text:
United Nations S/2014/54
Security Council - 27 January 2014
Original: English
France and Luxembourg:
draft resolution
The Security Council,
Recalling its previous
resolutions and statements on the Central African Republic (CAR), in particular
resolutions 2121 (2013) and 2127 (2013),
Reaffirming its strong
commitment to the sovereignty, independence, unity and territorial integrity of
the CAR, and recalling the importance of the principles of non-interference,
good-neighbourliness and regional cooperation,
Expressing deep concern
at the continuing deterioration of the security situation in the CAR,
characterized by a total breakdown in law and order, the absence of the rule of
law, religiously motivated targeted killings and arson, and further expressing
its grave concern about the consequences of instability in the CAR, on the
central African region and beyond, and stressing in this regard the need for
the international community to respond swiftly,
Condemning the attacks
occurring in the CAR and, in particular those that have taken place since 5
December 2013 in Bangui which left more than 1000 people dead and hundreds of
thousands persons internally displaced, and which have triggered widespread
violence between Christian and Muslim communities across the country,
Remaining seriously
concerned by multiple and increasing violations of international humanitarian
law and the widespread human rights violations and abuses, including those
involving extrajudicial killings, forced disappearances, arbitrary arrests and
detention, torture, sexual violence against women and children, rape, recruitment
and use of children and attacks against civilians and attacks against places of
worship, committed by both former Seleka elements and militia groups, in
particular those known as the "anti-Balaka,"
Alarmed by the
increasing cycle of violence and retaliation and degeneration into a
countrywide religious and ethnic divide, with the potential to spiral into an
uncontrollable situation, including serious crimes under international law in
particular war crimes and crimes against humanity, with serious regional
Noting the Kimberley
Process Certification Scheme's temporary suspension of rough diamond trading by
the CAR and expressing concern that diamond smuggling and other forms of
illicit natural resource exploitation, including wildlife poaching, are
destabilizing forces in CAR, and encouraging the Transitional Authorities and
the State Authorities to address these issues through all possible avenues,
Welcoming tire holding
of a special session of the Human Rights Council and taking note with appreciation
of the appointment of the Independent Expert ON the Situation of human rights
in the CAR,
Welcoming the pledges
made at the High-Level Meeting on Humanitarian Action in the Central African
Republic in Brussels, January 20 2014 and encouraging the international community
to swiftly follow through on pledges to continue providing support in response
to the humanitarian situation in CAR,
Welcoming the readiness
of the European Union, expressed at the meeting of the Council of the European
Union held on 20 January 2014, to consider the establishment of a temporary
operation to support MISCA in the Central African Republic, and taking note of
the letter dated 21 January 2014 from the High Representative of the European
Taking note of the
letter from the Transitional authorities of the Central African Republic dated
22 January 2014 approving the deployment of an operation by the European Union,
Determining that the
situation in the CAR constitutes a threat to international peace and security
in the region,
BINUCA Mandate
1. Decides to extend the
mandate of BINUCA until 31 January 2015;
2. Decides that the
mandate of BINUCA shall be reinforced and updated as follows:
(a) Support for the
implementation of the transition process:
- To expedite the
re-establishment of constitutional order and implementation of the Libreville
agreements by identifying, facilitating, and coordinating regular communication
between all relevant Central African, regional, and international stakeholders
and providing strategic advice, technical assistance, and support to the
ongoing political process, transitional institutions and Authorities and their
implementation mechanisms;
- To take a leading role
in working with the Transitional Authorities, relevant stakeholders, regional
actors and the international community to devise and facilitate the political
transition process and to provide technical assistance in support of the
- To assist in
reconciliation efforts, at both the national and local levels, including
through inter-religious dialogue and truth and reconciliation mechanisms
working with relevant Transitional Authorities and relevant regional bodies;
- To make all necessary
preparations, in support of the Transitional Authorities and working on an
urgent basis with the National Electoral Authority, for the holding of free and
fair elections, including the effective participation of women, as soon as
possible, but no later than February 2015 and, if possible, in the second half
of 2014, including by providing an urgent assessment of the financial,
technical, and logistical needs for the electoral process;
(f) Cooperation with the Committee and the
Panel of experts established pursuant to paragraphs 57 and 59 of resolution 212
7 (2013):
- To assist the
Committee established pursuant to paragraph 57 of resolution 2127 (2013) and
the Panel of Experts established by the same resolution, within its
capabilities, including by passing information relevant to the implementation
of the mandate of the Committee and Panel of Experts;
(g) Coordinatio17 of
international actors:
- To coordinate
international actors involved in the implementation of the tasks described
3. Requests the
Secretary-General to urgently reinforce BINUCA and provide it with
significantly increased resources and expertise in order to fully and swiftly
implement all aspects of the mandate defined in paragraph. 2 of this resolution
and increase its capacity of coordinating international actors in the field of
its mandate and in this regard further requests the Secretary-General to submit
proposals and resource requirements to appropriate bodies as soon as possible;
4. Recalls the need for
the Transitional Authorities to restore state authority over the whole
territory of the country and underlines in this context the importance of
BINUCA's further expansion in the provinces;
5. Stresses the
importance of BINUCA working closely with the United Nations Country Team and
the Peacebuilding Commission;
6. Welcomes the
deployment of an initial contingent of the Guard Unit from the Kingdom of
Morocco on 1 January 2014, and urges the Secretary-General to expedite
preparations for the swift deployment of the full Guard Unit at the earliest
possible date;
7. Stresses the
importance for BINUCA to urgently make all necessary preparations for
elections, on an urgent basis, with the Transitional Authorities and the
National Electoral Authority;
8. Underscores the
importance for the Transitional Authorities to finalize, with the support of
BINUCA, a comprehensive strategy for the disarmament, demobilization and
reintegration (DDR) of combatants as well as repatriation (DDRR) in the case of
foreign combatants, including of all children associated with armed forces and
groups, working with the Transitional Authorities and in consultation with
MISCA and the French Forces and in this regard reiterates its request to the
Secretary-General to present detailed proposals for United Nations support in
his forthcoming report due no later than 5 March 2014;
9. Calls upon the
Transitional Authorities, with the assistance of BINUCA and international
partners, to address the illicit transfer, destabilizing accumulation, and
misuse of small arms and light weapons in the CAR, and to ensure the safe and
effective management, storage and security of their stockpiles of small arms
and light weapons, and the collection and/or destruction of surplus, seized,
unmarked, or illicitly held weapons and ammunition, and further stresses the
importance of incorporating such elements into SSR and DDR/R programs;
10. Stresses the urgent
need to deploy throughout the country an increased number of BINUCA's human
rights monitors in order to implement fully its mandate to monitor, help
investigate and report to the Council on violations of
20. Requests BINUCA to
provide assistance to Transitional Authorities in securing, in coordination
with MISCA, evidence and crime scenes to support future investigations;
2 I. Reiterates that all
perpetrators of such violations and abuses must be held accountable and that
some of those acts may amount to crimes under the Rome Statute of the
International Criminal Court (ICC), to which the CAR is a State party, and
recalls the statements made by the Prosecutor of the ICC on 7 August 2013 and 9
December 2013;
22. Calls upon all
parties to armed conflict in the CAR, including former Seleka elements and
anti-Balaka elements, to issue clear orders prohibiting all violations and
abuses committed against children, in violation of applicable international
law, including those involving their recruitment and use, rape and sexual
violence, killing and maiming, abductions and attacks on schools and hospitals
and further calls upon Transitional Authorities to make and implement specific
commitments on timely investigation of alleged violations and abuses in order
to hold perpetrators accountable and to ensure that those responsible for such
violations and abuses are excluded from the security sector;
23. Reiterates its demands
that all parties protect and consider as victims those children who have been
released or otherwise separated from armed forces and armed groups, and
emphasizes the need to pay particular attention to the protection, release and
reintegration of all children associated with armed forces and armed groups;
24. Calls upon all
parties to armed conflict in the CAR, including former Seleka and anti-Balaka
elements to issue clear orders against sexual and gender- based violence, and
further calls upon Transitional Authorities to make and implement specific
commitments on timely investigation of alleged abuses in order to hold
perpetrators accountable, in line with its resolutions 1960 (2010) and 2106
(2013), and to facilitate immediate access for victims of sexual violence to
available services;
25. Reiterates its call
upon all parties to armed conflict in the CAR to engage with the Special
Representative on Children and Armed Conflict and the Special Representative on
Sexual Violence in Conflict
26. Demands that
transitional authorities as well as all militia groups and parties to the
conflict, in particular the former Seleka, and the "anti-Balaka",
ensure the rapid, safe and unhindered access of humanitarian organizations and
relief personnel and the timely delivery of humanitarian assistance to
populations in need, while respecting the UN guiding principles of humanitarian
assistance, including neutrality, impartiality, humanity and independence in
the provision of humanitarian assistance;
27. Expresses deep concern
at the increasing numbers of internally displaced persons as a result of the
ongoing violence, stresses the need to ensure that the basic needs of those
persons are met, in particular access to water, food and shelters, and commends
UN humanitarian agencies and partners for their efforts to provide urgent and
coordinated support to the population in need in the CAR while also recognizing
the need to augment assistance to address increasing needs; other financial
assets or economic resources and in tile absence of a negative decision by the
Committee within five working days of such notification;
(b) To be necessary for
extraordinary expenses, provided that such determination has been notified by
the relevant State or Member States to the Committee and has been approved by
the Committee; or
(c) To be the subject of
a judicial, administrative or arbitral lien or judgment, in which case the
funds, other financial assets and economic resources may be used to satisfy
that lien or judgment provided that the lien or judgment was entered into prior
to the date of the present resolution, is not for the benefit of a person or
entity designated by the Committee, and has been notified by the relevant State
or Member States to the Committee;
34. Decides that Member
States may permit the addition to the accounts frozen pursuant to the
provisions of paragraph 32 above of interests or other earnings due on those
accounts or payments due under contracts, agreements or obligations that arose
prior to the date on which those accounts became subject to the provisions of
this resolution, provided that any such interest, other earnings and payments
continue to be subject to these provisions and are frozen;
35. Decides that the
measures in paragraph 32 above shall not prevent a designated person or entity
from making payment due under a contract entered into prior to the listing of
such a person or entity, provided that the relevant States have determined that
the payment is not directly or indirectly received by a person or entity
designated pursuant to paragraph 32 above, and after notification by the
relevant States to the Committee of the intention to make or receive such
payments or to authorize, where appropriate, the unfreezing of funds, other
financial assets or economic resources for this purpose, 10 working days prior
to such authorization;
36. Decides that the
measures contained in paragraphs 30 and 32 shall apply to the individuals and
entities designated by the Committee as engaging in or providing support for
acts that undermine the peace, stability or security of the CAR, including acts
that threaten or violate transitional agreements, or that threaten or impede
the political transition process, including a transition toward free and fair
democratic elections, or that fuel violence ;
37. FurtDer decides in
this regard that the measures contained in paragraphs 30 and 32 shall also
apply to the individuals and entities designated by the Committee as:
(a) acting in violation
of the arms embargo established in paragraph 54 of resolution 2127 (2013), or
as having directly or indirectly supplied, sold, or transferred to armed groups
or criminal networks in CAR, or as having been the recipient of arms or any
related materiel, or any technical advice, training, or assistance, including
financing and financial assistance, related to violent activities of armed
groups or criminal networks in CAR;
(b) involved in
planning, directing, or committing acts that violate international human rights
law or international humanitarian law, as applicable, or that constitute human
rights abuses or violations, in the CAR, including acts involving sexual
violence, targeting of civilians, ethnic- or religious-based attacks, attacks
on schools and hospitals, and abduction and forced displacement;
Mandate for the European
Union operation in the CAR
43. Authorizes the
European Union to deploy an operation in the CAR as referenced in the letter
dated 21 January 2014 from the High Representative of the European Union
444. Authorizes the EU
operation to take all necessary measures within the limit-s of its capacities
and areas of deployment from its initial deployment and for a period of six
months fronl the declaration of its full operational capacity;
45. Requests the
European Union to report to the Council on the implementation of this mandate
in the CAR and to coordinate its reporting with the reporting by the African
Union referred to in paragraph 32 of resolution 2127;
46. Calls upon Member
States, including neighboring countries of the CAR, to take appropriate
measures to support the action of the European Union, in particular by
facilitating the transfer to the CAR, without obstacles or delay, of all
personnel, equipment, provisions, supplies or other goods, including vehicles
and spare parts, intended for the European union operation;
47. Invites the
Transitional Authorities of the CAR to conclude a status of forces agreements
as soon as possible for the establishment of the European Union operation;
48, Emphasizes the need
for all military forces in CAR, while carrying out their mandate, to act in
full respect of the sovereignty, territorial integrity and unity of CAR and in
full compliance with applicable international humanitarian law, human rights
law and refugee law and recalls the importance of training in this regard,
49. Requests the
Secretary-General to report to the Security Council on the implementation of
BINUCA's mandate every 90 days after the adoption of this resolution;
50. Decides to remain
seized of the matter.
Follow me on Twitter @NabilAbiSaab


