text:
22852 Arbella Road, Laguna Niguel
Visit this spectacular mountain top showplace for this highly upgraded 4 bedroom/3 bath detached executive estate in the very desirable Village Niguel Summit. Largest floor plan (approx. 2400'). One of the highest lots in the tract. Panoramic views of Saddleback Mountain from this pie-shaped lot ideal for viewing a myriad of firework shows on the 4th. Customizations start with kitchen counters in sumptuous quartz, both upper baths are granite, and the down bath is marble. Your truly gourmet kitchen features a 5' square custom center island to expedite your culinary desires, including lots of storage, SS appliances, recessed lighting, high-end stained "smoked glass" cabinets, microwave serves as steamer/2nd oven. ALL "hard flooring" w/rich hardwoods up, spectacular porcelain down!! Master has spa-tub, separate glass-walled shower and cedar-lined walk in closet. Uncompromised views from your private deck. One bedroom/office down with 3/4 bath for multiple options. Note premium BOSE system through out home! Some 220V wiring too. B/I Murphy bed in one upstairs BR. Come home to this friendly, quiet cul de sac location. Minutes to the ocean, shopping, restaurants, banking, stores and elite Blue Ribbon elem. school. LOW taxes, LOW HOA Dues ($109 mo!!) Lot features a putting green and plenty of room to entertain. Garage has storage and work bench built in. Note mulberry tree, 2 figs, herbs, etc., for your mojito. MUST SEE DRONE SHOOT: Click "virtual tour" icon to right of picture
Cable Available, Electricity Available, Natural Gas Available, Telephone - In Street, Sewer Connected, Water Connected
Built-In Storage, Direct Garage Access, Driveway, Driveway - Concrete, Garage, Garage - Front Entry, Garage Door Opener, Street
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Block, Concrete, Drywall Walls, Glass, Slump Block
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Custom Window Covering, Screens
Block, Concrete, Drywall Walls, Glass, Slump Block
Based on information from California Regional Multiple Listing Service, Inc. as of October 21st, 2019 at 8:52am PDT. This information is for your personal, non-commercial use and may not be used for any purpose other than to identify prospective properties you may be interested in purchasing. Display of MLS data is usually deemed reliable but is NOT guaranteed accurate by the MLS. Buyers are responsible for verifying the accuracy of all information and should investigate the data themselves or retain appropriate professionals. Information from sources other than the Listing Agent may have been included in the MLS data. Unless otherwise specified in writing, Broker/Agent has not and will not verify any information obtained from other sources. The Broker/Agent providing the information contained herein may or may not have been the Listing and/or Selling Agent.


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- 0161 4321303
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Forza 300 ABS scooter. Practical, economical and great fun to ride, the Forza 300 is big enough to accommodate two people in comfort and provides superb weather protection with space for two full-face crash helmets under the seat. Great value at £2,995. DELIVERED TO YOUR DOOR ANYWHERE IN MAINLAND UK FOR JUST £99! - Part-Ex and finance available, please ask for details. Call HUNTS SCOOT & COMMUTE on 0161-432 1304 to arrange a test ride. , White, Please Note: We Are Closed on Sundays!, £2,995
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Renosol® set
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text:
'Almost' Texas Chiliwith cornbread muffins
Texas chili differentiates itself with a unique mix of spices (including a tiny bit of cinnamon for depth) and uses only meat - no beans.
Smarts: We call this 'Almost' Texas Chili because the base is usually made entirely with dried peppers (no tomatoes), but we've taken some liberties to make our version workable for all spice preferences. Feel free to kick up the spice with some hot sauce or red pepper flakes.
Smarts: This recipe makes 8 cornbread muffins (for 4 servings). Any extras freeze well.
- Onions, medium - 1, chopped
- Bell peppers, green - 1, chopped
- Garlic - 4 cloves, chopped
- Cornmeal, finely ground - 3 Tbsp
- Chili powder - 1 Tbsp
- Cumin - 2 tsp
- Brown sugar - 2 tsp
- Oregano - 1 tsp
- Salt - 1/2 tsp
- Black pepper - 1/2 tsp
- Cinnamon - 1/4 tsp
- Beef stew meat, cubed - 2 lbs (sub beef sirloin or chuck)
- Oil, cooking - 1 Tbsp
- Stock, low-sodium beef - 3 cups
- Beer - 1 cup (lager or other light-flavored beer; sub stock)
- Tomatoes, crushed (15 oz / 397 g) - 1 can
- Green onions - 2 stalks, chopped, green and white parts combined
- Vinegar, apple cider - 1 Tbsp
- Hot sauce (opt) - to taste
- Sour cream - for serving (sub plain or Greek yogurt)
- Jalapenos - 1, diced
- Cornmeal, yellow - 1 cup
- Flour, all-purpose - 1 cup
- Sugar - 1 Tbsp
- Baking powder - 2 tsp
- Salt - 1/2 tsp
- Eggs - 1
- Oil, cooking - 1/4 cup
- Honey - 2 Tbsp
- Milk - 1 cup
Nutrition Facts
- Jalapenos / Onions / Bell peppers / Garlic - Prep as directed. Store jalapenos in one container. Combine onions, bell peppers and garlic in another container. (Can be done up to 5 days ahead)
- Make chili spice mix - Combine cornmeal (portion for the chili), chili powder, cumin, brown sugar, oregano, salt, black pepper and cinnamon. (Can be done up to 5 days ahead)
- Beef - If beef is not pre-sliced into cubes, slice into 1" / 2.5cm cubes. Season with some salt and pepper and tenderize with a fork. (Can be done 1 day ahead)
- Heat oven to 350F / 177C. Spray a muffin tin with nonstick cooking spray or brush with some oil (alternatively, you can plan to bake your cornbread in an oven-safe skillet brushed with some oil).
- While oven heats, place a Dutch oven with oil over medium-high heat. Add beef and saute until golden brown on the outside (don't worry if it isn't cooked all the way through), ~5 minutes. Set aside and return pan with pan drippings to heat.
- To pan drippings, add onions, bell peppers and garlic and saute until tender, 3 to 4 minutes. Add spice mix and saute until fragrant, ~1 minute more.
- Add stock, beer and tomatoes to pan and bring to a simmer. Add beef back to pan. Place lid on the chili and simmer until beef is tender, ~45 minutes.
- While chili simmers, make cornbread. In one bowl, whisk together cornmeal (portion for cornbread), flour, sugar, baking powder and salt. In another bowl, whisk eggs and add oil, honey and milk. Pour liquid ingredients over dry ingredients and stir to combine. Stir in jalapenos (if using).
- Spoon cornbread batter into prepared muffin tin (or skillet). Bake until just set in the center, 15 to 17 minutes.
- Just before serving, chop green onions.
- Stir vinegar into chili. Season with some salt and pepper (and some hot sauce if you'd like). Set half aside for Thursday's meal.
- Serve chili with green onions and sour cream on top. Enjoy with cornbread on the side.
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This meal has 75 reviews
This was a hit. I did end up adding some cornstarch to thicken the sauce. I also used regular cornmeal rather than finely ground, but I can see how it helps with the texture of the liquid portion - it's too thin without it.
The spice mix worked well. I did the prep earlier in the week, and my husband cooked the dish tonight with no problems. We'll probably add some beans next time, though.
I think this would have been better with ground beef rather than stew beef, or made in a slow cooker so the beef had more time to tenderize. I liked the flavor of the chili, although I added kidney beans since other reviewers said it was a bit thin.
Agree with others it is too liquidy. Flavors were good. Will try again with 1/2 the liquid. I cannot imagine turning this chili into nachos later this week. Too soggy.
Reduced stock by half and combined sautéed ingredients in instant pot on chili function. Added cayenne and chili pepper for a good kick. More of a stew.
I am NOT a fan of bean-less chili. The flavor was great, but it was too liquidy. I ended up serving this with rice (because I didn't have any quick, canned beans at hand to throw in).


