text:
The ghost of a little girl wanders through a dark and spooky city as her parents mourn her passing.
2011 | 5 - 10 | Denmark | Grief | Horror | Special FX | 1970
The grief process is a recurring theme throughout the history of cinema. Extremely subjective and universal at the same time, the mourning of the loss of a loved one has been analyzed and described in melodramas, dramedies, even horror-fantasy films, as Lars Von Trier recently did with Antichrist. Danish filmmaker Tobias Gundroff Boesen's work is somehow close to the latter, although it's a less morbid and more mood-oriented film.
A young couple has recently lost their daughter, and the pain they're going through is devastating. The director chose to portray the consequences of this death from two different points of view: we both look at the couple's struggles with daily life and at the daughter's wanderings around an eerie and dark city, probably oblivious to the fact that she's now a ghost. The child runs through he woods and deserted streets, causing strange paranormal events around her, while her mother is unable to cope and deal with her everyday activities, lost in an alienating state, which we see before our eyes in a few hallucinatory scenes. The little girl is searching for a way home, all she wants is to be reunited with her parents. And it's only through that spiritual embrace that both worlds will find some peace.
Shot with a Canon 3D and a little-to-no budget, Ghost is yet another proof of the fact that all it takes to make a good film is inventiveness and creativity overall. The nocturnal word where the girl wanders around is populated by menacing creatures and sinister sounds. The choice to avoid dialogue has given full space to sound design, which is amazingly done, and that – along with the emotional cinematography, builds a surreal and creepy atmosphere. The empty streets, enchanted woods and spooky locations along the girl's way are beautiful and disturbing, and act a symbolic response to the characters' moods.
Ghost was produced and realized by director Tobias Gundorff Boesen and DOP Andreas Berg, who both grew up in Viborg, the Danish town in which the short was filmed. The starting idea was to show places they're familiar with under a different light, building a universe with a strong visual and emotional impact. This was one of Boesen's first works, a young Scandinavian talent who's very active in the production of music videos and commercials.
Flavia Ferrucci
Tobias Gundorff Boesen
Self Produced
Online Premiere: Child Love by Giulio Donato
A kid courts a girl with small gestures, but it is a love that goes beyond space-time and becomes an allegory of the cycle of life
Cortisonici 2019: What A Hell Of A Festival
On the occasion of the 16th edition (Varese, April 9-13), we propose the best short films of the previous editions
Segundito – by Carlos & Roberto Valle
Stay still a second! A flash of genius by the brothers directors of The Chair of Life
Online Premiere: Il Fischietto (The Whistle)
Il Fischietto (The Whistle) is the debut shortfilm by Roman director Lamberto Sanfelice, produced by ANG Film in collaboration with...
The story of a little girl facing a traumatic event and her personal way of acceptance.
(ANG Film / Asmara Film)
FOCUS ON: Mario Furloni
His short documentary Pot Country, co-directed with Kate McLean, was in the official selection of HotDocs, Big Sky and Mill...
Focus on his work, Freeland and the Filmaker360 residency
Rise – by David Karlak
In a not so far future, robots develop feelings. This unexpected event scares humanity, which reacts as a frightened child...
A justified revolt of the machines.
(Underground Films / Vertigo Entertainment)
Harry Grows Up
Falling in Love is tough. And as your first love leaves you to go to College even the New...
New York is a tough place to find love. Especially for an 18-month-old living on his own.
(Abaloon Films)
Ghostly International Presents: Andy Gilmore
An introduction and tribute to Andy Gilmore, the artist who became famous for his psychedelic geometric forms. His works...
Psychedelic works for an art-immersed life.
The Joke's on You – by Katie Smith
The Joke's on You is a refreshing British comedy, winner as Best Short Comedy of 2016 at ECAFF Eddie Comedy...
A refreshing British comedy, a modern and real love story
(Victoria Muldoon)
UK / 11minutes
Wrinkles of the City: Focus On Guillaume Cagniard
Wrinkles of the City is an artistic project started in 2008 by French artist JR. The project was realized...
Interview with Guillaume Cagnaird and his short about the work of artist JR
Guiding Sights
Rafael Egaña, 38, is going blind. He suffers RP (Retinitis Pigmentosa), a genetic degenerative retinal disease. With the iquiqueña...
Rafael Egaña is going blind and goes through the pics that his father has collected over the past 50 years. What happens with the images in your memory when you're going blind?
(Cusicanqui Films, Escuela de Cine y Televisión - Universidad de Chile)
Chile / 18minutes
Wolf Call – by Ramey Newell
Wolf Call is the new short film directed and produced by filmmaker, multidisciplinary artist, photographer, and graphic designer Ramey...
A short doc following the work done by wolf caretaker and award-winning photographer John Ramer
(Ramey Newell)
Sebastian – by Sam Fragoso
Sebastian is the first short film written and directed by Sam Fragoso, formerly a film critic and actually the...
An emigrating father writes home to his son: a short film that tells in 3 minutes what is America today
(Sam Fragoso)
The Arab Series #1: Noor
Ramadan is coming and 13 year-old Fingo has one wish — he wants to hang lights on his apartment...
For the celebration of the upcoming Ramadan, Fingo has one wish: to decorate with colored lights the building he lives in.
Egypt / 15minutes
Googly Eyes – by Simon Savelyev
Gary, a recently dumped Los Angeles slacker, is nursing a mysterious and chronic earache stirring up memories of his...
A short and cynical rom-com to celebrate Valentine's Day in the best way
(KQED Film School Shorts)
A Morning Stroll – by Grant Orchard
One day, during a morning walk, a man meets a chicken. The chicken turns the corner, it mounts the stairs of a flat,...
A New Yorker and a chicken: an exercise in style by Grant Orchard
(Studio AKA)
Adam and Eve Raised Cain – by Francesco Erba
Adam and Eve Raised Cain is a disturbing short film. Stop motion animation is usually functional to tell reassuring...
A poetic yet disturbing stop motion horror short film
(Onda Video Produzioni)
Danger Island
A couple of british poachers set sail to explore a string of previously undiscovered islands in search of the...
A couple of british poachers explore undiscovered islands in search of the fabled Moth Owl, in this animated tribute to old b-movies.
In the beginning it was nothing. And then everything appeared. Explosions of light and matter, forms that combine and...
A witty satire on the art world and the anxieties of the creative process masterfully directed by stop-motion animation genius Mikey Please.
(Blink Industries)
The 6 Best Iranian Short Films In the Past Years
When talking about Iranian cinema and their films, names like Ashghar Farhadi, Abbas Kiarostami, Jafar Panahi and a lot...
Not only Ashghar Farhadi and Jafar Panahi: a new generation of young directors is making the Iranian cinema so proud
La Huida – The Runaway
Helvetica , pastel colors , a voice-over that directly addresses the viewers, eccentric characters and catchy music … at...
The colorful deconstruction of a moment in the life of a group of bizarre characters.
(Escandalo Films )
Spain / 11minutes
Motorville
The map of America comes to life and starts wandering around looking for oil reserves, long extinguished from the...
The United States of America come to life in the search of the lost oil.
It's No Game – by Oscar Sharp
It's No Game is director Oscar Sharp's follow-up to last year short film Sunspring, written entirely by an algorithm...
In this day and age, how useful are screenwriters?
(48 Hour Film Challenge / Sci-Fi London Film Festival)


Art work is embraced in different parts of the world since it helps in ensuring that the culture of a particular community is appreciated. Competition is mandatory in the field of art since there are very many people who have ventured in artwork. It is very essential to be dedicated to the kind of art that a person is doing so that concentration can be maintained. It is always very important to embrace artwork since it is a very easy way of expressing the kind of ideas that you are having. There are also those kinds of people who like expressing their feelings about anything that they are feeling.
Art can be expressed in three different forms that are, paintings, sculpture, and architecture. Art work becomes very hard whenever a person does not have the necessary equipment. An artist has to ensure that they have the drawing papers and paint so that they can be in a position t commence the artwork. A lot of passion is required so that the artist can be in a position to bring out the best artwork ever.
In everything that a person is doing there has to be something that is driving their interest in artwork. The main motivating factor in artwork is beauty and rhythm that is expressed. There are mysterious that are very hidden unless they are experienced by a person. Mysterious things are not best whenever they are expressed in an official way hence art as to be used. Whenever a person wants to ensure that they bring out whatever they are thinking in their brains they have to use artwork. Art and creativity are two things that go hand in hand hence the feelings that a person has are easily expressed through art. There are some symbolic features that are represented in the artwork since there are very many cultural performances that express these kinds of artwork. Communication is an essential thing and art makes sure that they make it possible.
Art work is very diverse since it also covers the entertainment field. A lot of fun is very expressed since there is a mixed reaction that is expressed. Politics runs in every single part of the world hence artwork has to be involved in this kind of sector. Culture is different in very different parts of the world hence art help in uniting these cultures. It is very important to find something that gives you pleasure that is why there are very many people who embrace artwork. There is a need to undergo some training before one engages in these kinds of activities that is why there are very many schools that deal with these kinds of activities.