text:
As "The Phantom of the Opera" celebrates its 30th anniversary on Broadway on January 26, Broadway.com looks back at the show's start and the secret to its success and shines the spotlight on its new trio of stars—Peter Jöback as The Phantom, Ali Ewoldt as Christine and Rodney Ingram as Raoul with a sexy photo shoot at Parker New York.
When The Phantom of the Opera opened at Broadway's Majestic Theatre on January 26, 1988, Andrew Lloyd Webber was already something any 39-year-old musical theater songwriter would kill to be: critic-proof. Audiences in both London and on Broadway were proving ready to follow him anywhere. Even musicals about cats and, yes, trains were drawing in audiences.
Turning Gaston Leroux's 1909 gothic classic Le Fantôme de l'Opéra (a property in the public domain) into a musical wasn't a new idea—British playwright Ken Hill did it in 1976 by adding new lyrics to classic opera music, and Nine writers Maury Yeston and Arthur Kopit were prepping their own take in the 1980s—and it became a bit of an obsession for Lloyd Webber, who reportedly saw the property as a chance to write a more classic musical in the vein of Broadway inspirations Richard Rodgers and Oscar Hammerstein.
Lloyd Webber also longed to showcase his then-wife Sarah Brightman, a younger, former disco singer and Cats ensemble member, who was a rising West End star. The role of young ballerina-turned-opera star Christine (fun fact: "Kristin" in early readings) was a natural for Brightman, whose angelic soprano clearly inspired Lloyd Webber to write just as the onstage Phantom creates operas for Christine.
In early 1986, Lloyd Webber teased the show's London premiere set for later that year with a single of the still in development musical's title song (and subsequent now-camp classic music video directed by Ken Russell) featuring Brightman and Steve Harley, the Brit rocker who was originally offered the role of The Phantom onstage as well. Although the video visually gave a peek at Lloyd Webber's vision for the show, the fact that the title track is the only rock song (utilizing heavy metal guitars and an electro-pop beat) in the score left his fans with little hint of the sumptuous score he'd eventually create for Phantom.
So, critics were, as they say in London, gobsmacked when the musical took its opening night bow at the Her Majesty's Theatre on October 9, 1986, and they were presented with the full effect of Lloyd Webber's hypnotic, lushly romantic score. High praise was also heaped on the theatrical vision of iconic American director Harold Prince and his designer, Royal Shakespeare Company vet Maria Bjornson. Although critics entered the theater with preconceived opinions on the leads—Michael Crawford, best loved for his light, comedic performance as the hapless hero of the 1974 musical Billy, and Brightman (a.k.a. The. Wife. as Christine)—both stars were almost universally adored.
A Broadway transfer was announced for late 1987, and the Shubert Organization began sinking a reported $500K into renovating their Majestic Theatre for the show. But producers got into a bit of a public war with Actors Equity Association, which wouldn't allow Lloyd Webber to bring Brightman with the production (Crawford was approved on grounds he was an international star.) The music man insisted on Brightman's casting and even Prince told the union that he had auditioned 92 American actresses and found none that could sing the soprano role and dance on pointe. During months of negotiations, Lloyd Webber threatened to pull the production and rumors floated that he was entertaining an offer from Steven Spielberg, his neighbor at Trump Tower, to make a Hollywood movie instead. Ultimately, a deal was struck, allowing Brightman a six-month run in exchange for Lloyd Webber agreeing to put an American in his next West End musical (he wound up casting two—Ann Crumb and Kathleen Rowe McAllen—in 1989's Aspects of Love.)
Before it opened, Phantom rode a wave of publicity (Lloyd Webber even landed on the cover of Time) and racked up an unheard of $16 million advance, even more impressive when you consider top-priced tickets were just $60. Although it was sold out pretty solidly through the year, a scalper could get you in earlier if you were willing to pay $250 per seat. The show also took the "merch" market to new levels, with a full selection of T-shirts, magnets, mugs with a disappearing mask and even a hardcover Phantom book ready for purchase by "phans."
By the time critics, who had already made a sport out of trashing Lloyd Webber (fruitlessly—Cats had just entered its sixth year), got their hands on it, they were powerless to the show's appeal for audiences. Frank Rich in The New York Times admitted "it may be possible to have a terrible time" at the show, but "you'd have to work at it" while criticizing there was "scant tension or suspense" and ridiculously adding it had only "slightly more plot than Cats." While praising Crawford, Prince and Bjornson, most of the original reviews spent time trying to accuse Lloyd Webber of ripping off the sounds of other composers and proving extremely unwelcoming to the show's fought-for leading lady.
Looking back, what New York reviewers mostly proved was how unromantic a lot they are, clearly unable to open up their minds and let their fantasies unwind, as "The Music of the Night" asks. Howard Kissel in the New York Daily News probably said it best: "When was the last time you heard an unabashed love duet on Broadway? That accounts for much of Phantom's appeal." Although there are great hints of the horror that drives the property's multiple film versions—it was the romance of Leroux's original text that hooked Lloyd Webber and gives the musical its soul. The show is most unforgettable for its moments that are tragic, thrilling and sexy all at once, like the final sequence in which Christine and her lover Raoul battle The Phantom in his lair. Although others have tried to replicate the show's dark vibes (R.I.P. Dance of the Vampires, which sadly featured Crawford) and rich romanticism (The Secret Garden, Passion, Jane Eyre), only Wicked has come closest in combining the two, although its love story is ultimately about sisterhood.
Get to know the show's current stars in the video below!
Critics have eased up on Lloyd Webber in the years since Phantom has become the longest-running musical in the history of Broadway, with his most recent success, School of Rock receiving the best reviews of his career. And he's continued to find real power in romantic scores, with Aspects of Love and his Phantom sequel, Love Never Dies (currently on tour and hopefully getting a go on Broadway soon) arguably even outshining his work on Phantom.
But 30 years in, Phantom is a Broadway institution, and it is still in pristine shape at the Majestic Theatre, where it is led by Swedish theater star Peter Jöback as The Phantom, Mexican-born Rodney Ingram as Raoul and Filipino Ali Ewoldi, the first Asian-American actress to play Christine. It's a testament to true theater craftsmanship, unbeatable word of mouth, powerful marketing and a love story for the ages. Bravi, bravi, bravissimi! Here's to many more.
Photos: Caitlin McNaney | Styling: Heather Newberger | Makeup and Hair: Morgan Blaul

subset: commoncrawl


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German Shepherd Beach Towel "Smile" White/Black 30" x 60" or 36" x 72"
Basking on the beach or chillin' by the pool in style with a vibrant and super soft white and black colored beach towel that shows your love for German Shepherds; isn't that a dream? The text on the towel reads: "Smile and Enjoy the day on the Beach with a German Shepherd." One-sided print, polyester facing with cotton loop backing for extra lush absorbency.
For expected total delivery time, see below. The beach towel is made to order in Georgia, US, printed one item at a time, exclusively for the buyer.
More colors and breeds are available on selected products.
(Choose your desired size from the drop-down links):
- 30 x 60 inches (75 x 150 cm)
- 36 x 72 inches (90 x 180 cm)
Total time to expect from ordering to arrival in post office:
- Within USA: Total time from order to receiving 4-8 days on average, (production time 2-3 days, regular shipping 2-5 days).
- Canada: Total time from order to receiving 12-19 days on average, (production time 2-3 days, regular shipping 10-15 days).
- International: Total time from order to receiving 14-33 days on average, (production time 2-3 days, regular shipping 10-30 days).
The beach towel is made to order in Georgia, US, and typically ships in 2-3 days after ordering (production partner's information on average production time is 1.53 days in July, 2018). Actual delivery times might be different in certain circumstances, for instance based on season and demand, and these estimates are with a disclaimer on that.
- The back of the towel is white 100% cotton loop, long, fine fibers, which is extra lush and water absorbing, soft and durable.
- The front is sublimation printed with the design. This extremely strong and durable, 100% polyester, fabric retains its shape and dries quickly.
- Hemmed edges: Edges are folded and sewn, making quality better and product more long lasting. (Producer's description.)
- Exclusively designed for DuFauna by its designer and founder. The dog image is a hand drawn vector image.
- Printed with love and care, and shipped, in the United States.
- Please note that color nuances can be different on different device displays and in different light conditions. The colors are indicative.
For information about satisfaction guarantee, shipping policy, returns and refunds, and other customer policies, please see the page about Shipping, Returns, Refunds and Exchanges page.
Shopify is configured to automatically charge sales tax and may do so, based on location of customer within the US (nexus). TopFauna LLC of DuFauna is located in Delaware, US,which currently does not charge sales tax. The location of our production partners may create a sales tax nexus for the customer. To see the locations of our current production partners, please see the the Shipping, Returns, Refunds and Exchanges page.
Note that for Canada and other international orders, customs and VAT may be added by customs authorities of the country when imported. It is always the buyer's responsibility to pay these, as the buyer is usually defined as an importer by customs authorities and post office. These possible extra charges are not included in the price.
Wash the item only cold machine wash with similar colors garments using a gentle cycle. Tumble dry on low settings or hang dry. Do not bleach or dry clean. (Producer's description.)


