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Generation of an E-Way Bill with an Accounting Software
When we talk about E-Way bill the question arise what exactly an E-Way bill means and how to generate it with an Accounting Software. E-Way Bill stands for Electronic way bill. It contain unique document/bills, which is generated electronically for specific consignment of goods from one place to another, alternatively for inter-state or intra-state and contain value more than INR 50,000, require under the present GSt regime.
As update made on 23 March 2018, E-way bill has to be generated compulsorily from 1 April 2018. When e-way bill is developed, a unique EBN (e-Way Bill Number) is made available to supplier, recipients and transporter. The e-Way bill takes place of the way bill, that was a physical document and exist during the VAT regime for movement of goods.
e-Way bill comes under GSt, let us understand what is GST?
GST is a short form of (Goods and Service Tax), it is an indirect tax which is charge on supply of goods and services. This law has replaces many other indirect tax laws that was previously existed in India. How to generate e-Way bill
E-Way bills are generated through online e-Way bill system or via SMS. The bills must be generated before the movement of goods about supply/reason rather than supply/inward or supply from an unregistered person. There arepre-requisites regarding generation of an e- Way bill
# Register on EWB portal
#The Bill/invoice/Challan related to goods of the consignment must be in hand.
#If transport is by road than Vehicle number or the Transporter ID.
#If transport is by air, ship,or rail – date on the document, Transport document number, and Transporter ID.
Here we will guide you to generate e-Way bill step-by- step:
1. Login to eway bill: Enter the name, password and Captcha provided than Click on Login.
2. Click to the Generate new under E-waybill option displaying on the left-hand side of dashboard.
3. Insert the following fields to the screen that was appearing:
1) Types of transaction: Select an Outward when you are a supplier of consignment/goods. Select an Inward when you are a recipient of consignment.
2) Sub-type: Select the relevant type which is applicable to you: If transaction sub-type is selected an Outward, or following sub-type will appear.
4.Click to Submit. System validates the data which is entered and throws up in an error if any. Although, your request is to processed and the e-Way bill in EWB-01 form with some unique 12ve digit number is generated.
How ONLINE Accounting Software Will helps to generate e-Way Bill
Accounting software is likely to be benefit in many businesses. Some are listed below
Advantages of accounting software
- Simplify data entry – it's typically very fast, only required once and straightforward.
- Fast processing – delays, for example between invoice and sales, are minimum.
- automation of analysis and reports – for example on profit and loss, customer accounts, inventory counts, debtors and creditors, forecasting, sales, etc.
- Task automation – example producing payslips, calculating pay, calculating VAT, etc.
- Error reduction – example incorrect or incomplete recording of the transactions, transposition of figures etc.
Using an Accounting software will help you to save time and money, and offer you the valuable insight into your business. If you want then choose the package very carefully and investing in the computerised accounting system, it is one of the best decision you can take for your business.


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This article was originally published in the October 2016 edition of ITMI Monthly.
It was a discovery that surprised me. There just isn't that much space west of the Zambezi River in Zambia. There aren't that many people there.
Yes, there are several hundred thousand villagers spread out amongst plethora of small villages that dot the desolate land mass wedged between the river and the Angola border.
But still, they all pretty much live the same, eat the same and display many of the same beautiful physical features.
The people display many of the same beautiful physical features.
People in the villages live similarly - in grass or mud huts.
And yet they don't speak the same language.
So many villages and so many heart languages.
We came across the realization and challenge last month. In partnership with our new and valued partners, Johan and Lesley Leach, ITMI had just finished 5 new boreholes (water wells) in 5 isolated and impoverished villages west of the river.
A village watches as clean, safe water is made accessible for them!
ITMI's Johan Leach with one of the new boreholes.
Our main purpose is much bigger than giving these villagers "easy" access to water.
I quote "easy" because for these mostly forgotten villagers, "easy" is waking in the morning, walking across the sandy village soil with water container in hand, to reach the borehole where "all" they have to do is pump a large metal handle to extract clean water from the ground.
If that's "easy" what is hard?
Hard is hiking - sometimes miles - to the river each day, dodging crocodiles to fill their large container with the day's water, then lugging gallons of water back to their mud hut in the punishing Zambian sun.
The hike to gather water can be long with something heavy on your head!
If you are too far from the river, hard is digging a small hole in a swampy area and then extracting the dirty water that slowly seeps into the mud hole.
Your work will undoubtedly be appreciated by local animals, who will not have the manners to refrain from making "deposits" into your drinking water.
Dirty, dung-filled water hole, used by villagers too far from the river for drinking and cooking.
You said the main purpose isn't their comfort and ease, so, what is?
Water bore holes are one of the very best ways of meeting physical needs sustainably. That's important. But our purpose is bigger than that. We also want to meet spiritual needs.
Johan Leach shares Jesus with villagers.
Johan planting Gospel seeds.
Johan teaches the village about the God who provided clean, safe water for them!
In addition to their new borehole, the village leader receives a black box the size of a loaf of bread. The box has a few buttons, a small solar charging panel and a speaker that will clearly broadcast the New Testament in audio format for all the villagers to hear.
Since they have no technology of any kind, the villagers are excited to sit and listen to the Bible being spoken to them by this special box. Since most have no ability to read, these villagers gather and process information on an "audio" level.
Studies show that auditory-based cultures have an uncanny ability to capture and retain information that is heard, even just once.
Our challenge was to get the audio Bible box in the right language in time for me to deliver them when I visit Johan and the 5 villages next month.
I'm reminded that unless we - who are so blessed to be born where we were born, live where we live and worship where we worship - share the blessings of God's Word with the many who don't yet experience them, there's a chance they never will.
Please will you pray with me as Johan and I and a few of his trained leaders, travel to each of these villages in early October, live among the villagers, camp in tents, cook by campfire and dedicate the bore holes to God as we share the good news of Jesus Christ.
Our vision: that the shores of the Zambezi would be dotted by devoted followers of Jesus!
Our camp West of the Zambezi River a couple years ago.
In His Service,
About the Author
Steve Evers has advocated for and served the ITMI partners as ITMI Director since 2001. Approximately once a year, Steve visits with ITMI partners in their countries and brings stories back to encourage supporters. Steve enjoys photography and mechanics, (both hobbies that have greatly benefited ITMI partners!) Prior to becoming ITMI's Director, Steve served on the Board of Directors for 4 years. Steve lives in Arizona with his wife, Darlene.

subset: commoncrawl


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Editor's note: Last Thursday night, Daniel was able to represent Field Gulls and SBN Seattle (along with Davis and Scott) at the Nike WinForever Workshop, which took place at the Virginia Mason Athletic Center. Here's what he took away from the experience.
After Pete Carroll was fired from the head coaching position of the New England Patriots, he knew he had to step back and look at his career from every possible angle. That's when Pete found his philosophy. The "Win Forever, Always Compete" mantra was born.
Pete created the college football dynasty of the 2000's at USC. I'll be honest, when he left USC and was hired by the Seahawks, my initial thoughts were filled with skepticism and doubt. Sure, Pete won at USC, but this is the NFL. Plenty of premier college coaches have flopped at the NFL level and I was expecting Pete to be another Nick Saban flop.
I'm not just being a homer here, but the more I've learned about Pete and the more I've had a chance to see the results of his philosophy and effort, the more I've bought into what Pete is selling. Not only have fans bought into what Pete preaches, but his players also seem to have a genuine belief in the philosophy and concepts that Pete is applying to the team.
Competition breeds success. But success can also be attained by the simple things. Confidence, trust, and focus are all parts of the Win Forever philosophy.
Another aspect of the WinForever campaign is the conscience reminder of the influence and impact of your words. During the WinForever seminar on Thursday night, Pete was adamant that the impact of words and the use of those words, can have a monumental impact on the results you hope to achieve and the accomplishments you will achieve. I was fortunate to have a chance to actually interview Pete and I asked him specifically how he deviates his words and the delivery of them in different moments.
"Well, hopefully through the process, the message is really consistent and the message encompasses all of the situations," he replied. "Meaning, that you know we are going to go out and play like we are capable of playing. If we go out and we win and we play like that, then the message is okay - that's exactly what we tried to get done. If we lose and play like we are capable of playing, then the message is we did everything we could, but they were better on this day. We can live with that. The message is really consistent.
"I may shock them that I'm not affected by the situation (a loss) like they would think. I may be, because I stay so tight to the message. That's where philosophy is so powerful. They think "okay, alright, he does believe what he's saying. He does believe what he's all about. He does continue to emphasize the things he emphasizes when it was easy in the meeting room and it's happening here in the locker room at half-time." So there is a staging all the way through the process of thoughts that encompass the situation no matter what they are.
"Hopefully, I've done a good job, then I just remind them - "This is how we act now. This is what we expect now." If you are responding to the moment and trying to figure it out, then you are going to screw it up. I've done that plenty of times."
What to take from this answer?
Consistency. The consistency of the message is what's important. If you believe and stand for certain principles and always maintain and uphold your philosophy, then the team will buy into the message.
Another thing I asked Pete about was confidence. How does he build a player that might be struggling or having a difficult time's confidence? How does he keep other players from becoming overconfident or too cocky?
"It's so important for us, to figure each guy out - to find out where they are, who they are, so we have a sense," said Carroll. "It's about learning who they are, figuring out who the players are so that we have a sense to gauge that.
"Take Donny (Lisowski), for instance (an undrafted free agent who earned a contract with Seattle). He may not be very confident (Pete was being hypothetical), but he plays like he is. He's a hell of a kid out there - and Doug Baldwin, he just screams confidence. He's got a chip on his shoulder, and that's huge, you know. He isn't backing down from anyone or anybody and so those guys you just gotta stay out of their way a little bit. Other guys you have to build up. You can just sense by their body language, the way they speak, the way they take their opportunities and stuff, they need to be bolstered you know. That's the guy you put your arms around and show them why you need to believe in yourself. It's just a process that comes from interchanging analysis to figure them out. Once you figure them out, hopefully you can scope the message to them that helps them."
Instilling confidence in a player is absolutely crucial. An athlete cannot perform at their maximum level without confidence in themselves. The belief of the coaching staff and teammates can also have a positive impact on performance. Take Richard Sherman, for example. He was so confident last year that he was talking trash to other players that were first round draft picks, the famous example being Cincinnati's A.J. Green. Pete believed in Sherman enough to put him in the starting lineup as a rookie, and Sherman excelled and rewarded Pete's trust.
A question Pete posed to the audience (many of which were current coaches) was, 'how have coaches had an effect on you?' 'Have you had coaches that have had a negative or positive impact on you?' Pete always tries to give off a positive presence and he tries to create a competitive, yet positive atmosphere where his players can compete to their utmost potential.
Pete clearly has established his own identity as a coach and he has found a permanent philosophy to always apply to the team. He has a consistent message and that message of "Win Forever. Always Compete" has had a positive impact on the entire Seattle Seahawks program.
- This article can also be found over at SBN Seattle, and make sure you go back and check out Davis Hsu's take on the Win Forever workshop as well.


