attend CSUB thanks to the The Gombos Family foundation. Amie graduated from North High School and plans on becoming a special education teacher. While at CSUB she plans to try out for the track team.
* ... DID YOU KNOW? Did you know that 73 percent of the 8,000 CSUB students are first-generation college students and that women outnumber men 60 percent to 40 percent on the campus?
Labels: airline fees, Chef's Choice Noodle Bar, CSUB student body, Dr. Nick Hansa
Voters kill the proposed tobacco tax; does this po...
Bako Bits: a scary scene at the downtown Chef's Ch...
Ron Fraze bows out of the Ward 2 city council race...


text:
module Bundler
  class ManifestFileNotFound < StandardError; end
  class InvalidKey < StandardError; end
  class DefaultManifestNotFound < StandardError; end

  class Dsl
    def self.evaluate(file, bundle, environment)
      builder = new(bundle, environment)
      builder.instance_eval(File.read(file.to_s), file.to_s, 1)
      environment
    end

    def initialize(bundle, environment)
      @bundle = bundle
      @environment = environment
      @directory_sources = []
      @git_sources = {}
      @only, @except, @directory, @git = nil, nil, nil, nil
    end

    def bundle_path(path)
      @bundle.path = Pathname.new(path)
    end

    def bin_path(path)
      @bundle.bindir = Pathname.new(path)
    end

    def disable_rubygems
      @environment.rubygems = false
    end

    def disable_system_gems
      @environment.system_gems = false
    end

    def source(source)
      source = GemSource.new(@bundle, :uri => source)
      unless @environment.sources.include?(source)
        @environment.add_source(source)
      end
    end

    def only(*env)
      old, @only = @only, _combine_only(env)
      yield
      @only = old
    end

    def except(*env)
      old, @except = @except, _combine_except(env)
      yield
      @except = old
    end

    def directory(path, options = {})
      raise DirectorySourceError, "cannot nest calls to directory or git" if @directory || @git
      @directory = DirectorySource.new(@bundle, options.merge(:location => path))
      @directory_sources << @directory
      @environment.add_priority_source(@directory)
      retval = yield if block_given?
      @directory = nil
      retval
    end

    def git(uri, options = {})
      raise DirectorySourceError, "cannot nest calls to directory or git" if @directory || @git
      @git = GitSource.new(@bundle, options.merge(:uri => uri))
      @git_sources[uri] = @git
      @environment.add_priority_source(@git)
      retval = yield if block_given?
      @git = nil
      retval
    end

    def clear_sources
      @environment.clear_sources
    end

    def gem(name, *args)
      options = args.last.is_a?(Hash) ? args.pop : {}
      version = args.last

      keys = :vendored_at, :path, :only, :except, :git, :path, :bundle, :require_as, :tag, :branch, :ref
      unless (invalid = options.keys - keys).empty?
        raise InvalidKey, "Only #{keys.join(", ")} are valid options to #gem. You used #{invalid.join(", ")}"
      end

      if path = options.delete(:vendored_at)
        options[:path] = path
        warn "The :vendored_at option is deprecated. Use :path instead.\nFrom #{caller[0]}"
      end

      options[:only] = _combine_only(options[:only] || options["only"])
      options[:except] = _combine_except(options[:except] || options["except"])

      dep = Dependency.new(name, options.merge(:version => version))

      if options.key?(:bundle) && !options[:bundle]
        dep.source = SystemGemSource.new(@bundle)
      elsif @git || options[:git]
        dep.source = _handle_git_option(name, version, options)
      elsif @directory || options[:path]
        dep.source = _handle_vendored_option(name, version, options)
      end

      @environment.dependencies << dep
    end

  private

    def _version?(version)
      version && Gem::Version.new(version) rescue false
    end

    def _handle_vendored_option(name, version, options)
      dir, path = _find_directory_source(options[:path])

      if dir
        dir.required_specs << name
        dir.add_spec(path, name, version) if _version?(version)
        dir
      else
        directory options[:path] do
          _handle_vendored_option(name, version, {})
        end
      end
    end

    def _find_directory_source(path)
      if @directory
        return @directory, Pathname.new(path || '')
      end

      path = @bundle.gemfile.dirname.join(path)