text:
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Unfortunately we don't have any future events planned at the moment.
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Monday, September 10, 2012
the Curtain-Along is a go!
I was really overwhelmed by all the wonderful responses that I got to the idea of having a curtain-along project, so I'm going to make this thing official and get us all started! Woohoo!
First of all, I wanted to give you some more accurate measurements on the amount of fabric that you are getting in each curtain. The dimensions given on the package are 50" wide by 84" long, but once you unpick the hems, it is actually 53" wide by 96" long (134 cm X 244 cm). Sometimes those extra inches really help. You also get a tieback that adds another 8 1/2" by 26" piece of fabric when it is unpicked (21 cm X 66 cm). That averages out to $7.50 a yard for the creme fabric and $9.36 for the noir and crimson if you buy the curtain panels from Lowe's. This is quite a bargain compared to the same fabric at Joann's which is selling for $17.50 to $22.50 per yard on sale.
Some people have mentioned that Lowe's will not ship internationally, but I found the creme and noir curtains on Amazon (creme, noir), and Sears (creme, noir). I also saw a few on ebay, and I'm sure there are other venues that I am overlooking. You might try searching for Waverly Felicite to find other sellers. I couldn't find the crimson colorway anywhere other than Lowe's, but if you don't have access to a Lowe's and that's the color that you are interested in using for the curtain-along, let me know and I'll buy some and ship them to you. Also, I thought that if any of us end up with left-over cuts from our curtains, I could help you advertise that here and maybe somebody would like to buy half of a curtain for a small garment, or maybe they just need a little extra to finish a project.
So what can you make with the amount of fabric that you are getting in a curtain? Well, from what I have calculated so far, half of a curtain (or less) should be enough for a baby or toddler dress, a spencer, a man's waistcoat, a boy's jacket, doll clothes, or a fabric-lined bergiere. One curtain will make a petticoat, a jacket, a caraco, a bedgown, a bibbed apron, a girl's dress, a medium sized cloak, or a banyan for a smaller person. Two curtains would be necessary for a matching skirt and jacket, a round gown, an open robe, a long cloak, or a banyan for a larger man. You would probably need three curtain panels for a robe a la francaise, a polonaise, or any other type of gown with a full overskirt and matching petticoat.
I have updated my Pinterest board with direct links to the curtains at Lowe's, and I've decided to also include links to in-progress blog posts on Pinterest in addition to just posting the finished photos. Pinterest is such a great way to keep up with all the links, so I thought it might be easier to track multiple projects there vs. making people search back through my blog entries for links. Let me know when you start sewing your projects, and I'll add a link to you blog on my Curtain-Along board so everybody can see what you are working on. Oh, and because a sew-along isn't really official without a badge, I made one in case any of you want it. Feel free to grab and use the small or large icons however you want, or you can also embed my pin of the badge from Pinterest if that is easier for you. But please don't feel like you have to use this badge or include a particular link or anything like that. I just made it for fun. :)
And with that, I will leave you with this excellent article by Kendra exploring the history of 18th c. Indienne print fabrics, and I also made a new Pinterest board of Indienne print inspiration which documents a variety of garments that use similar colorways to the Waverly curtians, and it also has plenty of examples of bold, large-scale botanical prints. I can't wait to see what you all make!
28 comments:
- Aurora said...
Has anyone figured out the difference between the $18 fabric and the $23 fabric at JoAnn's? They have some colorways (like blue) at both prices and I can't see a difference . . .
- September 10, 2012 at 8:00 PM
- Jen Thompson said...
Aurora - I can't figure that one out either! I know some of these are heavier outdoor fabrics, but neither of those blue colorway listings mention that. ???
- September 10, 2012 at 8:17 PM
- Lauren said...
Fun! I really want to join in. Will keep my eyes peeled for Kohl's coupons :)
- September 10, 2012 at 8:28 PM
- Lauren R said...
- September 10, 2012 at 9:41 PM
Yay! This is going to be so much fun! :)
- September 10, 2012 at 10:40 PM
- Mistress of Disguise said...
Yay! I'm so glad to see that this has taken off so well! I'm totally in! :D
- September 10, 2012 at 11:10 PM
- Unknown said...
i would love to take part, but i will have to wait untill after halloween (my 1880's countess dracula gown is sucking me dry of all spare funds) sooo, for now i will read along and live vicariously through all of you
- September 10, 2012 at 11:22 PM
Ok, I'm in! But I bought a different print. But it's still a curtain panel. Does that count?
Alyxx - September 11, 2012 at 12:42 AM
I really want to see someone make a banyan and a matching cap out of the embroidered pillow!
http://www.amazon.com/Waverly-Felicite-16-Inch-Embroidered-Decorative/dp/B006JNCCMG/ref=sr_1_6?s=home-garden&ie=UTF8&qid=1347342249&sr=1-6&keywords=waverly+felicite - September 11, 2012 at 12:46 AM
- bauhausfrau said...
- This comment has been removed by the author.
- September 11, 2012 at 12:55 AM
- bauhausfrau said...
BTW, the SNS (or SUN N SHADE) fabric is the "sunbrella" one, probably stiffer than the non-SNS one and is !00% poly.
- September 11, 2012 at 12:59 AM
- Green Martha said...
Now you make me want to buy some curtains to make a new 18th century frock. Those prints are fantastic ! Must. Resist. CADD.
- September 11, 2012 at 2:59 AM
- Aurora said...
Ok, I went to JoAnn's today, and they had the 17.49 blue colorway and it seemed perfect for this project: slightly satin-y cotton with a slightly cream background and a bold blue print. I dunno what the more expensive one is, but for people wanting to buy online the cheaper one is good for dresses imo.
- September 11, 2012 at 1:27 PM
- Aimee said...
I bought the creme lowes curtains a little while ago. I'm probably going to make some sort of round gown/anglaise out of it with a white petticoat. I'm 35 weeks pregnant right now though so I probably wont actually make this until next year. ah well!
Thanks for posting the yardage estimates and ideas of what you could make out of how many curtains, that's pretty great! I got three panels because I'm tall and didn't want to worry about not having enough. - September 11, 2012 at 2:26 PM
- Caroline said...
This is such a fun idea! I love it. I bought the blue a while ago form Joann's. It is light enough weight for dress, but it isn't satiny like the curtains. It is a little stiff, but not heavy like an outdoor fabric. Though I think a lot of the Waverly prints are outdoor weight so you must double check.
- September 11, 2012 at 2:54 PM
- Laura said...
Alright, I just might have been bitten by this bug. First I need to finish the 40s kit, then... remake my stays. Then we'll see if this happens. :) I'm loving the crimson, but not so much the price! The Amazon Prime deal for the creme et noire is much more tempting, but the colors... Hmm.
- September 11, 2012 at 3:43 PM
- crafty lady said...
The fabric is on sale!!! I just got an email from Joann - all their fabric is on sale 60% off on the web site only until Saturday (Sept 15th). It's all selling for $13.99 & $17.99 - even the blue colorway. Get it while you can!
- September 12, 2012 at 4:31 PM
- Melissa said...
I bought some of the curtains, I couldn't resist! I need to make stays first though...but I think this will push me to get them done!
- September 12, 2012 at 5:25 PM
- saraquill said...
My fancy was piqued when you mentioned doll clothing. Unfortunately, the scale is far too huge to really work for that purpose. On the other hand, if there are any scraps for sale after this challenge, I'd be happy to help take some off of people's hands. I'm sure thay would make lovely kerchiefs or aprons.
- September 12, 2012 at 7:57 PM
- Lithia Black said...
I've spotted this print in two more colors at fabric.com
Indigo 14.90/yard(blue flowers on white background) and Mineral 14.90/yard(pastel hues of green,blue,orange yellow and brown on cream background) - September 19, 2012 at 3:51 AM
- Lithia Black said...
Correction it is onlinefabricstore.net has have them. Direct links to the colors:
http://www.onlinefabricstore.net/drapery-fabric/floral-drapery-fabric/waverly-felicite-mineral-fabric-.htm - September 19, 2012 at 4:08 PM
- Merlina said...
Well I'm in. I've a Lowe's very close to me and I fell in love with the fabric when I saw it. Plus I need another 18th Century gown. I'm thinking the creme over a red petticoat. SHould be fun to see how it all works out!
Merlina - September 24, 2012 at 9:07 PM
- MCB said...
I'm in too. There is a cream print sacque in my future. Unfortunately, Lowe's kicked up the price on the cream colorway to match the others so I ordered from Amazon. Here's hoping they come soon; I started patterning the lining last night!
- September 25, 2012 at 10:48 AM
I've just ordered the black colorway from http://www.housefabric.com/Felicite-Noir-P5414.aspx It's $15.95 a yard. I'm planning a sacque gown, to be done by the end of March.
- February 17, 2013 at 6:22 PM
- sandysister said...
I just found some curtains of my very own, but I am new to this era of gowns, can anyone point me in the right direction for patterns? I have two panels.
- September 22, 2013 at 12:44 AM
- rebekah said...
Is this appropriate for the 1770's? i t looks lime it is more 1780's, but I'm fairly new at this and was hoping someone with more knowledge knew. ;)
- February 9, 2015 at 9:03 PM
- rebekah said...
Is this appropriate for the 1770's? i t looks lime it is more 1780's, but I'm fairly new at this and was hoping someone with more knowledge knew. ;)
- February 9, 2015 at 9:06 PM
- Fabric Carolina said...
its looks like retro kind of design and trend now.these designs will give ancient look and i also designed some fabrics like this.
Waverly Fabric - August 29, 2017 at 8:35 AM