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'Could a rule be given from without, poetry would cease to be poetry, and sink into a mechanical art. It would be μóρφωσις, not ποίησις. The rules of the IMAGINATION are themselves the very powers of growth and production. The words to which they are reducible, present only the outlines and external appearance of the fruit. A deceptive counterfeit of the superficial form and colours may be elaborated; but the marble peach feels cold and heavy, and children only put it to their mouths.' [Coleridge, Biographia ch. 18]
'ποίησις' (poiēsis) means 'a making, a creation, a production' and is used of poetry in Aristotle and Plato. 'μóρφωσις' (morphōsis) in essence means the same thing: 'a shaping, a bringing into shape.' But Coleridge has in mind the New Testament use of the word as 'semblance' or 'outward appearance', which the KJV translates as 'form': 'An instructor of the foolish, a teacher of babes, which hast the form [μóρφωσις] of knowledge and of the truth in the law' [Romans 2:20]; 'Having a form [μóρφωσις] of godliness, but denying the power thereof: from such turn away' [2 Timothy 3:5]. I trust that's clear.
There is much more on Coleridge at my other, Coleridgean blog.
Sunday 29 May 2016
'We Are Seven'
This image, taken by Louis and Antoinette Thuillier, dates presumably to 1914 or 1915, and comes from what the Guardian today calls 'a photographic archive recently retrieved from a farmhouse in Picardy'. (It's a rather foolish Guardian article, that one, actually: 'Previous wars had been conducted like chivalrous tournaments, but now ...' This suggests a writer who has no sense of the broader history of war at all.)
Anyway: that image, at the top, especially struck me. It's partly the sheer human charm of it, the sense of a happy before that implies its own tragic after. It's also the literary connection. That sign! I don't need to tell you that Wordsworth's 'We Are Seven' is a poem about a simple-hearted country child who tells the poem's narrator that she is one of a family of seven. When her adult interlocutor asks for details we discover that only five of her family are actually alive, and that, in the girl's words, 'Two of us in the church-yard lie,/Beneath the church-yard tree'. The adult tries to get the girl to see that 'Ye Are Five', but she insists that their being dead does not separate her siblings from her, and won't give up her belief that 'We Are Seven'.
Don't you think that's a peculiarly eerie literary reference for seven young men, about to go into battle, to peg to their collective portrait? As if two of them are already dead (which two?) and yet somehow still there. This speaks not just to the human wastefulness of war, but also to the uncanny of photography itself, this process that preserves the life-likeness of the dead (or, as it might be, the black-and-white motionless dead-likeness of the living) via its strange new technology.
Monday 23 May 2016
Sunday 22 May 2016
Aeneid 6 as OXO Cube
'L'Énéide: OXO, Bouillon concentré en flacons at en cubes.' Great, no?
A pendant to yesterday's post, this, prompted in part by chancing upon that splendid OXO advert. Because, in a very real and not-at-all spurious sense, book 6 of the Aeneid really is like a cube of bouillon concentré. Into it is compressed the whole moral and socio-political scheme of an entire epic poem: life and death, right and wrong, the ethos of the warrior, pietas, virtus, and their consequences. More, the entire future-history of Rome is squeezed into the final hundred lines, as (illustrated above, there) beefy future-Roman worthies and heroes parade past Aeneas and his father, whilst the Sybil looks on. Death, this portion of the poem is saying, is a compressed or concentrated form of life: all the unimportant stuff is boiled away, and we are left with only one's viler ethical transgressions, or one's more important virtues and strengths. And when we think about it that way, we are drawn to the perhaps odd conclusion that for Vergil the underworld is, in essence, three things. First it is sorrow and belatedness and incompletion, as with the wailing, teeming hordes of the newly dead on the sandy shores of the Styx, or Aeneas' encounter with abandoned Palinurus or broken-hearted Dido. Second, it is punishment (a huge triple-walled prison in which the wicked are tortured in various horrible ways, and grim-faced Phlegyas, 'miserrimus', 'the most unblest', bellows at the top of his voice 'discite justitiam moniti non temnere divos!' LEARN TO BE JUST AND NOT TO SLIGHT THE GODS!). And thirdly, it is pleasant open fields, the company of great men, athletic contests and, finally, a glorious parade back into the light and the coming glory of Rome. In other words, Vergil is saying death is a condensed version of three things: loss, punishment and Empire.
I've been thinking about Heaney's translation, off and on, all weekend. It's sent me back to the original, which is surely the highest praise a reader can offer a translator. Actually, I think Colin Burrow puts his finger on something important in his recent LRB review of the work. Burrow stresses how important Vergil was throughout the whole of Heaney's career. For early Heaney, the wraiths 'the multitudes that stand on the wrong side of the Styx longing for passage across at the start of his journey through the underworld' are the key figures: 'It's as though Heaney wants to imagine that these homeless and nameless spirits would take over the centres of empire and power, and drive away the imperial heroes with which Book VI concludes'. The problem is that it's just really hard to get away from the deeply imperial ethos saturating the whole of the Aeneid, and this book in particular. Burrow thinks it made Heaney uneasy.
That association between the Aeneid and political unease grew out of Station Island (1984), in which Heaney first seriously engaged with the descent to the underworld and its literary implications. In the title poem of that collection he related how the spirits of dead priests, dead friends, victims of the Troubles and finally James Joyce, appeared from the pilgrimage site of St Patrick's Purgatory on Station Island to inform and rebuke him. Heaney implicitly presented himself as kin to Dante or Aeneas, or to T.S. Eliot in Dantesque prophetic mode: a poet who could absorb and transform voices from his own and from the literary past. But he combined that self-aggrandisement with a powerful dose of guilt. The imperial poets Dante and Virgil were unsettling doubles for a poet who had lived through the Troubles, and had seen friends and family killed by imperial rule ... The traveller in the underworld runs the risk of becoming a fellow-traveller, who is drawn away from honest engagement with Irish politics by a misplaced desire to beautify death, and to insinuate himself into a larger tradition of poetic authorityBurrows goes on to argue that
The death of Heaney's father in 1986 brought with it significant changes in his attitudes to Virgil. The political edges are smoothed over, and Book VI in particular tends to be presented as more like a family drama than a political one. The ghost of Aeneas's father, Anchises, flickers through Seeing Things (1991), and Heaney's poetic responses to the Aeneid from the later 1980s onwards tend to be welded to the detail of domestic life. His final collection of verse, New Selected Poems 1988-2013, was carefully crafted in order to make it appear that Aeneid VI was central to his literary experience. The selection begins with a literal translation of the golden bough episode that had first appeared in Seeing Things. Close to its end is the sequence 'Route 110', which draws artfully wry parallels between Heaney's own life and the events of Aeneid VI. The parallels begin with the young poet buying a copy of the poem at a secondhand bookshop from a sibylline bookseller. The book itself then becomes a golden bough that can guide the poet and draw him home. The Elysian fields are reimagined as 'Not unlike a sports day in Bellaghy', and Aeneas' mutilated friend Deiphobus becomes 'Mr Lavery, blown up in his own pub'.A strange sort of compromise between old and new, Roman and Northern Irish, that. The recently-published translation of the whole of Aeneid VI does not play those sorts of games; but something in its very polish, the accomplished, stately earthy vividness of Heaney's versifying, oversmooths the finished product.
One of the biggest questions about the Aeneid, one critics and scholars still debate, is whether it is a simple encomium for Empire, sheer Augustan propaganda; or whether (as in Shakespeare, who presents us with a similar difficulty) the surface celebration of the triumph of the state and the authority of the strong leader veils a much more complex and critical sense of what Empire means. Since we nowadays tend to value complexity, and prize texts that hide cross-currents and ironies under their surface storytelling, it's tempting simply to assume the latter. I have to say, I'm not convinced. We might think that condensing together into one dark-coloured and potent cube loss, punishment and imperial glory is to force three immiscible elements into an unstable emulsion, that the contradictions and tensions in the ideological structure of the poem will pull it apart. But I don't think so. Of course we know that Empire is a grievous thing to be on the receiving-end of, as armies march into your homeland and subdue your way of life and prior freedoms to theirs. The Romans were perfectly well aware of that, too. The thing is: Empire is hard work for the conquerors, too, However asymmetric the balance, it entails losses and punishments on both sides. Maybe the mixture in Aeneid 6 speaks to a simpler truth.
Saturday 21 May 2016
