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Reading: Keeping libraries relevant in the Semantic Web with resource description and access (RDA)
Keeping libraries relevant in the Semantic Web with resource description and access (RDA)
Barbara B Tillett
Chief, Policy and Standards Division, Library of Congress, US
Cataloging is not just building a catalog, but about providing users with timely access to information relevant to their needs. The task of identifying resources collected by libraries, archives and museums results in rich metadata that can be reused for many purposes. It involves describing resources and showing their relationships to persons, families, corporate bodies and other resources, thereby enabling users to navigate through surrogates to more quickly get information they need. The metadata constructed throughout the life cycle of a resource is especially valuable to many types of users, from creators of resources to publishers, subscription agents, book vendors, resource aggregators, system vendors, libraries and other cultural institutions, and end users. The new international cataloging code, RDA (resource description and access), is designed to meet fundamental user tasks in a way that produces wellformed, interconnected metadata for the digital environment.
How to Cite: Tillett, B.B., 2011. Keeping libraries relevant in the Semantic Web with resource description and access (RDA). Serials, 24(3), pp.266–272. DOI: http://doi.org/10.1629/24266
Libraries have made great strides towards a web presence, but many offer only an electronic version of their card catalogs. Linear displays of citations to holdings may include a link to a digitized version of the described resource, but typically excludes machine-actionable connections. Citation-based catalogs need to describe resources by their identifying characteristics in a way that computer systems can understand and show relationships to persons, families, corporate bodies and other resources. This will enable users to navigate through linked surrogates of resources to get information more quickly. It also will better enable systems to make cataloging easier.
Since mid-2010, RDA (resource description and access) has offered an alternative to past cataloging practices. This new code for identifying resources has emerged from years of international collaborations, and it produces well-formed, interconnected metadata for the digital environment, offering a way to keep libraries relevant in the Semantic Web.
How did we get to this point?
RDA is built on the traditions of the Anglo-American Cataloguing Rules (AACR). The Joint Steering Committee for Development of RDA (JSC) recognized during the 1990s that AACR2 (the second edition of AACR) was not a code that would serve 21st-century users. It was structured around card catalogs and linear displays of citations, created before the internet and well-formed metadata that could be used by computer systems.
During the 1990s, the JSC received many complaints about AACR2, which:
had become increasingly complex as updates were added, particularly to address new digital resources
lacked a logical structure and instead focused on individual rules for each type of material rather than on commonalities and basic principles for a simplified, consistent approach
was arranged by class of materials, which caused problems when cataloging e-resources with multiple characteristics
did not adequately address bibliographic relationships, whereas the web is all about networks of interconnected information
displayed a strong Anglo-American bias, even though it is used around the world
segregated bibliographic data from the rest of the information community's data, in a world of its own with MARC- (MAchine-Readable Cataloging1) formatted records. Although MARC is widely used among libraries worldwide, it is not used by the larger information community
had terminology for describing materials which was a mix of content and carrier data types. These terms were irregularly applied, with North American catalogers following different practices than elsewhere.
In response to these complaints, the JSC called an international conference on the 'Principles and Future Development of AACR' for cataloging rule-makers and experts from around the world. As a result of this 1997 Toronto meeting, specific problems were identified and a strategic plan was put in place for future directions. Work began to develop AACR3, keeping the same structure as AACR2 and incorporating the recommended changes.
By April 2005, after an initial draft of AACR3 went out for worldwide comments, the JSC received a negative response. People felt the JSC had not gone far enough to embrace the new conceptual models and vocabulary emerging from the international efforts within IFLA (International Federation of Library Associations and Institutions). In particular, there were calls for more attention to IFLA conceptual models, FRBR and FRAD (Functional Requirements for Bibliographic Records and Functional Requirements for Authority Data)2. Those conceptual models brought a new perspective on describing resources to focus on the content and carriers and view persons, families, and corporate bodies associated with them in terms of their identifying characteristics. The FRBR entities and relationships and the vocabulary used to describe them were important to the international community of responders. One of the key aspects coming from the conceptual models was a focus on using the identifying characteristics in describing resources to meet basic user tasks: find, identify, select and obtain. Moreover, a call to move to an element-based approach to metadata, rather than building citations, was more compatible with metadata services for web use in the broader information community; it fitted nicely with the entity-relationship approach of IFLA's conceptual models.
Simultaneously, IFLA's work towards International Cataloguing Principles3 was well underway to review the basic 1961 'Paris principles'. Five regional conferences were held between 2003–2007 with rule-makers and cataloging experts world-wide to develop the new International Cataloguing Principles of 2008, which are part of the foundation for RDA.
RDA emerged in response to worldwide comments from and beyond the Anglo-American community of libraries and other information agencies: publishers, book dealers, archives, museums, developers of web services, and more. It is built on the idea of reusing identifying information coming from publishers and vendors, building on descriptions and making relationships not just by libraries but all stakeholders in the information chain.
The JSC initiated collaborations with special communities:
concern about AACR2 dealing inadequately with seriality resulted in the harmonization of ISBD, ISSN and AACR2 standards; those discussions were set to be resumed during 2011 in the light of RDA
content-, media-, and carrier-type terminology was addressed with the publishing community. The result was the RDA/ONIX Framework and a plan for ongoing review and revision of that controlled vocabulary to share consistent data
controlled vocabularies were addressed by representatives from the JSC, Dublin Core, IEEE/LOM and Semantic Web communities. This resulted in the DCMI/RDA Task Group to develop a registry of the RDA vocabularies and a library application profile for RDA. The controlled vocabularies and element set from RDA are now available as a registry on the web, as a first step to making library data accessible in the Semantic Web environment
the JSC also met with various library and archive communities to initiate discussions about more principle-based approaches to describing their collections. An example of changes resulting from those discussions was the approach to identifying the Bible and books of the Bible, so they could be better understood by users and more accurately reflect the contained works. The JSC is resuming discussions with the law, cartographic, religion, music, rare book and publishing communities to propose further improvements to RDA.
Technical developments
FRBR-based systems have existed, been tested and used worldwide for over a decade to enable collocation and navigation of bibliographic data. Some examples are systems developed by the National Library of Australia, the VTLS Virtua system, the linked data services of the National Library of Sweden, and the music catalog of Indiana University's Variations 3 project. The Dublin Core Abstract Model is built on the FRBR foundation. RDA positions libraries to enter that realm. Recent research articles reaffirm the use of FRBR as a conceptual basis for cataloging in the future.4
It is important that libraries join the rest of the information community on the web to share their expertise, multi-lingual controlled vocabularies and organizational skills. The element-based approach of RDA facilitates identifying persons, families, corporate bodies and works in a manner that machines can more easily use. Controlled vocabularies for RDA are posted on the web as 'registries' along with other controlled vocabularies from our traditional authority files. For example, freely available authority data from hundreds of national libraries and other institutions now resides in the Virtual International Authority File5. VIAF includes names and identifying data for persons, corporate bodies/conferences and uniform titles, and demonstrates how library metadata can be reused and packaged in new ways. It provides a multilingual, multiscript base that has the potential to serve as a switching mechanism to display the language and script a user prefers, assigning a distinctive universal resource identifier (URI) to each entity. Although VIAF can manipulate authority data from various schema or communication formats, having the data clearly identified (as RDA does) will make it easier for services like VIAF and future linked data systems to use the specific identifying characteristics to describe persons, corporate bodies, works, etc. RDA will make it easier for machines to use that data to link related information and to display information users want.
The RDA registries include terms for description and access elements, such as title proper, date of publication and extent, as well as values for specific elements, such as the terms to use when describing types of carriers (e.g., computer disc, volume, microfiche, videodisc). These are posted on the Open Metadata Registry6, giving URIs for all of the terms, which then can be used in the Semantic Web to enable greater use by web services. This positions the library community to move access to its resources out of the silos of data used only by other libraries to the web.
So what is different?
Some of the differences between AACR and RDA can be summed up as follows:
AACR2 said it was based on principles but never specified what those principles were. RDA is based on IFLA's International Cataloguing Principles and describes the principles for each section of elements. For example, RDA follows the ICP principle of representation, instructing catalogers to transcribe what they see (e.g., title proper, statement of responsibility, publication statement). This saves time and builds on existing creator, publisher or vendor metadata
the principle of common usage means no more Latin abbreviations, such as s.l., s.n., and no more English abbreviations, such as col. and ill., which users do not understand
RDA relies on cataloger's judgment to make decisions about how much description or access is warranted. For example, AACR2's 'rule of 3' provides up to only three authors, and that now is an alternative rather than the main instruction in RDA. Thus RDA encourages access to the names of more persons, corporate bodies and families important to users. RDA ties every descriptive and access element to the relevant FRBR user tasks: find, identify, select, obtain, in order to develop cataloger's judgment to know not only what identifying characteristic to provide, but why they are providing it (to meet a user need)
RDA requires that catalogers name the contained work and expression as well as the creator of the work when appropriate. The concept of 'main entry' disappears
RDA provides authority data instructions, which were not covered in AACR2. RDA states the 'core' identifying characteristics that must be given to identify persons, families, corporate bodies, works, expressions, etc. In addition, other characteristics may be provided when readily available: the headquarters location for corporate bodies, or the content type for expressions, such as text, performed music, still image, cartographic image
identifying characteristics or elements are separate from the authorized access points that may need to be created while the MARC-based environment persists. RDA describes how to establish authorized access points, but it does not require them, instead, looking toward a future where the identifying characteristics needed to find and identify an entity can be selected for the context of a search query or display of results
important for the web which is all about relationships, RDA provides relationship designators to explicitly state the role a person, family, or corporate body plays with respect to the resource being described. It enables description of how various works are related, such as derivative works to link motion pictures or books based on other works, musical works and their librettos, and to link textual works and their adaptations. It connects the pieces of serial works in successive relationships through title changes. The inherent relationships connect the contained intellectual and artistic content to the various physical manifestations, such as paper print, digital and microform versions.
The US RDA test
Although the Library of Congress (LC) publicly committed to implementation of RDA in 2007 in a joint statement with the British Library, the Library and Archives Canada and the National Library of Australia7, that commitment had to be postponed. In response to the 2008 report to LC from the Working Group on the Future of Bibliographic Control8 recommending all work on RDA be stopped, LC, the National Library of Medicine and the National Agricultural Library instead launched a US test of RDA to explore whether or not to implement the new code. This included gathering information about the technical, operational and financial implications of implementation.
In preparation for the test, LC provided 'train-the-trainer' modules9 and examples, which are freely available as Webcasts, PowerPoint presentations, and Word documents10. LC's Policy and Standards Division also set up an e-mail address that remains available at LChelp4rda@loc.gov for anyone to ask questions about the RDA instructions and LC policies for RDA. Initial policy decisions for the test were established and posted on the website as well as in the RDA Toolkit11 that supplies RDA instructions. Those LC policy decisions are now being adjusted, informed by the test results and feedback from participants in conjunction with discussions with the Program for Cooperative Cataloging and preliminary suggestions from the Library and Archives Canada and the National Library of Australia regarding their implementation decisions.
Twenty-six US RDA test participants included many sizes and types of libraries, as well as archives, museums, book dealers, library schools, system vendors, consortia and funnel projects. They created 10,570 bibliographic records and 12,800 authority records and filled out more than 8,000 surveys. The analysis of that data provided helpful feedback for needed improvements to the RDA Toolkit, to the language used to convey the instructions, and suggestions for moving beyond the current MARC format.
The report from that test recommended implementation no sooner than January 2013 provided certain conditions were met.12 Those conditions were stated as recommendations to the JSC, the American Library Association (ALA) Publishers who created the RDA Toolkit, system vendors, the Program for Cooperative Cataloging, and the senior managers at the Library of Congress, the National Library of Medicine and the National Agricultural Library.
The test had not specifically focused on the MARC format, but responses from the participants made it clear that the MARC format was seen as a barrier to achieving the potential benefits of the code to move libraries onto the web. As a result, one of the recommendations was to show credible progress towards a replacement for MARC. Work is well underway towards that end through the new Library of Congress initiative, 'Transforming the Bibliographic Framework'.13
Implementation of RDA
Eight institutions participating in the test decided to continue to use RDA, regardless of the test recommendations. Their bibliographic and authority records are being added to bibliographic utilities, such as SkyRiver and OCLC, and are available for copy cataloging.
The Library of Congress had about 50 catalogers engaged in the test. They will resume using RDA in November 2011 in order to assist with training and writing proposals to improve the code, as well as to inform related policy decisions.
Many Europeans also expressed interest in learning more about RDA. Several countries joined EURIG, the European RDA Interest Group, which held conferences before the 2010 and 2011 IFLA meetings to share news. These interested parties are also expected to submit proposals to improve RDA, and the JSC had, at time of writing, already received one such proposal for review in 2011.
Translations of RDA are underway so people will be able to read RDA in their own language. Translations are expected for Spanish, French and German, among others. Anyone interested in translating RDA into another language should contact Troy Linker at ALA Publishing (tlinker@ala.org).
In recognition of the international intentions for RDA, the governance for the JSC will be expanded to include one to three new members from countries that intend to implement the code. Those interested in participating should contact a member of the Committee of Principals (CoP), the group that oversees JSC activities. The CoP includes representatives from ALA, Canadian Library Association, the Chartered Institute of Library and Information Professionals (CILIP), Library of Congress, Library and Archives Canada, the British Library and National Library of Australia.
Libraries are in danger of being marginalized by other information delivery services as they have not had a strong presence with other services in the information community on the web. Bibliographic control is based on the MARC format, which is not suited to the Semantic Web environment. For example, MARC is not granular enough to distinguish among different types of dates, and it puts many types of identifying data into a general note which cannot easily be parsed for machine manipulation.
Current online catalogs are no more than electronic versions of card catalogs with similar linear displays of textual information. Yet, the metadata libraries provide could be repackaged into interesting visual information, such as time-lines for publication histories and maps of the world to show places of publication, similar to VIAF displays. Librarians could build links between works and expressions – like original works and their translations or novels that form the basis for screenplays – to navigate these relationships rather than rely on textual notes that are not machine-actionable. Libraries can make their data more accessible on the web.
In order to help reduce the costs of cataloging, librarians need to reuse publisher and vendor metadata. Libraries must share metadata more than they have to reduce the costly, redundant creation and maintenance of bibliographic and authority data. RDA positions libraries for a linked data scenario of sharing descriptive and authority data through the web to reuse for context-sensitive displays that meet user needs for languages/scripts they can read.
By providing well-formed metadata that can be packaged into various schema for use in the web environment, RDA offers a data element set for all types of materials. It is based on internationally agreed principles, incorporating the entities and relationships from IFLA's conceptual models. It focuses on the commonalities across all types of resources while providing special instructions when there are different needs for types of resources, such as music, cartographic, legal, religious and rare materials and archives, or refers to specialized manuals for more granular description of such materials.
Vendors and libraries around the world are being encouraged to develop better systems that build on RDA. Once RDA is adopted, systems can be redesigned for today's technical environment, moving libraries into linked data information discovery and navigation systems in the internet environment and away from online public access catalogs (OPACs) with only linear displays of textual data.
This is a transition period when libraries want and need to move bibliographic data to the web for use and re-use. RDA is not the complete solution, but its role as a new kind of content standard may smooth the path in that direction.
Two other components are also needed: firstly, an encoding schema that maintains the integrity of RDA's well-labeled metadata – the aforementioned transition from MARC – and, secondly, systems that can accommodate RDA to harness its full potential to express relationships among resources.
Library administrators need to understand that the full benefits of investment in these components now will not be realized immediately, but the investment is critical to the future health and role of libraries.
RDA makes library bibliographic descriptions and access data more internationally acceptable. There is still more work to be done, but the direction is set.
'The MARC formats are standards for the representation and communication of bibliographic and related information in machine-readable form'. MARC Standards at: http://www.loc.gov/marc/ (accessed 26 September 2011).
Functional Requirements for Bibliographic Records, Final Report. IFLA Study Group on the Functional Requirements for Bibliographic Records. Approved by the Standing Committee of the IFLA Section on Cataloguing, September1997 as amended and corrected through February2009, p. 79. PDF available at: http://www.ifla.org/files/cataloguing/frbr/frbr_2008.pdf (accessed 26 September 2011). andFunctional Requirements for Authority Data, a Conceptual Model. Final report, Dec.2008. IFLA Working Group on Functional Requirements and Numbering of Authority Records (FRANAR). 2009, Munich, Saur.
IFLA Cataloguing Principles: the Statement of International Cataloguing Principles (ICP) and its Glossary in 20 languages, ed. Tillett, B B and Cristán, A L eds. , 2009, Munich, Saur, p. 28.
Pisanski, J and Žumer, M , Mental Models of the Bibliographic Universe. Part 1: Mental Models of Descriptions, 2010, Journal of Documentation, 66(5), 643–667 andPisanski, J and Žumer, M , Mental Models of the Bibliographic Universe. Part 2: Comparison Task and Conclusions, 2010, Journal of Documentation, 66(5), 668–680.
VIAF. Available at: http://viaf.org (accessed 26 September 2011).
Open Metadata Registry, RDA vocabularies at: http://metadataregistry.org/rdabrowse.htm (accessed 26 September 2011).
Joint Statement of Anglo-Heritage National Libraries on Coordinated RDA Implementation, 22October2007. Available at: http://www.rda-jsc.org/rdaimpl.html (accessed 26 September 2011).
On the Record. Report of the Library of Congress Working Group on the Future of Bibliographic Control, January2008. PDF available at: http://www.loc.gov/bibliographic-future/news/lcwg-ontherecord-jan08-final.pdf (accessed 26 September 2011).
RDA test 'Train the Trainer' (training modules). Presented by Kuhagen, J and Tillett, B B , 15January2010; Northeastern University, Boston, Mass.Modules 1–9http://www.loc.gov/bibliographic-future/rda/trainthetrainer.html (accessed 26 September 2011). PowerPoint files of the Modules (with speaker's notes) and accompanying material are freely available at: http://www.loc.gov/catdir/cpso/RDAtest/rdatraining.html (accessed 26 September 2011). ▪ Module 1: What RDA Is and Isn't ▪ Module 2: Structure ▪ Module 3: Description of Manifestations and Items ▪ Module 4: Identifying Works, Expressions, and Manifestations ▪ Module 5: Identifying Persons ▪ Module 6: Identifying Families (filmed at the Library of Congress, 1 March 2010) ▪ Module 7: Identifying Corporate Bodies ▪ Module 8: Relationships ▪ Module 9: Review of Main Concepts, Changes, Etc.
US RDA test website is known as 'Testing Resource Description and Access (RDA)': http://www.loc.gov/bibliographic-future/rda/ (accessed 26 September 2011).
RDA Toolkit: http://www.rdatoolkit.org (accessed 14 October 2011).
Report and Recommendations of the US RDA Test Coordinating Committee, 9May2011, revised for public release 20June2011. PDF available at: http://www.loc.gov/bibliographic-future/rda/rdatesting-finalreport-20june2011.pdf (accessed 14 October 2011).
Bibliographic Framework Transition Initiative. Available at: http://www.loc.gov/marc/transition/ (accessed 14 October 2011).
Tillett, B.B., 2011. Keeping libraries relevant in the Semantic Web with resource description and access (RDA). Serials, 24(3), pp.266–272. DOI: http://doi.org/10.1629/24266
Tillett BB. Keeping libraries relevant in the Semantic Web with resource description and access (RDA). Serials. 2011;24(3):266–72. DOI: http://doi.org/10.1629/24266
Tillett, B. B. (2011). Keeping libraries relevant in the Semantic Web with resource description and access (RDA). Serials, 24(3), 266–272. DOI: http://doi.org/10.1629/24266
1. Tillett BB. Keeping libraries relevant in the Semantic Web with resource description and access (RDA). Serials. 2011;24(3):266-272. DOI: http://doi.org/10.1629/24266
Tillett BB, 'Keeping Libraries Relevant in the Semantic Web with Resource Description and Access (RDA)' (2011) 24 Serials 266 DOI: http://doi.org/10.1629/24266
Tillett, Barbara B. 2011. "Keeping Libraries Relevant in the Semantic Web with Resource Description and Access (RDA)". Serials 24 (3): 266–72. DOI: http://doi.org/10.1629/24266
Tillett, Barbara B. "Keeping Libraries Relevant in the Semantic Web with Resource Description and Access (RDA)". Serials 24, no. 3 (2011): 266–72. DOI: http://doi.org/10.1629/24266
Tillett, B B. "Keeping libraries relevant in the Semantic Web with resource description and access (RDA)". Serials, vol. 24, no. 3, 2011, pp. 266–72. DOI: http://doi.org/10.1629/24266