text:
Surely the greatest endorsement for any songwriter is the calibre of artists who record their compositions. Sam Dees can boast cuts on acts such as the Temptations, Johnnie Taylor, Gladys Knight & the Pips, Millie Jackson, Jackie Wilson and other upper echelon soul stars. Having previously issued two CDs of Sam's recordings, we felt he was overdue for an entry in our Songwriter series. The aptly titled "One In A Million" is exactly that.
The CD takes its title from what is probably his most commercially successful song, thanks to Larry Graham's chart-topping recording from 1980, and covers Sam's career from the late 1960s through to the mid-80s. Whittling his catalogue down to a representative 22 songs was a challenge and a half. Many of the artists featured, such as Loleatta Holloway and John Edwards, returned to Sam's songbook again and again, while others drew from it only once or twice. The common denominator between them is they all recognised a great song when they heard it.
There's a preponderance of titles from the period Sam's most ardent admirers seem to like best, the mid-70s, but we've not neglected the early 80s, when his compositions were recorded by some of the biggest names in soul and records bearing his name under the title were starting to sell in their millions.
The only disappointment for Sam's fans is his career as a singer has always been somewhat fragmented due to the demand for his songs. As a demonstration of his vocal greatness we have included his 1977 recording of 'My World', a song he performs so definitively that it's hardly surprising to find his is the only version.
"One In A Million" presents the sublime songs of Sam Dees in performances that will live on in the hearts and collections of his army of fans. Some will be better known than others, but all will surely be admired and cherished in the same way the man who wrote them is.
By Tony Rounce


text:
Live Zoom Webinar on Supercritical CO2 cycles: theory and applications
Diversification of the energy generation resources is an important step to reach the United Nations' sustainable goals with respect to Climate Action plan.
Time: Wed 2020-10-07 09.00 - 16.30
Location: Online via Zoom
This demands future power generation technologies adapted to the diverse mix of heat sources, from existing fuels to renewables, e.g. solar and geothermal. One aspect is that the power plants of the future should be able to work in a wide range of temperatures (~200oC-1400oC), in addition to general requirements of higher efficiency and lower capital cost (i.e. compact size). The emerging innovation of Supercritical Carbon Dioxide (sCO2) power cycle could potentially offer the solutions to the global climate issues at lower overall plant cost. For example, waste heat recovery systems can use sCO2 as the working fluid to convert waste heat into power, since the sCO2 can interact more efficient and directly with the heat source, eliminating the need for a secondary thermal loop. The aim of this scientific workshop is to gather scientists from Sweden and EU as well as potential industrial partners to assess and to discuss the state-of-the art as well as to introduce its applications in heat pumping and power cycles, turbomachinery and related fluid dynamics via keynote lectures and panel discussions. The Workshop is financed by the KTH - Energy Platform, and supported by School of Engineering Sciences (SCI) and School of Industrial Engineering and Management (ITM) at KTH. Registration is opened via www.kth.se/form/5f72adb48900990a8c2ec0bc


text:
"Time is passing. Yet, for the United States of America,
there will be no forgetting September the 11th.
We will remember every rescuer who died in honor.
We will remember every family that lives in grief.
We will remember the fire and ash, the last phone calls, the funerals of the children."
—former President George W. Bush


text:
Welcome aboard, ladies...so glad to have you here! This is where we can connect and communicate about upcoming releases, featured products and whatnot. :)
lisa, sisneros, designs, welcome, aboard, ladies, glad, have, here!, this, where, connect, communicate, about, upcoming, releases, #featured, products, whatnot
Make it a Team Game - Team GXG online gaming community with over 30 team members on-board already. Featured Xbox 360 gaming discussion forum.
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Coast To Coast Am radio broadcasts featured daily. Check us out for out of this world info that will simply create an inception within your mind.
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FPRP is a free-style forum-based RP community, welcoming all Roleplayers to indulge in a variety of creative text. We thrive on the drama of writing.
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This is a friendly place to share you creations, chat, met new people.
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An awesome forum/chat for all those nintendo fans out there! Featured Games: SSBB, Pokemon, Mario Kart Wii and much more!!!


text:
I can state that I created a ballet company of which everyone said: St. Petersburg has the greatest ballet in all Europe.
Marius Petipa (born March 11, 1818, Marseille, France—died July 14 [July 1, Old Style], 1910, Gurzuf, Ukraine, Russian Empire) was a dancer and choreographer who worked for nearly 60 years at the MArinsky Theatre in St. Petersburg and had a profound influence on modern classical Russian ballet. He directed many of the greatest artists in Russian ballet and developed ballets that retain an important position in Russian dance repertoire.
Petipa and his brother Lucien (later principal dancer at the Paris Opéra) received their early training from their father, Jean, a ballet master long active in Brussels. After Marius' debut in Nantes, France, in 1838, he danced in Belgium, France, and the United States (he appeared in New York City (in 1839) before accepting an engagement in Spain, where he gathered material for ballets later produced in Russia. He established a reputation as a talented pantomime artist and one of the outstanding dancers of his day.Petipa made his initial appearance at the St. Petersburg Mariinsky Theatre in 1847 in Paquita and staged his first original ballet, Un Mariage sous la régence ("A Regency Marriage"), there in 1858. For his wife, the ballerina Mariya Surovshchikova, he created Le Marché des Paris (1859; "Parisian Market"; staged as Le Marché des innocents, 1861). His first outstanding success was La fille du pharaon (1862; "The Pharaoh's Daughter").
Later, after becoming choreographer in 1862 and chief choreographer in 1869, Petipa produced more than 60 ballets, working from carefully detailed plans that became the basis of modern classical ballet in Russia. He collaborated with Tchaikovsky on The Nutcracker (Casse Noisette, choreographed by his assistant Lev Ivanov) and The Sleeping Beauty and presented versions of Swan Lake, Raymonda, and Giselle that have been revived frequently. Among other major ballets are his Don Quixote (1869), La Bayadère (1877), and Le Corsaire (1899). After the death of his first wife, Petipa married another dancer, Lyubov Leonidovna.
For more, go to The Marius Petipa Society.


text:
Railways gets Rs 500 cr from Nirbhaya Fund for CCTV cameras
New Delhi: Indian Railways will install CCTV surveillance system at more than 900 stations under the Nirbhaya Fund at an approved cost of Rs 500 crore to
strengthen security at rail premises.
Tenders will be floated shortly to install about 19,000 high definition CCTV cameras at 983 stations across the country to ensure round-the-clock security to passengers including women.
The Centre had created Nirbhaya Fund with a Rs 1000 crore corpus in its 2013 Union Budget to support initiatives by the government and NGOs working towards protecting the dignity and ensuring safety of women in the country.
The project envisages installation of cameras at platforms and waiting areas while there will be control rooms at stations to monitor CCTV footages by trained RPF personnel constantly.
The station master will also be given access to monitor CCTV camera footage as part of the project being undertaken by the public transporter, said a senior Railway Ministry official.
Railways have about 8,000 stations out of which currently 344 stations have already been provided with CCTV cameras. "It is helping us in a great way. The signboard reading 'You are under watch' has a preventive effect on criminal
minds," the official said.
Besides keeping a constant watch, the CCTV surveillance system helps in post-incident crime investigation. Railways aims to cover all stations with the CCTV system phase-wise.
Besides, stations, important trains like Rajdhani service are also to be covered as per the plan. While Shaan-e-Punjab Express is fully covered with the system, some ladies compartments of Mumbai suburban service are being covered under a pilot project. The Hamsafar Express and the upcoming Tejas service will also be equipped with CCTV cameras.