      @directory_sources.each do |s|
        if s.location.expand_path.to_s < path.expand_path.to_s
          return s, path.relative_path_from(s.location)
        end
      end

      nil
    end

    def _handle_git_option(name, version, options)
      git    = options[:git].to_s
      ref    = options[:ref] || options[:tag]
      branch = options[:branch]

      if source = @git || @git_sources[git]
        if ref && source.ref != ref
          raise GitSourceError, "'#{git}' already specified with ref: #{source.ref}"
        elsif branch && source.branch != branch
          raise GitSourceError, "'#{git}' already specified with branch: #{source.branch}"
        end

        source.required_specs << name
        source.add_spec(Pathname.new(options[:path] || '.'), name, version) if _version?(version)
        source
      else
        git(git, :ref => ref, :branch => branch) do
          _handle_git_option(name, version, options)
        end
      end
    end

    def _combine_only(only)
      return @only unless only
      only = Array(only).compact.uniq.map { |o| o.to_s }
      only &= @only if @only
      only
    end

    def _combine_except(except)
      return @except unless except
      except = Array(except).compact.uniq.map { |o| o.to_s }
      except |= @except if @except
      except
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Forget buy-to-let and Bitcoin. I'd buy these 2 UK shares in an ISA today to retire rich
Peter Stephens | Thursday, 5th November, 2020 | More on: FRES ULVR
Buying UK shares may not be as popular as investing in buy-to-let property or Bitcoin at present. After all, the stock market crash has caused sentiment towards a wide range of FTSE 100 and FTSE 250 shares to come under pressure.
However, building a portfolio of high-quality British shares now while they appear to offer good value for money could be a shrewd move. It may enable an investor to take part in a likely stock market recovery.
With that in mind, here are two FTSE 100 shares that appear to offer capital growth potential. They could be worth buying and holding in a Stocks and Shares ISA.
Strong performance relative to other UK shares
Not all UK shares have declined in price since the stock market crash. Gold and silver miner Fresnillo (LSE: FRES) has gained over 100% since the start of the year.
It's benefitted from rising precious metals prices. Investors have become increasingly concerned about the prospects for the world economy. Combined with low interest rates, this has increased the appeal of gold and silver.
Looking ahead, Fresnillo is forecast to double its net profit in the current year and next year. Despite its recent outperformance of other UK shares, it currently trades on a price-to-earnings growth (PEG) ratio of just 0.3. This suggests it continues to offer a wide margin of safety. And it may produce further share price growth.
The company's recent updates have shown it's making progress in improving its operational performance after a mixed couple of years. As such, it may offer impressive returns relative to other FTSE 100 shares over the long run.
A FTSE 100 total return opportunity
Unilever (LSE: ULVR) could also outperform other UK shares in the long run. This may make it a more attractive investment opportunity than Bitcoin and buy-to-let.
The global consumer goods company has reported a resilient performance in response to tough operating conditions. Its diverse range of products means that weak sales in areas such as ice cream has been offset by stronger performance elsewhere. This could make it a relatively less risky option through which to gain exposure to growing incomes across the emerging world.
Looking ahead, Unilever is expected to return to positive earnings growth next year. Although it has a price-to-earnings (P/E) ratio of 21, its long-term growth potential suggests it currently offers fair value for money. Its focus on sustainability across its product range may improve its appeal among consumers and allow it to adapt to changing tastes.
The company's dividend yield of 3.2% is currently beaten by the income returns of other UK shares. However, its dividend growth prospects, as highlighted by the 5.5% forecast growth in shareholder payouts next year, indicates it could offer impressive total return potential.
Peter Stephens owns shares of Fresnillo and Unilever. The Motley Fool UK has recommended Fresnillo and Unilever. Views expressed on the companies mentioned in this article are those of the writer and therefore may differ from the official recommendations we make in our subscription services such as Share Advisor, Hidden Winners and Pro. Here at The Motley Fool we believe that considering a diverse range of insights makes us better investors.
See all posts by Peter Stephens