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Francis Bacon: The Dynamic Reality of The Crucifixion
In many conversations, Bacon repeatedly spoke of his art and his personal understanding of the theme of the Crucifixion. To the English art historian David Sylvester [i] he explained in 1966:
I haven't found another subject so far that has been as helpful for covering certain areas of human feeling and behavior. Perhaps it is only because so many people have worked on this particular theme that it has created his armature - I can't think of a better way of saying it - on which one can operate all types of level of feeling. [ii]
In portraying a Crucifixion Bacon recognized a very particular picture circumstance, the sketching of a figure that would trigger a certain impression in the viewer, and this despite all the traditions that reverberate in the background of this picture. To disregard precisely this knowledge, and immerse oneself directly into the picture as a picture can cause the viewer to be immediately shaken by its artistic creation. This is a quality the cross has gained over the course of its history for various reasons.
By the way Bacon has developed the portrayal of the cross, not only religious contents are dealt with, but at the same time also man's conception of himself, his ideals, fears and hopes. The cross was not only an image man made of his God, but also always that of man himself as well. Bacon was aware of these picture qualities and therefore, he also saw the chances that this type of portrayal, this armature, presents for an artist concerned with probing the depths of life in his art; he was fascinated by this theme - although he was never religious at any point in his life. This fact did not pose a contradiction for him, since in his opinion, the Modern Era had dissolved the original unity of religion and art, making it possible to separate form from content in art, and to discuss questions of form and treat them as such. For Bacon, the cross had become an abstract theme par excellence. Independent of any religious feeling, the cross shows man in a brutal manner, how man first debases man, only to then raise and kill him. This is why, as he once said, when painting a Crucifixion, one always works through one's own primal feelings and impressions.
You might say it's almost nearer to a self-portrait. You are working on all sorts of very private feelings about behaviour and about the way of life in it. [iii]
In addition to the artistic fascination with a picture idea that does not tell any unfamiliar stories, but rather directly addresses and shapes the viewer's own life stories, the Crucifixion has an existential significance for Bacon. Like a myth, it indicates life expressed creatively. Before all religious connotations it articulates subjective sensations such as disappointment, pain, suffering; loneliness, helplessness, fear of death; despair as doubt per se, of mankind, of God. To quote Bacon here:
One of the things about the Crucifixion is the very fact that the central figure of Christ is raised into a very pronounced and isolated position, which gives it, from a formal point of view, greater possibilities than having all the different figures placed on the same level. The alteration of level is, from my point of view, very important. [iv]
Bacon's works display two phases in the treatment of this motif. The first begins with three studies of the cross in 1933 and comes to a certain close with the first Triptych in 1944; the second extends from 1946 to 1988, apparently reaching its zenith with the Crucifixion of 1962.
The first Crucifixion [v] was done in the year 1933. Upon a black ground and sketched in only a few strokes, there is a white, and therefore, light-filled, figure. The arms form two curved lines that seem to rise to become a circle. The legs have been sketched out in stilts-like strokes. The head is like a broken-off match head. It is just as small as the hands. Thus, three points of equal size come about on a slightly curved line. Below, the figure stands on lozenge-shaped feet, the kind that provides stability to figures of wood or wire. In this way, there is an indication of space, heightened by the three lines of perspective in the lower part of the painting.
A white shadow creates the impression of a vaguely-defined further figure appearing before the standing one. It could even be a figure that is not particularly stable in the way it stands, leaning against the other's chest, bearing or catching another indefinable form in its right hand. Moreover, we notice an angle, extending downward from the standing figure, and breaking off to the left. Is this a possible indication of a bent leg? As always: To the right at the height of the leg and knee, three parallel diagonals correspond to the sharp bend, which seem like fish bones or like ribs of an x-rayed chest.
The outstretched arms might be interpreted as a Crucifixion. Otherwise this painting shows nothing other than a figure, or two, in an abstract space, in addition to further elements that add to the picture's mystery. While intentionally leaving the meaning open, this study represents an attempt to use various stylistic means for shaping forms and to add a second person to the first one, without the former relinquishing his dominance. The statics and dynamics are linked to each other in this manner.
The second Crucifixion came about a short time later. It is a gouache, where three figures have been outlined in two dimensions standing next to each other behind 13 bars drawn in pairs. The left figure is white and stands slightly higher upon the support of a beam, which allows for the assumption of a cross, but which may not be seen otherwise. The arms are indicated as being stretched out very far. This is also the case with the middle figure, which appears to be dancing.
The third, right-hand figure is only half as large as the two others. Instead of the head, two straight lines protrude from the trunk, like antennae. The figure is rendered in white. Its arms are also spread out, though its left one stretches out oversized into the chest zone of the left figure, enabling us to associate it with traditional iconography (such as Longinus with the lance and Stephaton with the sponge). Overall this drawing reveals a heavy stylistic influence by Picasso. This applies to the sketching of the figures in general as well as in detail, for example, on the hands and feet. This work also bears the title Crucifixion [vi], though at best it shows a very alienated treatment of a traditional theme. Apparently, new possibilities of its portrayal are being probed here rather than searching for a deepened expression of it.
The beginnings of a third work on the same theme, Crucifixion with Skull [vii] already existed when Michael Sadler approached Bacon with an x-ray of a skull, asking him to make a portrait out of it. Bacon does not appear to have been especially fond of the idea, but then suddenly placed the skull beneath the painting that already existed. [viii] The Crucifixion that resulted from this shows its relationship to the theme at best in the raised arms and their angular position. These as well as the feet extend beyond the edge of the picture, so that neither the hands nor the feet, and thus their stigmata as well, are not to be recognized. Likewise the wound to the side is also missing in the block-like, athletic figure. The head, jerked forwards, sticks out like strutting poultry, heavily schematized with respect to its form. The figure seems as if it had been fitted together vertically in the middle from its right and left halves; the background, on the other hand, is horizontal beneath the middle axis, divided into a black area below and a golden area above. By means of these abstract markings, indirectly a cross is revealed in the composition. At the left, beneath the figure, the skull protrudes from the black field into the gold.
In turn, as unusual as this work is, it does not show an interest in the theme, but rather in its composition, the construction of the body, the anchoring of the figure in space, or in Bacon's own words in reference to these early studies:
I'm fascinated by the body raised from the ground, it's more formal and abstract being elevated. [ix]
In a later conversation with John Russell, he still remembered with a certain pride as well as regret that he had also destroyed a Wound for a Crucifixion at the time, 1933. This painting had showed the corridor of a hospital hallway as its background. One half of its wall was dark green and above this, it was painted a cream color, and in between was a long, narrow line. On a sculptor's stand, there had been a big piece of human flesh: an exemplary wound, a "wonderful wound", Bacon recalled. [x]
The early phase in Francis Bacon's artistic endeavors is interspersed with many a new start and change, but it is also accompanied by an inner insecurity, disappointment and even depression. However, in general, he was preparing what would later come to light as his unmistakable trademark work: interior space, figure, movement, the psychological fathoming of depths, an uncompromising art.
This period of his early works culminates in a piece that was shown in a 1944 exhibition at the London Lefevre Gallery, Three Studies of Figures at the Base of Crucifixion, 1944. [xi] In the left part of the painting composed in the style of a triptych, the figure of a woman, reduced to a torso and head and wrapped in a cloth, squats on a steel table structure like a bouquet of flowers. On her shoulders we recognize reductions of wings, like a plucked chicken. She stretches her head downwards. A triangle opens at the side in the direction of the viewer. It seems like the beak of a bird, or who knows, perhaps of a hungry young animal or a snarling aggressor.
With the view cast downwards, this being bears human contours in profile. Its gaze falls on a point in the center of the painting in the direction of an armature of wood with a tiny top piece attachment. In the same place, one of the two stilt-legs of a bird begins that stretches across the structure. The curves of wings are in its oval trunk, its long neck strains towards the viewer, its gaping human mouth baring its teeth. Around its threatening head, a cloth is bound over his eyes and nose, its edges, torn and frayed hanging down in pointed shreds like ears on the head.
From the right, towards the central panel, the mouth of a human being stretches, gaping even further open. This figure protrudes with its trunk into the picture from the right edge of the panel and supports himself with one arm in the middle of the picture like a pillar upon a hint of grass surface. His mouth is open, as though expressing a mixture of pain and a feeling of revenge, open far enough that like with a flat predatory fish, all other parts of the face disappear from view.
All three panels share the same the same kind of red background. Perspective lines indicate an abstract notion of space, connect the three pictures in terms of composition, and clearly focus them on the middle. The way the figures have been placed in space is redolent of Bacon's first Crucifixions, the open mouth and the frayed scarf remind us of Grünewald's Lamentation of the Magdalen, after 1511, [xii] or of others of his works, or the distorted figures and the gaping mouth on the right of Picasso's Guernica, 1937. With regard to the mysterious figures in the painting Bacon explained himself in a conversation with David Sylvester, thus providing a key to their understanding at the same time:
I thought of them as the Eumenides, and at the time I saw the whole Crucifixion in which these would be there instead of the usual figures at the base of the cross, which itself was going to be raised, and the image of the cross was to be in the centre with these things arranged around it. But I never did that; I just left these as attempts. [xiii]
All of Bacon's ambivalence concerning the cross is revealed in this early work. It bears the traditional indication in its title and thus lays claim to be a study to a "basic painting", but at the same time it eludes any direct traditional allusion. In the ambiguity that thus unfolds, Bacon charges his painting with a number of subjective feelings and disconcerting form creations, which are directly passed on to the viewer. In the title he points the viewer in the direction of a possible understanding, but in the picture's execution, he pulls the rug out from under the viewer's feet again regarding any sort of expressionist interpretation of the classical theme. Consternation is the only thing that remains.
Before the backdrop of a stylistic influence by Picasso he repeatedly admitted to, in this triptych Bacon demonstrated something he knew how to skillfully employ and fully develop in his later works: the creation of strange organic forms that refer to the image of man and the cultural factors influencing him - and this without copying them or illustrating contents. The forms persist in the condition of their distortion and aim to confuse the viewer. This panel painting is therefore, also no Christian creation. It has nothing to do with Christian religion, at most with experiences and traditions of an art that has undertaken to depict the issues of mankind.
In 1950, an even more direct, more terrifying painting appeared in the same thematic context, the Fragment of a Crucifixion. [xiv] It poses a further step, to rid the sacred element from the Crucifixion and make it more about this world. On a dark-blue T-form cutting into the picture at a slight angle, a screaming being hangs, half animal, half man, which is hounded by a wolf-like beast with a hidden human face. It has jumped over the cross from behind, and hunts the Crucified figure, showing no mercy. The latter seems to try to flee the cross, which opens spatially in two ways by means of perspective indications in the lower part: to the back, as if into a narrow corridor, to the front to the viewer, through the construction of an armature of white lines. This causes the drama of an awful, even brutal, struggle to unfold, which a being full of fear and horror has been thrown into. This impression is heightened by the view to a background, upon which - impartial, uninterested, and self-engrossed - figures parade along the beach of a seaside resort.