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I know, I know, you're a woman who's been getting nothing but dirty breaks. Well, we can clean and tighten your brakes, but you'll have to stay in the garage all night.
Althought it is generally known, I think it's about time to announce that I was born at a very early age.
Blood's not thicker than money. I cannot say that I do not disagree with you.
You've forgotten those June nights at the Riviera… the night I drank champagne from your slipper–two quarts. It would had been more but you were wearing inner soles.
I drink to make other eople interesting.
Now there's a man with an open mind – you can fell the breeze from here!
There is only one way to find if a man is honest…ask him. If he says 'yes', you know he is crooked.
There's one thing I always wanted to do before I quit…retire!
You get a canoe later and I'll paddle you.
I've had a perfect wonderful evening. But this wasn't it.
My mother loved children—she would have given anything if I had been one.
I'm going to Iowa for an award. Then I'm appearing at Carnegie Hall, it's sold out. Then I'm sailing to France to be honoured by the French government. I'd give it all up for one erection.
Ice water? Get some onions – that'll make your eyes water!
Time flies like an arrow. Time wounds all heels. So just what ARE time flies, and why do they fly like an ARROW?
"Mommy, mommy! The garbage man is here!" "Well, tell him we don't want any!"
Who are you going to believe, me or your lyin' eyes?
Behind every succesful man is a woman, behind her is his wife.
Remember man, you're fighting for the lady's honour; which is probably more than she ever did.
Look, if you don't like like my parties, you can live in an huff. If it's too soon, you can leave in a minute and a huff. If you can't find that, you can leave in a taxi.
We took pictures of the native girls, but they weren't developed… But we're going back next week.
I write by ear. I tried writing with the typewriter, but I found it too unwieldy.
I was married by a judge. should have asked for a jury.
I'll never forget my wedding day… they threw vitamin pills.
I met my wife on a ferry boat, and when we landed she gave me the slip.
I made a killing on Wall Street a few years ago… I shot my broker.
As soon as I get through with you, you'll have a clear case for divorce and so will my wife.
"Do you believe in computer dating?" Groucho:"Only if the computers really love each other"
Groucho:"How did you met your wife?" "A friend of mine" Groucho: "Do you still regard him as a friend?"
"She kicked me under the table" Groucho:"Really?? And did you remain there?"
"Oh, it's right on the edge of my tongue" Groucho:"Well, stick your tongue out"
I could dance till the cows come home. On second thought, I'd rather dance with the cows till you come home.
I'm not feeling very well, I need a doctor immediately. Ring the nearest golf course.
It is better to have loft and lost than to never have loft at all.
Groucho:"So, Mrs. Smith, do you have any children?" "Yes, thirteen." Groucho:"Thirteen! Good lord, isn't that a burden?" "Well, I love my husband." Groucho:"Lady, I love my cigar too, but I take it out of my mouth once in a while."
I think that the Peeps or Peppies or Pipes diaries would be much more popular had there been a universal pronuncation of his name.
Groucho:"How much am I paying you folks?" "Five thousand a year. But we've never been paid!" Groucho:"Well in that case I'll raise it to eight thousand."
Why don't you bore a hole into your head and let the sap run out?
"I'm a big fan of yours, Groucho." Groucho:"If it gets any hotter in here I could use a big fan."
"This is a gala day for you." Groucho: "Well, a gal a day is enough for me. I don't think I could handle any more."
You're heading for a breakdown. Why don't you pull yourself to pieces?
Groucho: "Well whadaya say girls? Are we all gonna get married?" Woman: "All of us? But that's bigamy!" Groucho: "Yes, and it's big-a-me too."
I've been around so long I can remember Doris Day before she was a virgin.
If you fall out of that window and break both your legs, don't come running to me.
Budget: a way of going broke methodically.
Whatever it is I'm against it.
I eat like a vulture. Unfortunately, the resemblance doesn't end there.
How do you feel about women's rights ? I like either side of them.
Mrs. Teasdale: "He's had a change of heart." Groucho "A lot of good that'll do him. He's still got the same face."
Send two dozen roses to Room 424 and put 'Emily, I love you' on the back of the bill.
To Margret Dumont: "I can see you and I married. I can see you bending over the stove. I can't see the stove!
Dig trenches? With our men being killed off like flies? There isn't time to dig trenches. We'll have to buy them ready made.