My copy of this arrived this morning, and I've been reading it today. It's not long: 45 pages of verse, with a couple of extra pages by way of preface and afterword. And the Aeneid is a poem I know well. It's a little odd, actually: the Iliad and the Odyssey are, patently, greater works of art; yet however much I love them and return to them, the Aeneid still occupies a uniquely special place in my heart. I first read it as an undergraduate in the (alas, long defunct) Classics department at Aberdeen University. I have read the whole poem in the original, some parts of it many times; and I've also read, I'd guess, a dozen English translations. So there we are.
And what of Heaney's? In we go. From near the beginning:
At Cumae, behind the broad cliff, an enormous caveAnd you think: hmm. The 'they' in 'they arrived at that threshold' means Aeneas and his people, but looks, here, as if it refers back to the Sibyl's hundredfold responses. And some of this is just, well ... ungainly. 'Breast was aheave'—seriously? Hair got dishevelled? Woh.
Has been quarried: a hundred entrances, a hundred
Wide-open mouths lead in, and out of them scramble
A hundred echoing voices, the Sibyl's responses.
They arrived at that threshold and the vestal cried,
'Now! Now you must ask what your fate is. The god
Is here with us! Apollo!' Her countenance suddenly
Paled and convulsed, hair got dishevelled,
Breast was aheave, heart beating wilder and wilder. [65-74]
A certain amount of rough-hewnness has always been the Heaney USP, of course, and nitpicky pedantry is not the best frame of mind to appreciate the strengths of a poem, of course, of course. Except that Vergil, who would sometimes spend a whole day working on a single hexameter line (and sometimes end the day by scrubbing it out entirely) was one of the least rough-hewn poets who ever lived. The original behind 'hair got dishevelled' is non comptae mansere comae [Aeneid 6:48], which means 'nor did the trails of her hair stay braided' (by word-order the phrase means 'not braided remained her tresses': coma is the word behind comet, the 'hairy star'). The alliterative assonance of comptae and comae is lovely, and Vergil's non here is the third non in two lines, which uses repetition to build a more forceful sense of negation. Heaney doesn't capture any of that.
But maybe this is too fernickerty a way of reading the poem. So I drew back my focus a little, and read through. One of the problems facing a translator of Aeneid 6 is the Hamlet one: so many desperately famous lines. How to handle them? The Sybil looks forward:
But the day is one you will rue. I see wars,That's fine (although 'rue' wobbles a little, credibility wise; and surging is rather more forceful than the Vergil's spumante, foaming, bubbling. You wouldn't translate Asti Spumante as 'Surging Asti wine', now, would you? What's that? You would? Well OK then!) And here's facilis descensus Averno, one of the most famous lines Vergil ever wrote:
Atrocious wars, and the Tiber surging with blood. [125-6]
The Sybil started to speak: 'Blood relationThis is lovely verse: expertly using enjambment to complexify its steady, plain onward movement. 'At the centre it is all forest' (tenent media omnia silvae) is nicely economical, and 'in the thick of a tree' is beautifully vivid and tactile. Ah, but then the Sybil tells Aeneas he must
Of gods, Trojan son of Anchises,
It is easy to descend to Avernus.
Death's dark door stands open day and night.
But to retrace your steps and get back to upper air,
That is the task, that is the understanding.
Only a few have prevailed, sons of gods
Whom Jupiter favoured, or heroes exalted to glory
By their own worth. At the centre it is all forest
And a ring of dark waters, the river Cocytus, furls
And flows round it. Still, if love so torments you,
If your need to be ferried twice across the Styx
And twice explore that deep dark abyss
Is so overwhelming, if you will and must go
That far, understand what else you must do.
Hid in the thick of a tree is a golden bough,
Gold to the tips of its leaves and the base of its stem,
Sacred (tradition declares) to the queen of that place. [172-89]
Pluck this sprout of fledged gold from its treeand I can't be the only person to get distracted with visions of Brussels sprouts. Can I? It's alright though:
Then when they came to the fuming gorge at AvernusExcellent stuff, in which Heaneyisms like 'bole' and 'cold winter woods' (silvae brumalae frigora in the original: 'forests frigid with wintertime') tangle expressively with Latinisms like 'refulgent' (from the original's refulsit).
They swept up through clear air and back down
To their chosen perch, a tree that was two trees
In one, green-leafed yet refulgent with gold.
Like mistletoe shining in cold winter woods.
Gripping its tree but not grafted, always in leaf,
Its yellowy berries in sprays curled round the bole—
Those flickering gold tendrils lit up the dark
Overhang of the oak and chimed in the breeze. [271-79]
And actually, the poem works best when it balances these two idioms. When it strays too close to just the Latin it tends to become inert:
Chaos and Phlegethon, O you hushedThen again, moments of Heaneyish verbal clottedness sometimes misfire. 'In front of the house of the dead,/Between the dread jambs, is a courtyard': dead dread jambs? Dreadlocks? Dead jam? Hold up a moment.
Nocturnal expanses, let assent be forthcoming
As I tell what's been given to tell, let assent be divine
As I unveil things profoundly beyond us. [351-4]
A couple of the more famous passages. In the underworld Aeneas meets his late father Anchises, who narrates to him the future-history of Rome's glory, and sums up:
tu regere imperio populos, Romane, mementoVery important, this, as a statement of what it meant to Romans to be Roman. David West translates as follows: 'Your task, Roman, and do not forget it, will be to govern the peoples of the world in your empire. These will be your arts—to impose a settled pattern upon peace, to spare the defeated and war down the proud.' West's 'war down the proud' nicely catches the way the Latin debellare, which means 'to defeat' or 'to eradicate', contains within it bellum, war. Heaney goes with:
hae erunt tibi artes: pacique imponere morem
parcere subjectis et debellare superbos. [Aeneid 6:851-3]
But you, Roman,But that's a little, what would you say: flat? Dull? He's picked out the super ('over') in superbos, but not the bellum in debellare, and that's the wrong way about: 'proud' is better, here, than 'those who overbear' (what does that phrase even mean?). And what about the celebrated two gates with which the poem ends?
Remember: to you will fall the exercise of power
Over the nations, and these will be your gifts—
To impose peace and justify your sway,
Spare those you conquer, crush those who overbear. [1155-9]
There are two gates of Sleep, one of which, they say,The two gates are from Greek mythology: Vergil, here, is adopting an image from Homer's Odyssey 19:562. The seemingly-arbitrary distinction makes more sense in Greek, where there is a play upon the words linking κέρας, "horn" to κραίνω, "fulfil", and linking ἐλέφας, "ivory", and ἐλεφαίρομαι, "deceive". Hard to capture that in English, but hard too in Latin: horn is cornū, which means both horn and the crescent moon; ivory is elephantus, which word also means 'elephant'; though Vergil also uses the different word, eburna, which also means ivory. Nobody knows why Vergil brings his hero back to the real world via the ivory, not the horn, gate. It does rather imply that the Aeneas of the rest of the poem is some kind of a lie. Still:
Is made of horn and offers easy passage
To true visions; the other has a luminous, dense,
Ivory sheen, but through it, to the sky above,
The spirits of the dead send up false dreams.
Anchises, still guiding and discoursing,
Escorts his son and the Sibyl on their way
And lets them both out by the ivory gate. [1212-19]
Sunt geminae Somni portae, quarum altera ferturcould be Englished as
cornea, qua veris facilis datur exitus umbris,
altera candenti perfecta nitens elephanto,
sed falsa ad caelum mittunt īnsomnia Mānēs.
Hīs ibi tum nātum Anchīsēs ūnāque Sibyllam
prōsequitur dictīs portāque ēmittit eburnā. [Aeneid 6:893-8]
There are two twinned gates of Sleep, of which one is madeMaybe elephant/all phantom is too cheesy a pun. My theory is that the crucial thing here is not the true shades/false dreams thing. It's the easy (facilis) passage of the one, and the implicit hard passage of the other. Facilis descensus Averno, remember. It's not that Aeneas is a false dream: it's that he is true and false, first off easily descending, like a moonbeam sliding down; and then elephantishly clambering back up, like Hannibal's war-beasts ascending the Alps, to his mortal skies.
of the moon's crescent horns, through which true shades exit easily;
the other gleams with sheen of polished elephantine-tusk,
but through here the spirit-sent dreams are all a phantom task.
So Anchises attends his son and the Sibyl,
dismisses them with these words through the gate of ivory.
Monday 16 May 2016
My contributor copy of Bas Groes' edited collection Memory in the Twenty-First Century: New Critical Perspectives from the Arts, Humanities, and Sciences (Palgrave 2016) arrived a couple of weeks ago. It's an interesting volume, though at $105 for a hardcover and nearly $80 for the ebook, nobody would call it cheap. My contribution is a piece on Borges, Philip K Dick and science-fiction memories, and its title involves a pun whereunto the descriptor 'tortuous' might, perhaps, be attached:
This book is one output from Groes' large-scale 'Memory Network' Project, which involved bringing together people from all sorts of different backgrounds to think about and talk about memory. There were various public colloquia, talks and presentations, a couple of which included me. Here's a picture from one. The body language and facial expression of my co-panelist here (Dundee's excellent Wendy Moncur) tells you everything you need to know about how much of my talk was the merest blather and nonsense.
Still it was great to be involved, and the Memory in the 21st-Century volume contains a wealth of fascinating stuff.