In terms of color, the painting has been extremely reduced to dark blue, to black and white. More than half of the surface shows the bare, untreated canvas. Thus, all of our attention is concentrated on the figure in agony on the cross, or more precisely: on the mouth, gaping and distorted in its cry. Any religious connotation has disappeared. There is not even a lament of being forsaken by God. A god does not emerge for the figure jerking in mortal anguish in the painting. The only perspective that yet remains for him is the delusion of fleeing the moment. In his imagination, the figure raises his arms like wings, like the twitchings of muscles in animals that have just been slaughtered or shot.
Again, Bacon displays his very specific interest in the Crucifixion: it is not about updating a historic or religious event, but about the use of a picture form with a particular quality of reception, which directly confronts the viewer with the painting. In the title and in the formal indications, Bacon keeps to the theme. The way he has created it is so direct that the viewer with his emotions has the feeling of being directly involved in what is going on. This produces a tension, relentlessly confronting the viewer with the entire reality of man, besetting him, so that the shudder of being threatened oneself arises inside. Bacon repeatedly defined this as the goal of his, as he understands it, "non-illustrative painting". He aims to bring to the canvas an image as lifelike and at the same time as suggestive as possible in order to get to deeper-lying levels of sensation in the viewer. Instead of introducing an object, he reveals forgotten and suppressed things through his "picture attack". [xv] In this respect, he is no longer concerned with creating a picture motif, but with its permanent new creation in the viewing process, since - as he explains in an interview at the beginning of the 1950s:
Everybody has his own interpretation of a painting he sees. I don't mind if people have different interpretations of what I have painted. .... A picture should be a re-creation of an event rather than an illustration of an object; but there is no tension in the picture unless there is the struggle with the object. [xvi]
However, increasingly in the development of the artist's work, the tension is built up from the painting itself, not from the motif and also not from the theme.
It was to be another twelve years before Bacon took up and created the "Crucifixion" once again. In 1962 he did the Three Studies for a Crucifixion. [xvii] First he worked on the paintings one after another, then, going back and forth between them, he worked on all three at the same time.
It was a thing that I did in about a fortnight, when I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. And it's one of the only pictures that I've been able to do under drink. I think perhaps the drink helped me to be a bit freer. [xviii]
It is not only the title of the painting that draws our attention to the panel on the right. There we find the transformation of the Crucifixion, which Bacon now reached after having pushed toward it for nearly 30 years. On an upright board, which has been attached at the back to a pedestal, a slaughtered animal cadaver hangs, ripped open, the way you can see it anytime in the slaughterhouses.
If you go to some of those great stores, where you just go through those great halls of death, you can see meat and fish and birds and everything else all lying dead there. And, of course, one has got to remember as a painter that there is this great beauty of the colour of meat. <...> Well, of course, we are meat, we are potential carcasses. If I go into a butcher's shop I always think it's surprising that I wasn't there instead of the animal. [xix]
By visualizing the "reality" of the Crucifixion, Bacon has felt the dimension of the slaughter. If we think of Cimabue's magnificent Crucifixion, the contorted position of the Crucified Christ has something lively about it, owing its form to the notion of a worm:
I always think of that as an image - as a worm, crawling down the cross. [xx]
This leads to the fact that from this being, so completely alien to the cross, a worm-like, round head inches out below. It reveals anything but a traditional expression of humility, however, showing its mouth wide open in a bellow, the expression of a desperate aggression. The curving lines run into a circle of drainpipes winding behind the board. Like a puddle of leaks, a shadow figure emerges into the painting from below, which seems in a surreal way to reflect the dark forms in the interior space of the hanged person.
In its middle and left part, the work takes its energy from the violently intense technique of figural portrayal the artist acquired over the course of the years. Its form essentially comes from a painting of chance and immediate inspiration. This is based on spontaneous ideas and reactions triggered during the work process. In this way, an art arises from intensive inner eruptions. The impulses tied into them are able to unfold anew in the viewing process, triggering in the viewer a bewilderment that results from such violence. At first glance these paintings seem distorted and deformed. At second glance they make accessible to the viewer worlds of the unconscious, set free during the process of viewing. What was earlier a by-product that came about above all in connection with Bacon's disconcerting treatment of the old theme of the Crucifixion, now becomes more and more an integral part of his painting. In Bacon's whole oeuvre this triptych is therefore a climax and a turning point at the same time. Once again it demonstrates how well he is versed in this topic. In the left part, the slaughterhouse meat is simply stored flat on the floor next to one another, but in the part on the right it raised above all abysses hidden inside. And the figures? Are they the henchmen? Or the thieves on the cross? The next victims? Or are they simply the onlookers? The questions could go on and on - and yet they must remain unanswered.
There is something else remarkable on this painting. By the position of the Crucifixion on the side panel, it is "subordinated" in terms of form and content according to the old structural scheme of the triptych. The major accent belongs in the middle. At this classical location, Bacon has placed the bed, a different "armature", which allows him to be more unmistakable and direct in dealing with the things he concerns himself with in his painting. Here he increasingly shows man, by taking him down from the Cross and placing him on new ground. For Bacon, the theme of the Crucifixion is always man, his existence straightforwardly and without illusion. Man, alone or together in bed with another, this is a subject without end for him. [xxi]
The Crucifixion from 1962 displays the varied structure of a triptych. Although it is not determined by a unified space, nevertheless its differences are held together by the use of the same colors. The individual pictures each show the same type of room, a studio situation, by the way. Also, the paintings that are standing along or hanging on the walls have been made abstract in black in the same manner.
Bacon later explained his idea for this painting motif by putting it in a context with the triptych in an interview with Hugh Davies:
I often daydream and images drop in hundreds at a time, some link up with one another. I like the triptych format, layout, it breaks the series up and prevents it having a story - that's why the three panels are always framed separately. [xxii]
The separate hanging of the individual panels are, above all, supposed to break up any thread of a story a viewer might make up. Bacon wants to distance himself from the expectation of any message, express himself solely pictorially, convey no meanings, and have his art understood as an event. Corresponding interpretations do, however, increasingly emerge in the reception of the painting in connection with these Crucifixions. Therefore, Bacon sees the path to a mere pictorial understanding of his painting blocked as a result of these stories and rumors going around and all the confessions connected to this theme. This is why, from 1962 on - with one exception - he ceased dealing with the topic any further: Three years later he did a watered down version of this motif, the Crucifixion, 1965. [xxiii] It shows the new old picture idea of 1962 in a new variation. The board of the cross placed upright is placed here in the middle of the three-panel painting. The space takes on a unity, even though it is artificially kept apart by the frame. But overall it is already obvious here that his creative interest in the theme has begun to slacken. A few years later he spoke in retrospect of what he probably knew for certain at the time, that he had already completely exhausted the possibilities of the Crucifixion:
I would never use it or could never use it again because it's become - it was always dried up for me - but it's become impractical even to use it. [xxiv]
We may excuse Bacon for the fact that he subsequently did not act as decisively as he spoke. Nevertheless in 1971 he made "as an exception", as he might say, the second version of his painting from 1946, Painting, [xxv] because there was a danger that this one could not be loaned out for his large retrospective show in Paris due to conservation reasons. It is the Second Version of 'Painting' 1946. [xxvi] Above a figure beneath an umbrella there hangs a mighty animal cadaver, split open in the middle, and with human-like arms instead of forelegs. These extend beyond the painting's edges, stretched in the manner of a crucified person.
At the age of 80, to the surprise of many, Bacon took recourse in 1988 to his seminal work of 1944: the Second Version of 'Triptych 1944', done in1988. [xxvii] In the way it was set up and carried out, the work seems like a distanced retrospective view to a theme that had long become foreign to him. It is the painting itself that interests him, and which he now "raises up" to the format his art has achieved, both in terms of conception and dimension.
The theme of the Crucifixion has gone through a development with Bacon. From the first attempts with figures and their attitudes and movements in space, it culminates in what in all seriousness he wants to achieve with his art and what drives him to art. It is the moving statement of a man who strives to show what the fact of existence means for a person without illusions. These are paintings that forcefully attest to a life feeling that does not avert death by suppressing it. They show it in its dimension of threatening all hopes and purpose. They deeply endanger human life, robbing it of all meaning and purpose. In doing this, he finds his way to a pragmatic and sober humanism, but one barring any illusions. In the face of such existential horror and out of his experience of life, the paintings attest to the fact that violence as he experienced it in a radicalized Irish partisan movement and in two world wars as well as in his personal life circumstances, is a basic constant in life. He hardly sees changes, except for the fact that the horror has become an everyday occurrence today, which we have come to accept as completely normal. It is the confession of an existentialist senselessness, which consists of art and those few little chances to experience moments we get through happily. [xxviii]
English translation: Elizabeth Volk)
Download this article as pdf here
[i] David Sylvester, Francis Bacon. Interviews by David Sylvester, New York (Pantheon Books) 1975.
[ii] Ibid. p. 44.
[iii] Sylvester, Interviews, p. 46.[iv] Ibid. p. 46.
[v] Oil on canvas, 62 x 48.5 cm, private collection, London
[vi] Chalk, gouache, and pencil on paper, 64 x 48 cm, private collection
[vii] Oil on canvas, 112 x 86.3 cm, Pinacoteca di Brera, Milan.
[viii] Hugh Davis and Sally Yard, Francis Bacon, New York (Abbeville Press, Inc.) 1986, p. 21 f.
[ix] Francis Bacon in an interview by Hugh Davies, March 17, 1973, quoted in: Davis/Yard, Bacon, p. 12.
[x] John Russell, Francis Bacon, London 1971, extended new edition London (Thames and Hudson) 1979, p. 17.
[xi] Triptych, oil and pastel on fiberboard, each 94 x 74 cm, The Tate Gallery, London.
[xii] The painting has only come down to us as a copy of the original. It was commissioned by Abbot Chullot from St. Blasius in 1648. Christoph Krafft made the panel painting. We see a broad-shouldered Christ, as muscular as He is gaunt. Before Him kneels Mary Magdalene, her face frozen and distorted in pain, her gaze looking up with a sort of veil cap on her head, whose sides hang down. Fürstlich Fürstenbergische Gemäldegalerie, Donaueschingen.
[xiii] Sylvester, Interviews, p. 112.
[xiv] Oil and cotton on canvas, 140 x 108.cm, Stedelijk van Abbemuseum, Eindhoven.
[xv] Sylvester, Interviews, p. 58.
[xvi] Quoted from an unpublished Time Interview, 1952, in Davies/Yard, Bacon, p. 109.
[xvii] Triptych, oil with sand on canvas, each 198 x 145 cm, The Solomon R. Guggenheim Museum, New York.
[xviii] Sylvester, Interviews, p. 13.
[xix] Sylvester, Interviews, p. 46.
[xx] Sylvester, Interviews, p. 14.
[xxi] See for example. the following Paintings and Triptychs: Triptych Inspired by T.S. Eliot's Poem 'Sweeney Agonistes', 1967; Two Figures Lying on a Bed with Attendants, 1968; Lying Figure, 1969; Studies from the Human Body (1970) Triptych, August 1972, 1972, Three Studies of Figures on Beds, 1972; Sleeping Figure, 1974; Triptych - Studies of the Human Body, 1979, and many more. See also: I've used the figures lying on beds with a hypodermic syringe as a form of nailing the image more strongly into reality or appearance. I don't put the syringe because of the drug that's being injected but because it's less stupid than putting a nail through the arm, which would be even more melodramatic. I put the syringe because I want a nailing of the flesh onto the bed. (Silvester, Interviews, p. 78)
[xxii] In a conversation of April 3, 1973, in Davies / Yard, Bacon, p. 114.
[xxiii] Triptych, oil on canvas, each 198 x 147.5 cm, Pinakothek der Moderne, Munich.
[xxiv] In a conversation with Davies on August 13, 1973, in: Davies / Yard, Bacon, p. 45.
[xxv] Oil and tempera on canvas, 198 x 132 cm, The Museum of Modern Art, New York.
[xxvi] Oil on canvas, 198 x 147.5 cm, Museum Ludwig, Cologne.
[xxvii] Oil on canvas, each 198 x 147.5 cm, The Tate Gallery London.
[xxviii] Francis Bacon, Interview with Jean Clair, quoted from Le Pathos et la Mort, August 3rd, 1991, in: catalogue Corps crucifiés, Paris (Musée Picasso) 1992, pp. 132-144, p. 143.


