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"Once you best a man, never gloat. Be generous and find something in his actions to praise. . . Gloating will only ever make enemies," Halt. –The Ruins of Gorlan
The Ruins of Gorlan
Ranger's Apprentice #1
by John Flanagan
AR Test
Will doesn't know who his father is, but he has always believed that his father was a knight who died in battle. Will wants to join Battleschool and be like his father. But when it's time for the fifteen-year-old to get accepted as an apprentice, Will is disappointed that his request to join Battleschool is denied.
Will's only choice is to become a Ranger's apprentice. The Rangers' shadowy ways have always made Will nervous. Will doesn't understand that Rangers are the protectors of the kingdom who fight the battles before the battles reach the people. Halt, a gruff Ranger, begins to train Will, but neither realize that a large battle is brewing. The exiled Morgarath, Lord of the Mountains of Rain and Night, is gathering his forces for an attack on the kingdom. This time, Morgarath is prepared to win at all cost.
The Ruins of Gorlan paints a vivid and realistic picture of medieval times. As a Ranger's apprentice, Will learns how to blend into the background in order to gain information; he also learns how to defend himself. Horace, a Battleschool student, is the target of intense bullying. Even though he is training to become a knight and defend the kingdom, Horace falsely believes that bullying is part of Battleschool's initiation process. The two apprentices' friendship gradually changes. As the boys begin to understand each other, their relationship evolves into a strong friendship. The story uses third-person omniscient point of view to focus on Will's and Horace's thought processes, which allows the reader to understand their actions.
The Ruins of Gorlan has many positive aspects: well-developed characters, a believable setting, and realistic, exciting conflicts. As the apprentices learn new skills, the reader comes to understand the importance of hard work, perseverance, loyalty and honor. The male friendships that are forged gives the reader insight on the importance of respecting others and never gloating. Because of their training, both Will and Horace learn how to develop their individual strengths. In the end, Will sets his childhood dream aside because he realizes that becoming a Ranger will bring him more happiness and satisfaction.
The story's long descriptive scenes and advanced vocabulary such as quartering, gyrate, tumult, and debilitating, make The Ruins of Gorlan perfect for strong readers. Full of action, adventure, and boy-bonding, the story will keep reader's attention until the very end. With fantastical monsters, honorable characters, and an epic battle at the end, The Ruins of Gorland tells an engaging story while teaching that one should never "judge a man by his position in life."
Someone retells a story about one of the wards letting rabbits loose in someone's study. The person says it was disruptive because, there was "a male and a female rabbit, my lord, if you take my meaning. . . And as I said, my lord, it was spring."
A boy meanly tells Horace, "Baby's a Ward brat. Mummy ran off with a riverboat sailor."
While out with his former wardmates, a girl kisses Will. "Her lips on his were incredibly, indescribably soft. Hours later before he finally feel asleep, he could still feel them."
As part of the world-building, an old battle is described. The armies fought, and "with attack and counterattack and massive loss of life. The Slipsunder was a shallow river, but its treacherous reaches of quicksand and soft mud had formed an impossible barrier. . ." The losing army retreated.
When the cook saw Will steal some cakes, the cook hit him "on the head with his wooden spoon. Will grinned and rubbed his head thoughtfully. He could still hear the CRACK! made by the spoon hitting his head."
Three bullies force Horace to do pushups. As one of the boys insults him, "His foot shoved viciously into Horace's back, siding him sprawling on the floor."
Horace becomes angry and "he turned back to George and gave him a heavy shove in the chest." Then Will tricks Horace into riding a horse. The horse quickly bucks him off and then the two boys fight. "In an instant, Horace scrambled to his feet, his face dark with rage. He looked around, saw a fallen branch from the apple tree and grabbed it, brandishing it over his head as he rushed at Tug [the horse]." When Horace again tries to hit Tug, "Will was on him. He landed on Horace's back and his weight and the force of his leap drove them both to the ground. They rolled there grappling with each other, each trying to gain an advantage. . . Blood ran down the bigger boy's face. Will's arms were hard and well muscled after his three months' training with Halt. . .[Horace] drove a fist into Will's stomach and Will gasped as the air was driven out of him." An adult finally breaks up the fight.
A wild boar attacks "with an infuriated scream, he threw off one of the dogs that still clung to him, paused a moment, then charged at the hunters with blinding speed." A knight was ready with his spear. "The boar had no chance to turn. His own rush carried him onto the spear head. He plunged upward, screaming in pain and fury, trying to dislodge the killing piece of steal. . . With one last screaming roar, the huge boar toppled sideways and lay dead."
After the boar is dead, another one attacks. Will shoots arrows at it. "The arrows stuck out of the boar's thick hide like needles in a pin cushion. They did no serious harm, but the pain of them burned through the animal like a hot knife." The boar goes after Will. "Screaming in fury, the huge animal spun in its tracks, skidding in the snow, and came at him again. . . The boar came at a trot, fury in its red eyes, tusks slashing from side to side, its hot breath steaming in the freezing winter air." Will's horse, Tug, goes after the boar. "Tug's hooves caught the pig n the ribs and, with all the force of the pony's upper legs behind it, sent the boar rolling sideways in the snow." Finally, Halt shoots an arrow at the boar. "The boar reared up in midstride, twisting in sudden agony, and fell, dead as a stone, in the snow." The scene is described over three pages.
The three bullies are upset that Horace "made a fool of the entire Battleschool" because Will had to help him during the boar hunt. "Jerome shoved him against the shoulder as he spoke, pushing him back against the rough stone of the wall." One of the boys puts a "heavy hessian sack over Horace's head before he could resist, pulling a drawcord tight so that he was contained from the wait up, blinded and helpless." The bullies continue to hit Horace. "On and on it went as he writhed on the ground, trying in vain to escape the blows. . . they continued until, gradually, mercifully, he fell still, semiconscious. . . He ached and hurt viciously in every part of his body." The scene is described over two pages.
After the bullies beat up Horace, they go to find Will. They tried to put a sock over Will's head, but Will "dived forward toward Alda, rolling in a somersault that took him under the sack, then letting his legs sweep around, scything Alda's legs from under him so that the bigger boy went sprawling. . . Jerome brought his cane around in a ringing crack across the back of his shoulders. With a cry of pain and shock, Will staggered forward, as Bryn now brought his cane around and hit him across the side. . . Instantly, the three Battleschool apprentices crowded forward, ringing him, trapping him between them, the heavy canes raised to continue the beating." Horace appears to help Will.
Halt sees the boys fighting and stops the fight. However, one of the bullies, Alda, is defiant and disrespectful to Halt. Alda "felt a searing pain as Halt stamped backward with the edge of his boot, catching the apprentice's foot between the arch and ankle and driving into it. As Alda doubled over to clasp his injured foot, the Ranger pivoted on his left heel and his right elbow slammed upward into Alda's nose, jerking him upright again and sending him sprawling back, eyes streaming with the pain. . . Halt's larger knife, razor edged and needle pointed, was just under his chin, pressing lightly into the soft flesh of this throat. . . The knife pricked a little harder against his throat and he felt a warm trickle of blood sliding down under his collar."
After Halt takes care of Alda, he makes the other two bullies face Horace, individually. "Then, as he [Horace] blocked Bryn's fourth stroke, he flicked his wooden blade down the length of the other boy's cane in the instant before the two weapons disengaged. There was no crosspiece to protect Bryn's hand form the movement and the hardwood drill sword slammed painfully into his finger. With a cry of agony, he dropped the heavy stick, leaping back and wringing his injured hand painful under his arm." When Bryn tries to stop fighting, Hale says "If he's going to be a baby, I suppose you'll just have to paddle him." Horace likes the idea and, "then he proceeded to whack the older boy's backside with the flat of the drill sword, over and over again, following him around the clearing as Bryn tried to pull away from the remorseless punishment."
Next, Horace faces Jerome. "Jerome was driven back by a whirlwind of forehands, backhands, side and overhead cuts. He managed to block some of the stokes, but the blistering speed of Horace's attack defeated him. Blows rained on his shins, elbows, and shoulders almost at will." When Jerome drops to the ground, and covers his head, "his backside was raised invitingly in the air. . ." Will kicks him in the butt.
Halt then throws the cane to the injured bully, Alda. During the fight, Alda drops his weapon and "stood defenseless before Horace." Horace then hits Alda in the jaw. "Will's eyes widened slightly as Alda came off his feet and hurtled backward, to come crashing down in the cold snow beside his two friends." The bullies are exiled from the fief. The bullying and fighting scenes are described over 10 pages.
A group of men which includes Will, travel to find Halt and the Kalkara. When they see the creature, it has a "cluster of arrows that protruded from its chest. There must have been eight of them, all placed within a hand's breath from each other." The injured Kalkara went after the men. "The sharp iron penetrated, smashing through the matted hair. The force of the charge drove the Kalkara from its feet and hurled it backward, into the flames of the fire behind it. . . Then there was a blinding flash, and a pillar of red flame that reached ten meters into the night sky. And quite simply, the Kalkara disappeared."
Halt was injured and his "leg, numb where the Kalkara had clawed him, was beginning to throb painfully and he could feel the blood seeping past the rough bandage he had thrown around it. . . He was wounded and unarmed. His bow was gone, smashed in that first terrifying charge when he had fired arrow after arrow into the first of the two monsters."
Halt comes out of his hiding place to warn the men about the Kalkara. Halt "brought his knife hand up, back and forward in one smooth, instinctive memory throw, seeing the target moving in his mind's eye, mentally aligning the throw and the spin of the knife. . . It took the Kalkara in its right eye and the beast screamed in pain and fury as it stopped to clutch at the sudden lance of agony that began in its eye and seared all the way to the pain sensors of its brain." As Halt ran towards the men, "screaming a blood curling challenge, it leap after him. . . The massive arm swung, catching Halt a glancing blow and sending him rolling forward, unconscious." The baron steps between the beast and Halt, but the monster "slammed its talons into Arald's exposed back before he could recover from the stroke. . . Arald grunted in pain as surprise as the force of the blow drove him to his knees. . . blood streaming from half a dozen deep slashes in his back."
Will dips an arrow in a flammable substance, sets it on fire, then shoots the Kalkara. "The monster beat at the flames on its chest with its paws but that served only to spread the fires to its arms. There was a sudden rush of red flame and in seconds the Kalkara was engulfed, burring from head to toe, rushing blindly in circles in a vain attempt to escape. . . Then the screaming stopped and the creature was dead." The fight with the Kalkara is described over 10 pages.
Halt describes the battle that Will's father fought in. Will's father "killed one [creature] with the spear, then another smashed the head of the spear, leaving Daniel with only a spear shaft. So he used it like a quarterstaff and knocked down the others—left, right! Just like that!"
While cooking, "a generous dash of red wine" was added to the vegetables.
While talking to Sir Rodney, "Karel reached across and poured himself another tankard from the jug of beer that was on the table between them. . . He finished the last of his beer in two quick drafts. . ."
Three boys continuously bully Horace and call him "baby."
Damn is used eight times. Halt says that Will is "a damn good shot already." However, most of the time damn is used to describe the Kalkara as the "damn thing."
When a boy compliments Jenny, she tells him, "You are a complete idiot."
When Will shows up at the castle with an urgent message, the men-at-arms, stop him from entering. When Sir Rodney sees this, he yells, "What the hell do you think you're doing, you idiot! Don't you recognize a King's Ranger when you see one?"
When he hears a Kalkara's "hellish" scream, the baron exclaims, "Good God, what is that?"
When the Kalkara bursts into flame, someone asks, "What the devil was that?"
A group of Kalkara are on the hunt. Halt describes them. "Think about a creature somewhere between an ape and a bear, that walks upright, and you'll have an idea of what a Kalkara looks like." The creature has red eyes and "if you look into its eyes, you are frozen helpless—the way a snake freezes a bird with its gaze before it kills it."
When trade masters were choosing new apprentices, Will prayed "that one of them would relent and accept him."
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Trump's favorite lawman wants to shred the Constitution and abandon habeas corpus.
Not since Richard Nixon hightailed it out of Washington to avoid impeachment has a resignation by a public official been so welcomed as that of Milwaukee County Sheriff David Clarke.
Cruel and unusual, bombastic and autocratic, Clarke wore out his welcome years ago. Yet Clarke lingered on the local scene—playing a crude politics of division in Wisconsin's largest county, where he remained an exceptionally controversial elected official until he quit Thursday.
Unfortunately, the people of the United States may not be able to rest soundly.
The arguments against making Clarke part of this administration are many—and they are profound.
Trump and Clarke know that the scandal-plagued lawman could not stand the scrutiny of a confirmation hearing that would focus on the former sheriff's miserable record—at least five people have died in the Milwaukee County Jail, which Clarke managed, since 2016—and his authoritarian disregard for civil rights and civil liberties.
It is clear by now that, if Clarke gets any White House post, the threat this administration poses to the Bill of Rights will increase.
Trump has been busy shredding the Constitution since he took office. But he can't do it on his own. He needs help to advance an agenda that aggressively assaults the rule of law, the separation of powers, freedom of the press, and the basic liberties of Americans.
Trump's got Attorney General Jeff Sessions on the job of attacking voting-rights and civil-rights protections. He's got House Speaker Paul Ryan and Senate majority leader Mitch McConnell shutting down the system of checks and balances. But the work of undermining basic liberties is a big task, even for an authoritarian president.
Clarke would like to help.
The former sheriff announced earlier this year that he would become an assistant secretary in the Trump administration's Department of Homeland Security. That did not happen because the news that Clarke might go to DHS sparked an examination of a record that made the president's bluster about "enemy of the state" journalism and religious targeting of refugees seem mild by comparison.
Clarke refers to progressives who advocate for equality and equal protection under the law as "rat bastards on the left." And he leaves no doubt about what he would do with power.
Milwaukee County Sheriff David A. Clarke Jr. wants to bring the war on terror to the home front. Clarke, who is in the running for a top job in President-elect Donald Trump's administration, says in his upcoming memoir that the US needs a major overhaul of its homeland security program. Authorities, he writes, should treat American citizens suspected of being terrorists as 'enemy combatants' who can be questioned without an attorney, arrested by authorities and held indefinitely.
Clarke's new book, Cop Under Fire: Moving Beyond Hashtags of Race, Crime and Politics for a Better America, is packed with "we are at war" language and talk of operating "under a war-time model." He advocates for rounding up Americans who are perceived as threats, suspending their rights, holding them indefinitely, and handling cases with military tribunals rather than the courts.
"We have no idea how many people out there have pledged allegiance or are supporting ISIS, giving aid and comfort, but I would suggest hundreds of thousands, I would suggest maybe a million," Clarke said.
It's just a guess. And then you take the known terrorists that are here, and you think we're going to arrest all these people and put them in jails and then sentence them to prison? It's idiotic. [Send them to] Gitmo and hold them indefinitely under a suspension of habeas corpus.
How broad a brush does Clarke paint with when he is discussing threats to America?
We have several forces internal and external attacking our rule of law: ISIS, Black Lives Matter, Occupy Wall Street—just the most recent iterations of the elements who brand themselves as unique but seek the same revolutionary aim: take down the West, the philosophy of equality before the law, and replace it with their authority, their rules, their hate.
Sheriff David Clarke is a bigot who has allowed numerous people—including an infant—to die or be brutally tortured in his jails and on his watch. Clarke's actions and beliefs are directly at odds with American values and have no place in our government at any level. It's shameful that Clarke still holds a job in law enforcement, and appalling that Trump wants to give him a promotion.
Clarke does discuss the Bill of Rights and Constitution in detail in other sections of his memoir, including a chapter on gun rights and another on a proposed Convention of the States—though he dates the writing of the Constitution, incorrectly, to 1776 instead of 1787.