text:
How to Eat Like a King for Christmas
Using antique technology and vintage cookbooks, food historian Ivan Day recreates such Tudor and Victorian specialties as puddings and roast goose
From the kitchen window of Ivan Day's snug 17th-century farmhouse in the far north of England, snow blankets the bald Cumbrian hills of Lake District National Park.
"Just look," he chuckles, "You're going to have a white Christmas early." It's the last time we will mention the weather.
But it's only the beginning of our concentration on Christmas. Two weeks before perhaps the biggest feast day in the Christian realm, I've flown through a hurricane-strength gale and driven white-knuckled for hours on icy rural roads to reach Day, one of England's most esteemed food historians. Twelve to 15 times each year, he teaches courses in historic cookery, allowing students access to his 17th-century pie molds and 18th-century hearth to recreate repasts of the past. His two-day historic food lessons range from Italian Renaissance cooking (spit-roasted veal and a quince torte made with bone marrow) to Tudor and Early Stuart cookery (herring pie and fruit paste) for a maximum of eight students. But in late November and early December, Christmas is on the table.
At Christmas, as in much of food history, he says, "What you find are the traditions of the aristocracy which filtered down from above. Everybody wanted what Louis XIV was eating."
The same could be said today. From the bar to the back booths, nostalgia is on the rise in trend-setting restaurants. In Chicago, chef Grant Achatz of Alinea fame recently opened Next restaurant with quarterly menus that channel specific cultures and times, such as Paris circa 1912. In Washington D.C., America Eats Tavern from chef José Andrés prepares Colonial-era recipes. And in London, chef Heston Blumenthal runs Dinner restaurant with a menu composed entirely of dishes from the 14th through 19th centuries, such as savory porridge made with snails.
When chefs or curators, such as those at the Museum of London, need an authority on historic food, they turn to Ivan Day. A self-taught cook, Day has recreated period dishes and table settings for foundations such as the Getty Research Institute and television programs on the Food Network and the BBC. His food, including a larded hare and flummery jellies, is the centerpiece of "English Taste: The Art of Dining in the Eighteenth Century," at the Houston Museum of Fine Arts through January 29, 2012.
Inside his white-washed cottage, just off the frost-covered kitchen garden, a blazing hearth warms the beamed, low-ceilinged workroom ringed in Day's personal collection of food molds for everything from towering meat pies to single-serving jellies. A cross-section of English collectors and cooks has assembled here including a retired antiques dealer who carries a photo album of recently purchased antique cookware; a university department head and avid pastry maker; a winner of a reality TV cooking show, now teaching nutrition; and a former caterer.
"The earliest Christmas menu that we know is from the 17th century and describes white bread for Christmas," begins Day. "If you were lowly, that might be your only treat."
But if you were king in 1660, for the Christmas Day bill of fare, you might enjoy 20 dishes, including mutton broth and stuffed kid, for the first course alone. The second course on a historic menu listed 19 dishes, including "swan pye" or pie made with the waterfowl featuring a taxidermied bird atop the crust.
Our class will survey holiday dishes ranging from a modern-looking composed green salad circa 1660 to a Victorian plum pudding. We will create three meals over the course of two days that combine lessons in art, antiques and technology as much as cooking.
Standing between the fire and a dark wooden worktable, Day displays a cleaned 12-pound goose atop a cutting board. Next to it are large glazed ceramic bowls of premeasured ingredients for stuffing, a.k.a. pudding. The kitchen looks like the setting for a Tudor-era cooking show. The recipe is vague, calling for two handfuls of bread crumbs, an onion boiled in stock, sage leaves and a handful of suet, a hard fat that wraps a cow's kidney and is sold, crumbled in England and will clearly be my first procurement hurdle stateside.
But it's far from the last. The key to the roast goose is the hearth, an 18th-century iron fireplace inset with a shallow coal chamber roughly three feet tall reaching temperatures that chase us to the far, drafty end of the room.
"There's plenty of fowl in this country. And coal gave us great roasting," says Day, who calls himself a "barbecue man" out of affection for his hearth. "But you don't roast over a fire, you roast in front of the fire."
There we dangle the bird, stuffed, pinned together with a pewter skewer and trussed in string, for the next two hours, alternatingly spun three times clockwise and another three time counterclockwise by a jack developed by clockmakers in the 1700s. Fat immediately begins to trickle down, flavoring parboiled potatoes heaped in a dripping pan below.
Day next delegates a student to grind pepper in an antique wooden mortar for more pudding. "I bought this when I was 14," he smiles. "That's when I started my unhealthy interest in period cookery."
It was the year prior, at 13, when he discovered John Nott's The Cooks and Confectioners Dictionary, written in 1723. Within six months he had acquired 12 other period cookbooks and by his mid-20s he owned a library of more than 200 from which he taught himself to cook. "All of my teachers died 400 years ago," he says.
A former botanist and former art teacher, Day considers historic food a lifelong passion and, for the past 20 years, a third career. The 63-year-old, with the scarred hands of a chef and the glinting eyes of a storyteller, combines an encyclopedic memory with the opinionated wit of a crusading academic. He also has talent for impersonation and does a spot-on Martin Scorsese phoning to ask if he will consult on the food for a film he helped produce, Young Victoria (Day agreed to do so). In teaching, he says over lunch of our now finished and succulent goose, "I'm interested in getting people in this country to be more inquisitive about their food culture. The vast majority of people are eating cheap food from stalls."
Back in the day, according to the historian, selection was surprisingly great. Many of the luxury ingredients found in holiday dishes, such as almonds, currants, citrus and raisins, derive from the Islamic world, brought west in the Middle Ages with returning Crusaders. Several centuries later, peddlers roamed the countryside with sacks of spices like nutmeg and recipes called for exotics such as cassia buds, an aromatic spice related to cinnamon. "The variety of ingredients I've discovered is much wider than what we have now," says Day. "In the 18th century in [the nearby village of] Penrith a woman could buy ambergris [a solidified whale excretion used as a flavoring agent], mastic [a gum used for thickening] and a half-dozen other things."
Many of them make their most acclaimed appearance in plum pudding, the iconic English dessert that was mentioned as a Christmas treat in the 1845 book Modern Cookery and immortalized in Charles Dickens' A Christmas Carol featuring a nervous Mrs. Cratchit serving her version to the family's ultimate delight.
Like other savory puddings, this one starts with bread crumbs and suet. Reaching for another generous bowl, Day breaks into a hearty English ditty,
"Plum pudding and pieces of pie,
My mother she gave me for telling a lie,
So much that I thought I should die,
For lumps of plum pudding and pieces of pie."
We mix in currants, raisins, cloves, diced ginger and preserved orange peel and bind it with eggs, resulting in a wet, dense ball that Day declares "perfect for shot-putting." Instead we push it into a Victorian-era greased "kosiki" mold, which resembles a castle with a central tower and four surrounding cupolas, where it will be boiled in a pot of water.
With their mix of prosaic and exotic ingredients, holiday puddings were the sorts of dishes the nobility would prepare for the poor on Christmas, doing their benevolent duty on a day that still celebrates hospitality and neighborliness.
"I call myself a culinary ancestor worshipper. It's all about the people. There are voices from the past trying to explain how to do it." He adds, "technology is the key."
Turning our attention to dinner, we prepare a horizontal "cradle spit" caging an eight-pound standing rib roast rigged to a wind-up jack advanced by a slowly descending iron ball. "This is the sound of the 18th-century kitchen," proclaims Day of the creaking cadence that will pace us over the next several hours while we construct a Christmas pie.
Though pies most often connote dessert today, their savory incarnations were an early form of food preservation. Meat pies could be cooled, drained of their juices via a hole carefully cut into the bottom of the pastry, and refilled with clarified butter, keeping without refrigeration for three months or more, like a canned good.
For our Christmas pie, we employ an elliptical-shaped, six-inch-tall mold with a nipped waist, fluted sides and hinged ends, lining it in pastry crust. Next we fill it with an assortment of poultry – "We tend to eat birds at Christmas when wild food is at its best, its plumpest" – layering in seasoned ground turkey with the breasts of turkey, chicken, partridge, pigeon and goose. Topping it with crust, we decorate the lid with pastry cut from fern-shaped wooden molds and form a rose of pastry petals.
Like pre-20th-century fashion, frippery was in vogue at the table. "Food has a visual aesthetic that reflects the aesthetics of the time," says Day. "Now we are in an age of abstract modernity with splashes of this and that on the plate."
Greeting us after a three-hour break before Christmas dinner—take two—is a hot brandy and lime punch with orange peels dangling out of the bowl. It's the first recipe I feel confident I can replicate at home without scouring an antiques store. In the meantime, Day has prepared a plum pottage, a meat and fruit soup he calls "liquid Christmas pudding." The 1730 recipe went out of fashion under the influence of King Louis XIV of France. "French cooking in the 17th and 18th centuries changes from cooking meat with fruit, which is of Islamic origin. They renounced sweet and sour flavors and elevated meaty, earthy flavors."
In addition to its delectability, class time includes instruction in antiques, illustrated by our next morning's attempt at a 1789 recipe for ice cream. Using a lidded pewter cylinder known as a sorbettier, we fill it with cream, simple syrup, preserved ginger and lemon juice and let it rest in a bucket of salt and ice outdoors in the drizzle of Sunday morning. Spun and stirred occasionally, it freezes about 20 minutes later. Spooned into a mold with layers of sponge cake and candied fruit, it becomes an "ice pudding." With the remainder, we employ a seau à glace, a delicate 18th-century serving dish featuring a separate bowl that nests in a compartment for ice and salt topped by a lid designed to hold additional ice. Though it sits on the counter at room temperature for over an hour before lunch, the ice cream remains solid, a finale to the gorgeously striated poultry pie, now baked and sliced.
"When you start unraveling its function, you understand an object much more," says Day, dishing ice cream onto plates and urging us to take seconds: "Christmas only comes but once a year."
Unless you're Ivan Day, for whom Christmas has been the subject of five lectures, two cooking courses and numerous television and radio appearances. For his own upcoming holiday, he plans a much simpler celebration. "All I want for Christmas," he laughs, "is a digestive biscuit and a cream of cocoa."
Elaine Glusac is a writer based in Chicago who specializes in food and travel.


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Affect certain program-mode updates to stobjs or arrays
See invariant-risk for an introduction to the notion of invariant-risk. Also see set-register-invariant-risk for a way to avoid marking a specific set of functions as having invariant-risk, which can be much safer than avoiding invariant-risk checking for all functions at runtime as described below.
Briefly put, if a syntactic analysis suggests that the call of a
The utility,
(set-check-invariant-risk :ERROR) ; new mode is :ERROR (set-check-invariant-risk :WARNING) ; new mode is :WARNING (the default) (set-check-invariant-risk T) ; new mode is T (set-check-invariant-risk NIL) ; new mode is NIL
The argument is evaluated (to itself when given one of the four constants
shown above). There must be an active trust tag in order to set the
invariant-risk mode to
An environment variable,
"error", ":error" ==> (set-check-invariant-risk :ERROR) "warning", ":warning" ==> (set-check-invariant-risk :WARNING) "t" ==> (set-check-invariant-risk T) "nil" ==> (set-check-invariant-risk NIL)
Whether by direct user evaluation or environment variable, these calls
simply set a certain global parameter,
(set-check-invariant-risk :ERROR t) (set-check-invariant-risk :WARNING t) (set-check-invariant-risk t t) (set-check-invariant-risk NIL t) (set-check-invariant-risk :CLEAR t) ; avoid using table to determine mode
As before, the value
When the ACL2-defaults-table associates the key
; current invariant-risk mode (:WARNING by default): (get-check-invariant-risk state) ; invariant-risk mode stored in global parameter 'check-invariant-risk: (@ check-invariant-risk) ; invariant-risk mode stored in the acl2-defaults-table: (table acl2-defaults-table :check-invariant-risk)
The following log illustrates the interaction of the two ways of setting the invariant-risk mode (state global and table).
ACL2 !>(set-check-invariant-risk :error t) ACL2 Observation in SET-CHECK-INVARIANT-RISK: No change is being made in the value computed by (GET-CHECK-INVARIANT-RISK STATE). This happens when the value of state global 'check-invariant-risk is less than the new table value; see :DOC set-check-invariant-risk. :ERROR ACL2 !>(get-check-invariant-risk state) :WARNING ACL2 !>(@ check-invariant-risk) :WARNING ACL2 !>(set-check-invariant-risk :error) :ERROR ACL2 !>(@ check-invariant-risk) :ERROR ACL2 !>(get-check-invariant-risk state) :ERROR ACL2 !>(set-check-invariant-risk t t) T ACL2 !>(get-check-invariant-risk state) T ACL2 !>(set-check-invariant-risk :warning) ACL2 Observation in SET-CHECK-INVARIANT-RISK: No change is being made in the value computed by (GET-CHECK-INVARIANT-RISK STATE), because the new value of state global 'check-invariant-risk is greater than the table value; see :DOC set-check-invariant-risk. :WARNING ACL2 !>(get-check-invariant-risk state) T ACL2 !>(set-check-invariant-risk :clear t) :CLEAR ACL2 !>(get-check-invariant-risk state) :WARNING ACL2 !>
Note that the handling of an invariant-risk call of a function,
It might not be obvious how a given function call could lead to an ill-guarded call of a stobj updater or of a primitive with invariant-risk such as aref1. It should be reasonably straightforward to write a utility that provides this information; contact the ACL2 implementors if you want assistance in writing such a utility.


