At Willowcroft, we strive to improve services user's life's so that they can lead an independent and could would fulfilling life.
Our state of art care home offers the latest in luxurious living: All bedrooms have en-suite facilities. We work closely with market leaders in the architectural and design industries to create home environments that enable people who are living with Mental Health Conditions and Dementia to find their way around independently. We have a design team whose job it is to ensure that there are similarities of approach to design across all our homes and that we're meeting the necessary standards.
We use this background to create supportive and enabling environments that preserve each resident's sense of identity in a way that feels right for them. This may involve personalising a room or filling a memory box, whatever it takes to make the move to a new home as smooth as possible for residents and their loved ones.
The Willowcroft team spend a lot of time getting to know the residents as individuals; which allows the team to tailor the care and support around the resident's needs.
We continually work with our residents and families in maintaining life skills such as cooking, cleaning of own bedroom, helping with shopping and other skills such as riding a bicycle.
Life at Willowcroft is about maintaining independence and living a fulfilled life of enjoyment with the help and support of skilled staff.
At Willowcroft we encourage our residents to get to know each other and build friendships.
We actively support and encourage loved ones to spend as much time within the home, so they can also get to know the staff, as we believe this helps build the relationship and makes the move easier.
We have strong links within the community and encourage residents who are able to, to undertake volunteer work, assist staff with shopping for the home etc. we find this gives them a sense of worth.
Joining in with an activity at the care home is a great way to get the most out of your visit with a loved one. Taking part in something together helps maintain strong relationships and you'll find new ways of relating to each other. This is particularly beneficial if your loved one is living with dementia and/or mental health conditions.
Step inside Willowcroft and be prepared to leave the typical view of care homes behind. Our homes are modern, spacious and provide a comfortable and safe environment for our residents to live in.
At Willowcroft we offer a warm and friendly welcome, with cosy and inviting lounges and communal spaces. We encourage residents to bring in their own personal belongings including small furniture to help make the environment feel as homely as possible. We offer a warm and friendly welcome to all who visit our home.
At Willowcroft we understand the importance of good nutrition; we provide a healthy and well balanced diet, by catering for specific needs and cultural preferences.
We encourage our residents to contribute to menu plans; this ensures everyone gets to eat the food they enjoy. Our chefs will often sit down with residents to chat about what they're enjoying and not enjoying.
Willowcroft have purchased a cooker, which is located on the mental health unit to help encourage residents to prepare and cook their own meals with staff guidance. The aim is to build and maintain life skills.


text:
Dishonored Locations, Buildings
Anton Sokolov's Safehouse
Sokolov's safehouse.
Anton Sokolov's Safehouse is a building atop Kaldwin's Bridge in which Anton Sokolov lives and where he conducts experiments to find a cure for the plague. Corvo Attano visits this place during The Royal Physician to kidnap Sokolov.
The safehouse features a wine cellar, a large lower level comprised of Sokolov's studio and some encased machines, an enclosed middle level containing a dining hall and a kitchen, and an upper level housing Sokolov's libraries and quarters. On the roof is a greenhouse where Sokolov often cages his human test subjects.
The immediate area around the safehouse is abandoned and derelict. The safehouse itself is separated from the street by a moat.
It is heavily guarded by both the City Watch and Overseers and has a few walls of light for protection, but the greenhouse has only one guard. One of Sokolov's paintings can be found on the first floor, and the house also has a whale oil-powered elevator, which connects the first level with the library. There are empty vials that can be filled with elixir in the greenhouse.
Sokolov performs experiments on many human subjects, one of whom can be found locked in a cage in the greenhouse. Corvo has the option of setting her free once he obtains Sokolov's key.
The safehouse has a stone wall with an advertisement not usually found on houses, but on Dunwall's warehouses.
Although Sokolov lives in the house there is no advanced laboratory equipment, suggesting that his main work is done elsewhere.
The section of the bridge at which Sokolov's safehouse is located is called North End.
At the end of Dishonored 2, Sokolov wonders if his apartment is still as he left it after moving to Karnaca.[1]
Main entrance.
Safehouse interior.
First floor.
Studio with portrait of Lady Boyle.
Dining room.
Library.
Laboratory in Sokolov's quarters.
Sokolov's whale oil dispenser.
Greenhouse exterior.
Sokolov in the greenhouse.
The greenhouse.
The elixir still in Sokolov's greenhouse.
Wine cellar.
Water wheel.
↑ Sokolov aboard the Dreadful Wale in Death to the Empress
Retrieved from "https://dishonored.fandom.com/wiki/Anton_Sokolov%27s_Safehouse?oldid=150571"
Dishonored Locations

redpajama_set_name: RedPajamaCommonCrawl


text:
using System;
using System.Collections.Generic;
using System.ComponentModel;
using System.Data;
using System.Drawing;
using System.IO;
using System.Linq;
using System.Text;
using System.Windows.Forms;

using OpenTK;
using SamSeifert.GLE.CAD;
using SamSeifert.Utilities.Files.Vrml;

namespace SamSeifert.GLE.Forms
{
    public partial class FormNewShape : Form
    {
        private CadHandler _CadHandler = null;

        public FormNewShape() : base()
        {
            InitializeComponent();
        }

        internal FormNewShape(CadHandler mommy) : this()
        {
            this._CadHandler = mommy;
        }

        private void radioButton_CheckedChanged(object sender, EventArgs e)
        {
            RadioButton r = sender as RadioButton;

            if (r != null)
            {
                if (r.Checked)
                {
                    if (r == this.rbXAML) this.openFileDialog1.Filter = "XAML File|*.XAML";
                    else if (r == this.rbVRML) this.openFileDialog1.Filter = "VRML File|*.WRL";
                    else if (r == this.rbSTL) this.openFileDialog1.Filter = "STL File|*.STL";

                    this.buttonBrowse.Enabled = true;
                }
            }
        }

        private void openFileDialog1_FileOk(object sender, CancelEventArgs e)
        {
            this.textBox1.Text = this.openFileDialog1.FileName;
        }

        private void buttonBrowse_Click(object sender, EventArgs e)
        {
            this.openFileDialog1.ShowDialog();
        }

        private Color ColorGood = Color.Green;
        private Color ColorBad = Color.Red;

        private void textBox1_TextChanged(object sender, EventArgs e)
        {
            var fileExists = File.Exists(this.textBox1.Text);
            this.buttonGo.Enabled = fileExists;
            this.textBox1.ForeColor = fileExists ?
                this.ColorGood :
                this.ColorBad;
        }

        private void buttonGo_Click(object sender, EventArgs e)
        {
            CadObject co = null;

            var name = Path.GetFileName(this.textBox1.Text);

            switch (Path.GetExtension(name).ToLower())
            {
                case ".xaml":
                    {
                        var t = String.Join(" ", File.ReadAllLines(this.textBox1.Text));
                        co = CAD.Generator.FromXaml.Create(t, name);
                        break;
                    }
                case ".wrl":
                    {
                        co = CAD.Generator.FromVrml.Create(VrmlFile.FromFile(this.textBox1.Text))
                            .Center()
                            .ConsolidateMatrices()
                            .ConsolidateColors();
                        break;
                    }
                case ".stl":
                    {
                        co = CAD.Generator.FromStl.Create(File.ReadAllText(this.textBox1.Text))
                            .Center()
                            .ConsolidateMatrices()
                            .ConsolidateColors();
                        break;
                    }
            }

            if (co != null)
                this._CadHandler.addParts(co);

            this.Close();
        }

    }
}

redpajama_set_name: RedPajamaGithub


text:
FIFA Congress
FIFA Council
Home of FIFA
FIFA-Strasse 20 - P.O. Box - 8044 Zurich - Switzerland
Tel: +41-(0)43-222 7777
22 new Goal projects approved - four associations to receive first project
At a meeting chaired by FIFA Executive Committee member Mohamed bin Hammam (Qatar) in Zurich on 4 February 2008, the Goal Bureau announced that since March 2007, a total of 25
Goal projects have been completed and inaugurated as part of FIFA's development programme.
The Bureau also approved 22 new projects (association headquarters, technical centre and/or football turf pitches) including first projects for Korea Republic, the Netherlands, Norway and Portugal, second projects in 12 countries and third projects in six further countries. In addition, two first projects that had already been selected - Brunei and Japan - received final approval. However, a Goal project in Barbados has been shelved until further notice due to a lack of progress.
Goal, with development offices dotted around the world, is the focal point as well as the driving force behind FIFA's football development work and it has now successfully established itself as a powerful brand. At the meeting, FIFA President Joseph S. Blatter stressed that during the current Goal phase, FIFA would focus on making sure that the existing projects were carefully maintained and on breathing life into the infrastructure that has already been put in place. In the years to come, FIFA will therefore be paying closer attention to the football structures of its member associations and concentrating on providing the necessary event management know-how.
Explore this topic
Brunei Darussalam Japan Korea Republic Netherlands Norway Portugal
Goal Programme lights up Tahiti
Goal project brings joy to Malaysia
Goal celebrations in Tonga


text:
Exodus, 24
1. Moses himself was told, "Come up to the LORD, you and Aaron, with Nadab, Abihu, and seventy of the elders of Israel. You shall all worship at some distance,
2. but Moses alone is to come close to the LORD; the others shall not come too near, and the people shall not come up at all with Moses."
3. When Moses came to the people and related all the words and ordinances of the LORD, they all answered with one voice, "We will do everything that the LORD has told us."
4. Moses then wrote down all the words of the LORD and, rising early the next day, he erected at the foot of the mountain an altar and twelve pillars for the twelve tribes of Israel.
5. Then, having sent certain young men of the Israelites to offer holocausts and sacrifice young bulls as peace offerings to the LORD,
6. Moses took half of the blood and put it in large bowls; the other half he splashed on the altar.
7. Taking the book of the covenant, he read it aloud to the people, who answered, "All that the LORD has said, we will heed and do."
8. Then he took the blood and sprinkled it on the people, saying, "This is the blood of the covenant which the LORD has made with you in accordance with all these words of his."
9. Moses then went up with Aaron, Nadab, Abihu, and seventy elders of Israel,
10. and they beheld the God of Israel. Under his feet there appeared to be sapphire tilework, as clear as the sky itself.
11. Yet he did not smite these chosen Israelites. After gazing on God, they could still eat and drink.
12. The LORD said to Moses, "Come up to me on the mountain and, while you are there, I will give you the stone tablets on which I have written the commandments intended for their instruction."
13. So Moses set out with Joshua, his aide, and went up to the mountain of God.
14. The elders, however, had been told by him, "Wait here for us until we return to you. Aaron and Hur are staying with you. If anyone has a complaint, let him refer the matter to them."
15. After Moses had gone up, a cloud covered the mountain.
16. The glory of the LORD settled upon Mount Sinai. The cloud covered it for six days, and on the seventh day he called to Moses from the midst of the cloud.
17. To the Israelites the glory of the LORD was seen as a consuming fire on the mountaintop.
18. But Moses passed into the midst of the cloud as he went up on the mountain; and there he stayed for forty days and forty nights.
Aaron God Israel Israelites LORD Moses blood cloud elders mountain people told
"Nossa Senhora recebeu pela inefável bondade de Jesus a força de suportar até o fim as provações do seu amor. Que você também possa encontrar a força de perseverar com o Senhor até o Calvário!" São Padre Pio de Pietrelcina


