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Bumblebee director Travis Knight is looking to return to his animation studio Laika after his live-action feature debut, and claims reports of him possibly helming an MCU film are just rumors. Knight left a major impression on audiences two years ago with his directorial debut Kubo and the Two Strings, and the excitement for Bumblebee has made him a rising name.
He got the Bumblebee job over some other very qualified candidates, but he's shown along the way that he could be the perfect choice to help reset the Transformers film franchise. He's the first director to tackle a live-action film that isn't named Michael Bay, and he's going back to a cherished time for many Transformers fans like himself to do so. His direction looks to have brought a sense of adventure and heart to these films that have been sorely missing as of late. With him possibly being on the verge of breaking out even more, he insists he'll take a smaller next step than rumors have suggested.
Related: Bumblebee Movie: Every Update You Need to Know
Badtaste.it spoke to Knight as part of Bumblebee's press tour, and asked him what's next for the rising director. He's not only a director for Laika, but also the studio's CEO, and he confirmed he still has a future with the animation company. As for the rumor that he could be up for directing Guardians of the Galaxy Vol. 3 though, he says it's still just that, a rumor.
After Bumblebee, my goal is to return to work at the animation studios Laika, my "child", bringing with me all the baggage of experiences I have gained with this project. [...] I'm a huge fan of what Marvel did, it's no surprise for anyone to know that as a child I was a huge fan of comics. But no, it's just a rumor!
Knight was the lead animator on Laika's first movie Coraline, before he moved up the corporate chain even further. He became even more involved as a result, serving as the lead animator and producer on ParaNorman and The Boxtrolls, before actually directing Kubo and the Two Strings himself. It's not surprising that he 's planning to return to animation in some form next either. Now that he's tested the waters of live-action filmmaking, he could bring a new style to one of the studio's upcoming projects.
That said, he's not totally discounting the rumors of him being on Marvel's radar. He says he's a big fan of theirs, and has been since he was a child reading their comics. Knight was initially linked to the MCU as being one of the finalists for The Eternals before Chloe Zhao was hired. It appeared he made a strong impression, with his name coming up once again in regards to Guardians of the Galaxy Vol. 3's vacancy in the director's chair. As with any job hunt in Hollywood, those involved never confirm the discussions are happening until they're officially allowed to. This isn't to say that's what Knight is doing, but one can never be too sure with these types of scenarios and quotes.
MORE: All the Decepticons To Expect In The Bumblebee Movie
Source: Badtaste.it
- Bumblebee (2018) release date: Dec 21, 2018
- Captain Marvel (2019) release date: Mar 08, 2019
- The Avengers 4 / Avengers: Endgame (2019) release date: Apr 26, 2019
- Spider-Man: Far From Home (2019) release date: Jul 02, 2019


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A Healthy Slice Of Life Disney
Since I did not cook this marvelous meat in a tandoor oven, it is not actually tandoori lamb, which is able to save some of you the time letting me know all the opposite methods it is not the true deal. Helpful microorganisms provides nice help in enhancing well being circumstances like intestinal and bowel situations such as ulcerative colitis, inflammatory bowel syndrome, immune issues corresponding to allergies, type 1 diabetes and metabolic illnesses including type 2 diabetes and weight problems and psychological well being issues.
State-specific HLE estimates had been calculated from three information sources: 1) 2007-2009 state-specific, particular person-stage multiple cause mortality data from NVSS; 2) 2007-2009 bridged-race, mid-year population estimates from the U.S. Census Bureau; and 3) 2007-2009 self-reported health status data from BRFSS, a state-based, phone survey of noninstitutionalized U.S. civilian adults aged ≥18 years administered in all states and selected territories. The BRFSS question … Read More