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Hosted by National Education Consulting Inc. (NECI), this interactive course will focus on procurement essentials for Municipal Managers as well as new trade agreement obligations.
Click here for the course outline - Procurement Essentials for Municipal Managers
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These course are offered as a stand alone one-day course, for which participants will receive a certificate.
Please note: Registration will remain open until Friday October 4. AMSA reserves the right to cancel this course and refund payments, should there be an insufficient interest to warrant providing the course. 20 participants are required to host this course offering.
This pre-convention training day will include a morning coffee break at 10:00am, and light lunch at 12:00pm.
The Spring 2019 RMA Convention takes place November 13-15, 2019 at the Shaw Conference Centre in Edmonton.
Click here to be redirected to the RMA website for further event information.
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It had been a while since we had had stuffed bell peppers at our house, but for whatever reason, I had quite a few bell peppers that needed to be used before spoiling. I am all about easy and versatile recipes (and if I can get the kiddos to eat it without too much grumbling I'm a happy camper). Stuffed peppers seem to fit that bill as they are usually pretty easy, inexpensive, and seem slightly fancy so would be a great way to impress your guests. They are also super versatile and you can go any number of ways depending on what kind of mood you're in or what you happen to have on hand.
(This recipe made enough filling for about 8-10 peppers depending on size)
1 pound ground turkey breast
1 onion
2tsp oil
1 packet Trader Joe's taco seasoning
1 cup frozen corn thawed
2-2 1/2 cups lentils (cooked)
1/4 cup salsa (look for no sugar added or very low sugar if possible)
1 can tomatoes (optional)
4 1/2 bell peppers
1/4 cup fresh cilantro
salt and pepper to taste
1/2 cup shredded cheese
- Preheat oven to 350 degrees.
- Brown turkey with onion in oil and add taco seasoning, cook until turkey is done through.
- Add in remaining ingredients. Cook for 5-10 minutes heating all the way through and allowing flavors to develop.
- While filling is cooking, cut your bell peppers in half and remove the seeds.
- Remove filling from heat and fill each pepper, dividing mixture evenly.
- Top with shredded cheese and place in the oven for 15-20 minutes or until filling is hot all the way through and peppers are cooked to your desired texture.
We didn't serve with a side dish, but if you needed more vegetables you could put together a simple dinner salad. You could even add some greens to the mixture and heat just until wilted.
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Size chart:


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The Alabama Hills a bit crowded so we ranged farther afield so as to minimize disturbing other campers. As such we didn't explore many of the more popular eroded landforms. Even so the scenery was hard to beat. Roads and impromtu turn options seem endless making riding there sort of a playful experience.
Some more pictures now and if I can find a missing SD card will cook up a video later.


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For Lease
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Newly renovated, this 60sqm Shop on Ashton Avenue is now For Lease.
This is a real opportunity for a smart food operator to establish a new or existing concept in this top location.
Building Area: 60 sqm approximately
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Available: Now (subject to council approval of use)
For more information or to arrange an inspection, please contact Jonathan or Shannon today.
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text: tp49 736 Posted April 19 On 4/18/2019 at 7:18 AM, Gothamite said: The more details we get, the clearer it becomes that the league was run by incompetents, liars, and scam artists from the beginning. Nobody looks good. You could even possibly add fraudsters to that wonderful list of adjectives. 2 Share this post Link to post Share on other sites


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RMS Moldavia
Coordinates: 50°23.13′N 0°28.72′W / 50.38550°N 0.47867°W
RMS Moldavia
|United Kingdom
|RMS Moldavia
|P&O Steam Navigation Co
|Port of registry:
|Caird & Company, Greenock, Scotland
|Yard number:
|Bought by the Admiralty in 1915 and converted into an armed merchant cruiser.
|United Kingdom
|HMS Moldavia
|Port of registry:
|Torpedoed and sunk 23 May 1918. 56 soldiers from the USA died.
|General characteristics
|Class and type:
|P&O M-class passenger liner
|9,500 tons
|520 ft (160 m)
|58.3 ft (17.8 m)
|24.8 ft (7.6 m)
|Installed power:
|2 triple expansion steam engines
|18.5 knots (34.3 km/h)
RMS Moldavia was a British passenger steamship of the early 20th century. She served as the Royal Navy armed merchant cruiser HMS Moldavia during World War I until sunk by an Imperial German Navy submarine in 1918.
Moldavia was built by Caird & Company of Greenock, Scotland for the Peninsular and Oriental Steam Navigation Company. Her yard number was 301 and she was launched on 28 March 1903. The completed ship was 520 ft (160 m) in length, a beam of 58.3 ft (17.8 m) and a draught of 24.8 ft (7.6 m). Her gross tonnage was 9,500.[1] Coal bunkerage was 2,000 tons and cargo about 3,500 tons. Moldavia was built for 348 first and 166 saloon class passengers.[2]
The Peninsular and Oriental Steam Navigation Company[1] operated Moldavia on the England—Australia route via the Suez Canal.
The British Admiralty purchased Moldavia in 1915 for Royal Navy service during World War I, when she was converted into an armed merchant cruiser and fitted with 6" guns before she was commissioned as HMS Moldavia.
Moldavia served on the Northern patrol as part of the 10th Cruiser Squadron, intercepting and examining merchant vessels in the North Atlantic.
Moldavia was later serving as a troopship and was carrying U.S. troops when she was sunk on 23 May 1918 off Beachy Head in the English Channel, by a single torpedo from the German Type UB III submarine SM UB-57. .[1][3] Her sinking resulted in the deaths of 54 U.S. soldiers on board, and 1 further at Western Heights Military Hospital Dover 2 days later.
The vessel was added to the Protection of Military Remains Act 1986, 2017 No 147 and became a designated vessel on 3 March 2017. The wreck site is protected and may be dived on a "look but don't touch basis". Nothing may be removed from the wreck and nobody may enter the vessel, as it is now a war grave. (see Statutory Instrument 2017 No.147 for detail)
See alsoEdit
- ^ a b c "SS Moldavia". Shipping Times. Retrieved 20 July 2009.
- ^ Fletcher, R.A. (1910). The Building of Steel Ships page 293. Steam-ships. Sidgwick & Jackson. Retrieved 20 July 2009.
- ^ "Peninsular & Oriental Steam Navigation Company / P&O Line". The Fleets. The Ships List. Archived from the original on 1 May 2009. Retrieved 20 July 2009.
|This article related to the history of England is a stub. You can help Wikipedia by expanding it.
|This diving-related article is a stub. You can help Wikipedia by expanding it.
|This article about a specific civilian ship or boat is a stub. You can help Wikipedia by expanding it.


text:
See if Microsoft thinks you're someone else's twin – The Verge
Microsoft is following up its enormously popular website that guesses your age with another new tool it's calling Twins or Not. It's pretty simple: you upload two photos, and Microsoft's machine learning will judge how similar the people in both shots look. It then chooses a final score ranging from 0 to 100. According to Microsoft's Mat Velloso, Twins Or Not took a total of four hours to create using a combination of Microsoft's APIs and the company's Azure cloud platform. Will it have the same viral appeal as how-old.net? Microsoft says its earlier project, meant to be another fun showcase for its machine learning, was used by "millions" of people, and our Facebook timelines would agree. Here again, Microsoft says it's not holding onto your photos after the tool runs its magic.
- SourceTwins Or Not