Speaking just for myself, though, there's one loose end. One of the things in which I participated was a panel at the LSE in October 2015, during which Jessica Bland, Bas himself, Professor Barry C Smith, Dr Hugo Spiers and I talked about memory in front of what was, surprisingly for these sorts of things, a large and appreciative audience. In the time allotted for my particular blather and nonsense, I floated the idea the conventional neurophysical division of memory into two kinds, long term memory and short term memory, needs to be augmented with a third kind of neurophysical memory which belongs to neither of these categories: dreams. A fourth kind, a sort of technological add-on version of memory, strikes me as a plausible way of thinking about the subject nowadays, but this led discussion into the 'extended mind theory', which notion Professor Smith, genially but very firmly, repudiated. I'm more persuaded by this theory than Smith, but it strikes me as less interesting than my initial notion, which we didn't really get around to discussing at all.
Long-term memory and short-term memory are, clearly, both actual features of the human mind, more or less rational and structured ways of sorting past events and states of mind into retrievable form. But it seems to me impossible to deny that dreams are also a way in which the mind 'remembers' stuff. Since it is not a rational, or retrievably sorted (except at a kind of second hand, where elements but never the totality of a dream are 'logged' in the conscious memory), it is possible to neglect this fact, but fact is nonetheless surely what it is. If dreams aren't a way of 'remembering' things, then I don't know what they are. But if they are, and given that they run on radically different lines to the sortable-retrievable logic of long and short term memory, then it is worth thinking about what this tells us about how dreams mean, how they factor into the being-in-the-world of human beings as examples of homo memorius.
I'm half idly thinking of following this up. I'm not sure, though. It's kindling in my mind a little (smoke threading upwards from the heap of woodchips that occupies the inside of my skull) from reading a little Ignacio Matte Blanco. There is bound to be a bias towards researching memory as a function of the conscious mind, since that's the sort of memory that is amenable to data gathering and the testing of hypotheses. But we ought, surely, also to consider memory as a function of the subconscious mind. To what extent, and with what effect, do dreams parse memory in terms of Matte-Blanco's 'generalisation' and (in particular) 'symmetry'? This latter quantity, the kind of leveling by which dreams flip-about asymmetrical elements of the remembered life as if they were symmetrical in particular interests me. We are such stuff as memories are made on, after all; and that making often entails not only a dream-logic inversion, but more particularly a dream-like elision of the asymmetric into the symmetric, far-off mountains turnéd into clouds, and the like. You don't need me to tell you where that line comes from, do you.
Friday 13 May 2016
Leper Colony Money
This is one of those topics with such delicious satirical resonance that, if it weren't real, some writer somewhere would have had to invent it. Leprosy colony money was a local currency that circulated only in leprosy sanatoriums or colonies. It reflected the fear that leprosy might be transmitted to uninfected people via money, although, as Wikipedia puts it, 'leprosy is in fact not easily transmitted by casual contact, and such transmission as there is only happens through long term, constant and intimate contact with leprosy sufferers and not contact with everyday objects used by sufferers.' Indeed, in 1938 one Dr. Ryrie in Malaysia proved that paper money was not contaminated with leprosy bacteria. After that the system fell into desuetude. At the top of this post is a rather pretty, though obviously cheaply-made, $1 note of the Sungei Buloh Settlement; and here's a Philippine 1 peso coin.
It makes me wonder why nobody has written a story about a society in which money itself is a site of possible infection. Presumably this would have to be electronic money (so presumably the infection would have to be some kind of computer virus, malware that very slowly corrodes the essential online presence of the user: a virtual leprosy). So, for example: you believe Dr Ryrie, don't you? You can't catch leprosy from handling leper colony money. Still. Would you? If someone offered you such a banknote, would you take it? Would you collect such money? Presumably people do, but would you? Would you be happy with your nine-month-old baby chewing on the edge of that 1 peso coin?
Money is dirty. We feel it, almost instinctually. This particular currency makes manifest what is latent in all our dealings with currency.
Tuesday 10 May 2016
Cutest Caliban Ever?
Sunday 8 May 2016
Be Bloody, Humboldt and Resolute
I'm reading Humboldt's Gift (1975) at the moment (I've read a lot of Bellow, but oddly not this one, although it is one of his most acclaimed titles). Good it is, too, as Yoda might say. I find myself thinking: how desperately Martin Amis wishes he had written this novel. No dice there. There's a depth and resonance to the ill-temper of Bellow's imaginative vision that Amis just can't seem to reproduce. With Marty it always come over as common-or-garden grumpiness. With Bellow, it starts to approach something more crankily magnificent. Although in this novel the rage starts slow. Charlie Citrine, the narrator, wrestles with his poisoned oedipal relationship to Humboldt, an older writer, and as ornery an old dinosaur as you please. When Charlie was young, Humboldt nurtured him. After Charlie became successful, Humboldt turned on him:
When reports were brought of the damaging remarks he made I often found that I agreed with them. "They gave Citrine a Pulitzer prize for his book on Wilson and Tumulty. The Pulitzer is for the birds—for the pullets. It's just a dummy newspaper publicity award given by crooks and illiterates."Here's the bottom of the back of the bashed-about old Penguin edition I'm reading:
Lovely stuff.
Monday 2 May 2016
Captain America: Civil War (dir Anthony and Joe Russo, 2016)
Nobody seems to have a bad word to say about the recent Captain America: Civil War: 'a blast of a movie' according to the Guardian; 'Marvel's best film so far' according to the Telegraph. I enjoyed it, too. Quite apart from anything else, it's impressive that the directors are able to juggle so many narrative-lines and characters without dropping any of them. But there are two things in this movie, I think, that don't work very well; and they are fairly big things, not specific-point pedantry or snark. Not, of course, that I have any principled or personal objection to a touch of pointless pedantry and snark.
One is that Civil War doesn't really pass the Pixar test. One of the things that Pixar recognised early is that a movie aimed at kids also needs to include material that will entertain the adults who are accompanying the kids to the cinema, and more to the point to do so without making the movie incoherent on its own terms. Without making the film a mere laminate of kids-pleasing-stuff and adult-pleasing-stuff, welded clumsily together. Movies like The Incredibles, Up or Inside Out are masterclasses in the seamless blending of kid-enchanting and adult-entertaining elements. Civil War frankly does not manage the same seamlessness. I enjoyed the serious talky-talky sections about whether the Avengers should submit to international political authority or whether such a strategy entailed greater dangers than it allayed. My 8-year old, sitting next to me, was bored out of his head by all that. He liked the big Iron Man/ Captain America/ Black Widow/ Panther-Man (Is It)?/ Carved-From-A-Giant-Stick-of-Rock Guy/ Ant-Man/ Spiderman/ Flyman/ Beetlebum/ Curly-Fingers-Eastern-European-Witch-Woman beat-em-up at the airport; where I felt that whole sequence went on too long, that nothing was very much at stake in it, and that it looked like it had been staged in a pub carpark.
Which brings me to number two. One thing I did like about Civil War was that it confronted the question of collateral damage: all the civilians inadvertently killed in New York during the climactic scenes of the first Avengers film, and then again in Sinitta's hometown Somachovia during Avengers: Age of Ultron. The first forty-five minutes of this movie did a good job (within the limitations of its mode, of course) of laying out some of the human cost of all that: the bereaved and the traumatised rubble of humanity, the stuff the adrenaline rush of the explosions and the tumbling towerblocks had encouraged us not to think about. This collective sense of ordinary people caught in the crossfire as 'enhanced' armies battle one another over remote and abstruse stakes is well caught in Civil War, and the demand made by the U.N. that the Avengers sign legal accords to try and prevent such collateral damage happening again was well dramatised and believable. What was less believable was the 'principled' stand of Captain America, and those of his superpeople who agreed with him, not to sign these accords. The reasons contra were debated, but in a rather arid, abstract sort of way.
The thing that's missing is the sense that being the Avengers has in any sense 'cost' the Avengers. There's been a certain amount of Tony Stark hyperventilating and getting a bit sweaty on his top lip, it's true: but only as a plot point on the way to his overcoming his panic and defeating the bad guys yet again. What's missing, in other words, are Avenger casualties. Imagine, for example, if Thor and Hulk had been omitted from Civil War because they'd both been killed in Age of Ultron, rather than because the contract negotiations to add Chris Hemsworth and Mark Ruffalo to the ensemble pushed the whole project over-budget. Then Captain America would be emotionally, as well as intellectually, invested in his opposition to William Hurt's gruff-voiced US Secretary of State. He could reply to the U.N. mandate with: 'civilians died during those battles, yes; but so did Avengers. People are angry and hurt by those civilians losses; so are we, by ours. Your plan to defang our attempts to combat evil are foolish, but also insulting to those Avengers who laid down their lives to etc etc.' It would give the Captain a reason to care, and make the whole dynamic work much more effectively.