This thesis presents Navy Operational planner (NOP), a decision support aid for mission-based maritime operational planning. Operational plans consist of individual missions grouped into phases—we must accomplish a given fraction of each mission in a phase to declare completion and move to the next phase. Rather than trying to achieve as many missions as possible in a fixed time horizon, NOP advises how to allocate multiple ships to multiple missions in order to accomplish those missions to a prescribed level of completion as quickly as possible; this allows a transition to the next phase of a larger mission, such as a war, or a large-scale humanitarian aid and disaster relief operation. Knowing how long it could take to complete a mission phase is more useful in determining feasibility in the planning process and can help in assessing risks associated with employing a limited number of ships. Criteria for mission phase transitions are derived from assumptions surrounding mission-based accomplishment thresholds. The carrying out of a mission or level of effort applied contributes toward cumulative accomplishment. In addition, when mission efforts are interrupted for some period of time, the mission may require additional later effort to resume and complete.


text:
Great ResignationDiversity and InclusionCompensationCEO DailyCFO DailyModern Board
How Microaggressions Can Wreck Your Business
BYAnne Fisher
November 19, 2015, 7:12 PM UTC
Businessman leaning head against office cubicle wall
John Lund/Drew Kelly Getty Images/Blend Images
Anyone who's been following the news about the campus turmoil across the U.S. in recent weeks has probably heard of "microaggressions"—the casual, everyday slights and insults that make clear that racial bias and sex discrimination haven't gone away, they've just gone underground.
Take asking someone who looks Asian where they're "really from" after they've said they were born and raised in New Jersey: That's a microaggression. So is a "Mexican-themed" frat party featuring sombreros and false moustaches, or expressing surprise that a new acquaintance from a different ethnic background is so fluent in English.
Of course, on a college campus, some of this can be chalked up to adolescent tactlessness. Who didn't say some pretty dumb stuff when they were 19 or 20? But to the degree that microaggressions truly reflect stubborn underlying prejudices, managers need to take note. Today's students are tomorrow's hires or your company's next crop of interns, and they're much more sensitized to this than their older brothers and sisters were.
"Unlike more blatant forms of prejudice that have become socially unacceptable, and despite our supposedly 'post-racial society,' microaggressions aren't going away," notes David Mayer, who teaches management and organizations at the University of Michigan's Ross B-school. "Naturally, young people joining the workforce are going to bring that heightened awareness with them."
Although the attention they're getting lately is new, the idea of microaggressions isn't. The term was coined back in 1970 by psychiatrist and Harvard professor Chester M. Pierce, and the phenomenon has been the subject of at least 5,500 academic studies over the past decade—including one last January that found that women of color in STEM professions reported they are regularly mistaken for janitors.
The people who made that mistake would probably be horrified to be labeled as racist, sexist, or both, and that's a big part of what makes microaggressions so insidious. A microaggression is an unintended insult, perpetrated by someone who means no offense, and who may not even realize they've said or done anything wrong.
"One way to define a microaggression is, it's inadvertent," says Katherine W. Phillips, who teaches leadership and ethics at Columbia B-school. "It's the way people's implicit biases leak out."
Everybody has biases. That's why implicit-bias training is in vogue at so many companies, from Coca-Cola, Facebook, Airbnb, and Pinterest to Google and the Royal Bank of Canada. What matters, though, is what people do about their implicit biases once they've recognized them.
If you're lucky, you work for a company that has gone beyond the training phase and put in systems and processes designed to push back against implicit bias. Some employers, for instance, now require objective skills tests and structured interviews during hiring. These not only are more sensitive, but they are also better predictors of actual job performance than letting hiring managers' unconscious biases hold sway, notes Prof. Mayer at the Ross school.
Similarly, he adds, some companies require managers to choose among resumes where the names have been stripped out.
"Many people react differently to the exact same resume, without even realizing it, depending on whether the name at the top is Jamal, James, or Jill," Prof. Mayer says.
But what if your company isn't doing any of that (at least not yet)? How can you, one lone manager, make sure that microaggressions in your workplace don't make it harder to attract and retain young talent?
A good beginning is to make some clear ground rules that apply to everyone, about the level of courtesy you consider acceptable. "You want to create an environment where all employees treat each other professionally and respectfully. No exceptions," says Sondra Thiederman, a speaker and consultant on diversity who has worked with managers at Boeing, Motorola, GM, Pfizer, Xerox, American Express, and elsewhere.
The next step: "Encourage anyone who feels he or she has been the target of a microaggression to speak up. Get people together to talk about it," she says.
These conversations usually aren't easy. "If someone seems to be overreacting to something someone else said, you are probably going to have at least one member of the group who will say, 'Oh, come on, get over it, I'm a white guy and that happens to me all the time,'" says Thiederman. "It's uncomfortable. But you need that. People have to talk it out—even argue about it."
The alternative is to let people's resentments and feelings of exclusion, build up to a boiling point. That's when your most in-demand young talent will quit and go elsewhere, most likely without saying why.
It helps, Thiederman notes, if you can find some way to help employees discover what they have in common. Affinity groups at companies have expanded in recent years to include "eldercare groups, or adoptive-parent groups, or anything that serves as common ground for people of all races, ages, and sexes," she says. "At some companies, getting everyone together to do volunteer work fills this purpose."
Beyond the warm fuzzies employees get from finding common cause, Thiederman points out, the personal connections are good for business. "People who know each other as more than just colleagues tend to trust each other more—and you need that trust if you're going to have honest conversations," she says.
It also helps if you're willing to acknowledge your own implicit biases, and work on changing them. Some managers, like most humans, resist that. "When you tie unconscious biases to self-worth, people get very defensive," says David Mayer. "But this is not a test of whether you're a 'bad person.'"
Instead, he often suggests to his B-school students that they regard tackling their unconscious biases dispassionately, as a project they're working on or a skill they need to improve to be better at their job.
In the current social climate, he adds, that's exactly what it is. "Managers who can't recognize microaggressions, or who don't take them seriously," he says, "are not going to be able to relate to the next generation of employees."

