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Kristina Marie Darling: Poet Interview
Confession: I don't really keep records on Poetic Asides, but I'm pretty sure Kristina Marie Darling has the record for most poet interviews in PA history.
Kristina Marie Darling
If this is your first time hearing her name, Kristina Marie Darling is the author of over 20 books, which include Vow, Petrarchan, and Scorched Altar, all available from BlazeVOX Books. Her writing has been recognized with fellowships from Yaddo, the Ucross Foundation, and the Helene Wurlitzer Foundation, as well as grants from the Kittredge Fund and the Elizabeth George Foundation. She was recently selected as a Visiting Artist at the American Academy in Rome.
Visit her online at http://kristinamariedarling.com.
It's been fun watching her writing evolve over the years, and in Darling's collection Scorched Altar: Selected Poems & Stories 2007-2014, it's now possible to get a sampling of her writing from 12 different sources.
Here are a few of the pieces you will find:
Seven poems in Janus Head: A Journal of Interdisciplinary Studies.
Three poems in Word for Word.
Two poems in SoftBlow.
Forget Revision, Learn How to Re-create Your Poems!
Do you find first drafts the easy part and revision kind of intimidating? If so, you're not alone, and it's common for writers to think the revision process is boring--but it doesn't have to be!
In the 48-minute tutorial Re-Creating Poetry: How to Revise Poems, poets will learn how to go about re-creating their poems with the use of 7 revision filters that can help poets more effectively play with their poems after the first draft. Plus, it helps poets see how they make revision--gasp--fun!
What are you currently up to?
I'm getting ready to leave for a residency at the Kimmel Harding Nelson Center for the Arts and couldn't be more excited. I'll spend my time there working on a new collection of erasure poems, which examines the egregious amount of gender violence in Shakespeare's tragedies. The fragmented, elliptical poems ask reader to consider whether the literature we've inherited has normalized gender violence, since plays like Hamlet, King Lear, and Othello are so present within the public imagination.
Part critique, part excavation, the poems are intended to redirect the focus of scholarly and readerly attention. It is when we become conscious of underlying beliefs and assumptions in culture, and their roots, that change emerges as a real possibility.
Scorched Altar is a collection of selected poems and stories published by BlazeVOX [books]. How did this collection come about?
That's a great question. I initially contacted Geoffrey Gatza, the fabulous editor in charge of the press, to inquire about the possibility of a Selected Poems.
It turns out that Geoffrey had the same idea himself, and I simply e-mailed first. Since I had worked with BlazeVOX on numerous previous collections, I knew that my Selected Poems was in very good hands.
Was the process of selecting pieces from previous collections different than putting together a new collection?
When I compiled the poems from my previous collections for Scorched Altar, it was a much different process than working on a brand new collection. For me, writing a new poem or poetry book is an intuitive process, and I don't reflect much on what I'm doing, at least in the drafting stage. If I allow myself to become too self-aware, that allows me to become self-critical, and then no writing gets done at all.
What I really enjoyed about the process of compiling Scorched Altar was that it prompted me to reflect on my body of work as a whole, to see patterns emerge from my writing over the past seven years, and to see progress and growth. The act of examining my poetry over the course of several years also helped me see what ideas, obsessions, and literary forms I returned to most frequently. And as a result, I came away from the process with many ideas for new projects, experiments, and poems that were completely different from anything I'd ever written before.
In many ways, the act of examining my body of work showed me what is possible within it.
Many of your pieces, especially in collections like Correspondence and Fortress, have a very visual element to how they're arranged on the page. Do you ever perform these in readings? If so, do you have to explain how they're set?
I think every poetry reading has some element of performance. Whether the poet shouts their poems, or sings them, or invites audience participation, I'm positive that all writers have a constructed persona, which is an extension of the work itself. With that in mind, I love performing my footnote poems at readings.
I typically read them in a completely flat, monotone voice, almost like the bad math professor that just about everyone had in college. I love seeing the audience lulled into a sense of comfort by the unexciting presentation of the work, only to be surprised by the wildly imaginative content.
You're an active literary critic. Does this inform your writing? Help? Hinder?
I'm glad you asked about my reviewing and involvement with literary criticism. I love reviewing books, because it exposes me to poetry that is completely outside my comfort zone. This is great because it helps me question and interrogate what I normally do in my own writing. It pushes me to try new things and experiment more within my own practice. And it helps me see more clearly where my poems fit within the larger literary community.
The best thing about reviewing, though, is that it helps build relationships within publishing and writing. I've met friends, collaborators, and even mentors when working on reviews. And there's nothing better than free books!
You've published 17 collections now. How do you keep the writing flame lit?
By reading and reviewing other poets. As long as you're constantly being exposed to new ideas, literary forms, and aesthetics, you'll always have something to write about.
I also run a small press, Noctuary Press, which has been great for my own creative practice. The press primarily publishes women's writing that takes places across and beyond genre categories. Although I pride myself on my ability to question genre distinctions, reading submissions for the press has shown me the tremendous variety inherent in contemporary cross-genre writing by women. My work as editor has helped me see what's possible within the hybrid forms I typically inhabit, and it's a great deal more than I had initially envisioned.
One poet who no one knows but should--who is it?
Erin Bertram. She has several magnificent chapbooks out, including one from Kristy Bowen's fabulous Dancing Girl Press. I'm just waiting for someone to realize that her first full-length book needs to be published (so I can buy it and read it!).
Who (or what) are you currently reading?
I'm very excited to check out Donna Stonecipher's Model City and Dawn Lonsinger's Whelm. I also just picked up Olena Kalytiak Davis's newest collection, which I've been eagerly awaiting for quite some time.
And if you haven't checked out Carl Adamshick's Saint Friend, just published by McSweeney's Books, then you sure are missing out. It's a terrific collection, even better than his first book, Curses & Wishes.
And usually I ask for one piece of advice for poets, but we've done a few interviews together now. So instead, and this is probably still one piece of advice for poets, I'm going to ask you about your amazing organization and follow-up abilities, because you do a better job than most. Could you share how you stay organized and on task for writing, submitting, following up, etc.?
I'm probably going to out myself as a total nerd with this answer, but here goes: Excel Spreadsheets. I keep track of everything (applications I've submitted, review copies sent, deadlines for applications) in a couple of gigantic spreadsheets.
If I could offer one piece of advice to poets, I'd say keep records of where you send your work, whether it's review copies, applications, or poems. If you don't remember where you sent something, then there's no way you'll ever be able to follow up with the decision maker.
And believe me, persistence pays off, especially in small press publishing.
Robert Lee Brewer is the editor of Poet's Market and author of Solving the World's Problems. Follow him on Twitter @robertleebrewer.
Check out these other poetic posts:
Wednesday Poetry Prompts: 299.
WD Poetic Form Challenge: Paradelle.
The Poetry World A-Z.


Emerald Heart Elder and Teacher, Sephora McElroy, shares with the Blog a simple technique that in this stressful world we live in, can make interaction with others a much deeper and more satisfying experience.
Are you a person who has ease of contact with others, or do you have difficulties? If you have difficulties, why is this? When I speak about contact I don't mean a brief chat or small talk. I am speaking about truly being in contact with someone else, being really connected to them.
I find that often life is so busy, we get very stressed about organising things, being here – going there, but we are nowhere really. We are not truly present in situations or in our contact with others. We are physically there but not with an open heart and mind, not connected. We are in our own tunnel. We think of what happened to us yesterday or what we have to do tomorrow, but we are so seldom with our thoughts in the here and now. We don't make time for the now, for the situation we are in in this moment or for the other person we are talking to in this moment. This causes problems for ourselves and with others, causing endless misunderstandings along the way.
Even though I recognise this, it is still not easy for me to do better. But when I see that I'm heading in the wrong direction, I try to hold on for a second and rethink my thoughts and actions. That's why it's so important to hold on for a little second and check yourself every minute of the day. Ask yourself: "Where am I at at this moment?" What are my thoughts doing? Am I in the present moment; am I with this other person completely? And if not, don't get angry with yourself, just try to do better next time and little by little it will become a new habit. A better habit and you will feel much less stressed and more connected with yourself, with nature and with other people.
I wish you all the best for this journey.
Bless, always good to hear such messages.


It is incredible to me that WhatsApp and Facebook Messenger, which both use SignalApp for encryption, are both in the application sidebar, yet SignalApp is not allowed and it is a messenger app, as well. Please, please, please add Signal!
Thank you so much, and keep up the great work!


