text:
Program Covers
Keychains & Zipper Pulls
Visit the Outlet
LOYAL Membership
MTC Delivery Info
Bookstore Blog
Shop Our 2021 Study Essentials
Home > Art & Home > Statues > Figurines
LDS Figurines
Sort By... Product Name Newest Products Price Low to High Price High to Low Rating: Low to High Rating: High to Low Total Reviews Most Popular
Price: Price: $23.99
Item #: WT-A-26454 -
Forget-Me-Not is a thinking-of-you piece, universal in her message. She represents timeless friendship and love that spans any distance. She's also the perfect flower to add to a garden of colorful figures that include Sunshine, Beautiful Wishes, Surrounded by Love and Happiness. This statue is 5" tall.
Item #: WT-F-26121 -
This beautiful statue represents love and the promises we make as husband and wife. It is 9" tall.
Surrounded by Love
A small girl with her face nestled in a bouquet – enjoying it with all her senses, feeling enveloped and safe in that surround. A gesture that reminds someone that they too are encircled by the love of family and friends. A special gift for someone experiencing difficulty; who needs reassurance. A birthday gift – when people love to feel loved. Or a romantic way of saying to one special person that all of your love is surrounding them. Poppies are also a symbol for remembrance, so this piece...
My Sister, My Friend
Availability: Temporarily Sold Out
Item #: WT-27095 -
Walk with me. And along the way, we'll share... everything. This statue stands 8.5" tall
This piece is all about memories-- how warm, comforting memories help us to heal when we're missing someone. If you look closely at the carved icons on her dress, each recalls a memory by appealing to our senses... touch, scent, taste, sound, sight. We keep these personal memories safe within us, connecting us to those we love. - Susan Lordi "Memories...Hold Each One Safely in Your Heart" This statue stands 5" tall.
Our Gift
Message: "Our bright, joyful gift!""I carved Our Gift to celebrate the exciting realization of suddenly becoming a family after the birth of a first child. The composition of mother and father forms a little protective circle around the baby." —Susan LordiSize: 8½" HArtist: Susan Lordi
"This sculpture represents a couple who's navigating life together - the joys, the challenges, and the daily decisions that come with being a family. I hope it speaks to an appreciation for the little things that make life interesting... and how love can renew itself over and over again. It's the trust and support of each other through the day in, day out that strengthens love and keeps us in it for the long haul." This statue stands 7" tall.
Apart or together, always close to me. This statue stands 8" tall.
The best gift is time spent with you.This Willow Tree figurine is called "With My Grandmother" and features a young woman with her grandmother.
Appreciating your Kindness This statue stands 5" tall.
Angel of Prayer
For Those who Believe in the Power of Prayer This statue stands 4" tall.
Celebrating the bond of love between mothers and sons. This statue stands 8" tall.
Message: "For those who have found their true partner in love and life" Willow Tree hand-carved sculptures speak in quiet ways to heal, comfort, protect and inspire. Susan Lordi identifies emotions so important for us to convey, and renders them in simple, pure gestures. About Willow Tree, Susan says, "I try to keep the interpretation of Willow Tree open. I hope this makes it more personal, and allows the viewer to decide its meaning." Size: 9" H Artist: Susan Lordi ...
Message: "Celebrating a treasured friendship of sharing and understanding" Willow Tree hand-carved sculptures speak in quiet ways to heal, comfort, protect and inspire. Susan Lordi identifies emotions so important for us to convey, and renders them in simple, pure gestures. About Willow Tree, Susan says, "I try to keep the interpretation of Willow Tree open. I hope this makes it more personal, and allows the viewer to decide its meaning." Size: 4½" H Artist: Susan Lordi ...
For Always
Sentiment: Now and for always, I carry you in my heart. This precious Willow Tree figurine is called "For Always" and features a mother holding a baby.Measurements: 6.5"h.
Celebrating the Miracle of New Life This statue stands 5" tall.
FREE to sing, laugh, dance... create! This statue 5.5" tall.
Quietly encircled by love. This statue stands 5" tall.
Sign For Love
I Love You This statue stands 5" tall.
This charming sculpture perfectly captures the pure joy and laughter between a mother and her daughter. This statue stands 6" tall.
Message: "Open books, open minds"Willow Tree hand-carved sculptures speak in quiet ways to heal, comfort, protect and inspire. Susan Lordi identifies emotions so important for us to convey, and renders them in simple, pure gestures. About Willow Tree, Susan says, "I try to keep the interpretation of Willow Tree open. I hope this makes it more personal, and allows the viewer to decide its meaning."Size: 5½" HArtist: Susan Lordi
Angel of Caring
Always There, Listening with a Willing Ear and an Open Heart This statue stands 4" tall.
Forging a Bond that Lasts a Lifetime This statue stands 5" tall.
Celebrating the bond of love between fathers and daughters. This statue stands 5" tall.
This figure has universal appeal in both symbol and sentiment. Delicate outlines of concentric hearts sparkle with an expression of love that can range from friendly, affectionate, romantic, abiding...Materials: resin, wireMeasurements: 5.5"hInterior packaging: recyclable paper pulpSentiment: Ever close to my heart
This beautiful piece captures the unique love between a grandmother and her much-loved grandchild. This statue stands 5.5" tall.
Message: "Love ever endures.""I used my parents as models for this sculpture; they celebrated their 57th wedding anniversary last year. I wanted to create a piece that celebrates the constancy of love, and I like the way older couples appear to 'fit together' so comfortably. Anniversary is intended for lifelong partners who continue to express their love for each other through the years. The inscription and carving on the back 'I love thee' is meant to connote a sense of intimate, cherished...
Seeking the quiet within.I wanted this prayer figure to be a humble piece, but very centering, calming, peaceful… with a universal gesture of meditative thought. The surface is carved with texture and patterns of living natural forms. Even though this is a quiet piece, I wanted the imagery to be very alive with movement – to have an inner energy of life." —Susan LordiThis Willow Tree figurine is called "Prayer of Peace."
Message: "Seek, explore, discover.""Quest was inspired by my son. The idea of the piece is to portray the natural curiosity and exploration that leads young people to develop passionate interests and goals - the independent pursuit of learning - with no parental prodding. It's the love of learning for learning's sake. As a parent, I think it can be inspiring to watch the process of self-discovery unfold. Quest could be a birthday gift, graduation gift, new job or retiree gift, or a thank you...
Bridging generations with ageless love. This statue stands 6" tall.
By my side. This Willow Tree figurine is perfect for siblings and features a brother and a sister.Height: 5½"
So loved, so very loved. This precious Willow Tree figurine is called "Angel of Mine."Height: 8½"
Kindness - Boy
Message: "Above all, kindness.""A kind comment or gesture from someone can really make my day. There are specific people in my life who have taught me how powerful the quality of kindness is, and these people directly inspired me to sculpt pieces that elevate the importance of this attribute. Kindness is the virtue that gives us so much reward, and the one we aspire to. The sentiment, 'Above all, kindness' means just that. The animals can be metaphorical (who better to teach us about kindness...
Angel's Embrace
Hold close that which we hold dear. This beautiful Willow Tree figurine is called "Angel's Embrace." Height: 5"
At LDS Bookstore, we carry numerous LDS figurines, including those from Willow Tree. These make great gifts and are especially popular for celebrating special occasions, such as weddings, birthdays, and important milestones.
New Framed Hymn Art
LDS Art & Decor
LDS Calendars
Missionary Gifts
Coloring & Activity Pages
MTC Delivery
Hours: M-F, 9am-3pm
Live Chat: During business hours
Email: Service@LDSBookstore.com
Receive Our Coupons
CTR Rings / LDS Art / LDS Daily / LDS Scriptures
Copyright 2021 Latter Day Products, Orem UT / Website Usage Terms & Privacy Statement
Not an official website of the The Church of Jesus Christ of Latter-day Saints.


text:
Q: Is there a way to remove the URL parameters from an AWS Cognito Hosted UI Custom Domain URL? I have configured a Custom Domain to be used for my Cognito Hosted UI, so that when users navigate to my web app and are redirected to login, they see a clean URL with branding instead of the scary looking Cognito Domains.
My Custom Domain resembles: auth.example.com
The issue is that when users are redirected to this hosted ui login URL, it contains many Cognito relevant parameters that are not relevant to the user:
https://auth.example.com/login?response_type=code&client_id=<your_app_client_id>&redirect_uri=<your_callback_url>
I would like for the URL to only show as follows without any parameters: https://auth.example.com
Is this possible or does the Cognito Hosted UI require that these parameters be provided in the URL? Or is there some way to hide the URL parameters from end users?
I've tried simply navigating to https://auth.example.com, but this just renders a blank white page instead of the expected Cognito Hosted UI with sign-in and sign-up forms.
Generally users will only be redirected to the Hosted UI URL or routed there by clicking a button, in which case I'd still like it to be cleaned up without parameters once they're routed, but it would also be nice to be able to share a clean link specifically for signing up, e.g. https://auth.example.com or https://sign-up.example.com.
Thanks in advance for any help!

redpajama_set_name: RedPajamaStackExchange


We have the largest selection of Disney Checks, Classic Disney bank checks, Disney Personal Checks online. Save 70% off Disney bank checks including Mickey Mouse Checks,Tinkerbell Checks, Winnie the Pooh Checks, Cinderella Checks,Disney Legendary Villains Snow White and The Seven Dwarfs Checks Disney Villains Checks,Storybook Pooh Checks, Eeyore Checks, Piglet, Tiger, Disney Princess Checks, Muppets, Finding Nemo Checks, 101 Dalmations Checks, Sleeping Beauty at cheap, discount prices. New Checks coupons available for additional savings. We carry Disney Checks Side tear checks, address Labels with matching leather checkbook covers. You can also shop for Disney 2014 calendars.