text:
Alison Hilton
Alison Hilton grew up in Connecticut, USA, and earned her B.A. degree at Vassar College, where she majored in Art and minored in Greek. At Columbia University, for M.A., M.Phil. and Ph.D. degrees she concentrated on modern art with Northern Renaissance and Russian art as minors, and she took part in the emerging feminist art movement in New York. With an exchange fellowship for dissertation research at Leningrad State University she became friends with museum curators, scholars, and artists, and kept in touch during many later research trips. Her publications are mainly about 1nineteenth-century Russian realism and impressionism, the early twentieth avant-garde, women artists, and gender issues, non-conformist art of the late Soviet period, and Russian folk art. At Georgetown University, she taught European, American, and Russian art history, served as department chair, and founded the museum studies program.


text:
Home/Entertainment/VIDEO: Captain Planet is Enjoying the Body of an Old Woman – Counselor Lutterodt
VIDEO: Captain Planet is Enjoying the Body of an Old Woman – Counselor Lutterodt
PlugTimes.com September 13, 2018
It has been 4 years now since Captain Planet got married to Uche Ofodile, Chief Executive Officer of MTN in Liberia and much has not been heard about them .
Captain Planet on several platforms has professed his undying love for his wife and it looks like the negativity people presumed wouldn't suffice anytime soon.
However, controversial marriage counselor, Rev. Lutterodt has taken a swipe at Captain Planet.
According to him Captain Planet can never disobey his wife because he got married to a big sister and not a wife.
Speaking on Okay FM's drive time which was hosted by Abeiku Santana, the controversial counselor said that Captain Planet married Uche Ofodile for 'support' and not out of love.
"There are some marriages that are called entrepreneurial marriage. So, there are so many marriages in this country that's entrepreneurial marriage meaning you're marrying for support. There are people who are marrying their producers; people who are marrying their marketers. So, if somebody has a career and you find anybody who has money and you go and marry the person, it doesn't mean that you're in for love. You're in for support", he said
He proceeded by saying that Captain Planet is not only married to his big sister but he is also enjoying the body of an old woman .
Captain Planet, leader of music trio , 4X4 got married to Uche Ofodile on June 20th, 2014 in a secret wedding ceremony.
Source: browngh.com
PlugTimes.com
Latest Ghana News, Entertainment, Business, Sports, Technology | Celebrity Gossip, Music, Movies, Dance, Fashion, Events and more from Ghana, Africa, and the World
Maiden Accra Francophone Film Festival On March 14 – 24
Mzbel Lied about Her Miscarriage — Afia Schwarzenegger
Fmr Beauty Queen Hamamat Montia shares Raunchy Bathroom Video
I Rejected $10k for a One-night Stand – Efia Odo Claims
VGMA 2013 Industry Awards Set For Friday May 10
Malibongwe Arts Festival – A Tribute to Women set for August 10


text:
Home News Briefs OPTrust-backed Kineticor buys cogeneration facility for $85 mln
OPTrust-backed Kineticor buys cogeneration facility for $85 mln
Kirk Falconer
Photo courtesy of ugurhan/E+/Getty Images
Kineticor Resource Corp has acquired a 32 megawatt cogeneration facility from Tidewater Midstream and Infrastructure Ltd, a Calgary-based provider of midstream energy solutions.
Kineticor, a Calgary-based power developer focused on thermal generation, paid $85 million in cash for the facility, which is under construction.
Kineticor agreed to supply power and heat to Tidewater's Pipestone Gas Plant once construction is complete.
Kineticor is backed by Canadian pension fund manager OPTrust. OPTrust invested $125 million in the business in 2017.
Tidewater is a portfolio company of Canadian private equity firm Birch Hill Equity Partners. Birch Hill increased its stake last year as a result of asset purchases from AltaGas Ltd.
Kineticor announces acquisition of a 32MW cogeneration facility providing power and heat to Tidewater's Pipestone Gas Plant
CALGARY, March 25, 2019 /CNW/ – Kineticor Resource Corp. ("Kineticor") is pleased to announce that it has entered into an asset purchase and sale agreement with Tidewater Midstream and Infrastructure Ltd. ("Tidewater") to acquire the 32MW cogeneration facility currently under construction which will provide power and heat to the Pipestone Gas Plant. Under the terms of the sale, Kineticor issued a cash payment of $85 million in exchange for ownership of the cogeneration facility. In conjunction with the acquisition, Kineticor and Tidewater have entered into a long-term energy services agreement whereby Kineticor will supply power and heat to Tidewater's Pipestone Gas Plant once construction is complete.
Tidewater's Pipestone Gas Plant will rely on Kineticor's cogeneration facility to be the sole power provider for the gas plant, eliminating the reliance on the Alberta power grid and ensuring an economical power source.
"We are excited to be partnering with Tidewater. As the Alberta power market continues to undergo significant change, this opportunity further confirms that onsite cogeneration provides an attractive alternative that is reliable, sustainable, and cost-effective" Andrew Plaunt, CEO.
Kineticor's focus on partnering with great companies and developing top-tier power assets throughout Alberta will help to support the transition off the use of coal for electricity in the province.
About Kineticor Resource Corp.
Kineticor, in partnership with OPTrust, is developing a pipeline of innovative power generation initiatives throughout Canada. Through the development of strong relationships with major power consumers and gas producers, Kineticor is able to provide solutions that are both economically and environmentally attractive.
About OPTrust
With net assets of over $20 billion, OPTrust invests and manages one of Canada's largest pension funds and administers the OPSEU Pension Plan, a defined benefit plan with over 92,000 members and retirees.
OPTrust is a global investor in a broad range of asset classes including Canadian and foreign equities, fixed income, real estate, infrastructure and private markets, and has a team of highly experienced investment professionals located in Toronto, London and Sydney. As a pension management organization, OPTrust's mission is to pay pensions today, preserve pensions for tomorrow.
For further information: Media Contact: Michael Funk, Michael.funk@kineticor.ca, 403) 471-0835


text:
Q: How to compare one row in Pandas Dataframe to all other rows in the same Dataframe I have a csv file with in which I want to compare each row with all other rows. I want to do a linear regression and get the r^2 value for the linear regression line and put it into a new matrix. I'm having trouble finding a way to iterate over all the other rows (it's fine to compare the primary row to itself).
I've tried using .iterrows but I can't think of a way to define the other rows once I have my primary row using this function.
UPDATE: Here is a solution I came up with. Please let me know if there is a more efficient way of doing this.
    def bad_pairs(df, limit):
      list_fluor = list(combinations(df.index.values, 2))
      final = {}
      for fluor in list_fluor:
        final[fluor] = (r2_score(df.xs(fluor[0]),
    df.xs(fluor[1])))
      bad_final = {}
      for i in final:
        if final[i] > limit:
          bad_final[i] = final[i]
      return(bad_final)

My data is a pandas DataFrame where the index is the name of the color and there is a number between 0-1 for each detector (220 columns).
I'm still working on a way to make a new pandas Dataframe from a dictionary with all the values (final in the code above), not just those over the limit.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Colab local runtime crashing when running keras model I am new to using local runtime on colab, but was able to import and run all other kernels except for the one that specifies a keras sequential model. Here's the code:
keras.backend.clear_session()
model = keras.Sequential()

I receive this message when it crashes:

Your session crashed for an unknown reason.

When I try to access runtime logs, I get the following:

Could not fetch /var/colab/app.log from backend

Could not fetch resource at : 404 Not Found
FetchError: Could not fetch resource at : 404 Not Found
    at XB.$A [as constructor] (https://ssl.gstatic.com/colaboratory-static/common/0c687632c6df07e69ab0173b89376c36/external_polymer_binary.js:1408:2530)
    at new XB (https://ssl.gstatic.com/colaboratory-static/common/0c687632c6df07e69ab0173b89376c36/external_polymer_binary.js:1429:190)
    at xa.program_ (https://ssl.gstatic.com/colaboratory-static/common/0c687632c6df07e69ab0173b89376c36/external_polymer_binary.js:6276:129)
    at za (https://ssl.gstatic.com/colaboratory-static/common/0c687632c6df07e69ab0173b89376c36/external_polymer_binary.js:20:336)
    at xa.next_ (https://ssl.gstatic.com/colaboratory-static/common/0c687632c6df07e69ab0173b89376c36/external_polymer_binary.js:18:508)
    at Aa.next (https://ssl.gstatic.com/colaboratory-static/common/0c687632c6df07e69ab0173b89376c36/external_polymer_binary.js:21:206)
    at b (https://ssl.gstatic.com/colaboratory-static/common/0c687632c6df07e69ab0173b89376c36/external_polymer_binary.js:21:468)

I believe I haven't set up local runtime correctly, as when I switch to hosted runtime, it runs just fine. Any help would be much appreciated! I am running this on a Mac M1 Pro, Monterey 12.5.
% conda list tensorflow
#
# Name                    Version                   Build  Channel
tensorflow-deps           2.9.0                         0    apple
tensorflow-estimator      2.9.0                    pypi_0    pypi
tensorflow-macos          2.9.0                    pypi_0    pypi
tensorflow-metal          0.6.0                    pypi_0    pypi

% conda list keras
#
# Name                    Version                   Build  Channel
keras                     2.9.0                    pypi_0    pypi
keras-preprocessing       1.1.2                    pypi_0    pypi