A selection of well-known poets read and discuss two classic poems—"The Flea" by John Donne and "A sight in camp in the daybreak gray and dim" by Walt Whitman—as well as two modern ones: a letter from Marie Curie" by Lavinia Greenlaw and "Naming of Parts" by Henry Reed.
...interpretations and discussions by W.N. Herbert, John Kinsella, Clare Pollard, Owen Sheers, Michael Donaghy, Patience Agbabi, Greta Stoddart, Paul Muldoon, John Stammers, Andrew Motion, Rod Mengham, Tom Paulin, Jamie McKendrick, Roger McGough, Sophie Hannah, Jean Binta Breeze, Matthew Sweeney, Kenneth Koch, Matthew Hollis, Jerome Rothenberg, Jane Hirschfield, Wendy Cope, P.J. Kavanagh, Imtiaz Dharker, Iain Sinclair, Lavinia Greenlaw, and Charles Bainbridge.
I'm curious if anyone recognizes the reader/narrator in this clip? I'm dying to know who it may be!


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Studio/Visits
SOHO20 Gallery
Darla Bjork in conversation with Mary Danisi
Abstract painter Darla Bjork has pursued her career in the art world for over thirty-five years. Bjork experiments with combinations of oil pastels, paint, and encaustic to create intense color fields invoking the spirit of abstract expressionist painters among the likes of Joan Mitchell. Alongside her profession as a painter, she has also managed a successful psychiatric practice and continues to see patients. Her studio in TriBeCa, New York, once home to a fabric storage facility, is distinguished by its broad, light-drenched windows, as well as by a charming garden on the back patio. In the glow of afternoon light, I chat with her on one sunny day.
MD: Your work possesses a visceral, embodied quality. Do you think your art has been influenced by your psychiatric practice in this way?
DB: Oh yes! I think my work is autobiographical. Whatever artwork is made reflects the artist. When I first started painting, I was painting faces, screaming faces, like Edvard Munch's kind of screaming ones. My father's side of the family is Norwegian, so I joked that it was in my genes! I was working in a state hospital at the time and the process of making art really helped me cope. The paintings became more of self-portraits, and then I slowly moved into the world of the abstract. Painting always involved a kind of exploration or search: what's the meaning there, what's underneath things, what's behind the surface, is the same.
MD: It's encouraging to hear your art supported you when you were confronted with the struggles of patients in the state hospital. So you consider painting to be a meditative or revitalizing act?
DB: For me it is. When I'm painting and really into the work I feel as though I am in another world, so to speak. I'm just sort of gone. I like music, so up in the country in my studio I put on my ipod and listen to jazz and classical music. When I am worried about something, or thinking about something else, or just too tired, I can't really paint.
MD: You've mentioned before that you create your pieces through a system of adding, removing, and re-working encaustic on the surfaces of your canvases. And you even use dental tools to make incisions. This experimental method aside, do you think that your scientific bent engages with your artistic spirit when you paint?
DB: Actually I like to reject the science part of it. Fifty years ago I came out to New York as an intern, so I have been a psychiatrist for a long time. But as to how they link together, I would get rid of the medical part. But at least I can make a living! Some people probably integrate it better than I do, but I'm sure it's in there somewhere!
MD: Do you approach a new project with with a particular inspiration in mind? You've explained that your design in this series reminded a friend of a torii, the traditional Japanese gate that demarcates sacred ground. Do other works of yours embrace similar inspirations?
DB: Actually the torii, a wooden arch usually painted red that many of us in the West are unfamiliar with, demarcates the entrance to the shrine or temple. The torii therefore is the focus of the transition between the outside world and inner sacred space. This sense of transition has been my focus in this series. This is the one series where I very specifically started with a form that I know intellectually echos Eastern traditions. But I struggle to meditate. I always think I'm going to but I just sit there. Over the years I have tried to meditate but have had a difficult time even sitting still and doubt that I'll ever quite get there. I'm too Western! However when I'm painting, it feels like I'm meditating on some level. As if in a trance-like state, I'll reach for one color, and grab some other instead, and start playing around with that one. It's sort of like . . . whatever! It's a more intuitive process at this point. But it is also directed in a deliberate, special way that feels right to me.
MD: So your works are the product of a more intuitive process. Would you say the same about a series? Do you ever intend to compile a particular series in advance or does each series develop organically on its own?
DB: My work is the product of an intuitive, spiritual search/exploration. After each show I flounder around, exploring and probing in different directions. There is a transitional time when I want to do something new and just keep painting and reworking the piece. This time can be quite unsettling, until I hit the mark with something that feels right. Often these are transitional paintings that get worked over and over, never work, and get set aside in the back of my studio to be studied at a later date when I get stuck again. I've learned the hard way that this exploration is a necessary step towards the realization of my next new series.
MD: Is there a reason for approaching this particular color palette in this series?
DB: Yes. The last series was mostly blues, but in this series I have used red, a color which denotes energy, rage, blood – usually seen negative for most people in our culture. However in the Hindu culture red is the color of survival and the life force. With red you see all of the jarring movements… the way it moves back and forth. There's something about how the black comes through all the other color. If I used a different color, there would be a different feel. I like also that, with some of the paintings, you can get up very close and see something, but then if you step way back you see something different. They're almost different images: one painting transforms into something else.
Lannie Hart: a Process of Learning and Curiosity, by Mary Danisi
Carla Hernandez: Embracing the Self by Mary Danisi
56 Bogart Street
Thursday - Monday
info@soho20gallery.com
soho20studiovisits.wordpress.com