redpajama_set_name: RedPajamaCommonCrawl


text:
E. John Love: a Writer.
Novels and other fiction by Vancouver writer and designer E. John Love
John's Bio, etc.
Owe Nothing: a Novel
Media and PR
Interview for "From a Writers POV", June 2011
Owe Nothing Video Trailers
Work In Progress: The Two Sisters
Pink Pastel and Velvet
Nothing But Blue Sky
Ernest Huntley and Ernest John
The Stranger inside…
Jack's Morning Dose
White Crane Spreads its Wings
Turning Over Pavement
(c) 2009 E. John Love
Back in the Eighties, the office he worked in was likely at the height of corporate décor. The mileage and history were in the details, like crow's feet on an aging actor. The shapes of door handles, the sick beige of old filing cabinets, and the yellowness on light switches. It passed for contemporary at first glance though: the carpet was practically new, a lovely plush plum, and the walls were painted in a cool bluish white, intended to evoke some corporate ideal.
Jack Owen wondered how many companies had passed through this same office over the years. He imagined some clerk breathing in the same stale air: the recycled halitosis and lunch farts that swirled from the first floor up to the tenth. That clerk was still here in spirit, he decided dismally.
Jack blinked and wiped a few locks of brown hair off his forehead. He arched his back and rolled his neck. Grunting, he felt a small crack and sighed. His PC showed no new support requests for him in the past twenty minutes. He'd been doing part-time tech support at BlueSky Systems for three weeks; mostly helping customers set up their online productivity apps. He felt like he was finally getting the hang of it. The current lull was welcome though. His watch said FRI 10:02. Maybe a coffee, he decided.
A bing-bong noise and opened window got his attention. It was a message from Erwin, the Network Admin.
"dude – check your inbox"
Jack read a message from the HR Manager, cc'ed to Erwin by mistake. He scrolled down about ten replies until he saw the original sent by "bpowell", the CEO. It read: "Unfortunately, Sales hasn't met its goals last quarter. Combined with the loss of large hosted application accounts like MediHealth and Fraser Credit Union, and poor reseller performance, we're in a difficult position." Jack felt his mouth go dry.
"By the end of the week, I want to see a plan from each department to decrease costs by at least 20%. Halt non-critical projects, improve productivity and reduce costs on non-essential contractors and staff.
Travel and tradeshows are canceled. By making individual sacrifices, we'll be in better shape to weather these challenges and emerge in a stronger position."
Individual sacrifices? Jack wondered. I wonder which individuals will be sacrificed. His throat felt raw. He wanted a drink of water. Padding around the edge of the cubicle farm, he followed the purple carpet to the far side where the cubes ended and office doors began. Sunlight snuck through the tinted outer windows, and past etched glass partitions that separated the Execs from the staff. Each little office resembled an aquarium, with occupants circling their desks, moving their mouths silently at unseen listeners.
Jack stood at the water cooler in a beam of sunshine, drinking slowly.
He closed his eyes and let the light soak into his face. Standing there was like emerging from a gopher hole. He pictured the "Whack a Mole" game at the PNE. Yeah, that was him.
"Mr. Owen! How are you today?" It was Graeme Foster, BlueSky's Senior VP of Marketing. They'd chatted about books and music a few times before. Jack liked him and peeked around the open doorway into the older man's office. "Hey Graeme. How's it going'?"
"Come in," Graeme beckoned from behind his desk. He was a large grey-headed Englishman with what sounded like a cockney accent. In his bright white dress shirt and navy blue tie, he resembled a crisp white sail caught in a full wind. Miles Davis honked a plaintive solo from the small speakers on his desk. The mood was cool. Graeme settled back in his chair with a painful squeak. "I know you're a reader. Can I read something to you?"
"Er, sure."
Graeme pulled glasses down from the top of his head and squinted at his monitor. Jack heard things about the company's market presence, its record in groupware and support, and blah, blah, blah, blah.
Graeme recited corporate achievements until he noticed Jack staring blankly out the window.
Jack took a breath. "Er, kinda dry and boring, actually."
Graeme snorted. "Yeah. It's from the CEO. Supposed to be a report to the Board. Probably some bean counter wrote it. Bill asked me to have a go at brightening it up."
"Well, it talks about the company like it's independent – separated from the people who actually make it go."
Graeme leaned towards him. "Hm. I hate this dry shit. I used to be a club manager back in London. Rock bands, Comedians, even bloody dog acts – entertainment, all of it! Crazy people doing crazy things and lying their asses off about how well they did it in the trades the next day. Tons of fun."
He wiped back a stray lock of silver-grey hair that had been shaken down over one eye. Jack smirked, enjoying the undignified and irreverent outburst from this otherwise businesslike fellow.
"Well, to me," Jack replied, "it's all about the people that buy the products, and the people who sell and support them. That abstract stuff you said sounds like it's all just about numbers."
"This place does have a rather high-ratio of Chiefs to Indians, if you follow me, and there's a few directors who've sunk a lot of cash in, whoexpect their return in kind, and see it mostly in those terms." Graeme sat back and tilted his head up towards the ceiling. "Still, putting ahuman touch in might be a good idea."
Miles Davis bleated and wailed in the spaces between their dialogue,and Jack heard something familiar. "Is that, um, Autumn Leaves"?
Graeme listened for a few beats and then nodded in approval. "Yeah! I didn't know you liked Miles."
"My Dad does. He says he's like, both sad and strong at the same time."
"Too right. Aren't we all, eh?" Graeme winked. "I saw Miles in Montreal years ago. Old guy was still going strong. Amazing what you can do when you do what you love. "
An awkward pause. Graeme took a breath and asked "Can you jot some things down?"
He flung a small pad of paper and a pen at Jack and watched him fumble them into his lap.
"You want me to…"
"Write. Gimme your thoughts, something. Whatever you can."
Jack blew out a ball of anxiety and started scribbling scraps of gossip and opinions from his meager time on this job: "lots of execs seem stressed.", "some customers are way more trouble than they're worth", "some managers don't know basic computer stuff – helping them wastes time", "we're like a herd, not a team", "we should talk more".
Jack looked down at his hasty list of bitching and handed it sheepishly back to Graeme, who studied it while Jack wiped sweaty palms on his slacks. If the coming cuts didn't eliminate him, Jack figured that his attempt at writing probably would. On borrowed time anyway, so what the hell. He could still count on a few hours each week at Bertrand's Books. He'd find a new job that probably wouldn't pay as much as this one.
Graeme looked up and took a breath. "Well, you'd better get back or you'll get in trouble. Thanks mate."
Jack mumbled a reply and left, feeling like his day had taken a bad turn. He heard people whispering to each other, and he thought about Graeme, his Dad, Miles, and that lonely horn. As the newest guy, he'd get axed first if there were cuts.
Landing in his chair, Jack noticed a new support ticket blinking at him.
He shrugged his feelings aside and focused on his screen until it gradually blotted out the periphery, immersing him in its abstract glowing little world.
After lunch, an email from the CEO asked all staff to meet in the main boardroom at 4 pm. Georges, a burly Quebecer who had been Jack's first friend at BlueSky, crept over from the next cubicle.
"'ow are you today, my friend?"
"Good Georges," Jack lied. "You?"
"I dunno. Dat email – what do you tink is going on?"
Jack shrugged. He didn't want to worry his friend with idle speculation. Georges had been at BlueSky for a year, but Jack had heard that his friends' position was also far from secure. Apparently, his Franglais had caused concern with their supervisor, Brian, who unfairly equated English pronunciation with skill and intelligence. A label of "incompetent" was unfairly hung on Georges after a minor misunderstanding with a customer had reached Brian's desk.
Georges had a Bachelor's in Comp. Sci from Concordia. He knew his stuff even if his thick Quebec patois sometimes got in his way. Jack figured that Brian was being uptight and looking for a scapegoat.
Georges was also the only guy in the company who seemed to have less money than Jack, which only strengthened his affection for the man. Georges had a wife and kids to support, and here he was, stuck in the butt-end of knowledge worker paradise.
Jack noticed that instead of a polo shirt, Georges was wearing a white dress shirt with what looked like a frayed, fuzzy mauve knit tie.
"Er, nice tie, man," he smirked. Georges looked back and forth mischievously. "It's da belt from my bat robe. My baby puked on my tie dis mornin'." They both chortled at Georges' fashion improv. "Ewww!"
Jack laughed. "So, what's the occasion?"
"Bio-Med place is looking for a Java programmer for a big web project. Good money. I'm gonna interview there at 3:30."
Jack was disappointed but also excited for him. "Go for it man. Good luck!"
At four o'clock, people filed into the main boardroom in groups of twos and threes. Jack stood near the front of the room by the door. At 4:05, Bill Powell entered with some VPs and Graeme Foster behind him.
There was palpable tension in the room – a sense of expectation. Voices stopped talking and chairs stopped squeaking in anticipation.
Powell's slender six foot frame straightened, filling out his navy blue suit. Jack stared at the gold silk tie and its immaculate double Windsor, and recalled Georges' desperate bathrobe belt. He wondered how many worlds actually separated those two men outside of this office.
Powell resembled a large fox impersonating Dick Van Dyke. Jack had never seen him in person before, and prepared himself for some bad news. Powell's face opened into a surprisingly warm, genuine smile, and looking around the room slowly, he began:
"Good afternoon everyone. Before we start, I just want to say that this could have been a very different meeting." Jack looked at the other Execs, and recognized expressions of ease and calm confidence.
"I'm sure you've heard rumours about the challenges we're facing. The short story is that we've secured bridge financing that will see us through the next few quarters – maybe further." Sighs and shuffles rippled through the room, and someone tried to clap. "For the past few months," Powell continued, "some of our senior Execs have worked without pay until we got the financing wrapped up." Powell paused while Graeme leaned over and whispered in his ear. "Unfortunately, there will be some cuts, and a couple of departures." Graeme shot
Jack a wink.
Graeme stepped forward and thanked the staff for their friendship and support, and told everyone that he planned to run a small music store over on the east side with his son. "Anyway, meet me at the Elephant and Castle after work," he said. "First round's on me!" This produced laughter and some awkward applause.
Later that night at the pub, Jack experienced his first (and last) Guinness and found himself at a round table surrounded by men and women, both familiar and strange. He studied them with their guards down, laughing, swearing, slurring and cracking jokes. He wondered where they came from, and why.
Two Kokanees later, he shrugged on his leather jacket and stumbled blearily out to the curb to search for a bus stop. As he pulled up his collar, a voice called from the door. "There you are! Need a lift somewhere?" It was Graeme, finishing a smoke.
"Headed to East Van?"
"Can do. Let's go." He flicked his cigarette away and waved Jack to follow him as he ambled down the sidewalk.
"Are you good to drive, man?"
"Pfft. Been drinking club soda all night."
"AA. Two years." He led Jack to the passenger's door of a brown 1978 Impala that was as long as a football field. Jack climbed in, surprised that the car wasn't something small and efficient, instead of a huge North American land yacht. As they glided away from the curb, inside the vast car it was all low light, smooth sailing, and tinkling piano keys, like a rolling lounge.
"So, what brought you to the company?" Graeme finally asked.
"Oh – my sister's boyfriend got me the job," Jack said apologetically, as if he had stolen the job, not earned it.
"Not your cup of tea, is it?"
"Not exactly. It's weird – like a different world."
"Yeah. You'll get used to that. You'll go through lots of those, I bet. Trick is to keep yourself in it – to make your own space when you need to.
You know?"
"Space?"
"Yeah – inside. Avoid distractions. Working through crap and getting your job done is a skill. Like getting the evening receipts done when there's a big punch up going on at the bar," Graeme laughed. Jack tried to picture that. "For me," Graeme continued, "it took perseverance and the right tunes. And when you find a musician that helps you, it's like a gift."
Graeme settled back and leaned his right arm on the back of the front seat while he steered with a few fingers. Diana Krall crooned from the speakers. Popsicle toes. Jack felt cool and relaxed, and he slouched as if he were lounging on his couch at home with his Dad.
Monday came, and another work week yawned at Jack. The 'gift' came in a small, brown box and arrived at noon. Jack tore it open and found a tiny thumb drive packed with jazz tunes. With Georges' old cubicle sitting empty next to him, he plugged in his headphones and listened for Miles.
E. John Love: a Writer. Proudly powered by WordPress


