text:
Who is most likely to replace Eagles' DT Malik Jackson?
By Joey Kapusta
Image Courtesy: Mitchell Leff/Getty Images
The Eagles won 32-27 over the Washington Redskins on Sunday but lost a big piece. During the game, starting DT Malik Jackson had to leave due to what Doug Pederson called a "significant injury." There is no time-table for his return as of Monday night.
All indications are that Jackson will miss an extended period of time, with a looming possibility of season-ending surgery. Timmy Jernigan now fills in for the injured Jackson as the Eagles look to bolster the depth behind him and Fletcher Cox. Jernigan saw rotational action and also recorded a sack on Sunday. The Eagles luckily have the luxury of Jernigan being familiar with Jim Schwartz's defense, so there may not be any drop off going forward.
Depth is something that helped the Eagles win a Super Bowl in 2017. That depth will be tested as the only other defensive tackle on the active 53 man roster is local product, Hassan Ridgeway. Let's take a look at some options the Eagles may be looking at to help solidify the trenches in Jackson's absence:
1: Bruce Hector – Currently on the Eagles practice squad, Hector seems like the most likely choice to fill in. He played for the Eagles in eight regular-season games last year and is familiar with the defense. Hector recorded 4 total tackles.
2: Muhammad Wilkerson – Wilkerson is a former first-round pick of the Jets and is only 29 years old. Wilkerson, a local Temple product, is a former pro-bowler and two-time second-team All-Pro and last played with the Packers. While he is probably best suited to play defensive end in a 3-4 scheme, he provides a much-needed pass rush skillset from the interior defensive line. Wilkerson has a history of being somewhat of a "loose cannon" so how he fits in the locker room could weigh heavily on if the Eagles would consider him.
3. Chris Long – Now hear me out. We all know Long is retired and he is strictly an outside pass rusher. The addition of Long would be great for the locker room, provide an impact pass rush off the edge, and also allow the Eagles to use Curry and Graham more on the inside, especially on passing downs. This is something the Eagles had tremendous success with in 2017 and would have a very nostalgic Super Bowl feel to it. However, Long has lost significant weight and would have to recondition before being ready to play.
The Eagles are still waiting to get the full injury timeline for Malik Jackson's injury, but if there is anything we should trust, it should always be that Howie Roseman will make the most calculated and best move for this team.
Related Items:Bruce Hctor, Chris Long, Fletcher Cox, Haasan Ridgeway, Malik Jackson, Mohammed Wilkerson, Timmy Jernigan, Top Stories
Eagles send Green Bay 'Packing' in Thursday Night Thriller
Eagles vs. Lions: Week 3 Preview
Eagles players react to yet another Superstar coming to Philly
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text:
https://www.mrt.com/entertainment/article/In-the-limelight-Sound-of-Music-7452895.php
In the limelight - Sound of Music
By Graham Dixon
Published 6:30 pm CST, Saturday, November 26, 2011
"The Sound of Music" is Midland Community Theatre's last production of the year. While it has some bright spots — particularly among the children and smaller roles — it suffers from some glaring absences within the leads. The story of the Von Trapp Family, very loosely based on the famous real-life singing family's struggles as the Nazis took over Austria, was Rogers and Hammerstein's last musical. It features some of the most famous songs in musical theater, ranging from the title song to the lovely "Edelweiss."
As the Captain — who attempts to run his household like a ship after the death of his wife, including a unique whistle-sound for each of his children — Mike Harrell is not entirely convincing. He looks the part of a military officer, but does not have the bearing of a man used to his demands being unquestioningly obeyed by hundreds of men. Harrell's softer, more fluid demeanor works better when his character has warmed up to Maria and is acting as a father should. But there are only hints of a man facing the nightmare of his country being overrun with thugs.
As Maria, Kristen Loyd has a beautiful singing voice but struggles with the demands of the acting. We can hear her love of the mountains in her opening song, but we are not taken there through the look on her face or her wandering around their slopes. Part of the problem here may be the painted backdrop, which appears to portray dry desert mountains far more than the soaring, near vertical slopes that make the Alps so famous.
Loyd improves in some of the scenes with the children, but seems all at sea in her scenes with the Captain et al.
The acting is better, and the show is held together, by some of the performances among the more minor roles. This is especially the case with John Briggs as Max. He breathes life into every scene that he is on stage, and we sense the quietly growing fear of a man who is far more interested in entertainment than politics, but who realizes — perhaps too late — that the reality of what is happening to his country cannot be avoided. His casually taunting "Heil Hitler!" in response to the preening newly minted Gauleiter Zeller is one of the best moments in the show.
Zeller is played excellently by Preston Willis. We can see how he is itching for the Nazi takeover of Austria as he stiffly wears his lounge suit in the party scene, and how liberated he feels once he can put his beloved uniform on a couple of scenes later. As the supposedly wiser partner of a teen couple, Landry does well portraying the naïve enthusiasm of young romance. He looks suitably out of sorts dressed in a Nazi uniform, but the pivotal moment in which he decides to allow the von Trapps to escape is strangely rushed. This is not Landry's fault as the whole scene appears to have been conceived that way.
The children are, of course, adorable. On the night I saw it — they are double cast — Liz Livingston was spot-on as the oldest daughter flirting with adulthood as the world collapses around her. Ben Rosen was very funny as the gawky Freiderich while Claire Altany plays the precocious practical joker Louisa with gusto. Trinity Salcedo, Kaylee Campbell and Jordan Sanz play their characters well — they are part of a whole and yet individuals at the same time. Faith Berry played the often silent Gretl with perfect timing — stubbornly refusing to take part in the naming scene.
The nun scenes were visually striking, and the sets — apart from that strangely non-Alpine backdrop — were simple and effective.
In the end, "The Sound of Music" is encapsulated by the rather bizarre interpretation of "Edelweiss." Harrell, who is a fine, fine comic actor — delivered the song as if it was a throw-away line in a comedy rather than a moving, loving homage to a country facing tyranny. It did fit within this production's concept of the Captain as a mysteriously non-musical sire to a whole host of perfectly harmonious singers — but runs counter to the whole flow of the musical.
As the Von Trapps escape over the Alps into Switzerland, we are left with a sense of fatigue. There are some good performances, and many of the songs are some of the catchiest ever written, but there is a spark missing.
"The Sound of Music" runs through Dec. 17 at MCT. For tickets go to www.mct.org or call 570-4111.

redpajama_set_name: RedPajamaCommonCrawl


text:
var fs      = require('fs');
var path    = require('path');
var mime    = require('mime');
var ssr = require('steal-ssr');
var fse     = require('fs-extra');
var envy    = require('dssrv-envy-json');
var Q = require('q');
var spawn = require('cross-spawn-async');

// Recursively make a directory
exports.mkdirp = function(folder) {
  if(!folder) {
    return Q(process.cwd());
  }

  var parts = folder.split(path.sep);
  var dfd = Q();
  var current = '';

  parts.forEach(function(part) {
    var myPath = path.join(current, part);

    current = myPath;

    var resolve = function() {
      return myPath;
    };

    dfd = dfd.then(function() {
      return Q.nfcall(fs.mkdir, myPath).then(resolve, resolve);
    });
  });

  return dfd.then(function(myPath) {
    return path.join(process.cwd(), myPath);
  });
};

// Run a command and pipe the output.
// The returned promise will reject if there is a non-zero exist status
exports.spawn = function(cmd, args, options) {
  options = options || {};

  options.stdio = 'inherit';

  if (!options.cwd) {
    options.cwd = process.cwd();
  }

  var child = spawn(cmd, args, options);
  var deferred = Q.defer();

  child.on('exit', function(status) {
    if(status) {
      deferred.reject(new Error('Command `' + cmd +
        '` did not complete successfully'));
    } else {
      deferred.resolve(child);
    }
  });

  return deferred.promise;
};

// Returns the NPM root
exports.projectRoot = function() {
  var root = process.cwd();
  var current = root;

  while(current && !fs.existsSync(path.join(current, 'node_modules')) ) {
    if(current === path.dirname(current)) {
      return Q(root);
    }

    current = path.dirname(current);
  }

  return Q(current || root);
};

// Log error messages and exit application
exports.log = function(promise) {
  return promise
    .then(function() {
      process.exit(0);
    })
    .catch(function(error) {
      console.log();
      console.error(error.stack || error.message || error);
      console.log();

      process.exit(1);
    });
};

// Takes an exact version like 0.5.7 and turns into a range like ^0.5.0
exports.versionRange = function(exactVersion) {
  var lastDotPos = exactVersion.lastIndexOf('.');
  return exactVersion.substr(0, lastDotPos) + '.x';
};

/**
 *
 * Normalize Url
 *
 * - removes querystring
 * - removes extra slashes
 * - changes `/` to `/index.html`
 */

exports.normalizeUrl = function(url){

  // take off query string
  var base = unescape(url.split('?')[0]);

  /**
   * Normalize Path
   *
   * Note: This converts unix paths to windows path on windows
   * (not sure if this is a good thing)
   */
  var file_path = path.normalize(base);

  // index.html support
  if (path.sep == file_path[file_path.length - 1]) file_path += 'index.html';

  return file_path;
};

/**
 *
 * Mime Type
 *
 * returns type of the file
 *
 * TODO: reference ext from ssr
 */

exports.mimeType = function(source){
  var ext = path.extname(source);

  if(['.jade', '.md', '.ejs', 'pug'].indexOf(ext)  !== -1){
    return mime.lookup('html');
  }else if(['.less', '.styl', '.scss', '.sass'].indexOf(ext)  !== -1){
    return mime.lookup('css');
  } else if (['.js', '.coffee'].indexOf(ext) !== -1) {
    return mime.lookup('js');
  } else {
    return mime.lookup(source);
  }