text:
Рене ван дер Гіп (,  4 квітня 1961, Дордрехт) — нідерландський футболіст, що грав на позиції нападника, зокрема за клуби «Спарта» та ПСВ, а також національну збірну Нідерландів.

Дворазовий чемпіон Нідерландів. Чемпіон Швейцарії.

Клубна кар'єра
У дорослому футболі дебютував 1979 року виступами за команду «Спарта», в якій провів три сезони, взявши участь у 83 матчах чемпіонату. Більшість часу, проведеного у складі «Спарти», був основним гравцем атакувальної ланки команди. У складі «Спарти» був одним з головних бомбардирів команди, маючи середню результативність на рівні 0,34 гола за гру першості.

Протягом 1982—1985 років захищав кольори бельгійського «Локерена», після чого повернувся на батьківщину, ставши гравцем ПСВ. Відіграв за команду з Ейндговена наступні два сезони своєї ігрової кар'єри. Граючи у складі ПСВ також здебільшого виходив на поле в основному складі команди. В новому клубі був серед найкращих голеодорів, відзначаючись забитим голом в середньому щонайменше у кожній третій грі чемпіонату. За цей час двічі виборював титул чемпіона Нідерландів.

Згодом з 1987 по 1990 рік грав у швейцарії за «Ксамакс» та «Аарау». Із першою командою у сезоні 1987/88 ставав чемпіоном Швейцарії.

Завершував ігрову кар'єру на батьківщині, де протягом 1990—1991 років грав за «Спарту» та «Геренвен».

Виступи за збірну
1982 року дебютував в офіційних матчах у складі національної збірної Нідерландів. Протягом кар'єри у національній команді, яка тривала 6 років, провів у її формі 15 матчів, забивши 2 голи.

Титули і досягнення
  Чемпіон Нідерландів (2):
ПСВ: 1985-1986, 1986-1987
  Чемпіон Швейцарії (1):
«Ксамакс»: 1987-1988

Посилання

нідерландські футболісти
Гравці збірної Нідерландів з футболу
Футболісти «Спарти» (Роттердам)
Футболісти «Локерена»
Футболісти «ПСВ Ейндговен»
Футболісти «Ксамакса»
Футболісти «Аарау»
Футболісти «Геренвена»
нідерландські футбольні легіонери
Футбольні легіонери в Бельгії
Футбольні легіонери у Швейцарії
Уродженці Дордрехта