Frances Ha is now showing at the Sydney Film Festival. You can get your tickets here.
Frances Ha is a film that is loved, loved and then loved, most of all for Gerwig's performance, which is spellbinding. This is probably the best film to show off her talents to date – and she did write it, alongside her adoring boyfriend Noah Baumbach, so in many ways you can think of it as an homage film, not only to the French New Wave and Woody Allen, but to Gerwig herself who really does deserve to have an homage film made to her. Even at this early stage in her career. Frances is not a particularly likeable character but she is interesting, and Gerwig keeps us glued to her movements that teeter on a border you didn't know existed between graceful and clumsy. Frances is a dancer and Gerwig manages to make this completely believable and hysterically silly at the same time, which makes for a comic depth so absent in main stream comedy these days. Gerwig carries Frances Ha on her back, sort of like she did with Damsels in Distress, but with better credits this time.
Frances Ha is also a kind of homage to early Woody Allen, mostly in portraying a youthful version of the white bourgeois intellectual Woody Allen never let go of his whole life. In some ways, these are the grand kids of Yale and Jill, assuming there were times for consummating before their divorce. Included in the reverence is a sound track to music made for their parents generation that Allen is so famous for; Allen used Jazz, Baumbach uses David Bowie. The connection even goes into the black and white used by Sam Levy in his cinematographic homage to Harris Savides who worked with Allen on Whatever Works. In so many ways the film is literally a "next generation" thing without having anything special to recommend it in terms of time and place besides Gerwig and the plot about women and friendship. You get the feeling all the way through that Baumbach is setting us up for a sort of Gen-next-Woodyallen-thang.
Toward the end of Frances Ha, Frances, being the annoying person at a dinner party that everyone wishes wasn't there, digresses from being a moron to describe what she is looking for with the love of her life. She sums it up in a moment, when you can look across a room and see "your person" and they instantly feel your look and glance back over at you. The glance will have no witnesses, but it is the depth behind it that connects the two and leaves them with the reminder they are one. Frances thinks she is looking for this but, as if confirmed by a glance at the end, she already has it with her best friend. But friendships are relationships that come second to the other "more important" relationships in life and Frances has to deal with the fact that even though she and Sophie (Mickey Sumner) are best friends, they can't always be together. This is the central plot point of the film – again a very contemporary turn the always relationship narrative of Woody Allen.
Also, similar to a Woody Allen film is the turned-upon-itself jab at the New York bourgeoisie. Woody Allen is obsessed with this social class, seeing himself lodged firmly within (even though his wealth might give him a different spot) and seems to be poking fun at them and their relationships in all his films. However, as is best revealed in Husbands and Wives, these jibes are playful and usually end up as seductive tickling. Allen never gives context to accuse the upper white middle class of Manhattan of anything in particular, other than being angsty and self-destructive, which is something we all are. Likewise, Baumbach and his mumblecore movement are the "sort of" soft jab of the hipster world, Greta Gerwig being the queen jewel in his crown. Frances Ha makes fun of these twenty-something hipster kids, all wealthy enough to be supported by their parents (sort of) and all devoted to arts that cannot and will not make any money. This is a regular theme for both Baumbach and Gerwig and so I am not surprised they see themselves as filmic descendants of Woody Allen. But we seem to tolerate this in Woody Allen, so I guess there is no reason to suspect we won't tolerate it in Baumbach and Gerwig. In may ways Frances Ha is a glossed up amalgam of many films both of them have made before, another trait we find endearing in Woody Allen.
In the end, so many modern indie films are auto biographical, and ultimate homage of Frances Ha is the one I detailed in the first paragraph – the homage to Gerwig herself. Given the amounts of parts she has written and performed in that are so similar (again like Woody Allen) we take the understanding that Frances Ha is in many ways, Gerwigs autobiography to date. There is something about Frances wandering and putting-it-all-off that belies the fact that we know she is going to make it.
Gerwig herself is the evidence; Frances does make it and she make it big.


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Q: Zero topological entropy for homeomorphisms on $\bar{\mathbb{Z}}$? If we have some homeomorphism on $\bar{\mathbb{R}}=\mathbb{R}\cup\left\{\pm\infty\right\}$ this homeomorphism should have topological entropy Zero since $\bar{\mathbb{R}}$ is homeomorphic to $[0,1]$ and homeomorphisms on $[0,1]$ have Zero topological entropy. Am I right?
Is there something similar for homeomorphisms on $\bar{\mathbb{Z}}:=\mathbb{Z}\cup\left\{\pm\infty\right\}$?
Or maybe it is possible to say that a homeomorphism on $\bar{\mathbb{Z}}$ has Zero topological entropy since $\bar{\mathbb{Z}}\subset\bar{\mathbb{R}}$?

redpajama_set_name: RedPajamaStackExchange


I was searching for a Property and found this listing (MLS® #190004365). Please send me more information regarding 1899 Jamboree Drive, Reno, NV, 89521-4061. Thank you!
I'd like to request a showing of 1899 Jamboree Drive, Reno, NV, 89521-4061 (MLS® #190004365). Thank you!


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Boys Basketball, Game Preview
Mattoon hopes to ride momentum into Taylorville for a key Apollo win
Mattoon's Jaylen Middleton goes up to block the shot of Mahomet-Seymour's Carter Selk. (File Photo)
Date: January 24, 2022Author: daubs3245 0 Comments
Getting Sam Bradbury back was a huge bonus, but the team had to find its identity without the All-Apollo center. Bradbury continues to heal and work his way back into the lineup. With this momentum, the Green Wave take on Taylorville in a pivotal Apollo Conference matchup.
Here is tonight's preview:
Team Records: Mattoon (12-9, 3-3) @ Taylorville (10-9, 2-4)
Where: Taylorville High School
Tickets: Tickets can be purchased at Dolph Stanley Gym
School Size: Mattoon (926), Taylorville (757)
JV Tip-Off: 6 p.m.
Varsity Tip-Off: 7:30 p.m.
Opponent's History: Dolph Stanley is the legendary coach from Taylorville's earlier days. Stanley coached the Tornadoes to a state championship in 1945. After enduring numerous losing seasons since then, the team has turned a corner the last decade. That started with Hall of Fame coach Carey McVickers, leading the team to their last Regional Championship in 2013. McVickers retired in 2015 and former Mount Zion head coach Ryan Brown stepped in. Prior to the season, Brown was 100-75 at Taylorville. In three seasons at Mount Zion, Brown was 53-36. Overall, Brown is 163-120 and led Taylorville to its best finish since 1951-1952 with a 26-7 season in 2018-2019.
Taylorville's Past Results: Taylorville lost to Pana at the Litchfield Tournament, 58-46, but then rattled off two wins over Civic Memorial and Hillsboro. After starting the season 3-8, the Tornadoes have won seven of their last eight games, which also includes wins over Rantoul. Rochester, Effingham, Cerro Gordo, and Litchfield.
"I think our season has been going really well," said Brown. "We aren't lucky to be very talented but we'll put five young men on the floor that will play their tails off and if we get enough stops. We can win games maybe we aren't supposed to win."
Taylorville's Top Players: Bryce Friedrich averages 13.9 points and leads the team with 8.0 rebounds per game. Will Bitschenaur adds 13.0 points per game.
Taylorville's Team Stats: The Tornadoes are averaging 48.6 points per game and allowing 45.8 points.
Mattoon's Past Results: Mattoon is playing some of its best basketball right now. Mattoon capped off a 4-0 appearance at the Litchfield Tournament with a win over state-ranked Pana, who was 19-1 before losing to the Green Wave. Mattoon defeated Father McGivney Catholic, Greenville, Gateway Legacy Christian, and then Pana 62-57 in the championship game.
"We have had a great two weeks," said MHS coach Ryan Ghere. "We have won six of our last seven and five in a row. The Pana game was a great win. They had won 19 games in a row. We are playing really well right now. We need to keep being unselfish and share the basketball.
Mattoon's Team Stats: Mattoon is averaging 50.3 points per game and allowing 45.7 points per game. Bradbury has been working his way back from an injury that sidelined him for about three weeks. Ghere said that he likes what the other members of the team have done in his absence, including the rise of Tournament MVP Christian Larson.
"It has helped to get Bradbury back for a few minutes per quarter," said Ghere. "His time will increase as the season progresses. Bergstrom and Powers are doing a great job of taking care of the basketball right now. Middleton has really stepped up his defense, and Grace has improved every game over the past month. Christian Larson had a great tournament and was the Tournament MVP. He has become a weapon on the offensive end and continues to rebound very well. Thompson, Helms, and Kirts have been great off of the bench. We are really playing as a team right now."
What Taylorville Said: "Mattoon is so tough for us to stop because of their balanced scoring attack," said Brown. "Five different players are capable of leading Mattoon in scoring every night. Nobody else in conference play has this much balance. And now this hot 3-point shooting lately forces teams to spread out defensively, which will open up the paint as Bradbury starts playing more minutes."
What Mattoon Said: "Taylorville continues to improve," said Ghere. "They went 3-1 in the tournament and finished fifth with their only loss being Pana in pool play. They have a great shooter in Will Bitschenauer, and Bryce Friedrich is a really good post player. They will play hard on both ends of the floor and provide us with a real challenge on the road. We need to continue to be unselfish on the offensive end of the floor, and keep playing defense like we have the last two weeks. Taylorville is always a tough place to play. We will need to take care of the ball and shoot well to win."
Mattoon High basketballTaylorville basketball
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redpajama_set_name: RedPajamaCommonCrawl


What is Fit in 15?
Every morning the whole school take part in 15 minutes of physical activity. Some days we walk or run, some days we do dancing, fitness routines, circuits and more. Please see our blog for updates.
When the weather is too bad to be outside, we do dancing instead - it's fun!
We all ran the course together - hard work but fun!
P4 - 7 have measured a wet weather course round the school (9 times) and a dry weather course on the field (4 laps). They also created a risk assessment to make sure that everyone stays safe.