text:
UK poverty is at its worst for decades. It is a Tory policy that they're not about to reverse
One in five of the UK population is living in poverty, more children and pensioners are in poverty now than five years ago, working single parents have been swept fastest into poverty and in-work poverty is on the rise.
That catalogue of calamity is the legacy of all the Conservative and Tory-led governments of the last 10 years, according to the Joseph Rowntree Foundation.
And Labour has had the sense to bring the main points to the attention of the public.
Shadow Work and Pensions Secretary Margaret Greenwood said: "This report should be a wake-up call for the government.
"Too many people are trapped in low paid insecure work and all too often the social security system fails to give people the support they need.
"The government should make tackling poverty a top priority by providing a living wage of at least £10 an hour for all workers aged 16 and over and create a social security system that treats people with respect and is there for any one of us in our time of need."
That was Labour's policy at the last election, of course.
There's nothing wrong with trying to get Labour policy enacted by the Tories but it will not happen.
The impoverishment of working people has been Tory policy since Margaret Thatcher, Nicholas Ridley and Keith Joseph drew up their plan to smash the power of the unions and hammer living standards back down below the poverty line, back in the 1970s.
Take away a worker's security and he or she will accept any job at any price, becoming easy prey to exploitation by unscrupulous profiteers.
(So much for the 'laissez-faire' economics expounded by Thatcher's neoliberal philosophy! They rigged it for their own benefit.)
The JRF has put forward its own policy solutions to poverty in the UK, as follows:
"We need as many people as possible to be in good jobs. While the proportion of people in employment has risen consistently for six years, weak local economies in some parts of the country have led to higher unemployment, underemployment and more low pay than in the UK as a whole. This needs to change, with prospects for people in struggling places needing to be prioritised, or progress will stall. In addition, employment among disabled people and carers is still low, and they should be supported to work when they can.
"We need to improve earnings for low-income working families, helping people in the lowest-paid jobs or working part-time. Too many people are stuck in low-paid, insecure jobs, with little chance of progression and too few hours of work to reach a decent living standard. Workers need more security, better training and opportunities to progress, particularly in part-time jobs. In-work poverty must be seen as a critical issue for our economy and given high priority by economic policy-makers.
"We need to strengthen the benefits system so that it provides the anchor that people need in tough times. The current system needs to be improved to ensure it gives adequate support. We also need the system to offer a better service for people using it, and to shift public thinking so that a poverty-fighting social security system is seen as an essential public service and receives sustainable investment.
"We need to increase the amount of low-cost housing available for families on low incomes, and increase support for people with high housing costs. We also need to address the sense of insecurity felt by many people living in the private rented sector."
Castles in the air.
The Conservatives spent nearly 50 years getting poverty up to the current level.
They're hardly going to reverse a policy that is working so well for them.
This entry was posted in Conservative Party, Politics, Poverty and tagged Conservative, joseph rowntree foundation, Mike Sivier, policy, political, poverty, report, Tories, Tory, UK, Vox, Vox Political on February 8, 2020 by Mike Sivier.
← First stage of Shamima Begum's citizenship appeal has gone against her. Good or bad? Dozens of suicides linked to DWP benefit bungling – with many, many more likely to be hidden →
4 thoughts on "UK poverty is at its worst for decades. It is a Tory policy that they're not about to reverse"
trev February 9, 2020 at 11:17 am
Yep, it's Tory ideology working as intended, to restore and maintain the old hierarchy and keep us in our place. The Class struggle has never been more relevant, despite people like John Harris writing in the Guardian that Labour is stuck in the last century.
Manish Dyall February 9, 2020 at 11:54 am
How about a Universal Basic Income instead. Raising the minimum wage does nothing for pensioners.
https://www.reddit.com/r/YangGangMemes/comments/ebbzk2/a_15_minimum_wage_is_not_a_cure_all/
serenfys57 February 9, 2020 at 2:44 pm
Were you aware of this going on , when I read it it was as if I was reading what you are going through. https://www.crowdjustice.com/case/help-jane-heybroek/
Mike Sivier Post author February 10, 2020 at 1:50 am
Yes – I've written about it.

redpajama_set_name: RedPajamaCommonCrawl


The Lampasas City Council plans not to raise electric rates, after all.
The council had discussed a possible rate increase to boost revenue for the upcoming fiscal year. On Monday, however, the council stated its approval for a plan that will balance the budget and give staff members a 1.5 percent pay increase, while leaving electric rates at the current levels.
The council's July 31 meeting ended with a surplus of about $36,000 in the proposed budget for the new fiscal year. Because $36,000 would not have been enough to fund the 2 percent staff pay increase some council members said they supported, the council talked about possibly charging more for electricity to increase revenue.
At the July 31 meeting, however, Mayor Pro Tem TJ Monroe and Councilwoman Delana Toups said the city should not increase what it charges for electricity. Mayor Misti Talbert and Councilwoman Cathy Kuehne asked for city departments to find ways to trim costs in the proposed budget before the council finalizes the budget.
Based on that direction from elected officials, the staff proposal presented earlier this week included a number of expense reductions -- ranging from $500 to $12,199. Those expense reductions, plus an extra $6,600 the golf course staff believes it can get for cart shed rentals, boosted the proposed budget surplus to about $91,000 -- without an increase in electric rates.
Talbert said she appreciates the staff's work to tighten the budget, and she said city employees deserve to share the surplus.
The council has discussed employee compensation options ranging from meritbased raises to pay increases for all staff members. Officials said an across-the-board increase could be the same percentage for each employee, meaning higher-paid staff members would get a larger raise in absolute terms, or the same dollar amount for each employee.
On Monday, council members said City Manager Finley deGraffenried should decide what method to use for increasing employee pay. DeGraffenried said he recommends giving a 1.5 percent pay boost to each staff member.
Another budget-related issue also was resolved Monday, as the council voted unanimously not to increase the property tax rate in the upcoming fiscal year.
The council set the proposed tax rate at 39.5218 cents per $100 property valuation -- the same levy the city has used for several years. The vote for a proposed tax rate sets the maximum rate the city may charge, although the council technically could lower the rate when the 2019 budget is finalized next month.
The city will hold public hearings about the tax rate Aug. 27 at 7 p.m. and Sept. 4 at 5:30 p.m.
A property owner's tax bill is calculated by multiplying the tax rate times the value of the property. Therefore, if the Lampasas Central Appraisal District raises a property's value, the owner could owe more city taxes even though the tax rate is not increasing.
Senior citizens in Lampasas, however, can have their homestead property taxes frozen. That way, seniors' homestead tax bills would not go up even if property values increase.
An exception to the freeze is if the homestead owner has enlarged or remodeled the residence. In that case, taxes can increase based on the property improvements, but then they are frozen at that level for future tax years.
Although the city's electric rates are not set to increase, water rates will go up to help the water/wastewater department become more financially self-sustaining.
The council plans to increase the water base rate by $1.30 per month and intends to raise the consumption charge by $0.05 per 1,000 gallons.
Those rate increases are projected to boost water/wastewater revenue by about $158,000.
Council members have said the water/wastewater department needs to increase its revenue so it can sustain the ongoing costs the department incurs for infrastructure work.
Even with transfers in from other sources, the water/wastewater department spent more than it made from fiscal year 2014 to 2017. The deficit was at least $141,000 each of those years, according to city statistics.
DeGraffenried recently projected this fiscal year will end with a water/wastewater surplus of about $15,000. That amount, however, is supported by a transfer of $100,000 into the department. The surplus also results, in part, from the fact that the city will not be able to complete all the water/wastewater projects it planned to do this fiscal year, according to deGraffenried.
Along with raising water rates, the city plans to charge a $0.50-per-month fee on utility bills to pay for a recycling program.
The city does not intend to offer curbside pickup of recyclable items. As a less expensive option, however, the staff plans to let people drop off recyclable items at the public works yard on Brown Street.
The recycling program will cost about $12,000 per year, and the $0.50-per-month fee will generate about $15,600 in annual revenue, according to city staff estimates.
No one spoke during a public hearing Monday about the city's proposed budget.


text:
"The Angel of the Odd" is a satirical short story by Edgar Allan Poe, first published in 1844 in The Columbian Lady's and Gentleman's Magazine.

Plot summary
The story follows an unnamed narrator who reads a story about a man who died after accidentally sucking a needle down his throat. He rages at the gullibility of humanity for believing such a hoax. He vows never to fall for such odd stories. Just then, a strange-looking creature made of a keg and wine bottles appears. The creature announces in a heavy accent that he is the Angel of the Odd — and that he is responsible for causing such strange events.

The man, unconvinced, drives the angel away and takes an alcohol-induced nap. Instead of a 20-minute nap, he wakes up two hours later, having missed an appointment to renew his fire insurance. Ironically, his house has caught fire and his only escape is out a window using a ladder the crowd below has provided for him. As he steps down, a hog brushes against the ladder, causing the narrator to fall and fracture his arm.

Later, the narrator's attempts at wooing a rich woman to be his wife end in failure when she realizes he is wearing a wig which he must wear since the fire in his apartment singed off his hair. Then, he tries to woo another woman who also leaves him, scoffing at him for ignoring her as she passes. In reality, a particle had gotten into his eye, momentarily blinding him, just as she passed.

Finally, the narrator decides his ill fortune is cause for him to end his life. He decides to commit suicide by drowning himself in a river after removing his clothes ("for there is no reason why we cannot die as we were born", he says). However, a crow runs off with "the most indispensable portion" of his clothes and the man chases after it. As he is running, he runs off a cliff. However, he grabs on to the long rope of a hot air balloon as it happens to be floating by. The Angel of the Odd reappears to him and makes him admit that the bizarre really can happen. The narrator agrees, but is unable to physically perform the pledge that the Angel of the Odd demands because of his fractured arm. The Angel then cuts the rope and the man falls down onto his newly-rebuilt house through the chimney and into the dining room. The man then realizes this was his punishment. "Thus revenged himself the Angel of the Odd."

Allusions
The introductory paragraph of the story alludes (by last name only) to several authors, particularly Glover and Wilkie. The story also refers to Curiosities of Literature by Rufus Wilmot Griswold and Isabel, or Sicily, a Pilgrimage by Henry Theodore Tuckerman.

Analysis
The story is especially interesting as it was published only six months after Poe's own great hoax, "The Balloon-Hoax", which many believed to be true despite its elements of the odd.

The angel speaks with an unusual dialect, which Poe biographer Arthur Hobson Quinn said "was not spoken anywhere on the globe".

Publication history
"The Angel of the Odd" was first published in The Columbian Magazine in October 1844 in New York. Its original full title was "The Angel of the Odd: An Extravaganza".