};

/**
 *
 * Walk directory for files
 *
 * recursive function that returns the directory tree
 * http://stackoverflow.com/questions/5827612/node-js-fs-readdir-recursive-directory-search
 *
 */

var walk = function(dir, done) {
  var results = [];

  fs.readdir(dir, function(err, list) {
    if (err){
      return done(err);
    }
    var pending = list.length;

    if (!pending) return done(null, results);
    list.forEach(function(file) {
      file = path.resolve(dir, file);
      fs.stat(file, function(err, stat) {
        if (stat && stat.isDirectory()) {
          walk(file, function(err, res) {
            results = results.concat(res);
            if (!--pending) done(null, results);
          });
        } else {
          results.push(file);
          if (!--pending) done(null, results);
        }
      });
    });
  });

};

/**
 *
 * Fetch all the file paths for a directory.
 * returns and array of all the relative paths.
 *
 */

exports.ls = function(dir, callback) {
  walk(dir, function(err, results){
    var files = [];
    results.map(function(file){ files.push(path.relative(dir, file)); });
    callback(null, files);
  });
};

/**
 * Setup
 *
 * This is the style and configuration of a steal-ssr Application.
 * returns object with contents of steal-ssr.json and application style
 *
 *   {
 *     "projectPath" : "/path/to/app",
 *     "publicPath"  : "/path/to/app/public",
 *     "config"      : { ... }
 *   }
 */

exports.setup = function(projectPath, env){
  if(!env) env = 'development';

  var configMode = 'json';
  try{

    var configPath  = path.join(projectPath, 'steal.json');
    var contents    = fs.readFileSync(configPath).toString();
    var publicPath  = path.join(projectPath, 'public');

  }catch(e){
    try{
      var configPath  = path.join(projectPath, 'steal.js');
      var contents    = fs.readFileSync(configPath).toString();
      var publicPath  = projectPath;
      configMode = 'js';
    }catch(e){
      try{
        var configPath  = path.join(projectPath, '_steal.json');
        var contents    = fs.readFileSync(configPath).toString();
        var publicPath  = projectPath;
      }catch(e){
        try{
          var configPath  = path.join(projectPath, '_steal.js');
          var contents    = fs.readFileSync(configPath).toString();
          var publicPath  = projectPath;
          configMode = 'js';
        }catch(e){

            //end
          var contents    = '{}';
          var publicPath  = projectPath;

        }
      }
    }
  }

  // not sure what this does anymore.
  if(!contents || contents.replace(/^\s\s*/, '').replace(/\s\s*$/, '') == ''){
    contents = '{}';
  }

  if (configMode == 'json') {
  // attempt to parse the file
    try{
      var cfg = JSON.parse(contents);

    }catch(e){
      e.source    = 'JSON';
      e.dest      = 'CONFIG';
      e.message   = e.message;
      e.filename  = configPath;
      e.stack     = contents;
      e.lineno    = -1;
      throw new ssr.helpers.stealstealSSRError(e);
    }

    if(!cfg.hasOwnProperty('globals')) cfg['globals'] = {};

    cfg.globals.environment = process.env.NODE_ENV || env;

    // replace values that look like environment variables
    // e.g. '$foo' -> process.env.foo

    cfg = envy(cfg);

  } else {
    try{
      var cfg = require(configPath);
      if(!cfg.hasOwnProperty('globals')) cfg['globals'] = {};
    }catch(e){

      e.source    = 'JS';
      e.dest      = 'CONFIG';
      e.message   = e.message;
      e.filename  = configPath;
      e.stack     = e.stack;
      //e.lineno    = -1
      throw new ssr.helpers.stealstealSSRError(e);
    }
  }

  return {
    projectPath : projectPath,
    publicPath  : publicPath,
    config      : cfg
  };

};

/**
 *
 * Template for outputing Less errors.
 *
 */

exports.cssError = function(error){
  var body = '' +

  'body{' +
    'margin:0;' +
  '}' +

  'body:before {' +
    'display: block;'+
    'white-space: pre;' +
    'content: "'+ error.error.source +' -> ' + error.error.dest + ' (' + error.error.message + ') ' + error.error.filename + '";'+
    'color: #444;'+
    'background-color: #fefe96;' +
    'padding: 40px 40px;'+
    'margin: 0;'+
    'font-family: monospace;'+
    'font-size: 14px;'+
  '}';

  return body;
};

/**
 *
 * Will Collide
 *
 * Returns true if first path is in the line of fire of the second path.
 * ie: if we delete the second path will the first path be affected?
 */

var willCollide = exports.willCollide = function(projectPath, outputPath){
  var projectPath   = path.resolve(projectPath);
  var outputPath    = path.resolve(outputPath);
  var relativePath  = path.relative(projectPath, outputPath);
  var arr           = relativePath.split(path.sep);
  var result        = true;

  arr.forEach(function(i){
    if(i !== '..') result = false;
  });

  /**
   * for @kennethormandy ;)
   */
  if ([path.sep, 'C:\\'].indexOf(outputPath) !== -1) result = true;

  /**
   * For #400
   */
  if (projectPath === outputPath) result = true;

  return result;
};

/**
 *
 * Will Allow
 *
 * Returns `true` if we feel projectPath is safe from the output path.
 * For this to be the case. The outputPath must live only one directory
 * back from the projectPath and the projectPath must live in a directory
 * starting with an underscore.
 */

exports.willAllow = function(projectPath, outputPath){
  var projectPath   = path.resolve(projectPath);
  var outputPath    = path.resolve(outputPath);
  var relativePath  = path.relative(projectPath, outputPath);
  var arr           = relativePath.split(path.sep);

  if(willCollide(projectPath, outputPath)){
    if(relativePath === '..'){
      if(projectPath.split(path.sep)[projectPath.split(path.sep).length - 1][0] == '_'){
        return true;
      }else{
        return false;
      }
    }else{
      return false;
    }
  }else{
    return true;
  }
};

/**
 * Prime
 * (Disk I/O)
 *
 * Cleans out a directory but ignores one (optionally).
 *
 * primePath: Absolute Path
 * options: Object
 *    ignore: Absolute Path || Relative (to delete)
 *
 * This is a powerful Function so take it seriously.
 *
 */

exports.prime = function(primePath, options, callback){

  if(!callback){
    callback = options;
    options = {};
  }

  /**
   * Options (only one)
   */
  var ignorePath = options.ignore
    ? path.resolve(primePath, options.ignore)
    : null;

  // Absolute paths are predictable.
  var primePath = path.resolve(primePath);

  fse.mkdirp(primePath, function(){
    fse.readdir(primePath, function(error, contents){

      /**
       * Delete each item in the directory in parallel. Thanks Ry!
       */

      if((typeof contents == 'undefined') || (contents.length == 0)) return callback();

      var total = contents.length;
      var count = 0;

      contents.forEach(function(i){
        var filePath  = path.resolve(primePath, i);
        var gitRegExp = new RegExp(/^.git/);

        /**
         * We leave `.git`, `.gitignore`, and project path.
         */
        if(filePath === ignorePath || i.match(gitRegExp)){
          count++;
          if(count == total) callback();
        }else{
          fse.remove(filePath, function(err){
            count++;
            if(count == total) callback();
          });
        }
      });

    });
  });

};

/**
 * Stacktrace
 *
 * Formats a stactrace
 *
 *
 * This is a powerful Function so take it seriously.
 *
 */

exports.stacktrace = function(str, options){
  var lineno  = options.lineno  || -1;
  var context = options.context || 8;
  var context = context = context / 2;
  var lines   = ('\n' + str).split('\n');
  var start   = Math.max(lineno - context, 1);
  var end     = Math.min(lines.length, lineno + context);

  if(lineno === -1) end = lines.length;

  var pad     = end.toString().length;

  var context = lines.slice(start, end).map(function(line, i){
    var curr = i + start;
    return (curr == lineno ? ' > ' : '   ')
      + Array(pad - curr.toString().length + 1).join(' ')
      + curr
      + '| '
      + line;
  }).join('\n');

  return context;
};

redpajama_set_name: RedPajamaGithub


Title: Androgen induction of follicular epithelial cell growth is mediated via insulin-like growth factor-I from dermal papilla cells.
Affiliated institution: Department of Dermatology, Oita Medical University, Japan.
Androgen significantly stimulates the proliferation of outer root sheath cells that are cocultured with beard dermal papilla cells without cell contact. The expression of insulin-like growth factor I (IGF-I) mRNA in beard dermal papilla cells was stimulated by androgen and antagonized by cyproterone acetate. Outer root sheath cells did not express mRNA for IGF-I either in the presence or absence of androgen. Both of these two types of cells expressed mRNA for IGF-I receptor and the expression was not affected by androgen. Neutralizing antibody against IGF-I antagonized the stimulatory effect of androgen on the growth of outer root sheath cell cocultured with beard dermal papilla cells. These findings suggest that IGF-I is a candidate for androgen induced hair growth factors.