The Fatty Crew – a ragtag bunch turned renowned proprietors of the internationally celebrated Fatty Crab and Fatty 'Cue restaurants – have become synonymous with the best in Southeast Asian cuisine. In 2005, Managing Partner Rick Camac opened the company's original property, Fatty Crab, alongside Chef Zakary Pelaccio. An instant hit, the 'joint' not only received massive critical acclaim for the food, but also quickly garnered a loyal cult following for the overall experience, inspiring the duo to grow their offerings by introducing Fatty 'Cue – an exotic take on traditional smoky southern barbecue. The Crew's "Malaysian-inspired" concepts always stay true to traditional flavorings, while incorporating elements from other nearby Southeast Asian fares. The chefs also mix it up by utilizing western preparation techniques and supporting local New York area farmers whenever possible throughout the process.
The resulting distinctive style has garnered attention from the likes of Frank Bruni, who acknowledged, "No one is doing this kind of cooking anywhere," in just one of several glowing New York Times reviews. Since then, the Fatty Crew restaurants have been named Bib Gourmands by The Michelin Guide, among several other top honors, and opened additional locations in Manhattan's West Village, Williamsburg, Brooklyn, Hong Kong, China and St. John U.S.V.I.
Last year, Rick diversified the company's current collection by establishing Fatty Crew Hospitality Group; offering the Crew's vast industry expertise to up and coming figures in hospitality who need assistance in operations, finance, management and public relations. In addition to providing a variety of services to other brands, these select management and consulting ventures allow the highly skilled executive team to explore personal interests and hand-selected passion projects.
Beyond restaurants, the Fatty Crew has capitalized on its notoriety – and vast, worldwide fan base – by creating a signature barbecue sauce collection that is sold at exclusively at Williams-Sonoma. They also plan to expand into other categories including wine, cookbooks, chocolate and more. Currently, Fatty Crew Hospitality Group is amidst a rapid U.S. expansion and is positioned to continue its significant growth globally in 2013. Clearly, the mission is ongoing and the end is nowhere in sight.


You must make a separate request and receive separate approval for each day of Requested Authorized Use.
Each Gas Day's request must be submitted to Nicor Gas no earlier than the preceding Gas Day.
If you have any questions, please call the Gas Transportation Customer Service Center during regular business hours (8:00 AM – 4:30 PM) at 630.983.4040, option 1. During non-business hours, call Gas Control at 630.983.7405.