The reason this couldn't happen is that the owners of this franchise are too commercially cautious to write-out any of their extraordinarily popular and merchandisable superheroes. And that's a shame. It's a shame for this movie, and for subsequent movies. Don Cheadle gets to totter around on poorly functioning automated leg-calipers because his back is broken (talking of which ... seriously? in a world where Bucky Barnes has a metal whole-arm prosthesis that is not only fully functional but super-strong and bullet-repellent? In such a world the best Tony Stark—Tony fucking Stark—can do for one of his closest friends is a pair of motor-driven calipers so bad the man can't even stand up in them?) ... wait: where was I? Oh, yes: so, Don Cheadle gets to totter around on poorly functioning automated leg-calipers because his back is broken. But that's the absolute closest these film-makers will ever get to actually thinning out their cash-cow herd. Tant pis.
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text:
From European arthouse's leading misery-guts to absurdist clown, the career switcheroo from Bruno Dumont is without doubt the most surprising volte–face of recent times. His new film is Slack Bay, a 1910-set love story featuring class conflict, inept detectives, cannibalism and incest.
Martyn Conterio: As we're conducting this chat in the office of video-on-demand service MUBI, what's your take on non-traditional distribution, VOD and the idea audiences can watch your films on a tablet, iPad, iPhone, etc.?
Bruno Dumont: They do as they wish. It's always better in the movie theatre, but some people do not go to the cinema and do watch films on iPads. I, too, watch films on my iPad without a problem. There you go.
MC: To Slack Bay. I just wanted to know how long this idea has been gestating and how quickly you got it up and running?
BD: It was the effect, really, following Li'l Quinquin on television…I really wanted to carry on with the comedy. [Then I] had to find a subject matter that worked for comedy also and [make it] cinematic. That's how Ma Loute came into being [and] wanting to go further with the things I'd developed and created in Li'l Quinquin.
MC: Slack Bay looks like your most expensive-looking film to date. Is it?
BD: Most expensive, yes. It's expensive because there are movie stars in this [and] a period film costs money. [But what doesn't change] as always is there is a camera and a microphone – that doesn't change. The period [dictated the budget]…the money is visible because of the costumes and sets.
MC: I'm interested in the pre-WW1 setting. Can you explain it to me?
BD: I wanted to move away from the current and every-day life and the modern side of my cinema.
MC: Nothing specific to the social milieu of the time, then?
BD: The concept of [recreating] reality has never really interested me. I like to go through that. There is the fact you can't completely avoid it – it's there at the surface because you're going into the reality of the period – but then quickly the content [of Slack Bay] is so absurd and surrealist and goes off the rails. For example, the cannibalism of the Brufort family.
MC: There is a sense of class conflict and divide in the film. Are you suggesting social divides are impenetrable?
BD: It's too far-fetched to have a political reading of the subject matter. The bourgeois characters are so over the top and degenerate, it doesn't represent truth or reality. It's not naturalistic, so it's impossible to have a naturalistic reading. I think it talks more about human nature, our leanings and ways of being.
MC: I just wondered because your films deal a lot with working-class figures and in Camille Claudel 1915, your portrait of Paul Claudel is far from flattering.
BD: I believe the bourgeois person is fundamentally a cretin. But I'm pushing the boundaries [with Slack Bay] and in Camille Claudel 1915, [Paul Claudel] is already completely warped.
MC: I take it you're on the side of the working class?
BD: Both. Absolutely. The world of workers is also completely idiotic. But there's beauty in both sides. The character André Van Peteghem (Fabrice Luchini) is deeply degenerate, but there's also something very beautiful [about him].
MC: That's true. He's the one character in the family who appreciates the beauty of the bay and interacts with locals without being totally patronising.
BD: It's not a social depiction. We each and every-one of us has a pendulum inside us which goes between grace and idiocy. I would never say one class is better than the other. It's not about class, but human nature.
MC: Now to the locations. You make films pretty much where you live in the Pas de Calais region, but this is the first time I've spotted a repetition of locations. I'm thinking of Outside Satan.
BD: It's a landscape I know and it's very specific in character and has an accent. Because there's a specific character to the area and the people you need to take that into the film. The answer is 'why not?' If I was from Brittany, I'd find locations there. I believe each filmmaker must find his or her landscape. It's no deeper or more important than that.
MC: Do the films you've made in that area, then, not somehow feel more personal? Compared to say, Flanders, TwentyNine Palms or Camille Claudel 1915.
BD: No, I don't think so. It's just that there must be something that embodies what you're trying to do.
MC: This might be a stupid question, but does the extravagant Van Peteghem house exist or is it a set?
BD: Yes [it exists]. It's not in the same location [as the film's setting], but it really exists. It was from the turn of the century when follies were built, a Victorian thing, and there was a fashion for neo-Egyptian architecture and neo-African. The bourgeois would build these follies. Just like there did in England. It's very bourgeois.
MC: Slack Bay has a pretty large cast, this time with movie stars and non-professionals acting side by side.
BD: The non-professionals are so close to who they are that they're very good at it, but they're rather limited to just that. The professionals…I made the climb the walls.
MC: You've worked with Juilette Binoche before, but how was it with Valeria Bruni-Tadeschi and Fabrice Luchini? How open were they to your working style and methods?
BD: What I was interested in was…everybody knows their tune and I was interested in seeing them play out of tune, so to speak. I wanted them to go into some far-fetched, wacky style, so that the actors forget what they know [their craft and training]. They enjoyed it. The way Luchini is as an actor and the characters he normally plays, I'm not interested in at all and I told him that when I met him.
MC: I noticed a detail – much more on second viewing – and that's in many scenes, the non-professional actors either stare at the camera, look around as if awaiting their cues or their director shouting 'cut' or appear star-struck…what's going on here?
BD: Actually, in terms of being intimidated or star-struck, it was the other way around. The professional, known actors who are intimidated because they saw these people [non-pros] could do their job. And then, it's just their natural mistakes and human error…it's those things – when they make such errors – that I find interesting.
MC: A lot of directors would call 'cut' and go for a re-take, as if it's ruined the scene or shot.
BD: I don't like it when everything is perfectly neat and tidied up. That's what I'm interested in: keeping those mistakes. You sense that [the creation of the scene] is fragile and I find that very moving.
MC: On to the use of music. You've never used music so conventionally before…whereas other filmmakers, it's entirely par for the course, in terms of your cinema it felt almost radical. When I often think of your films, I think of their silence, the bare bones sound design. Slack Bay is operatic.
BD: I would say [the use of music] is almost stereotypical. It's a Belgian composer named Guillaume Lekeu. Nobody's heard of him. He's a late 19th century post-Romantic, post-Wagnerian composer. I was looking for a theme for Ma Loute and Billie, to emphasis and stress their relationship and wanted something that emphasised a super-romanticism and the music mixes with the comedy unconventionally…it creates harsh transitions.
MC: To finish up, 2017 is the 20th anniversary of The Life of Jesus, your debut feature. How satisfied are you with your career to date?
BD: I'm happy that my career has renewed itself and I'm not saying the same thing all the time. The discovery of comedy for me was pretty revolutionary.
MC: I'll say.
BD: On that level, Ma Loute is only my second film because it's something new. Because comedy is not the same as drama, it's something that regenerates within me. I think Outside Satan really was the end of one specific road and it was harder to go on with that. But maybe I will make some more dramas…but mixing the genres. Ma Loute is dramatic and comedic. I've just made Jeanette: The Childhood of Joan of Arc, a musical comedy, and I've renewed myself again.
MC: Have you seen The Life of Jesus since you made it?
BD: I have. Very recently, I worked on the digital grading, because it's been digitalised and I honestly would edit it differently now.
MC: What's wrong with the editing?
BD: Just looking at it again, the way it was shot, I can sense I would do it differently now.
Bruno Dumont's Slack Bay is now available to watch in UK cinemas nationwide.
Martyn Conterio | @Cinemartyn