References

External links

1844 short stories
Short stories by Edgar Allan Poe
Comic short stories
Works originally published in American magazines
Works originally published in literary magazines

redpajama_set_name: RedPajamaWikipedia


Sometimes you need yoga, sometimes you need champagne. It's called balance.
Follow along as I live my best life full of adventures, interiors, carbohydrates, and other accoutrements.
Subscribe to receive posts directly to your inbox!


Right in the heart of Munich, in the immediate vicinity of the Platzl Hotel are the medieval Platzl Gassen, which together with numerous idyllic courtyards characterise the old part of Bavaria's capital.
The 1980s saw not only the construction of the Platzl Hotel on the Platzl, but also the renovation of one of the oldest architectural ensembles in Munich at the corner of the Platzl and Pfisterstrasse. The Platzl Gassen which were part of this development celebrated their grand opening on 25 October 1988. Particularly noteworthy are the houses at Platzl nos. 2 and 3 with their famous "Ohrwascheln", asymmetrical roof extensions for attaching cranes. The properties show the close construction of buildings typical of Munich both past and present, with deep, narrow plots with several parts to each building.
This area has been vibrant for many centuries. Countless artists, craftsmen and civil servants all once lived and worked in the Platzl Gassen; even the powerful Degenberger family had its residence here for a while. Today throngs of tourists flock through these streets daily on their way to the most famous beer hall in the world, the Hofbräuhaus. In addition to the Hofbräuhaus, select stores, original souvenir shops as well as local and international restaurants have all found homes in the Platzl Gassen. For example, you can enjoy excellent dining at the Schuhbecks Restaurant and then learn how to prepare these delicious recipes at its cooking school.
A special tip: As you take a leisurely stroll through the narrow lanes, make sure to turn from the Platzl into Pfisterstraße, where you can take a look at the Alter Münzhof (Old Mint Courtyard), one of the most beautiful Renaissance arcaded courtyards in Germany.


Spatone Iron+ is a natural Spa water which contains iron ... already in solution.
The iron is not added ... it's already there as it pours from the rock, making Spatone Iron+ a 100% natural food, in the true sense of the word ...Natural.
Pack contains 14 - 25ml one-a-day sachets.


The USA's Trenton Cowles won the men's recurve individual gold at the Youth Olympic Games Buenos Aires 2018 on Thursday 17 October, completing a journey he began with two hand controls in front of the TV six years ago.
"I started archery by playing it in a video game," the 16-year-old said after beating Akash Akash of India 6-0 to claim gold in the final archery event of the YOG. "And I thought, 'I want to try this in real life.' I was really bad at it but I was determined to get good at it and now I'm here.
Though the transition from games console to a real bow and arrow was not an easy one, following many hours of dedicated practice at the range Cowles is now a world-class archer and a not-so-proficient video gamer.
Cowles, who did not lose a set in the competition and recorded 6-0 victories in the quarter-final, semi-final and final, believes shooting with his left hand helped him cope with the wind at the Archery Range.
Top-seeded Injun Song of Republic of Korea fell to a surprise 7-1 quarter-final defeat to Senna Roos of Belgium. Though Roos then lost his semi-final to Akash, he came back to claim the bronze by beating Artem Ovchynnikov of Ukraine 7-3.


text:
Empire of The Sons: The Rothschilds
It started humbly in the early 19th century, when a German-Jewish banker sent each of his five male offspring to plant the family flag in the financial hotspots of Europe.…
by James Medd
The measure of any tycoon is the resonance of his name. Those that last and whose wealth remains outlandish not just in their lifetime, but in that of their children and grandchildren, should become proverbial, a synonym for great riches and high living. America's Rockefellers and Gettys can certainly lay claim to that, as may Bill Gates in the very near future. The banking dynasty of the Rothschilds, however, spread itself so wide and was so extravagantly successful that they went one step further, inspiring a song that is now deeply embedded in Western culture. 'If I Were a Rich Man', from the musical Fiddler on the Roof, was inspired by 'Ven ikh bin Roytshild', or 'If I were a Rothschild' - a monologue from Sholem Aleichem, a preeminent Yiddish playwright and author. This Jewish folklorist was writing at the end of the 19th century, but the Rothschilds have been so consistently successful that it would have made sense at any point in the past two centuries.
Aleichem's story is about a patriarch struggling to keep his family close and within the Jewish faith, and that is very much the story of the Rothschilds, too. Control has been the secret of their success and, by intermarriage and adherence to their religion, they have retained their wealth while other dynasties have faded away. It has helped that generation after generation, the Rothschilds have produced bold and astute business brains, but their bond and shared values have been the key to their position as one of the wealthiest families in the world.
Their ascension began in a ghetto of 18th-century Frankfurt. The name 'Rothschild', which means 'red shield' in old German, was first used in the late 16th century, but it was Mayer Amschel Rothschild, born in 1744, who made it worth singing about. He transformed his father's local money-changing business into a finance house and then began its expansion, posting each of his five sons to a different European location: Frankfurt, Naples, Vienna, London and Paris.
This dispersal is symbolised in the family crest by five arrows, but it's significant that they are held tightly together in a fist: the Rothschild brothers may have been in different lands, but they remained in contact and under the instruction of their father. Mayer Rothschild encouraged them not only to work together, but also to intermarry. Four of his grandsons married their first cousins, and this was a pattern that continued until the late 19th century, when descendants started marrying into other patrician families or financial dynasties.
While business went well in Austria, Germany and Italy (where the family soon became the Vatican's bankers), it was in Paris and London that the Rothschilds really hit their stride. Nathan (1777-1836), the son dispatched to England, established N. M. Rothschild & Sons in 1811, and performed his greatest coup with the financing of the British Army during the Napoleonic Wars - the source of an enduring legend. The story goes that the Rothschild European grapevine had informed him of Wellington's victory at the Battle of Waterloo a full day ahead of the government, allowing him to buy up government bonds that later yielded a vast profit. This was far from being the only military campaign that the Rothschilds funded, but peacetime was equally good to them, and they bankrolled much of the industrialisation of Europe that took place in the 19th century.
In Paris, Nathan's brother James (1792-1868) invested in railways and mining concerns that became central to the country's economy. James came to establish the Château Lafite Rothschild, while his English nephew Nathaniel (1812-1870) also went into the business of wine production with the Château Mouton Rothschild, which was located on a neighbouring site from James's vineyard. This heralded the start of a strong Rothschild stake in the wine industry that later took in vineyards in North and South America, South Africa and Australia. The English branch of the Rothschild empire, meanwhile, invested in everything from the De Beers diamond mines and the London Underground train system to Cecil Rhodes's colonisation of Rhodesia, while also buying up much of the property in Mayfair - rents in the district are now among one of the highest in the world - in London.
The Rothschilds' success was swift and spectacular, and within two generations, the empire was on a scale that could rival entire economies. As early as 1825, Nathan was called on to prop up the Bank of England, and when his grandson, also Nathan, did the same 60 years later, the latter was conferred the title of Baron. With money came influence and power. Several Rothschilds represented the town of Aylesbury in the House of Commons from 1865 to 1923, and links were made with other powerful families through marriage. The Rothschilds kept close, but they could not help but become entwined with the leading families of their new home countries. In England, they joined with the titles of Battersea, Cholmondeley and Rosebery; in Italy, with the Borgheses. Later came the Guggenheims, Guinnesses, Warburgs and Wodehouses.
Somehow, America remained out of reach, but their influence was still felt across the Atlantic. The Rothschilds became almost as adept at spending their money as accruing it, particularly when it came to houses. By the end of the 19th century, they owned more than 40 European palaces or stately homes; one favoured locale, the Vale of Aylesbury, was once dubbed 'Rothschildshire'. Of the family's many houses there, the Waddesdon Manor is a prime example of what became known as the 'Goût Rothschild', or the 'Rothschild taste', a lavish style of interior decoration and living that was subsequently embraced by US billionaire families such as the Astors, Vanderbilts and Rockefellers. Completed in 1889 for Baron Ferdinand (1839- 1898), a scion of the Austrian branch who married an English cousin, the Waddesdon Manor was modelled after the châteaux of the Loire Valley, which represented ideals of the Renaissance period. The manor was grandly decorated in velvet, gold leaf and stucco, and filled with priceless works of art by Watteau, Gainsborough and Reynolds, sculptures and French period furniture. Meanwhile, Ferdinand's English cousin, Baron Mayer (1818-1874), commissioned Mentmore Towers, which was designed in Jacobethan - a portmanteau of 'Jacobean' and 'Elizabethan' - style; this perhaps inspired his French uncle, Baron James, to build the Château de Ferrières, which was equipped with a 120-foot-long glass-ceilinged hall and 80 guest suites, outside Paris.
Apart from this period of frenzied architectural construction, the Rothschilds have remained discreet. There have been eccentrics, certainly: Walter (1868-1937), the second Baron Rothschild, set up a zoological museum in one of the family's country houses and travelled the world in search of specimens; Nica (1913-1988), sister of the third Baron Rothschild, devoted her life to the patronage of jazz legends such as Thelonious Monk and Charlie Parker. There have been black sheep, too, such as Baron Salomon (1835-1864), who lost a million dollars on the French stock exchange and was banished first to Frankfurt, then America, and died at just 29 years old. Though known to be fairly elusive, the family has not shunned the spotlight altogether: the late head of the French family, Baron Guy (1909-2007), married socialite Marie-Hélène van Zuylen van Nyevelt, and sponsored some of the famous Parisian society balls of the '60s and '70s.
The 20th century for the Rothschilds, however, was more often spent giving away treasures than acquiring them - from Walter's exhibits, which are now in London's Natural History Museum, to numerous Old Masters quietly donated to museums. The money continued to roll in, but it also flowed out, with the Rothschilds becoming notable philanthropists, particularly in the arts. None of this prevented them from becoming a global focus for antisemitism, from basic physical attacks to Nazi propaganda films, and now, the most outlandish conspiracy theories. Against this, they have stood firm, proud of their Jewish heritage, continually campaigning for equal rights throughout Europe and leading by example. In Britain, Lionel (1808-1879) was first elected to the House of Commons in 1847, but was barred from sitting in the chamber because he was required to take a Christian oath to be sworn in. He resigned his seat in 1849, but won it again in the by-election as a protest to prove he had the public behind him and to impel the House of Lords to pass a bill allowing him to sit in the House of
Commons without taking the Christian vow. The family was also instrumental in the creation of the state of Israel, starting with Edmond (1845-1934) from the French branch, who financed the first settlements in what was then Palestine. And it was Walter, the avid zoologist, who received the famous Balfour Declaration, in which the British government committed itself to the creation of 'a national home for the Jewish people'.
The Rothschilds' role in the Jewish community continues to this day: 76-year-old Jacob, the fourth Baron Rothschild, is involved in various charitable commitments, including chairmanship of Yad Hanadiv, the family foundation in Israel. He has also inherited the family talent for business, heading various high-net-worth financial entities.
Much else has changed, though: the Rothschilds no longer deal with gold, and for the first time in the family's 200-year-old history, a non-relative was made Chief Executive of its banking empire in 2010. Despite all this, what seems sure is that the family will survive. 'Rothschild' is more than just a name.
James Medd
Read more from James Medd
a life most rakish
Rakish
Rothschilds
Party Animals: The Rothschild Surrealist Ball
Elvis Presley: The Breakthrough Moment
Christopher Gibbs: The King of Chelsea