text:
The Former State Project | Progress Post #1
|In Creative Commissions
Playing with 'Variations on Mobility', the four Creative Commissions teams in 2019-2020 have developed their projects along different trajectories traced by the unfolding movements of People, Objects, Texts and Ideas across times and spaces. As small groups composed of academics who have embraced art in their research practices, or artists working in collaboration with scholars across various disciplinary backgrounds, the Commissions engage different Theories and Methods of mobility, working with ethnographic, archival, historical, anthropological, geographical and creative methodologies. The following text and original images represent a short progress post realised by the team to help us follow the path of their creative work.
The Former State Project | Progress Post #1On travel writing in the Balkans
The Former State Project: A Journey through Yugoslavia studies mobilities and the geo-humanities, the textual landscapes represented in a travel-guide and the project team update the form through a novel take on the travel-writing genre: a multi-media travel-guide about a place that is no longer. The project team will trace the journey taken in a travel-book written prior to the formation of a socialist Yugoslavia. Yet before we reach the beginning of this repeat journey, we backtrack a little in this first Progress Report and attend to some of the questions which have arisen regarding such attempts to describe the Balkans. This archival groundwork is the opening of our mobile project on mobile texts, which is presently stilled while in lockdown and immobile as a deadly virus travels the earth. We describe and analyse European imaginary geographies and excursions through this region known as, the Balkans, while we are unable to.
The unlit eternal flame located on the slopes of Trebević Mountain in a former Yugoslav republic, Bosnia and Herzegovina, which is part of a neglected memorial park (Spomen-park Vraca) completed in 1981 and dedicated to the victims of World War II in Sarajevo—after the Socialist Federal Republic of Yugoslavia (SFRY) was dissolved, the site became a tactical position for artillery and snipers during the siege of Sarajevo (1992–1996) and was subsequently destroyed (Photograph: James Riding).
It is possible, according to Robert Munro (1895) in his Rambles and Studies in Bosnia-Herzegovina and Dalmatia, that from the earliest times the Balkan peninsula was inhabited by a mixed population, open to fluctuating civilizations from the shores of the Mediterranean to the nomadic hordes from Asia and northeastern regions of Europe (Munro 1895, 4). Little is known of this period, when the western half of the Balkan Peninsula was called Illyria. Northern wanderers—Avars, Serbs, Slavs, and Croats—found a footing in mountainous Bosnia and the Romans were driven to the Adriatic coast (Munro 1895, 4). Without ever being in a commanding position, the Ottomans took control in this liminal land of Orthodox and Latin Christendom.
By the mid-fifteenth century the Ottoman Empire stretched across much of the former Yugoslavia, linking Europe and the Middle East. A rival of Orthodox Russia and Western Europe, it lasted for more than four centuries. In 1875, when Arthur J. Evans was writing, an insurrection was underway against four centuries of Ottoman domination, with Bosnian peasants demanding a redistribution of land and fair taxes (Evans 1876). Only when Serbs, Croats, and Montenegrins joined the insurgency did it become a national war of liberation of the south Slavs—the Yugoslavs. The revolt lasted three years and was brought to an end only through the diplomacy of the Great Powers, culminating in the 1878 Congress of Berlin. It was decided that roughly half of the former Yugoslavia—Slovenia, Croatia, Bosnia and Herzegovina, and Vojvodina—would be occupied by Austria-Hungary. Several decades later, Archduke Franz Ferdinand of Austria-Hungary was shot in Sarajevo in 1914 by a revolutionary, Gavrilo Princip, precipitating a declaration of war against Serbia, and World War I. After the mass conflict, in December 1918, the Kingdom of Serbs, Croats, and Slovenes emerged. The revolutionary movement, though, was hampered by lingering religious differences—Orthodoxy, Catholicism, and Islam—coupled with a renewed sense of nationalism across Europe post-empire.
As is revealed in these shifting regional geographies, the western Balkans have been a meeting point of cultures for centuries. The culture of the region was formed through this interaction, undermining a sense of a nationalist political identity in the form of a homogenous nation-state. Nonetheless, as Arthur J. Evans travelled through the region, he noted its Islamic nature (Evans 1876). This was a standard response in the travel writing of the era, evident also in the Rambles and Studies in Bosnia-Herzegovina and Dalmatia undertaken by Munro (1895). In 1851, Edmund Spencer wrote, "Scarcely a ray of Western thought had penetrated during the four centuries that had passed away since the Crescent replaced the Cross on the dome of Saint Sophia, and the empire of Constantine crumbled before the might of the Othman; centuries of ever increasing intellect, civilisation and prosperity" (Spencer 1851, 1). For Spencer, the dawn of a brighter day had arisen on the night of Turkish misrule, rekindling the hearts of a neglected and uncared-for Christian people:
Awakened from a trance, to a consciousness of their own power, to an appreciation of that lofty destiny, from which for centuries they have been excluded … Unheeded and uncared for, by those nations of Europe claiming the swarthy son of distant India and Africa, while a portion of her very self remained torpid and corpse-like. (2)
What is more, Paul Edmonds (1927) extolled the hospitality of these exoticized and primitive locations in, To the Land of the Eagle, where an Englishman could travel without fear of being shot. The places through which Evans, Munro, Spencer, and Edmonds travelled, walked, and rambled were for centuries known by the Ottomans as Rumeli. Only relatively recently did the name Rumeli fall out of use, the region becoming instead European Turkey, or Turkey in Europe, and, eventually, around the time Evans and Munro had completed their travels, the Balkans. The name the Balkans refers to the mountains near the centre of the peninsula, across which travel writers would journey to Istanbul.
When we travel through the former Yugoslavia, we intend to drift somewhat against this previous work by outsiders on this area of southeast Europe. Perceptible in historical-geographical travelogues of the Balkan peninsula is Balkanism, and these older regional texts are reminiscent of the more recent ontopological accounts of a fractured landscape that Campbell (1998) identified more than twenty years ago in the western Balkans. Indeed the Balkans of today is known and enframed via the collapse of Yugoslavia and its enduring aftermath, and the discursive designators of place are here drawn from a Western imaginary geography of the Balkans (Goldsworthy 1998; Todorova 1997). A repetitive Balkanism takes place, where the region is viewed through an idea that the Balkans is a place of immutable ethnic hatreds outside of a cosmopolitan Europe: a place of mindless slaughter on formless ground (Toal 1996). This imagined Balkans can be found in the opening lines of Glenny's (1999) magnum opus, The Balkans, 1804–1999, where Stoker's (1897) Dracula is said to be representative of an almost gothic region. In the old Orientalist tradition, it seems as if the Balkans occupies the center of some sort of imaginative whirlpool where every known superstition in the world is gathered (Glenny 1999).
Echoing the well-established literature on representations of the Balkans in literary studies and geography—such as Inventing Ruritania (Goldsworthy 1998) and Imagining the Balkans (Todorova 1997)—Mazower (2002) argues that representations of the Balkans loaded the Balkans with negative connotations: inharmonious conditions, small antagonistic states, and hostile nationalities, all of which conspired to form the intractable Balkan or Eastern question. Writing of the Balkans as Europe's ghost, Žižek (2000, 1-2) argues the region is always somewhere a little further to the southeast, and the Balkans are a photographic negative of a multicultural, post-political, post-ideological Europe. A "postmodern racism" exists, Žižek argues, where an imaginary Balkans is constructed as the intolerant other, while the rest of Europe has supposedly come to terms with otherness in its much vaunted – indeed marketed – language of cosmopolitanism and multiculturalism (Žižek 2000, 1-2). An imperialism of the imagination is projected onto the Balkans, where an exploitation of Balkan history and geography in Western cultural representations and performances has created a region that is the "Wild East" of Europe and Oriental at the same time (Goldsworthy 1998).
In Black Lamb and Grey Falcon: A Journey through Yugoslavia, a story of a six-week ethnographic trip taken by the British writer Rebecca West (1942), the past is shown side by side with the present it created. Publication of the book coincided with the Nazi invasion of Yugoslavia and the epigraph reads: "To my friends in Yugoslavia, who are now all dead or enslaved." Spomenici—the plural form of the word spomenik, meaning monument in this part of the world—emerged after the conflict, built to memorialise the dead to whom West referred. Unlike many of the monuments built after World War II across Europe, they could not remember a triumph. After the Kingdom of Yugoslavia was invaded by the Axis powers in 1941, internal fighting began between the Partisans—Europe's most effective anti-Nazi communist resistance movement, led by Marshal Josip Broz Tito—the Ustaše—Croatia's fiercely Catholic, fascist, ultranationalist, terrorist organization, murdering Serbs, Jews, and Roma while ruling part of Axis-occupied Yugoslavia—and the Chetniks—Serbia's anti-Axis movement, seeking to retain the monarchy and striving for an ethnically homogenous Greater Serbian state. World War II in Yugoslavia was not simply a war of liberation against an encroaching occupier, Nazi Germany; it was instead a multilayered and divisive conflict in Yugoslavia, which could still be felt long into the twentieth century.
The giant monuments built to commemorate World War II, on sites where battles were fought and concentration camps existed, are not statues of human warriors. Spomenici instead resemble abstract organic sculptures, emerging from the Earth, as if there was a silent acceptance that to use the body—the site of trauma, violence, degradation, and extermination—was both ethically and aesthetically impossible. Nature, apparently, is less problematic. Indeed, what type of human form might be possible here after a divisive and multilayered conflict that dehumanized so many? Nonfigurative concrete spomenici stand as an alternative to statues of human figures, alone in dense forests, teetering on the top of mountain peaks, or clinging to cliffs. Solidly anchored to the land beneath, abstract swirls of material large enough to top the trees round about them, socialist-era spomenici take on the organic form as if grown straight out of the soil. These giant swirling concrete shapes, dotted across the landscape, each gesturing toward the organic, provided a shared monumental history and identity for socialist Yugoslavia. They commemorate those who died as a result of fascism, remember the antifascist struggle begun in the region during World War II, and celebrate the socialist revolution achieved in its aftermath. Despite their massive, somewhat ambiguous, organic material presence—a warning from history of the evils of Nazism and fascism—nationalism returned to the region before the end of the twentieth century.
After the fall of communism and the death of Partisan guerrilla leader and unifying symbol Josip Broz Tito in the same decade, the Socialist Federal Republic of Yugoslavia seemed increasingly doomed. Remembered affectionately by many, the benevolent dictator, "father Tito," eventually became president for life, serving concurrently in various other roles until his death in 1980 at the age of eighty-seven. Many citizens of Yugoslavia who lived through the Tito regime actively removed themselves from nationalist and identitarian debates, which were geared toward the ending of socialism and Yugoslavia (Alcalay 2004, ix). Ammiel Alcalay (2004, ix) writes of an "intellectual surrender" fed by the heroic imagery of Partisans, and the promise of stability that socialism and father Tito provided. Without Tito, the Socialist Federal Republic of Yugoslavia (1945–1992) soon ceased to be.
There remains a nostalgia for this bygone socialist era in the seven successor states that stand where Yugoslavia once stood. Yugo-nostalgia is a little-studied psychological and cultural phenomenon. It refers mainly to a nostalgic emotional attachment to desirable aspects of the Socialist Federal Republic of Yugoslavia, economic security, a sense of solidarity, socialist ideology, multiculturalism, internationalism and non-alignment, includes customs and traditions, and looks fondly back upon arguably a more rewarding way of life. Such nostalgia effectively reclaims cultural artefacts, even propaganda films. Present cultural manifestations of Yugo-nostalgia include music groups with Yugoslav or Titoist retro iconography, artworks, films, theatre performances, and tours of the main cities and monuments of the former Yugoslav republics. These positive facets are placed in opposition to the perceived faults of the successor states, many of which are still burdened by the ongoing fallout of the Yugoslav Wars and are in various stages of economic and political transition.
Prior to the formation of Tito's socialist Yugoslavia, in spring 1936, Rebecca West visited the Kingdom of Yugoslavia, and in spring 1937 West travelled through the former Yugoslavia, returning once more in the summer of the following year. Published in two volumes in 1942 as a thousand-page travel-book, the 1937 expedition remains today an important, evocative and rigorously researched guide to a former state. West's book acts as a vivid exemplar, a guiding through the landscape and a dense document of the past which provides a template to follow in the present. Yet, it also evokes a Western gaze upon this peninsula known as the Balkans and is guilty at points of Balkanism. The project team as stated at the beginning will cautiously follow the route of West's 1937 journey, which took in the north of the former Yugoslavia first, travelling south initially to Zagreb, Croatia, from Nazi Germany.
Entering the former Yugoslavia became the first descriptive section of Black Lamb and Grey Falcon, following a Prologue, and was called Journey. West described Zagreb and travelled through Croatia to the coast and the Adriatic by road, stopping off at the Plitvice Lakes, before travelling by sea south along the coast past the island of Hvar and Split to Dubrovnik in Dalmatia. This route was described in a section devoted to Croatia and another section on Dalmatia, each including chapters on certain sites, cities, towns, and villages, which were stopping points on West's journey south. From Dubrovnik, West took an 'expedition' by road, and in a section called Expedition, West travels to nearby Tsavtat (Cavtat) and further into Montenegro visiting Perast and Kotor, before returning to Dubrovnik. Following the short 'expedition', West travels east from Dubrovnik by road into Herzegovina and this becomes the next substantive section of the book, Herzegovina, and it is made up of two chapters on Trebinye (Trebinje) and Mostar. The next section of Black Lamb and Grey Falcon is titled, Bosnia, and begins with seven chapters on Sarajevo that amount to almost 100 pages of description. From central Sarajevo, West travels to the nearby suburb of Ilidzhe (Ilidža) and to Treboviche (a mountain in Sarajevo) and beyond Sarajevo to Travnik, Yaitse (Jajce), and Yezero (Jezero), writing a final chapter on Sarajevo to conclude this section of the journey.
From Bosnia, West travels to Belgrade, Serbia, by train from Sarajevo and she remains in Belgrade, writing nine chapters on the city and former capital of the Socialist Federal Republic of Yugoslavia (SFRY) in a section titled, Serbia. From Belgrade, West takes a train to Skopilje (Skopje) and in the section on Macedonia she travels more extensively to a monastery, a mountain, and a convent, to Bardovtsi (Bardovci) by road, before taking a horse drawn cart to Neresi, and this is followed by a longer trip to Lake Ochrid (Ohrid) where she writes a number of chapters about places surrounding the lake before returning to Skopje and concluding the section there. The following section is called Old Serbia and begins with a chapter called The Plain of Kossovo (Kosovo) before West reaches the capital of Kosovo, Prishtina (Pristina), and Mitrovitsa (Mitrovica) and Petch (Peć). The final substantive section of the book is titled, Montenegro, a place that West returns to, this time visiting Tsetinye (Cetinje), Lake Scutari (Skadar), Podgoritsa (Podgorica) and Budva. That was the end of her Easter journey, as she writes in the Epilogue, travelling by boat north along the coast of Croatia and back to Zagreb to conclude.
At a crossroads of memory in the former Yugoslavia, this Creative Commission aims to analyse, document, and perform a former state in the present by repeating a definitive yet contentious journey, incorporating contemporary understandings of memory, heritage and mobilities in human geography and the geo-humanities. Analysing multi-directional memory, post-memory, and trauma this project about a former state, describes and explores acts of memory, memorial practices, monuments, nostalgia and socialism, and conflict, politics and memory, through a mobile and multi-sensory approach in lived landscapes of memory. Previous work in the western Balkans has focused primarily upon conflict, economic and political transformation and transitional justice, here however we are interested in the spatial practices of memory, literature, and place in post-conflict, post-socialist states and we explore how collective spaces of memory, and memorial acts, objects, and texts affect the present in the successor states of the former Yugoslavia.
Having existed in various forms throughout the previous century, Yugoslavia retains a certain territorial shape and authority in public discourse as a former state in Europe. Yet lacks any recognition or legitimacy as a state today, over twenty-five years after its collapse. Despite this, Yugoslavia is a non-aligned feature on world historical maps and is still remembered and mobilised in different ways by former citizens. Yugoslavia remains within living memory and is tangibly present in the built heritage and cultural representations of the former land of the south Slavs. It is a post-conflict, post-socialist, post-Yugoslav landscape. While Balkanist stereotypes continue to define this region after the series of armed conflicts, ethnic cleansing and genocide that took place here at the end of the previous century, bringing to an end the Socialist Federal Republic of Yugoslavia. West's journey taken in the lead up to World War II enables us to think temporally as well as spatially about the region, as the multilayered and divisive conflict continues to be felt, memorialised and remembered in the ex-Yugoslavia. Here these two periods of mass violence are brought together through a performative intervention in post-Yugoslav space on personal and collective memories of a socialist Yugoslavia and its collapse, for both are intertwined, define and drive the contemporary (geo)politics of memory in the region (Riding 2019).
In the past decade, there has been a convergence of transdisciplinary thought characterised by geographical engagements with the humanities, and the integration of place and the tools of geography into the humanities. This emerging intellectual terrain is of course not entirely new, as it speaks back to a long tradition of topographic books and travel-writing by authors in regions such as the Balkans, however the emergence of a newly geographical humanities is explored anew and re-performed in this project by bringing the geo-humanities and mobility studies (the new mobilities paradigm) together. Incorporating a sensuous and materially sensitive approach to grounded fieldwork we undertake a poetic, more-than-representational, and more-than-human reading of the post-conflict, post-socialist landscapes encountered. Arts-based mobilities methodologies identified as part of the new mobilities paradigm will as such be developed in the post-Yugoslav landscape including mobile interviews, time-space diaries, site-writing, poetry and filmmaking.
We have indefinitely delayed the mobile fieldwork in this immobile time, and as such the next Progress Report will be a project trailer—film footage gathered from previous journeys through the region—while Progress Report #3 will be—if travel is possible—field notes taken in the former Yugoslavia while tracing West's route through the landscape.
James Riding, May 2020
Alcalay, A. 2004. Introduction: Everyday history. In Sarajevo Marlboro, M. Jergović, xii–xvii. Brooklyn, NY: Archipelago.
Campbell, D. 1998. National deconstruction: Violence, identity, and justice in Bosnia. Minneapolis, MIN: University of Minnesota Press.
Edmonds, P. 1927. To the land of the eagle, travels in Montenegro and Albania. London: Routledge.
Evans, A. J. 1876. Through Bosnia and the Herzegóvina on foot during the insurrection, August and September 1875; with an historical review of Bosnia and a glimpse at the Croats, Slavonians, and the ancient republic of Ragusa. London: Longmans, Greens.
Glenny, M. 1999. The Balkans, 1804-1999: Nationalism, war and the great powers. London: Granta.
Goldsworthy, V. 1998. Inventing Ruritania: The imperialism of the imagination. London: Yale University Press.
Mazower, M. 2002. The Balkans: From the end of Byzantium to the present day. London: Phoenix.
Munro, R. 1895. Rambles and studies in Bosnia-Herzegovina and Dalmatia. Edinburgh, UK: Blackwood.
Riding, J. 2019. The geopolitics of memory: A journey to Bosnia. Hannover: ibidem-Verlag.
Spencer, E. 1851. Travels in European Turkey, in 1850. London: Colburn.
Stoker, B. 1897. Dracula. London: Archibald Constable and Company.
Toal, G. 1996. An anti-geopolitical eye: Maggie O'Kane in Bosnia, 1992-93. Gender, Place and Culture 3(2): 171–186.
Todorova, M. 1997. Imagining the Balkans. New York: Oxford University Press.
West, R. 1942. Black lamb and grey falcon: A journey through Yugoslavia. London: Macmillan London Ltd.
Žižek, S. 2000. The fragile absolute: Or why this Christian legacy is worth fighting for? London: Verso.