text:
My friend the Webrarian has posted some snapshots from a recent visit to Bletchley Park: photographs of master personnel lists, the names and locations of cryptographers, mathematicians, WRNS, and support staff who worked at Bletchley between 1939 and 1945. And who should we find, of course, but one Reed, H. (Henry)! Click to see the images on Flickr:
Can we assume that the (N) after Block B is for "Naval"? But what does the mysterious T.S.A.O. (D) stand for? "T" for translator? And what's (WS)?


text:
A sordid tale, starting in the bedroom, involving batteries, deceit, cheap tricks, LEDs, and a pot.
It started innocently enough. A family member hinted that a good way to keep warm on cold winter nights was with a heated mattress pad– more sensible than heating the whole house.
Winter came, it got cold, and we got our mattress pad.
The heated pad has a simple digital controller, where you rotate the dial to set the temperature, on a scale of 1-10, or really, L-2-3-4-5-6-7-8-9-H. So far, so good. (And it's comfy warm, too.)
But, then we took a closer look at that LED display:
What seems to be a digital seven-segment LED display is actually a rear-lit cutout in the shape of a seven-segment display, with one cutout in the shape of each number. The rotating dial just masks the other shapes so that you only see one at a time.
In other words, it's about as digital as blip.
The whole bezel is rear lit by an LED driven directly off of the AC– you can tell from the blinking. (Driving LEDs from line voltage is common in consumer electronics; it works reasonably well if you have a big series resistor.)
Somewhere around this point we went from saying "WTF?" to "What the heck!" — because it's a clever cheap trick, and if they can do it, so can we.
Sure, we can imagine a few cases where something like this could be genuinely useful, either as a front panel indicator or perhaps as a stage prop. But mainly we just wanted to make our own it because it's hilarious.
We'll scale our dial to turn a standard 5 k pot, so that our fake digital display can do something useful.
Next, to design the bezel:
We laser cut the parts– black and clear plastic for the number plate and plywood for the dial/knob. The black plate fits over the threads of the pot, and the big wooden knob press fits onto the shaft of the pot; the pot turns when you turn this dial, revealing a single number beneath.
You can download our pattern here (8 kB PDF document).
It's pretty simple, but if you want to play with the mechanism, you can print out both parts, grab a pair of scissors and a brass brad, and assemble it like we did in this project.
Next, we need the LEDs. For maximum fancy (without using actual seven segments!) we got out the fat LEDs:
Two LEDs each, blue, green, yellow, orange, and red, to backlight the positions between L and H. We powered it from a 3xAAA battery box, and hooked it up on a breadboard to figure out the right resistor values to drive the LEDs efficiently. (Also, looks neat in the dark.) The four blue and green LEDs are independently driven off of the 4.5 V with their own series resistors. The two red LEDs are driven in series with a resistor, and that setup is used for the yellow and orange LEDs as well.
Then, we wire up the LEDs in a circle, using the same circuit:
And then we can install the black and clear number plate:
And there you have it: A five-color LED-lit fake-seven-segment pseudo-digital pot, based on advanced mattress pad technology.


text:
Don's Furniture Restoration Shop started in 1992 and has been serving the Northern Virginia and Washington Metropolitan area ever since. We are conveniently located in Northern Virginia in the Metro D.C. suburb of Lorton Virginia off Interstate 95. As a Vietnam Veteran I have been involved in antiques and the furnishing refinishing trade for over 30 years. No job is too big or small for my staff and I to handle.
We take pride in returning your treasures to their original form. Our facility enables us to remove paint and old varnish, make repairs and refinish furniture and objects to their original beauty. Craftsmanship and attention to detail is our trademark. Through the years we have gained a reputation for service, quality and customer satisfaction. We take pride in offering quality service in a timely manner. Over 75% of our clientele activity is repeat business. A sure sign of customer satisfaction as our customers' are our first priority. If you have any questions regarding our restoration services, please don't hesitate to contact us.


text:
BitMax.io (BTMX.com), an industry-leading digital asset trading platform built by Wall Street quant trading veterans, has announced the listing of Wootrade's WOO token under the trading pair of WOO/USDT on November 24th at 10:00 a.m. EST.
Backed by Kronos Research, Wootrade is a layer one trading infrastructure with a graphical interface that can integrate with any exchange, trading desk, wallet, dApp, or other trading-related platform. The native token, WOO, can be used as the access to the network through staking or as the payment or collateral for advanced trading and investment products.
The Wootrade network was conceived and incubated by the founders of Kronos Research, one of the largest quantitative firms in the industry. With deep liquidity provided by Kronos's roster of institutional traders and market makers, Wootrade is designed to be a solution to the lack of platforms capable of handling daily trade volume in excess of $2 billion.
BitMax.io will also join the Wootrade's B2B Zealous Rhinos staking program. This strategic integration will allow BitMax to enjoy reduced, zero, or even negative fees on trades by staking WOO.
Unlike other proprietary trading platforms, Wootrade is designed to be a platform agnostic network that connects liquidity from multiple exchanges and institutions. Wootrade is able to leverage these integrations to provide potentially the tightest spreads and best depth for traders using the network. Wootrade clients, like exchanges and DeFi platforms, are also able to enjoy zero-fee trading.
As follow-up to the launch on BitMax, Wootrade will introduce several new network features in early 2021. Woo X, a trading GUI for professionals, is planned for Q1'21 to make advanced trading methods more accessible. The first quarter of 2021 will also see the launch of retail staking, providing further utility for the WOO token. Wootrade Futures and Margin Trading are planned for Q2'21.
"We're excited to list WOO on BitMax.io; it will be beneficial for both BitMax.io users and users of the Wootrade network," said Shane Molidor, Global Head of Business Development at BitMax.io. "Wootrade offers a new, efficient way to manage strategies that will resonate with traders. This listing collaboration gives BitMax.io users access to Wootrade through the WOO token, and at the same time, provides Wootrade users additional method to further invest in the platform."
About BitMax.io
Launched in August 2018, BitMax.io is a leading digital asset trading platform with a broad range of financial products and services for both retail and institutional clients, with robust design ranging from innovative volatility products to margin trading, derivatives trading, staking products, and other investment solutions.
For more information and updates, please visit:
Website: https://bitmax.io/
Twitter: https://twitter.com/BitMax_Official
Telegram: https://t.me/BitMaxioEnglishOfficial
Medium: https://medium.com/bitmax-io
About Wootrade
Wootrade is the combined effort of the top quantitative traders and technologists in crypto and allows for superior execution through intelligent risk management and order routing. Their solutions resolve liquidity issues faced by both centralized and decentralized trading venues while allowing for community based governance.
For more information and updates, please visit:
Website: https://woo.network/
Twitter: https://twitter.com/wootraderS
Telegram: https://t.me/wootrade
Medium: https://medium.com/wootrade
The first Daniel Potter store was opened in 1994 in Oxford Street,London, and there are now 11 stores throughout England, Scotland and Wales. The first Australian Daniel Potter concession opened in a Sydney Myer store in November 2016
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Gazette Maker journalist was involved in the writing and production of this article.


text:
He'd made a big name for himself in the mid-late 1940s, with his million selling recording of the much-covered 'Open the Door Richard' and other classics for (mostly) the Black & White label, but the hits had well and truly dried up by the time that tenor player Jack McVea brought his current group of musicians to Jake Porter's Combo label in 1954.
Even without hits to help him pull in the crowds, McVea had been working regularly in places a far afield as Alaska and Hawaii. However, when the call came from Porter to come down and cut, he did not require too much persuasion to return to his native Los Angeles in order to see what could be accomplished. Ultimately, things did not go particularly well between the two men – to find out why, you'll have to buy the CD! – but happily for all fans of small group 1950s R&B, McVea did stick around for long enough to cut sufficient repertoire to fill a whole compact disc, one which Ace is proud to add to our ever-increasing collection of 1950s West Coast R&B collections this month.
McVea's Combo recordings were more or less his last recordings, period. (Happily he did not die in obscurity but, rather, in well-earned retirement after working almost 30 years as a clarinetist in a strolling trio at Disneyland in Anaheim). "Fortissimo" collects up at least one version of almost every track released on Combo with Jack's name under the title – the only exceptions being both sides of the single 'Fish Man'/'I Owe Everybody', which are essentially solo vehicles for his pal and long time guitarist Gene Phillips. These both appear at least once already on Ace CD, and there are no further alternate takes in the Combo tape inventory, so I opted to omit the tracks on this occasion.
Speaking of alternates, several of the masters of Jack's Combo 45s have, of course, been reissued on CD by Ace in the past. Wherever alternates exist on such masters I have chosen to use them instead, in an effort to minimize duplication for the long time Ace collector. The alternates that have been used are by no means inferior to the masters and, because Jack never played solos the same way twice, many of them offer a welcoming fresh look at a familiar piece of material.
As well as being heavy on the booting sax-led instrumentals that one would naturally expect, "Fortissimo" also throws the spotlight on the many talented singers who featured with the McVea band in the early-mid 1950s, notably Christine Chatman, Jack's wife Louise Beatty, his drummer Rudy Pitts and Al Smith, later to find a more substantial fame as 60s bluesman Al King. Between them, they paint a vivid picture of what Los Angeles nightlife must have been like for the local black community in the years immediately preceding rock 'n' roll.
If you hear any noise, it's just Jack and the boys (and girls, of course) – playing "Fortissimo"!
By Tony Rounce