redpajama_set_name: RedPajamaCommonCrawl


a Talent and HR Specialist working for start-ups and mid-size software companies.
inspire me to never say never.
working one-on-one with the students to help them achieve their dreams.
Katie has spent the majority of her career leading Talent and Employee Development initiatives within hyper growth start-ups and mid-sized software organizations. She most recently consulted for an enterprise IT Service Management solution in higher education, and prior to that she was the Talent + HR Director for a SaaS analytics platform in healthcare.
After graduating from UNC-Wilmington, she joined the largest IT staffing agency in the U.S. where she split her time between technical recruiting and business development. This opportunity led her to understand the growing needs within the IT landscape, while cultivating relationships with local employers to connect candidates to their dream job.
Katie has a deep passion for understanding individual motivations that will ultimately result in a rewarding and fulfilling career. She enjoys spending the necessary time to get to know someone's needs, and then guiding them through self-discovery. Her background lends itself well to what she'll be focusing on at Tech Elevator, which includes preparing students for strenuous interviews, coaching them through varying hiring processes, and becoming a long-term career resource for future endeavors.


text:
Great Plains sees great growth in the Middle East
Great Plains Middle East achieved a 40% growth in its operations for 2000, with the growth rates in Saudi Arabia and Kuwait hitting 55% and 65% respectively.
By Zoe Moleshead Published April 3, 2001
Great Plains Middle East achieved a 40% growth in its management software operations for 2000, with the growth rates in Saudi Arabia and Kuwait hitting 55% and 65% respectively.
"Our strong growth rates achieved in year 2000 reflect the success of our strategy to focus on what businesses in the Middle East market require," said Nizar Badwan, managing director of Great Plains Middle East.
"Great Plains approach provides Middle East companies with e-business management applications that are culture-sensitive, and specially designed for the region," added Badwan.
Great Plains attributed the growth in Saudi Arabia to the opening up of the market to e-business management applications and solutions. While Great Plains' growth rate in Kuwait more than doubled from the previous year as it achieved 65% growth for 2000.
"Great Plains growth rate in the Kingdom is attributed to the efforts of Saudi channel partners, which provide technical support and after-sales services in the Saudi market," said Ibrahim Metwally, director of channel operations at Great Plains Middle East.
Great Plains was bought by Microsoft at the end of 2000 for $1.1 billion.