text:
Why Vinyl Works: An Intro for Indie Musicians
By NationWide Source - Dec 31, 2016
First, you hear the low hum of the machine. Then a pop and a hiss, followed by the first lilting notes of a song .
You could have popped your headphones in and listened from your first gen iPod. You could have pulled a CD out, or even hooked up your phone to your car via Bluetooth and listened to your music that way.
But you, like an ever-growing number of people, have chosen to purchase the album on vinyl.
Whether you are an avid collector of vinyl records, or if you're a bit puzzled by the trend, it's impossible to deny, vinyl is making a comeback in a big way.
Every year since 2008, vinyl sales have been increasing. In 2014, vinyl sales were up 52%, while regular album sales were down 9.2% from the previous year (Billboard Magazine).
Right now, vinyl is one of the best selling music products. The phenomenon is crossing genres, and affects independent musicians and major labels alike.
So what do independent musicians need to know about vinyl, and how can YOU use vinyl to help create super fans and make money? Lets look at two of the major factors in play for indie musicians.
Let's Talk About Fans
Vinyl has grown leaps and bounds in recent years, but it's still not quite broken into the mainstream. Right now it's still a niche market, though that niche is getting bigger all the time. Fans are looking for a way to really experience the music (that's why concert ticket sales are also rising!). People across all age groups and demographics are buying vinyl.
The people who buy the most vinyl are avid music consumers across formats. They are the kinds of fans who will pre-order the album even though they can listen on Spotify for free, and who buy the merch bundle instead of just the t-shirt.
The great thing about that? Those are the fans you want in your court. Those are the fans you want to forge lasting relationships with. And vinyl is a great way to do that.
Not only is there great demand for vinyl among the heavy music consumers, vinyl is reaching it's way into the lives of more casual listeners. Record players are inexpensive, and major retailers like Barnes and Noble and Urban Outfitters have started carrying LPs in their stores. Vinyl is creeping back into the mainstream, and people are buying.
One of the concerns we hear most often from independent musicians is that vinyl is simply too expensive up front to justify having it as a regular staple on your merch table.
While vinyl does have a much higher initial cost than other formats, if you plan your purchase right, vinyl could put a lot more money in your pocket than it originally took out.
At Nationwide Disc, the average cost for 12" vinyl LP is between $9 and $11, depending on how many your order. That is a larger upfront investment than digital distribution or CD manufacturing, but vinyl can bring a big return on your investment.
The great news for independent musicians is that you can sell that vinyl for more than double what you paid for it, or more!
Making Money With Vinyl Exclusives
The base retail price for a 12" record is usually around $25. That means that with the sale of one record, you are making double your cost. That's 200% profit! And that $25 price tag can go up pretty quickly if there is any exclusivity associated with the pressing.
Limited edition pink vinyl? Sell it for $30. Exclusive liner notes that only come with the vinyl? You could sell that for $35. Brand new, exclusive-to-vinyl cover art? $40. Super-limited edition (as in only 15 of them exist) test pressing? Depending on your fans, you could sell those for upwards of $100! All these things are examples of things that you can easily do to increase the retail value of your record.
And the great news is, fans who are ready to buy vinyl are ready to pay for these upgrades. They are generally the kinds of fans who deeply value the music they listen to, and the artists that create it. They get excited about forging a deeper connection to the artists they love through a physical album that looks—and sounds— amazing.
So now that you know some of the benefits of vinyl for the independent musician, check back next week for expert tips on manufacturing and marketing vinyl records.
Have you tried pressing your music to vinyl? How did your fans respond? Let us know in the comments below!
How to Use Social Media Like the Pros
5 Tips for Designing Your Album Artwork
Make Money on Merch in 4 Easy Steps
Related Categories: Merch | Music Merchandise | Music Merchandising | Ordering Merchandise | Records | Vinyl
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NASA administrator Charles Bolden says that his "foremost" mission is to improve relations with the Muslim world. This head-scratching statement is made more bizarre by Bolden's claim that he received this instruction from the president himself.
When I became the NASA administrator – or before I became the NASA administrator – he charged me with three things. One was he wanted me to help re-inspire children to want to get into science and math, he wanted me to expand our international relationships, and third, and perhaps foremost, he wanted me to find a way to reach out to the Muslim world and engage much more with dominantly Muslim nations to help them feel good about their historic contribution to science…and math and engineering,' Bolden said in the interview.
Are we spending $18 billion a year of taxpayer money on the space agency simply to generate warm and fuzzy feelings?
Many of these policymakers have been critical of the president's attempt to create jobs by spending loads of taxpayer money. But according to Constellation supporter Rep. Robert Aderholt (R-AL), "There are a lot of government programs that need to be cut…But when it comes to our defense and our space industry, I see them in a different category." In other words, Aderholt is more concerned with buying special interest support than national need.
The president wants to use NASA as a diplomacy tool. Congress wants to use it to secure government jobs in their district on the taxpayer dime. In this era of massive debt, politics masquerading as science is a luxury we can't afford. Private entrepreneurs should assume the responsibility for space travel and exploration, which policymakers could assist by reducing regulatory and tax burdens.