text:
2021 Berlin State Museums: Special Temporary Exhibitions and Cultural Highlights
January 2, 2021 by Henk Bekker in Berlin, Germany
In 2021, the Berlin State Museums will host special temporary art exhibitions in addition to the reopening of the Neue Nationalgalerie and the Humboldt Forum. The cultural highlights in Berlin in 2021 are the reopening of the Neue Nationalgalerie with its vast collection of twentieth-century art and the opening of the Ethnological and Asian Art museums in the Humboldt … [Read more...]
Tips on Visiting the Rijksmuseum in Amsterdam
January 2, 2021 by Henk Bekker in Amsterdam, Holland, Netherlands
How to buy tickets for the Rijksmuseum in Amsterdam, join guided tours, and avoid queues to see The Night Watch and Dutch Golden Age paintings and artworks without the crowds. The Rijksmuseum in Amsterdam is the top art museum in The Netherlands and deservedly very popular with visitors. In 2021, online tickets with time-slot reservations are essential to visit the … [Read more...]
Buying Tickets to See the Last Supper by Leonardo Da Vinci in Milan
January 2, 2021 by Henk Bekker in Italy, Lombardy
Reservations are essential to see The Last Supper with online advance purchase tickets the cheapest and simplest way to ensure timeslot admissions. Tickets for The Last Supper in Milan must be bought in advance as Leonardo da Vinci's famous painting on a wall in the refectory of the Convent of Santa Maria delle Grazie in Milan may only be seen with reserved tickets. All … [Read more...]
Visit the National Museum of Archaeology in Naples, Italy
September 20, 2020 by Henk Bekker in Campania, Italy, Naples
Art treasures from the Pompeii and Herculaneum excavations, including the best mosaics and frescoes, and the giant Farnese sculptures from ancient Rome are the top highlights in the magnificent National Museum of Archaeology in Naples, Italy. The National Museum of Archaeology in Naples (Museo Archeologico Nazionale di Napoli) is one of the world's greatest museums on … [Read more...]
Visit Schloss Friedenstein Castle and the Baroque Universe in Gotha
September 6, 2020 by Henk Bekker in Germany, Thuringia
Schloss Friedenstein, a baroque castle with several museums, the Ekhof Theatre, and the ducal art collection are the top sights to see in Gotha, Thuringia. The Baroque Universe of Gotha (Das Barocke Universum Gotha), the fine marketing slogan for Schloss Friedenstein, refers to a unique ensemble of baroque buildings, interiors, a theatre, art, and parks in Gotha in … [Read more...]
Visit the Herzogliches Museum (Ducal Art Museum) in Gotha
The Herzogliches Museum (Ducal Museum) is a large art collection including the Gotha Lovers (Gothaer Liebespaar), Asian art, antiquities from Egypt in the park of Schloss Friedenstein. The Herzogliches Museum (Ducal Museum) is in a large late-19th-century historicist building in the landscape park of Schloss Friedenstein in Gotha in Thuringia in central Germany. The core … [Read more...]
Save with the Campania Arte Card at Pompeii, Herculaneum and in Naples
September 2, 2020 by Henk Bekker in Campania, Italy, Naples
The Campania Arte Card is a fantastic savings deal on public transportation and sightseeing in the Naples region including skip-the-line admission to Pompeii, Herculaneum, Paestum and major museums. Travelers to Naples and cultural sites in the rest of the Campania region including Pompeii and Herculaneum save with the Campania Arte Card on sightseeing admission tickets … [Read more...]
See Art in the Free Kunsthalle Würth and Johanniterkirche in Schwäbisch Hall
June 29, 2020 by Henk Bekker in Baden-Württemberg, Germany, Stuttgart
Visitors may see modern art for free in the Kunsthalle Würth Schwäbisch Hall and top medieval masterpieces in the nearby Johanniterkirche. Schwäbisch Hall, a beautiful southern German town with many half-timbered houses, a picturesque market square with a large Gothic church, and a fine town museum, surprises many visitors with the large free modern art Kunsthalle Würth. … [Read more...]
Visit the St.-Jakobs-Kirche (St James Church) in Rothenburg ob der Tauber
April 16, 2020 by Henk Bekker in Bavaria, Franken / Franconia, Germany, Romantic Road
The high Gothic St.-Jakobs-Kirche (Church of St James) in Rothenburg ob der Tauber is full of art including the Holy Blood Altar by Tilman Riemenschneider. The St.-Jakobs-Kirche (Church of St James) is the largest church in the wall-enclosed medieval city of Rothenburg ob der Tauber in northern Bavaria in Germany. This High Gothic church is filled with art in … [Read more...]
See the Tilman Riemenschneider Holy Blood Altar in Rothenburg ob der Tauber
The Holy Blood Altar (Heilig-Blut-Altar) by Tilman Riemenschneider in the St-Jakobs-Kirche (St James Church) is a top sight to see in Rothenburg ob der Tauber. Tillman Riemenschneider's Holy Blood Altar is one of the artistic highlights on the Romantic Road in Germany and also one of the most important medieval artworks in Germany. The monumental Heilig-Blut-Altar was … [Read more...]
Visit the Herrgottskirche in Creglingen to See Tilman Riemschneider's Maria Altar
April 13, 2020 by Henk Bekker in Baden-Württemberg, Bavaria, Franken / Franconia, Germany, Romantic Road, Tauber Valley
The Virgin Mary Altar (Marienaltar) by Tilman Riemenschneider in the Herrgottskirche in Creglingen is a popular stop on the Romantic Road in Germany. The small Gothic Herrgottskirche in Creglingen near Würzburg and Rothenburg ob der Tauber is a medieval artistic highlight when traveling along the Romantic Road (Romantische Straße) in Germany. This Lord's Chapel has four … [Read more...]
Visit the San Marco Museum in Florence to See Fra Angelico Paintings
April 10, 2020 by Henk Bekker in Florence, Italy, Tuscany
The San Marco Museum in Florence is famous for its large collection of paintings by Fra Angelico including original frescoes in the cells of the convent. The San Marco Museum in Florence is in the former Dominican convent where the cells and art of the monastery have been preserved. Fra Angelico designed frescoes for each of the 44 cells and these were preserved in very … [Read more...]


Body sculpting procedures can provide countless patients with a simple and efficient path to fat loss and an improved image. However, misconceptions and general lack of knowledge concerning these procedures have prevented countless people from finding the help that they need.
If you or a loved one is considering body sculpting procedures, you can find the answers you need through this exclusive question and answer interview with the San Diego dermatologists at Cosmetic Laser Dermatology.
1. Why do you think body sculpting procedures have become increasingly popular recently?
Advertising and marketing. CoolSculpting has been very active in getting the word out that there is now a minimally invasive procedure to diminish the appearance of fat. With Kybella approved by the FDA, another advertising campaign will be launched in the fall, which should further increase the public's awareness that we can also sculpt the neck. In addition, liposuction has been given a bad rap on public's perception of body sculpting. Most consumer-oriented TV shows depict the plastic surgery method for performing liposuction, which is very aggressive under general anesthesia. Dermatologists perform tumescent liposculpture entirely on awake patients painlessly under local anesthesia. Hopefully, one day, this message will get out into the public perception.
2. Who is an ideal candidate for a body sculpting treatment?
Almost anyone. Patients who are not overweight by very much will have the best result as genetically, age-related increased deposits of fat like the "love handles" can be easily treated. But, even overweight people will benefit from sculpting. Taking off some abdominal or inner thigh fat will allow one to have more self-confidence in exercising and usually jump-starts a weight loss routine.
3. How do you decide which device/procedure to use?
While liposculpture under local anesthesia give the best results, small areas of unwanted fat can be easily treated with one of the minimally invasive techniques like CoolSculpting or UltraShape. Often, more than one type of treatment can be used at the same time in the same patient to enhance results. I reserve the Vanquish for larger areas and especially abdominal fat.
4. Which device/product are you most excited about right now?
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Rossana Hasson, seudónimo de Rossana Arellano Guirao (Santiago, 22 de enero de 1961) es una escritora, poeta, cuentacuentos, prologista, editora, agente literaria chilena. Obtuvo el Fondo de la Cultura el año 2015.
Hija de David Arellano Torres y María Elena Guirao Bringas.
En el año 2003 ingresa a diferentes foros literarios, donde entabla amistad con escritores de diversos países.
No es sino hasta el año 2009 que acepta publicar su primer libro, editado en España.
Luego de un encuentro poético literario que organiza junto a un grupo de amigos de diferentes países , en México, donde recorren y presentan su poesía en Ciudad de México, Cuernavaca, Puebla, comienza a realizar videos con su propio trabajo poético y a solicitud de otros, material que circula en la web.
Ha presentado también en Panamá, Perú, España, Israel, Argentina, Islas Galápagos y en diversas ciudades de Chile, desde Arica a Tierra del Fuego, como apoyo al fomento lector en escuelas públicas, subvencionadas, privadas, hogares de menores, jardines infantiles.

Biografía
Rossana Hasson pasó la infancia en el sur de Chile, entre Puerto Montt y Osorno. Más tarde ingresa a la Universidad de Chile , Sede Arturo Prat en la ciudad de Iquique a cursar la carrera de Pedagogía en biología y Ciencias durante 2 años. Durante el año 2019 realiza el Diplomado en Literatura Infantil y juvenil en la Universidad Católica en Santiago de Chile.

Participó en los Talleres de Raúl Zurita, Floridor Pérez y Héctor Hernández Montecinos entre los años 2008 y 2011.

En 2005 viaja a  Argentina a participar en Encuentros de Literatura Infanto Juvenil.

Muchos de sus poemas han sido traducidos al rumano, portugués, alemán, hebreo, francés, inglés, catalán, ruso y mapudungún.