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~ ST. PAUL'S CHURCH ~
CHURCH STREET, CANTERBURY
Possibly of the 13th century, Partially rebuilt in 1876
It's a very lovely church, with wonderful people
J. M. Cowper, Registers of St. Paul's, Canterbury 1562-1880 available from KFHS
Plans of the enlarged church (1854-56) on "churchplansonline.org" *ground plan created by George Gilbert Scott
IGI has christenings and marriages 1562-1800
St. Pauls Cemetery
*The church had no burial ground of it's own, and the parishioners used that of St. Augustine's Abbey until 1591, when the ground in Longport was purchased and consecrated
Memorials inside the church
Joseph HATCH, the celebrated founder of bells, was married at St. Paul's in 1607.
March 1795 - Marriage at St. Paul's in Canterbury, Mr. John Hollingbery STRINGER, taylor and woolen-draper, to Miss WHITFIELD, eldest daughter of the late John WHITFIELD, esq. of that city. KR
The enlargement of St. Paul's Church is due to the late Rev. W. J. Chesshyre, M.A. for 17 years rector of St. Martin's with St. Paul's. To his memory the handsome west window was erected by public subscription in 1859. The south aisle was erected by him, and other extensive improvements carried out. The chancel was enlarged and a new four light east window with good Decorated tracery and stained glass, was erected to the memory of William Henry Furley, Esq. A handsome new reredos has since been placed below it. The north aisle also contains a new three-light east window. The chancel has a memorial window to the Rev. W. A. Newman, formerly Dean of Cape Town, and in the new woulth aisle is a window to the late Mr. John Lancefield. The font is new, and replaced an ancient one, the square basin of which stood on four marble columns.
1790 - Provision for a new burial ground St. Pauls Cemetery
1865 - The taking down of the vicarage and the selling off of the materials DCb
1918 - Stained glass commemorating R.A. Delasaux
1950 - Restoration of the War damaged windows
St. Paul's (situated in Church Street, St. Paul's). This church has undergone considerable alteration; it is beautifully fitted up, having an elegant altar and reredos, with choir stalls on either side of the chancel, and low open seats in the body of the church. It is believed to have been built in the reign of Henry III. The living is a vicarage, united with that of St. Martin. 1889
Detail of St. Paul's Church, with the Cemetery Gate in the background
St. Paul's Church
Which is without the city walls, is situate in Church Street, towards the east end of Burgate Street on the south side. One view takes in the church and St. Ethelbert's Gate, standing still further eastward. The patronage formerly belonged to St. Augustine's. [The church has within the last few years been enlarged, nay almost rebuilt. The old church with its round early English pillars might date from the reign of Henry III. It is now one of the finest churches in Canterbury - simple, chaste, and even plain, it has a certain impressiveness about it that cannot fail to please. It had several incised monumental brasses] - one, though much worn, of George and Katherine Winburne, still remains unmutilated. "In the city's registrar of wills, A.D. 1386, notice is taken of the four-headed crouch, or cross, in Saint Paul's, within the city's liberty." (BM) COT1860
Mr. Richard Best was buried in the chancel of St. Paul's, Canterbury, October 13, 1633, his wife survived him, and resided in the parish of St. Cosmas and Damian-upon-the-Bleane, Kent; her will was dated 5 Oct. 1662, and proved 29 Oct. same year: she died at Wellcourt, and was buried in the chancel of St. Paul's Church, Canterbury, near her husband, 13 Oct. 1662.
Mr. John Best, died in 1666, and was buried at St. Paul's, Canterbury, 14 Dec. in that year.
An old glass slide in my collection, St. Paul's Church on the right and the Cemetery Gate in the distance
An old photograph in my collection, St. Paul's Church on the right and the Cemetery Gate in the distance
Marriage - March 4th, 1794 at St. Paul's in Canterbury, Mr. John Hotlingbery STRINGER, taylor and woollen draper, to Miss WHITFIELD, eldest daughter of the late John WHITFIELD esq. of that city. KR
Marriage - August 6th, at St. Paul's church, Canterbury, Mr. George HARVEY, cabinet maker, to Miss Henrietta Mary YEOMANS, both of this city. Kentish Gazette, Aug 11, 1835
Marriage - August 10th, at St. Paul's Church, Canterbury, Mr. Wm. JENNINGS, butcher to Miss Mary Ann MASON, both of this city. Kentish Gazette, Aug 11, 1835
Patrons, The Archbishop and The Dean and Chapter of Canterbury, alternately
Incumbent & Rector - J. Edward Nassau MOLESWORTH
Churchwardens:
G. WHITE, Bridge Street
Thomas COLLARD, St. Lawrence
Parish Clerk, W. COLE, Broad Street
Sexton, W. MILLS, St. Martin's Hill
"Geo. Wyndbourne, Gent., 1531, not in arm., and w. Kath., with 3 sons and 5 daus., pecul., S.A., p. 215"
A manual of monumental brasses
The back view of St. Paul's Church, Canterbury
St. Paul's church stands on the south side of the street of that name, within the city liberty, at a small distance without Burgate, in the high road to Deal and Sandwich. It is a small mean building, consisting of two isles and two chancels, having a square tower at the west end, in which hang three bells.
In this church, among others, are the following monuments and gravestones, viz. A mural monument, in the south isle, for Sir Edward Master; arms, Gules, a lion rampant, holding in its paws a rose branch, or. Another for lieutenant John Toker, obt. 1713; arms, Vert, on a bend argent, three hearts, gules. In the north isle, a mural monument for Sir William Rooke, of St. Laurence, in this parish, obt. 1690; arms, Argent, on a chevron engrailed, three chessrooks, between as many Cornish choughs, sable. A memorial against the wall, for George Fineux, gent. obt. 1653, second son of Thomas Fineux, esq. of Hougham, near Dover, ob. 1654; arms, Vert, a chevron, between three eagles, displayed, or. On a brass plate against the easternmost pillar, an inscription for Master Edmund Hovynden, once vicar, who died July 24, 1497. On tablets against the wall, inscriptions for the Daniels's and Nickols's. A brass plate for George Wyndbourn, gent. and Katherine his wife. He died 1531. A tablet for Mr. Nathaniel Price, obt. 1787, citizen and goldsmith, of London, and seventeen years inhabitant of this parish. Also for Nath. Price, his son, obt. 1793. A memorial for Thomas Stoughton, gent. obt. 1611. A brass plate for John Twyne, esq. (the learned antiquary) obt. 1581, who was a schoolmaster, and taught the Latin tongue, and had been mayor of this city.
Masters family memorials from St. Pauls Church - 2011
In the south isle a memorial for Mrs. Anne Masters, obt. 1716. A memorial for Johnson Macaree, esq. obt. 1786*; likewise for Johnson Macaree, esq. his son, obt. 1798. One for Edward Master, son of Sir Edward Master, obt. 1675. Hugh, son of the above. A memorial for Sir Edward Master, obt. 1690. His lady, obt. the same year. Besides which there are memorials for the Taddys, Waddells, Hollingberrys, Pembrokes, Tolputts, Worger, Hodson, Mantells, and several others.
Besides the above, there are entries in the parish resgister, which begins in 1562, of the burials of several of the Masters, Bests of St. Laurence; Randolphs, lady Dorcas Master in 1671; of Fynch Rooke, esq. in 1696, who was killed in a duel, on March 8th, that year (see below), in the Northholmes, fought with Ensign Anthony Buckeridge; they both died in the field. Lady Mary Rooke, from St. Laurence, in 1699. Captain Thomas Rooke in 1701. The lady Rooke, jun. in 1702. Sir George Rooke in 1708. Dame Jane Rooke, widow of Sir William Rooke, in 1711. Geo. Rooke, esq. the last heir male of this family, in 1739.
Admiral of the Fleet Sir George Rooke, from the Beaney Museum courtesy of Craig Bowen
He is buried in St. Paul's Church, Canterbury
You can read his journal here - copy and paste the link into your browser https://archive.org/details/journalofsirgeor00rookrich
David Ferne, the short man, born in the sire of Ross, in the parish of Ferne, aet. 27, was buried here in 1737. He was 30 inches high, from head to foot, and 36 inches round, as appears by the entry made in the Register.
At the bottom part of the chancel window, says Mr. Somner, there was in antient character or letter, Magister Hamo Doge, a man of note in king Henry III.'s reign, who was official to the archbishop, and the last rector of this church before the erecting a vicarage in it. He was founder of a chantry in this parish, and for some time held the aldermany of Westgate ward. John Twyne, the antiquary, above mentioned, who was great great grandson of Sir Bryan Twyne, of Long Parish, in Hampshire, by Alice his wife, daughter of William Piper, of Canterbury. - See an account of him in Wood's Ach. vol. i. col. 202. 387.
Richard Cram, of this parish, anno 1490, gave 6s. 8d. for a new pair of organs, to serve God, in this church. HT
"Death at Canterbury, February 4th, Mrs. Anthony Clarke. At her house, the Priory, near St. Augustine's Abbey Gate, Canterbury, aged nearly 75, Mrs. Anthony Clarke. Mrs. Clarke was the last descendant of one of the most considerable of the Huguenot or Walloon Refugees, who settled at Canterbury, about the year 1572. The original name was De Macaire. She was the daughter of Johnson Macaree, esq. of Canterbury, who died 12 Dec. 1786, aged 62, by Anne Knowler, a grand-daughter of the Rev. William Elstob, the learned Saxon scholar, brother to the still more celebrated Saxonist Mrs. Elizabeth Elstob. An interesting account of this learned family will be found in Nichols's Literary Ancedotes, IV. 112-140. By the mother's side the Elstobs were descended from the old kings or princes of Wales; and Mrs. E. Elstob had drawn a pedigree of her family, which passed with the Earl of Oxford's Collection into the British Museum (Harl. MSS. No.1397. 241. b.) and a beautifully illuminated copy, with the necessary additions, was in the possession of the late Mrs. Clarke.
Mrs. Clarke married the late Anthony Clarke Esq. formerly of the Stock Exchange who with his lady retired from the metropolis some years since to her family house at Canterbury, where he died April 3, 1830, aged 72. He was a benevolent man, and author of some well-meant religious tracts. Mrs. Clarke's character might appear to the world to be somewhat eccentric; but it may safely be said, she was beloved by all her dependents and poor neighbours, and highly valued, as well as deeply loved, by the few who knew her intimately. Her house, called Priory, was built on part of the out-buildings of St. Augustine's Monastery; some interesting fragments of St. Ethelbert's Tower, which fell down fourteen years since, were to be seen disposed as mimic ruins in her garden. She died of gradual decay, her life having been prolonged by all the care that medical skill and watchful affection could supply. She left her property and house (which was filled with curiosities) to her faithful companion Miss James for life, and after her decease to her friend the Hon. Mrs. Stuart, widow of the late Archbishop of Armagh. By an arrangement between these ladies, her books, furniture, pictures, and other curiosities, have been lately sold by auction." GM 1835 pg 544 545
*Johnson Macaree of Cant esq. bach (24) & Ann Knowler of St. And Cant sp (21), at St. And, St. Mart, St. Alp Cant or Patrixbourne. 27 Nov
St. Paul's Church "the window above the door", the photograph generously taken by Tricia Baxter
"St. Paul's church situated on the south side of Church street, St. Paul's is a low building, comprising two aisles and two chancels, with a square tower of rude construction. The church is believed to have been built in the reign of Henry III. Its pillars are in the early English style, and the font is very curious, being square, and supported by four small pillars. Against the wall there is a small epitaph in brass of the date of 1581. Two new windows, with stone mullions and beautified with stained glass have recently been put in the chancel. The altar piece, the pews, the whitewashing, and paint, disfigure what must have originally been a fine old church. It was made a vicarage in 1268, and in 1681 was united to St. Martin's. The patronage is vested in the Archbishop and Dean and Chapter alterately. In 1588 here were one hundred and ninety-six communicants."1847D
"This church has undergone considerable alteration; it is beautifully fitted up, having an elegant altar and reredos, with choir stalls on either side of the chancel, and low open seats in the body of the church. It is believed to have been built in the reign of Henry III."1889D
"Returning to the city by way of Longport Street, and entering Church street, the church of St. Paul's will be found abutting St. Paul's street on the left. The church, though much restored, has some thirteenth century work remaining. A good early thirteenth century font of Purbeck marble has quite recently been discarded in favour of a somewhat vulgar modern successor. The bowl of the old font remains at the east end of the south aisle. There are brasses to George and Katherine Winburne, 1431."
Canterbury; A history of the Ancient City, J. Cox 1905
Showing Masters memorials in the aisle
c. 1900's
Mr. Richard Best was buried in the chancel of St. Paul's Canterbury, 13 Oct. 1633; his wife survived him, and resided in the parish of St. Cosmas and Damian-upon-the-Bleane, Kent; her will was dated 5 Oct. 1662, and proved 29 Oct. same year; she d. at Wellcourt, and was buried in the chancel of St. Paul's church, Canterbury, near her husband, 13 Oct. 1662.
John Best Esq. of St. Lawrence, near Canterbury, the son and heir of Richard, s. his father in 1633, but sold the St. Lawrence estate before 1654 to William Rooke, Esq. He married Katherine, daughter of John Allanson, Esq. of Norwood, in Middlesex, and had issue,
Richard, aged 12 at the Visitation of 1663
John living in 1663
William, bapt. at St. Paul's, Canterbury, 21 Aug. 1655, living in 1663
Thomas of whom presently
Charles, bapt. 12 June, 1659, buried same year, both at, St. Paul's, Canterbury
Charles, bapt. at St. Paul's, Canterbury, 17 Feb. 1662, living at the Visitation in that year.
Henry, bapt. at St. Paul's, 25 April, 1665
Elizabeth, bapt. at St. Paul's, 22 Nov. 1660, living at the Visitation of 1662.
Mr. John Best d. in 1666, and was buried at St. Paul's Canterbury, 14 Dec. in that year. Mrs. Best survived him, and is named in the will of Dorothy, in 1689. Their 4th son, Thomas Best, esq. was bapt. 2 June 1657 at St. Pauls, Canterbury, subsequent to the alienation of the St. Lawrence estate. In consequence of his marriage, he settled at Chatham, and was eventually described as of Cowling Castle, co. Kent. He m. 1st Elizabeth, dau. of John Mawdistly, Esq., of Chatham, and by her had issue, one son and five daus.
Thomas Best, Esq., was bapt. 2 June, 1657, at St. Paul's, Canterbury, subsequent to the alienation of the St. Lawrence estate. In consequence of his marriage, he settled at Chatham, and was eventually described as of Cowling Castle, co. Kent. He married 1st, Elizabeth, dau. of John Mawdistly, Esq. of Chatham, and by her had issue, one son and five daughters. (he remarried and both wives as well as he are buried in Chatham)
A Genealogical and Heraldic Dictionary of the Landed Gentry of Great Britain, 1862
"Sir William Rooke, of St. Lawrence, in St. Paul's parish, Canterbury, was a suffering loyalist in the reign of Charles I. At the restoration he was made a justice of the peace, deputy lieutenant, and high sheriff for several years, and nearly four in the reign of James II. He commanded a regiment of foot, and at the same time a troop of horse, and died March 10, 1690, in his 70th year; he was buried in St. Paul's church, Canterbury. By Jane, daughter and coheir of Thomas Finch, of Cobtree, Esq. in Allington parish, near Maidstone, he had Sir George, Mary, Ursula, Ann, Thomas, Jane and Finch Rooke."
The British Critic...1809
"In St. Paul's Church, which stands in the Eastern Suburb without Bur-Gate, is a mural monument in memory of Sir William Rooke, Knt. of St. Lawrence, who was imprisoned several years for his loyalty; but, after the Restoration, was made a Deputy Lieutenant of this County, and was also High Sheriff of Kent for several years, in the reigns of Charles the Second and James the Second: his son, Sir George Rooke, was also buried here. On a slab in the pavement, are Brasses of a male and female, with an inscription and two shields of arms beneath their feet. On the shield below the woman, a fess embattled, two stars in chief: on the other shield, the same arms, impaling, on a fess between three boars' heads erased, three lances: the inscription is as follows:
Epitaphium Joannis
Tivini Armigeri qui
(Armiger = Armor bearer; squire)
obiit xxbiii Nobembris
(obiit = he or she died) (Nobembris = November)
Glauditur Hoc tumulo, Joannes ille Twiynus,
qui pueros docuit berba Latina loqui:
(Pueros = children?) (Latina loqui = to speak Latin?)
Duiq' urbem banc rexit praetor, turbante biato
(Praetor = official elected by the Romans who served as a judge)
Rem populi et regni seditione bafra
Duic Deus in christi mundato sanguine donet
Loeta resurgenti', Iector, idemq' tibi.
A?ibit Dominus."
The Beauties of England and Wales...1808
The stone of which a representation is sent herewith, according to tradition commemorates an unfortuante duel which formery occurred at Canterbury, between two officers of the garrison. One of the victims of it was killed on the spot; the other expired as he passed an adjoining stile, while withdrawing from the scene of combat. Some friend recorded the fall of one of the parties by a rude inscription on a stone of the boundary wall of St. Augustine's Abbey, at the place where the event occurred. It is on a Caen stone, 7 1/2" each way, and is by the footpath leading from St. Martin's church to the vicinity of St. Gregory's Barracks, and is near a doorway now stopped up.
Mr. Rooke was of a Kentish family formerly of some note, and, according to a printed pedigree, was buried at St. Paul's, Canterbury.
1696 An inquisition is taken before the Coroner of Canterbury, on view of the bodies of Anthony Buckeredge and Finch Rooke, gents. who were both killed, in a duel fought by them with swords, in the North-Homes, in Northgate, Canterbury. (Bunce's Minutes)
The above relic maybe of little importance; but the mention of St. Augustine's Abbey affords an opportunity of referring to the gratifying subject of its now being secured from further spoliation by the recent purchase of A. J. Beresford Hope, esq. M.P. The rapid destruction of Ethelbert's tower within the precinct of the Abbey leaves it doubtful how much longer these ancient remains might otherwise have survived. The above fabric, which was a happy, indeed an almost unrivalled, specimen of architecture, and which might have continued standing for many centuries, having been, as Mr. Britton informs us in his Picturesque Antiquities of English Cities, much undercut to furnish materials to be used in building a gentleman's house, fell down in part in 1824. The remainder was pulled down, notwithstanding the regret generally felt at the destruction of so fine a monument of antiquity, to avoid the expense which the adding a requisite support by masonry would have occasioned. Yours, &c. B.P.
The Gentlemen's Magazine 1845 (Finch Rooke's father, Sir William Rooke had died just 5 years previous to this in 1690)
Richard Berne, of Canterbury, 28th April, 1461. My body to be buried in the aisle before the cross, in the south part of St. Paul's, at Canterbury. To the rebuilding of the bell tower of the monastery of St. Augustine ix l. to be paid as soon as the said work shall be begun; to the prisoners of the Castle of Canterbury and of Westgate vi s. viii d. each; to the Prioress of the Church of St. Sepulchre, towards the works of her Church xiii s. iv d.; to the repair of the highway leading towards Sandwich, by St. Martin's Hill and the Fishpoole x l.; towards the repair of the highway in the Winecheape, between Bircholle's Place and St. James's Hospital x l.; to Joan, my wife, my furniture and my best cart, and my five horses fit to draw it, with all their harness; to the building of the new bell tower of Tenterden vi s. viii d. Richard my son. Proved 7th May 1461, at Canterbury. Testament a Vetusta
Sacred to the memory of John GRAHAM
Marriage of Adam TERRY and Margaret WELLARD St. Pauls, Canterbury December 25, 1794
Marriage of Sarah TERRY and William BEAN St. Pauls, Canterbury 1798
Christening of a John Terrie, son of Michaell Terrie on March 31, 1616, at St. Paul, Canterbury
Marriage, April 3, 1899 - William TERRY (age 22), carpenter of Havelock Street, married Harriet Jane MOAT (20 years) of 39 Broad Street. Fathers: William TERRY, surveyor and Henry MOAT, Labourer. Witnesses: Henry MOAT, Arthur E. MOAT and Charlotte M. WILSON
Marriage, April 23, 1844. Edward John HAYWARD (21 years), labourer of Chantry Lane and Caroline TERRY (minor). Fathers, Edward HAYWARD, farmer and John TERRY, labourer. Witnesses: William MORRIS and Eleanor PIPER.
August 23, 1902 (Kentish Gazette & Canterbury Press)
WILLIAMSON - GODFREY. - August 16, at St. Paul's Church, Canterbury, by the Rev. A. W. Payne, Frederick John, eldest son of Mr. Williamson of Teynham, to Elizabeth Alice Godfrey, widow of the late Corporal J. A. GODFREY, and third daughter of Mr. James INGLETON, of Canterbury.
Neare this place lyeth ye Body of Sr. William Rooke of St. Lawrence in this parish
1808 - Thomas Anthony Mutlow, son of Thomas Mutlow, of Gloucester. Minor Canon of Canterbury Cathedral, 1803-1828. Rector of St. Andrew's, with St. Martin's, and Vicar of St. Paul's Canterbury, 1808. Vicar of Preston near Wingham, Kent, 1828.
1838 - J. Edward Nassau Molesworth
1847 - Rev. William John Chesshyre
1858 - Rev. W. J. Chesshyre
Death, Feb 1, 1859, at Canterbury, aged 53, the Rev. William John Chesshyre, M.A., one of the Canons of Canterbury. Mr. Chesshyre was the son of Rear-Adm. Chesshyre, and was educated at Rugby and Balliol College, Oxford. In 1841 he was presented by Archbishop Howley to the united parishes of St. Martin and St. Paul, Canterbury, in which city his influence, derived from his earnest character and a considerable private estate, was most beneficially exerted. To him is in a great degree due the restoration of the interesting churches of his parishes, and the foundation of parochial and general schools in the archiepiscopal city. He afterwards became tutor to the sons of the Earl of Egremont, was sent to Oxford by that nobleman in charge of his youngest son, and was rewarded for his care by presentation to two family benefices. In 1846 Mr. Chesshyre was appointed Rural Dean of Canterbury, and one of the six preachers of the Cathedral. Twice in 1852, and again in 1857 the clergy of the diocese elected him as one of their proctors in Convocation; and, finally in March, 1858, he was presented by the Crown, on the recommendation of Lord Derby, to the stall in Canterbury Cathedral, which had been vacated by the removal of Professor Stanley to Oxford an appointment which was hailed with lively satisfaction by all to whom his character and merits were known. Unhappily Mr. Chesshyre's career of usefulness was drawing to a close. His health had given way; and after a vain resort to the foreign baths, he returned home to die.
Marriage on July 2, 1863 at St. Paul's, Canterbury, Philip Butler, esq., of Yattalunga, South Australia, to Margaret, third daughter of the late Rev. W. J. Chesshyre, M.A., of Barton-court, Canon of Canterbury. Gentlemen's Magazine 1863 *Rev. Chesshyre passed away in 1859
Rev. Herbert Thoams MAITLAND. Born 21 Jan. 1846. Bapt 2 Feb.1846, at St. Peter's Walworth. Of Worchester College, Oxon. Matric. 15 Oct. 1864 Ba.A. 1867, M.A. 1872, Curate of St. Martin and St. Paul, Canterbury. Rector of ?ostling, Kent 1881-84. Vicar of St. Saviour's, Walthamstow, Essex.
1889 - Rev. Leslie Ellis Goodwin, M.A. Rev. - Carter, Curate
1903 - Rev. Edward Hoare Hardcastle M.A. Hours of Service: 8 & 11 am. & 6:30 pm. ; daily 10 am & 4 pm. in winter, and 10 am & 6 pm in summer
1917 - Baptisms 3rd Sunday in the month. Vicar, Rev. W. L. Green (M.A.); Curates, Rev. C.E.P. Antram and Rev. A.H. Taylor (B.A.); Churchwardens, Messrs. F.Wacher and F.A. Parry