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/	SpecFaith /
Free Original Storyworld Ideas, Part 10: Alien Angels
Imagine that aliens not only look human–they have alien versions, too. And perhaps the Bible gives us a clue at alien angels in the faces of the seraphim…
Travis Perry	on Jun 25, 2020	· Series: Free Original Storyworld Ideas!
This will be the final post in the Free Original Storyworld Ideas series. That's not because I'm out of ideas I could share, but because we've gone over some unique ideas for fantasy worlds (such as Spheres), including magic as technology, some unusual ideas about the near future (in the Coronavirus stories) and distant future (Domesticated Humans and Nanites–which are unusual ideas for Christian writers at least), and some unorthodox ways to look at the spiritual world (Agent Angel). I even explained how to mine the public domain for stories and talked about the relatively new genre of GameLit. This last post, on alien angels, will end with another unorthodox view of the spiritual world, capping a multi-part overview of original ideas for fantasy, science fiction, and Christian paranormal in a way I hope at least some writers of Christian speculative fiction find inspiring.
In a previous post on Speculative Faith I talked about methods Christian writers could use to talk about aliens if they felt led to do so. That's even though I don't feel there's any way for me to know if there are actually any aliens or not.
But once we suppose that there might be aliens, isn't it possible that angels would take the shape of aliens when interacting with them? Just as numerous Bible passages describe angels as looking like human beings? That certainly makes sense, if we presume angels can change their appearance (and the Devil is said to be able to change his appearance in 2 Corinthians 11:14, so why couldn't they?).
Alien Angels
But let's take this idea a step further. Let's imagine that angels, even though they can change their appearance, have a "default" appearance that matches the people they serve. So angels might have different ethnic appearances if they are assigned to different ethnic groups. Perhaps. And, if that's the case, there might be certain angels with appearances that are permanently non-human because they have the job of ministering to other intelligent life God created in the universe, life other than us. Right?
One could imagine the separate intelligent species God will save will have separate heavens (and by "heaven" I mean "eternal state in the presence of God" which technically doesn't happen until the New Heavens and New Earth of Revelation 21). But really, why? Doesn't it make more sense that all the redeemed beings in the universe would be gathered together in one place, just as all the redeemed ethnic groups will be?
A somewhat disturbing view of an alien angel… Image source: Pintrest
Perhaps someone might say because we see the "New Heaven" pegged to the "New Earth," that means only the Planet Earth will have saved beings—i.e. heaven will be a humans-only zone. Or perhaps one could say, again, that aliens will have their own separate renewed planets in which a heavenly city will come down (such as a "New Heavens and a New Vulcan" ? ).
But even if those other planets really are separate, what if they also are linked to the New Earth? Though "stargates" or by even cooler means? So that the New Jerusalem is the eternal city for all species, even non-humans?
So portraying heaven teeming with aliens might be an interesting angle to take. Plus, writers of science fiction might show aliens interacting with "alien angels." However, so far this doesn't constitute an entire story setting. Though it could add some flavor to stories featuring aliens with beliefs in God and the supernatural.
Scriptural Evidence of Alien Angels?
Of course a valid criticism of how I've presented this idea so far would be, "What evidence is there from the Bible itself that there's any beings in heaven who actually look like aliens?"
Glad you asked.
As per a personal blog post I did years ago, recall the Seraphim, a Hebrew word that means "burning ones"? They have four faces in four cardinal directions. One face is human, one is of an eagle, one of a cow/calf, and one of a lion. These four beings are the closest to the throne of God and cry out continually, "HOLY, HOLY, HOLY."
Bible commentators have typically assigned the four faces some kind of symbolic meaning. Maybe based on the characteristics of the four creatures. Or the four Gospels. Or four directions of the compass.
But what if the four faces of the seraphim are not symbolic at all?
Certainly the human face would seem to be there because humans are a creation of God and the human face represents a being worshiping him. Human beings don't seem to have a strictly figurative meaning–so what if God also created aliens with lion faces? Aliens with bovine faces? Aliens with faces like eagles? What if some of these aliens actually had wings?
That would change the meaning of the seraphim—they'd represent four intelligent species God had created. Them worshiping God together would, in that case, represent the species of the redeemed.
What if Seraphim Reflect Four Alien Races?
Four seraphim faces: Image source: Quora
So imagine a story setting in which humans encounter aliens—exactly 3 species of them other than us. Bovine, leonine, eagle-like. Or perhaps there could be whole sets of species, some humanoid, like Star Trek Vulcans, humans, Klingons, etc. But some "leonoid"—or sharing some aspects of cattle or of eagles. To the degree that the seraphim really do represent a heaven teeming with alien angels?
Such a setting would call on a writer to create a series of stories that feature all these different aliens. Perhaps their relationship with God would be different than ours—perhaps one or more of these species could have remained without sin. Or perhaps one species could have only one member who accepted their Savior through faith.
Seraphim wings. Image source: Legit.ng
Such a story setting could perhaps generate a fresh excitement concerning what the Bible says concerning how it relates to God's create work outside of Planet Earth.
Though it would be important to avoid the notion that these different races visited Earth in the distant past and therefore the shape of the seraphim comes from early humans having seen them—or perhaps a writer could suggest that's exactly what happened, but then show in the end the seraphim exist as the Bible describes them. Strange composite creatures, who reflect the creative work of God both inside and outside our Solar System…
So what are your thoughts on this story setting, readers? Have you encountered something similar to "alien angels"? Or exactly the same? How about stories about the seraphim faces? And how would you handle this as a story setting?
Travis Perry
Travis Perry is a hard-core Bible user, history, science, and foreign language geek, hard science fiction and epic fantasy fan, publishes multiple genres of speculative fiction at Bear Publications, is an Army Reserve officer with five combat zone deployments. He also once cosplayed as dark matter.
Website ·
A.K. Preston says:
Hmmm…interesting. I rather like the idea. The concept of four different intelligent species (and their offshoots) would make for some stream-lined world-building in a space opera setting. My personal criticism of mainstream works in this genre is that a lot of them have an "overstuffed" feel to them when it comes to alien races.
Autumn Grayson says:
There's sort of an alien 'angels' thing going on in Heaven Came Down, which is Bryan Davis' newest book. It was mentioned in the article previous to this one. Some elements remind me of The Host (that 2013 sci fi show). Not with the angel part, but with the aliens possessing human hosts and needing to be extracted and whatnot.
The angels and demons in my stories can take on many forms, though it isn't exactly true shapeshifting in a lot of cases. That ability is usually left up to a different set of creatures in my story worlds. I do tend to write angels as taking forms that fit with the beings they live among, though there are usually some key differences. Their forms are usually built in ways that give them extreme survival advantages, as well as give them distinctions that make them recognizable to other angels. So looking more like the mortal species tends to be about adapting, and maybe in the case of the demons, deceiving. Usually they aren't as worried about blending in unnoticed, though. They usually just want enough in common with the mortal species that they can appeal to them/live among them/gain trust.
Having the seraphim reflect four different alien races would be interesting. At the very least I like it better than four faces stuck on the same head :p
We Might Have Guessed
Speculative Fiction Writer's Guide to War--part 1, Reasons
Should Christian Fans Call Ourselves 'Geeks'?
Star Trek Into Fun Yet Generic and Derivative Darkness


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Q: Configure MassTransit Message at runtime I would like the configure MassTransit Message at runtime. I could not find a way to do this and was wondering if I missed something or if it is not possible. Here is what it currently looks like:
var azureServiceBus = Bus.Factory.CreateUsingAzureServiceBus(busConfig =>
{
    busConfig.Message<MyType>(configTopology =>
    {
        // Do some configuration
    });
});

This is what I would like to do though:
var azureServiceBus = Bus.Factory.CreateUsingAzureServiceBus(busConfig =>
{
    foreach (var myType in myTypes)
    {
        busConfig.Message(myType, configTopology =>
        {
            // Do some configuration
        });
    }
});

A: There are no overloads from Message that accept a Type argument, the types must be specified as a generic type argument. You could, however, use an approach to call a generic method at runtime specifying a type argument as seen in this question.