Obras
 Abróchame el alma Poesía  (2009) publicado en España , Edición Artesana
 Bajo Río Antología de Poetas y Narradores (2009) Editorial Mago Editores
 Versos Encadenados Antología de Poetas (2009) Lom Editores
 Sin Fronteras Antologis de Poetas (2010) Editorial Cartonera, México.
 Nuestro Horizonte un poema Antología de Poetas (2011) Edición artesanal, Perú.
 A verso abierto Antología de Poetas  (2012) Editorial Sabor artístico, Argentina.
 Mata Ki Te Rangi Poesía  (2012) Editorial la Silla.
 El Nido Poesía  (2012) Mago Editores.
 Huellas (Antología de poetas y narradores 2012) Editorial Sabor Artístico
 Puente de Utopía (Antología de poesía, 2013) Editorial ADL, Argentina.
 Mister Zancudo y otros poemas infantiles  (2015) Editorial Orlando
 Antología Rumano - Chilena (2016) Editorial Orlando
 Agustín y las hienas locas cuento (2016) Editorial Piélago
 Antología Poética Chile (2016) Editorial LOM
Mujeres al fin del mundo Poesía (2016) Editorial Orlando
 Cartas a Lorraine Prosa poética (2018) Editorial Orlando

Referencias

Enlaces externos
 Revista Biografía, Brasil, año 2012. http://sociedadedospoetasamigos.blogspot.com/2012/05/rossana-arellano-escritora-e-poeta.html?m=1
 Oteando, Sobre arte, cultura y poesía. Miami, 2014.

Escritoras de Chile

redpajama_set_name: RedPajamaWikipedia


text:
1:300 Boats
IJN CH15 Subchaser
[{"media_type":"image","media_path":"https:\/\/cdn-cms.f-static.com\/uploads\/2082214\/2000_5e3296728bd25.jpg"}]
CH-15 was a No.13-class submarine chaser of the Imperial Japanese Navy during World War II. CH-15 was laid down by Osaka Iron Works at its Sakurajima shipyard on 26 August 1940, launched on 23 December 1940, and completed and commissioned on 31 March 1941.] On 1 November 1946, she was designated a special cargo ship in the Allied Repatriation Service but never assumed duty due to the need for repairs. CH-15 was struck from the Navy List on 30 November 1945 and sold for scrap on 23 April 1948. Designer Quibquib
3 x Daihatsu Landing craft
3 x Shohatsu Landing craft
3 x IJN Type T14 MTB


This entry was posted in Authors, write tips, Writing, Writing Tips and tagged author quotes. Bookmark the permalink.
Always look forward to your Friday posts.
These are some of the best yet! And words I sure needed to hear as I grind away with re-editing book one in my series. I think I will be revisiting this post often. Thanks, Linda!
Click the ones you want and save them!