redpajama_set_name: RedPajamaWikipedia


The bigger your writing project, the less likely it is that you'll find a writing environment that's adequate to your needs. When you're writing a book, you need to find some way to juggle research, ideas, notes, drafts, outlines ... which is hard to do.
A few years ago I thought my answer for big projects might be Ulysses 2. I couldn't put PDFs in it, but I didn't mind that because I like to annotate PDFs and you need a separate app to do that properly; and in other respects it had a lot going for it. I could write in plain text with Markdown, and could always have visible onscreen notes, or an outline, for the chapter I was working on and even, in a small pane on the left, the text of another chapter. Also, a Ulysses document was basically a package containing text and RTF files with some metadata — easy to unpack and open in other apps if necessary.
I liked Ulysses, but it tended to be unstable and some of its behavior was inconsistent (especially in exporting documents for printing or sending to others). I was pleased to learn that the makers were working on a updated version — but surprised when Ulysses III came out and proved to be a completely new application. And after I tried it out, surprise gave way to disappointment: essentially, it seems to me, it's now an ordinary document-based text editor — an attractive one, to be sure, but not at all suited to the creation and management of major projects. As far as I can tell, you can replicate all the features of Ulysses III, except for its appearance, for free with TextWrangler and pandoc.
I use phrases like "it seems to me" and "as far as I can tell" because Ulysses III is getting some good press: see here and here and here and here. But these tend to focus on how the app looks, how well it syncs with iCloud, and its export options — not its status as an environment for organizing your writing, especially a project of any size. Ulysses III seems to me a nice app if you're writing blog posts, but if you're working on something big, it's a significant step backwards from previous versions of the app.
It sounds like you want something that you can customize for your particular wishes. Have you considered taking matters into your own hands and using the programmable Emacs?
I have fiddled with emacs some over the years — really wanting to use org-mode more than anything else — but I just don't have the time to pursue it. It would take me quite a while to enable it to do what I need, if I could ever manage it, so I've waved goodbye to emacs.
Well, to each his own. I've never read the 438 manual, and I don't plan to. The video tutorials got me started. I don't use all of Scriveners features—I don't think anyone does—but they're there if you need or want them. I'm puzzled because it seems easy to ignore a feature if you don't like it. I like that I can keep just about everything in a writing project well organized and one click away in one file. When I want to get serious about writing, I just flip into full composition mode, and everything falls away leaving just my writing. Scrivener will be perfect when the iPad version comes out.
I don't use Evernote either. It's an amazing program, but I prefer to do my organizing within Scrivener. I also use FileMaker.
Anyway, good luck in your search for a program that fits your needs.


Answer: The current curriculum is based on theoretical learning and no emphasis is being given on skill development. There should be more emphasis on vocational training so that people can become employable.
People in India have a greater inclination towards joining a job rather than becoming entrepreneurs. There is a need for change in such a mindset.


Marine Grade Aluminum provides superior protection against corrosion in saltwater sensitive applications. This makes our aluminum fenders a superior choice for your winter-use trailer or fishing boat!
This fender has a 1" radius lip on the front and a 90 degree angle back to provide universal mounting to either side of your trailer. There are no pre-drilled holes. Mount with the flat surface flush with the trailer. This fender features the back plate welded into place.
These fenders are American Made, and provide an excellent option for your trailer. This fender is 32"x 10 3/4" made with .080 5052 marine grade aluminum and provides protection for single axle trailers. They have a smooth brushed aluminum finish and come shipped to you with a protective plastic adhered to the fender.
I had previously tried some aluminum fenders without the backing plate and found them to be not very sturdy. I only had about three screws that were securely attached to frame members of the trailer. As a result, the screws tore through the lip of the fender rather quickly.
These fenders with the backing plate are much sturdier and offer more flexible mounting options. Although the backing plate is only welded to the fender in a few spots and not in a continuous seam, it seemed more than enough to hold the two pieces together securely. I was able to then use screws with fender washers to securely fasten the fenders to my trailer in multiple places. I don't anticipate them coming off very easily.
As far as fit and finish of the fenders, the fender itself is covered in a plastic that protects the aluminum until it has been installed. You just peel it off when you are done. The two fenders I received had very minor dents on the outside lip, probably occurred between manufacturing and delivery. None were significant enough to even repair or bend back into shape.


The HOT LIPS were founded in 1988 when, after the legendary Turk Street Stompers had disbanded, the band's remaining members joined together with the Munich Rhythm Kings. Initially, they were particularly fond on the uncomplicated way jazz was being played at the Preservation Hall in New Orleans (and which continues to be played there until today). Since their formation, they have gone on to create their own unmistakable sound, thanks to trumpeter Michael Etzel, who has developed his skills as an arranger over the years to perfection. Currently, their material covers all eras from Ragtime (even without a piano!) to real New Orleans style, including Chicago, Vaudeville, early West Coast and even a bit of Rock 'n' Roll. The band not only performs in clubs and concert halls in the greater Munich area, but also tours throughout Germany almost every year. They have also delighted audiences abroad, for example in Austria and Italy. Of course, the band has taken part in various German jazz festivals as well as receiving radio airtime and appearing on television. They are often booked for private events, such as anniversaries, parties, weddings, jubilees and even funerals.
Michael "Hot Lips" Etzel (tp/voc/arr), Otmar "George" Dicker (b), Bob Straub (cl/a sax/b sax), Heini "The Tiny" Buckenmaier (dr), Wolfgang E. Ott (bj), Hannes Eickhorst (tb).
Since 6th January 1991: No change in the line-up!
1993, first CD production: HOT LIPS "…just good music" on WHOOPEE Records.
1997, second CD production: HOT LIPS "… more good music" on WHOOPEE Records.
2006, third CD production: HOT LIPS "just friends" on WHOOPEE Records.


text:
'Andor' Review: Learning to Fly
The series maintains its momentum, even as it heads to new locations and brings in new characters.
After a third episode that deepened one of the central mysteries of the show and also added motivation for Cassian Andor (Diego Luna), the fourth episode presents a new mission, expands to new landscapes, and introduces multiple new perspectives, including some I haven't seen before in a Star Wars screen property.
Directed by Susanna White, a British TV director and premium cable veteran, and written by Dan Gilroy, a screenwriter and director who is also creator Tony Gilroy's brother, the fourth episode maintains the tone and attitude established in the first three episodes, while adding a dollop of additional juice in its new characters, as Cassian accepts a mercenary assignment from Luthen Reel (Stellan Skarsgård) and falls under the direction of a new leader who brooks no nonsense.
Meanwhile, we also see the fallout from what happened to Syril (Kyle Soller), the Imperial officer who was incensed by the murders that were committed in the first episode, ignored his superior officer's order to let them go, and whose quest for vengeance was foiled in the third episode. Now demoted, his righteous anger has not yet been mollified, and he must decide what he's going to do about it.
Simultaneously, we also see another aspect of the Imperial Empire through the eyes of Dedra Meero (Denise Gough), an Imperial officer who suspects that the events in the third episode are more widespread, and more troubling to the Empire, than anyone else believes, including her fellow officers and her superiors.
After Luthen Reel sends Cassian off on his mission, he returns to his place as a shop owner catering to the wealthy and elite, including Senator Mon Mothma (Genevieve O'Reilly), a key character who previously appeared in other Star Wars films, including Rogue One. Her role will no doubt be developed further.
What's so entertaining about the series so far is that it introduces all the characters in a way that is easy to follow for the non-Star Wars fanatic, such as myself. (I have to look up a lot of stuff on Wikipedia, so thanks, Wikipedia!) The show feels relevant to the 21st century, while also developing a propulsive narrative flow that continues to keep me eager to see what comes next. [Disney Plus]

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: My son got shocked by a D cell battery My son was doing experiments at school with a D cell battery and touched each end with a paperclip.  He said it shocked him hard enough to make his heart beat fast and knock him out of his chair.  Is that possible?

A: As @jippie said, we're not doctors and cannot give medical advice.  We also cannot give accurate advice without actually having seen this event, or even seeing first-hand evidence of what happened.  Do not take this answer as the ultimate truth.  The point being, don't blame me if I'm wrong.  As is, there is not enough information in your question to do anything more than speculate.  So, here is my speculation:
I seriously doubt that the story matches reality.
If each end of a battery were touched with a paper clip then there would be electricity flowing between the ends of the battery, through the clip.  NOT through your son.  Electricity just doesn't flow like that.  But let's say that electricity was flowing through your son.  How many times have you held a battery with your thumb on one end and your index finger on the other end?  Did you feel anything at all?  Nope.
The electrical resistance of your body, combined with the low voltage of the battery, prevents much electricity.  There just wasn't enough to do anything.  The paper clip cannot magically create more energy than what the battery already has in it.
But let's take this a step further.  To affect the heart, the electricity would have to flow through the heart.  As we established, the electricity was flowing through the paperclip only.  If he was holding the battery in his hand then it would be flowing from the thumb to the index finger.  In either case, not through his heart.
To be dangerous to the heart, the battery would need to have a much higher voltage and be flowing from his left arm to another arm or leg.  I don't know what voltage would needed to cause harm, but I do know that most safety regulations consider things under 54 volts to be not so dangerous.  Above 54 volts, devices need to have more safety features.  Below 54 volts, there are not any more regulations than for a device running off of a 1.5v D-Cell battery.
Here is my prediction (made as a father of a 12 year old and a former mischievous boy):
He shorted out the battery with a paper clip and it got hot.  He overreacted to the heat and fell out of the chair.  The combination of surprise and falling, and an overactive imagination, made his heart get fast and his story get exaggerated.
Or, here is a different possibility based, unfortunately, on my own real-life actions when I was young:  He actually shorted out something more dangerous, like the wall outlet.  It made a spectacular pop, smoke, and light show, and possibly did experience some minor shock.  He then made up a story to cover his guilt.
Again, this is NOT to be taken as medical advice!  Get the real story from your son, but otherwise I doubt that he has any real medical issue.

A: Every electronics engineer that (nearly) zapped him/herself with mains power as a kid and denied to parents about having done anything that was forbidden raise hand (vote up). +1 for myself.
Don't do this at home!, but on the plus side, ever since that very day I have huge respect for these seemingly innocent copper wires. The shaking knees wore of in a couple of hours...