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Vote 'yes' on Aspen tobacco tax
Protect our children from the menace of big tobacco. Vote "yes" on ballot issue 2B, which is a $3 per pack tax to fund help educate Aspen abut health issues and healing. Give back to the community. Vote "yes."
Chris Lilly
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Praying for Pailin
For the last seven months, the students at the Central Christian Academy (CCA) in Houston, Pa. have been praying for the children from one of SEAPC's partner children's homes in Pailin, Cambodia.
To make the prayers more personal, the kids at CCA were each given the name and a photo of the child for whom they were praying. Recently, I got to attend an event called "Arise and Shine" which brought this season of prayer to an exciting culmination for all of the children.
Central Christian Academy hosted this special event in their chapel, complete with a live video feed from Pailin so that the kids from both Cambodia and the USA were able to communicate with each other in real time. Excitement radiated as the children realized that they were actually able to see and talk with each other. They had a worship time together, with the Cambodian kids singing a couple of songs in their native language, and then the American kids doing the same. Finally, they sang one praise song in a united tongue, as the Cambodian kids knew the lyrics in English! What a foretaste of what heaven may be like!
Next, there was a time of questions and answers. Kids from both sides of the globe prepared questions in advance to ask each other. What was really neat was watching as, during the Q&A session, one of the American kids was able to speak directly with the child he had been faithfully praying for. The little boy's face absolutely glowed as he pointed to the child he saw on the screen, and then jumped up and down as he held up the picture of that same child! The on-air portion of the Arise and Shine event concluded with a time of prayer as each group of kids (Cambodian and American) prayed for each other.
Witnessing the live video feed portion of the Arise and Shine event was enough to get the tear ducts flowing, but what happened at the very end of the event truly hit the mark.
Not only were the children praying, but they were also putting legs to their prayers – literally! As part of a fundraiser a few months back, the students of Central Christian Academy held a walk-a-thon. They decided to put a portion of the fundraiser proceeds toward buying school supplies and uniforms for the kids living at children's homes in Cambodia. At the end of the Arise and Shine event, the kids excitedly presented this generous check to SEAPC.


text:
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File 2182/1913 Pt 2 'Persian Gulf Situation in El Katr Policy towards Bin Saud'
This volume contains part 2 of the subject 'Persia Gulf'. It primarily concerns British policy towards Bin Saud ['Abd al-'Azīz bin 'Abd al-Raḥmān ...543 images in record Ref: IOR/L/PS/10/385 Date(s): 18 Nov 1913-22 Nov 1916
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Turlock Garden Club
Welcome to the Turlock Garden Club
Our next meeting is November 11, 2019
Click on the link below to view the smilebox from our 70th Anniversary Celebration. http://www.smilebox.com/playBlog/4e4459314d7a4d7a4d54453d0d0a&blogview=true
Library Display 2019
Turlock Garden Club Tour Co-chairs Judy Moore and Vicky Zumstein.
Check out "TGC activities" on youtube to see more about Turlock Garden Club.
The Turlock Garden Club meets on the Second Monday of each month, September through June.
The meetings are held at the Turlock Senior Center - 1191 Cahill - Turlock, Ca
Club Member Annual Dues: Dues are $10.00 and need to be paid by January 1st.
Meeting Hours 12:00 (noon) - 2:00 PM
Click here to download our Turlock Garden Club application.
Turlock Garden Club
Turlock Garden Club meets the second Monday of the month September through June.
Upcoming Meetings
About Us
Club Flower Pansy
Founded July 29, 1948 by Mrs Gerald James
Turlock Garden Club 2019 Officers
Community Projects
Downtown Pots
Turlock Garden Club takes care of the pots in downtown Turlock, be sure to check them out they are beautiful!
Turlock Garden club takes care of the gardens at Jessica's House.
Turlock Garden Club helping beautify the gardens at the Carnegie Hall.


text:
Author: Мишель Роуэн
Original language: English
Publication date: 2006
When you're hot for a demon, you might as well kiss your halo good-bye…
Falling naked into the killer whale tank at MarineLand is always bad news, but it's a real bummer when you've just been kicked out of Heaven. Former angel Valerie Grace is determined to reverse her banishment – Earth's just no fun.
Her best friend is a slightly perverted human-turned-rat, and she's being tailed by a sexy Tempter Demon named Nathaniel, who's trying to lure her to hell with kisses that are almost worth the trip. With the talking rodent sneaking peeks down her shirt and Nathaniel getting more irresistible every minute, this ex-angel has only one hope: find the stolen Key to Heaven and go home.


text:
Autumn Quest Now Available
Released today, on 12 November 2012, this is a story that originally appeared in the Sins of Autumn Anthology pretty much exactly a year ago. It was one of the most fun stories for me to write, because I got to play with a "what if" scenario. Here is what I put into my author's note at the beginning of the book:
* * *
As an author, it is my job to wonder "What if...?" With this story, I took the concept a little further than usual, resulting in a setting that can only be called 'alternate history'. I took the Mongol culture of about AD 400 and asked, "What if...they had never been defeated by the Chinese, and, later, by the Christians?" What sort of a society would they have ended up with?
I have taken a lot of liberties in assuming what might have happened, especially in the area of potential magic and wizardry. This last takes the story into the realms of fantasy, but who knows what might have happened? The names and places I mention are all based on Mongol culture, though. While you won't need a glossary to understand, here are a few examples:
Bayar: Joy
Chinux: Wolf
Khaganate: legendary empire of times past
Khanate: largest section left of the former empire
Naiman: common name of the Khanate
Naman: ruling royal family of the Khanate, name derived from the Khanate's name
Khan: nobleman in Mongol times; the king in this book
Qara: black
Playing with alternate history has been fun for me. I hope you will enjoy reading about the results of my thought experiment as much as I loved coming up with it.
* * *
You can find an excerpt and the book at Total-E-Bound. It is also available for sale on the bigger third party seller sites.
Article Date: 12 December 2012


text:
About this Event
Why recycle when you can upcycle! In this class we turn recycled bottles into glass ballpins. You will learn how to make these great gems on copper wire using a butane and/or propane torch. Students may choose to put their ballpins to use in a piece of jewelry to wear or they may choose to utilize class time to stock up and make as many ballpins as they can.
● Skill Level: Beginner/All levels
● Materials included will provide enough material for 15 glass ball pins (glass, copper wire, copper chain and clasp, hand tools)
1. Students are asked to bring the following:
a. Magnifying glasses and Ott light as needed
b. Chain nose pliers
c. Flat nose pliers
d. Side cutters
e. Round nose pliers
f. Heavy duty wire cutters
*All items will be available for purchase or the basics to borrow.


text:
The waters of San Ignacio lagoon were calm and we were calm when we returned to them after our lunch on a sunny deserted island to head back to camp. But our well-fed somnambulance was soon disturbed. "A whale! 3 o'clock, 3 o'clock," someone cried, as for the first time a gigantic adult swam up alongside us about ten feet from the boat, her blow holes and mottled skin visible. It had taken me a while to learn the visuals of gray whale anatomy, partly because they do not have fins on their backs, but a series of knuckles, visible vertebrae which, in addition to blow holes, tell you which side is up. Their nostrils sit undaintily on the tops of their heads, ridged exposures that allow you to navigate visually forward and down to the huge jaws that open into baleen lined mouths, the baleen shorter and more bristly than I expected, looking and feeling like a cross between teeth and several layers of old tattered shower curtain.Read More
This mamma-baby connection is where oxytocin—the trust hormone—flows at peak levels, creating in both animals (the mom and the baby) the feeling of intense warm attachment. It is the way that the desire for warm attachment becomes part of an individual, staying with her for life and creating the desire and willingness that trust between animals might work. It feels really good to be connected in trust, and that's nature's way of making sure it happens. Yes, this is yet another way in which all mammals, ourselves included, are alike.
Unless we're very, very unlucky, we get lots of oxytocin from day one onward.Read More