text:
Teen Girl Squad Issue 12
From Homestar Runner Wiki
Teen Girl Squad Issue #12 |
The Teen Girl Squad celebrates "Vamlumtime's Day", in glorious red pen style!
Cast (in order of appearance): Cheerleader, So and So, What's Her Face, The Ugly One, Patchbeard, Band Name Boys, Mrs. Embalmo, Arrow'd Guy, Tines Racer, Mindy, Strong Bad Robot, Class Prez, Wireless Wizard, The USB Dongle Goblin, D n' D Greg (Easter egg), Sci-Fi Greg (Easter egg)
Places: The School, Mindy's Shrine
Date: Monday, February 12, 2007
Running Time: 3:20
Page Title: Vamlumtimes Day!
DVD: Everything Else, Volume 3
Contents |
[edit] Transcript
{The traditional "teen girl squad" title page appears, with "issue 12" in the upper-left hand corner and "by: strong bad" in the lower-right. Nearly the entire toon is drawn in red ink.}
NARRATOR STRONG BAD: Teen Girl Squad! Cheerleader! {red undies!} So and So! {whitman's sampler!} What's Her Face! {black roses!} The Ugly One! {pink eye!}
{The four teen girls are standing together.}
CHEERLEADER: Two, three, four... {all four girls begin dancing and clapping} What time is it?
{The girls jump into the air. This is repeated until Cheerleader asks how to get several boys.}
SO AND SO: {simultaneously, looking at Cheerleader strangely} -tines!
CHEERLEADER: What time is it?
SO AND SO: {simultaneously, looks at Cheerleader again} -tines!
CHEERLEADER: What we gonna get?
CHEERLEADER: How we gonna get 'em?
{Everyone stops dancing. Cheerleader folds her arms and glares, and the other three girls assume nervous, thinking poses.}
SO AND SO, THE UGLY ONE, AND WHAT'S HER FACE: uh... um... er...
{Close-up of So and So, with a forked tongue}
SO AND SO: Mock U.N. medals?
{Close-up of What's Her Face}
WHAT'S HER FACE: Wearing unflattering clothing?
{Cut back to all four girls.}
THE UGLY ONE: Voodoo? Is it voodoo?
{Close-up of The Ugly One, who has a furrowed brow and is sticking pins into a doll of Arrow'd Guy.}
{Cut back to all four girls.}
CHEERLEADER: You three are adorable. Maybe I'll come visit you at the convent or library someday.
SO AND SO: {leaps in the air} You'll find me in the reference section!!!
{Cut to a close-up of Cheerleader screaming at a frightened So and So.}
CHEERLEADER: Shut yer plaid skirted face! Here comes a boy!
{Zoom out to Cheerleader, So and So, and The Ugly One standing in front of lockers. A bespectacled boy with freckles, patchy facial hair, and a glum expression approaches with his hands in his pockets.}
CHEERLEADER: Hi there, patchbeard, I betcha never get carded with a mossy chin like that.
{The boy bends on one knee and holds up a valentine. Cheerleader smiles from ear to ear.}
PATCHBEARD: {in a gravelly voice} You're blond and you acknowledged my facial stubbery. Will you be my valentine?
{Close-up of Cheerleader, who holds up the valentine triumphantly.}
CHEERLEADER: Yesss! Now get outta here Peter Puberty. Mama's got bigger fish to fry.
{Cheerleader clubs the boy over the head, knocking his glasses off.}
{Two boys approach What's Her Face.}
BOY 1: {speaking to Boy 2} Band name. Band name. Band name. Band name.
WHAT'S HER FACE: Uh, hi. I like music. And um... cloth.
{What's Her Face hangs her head in sadness.}
BOY 2: {speaking to Boy 1} Did that dude just tell you she likes cloth?
BOY 1: "She likes cloth" — that's a good band name.
{A transition slide of a hairy, muscled, bare chest with a necklace reading "meanwhile" appears.}
{Cheerleader clubs a football with a face, legs, and arms as she holds its valentine. Several unconscious football-men lie to one side of her and a pile of valentines lies on her other side.}
CHEERLEADER: {speaking to The Ugly One} I got valentime cards from every football player except one!
THE UGLY ONE: I got cards from every lunchlady except one!
{Cut to The Ugly One holding a tray in front of a cafeteria bar with a cobwebbed skeleton wearing a hair net standing behind it. A creaking noise is heard.}
THE UGLY ONE: Excuse me, Mrs. Embalmo...
{The Arrow'd Guy knocks the skeleton aside as he stabs a voodoo doll of The Ugly One with pins. Pins also stick out of The Ugly One herself.}
THE UGLY ONE: Owww! My the fact that I was alive a second ago!
{So and So, Cheerleader, and What's Her Face stand next to The Ugly One's body.}
SO AND SO: I'll notify her next of... uh... fruit cup. {holds up a fruit cup and cries} I'm so sorry to have to tell you this...
CHEERLEADER: {angrily} Stop talking to fruit! Valentimes is serious times!
SO AND SO: {annoyed} -tines.
{Zoom in on Cheerleader, who glares angrily with her hands on her hips.}
CHEERLEADER: What?
{Zoom out to all three remaining girls.}
SO AND SO: {shouting so loud her mouth is shaped like a heart} Valen-TINES!! T-I-N—
{Cut to a fork with a face driving a Tines race car.}
NARRATOR STRONG BAD: {imitating the sound of a car engine} TINES! TINES! TINES!
{The Tines car comes closer and closer until it runs over So and So.}
{Cut to Cheerleader and What's Her Face standing and talking next to So and So's body, which is covered with black skid marks.}
CHEERLEADER: As I was saying, Vamlumtime's Day is serious times. If I don't get cards from enough boys, I could lose all my Mindy cred.
{Cut to four girls prostrating in front of a portrait of Mindy surrounded by burning candles and plaques reading "mindy", "chief cheerleader", and "1984-1987".}
FOUR GIRLS: {bowing and chanting} Mindy! Mindy!
{Cut back to Cheerleader.}
CHEERLEADER: It's time to resort to plan... {holds up a cell phone reading "txtorz"} TXT!!
{Zoom out to a robot dancing in front of Cheerleader, with Strong Bad's Face on it}
STRONG BAD ROBOT: TECH-NO-LOGiCAL RO-MANCE!
{Zoom in on Cheerleader sending a text message with a poster of the class president in the background.}
CHEERLEADER: {text messaging} Hy, Clas Prez! Cn i B Yr VLNT9? {Pronounced as "valent-nine"}
{Pan to the class president, standing on the other side of his poster, holding a phone made out of crackers with a bite taken out of it}
CLASS PREZ: {text messaging} Def. U R A ttl haw-T.
{Pan back to Cheerleader.}
CHEERLEADER: {text messaging} U ROOL! <B >KO)->
{Zoom out to the two of them as the class president speaks to Cheerleader, who is still furiously typing on her cell phone.}
CLASS PREZ: Whattaya mean I'm less than B?
{An angry wizard appears in a cloud of smoke and surprises the two of them.}
{Zoom in on the wizard.}
WIRELESS WIZARD: {pointing} Texting from a few feet away? FOR SHAME!
{Zoom out to the wizard holding up Cheerleader's cell phone next to her.}
WIRELESS WIZARD: And what's this other text mess? {the characters ">KO)->" appear from the cell phone.}
CHEERLEADER: {nervously} That's a frontways Cupid.
WIRELESS WIZARD: {inspects cell phone} Looks more like a USB dongle goblin!
{Cut to a goblin, flying in from the sky.}
USB DONGLE GOBLIN: Here I come!
{The goblin cuts the class president in two and decapitates Cheerleader.}
CLASS PREZ: I won't BRB!
{Cut to the wizard speaking to What's Her Face, who turns her head around in surprise.}
WIRELESS WIZARD: Say, baby, uh... you wanna go find a remote access point with me?
WHAT'S HER FACE: FULL BARS!!!! {The heights of the exclamation points decrease, making them look similar to a signal indicator with full bars.}
{Cut to the wizard carrying What's Her Face on a flying wireless router as hearts rise from them and the robot dances in the background.}
WIRELESS WIZARD: Soooo... you like cloth?
{The "it's over!" screen appears, with the "back" button in the lower-left hand corner and the "again" button in the lower-right.}
[edit] Easter Eggs
- Click on "she likes cloth" (the second time) to see a CD cover.
- At the end, click on the "i" for a USB dongle goblin vamlumtimes card. The front has a picture of a smiling dongle goblin with the words
here i come!
The inside cover has three hearts below the words
i'm gonna give
you a big
The inside has a picture of an angry dongle goblin, with the words
from the USB
dongle goblin
- At the end, click on the "o" for a scene with Science Fiction Greg and D N'D Greg, as they watch What's Her Face fly away with the wizard.
- SCI-FI GREG: If we cannot claim her heart, at least she's in the arms of a truly worthy adversary.
- D N'D GREG: Sometimes...wizards are so awesome...it hurts.
- At the end, click on the "!" for a scene with Mindy and three other cheerleaders.
- MINDY: Okay, gals, let's get ready to...
- THREE OTHER CHEERLEADERS: Gag me with a spoon!!
[edit] Fun Facts
[edit] Explanations
- Being "carded" refers to being asked for identification proving age in order to, for instance, purchase alcohol.
- In computing terms, wizard is another name for a setup program.
- USB (Universal Serial Bus) is a standard interface for connecting peripherals to computers.
- A dongle is a device that connects to a computer for one of several specific purposes. These uses include adapting one type of port to another, providing security authentication for software, or facilitating wireless communication between the computer and other devices.
- A USB hub allows multiple devices to attach to a single USB port.
- Mrs. Embalmo's name is a reference to embalming, a process by which a body is preserved for burial.
- "Mindy cred" is a reference to "indie cred," or credibility in the independent music/movie scene.
- Cheerleader's shirt in the cartoon would be read as "Who heart-ed?", a parody of the popular t-shirt phrase "Who farted?"
- Pink eye is an eye inflammation.
- "Bad Juju" is a mocking reference to voodoo and superstitions.
- "Full bars" is a reference to having good mobile phone (or wireless signal) reception (and thus having "full bars" shown on the phone's display).
- The object the Wireless Wizard is flying on is a wireless router.
- U.N. stands for United Nations.
- When the class prez asks what Cheerleader means by saying he is "less than B", he is referring to Cheerleader's failure to type the right text for a heart. The correct way is "<3".
- A fork is driving the racing car because the points on the end of a fork are called "tines".
- When Cheerleader asks So and So "What?" her question is surrounded by asterisks, as is often used in scripts to show emphasis.
- "Mock U.N." likely refers to two high school clubs: Model UN and Mock Trial.
[edit] Trivia
- One of the plaques by Mindy's portrait reads "1984-1987".
- This is the first Teen Girl Squad to use the modified capital I in Strong Bad's font, yet sometimes the regular style that looks like lowercase i's is still used.
- This issue has the most Easter eggs of any Teen Girl Squad issue. It is also one of few toons that is not a Strong Bad Email or a Halloween toon to have three Easter eggs at the end.
- The YouTube description for this toon is "The Teen Girl Squad celebrate Valentime's Day."
[edit] Goofs
- The text from Cheerleader's shirt stays on screen for one frame after the cut to the Wireless Wizard's face.
- When Boys 1 and 2 appear, Boy 1 has one particular voice. Boy 2 comes in with a different voice. Then Boy 1 responds with Boy 2's voice.
[edit] Fixed Goofs
- When the toon was released, in the intro, Cheerleader's name was not written with her picture. This was fixed shortly afterwards.
[edit] Glitches
- The notebook paper in the frame of the toon and outside of the frame do not match up.
[edit] Inside References
- The picture on the cover of "she likes cloth" is similar to The Cheat's illustration of the two Johns from They Might Be Giants in Experimental Film.
- So and So informing The Ugly One's fruit cup of her demise is similar to Homestar notifying another inanimate object (Mrs. Bennedetto) of the death of Frank Bennedetto in army.
- Boy 2's referring to What's Her Face as a dude is another instance of gender confusion.
[edit] Real-World References
- Whitman's Sampler is a popular assortment of chocolates.
- Cheerleader's phone resembles a Danger Sidekick, LG The V or enV, a phone with a full QWERTY keyboard intended for use with text messaging.
- Class Prez's phone model, "CRKR" (short for "Cracker"), is a play on the Motorola cellular phone KRZR. The name itself is also a play on the naming of cell phones after foods like the LG Chocolate and BlackBerries. This could also explain why Class Prez's phone has a bite taken out of it.
- "Gag me with a spoon!!" was a popular 1980s catchphrase, commonly associated with cheerleaders and other "Valley Girl" stereotypes, used to indicate disgust or disapproval.
[edit] Fast Forward
- "she likes cloth" is later revealed to have written a song performed in both a car commercial and in Pom Pom's indie film.
[edit] DVD Version
- The DVD version features hidden creators' commentary. To access it, switch the DVD player's audio language selection while watching.
[edit] Commentary Transcript
(Commentary by: Mike Chapman, Matt Chapman, Ryan Sterritt)
MATT: Um, Mike's in the— Mike's in the bathroom so Ryan and I are takin' this one— takin' this one so— solo? Duo?
RYAN: A, uh— a duo. A duplex.
MATT: {laughing} Were you on the step squad in high school, Ryan?
RYAN: I was. All through college, actually, as well.
MATT: {laughs}
RYAN: We'd meet in front of Moore Auditorium.
MATT: Nice. Do a little somethin' around lunchtime?
RYAN: Mm-hmm.
MATT: Mm-hmm.
RYAN: Is this the only one that's red?
MATT: Yeah, it's a special Valentine's color. Well, you know, the 10th one's in color, but it's not red.
RYAN: Full color.
MATT: Yeah. This was written with the teacher's pen, Ryan.
RYAN: {laughs}
MATT: {laughing} It's the teacher's edition of Teen Girl Squad. That kid looks like Harry Potter, I think.
RYAN: It does.
MATT: He looks kind of like a rough... Daniel Radcliffe.
MIKE: Wait, did you guys start without me!?
MATT: Oh! Me? No! What's up, Mark?
MIKE: What!? {pause} I was, uh... trying to— Are we going to have a gimmick for this commentary?
MATT: Uh, starting now. Look at those guys.
MIKE: One of 'em— The guy on the left kind of looks like Billy from Family Circus.
MATT: {laughing} He does!
MIKE: Like an old—
MATT: Or PJ, even.
MIKE: Yeah, PJ. Maybe that's who he looks like. {pause} What was your band name in high school, Ryan?
RYAN: Uh, Ardin.
MATT: Ardin!
MIKE: Ardin! We were— Matt and I were in a band called Grimace. {pause} And Mary Buttonhead.
MATT: Yeah, don't forget Mary Buttonhead.
MIKE: Matt was in one called Negative Zero.
MATT: Yeah.
MIKE: What else?
MATT: {unintelligible}
MIKE: Oh, yeah.
RYAN: I think Kevin's was Wit's End.
MIKE: Really?
MATT: Nice.
RYAN: That's a good one.
MATT: Mrs. Ebalmo, um... is terrifying, I think. I like how she's creaking.
MIKE: {laughs} Have you ever had to deliver any bad news to a fruit cup, Ryan?
MATT: {laughs}
MIKE: It's really awkward. They don't take it well!
MATT: Oh, here comes the Formula 1— the famous Formula 1 fork racer! {laughs}
MIKE: Why does she have three little... arrows coming down from the word cloud?
MATT: Oh, Mindy.
RYAN: She was three?
MATT: She was the cheap cheerleader {unintelligible}
MIKE: Uh, there was a... our friend, Rusty, got me a book one time called "Programmed For Love". It was like a... junior high romance novel that was from the early 80s.
MATT: Had a robot in it?
MIKE: No, but it was, like... computer-based. It was all the technology in the early 80s. Reminds me—
MATT: The Class Prez has some Birkenstocks on, looks like.
RYAN: Have you ever owned any Birkenstocks?
MATT: I have not. Did you?
MIKE: Did you ever have a pair?
RYAN: I didn't. My mom—
MIKE: Tevas, maybe?
RYAN: Tivo.
MIKE: {laughs}
RYAN: I've used Tivo.
MIKE: What about Doc Martens?
MATT: I never had a pair.
MIKE: I never had a pair.
RYAN: I may have had one, but it was way late in the game.
MATT: I was a Chuck Taylor man all the time.
RYAN: They were pricey.
MATT: Yeah, that was the main thing. I was like, I'm not shelling out a hundred bucks for these.
RYAN: I like that the Chucks came in one in style, so if you kept wearin' 'em, you were going to be cool at least—
MIKE: Yeah, you can't go wrong.
MATT: {unintelligible} wrap-around.
[edit] Fun Facts
- The Family Circus is a comic strip created and written by cartoonist Bil Keane. Billy and PJ are two of the children depicted in the strip.
- Harry Potter is the titular character and main protagonist in a fantasy series by J.K. Rowling about a boy who discovers by his eleventh birthday that he is a wizard and attends Hogwarts School of Witchcraft and Wizardry to learn magic, under the guidance of the kindly headmaster Albus Dumbledore.
- Daniel Radcliffe portrays Harry Potter in the movie adaptations of the series.
- Formula 1, abbreviated to F1, and in modern times also known as Grand Prix motor racing, is the highest class of open wheeled auto racing defined by the Fédération Internationale de l'Automobile, motorsport world's governing body. The "formula" in the name refers to a set of rules to which all participants and cars must conform.
- Birkenstock is a German brand of sandals and other shoes, notable for their contoured cork and rubber footbeds, which conform somewhat to the shape of their wearers' feet.
- Teva could refer to either Teva Naot, an Israeli brand of shoes and sandals sold mainly outside Israel, or Teva sandals, an American brand of sport sandals.
- "Doc Martens" is one of the nicknames for Dr. Martens, a footwear, clothing and accessories brand.
- TiVo is a brand of digital video recorder in the United States, Canada, and Australia. It is a consumer video device that captures television programming to hard disk storage for later viewing.
- Matt claims that his favorite shoes are Chuck Taylor All-Stars.
[edit] External Links
- watch "Teen Girl Squad Issue 12"
- watch "Teen Girl Squad Issue 12" on YouTube
- watch "Teen Girl Squad Issue 12" on the old Flash site
- view the Flash file for "Teen Girl Squad Issue 12"
- forum thread re: "Teen Girl Squad Issue 12"
Teen Girl Squad | |
Characters | Main: Cheerleader, So and So, What's Her Face, The Ugly One Gregs: Sci-Fi Greg, D n' D Greg, Open Source Greg, Japanese Culture Greg Minor: Arrow'd Guy, The Birds, Brainkrieg, Fighting Growlbacks, Manolios, Mr. Pitters, Mrs. Commanderson, Olympic Man and Coach, Peacey P, Quarterman, she likes cloth, Thomas, Tompkins |
Issues | Main: Issue 1, Issue 2, Issue 3, Issue 4, Issue 5, Issue 6, Issue 7, Issue 8, Issue 8½, Issue 9, Issue 10, Issue 11, Issue 12, Issue 13, Issue 14, Issue 15 SBCG4AP: Homestar Ruiner, Cave Girl Squad, Teen Girl Squad Meets Limozeen Toons: 4 Gregs, Decomposing Pumpkins |
Miscellaneous | Locations, Costumes, Theme Song, Fangs, -'d, Ow! My X!, Captioned Transitions |
Other | Teen Girl Squad Deaths, 404'd, Neon 404'd, Teen Girl Squadcast |