A: The story is improbable. Even if you touch two electrodes from a 1.5V source to your tongue, you can hardly feel anything. The voltage is too low to drive much of a current through the body.
Your son may have been pricked by the paper clip, but misinterpreted as a shock, because he was prepared to believe that it can shock him.
Being knocked from your chair can be the result of being startled, and a racing heart a psychological response. A mere abrupt sound can have these effects.

redpajama_set_name: RedPajamaStackExchange


A list of events you can proposal to speak or vote in the proposals.
Have you ever had a difficult time to organize your local meetup?
Call4paperz tries to help with event organization, call for papers, voting on speakers and collecting feedback from the participants, and schedule planning.
We have now 19769 users to help with feedback!
Call4paperz was designed, developed and deployed in 48 hours by @anderson_leite, @qmx and @vinibaggio at Rails Rumble 2010.
It's maintained by @lucianosousa and @tauil since mid 2015. Previously by @ricardovaleriano.
We are open source. If you have any ideas or bugs, please visit our GitHub repo. Pull requests and issues are welcome!
If you have any suggestions or questions about Call4Paperz, send us a tweet (@call4paperz).
Copyright © 2010 — 2019. Powered by acts_as_monkeys_on_steroids, Developed in Rails Rumble 2010.


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Home»fortnite»How to add friends in Fortnite
How to add friends in Fortnite
You found out that your best friend plays Fortnite and, intrigued by this, you too have installed the very famous multiplayer title developed by Epic Games. Unfortunately, however, all your attempts to add him to your list of friends within the video game have not given the desired result and now you don't know where to turn your head. Well, if that's the way things are, know that you don't have to worry: if you want, I'm here to help you.
Fortnite, which is available on all major gaming consoles (PlayStation 4, Xbox One, Nintendo Switch), on computers (Windows / macOS) and on portable devices (Android / iOS), allows you to play in groups of up to 4 players , who must challenge up to 96 enemies on the map. The title is designed for fun in company and is one of the first to support cross-play, or the interaction between users who use different devices. For example, a person who owns a PlayStation 4 can play with a friend who has a Windows computer and vice versa.
How to add, view and delete bookmarks in PDF in Vista
Also from this point of view, I can assure you that add friends on Fortnite it's not difficult at all: you just have to take five minutes of free time and follow the directions I'm about to give you. I assure you that, in no time at all, you will find yourself playing Fortnite with your friends and achieve your long-awaited victory in the game world, regardless of which platform you choose to play on. Happy reading and have fun!
How to add friends in Fortnite from PS4
How to add friends in Fortnite from PC
How to add friends in Fortnite from PS4 to PC
How to add friends on Fortnite mobile
How to play cross-platform Fortnite
Alert: Fake Fortnite APKs flood the internet
Fortnite is one of the most popular video games for PlayStation 4. The Epic Games title is in fact downloadable for free and can be played even without the PlayStation Plus subscription. This means that it has integration with PlayStation Network, the online service of Sony's console. For more details on that, you can read my guide on how to play PS4 online without paying.
Before going into the details of the procedure to add friends on Fortnite from PS4, you must make sure that your console is connected to the PlayStation Network. To do this, go to the toolbar top and press the button X controller above the icon Settings. Now, select Net and subsequently Check Internet Connection. In case everything is correct, next to the writing Access to PlayStation Network the item will appear Mission accomplished. If you have any problems, I recommend that you check out my tutorial on how to access PlayStation Network.
Download Fortnite for Windows PC and Mac
Once you've made sure your PS4 is connected to the PlayStation Network, you can take action: for add friends on Fortnite through the special feature developed by Sony (the same that allows you to play together in most of the titles in the PlayStation 4 catalog), go to the upper toolbar of PS4 and press the button X controller above the icon Friends.
On the next screen, press X above the writing Search for (the magnifying glass icon) and start typing the friend's name you want to add to play Fortnite on PS4. Once you have found your account, press the button X of the controller above the icon with the smiley face and "+" symbol present on the right of the screen.
A mini-reunion was held by the female protagonists of Good Friends
Now you don't have to do anything: your friend will get one friendship request and he will simply have to accept it. In case you have to accept a friend request, just go to the section Friend requests at the bottom left of the screen and press the button X of the controller above the inscription Accept.
When the operation is complete, start Fortnite and you will find your friends in the game. To invite them, just go to one of the icons with the "+" symbol left or right of your character on the home screen and press the key X of the controller.
How to add and change languages and keyboards to Kindle Paperwhite
After that you have to select the name of your friend and press the button X. Then, all you have to do is select the writing Invite to the group and press the button again X of the controller. Your friend will get one request to join the group, which must be accepted by going to the section Invitations to the group at the top left, by selecting the Your name and pressing the key X on Accept.
Fortnite is also heavily played on computer and therefore you may want to play together on this platform. To add friends from your PC, just take advantage of the specific functionality of Epic Games Launcher, the program that allows you to manage all the activities of your account and that you installed when you downloaded Fortnite.
How to link Twitch to Fortnite
Once the Epic Games Launcher has started, click on the writing Friends present in the bar on the left. Now you need to select theicon with the "+" symbol, write the first name or theemail address of your friend in the window that opens and press the blue button SEND.
Well, the friend request has been sent and your companion can accept it from the same screen of the Epic Games Launcher. Once the game starts, Fortnite will update your friends list allowing you to play with them.
Are you playing Fortnite on your computer and want to invite a friend of yours who has a PlayStation 4? No problem, Epic's multiplayer title, as mentioned, supports the cross-play and allows you to do this easily, through the Epic Games account.
Fortnite Chapter 2 is now also available for Android
In most cases, just follow these directions: open theEpic Games Launcher and click on the writing Friends located in the bar on the left of the screen. Next, select theicon with the "+" symbol and write the first name or theemail address of your friend in the screen that opens. Finally, just click on the blue button SEND to send your friend the friend request.
For some accounts, the above procedure may not work. In fact, Epic Games allows you to play Fortnite on PS4 even without registering a profile on its platform. In this case, the only thing your friend can do is follow the same procedure described in the tutorial chapter on how to play cross-platform Fortnite and replace his old account with one connected to Epic Games. Be warned though: this could result in the loss of all previous progress.
Epic made Fortnite available in the Play Store with great pouting
The mobile version of Fortnite for Android and iOS came after those for consoles and PCs and therefore has an easier method to add friends: you can do everything conveniently from within the application. The procedure is essentially straightforward and will allow you to play with your friends in a few moments.
In fact, you just need to tap onicon with the "+" symbol present at the top left. Now move to the tab Add Friends and tap on the appropriate search bar. Next, write the first name or theemail address of your friend and press on confirmation button. Perfect, you have now sent the friend request to your friend, who will have to accept it.
Another Fortnite package can be collected by PS Plus subscribers
How do you say? Would you like to start playing on PS4 with a friend of yours to be able to take advantage of the voice chat, but have you started your adventure from PC or vice versa? No problem, the cross-platform. The latter guarantees the possibility of playing the same title on multiple platforms, while maintaining the progress made. Fortnite also allows this and you just need to follow the short procedure below to switch from one platform to another.
At the first power up, the title asks you to register an account to be played. However, in some versions (such as PS4) the game allows you to skip the registration of an account. If you have done this, selecting the word "No thanks. Play Fortnite!", In case you do not have an Epic Games account, unfortunately you will have to create a new profile losing all the progress made previously. In fact, Fortnite had warned you with the message "If you proceed without registering or without logging in, in the future you will no longer be able to connect your account" and therefore there is no other way to solve the problem.
Fortnite has also disappeared from Google Play after the App Store
In case you want to continue with this operation anyway which, I remember, it could cause you to lose all progress accumulated on the old account, you will have to follow the procedure that I will explain below.
Therefore, connect to the official Epic Games website from any browser and press the button Sign in present at the top right. Now, click the button Sign up present at the bottom and then on one of the various icons related to social networks, to connect Epic Games to your social account (I recommend trying PlayStation or Xbox, in case you have one of these profiles), otherwise fill out the form to register by email. Then enter your details in the fields First Name (First name), Last Name (Last name), Display Name (Display name, minimum 3 and maximum 16 characters), E-mail And Password.
How to make new friends online and not fail in the attempt
Then put the check mark next to the item I have read and agree to the terms of service and click the button Create account. Perfect! You now have an Epic Games account and can log in from it on as many platforms as you want, so you can share your progress. In some cases, you may need to log out of your old account.
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add Fortnite friends
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text:
May 12, 2021 | Mark Fairhurst
Grocery Veteran John Lucot Joins Mercatus as Senior Strategic Advisor to the Executive Team
TORONTO – May 12, 2021- Mercatus, a leading provider in grocery eCommerce solutions, today announced that John Lucot has joined the company as senior strategic advisor to the executive team. In this new role at Mercatus, Lucot will support retailer engagement initiatives, providing his deep grocery and industry knowledge to ensure the success of the Mercatus client community and further advancement of Mercatus' cloud offerings.
An industry veteran, Lucot spent 42 years at Giant Eagle, one of the nation's largest food retailers and distributors, where he served as president and COO before his 2016 retirement. Lucot also served as a member of Topco Holdings Board of Directors and was named Chairman of the Board in 2016. A longtime member of the Food Marketing Institute (FMI) Board of Directors, Lucot continues to serve on various industry and charitable boards.
"Already a leader in its space, Mercatus is continuing to build on its reputation as a trusted eCommerce partner to the grocery industry," said Lucot. "The platform, its broad functionality and the company's rapid pace of innovation is impressive. I look forward to leveraging my operations experience and insights as a retail executive to help ensure Mercatus clients have the mission-critical solutions they need to connect to, retain and profit from their online customers."
In the last 12 months, consumers have shifted dramatically to using online channels to do their grocery shopping. This pattern shows no sign of slowing down based on research sponsored by Mercatus and conducted by Brick Meets Click. The U.S. online grocery market finished March 2021 with $9.3 billion in sales. This represents a 43% jump in sales, versus a year ago when sales were $6.5 billion, with curbside pickup attracting the largest share of monthly shoppers at 53%.
"At a time of such rapid channel growth, having someone like John – a proven leader in the grocery industry with years of retail business acumen – will be extremely valuable to Mercatus and our clients," said Sylvain Perrier, president and CEO, Mercatus. "From his long, successful career at Giant Eagle, to his impact as a board member at a number of industry organizations, John is engaging, knowledgeable and insightful. I'm looking forward to working closely with him, as is my executive team, as we address the most relevant digital commerce needs of grocery retailers quickly and clearly."
To learn more about Mercatus' platform, visit mercatus.com/solutions.
About Mercatus
Mercatus helps leading grocers get back in charge of their eCommerce experience, empowering them to deliver exceptional retailer-branded, end-to-end online shopping, from store to door. Our expansive network of more than 50 integration partners allows grocers to work with their partners of choice, on their terms. Together, we enable clients to create authentic digital shopping experiences with solutions to drive shopper engagement, grow share of wallet and profitability, and quickly adapt to changes in consumer behavior. The Mercatus Integrated Commerce® platform is used by leading North American retailers, including Weis Markets, Save Mart brands, Brookshire's Grocery Company brands, WinCo Foods, Smart & Final and others. Mercatus is headquartered in Toronto, Canada.
Greg Earl
Ketner Group Communications
Sign up for the TopShelf Newsletter for articles, insights, strategies and more.
Mercatus Welcomes New Members to Board of Directors Total U.S. Online Grocery Sales for April 2021 Up 16% Versus Year Ago Digital Coupons Enhances Grocery eCommerce Platform