text:
Q: SVG progressive line drawing animation I need to create a simple straight line, progressive drawing animation through svg. But am new to this and hence am not able to proceed. My desired output is an image at center and 5 straight lines growing out of it. Can anyone help me?

A: The way I do this is with an animation on the stroke-dashoffset attribute, which you set initially to be the length of the lines (so they are invisibile):

<?xml version="1.0" encoding="UTF-8"?>
<svg xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" width="540pt" height="511pt" viewBox="0 0 540 511" version="1.1">
<rect x="0" y="0" width="540" height="511" style="fill:rgb(100%,100%,100%);fill-opacity:1;stroke:none;"/>
   <g id='lines' stroke="black" style="stroke-dasharray:100;stroke-dashoffset:100">
 <path d="M 200 250 l100 0" transform='rotate(72,200,250)'/>
 <path d="M 200 250 l100 0" transform='rotate(144,200,250)'/>
 <path d="M 200 250 l100 0" transform='rotate(216,200,250)'/>
 <path d="M 200 250 l100 0" transform='rotate(288,200,250)'/>
 <path d="M 200 250 l100 0"/>
 <animate attributeName="stroke-dashoffset" fill="freeze" dur="5s" values="100;0;"/>
   </g>
</svg>

See here for additional: https://css-tricks.com/svg-line-animation-works/

redpajama_set_name: RedPajamaStackExchange


text:
Multi-Language Add-In for Visual Basic 6
By Softwarebuero Jollans | June 29, 2005
Add international support to your VB6 applications with the Multi-Language Add-In, either during software development, or on finished programs. The Add-In scans your project for text strings and presents them in two tables, one for the properties of controls, one for strings in the source code. Select strings in the source code for translation, or hide strings, which don't require translation, with a single mouse click. Add new languages using a simple dialog and a column is added to each of the tables to show the text in that language. Edit texts in all languages directly in the tables, or export them to Excel for offline editing. Additional features are: an extendable controls database indicating which properties require translation, single or multiple language versions of your application, support for far eastern languages, database of common translations, language switching for separately compiled components, use of resource strings.Version 5.24.0024 may include unspecified updates, enhancements or bug fixes.
Windows 98 Windows XP Windows NT Windows 95 Windows Me Windows Windows 2000
Windows 95/98/Me/NT/2000/XP, Visual Basic 6.0


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New MD for Hayter
by Richard Bishop
in Industry News
0 New MD for Hayter
New Managing Director for Hayter Ltd
By Richard Bishop (27 May 2002)
Derek N. Boulton is the new Managing Director at Hayter and will assume responsibility for all areas of the company's business. James C. Pelletier, C.E.O. of Murray Inc, announced this appointment recently.
Mr. Boulton has had wide experience of engineering, particularly in the automotive and diesel engine industries. He has held various senior positions with Cummins Inc. and Komatsu Cummins Engine Co. and has managed operations in the U.S., Africa and Japan amongst other places.
He served his mechanical engineering apprenticeship with British Leyland and holds Diplomas in Management Studies and Mechanical Engineering from Teeside Polytechnic and Bromsgrove College. In addition he received his M.B.A. from INSEAD, Fontainebleau, one of Europe's leading business schools. He is married with four sons and intends to relocate from the U.S. to Bishop's Stortford at an early date.
Commenting, Kim Macfie, Sales & Marketing Director of Hayter, said, "Mr. Boulton's wide business experience should give ample impetus to the next phase of Hayter's development. He is joining a company with a fine pedigree and is looking forward to building on the achievements of the past 55 years"
For more information please contact Kim Macfie at Hayter.
Tel:01279 723444, Fax:01279 600338, E-mail: sales@hayter.co.uk
Or Richard Bishop on Tel:07740 102251 , Fax:01473 254566 , E-mail: Richard. bishop@btconnect.com
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Very displeased with her face and hair. I'm going to redraw her face/hairdo, or draw a new on and paste over it.
Love potions anyone? I like drawing sheer clothing. And more importantly, drawing vintage-esque cat eye glasses is fun.
Also, ignore the sloppy shading on the skirt, I was in a rush.
0.5 mm Black and red ballpoint, grey Kuretake brush pen, red pencil.