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Home Sponsored Travers Smith sees concentrated deals gathering pace
Travers Smith sees concentrated deals gathering pace
The appetite for recapitalisations of small numbers of high-performing assets is adding opportunities (and challenges) to the GP-led market, say Travers Smith partner Sam Kay and senior associate Ed Ford.
This article is sponsored by Travers Smith.
What level of activity around concentrated deals did you observe last year?
Sam Kay
Sam Kay: There has been a growing market for GP-led transactions in recent years and a step-change in the past 12 months or so to a greater focus on concentrated deals, namely single-asset deals or transactions where there is a group of often high-performing connected assets. That was evident pre-covid, but there was a pause last March as the market reassessed pricing.
Since then, we have seen a lot of enquiries from GPs wanting to understand how they can use these tools to help existing portfolios and extend financing for particular assets. Since H2 2020 there has been a real push for transactions that do not necessarily involve end-of-life portfolios. Instead, these focus on high-performing or resilient assets where the GP sees the benefit of holding for a longer period. The GP needs to find new investors to underwrite the transaction, but also needs to create the narrative to explain to existing investors why the transaction (and costs) makes sense.
Ed Ford
Ed Ford: Given the volatility of the past 12 months or so, it has been easier for secondary buyers to price and underwrite a concentrated portfolio consisting of a handful of assets than it has been to price and underwrite a highly diversified LP portfolio with a look through ownership to hundreds of portfolio companies, some of which are heavily exposed to covid-related risks and some of which are not. This has helped in concluding concentrated GP-led transactions. Additionally, one of the key features in these deals is that a secondary buyer has extensive access to the GP and the portfolio company management, which can clearly help a secondary buyer's conviction – that access does not generally exist in a more diversified deal and has helped generate competitive pricing in the space.
When setting the economics for a continuation fund, how can GPs strike a balanced approach that will be attractive to all parties?
EF: GPs are rightly keen to emphasise that the transaction is about maximising value creation, not their economics. Ultimately, the key points are consistency with that principle and alignment of interest across all parties. On a continuation fund, this generally includes aiming to set the management fees, hurdles and carried interest rates at a point where they are not price destructive; if the fees are so high that the price that the buyer is willing to pay for the portfolio is significantly reduced, then this is likely to be questioned by the LPAC.
Equally, the buyers (who are often effectively fund of funds) will want to make sure that carried interest is only 'paid' by them when their own target returns are met – this often leads to economic arrangements that are a bit more structured than in typical buyout funds and may include ratcheted distribution waterfalls and/or MOIC-based return targets.
Both the buyers and the existing LPs are likely to expect to see their management fee charged at a percentage of invested capital (typically, 1.25-1.75 percent per year). It is generally straightforward to work out what the secondary buyers' invested capital is, but there is a question for existing LPs as to whether that should be tied to the invested capital calculated at the time of the original acquisition or at the price at which the GP-led transaction is executed.
What are the key issues to consider when moving the assets into a continuation fund?
SK: This is a complex area. The first consideration relates to how the assets are moved into the new fund vehicle. Private equity assets are typically subject to a number of transfer restrictions, including 'tag rights' held by each asset's management team and other minority shareholders (co-investors, JV partners etc). The key question here is whether the GP-led transaction is intended to generate liquidity for those stakeholders – if not (which is more typical, at least in the case of management teams), then an important part of the transaction is establishing whether third-party consents are needed to execute the transaction and to ensure that management are aligned and engaged with the process. Depending on the portfolio and the structure, there will also be significant tax work needed on the ECI withholding tax rules and stamp duty and there may also be other consents needed (from regulatory/competition authorities, lenders etc).
The other fundamental consideration relates to how the existing LPs and the carried interest holders 'roll' into the continuation fund; there is a delicate balance to be struck between the desire to achieve that in a tax efficient manner and the desire to minimise deal complexity and execution risk.
How does the liability profile work?
EF: On a typical M&A transaction, the selling fund makes only very high-level warranties, with the portfolio company management team generally providing the buyer with a set of 'business' warranties relating to the portfolio company being sold. The transaction dynamics incentivise the management team to provide those warranties, which form a key part of the buyer's due diligence, because the management team are also selling, so are taking liquidity from the transaction. In that case, the buyer is looking for alignment with
The dynamics in a typical GP-led deal differ significantly; it is possible that management are not receiving liquidity so there is little incentive for them to provide an extensive warranty package and the secondary buyer generally looks first to alignment with the GP then to the GP's and the buyer's (collective) alignment with management. This impacts all sorts of elements within the transaction and may mean that it is not practical for management to provide any form of warranty package.
This area is very transaction specific, but it is not uncommon for the selling fund to make a broader set of warranties than it would in a typical M&A exit, which implicitly extends the liability position of both the selling fund and, via the 'LP giveback' provision, its LPs. That means the warranty package is increasingly backed by a specifically tailored GP-led W&I insurance policy – this helps the GP de-risk the sellers/LPs' liability and, importantly, means that the GP does not have to effectively sue itself for breach of warranty (as it may otherwise be required to bring a claim on behalf of the continuation fund against the selling fund for breach of warranty).
Is it common to have follow-on capital made available? If so, how is this structured?
SK: Follow-on capital is commonplace because the GP will want to continue to support the assets and help them grow. It is relatively easy for the buyers to put in extra capital because that will be taken into account when considering whether to underwrite the deal.
However, there is an inherent tension between the idea that a GP should offer the existing LP base a 'status quo' option (ie, extend those LPs the right to maintain the same transaction exposure to the underlying assets before and after closing) and raising follow-on capital, which necessarily involves either an increase in rolling LPs' undrawn capital or some form of dilution. Of course, there are a number of ways to mitigate this, including structuring follow-on capital via some form of non-dilutive instrument (eg, a payment-in-kind loan note or preferred equity).


Most Bibles out there in society do not reveal this truth because SATAN rules the world and wants to create broken families!
*1*KJV says them that defile themselves with mankind.
Most people today think that when a woman leaves and or divorces a man taking the children with them it is OK. But that is not what the scriptures tell us, in fact most bibles out there today HIDE this fact that the children belong to the man! The wife is supposed to want to stay with the family unit because that is where the children are. But in today's society, women get the rights to children more easily. What the Father and Son set up for Torah Laws, for building a great society was for the man to own the children, cattle, land and any other possession. Today's society creates broken families and mixed up children with no father figure, or worse families brought up in a homosexual unit. That will someday change with the Messiah coming back and establishing the Torah Law.
My wife whom left me took me to court (which is unscriptural). I tried bringing this evidence to court, but the judge would hear no part of it and told me to put my bibles away, which I refused to do as that is Ahayah's LAW. The judge quickly rendered a verdict that my wife get full custody of the child. Since then she quickly moved 2 provinces away and I have never seen Elayna Sorsdahl. Canadian law does not have rights for men, they do not follow the Holy Law.


"With the words "Deo Gratias," a great wave of thankfulness goes up to the Angels, who, as a parting gift, send back a fine stream in response. This is caught by the celebrant and poured out during the final benediction, along with the power and material of which the whole Eucharistic Edifice was constructed, which... dissolves into great streams of rushing force... spreading benediction wherever they go." -Rt. Rev. CW Leadbeater, Late Presiding Bishop of The Liberal Catholic Church, The Science of the Sacraments.
Established in England in 1916 through a reorganization of the former Old Catholic Church in Great Britain, the new movement quickly spread to other countries, and in 1918 adopted its distinctive name, THE LIBERAL CATHOLIC CHURCH. Its Episcopal succession is derived from the Old Catholic Church of Holland through Archbishop Arnold Harris Mathew and his Auxiliary, Bishop Frederick Samuel Willoughby, the latter having been elected and consecrated "to safeguard the Succession." Archbishop Mathew ordained a number of Theosophists to the Priesthood, knowing that they were Theosophists and knowing about their philosophy. They had built up a congregation in London which was at that (1915) the only congregation of the Old Catholic movement in England. In an about-face the Archbishop suddenly demanded that they all withdraw from membership in the Theosophical Society, and when they demurred at this breech of agreement, he bowed out and declared the whole movement "terminated."
Nowhere is the Church large as yet, but it is steadily growing. The United States of America has its complements of bishops, priests, incorporated parishes as well as unincorporated missions, various churches, church centers and private oratories. The Church in the USA is incorporated in the State of Maryland as "The Liberal Catholic Church, Province of the United States of America," but its Provincial Headquarters is now in Ojai, California.