The U.S. Supreme Court has not heard a Second Amendment gun rights case since District of Columbia v. Heller in 2008. The Court has now signaled they will a case which challenges a New York City ordinance which limits the ability of residents to carry guns within city limits. The Supreme Court has declined to hear many lower court appeals on gun rights cases since Heller.
New York has a gun license called a premises license. The license allows residence to take firearms only to seven shooting ranges within the city. The ordinance forbids taking a firearm anywhere else. This would include places such as second homes or to shooting ranges outside of city limits.
The challengers to the ordinance argue the restriction is the most stringent in the nation. The ordinance does not allow gun owners to take firearms to a variety of places.
The City of New York justified the law on the grounds of public safety Police cited instances of abusing the carrying law, saying a person found with a firearm could simply say they were traveling outside the city.
At a starting point, a person without a concealed pistol license is not allowed to carry a gun in a car. There is no way to open-carry in a car. However, a person may carry a gun in the car so long as the gun is carried in the right way.
The gun must be in the car for a lawful purpose, licensed, completely unloaded, in a case or container designed for firearms, and in the trunk or if no trunk then not easily accessible to occupants of the car. This is called the lawful-purpose exception to carrying a concealed weapon in a car.
A person with a concealed pistol license may carry a firearm in the car however they wish.
The New York ordinance contrasts with Michigan law because it limits the lawful purpose exception. It designates the only lawful purpose as going to one of seven shooting ranges within the city. Michigan law does not define what is a lawful purpose.
It should be noted that "lawful purpose" may not extend to school grounds, even if a person has a CPL. In the case of Michigan Gun Owners v. Ann Arbor Public Schools, the Michigan Supreme Court said school districts may ban guns on school property.
This case is called New York State Rifle and Pistol Association v. City of New York. Stay tuned for updates.
Call Sam Bernstein at 734.883.9584 or by e-mail at bernstein@arborypsilaw.com.
Sam Bernstein is an Ann Arbor Criminal Defense Attorney.
Will a DUI Prevent Me From Getting a CDL?
What Happens if I Refuse a Chemical Test After an OWI Arrest?
Previous Post What Happens if You Refuse the Chemical Test After an OWI Arrest?


The Visegrad Strategic Program (VStP) is a basic program, created to support important, long-term strategic projects from all fields of interest of the International Visegrad Fund, by providing financial support for Applicants.
to support strategic, long-term, four-country Visegrad projects.
to support common presentations of the Visegrad Countries outside the V4 Region.
to support exchange and co-operation between Visegrad Countries and their neighbours.
Priority branch orientation or discipline for Visegrad Strategic Program projects shall be defined by the decision of the Conference of Ministers (latest in November) for the following year. Each member state has the right to propose its own priority.
The Executive Director is responsible for the proper announcement of the Visegrad Strategic Program in conformity with the decision of the Conference of Ministers and present document and it's annexes till December 1, every year on the web page of the Fund.
The VStP Project will be financed by the Fund up to 50% of the total project costst. The Fund is entitled to secure financial resources for project supporting from external sources as well.
Individual Projects can be supported by either other state, legal or private entity (further on as Project Partner) from well verified resources while not standing any conditions that might be contradictive with the aims and goals of the Fund. The financial contribution of Project Partner shall be within the range of 20–50% of the total projects costs.
The Project Partner can propose the topic and the goals of the project. The approval and declaration of the project is a subject of the Council of Ambassadors decision (see Article 19).
The Project Partner can request an appropriate acknowledgement of his participation on the project as well as a relevant share of its results. Specific conditions on the Project participation and its results utilization will be declared in the Contract signed with the Fund.
The financial resources of the Fund can be used only for the purposes reflecting the will of the donor. There is no legal entitlement to the provision of financial resources from the Fund.
The Applicant shall prepare the project according to the attached form, which is an inseparable part of these Rules. In case of need the applicant may supplement information on the project in the form of an attachment.
An Applicant shall have co-organizing partners from all other Visegrad countries and shall guarantee, that the project will be implemented in all four Visegrad countries. The co-organizing partners shall contribute to the project budget. Applicants from Non-Visegrad Countries can apply for the Visegrad Strategic Program Grant under the same conditions.
An Applicant who obtained grant from the Fund in the past can apply for the grant again under the condition that all of his previous projects were finished and the Secretariat of the Fund approved their Final Reports.
The Secretariat of the Fund has the obligation to provide each Applicant with the project application form.
The application for a financial subsidy (grant) shall be filled electronically in English using the project application form. The separate application shall be filled for each of the projects.
Deadline for application, the latest date of the post stamp or e-mail communication, is January 31st for the relevant year.
The Secretariat of the Fund shall record all applications in the same order as received. The applicant will be sent a confirmation of the receipt of the application.
The Secretariat of the Fund shall review the applications received concerning the compliance with the formal requirements. In case the application is not complete or shows formal shortcomings the Fund shall inform the applicant of that fact.
The Executive Director shall review each project in terms of its content with a special view to its compliance with the regulations of the Fund. The Executive Director shall verify the data given in the application, in particular the sources of funding. The Executive Director shall prepare a written statement in which he/she shall present his/her recommendation for the approval of the project, based on submitted application. He/she shall also recommends the amount of subsidy (grant) according the financial possibilities of the Fund. The Executive Director shall send to the Members of the Council of Ambassadors all project application forms in compliance with the regulations of the Fund at the latest two weeks after the deadline for delivering projects.
The Council of Ambassadors shall at its session (at least once a year) accept, accept with reservation or reject projects. In case of the acceptance with the reservation the Applicant willing to implement the project must accept the reservation of the Council of Ambassadors. Decisions taken by the Council of Ambassadors are final. They shall present no ground for legal proceedings and they require no detailed reasoning.
In case of project approval the Council of Ambassadors shall authorise the Executive Director to sign the contract with the Grantee. Its specimen form is a part of these Rules. The Council of Ambassadors shall approve the wording of the contract. The Council of Ambassadors may also determine conditions for each contract individually.
The Executive Director has the obligation to inform the Applicants about the decision taken by the Council. The project shall be deemed definitively approved after the contract between the Fund and the Grantee is concluded. Secretariat of the Fund shall have no obligation to return the project to its drafter.
The Grantee shall have the obligation to implement the approved project in compliance with the time limit and financial conditions agreed upon in the contract. The maximum time limit for implementation of the Visegrad Strategic Program Grants is 3 years.
The Grantee is obliged to report in writing to the Fund every 6 months about the implementation of the project.
These Rules shall enter into force on the day of its approval by the Conference of Ministers.


text:
Evidences that TVXQ is still alive
KpopBehind 5/25/2017 boy group, Columns, max changmin, sm, tvxq, yunho
TVXQ is a 14th-year group, and it seems like not a few k-pop fans think the group has become obsolete. Well, it's true it has been a long time since they debuted and there are so many young boy groups these days who are having their heydays. However, there are some evidences that TVXQ is still alive.
TVXQ's Yunho has recently been chosen as a new model for Jeju air. According to the company, they chose him as their new model because they wanted to spread their influence in the Japanese market. Well, do you know who've worked as models for the company before Yunho? Those are Kim Soohyun and Song Joogki. No doubt, the two are the most popular Korean actress who are having their heydays, and what do you think it means? Yeah, TVXQ is still as influential and popular as Kim Soohyun and Song Joongki at least in Japan. You know, TVXQ has achieved a lot of things in the country, and the group still has many Japanese fans.
Actually, in the entertainment world, money is sometimes everything. And companies never spend their money if they don't think it's going to benefit them, which means they do not choose just anybody as their model. So, the fact that Yunho has been chosen as a new model for Jeju air means he's still has high commercial value.
And it's also notable that Yunho has been chosen to act the main role in a drama "Meloholic". You know, he was cast in the lead role although there are a lot of young and handsome actors. Do you remember Yunho's previous drama "Journal of the Night Watchmen" aired in 2014? He appeared in the drama just before joining the army, but he did great in the drama. That's why Song Hyun Wook, the director of "Meloholic" who's directed various popular dramas such as "Another Miss Oh" and "Introvert Boss" hoped to work with him.
Changmin will be discharged from military in August, and people in the k-pop world are now expecting that TVXQ will enjoy a renaissance. There are some reasons for it. First, TVXQ has solid singing and dancing skills, which means the two members are still very competitive in the k-pop world even though they're older than young idols. Second, both of them are good-natured and they don't have any enemies in the industry. Third, the fact that both of them have completed military service means a lot. In Korea, it is hard for us to think of any issue hotter than the military because there have been so many power elites who dodged military service. So, it's expected that the two members, who've finished their military duty will be loved not only by female fans but also by a lot of male fans.
<K-pop Secret Vol.1: 40 Korean Stars' Real Personality>
K-pop Secret Vol.1 contains stories about the real personality of 40 Korean stars. The author, who has interviewed more than 100 Korean celebrities since 2010 tells the story of famous Korean stars including G-Dragon, Baekhyun, Nichkhun, IU, Suzy, Kim Soohyun, Lee Kwangsoo, Song Joongki, Jun Jihyun, Park Shinhye and more.
Google Play: https://play.google.com/store/apps/details?id=com.goodbarber.kpopsecret
iTunes: https://itunes.apple.com/us/book/id1225053074
Amazon: https://www.amazon.com/dp/B06Y12BM3D
yunho
작성자: KpopBehind 시간: 5/25/2017
라벨: boy group, Columns, max changmin, sm, tvxq, yunho