text:
August 2, 2015 April 19, 2016 sarahnicho
Literary landscape …
Lake Windermere in the Lakes District. Pic Sarah Nicholson
I SEE why this tranquil corner of England inspired Beatrix Potter to write tales about rabbits and William Wordsworth to pen poems about daffodils.
I've only been in the Lake District a couple of hours and I'm already sitting on the deck of a vintage steamer as it drifts across Lake Windermere with my notebook open to compose a paragraph about the view I see from my waterborne perch.
The hot midday sun is laying sequins on the water, the narrow country lanes winding around the lake are defined by centuries-old stone walls, blooms of every hue surround picture-perfect cottages, and sheep graze on hillsides so green they remind me of perfect Granny Smith skins.
I imagine Beatrix and William opening their curtains in the morning and reaching for pen or paintbrush, strolling country lanes and writing on summer nights when the setting sun drops a golden glow on the rural landscape that they see from study windows.
The author responsible for Peter Rabbit, Jemima Puddle-Duck and Benjamin Bunny discovered the Lake District during childhood holidays and moved to a working farm near Hawkshead in the early 1900s before shifting across the road to a larger house when she later wed local solicitor William Heelis.
I start my first full day in Hawkshead – the hamlet of white houses roughly halfway between Lake Windermere and Coniston Water – and visit the Beatrix Potter Museum now occupying the 17th-century building that served as husband William's chambers.
William Heelis' chambers that now serve at the Beatrix Potter Museum. Pic Sarah Nicholson
I linger in the dark rooms at the top of the narrow steps to peer at dainty original sketches and watercolour paintings featuring the author's famous characters, read displays detailing her contribution to conservation and farming, and look out a window to spy the view Beatrix would have glimpsed while visiting her husband at work.
Then it's back in the car to drive the 4km to Hill Top, the farm Beatrix bought in 1906 and moved to after the death of her first fiance Norman Warne. The property is now managed by the National Trust and the cottage is in much the same condition as when the author left it.
There's the sitting room just inside the front door with a cabinet displaying her favourite plates, a rocking chair by the fireplace, the bedroom with a faded quilt and her glasses resting on a dressing table.
Out in the garden I expect to see Peter Rabbit dash into the vegie patch as I stroll footpaths flanked by bushes with bright summertime blooms and linger at the front door to have my photo snapped in the exact spot I've seen the famous resident pose.
Potter's Hill Top. Pic Sarah Nicholson
After exploring the grounds, I retire to neighbouring Sawrey House for afternoon tea of scones and cool homemade lemonade, to linger just a little longer in Beatrix Potter territory.
The poet was educated in Hawkshead but his real passion for the district started in 1799 when he settled in Dove Cottage on the edge of Grasmere, the village he described as "the loveliest spot that man hath ever found'', before briefly relocating to nearby Allan Bank and settling at Rydal Mount in 1813.
I start a second literary day in Grasmere and skirt St Oswald's Church to see the Wordsworth graves – William is buried in the yard beside wife Mary, sister Dorothy and daughter Nora – before pausing at Sarah Nelson's Gingerbread Shop to try a local culinary icon in what was once the school where the poet taught local children.
It's an eight-minute walk to Dove Cottage where I join a tour of the rooms William and Dorothy occupied when they first moved to the Lakes before visiting the neighbouring Wordsworth Museum to see handwritten letters and diaries.
I retreat to Grasmere for lunch, sitting on the riverside terrace at The Rowan Tree to gaze across the water at Wordsworth's church while recharging for the afternoon, then it's into the car for the 4km drive to Rydal Mount and the estate William lived at from 1813 until his death in 1850.
William Wordsworth's Rydal Mount. Pic Sarah Nicholson
The property is still in the hands of Wordsworth descendants, who gather a couple of times a year for special occasions, but when they're not in residence the stately dwelling is open to the public.
Outside I drift through the garden, designed by the famous resident who surrounded himself with the natural environment that encouraged his work, to find Dora's Field, the pasture William bought for his daughter and filled with daffodils after her death in 1847.
The writer was a guest of Visit England.
Go2 – The Lake District
Located in England's northwest corner and basically defined by the boundaries of Cumbria's Lake District National Park, the Lake District is a 90-minute drive from Manchester or a two-hour journey on National Rail to Windermere. See nationalrail.co.uk
Staying there
Langdale Hotel & Spa, 7km from Ambleside near the hamlet of Elterwater, is a delightful place to stay in the Lake District with Waterside Rooms beside a cascading stream and the chefs at Purdey's restaurant using local ingredients to create a fine-dining experience. See langdale.co.uk
More See golakes.co.uk or visitengland.com
THIS STORY ORIGINALLY APPEARED IN ESCAPE ON SUNDAY, AUGUST 1, 2015
Click here to see the story online
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Don't miss the Expo that follows, either! Exhibitions will offer products and services to support a healthy, whole person. There will also be food trucks, a juice bar, and great performances. This great opportunity is available so close to your Laguna Beach home!
Tickets are $5 and include a screening of Miss Representation and entrance into all other events. They can be purchased on the day of the festival through Soroptimist of Laguna Beach members or online at the Soroptimist website.


For more information please look at our Auto iPacket... it really has so much information on the exact equipment on the one you're looking at. Call or email us for any further questions about an unit.. Just give us the stock number when you call  610.436.0600.Narvik Black 2019 Jaguar E-PACE SBluetooth / Handsfree Calling.AWD 9-Speed Automatic 2.0L I4 TurbochargedFor more information please look at our Auto iPacket... it really has so much information or exactly the equipment on every car. Call or email us for any further questions about an unit.. Just give us the stock number when you call. 610.436.0600.
For more information please look at our Auto iPacket... it really has so much information on the exact equipment on the one you're looking at. Call or email us for any further questions about an unit.. Just give us the stock number when you call  610.436.0600.Fuji White 2019 Jaguar E-PACE SBluetooth / Handsfree Calling.AWD 9-Speed Automatic 2.0L I4 TurbochargedFor more information please look at our Auto iPacket... it really has so much information or exactly the equipment on every car. Call or email us for any further questions about an unit.. Just give us the stock number when you call. 610.436.0600.
For more information please look at our Auto iPacket... it really has so much information on the exact equipment on the one you're looking at. Call or email us for any further questions about an unit.. Just give us the stock number when you call  610.436.0600.Santorini Black 2018 Jaguar E-PACE R-DynamicBluetooth / Handsfree Calling.AWD 9-Speed Automatic 2.0L I4 TurbochargedFor more information please look at our Auto iPacket... it really has so much information or exactly the equipment on every car. Call or email us for any further questions about an unit.. Just give us the stock number when you call. 610.436.0600.
For more information please look at our Auto iPacket... it really has so much information on the exact equipment on the one you're looking at. Call or email us for any further questions about an unit.. Just give us the stock number when you call  610.436.0600.Fuji White 2019 Jaguar E-PACE SEBluetooth / Handsfree Calling.AWD 9-Speed Automatic 2.0L I4 TurbochargedFor more information please look at our Auto iPacket... it really has so much information or exactly the equipment on every car. Call or email us for any further questions about an unit.. Just give us the stock number when you call. 610.436.0600.
For more information please look at our Auto iPacket... it really has so much information on the exact equipment on the one you're looking at. Call or email us for any further questions about an unit.. Just give us the stock number when you call  610.436.0600.Gray Metallic 2019 Jaguar E-PACE SEBluetooth / Handsfree Calling.AWD 9-Speed Automatic 2.0L I4 TurbochargedFor more information please look at our Auto iPacket... it really has so much information or exactly the equipment on every car. Call or email us for any further questions about an unit.. Just give us the stock number when you call. 610.436.0600.