text:
Conference on Dialogue Between Civilizations and Cultures
Manama, May 4 (BNA)– Head of the Media Committee of the Conference on Dialogue Between Civilisations and Cultures Ahmed Jassim Al-Akbari emphasised the key role of the media and press in ensuring success of the conference which will kick-start tomorrow under the patronage of His Majesty King Hamad bin Isa Al Khalifa.He said preparation had
Manama, May 4 (BNA)– Head of the Media Committee of the Conference on Dialogue Between Civilisations and Cultures Ahmed Jassim Al-Akbari emphasised the key role of the media and press in ensuring success of the conference which will kick-start tomorrow under the patronage of His Majesty King Hamad bin Isa Al Khalifa.
He said preparation had been made to provide full coverage of the event, adding that the media centre had been outfitted with all needed equipment to facilitate the work of journalists and media personnel. He also lauded the efforts of the Information Affairs Authority, especially the Foreign Media Directorate, in this respect. He hailed the efforts of Foreign Media Acting Director Shaikh Abdullah bin Ahmed Al Khalifa in making the necessary arrangements for regional and international mass media to provide full coverage of the event.


text:
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Music Midtown Festival Tickets
One of America's most popular musical festivals, the Music Midtown Festival is coming back to the city of Atlanta. The musical spectacle that has been holding yearly concerts since 1994 is known to draw a massive crown each year. With performances that previously ran for a week, Music Midtown Festival is a must watch event that sells Music Midtown Festival tickets very quickly.
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Music Midtown Festival: Travis Scott, Panic At The Disco, Cardi B. & Billie Eilish - 2 Day Pass, Piedmont Park tickets for 09/14 03:30 AM at Piedmont Park,Atlanta, GA
Sat Sep 14 2019
The Music Midtown Festival is an annual event that takes place in Atlanta. It first began in 1994 and continued to occur each year till 2005 before it was temporarily stopped. It returned to the city once again in 2011. The festival lasts a weekend and invites some of the biggest acts in music.
The Red Hot Chili Peppers are the first in the pool of performers that took to the festival stage. They are the rock band based in Los Angeles, California that has been on the airwaves since the early 1980s. They are known for their funk style and for having all the elements of a jam band. Since their early days, they have had a largely improvisational performing style which has made them very popular with audiences that enjoy artistic freedom in rock and roll. Consisting of Anthony Kiedis as the lead singer, along with musicians Chad Smith, Flea and Josh Klinghoffer, the band is an inductee of the Rock and Roll Hall of Fame and has many Grammy Awards to their name.
Also in attendance was the legendary rock band, Journey. Most known for their biggest hit "Don't Stop Believin'", the band was dominating the charts back in the 1970s. It continued to do so well into the 80s before they decided to go on a hiatus. Still, their soulful take to rock music has made them one of the most memorable bands of their time. Their tunes include "Open Arms", which is a power ballad, as is another one of their big hits, "Faithfully". It was former lead singer Steve Perry's powerhouse vocals that drove the songs and made them as impactful as they were.
Yeah Yeah Yeahs also performed at the festival. They are the indie rock band that is most known for the song "Maps". The lead singer of the band is Karen O who also plays the piano, along with Nick Zinner on the guitar and Brian Chase on drums. Although they had been performing since 2000, it was not until three years later that they made their debut with their record "Fever to Tell". Even though they were still independent artists, they managed to sell 750,000 copies, and received a gold certification. Moreover, "Maps" became an international hit and is perhaps what catapulted the band to fame.
2 Chainz also performed at the Music Midtown. He is the hip hop artist from College Park, Georgia who first entered the music scene in the year 1997. Since then, he has released a steady stream of hits such as "I'm Different", "No Lie" and "Birthday Song". For a long time, he worked as an independent artist before finally scoring a major record deal with Def Jam. His latest album is called "BOATS". He has been travelling all over North America to promote it and sang his new tracks at the festival as well.
Rapper Kendrick Lamar was also part of the set list. The Compton, California native is currently signed to Interscope Records. Apart from being a solo artist, he is also a member of a hip hop group, "Black Hippy". Before signing a major contract, Lamar paved his way into the industry my releasing various mix tapes which showcased his talent. Even without a company to back him up, he managed to become iTunes top selling independent artist. This was how he started to get noticed by many top producers and songwriters. Today, he has a platinum certified studio album to his name and is one of the few successful young rappers in the industry right now.