text:
Jurors order 40-year term in fistfight stabbing case
By Samuel Howard, San Antonio Express-News May 23, 2014 Updated: May 23, 2014 9:56 p.m.
1of7Witnesses said the fight had already ended when Jonathan Rosario (right) stabbed Kevin Hill Jr., 17, in the heart in 2012.Photo: J. Michael Short / For the San Antonio Express-News
2of7Maria Hollis, right, mother of Matthew Aranda, who was convicted in absentia of reckless injury to a child, breaks down in tears during Aranda's sentencing hearing before a grand jury and Judge Pat Priest in the 144th District Court, Thursday, May 15, 2014 at the Cadena-Reeves Justice Center in San Antonio. Along with Judge Priest and Hollis is court interpretor Norma Nero, second from right. Aranda disappeared prior to the previous day's guilty verdict finding and was in absentia for the sentencing.Photo: FOR THE EXPRESS-NEWS
3of7Defense attorney Charles Bunk, right, gestures toward lead prosecutor Daryl Harris, lower left, as he gives his final statement before the grand jury, pleading for leniency in the sentencing of his client, Matthew Aranda, who was convicted in absentia of reckless injury to a child, before Judge Pat Priest in the 144th District Court, Thursday, May 15, 2014 at the Cadena-Reeves Justice Center in San Antonio. Aranda disappeared prior to the previous day's guilty verdict finding.Photo: FOR THE EXPRESS-NEWS
6of7Originally convicted in absentia of dragging her dog, Gorda, to death behind a truck, Herlinda Trigo, left, gets finger printed prior to appearing before Judge Pat Priest in the 144th District Court for sentencing, Thursday, May 15, 2014 at the Cadena-Reeves Justice Center in San Antonio.Photo: FOR THE EXPRESS-NEWS
7of7Jonathan Rosario writes a note as he sits beside his defense council during the prosecution's opening statement in his trial for a fatal stabbing, before Judge Maria Teresa Herr in 186th District Court, Thursday, May 15, 2014 at the Cadena-Reeves Justice Center in San Antonio.Photo: FOR THE EXPRESS-NEWS
SAN ANTONIO — A jury sentenced Jonathan Rosario, 19, to 40 years in prison Friday, one day after he was found guilty of murder for the 2012 slaying of 19-year-old Kevin Hill Jr. during a street brawl.
Jurors took about two hours to reach the punishment verdict.
Both teens were students with similar knacks for caring for their younger family members, jurors were told during a day's worth of testimony in the 186th state District Court.
Melissa Calderon, Rosario's mother, said her son often was a caretaker for his younger siblings while he was growing up. Hill's aunt, Wynell Hill Williams, said her nephew had a similarly loving presence in his own family.
"He always treated me really nice, because that's the way my brother brought him up," Williams said, explaining that his maxim was always, "It's cool."
Rosario was 17 in December 2012 when he brought a knife to what prosecutors described as a fistfight in a Northwest Side cul-de-sac. Taking the stand on his own behalf, he claimed self-defense, explaining that he stabbed Hill in the heart only after he was being pummeled.
Prosecutors, however, cited witness testimony in which Rosario was accused of charging Hill with the knife after the brawl had already ended.
Assistant District Attorney Tanner Neidhardt asked the jury Friday to sentence Rosario to at least 40 years in prison, adding that he thought a life sentence would also be fair.
Defense attorney Alex Scharff asked for a sentence of no more than 10 to 12 years. He argued that Rosario acted with "sudden passion," meaning he was provoked by Hill or someone else at the time of the murder, which clouded his judgment.
Murder usually carries a maximum possible sentence of life in prison, but the maximum would have been reduced to 20 years if a sudden passion finding was returned.
"There is hope" for Rosario, especially now that he and his family have discovered his girlfriend is expecting a child, Scharff said.
"Retribution and vengeance, that's part of justice," Scharff said. "Redemption, forgiveness and rehabilitation, that's part of justice, too."
Rosario should be disqualified from a sudden passion finding because of witness testimony that he stabbed Hill after the fight had ended, prosecutors countered.
"Payback is not an adequate cause," Neidhardt said. "That's why it's not sudden passion."
showard@express-news.net
Staff Writer Michelle Casady contributed to this report.


text:
Hydrocotyle leucocephala är en flockblommig växtart som beskrevs av Adelbert von Chamisso och Diederich Franz Leonhard von Schlechtendal. Hydrocotyle leucocephala ingår i släktet spikbladsläktet, och familjen flockblommiga växter. Inga underarter finns listade i Catalogue of Life.

Bildgalleri

Källor

Externa länkar

Spikbladsläktet
leucocephala


We are First Choice Community Credit Union.
For over 70 years we have been helping members reach their financial goals. From our humble beginning in a small office in the former Fulton Bellows plant, with only 42 members and $525 in assets, we are now nearly 7,000 members strong with assets totaling over $33 million. Originally chartered to serve only Fulton employees, we expanded our charter in 2003 to include anyone who lives, works, attends school or worships in Blount, Jefferson, Knox or Sevier County. We now have three offices located throughout our service area.
No matter how much we grow, we will always put our members first.
First Choice Community Credit Union...You've Got A Strong Credit Union Behind You!


Enter to win a pair of Justin Timberlake & Jay-Z "On the Field" tickets at Fenway Park!!!
This RSVP is considered (1) entry into our Justin Timberlake & JAY-Z "On the Field" ticket giveaway. One luck winner willl win a pair of "On the Field" tickets to see the duo perform at Fenway Park on Saturday August 10th. Limited to one entry per person, per email, per day. Winner will be chosen by a random drawing of names submitted by Thurs. August 9th 2013.
0 Response to "Contest: Tix to JayZ & JT"


text:
Morn Chear
Long Lavy
Lauren Iida
Kanha Hul
Channy Chhoeun
Van Chhovorn
Open Studio Art Travel
Discover Cambodia through the lens of art with small group and private art tours offered year-round!
From the "No Rice for Pot" series by Neak Sophal
Open Studio offers 10-14 day contemporary art trips for small groups, individuals, and students. Bookings available year-round.
These unique small-group adventures explore Cambodia's unique history and culture through the lens of art.
We independently operate private tours for small groups, individuals, and student groups in addition to working with our partners on specialized itineraries.
"Cambodia: Contemporary Art, Spiritual Traditions, & Hidden Wonders"
January 2020, February 2020, March 2020, October 2020
ASIA ART TOURS
"The Matriarchs of Khmer Culture"
Year-round departures available
Groups are led and managed by Lauren Iida, an artist and co-founder of Open Studio Cambodia, originally from Seattle, USA. She draws on her passion for art, her love for Cambodia, and her deep connections with locals around the country. Iida speaks Khmer (local Cambodian language) and has been living in Cambodia for most of the last decade.
MORE ABOUT IIDA
Studio visit with Chov Theanly
About the Trip
Guests enjoy intimate studio visits with Cambodia's top contemporary painters, sculptors, street artists, and performers. We are guided through fine art exhibitions by curators and meet the most exciting emerging artists reviving the arts in the country after decades of war. Along the way we engage with the culture in a truly authentic way, cooking local delicacies, visiting the ancient ruins of Angkor Wat, and forming personal bonds with the incredible artists who are propelling the contemporary arts forward in Cambodia.
Due to Pol Pot's Khmer Rouge genocide of the 1970s, it's estimated that 90% of Cambodia's artists were lost. Now is an especially exciting time in Cambodia's history as new artists are emerging from all corners of Cambodia, reviving the arts in the country and propelling the artistic scene here forward in new and profound ways.
Open Studio Cambodia's trips are unique in the country, and guests are treated to an exceptionally curated and authentic experience.
"The Place to Look After the Cows" site-specific installation by Chan Phoun
Hotel Old Cinema with Open Studio Cambodia
Batia Sarem Gallery with Svay Sareth
Ancient ruins of Angkor Wat
In the studio with Pich Sopheap
In the studio with Yim Maline


Just came back from Burgundy (Burgogne, in French), the region famous for the best wines of France and I can say that was more than I have expected. Great wines, beautiful landscapes, good restaurants with delicious food and of course, another great experience with the B&B I chose.
La Jasoupe had everything you could ask for. Located in a small village, far away from the crowded places, but close enough to Beaune, this place was one of my favourites. Beautiful, green & peaceful.
I have arrived quite late in the night, but the lady taking care of the place was kind enough to leave the keys at the reception, accompanied by a note. In the main building, on the first floor, there are 3 rooms & Havane was mine. Beautifully decorated, spacious, with high ceilings & huge bathroom, was definitely above my expectations. They took care of every detail.
On the ground floor, in the same building, it was the breakfast room. You have your own table, marked with the name of the room (mine was called Havane), so that you don't stress about where to sit. In terms of food, the choice is generous enough, you can easily find something on your taste. From the famous French cheese & Parma ham or eggs, to the delicious Croissant/Pain au chocolate & different marmalades & honey. Fresh orange juice and Nespresso coffee are also there to please you. You can also enjoy your coffee outside on the terrace.
Other facilities: You can take the bike and go around the village or you can enjoy some time at the pool. They have parking on the site (in the courtyard) & Wifi (I know that for most of us it's an important aspect).
I am not an expert in wines, but definitely I know more about after this weekend. There are 2 types of grapes in the region, Chardonnay for the white wines and Pinot Noir for the red ones, no blends. Depending on the quality of the grapes, both white and red wines are divided into 4 different levels: Grand Cru (only 1.5% of the wines produced in the region), Premier Cru (around 6-7%), Village (30%) and the simple Bourgogne (what is left).
My learning is that you should consider going for wine tasting with bigger producers or shops (although they definitely have their markup), because they have a significantly better assortment than the smaller ones. Going for small producers can be disappointing, usually they have quite limited assortment and the chances that you will like something are minimum. Wide range of choices gives you the chance to choose as per your taste and also budget.