The prayer shawl ministry at FBC Eupora began in February 2005. Members of the church hand crochet and knit the prayer shawls and attach a small cross to every shawl. Each shawl is prayed over for a specific person who is experiencing a health issue. The shawl is then given to that person as a symbol of God's love for them. Prayer shawls are also stitched for babies that are dedicated to the Lord at FBC Eupora. To date over 75 prayer shawls have been presented in the name of Jesus. The prayer shawl ministry is always looking for new stitchers. Meetings are the first Sunday of the month at 4 p.m. For those who prefer to stitch at home, there is a prayer shawl chest in the Golden Circle classroom where shawls can be placed.


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Scott Riggs Express Notes, No. 09 Ford Fusion NASCAR Nationwide Series Bristol Motor Speedway, Race No. 4
Topics: Scott Riggs, Scott's Turf Builder 300
Jessica Caulder
RAB Racing
Race Info:
Event: Scott's Turf Builder 300
Date/Time: Saturday, March 20th/2:30 PM
TV: ABC, 2:00 PM
Radio: PRN, 2:00 PM
Distance: 300 Laps/159.9 Miles
Track: .533-Mile Oval
2009 Winner: Kevin Harvick
Team Website: www.teamrab.com
Team Twitter: http://twitter.com/Team09_Jessica
Team Facebook: www.facebook.com/RABRacing
Scott's Website: www.scottriggs.com
Fast & Fun Facts:
It's All About the Fans… In conjunction with the Fan sponsored car in Nashville, two former school mates of Scott Riggs have stepped up to show their support by hosting a "Chicken Plate Dinner" on Saturday, March 20th, at the County Store in Durham, NC. All proceeds will go to Riggs and RAB Racing for the Nashville 300 on April 3rd.
On Board with Riggs and RAB Racing: The No. 09 Ford Fusion will carry an in-car camera during the Scott's Turf Builder 300 this weekend, so get up to speed with the sophomore team as they go 300 laps around Bristol Motor Speedway.
A Look Back-Las Vegas: Scott Riggs, who started 20th, piloted the No. 09 Ford Fusion to the team's best series finish of 14th in just his 3rd start behind the wheel with RAB Racing. The 39-year-old veteran also led his first lap of competition in 2010 and "cashed-in" on a top-10 spot in the NASCAR Nationwide point standings.
Luck of the Irish: St. Patrick's Day is Wednesday, March 17th. This day is normally associated with everything Irish from the color green to shamrocks and good luck. Scott Riggs isn't Irish, but he would like to continue what he considers to be a "good start" to the 2010 season by bringing home RAB Racing's first top-10 finish. In just his first three races of the season, Riggs has brought home two of RAB Racing's best finishes; 15th at Daytona and 14th at LVMS. With three top-10's in five NASCAR Nationwide Series starts at the .533-mile oval, he shouldn't need a four leaf clover.
March Madness: Bristol is the only race on the 2010 NASCAR Nationwide Series schedule in March and RAB Racing heads to "Thunder Valley" for the Scott's Turf Builder 300 in the highest points position the team has ever held heading into the 4th event of the season. Currently, Scott Riggs sits 10th in driver point standings and Robby Benton, owner of the No. 09 Ford, is 12th. The No. 09 Ford is currently the only un-sponsored car inside the top-12.
Scott Riggs at "Thunder Valley": Riggs has 15 starts at "Thunder Valley" in the NASCAR Sprint Cup Series and NASCAR Nationwide Series. The Bahama, NC native has one pole, one top-5, five top-10's and has led 56 laps.
Driver Rating… Riggs has a 116.7 Driver Rating- leading fellow NNS driver Kevin Harvick by a 4.7 margin. The driver rating is a formula that combines the following categories: wins, top-15 finishes, average running position while on the lead lap, average speed under green, fastest lap and lead lap finishes. The maximum a driver can earn during a race is 150.
Average Running Position… According to NASCAR's loop data statistics, Riggs leads the average running position category with a 5.977 ARP. The ARP is derived from taking the sum of a driver's position on each lap and dividing it by the number of laps in each race.
Put Your Name In The Fast Lane: Scott Riggs fans have spoken…The dedicated culmination of Scott Riggs fans would like to reach out in support of the veteran driver in a unique fan-driven opportunity to "Sponsor Scott" in the upcoming Nashville 300 on April 3rd at Nashville Superspeedway. To get your name in the Fast Lane log onto www.teamrab.com.
This Week's No. 09 Ford: Scott Riggs will pilot chassis No. 024 in the Scott's Turf Builder 300 at Bristol Motor Speedway. This is a former Roush-Fenway Racing chassis that Matt Kenseth drove to victory lane in 2006 at Bristol.
Food City Race Night: Riggs will join fellow NASCAR Nationwide Series drivers for Food City Race Night at BMS on Friday, March 19th. Riggs will take part in an autograph session from 7:00-8:00 PM
Quoting Scott Riggs:
St. Patrick's Day is Wednesday, March 17th. St. Patrick's Day is associated with everything Irish from the color green to shamrocks and good luck. Would you consider Bristol a place where you need good luck?
"Maybe, the main thing is you just don't want to be at the wrong place at the wrong time and get caught up in someone else's trouble."
In racing, the color green is considered bad luck. Do you have any reservations with the color green in racing?
"No, I'm not superstitious by any means and I would take a green paint scheme with a new sponsor any minute."
According to NASCAR's Loop Data Statistics, you are ranked P. 1 in a few categories. Is Bristol a track you enjoy racing at?
"I do like Bristol. It's a place where a driver can hustle a race car to make time and its back to my short track racing roots with hand to hand combat."


Despite all the high tech toys available nowadays, nothing beats horsing around with your friends on a hot day and pelting each other with water bombs. As fun as water fights are, you can still take things up a notch with the Wild Sling Water Bomb Catapult. The catapult can be used by lying on your back and using your legs to prop the launcher. With this device, you will be unbeatable at water balloon fights!
Never worry about having storage containers again!
Lips for her, mustache for him.


With the release of the Ultima 40 Active Teufel has refreshed it's entire Ultima family. For that reason the Teufel blog team and press team sat with the Technical Director and Teufel veteran, Markus Romeis, to talk about the legendary Ultima family, their development history and to look at the future for the Ultima series.
Blog Team: Hello Markus, you're already known throughout Teufel, you really are a veteran and together with your team you have already brought a range of amazing products onto the market. Please introduce yourself to our blog readers!
Markus: With pleasure, I am Markus, and have been with Teufel Audio for over 30 years. I am responsible for the entire technical side of any new product. Once the Development Head Simon Schiessl and his team have finished the creation and specification, I then take over the responsibility for the products in the execution phase to the creation of the first samples and then finally to mass production.
To learn from feedback, was and is a pillar of Teufel's success.
Blog Team: Teufel recently reworked it's most beloved product the Ultima. When you look back, how did the Ultima actually come about?
Markus: Now, I really need to think. At the end of the 1990s and thet start of 2000s Teufel had their biggest ever sales – which today is still successful – for the satellites and subwoofer systems. When it came to the standing-speaker industry we didn't really make our stamp on it. We wanted to change it and tried out a few things.
It was a long, hard way because the first Ultima speakers, Ultima 5 and Ultima 7 optically and acoustically have very little relation to today's models – in that they weren't straightaway a success, like wished. However, to learn from feedback, was and is a pillar of Teufel's success.
The arrangement of the speakers and toners is for the best sound.
So, after the first setback we sat together and thought about what we could do, to be a success in the loudspeaker market. In this process the foundations of the – now legendary – design came to be – that we can all recognise today. Since then, it's typical for the Ultima the unique toner arrangement and – of course – the copper-coloured middle toner. So through this process came the first "real" Ultima, the Ultima 60. And we hit the nail on the head for our customers, just like the success shows.
Floor-standing loudspeaker with a heay sound thanks to built-in subwoofer.
Blog Team: You have just mentioned a special arrangement of the toners, what does this do for the Ultima sound exactly?
Markus: Floor-standing loudspeakers need to have a certain arrangement, so that the loudspeaker sounds good. When it came to the Ultima 40 we changed this. Firstly, the order of the drivers: two woofers in the bottom part and directly above the tweeter, then the mid-range drivers. This means that the sound waves don't get sent down, but instead straight ahead.
Even today it's still a significant acoustic quality issue.
However, we are getting closer to the ideal of the point source by arranging the the toners in reverse.Even today it's still a significant acoustic quality issue. Stage reproduction and the reproduction of the mid-range and treble seem authentic. With the new version we worked hard on sound optimisation and installed an improved tweeter. This ensure for a better spread of sound waves, by developing a better lens. So all in all, through this process, the tweeter improved.
Blog Team: How did the Ultima maintain its success throughout the years?
Markus: We really analysed what our customers loved the most about the loudspeaker. This includes the sound character, the design with the round edges, and of course, a fair price.
With the intention is go ahead with the series we were very careful to change these aspects with the greatest caution. As a result, aspects that were already loved by our customers in the first generation are still available two versions later.
Markus: Yes, in the end of 2016 we extended the Ultima series with the active loudspeaker Ultima 40 Active. It was the logical reaction to the growing trend towards active loudspeakers, to create a speaker that can be controlled directly from a smartphone or other players – in our case even through the television – and without the necessity of a stereo or AV receiver. This concept has been well received by our customers. Of course, we have paid particular attention to offering the same high sound quality in the active version as our customers are used to from the passive Ultima 40.
Blog Team: If you look at other active loudspeakers on the market, you notice that they don't have a HDMI port to improve TY sound, unlike the Ultima 40 Active….
Markus: The HDMI port is the result from many conversations with our customers, who just wanted an easy way to connect active speakers to their televisions. In the first Ultima 40 active version there was already a HDMI port available – probably a premier for this class. With the new version we're taking a step further. You can now connect the Ultima 40 Active with our rear-loudspeakers Teufel Effekt to create a 4.0 system. And if wished, you can connect an extra subwoofer.
Better sound for your TV? Ultima 40 Active HDMI can easily connect for a better sound.
Blog Team: The possible set up of the 4.0 or 4.1 system actually means that for the home cinema the voice intelligibility, which is very important, is missing….
Markus: Not really. With the new design for the Ultima 40 Active we worked intensely with the topic TV and film sound, so we decided to create a simulated centre channel. This removes the need for an extra speaker in the room, which isn't always easy to set up. Our own software solution Dynamore Virtual Center simulates the centre channel. The experience is so good, that you don't even miss the 5th loudspeaker.
Blog Team: Markus, why does the Ultima 40 remain a success?
Markus: Because they have a high-quality Hi-Fi sound and an impressive design – and all this for a fair price. It always has to sound good – that's the genius of Teufel, our DNA. Of course, our speakers should look attractive, too, but we only spend as much money on them as necessary. That's why our customers receive amazing loudspeakers – which always surprises them – for such a small investment. And of course word always gets around.
Blog Team: Thank you for the detailed interview, Markus!