Old Evolution Freeroam is a continue of NEF/NGS abandoned project(It was founded by Mellnik). Old Evolution Freeroam is a SA-MP server with multiple stunt / freeroam gametypes, our developer is always doing his best to let our players enjoy!
Race System - You can have competition with others, the fastest racer's record is always saved!
Derby Minigame - Players vote for the map, the map with the most votes starts, players try to knock out each other, the last man standing wins!
Shooter Minigame - Players vote for a map, the map with most vote starts, players try to destroy others' vehicles by missiles, last man standing wins!
Fallout Minigame - Players keep running around a few objects trying their best not to fall, the last men standing after the fallout time ends, wins!
Deathmatch - We have alot of Deathmatches, you can join your favorite deathmatch and kill others!
House System - Over all San Andreas map, you will find houses that you can buy. There are tons of houses' customizations that allows every player to find his interiors according to his taste!
Enterprise System - Over all San Andreas map, there are enterprises which you can buy and upgrade to earn your payday!
Stunts - If you want to have fun with your bike, car or even plane, there are plenty of maps just designed for this!
Freeroam - If you are not interested in gangs or you just want to have fun with some pals, this is the place where you can hangout!
Website - We also have a clean website where you can view our staff/news/bans/top players/donate made by Kaperstone!
We don't want to spill all the fun, so we will look forward seeing you in-game enjoying the features you will discover as you play in no time!
* Graph should be 100% fixed now.
* Fixed a bug where you could load your weapon set everywhere.
* Moved some gang zones, created new gang zones.
* You can no longer add satchels to your weapon set.
* Adjusted anti spawn kill, it now spawns you with weapons but jails you if you shoot someone who has less than 30 hp and in spawn.
* Added /rstw to reset your saved time and weather.
* We now save the weekly gang score.
* Added /liveradio which allows you to listen to some live radio stations.
* Deaths no longer count if you're doing a challenge.
* Removed a bugged credit market map in Los Santos.
You can follow us on social networks to get the latest news!
Thank you for reading, we're looking forward to see you in-game!


text:
La Recopa d'Europa de futbol 1962-63 fou la tercera edició de la Recopa d'Europa de futbol. La final fou guanyada pel Tottenham Hotspur enfront l'Atlètic de Madrid.