text:
M i c h a e l M o o r c o c k
o n H a r l a n E l l i s o n
(Introduction to the Gregg Press editions of Paingod and I Have No Mouth And I Must Scream)
IT COULD BE ARGUED that Harlan Ellison possesses the romantic imagination without quite enough of the romantic discipline. Instead he substitutes performance: Keep it fast, keep it funny, keep 'em fazed. And this is why in my opinion his work is so uneven, often within the same story. I don't think any other writer pleads his own cases so often or at such length. This phenomenon supports my theory, I think. His stories are usually buried in their own weight of introductions, prefaces, running commentaries because each collection is a set (in the musical sense) this non-fiction is the patter designed to link material for the main numbers. Each story is an act—a performance—and almost has to be judged as a theatrical or musical improvisation around a theme. The idea of working in public, in a shop window, is anathema to me and most other writers—to Harlan Ellison it is a natural extension of his writing methods.
As with jazz, he'll use a rubato technique to catch up on himself,	get to his original drift (tune or phrase) often after very long	digressions. His best stories are scarcely stories at all: they	are images, emotions, characters, collages. They are often at	their worst when they try to fit genre conventions and dash themselves	to fragments against the edges and walls on the form. A Boy and his Dog is an excellent piece of work and only bad when it tries to become	a run-of-the-mill sf story (the underground scenes). Eggsucker (the prequel written some years later) is better because it doesn't try to be anything more than an anecdote (and paradoxically is more of a well-made short story than much of Ellison's work). 'Imagist' writers don't need to worry too much about plots—witness Stevenson's best short stories—and can destroy their own conceptions by conscientious attempts to fit them into conventional shapes. This is often the case with Ellison whose plots can distort the 'real' information in his short stories. Ellison's information is no more in his plots than is, say, JG Ballard's in his or Poe's or Sterne's in theirs. The information is in his images, characters, his pyrotechnic highly oral method of performing a piece.
Flashes of autobiography, of self-revelation, are usually immediately	disguised or obscured (for all he claims to tell us exactly how	it is). Trent, he says, in Paingod, had reached a Now in which he could no longer support his acts. If Trent is Ego naked and at large, we know whose ego he represents. In this story everything works fine while the images are coming—the trip through the universes, the skid row scenes and so on—while the characters are being described—but when we are given 'plot' it is a let-down. The story part—a pretty banal statement about there being no pleasure without pain—could easily be discarded without the essence of the piece being harmed at all. How much of this is Ellison's fault and how much the fault of sf magazine editors (most of whom have probably done more to ruin the flowering of imaginative talent than any other single group) is hard to say.
In his introduction to 'Repent, Harlequin' Said The Ticktockman he admits the fact that he is always late (A fact—as someone who's almost always early and an anxiety neurotic who's terrified of missing deadlines—I can vouch for. It is a hideous experience watching Harlan limbering up for a deadline whose date has already passed) and this, too, is a trait more often associated with a performer who needs to give so much of himself to his act that he is always vaguely reluctant to begin until the last possible moment, always exhausted afterwards. I have met more people like Harlan when I've been performing with rock and roll bands than I have met at writers' conferences. It is worth noting, I think, that he has worked as a stand-up comedian and a singer in his time and is always in demand as a speaker, when he never fails to give a complete performance. His personal life is much closer to the personal life of, say, Al Jolson than it is to John Updike and I'm sure he prides himself on the fact. He is by no means the only writer to work and live as he does, but he could be one of the first to draw on performing rather than dramatic and literary disciplines to aid him to shape his writing. Byron and Shelley, Swinburne and Rossetti (these two latter are probably better examples) had poetic meter to control and give shape to their imaginations; similarly a writer like Ballard has chosen to use literary methods to control the flow of his creation. In America there is more of a tradition of what could be called pseudo-oral writing (Twain to Vonnegut) and Harlan Ellison's best work is in this tradition, of course. But films, radio, comic-strips have taught him more technique than, I suspect, have books. In this he breaks more thoroughly with tradition than he does in his subject matter which is fairly conventional. He is conscious that he is competing with visual forms and so he seeks perpetually for immediacy—for the immediacy offered by popular entertainment, by newspapers, by rock music, by the performers from George Burns to Lenny Bruce whom he so admires. It is no accident that he finds himself spiritually at ease in Hollywood, that he blossoms on a podium, that he takes naturally to TV appearances, that he shows on occasions a somewhat wary attitude to the more staid gatherings of writers and critics where performance is not expected of him.
High above the third level of the city, he crouched on the humming	aluminum-frame platform of the air-boat (foof! air-boat, indeed!	swizzleskid is what it was, with a tow-rack jerry-rigged) and	stared down at the neat Mondrian arrangement of the buildings.
Harlan Ellison speaks about fifteen languages, all of them English.	This gift is derived from a natural relish for words which enables	him to make use of them far better than most of his contemporaries.	It also enables him to work an audience. If he could produce his	stories in front of about two thousand people at Circus Circus,	Las Vegas, I think he would probably be in his element. The trouble	with writing is that it is still a somewhat slow process, still	essentially a solitary activity, and Harlan Ellison is still trying	to beat those particular problems.
Almost all the characters in these stories are, of course, Harlan Ellison. Harlequin the gadfly is an idealised Ellison, justifying his penchant for practical jokes, giving it a social function (one can also see him as a good version of Batman's adversary The Joker). This particular story is one of the most successful of Ellison's '60s performances, for all that its ending tends to be a trifle ordinary and it reveals, to me at any rate, some of his own associations—'childishness' with 'freedom' and 'parsimoniousness' with 'social responsibility'—at their crudest (he is far too intelligent and subtle a man to make such associations in any terms but those of metaphor, I should add). The story is in many ways a thematic re-run of the earlier The Crackpots. That he is capable of producing an sf story quite as ordinary	and dull as the average sf story he demonstrated in 1974 with	the publication of Sleeping Dogs which slipped naturally into the pages of ANALOG, a magazine	which since 1940 or so seems to have devoted itself specifically	to the curtailment and even destruction of the creative imagination.	He seems to have gone into this enterprise with much the same	spirit of a skilled high-wire monocyclist who for some reason	wishes to show the world that he is as good at pushing an ordinary	bike along an ordinary sidewalk as anyone else:
A moment later, a new sun lit the sky as the dreadnought Descartes	was strangled with its own weapon flared suddenly, blossomed...and	was gone.
Bright Eyes was improvised around an existing illustration in response to a challenge by that remarkable editor Cele Lalli, whose editorship of AMAZlNG and FANTASTlC in the '60s did so much to encourage the best writers of what came to be known as the US 'new wave'—Disch, Zelazny and so on. Here we see Ellison responding to a sympathetic audience (in the shape of Lalli) with a far better story that is still on a familiar theme (the central character is typically 'alienated', another version of 'the artist') and which I suspect presents us with more original images than appeared in the illustration. The image of the bleeding birds is particularly good. Again we find a fairly conventional 'story' element, but all in all Bright Eyes is a successful performance, if not a spectacularly ambitious	one. The Discarded (also from FANTASTIC, but six years earlier) repeats the alienation	theme and is about as unremarkable a story as Sleeping Dogs. Ellison was here still translating his social rejects into people	like the mutants in this story (and presenting arguments about	the social usefulness of such rejects all but identical to his	current arguments). Although he had written documentary fiction	about actual social rejects (New York street gangs) he did not	yet seem to have made the realisation that greater 'immediacy',	more effective imagery, could be gained by discarding conventional	sf ideas and using his own experiences. The familiar trappings	of sf, the familiar 'optimism' of pulp stories, can be seen completely	obscuring any individual idea or language in the second earliest	story reprinted here, Wanted in Surgery. Like me, Ellison is a pretty lousy science fiction writer. Possibly	because we are both lousy science fiction writers we independently	picked on similar themes for our early work. Ellison wrote The Beast that Shouted Love At The Heart Of The World at about the time I wrote a story called The Lovebeast. He wrote Deeper Than Darkness at about the time I wrote a story called Consuming Passion. All I can say about the latter is that they were both run-of-the-mill	stories. I'm not sure, however, that I could call my own 'pyro'	story a 'tone-poem'...
Like Ellison I was regarded for some years as a pretty ordinary	kind of sf writer. We both of us became highly-thought-of sf writers	when we decided to stop doing sf. Then we began winning prizes	for work which the average ANALOG reader would dismiss as mere	'borderline' sf or, worse, 'fantasy'. Certainly, in I Have No Mouth And I Must Scream there are appropriate sf terms—computer is one of them—but essentially Ellison has learned to use the imagery and terminology of sf as metaphor—he has ceased to be dominated by the conventions of the genre and is making use of them. Compare that story to Big Sam Was My Friend, a perfectly reasonable sf story which had appeared nearly ten years earlier. The story-telling method is much the same. The 1958 story is a well enough put together collection of fairly familiar sf images and ideas and the sentimental conventions of the ending are pretty mawkish. By 1967, however, Ellison had learned how to communicate his anger at the manifest ways in which the human spirit is debased, warped, robbed of its dignity by the stupidity and unimaginativeness of our social institutions (he has always reflected his times but happily the '60s were more radical years and they made a far better mirror for his temperament). He is still capable, occasionally, of sentimentality or (the opposite side of the same coin) obvious cynicism, but he has learned to check it not so much by standard literary 'distancing' techniques or by the kind of irony found, say, in Ballard or Disch, as by an almost frenetic oral style which balances off one view against another. In a performer (a comedian of Bruce's stature for instance) it would emerge as 'Oh, so ya don't like that version, eh? How about this one, then...?' Like all of us he is aiming to please his audience. Like some of us he is aiming to please it without flattering it, without appealing to universal middle-class assumptions about life, without distorting the fundamental subject, without wiping out the ambiguities and paradoxes which are the 'truth' he is trying to make us see. Because he equates the cooler ironies of acceptable literary style with an unwillingness on the part of the author to 'involve' himself in life (and often, naturally, he is right) he has sought and found his own peculiar, sometimes bizarre methods of story-telling. These can involve an attack on syntax and grammar which only a fool would find offensive, a wild mixing of metaphors and a rapid bringing together of associated images done not necessarily to achieve ironic effect, but done in an ironic 'careless' spirit which again I tend to identify with the rapid, scatological delivery of a superb comedian (which Ellison, incidentally, is). My only regret is that Ellison doesn't, in fact, make the final transference from fantasy to comedy in his fiction (he has written far too little comic fiction)—for, as one of his heroes Gerald Kersh consistently proved, comedy can be an even better method of intensifying and exaggerating incident and imagery than fantasy.
Eyes of Dust is still too early a story to show anything more than the theme,	yet again, of individuality Destroyed. It lacks resonance. And	World of Myth seems to me to lack any saving irony to make it more than a conventional	idea expressed in fairly conventional images, whereas Lonely Ache is almost completely its opposite in intensity of imagination and feeling. And here in the introduction we receive another clue to Ellison's methods—performance as a kind of therapy in which the performer reaches for catharsis and in turn transmits it to the audience: a potentially self-destructive working method. It is the only way to play the blues, but it is a dangerous and sometimes unsuccessful game which can ruin a human personality when 'vitality' is equated too much with 'art', and reading a story like this makes me worry, as I sometimes worry when I watch David Bowie giving himself, like some latter-day Piaf, to his audience, if Ellison isn't exhausting himself too quickly. Such greedy drawing on the world of dreams requires enormous restitution unless we are to find ourselves living in a waking dream, a reality which lacks the texture of those deeper, semi-conscious worlds of sleep: for we are using the fundamental stuff of our inner selves, which needs particular forms of contemplative tranquillity (too easily translated as 'death') in order to replenish its reserves. In that sense, then, this particular story is the most frightening in the collection, for it describes a familiar (to me) suicide equation.
I read Ellison's introduction to Delusion for a Dragon Slayer after I conceived my 'performance' theory. The style itself is	scarcely 'experimental', but the form is much more free than most	of those he had used up to that time and, in my view, much more	satisfying as a result. The interesting thing is that he says	of it that he wanted 'a density of images, a veritable darkness	of language, comparable in narrative to what saxophonist John	Coltrane blows in his 'sheets of sound' style'. In this story	he is able to display most of his virtues and few of his vices	and it is a story which carries for me almost the emotional intensity	of my favourite Ellison imaginative story, Croatoan. And in the introduction to Pretty Maggie Moneyeyes we find a further confirmation of Ellison's frustration with	the written word, with his looking to the techniques of the film	(and possibly the record) for his models. 'I scream,' he says,	'helplessly at the inadequacies of the lineal medium. There is	a section herein in which I try to convey a sense of impression	of the moment of death. In films I could use effects. In type-on-paper	it comes down to the enormously ineffectual italics, type tricks,	staccato sentences and spacings of a man groping to expand his	medium. Bear with me. It is experimentation, and unless typesetters	and editors somehow develop the miracle talent of letting writers	tear the form apart and reassemble it in their individual ways,	the best I'll be able to do in terms of freedom of impact is what	I got away with here...'
Impact could be the key word in that statement. A good many writers—particularly those who accept and enjoy the world about them—are conscious of their rivals in films and tv and even newspapers where virtually nothing is demanded of the audience but that they sit and be 'entertained'. Like me, like Ballard, like Disch and like, I suspect, most of us, Ellison watches a lot of television (witness The Glass Teat) and from time to time he probably loses the will, habit or impulse to read a book thoroughly. He knows that his impatience with the printed word is reflected in the majority of his potential audience. In seeing ways of challenging the rivalry of screens and stereos he is taking part in a movement which began almost with the century and which I now suspect is pointless in terms of its conscious goals but worthwhile in that it assimilates and develops subject matter, images and dramatic techniques which go periodically to revive, expand and enrich that most flexible medium of all—the medium of printed fiction.
Ironically, of course, it is in this medium that Ellison who has tried his hands at most other forms—excels, and stimulates many other writers, particularly the young. He has done a lot more for American imaginative fiction than many of those who currently receive the praise of a cautious literary establishment. For one thing, his performances are considerably tighter than those who appear to have set out to produce the fictional equivalent of, say, Tubular Bells, in which one four-bar phrase is repeated over and over again	on a variety of instruments, and in which every musical vice is	combined (tautology as an art-form). It would probably be enough	if Ellison simply rocked on. But, happily, he does rather more	than that, whilst retaining the virtues of a 'vulgarity' which	in history is always looked back on as legitimate and enviable	expression of the romantic spirit.
He is, as I have said elsewhere, a brave little beast, this dwarfish	Jew, this Mid-Western Byron, this persuasive spieler who has been	able to make me produce the first critical introduction to a book	by an individual I have written in twelve years. Like all the	finest performers, he uses his charm almost unconsciously. And	because he is such a good and generous performer, it is extremely	hard not to forgive him virtually anything.
Which, of course, must be another reason why he writes so many introductions and at such length. •
Harlan Ellison in Savoy:
Non-fiction:
The Glass Teat
Fiction:
Phoenix Without Ashes (with Ed Bryant)
'Eggsucker' (in The Savoy Book)
Main People Page