subset: commoncrawl


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By pipe72 (anonymous) | Posted October 05, 2010 at 14:41:51
What about the people living next door? Is it really necessary to tear down a perfectly sound home to build a newer, larger building that may or may not suit the character of the neighborhood?
Permalink |
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FAMILY MATTERS: Andrew O'Hehir gives a nice overview of Tolkien's "The Fall of Arthur" in the pages of the New York Times that only stumbles at the very end. A couple of reasons why Tolkien abandoned that poem, which his son Christopher notes in the new book, involved the pressures of work and his family. Tolkien the Elder's interest also seemed to flag as his conception of Middle-earth started to grow. All sounds pretty reasonable to me. If you've ever tried to compose a long work of fiction or nonfiction, and you have a young family, that line about Tolkien's situation might resonant as strongly for you as it did for me. I can relate to the bard. I can easily see us, side by side in the pub down the road from Merton College, throwing back what's left in our pint glasses.
"I'm stuck!" he says. "I can't get a bleedin' moment to meself for Arthur!"
Tears pop from my eyes. I pound my fist on the bar.
"Aye John, you dinna hae to tell me! Barkeep, two more glasses!"
Near the end of his review, O'Hehir thinks Tolkien more likely broke off his work because the alliterative, Anglo-Saxon style of the poem doesn't fit the Arthur of history: "If there was ever any historical cognate to Arthur, he was a Celtic Briton who spoke a language ancestral to modern Welsh and Cornish. To write about him in the Germanic or Anglo-Saxon verse style of later centuries ... can only have struck this eminent philologist as an uncomfortable linguistic and historical pastiche."
Holy smokes that's fancy. Maybe it's true, but more compelling for me is the fact that in the years when he composed his Arthur fragment, Tolkien and his wife had four kidlings -- two early teens, two pre-teens. I'm sure any attempt to write about Arthur's clash with Saxon invaders paled beside the battles taking place in the Tolkien house!
OH, THE PLACES YOU'LL GO: A post last week on worthwhile poetry websites drew some nice responses from my friends, Jilanne Hoffmann and Michael Odom. Along with my recommendations:
they suggest a couple more that you should start patronizing:
SPD (Small Press Distribution)
Bookmark them and make a point of dropping in on a weekly (or more frequent) basis. You don't have to do too much, but the small gestures count for so much. They encourage the small publishers to continue on with their sacred work and, who knows? You might find yourself discovering some exciting new voices. Hope you're having an excellent week, friends.
Related articles
- The Last Tolkien? (nickowchar.wordpress.com)
- King Arthur was an Elf? (theoddestinkling.wordpress.com)
- Thank you, Tolkien (easternanglosaxonist.wordpress.com)


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Established 1997
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This course is a requisite for the Certified Court Manager program. Priority will be given to GCCA members who have satisfied their 40-hour credit requirement. The cost of the course for those members is $100, and $200 for those who have not received their 40-hour certificate.
When: March 22-25, 2020
Where: The Classic Center, Athens
When: September 20-23, 2020
Where: The King and Prince on St. Simons Island