Arctic Monkeys, the indie rock band from Sheffield, England were also part of the festival's lineup. The British rock band consists of Alex Turner, Nick O'Malley, Jamie Cook and Matt Helders. Their music has been appreciated not just by the fans, but critics all over the world as well. They have 5 BRIT Awards to their name as well as many Grammy Award nominations. They are perhaps one of the first bands to come to the mainstream attention through the internet. The way rock bands of their kind were promoted changed vastly after they made use of social networking websites to get their name out there. They are a successful touring band today.
The annual festivity was founded by music promoters Peter Conlon and Alex Cooley, whose main aim was to establish a musical event that would be similar in nature to the New Orleans Jazz & Heritage Festival. The first multi-day festivity was held for a period of seven days. It took place at a piece of undeveloped area located between Tenth St. and Peachtree St. situated in the heart of the business district of Midtown. After hosting the festival for a few years the organizers decided to move it to the Centennial Olympic Park as the previous place was sold to Federal Reserve Bank. The Music Midtown Festival was held at the Centennial Olympic Park for two years after which it was relocated to an open ground situated adjacent to Atlanta Civic Center. The open space was based on forty two acres of land and led to attracting massive crowds.
In 1998 Music Midtown Festival creators, Conlon and Cooley were seen selling the rights and ownership of the festival and their company named "Concert/Southern Productions" to SFX Entertainment's subsidiary titled "Clear Channel Communications". In 2004, Cooley was released from his role due to health problems after which in the following year the schedule for the Music Midtown Festival was changed.
Prior to 2005, the musical event took place during May, however, as of 2005; the festival was moved to June. However, the dates of the festival coincided with the Bonnaroo Music and Arts Festival, which led to an attendance shortage. Due to rising costs and attendance decline, the music showcase was shutdown in 2006 and remained on hiatus till 2011.
In 2011, Conlon and Mayor Kasim Reed announced that the Music Midtown Festival will be returning to Atlanta. Two stages were uprooted at the Piedmont Park and artists such as Coldplay and The Black Eyed Peas were seen headlining. Other artists who were invited to perform include Manchester Orchestra, Cage the Elephant, the Joy Formidable and Young the Giant. The success of the 2011 event led to Conlon announcing a return of the festival for 2012. The 2012 Music Midtown Festival brought in forty thousand attendees who enjoyed bands such as Foo Fighters, Pearl Jam, Florence & the Machine, the Avett Brothers, Girl Talk, Garbage and Neon Trees.
The Music Midtown Festival has announced another addition of the Music Midtown Festival that was held at the Piedmont Park. Bands namely Journey, 2 Chainz, Jane's Addiction, Phoenix, North Mississippi Allstars, Cake, Red Hot Chili Peppers, Weezer, Queens of the Stone Age, the Black Lips, Tegan and Sara, Arctic Monkeys and Capital Cities perfprmed there live. The Piedmont Park that is located towards the northeastern side of Midtown is based on one hundred and eighty nine acres of land. Created in 1895, the Piedmont Park was built on land that was under the ownership of Benjamin Walker.
The Piedmont Park is a hub for several outdoor activities that includes biking, running, walking and inline skating. The grounds are also used for picnics, volleyball matches, soccer events, softball competitions and dirt running games. The facility also supports a swimming center that was renovated in 2009. Apart from recreational opportunities, the Piedmont Park is known to host annual musical festivities as well. Some of these include the Atlanta Pride Festival, Atlanta Dogwood Festival, Atlanta Jazz Festival, Festival Peachtree Latino and the Music Midtown Festival.
Music Midtown Festival tickets were bought very quickly by the people.
The 2017 lineup for the Music Midtown Festival includes big names like Bruno Mars, Mumford & Sons, Wiz Khalifa and Blink 182. The festival will have four stages with a ferris wheel and delicious food options to satisfy every festival goer's appetite.
Music Midtown Festival Venues
Music Midtown Festival: Travis Scott, Panic At The Disco, Cardi B. & Billie Eilish - 2 Day Pass Piedmont Park
Music Midtown Festival Cities
Music Midtown Festival Schedule
Nothing beats the joy of watching your favorite music artist perform live! Music Midtown Festival's concert dates are out and fans are looking forward to the upcoming shows. The next concert will be held in Atlanta at the Piedmont Park on 14-Sep-19. For complete information regarding dates and venues, please visit our website.
Music Midtown Festival: Travis Scott, Panic At The Disco, Cardi B. & Billie Eilish - 2 Day Pass Piedmont Park Atlanta, GA Sat Sep 14 201903:30 AM
Music Midtown Festival Ticket Prices
Currently the average price for Music Midtown Festival tickets is $327. The date and location for this event is 14-Sep-19 at Piedmont Park, Atlanta. The minimum get-in price for Music Midtown Festival tickets is $201.
Average Ticket Price
Get In Price
(Minimum Price)
Music Midtown Festival: Travis Scott, Panic At The Disco, Cardi B. & Billie Eilish - 2 Day Pass Atlanta 14-Sep-19 $327 $201
* Ticket Prices vary on hourly basis.
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