text:
Editor's note: This is the second Top 25 of the offseason. The first was put out before most of the transfers and coaching changes took place. There will be another Top 25 put out after spring practice once I've had a chance to make the rounds. As we move closer to August, the picture will become much more clear.
1. Monrovia — The most complete team around. Period.
2. Bishop Amat — Defense may not have size, but it has plenty of experience.
3. West Covina — How to use Noodles, and where, the big question this spring.
4. Charter Oak — Loss of leading passer/rusher will be very hard to overcome.
5. Damien — Waiting to see what's up this summer, but this could be No. 1 by fall.
6. Chino Hills — High-upside team has talent, but lacks experience. Scary.
7. La Habra — If you thought last year was a reload, wait until you see this year.
8. St. Paul — New regime has been reportedly working hard to get talent infusion.
9. La Mirada — Leading passer, rusher and receiver all back.
10. St. Francis — QB returns, but there's tons of question marks elsewhere.
11. La Serna — QB Palmer is one of the best dual-threats around.
12. Arcadia — Down compared to last year, but still solid enough to bang with most.
13. San Dimas — Consistency, not talent, is program's greatest attribute.
14. Maranatha — Division switch should put Minutemen in thick of title chase.
15. Muir — Loss of Talifero stings, but decent talent remains for new head coach.
16. Duarte — By far the best transfer haul of the offseason.
17. Cantwell — Skill talent is there to do damage in the Northwest.
18. Arroyo — Can rely on ground game and defense until new QB is settled in.
19. Pasadena — Insiders tell me how great things are, then later admit it's a one-man show.
20. San Gabriel — Hearing some very interesting things about SG. A team to watch!
21. Bonita — New head coach/old staff. Bearcats should be solid if nothing else.
22. Diamond Ranch — Really need to see what Roddy's working with this spring.
23. Azusa — Aztecs had to cringe at Duarte's upgrades.
24. Claremont — 'Pack have decent skills, but need a toughness upgrade badly.
25. Diamond Bar — Some of the best talent around in spots, but toughness?
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November 24, 2017 - Burleson, Texas, USA. CAD-MANUFACTURING SOLUTIONS, INC. announces the release of new CMS IntelliCAD 8.4 Premium Edition update, based on IntelliCAD 8.4a, now also supporting the latest .dwg 2018 file format.
Current 8.3 and 8.4 standalone licensed users can freely install such update by checking and downloading the proper installer using the CMS IntelliCAD HELP menu > Check for update feature.
Free Trial available also available at https://intellicadms.com
The Premium CLOUD version, provided through application streaming for 64-bit systems, will be available soon.