EDITED TO ADD: THERE'S A GREAT CONVERSATION GOING ON IN THE COMMENTS! CHECK IT OUT!
Today on WFW, my friend, author Kathryn Craft, poses a question that has attracted a lot of attention in recent writerly media. IS IT IMPORTANT TO HAVE LIKABLE CHARACTERS? Even moreso, in women's fiction (because that's why we're here) is it important for you to wish you could be friends with the characters in the book? This is a question I know the answer to for me. It's not imperative — but my favorite books always end up being the ones I wish I could step inside, that I wish didn't end, and the ones where I wish I could have coffee with the main character. That doesn't mean the book has to be always happy or offer an HEA ending, it just means I have to like the main character and wish I could know her better. I also have loved some books where this isn't the case, but when I think back on old and new favorites, that's the prevalent theme. I'll share some of my personal list in the comments.
Below, you'll learn Kathryn thoughts on the subject (a little different from my own), as well as about her new, compelling book, THE FAR END OF HAPPY, which was inspired by real-life events. Kathryn is a brave and talented author. And a real advocate for her author friends (I should know).
Please welcome Kathryn Craft to WFW—and share your thoughts and favorite women's fiction books in the comments!
Do You Seek Friends in Women's Fiction?
Since then I've concluded that whether or not I like a character has never been relevant to my enjoyment of her story. I do not read to make friends, I read to expand my perceptions of what it means to be human.
Apparently that's not true for everyone. A woman in my book club didn't read our last pick, book club favorite Vanessa Diffenbaugh's best-selling The Language of Flowers (which has a 4.5 star rating with over 3600 reviews on Amazon), simply because she'd heard the protagonist was weird. Come to think of it, our club members did agree we'd like to be friends with Jacqueline Winspear's series character Maisie Dobbs, although her generally enjoyable story didn't leave us with a lot to discuss.
Readers might even all-out hate a character—I've heard that said about Amy in Gillian Flynn's Gone Girl—yet still come away from her story with new insight. We all have good and evil impulses, and characters such as Amy can help us recognize them in ways that can make us feel uncomfortable. This is not a bad thing. What keeps any of us from becoming raving sociopaths? It's a great book club question.
In The Far End of Happy, my novel based on true events releasing next week, my three point-of-view female characters must make unwelcome choices and face shameful secrets while enduring the twelve hours of a loved one's suicide standoff. Such duress rarely inspires one to go out into the world to make friends, and when writing these characters, the question of their likability never once entered my mind. I sought to develop them with psychological consistency, and in a way that would put them in conflict over the issues raised in the story. Much more interesting than whether you liked these women would be the question of what you would do in their place. How might you sustain hope? Another great book club topic.
My take on the issue of character likability is no doubt colored by my former long-time role as a dance critic. I've never felt that whether or not you love a work is the most interesting focus for discussion. The arts are subjective by nature. The very words you use to describe something will suggest whether you liked it or not because opinions cannot be avoided.
I'm also not so sure that whether or not you liked a character is a measure of her worth. After all, we want our characters to do the thing we all fear the most—to change. We want to learn from their mistakes and grow wiser while we escape unscathed. Yet is any permanent change ever the result of a painless process? Not in my world. We readers must share in the protagonist's humiliation, shame, and grief so that the power of story can work within our souls as well. That discomfort, in fact, keeps us reading—our desire to reach the resolution can become an almost physical need.
So do I hope to make friends with the characters in the fiction I read? No. I care much more about whether I am moved to think about life in a new way. If I am, the literature achieved its goal.
I think I'll stick to making friends because of books—through the writing community, fellow readers I meet online, and those I get to know over wine and snacks at book club—where interaction with real people discussing a character's difficult journey will expand my ways of thinking and make me feel more fully alive.
What literary characters would you like to be friends with? Is character likability important to your sense of a book's worth?
Kathryn Craft is the author of two novels from Sourcebooks, The Art of Falling and The Far End of Happy. Her work as a freelance developmental editor at Writing-Partner.com follows a nineteen-year career as a dance critic. Long a leader in the southeastern Pennsylvania writing scene, Kathryn loves any event that brings together readers, writers, wine, and finger foods. She is a member of the Tall Poppy Writers. Contact Kathryn through her website, or she'd love to connect with you on Facebook or Twitter.
I'm with Kathryn on this one – whether I like the characters or not makes not a bit of difference to my enjoyment of the story, maybe because I tend to read darker stories anyway I don't tend to want to be friends with my characters (or step inside the book) What I do find difficult is when characters make stupid decisions to move the storyline along because it feels false, I'm looking forward to reading The Far End of Happy too. Thanks for a great post that made me think.
Thanks for your comment, CleopatraLovesBooks. I too lean toward gritty reads and that definitely makes a difference.
I agree, Kathryn. Your post makes me of the criticisms of Claire Messud's The Woman Upstairs. I have read many reviews lately that mention whether or not the reader liked the characters in the novel, which baffles me. It's not really a question of liking, but rather how well the story is written or if it moves me. Best of luck with your new novel.
Karen, I read many articles of Messud commentary to prepare for the panel mentioned. Messud (who is lovely; with Alice McDermott she was one of my workshop leaders at Seeanee Writers' Conference in 2002) states that she purposefully created an angry female character to make a point about what we find acceptable in our society from women vs men. Literature is used to such ends all the time–and she certainly inspired quite an extended debate. Mission accomplished!
I'm chiming in here again! I do love books where I'd want to know the characters and sit down to coffee with them. THE WEDNESDAY SISTERS by Meg Waite Clayton comes to mind, as well as some of Jennifer Weiner's books, Lori Nelson Spielman's books, and WAKING UP JOY by Tina Ann Forkner. But, the more I thought about it, I realized that if I respect the main character that's just as important, even if "being friends" wouldn't be on my list. Chris Cleave's LITTLE BEE is one of those books.
I loved Little Bee! And protagonists in Spielman's The Life List, Weiner's Good in Bed, Nathan's The Glass Wives (!)– so many. A cup of coffee maybe–some I'd like to interview further rather than think we'd be great friends. Often I'd just want to offer a shoulder, because let's face it–our book sisters have been through some tough times.
Wait–maybe no coffee with Weiner's Cannie Shapiro or it would be coming out my nose.
This is fascinating to me, mainly because in my day job of teaching teenagers,if they don't like the main character of the book, they hate the book. It's difficult for them to see beyond that, so I spend a lot of time trying to coax some different thinking.
I want to feel something for the characters I read, but I don't know that I necessarily want that to be friendship. I really like characters who have been misfits of a sort, who have a back story that give them depth.
Yes Tasha I like the misfits comment–we know from our own teen years that it's not cool to be friends with them. Outsiders give great perspective on our world and in YA those characters make readers feel less alone (case in point: all of A.S. King's titles). I think relatability and emotionally engaging are characteristics more important for me than friendliness.
I think you hit the nail on the head, Kathryn. It's really about relatability – not likeability – can we relate to the character in some way, or learn something from her? Can we empathize and at least understand some of her decisions, even if we don't agree with them? I WILL admit that I have read a few books recently where I DID find the characters so abrasive and truly unlikable that the books fell flat for me. But I sense it was much more than a lack of connection with the character or love for her. One book, I'm sure upon analysis, was more about the fact that the book took place over the course of several hours — and it just (for me) wasn't enough time to engage/understand/connect with the character. Her ugly disposition just fed that dislike.
The other was a genre I don't often read, so I was already colored by a bit of apathy. So when the two main characters turned out to be despicable (and did NOT change or grow), the book fell flat, again.
Hi Melissa! I totally agree that when a book's main character fails to engage us, the story is probably failing on multiple levels. And one person's "delightfully snarky" is another's "passive-aggressive manipulator"—bonding is just as subjective between a reader and her books as it is between friends.
And I think you're right that genre can play into it as well, although last night I read a contest entry that blew me away in fantasy, which is not a genre I would typically pick up. An intriguing situation, a great complication, and a relatable character—supported by solid craft—should be able to engage readers across genres.
I too prefer "darker" books, and I agree with the general sentiment expressed here about the likeability factor. In fact, books that offer only likeability never make good book club choices. Where do you go after you've said you like it? Usually to prolonged discussions of personal issues rather than to a true discussion of the book itself.
All that said, I have to admit my favorite book in the entire world for ever and ever is Pride and Prejudice. I don't just like Elizabeth Bennet, I love her. And I'd like to be Jane Austen's best friend. However, that doesn't keep me from admiring Austen's irony, satire, structure, voice, etc. I guess my left and right brain are each reading a different version of the novel!
Haha loved this, Christina! If I could interrupt your teacup-clinking with Elizabeth Bennet for just a moment, I'll put forth what one of my fellow panelists said: that if the book is about a likable female character, she is almost always a victim. That really made me think! So far I've my own protagonists are not entirely innocent. They may have contributed to the circumstances that resulted in their victimhood, yet determine to rise above the label of victim. So that might be a fun topic to debate.
Kathryn, this is a great post, and I read it at a time when I've been thinking seriously about this issue. I've just finished reading several novels (all British, as it happens) with unreliable narrators, or main characters who I would never be friends with, yet I loved them because of the unique voices and unusual insights I was left with after following these women around. I think fiction is far more interesting when it takes us outside our comfort zones.
Thanks for this "other side of the pond" input, Holly. Starting my writing career with a debut featuring an unreliable narrator may not have been the easiest road to take, and the reason I gave her body image problems was to illustrate how such issues can implode relationships. This made Penelope Sparrow hard to like at times, for sure, and I'm pretty sure it qualified her first friends outside the dance world, Marty Kandelbaum and Angela Reed, for sainthood. (And yes, this is her creator saying this!) But most readers who hung in there with her till the end found her to be an admirable character.
A few of my favorite not-so-likeable female characters: Scarlett O'Hara in Gone with the Wind, Catherine Land in A Reliable Wife, and Minny Jackson in The Help. I wouldn't want to spend a lot of time with any of them (except Minny), but I recognize they are strong women, determined to accomplish certain goals, and I enjoy examining their motivations and vulnerabilities. And I love each of the books they appear in.
I gravitate toward unlikeable or unfathomable characters to both read and write. Usually, in my first draft, they can be downright grating, but I find ways to bring humanity in…but not so much that I flatten them out and make them bland just to be acceptable. I use "unfathomable" specifically because one of my favorite things is to take a character with seemingly inexplicable behavior, and get the reader to understand — if not agree with — that behavior by the end. Yes, characters make wrong choices. If they did everything right the book would be over in 50 pages…or it wouldn't start at all.
Ooh, "unfathomable"—great word, and one that will keep the hooked reader digging for answers! And I appreciate your approach to woo the reader to new perspective, Kristina, as I enjoy doing that as well. And I MUST read Olive Kitteridge as too many people keep mentioning it in a variety of contexts! Sounds like my kind of book.
"So do I hope to make friends with the characters in the fiction I read? No. I care much more about whether I am moved to think about life in a new way. If I am, the literature achieved its goal." This, exactly. An excellent essay, Kathryn!
But for those of us who write women's fiction, what do our readers expect? A different question . . ..
Julie, the genre question—what do WF readers want?—interests me. The bull's eye for the WF target is as big as the whole wide world and beyond—any story in which a woman plays a featured role. Don't think a one-size-fits-all answer is going to appear! Great examples.
I wouldn't trust a one-size-fits-all answer if it was handed to me with a slice of warm cherry pie 🙂 More of a rhetorical question that I think we consider privately, facing the blank screen/page, and with our agents/editors when we look deeply into our characters' and our own hearts. I have to consider how much time I want to spend writing an "unlikable" protagonist. As I reader, I can close the book and walk away. As a writer, I'll be living with this character/these characters through months and years of writing and revising. I've played around in short stories, experimenting with how far I can push myself into an darker, troubled heart. Such good stuff. GAH. I love talking about this!!
Kathryn, to my mind, asking if you have to like the main character to enjoy a story is like asking someone if they would rather read sci-fi or romance. It's a matter of taste as far as I can tell and to each his own. I recently finished reading two books that in no way left me feeling I wanted to be BFFs with the main characters, but for me, they were page turners, alternately bizarre and intriguing, and I was in the story—You by Caroline Kepnes and The Good Girl by Mary Kubica. Loved them both, but I can totally see how they wouldn't appeal to every reader. The characters in Mary Kubica's novel had redeeming qualities. The ones in Caroline Kepnes novel had none, zero, zip, zilch, nada, but I found it intriguing just the same.
Yes, Mary's character is an interesting case in point, and for those who haven't yet read the book, I won't say one more word about that! Suffice to say that we women can be hard to know. 😉 I don't know the other book—will have to check it out!
Beth I am a huge fan of collecting books I don't currently have time to read, and waiting for their titles to call to me. It always works! Thanks for your comment!
Thank you for this timely post- I've recently discussed this very topic at length with both my critique partner and some book club friends. Kathryn, I couldn't agree more with your take on the subject.
When I read women's fiction, I don't need to like the characters. What I do need is for them to be well-drawn, developed, alive. Once they breathe, I'm involved. When they annoy me–through inaction, or foolishness, or selfishness, perhaps–I try to remind myself that we all have aspects of ourselves that maybe aren't as "good" as we'd like them to be, but we can grow and change. That's my starting point. Then I usually end up rooting for her.
I've come to wonder if somehow an author has shown extra skill in crafting a character who is just a little too annoying/flawed to be truly lovable, while at the same time not so irredeemable that I wish her ill, and, in fact, always wanted her to get what she wanted, always felt her deserving of contentment and love. (Just how, in real life, we might find someone bothersome but still not want to see her suffer.) I'm not sure that, as authors, we should be trying to introduce readers to characters they want to befriend; maybe it's enough to introduce them to characters they should meet, period.
But your conclusion is so well worded I'd love to slap it on my post: "I'm not sure that, as authors, we should be trying to introduce readers to characters they want to befriend; maybe it's enough to introduce them to characters they should meet, period." Great comment!
I don't have to be friends with the protagonists either. I just need to be intrigued! BTW, I loved Diffenbauah's The Language of Flowers.
Me too, Zan! I think one of the ways we grow through reading is the opportunity to crawl inside the perspective of someone unlike us. For that reason I was most happy to spend time with Victoria Jones.
Lia, please email womensfictionwriters@gmail.com if you'd like to pitch a guest post for the blog.
Since isn't a comment on Kathryn's post, I'll be removing it.
I love interesting characters, and I think I could be friends with the woman in the Language of FLowers. but for the most part, I have to feel that positive about the protagonist. IT is hard for me to be objective when I'm reading. I try, but if I don't get drawn right in in a fairly positive way, I don't want to be there. That's why I like my book club. They push me to read books I normally wouldn't wade through, and then often change my mind (a bit) about them in the discussion.
Another question would be: Do you have to like the protagonist in the book you are writing? For me that would be yes.
But would the woman in Language of Flowers want to be friends with you? That answer might bring us closer to the reasons for her perceived unlikability. And I love my book club for the same reason!
As for my writing, though, I did spend eight years with Penelope Sparrow, who (especially at the start of the book) may have been too high-maintenance a friend for me. But I get her, and I loved her, and was so proud of her story arc that it still moves me. So I guess my answer on that isn't as easy as yours.