The OBJD controls the placement of objects, and it appears that line 0x0022 (Sale Price) really isn't for a price. But rather a flag that sets whether an object can be moved withe the quartertilecheat that came with Mansions & Gardens.
After posting that changing this value allowed an object to be placed using the quartertile cheat I looked at some other objects and found that all EAxis objects I looked at had the value of 0x0023(35) and did work with the cheat.


text:
June 12, 2019 by visit-mexico.mx
MAGIC TOWNS IN NAYARIT
México » States » Nayarit » Tepic
Magic Towns of NAYARIT
Nayarit is a state whose culture, traditions and gastronomy have made it one of the favorite Mexican tourist destinations for foreigners and nationals.
However, as happens in every state, when you visit any part of the state, specifically Riviera Nayarit, its small but attractive jewels, also known as Pueblos Mágicos (Magic Towns), are left out.
For this reason, it is important that you know the culture, traditions, magical places, friendly people and incredible experiences that you will only find in the 4 Magic Towns in Nayarit.
Map of MAGIC TOWNS in NAYARIT
Sayulita has become a popular destination for surfers, and has become home to warm-minded Mexicans and foreigners. Sayulita is a small town located in the Bay of Banderas in the south of the state of Nayarit.
In Sayulita there were only six or seven little houses, built of palm and lit with oil hookahs that were made from tin.
Sayulita is recognized as one of the best places to learn and practice surfing. Its beaches have ideal waves for surfing throughout the year. The best season for surfing in Sayulita is from December to April. Sayulita is the scene of various surf tournaments such as the Children's and Youth Surf Tournament, the Pacific Music Festival Open Surf Tournament, the Annual Long Table and Rowing Surf Tournament, among many others.
Since the year 2105, at the end of February, the longboard competition MexiLog fest has been held, whose international attendance and awards places it as one of the most important. From November to April you can enjoy watching humpback whales in this area, which come to these waters to have their young.
Sayulita's beaches are of fine sand, those in the south are ideal for beginner surfers and those in the north for all levels. It is also possible to practice snorkeling, swimming, kayaking, fishing, hiking or horseback riding.
In Sayulita you can find instructors who will facilitate your start in the world of surfing.
Every summer the olive ridley turtle species arrives at the beaches of Sayulita to spawn in these lands. The eggs are protected at the Sayulita Tortuguero Camp, where they are released all year round, but especially from October to January.
At lunchtime, be sure to try the dorado, marlin or red snapper, which you can enjoy in various restaurants. Don Pedro's restaurant, on the beach, has positioned itself as one of the classics, and in the center, the pizzas at La Rústica are highly recommended.
In Sayulita there are galleries and shops where you can buy jewelry, paintings, clothing, handicrafts and surf boards. Friday is tianguis day, Revolución street becomes the Mercado del Pueblo, with local and regional organic products, on Sundays in Las Gaviotas street you will find everything from hats and bags to sculptures.
The Sayulita Festival to enjoy surfing, music, cinema and tequila, in January.
Learn to surf.
The MexiLog fest in February.
Dance to the rhythm of cumbias on Fridays at Club de Playa Camarón.
The release of turtles in summer.
Walk to Malpaso beach to enjoy the solitude of its rocky landscapes.
JALA
Jala is located at the foot of the El Ceboruco volcano. In this town you can admire its mansions from the 18th and 19th centuries and its cobbled streets, this is the ideal place to rest and relax. Seven kilometers from Jala is the El Salto Waterfall, a waterfall that appears in the rainy season (from June to September) with a height of 30 meters. It cannot be accessed by car so you have to walk a kilometer from where you leave the cars.
Leaving Jala, and an hour away by car, is the El Ceboruco Volcano. In its crater there is a valley where you can see fumaroles, as well as cycling, hiking, flora and fauna observation and camping. It is necessary to notify the Municipal Presidency of Jala that you are going to climb El Ceboruco. Once in the Historic Center, do not forget to admire the houses of the seventeenth, eighteenth and nineteenth centuries that are found in the streets of México, Zaragoza and Hidalgo, they are all part of the INAH Historical Heritage.
The Lateran Basilica of Our Lady of the Assumption is decorated in pink and green stone, and its façade has three entrances. Inside it has Ionic and Corinthian style columns, and in its dome you can see the pendentives of the transept that have the paintings with invocations of the Virgin Mary recited in the litanies. This beautiful temple was declared a Laterense Basilica in 1961, with all the prerogatives of the Basilica of Santa Maria de Letrán, in Rome, by order of Pope John XXIII.
The El Santuario Chapel is located on Santuario street, it was built in the 19th century to protect Jala in its western part. As for the gastronomy of Jala, it is advisable to go to the Municipal Market to enjoy some delicious handmade gorditas and some golden tamales. You cannot leave Jala without trying its typical sweets such as donuts and biscuits, the first are cookies with a caramel coating and the second is an unsweetened bread covered with sesame seeds.
In many places in Jala you can find leather equipment, saddles and palm woven chairs.
A town full of history and tradition, it has its name in honor of the city of Santiago de Compostela in Galicia, Spain. It was founded in 1530 and known as the first capital of the kingdom of New Galicia that included the States of Nayarit, Jalisco, Colima, Aguascalientes, part of Sinaloa, Zacatecas and San Luis Potosí in 1560.
In this Magic Town there is a great tradition in saddlery, utensils for riding animals are produced, such as saddles, saddlebags, chavindas, bridles, covers, among others, and cigars are made manually with selected tobacco leaves. The coffee growing area of Compostela is one of the most important in terms of coffee bean production, with elegant and distinguished aromas. Huge quantities of high-quality high-altitude coffee are produced every year.
Visit the Temple of Mercy of San Santiago Apóstol, a beautiful historical monument from the colonial era, the image of the Lord of Mercy represents Jesus crucified in life size, this sculpture was gifted by the conqueror Nuño Beltrán de Guzmán.
Visit the Regional Museum in which archaeological pieces found in the surroundings of Compostela and Zacualpan are exhibited, this museum consists of two rooms, the first where archeology of the first settlers of Nayarit, called "Los Concheros", and in the second, objects from the time of the conquest and independence are shown.
Tour the old Train Station built on the trunk line of the Southern Pacific Railroad of Mexico that was destined to communicate the northern border of Sonora with the city of Guadalajara.
Get to know the artisan workshops of saddlery, cigars and coffee.
Admire the Hacienda de Miravalles, one of the most emblematic not only in Nayarit, but also in Mexico, built in the 16th century.
Live the Fiestas del Señor de la Misericordia that take place in the month of December, where the religious fervor of the town stands out, pilgrimages are made with live performances, floats, fireworks, accompanied by pre-Hispanic dances. You can not miss it!
As if that were not enough, Compostela is only one hour from the beach. The most popular and family-friendly is Guayabitos, from which you can tour the Riviera Nayarit: Sayulita, San Pancho, Bucerías, San Blas and Nuevo Vallarta. Just two kilometers from Guayabitos there is a Pacific paradise, Isla del Coral, an ecological reserve of 12 hectares from which you can see dolphins, turtles, pelicans, reefs and multicolored fish. There are boats that come to the island from Guayabitos.
If you dare and go to the beach, you cannot stop eating a sarandeado fish, order it accompanied by some port bean quesadillas, a winning combination. A ceviche will not disappoint, nor will an oyster soup or a shrimp caldillo. If seafood isn't your thing, go for the Ixtlán del Río style chicken.
MEXCALTITÁN
A short tour of just 15 minutes through the great Laguna de Mexcaltitán will take you to a surprising encounter with a mythical destination, which could have been the place from where the Aztecs left for Tenochtitlan. Its name: Isla de Mexcaltitán, and it has just received the badge of Pueblo Mágico.
This enclave, belonging to the Riviera Nayarit, is a charming place, so small that it can be covered on foot in a day, but during the rainy season a surprise awaits tourists: its streets are completely flooded, and it is possible to walk through them aboard a boat. This curious fact has allowed it to acquire the nickname of "The Mexican Venice".
Great Lagoon of Mexcaltitán. Board a boat and take a 15-minute walk through the waters of the Great Mexcaltitán Lagoon where you will appreciate the nature of its surroundings, birds of the region and the mangroves. In fact, this is how you get to town.
Walking tours. On sunny days walk through the central square and its streets with colorful houses and tile roofs or, in rainy seasons, take a boat to tour the city through its canals. This particularity is what makes it unique.
Museum "El Origen". It is an archaeological museum located in the central square in front of the church of San Pedro y San Pablo in which a collection of pieces from various Mesoamerican cultures is exhibited. Among them they abound in the Mexican culture due to its origins. You will find a replica of the Boturini Codex, which narrates the migration and origin of the Mexica. The museum also shows the history of the island and of fishing in pre-Hispanic times.
The Luis Castillo Ledón culture house. Something that can be seen in this house of culture is the mural painted by José Luis Soto, made with ceramics, obsidian, glass, sea shells, flagstone, talavera and marble. In addition, workshops on pottery with clay and the making of baskets with red mangrove are offered.
The feast of Saint Peter and Saint Paul. Saint Peter and Saint Paul are the patrons of the place, and their feast is celebrated in the last week of June, on the 29th. It is a procession to bless the waters. The ceremony culminates in a battle between saints: the entire town is divided into two rival teams (each with an image of each saint); they choose their sailors and they compete in a boat race around the island.
It is a healthy and colorful holiday, full of music, dance and food. This tradition is a kind of offering in order to obtain a good catch in the following season, since shrimp fishing is the main economic activity of the town.
Handicrafts. Local artisans make items made with materials from the mangroves in the area, especially red mangroves. Barcinas, for example, are spheres made of blanket and palm leaves for the preservation of dried shrimp.
Gastronomy. Its gastronomy is characterized by coming from pre-Hispanic recipes. Its typical dishes are bearded shrimp meatballs, shrimp filled tamales, shrimp soaked in lemon sauce with chili, tlaxtihuilli or tixtihuil (which is a shrimp soup), shrimp pate and aguachile. But also the zarandeado fish, the grilled lisa (which is a type of fish, oysters in their shell and the beef, poultry or pork tacos accompanied by cheese and chili are traditional.
Don't leave without trying these dishes accompanied with a cold beer in its different restaurants that offer views of the Great Lagoon.
More Tourist Attractions in NAYARIT
Just north of Puerto Vallarta Mexico and spanning over 190 miles along the Pacific coast of Nayarit, Mexico's Riviera Nayarit extends from the northern border with Sinaloa, in the municipality of Tecuala, to the mouth of the Ameca River, on the boundary with Jalisco. This exceptional destination holds magic pictoresque towns, the Sierra de Vallejo Biosphere Reserve with coastal lagoons, mangroves and wetlands, home of crocodiles, sea turtles, and endemic birds; the Isabel Island and Marietas Islands, both National Parks; the archeological vestiges in Altavista; and allure beaches where sensational days of sun and water sports can be enjoyed. The Riviera Nayarit has family tours, services and infrastructure for all kina of events, and a growing number of all inclusive and other resorts, from value-priced to luxury, excelent spas and world-class golf clubs. The temperatura here is warm and humid, with an annual average of 77oF, and the rainy season goes from June to October. … Leer Más
Ecotourism and Adventure in Nayarit
Ecotourism in Nayarit is consolidated as an option to the "sun and beach" product. The destination offers new market niches such as Alternative Tourism for those visitors who seek to enjoy nature safely and reliably. In the region there are a wide variety of companies dedicated to Adventure Tourism, Ecotourism and Rural Tourism, which offer countless tours with outdoor activities such as hiking, canyoning, rappelling, and even gastronomic experiences of typical regional cuisine, thus enriching the tourist offer of the destination.… Leer Más
Tepic City Surroundings
Considered a colonial monument in itself, the city of Tepic is surrounded by majestic mountains that have witnessed many historical events in the country. Cradle of illustrious men such as the writer Amado Nervo and the boy hero Juan Francisco Escutia, it is also known as Tepic de Nervo in honor of the poet. There are many meanings that are attributed to the name of this city, such as "Tierra del Maíz", "Place of massive stones" or "Very populated site".… Leer Más
The cultural legacy can be seen in the architecture, museums and traditions. The first colonial towns were established in the valleys between the mountain ranges and the coast of Nayarit. And in many of these towns magnificent estates and impressive churches were built. The inhabitants of these cities are naturally excellent hosts, and you can enjoy of this warm, relaxing atmosphere in the old houses converted to a comfortable hotels. Tepic was founded in 1531 by Nuño de Beltrán as Santiago de Galicia de Compostela, the capital of the Kingdom of New Galicia (a territory comprised of the states of Jalisco, Colima, Nayarit, Aguascalientes, Durango, Sinaloa and San Luis Potosí).
Tepic combines its modern buildings and services with a rich historical legacy. In this city, you can delve into Nayarit's fascinating culture thanks to its many museums, historic buildings and variety of traditions.… Leer Más
Guided Tours in NAYARIT
Flights & Hotels in NAYARIT
Tags:Magic Towns