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We will reform the harvesting and transport system: Chaudhry
Kreetika Kumar
November 1, 2018 6:03 pm
The Fiji Labour Party says that if they form the next government, their first priority will be to pay sugarcane growers a fair price for their produce.
Party Leader Mahendra Chaudhry says the party will reform the harvesting and transport system to make these cost effective to farmers and the industry.
Chaudhry says they will also upgrade and extend the rail infrastructure.
He highlighted this yesterday at the party's manifesto launch along with other initiatives that the FLP is proposing.
"We will bring down the cost of business, cost of utility electricity, telecom, we will reduce various hidden charges and levies. We will boost investment to enhance employment opportunities and incomes. We will review the capital gain stats."
He adds, the FLP will prioritize easing of the serious traffic congestion by upgrading the infrastructure.


text:
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text:
Josh Greene
Boston College Math Department
Summer School
I am organizing a graduate summer school entitled
``Perspectives on Dehn Surgery''
at ICERM during the dates of July 15-19, 2019.
Looking for something to do in Boston? Need another lecture on sutured Floer homology? Try out a local seminar:
The (once-)NEW
Boston Graduate Topology Seminar
BC Geometry/Topology Seminar
google calendar
attempts to tell you what is happening in topology seminars across the area.
I study low-dimensional topology and use Heegaard Floer homology and combinatorics a lot in my work. Currently I am mostly focused on problems concerning Dehn surgery and properties of alternating links.
My papers
on the arXiv. Eventually, I intend to include links to their available published versions, and in the meantime you can consult my CV if you want to pursue doing so yourself.
I gave a talk entitled
Floer homology and Dehn surgery
at the Casa Matemática Oaxaca on August 1, 2017. The talk was targeted at experts on the subject. I gently edited the slides to omit pauses, unomit omissions, etc. There is a video recording online of the actual talk.
I gave a talk entitled
Perspectives on Dehn surgery
(evocative of the summer school I am organizing) at the Texas Geometry / Topology Conference at the University of Texas, Austin on November 17, 2017.
I teach MT 832,
Combinatorial Methods in Low-Dimensional Topology
, in Spring 2019.
I also maintain the course webpages for a few courses that I taught in the past:
I taught MT 445,
, in Fall 2018.
I taught MT 885,
Graduate Combinatorics
, in Spring 2018.
I taught MT 883,
Introduction to Knot Theory
, in Fall 2015.
I taught MT885,
Combinatorial Methods in Knot Theory
, in Spring 2013.
is a write-up about the dowry (a.k.a. secretary) problem, on which I spoke to the BC Math Society on October 9, 2013.
Other Links
My website looks a lot like that of my colleague,
Eli Grigsby
Of the many Josh Greenes I am not,
is one.
mailing address
Joshua Evan Greene
Department of Mathematics
Boston College
Chestnut Hill, MA 02467-3806
527 Maloney Hall
: 617-552-3789
: 617-552-1007
: You can figure it out from firstname.lastname@example.com (hint: the letter "e" appears four times in my name).


text:
|Tinker Day - GLOBETROTTER POWER PATCH!
Event Type: School age
Date: 6/20/2019
Start Time: 2:30 PM
End Time: 4:30 PM
Could you clean an oil spill? Using different materials, children will try to find the best methods for cleaning a simulated oil spill. Caregiver participation encouraged! No registration. EARN YOUR GLOBETROTTER PATCH!Library: West Chester Public Library West Chester Public Library - map
Location: Community Room
Contact: Children's Department
Contact Number: 610-696-7985


text:
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text:
- June 6, 1927 - December 30, 2018
- Charleston, South Carolina
of Gilbert's Passing
Share This Obituary
Message from the Family
Thank you for your support during this difficult time. Please enhance this tribute to Gilbert by adding your memories and photos.
Arrangements made by
J. Henry Stuhr Mount Pleasant Chapel
1494 Mathis Ferry Road
Mount Pleasant, SC 29464
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"I'm so sorry for your loss. As you remember your love one, may your treasured memories and Almighty God bring peace and comfort to your broken hearts...Read More »
1 of 5 | Posted by: A friend
"Cindy so sorry to hear about your dad. Merit and I were just talking about y'all on the phone a few weeks ago. I didn't even know that you had moved...Read More »
2 of 5 | Posted by: Beth Rogers-Gaskins - Wando, SC
"Cindy:I am so sorry to hear of your dads passing. My prayers are with you and your family. For some reason, your dad & his enjoyment working with...Read More »
3 of 5 | Posted by: A friend
"Whenever I become aware that another Marine has answered his last muster, I am reminded by words in our Marines' Hymn that tells us, the streets of...Read More »
4 of 5 | Posted by: Another Marine - Summerville, SC
"He was a very nice person, we had lots of great conversations, he was very talkative, intelligent, funny, and said what he meant and meant what he...Read More »
5 of 5 | Posted by: Charlotte Longshore - Prosperity, SC
Gilbert Rogers Stauss, 91, of Charleston, South Carolina, husband of the late Novelene Godwin Stauss died Sunday, December 30, 2018. His graveside service will be held with full military honors on Saturday, January 5, 2019 in Mount Pleasant Memorial Gardens, 1308 Mathis Ferry Road at 12:00 noon. The family will receive friends in J. Henry Stuhr, Inc. Mount Pleasant Chapel on Saturday from 11:00 am until time of the graveside service.
Gil was born June 6, 1927 in Thomasville, North Carolina, son of the late August John Stauss and the late Elma Mae Clodfelter Stauss. He entered the Merchant Marines at the age of 16 and went on to serve 20 years in the United States Marine Corps. Gil was on active duty at the latter part of World War II and served two tours in Korea and two tours in Vietnam. He was a Safety Inspector at Detyens Shipyard for thirty years, retiring at the age of 75.
He is survived by daughter, Cindy Stauss Longshore (Earl) of Prosperity, SC; son, John Scott Stauss of Wando, SC; granddaughter, Lynn Longshore of Mt. Pleasant, SC. He was preceded in death by his infant daughter Alexis Valerie Stauss.