text:
PERTH AMBOY, N.J. (WABC) -- Four people in New Jersey had to be rescued from the end of a pier that collapsed.
Newscopter 7 was over the scene in Perth Amboy Thursday afternoon, as rescuers put two men, a woman and a child into a boat.
Portions of the pier they had just walked over fell into the water behind them, leaving them stranded on a concrete island.
Authorities say they had trespassed onto the very old pier which was closed.


text:
Find Your Happy Work
To find your Ideal Work you will want to find the Intersection of 3 things: Love, Skills, and Market.
Here's this "Holy Trinity" of Work Happiness as a graphic:
Without The Three Legs
People often make the mistake of taking an outside-in approach: for example seeing that there is a market for something in the world, and they have or can acquire a certain skill for it, and therefore think it's what they should do. It's logical but it doesn't work over time. We are not machines that can be forced to do things forever. One way this inharmonious approach can happen is when we think an object—in this case more money—will make us happy, so we start with the object (more money) and work backwards. But when in harmony with ourselves at a deep level, life evolves naturally from inside-out.
Without the three legs of love, skills, and market, what happens? The stability isn't there. I'll show examples from my own life. I've been self-employed for over 25 years and have been on a journey of discovery.
Skills are what is acquired. Love and talent are what is innate.
On Talent
Why did I not include "talent" in my formulation? For several reasons (I'll use the example of art-making since I have experience with that field and the word "talent" is often used there):
1. Talent is closely tied to skill. A talent for something is a deep-seated "bent" that makes it easier to express and acquire skills in a certain direction. For example we may be born "wired" for making art more than some other people. However I have observed that it's not necessary for success as an artist, because one can acquire enough skills if there are the other two legs of love and a market (and how good or bad one's art is is always up for debate but is irrelevant to how happy and successful one is doing it in this culture). And, we can still acquire skills in an area if we have a love and motivation. Most importantly, I've also observed that people use the concept of talent to limit themselves. They will try something they are interested in, such as fine art painting, find it very difficult, look at what they did and judge that it's not very good, and based on that criticism conclude they have "no talent" (even though they are relative beginners), and give up before acquiring adequate skills and confidence. On the other side of the same coin, I've seen people with little talent at drawing for example, become very successful painters, firstly because they were able to bypass the need to draw detailed renderings, and secondly they had great drive and love for painting, and a market for their work. Likewise, extremely talented artists—those who seemed to be born with a knack for it such that acquiring new skills and making good art came easily—sometimes give up because they didn't find a market, were not self-promoters, lacked confidence, and found other means of making a living. Also, countless times I've seen someone who has been doing art since childhood and developed great skills such that their art-making seems effortless called "very talented". So who is to say where "talent" leaves off and "skill" begins? These are the reasons the concept of talent has limited usefulness, and it's more useful to talk about skill.
1. Only Love and Skill:
If you have love for a subject and skill for it, you might have some great output to show for your time, but of course you'll have a hard time making a living.
Example: I loved making art, and thought I could have a career as a painter. I took to it like a sponge, gained lots of skill fast, and made some great abstract and realists paintings during this time, but didn't have a market (wrong city in part) or a marketing bent or drive or interest in self-promotion. Thus I only sold a few pieces over the years. I wasn't making a steady living at it and relied on my computer consulting and other means (but I have some nice paintings for my home! No regrets).
I also tried my hand at photorealist painting because I thought realism would be more marketable, and I was fascinated by the examples I saw, and wanted to have great realism as a tool under my belt. I got very good at it, and learned how to be extremely focused (which served me later as a programmer) but it was extremely arduous to construct these artworks, and time-consuming, such that I ran out of time, lost my studio, and had to find another way of making a living. I still loved many aspects of it, such as the creative ideas that flowed, the energy of being inspired, the visual emphasis, and the right-brain holistic perception experience, and the interesting people I met, and so forth.
At one point I tried deliberately making more marketable art (for eBay)—a more commercial and decorative product—but it quickly started to feel forced, and just didn't work for me. I thought I" might as well go into real estate or banking, which paid better, if I was going to work this hard and didn't like what I was doing!" (I started doing web design and development). In short I had the skill and market but no love for commercial painting, which brings us to the next:
2. Only Skill and Market:
If you have some some skill in a field, and a market, but little or no love, you can make a living for a while, but you will be heading for burnout, frustration, stress and struggle. This is not sustainable, or if sustainable, leads to health problems (mental and physical), addictions and dis-ease and stress on relationships. It's not a happy situation and often affects the quality and/or speed of the work, which in turn affects the client's feelings and your ability to make a living.
Unfortunately a lot of the world works this way, and our intellectually-oriented schooling and career testing feeds the underlying misunderstanding and the misuse of the mind and body.
Example: I did web development and app software programming for a few years. I had some skill with computers, and had been involved with programming as a hobby and occasionally built websites for clients over the years. There was also an obvious market for software development, and I was able to find clients and work. However I didn't have a true love for the subject: it was fun at times but it often felt like a struggle to keep on-task and focused enough, and I was never fast enough. Programmers with a real love for the subject were running circles around me. I felt a little like I was trying to be someone I wasn't. Although I could solve problems, find creative solutions, play the part, and make some sales, it was not an inside-out, grounded way to work and live. And I wasn't fooling myself: at some level I knew it wasn't quite right. It was stressful, extremely time-consuming, and not leaving time for my other interests and loves. There was always a certain level of doubt and anxiety, and the struggle of pushing my mind towards the solutions of problems without total confidence I was in the right field. And then there was the constant need, as a developer, to learn and keep up with an extremely rapidly changing, expanding, and complex technical field, at the same time as trying to reach deadlines. It was a lifestyle I wasn't interested in living.
I burned out on this lifestyle, not being able to meet timelines I'd set for projects with myself and clients, running out of money, and realized I had to do something different.
3. Only Love and Market:
If you have love for a type of activity, and there is a market for it, but you lack skill, you will run into a situation of not being able to keep an employer happy, nor offer quality work to clients, and you will lose clients or not be able to find customers or clients in the first place. The good news is you may be able to gain the skills.
An example I can think of from my life is a couple decades ago, in the early days of personal computers, I was fascinated by electronics and digital computers since childhood, and felt I had a pretty good general understanding of them, plus there was a market for consultants. So fresh out of college, after the newspaper I was writing for folded, I threw myself into computer consulting, confident that I could solve problems with my general computer and thinking and problem-solving skills, and ability to talk to people. Well, some clients quickly figured out I didn't already have the knowledge, and I realized I was stressing to find solutions too fast, when I was expected to already know them. I didn't know as much as I thought: one really does need highly detailed and specific knowledge and can't just fly by the seat of the paints in such a highly technical field, relying on general understanding (it seems obvious now, but I was young then!). I did eventually gain enough skills in a particular area of computer consulting, after I'd spent a lot of time working with Apple Macintosh computers (I loved Apple's design and philosophy). I did Mac consulting for about 20 years years, while writing and making art on the side. But in the long run my love for the technical work wasn't deep enough, and my marketing interest was limited, and my other loves, such as writing, making inventions, art, community gardening involvement, doing research, the spiritual and philosophy search, etc. was taking too much time away from business, so it was not a sustainable career path.
All Three, To Some Degree:
The resolution for me was to find and develop work where I was able to use my innate ability and love of visual art and design, plus interest and skill in writing, and an interest and background in psychology & philosophy, as well as experience with computers and software, and finding a market in the software field such that I can do relatively satisfying and lucrative work designing and consulting about design. This can involve designing and writing (consulting) on interface designs, doing graphic designs, creating software prototype, writing on usability, writing marketing copy, and occasional photography assignments. It allows me enough time to work on other projects "on the side" unpaid (for now). I also have a love and interest for inventing and philosophizing.
No doubt things will evolve as I explore, do more writing (and photography), and find ever better unfolding and match between my loves, skills and market. Work life grows and is perfected, if you pay attention and give it presence, as part of one's life journey.
On A Calling
I have called photography a "calling" when people ask about it (I was doing tens of thousands of photos a year), because to me it was (and is) a spiritual practice, a series of Zen moments, and I do it for that intrinsic good, the love and beauty, and sharing if it, not for an external reward (such as money). The same can be said for writing, which I see often is a form of prayer or meditation. I notice a a "one-pointedness" when writing is used to enquire into truth. Whether these become paid vocations (more often, on a steady basis) remains to be seen.
I wasted many years trying to figure all this out intellectually when I was younger. I spent endless hours writing, thinking, brooding, reading books, talking to people, trying to figure it out: who was I? Was I a writer, an artist, a computer guy? Where did I belong? Did I belong anywhere in the economy or did I not fit in at all? Was I too unique or creative to be able to find a happy niche in the economic social order such as it was? I felt like the proverbial round peg trying to fit into a square hole. Part of the error here was not only a certain degree of pessimism, fear, and cynicism learned from others, but thinking too much in terms of a personal identity: as if work was who I was, or who should I become, concerned about what others might think, or self-image, or finding the perfect fit that I was "meant to do" (a misplaced spiritual search for identity). And, over all, making too big a deal out of it: this is one of the things we are programmed with growing up, especially if you come from a competitive and ambitious family of professionals (in my case architects, engineers, entrepreneurs): that we have to become something. It's taken very seriously and as a given. There would be shame in being ordinary. You have to shine and be seen as above others somehow as extra-ordinary in your achievements. It's a distortion of reality my the mind. It's crazy actually. Proving something and showing others is based on insecurity. Here we are, happily living beings: as children we played without stress and without thinking, going from one activity to another seamlessly, absorbed in the love of what we were doing. It was easy. And fun. Then we are told we have to do something with our lives and become something (this whole scenario is a topic in itself).
There is an inherent contradiction almost no one sees: on the one hand we are supposed to have an conviction about and passion and love for what we do – inner qualities – and on the other see ourselves from the outside, such as "successful" in terms of money, acclaim, recognition, career levels and so forth. In a society where we are considered to be a body and a collection of supposed objective facts about who we are (shifting "facts", especially with instant social media), finding that conviction just isn't going to happen the way the game is set up. I was fortunate in that I knew something was "off" about the set up, and kept searching searching and searching, willing to sacrifice the outward accouterments, while friends were building careers and families and buying houses (but I noticed they never seemed genuinely happy, content or "there yet", always heading towards a future, despite appearances attempted).
More Notes on Skills, Love and Marketing
"I know I'm fortunate to live an extraordinary life, and that most people would assume my business success, and the wealth that comes with it, have brought me happiness. But they haven't; in fact it's the reverse. I am successful, wealthy and connected because I am happy." – Richard Branson
Skills and Love are not synonymous: this is often gotten backward. One can acquire great skill and still not enjoy doing something. However if you do have a natural love and bent for something, "like a duck to water" or "falling off a log" as the old saying goes, you can more easily or quickly become highly skillful. Not only will you spend more time on it, but it's going with the grain of your being. Some people hate writing, and though they can gain skills, they never become good or great writers. I enjoy the process of writing, and do it every day: it feels as natural to me as talking (in fact easier than talking and speaking!): like a nearly direct channel between the mind and page when I'm in the flow. It's the same with photography: it felt like a calling, and for a few years after a breakup with a longterm partner, found myself doing tens of thousands of photos as a kind of spiritual practice (making the divine manifest).
One of the signs of love is the feeling of joy in action when one is absorbed and free of self-consciousness, in the flow. Love is a feeling natural interest and enthusiasm that cannot be explained. Flow is best found where there is a match between the level of skill and the level of challenge.
However not everything that one has skills at and love is necessarily marketable. A market means people want it and are willing to pay for it.
Often people look at what's marketable and then try to fit themselves into that. This is a big mistake, and accounts for a great deal of unhappiness and stress in the workplace, and in people's lives in general.
So if you enjoy poisoning your life with "toxic goals", you are free to do that, but why not start today creating a happier world of work for yourself, to whatever degree you can?
This is not to say that there will never be aspects of ones work that are relatively boring or routine. That's just the nature of the material level of existence at times. And, you can get help with those things at some point (for example hire a bookkeeper if you have little love or skill for accounting).
The thing is to be free to do what you love and get paid for it. There are degrees of this: it is not black and white. Engaging with pure love and pure skill and getting paid a great deal, and doing this day in and day out is achieved by very few, but nevertheless there is simply no other way that is real and sustainable. So you must aim at perfecting this "art of work" and dedicate yourself to it. Choose happiness rather than misery.
Start from Where You Are; Know Thyself; It's Not Intellectual
Forget Myers-Briggs personality tests (though they are fun party talk subjects) and the career tests that try and analyze what categories you fit into. Forget the aptitude and interest tests. There is only one way to know what's right for you, and that is by doing things, testing where the rubber hits the road and getting the feedback of the world. This feedback includes your own body and mind, and the feelings that are experienced. It includes the feedback of the marketplace and what people are willing to pay for what you do.
This may mean taking jobs (or volunteer) as an experiment, even if you are unsure yet if it's right for you: this is the whole point: to find out! It's an adventure! (the worst that can happen is that you are fired or fire yourself, and then "good riddance!"). It can be a paid job, a volunteer job, or even a hobby that could lead to future work. An example from my life was photography: I loved doing it, enjoyed making tens of thousand of photos, and got really good at it: enough that I got paid 4 figures to drive around photographing buildings for a client, using a great camera that was paid for by the work. I got paid to have fun doing what I would do even if not paid!
Do not let fear control your life. Many people stay in unhappy work out of fear of what they imagine will happen if they don't. They think that they have to do it. They are unwilling to take risks. Our imaginations are very powerful but they are a two-edged sword: we can imagine a rocket that will take humans to the moon (Wernher von Braun did it), and build one, but we are also powerful enough beings such that we can sit in a chair and drive ourselves into stress and insanity from mere thinking. It's up to you. (I believe some form of meditation or mindfulness training, and spiritual-psychological understanding and insight is key to much of this whole subject, but is too much to go into for this article).
Freedom and independence in general are critical to a self-realized, genuinely happy life. It works like a feedback loop: you need mental freedom enough to pursue independent enquiry into who you are, beyond fear and false beliefs; this will lead to more external freedom unfolding, and in turn allow deeper self-realization.
I wish you Peace, Love & Beauty.