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Caterpillars are destructive little creatures that feed on leafy vegetation, eating their way through plants and trees. They turn into butterflies that can lay up to 1,000 eggs, which will hatch more hungry caterpillars. If not dealt with, the caterpillar infestation will ruin plants, trees and crops. Fortunately, you have several ways to kill black caterpillars without harming your garden or yard.
Purchase an insecticidal soap at a local garden center or home improvement store. Made from naturally derived fatty acids, insecticidal soaps are safer than traditional insecticides. Read and follow all warnings and directions printed on the label. Each type and brand of insecticidal soap has its own set of specific instructions.
Spray the soap directly on the caterpillars. Look on the tops as well as the bottoms of leaves and on the plants' stems.
Repeat the process 7 to 10 days after the initial treatment.
Mix 1 gallon of warm water with 1/4 cup of dish soap. Pour the mixture carefully into a garden sprayer.
Spray the soapy water on caterpillars on house siding, outdoor furniture and other nonliving items. Soak the insects completely.
Repeat the process whenever you see caterpillars. Alternatively, pick the caterpillars off the surfaces and place them in a bucket filled with warm, soapy water.
Install birdhouses near the infested area. If birds move in, they will eat the caterpillars.
U.S. Department of Agriculture Forest Service; Forest Tent Caterpillar; Harold O. Batzer, et al.


text:
Matt Singer Updated: April 17, 2020
While we wait for a new major marquee title on Disney+, there are a couple interesting looking (if admittedly small scale) shows being added to the streaming service in May. For fans of The Mandalorian, there's a new weekly documentary series called Disney Gallery: The Mandalorian, that takes viewers behind the scenes of the hit Star Wars series. There's also something called Prop Culture, about the history of famous Disney movie props that sounds fun as well. And there are some new movie additions in May too, including Maleficent: Mistress of Evil, George of the Jungle, and the notorious (but not terrible!) John Carter.
Here's the full lineup of what's coming to Disney+ in May:
New Library Titles
Awesome Animals (S1)
Birth of Europe (S1)
Bride of Boogedy
Buried Secrets of the Bible with Albert Lin (S1)
CAR SOS (S1 - S7)
Disney Kirby Buckets (S1-S3)
Homeward Bound II: Lost in San Francisco
How to Play Baseball
In Beaver Valley
Lost Treasures of Egypt (S1)
Love & Vets (S1)
Nature's Half Acre
Pirates of the Caribbean: On Stranger Tides
Prairie Dog Manor (S1)
Primal Survivor (S1-S4)
Prowlers of the Everglades
Secrets of the Zoo
Secrets of the Zoe: Tampa
Survive the Tribe (S1)
United States of Animals (S1)
Unlikely Animal Friends (S3)
Be Our Chef, Episode 106 - "Slimy Yet Satisfying"
Star Wars: The Clone Wars, Episode 711 - "Shattered"
Disney Family Sundays, Episode 126 - "Star Wars: Clock"
One Day at Disney, Episode 122 - "Robin Roberts: Good Morning America Co-Anchor"
Prop Culture - All Eight Episodes
16. John Carter (2012)
Disney Gallery: The Mandalorian, Episode 101 - "Directing"
Star Wars: The Clone Wars, Series Finale - "Victory and Death"
Be Our Chef, Episode 107 - "Anyone Can Cook"
Disney Family Sundays, Episode 127 - "Star Wars: Hanging Art"
One Day at Disney, Episode 123 - "Joe Hernandez: Attractions Host"
Disney Gallery: The Mandalorian, Episode 102 - "Legacy"
Disney Insider, Episode 105 - "Running Through Disney, Sorcerer's Arena, Opening the Arhives"
Furry Files
Maleficent: Mistress of Evil
Be Our Chef, Episode 108 - "Worth Melting For"
Disney Family Sundays, Episode 128 - "Beauty and the Beast: Stained Glass"
One Day at Disney, Episode 124 - "Stephanie Carroll: Ranch Hand"
Disney Gallery: The Mandalorian, Episode 103 - "Cast"
It's a Dog Life With Bill Farmer, Episode 101 - "Whale Poop Dogs & Sheep Herding Dogs"
13. Fantastic Mr. Fox (2009)
The Boys: The Sherman Brothers' Story
Disney Just Roll with It (S1)
Disney Mech-X4 (S1-2)
Disney Vampirina (S2)
Disneyland Goes to the World's Fair
Heartland Docs, DVM (S1)
Marvel's Future Adventures (S2)
The Big Fib - All 15 Episodes
Be Our Chef, Episode 109 - "Tiana's Place"
Disney Family Sundays, Episode 129 - "Bambi: Lanterns"
One Day at Disney, Episode 125 - "Ed Fritz: Imagineering Ride Engineer"
Disney Gallery: The Mandalorian, Episode 104 - "Technology"
It's a Dog Life With Bill Farmer, Episode 102 - "Dogs & Cheetahs & Companion Dogs"
Disney Doc McStuffins (S5)
Disney Gabby Duran & the Unsittables (S1)
Disney The Evermoor Chronicles (S1-2)
Mickey and the Seal
The Moon-Spinners
Violetta (S2)
Be Our Chef, Episode 110 - "Woody's Lunchbox"
Disney Family Sundays, Episode 130 - "Nightmare Before Christmas: Candy Bowl"
One Day at Disney, Episode 126 - "Jerome Ranft: Pixar Sculpton"
Disney Gallery: The Mandalorian, Episode 105 - "Practical"
It's a Dog Life With Bill Farmer, Episode 103 - "Mascot Dogs & Guide Dogs For Runners"
Gallery — The Best Shorts to Watch on Disney+:
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Source: Everything New on Disney Plus in May
Filed Under: Disney, Disney Plus, The Mandalorian
Categories: TV
Disney Unveils First Plus-Size Heroine In Film About Body Dysmorphia
Demi Lovato Reveals the Advice She'd Give to Disney Channel Stars Today (EXCLUSIVE)
Bruce Banner Shares A Funny Hulk Power With She-Hulk
Megan Fox and Machine Gun Kelly Reportedly Shut Down Popular Disneyland Ride
Disneyland Instagram Flooded With Racist Posts and Expletives During Hack
Disney World Guest 'In Shock' After Allegedly Witnessing Bus Hit Cast Member
Woman Arrested at Disney's Animal Kingdom for Slapping Husband Over Stress of Vacation
Everything New on Disney Plus in July
An Animated Classic Comes to Life in First 'Pinocchio' Trailer


For simplicity, I'm running a single worker, also managed by supervisord.
The jobs are getting inserted into the database properly from what I can see. However, the worker is running the same task multiple times, which can be anywhere between 2 and 10 times before the job is finally removed from the persistent queue.
I can confirm that only one job gets inserted into the sqlite persistent queue.
I ran gearmand through strace while this issue was happening. I don't know if this will help debug what's happening or not.
Also having this problem with 0.28.
This time, I ran gearmand directly without the persistent queue, and observed the same behavior. I'm using 0.8.1 of the PHP extension.
Can you confirm that your client is correctly exiting with SUCCESS?
BTW we are looking at a solution for this for the next major release.