Ronda preliminar

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¹L'SSC Napoli es classificà en el partit de desempat en vèncer per 2-1.

Primera ronda

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¹L'SSC Napoli es classificà en el partit de desempat en vèncer per 3-1.

Quarts de final

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¹L'OFK Beograd es classificà en el partit de desempat en vèncer per 3-1.

Semifinals

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Final

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Enllaços externs
 Detalls a la web de la UEFA
 RSSSF

Recopa d'Europa de futbol
Competicions esportives del 1962
Competicions esportives del 1963

redpajama_set_name: RedPajamaWikipedia


text:
Slide Show about WTC Cove in DeKorte Park
Lisa Cameron of the New Jersey Meadowlands Commission designed the World Trade Center Memorial Cove in DeKorte Park and also created this brief slide show about the memorial. (Click on the slide show to start; click "pause" if it moves along too quickly for you.)
This entry was posted in Uncategorized on September 11, 2013 by Jim Wright.	Leave a Comment
WTC Cove in DeKorte Park Rededicated
The New Jersey Meadowlands Commission rededicated its World Trade Center Memorial Cove on Wednesday, Sept. 11, in Lyndhurst. The memorial site, located in DeKorte Park, provides a clear view of the lower Manhattan skyline, including the new One World Trade Center.
The World Trade Center Memorial Cove sustained significant damage from Superstorm Sandy and has been reconstructed. It was recently reopened to the public.
The Memorial Cove consists of a free-form wooden deck with two projecting piers, suggesting shadows of the fallen towers. The piers are proportioned after the World Trade Center, and each one has 110 boards representing the 110 floors of the towers.
The memorial also includes a steel silhouette of the towers and a spot from which visitors can view where the towers stood against the Manhattan skyline. The NJMC's 9/11 Memorial was originally dedicated in March 2003.
Flooding from Superstorm Sandy ripped the deck and projecting piers from their supporting pilings, requiring the entire deck to be rebuilt. The dedication plaque and serpentine benches were salvaged and reinstalled.
Plantings at the site have been redesigned, using mostly native species, to add color and to attract butterflies, bees, and hummingbirds.
The quote on the plaque is from the 19th century American orator Robert Ingersoll. It reads: "In the night of death, hope sees a star, and listening love can hear the rustle of a wing."
Wilson's Phalarope at DeKorte
A Wilson's Phalarope was found by Judy Cinquina and her birding group.
As of 4:30 today, bird is in the Shorebird Pool, visible from the Shorewalk, across from Visitors' Parking Lot just inside the Guard Booth at entrance to the park. The bird is distant, even in a scope.
(Thanks, Judy!)
DeKorte Park Open Late Tonight
Tonight, starting around 8 p.m., several folks are planning an informal, unofficial gathering in the Visitors Parking Lot in DeKorte Park to view the Tribute in Light in Lower Manhattan.
Roughly two dozen folks were on hand at DeKorte Park a year ago to see the twin beams of light that marked the 11th anniversary of the Sept. 11 attacks.
Most were there with cameras, others were there just to reflect.
DeKorte Park's William K. McDowell Observatory will also be open tonight for free public viewing.


An inquest into the early and preventable death of Richard Handley, a young man who had Down's syndrome and suffered lifelong constipation, has found "gross [and] very significant failures" at almost every stage of his care.
The coroner, Peter Dean, criticised Mr Handley's care provider, GP practice, psychiatrist, social workers and staff at Ipswich hospital when he recorded a narrative verdict at Ipswich coroners court. The multiple omissions of care, he said, created an "extreme and tragic situation" that led to Mr Handley's death from constipation, a "condition that one is not expected to die of".
Aged just 33, Mr Handley died suddenly in Ipswich hospital in November 2012 after a heart attack caused by inhaling his own liquid faeces, vomited up because his bowel was severely obstructed by faecal impaction. His abdomen was, one doctor noted, the size of that of a woman who was 40 weeks' pregnant.
The coroner made a finding of gross failure in the actions of Ipswich hospital. The inquest heard that the hospital did not respond appropriately to Mr Handley's increased Modified Early Warning Score (Mews), designed to flag any deteriorating changes in a patient's condition.
Changes to Mr Handley's diet and the decreased monitoring of his bowel movements at his care home also contributed to his worsening constipation and ultimately led to his death, law firm Hodge Jones & Allen said.
The coroner criticised Bonds Meadow, a care home where Mr Handley lived from 1999. Bonds Meadow deregistered and became a supported living facility in 2010. That transition, he said, led to "significant changes" in Mr Handley's care.
The court heard that during Bonds Meadow's transition to a supported living facility, and unknown to his family, Mr Handley was taken off his strict diet. The court heard that careful monitoring of his health was downgraded or stopped, and his medication was changed to one with a known side-effect of constipation.
In evidence heard by the coroner, Mr Handley's key worker admitted he did not know he had the chronic bowel condition that would go on to kill him.
In the days leading up to his death, the coroner stated that there were many opportunities to save Mr Handley. Instead, the court heard evidence that he was failed by everyone responsible for his care.
The inquest heard that two days before Mr Handley died in 2012, medics removed 10kg of faeces from his bowels. That turned out to be just a small amount of the total in his body: the postmortem revealed that much more had become impacted in his bowel.
After the operation – while receiving what the hospital has admitted during the inquest was inadequate care – Mr Handley vomited up, then inhaled, liquid faeces. He had a heart attack from which he never regained consciousness. He died shortly afterwards.
His sister, Emily, a senior clinical psychologist employed in a mental health service for people with learning disabilities, agreed. "Richard died an appalling death. It is difficult and harrowing to imagine how much pain and discomfort he must have been in, for quite some time," she told the Guardian.
The coroner said he was unable to record a finding of neglect as the cause of Mr Handley's death because "it's difficult to aggregate smaller failures by different agencies at different times to make one gross failure; there were undoubtedly failures at different times. What is significant is the fact that different agencies involved in Richard's care have undoubtedly worked hard to learn lessons from the circumstances of Richard's tragic death," he added.


Home / Celebrities Gist / FASHION / Photos: Nollywood actress, Chika Ike's Cute Outfit Would Wow You. Check It Out!
Photos: Nollywood actress, Chika Ike's Cute Outfit Would Wow You. Check It Out!
Gorgeous Nollywood actress, Chika Ike, pictured chilling at MGM Grand Hotel in Las Vegas, rocking a cute white net flowered jumpsuit.


1. Begin by taking the lamb racks and trimming the top layer of fat, leaving only the lower layer of fat showing.
2. Next, heat a non stick pan on the stove, add a splash of oil and lie the lamb into the pan, fat side down. Render the fat on the lamb and cook for 4 minutes.
3. Add half the thyme and some crushed garlic cloves, then remove the lamb and leave to cool slightly. Once cooled, brush the fat side with grain mustard.
4. Mix the herbs with the brioche crumbs and pat onto the mustard covered lamb. Set aside to cook later.
5. Now, cut the peeled potatoes into 4 rectangular pieces - about the size of a bar of soap. Heat the pan back to medium on the stove, then add the duck fat and potatoes, turning them in the hot fat so they become slightly coloured. Once done, pop them in a 180c oven to cook through, turning occasionally.
6. For the sauce, sweat the sliced shallots for 2 minutes, then add a clove of crushed garlic, sherry and thyme, and reduce. Once everything has almost evaporated, add the veal jus and reduce down by half. Pass through a sieve, season to taste and set aside in a clean saucepan.
7. Blanch the peas in boiling water for two minutes, then blitz with a knob of butter. Pass and season, and pop in a pan, ready to heat through later.
8. Follow by finishing cooking the lamb. Pop the lamb fat side up on a baking tray, and cook at 180c for 10 minutes. Remove, then loosely cover with tin foil and rest for a further 5 minutes.
9. Whilst the lamb is resting, drain the potatoes onto kitchen paper and keep warm in the oven. Blanch the broad beans in salted water for 2 minutes, then drain.
10. Heat the pea puree, then arrange a spoonful or swipe onto warm plates, add the potatoes, and carve the lamb into chops (3 per person). Place on the plate and scatter the broad beans on top, before drizzling the sauce on, adding pea shoots and extra virgin olive oil.