This last week of the 2018 Season saw the outdoor league matches completed with only one outstanding Division Three match played and a Division Four match abandoned due to the weather.
Division Three Result: Brigg 'B' 12 Scotter 'B' 0.
APRIL/MAY signalled the beginning of the new 2018 Outdoor Season with a number of the First Division teams getting the league off to a flying start on Monday 1st May. The outdoor programme really swung into full action with some great weather as the week unfolded with 30 matches across all divisions played by the end of this opening week. First Division Cemetery Road secured a full house of 12 points in its first home match while Messingham 'B' in division Four collected a full house of 12 points along with Winterton and Bottesford ladies securing full houses of 6 points in their first matches. Railway Sports had shown its -intentions and taken an early lead in Division One, Barton Park was leading Division Two and Scotter 'B' was heading Division Three while Messingham 'C' led Division Four and in the Ladies Division Bottesford was in the top position setting the early pace.
The Annual Champions (Cemex 2017 season) versus the Rest match was played at the Cemex green, South Ferriby. The Rest team included players from each of the other Division's 2017 winning teams along with a rink representing the League's Management. The Champions (Cemex) won the challenge match by a comfortable total shots score of 118 to 74 shots and securing four rink wins out of the five.
JUNE brought some weeks of extremely hot weather and by the end of the month Shires was leading Division One. In Division Two Cemetery Road 'B' had crept into the lead only three points ahead of Messingham 'A' while in Division Three Scunthorpe 'B' had taken the lead in the table with a string of excellent results. Division Four saw Cemetery Road 'C' leading the way just 3 points ahead of Messingham 'C' in second place. Finally in the Ladies Division Shires had quietly crept into first place with a lead of 6 points over second placed Bottesford.
JULY saw the League fixture programme continuing without any major disruptions for the weather. By the end of the month Division One was starting to show a serious chase for the title by Shires now established at the top of the table with a 22 point lead over Railway Sports in second position. Epworth 'A' had climbed into the top position in Division Two whilst in Division Three Belton 'B' was holding onto the lead with a 10 point advantage over Messingham 'B' in second place. Division Four saw Cemetery Road 'C' hanging on to the lead by just 2 points over second placed Messingham 'B' who were turning in some excellent results. In the Ladies Division Shires had established itself in the lead and was now intending to stamp its authority on the division with a 13 points lead over nearest rivals Bottesford in second spot.
AUGUST is the month when the end of the season is in sight and the promotion and relegation issue suddenly becomes a reality so it is important that a good finish to the season is essential by clubs. Towards the end of the month in Division One, Cemetery Road secured the top spot with a gap of just 3 points over second placed Shires and defiantly maintained its grip on the championship with both teams having one match to play. Division Two saw Epworth 'A' maintaining its place at the top of the table after securing a consistent run of important victories with Messingham 'A' settling into second place. While in Division Three Belton 'B' was in first place at the top of the division with a lead of 32 points over second place North Kelsey. In Division Four Cemetery Road 'C' was holding on at the top of the table with an in-form surge of excellent results followed by Messingham 'C' in second place. In the Ladies Division Shires had already secured the Championship over second placed Bottesford still battling on against Cemetery Road, Scunthorpe and Winterton for a second place finish.
SEPTEMBER saw the end of the outdoor season with clubs completing their fixtures in what has turned out to be an excellent season for weather. Most results had been received and the final positions in the Divisions were nearly complete. Cemetery Road after a remarkable season won the Division One title with 190 points, Epworth 'A' took the Division Two title with 140 points and Belton 'B' secured the Division Three title with 163 points. The Division Four championship was won by Cemetery Road 'C' with 154 points while Shires secured the Ladies Division title with a total of 58 points.
The Finals of the Scunthorpe & District Bowls League individual knockout competitions were hosted by Shires Bowls Club. The finals provided some excellent quality bowling with the President of the League Mrs Rena Markham (Shires) presenting the trophies to the winning recipients.
The Scunthorpe & District Bowls League's 'Presentation Evening' incorporating The Scunthorpe Triples League will be held at Redbourn Social Club on Friday 5th October 2018 from 7.00pm until midnight. Entertainment will be provided by the legendary local band 'The Moggies' singing a mixture of 60's to present day material along with 'Sounds Incorporated Disco. Tickets cost £7.50p per person and will include Pie, Chips and Peas supper with various Pre-booked options available. Posters for this event are now displayed at all Clubs and Tickets for this event should be obtained through your Club Secretary.
Would Clubs please return any League trophies to SDBL Secretary Vince Hardie or return them to the Indoor Bowls Centre reception office by Monday 17th September 2018 at the latest.
The 2018/19 Indoor Bowling Season commenced with the Carlton Street Indoor Centre opening its doors on Monday 3rd September allowing bowlers to take up the chance to practice before the real competition of the leagues start. The full domestic league programme started week commencing Monday 10th September and the Club team competitive matches will be starting with the Annual Ladies Challenge match away against North Cave on Sunday 23rd September commencing at 12.00pm. The first Lincolnshire County League game will be a Mixed Division Two away match against Louth 'B' on Sunday 7th October commencing at 2.00pm.
SPOTLIGHT ON....INDOOR FRIENDLY MATCH – Scunthorpe v New Earswick.
A Scunthorpe Indoor Mixed Team started the new indoor season off with a home friendly fixture against a team from New Earswick near York. At the start of the match the home rink of Heather MacFall, Gordon MacFall and Alex Mullin set off well developing an early lead of 4 to 0 shots to which their visiting opponents had no answer for and by the mid-point of the match the Scunthorpe trio had extended its advantage to lead by 8 to 0 shots. Again the home rink turned up the heat producing some quality bowls and continued to extend their advantage to lead by 15 to 2 shots by the three quarters stage of the match. The New Earswick rink fought hard to try claw back the deficit but to no avail as the home trio just piled on the pressure as the match reached its final stages. During the final ends both rinks produced some excellent bowls but it was the home Scunthorpe trio that continued its scoring rate to eventually secure the victory by 20 to 3 shots. Scunthorpe's rink of Shirley Burnett, Dave Batchelor and Alan Rymer soon found itself leading its New Earswick opponents by 5 to 1 shots early in the match. Continuing with some steady bowling they started to increase the pressure on the opponents steadily extending the lead at the halfway point in the game by 8 to 2 shots. Although in this interesting encounter the visiting New Earswick trio started to produce some excellent bowls they could not stop their home opponents from increasing their lead to 10 to 2 shots with just three ends remaining to be completed. Although the visitors stuck to their task and tried hard to claw some shots back they were unable to stop the Scunthorpe trio from securing the victory by 13 to 3 shots. Situations were reversed as the Scunthorpe rink of John Rawlinson, Sandra Newlove and Ian Robinson found themselves leading their visiting opponents early in the match by 3 to 1 shots. Then suddenly the visiting New Earswick rink struck back and started to produce some excellent form that secured the lead and then extended it to lead by 6 to 3 shots as the game reached the halfway point. The visitors now playing some excellent bowls continued to pressurize the home trio and as the three quarter stage of the match was reached the visitors were leading by 13 to 4 shots. With the home rink scoring only a single shot over the final three ends of the match to New Earswick's total of 3 shots the match finished with the visiting trio securing the rink victory by 16 to 5 shots. Scunthorpe's rink of Titch Seymour, John Davison and Ken Seymour soon found themselves trailing their visiting New Earswick opponents early in the match by 9 to 1 shots. The home rink continued to try to unsettle their opponents but they were unable to stop the New Earswick trio from extending their advantage to lead by 9 to 1 shots by the halfway point in the battle. In the second half of the match the Scunthorpe three managed to lift their game considerably and with some very accurate bowling stemmed the scoring rate of the visitors who maintained their lead of 13 to 5 shots with just three ends remaining to be completed. The final ends of the game produced some excellent play from the visiting rink that went on to eventually run out the only rink victors for the New Earswick team by 16 to 5 shots. These individual rink results when collated together produced a very close 43 to 38 shots victory to the home Scunthorpe team.


Although the cards themselves are bad enough, they are perhaps the most benign aspect of the whole enterprise, the true meat of which is the National Identity Register'(2), a centralised database in which details of all those who carry the card will be held. Fifty items per individual of personal data are to be stored (3) on this database and these will include fingerprints and facial scans, with provision for further data to be added at a later date.
Although plans to make the cards themselves compulsory were dropped anyone wishing to avoid being present on the National Identity Register will, from 2011, find themselves listed if they apply for a passport. If the government is successful in rolling out identity cards across the country then this will represent a massive accumulation of personal data and an unacceptable intrusion into the private lives of UK subjects.
Yet despite its scope, since the scheme's inception the government has failed to make a case for its introduction. The latest attempt came from Meg Hiller, the minister for identity, who, when appearing (4) on BBC Radio 4's Today programme, suggested that a major benefits for the people of Manchester from identity cards would be that they would be able to collect parcels from post offices with greater ease and that young people would now no longer need a passport to prove their age whilst gaining entry to a nightclub.
These are extremely modest improvements to modern life for a project that the Government has forecast will cost £5.6 (5) and the LSE £10.2-19.6 (6) billion to run for ten years. Other justifications for the scheme have included the prevention of terrorism, identity theft and benefit fraud but none of these stands up to scrutiny.
Former home secretary Charles Clarke admitted (7) that identity cards would not have prevented the 2005 London attacks, and reliance on a single nominally secure form of identification could actually make identity theft more straightforward. The only clear agenda satisfied is the current Labour paradigm whereby any problem that might conceivably be solved by a massive and costly database should be so. As well as a nascent identity card scheme, the UK also has the world's largest DNA database and ContactPoint holds details of every child in the UK under the age of 18.
With the current national deficit nothing short of astronomic (8) there was hope that the identity card scheme would be quietly dropped. It is unnecessary and costly and threatens the civil liberties of UK subjects. It has also been so beset by setbacks (9) that were it a private sector project it undoubtedly have been canned some time ago. Indeed, if the next administration is led by any party other than Labour it will be – the Conservative and Liberal Democrat parties have both said they will scrap it. But our floundering government would rather push ahead with this costly, invasive and useless idea than consider the taxpayer, never mind come to their senses and start to trust the public.
I was out for dinner with a New Yorker friend of mine recently. She's British, but she'd brought along an American friend and I happened to mention to him how much I was digging President Obama. Things deteriorated from there. "Obama is a socialist!" the heads of the rest of the table turned, as the conversation up until that point had been about interior furnishings.
"I don't think that you appreciate what a socialist is" I replied. "You should try living in France; America doesn't have a party of the left. All you've got is centre and right". The conversation then moved onto healthcare, which was proposed as an example of where liberal economic theory fails to deliver. Our American friend was undeterred by this argument.
I've been thinking about this curry-fuelled conversation over the past few days whilst reading about Obama's troubles in pushing healthcare reform, something he considers to be the most important aim of his presidency. To the European bystander, US healthcare would seem to be in desperate need of attention. Despite the United States being the world's richest country, millions of its people do not have healthcare cover and anyone who's seen Michael Moore's film Sicko will know that even those with cover can find themselves severely financially compromised by the payments they are forced to make. The system costs more per head than anywhere else in the world, but yet is only rated 37th in comparison to other countries. The effects have been felt beyond that simply of the individual; the struggling General Motors sites the healthcare costs of its staff as a significant contribution toward its instability (link to Washington Post but no longer available).
…the America I know and love is not one in which my parents or my baby with Down's syndrome will have to stand in front of Obama's 'death panel' so his bureaucrats can decide, based on a subjective judgment of their 'level of productivity in society', whether they are worthy of healthcare. Such a system is downright evil.
Here and elsewhere the NHS has been getting caught in the crossfire. Palin is presumably referring to NICE's attempts to decide whether expensive drugs provide value for money. Republican senator Chuck Grassley has also confidently said that, under the NHS, Senator Edward Kennedy would be left to die untreated for his brain tumour.
Misinformation must be blamed for the violent reaction to the possiblity of health care reform, but if I was an American I would be more concerned about the wider issues. If the society that the Americans have built is simply not coherent enough for people to wish to contribute toward the health of their fellow humans then it is in urgent need of reevaluation. Those without healthcare should not simply be the disparaged "them" of my dinner companion's discourse. For universal healthcare to work "us" is the most important word.
I should point out that I do not consider myself to be "anti-American". An interesting read on the subject is The Eagle's shadow: Why America fascinates and infuriates the world by Mark Hertsgaard. Also BBC North American correspondent Justin Webb wrote this interesting piece for Radio 4′s From our own correspondent recently.
BMJ Blogs: Is it unpatriotic to criticise the NHS?