First Impressions is an IMPRINT theatreworks program designed to cultivate new work by playwrights in the Dallas/Fort-Worth area. As an ensemble-based theatre company, we believe collaboration and openness are integral to development and want to provide outlets and opportunities for creators to utilize available resources within the community.
WE ARE NOW ACCEPTING SUBMISSIONS FOR OUR SECOND ANNUAL FIRST IMPRESSIONS FESTIVAL FOR LOCAL PLAYWRIGHTS!
TO LEARN MORE ABOUT THE FESTIVAL AND SUBMIT YOUR WORK, CLICK HERE.


Camera IconAll Black wing Nehe Milner Skudder has a chance to put injury setbacks behind him against Argentina.
Coach Steve Hansen's extended World Cup trial continues when an under-strength All Blacks meet Argentina in Nelson.
Fresh from their Bledisloe Cup extermination of Australia, the world champions are short-priced favourites to swamp the Pumas on Saturday.
New Zealand have never lost in 26 Tests against the South Americans, who are yet to come within 15 points on Kiwi soil.
It has allowed Hansen to pull apart his first-choice team, just as he did in the dead rubber third Test against France in June.
Player welfare in a busy season is one reason but the chief motivation is to assess the merits of players who have much to prove ahead of next year's bid for a third successive World Cup crown.
In the starting backline, fullback Ben Smith is the lone obvious first-choice selection. Owen Franks, Brodie Retallick and Kieran Read are the are the only equivalents in the pack.
Richie Mo'unga's maiden start at five-eighth ahead of Beauden Barrett will be keenly observed by Hansen, along with the performances of recalled wing Nehe Milner-Skudder, prop Karl Tu'inukuafe, reserve halfback Te Toiroa Tahuriorangi plus flankers Shannon Frizell and Ardie Savea.
Frizell, the brother of NRL star Tyson Frizell, will hope to make the same impact as another fringe blindside flanker - Vaea Fifita - in last year's equivalent Test in New Plymouth, when Argentina bombed a seven-point lead with half an hour remaining.
That match, and the Pumas' shock win over South Africa last month, should be enough to keep the All Blacks players on edge, Hansen said.
"We're expected to beat them, that's the external expectation.
"But we think they're a challenging side to play. They've got plenty of pace if you have a look at the highlights of the last Test so there's no thought that this is something that's just going to happen."
Hansen hopes the diminutive Milner-Skudder can make an immediate impact in what will be his third coming at Test level, having undergone two long periods of injury rehabilitation.
The elusive 90kg winger provides an intriguing point of difference in an international rugby scene increasingly dominated by giant backs.
"He's more of a jinker and a jiver," Hansen said.
"What he's doing is inspiring young kids, by saying 'You can still make it as an All Black at my size' and I quite like that. He'll light the place up at some stage I'm sure."
The All Blacks are playing their first Test in Nelson, where temporary seating has nearly tripled Trafalgar Park's capacity to 21,800.


text:
Le Silver Dart était un avion canard et le dernier aéroplane expérimental produit par l'Aerial Experimental Association dont faisait partie Alexandre Graham Bell. Ce biplan monoplace conçu par John Alexander Douglas McCurdy était probablement le plus évolué des aéroplanes réalisés par l'AEA. Construit en tubes d'acier et bambou, bois et câbles d'acier, il avait un entoilage en soie caoutchoutée comme les dirigeables et une hélice sculptée dans un seul bloc de bois.

Le  à Baddeck en Nouvelle-Écosse, le Silver Dart devient le premier avion à moteur contrôlé à voler au Canada et dans l'Empire britannique piloté par John A. D. McCurdy. Il monta à une altitude de  et vola sur près d'un kilomètre et demi à .

Le  McCurdy effectua un vol en circuit fermé de . L'armée canadienne ne semblait nullement impressionnée, l'idée générale étant qu'un aéroplane n'aurait jamais grande utilité dans une guerre. Elle invita pourtant l'AEA à venir présenter son engin à Petawawa. Or, le Silver Dart reposait sur de petites roues s'accommodant mal du terrain sablonneux qui lui était proposé et les décollages étaient laborieux. Au cours de son cinquième vol à Petawawa, une roue heurta une bosse sur la zone d'atterrissage. McCurdy ne parvient pas à reprendre en main son engin qui termina ainsi sa carrière.

Le  a eu lieu à Baddeck en Nouvelle-Écosse, une commémoration pour le  du premier vol au Canada.

Une réplique de l'AEA Silver Dart daté de 1958 peut être vu aujourd'hui au Musée de l'aviation du Canada à Ottawa.

Notes et références

Liens externes
 Site officiel commémoratif du Silver Dart

Aéronef expérimental
Avion biplan
Avion construit au Canada
Avion des années 1900
Avion à hélices
Avion monomoteur
Avion-canard
Premier vol en 1909

redpajama_set_name: RedPajamaWikipedia


Officially got cleared to set both feet on ground. Was dead tired come the end of a long day but glad am up and moving about again. This month's physio will be crucial to develop my quads and hamstrings. In the meantime, also glad to get back to the work grind. Staying away from work for a month needs quite a lot of motivation to return to. At the moment, I feel lost and need to settle in quick. Until later when I do get more time.
Next Post Fluid Football – Loving it!


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Mark Abel (born April 28, 1948) is an American composer of classical music.

Background
After a brief stay at Stanford University in the late 1960s, Abel was active on the New York rock scene during the 1970s and early 1980s, leading his own groups, producing the bands The Feelies and The Bongos, and playing on albums of Tom Verlaine and former Left Banke mastermind Michael Brown. He returned to California in 1983 and worked in mainstream journalism for two decades, eventually becoming foreign editor of the San Francisco Chronicle. He moved away from rock during that period, immersed himself in classical and gradually began developing his hybridized style.

Career
Eight CDs of Abel's music have appeared in the past dozen years. The self-released Journey Long, Journey Far  and Songs of Life, Love and Death attracted little notice. But The Dream Gallery, a 69-minute song cycle for seven soloists and chamber orchestra depicting the lives of imaginary archetypal Californians, caught the interest of pianist Carol Rosenberger, director of the Delos Productions label, leading to its recording by USC Thornton conductor Sharon Lavery and the La Brea Sinfonietta.

Delos' release of Gallery in early 2012 began to bring Abel's music to a wider audience. The record garnered considerable acclaim, with notices ranging from "profound and compelling" and "not much like anything else out there, … most highly recommended" to "anyone who is interested in modern vocal music will want to own this disc."

In the fall of 2013, Abel's "The Benediction" appeared on Stopping By, the debut CD of New York tenor Kyle Bielfield. The song explores Abel's feelings about the uneasy state of socially divided America.

Abel's second recording for Delos, Terrain of the Heart, a collection of art song cycles for voice and piano, was released in February 2014. It features three recitalists from the Los Angeles classical scene — sopranos Jamie Chamberlin and Ariel Pisturino, and pianist Victoria Kirsch.

The record was praised as "art song at a high-water mark of invention"  and for its "emotional directness and stylistic unpredictability." The Journal of Singing called "The Dark-Eyed Chameleon" cycle "captivating and important," adding that it "holds its own" with some of the most revered tragic cycles of Schubert, Schumann and Mahler.

In March 2016, Delos Productions released the double-CD package Home Is A Harbor — consisting of Abel's first opera (of the same name) and the song cycle "The Palm Trees are Restless", a setting of verses by Los Angeles poet Kate Gale. The cycle marked the beginning of a series of collaborations by Abel with Grammy-winning soprano Hila Plitmann.

Gramophone (magazine) commented "Abel employs a colorful blend of styles … (that) serve the emotional nature of each work to bracing and poignant effect. Abel's lucid narrative and vibrant vocal lines, combined with telling orchestrations for a chamber ensemble, make ("Harbor") an affecting experience. The brilliant soprano Hila Plitmann manages every leap and switch of emotional gears (in "Palm Trees") with fearless commitment, and pianist Tali Tadmor matches her in power and subtlety."

Richard Sininger of American Record Guide wrote that the recording showed Abel to be "at the forefront of (California's) musical life."

Plitmann and Tadmor gave the world premiere of "The Palm Trees Are Restless" on Oct. 1, 2016, at the Boston Court Performing Arts Center in Pasadena, Ca. Plitmann has continued her support of Abel's music since then, premiering another Abel-Gale collaboration, the concert aria "Those Who Loved Medusa," at a Dec. 10, 2017, concert at The Broad Stage in Santa Monica. Several months later, Plitmann was featured in a film dramatization of "Medusa" made by videographer Tempe Hale.

Plitmann recorded that piece and two other Abel works – "In the Rear View Mirror, Now" and "The Benediction" – for the composer's fourth Delos release, Time and Distance, which appeared in March 2018. The album also includes two pieces written for mezzo-soprano Janelle DeStefano  – the song cycle "The Ocean of Forgiveness," a setting of poems by Joanne Regenhardt, and "The Invocation." The "Ocean" cycle took the Honorable Mention in the 2018 Art Song Competition held by the National Association of Teachers of Singing.

Time and Distance was well received by music writers. Laurence Vittes of Gramophone praised Abel's "marriages of subtly charged music with an eclectic modernist twist to emotionally provocative, introspective texts."  Gregory Berg of The Journal of Singing called Abel "a composer with bold and ambitious ideas and the resourcefulness to nearly always bring those ideas to full and effective fruition. His latest collection … marks a new level of excellence we have not seen before."

Theodore Bell of CultureSpot LA wrote: "The collection has a unique L.A. sound and attitude … .  Abel's settings fuse chamber and contemporary styles seamlessly together to achieve a spacious feel with only a small ensemble."  Huntley Dent of Fanfare observed: "Few current songwriters rival Abel's intriguing texts and their reach into so many psychological and cultural issues. Meaning and melody go hand in hand in a very contemporary way, which I truly admire."

Enthused Joseph Newsome of Voix-des-Arts: "Too plentiful to enumerate are the passages in this music that are so wrenchingly private that they may compel the listener to ask, 'How can this man whom I have never met know so much about my life?' This intuition, uncanny and unifying, is the foundation of Abel's unique musical language and the quality that makes Time and Distance a disc that severs new veins of raw emotion each time that it is heard."

Abel shifted focus for his fifth Delos release, The Cave of Wondrous Voice, offering a program dominated by chamber music. Three American masters of the idiom – David Shifrin, Fred Sherry, and Carol Rosenberger – introduce Abel's Clarinet Trio and "Intuition's Dance," while German violinist Sabrina-Vivian Höpcker and young American pianist Dominic Cheli perform "The Elastic Hours." Hila Plitmann makes her fifth traversal of an Abel work in the song cycle "Four Poems of Marina Tsvetaeva," accompanied by Rosenberger and English hornist Sarah Beck. The piece is the first setting of the Russian poet in English, with translations by Alyssa Dinega Gillespie.