The sequel takes on art, capitalism and death in a way that may leave adults unsatisfied.
Simon Abrams (aka Manchego Ninjago): I take issue with The Lego Movie 2 and The Lego Movie because of their please-like-me jokes, their boring-looking visuals (sorry, man) and their winky-winky stock characters. More specifically, I dislike Lord, Miller, and director Mike Mitchell's expression of The Lego Movie 2's biggest idea: grimdark entertainment, like Mad Max: Fury Road, is just as valid as bubblegum pop, like, say, The Lego Movie, because both films are ultimately optimistic. Well, yeah. And?
Everything in The Lego Movie 2 repeats or barely develops that theme. I felt like I had already seen the whole movie by the 30-minute mark. Oh, so the menacing Duplo aliens are just misunderstood? And evil shape-shifting alien Queen Watevra Wa'Nabi (Tiffany Haddish) — a big target of skepticism for our well-meaning, outspoken heroine Lucy (Elizabeth Banks) — is not really evil? I got all of that after about 30 minutes. Granted, I did not anticipate the twist about Chris Pratt (voiced by Pratt) and Rex Dangervest (also Pratt), his grimdark Chris Pratt alter-ego. But I am not (just) boasting when I say that I had this movie pegged from early on — I wanted to love this movie, especially since I like both Lord and Miller's 21 Jump Street and the Lord and Rodney Rothman co-scripted Spider-Man: Into the Spider-Verse. I'm not immune to Lord and Miller's meta-reflexive style of humor. But man, The Lego Movie 2 is depressing.
I know you're about to bring the hammer down on me. But first, I wanted to add some links and quotes from mixed-to-positive The Lego Movie 2 reviews that I read and liked. First, here's ScreenCrush's Matt Singer, who writes that the film is "very cute and very sweet," but adds that "The scene I keep coming back to is the one where Emmet tries to remind the residents of Bricksburg that ... everyone is special now. Nobody's buying it, and to be perfectly honest, after The Second Part, I'm not sure I am either." Then there's Vox's Todd VanDerWerff, who says, "The bar is higher, and Lego Movie 2 doesn't clear it with nearly as much ease." Finally, check out this short piece by The Boston Globe's Tom Russo, where he emphasizes the post-Lego Movie transformation of Will Ferrell's father figure/conflicted LEGO alter-ego (aka Lord Business): "[Even Lord Business] eventually came to understand the imagination-sparking value of a Legoland without borders."
And without further ado: tag, you're it.
Steven Boone (aka Bionicle with a Monocle): I don't hate it. If I had to write a full Lego Movie 2 review, it would probably go little further than Singer's note, "This is a very fun movie to look at." In 2019, we expect a popular family film to have a lot on its mind. The mindlessness of your average contemporary mindless entertainment owes more to its visual construction — interchangeable CGI hyperbole and infographic sense of storytelling — than to the content. Very smart people make these movies, and pop-culturally astute people gobble them up. In that sense, The Lego Movie 2 is standard-issue toothless (or teething, rather) satire with a difference: like its predecessor, it is distinctly gorgeous.
Whatever Nerf bat this film is trying to beat kids over the head with about gender roles — and toxic masculinity, encroaching puberty, optimism, identity, anxiety and Real Life — I tended to experience like a five year-old: as a light show, a pop-up book, a crib mobile. Goo-goo. As I said to you earlier, about your quietly mortified reaction during the screening: The Lego Movie 2 has more visual texture, solidity and dreaminess than Mad Max: Fury Road. Side note: there's a specific ingenious technical choice the filmmakers made for all the Lego movies that I won't go into here, but it provides a kind of visual Autotune that also happened to benefit the first three Mad Maxes. The first reader who guesses what it is wins my love.
Maybe the John Williams sound-alike orchestral cues had something to do with it, too. But when our heroes first blasted off into space to reach the "Stairgate" portal, I felt faint traces of The Force. The light, shadows, spaces and sounds are as carefully considered and modulated here as any passage of The Empire Strikes Back, that most beautifully photographed kiddy space opera.
So that's how the film effectively says, "Big bro and little sis, you can play nice and be yourself and be 'cool' all at the same time!" But it tends to say that through the "Please-like-me" characters that you mentioned, rattling off Teen Titans Go!-grade quips and snaps. Everything isn't awesome; everything is meta, everything is sitcom. Two decades after the rise of Pixar and Dreamworks meta-animations (with Ren & Stimpy, Roger Rabbit, Rocky and Bullwinkle, and Looney Tunes before them), I feel as beaten into cutesy submission as Lego Batman (Will Arnett), who, in this film, finds love with an alien queen who's bent on making him over as a vapid raver, complete with glitter cape. Fine, paint my toenails that stupid color — I'm distracted by the spinning lights.
But since The Lego Movie 2 seems pitched even more squarely at little kids — more than the finer corporate satire of The Lego Movie — I'd love to hear exactly what made you swear, upon exiting the theater, to keep your toddler nephew far away from this movie.
Abrams: Damn it, Boone, stop being so reasonable, even as we disagree with each other. I also often feel beaten into "cutesy submission" by contemporary animated movies and their common language of self-referential meta-humor. That whimsical "Nerf bat" approach (good one) approach is what I'm struggling to resist when I beg my poor sister (who has better things to do with her time) to keep her lovable two-year-old, Theodore, far away from the Lego movies. Because The Lego Movie 2 isn't just a knowing apology for The Lego Movie, which is already a defensive statement of purpose. That, in theory, is fine (cough, we both like Glass, cough).
1) The songs, jokes, plot and characters of The Lego Movie 2 are all proudly clever. I don't even mind that this movie isn't thoughtful: I just hate being trapped in a Bouncy Castle with a sugar-high grad student who won't stop lecturing me about how put upon he feels for openly loving Carly Rae Jepsen, Beyonce or whoever.
2) The Lego Movie 2 was made at a moment when Lord and Miller are at the peak of their influence and popularity. So anti-camp jokes about Batman — he's wearing a Liberace glitter cowl while joking about his resemblance to Val Kilmer! — and earworm songs that are knowingly empty but catchy (with lyrics like "This song's gonna get stuck inside your head" and "There's nothing you can do, there's nothing you can say") are petty. Lord and Miller have effectively re-asserted their pop culture dominance by repositioning themselves as besieged, happy-go-lucky poptimist advocates. Give me a break, dudes.
With all that said, I have to ask you, a critic who tends to roll his eyes at bush-league cinematic propaganda: what movie did you see, and would I recognize it if I saw it?
Boone: 1) I think any corporate satire or send-up that actually comes from the corporate world, be it Joe Dante's Gremlins 2 or a snarky Superbowl spot, is doomed to soft-pedal its most damning conclusions. There are no Howard Beales among blockbuster filmmakers advising the viewer to turn off the set and see with their own eyes. The whole point of Star Wars and E.T. — the two children's films that sparked my imagination — was to insinuate themselves into my playtime the same way that Kaiser Permanente moderated my pediatric visits.
I tend to look outside the corporate media dome for subversive spectacles. YouTube videos — some of which cannibalize big-studio product to deliver superior thrills and subversion — are where the real revolution is happening. A revolt that never leaves the plantation is just sassing the bossman.
2) "...gratingly clever." I've felt that way about every beloved mainstream animation since Pixar and Dreamworks first broke a hundred mil. We are going on three generations of animated features that teach kids the value of smug preening.
Abrams: There are a couple of moments that make me want to mutter and grumble, from Haddish's opening song number — when Queen Watevra Wa'Nabi begs Lucy and the other Bricksburg residents to Haddish's character a chance, even if she repeatedly (and accidentally) threatens them — to the moment where the Bricksburgians sing "Everything's not awesome, but that doesn't mean it's hopeless and bleak."
With that said: if I can only pick one moment that encapsulates what I dislike about The Lego Movie 2, it's got to be the sequence where Rex Dangervest disappears, brick by brick and limb by limb. This should be a sad and/or funny moment, since we've spent some time getting to know and ostensibly enjoy the company of Rex, an antiheroic antagonist who is also basically the Ghost of Future Lego Movies. I don't like Rex, but his destruction should feel important.
But as Rex fades from view, he tells us that his disappearance is just like when Martin McFly almost vanished in Back to the Future. Rex tells us not to worry, because while he's really disappearing — and cannot be resurrected or revisited — it's actually a good thing that he's going away, never to return (ever). Don't cry for him, kids: The Lego Movie 2 is just another movie. Great, so not only am I not allowed to feel a little discomfort or regret at death of this key supporting character, I'm also being told that my natural inclination to connect with him is wrong. Look, guys: if you want to make me cry or laugh, you kinda have to do more than hint at jokes or emotional relationships. Don't just tell me what I should think or feel and then ask me to appreciate the depth of your thoughts and feelings! The Lego Movie 2 is exhausting.
Now you're it again: what's a scene or image that summed up your viewing experience?
Boone: You've pinpointed the film's essential toothlessness: it's as skittish about deep feelings as its hero Emmet. I get that the filmmakers thought of Rex Dangervest as "only" the alt-timeline dark version of adult Emmet and therefore as dispensible as, say, Evil Goatee Spock. But that won't stop little kids who've grown attached to Rex (and his Raptor buddies) from feeling cheated. Sometimes, toothlessness bites. It's an odd moment of DGAF for a film that feels like an elaborate therapy session for kids still reeling from Avengers: Infinity War's tragic ending.
More oddly: for all my going on about the film's technical pizzazz, the scene that sticks with me is the most flatly shot: real-life big brother (Jadon Sand) has a change of heart about little sister's (Brooklynn Prince) silly Lego games. He grows up right before our eyes by staying a kid just for his sister when she needs a playmate. Maybe its Sand's resemblance to the gawky older brother in E.T., who also transforms from tween cynic to born-again dreamer. The scene could have used some Spielberg lyricism, but in this age of post-everything meme and emotional recession — I'll take what I can get.


Enjoy modern creature comforts at the Mercure Wetherby Hotel, just moments away from the lively market town of Wetherby. Relax in the adjoining bar or enjoy an apéritif on the covered patio in sunny weather. All bedrooms feature a flat-screen TV and complimentary high speed WiFi. We have interconnecting rooms for families and cots for our youngest guests. Complimentary high speed WiFi is available in the 12 daylit conference rooms and throughout the hotel.


Possibly we really did not look the component as the customers coming as well as going were clothed in fits as well as connections. Later on it took place to me that as an unescorted woman, criminal activity in Europe at that time, with 2 young youngsters in the toe, we should have looked entirely out-of-place. In a means, looking back at it, that concierge did us a big favour due to the fact that it was not a location that a spiritual individual like me need to ever before go into.
Monte Carlo is a tiny area and also whatever appears over the leading regarding riches is worried. The Casino is no various. Indeed it was the regularly made use of in flicks and also there is track concerning spending a lot of Monte Carlo, every one of which remained in my mind when we faced the concierge that disallowed our entry.
Later on it took place to me that as an unescorted woman, criminal activity in Europe at that time, with 2 young youngsters in the toe, we have to have looked entirely out-of-place. In a method, looking back at it, that concierge did us a big favour since it was not an area that a spiritual individual like me must ever before get in.
It was warm as well as we had actually come from the Australian winter months so we were putting on shorts as well as Tee shirts. Perhaps we really did not look the component as the clients beginning as well as going were clothed in fits as well as connections. We never ever did locate out as we really felt denied and also was informed we might not get in.
My two young youngsters as well as I had actually flown to Italy a couple of days previously as well as it was our very first journey to Europe. As an Australian mum instead naïve regarding European uppishness, some may call it snobbishness, we parked the vehicle contrary and also marched up to the door anticipating to be allowed in.
Of program it was regularly utilized in flicks as well as there is tune regarding damaging the financial institution of Monte Carlo, all of which was in my mind when we faced the concierge that prevented our entry.
We obtained some excellent keepsakes and also examined the within the royal residence. This kind of high-end is not something we also assume very of, precisely as we have no course difference in your home. So why would indeed a person desire every one of this deluxe as well as a waste of loan to sustain their lifestyle.
We had actually currently checked out the pink royal residence and also the Napoleon Gallery, which was an excellent destination for the children. As they were merely 9 as well as One Decade-old they understood absolutely nothing regarding any one of the personalities whose background as well as similarities got on screen. Yet my boy was considerably satisfied with the emperor's tools and also the steed he was riding.