text:
Q: Userform.Show on a form button will not recognize userform, getting Error 424 I know very little about VBA, but I'm trying to design a userform for an excel workbook. The idea is click the button, bring up the userform, enter info, hit OK, and your info is formatted correctly and inserted into the worksheet.
I have 3 userforms that all work fine, but any macro I create that references one of them just does not recognize that that particular userform exists.
The code I'm having a problem with is pretty straightforward:
Private Sub LiquidFormButton_Click()

LiquidEntryUserform.Show

End Sub

Edit (Update): So I tried making a new userform, with a different name. I copied and pasted all of the controls from the object over to the new userform, changed the name of the macro to bring up the userform, and voila, it works. However, now the userform itself doesn't do anything because none of the controls actually have any codes behind them telling them what to do. That's fine, I'll just copy over the codes from the broken form and BOOM now it doesn't work. Soooo something in the very very simple coding within the userform itself is preventing it from being shown, even though the new userform AND the broken one both, in fact, do everything else they need to do besides show up. I'll post the full userform code up later on after some dabbling. Thank you!

A: You should 'instantiate' the form like so
Private Sub LiquidFormButton_Click()

    Dim liquid as LiquidEntryUserform ' define a liquid var of the correct type
    Set liquid = new LiquidEntryUserform ' create the Form
    liquid.Show  'show it

    ' here you can still access variables
    ' on the form
    If liquid.TextBox1.Text = "700" Then
       'do things
    End if

End Sub

My project looks like this:

You can use the Object Browser (View|Object Browser or hit F2) to find the Forms and Classes you have in your project:

A: I had a similar experience after making some changes to a UserForm. I noticed something was actually working immediately prior to the 424 error occurring.  Using F8 to step thru my code, it turned out I was asking a control to be configured - that I had deleted!!
I was using this code in the MS XL Objects worksheet (the button is on the associated worksheet)...
Private Sub cmdTransactions_Click()
 frmTransactions.Show
End Sub

to bring up the UserForm and this code in the Forms module...
Private Sub UserForm_Initialize()
: : :
Row_Number = [mostrecent].Value
Cells(Row_Number + 1, 2).Select   <<< this bit was happening (.Select works for me!!)
: : :
cmdReset.Enabled = False   <<< a control in the UserForm
chkDeposit.Enabled = False  <<< this control had been deleted!! Remarked out but un-Remarked for clarity
: : :
End Sub

Hope that might help someone.

redpajama_set_name: RedPajamaStackExchange


text:
'use strict';

//  NOTICE:
//    The $scope here prototypically inherits from the $scope of TeststepsEndpointController.
//    ng-include also creates a scope.
angular.module('irontest').controller('JMSTeststepEndpointController', ['$scope',
  function($scope) {
    $scope.jmsProviderChanged = function(isValid) {
      var otherProperties = $scope.teststep.endpoint.otherProperties;
      if (otherProperties.jmsProvider === 'Solace') {
        otherProperties['@type'] = 'JMSSolaceEndpointProperties';
      }

      if (!$scope.isInShareEndpointMode()) {
        $scope.update(isValid);  //  update immediately (no timeout)
      }
    };
  }
]);


text:
Donald Trump says he's open to more time on DACA if needed
Jill Carlson, a member of Columbia County Indivisible, holds a sign expressing her views on the Deferred Action For Childhood Arrivals (DACA) while joining other protesters gathering outside of Congressman Louis Barletta's local office located at the intersection of West ... more >
By Sally Persons - The Washington Times - Friday, January 26, 2018
President Trump said the DACA problem will be solved even if they need a little more time, according to a CNBC interview that aired Friday.
"We want to do what's right, and we're going to do what's right, and we're going to solve the DACA problem. And I don't think the Democrats would want to pull another shutdown. But we'll get it solved," Mr. Trump said on CNBC.
"And if we need a little more time, we'll take a little more time. I want to get the problem solved correctly," he added.
The president also said that some of the Republican senators who he's been working with such as Sens. Tom Cotton of Arkansas and David Perdue of Georgia and Rep. Bob Goodlatte of Virginia have all shifted their positions on DACA — Deferred Action for Childhood Arrivals — during the debate, which the president says has moved them closer to a deal.
"They've really shifted a lot, and I think they're willing to shift more, and so am I," he said.
He added that he's open to citizenship for DACA recipients in 10 to 12 years depending on the final deal that lawmakers reach.
• Sally Persons can be reached at spersons@washingtontimes.com.