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John Hardy
John Hardy Naga Brushed Pendant Necklace NBS6501254BHBLSBN
Pickup currently unavailable
Symbolizing protection, eternal love and prosperity, our Naga dragon design adorns this evocative bracelet. Captivating blue sapphire eyes and pave accents create a graphic, contrasting look against sterling silver.
- Sterling Silver
- Black Spinel
- Pave Black Sapphire, Blue Sapphire
- Chain measures 2mm wide
- Pendant measures 36mm x 24mm
- Lobster Clasp


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The seventh-annual Big Backyard 5K is happening on Sunday, June 5 at Marymoor Park in Redmond.
This run/walk is an event for the whole family as it's dog and stroller friendly. All participants will receive awesome t-shirts, refreshments, snacks, prizes and the satisfaction of supporting King County Parks! The chip-timed course winds around the magnificent (but flat) Marymoor Park, so it's perfect for a PR. Register by April 13th, to receive the early bird price AND a BBY5K hoodie for 5$ thanks to our friends at Harborstone Credit Union. There's also a free kids dash for those 10 and under! So register now to run and support your regional parks. See you all there! If we're lucky Bert the Salmon might be making a special appearance :).
Click here to visit the webpage.


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Items built to order have a build time of up to two weeks before shipping. Items that are not built to order (e.g. amplifiers, speakers, .etc) typically ship in 2 - 3 business days. Many of our speaker kits feature machined special parts and customized wire harnesses that are built to order. We process and build orders in the order that we receive them. This allows our experts to go over every order and check that your particular order is correct for your particular bike. This means sometimes you have to wait a little longer to get your order but it's always worth it!
Once You Order Does Ship
You will receive an automated email with tracking information as soon as our shipping department creates a shipping label for your package.


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Tales From Earthsea
Terror reigns over the land of Earthsea
as a malevolent sorcerer causes
crops to fail and animals to die; and
with the rare appearance of dragons,
a master wizard fears for the future
of the people as the evil spreads in
the fabulous Studio Ghibli animé
From Earthsea
OUT ON A STORMY SEA, sailors witness a dragon fight in disbelief. Dragons are never seen in this area and the men are deeply concerned as already there have been signs of impending doom
the light of the balance that sustains the world is dimming.
With the failure of crops, diseased sheep and cattle dying, farmers are abandoning their homes to leave them to fall into ruin. The king sends for magicians to help correct the imbalance as the evil spreads throughout the land of Earthsea, but his determination to rid his kingdom of the threat of this dark force seals his fate. He is murdered just before his son Prince Arren (voice of Matt Levin) disappears.
This magnificent animé
is an amazing visual
delight; a terrific tale with
a dramatic and startling
While on a quest to discover and deal with the reason for the chaos, Lord Archmage Sparrowhawk (voice of Timothy Dalton) finds the troubled Arren surrounded by rabid wolves and saves his life. Arren, who refuses to part with his father's sword, is being pursued by a sinister presence and Sparrowhawk tells him that it was no accident that they met.
The two travel together and in a large market town they see slaves and find danger at every turn. Arren rescues Theru (voice of Blaire Restaneo), a young girl with a burn mark on her face, from the slavers; but she runs off, incurring the wrath of their leader Hare (voice of Cheech Marin). Subsequently, Arren is captured and when Sparrowhawk comes to his rescue they move closer to their intertwined destinies.
Sparrowhawk takes the weary Arren to his friend and former priestess Tenar (voice of Mariska Hargitay), where Arren once again meets Theru, who is Tenar's mysterious adopted daughter. The Archmage takes Arren's mount to ride out to investigate the darkness around them, but the slavers, who are the henchmen of the evil wizard Cob (voice of Willem Dafoe), have tracked Sparrowhawk to Tenar's home.
With the power of the faithful wizards diminishing, will Sparrowhawk be strong enough to complete his quest as he once again faces an old adversary? Will Arren, supported by Tenar and Theru, find the determination to shake off the dark forces that follow him? The four must face their darkest hour as Cob's manic obsession with immortality threatens to destroy Earthsea.
An epic tale of redemption and self-discovery, the film is adapted from the much-loved Earthsea novels by respected author Ursula Le Guinn, Studio Ghibli presents a sweeping adventure set in a mythical world filled with magic and enchantment. This magnificent animé is an amazing visual delight; a terrific tale with a dramatic and startling climax.
Benefiting from an acclaimed voice cast,
Tales From Earthsea
(Japanese title
Gedo Senki
) also features the voices of: Jeff Bennett; Suzanne Blakeslee; Cathryn Cressida; Pat Fraley; Tress MacNeille; Jessica Gee; Brian George, Grant George and David Lodge. Original Music is by Tamiya Terashima; Screenplay is by Goro Miyazaki, who is also the Director.
Tales From Earthsea
is available on Blu-ray from 25 June 2012. Certificate: PG | Feature Running Time: 115 Minutes Approximately | English Language and Japanese with Subtitles | Catalogue Number: OPTBD1083 | RRP: Ł24.99.
Complete Storyboards | The Birth of the Film Soundtrack Featurette (Brand New) | NTV Special Featurette | Behind The Studio: Origins of Earthsea (Brand New) | Japanese Trailers and Television Spots | Studio Ghibli Trailer Reel.
Tales From Earthsea
… This magnificent animé is an amazing visual delight; a terrific tale with a dramatic and startling climax"
Maggie Woods, MotorBar
"Visually stunning… An epic creation pitched against a backdrop of vividly-hued, sweeping landscapes… A true gem from the Miyazaki dynasty"
i-D Magazine
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29 March 2011
The happiest of gardens ~
Check out this gorgeous, lush backyard garden! Previously you've seen the bountiful vegetable garden of my friends Cathy & Larry and now here is some of their floral beauty to enjoy. Pansies! They are just about the happiest flower imaginable, aren't they? Ah - spring is really here!
1 comment:
- AnonymousMarch 29, 2011 at 5:54 AM
Wow - I'd like to use that image for my desktop!ReplyDelete
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Recognizing and Addressing Bullying as Early as Preschool [PowerPoint]
|Amber Ryerson & Deb Stolz
|September 17, 2015
|Presented at
|Ryerson, A. & Stolz, D. (2015, September). Recognizing and Addressing Bullying as Early as Preschool. Presentation at Early Childhood Mental Health Conference 2015, San Diego, CA. Retrieved from http://triwou.org/pr/Publications/44
Participants left this session with an increased awareness of bullying in the preschool years. The session explored current data and research on bullying in the preschool years, examined behaviors that lead to bullying, and explored strategies to support families and early childhood professionals.


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Magic Mirror Part 2
The completed project along with a screenshot of the software display behind my Magic Mirror
In part one of my D.I.Y. Magic Mirror blog post I showed the software setup of custom modules for the excellent MagicMirror project. This post I'll show the final hardware build out.
Basic software architecture. The mirror pulls data and pushes metrics logs to Elastic Cloud for later visualization
I moved to a new home recently, so the I swapped out the capital bikeshare feed with an incidents feed for the DC metro system. I live near a bus line, which I find I'm using more often, so I'll probably try to figure out how to get bus ETAs from the WMATA apis as a later project.
My Ugly wiring behind the mirror
The hardware build out only took a few minutes once I had a plastic one-way mirror that fit my frame. I recommend picking a picture frame you like first and then ordering a plastic mirror that fits it rather than the other way around. (Especially if you are like me and don't have access to the space or woodworking tools necessary to build your own frame). My mirror is held together by electrical tape, which isn't ideal. I'm a software engineer, not an electrical engineer, so I'm excused.
Here's a cleaned-up diagram of what's going on behind all that electrical tape. I'm using a Raspberry Pi 3 and a "HDMI 4 Pi - 10.1 Display 1280x800 IPS - HDMI/VGA/NTSC/PAL" from adafruit (link).
As the mirror is pulling some interesting data that I want in my quantified-self dashboard project, I wrote some quick nodejs request code to POST commands to my generic REST metrics endpoint for visualizing data from my Magic Mirror in kibana (hosted in Elastic Cloud of course.)


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May 14, 2022
we take care of your travel from start to finish
UNICO 2087 Hotel is located on the white sand beaches of Riviera Maya, Mexico and embraces the local influence, from the food and drink to the spa treatments, and the curated adventures all within a 5 star, adults-only resort. There is no lack of comfort with custom bath amenities, a fully-equipped fitness center, 24-hour room service and spacious suites. Enjoy 6 distinct restaurant concepts, ranging from fine dining experiences to a casual beachside venue. It's a completely new standard for the all-inclusive vacation. Unico takes customer service to the next level too with its local host service. Similar to butler service, your local host will assist you from the moment you arrive up until your last days in Mexico. Your host will assist in making dinner and/or spa reservations, testing out in-room arometherapy scents, unpacking and packing your bags, laundry services, and so much more. You can even text your personal host with any questions you have along the way! Unwind at one of 5 bars with a devoted mixology program and a lounge featuring live entertainment. From signature tours to personalized care, UNICO 20°87° Hotel Riviera Maya offers top-level experiences in the middle of the magical Riviera Maya.
Hotel rooms and group rates for Erika & James' wedding week at Unico 2087 are available exclusively through G World Travel, an award winning travel agency specializing in destination weddings and group travel. To be considered part of the wedding group and attend all events you must book through G World Travel and not through any other method, even directly with the hotel. We have negotiated group rates and organized a room block to make this as easy as possible for our couple as well as offer their guests a seamless, professional, affordable experience!
Room categories are available on a first come, first serve basis. Group rates are available through 1/2/23 and are subject to an increase thereafter.
Please click on the button below to complete your room reservation request.


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Therapeutic massage Quiz
Should you aspire to have a spiritually based occupation, whereby you are serving to others and bringing enlightenment, therapeutic and love to the world, be inspired to observe your ardour. They did their easiest to drag out my true career inclinations and talents within the given point of time to find a good match for me. And so they did! If an increasing number of well-known personalities and successful people are in search of the assistance of career counselors there have to be a motive for the same.
Copenhagen Language Center want to thank all of you who participated in the event, and for individuals who were unable to come back, benefit from the documentation in this post! Don't get me wrong, there are many fantastic career assessments out there, and plenty of college students want them to be able to make a wise and informed choice about their career choice. I took a couple of days of PTO to reconnect with mates and was totally inspired by two career tales. The CareerWorx blog provides useful career recommendation, data and job search ideas. I knew I used to be on the suitable career path once I began picking up the litter on the aspect of the trail.
When you have a query or would like to share your experience of getting a portfolio career I would love to listen to from you within the feedback section under. For example, I used to be just lately working with an alumna who … Read More ...