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Having been in the vacation planning industry for over 40 years I have gathered through experience and while assisting my clients, many hints that will help to prepare you for your travel adventure, protect you from unforeseen situations and bring great pleasure to your travel experience.
The Do List:
Take Airborne before boarding a plane – with the severe cancellation penalties in effect these days people are traveling even if they are sick. Protect yourself.
If you plan to wear sandals on the airplane, tuck a pair of socks in your carry-on bag to put on your feet before walking through security where many have traveled before you.
Carry copies of your passport and credit cards with you, separate from your wallet. Leave copies at home as well.
Carry an extra passport photo with you in case your passport is stolen or lost. It will speed up the process of obtaining a new passport.
Be able to provide a list of your medications (separate from the bottles) with dosage and frequency information and carry it with you at all times.
Always take hand sanitizer with you and use it – train stations, museums, airport, shops, restrooms have been used by many prior to your arrival.
Take along an "emergency kit" containing bandages, ointment, aspirin, sewing kit, safety pins and pocket tissues.
Place the name, phone number and relationship of someone who may be contacted in an emergency in your wallet.
Leave the name and phone number of places you will be staying at home with friends or family.
Leave the name of your veterinarian at home with the pet sitter.
Use ATM's and credit cards when possible while traveling, but always place some cash in your wallet for emergency purposes.
Stop newspapers and mail delivery when gone for a period of time.
Pack all your medications in your carry-on bag.
Select a carry-on bag that has wheels especially when traveling overseas; it will save your back in airports and train stations.
Check to see if your medical insurance will cover you when traveling internationally, most do not so you will want to purchase travel insurance.
Call your Credit Card Company and ATM bank to alert them as to your travel dates and destinations.
While staying in an inexpensive hotel may sound like a great value, remember to calculate the cost of taxis or public transportation and the time taken away from your vacation if the hotel is located on the outskirts of town.
Keep your luggage count to one bag per person (one week or three weeks). Shoes are the most cumbersome and weigh the most. You will never see these people again, so keep it simple and light. Layer your clothes as the temperature changes.
Use a money belt. Men place wallets in your front pockets, ladies use a purse that crosses over your chest.
If you are using a car rental in a foreign county, be certain to check to see if an International Driver's License is required. There are also age restrictions, for the young and mature driver.
Open yourself to chatting with and meeting new people as you travel, it is one of the best parts of the entire experience.
The Don't List:
Don't purchase expensive luggage, it all gets beat up. You will have less guilt when you throw away inexpensive luggage. Besides, expensive luggage often lures thieves.
Wearing flashy and expensive jewelry and clothes is not wise; costume jewelry is fine for travel.
Don't leave valuables in plain sight in your hotel room, use the safe when possible.
Don't allow price to be the ONLY factor when planning your vacation. Everyone has a budget, be certain you are getting the best value for your money.
Don't send money to a foreign bank account to pay for your hotel and/or resort. We were advised by someone who did so, only to find the phone disconnected when the traveler tried to reach the resort. Someone had a good vacation on her money.
Don't place valuables in your checked baggage.
When using a car rental, but certain to cover suitcases with a local newspaper so they are not visible to a passerby.
Don't let someone distract you in a train station so that you cannot see your luggage, they often work as a team and someone else snatches your bag.
When shopping on line for travel be aware some of the companies may not be financially secure, don't think "they sound good". Check to see if they are members of the USTOA (United States Tour Operators Association). Remember anyone above 13 years old can create a fancy website.
Don't be afraid to look like a tourist, they know you are. Just be "street smart" in a crowd.
Don't leave home without travel insurance in case an emergency should call you home or force you to cancel at the last moment.
Don't arrive late to the airport as you never know in today's environment how long it may take you that day to get through security check, particularly during holiday periods.
Don't assume everything you planned will go perfectly on your trip, life happens! Embrace the challenge, then sit back to watch the panic of others, it is great entertainment.
I sincerely hope you found these items helpful to you. Finding just one item you have never thought of before may enhance your travel experience. Remember as travel professionals we are ready to assist our clients with recommendations and successful travel planning. We are generally price competitive in today's marketplace and we bring much more to your vacation. Our team has collectively over 150 years of experience, we know how to arrange your vacation and make it a wonderful memory that lasts.
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text:
Samurai Shodown's launch sales in Japan doubled that of King of Fighters 14 in its first week
And it did even better than SNK Heroines too
Samurai Shodown has been out in the wild for more than a week now, and the most recent foray for SNK into the fighting game genre appears to have caught the attention of the FGC and fans around the world.
SNK has revealed that Samurai Shodown — known as Samurai Spirits in Japan — sold through 40,606 copies in its first week on store shelves in its home country which is essentially double the numbers that The King of Fighters 14 pulled back in 2016.
The developer's big return to its flagship series on consoles sold 20,655 units in its first week while SNK Heroines: Tag Team Frenzy managed to push 15,511 copies on PlayStation 4 and Nintendo Switch last September.
Another good sign of the return of SamSho's fortunes in Japan came from a statement from SNK the day after the game released in Japan in which they announced that it had already sold out or was short in stock at some retailers already and that more shipments would be on the way soon.
For comparison's sake, looking back at the bigger fighting game releases of the past year will show that Samurai Shodown's Japanese launch looks quite favorable unless you look at the juggernaut that is Super Smash Bros. Ultimate.
Dragon Ball FighterZ sold 68,731 copies in its first week on PS4 in Japan while BlazBlue: Cross Tag Battle pushed 15,967 units total week one, Soul Calibur 6 did 24,049 copies, Street Fighter 30th Anniversary Collection moved 21,441 discs / cartridges and finally Super Smash Bros. Ultimate crushed over 1.2 million in just a few days. Dead or Alive 6 managed to sell 26,442 PS4 copies week one earlier this year.
While we don't know how the game is selling in the West yet, SNK did also reveal that around one quarter of Samurai Shodown's launch numbers were digital purchases. Plus, there are still the Nintendo Switch, PC and arcade versions that are sure to add to that total which appears to be a good sign of growth for the company as far as its home territory is concerned.
Click images for full versions
Source: SNK. Sales numbers via Gematsu.


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text:
Your cast will grow around the midpoint of No Road Home with the introduction and perhaps return of a mysterious character. What can you tell us about them? Is their return comparable to how "No Surrender" brought the Hulk back?
RELATED: Avengers #700 Introduces a Brand-New Red Widow
Zub: We're sworn to secrecy right now. All I can say is that Tom brought up the possibility when we had dinner at C2E2 and I thought he was joking because the suggestion was so out there. When it actually came through and we got the green light to go ahead with it, I was stunned. This character is extra-special to me, and the fact that I get to contribute to their adventures here and involve them in this crazy story we've come up with, it's unbelievable. Can't wait for readers to see what we have planned.
Is it big like the Hulk's return was? Yes. For me, personally, it's bigger.
Waid: It's Batman. I find that incredibly exciting. I've wanted to write him for such a long ti—hang on. Please hold. I have Tom Brevoort on line one. I'll be right back.
Ewing: I, for one, welcome our new shark-repelling overlord.
Last time, you guys had a lot of fun playing with established Marvel villains and creating new ones. What can you tell us about the antagonists of No Road Home? Does this series give you another chance to add some new threats to the Marvel Universe?
Zub: The core villains of No Road Home are new, but they're tied to a part of the Marvel Universe that's been around since the late '60s. I brainstormed the main concept and the "leader," and then Al went research crazy and started throwing big mythic stuff into the mix, with Mark wisely polishing it all to a mirror shine.
Adding new pieces to the Marvel Universe is one of my absolute favorite things. Building new antagonists that can go toe-to-toe against gods and cosmic powered heroes is an absolute thrill. Paco and Sean have brought their A-game to every scene with these new villains. It's epic.
RELATED: Marvel's Newest Avenger Could Turn Out to Be the Most Powerful
Waid: I'm back. I would like to take this opportunity to issue a retraction on my previous statement. Tom Brevoort would also like me to take this opportunity to issue a retraction on my previous statement and would very much like me to start taking my Lamictal again quickly. What was the question? Oh, right -- the new Big Bad and his or hers or their (we're not saying yet) underlings. Maybe the scariest villain I've ever had the opportunity to write. And when you learn what's at stake should they win, you'll get the same chill.
Ewing: Well, I was possibly a little hasty earlier, and I'd like to reaffirm my allegiance to this shared universe and its non-chiropteran heroes.
As for these baddies, they've got some pretty nasty plans for everything and everybody. But they're not just a nightmarish force of evil -- they're fleshed-out characters as well. Readers might even find themselves sympathizing with these villains… well, some of them at least.


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Epic Halloween Surprise Wedding in Washington, DC: Dan + Cecilia/
When Dan and Cecilia sat down to plan their wedding, they had a very clear vision of what they did NOT want it to be. When they thought about what they wanted it to be like, they kept coming back to the epic Halloween parties they throw every year. They thought, Why not make our wedding celebration just like one of our amazing Halloween parties? So they did. They moved their ceremony to the day before the party, at the courthouse, with their close family and friends, and then focused the rest of their energy and resources into their epic party- which included lots of awesome halloween decorations like a Dia De Los Muertos paper mache thing to put greetings into, and a skeleton welcoming everyone out front. Some guests even brought them carved pumpkins!
Images courtesy of photographer Victoria Ruan
Victoria Ruan has been photographing people and weddings since 2011 in Washington DC and beyond. Her documentary style approach is focused on people sharing connections and experiencing moments. Her favorite part of photographing weddings is getting to tell the story of two individuals coming together to celebrate love and commitment with their communities. Notable publications include: The New York Times, Elevation DC Media, Looking at Appalachia, and United with Love. You can follow her on Instagram @victoriaruan


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