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Marvel NOW! Thunderbolts Volume 3: Infinity Review
Posted by 21stCenturyHeretic Friday, February 14, 2014
I've been a fan of the new Thunderbolts series since day one. Not everybody is; it has a little more than a cult following, but so much could be improved on. However, writer Charles Soule, who took over from Daniel Way after volume one, has been improving on the series, and so I keep reading. Today, Thunderbolts Infinity arrived in the mail, released only a few days back!
There's always time for a slice.
The overall Thunderbolts series is a great little mix of action, espionage, paranoia, and surreal comedy that has the potential to be huge. It's the only comic book I've ever read where the heroes are definitely supposed to be heroes, only they all act like villains, and they all hate each other. It's the most sick and twisted comic version of The A-Team, only with a more terse character dynamic that could lead to betrayal at any turn. It already has, at almost every turn. That General Ross sure knows how to pick 'em.
Before I get into Thunderbolts Infinity, I want to make it clear why the series hasn't already become as successful as it could be. For a start, Way's establishment of the dynamic of the group was full of clichés and sometimes took liberties with the intelligence of readers. His Deadpool was great, but he was already accustomed to the character. Punisher, Red Hulk, Venom and Elektra were so flawed and inconsistent. However, for a debut, I found it enjoyable.
Also, in the beginning, Steve Dillon's artwork really seemed lazy and sometimes tacky. He can be great with the right people working on the colors and shades (read Garth Ennis's Marvel Knights Punisher volume, "Welcome Back, Frank"), but Thunderbolts looked like a kid's book when it should have looked more like an R-rated version of X-Force.
Right through this series we've been treated to brilliant cover art by Julian Totino Tedesco, while the artwork inside has been either average or lackluster (with the exception of panel artist Phil Noto). Infinity proves to be an equally mixed bag, in that respect.
In the opening scenes, we finally learn of Mercy's true nature and why Ross even has an entity on his team whose gag consists of immediately killing everybody in close proximity who wishes to die. The answer? He doesn't know how to kill her—it might not be possible—and he has nowhere secure enough to keep her locked away. As a result, he keeps her around as a final solution, despite understanding the severity of the consequences.
Venom confronts him about Mercy, prompting a flashback piece to as far back as when Ross was yet to become the Red Hulk. This sets an epic event in motion, answering questions and leading to even bigger questions. Are the Thunderbolts here to help Ross save the world from the bad guys, or to clean up the mess? I think both!
After the success of the Thunderbolts' previous mission, Ross also decides to cut the gang some slack. Since the beginning, he's been a total bastard, which eventually led to the Thunderbolts planning a coup against him. Although it failed, he is now trying to establish a greater sense of trust and respect, so he offers each member the chance to use the whole Thunderbolts team and all of the resources they have at their disposal to get a job done that they wouldn't be able to do alone outside of the team.
Click on picture for large view.
First up is Punisher's mission: there's a New York mafia family he's never been able to get his hands on. Humorously, everybody is the extreme opposite of surprised. They roll on into New York City, where their mission awaits them. At this point, artist Jefte Palo takes over from Noto, and the Thunderbolts are suddenly reduced to virtually infantile stick-man drawings. Err…wait, this Jefte Palo?
Can't say I see a resemblance.
If you can draw like this for Taskmaster, Palo, what exactly is your malfunction? Fans don't have the privilege of paying you what your work is genuinely worth. We all have to pay the same prices to read these comics, so suck it up, buttercup. This isn't a dummy run.
Moving swiftly on, what's hilarious is how easily the Thunderbolts find out where Frank's elusive mafia bosses are hiding, and that's where the fun in Soule's writing really comes out. Meanwhile, the Avengers seem to have left Earth in a hurry. What the Thunderbolts don't know, unlike us, is that a full-scale invasion of Manhattan is on the cards, courtesy of Thanos's army. Will they help the people of Manhattan and battle the invaders? Hahaha, no!
Instead, Punisher has stolen a bunker buster missile from when he last worked with Nick Fury, and is planning on blowing holes in things more relevant to his anti-mafia mission. He reminds me so much of Firefly's Jayne Cobb under Soule, only more well-spoken and intelligent. I approve; it suits the tone of the series, like when he strapped a landmine to his chest and threw himself at Madman. Even Deadpool thought that was a bit overkill.
Speak of the devil: since they got into Manhattan, Deadpool has had it with Frank's attitude and has gone on a personal journey to find pizza. Cue many trademark Deadpool revelations and mishaps as he gets lost inside his own head. This is Deadpool, through and through. He's not at his most funny, but he hits the mark at all the right moments. More to the point, this is videogame Deadpool, not animated movie Deadpool.
The tube. Quicker than calling a Quinjet!
And, Boom! The invasion begins.While Red Hulk, Leader and Mercy hang back in the submarine, they are attacked by Supergiant and her forces, and Supergiant wants Leader's knowledge. Everything goes to hell. Red Hulk goes on a smash-a-thon, Leader is captured, Mercy goes berserk wiping out humans and aliens alike, and it is here that Red Hulk becomes desperate to find a solution to her. How does he kill her? How can he? Leader comes up with a clever little plan that even gets Ross smiling. I smiled too!
Jefte Palo; can draw a full-scale alien invasion, but not Thunderbolts!
I haven't read Marvel's Infinity main event, yet. I don't know how it pans out and who helps to save the world from Thanos, but all I can tell you is that Red Hulk practically dominated the skies here while Mercy made Sentry's attack on Asgard in Siege look like child's play. If even they'd had Olivier Coipel on the artwork, this might have been as good as Siege. It's a moment that seems downplayed, as is Punisher, Elektra and Venom's massacre of almost every New York mafia family cornered inside their heavily fortified secret bunker.
There's some nice comic relief approaching the end of the war, which reminds me of that "shawarma scene" at the end of The Avengers. The team regroups and finds Deadpool, who found his pizza, and once again got under Punisher's skin without even trying. Our heartless heroes then move out of New York in Punisher's war wagon. Mercy is on the loose again and has to be stopped.
There's also a sort of bonus scene at the end, which gives us a glimpse into Leader's mind. But I won't spoil that little gem for you. The artwork changes again and Gabriel Hernandez Walta is quite a welcome end to Thunderbolts Infinity.
Overall, the writing was so much better in this volume, but as a fellow reader also pointed out, Venom is still so badly out of place and under-utilized at points that it begs the question, what is he doing here? He's supposed to be the moral center, but this group doesn't have the need or the patience for a moral center. They're doing the dirty work nobody else does. Just like Punisher himself, the group's moral lessons come at the cost of failures, not by being told the difference between right and wrong.
Or knowing how to find Disneyland without GPS.
I also hope the artwork improves fast, because great stories aren't being made to look great. The art generally sucked, even more since Palo clearly used the project as a paid holiday. Like I said, it's not just distracting, it makes an epic story look abysmal in some instances. If it wasn't for Soule's epic New York battle, Deadpool's personal journey into the dark heart of pizza purgatory, and Punisher and Elektra's on-off horny-killer-couple relationship with all the funny little dilemmas thrown in, Palo would have ruined it.
I'd call this recommended reading, but not recommended viewing. Sound off if you've already read Thunderbolts Infinity and tell me what you thought in the comments section below. Thanks for reading.
comics, review
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text:
An ID Badge of Professionalism
I wish there was some way to let editors and agents know that you're a serious writer. I know, the writing is what counts, and a serious writer is willing to invest the time to make the writing and professionalism be what matters most. On the other hand, it would be wonderful if there was a secret code or symbol or handshake or something that would bump us up from the rest.
On thing I've noticed is that if you let others know you're a writer, then there are all kinds of hidden writers that come to you. People who've always thought of writing that one book, or who have a great idea for a novel if they just had the time, or who expect to make it a second career after retirement or during the summer or something. Sometimes they even write those books (thanks NaNoWriMo)...and then the slush pile at agency and publishing houses are filled with crap from people who think that because they've written a book, it deserves to be published because, you know, it's a book. Doesn't matter if it's good or not, it's written.
I have to admit, I used to be that person. I thought the hard part was the writing. But since I've been in this publishing game for awhile, and kept track of publishing news, and learned more about the business and about writing, I wish there was some way to separate myself from the casual writers who don't really know what they're doing, to the people who are really trying to be published and have a fairly decent idea of what it takes to be published and are willing to go the extra mile to get their book publishable. I've wondered, in going over some of my really nice rejections, that if the agent knew that I would be perfectly happy and willing to make revisions and work with them and not be that psycho who gets affronted when you insult her "baby," if that agent would have considered me more seriously. If there was a badge or identification card or something to prove I'm a serious writer...would an agent be more willing to sign on an author they knew needed some tweaking, but was willing to do what it took to get their manuscript better? I've tried hard to perfect my manuscript, and it's evolved since I first wrote it, but I know that a professional would have a better idea of how to make it even better...if the professional only knew how willing I was to do that.
There needs to be something to separate those who care and work from those casual writers...if only!
Selling what you advertise
An agent's tributes to writers
Killing my Darlings
A few of my favorite things...
Religion in Books
Other Books...and TV, too
Loving Your Profession
Inverting the Cliche
Oh, crap!
Revisions, revisions, revisions
...and this is how I want a reader to feel
The Problem with Revisions
SCBWI
...and also...
The Changing Publishing Industry
Further Revisions on Queries
McQuery
Evaluating Critiques
Keeping it Fresh
If Only...
Inspirations...of the writerly kind


The United States and England have always had a somewhat hot-and-cold relationship with each other. The on-again, off-again partnership finally seemed to mellow out during the World Wars, and since then, both countries have paired up to produce Anglo-American hybrid products that appeal to clientele on both sides of the pond, so to speak. One of their best ideas was to go into business together to create a vehicle that would be a stand out in either country – the AC or Shelby Cobra.
In the early 1960's, an American by the name of Carroll Shelby wrote to a British company to ask about the possibility of bringing a British car to the U.S., with one modification: a V8 engine. AC Cars agreed to the proposition, but requested that Shelby locate a suitable engine, since the Cobra was being sold at that time with a six-cylinder engine. Shelby complied and wrote to a few of the larger vehicle manufacturers in the U.S. and finally received an affirmative answer from the Ford company, who had just built a small-block V8 and was searching for a car that could compete with Chevrolet's Corvette.
There were several packages available, including the Dragon Snake, which was used for racing. There are only six Cobras that were made available with the Dragon Snake package, but only two Cobras came with the Slalom Snake package, which was used exclusively during motor-cross events. The most rare package of all, the Super Snake, was made for two vehicles chosen to be altered from a racing car to a street legal vehicle. The first two drivers to take it for a spin said it was very nearly incapable of being driven, and one ended up being driven over a cliff and into the sea. The other remained under Shelby's ownership until it was sold at auction for a cool $5 million plus commission.
Several other adaptations were also made, including the GHIA Spyder (a project with an Italian automobile company), and the Ford XD Cobra, which was a single model. Though there is little information regarding its specifications, you can see the vehicle up close and personal if you're ever in Detroit, Michigan and want to stop by the Detroit Historical Museum for a look.
Unfortunately, Shelby got tangled up in a scheme of his own making, and was exposed as a counterfeiter of his own vehicles using a California law loophole. The cars he registered with the state were not authentic AC but rather knockoffs produced in the United States.
The original combination of the classic British automobile style with America's focus on performance and speed guaranteed a winner in the Shelby Cobra (as it was known in the U.S.), however, and though it has not had a continuous run (the original was retired in the 1980's), there is still enough interest for companies to still produce "Continuity Cars", and in 2014, the U.S. side of the business announced that they would be producing fifty new Shelby Cobras to mark the fiftieth anniversary of said vehicle.


Have you ever tried to Facebook track an old friend, ex-spouse, or job coworker, just to find that they've sneakily unfriended you? Who Has Deleted You On Facebook?
Well currently there's a new application that will signal you whenever someone hits the unfriend button.
While it's simple to see who follows you and also who does not on the similarity Twitter and Instagram, Facebook supplies no such attribute. Yet fortunately, the Mirror reports that there's a solution - for those of you who actually want to know.
The original concept behind Facebook was to link people.
Yet, thirteen years as well as greater than one billion people later on, Facebook has not only altered the means we communicate, it's likewise transformed companies, impacted relationships and also given all of us with a helpful way to slip on ex-partners and also friends of friends.
Due to the fact that as much as it allows us to connect with individuals, the social network also has the power to, well, make us feel a little bad regarding ourselves.
For instance, need to you discover your friend matter looks like it's reduced, this may trigger stress and anxiety.
In the solution to the initial question, there's now a means to learn who's unfriended you.
To keep a track of your friends, who Deleted Me, a brand-new app as well as Google Chrome extension, will certainly watch on who's on your list and also will certainly send you an alert must a person make a decision, it's not them, it's you.
After you initially login, it examines your current list of links as well as whenever you revisit it, it contrasts the upgraded list to the previous one.
You're after that not only informed who's missing, yet it additionally tells you whether they've simply deactivated their account, or erased you.
But who Deleted Me isn't really simply the precursor of ruin.
It will additionally inform you who you are making links with as well as who you've deleted.
While it could appear a little masochistic to go scrabbling for this sort of details, if you're feeling up to discovering some uncomfortable realities, who Deleted Me is totally free on Chrome as well as Firefox internet web browsers as a plug-in, along with Android and also Apple smart phones.