text:
The paper on Local Area Coordination in England and Wales, "From Service Users to Citizens" (Broad, 2012), is soon to be published.
The paper explores the impact and opportunities arising from LAC forming the new "primary source of support" (as per Vision For Adult Social Care, DH, 2010) or new "Front End" of the service system, placing greater emphasis on local solutions, individual and community strengths and citizenship and less on deficit based assessment, funding and services.
Local Area Co-ordination (LAC) was originally developed in Western Australia in 1988 by Eddie Bartnik and the Disability Services Commission, with assumptions and beliefs around the inherent expertise and strengths of people, irrespective of service labels, to plan, control and contribute to their own lives and the well-being of their community.
It also acted as a catalyst for service and systems reform, making services more personal, flexible, accountable and efficient, nurturing practical, local solutions as the "primary source of support" and pushing services back a level.
It has subsequently been developed across Australia and internationally, including sites now developing in England and conversations underway in Wales as part of social care and health reform.
In England, it is also part of the Think Local Act Personal (TLAP) Building Community Capacity workstream.
LAC is underpinned by 10 core principles and values relating to:
The right to citizenship, responsibilities and opportunities
The importance of valued relationships and personal networks
The importance of access to relevant, timely and accessible information to inform decision making
Recognising and nurturing individual, family and community gifts and assets
Recognising the natural expertise and leadership people labelled as vulnerable and their families
The right to plan, choose and control supports and resources
The value and complementary nature of formal services as a back up to natural supports and practical solutions
It is supported by the LAC Framework which provides guidance, clarity and maintains integrity, focus and outcomes.
It has a substantial evidence base, with over 20 international studies plus many further international and local publications.
It's about supporting people to build their vision for a good life and finding a range of ways of getting there – and becoming less dependent on services wherever possible.
It gives space to think about the role of services and specialist teams, in the context of LAC and strength based approaches at the front end, embedded in the community.
In England, Inclusive Neighbourhoods Ltd and the Local Area Coordination Network are leading and coordinating the design and development of Local Area Coordination in England and Wales.
Turning the System Upside Down – Reforming the "Front End"
LAC moves the "front end" of the service system from crisis/assessment/eligibility/services (for those who meet criteria), with resulting ever-increasing unmet need, to supporting people to stay strong, building long-term trusting relationships with local people and the community, local solutions, valuing and nurturing individual/family/community assets, supporting mutually supportive and inclusive communities.
It also contributes to wider reform and integration of the service system.
Local Area Coordination is already developing in Middlesbrough, Derby City, Stroud and Cumbria. Developments are due to start in East Midlands in August 2012 and conversations are underway in the SE, NW and in Wales
From Service Users to Citizens (Broad, 2012)
Below is an extract from Chapter 1 of the paper "From Service Users to Citizens" (Broad, 2012. p.17), exploring some of the core principles, approaches and opportunities of Local Area Coordination, including the value and abundance of individual and community assets, focusing on helping people to stay strong, rather than waiting for crises and reforming, simplifying and integrating the service system.
1. Starting at the start
Local Area Coordination is a systematic effort, organised and led by public bodies in partnership with local people and communities, to ensure that people can prevent their ordinary needs from becoming major problems, avoid crises and support themselves to maintain and strengthen their everyday citizenship.
The Local Area Coordinator supports 50-65 individuals and their families who live in a defined local area. They provide a local, accessible and single point of contact for people of all ages who may be vulnerable due to age, disability or mental illness. They are the "front end" of the service system. They work by helping people to identify their own vision for a good life and ways to achieve it.
Local Area Coordination is an approach that recognises and supports the value of individual gifts, skills and assets, the powerful and positive role of families and relationships and the contribution that local communities can make as alternatives to professional health and social care services.
It provides a foundation for helping people to stay strong and to be as valued members of their local community.
Local Area Coordination turns the existing system on its head and drives positive cultural change across the whole system; for it puts a greater emphasis on:
• Recognising the gifts, assets and contributions of local people
• Building stronger and more inclusive communities
• Promoting citizen and family leadership
• Working with communities to support inclusion and mutual contribution
• Planning for the future, staying resilient and well-connected
• Supporting people to achieve their fundamental aspirations
This is a fundamental change in both organisation and values. It is based on carefully developed models and practices. It is not achieved by simple renaming existing systems or by organisational restructuring.
A new and focused role
Local Area Coordination is an innovative approach that integrates a range of existing roles (usually provided by a range of different people) and delivers them locally in partnership with local people and communities.
Too often the current system:
1. leaves people in isolation as problems grow
2. only reacts when there is a crisis
3. waits until people's needs climb above the eligibility threshold
4. segregates people within services, cut-off from their community
This system drives up costs and reduces the chances of good solutions that build citizenship and stronger communities.
Local Area Coordination reverses the standard pattern of delayed response. Instead, the Local Area Coordinator focuses on developing a trusting, ongoing relationship with local people (person by person) and with their community. They work pro-actively to support people to stay strong and support the development of solutions that don't require professional services.
Building on a real relationship and a real presence within the local community the Local Area Coordinator will:
1. help people identify their strengths and capacities to solve their own problems
2. provide practical assistance to ensure crises are overcome or avoided
3. help ensure people achieve their legitimate entitlements
4. support people to maximise their contribution as citizens
Eddie Bartnik, who originally developed Local Area Coordination in Western Australia, described it as an approach that "turns the traditional system on its head and changes the power balance. Rather than fitting people into a predetermined menu of services, support is built one person at a time, in the context of their family, friends and community. The focus is on choice and control for individuals in decision making" (Bartnik, 2008).
"From Service Users to Citizens" will be out soon – watch this space!
For more information about Local Area Coordination (LAC), or if you are interested in being involved as a "learning site" for Local Area Coordination and Asset Based Community Development (ABCD), contact Ralph at Inclusive Neighbourhoods Ltd (ralph@inclusiveneighbourhoods.co.uk or 07927056164) or Cormac Russell, Director of Nurture development and the ABCD Institute (Cormac@nurturedevelopment.ie ).


text:
Hilton Chennai is a five-star luxury hotel located on Jawaharlal Nehru Road at Guindy, Chennai, India. It is located next to the Olympia Technology Park and close to the Kathipara Junction. Built in the Indo-Saracenic style with an initial investment of  4,000 million, it is Hilton's fourth Indian property after Hilton (Janakpuri), Hilton Garden Inn (Saket), both in New Delhi, and Hilton Mumbai International Airport. and was inaugurated by Indian Overseas Bank Chairman and Managing Director M. Narendra on 28 February 2011.

The hotel
The 9-storied hotel is built on a 42-ground land and has 204 rooms, including 2 Executive Suites, 16 Junior Suite, 7 Hilton Deluxe Room, 58 Hilton Executive Rooms, 121 Hilton King Guest Rooms. The interiors were designed by Hong Kong's DiLeonardo and Dallas-based Wilson and Associates. There are 5 food and beverage offerings at the hotel namely, Ayna (pan-Indian restaurant), Vintage Bank (wine and cheese bar), Q Bar (a rooftop bar and grill), Vasco (an all-day dining global cuisine restaurant with live kitchens on the third floor) and Est (24 hour contemporary cafe and lounge).

The first floor has divisible 445 m2 ballroom, two meeting rooms and a boardroom with latest audio visual technology. The ballroom, named the Hilton Grand Ballroom, has a ceiling height of 5.9 m and can hold 750 people.

The rooftop features an outdoor 15-foot by 80-foot (25 m) infinity swimming pool designed in such a way that guests can gaze at the cityscape while swimming laps.

Along with all this, Hilton Chennai also showcases a 24-hour Fitness Center by Precor along with Executive Lounge located at fourth floor.

Architecture
The exterior design of the hotel originally consisted of arches and cornices reminiscent of traditional Indian architecture. The hotel appointed SRSS Architects to redesign the building's exterior envelope. The new design was thus modified to include a palette of polished granite, metal accents, Indian Jali screens, and custom light fixtures featuring Indian motifs. The interior was designed by DiLeonardo Hospitality Design.

See also

Hotels in Chennai
List of tallest buildings in Chennai

References

External links
 Official website

Hotels in Chennai
Skyscraper hotels in Chennai
Hotels established in 2011
Hotel buildings completed in 2011
Chennai

redpajama_set_name: RedPajamaWikipedia


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text:
A Day in the Life with Bentley
Auto Reviews, Lifestyle
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width="640″
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Welcome to Los Angeles, California, home of big dreams, fast cars and luxury living. Bentley played a major role in my two-day visit, allowing me to live like a king and all his sons. It all began at the 5-star Montage Beverly Hills where I ran into Lionel Richie, Guy Torry, Gabrielle Union and a few others. The Montage is quiet, comfortable and set up for elite business.
The next morning we headed out in a fleet of Bentleys consisting of the all-new Mulsanne which I first drove in Scotland last year; a Canary Yellow Supersports and an Orange Flame 2012 Continental GT Coupe which is the company's latest and greatest. The GT is the new incarnation of Bentley's best selling model ever. When launched in 2003, it created a new market segment and increased Bentley's sales ten-fold within four years. The new GT features a bi-turbo, 6-liter, 12 cylinder engine with 567 horsepower and moves from 0 to 60 mph in 4.4 seconds with a 198 mph top speed. The $189,900 British sports car uses a 6-speed transmission, flex-fuel technology and all-wheel drive which directs 21" Pirelli-wrapped alloy rims. Interior enhancements include an 8" touchscreen, 30-gig hard drive and a powerful Naim Premium Audio System worth $7,015.
We all cruised in style to the Ojai Valley Inn & Spa for an enchanting 2-hour meal. Please try the crab cakes when you pay the eloquent resort a visit! And it surely didn't feel like a weekday after cheesecake desert. We all just wanted to sleep and dream about owning a Bentley.
After lunch, we switched gears and headed back to the Montage for a wardrobe change in preparation for a private dinner at Craft and wine tasting with The Napa Valley Reserve. I invited a few VIPs to mingle with the Bentley Girls, Liz Ward, Julia Marozzi and Christine Gaskell, the longest standing and only female board member for Bentley. T.O., Ryan Stewart (ESPN), Dorsey Levens (retired Packers) Omar Miller (CSI Miami), and Oklahoma City Thunder and NBA Slam Dunk contestant Serge Ibaka all paid respect. The food was incredible including chicken that tasted almost as good as mom's.
Fine wine, magnificent eating, great conversation and Bentley prestige made for an entertaining evening. When's the next experience ladies?
Lamborghini Huracán EVO Coupé & Spyder Photos


Commercial testing can run from the small retail store to mega malls and office buildings, often with multiple occupancies. Test duration for an initial test is usually 48 hours to 7 days. Follow up testing if needed is typical and generally only in areas that tested high. Test results are normally delivered within a week of test completion.