The scarlet reef hermit, Paguristes cadenati, also know as red legs are probably the most colorful of the small hermits found in the Caribbean and is highly sought after for its algae cleaning abilities. These bright red crabs are most often found along the reef, down in the cracks of coral heads by day and browsing all over the reef by night. They are generally considered reef safe and like most hermit crabs they are scavengers, so not only will they eat unwanted algae, they will eat left over bits of food that fall to the bottom.
Amazing cleaning hermit. I ordered 3 of these babys and they went right out and started cleaning up in the rocks. They have heavy coraline on there shells and I love it.
Wonderful hermits. Always come with heavily worn and coralline covered shells, so you know they are not at all aggressive. They get larger than the blue hermits or the orange hermits. However these 2 things can be a problem if you keep any of the pacific hermit crabs, like the black and white zebras from IPSF. Since the scarlets are timid the pacific hermits will kick them out of their shells and kill them. So be careful when mixing atlantic and pacific hermits. Other wise these guys are colorful, active, and do a wonderful job cleaning your tank. In my opinion these guys are overpriced everywhere (have been for years) most likely due to the bright coloration, although Ken does have the best price around. Get a few for added color and save some $$ and get the rest of your crab cleanup crew with a mixture of blues and oranges.


text:
Journal of Hate Studies Seeks Submissions for Special Forum on Pandemania
Journal of Hate Studies Seeks Submissions, Special Forum on 'Pandemania'
Photo courtesy Wylly Suhendra
SPOKANE, Wash. — The Gonzaga University Institute for Hate Studies is seeking submissions for Volume 17 of its Journal of Hate Studies, an international scholarly journal to be published in fall 2021. This volume will feature a forum on "Pandemania," a term describing the ill effects of a society dealing with a lingering pandemic.
Lisa Silvestri, Ph.D., associate professor of communication studies at Gonzaga, will serve as guest editor of this volume of the journal, which is accepting general submissions of 6,000-8,000 words on any topic within the field of hate studies. For the pandemania forum, 3,000-to-5,000-word submissions are sought with potential COVID-19 focused topics that may include, but not be limited to:
Racism and anti-racism
Masks and social distancing
Institutional violence
Digital manifestations of hate
Submissions are due Dec. 30, 2020. Notification of acceptance is expected April 30.
First published in 2002, the Journal aims to challenge contemporary hate in society and bring rigorous academic focus on the processes that embolden the expression of hate. The Journal aims to establish a deep repository of theory and research on which to ground practical anti-hate interventions.
For full journal details, including themes and goals, general topic areas, submission instructions or to apply to become a reviewer, please visit: https://jhs.press.gonzaga.edu. For inquiries, contact Professor Silvestri at silvestri@gonzaga.edu or Kem Gambrell, Ph.D., associate professor and chair of the GU Doctoral Program in Leadership Studies, at gambrell@gonzaga.edu.
The Journal of Hate Studies has received the Seal of Approval from the Directory of Open Access Journals (DOAJ), an online directory of high quality, peer-reviewed, open access journals. The seal is awarded to a select number of journals in the DOAJ that adhere to the highest standards of publishing and accessibility.
To qualify for the seal, journals must demonstrate their commitment to open access and publishing best practices by meeting seven criteria in the areas of accessibility, openness, discoverability, reuse, and author rights. Of the 15,000 open access journals indexed in the DOAJ, only 1,398 have received this recognition affirming the Journal of Hate Studies as a top-quality, open access publication venue.
Open access publication allows the research to be distributed online, free of cost to readers. The journal is indexed in nine outlets: Directory of Open Access Journals (DOAJ), Sherpa/Romeo, Ex Libris, KB+, EBSCO Knowledge Base, Chronos, CrossRef, Google Scholar, and Ulrich's. More information can be found at https://jhs.press.gonzaga.edu/.
Partnership with North Idaho College Molstead Library
The Gonzaga Institute of Hate Studies partners with Gonzaga's Foley Library to house the Journal of Hate Studies. Together they have fostered a regional collaboration with the North Idaho College Molstead Library to stand for human rights and against hate.
Foley Library Curates Anti-Hate Resources, Collections
Kelly O'Brien Jenks and Shayna Pekala, Foley Center librarians, have curated collections and resources for the Gonzaga community and the public to learn how to engage in anti-racism and take action against all forms of othering and dehumanization. See https://researchguides.gonzaga.edu/hatestudies.
GU Hosts International Conference Nov. 4-6, 2021
In this time of the COVID-19 pandemic, political division, racial inequity, and climate injustice, the importance of creating socially just and inclusive communities worldwide is as critical as ever. To do so, the Institute will host the Sixth International Conference on Hate Studies at Gonzaga Nov. 4-6, 2021. The lessons learned at the conference will inform plans to help educators, researchers, advocates and others better analyze and combat hatred in its many manifestations. Students, academics and professionals are cordially invited to participate in the effort to create socially just and inclusive communities. For more information, visit www.gonzaga.edu/ICOHS.
Founded in 1997, the Gonzaga Institute for Hate Studies leverages experts in the field of hate studies and other disciplines — through inquiry, forums, scholarship, and service — to form a research-based coalition to better understand hate and develop effective strategies to counter its corrosive impacts on society. For more information, please contact Kristine Hoover, Ed.D., at (509) 313-3831, or visit the Gonzaga University Institute for Hate Studies online.
Our Decision to Study Hate
Driving out Hate: A 20-Year Labor of Love
Institute for Hate Studies
Critical Race & Ethnic Studies


Alfa India is availing the most superior custom engineered systems and equipments for Hydel Power plants, Chemical plants, material Handling Systems and equipments to control pollution in water, air, noise, solid waste management.
We design Effluent Treatment, Common Effluent Treatment and Sewage Treatment Plant Machineries. We design, manufacture, supply, install and commission machineries like Tube Settling Systems, Mechanical Clarifiers, Parallel Plate Clarifiers, Simple Clarifiers, Ancillary Equipments, ETP/STP Systems, Scrubbers, Ducting and Suction Hoods, Blowers, Bag House Systems for Water Pollution Control System, Air Pollution Control System, Effluent Treatment, Common Effluent Treatment, and Sewage Treatment Plant.
Our organization proposes Effluent Treatment, Common Effluent Treatment and Sewage Treatment Plant Machineries. Our business troop is one of the leading Effluent treatment plant manufacturer and supplier, The corporation stoutly believes in R & D and Quality promise precise from the beginning and still carries on the quest of a clean and healthy environment and set enormous importance on Research and Development.