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text:
crime, humour, mystery
John Ross spent his younger years on rural properties in Queensland and New South Wales and was working towards a career in that area when his parents moved to the city. He joined Trans Australia Airlines (TAA) in 1969 and spent the next 31 years in the airline industry, holding management positions in Air Cargo, Airport Management and State and Commercial Management. Retirement in 2000 saw a move to the beautiful Blue Mountains in New South Wales where he and his wife have a house and a large cool climate garden. Their three children and six grandchildren visit often, especially in winter to enjoy the odd snow fall. In 2010 John was diagnosed with acute myeloid leukaemia and not given a great chance of survival. However, after seven rounds of chemotherapy and a stem cell transplant from his eldest son, he is in remission. This has changed his outlook on life and he now concentrates on doing the things he enjoys: writing, gardening and spending time with family and friends. John's blog site is http://johnrossauthor.blogspot.com.au and here you will find links to his other works and blogs.
All books by John Ross
My Patch: the life of Reginald Smithers, a village policeman.
Kindle Smashwords
These short stories relate the experiences of Reginald Smithers, a policeman in the small English village of Stackfort on Humber in the first half of the 20th century. They cover his life, from his first appointment as a young constable, his promotion to sergeant through to his retirement and reveal the sometimes humorous, but always interesting, aspects of his life and the lives of his friends.


text:
John Weeks: The song remains the same, darn it
PUBLISHED: July 21, 2011 at 12:00 a.m. | UPDATED: September 1, 2017 at 5:05 a.m.
At one time I believed, quite fervently, that the Beatles had spent secret time in the Inland Empire. In fact, they had recorded a significant portion of their "Magical Mystery Tour" album here.
That's what I believed.
My evidence was the song "Blue Jay Way," a song written by George Harrison that easily could have been inspired by the tranquil beauty of the picturesque community of Blue Jay, located near Lake Arrowhead in the San Bernardino Mountains.
That's how misleading song lyrics can be.
I later learned that there actually is a street called Blue Jay Way in Los Angeles, where George Harrison rented a house in 1968.
Darn. So much for that.
I was reminded of this fact when I recently read an online interview with Paul McCartney in which he talked about the lyrics of various Beatles songs.
It was a revelation.
THE EMPEROR'S NEW BLOG
Read about the one time the Beatles actually did visit the Inland Empire: http://blogs.sbsun.com/sb/weeks/.
He said that several classic Beatles songs actually are total drug anthems. For example, "Got to Get You into My Life," he says, is "directly about pot," while "Day Tripper" and "Lucy in the Sky with Diamonds" are both about acid.
"That's pretty obvious," he says.
Well, no, it's not obvious. "Day Tripper," in fact, seems to be a lament about a fickle woman. ("She's a big teaser, she took me half the way there.") And we always were told that "Lucy in the Sky with Diamonds," despite its trippy lyrics and the suggestive initials of its title, was inspired by a goofy drawing that John Lennon's son Julian brought home from school one day.
That's what John said, anyway.
Now, Paul says something else, and it's hard to argue with the man. He was there, after all. "Just about everyone was doing drugs in one form or another, and we were no different," he recalls.
It may be disillusioning, but it also raises an interesting question. Does it matter what a song means?
A song works, or doesn't work, on so many different levels. Lots of great songs don't have words at all, so they aren't about anything, at least not overtly. On the other hand, a lot of successful hip-hop songs, for example, have loads of words but very little music.
Some beloved songs have music and words both, but the words are either nonsensical or unintelligible, or both. What is "Louie Louie" about, for crying out loud? Or "Tutti Frutti" or "Hound Dog" or "Duke of Earl"?
The fact is, a great song is a great song, even if it makes no sense. And lots of Beatles songs make no sense. I mean, what the heck is "I Am the Walrus" about?
Ha, I bet a lot of those Lennon-McCartney standards are about nothing, or maybe just crazy stuff. In fact, it's too bad Paul didn't really open up in that interview, and dish all the dirt he knows.
It might have gone something like this:
"The Long and Winding Road": This song is Paul's candid recounting of the night when, high on LSD, he got hopelessly lost in his own driveway.
"Something": A drug-addled George Harrison had to call his new song something, so that's what he did. It was either that or "Whatever."
"Yellow Submarine": One night, a pot-smoking Ringo Starr got the munchies so bad, he ate a moldy foot-long sandwich he found in the back of the refrigerator.
"While My Guitar Gently Weeps": George was having a bad night when he wrote this song. He should have stayed away from the brown acid. His guitar was gently weeping. His sofa was gently weeping. His drapes were gently weeping. Pretty much everything was gently weeping.
"Rocky Racoon": An inebriated Paul thought his middle-of-the-night idea for a new ice cream flavor was pure genius, but he couldn't get a call through to the decision makers at Ben & Jerry's.
"All Things Must Pass": George became philosophical one night after swallowing a dart during a barroom dare.
"Why Don't We Do It in the Road?": After the two dropped acid, Paul asked John, "Would you like to go for a drive?" John replied, "Where?"
"She Came In Through the Bathroom Window": In this song, Paul frankly admits that his Muse often visits while he is sitting on the loo.
"Old Brown Shoe": George, stoned out of his mind, locked himself in the closet and started composing songs about whatever caught his eye. Among the songs that never made the cut: "Twisted Coat Hangers," "Dust Bunnies," "Smelly Shirts" and "The Other Old Brown Shoe."
"Good Morning Good Morning": John had a hangover and a bad case of the hiccups when he wrote the first song in a projected trilogy that also was to have included "Good Afternoon Good Afternoon" and "Good Evening Good Evening."
Read more John Weeks at http://sbsun.com/johnweeks and http://blogs.sbsun.com/sb/weeks/. Contact him by email at john.weeks@inlandnewspapers.com.
Newsom and Villanueva spar over the homeless crisis


text:
Bloomberg Defends Caroline
Pushback
Updated Apr. 25, 2017 4:38PM ET / Published Dec. 31, 2008 1:42AM ET
Louis Lanzano/AP Photo
Caroline Kennedy's interviews so far have been notable for their halting style and copious "you know's" (c.f., "You know, I think really this is sort of unique moment both in our, you know, our country's history, and in, you know, my own life"). Mayor Michael Bloomberg says he feels her pain. "If there's anybody who understands the pain and suffering of having the press criticize how you speak, it is me," Bloomberg said yesterday. The mayor noted that his clumsy style had improved greatly during his tenure his office. He also suggested that the press was being harder on Kennedy than the other contenders for the seat. "Nobody seems to be asking other particular candidates, 'Tell us what you would do in the situation of world chaos or whatever, a Depression, a world war,'" he said.
Read it at New York Post


This weekend. Was BEAUTIFUL. Tommy currently looks like this. No really. I went on a mens retreat with some buddies up to Wisconsin and I made the incredibly wise decision to not wear sunscreen. It's only April, why would I need to worry about my skin? It's not like I'm albino or anything...I just happened to be a studly Scandinavian man who happens to turn fifty shades of pink during the summer months. Whatever. It all turns to a golden bronze after a few burns anyways. Just go with it. I do.
After bronzing skin while playing baseball and boating I headed to the suburbs for a bridal shower for some very close friends. There wedding is this June in Boston. Dream wedding on the water? Yup, it's happening! Thank you Sarah and Alex for making my preppy East Coast dreams come true! I am already counting down the days until I say "Peace out Chitown" and fly to Boston for a long weekend. I don't take many vacations so I get very excited when I get the opportunity to go somewhere. I've been to the East Coast before ("Duh Tommy, you lived in NYC...") but there will never be a reason not to go back!
In honor of the impending summer wedding, I want to raise a glass to the brides and say Cheers and Congratulations! I am so excited to be sharing the special day with you in a few months.
Now about this martini...Carla (my mother) has a way of finding some incredible cocktail beverages. For someone that doesn't drink much besides wine, she sure knows how to pick them. We'll just chalk it up to good taste. She ordered this martini at a restaurant a few years ago and holy mother of pearl. It's incredible. It is also incredibly dangerous. All alcohol. All deliciousness. Way too easy to chug them. But either way it's delicious. And I will always want another. So pour up, sit back and drink up!
Pour equal parts RumChata and Malibu into a cocktail shaker.