Acquitting Salman Khan of all charges in the 2002 hit-and-run case, the Bombay High Court yesterday said even though public perception was against the actor, the prosecution had failed to prove its case. The judge also slammed the police for leaving several loose ends in their investigation.
The judge began the session around 11 am, and asked the senior defence counsel, Amit Desai, to make sure Salman was present at the time of dictating the final verdict. Desai asked for time, and said the actor would arrive by 1 pm. At the end, the court granted Salman a cash bail of R25,000, and he walked away at 5 pm after completing all the formalities.
On the count of drink driving, the judge pointed out that the prosecution had relied heavily on circumstantial evidence, and there were no direct witnesses to prove Salman was drunk that night.
He lambasted the investigation of the case and said there were many differences between the police version of events and the witness statements. He added that there were many shortcomings in the probe, as many people relevant to the case had not been examined. There were also several omissions in the witness statements, which led to doubts over the charges against Salman.
Regarding the deceased Nurullah Sharif, who was crushed under the actor's car on that fateful day in September 2002, the court observed that Nurullah was not killed when the car rammed into him but when the car crashed back onto him after it slipped from the hook of the crane that was to tow it away.
"Nurullah was alive when he was under the car and there are witnesses who said this; when the car fell from the hook, he died due to the impact. The post-mortem report also showed multiple crush injuries," pointed out the justice.
On the charge that Salman had fled the scene instead of helping the victims, the court said it would have been impossible for the actor to stay and offer medical assistance as a mob carrying rods had already gathered. The judge concluded that Section 134 (duty of driver in case of accident and injury to a person) of the Motor Vehicle Act could not be applied against the actor.
Although the judge did not touch upon this subject, the question still remains of who was driving the car that killed one labourer and injured four others at Bandra in the wee hours of September 28, 2002.
The state will likely appeal against the acquittal in the Supreme Court, and Mumbai Police is expected to stick to its theory that Salman was at the wheel. The defence has, so far, maintained that it was Salman's driver Ashok Singh who was driving. Thirteen years after the incident, Ashok had even appeared in the Sessions court and taken the blame.
Justice AR Joshi, while dictating his order, pointed out that the case had received extensive media coverage, and public opinion seemed to be heavily against the actor.
"Public opinion or perception is mainly gathered on the basis of information and news played by other institutions. When something is said repeatedly, it assumes the status of truth and the general public at large is convinced of it," he said, adding however, that in the court of law, the burden of proof had to be met.


text:
Q: How to write to and parse STDIN/STDOUT/temporary buffer? First I don't know if I talk about STDIN out STDOUT, but this is what I want to achieve :
There's a program that export database from distant server and send output as gzipped content.
I want to unzip the content, parse it.
If it's OK then import it, otherwise send an error message. I don't want to write to any temporary file on disk so I want to handle things directly from STD
someExportCommand > /dev/stdin #seems not work
#I want to write a message here
echo "Export database done"
cat /dev/stdin > gunzip > /dev/stdin
echo "Unzip done"

if [[ "$mycontentReadFromSTDIN" =* "password error" ]]; then
    echo "error"
    exit 1
fi

#I want to echo that we begin impor"
echo "Import begin"
cat /dev/stdin | mysql -u root db
#I want to echo that import finished
echo "Import finish"

The challenge here is not to write to a physical file. It's easier if it's the case but I want to do the hard way. Is it possible and how?

A: A literal implementation of what you're asking for (not a good idea, but doing exactly what you asked) might look like the following:
This is a bad idea for several reasons:

*

*If a database is large enough to be bothering with, trying to fit it in memory, and especially in a shell variable is a bad idea.

*In order to fit binary data into a shell variable, it needs to be encoded (as with base64, or uunencode, or other tools). This makes it even larger than it was before, and also adds performance overhead

...however, the bad-idea code, as requested:
#!/usr/bin/env bash

set -o pipefail # if any part of a command fails, count the whole thing a failure

if exportOutputB64=$(someExportCommand | base64); then
  echo "Export database done" >&2
else
  echo "Export database reports failure" >&2
  exit 1
fi

if exportOutputDecompressedB64=$(base64 --decode <<<"$exportOutputB64" | gunzip -c | base64); then
  echo "Decompress of export done" >&2
else
  echo "Decompress of export failed" >&2
  exit 1
fi
unset exportOutputB64

if grep -q 'password error' < <(base64 --decode <<<"$exportOutputDecompressedB64"); then
  echo "Export contains password error; considering it a failure" >&2
  exit 1
fi

echo "Import begin"
mysql -u root db < <(base64 --decode <<<"$exportOutputDecompressedB64")

If I were writing this myself, I'd just set up a pipeline that processes the whole thing in-place, and uses pipefail to ensure that errors in early stages are detected:
set -o pipefail
someExportCommand | gunzip -c | mysql -u root db

The important thing about a pipeline is that all parts of it run at the same time. Thus, someExportCommand is still running when mysql -u root db starts. Consequently, there's no need for a large buffer anywhere (in memory, or on disk) to store your database contents.

A: The requirement to not use a temporary file seems extremely misdirected; but you can avoid it by reading into a shell variable, or perhaps an array.
Any error message is likely to be on stderr, not stdin. But you should examine the program's exit status instead of looking for whether it prints an error message.
#!/bin/bash
result=$(someExportCommand) || exit

At this point, the script will have exited if there was a failure; and otherwise, result contains its output.
Now, similarly to error messages, status messages, too, should be printed to standard error, not standard output. A common convention is also to include the name of the script in the message.
echo "$0: Import begin" >&2

Now, pass the variable to mysql.
mysql -u root db <<<"$result"

Notice that the <<<"here string" syntax is a Bash feature; you can't use it with /bin/sh. If you need the script to be portable to sh, the standard solution is still to use a pipe;
printf '%s\n' "$result" | mysql -u root db

Finally, print the status message to stderr again.
echo "$0: Import finished" >&2

Using a shell variable for a long string is not particularly efficient or elegant; capturing the output into a temporary file is definitely the recommended approach.