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The Ideal Resting Period for Cyclists
To come back stronger than ever next season, you need to make sure you're resting right
by Dr Jeroen Swart Published: Oct 19, 2016
All athletes need an off-season to recover from the physical and mental stress that training and racing imparts on the body. Even if you aren't training hard, a lack of any form of break will almost always lead to staleness and reduced performance.
There's much debate about what constitutes an optimal rest period, and what one should and shouldn't do in the off-season. In the past, many top pros would stop training altogether, for up to a few months. This resulted in some of them gaining a lot of weight and then struggling to lose that weight in the first half of the European season.
RELATED: Ride and Recover: Tips for Taking a Break from Your Training
Weight gain is only one side effect of adopting a totally sedentary lifestyle in the off-season; an additional aspect is the loss of many of the training adaptations gained during the previous year. Still, a short period of inactivity—two to three weeks of rest—won't reverse the chronic adaptive changes you worked so hard for.
However, two to three months of inactivity can result in an almost complete reversal of training gains. With an excessively long period of inactivity, riders will be unlikely to deliver better performances, as they'll effectively be starting training again from scratch. In contrast, building on the previous season's gains can result in a progressive improvement over a period of five to eight years, and an eventual peak of performance that would not otherwise have been possible. (We term this a "chronic training adaptation.")
What constitutes an optimal off-season?
The general consensus at this time is that a few weeks of active rest are sufficient to allow psychological and physical recovery from the stresses of the previous season. By "active rest," we mean lower-intensity activities that differ to those that you'd do during the season. These could include hiking, swimming, surfing, rock climbing and other fun activities. If you participate primarily in road racing, then some relaxed mountain bike riding can also be included, or vice versa.
RELATED: A Time to Build: Strength Exercises for Cyclists in the Off-Season
The exact duration of the rest period should be determined by how long and strenuous your previous season was. However, a few weeks should suffice; and in general, when you feel energized and enthusiastic once more about the coming season, then you're probably ready to start training again.
This will then take you into the pre-season conditioning period. In the past, this has largely meant low-intensity training, combined with strength and stability work in the gym. A new approach now gaining acceptance is the incorporation of intermittent high-intensity training in the pre-season. Recent research has demonstrated that this is effective in maintaining many performance adaptations that would otherwise be lost if you waited until later in the season before doing high-intensity interval training again.
This article originally appeared in the February 2015 issue of Bicycling South Africa.
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Art and Photo with Annie Leibovitz at Cannes Lions
Where does journalism end? Where does art begin? Do art and photo go hand in hand? World-famous American photographer Annie Leibovitz has answered all these questions in Cannes during a press conference organized by the Cannes Lions.
Annie Leibovitz, considered the greatest current photographer, said at Cannes Lions that he was happy to work on some great advertising campaigns, including last season's Louis Vuitton "Core Values", the last part of which being a picture of boxer Muhammad Ali, that have her won the Grand Prix Strategies. "Working with such prestigious brands makes me want to surpass myself and be more creative," she said.
According to her, photography is a promising future media. Annie Leibovitz has made sure to get rid of the debate "Is it art? Is this journalism?" concerning her own pictures. "At each meeting, I try to start a dialogue with the person I photograph, whether a musician, an actor or a politician," she explains. "To be effective, one must be passionate and when you have the opportunity to work on something that you can really idealize, it less of a business, more a way of life."
For her then, it does not matter where her photos appear: "Whether in a magazine or for an ad, I try to tell a particular story, the story of the man or woman that I photograph," she says. Annie Leibovitz particularly returned on one of the most moving pictures of her career, that of John Lennon and Yoko Ono taken in 1980, a few hours before the murder of the Beatles' singer. "He is naked, he kisses Yoko. I wanted to show the closeness existing between these two beings … "
Annie Leibovitz was born on 2 October 1949 in Waterbury, Connecticut. She began her career as a photojournalist for Rolling Stone magazine in 1970, when she was a student at the San Francisco Art Institute. The artist has been exhibited in museums around the world, including the National Portrait Gallery, the Corcoran Gallery in Washington, the International Center of Photography in New York, the Brooklyn Museum, the Stedelijk Museum in Amsterdam, the Maison Européenne de la Photographie in Paris, the National Portrait Gallery in London, the Hermitage Museum in St. Petersburg or the Pushkin State Museum of Fine Arts in Moscow.
Leibovitz has received many honors: in 2006, she was awarded a Commander of the Order of Arts and Letters by the French government. In 2012, she received the Los Angeles Museum of Contemporary Art Award, awarding women artists and the Wexner Prize. In 2013, she received the Prince of Asturias Award for Communication and Humanities. She is currently living in New York with her three children.
www.canneslions.com
Art and Photo with Annie Leibovitz at Cannes Lions was last modified: June 26th, 2013 by tamel
Posted in: Cannes Lions 2013
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The Tony Mac Show
Whiteboard Wednesday #13
Tony Mac Show - Season 4 Episode 2 Tony McIntyre, Olivier "Coach O" Jean-Charles, Austin "Rudy" Mays, and Raysean Joseph.
Whiteboard Wednesday #11 feat. Michael Hamilton
Tony Mac Show - Season 3 Episode 1 Michael Hamilton joins Tony McIntyre, Brandon Ennis, Jeremy Pope, Tyler Schneider, Patrick Falduti, and Manny Dosanjh
Tony Mac Show - Season 2 Episode 10 Tony McIntyre, Patrick Falduti, Jeremy Pope, Manny Dosanjh and Brandon Ennis
Whiteboard Wednesday #9 feat. Jarryn Skeete
Tony Mac Show - Season 2 Episode 9 Tony McIntyre, Jarryn Skeete, Jeremy Pope and Manny Dosanjh
Whiteboard Wednesday #8
Tony Mac Show - Season 2 Episode 8 Tony McIntyre, Manny Dosanjh, Patrick Falduti, Jeremy Pope and Brandon Ennis
Tony Mac Show - Season 2 Episode 7 Tony McIntyre, Brandon Ennis, Patrick Falduti and Manny Dosanjh
Tony Mac Show - Season 2 Episode 6 Tony McIntyre, Jeremy Pope, Manny Dosanjh, Brandon Ennis and Patrick Falduti
46 minutes | May 1, 2019
Tony Mac Show - Season 2 Episode 5 Tony McIntyre, Patrick Falduti and Jeremy Pope
Tony Mac Show - Season 2 Episode 4 Tony McIntyre, Patrick Falduti, Jeremy Pope, Manny Dosanjh and Brandon Ennis
40 minutes | Apr 3, 2019
Tony Mac Show - Season 2 Episode 2 Tony McIntyre, Brandon Ennis, Jeremy Pope, Manny Dosanjh and Patrick Falduti
Tony Mac Show - Season 2 Episode 1 Tony McIntyre, Patrick Falduti, Manny Dosanjh and Jeremy Pope
#05 - Jeremy Pope
Jeremy Pope is one of Athlete Institute's newest coaches. Jeremy is a Lead Skills Coach with Academy and Head Coach of Athlete Institute Red. Jeremy played NAIA division 1 basketball at Biola University in southern California. Before coming to the Athlete Institute Jeremy was a Grad Assistant Coach for the University of Washington Men's Basketball team and coached with the AAU program LA Rockfish. On Episode 05, Jeremy talks about his upbringing in Compton California, working and coaching at the University of Washington, experience playing college basketball, and much more.
#04 - Matthew-Alexander Moncrieffe
Matthew-Alexander Moncrieffe is a 6'7" small forward in the class of 2020, who plays high school basketball for Orangeville Prep at the Athlete Institute Basketball Academy. M.A. is a top Canadian prospect in the class of 2020 and holds offers from several NCAA Division I programs. On this episode, M.A. talks about his favourite NBA player, his work ethic, goals, current offers and interest, playing with pros and more! Matthew-Alexander Moncrieffe: Instagram: https://www.instagram.com/nolimitma/ Subscribe: https://www.youtube.com/channel/UCXjzHtBcPdN7J7vhAZSWxrw?sub_confirmation=1 More from Athlete Institute Basketball: www.gobears.ca Instagram: https://www.instagram.com/athleteinstitutebasketball/ AI Academy Twitter: https://twitter.com/AI_Academy Orangeville Prep Twitter: https://twitter.com/OrangevillePrep Facebook: https://www.facebook.com/AIBasketballAcademy/ Podcast: https://anchor.fm/tony-mac-show/
#03 - Michael 'Pinball' Clemons
Michael 'Pinball' Clemons is Canadian Football League (CFL) Hall of Famer who has won 6 Grey Cups with the Toronto Argonauts - 3 as a player, 1 as a coach and 2 as an executive. He currently serves as Vice-Chairman for the Argos and does an insane amount of philanthropic work through his Pinball Clemons Foundation, helping youth around the world. An extremely humble Pinball talks about growing up in Florida, his path to the CFL, his love for Toronto and Canada, and all the work he does through the Pinball Foundation. www.pinballfoundation.ca Instagram: www.instagram.com/pinballfoundation Facebook: www.facebook.com/pinballfoundation Twitter: www.twitter.com/PinballFdn Subscribe to YouTube: https://www.youtube.com/channel/UCXjzHtBcPdN7J7vhAZSWxrw?sub_confirmation=1 The Tony Mac Show is an Athlete Institute Production More from Athlete Institute Basketball: http://www.gobears.ca http://www.athleteinstitute.ca Instagram: https://www.instagram.com/athleteinstitutebasketball/
#02 - Dylan Ennis
Dylan Ennis is a professional basketball player from Brampton, Ontario. Dylan is currently signed with MoraBanc Andorra, playing in the ACB, the top professional division of the Spanish basketball league system. Dylan played NCAA Division I basketball at Rice, Villanova and finally Oregon. Dylan talks about some crazy stories playing high school basketball in New York and how he persevered through several serious injuries, culminating in a run with Oregon to the Final Four in 2017.
#01 - Jesse Tipping
Jesse Tipping is an entrepreneur and the owner of Athlete Institute and Pretty River Sports & Entertainment. Jesse Tipping founded the Athlete Institute High School Basketball Academy in 2012. Since that time Athlete Institute and Orangeville Prep has produced over 60 players that went on to play post-secondary basketball, including 27 NCAA Division I scholarships. AI currently has two players currently in the NBA; Jamal Murray and Thon Maker, and several future NBA prospects. On the first ever episode of the Tony Mac Show, Jesse talks about his childhood, current goals, motivations, the state of basketball in Canada, entrepreneurship and much more!


Dr. Eggleston leads the marine ecology and conservation program and is also the director of the Center for Marine Science and Technology at N.C. State University. Dr. Eggleston's research interests include fisheries ecology, habitat restoration, conservation biology, detected ecological impacts, behavioral ecology, population dynamics and modeling and marine science education. Dr. Eggleston has been conducting basic and applied research on oyster populations since 1985.