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JEFFERY (Young Thug) x Wyclef Jean – "John"
The artist formerly known as Young Thug is back on our pages today with a tremendous new record entitled "John." It features none other than the legendary Wyclef Jean, who combines with Jeffery's off-the-walls style for a sonic match made in heaven.
by Hef
The artist formerly known as Young Thug is back on our pages today with a tremendous new record entitled "John." It features none other than the legendary Wyclef Jean, who combines with Jeffery's off-the-walls style for a sonic match made in heaven. This isn't a collab I would've guessed to have happened, but I'm def glad it did—and it's got me excited for his upcoming album.
Listen to "John" below & enjoy:
Hollywood Hef aka Stone Cold Steve Saucetin writes about music all over the net. Follow @hefstradamus on twitter
Tags: jeffery, Wyclef Jean, Young thug
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Memphis' Fast Cash Jizzle links with Moneybagg Yo for a star studded visual
Teen artist KIITA shares grungy, dynamic new single "Messed Up"
Maki Abiola & O.D. Astro Dazzle In Their Debut
Listen to 909Memphis' infectious new record, "For Real"
LORD$OFDOGTOWN are back with a new freestyle video


text:
Intellipure at the Front Line of the Battle Against Coronavirus
January 30, 2020 •
By Suzie Lobdell
The race against the Coronavirus is on to understand and stop the spreading of the Coronavirus, which has infected thousands in a matter of weeks. The newly identified virus, 201–nCoV, has been linked to 170 deaths and has infected nearly 8000 across 16 different countries.
On January 29, 2020, 150 medical-grade Intellipure air purification systems were delivered to hospitals dealing with the respiratory virus in Wuhan, the capital of Hubei province in China. With a population of over 11 million, Wuhan is the 7th most populous Chinese city and the epicenter of the widespread Coronavirus.
Intellipure air cleaning units were the first defense against H1N1, commonly known as the "swine flu," which caused a pandemic around the world in 2009. The influenza virus is very contagious, easily spread, and can be potentially life-threatening. Other non-life-threatening symptoms related to the swine flu include pneumonia, lung infection, and breathing complications. The Intellipure Ultrafine 468 was tested in the Guangzhou Testing Center of Industrial Microbiology Lab for virus aerosol purification efficiency. Three trials were conducted; each trial was 60 minutes in duration. The results showed that in all three trials, the Intellipure Ultrafine 468 destroyed and eliminated the H1N1 virus at greater than 99% efficiency in less than 60 minutes.
The strain H1N1 is actually smaller in size than the Coronavirus which is known to be 0.08 to 0.16 in size. The Intellipure machines are able to capture and eliminate particles considerably smaller than that of the Corona Virus. In fact, each Intellipure air purification system is individually certified and tested to capture 99% of all particles down to .007 micron, removing the most dangerous ultrafine particles including virus, bacteria, and mold.
For more information and to track the Coronavirus, click here.


text:
class RemoveCronFromQuintlyWorkers < ActiveRecord::Migration
  def change
    remove_column :quintly_workers, :cron, :string
  end
end

redpajama_set_name: RedPajamaGithub


As a few people keep asking me about this and reverbs are the FoTM I thought I ought to give bit of an update and also get some thoughts before we plough ahead. Firstly, apologies for letting this one run without any clarification but I didn't want to give too much away in the last few months because I didn't want to get folk's hopes up and then disappoint. We have had some challenges.
Anyway for those who are unaware Michael of CDsoundmaster and I have been permitted to sample this crazy good Reverb by the kind people at Bricasti. I will be sampling and Michael will be editing. If you don't know how good it is you ought to know that some have called it one of the best reverberators out there. I invested in serial number 44 a few years ago and it has been updated to version 2 of the software so all is up to date. Casey has kindly offered his expertise and know-how and between myself and Michael we have had much head scratching as we attempt to bring this library to the Nebula world. Many, many months of failed attempts and many hurdles to overcome but all seems promising now.
In case you are unaware it will be provided for free. Yes for free - Michael and I cannot or anyone else for that matter cannot sell it. The goal is of hopefully allowing for the world of Nebula to expand and have a wider user base through the accessibility of folk to sounds as incredible as the Bricasti.
I will be honest, it has been the single most frustrating project that I have attempted to date and many times I have wondered if it were even do-able to sample this beast to a satisfactory standard. It will never be 'exactly' the same but today saw a breakthrough that gets us very, very close and instead of answering questions posed in another thread, I thought that I would start a new post as there are few things to share going forward and hopefully this can be the anchor thread from here on in.
So - good news - I have managed to find a very involved workflow that gets us almost there with the Bricasti M7. I would say 70 % to 90 % of the hardware is retained. It's just the last few percentage points that the most extremely fussy of users would complain about and if you didn't have the hardware with you in the room to compare it to it probably wouldn't bother you. Modulation had to be turned off so sorry - no lush chorusy tails. The stereo image is not as accurate as I would hope but I may have a solution for that.The hardware envelopes the sound more and smothers the audio in a more realistic way. But that is just me picking differences. A tweak here and there and we may be in business with total authenticity. Having said that we hope this will add immense value to the world of Nebula even with all it's tiny issues.
I will now begin final sampling in the coming weeks as I get breaks in my schedule and will be passing the files on to Michael for processing and packaging and I believe that the reasoning is that it will then be incorporated into the Acustica Audio library - I think. . I could be corrected on that front.
Please note that the Bricasti is intended to be used fully wet in your effects bin as a send effect. That is the advice for the hardware so I would imagine that the same goes for the Nebula version when things start to roll. Assuming all seems in order and there are not too many resamplings required then it will be up to the 'bosses' to decide on a release schedule after Michael has edited but I will begin passing items across the pond from now on through to the end of the year.
So how can you help - well give us feedback here - mainly for Michael as he is editing. At this point in time I have already gathered that some folks would like to have it work with all versions of Nebula including free. Is that agreed - some felt that it would help the community for new customers to have an incentive to invest in the platform - others felt free is good to get as wide a user base as possible - please discuss - suggestions.
Nebula server comes into its own with this coming package as it would really be desirable to run the Bricasti on anothr machine. My advice - get started setting up and practicing with Nebula server if you haven't got it. You will be much less frustrated as this is such a nice reverb you may wish to use it all over the place with little cpu penalty.
Now from a sampling point of view - I need some suggestions.
Sample rates - 96 khz is what we are sampling it at and we are doing it all digital. 44.1 khz means more work but we appreciate many work at this sample rate.I will not be sampling at 44.1 khz so if folk want 44.1 khz then it will have to be provided in post production. In my experience Michael's libraries work just fine even though many are only 96 khz. Put it this way - 96 khz only is simpler with over 100 presets to sample.
Ummmmmm - the most important - distribution. The library will be huge when done. A 3 second plate is 280 MB. That is 30 dynamic layers. We can lower the layers for efficency. Would people want smaller file sizes or quality? What we would need is a fast reliable always up online service that doesn't cap users if this gets the kind of traffic we imagine it might. Suggestions.
Are there any talented skins producers who can make a Bricasti themed skin?
Length of tails? There are the default tail lengths. Obviously the machine can go from short tails to a ridiculous 30 seconds. What lengths would folk desire to have as standard for most presets - the defaults or perhaps one on either side of the defaults? One longer and one shorter? This is especially important for example for the halls and plates as they have the most spread.
Lastly - and I hope that this is obvious without me having to say this and that you can have grace to understand - this won't happen soon if we aren't supported in what we do in our own projects that does make this viable. As we cannot charge for our time it is up to the community to help us bring this to fruition.
I have a couple of choice beta testers to help along the way with getting feedback. If there are any other experienced beta testers who would like to be able to help along the journey do get in touch with Michael or myself soon.
Apart from that - have a great year and hopefully stuff will begin to roll in weeks rather than months.
Last edited by Henry Olonga on Thu Oct 18, 2012 1:55 pm, edited 1 time in total.
this is exciting stuff! thanks for all the work you guys have done.
also, if there is no modulation, how does this differ from a normal impulse and what are the dynamic layers used for?
With no modulation it just means that the chorus type lush reverb tails won't be getting sampled. In fact if you attempt to with convolution using sweep tones it just doesn't get captured that well. It doesn't make it sound bad in any way because IMHO the real strength of this box is the realism of the modelled acoustic spaces.
The dynamic layers that I am referring to basically means that I sample from 0 Dbs input gain to say - 30 dbs in 1 Db steps. The more layers you sample the more variation per layer you get and the more realism. Not referring to distortion - just for clarity.
Last edited by Henry Olonga on Thu Oct 18, 2012 2:56 pm, edited 1 time in total.
This goes to my second idea. Perhaps 50% of the Bricasti library could be available for Nebula free at 44.1. Then the remainder and 96k option could be there on purchase of N3Pro. That might be a compromise - however there is a good argument for all free on NebFree - or only on full version...I think it could really widen the appeal of Nebula if it were given totally free....shame you cant do local area testing to see which launch is the best!
With regard to quality - this is interesting. Im not 100% clear how it works however I did notice that in the Nebula commercial library there are some great sounding reverbs that dont appear too heavy in size. Years ago when I beta tested Nebula they were the first really nice ITB reverbs I ever heard-PCM70 presets. However when I tried the Nebula sampled L*****n PCM91 free library which was a 20Gb library - it was quite unweildy (and unstable) to use. Personally I wonder if it is worthwhile to make the libraries very large if the difference isnt that big. I think there is an argument to making a library that offers a fantastic and usable ITB reverb rather than the closest 'possible' emulation of the Bricasti - which becomes too massive and unweildy for a few percentage point increases.
In terms of reverb modulation - Im just curious if thats a limitation with reverb sampling in Nebula in general - or the complexity of the bricasti modulation?
Nice to see this post Henry!
For me, 44kh is not useful if I have 96kh. So I really don't mind not having 44kh.
Tail lenghts should be from 0.5 sec to 4 secs I think it would be enough.
I'm volunteering for beta testing if you need me. I've never tested on Nebula but my actual day job involves a lot of systems testing so I'm quite experienced with providing quality testing and testing scripts.
Thank you for taking the time to do this- I can only imagine how much work is involved..
I have 2 questions- I've noticed that sampled reverb presets always sound colored and different from the original because NAT has issues dealing with complex phase patterns (which are typical in this case). So my first question is- have you found a way around this problem?
What I've also noticed is, that long Nebula reverbs generate artifacts/clicks (to varying degrees). I was told that this issue is inherent to the way Nebula works and can't be solved. So my question is- did you encounter this and do you think the Nebulized Bricasti will be "artifact free".
Concerning what should be free and what not- I support the complete set being free and available to all. That seems more in line with the (generous) spirit of the Bricasti creator.
oh and IMO, the bigger the better. I would love to have a huge reverb library. I don't care if it's 20gb!
jpchartrand wrote: oh and IMO, the bigger the better. I would love to have a huge reverb library. I don't care if it's 20gb!
As far as the sound changing - yes there is the sense that the reverb is separate from the audio even when fully wet that you don't get with the hardware but I I don't get a very specific sound shift. Just different - less real. But we are talking about tiny percentages of course.
Thanks to Henry, Michael and Casey! Great to see this moving forward.
I agree with a 44k 'community' version that works in nebFree and a 96k version available to commercial nebula users.
jeffbdavis wrote: Thanks to Henry, Michael and Casey! Great to see this moving forward.
Torrents are a great idea. The only thing I see wrong with separate packages available for Neb free and Neb Pro is that the Bricasti developers are very serious about it being very good and very free. If the Pro users are the only people with access to the higher quality 96kHz version, than isn't that one (even small) step toward making a quality distinction based on what you have paid for? I am a Pro user, so this isn't about me. But fair is fair, and free means free. Besides, offering 2 packages makes more work for the devs who are not allowed to make money from this, so maybe we need to really look at this as a total community thing and decrease the work for devs, offer up the same package for everyone for free. Just my opinion, of course.
I would have to vote for the 'free to all' option. I think that is in keeping with the Bricasti developer's generosity and the Acustica manifesto of equalizing the toolsets available to all.
While I agree that torrents are probably the most efficient way to distribute a large library like this, among many in this field they carry the taint of cracked software. If the goal is to use the leverage of a free Bricasti library to encourage a broader acceptance of Nebula then I think you have to pursue a distribution method that encourages the widest possible audience.
I would love to but we are not quite in the clear yet. We are just still testing and sending stuff out to beta testers in the very early stages of critical listening. It would be fair to unleash only what the golden ears believe is worth releasing so we may have to just wait a little bit longer for demos and comparisons.
As an aside, I am also kind of a video guy and delve in various forums and what tends to happen is there is always excitement with a new camera release. Some dude steals a few seconds of footage under less than ideal conditions and then the pixel peepers come out the woodwork and complain about a product that hasn't even been released. Nay sayers queue up to say what is wrong with it and and every blogger on the planet then regurgitates the info and before you know it it's hard to back track. So for now it will just be a select few and once it's agreed that we have it perhaps almost there then there will be plenty of demos I am sure. Hope you understand.