text:
How Long Do You Need to Visit New Orleans
Jay Cooke · April 9, 2020
Updated July 2021
So you're heading to New Orleans? Lucky you! However long you stay in the Crescent City, you'll never lack for ways to pursue your delights. Arts & culture? Check. Food and drink? Duh. Live music, local designers, long afternoons wandering through colorful neighborhoods bursting with life: All these experiences and more are yours for the taking in the city where the good times roll nightly. Whether you're in town for a 24-hour rager or an extended vacation, here's our handy planner for discovering some of what makes New Orleans so unique.
The French Quarter – Full Day
The heart and soul of New Orleans' travel industry well surpasses its hype. Wandering the French Quarter, you'll follow in the footsteps of some of the city's earliest settlers, who started populating the "Vieux Carré" ("Old Quarter") three centuries ago. The neighborhood stands today as an architectural time capsule, rich with Creole and Victorian designs. Plenty of tourists mill about, but the Quarter is a vibrant local neighborhood, too. No surprise, really, given the location (tucked against the Mississippi river), restaurants, and undeniable charm. Grab beignets at Café du Monde, watch the Jackson Square street artists, poke along Royal Street antique shops, and pop into one of the many bars for a liquid refreshment.
Bourbon Street – One Long Night
First time in New Orleans? Bet you'll end up on Bourbon Street at least once. The street that made hurricanes in go-cups famous, Bourbon Street is where New Orleans craziness is on full display. It can get pretty rowdy on many nights, no doubt. But it's a bucket list box to check, too, with some cool historic bars, like Lafitte's Blacksmith Shop. Whatever you do, when on Bourbon Street, check your judgement and just go with the flow.
Frenchman Street – Half a Day or One Evening
Locals love live music too, and when they want to pack in multiple acts each night, they bounce down to Frenchman Street. The border between the Quarter and hipster-heavy Faubourg Marigny, Frenchman is home to bevy of bars and nightclubs hosting acts each night. There's Café Negril for reggae and brass bands, Three Muses for dinner and a show, and Snug Harbor, where classic jazz rips all night. Want to bring the music home? Head to the Louisiana Music Factory, where stacks of vinyl await.
City Park & Audubon Park – Half Day Each
Need a break from bands and booze? New Orleans is graced with a pair of fabulous parks to explore. In Uptown, Audubon Park owns the natural sciences crown, with a zoo, aquarium, and super fun butterfly garden. Across town, City Park offers thousands of live oaks and miles of hike-and-bike trails, not to mention the New Orleans Museum of Art. Each Halloween, the Voodoo Music & Art Experience takes over the park; in December, they deck the oaks with lights.
Seasonal Festivals – Two Days (If Not Two Weeks!)
New Orleans is a town that needs no excuse to throw a party. From the New Orleans Jazz & Heritage Festival, to Mardi Gras, to French Quarter Fest, there are a couple of quintessential big-name celebrations held here every year that many visitors won't want to miss. If you're lucky enough to be around for Mardi Gras or Jazz Fest, you'll want to stick around and soak it up for as long as you can. If you're visiting outside high season, not to worry: there are still countless cultural, food, and music festivals that are well worth a day or two of your time.
The Garden District – Half Day
Elegant, upscale and oh-so-easy on the eyes, the Garden District is a great neighborhood to wander around without an agenda. Instagrammers, no filters needed here to capture great shots of the elaborate architecture. Just hop aboard the St. Charles Streetcar and jump off wherever looks fun. The Lafayette Cemetery #1 is a great place to wander –especially after having a couple $0.25 martinis at Commander's Palace.
Magazine Street – Half Day
New Orleans' best shopping boulevard has an independent spirit and tons of charm. You can spend hours wandering in and out of the shops and galleries along Magazine Street, a six-mile stretch from the CBD to Uptown. Best to explore it in chunks. Uptown, grab some NOLA-themed journals and party invites at Scriptura, or pick up t-shirts at Dirty Coast Press. In the Garden District, Trashy Diva Clothing Boutique is the spot for retro fashions. Happy hour already? It's hard to beat the patio at The Bulldog, with 48 beers on tap.
National World War II Museum – Half Day
Profound and fascinating, the National WWII Museum puts you in the boots of GIs in the roads to Berlin and Tokyo. Take a break from NOLA's constant revelry to explore the interactive exhibits and maps of events like D-Day and the Battle of Midway. Witness a bombing run over Western Europe and feel the tight spaces inside a submarine on the hunt. Rare films aside, the human stories throughout make the biggest impact.
Cemeteries – Half Day
They bury their dead above ground in New Orleans, where high water tables pose grave problems (no, literally: if coffins are buried underground here, water forces them up above ground). NOLA founders clued in quickly, and gothic cemeteries were here to stay. The oldest, maze-like St. Louis Cemetery #1, dates to 1789. Though tempting, steer clear of NOLA's cemeteries after midnight. Take a tour instead with Save Our Cemeteries, a non-profit dedicated to preserving the city's historic "cities of the dead."
Jay Cooke
Jay Cooke led the award-winning New Orleans guidebook team for Lonely Planet. He's written about the city for the Houston Chronicle, BBC Worldwide and more.
How to Spend a Day in Mid-City New Orleans
How to Celebrate New Orleans Mardi Gras Like a Local