We have devised and developed a fivefold approach to ensure that our teaching method is not sloppy and boring; instead it engages the student so that not only the concept is clear but also they learn the fundamentals thoroughly.
A one way lecture is boring. To make the lecture interactive and engaging, teacher constantly asks questions to students to gauge how much and how well they have understood.
Once the student understands the concept, they are given practical problems to be solved using the concept. This helps stimulate their minds and explore their potential.
We conduct regular tests to evaluate the students' progress and how he is grasping the things being taught. This also helps us to derive ways to improvise our teaching methods.
As the idiom goes – there is always room for improvement, we constantly seek ways to improvise and better our teaching methodology. We undertake course of actions to pave way for constructive changes in the way we function. All our efforts are directed towards one aim- to create an environment for all rounded learning and molding a bright future for our students.
At MS Tutorials we firmly believe in the adage 'A picture's worth a thousand words'. The reason is simple- on reading a paragraph of 10 sentences, how much would one remember? 4-5 sentences at the most. However, if you see 10 pictures, how many would one remember?
On an average 9 pictures!!
It is a proven fact and we have adopted this technique to make the process of teaching simpler and interactive. Illustrations and diagrams help the student grasp the concept fast and remember it for a long time.
Merely enabling a student for an upcoming exam is not teaching. We mould the student in such a way that he is confident to face the rigors of today's cut throat competition for pursuing a successful career. A well rounded student is one with knowledge as well as expertise, and this is what we aim for.


text:
Backstage at the Billboard Music Awards with Chrissy Teigen
And her makeup artist Sir John in Las Vegas.
There's a lot about the backstage and behind the scenes that even we're not privy to (we're still waiting for our invitation to Coveteur the green room at the Oscars). But our friends, well, they know. They're there—and, ahem, we're not afraid to put them to work. Like Sir John—Cov-alum, L'Oréal celebrity makeup artist and glam guy of choice for Beyoncé, Joan Smalls, Karlie Kloss and Chrissy Teigen. So when he told us he would be accompanying the latter to her hosting gig at the Billboard Music Awards last night in Las Vegas, we had two requests: take lots of pictures and call us after, please! And, like the good friend that he is, he did just that.
ON THE VIBE BACKSTAGE:
"Backstage is like the Daytona 500. This is what I'm used to. When she comes backstage it's all about what we can give her. When you work in beauty or hair backstage, your energy is contagious. You're the last person she sees before she goes back onstage. You have to not only reapply the lip gloss or mascara, but maybe do some jumping jacks just to get her energy back up. That's my job."
ON CHRISSY'S BEAUTY SITUATION:
"We had a dry run dress rehearsal the day before with lighting and everything. Her wardrobe was really, really killer. Olivier from Balmain brought over these really, really beautiful pieces with a lot of mixed media—the stripes and that graphic situation at the end. So we saw that and Jen Atkin and I wanted to do something Jerry Hall or Bianca Jagger inspired. Everything leaned towards the '70s—not literally, but the vibe. Jen gave her waves; we went from waves to a pony; and from the pony we went to a fishtail side braid.
I wanted to do a bronzy eye. It wasn't so much about glowy skin because I didn't want her to look shiny on camera, so we went with more of a matte finish, which is not really my thing or her thing, but it worked and translated through every look seamlessly. I could still add contrast by having using L'Oréal Infallible Pro-Matte Foundation and Powder gave a matte finish—it absorbs light really well and looks great on TV. Then we used a luminescent product to give her that brilliance on the cheeks. It was all about the eye and then we changed lips like three times.
With the bronzy eye, what I did is make sure we had a bronze, blown-out, smoky. And right on the ball of the eye I put bronze glitter and just pressed it in to reflect light—so every time she blinked is was like daytime disco and was referential to that whole period. We used a coco cinnamon blush just to keep that whole bronzy situation going. We started the carpet with a nude lip (Infallible Pro Last Lipcolor in Always Almond), then we went to a plum, called Raisin Revival—the same 8-Hour color I used to use on Beyoncé for the Mrs. Carter Show and the On the Run tour because they don't move and I like to layer them. After we did the plum, we went to a cinnamon '90s brown— L'Oréal Paris Infallible Pro Last Lipcolor in Neverending Nutmeg. Brown lips have to be done the right way—they can often drain your complexion if you don't know how to give yourself a bit of blush or mascara. I didn't want there to be too much punctuation in the face with color, so the only color that would stand out was the plum. Everything else was harmonious so the wardrobe changes could just glide with ease. If something happened last minute, no matter what color she put on, the golden, honey situation was alive. And it works for a lot of complexions—someone like Karlie Kloss to Selma Hayek, or even as deep as Frieda Pinto—this whole moment isn't for just one girl, it's for everyone."
ON WORKING WITH CHRISSY AND JEN:
"Jen Atkin is the consummate professional. She's always in control and gives the most sobering advice in a crazy situation. She always keeps her cool and is very smart. I like her and she's one of my peers. 50 years from now I'll remember working with Jen.
Chrissy's fun. She's a lighthearted sweetheart and a girly girl and she's sensitive, too. That's what's kind of cool about Chrissy is that she's vulnerable—she feels and she cares and I'm the same way."
ON HIS FAVORITE MOMENT:
"It was cool to see John win the award and be with Chrissy backstage. She teared up. They love each other so much—they remind me of a modern day Ricky Ricardo and Lucille Ball."
ON HIS FINAL THOUGHTS:
"I'm just happy to get the hell out of Vegas."


text:
Former Swansea City star Michu officially confirms retirement due to ankle injury
The Spaniard played a starring role during the 2012-13 League Cup-winning campaign
Former Swansea City star Michu has officially confirmed his retirement due to ankle injuries at the age of 31.
The forward was the star of the Swans successful 2012-13 campaign, helping the club win the League Cup and secure a ninth-placed Premier League finish.
After being signed for a mere £2.2million from Rayo Vallecano following Michael Laudrup's appointment as manager, the Spaniard set British football alight as he scored 22 goals in all competitions.
His knack of being in exactly the right place and ice-cool finishing ability made him a fans' favourite at the Liberty, but injuries would ensure his star would never shine as brightly as in that first season in South Wales.
Ankle problems surfaced early in the 2013-14 campaign – although his form was good enough to earn a call-up and a first cap for World and European champions Spain – and he ended up making just five appearances over the second half of the season.
After indicating his desire to leave, he was loaned out to Napoli but more injury problems kept him sidelined and unable to press a claim for a permanent move to the Serie A club.
He eventually had his Swansea contract terminated by mutual consent in November 2015 and he soon joined up with the Spanish fourth-tier side coached by brother Hernan Perez as he aimed to work back to full fitness.
After his spell with Langreo he returned to the professional ranks with boyhood club Real Oviedo, playing in the Segunda Division.
Michu made 27 appearances, scoring one goal, and following medical advice has decided to hang up his boots.
In a statement posted on his official Twitter feed, he said: "Dear Football, According to medical reports, the current situation of my right ankle has come to a point where it has forced me to say goodbye to you as a professional football player today.
"Even though I am saying farewell to you with much sorrow, I know that we will always be united. I thank you from the bottom of my heart for all of the magical moments that you have given to me during all this time. I feel privileged to have fulfilled a dream that is shared by so many of us since childhood. The dream of becoming a professional player in this sport.
"Because of you, the public have given me an invaluable affection that I will never be able to repay. Indeed, I feel I have done nothing to deserve it at all.
"You led me to Vigo, to play for Real Club Celta, to Madrid to play for Rayo Vallecano, to Wales to play for Swansea City, to Italy to play for SSC Napoli and to La Felguera to play for Union Popular de Langreo.
"You even allowed me to represent my country by wearing the national team football shirt, sharing the dressing room with colleagues who were world champions.
"It is thanks to you that I have visited many wonderful countries and cities but I am especially thankful for the people that I have met through you, whom I will keep in my heart my whole life.
"I wish to make special mention to Real Oviedo because the club has taught me all that I have been able to do on the pitch.
"I also address a special thought to all its supporters around the world. Without them I would have never been so happy throughout this journey. Each and every encouraging word has helped me to move forward when others might have given up.
"Before I conclude I would like to tell you that I consider myself an honest guy thanks to the education I received from my family and that I have always tried to do my best for every club that you have led me to.
"I wholeheartedly apologise if, at any point, my acts may have upset any of your supporters who love you madly as I do. Endless thanks to you my friend. I will always be in debt with you!
"Always yours, Miguel Perez Cuesta (Michu)."


Toronto based garage rockers Wine Lips hit the stage for the first time in the fall of 2015. Initially a part time project, the band began playing clubs in Toronto and stretching organically to surrounding Ontario cities. Wine Lips released their self-titled debut LP on indie label Fried Records in 2016 and their follow-up LP, "Stressor", independently in 2019. The Band has toured through Canada, China, Hong Kong and the USA with no plans of stopping. Fronted by Cam Hilborn on guitar and vocals, Aurora Evans on drums and Richard Stewart on bass, the band continues to serve up their addictive, high energy, sonic tonic.


Maintain the spick and span look of your basin by fitting it with Clicker Waste, manufactured by Abode in its Euphoria range. Constructed using premium quality material, this solid metallic creation, will certainly endure the test of time. It comes polished in a glittery European quality chrome, giving your basin a flawless, charming look. Approved by the WRAS, this practical creation is backed with a 5 year limited warranty, from Abode. QS Supplies bring it to you at a pocket-friendly price.
Manufacturing code of this product is AB2422.