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Portuguese Electricity Producer Is Grateful Its Field Crews Can Now Stay in Contact When They're Working Remotely, Trying to Keep the Grid Online
Find out how Zebra rugged tablets and touch computers are empowering the utility's field crews and warehouse staff to stay in touch with real-time status updates via its SAP system.
Trying to manage any electric grid these days is difficult just given its sprawl (and Mother Nature). This is something field crews for Portuguese electricity producer EDA especially appreciate considering they must service such a large geographic area in the Azores. But what these hard-working crews appreciate even more is having a way to provide instantaneous updates on maintenance, repairs and network development to operations and plant managers, warehouse teams and customers located several kilometers away.
As the old motto goes, "time is money." And field technicians need all the time they can get to focus on what really matters: keeping utility assets online and running optimally.
It's not beneficial to anyone when crews must travel all the way back to the office to provide status updates on key work orders and assets. Yet, that's what they had to do until EDA leadership worked with Zebra and Neptune Software to develop and deploy a mobile computing solution that now allows technicians to upload data captured in the field into EDA's SAP system in real time…without a single truck roll required.
Read the full story now to learn about how this solution works and why it so effectively enables crews to relay information to key stakeholders from the field – including those managing EDA's warehouse operations. Plus, find out how the same solution is simultaneously being used in EDA's warehouses to help field teams better manage their work tickets.
EDA: One Turnkey Solution Helps Improve Two Utility-Related Operations
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Food Work Gloves
When working with food, hygiene and safety are absolutely essential – work gloves must pass rigorous testing before they can be approved for use with food. A huge variety are available, including disposable gloves for food preparation and cut-resistant varieties for jobs like deboning and filleting. Use the links below to see all of our Food Gloves or to select a subcategory for a more precise selection. If you would like more information on our gloves or a recommendation, please call us on 020 7501 0597 or email us at email@example.com.


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Has there been a break today,
Stoned comedian Ringo?
Should I put the plates away?
Captain, are you sure they're coming in?
I am quail and quasar
I picked you up on radar
I do my job each day
Empties crushed and filed away
And there is nothing worse th'n
An undetermined person
Can I abuse you please it
In my subspace biographies?


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Raise Awareness
"When the story of these times gets written, we want it to say that we did all we could, and it was more than anyone could have imagined." – Bono
Give a presentation to your class to raise awareness about the importance of water. Email me and I will provide you with information.
Write an article, poem or story about the issue and publish it in your school paper or newsletter. Enter an essay contest or email it to us and we might post it on our website. (See Jake Hira's essay below.)
Suggest the water crisis as a debate topic.
Begin a school-wide pledge to conserve water.
Spread the word about what we are trying to do, tell your twitter and Facebook friends.
Start your own club on campus. Email me and I will give you ideas.
Share your experiences, ideas and photos. We will include them on our website.
Rio Olympics Brings Awareness to Water Crisis
By: Jake Hira
With the 2016 Olympic Summer Games in Rio de Janeiro coming to a close in less than a week, millions of spectators still look on in concern for the safety and health of their athletes, and for good reason.
Many question the safety of these games after hearing about robberies at gunpoint and green, algae-infested pools. However, these problems are dwarfed by a far more insidious health hazard, lying hidden beneath the surface of this game's open-water venues.
According to a study conducted by the Associated Press, the water in the games' aquatic venues contain dangerously high amounts of human pathogenic viruses. The study shows that viral levels are at up to 1.7 million times what would be considered worrisome in the United States or Europe. Ingesting as little as three teaspoons of the virus-riddled water is all that it takes for someone to contract a serious illness. This poses a serious threat to the near 1400 competitors, especially those participating in open-water competitions, such as sailing, rowing, and marathon swimming. Despite being a such a critical concern, the underlying cause for the presence of these pathogens is quite simple.
And while many question how the health of the athletes fare, many fail to see the bigger
picture. Many fail to ask the question that is arguably the most important to ask.
What will become of Rio de Janeiro after the Olympic games conclude?
Evidently, at this time, many are concerned about the state of Rio's water and how it will affect its temporary Olympic population. However, will people continue to show concern after the Olympics has finished or will they turn a blind eye like they have done for years? Unfortunately, the Olympics do not take the host country's problems with them. The problems still remain, and the problems then become ignored.
For this reason, it is Students for Safe Water's responsibility to raise awareness for the terrible state of Rio's water. And the first step to doing so is to actually understand the reason behind this terrible problem. It is due to how the Brazilian government disposes of their waste and sewage. In the United States, Europe, and elsewhere, many measures are taken in order to treat and clean sewage waste so that it is safe to dispose of. In Brazil, however, there are no such measures, meaning that the waste the government is dumping into the oceans is teeming with pathogens.
Evidently, we must spread awareness about this malpractice in order to bring about a change in Rio and Brazil's waste disposal methods. Furthermore, it is our duty to spread awareness of how one can contract a disease from the dangerous water in order prevent the spread of illness and to protect the people of Brazil. With proper information and vigorous spreading of awareness, we can make a difference.


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Hubris kills, but I possessed plenty of it as I looked to prove the hardiness of my tastebuds against the "angry sauce" served by the repetitively named Wings Dip: House of French Dip. Located in a strip mall on Meridian Avenue in San Jose, the just-opened second location serves two things: giant sandwiches and flamethrowing wings.
They fry their chicken in a "4,000 degree wok," an impossible but telling bit of hyperbole. Their superheated flash-cooking method steams a supple tenderness into the dark meat and crisps the skin until crackly and receptive to a globe-spanning array of sauces like red curry, teriyaki and cajun.
After sizing me up, the cashier deemed me worthy of only half-power of their up-to-10 scale of angry sauce. I took it as a personal affront and resolved to prove I was a manly man.
Six sumptuous Dai Ching wings ($7.95) arrived, slathered in a syrupy burgundy glaze. The first bites went down easy, but as I turned to smirk at the register, a hellfire leapt from my diaphragm. I huffed from a hollow mouth, batting the heat down to a manageable level. Then I licked my lips. Big mistake. The burn consumed me. I tore through two dozen napkins. Disoriented, I sought comfort in the Parmesan Garlic Wings ($7.95).
These wings were served like a chicken salad—well, if you substitute grilled breast cubes for fresh-fried wings, lettuce for julianne-cut fries, and veggies for garlic, caramelized red onions, blistered jalapeno rounds and a heavy sprinkling of parmesan dust. They were savory, salty and satiating, but their still-sizzling temperature added z-axis dimensions to my burn. My cheeks flushed, my eyes lolled, and the dams of my sweat glands broke, unleashing an embarrassing torrent. The 6-year-old next to me looked worried. Her parents nodded knowingly.
I found reprieve in the Tri-Tip Cheese Steak ($11.95). The dense, buttery roll came stuffed with thick cuts of smoked steak, pliant blackened bell peppers and gooey provolone cheese that squelched the fire. Other menu standouts include BBQ Pit Sandwiches (starting at $8.95), the namesake French Dip (starting at $9.95) and the doubly decadent Pulled Pork Nacho Fries ($8.00).
As the pain subsided, I understood the benefits of this self-induced torture. The frequent comfort of my easy life had been disrupted. And I was better for it. My brow cooled as drying sweat caught the bay breeze and residual endorphins coursed through my circulatory system. I staggered to the nearest couch and fell into a deep digestive slumber, humbled and satisfied.
Wing Dip House of French Dip
910 Meridian Ave. San Jose.


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Party Bus Conway
When you are looking to have a good time in town try our party bus Conway service, it will surely be a wonderful way to do sightseeing in town as well as party with your loved ones or friends. We have premier rentals that include limos and party buses. These are made available to our customers at affordable party bus limo prices for different occasions.
|Bachelor Parties
|Bachelorette Parties
|Birthday Parties
|Kids Parties
|Limo Service
|Party Buses
|Charter Buses
Conway party buses and limos for rent near me
It is easy to find a premier limo or a party bus near you with our party bus rental Conway service listed in all major directories and listings. As a result, you can book a shuttle, coach, charter bus or a party bus, which varies in capacity, from 14 to 50. Be sure to view pricing for our limo service in Clemson, to view more party buses.
If you wish to go out at night with a small group, opt for our limo service Conway. This is a service that offers premier rentals that include vehicles like Mercedes Benz, Chrysler 300, Hummer limos, Cadillac Escalade, BMW, Lexus, Ford Excursion and other models that are perfect for special occasions.
Special occasions
There are different occasions when you can hire one of our premier rental vehicles:
- Wedding transportation – Get to and from the wedding venue or transport your guests with our party bus wedding package that can accommodate small to large groups. You could also hire out a limo or a vintage ride for your wedding couple.
- Prom & homecoming dances – If a group of young adults is planning a night out like attending a prom event, they will find it fun to hire party bus packages from us.
- Birthdays – There are birthday based themes that we offer on our party bus rides. You will surely have a fun birthday to celebrate or get your kids to enjoy their birthdays on the go.
- Bachelor & bachelorette parties – There are party buses that we have decked up with amenities like dancing poles, bars and other facilities which will help you celebrate events like bachelorette parties.
- Airport transportation – If you wish to reach the Myrtle Beach International airport or get your group to and from the airport, opt for our shuttle transfers that are cheap and convenient.
Conway party bus and limousine rental prices
There are fixed packages and discount offers that are easily found on our rental vehicles. You will be able to design a customized package for yourself by choosing a vehicle as per the amenities you need, the number of people traveling, hours or distance to be covered and so forth. We can also quote you for our luxury transportation services in Easley as needed.
You might want to check out the following places in town:
- Horry County Museum; it is a local museum, which showcases the history of the place.
- Conway Riverwalk; this is a wonderful marine area that you will love to discover.
- Theater Of The Republic; here you can catch local performances.
- Opt for one of our party bus limo vehicles to make a tour of the area with your group in your own time.