text:
20th Century, Edwardian History, Recap, Series, Upstairs Downstairs
Upstairs Downstairs: Lady Marjorie's Lover
Previously on Upstairs Downstairs: Lady Marjorie and Richard Bellamy had really bad luck when it came to hiring staff. Or they're just lousy at it. Lady Marjorie came from a wealthy background, while Richard most certainly did not.
It's summer 1906. Richard returns home and Lady Marj immediately asks him about how he plans to vote for an upcoming education bill. She quickly gets annoyed with him for failing to reject the bill outright (he plans to abstain, because he doesn't actually think the party's line on this particular bill is right). Not that it'll matter, because the bill will be thrown out anyway, thanks in part to Lady Marjorie's father.
Belowstairs, Mrs Bridges thinks it's disgraceful, after all the Southwold family's done for him, for Richard to actually follow his own conscience and inclination. Rose thinks he's starting to rebel against his wife. Hudson tells everyone to stop gossiping. Roberts recalls the day Lady Marjorie brought Richard home for the first time, and Roberts knew then that no good would come of it. Of course she did. Bridges adds that she was a kitchenmaid at the time and heard that Lord and Lady Southwold weren't pleased at all by their daughter's choice, since he was only a parson's son, while Marjorie is the eldest daughter of an earl. Roberts agrees that Richard's not really of Marjorie's class. Rose protests, saying that Richard's a perfect gentleman. Hudson tells everyone to keep their heads out of politics and let the quality take care of all that.
Upstairs, Marjorie's still berating Richard for not doing as daddy says. She thinks he's just ruined any chance he'll ever have of a cabinet post, because like elephants, politicians never forget. And, presumably like Lord Killstompy Deathtrumpet, they never forgive either.
Image: rockpapercynic.com
Richard doesn't think it's quite that dire but she keeps going on about disloyalty until James comes in to break the tension and announce he's got a friend outside, and can they entertain him while James goes to change for a party? Capital! He ushers the friend, Charles Hammond, into the room and rushes out. Naturally, they're quite gracious and serve him up a cup of tea before making a little small talk about India, where Hammond is serving. Charles admits he feels rather at odds in society, but he's really excited about going to the opera that evening. Marjorie perks up, being a fan herself. She mentions a gala the following week and Richard realizes he won't be able to accompany her. He suggests Charles go with her instead and he eagerly agrees. He also asks to be allowed to take Lady Marjorie out to supper beforehand. James comes back and pulls him away, apologizing for his parents' imposition. Meanwhile, his parents decide that Charles seems like a good influence on James.
Charles and Marjorie dine out and talk about his parents (dad was an ass who married mom for money, mother was a sweetheart who died brokenhearted). He talks about the men in his regiment, who are all tip top, hospitable and brave. She asks how his life in England compares with India and he says he finds society shallow and boring. She confesses that she's spent her whole life in that shallow world and has been protected and cosseted. And maybe it's time to step out a bit.
They attend the opera and are both entranced. When the song ends, they applaud enthusiastically and Charles raves about the lead male. He then waxes poetic about the scenery in India and she responds in kind.
Back home, Roberts gossips about the king's relationship with Alice Keppel with Marjorie, who's barely listening. She dismisses the maid and stretches luxuriously, smiling to herself. Richard comes in and asks how her evening was. She says it was lovely and Charles and the tenor were both magnificent.
The next day, Charles sends Marjorie a bouquet and a note thanking her for the most wonderful evening of his life.
Rose goes to fetch a vase and Bridges notes that roses are symbolic. Edward adds that they symbolize love, and he teases Rose a little bit. She shoos him away and goes upstairs with the vases.
Marjorie finishes arranging the flowers, then lights the note on fire and tosses it into the fireplace in her room just as Roberts comes in. After Marjorie swirls out, Roberts tries to retrieve the note from the fire.
Later, she tells the other servants that Marjorie's been acting odd, burning notes and walking on air.
Marjorie goes book shopping for James and picks out The Scarlet Pimpernel. Charles just happens to be in the bookshop, so she takes the opportunity to thank him for the flowers. He asks for her help finding a book, which she does, even buying it for him. He asks her to read the poem he wants from the book to him. At home. His home.
She agrees, and they have a lovely little poetry reading at his flat. Once she's done, she goes to the piano and starts to play 'My Love is Like a Red, Red Rose.' He starts to sing along (he has a really nice voice) and it becomes apparent that he's very much singing to her. Once she's finished, he tells her he loves her and that she's the most beautiful woman in the world. Marjorie tears up, and then they kiss.
The servants gossip again about Marjorie, noting that she hasn't needed the car in two days, which is very unusual. Rose protests that Marjorie wouldn't do anything disgraceful, but Roberts says it's in the blood: apparently Marjorie's aunt acquired the nickname 'the bolter'. Edward says that one only lives once and Marjorie can't be getting much from Richard. Unfortunately, Hudson hears this and drags him into his pantry to put a flea in his ear. Hudson warns him not to talk like that again, or he'll be out in the streets without a reference.
Marjorie and Charles cuddle in bed. A distant bell tolls and Marjorie sighs that she'll have to go. They embrace more tightly and he talks about how much he loves her and how nothing like this has ever happened to him before. She says the same, but reminds him that nobody else must ever know about this.
Someone (I'm guessing Roberts) has found some blotting paper that Marjorie used to write a love note, so now all the servants (minus Hudson, of course) are holding it up to a mirror so they can read it. Bridges thinks it's disgraceful, since she's almost old enough to be Charles's mother. Robert says that passion strikes where it pleases. Hudson comes by, sees what they're up to, and says he's shocked. Bridges turns it right around and says he should be shocked, because Lady M is behaving in a shocking manner. Bridges just so happened to see her ladyship getting out of a hansom cab in front of the building Charles lives in. Rose adds that none of them like this (yeah, right, you guys are loving the drama), but they have to face facts: Marjorie's on a runaway train here and there's likely to be a major crash sooner rather than later. Roberts says this would be a huge scandal if it were found out. Hudson tells them that this is absolutely none of their business. Their jobs are to take care of their master and mistress and that there's never been a scandal and he won't have one created by servants' gossip.
Marjorie and Charles slow dance to music from a gramophone, all snuggled up and giggly and happy. The bell tolls and she says she'll have to go, or the servants will begin to wonder. He says bother the servants and bother the rules, because they make their own rules! He's clearly starting to be bothered by the clandestine nature of this whole thing. She says this is just the way it has to be, because she can't go and get divorced. He can't understand why not, but she isn't willing to take that risk and torpedo his career and her own social standing. He begs her; she asks to keep this on the down low for at least a little while longer.
James arrives home and finds his father in the sitting room. He asks what's up with him and Marjorie and Richard admits they're having a bit of a tiff. Marjorie sweeps in and James reminds her that there's some regatta that day he was hoping to have them attend. Neither of them can make it. James is disappointed, since Charles is going to be in some canoe punting race. Marjorie still turns down the invite, but she does agree to have lunch with Richard, who sweetly tells her she's looking especially beautiful.
Hudson gloats to Bridges about the master and mistress's lunch date, hoping this will put the backstairs gossip to rest. Bridges doubts it.
Marjorie returns home and is served her tea.
Belowstairs, Edward wakes Hudson from a snooze to show him a bit in the evening paper about an accident at the regatta. Hudson says he'll deal with it and takes it upstairs, where Marjorie's already looking a bit depressed. At her request, he reads it aloud: a canoe went over and the officer in it is feared drowned. She starts to panic.
Some time later, Hudson shows Charles in, and she throws herself into his arms before Hudson even clears the room. Richard then arrives home to reassure her that James wasn't involved. She tries to cover by acting like that was what had worried her. Charles says the officer wasn't drowned at all and is perfectly fine. Newspapers! Marjorie's so overcome she goes to lie down. Richard invites Charles to come by for dinner sometime before he heads back to India.
Later, Richard's enjoying a drink when James comes in. Richard scolds him for failing to come by earlier to reassure his mother he was safe, because she was really upset. James protests that he never went near the regatta because he had to take care of some official thing, and furthermore, his mother knew that. Richard gets an 'oh, I see,' look on his face.
It's James's birthday. Marjorie gives him a hug and a kiss and he reads a letter from Elizabeth aloud and contemplates introducing her to Charles. Marjorie's actually able to joke about that, so she's pretty good at covering. James leaves and Richard comes in to have A Serious Talk About Us. They sit down together and he tells her that he's been pigheaded, obstinate, and ungrateful. And when this bill comes up that he was going to abstain from, he's going to vote the party line. Woah, hang on here a minute, Richard. Are you serious? You aren't allowed to have your own views and ideas? Wow. You've been married to this woman for 25 years and a politician for, presumably, as long or near to it, but you still have to do what her daddy says or risk having her pout and stamp her feet and cheat on you? That's really sad. He goes on to say that this is about loyalty, which is much more important than 'our passing whims.' Ugh, this is really awful. Though at least Marjorie has the grace to look a bit guilty. A bit later, she sits dow to write a letter and asks Hudson to hand deliver it. Rose says it's like 'delivering your own death warrant.'
Marjorie goes to the opera and is joined by Charles, summoned by her note. She breaks up with him. He's very upset and tries to persuade her otherwise, but her mind's made up, difficult though this clearly is for her. She reminds him (and herself) that she has a faithful husband and a son and daughter and they all need her. He asks melodramatically how they're going to live without each other. Oh, for heaven's sake, are these two teenagers? They're sure acting like it. Sorry, Charles, but people don't die from breaking up (typically). Romeo and Juliet was not a documentary. He gives her a gift (presumably jewelry) before she bids him goodbye and leaves. He sits down in her chair and steels himself for the life ahead.
Back home, she opens the gift and finds a heart-shaped necklace. And then she starts to cry. Man, these two really are teenagers.
But life goes on. Richard has given a speech that Marjorie and James both compliment. James mentions that he was supposed to go to the races with Charles, but Charles has up and disappeared back to India. He laughs that there's some story about him having been jilted by some girl, but James doubts it. Richard goes over to Marjorie and suggests she go up to Southwold for a little while, since it's so beautiful there this time of year. He wraps his arm around her as Hudson announces lunch. Hudson retreats, smiling in a rather self-satisfied manner.
EditorBee October 10, 2014 aristocracy, aristocrats, London, servants
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Here's a reason we prefer rocking out to music from our youth
People tend to be extremely nostalgic about the music they listened to when they were young. If you were a teenager in the 1970s, chances are you will love Queen, Stevie Wonder, or ABBA. And if you were young in the 1990s, "Wannabe" by the Spice Girls probably still gets you on the dance floor.
But why is that? Do we genuinely think music from the past is better, or has it got something to do with the memories we have of that time?
Our recent study, published in Music and Science, has come up with an intriguing answer.
Music is closely linked with memory and emotion. There's a reason for the popularity of the long-running BBC radio programme, Desert Island Discs, in which celebrity guests share the soundtrack of their lives. Or why the recent video of a retired ballerina with Alzheimer's disease being spontaneously brought back to her past through music went viral.
Music seems to be particularly associated with positive emotional memories with social themes, making it relevant for helping to improve life satisfaction during the pandemic.
General psychological research has shown that autobiographical memories (life experiences) from certain time periods are remembered better than others.
One particularly notable phenomenon is the "reminiscence bump": the fact that people tend to disproportionately recall memories from when they were 10 to 30 years old.
Several theoretical explanations have been offered for this phenomenon, including that this lifetime period contains many novel and self-defining experiences – which may be encoded in the brain more deeply and retrieved more easily.
Biological and hormonal changes may also boost the effectiveness of our memories during this period.
It has been shown that when people are asked to choose their favourite record it is likely to come from the reminiscence bump period, and that older adults know more about music from their youth than current pop songs.
But does that mean that music from this period is more likely to be connected to autobiographical memories?
In our study, my colleagues and I investigated the presence of the "musical reminiscence bump" in a group of 470 adults who were between 18 and 82 years old.
Our aim was to investigate how a person's age when a song was popular affected three related but distinct concepts: the degree to which the song was associated with autobiographical memories, how familiar the song was and how much they liked the song.
Participants in our study were shown the titles and artists of 111 pop songs that had featured in the charts across a 65-year period (1950-2015) and provided ratings of the three concepts of interest.
We discovered that, across our participant sample as a whole, music that was in the charts during one's adolescence was not only rated as more familiar but was also associated with more autobiographical memories.
This music-related reminiscence bump peaked around age 14: songs popular when participants were this age evoked the most memories overall.
In addition, older adults (around age 40+) also liked songs from their adolescence more than other songs. However, younger adults (aged 18-40) did not show this same trend, and in some cases gave even lower liking ratings to music from their adolescence than music released before they were born.
This suggests that songs from our adolescence can become closely entangled with memories from our past even if we don't personally value the music.
This may be because it has accompanied various memorable settings from this period (school dances, gatherings with friends, graduations, and so on).
Some songs were preferred regardless of a participant's age when they were in the charts, however. For instance, we saw a general increase in how much people liked songs from the late 1970s to early 1980s, even in participants who weren't yet born during that time period.
This suggests pop music from certain time periods is intergenerationally valued. Examples of songs we used from this time period include "Hotel California" by The Eagles, "I Will Survive" by Gloria Gaynor and "Billie Jean" by Michael Jackson.
So it seems that we aren't primarily so interested in the music of our youth because we think it's better than music from other eras, but because it is closely linked to our personal memories. However, some songs may be able to transcend generational boundaries.
Advertisers who want to elicit a nostalgic reaction from a certain consumer demographic should take note. So should clinicians aiming to reconnect patients with self-defining memories from their pasts.
Kelly Jakubowski, Assistant Professor in Music Psychology, Durham University.
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The ABN Hall of Fame honours trailblazing Aussie female business owners. CEO of The Australian Businesswomen's Network, Suzi Dafnis, said "The women we profile serve as role models and mentors for women in all business sectors, encouraging them to realise their business goals"
Dafnis said the biggest change in business has been technology and women have responded with ingenuity and creativity.
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Check out this year's line-up in the Hall of Fame.


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