Like its predecessors, Cave received wide acclaim. Beyond Criticism's Matthew Gurewitsch described the album as "sundown music, aglow with somber color and orientalist touches. Serendipity and an Impressionist sensibility … guide the ebb and flow. Beautiful." Henry Schlinger of Culture Spot LA called the release "a wondrous creation" in which Abel "announced his arrival as a serious chamber music composer." The Whole Note's Tiina Kiik wrote that Cave showed Abel to be "a compositional master of intriguing contemporary music."

Gramophone's Donald Rosenberg praised Abel's "establishing of vibrant and urgent contexts for the interaction of voice and instruments," and the Clarinet Trio's "poetic, engaging and philosophical material that these superb players afford colorful and lyrical delineation." Fanfare's Huntley Dent declared: "Abel represents the best strain in contemporary American composers who can merge their musical gifts with a sensitive, far-reaching intellect. He brings up to date the strain of literary delving found in Schumann and Debussy."

In fall 2021, Abel's duo composition Approaching Autumn appeared on a Delos album of the same name by San Francisco-based cellist Jonah Kim. The piece, performed with pianist Robert Koenig, was labeled "compelling" by Lou Fancher of San Francisco Classical Voice. Lynn René Bayley of The Art Music Lounge called it "a surprisingly dramatic piece … the work of an assured composer who knows what he is about. Not a single phrase or note is superfluous, repetitive, or just thrown in to impress the listener. … A work that I consider a modern American masterpiece."

David W. Moore of the American Record Guide called Approaching Autumn "beautifully romantic" and Fanfare's Colin Clarke hailed it as "a splendid piece, nearly a quarter-hour of pure beauty." Rafael de Acha of All About the Arts described it as "melodically forthcoming, harmoniously laid-out, often playful, eminently accessible, at times ruminative, unabashedly joyful at others. … A delightful work."

October 2022 saw the release of Spectrum, a 92-minute survey of Abel's most recent work, evenly divided between vocal and chamber pieces. Soprano Isabel Bayrakdarian and mezzo Kindra Scharich make their first appearances on an Abel album, while Hila Plitmann returns for her sixth. Instrumental players include Carol Rosenberger, Dominic Cheli, David Samuel, Jonah Kim, Dennis Kim, Sean Kennard and Jeff Garza.

Awards
Global Music Awards - "Award of Excellence" for the lyrics in The Dream Gallery
Global Music Awards - "Award of Merit" for "creativity/originality"

Discography
Spectrum (2022)
The Cave of Wondrous Voice (2020)
Time and Distance (2018)
Home Is A Harbor (2016)
Terrain of the Heart (2014)
The Dream Gallery (2012)
Journey Long, Journey Far (2008)
Songs of Life, Love and Death (2006)

References

External links

Meet Mark Abel - Delos
Global Music Awards
Richmond Confidential features The Dream Gallery
KCET - Mark Abel: A Contemporary Voice in Classical Music
The Right Human Blog
Opera Lively Interviews Composers Mark Abel
Second Inversion Podcast Interview

1948 births
American male classical composers
American classical composers
Living people
Musicians from Hartford, Connecticut
20th-century classical composers
21st-century American composers
21st-century classical composers
American male journalists
Journalists from Connecticut
San Francisco Chronicle people
20th-century American journalists
20th-century American composers
20th-century American male musicians
21st-century American male musicians


text:
Support Us | Like A Woman
Gail Mooney
How Cool Is This?
One thing I love about my "job" is that I get to experience all kinds of events, places and people. That's why I became a photographer and later on, a filmmaker. And I will always have a lot stories to tell, with all those experiences.
I just had a very "cool" experience. I have met a lot of amazing women while doing this documentary, and I've heard and relayed many of their incredible stories, but while working with our latest subject Olivia Sebesky,
Olivia Sebesky
a video projection artist, I had one of the most cool experiences I ever had.
Olivia has created video projections for acts like James Taylor, Hootie and the Blowfish at Madison Square Garden and recently Aerosmith, in Las Vegas. I have to admit, even after a great interview with Olivia previously in New York City, I didn't fully understand the breadth and creativity of her work until I saw it – live with Aerosmith. When we traveled to Las Vegas last week, to shoot footage of Olivia on site for one of her recent projects, the Deuces are Wild residency of Aerosmith at the Park MGM Theater, we got an unexpected treat - VIP tickets for that night's show and VIP treatment along with it. I have seen a lot of bands in my time, but I wasn't prepared to see one of the best band performances, I've ever seen. To make it even more exciting, I got to see Olivia's amazing work and it blew me away! Rather than try to describe it, you can see this short video I shot with my phone. It only shows the last two minutes of a twenty-five minute pre-show Olivia created. If you're in Vegas while Aerosmith is in town, go to the show and make sure you get there to see Olivia's art!
Stay tuned for news about another new subject for Like A Woman. Her name is Barbara Van Cleve and she is a fine art photographer from Montana.
We've been busy traveling and creating new stories for this documentary, but now it's time to start post-production and editing. I love this part of the filmmaking process, but it's a lot of work for just one person. Plus I want to work with a professional editor who can bring another perspective and add polish to the film.
If you haven't subscribed yet for notes, please do so here. If you're feeling generous and you'd like to help us out, your donation is tax-deductible through our fiscal sponsor, Art Without Limits.
I Dared to Dream
Award-Winning Filmmaker Completes Grassroots Screenings under the Stars Tour across America
We Did It
Nola Productions, LLC
Email: gail@kellymooney.com
is the fiscal receiver for 501 (c) (3) donations for Nola Productions, LLC / Like A Woman
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© 2020 Like A Woman


When you start your own business, it is very unlikely that nothing will go wrong. Throughout your first few months or even years, you will make mistakes and hopefully these mistakes will be a learning curve for your future.
I have now been running my own creative design business for around a year and a half and although things are much brighter now, in my first year I had a lot of ups and downs and had to find my feet in the world of self-employment.
Trust me, those people who say they have never made any mistakes whilst running their own business are liars (sorry!) and want to make out like they are the best business owners in the world because of this. The word mistake has a huge negative connotation associated with it but my mistakes have become my strengths as I am a better and more confident business woman from making them.
I would like to share with you five of my mistakes I made in the first year of my creative design business and a little bit of advice from me to make sure you don't repeat my errors!
As an initial tactic to retain some clients, I set my prices at rock bottom. The lower the price, the more people will want to work with me, right? Wrong. Well, half wrong. Yes, the lower prices brought me some business but these people wanted the same amount of work as they would have from anyone else with higher (more reasonable) prices. So, I ended up working just as hard as everyone else but for less than half of the income. Believe me, I do not run my lifestyle business just for the money but a gal gotta pay some bills!
On top of this, it made it harder and harder to increase prices along the way when I got to know my real worth, as people had lower expectation of what they wanted to pay.
Tip: Before you get started, sit down and work out a pricing strategy which will work for your clients and - more importantly - yourself. Calculate your expenses and your ideal disposable income, this is how much you will need to make, and then using this and the hours you work, you can figure out your hourly rate.
As a Maths graduate, you would think that finances would be a strength of mine but in the early stages of my business, this was something that often got ignored. My main thought was getting the money in and keeping records of this was pushed to the back of my mind.
Flash forward to my first tax return deadline and I spent many a late night sorting through bank statements and receipts to make sure I had all my records up to date and ready for the tax man! Not only did this take a lot of time but it meant I didn't know how much tax I would end up paying and my savings account took a bit of a hit.
Since the end of January (the dreaded tax return deadline) I have been consciously taking much better records and keeping all receipts for expenses. I have heard there are many excellent bookkeeping programs which would be a great help but for now, my trusty spreadsheet is doing the job. I'm hoping this is something I can improve this year.
Tip: As soon as your business starts making money, keep a record of all outgoings and incomings. Also, a good rule of thumb for saving for tax is to keep one third of your income aside.
This is something which I have only recently shook out of my system and something a lot of freelancers struggle with. When I first started working for myself, I worked as many hours as physically possible and felt guilty if I was spending my time doing anything other than work - a dangerous habit.
Working long hours quickly lead to an unhealthy lifestyle and mind. I was reaching burnout and even worse, I wasn't even seeing any benefits to working such long hours.
The classic mantra is "work smart, not hard" and this is something which I have definitely learnt the hard way. Once I realised I was working myself into the ground, I streamlined my booking process so I had a manageable client load and worked a stricter routine into my week. Hey, I even give myself most weekends off!
Tip: If long working hours are causing you grief, sit down and try to create a routine for yourself which will benefit both your work and your mind. If it helps, give yourself a strict 'stop working' time and make sure you stick to it.
Once my workload started increasing, I was incredibly happy with where my business was at and my design expertise were growing with each client I worked with. I felt like I was getting better at my design work and my style was evolving.
This all sounds like a good thing, right? Well it is and it isn't. Because I felt like my own skills were progressing, I didn't put any time into educating myself in anything new. The expertise I had already were getting better, but they were always in the same areas. I wasn't reading any books about business or learning any new programs and this meant I was stuck in the same spot with my work.
Now, I try to set aside one day a week to dedicate to my business and myself as a designer and I use this to try to learn a new skill or read into new trends and programs which may help with my progression.
Tip: Don't forget that education doesn't stop when you start a business! To keep up with current times, you constantly have to educate yourself with new practices and this will in turn help your creative business.
The main reason my business started was through fashion and beauty blogging (unfortunately, this blog doesn't exist anymore!) and so you would have thought that a blog is something I would have continued throughout my business journey.
When my client work started building, a blog became an afterthought and I didn't even think it was something I could use as a marketing tool. I occasionally wrote a post about a services update or any business-related news but nothing that people would come to my website specifically to read.
Since relaunching my website, I have really got back into the swing of things with blogging and it has become a great tool for marketing my design services. As well as this, it is a great outlet for me to be creative in a different way and writing is becoming a bit of a hobby!
Tip: If you struggle to think of things to blog about for your business, write about your personal experiences at first and then the more you write, the more inspiration you will have.
I hope you have enjoyed reading about my experiences in the first year of my business and I would love to hear if you have learnt from any mistakes whilst running yours. I genuinely believe that we must make mistakes to learn and grow in our creative business and become the bosses that we are today!