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Jean Painlevé
This is the first UK solo show for fascinating artist Jean Painlevé, who chronicled key moments in the lives of seahorses, snails and other marine animals, using novel technologies to reach microscopic scales
15 March – 4 June 2017
by MATTHEW RUDMAN
The ocean floor is a mysterious place, we are often told, more alien than the surface of the moon. But, for Jean Painlevé, coastal shallows, and the familiar crabs, shrimps and snails that call them home, held just as much mystery. Painlevé (1902-89) was a French documentarian who, over his six-decade career, made more than 200 short films, chronicling key moments in the lives of marine animals, using novel technologies to reach microscopic scales.
Despite his prolific output, Painlevé is little known outside France, and this concise exhibition at Birmingham's Ikon Gallery is the first solo show in the UK for this fascinating and eccentric artist. The four documentary films on show range in subject matter from seahorse childbirth to hermaphroditic snail orgies, melting multicoloured crystals to a 1927 circus show puppeteered by Alexander Calder. The films are accompanied by a set of microscopic marine photographs, and a collection of seahorse-themed jewellery designed by Painlevé's partner Geneviève Hamon.
Documentary is only an approximation of what Painlevé's films are striving to achieve. Having studied biology at the Sorbonne in the 20s, he does indeed cover a lot of scientific ground, describing in intricate detail the interior structure of the male seahorse's egg pouch, or how the hermaphrodite acera snails mate. However, he also seeks to entertain, and his idea of these two goals being interrelated was novel for his time. His camera, paired with a microscope, uncovers hidden beauty in the translucent hoods of fluttering sea snails or the curling ribbed tails of the seahorse, beauty spiced up with unexpectedly comedic narration: the news that these postnatal seahorses are uncomfortably gassy was met with peals of laughter among the assembled viewers.
Raised in Paris, Painlevé was frequently taken on trips as a child to the region of Finistère in Brittany, earning the nickname the "Pêcheur de Triton" (the "newt fisherman") for his interest in marine life. While at the Sorbonne, Painlevé was a member of the French Union of Communist Students, through which he became familiar with avant-garde film and the surrealist movement, meeting such greats as Luis Buñuel, Sergei Eisenstein, Fernand Léger, Man Ray and Alexander Calder. We see echoes of these influences in his close-up photography of lobsters, a favourite surrealist motif, but while the Paris of the 20s and 30s was a crucible of competing movements, Painlevé stood at a distance, defying any easy categorisation.
Over the course of his career he eschewed the exotic; he rarely filmed marine life that wasn't readily available for capture in the shallows of the Brittany coast. What excited him about cinema was its capacity to make the familiar new again, to guide attention to organisms normally deemed unworthy of it. His subjects are urchins, snails, squid, hardly exciting on paper. However, with the relatively new cinematic powers of magnification and slow motion at his disposal, Painlevé was able to transmute a crab claw into a monstrous visage, the nose of a shrimp into fanning feathers of impossible delicacy.
His 1934 film L'hippocampe (The Seahorse) is the best-known work on display at the Ikon. The 14-minute black-and-white film explores the unusual reproductive cycle of seahorses, where the female gives the male eggs for both fertilisation and birth. The film is replete with scientific detail: Painlevé's narration guides our attention as he slows the film to a crawl, revealing the drumming heartbeat of a newborn seahorse.
In 1948, Painlevé proclaimed his "Ten Commandments" on the practice and theory of film-making, one of which states: "You will not make documentaries if you do not feel the subject." In L'hippocampe this drive is readily apparent: Painlevé marries his biology lessons with emotive, anthropomorphic description: the narrator ponders the male's wide eyes, anxiously waiting for the right moment, and lingers on the rhythms of his contractions, which are pained and distressing. The rapid cutting of labour gives way to long, calm shots lingering on the beauty of the translucent newborn creatures.
Despite commonly being pictured wading around tide pools in Brittany, Painlevé was a cosmopolitan man, unafraid of commenting on, and profiting from, his own work. He remarks on the function of sex and gender in seahorses: "The seahorse was for me a splendid way of promoting the kindness and virtue of the father, while at the same time underlining the necessity of the mother. In other words, I wanted to re-establish the balance between male and female." Alongside this film is displayed a collection of jewellery, designed by Hamon (as is the wonderful nautical wallpaper adorning the room in which they are displayed), and launched in the hope of capitalising on the success of L'hippocampe. One can imagine the vital, contemporary meanings these gracefully intertwined seahorse necklaces, bracelets and earrings would have taken on for the women who wore them in 30s Paris.
A technician at heart, Painlevé built many custom camera rigs of assorted waterproof boxes and panes of glass, both for filming in the wild and in the studio, the latter of which he preferred as it granted him more control over his subjects. As such, the backgrounds in his films are often sparse, which serves to accentuate the magical details and movements his camera records. In Acera or the Witches' Dance (1978), the snails are subject to long static shots against plain backgrounds of green and black, casting their luminous propulsive hoods in brilliant detail.
Transition de Phase dans les Cristaux Liquides (Phase Transition in Liquid Crystals), also from 1978, attests to Painlevé's technical prowess and gestures to his work beyond the aquarium. The film is a mesmerising journey through various states of matter, our perceptions of scale oscillating from the grand and celestial to the small and kaleidoscopic. Rough shards of crystal melt into psychedelic rivulets of dye, as metallic circles expand and contract, resembling circular fields or reservoirs seen from the air.
Beyond film and photography, Painlevé recognised the importance of music in animating his subjects and engaging his audience. Phase Transition is accompanied by a brilliantly spooky, off-kilter soundtrack by electronic music pioneer François de Roubaix, while Acera or the Witches' Dance, 1978, is set to the music of Pierre Jansen, whose anarchic horns inject some energy into proceedings, synchronising with the snails' dove-like flapping.
This exhibition is an intriguing introduction to an artist deserving of more attention. There is visual poetry in these peculiar – and often funny – films and photographs, and it's a shame there isn't room for more of them. These works communicate Painlevé's essential enthusiasm and childlike curiosity about the quotidian natural world around us: they bid us to look, and look again, more closely now.


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A Message to All Hairstylists From Michael Gordon
Roxie Jane Hunt
Hairstylist, blogger, beauty reformist, photographer.
01/11/2016 01:43pm EST | Updated December 6, 2017
Michael Gordon has shaped the industry of hairstyling. As the founder of Bumble and Bumble, and more recently NYC's Hairstory Studio, his vision for the future of hair continues to drive us forward as stylists, into new concepts and innovation in the realms of both creative styling and haircare.
Today, Michael chats with us about the future of the industry, ditching shampoo, and how Hairstory is here to create culture and community for the lone hair rangers in the big-industry hijacked world of hair
Words on Hair with Michael Gordon
Michael, you have moved on from B&B to Hairstory Studio and a brand new product line. What inspired this shift for you, moving on from B&B and starting a new vision from scratch.
After I left Bumble and bumble, I decided if I were to return to the industry it would have to be with the different intentions. In my time away, I became interested in the subject of sustainability, in particular how to avoid creating waste. I started to think "why are there so many hair products out there?" The 'aha' moment came when I realized the culprit, the real scam here: shampoo. In particular their detergents and the very real havoc they cause. This damage is the catalyst for so many products: conditioners, detanglers, treatments, masks, on and on.
This epiphany led to my search for an alternative. I didn't know if we would find it but we did. New Wash cleans the hair and scalp with fatty cleansers derived from essential oils, leaving the hair and scalp clean and in perfect equilibrium.
How can we use your vision to help us change the way we do hair, and the way we communicate with our clients?
Another one of my grievances with the industry is the appalling lack of really fine education. In particular, most hairdressers have no real idea of how to use product, and that's not necessarily their fault. Part of the problem is perpetuated by hair companies that create countless products and so frequently launch new ones. These products are made in marketing rooms and have no real purpose other than to turn a profit.
Hairdressers naturally assume that these products all have a place - that the formulations do things that the others don't. However, deep inside I know, from experience, the same hairdressers are screaming "this is bullshit, I can't possibly need another thickening spray!"
With our pared-down line of four products it will be much simpler to educate your clients, and in effect sell much more. You are providing them something you believe in, it's not a sale, it's advice that will make their life better.
I also encourage all hairdressers and clients to use our site as a reference - to start conversations you might not have usually prompted - and all-in-all become braver.
What would you tell someone who loves the idea of leaving their shampoo behind for New Wash, or any other non-shampoo system/routine, but has been so indoctrinated in their own routines and beliefs about cleanliness that they are afraid to make the leap?
Well let's start with the fact that the most likely place to contract a staph infection is a hospital - so the idea of being over-zealous about cleaning, purelling, and disinfecting has become an over-the-top, mostly American, neurosis. Constant disinfecting has been proven to have negative consequences on people's immune systems as illuminated in Julia Scott's New York Times Magazine article "My No-Soap, No-Shampoo, Bacteria-Rich Hygiene Experiment" (I encourage all your readers to read it).
Why do you think there are so many independent stylists now, all of the sudden?
I think it's a shame that young hairdressers spend ten to twenty thousand dollars on a school, and the aim is not to create skillful hairdressers and thoughtful entrepreneurs, but essentially to keep young people from being unemployed. You come out of the 1500 to 2000 hours, take a state board exam, that in the kindest word is asinine, and you're on your own.
At this point, if you're bright you find a mentor or go to a really great salon and become an apprentice. In the sixties for instance everybody went to Vidal Sassoon to train and later on to any salon owned by someone who had came from Sassoon. This resulted in a very high standard of haircutting.
Times changed, franchises popped up like Jean Louis David, Supercuts, etc. etc. Hair product companies started by real hairdressers were purchased by large corporations, costs were cut, and authenticity and respect for the hairdresser abandoned. So, fast forward to now and most salons can't afford to offer - for various reasons - valuable education.
People are deciding its not worth the money to stay in salons, selling products they don't believe, and loosing a large portion of the commissions they garner to the house. They have their own visions and they're manifesting them for themselves. We're here to help these bold entrepreneurs.
What are your thoughts on the importance of collaboration in our industry, and how can we (independent stylists) begin to move in the direction of being more collaborative?
The idea is to encourage and suggest that hairdressers talk to each other more. Most professions have seminars, discussions, TED events - and I'm not talking about hair shows - where important ideas are exchanged. That's why blogs like yours and others are so important. We need to have real conversations. For example the exchange that the story "The Long and The Short of It" got started simply on Instagram was very exciting to me. People were discussing hair length in a new way.
In fact, we are going to start featuring different hairdressers from around the country who share their experiences in little films. Films that are thought-provoking and motivating in a very transparent and authentic way.
We're in the beginnings of building a strong community and we encourage you to join.
If you know a hairstylist, please tag them or share this post with them. It just might be what they need to take the leap into their own independence. And if you are a stylist, I strongly recommend you check out New Wash and the Hairstory Stylist Enrollment Plan. My clients adore it, and the whole system is designed for independent stylists and their clients. Make your first order and get a free bottle of New Wash for yourself, and be sure to tell them How-to Hair Girl referred you. Stylist referrals mean kickbacks, and you will get them too when you turn your friends on to Hairstory;) Help us pread the love, from one hairstylist to the next.
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Q: Implementation of web service I just want to implement a service in java that will:

*

*take some arguments, then search the database

*return the JSON object of the fetched data
I need help to identify the ways through which I can implement this thing.
e.g. Suppose I am getting the name of the book as argument I want to render.
On service part, I have to fetch book data and convert it to JSON and write/return to response.
I was looking at the Apache Axis2 but I am not sure that I am going in the right direction.
So, pls help.
Need guidelines not implementation.
Thanks

A: I would suggest using JAX-RS based services which would be ideal for your scenario as you want json data. These are pretty easy to get started with. Jersey is a widely used frameworks. Also see RESTEasy.

A: If you are returning the data in JSON then you probably don't need to implement a full web service, which uses XML for both the request and the response.
A normal dynamic web application (written as a Java Servlet) will be able to read request parameters in the HTTP payload and return a JSON-encoded HTTP response.
However you need to consider your clients; if they are only able to access web services then you need to forget about a JSON response and simply objectify the response.  However if the clients can access web resources without issue then go with the servlet approach.
If you need to go with web services then look at the Metro 2 framework.

A: One way to do this is to keep it standards-based.
If you are using the JEE5/6 framework, your best bet would be to go with JAX-WS - comes built-in with the JSE too (if I remember correctly)
You really just have to annotate a POJO with @WebService to achieve this.
Regarding creating a JSON response, a good bet is to stick with the implementation from http://code.google.com/p/google-gson/ ; simple and straightforward

A: Axis2 can handle/support the webservice related part, iaw, transforming java objects into JSON and vice-versa and providing an easy-to-use API for the communication part.
Hibernate or JPA could be useful for database related tasks, although it might be easier to just use JDBC to send some simple SQL commands to the database (especially if the database already existst).


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Hammerfight, previously known as Hammerfall, is a 2-dimensional physics-based video game published by Kranx Productions and 1C for Windows in 2009.

It was re-released as a cross-platform game in the third Humble Indie Bundle in 2011, at which time the underlying engine, Haaf's Game Engine was made cross-platform and open-sourced.

Plot
The player is a member of a tribe called the Gaiars, a strong race who have battled with large bugs to survive. When the player's tribe is destroyed, he is taken prisoner and turned into a slave. As the player is discovered to be the last living human Gaiar, he is forced to battle in the arena. In battle, a man recognizes the player as the son of a friend, and together they plot the downfall of the Emperor who ordered the destruction of the Gaiars.

Gameplay
In the physics-based gameplay, the player swings large melee weapons and relies on centripetal force to give the object enough kinetic energy to destroy enemies. The demo release had six main types of weapons - four melee and two ranged.

The different weapon types offer a certain variety. To be a slow, but well-armored powerhouse using hammers or maces to deliver slow, but crushing blows, or a nimble, but poorly protected sword-wielder, delivering quick, but weak attacks, is entirely up to the player. The game also contains a few different play modes, such as a hunt on worms or a Hammerball game.

The equipped weapon is connected to the player's hovering vehicle, and has physically realistic inertia. By moving the vehicle in circles, it is possible to swing the weapon in circles. Keeping the weapon spinning, getting it to solidly connect with foes, and avoiding their own weapons and other threats is one of the main challenges of the game. Weapon type must also be taken into consideration, with blades more effective against unarmored crafts, and heavier blunt weapons causing more damage to armor. Two weapons can be used simultaneously, and a player can experiment with different weights and types to find a pair of weapons that complement each other, or the player's play style.

Development
The game was developed by Konstantin Koshutin in 2009. The game was initially released by Kranx Productions and 1C for Windows only.

Humble Indie bundle re-release
In 2011 the game became part of the successful third Humble Indie Bundle.

Haaf's Game Engine: open-sourced

For the bundle, Ryan C. Gordon ported the game and the underlying game engine, Haaf's Game Engine (HGE), to Linux and Mac OS X. Following that, Relish Games and Ryan Gordon released the source code of their versions of the engine under the zlib free software license in August/September 2011.

Reception

References

External links

Hammerfight on Steam

Video games developed in Russia
Windows games
Action video games
2009 video games
Linux games
MacOS games
PlayStation Portable games
Indie video games
Commercial video games with freely available source code

redpajama_set_name: RedPajamaWikipedia


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Prev UAE overtakes Kingdom as top FDI recipient in GCC17 August 2014Next Qatar inflation up 3.1% on year in July on rent, furniture and garment17 August 2014
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Emirates agrees $425m loan for A380 aircraft
2014-08-17in	Economics Business 0 Comments 0 Likes
Dubai's Emirates Airline has agreed a $425 million loan from a group of banks to fund the acquisition of two Airbus superjumbos, one of the lenders said.
Abu Dhabi Islamic Bank (ADIB), Commercial Bank of Dubai and Dubai Islamic Bank were joint bookrunners and lead arrangers for the Sharia-compliant financing, ADIB said in a statement.
Emirates used the loan to take delivery of its 50th superjumbo, the bank said. The Dubai-based carrier is the world's largest operator of the A380 jets.
In November, it announced plans to buy another 50 from the European planemaker at the Dubai Air Show.
Abu Dhabi Islamic Bank (ADIB), Commercial Bank of Dubai (CBD) and Dubai Islamic Bank (DIB) have jointly finalized the $425 million financing with the airline.
The three banks were joint bookrunners and initial mandated lead arrangers for the transaction.
The first A380 under the facility has already been delivered in Hamburg, and is the 50th delivery of an A380 aircraft to Emirates airline.
Emirates airline's all wide-body fleet stands at 225 aircraft, representing the world's largest fleet of A380s, and also the world's largest fleet of Boeing 777s.
Emirates airline has the biggest A380 route network of any commercial airline, currently serving 29 destinations. Its Dubai-Los Angeles route is the world's longest A380 flight in operation.
"This is a significant transaction for ADIB, which demonstrates our collaborative approach with other UAE banks, contributing to the growth of the local economy, and highlighting our strong position in the corporate banking sector," said Arif Usmani, Global Head of Wholesale Banking in ADIB.
"We are extremely proud to be a part of this milestone in Emirates airline's growth, and I commend the hard work and dedication that the ADIB team has put into making this transaction come to fruition.
"Emirates airline is a key driver of the UAE economy, and we are proud to be a lead bank in this significant aircraft financing deal as a Joint Bookrunners and Initial Mandated Lead Arranger," added Alain Renaud, General Manager Corporate, Commercial and Investment Banking in CBD. "Emirates airline is an important client for CBD and we are very pleased to be part of its success."
"The success of this deal is testament to DIB's ability to leverage its significant relationships with other banks in the industry to meet the financing needs of some of the most prominent companies in the world," said Naveed Ali, chief of corporate Banking, DIB.
"Not only does this add to our impressive track record of arranging large ticket deals, but it is also indicative of our widely-recognized technical expertise and capabilities in this area. We are also proud to continue our work with Emirates airline and support its endeavors to connect Dubai to the rest of the world."
© Economic and Business Channel


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Random Acts - Channel 4
We Are Poets: The Mesmeric Opening Sequence
Multi award-winning feature documentary, We Are Poets, presents a moving and poignant story of youth, art and freedom of expression. It intimately follows six teenage poets from youth literary group, Leeds Young Authors, as they are chosen to represent the UK at Brave New Voices: the world's most prestigious Poetry Slam competition. From their inner city lives in northern England, to a stage in front of the White House in Washington DC, the team explosively lay bare the concerns of a generation as they take on the world and prepare for a transformational journey of a lifetime. Imaginative, honest and deeply personal, WE ARE POETS reveals a unique portrait of modern Britain and a testament to the power of creativity, community and the dynamism of young people. Anyone tempted to dismiss today's youth as politically apathetic better pay heed: here is electrifying evidence to the contrary.
THE GUARDIAN "Unforgettable...a perfect, honest combination of art and real-life. You have to see this"
HUFFINGTON POST "Compelling, potent viewing...raw and attractive like something you've never seen or heard. If you have any interest in poetry, hell, even if you actively dislike poetry, you should go out of your way to see this film"
BENJAMIN ZEPHANIAH "Amazing...it's poetry itself. This is the film that people in power should listen to"


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As any parent knows, babies often love going into the water but don't always like coming out. It's not surprising really, since babies tend to not be able to regulate their body temperature as well as older children and adults. To help create love of the water, even coming out, invest in a Cuddledry towel which makes the drying process comfortable and enjoyable.
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For older children, why not make dry-time fun time with a range of Cuddledry towels that also allow for some dress-up? Whether your child wants to be a bear, dragon, dinosaur, monkey or pony, Cuddledry keep your little one warm snug, cosy and happy.
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