text:
Q: What is a practical size limit to vertex buffer size? In OpenGL, you generally get better performance by using vertex buffers, and even better performance by putting many objects into the same vertex buffer, so that lots of vertices can be drawn with a single glDrawArrays call.
But, what is the practical upper limit of this?  How many MB of vertex data in the same buffer is too much? At what point should you cut a vertex array into two separate vertex arrays? How do you know this?

A: I know this answer could be seen as generic but I guess it is actually dependent on the GPU you are using and the GPU memory available.
There is no hard limit in the number of vertices you can process as per OpenGL specs.
Here you can find some useful information on this topic:
How many maximum triangles can be drawn on ipad using opengl es in 1 frame?

redpajama_set_name: RedPajamaStackExchange


At the end of the day there has to be a silver lining, that is something that makes it all worth while. Can you still consider your job a great stepping stone on your path to success? Are you able to find happiness knowing that you are able to collect a check and provide?


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The importance of including psychosocial items in HRQL instruments
Jan Abel Olsen
University of Tromsø
I feel honored to have received the QLR Outstanding Article of the Year Award for "A conceptual map of health-related quality of life dimensions: key lessons for a new instrument" (Quality of Life Research https://doi.org/10.1007/s11136-019-02341-3), a paper that was co-authored with Associate Professor RoseAnne Misajon.
I hope that our research might resonate with the ISOQOL community, in particular by acknowledging the need for including psychosocial items in HRQL-instruments.
The story behind this work starts with the large scale Multi Instrument Comparison (MIC) project, led by Professor Jeff Richardson, Centre for Health Economics, Monash University in Melbourne, Australia. The MIC-project aimed to compare all health related quality of life (HRQL) instruments that are designed for estimating quality-adjusted life years (QALY), specifically in terms of their descriptive systems and their preference-based value sets.
As part of this work, RoseAnne and I sought to extract patterns of similarities in the descriptive systems. We developed an analytical framework that covers the wider domains of physical, mental and social aspects of health. By use of a conceptual map, we could then illustrate how each instrument differ in terms of which parts are covered and which are left empty. We drew from previous work by Professor Robert Cummins in understanding the differences and overlaps between HRQL and subjective wellbeing (SWB) measures. Next, we drew lessons on which dimension to include in a new instrument, and suggested:
mobility, self-care, pain,
depression, vitality, sleep (and possibly anxiety),
personal relationships, social isolation.
Our suggested descriptive system leans towards the EQ-5D in terms of brevity and structure, and towards AQoL (and PROMIS) by including key items on mental and social health.
Follow Up Research
The award-winning paper came to stimulate further work with Associate Professor Gang Chen, who was also part of the MIC project team. Gang and I have provided empirical support for adding a coherent set of four psychosocial bolt-on dimensions to the EQ-5D, namely: Vitality, Sleep, Social relationships, Community connectedness (Quality of Life Research https://doi.org/10.1007/s11136-020-02576-5). In a follow-up paper (yet to be published) we give further empirical evidence for these four bolt-ons.
In principle, I see three approaches to the need for including psychosocial items in HRQL-instruments.
One approach is to start developing a completely new instrument. An important contribution in that direction is the work carried out by Professor John Brazier and his team in the 'Extending the QALY' project at Sheffield university.
An alternative approach is to revise and improve existing QALY-instruments.
A third approach is to build a stand-alone extension to the most extensively applied existing instrument.
Our research reflects the third approach: The EQ-5D holds a dominant position with a market share of around 2/3 of applied cost-utility analysis. Given that many studies have a long time horizon, we expect the instrument to live on. Second, as compared to its contenders, the brevity and cognitive simplicity of the EQ-5D makes it the most attractive to include as part of a lengthy questionnaire. Third, when there is a need to account for wider psychosocial aspects of health, rather than including an additional complete QALY-instrument (and most of them are long!), we believe a better option is to complement the EQ-5D with a stand-alone extension.
Finally, I would like to acknowledge all participants at the MIC-workshop in 2014 (including invited speakers Professor John Brazier, and a previous recipient of the QLR Outstanding Article Award, Professor Julie Ratcliffe), that was arranged at the spectacular island of Sommarøy in the land of the midnight sun. It was then and there the idea behind this paper was born!
This newsletter editorial represents the views of the author and do not necessarily reflect the views of ISOQOL.
How to Submit a Newsletter Editorial
Do you have something to share about health related quality of life and patient-centered outcomes? We want to hear from you!


Written by Karl Dahlfred on 22 February 2014 .
Joshua says, "I like my Lego scene. In the scene, there is a a bookie holding a sparkle gun. He is shooting sparkles into the pool. There is also a bookie shooting water at the droid. A bookie and a droid are waving flags at their champions. Even the super battle droid is waving his arms up and down. I like to have Daddy post my Lego scenes. Enjoy!"


Evaporative air conditioning is the choice for families concerned with general health, allergy and asthma issues. It also allows the security of fresh air flow without the open windows.
The Braemar Paradigm Series is clean, simple and modern. The cooling units have been designed to blend into your roofline, not just sit on it.
Injection moulded from specially developed Permatuf polymer, your Braemar won't rust, is UV resistant and will stand up to the harshest extremes of climate, year after year.
Choose from 4 designer colours, specifically created to suit heritage and modern homes alike.
An evaporative air conditioning system can cool your home more efficiently that any other system. However, a Braemar evaporative system can also add considerable value to your home for the simple reason that the name Braemar has long been synonymous with quality. The kind of quality that will server you well for many years to come. And if you ever decide to sell, it's a quality that will make selling your home all that much easier.
The Braemar Paradigm Series wall controller plus climate control at your fingertips. It's so easy to use. You set the comfort level you want on the controller, the Braemar unit does the rest.
You can choose from four different control modes to control your home the way you want.
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Braemar's Tornado water pump provides exceptional reliability in the most extreme conditions.
Braemar's state of the art, Stealth fan is super quiet in operation and ensures a constant, even flow of air through Chillcel pads. The advanced aerodynamic design uses only a small amount of energy to produce a constant, welcoming breeze.
Made from a special cellulose material, these long-life pads were tested by the CSIRO to help establish maximum saturation levels and therefore, maximum cooling efficiency. The pads are essentially self-cleaning – dust and pollen is captured on the pads and then washed away into the sump below by the flow of water.
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The Braemar feature makes life so much easier. Whenever the system is not in use, the AUTOWinterseal automatically closes off the air conditioning ducts. This prevents dust and unpleasant odours from entering the house while preventing cold draughts and heat loss in winter.
This unique feature keeps the system clean and ensures you save precious water by minimising water loss through dumping. This is achieved by constantly measuring the salinity of water in the tank and dumping ONLY when needed, to ensure a clean and efficient operation. This means you will not waste water like other wvaporative systems, and you can save over 9,000 litres compared to a basic bleed system, which will save you lots of money as well as water.


WriteReader looks like a fun and easy way for students to digitally publish their books. The site is free to use, there are only costs if you would like a print or download a book.
If you would like access to ebooks you can use in your classroom, then checkout the WriteReader library. There are hundreds of books, written by students, available for reading online.


These short and stubby "gnome" crayons are perfect for toddlers learning to draw and write. The child-appropriate, easy to grasp shape is well suited for pre-writing activities and the creation of strong lines and large blocks of color. Made with pure beeswax, the colors are vibrant yet can be applied in light transparent layers without crumbling, sticking or smudging.