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Silver Ice Metallic 2019 Premier Chevrolet Tahoe RWD 6-Speed Automatic Electronic with Overdrive EcoTec3 5.3L V8 Flex Fuel
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Spedizione standard GRATUITA & restituzioni GRATUITE
La funzione Java del tuo browser è disattivata. Attivala per poter usufruire al meglio di questo sito.
Per misurare il piede a casa, appoggiare il piede su un foglio di carta e tracciarne il contorno il più precisamente possibile. Se la misura così ottenuta è tra due numeri della tabella, si consiglia di scegliere il numero superiore. Per tracciare la sagoma, accertarsi di caricare bene tutto il peso sul piede. Nota: per ottenere i risultati migliori, è consigliabile effettuare la misurazione la sera.
Abbiamo creato questa tabella delle taglie di facile uso per consentirti di individuare agevolmente il numero di scarpe giusto per i tuoi bambini. *A causa della conversione tra le misure dei sistemi metrici e anglosassoni, in alcuni casi due taglie USA corrisponderanno ad una taglia UK o ad una taglia CM.
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I did not realize the tongue of the shoe was fixed in place, and attached to the material around the ankle. Although the shoe appears to be very well built, with excellent cushioning, it was not comfortable for me. I returned the shoes for a pair of HOVR Infinite shoes. The have very similar cushioning and are very comfortable if you need an alternative. [This review was collected as part of a promotion.]
Shoes are super lightweight but very durable. Thanks UA [This review was collected as part of a promotion.]
The opening of the shoe is designed for a 6 year old little girl. So I can't enjoy it.
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"A young accordion builder cannot fail to visit Maestro Stefano Prestileo's precious collection of accordions, which unlike many other collectors of this instrument, possesses only original professional instruments built between 1950 and 1965 by the historic great Italian companies and foreigners of the time. The very kind Master did not spare himself in showing me, playing and comparing all his instruments. Analyzing the strengths and rare defects and listening to the sounds, a passionate confrontation between musician and builder was born, for me an important and unique experience to see, touch and above all to hear where our predecessors had arrived, where we are today and where we need to aim for the future of this fascinating instrument.
All the fans know that the accordions produced in that historical period had avant-garde patents and construction techniques and above all of the unusual sound qualities and are considered for these reasons the best instruments ever built. It is a great pride for me to find in this precious collection a Beltuna, held by the Master, the only one in modern production worthy of being among those milestones".
Francesco Mengascini General manager Beltuna Accordions
Who is the master Stefano Prestileo?
I was born in 1955 in Belluno, in the north of Italy, and soon I showed my passion for the music.
My father, as a good Neapolitan, used to play the mandolin and the harmonica.
When I was 7, I concentrated my attention only on the accordion.
That sound, coming from the reed, was able to give me a special emotion and so I began to play it by ear, finding on my own the notes of some popular melodies that I used to listen to with my father.
After some time Dad brought an accordion home, and that's how I soon began studying this fascinating instrument.
After attending middle school, in 1970 I started my musical studies at the State Conservatory of Music "Cesare Pollini" of Padua, enrolled in the class of Flute Traverso. At that time the Accordion was not considered as an instrument for study by state conservatories, so I had to choose another instrument and decided that it was to be the transverse flute.
At the same time, however, I continued the study of the accordion, my first great passion.
In this period I listened to records that an uncle, fond of Accordion, living in France, took me on the occasion of periodic visits to our family and that I still jealously keep, being recorded by the great French accordionists: Marcel Azzola, Gus Viseur, Joss Baselli, Tony Murena, Andrè Astier, Jo Rossi and many others … all material that at the time was not available in Italy. I owe a lot to this uncle because besides playing the accordion he was also a great connoisseur of this instrument. At each of our meetings he gave me some real lessons on the constructive peculiarities of the various models of accordions.
Even my three brothers were playing and in a short time we had formed, together with some musician friends, an orchestra that performed publicly on various occasions.
Naturally, I supported the teaching activity with all this, teaching in various musical schools.
In 1982 in collaboration with a guitarist friend, I founded a cultural association called "Music Institute", of which today I am the president, with the main purpose of divulging musical culture.
This reality today, after 36 years, has more than 150 members of various instrumental courses, including thirty enrolled in the Accordion school.
Of particular importance are the courses for children aged 6 and over, made possible by the use of an accordion designed by me and made by the firm "Tiranti Fisarmoniche" of Castelfidardo, with special construction features and appropriate measures for children. Much attention has also been paid to the quality of the materials and the hand-type reeds and in some also hand-made reeds.
Currently I work full-time musical teaching activities at my cultural association the "Music Institute" based in the province of Belluno (Italy).
How does this passion come for the accordions of that era?
It all started about twenty years ago, when a dear accordionist friend, Maestro Francesco Visentin, let me try his personal Scandalli Super VI, built in the early 60s.
At the time I was playing on a ZeroSette mod. B 30 of the early '70s, a high quality instrument, with very good sound, keyboards and high-end mechanics, but the sound of the Super VI had impressed me particularly for its depth, dynamics and softness, at the same time powerful . From that moment I started looking for it, a very difficult undertaking. In spite of everything, taking various contacts with people in the sector after four or five years I managed to get hold of one of these specimens.
Since then my attention and curiosity has been diverted to the accordions built from the early 50s until the mid-60s. Coming into possession of accordions manufactured by the various Castelfidardo companies, in this fortunate period, I was able to realize that they are the best instruments ever built.
Most of the professional accordions I collected were recovered in the United States of America and in several countries of Northern Europe. Dari, Titan, Victoria, Sonola, Cavagnolo, Giulietti, Zerosette, Fratelli Crosio, Scandalli, Excelsior, Hohner, Dallapè and Guerrini.
All these extraordinary instruments are rigorously original and their fine-tuning was taken care of by an equally extraordinary person, a craftsman from Castelfidardo, the unforgettable Vitaliano Morbidoni, the one who tuned the instrument to the most famous French accordionists: Andrè Astier, Joss Baselli, Louis Ferrari, Marcel Azzola and Richard Galliano (to name a few) as well as the bandoneon of the great Astor Piazzolla. I was lucky enough to meet Vitaliano and his son, Roberto Morbidoni, who carries on his father's work with passion and tenacity.
With them over time I have welded a great friendship and they themselves are the authors of some models of accordion with the brand "Vitaliano Morbidoni" that are part of my collection. Instruments that, above all from the sound-tonal point of view, would define as extraordinary.
Can you show, for each model, the characteristics that contradicts all your accordions?
We could start talking about the Scandalli Super VI built in the late 50s. First of all I believe that the beauty of the sound of Super VI depends on the careful choice of woods and their seasoning (it is said that it could even reach 15 years) and of course the good quality of the steel used in the production of voices (soul of the accordion); no less important is the processing entrusted to the hands of expert craftsmen who took care of finishing, setting and tuning.
Another particularity is noted in the construction of the right keyboard: the keys are made of walnut wood, which due to its stability ensures the perfect functioning of the keyboard over time.
The reed-blocks are made from a single block, a solid milled maple. The left harmonic box consists of a single piece with a continuous band (section).
Another peculiarity can be noticed with regard to the cassotto, which is built in a single block of aluminum, without joints of any kind and an inner side is covered with a thin layer of a material similar to velvet that affects the softness of the sound. These are the main features, then of course other small details make the Scandalli Super VI a unique and inimitable instrument.
Now let's move on to an instrument with very particular and different construction features, I refer to the Sonola SS 4 mod. Ernie Felice, built in the 60s. It is an instrument with only two voices on the right hand, one low and one natural, both playing in a cassotto. The peculiarity is in the fact that the two voices resonate in a second box parallel to that of the normal cassotto, with the result of a surprisingly deep and very soft sonority. An instrument very suitable for jazz music.
In terms of Sonola, it is certainly important to name the model SS 20, unlike the SS 4, it is an instrument with four voices in the right hand: a 2 + 2 and in the fifth to the mechanics. The particularity of this accordion lies in the prolongation of the cassotto towards the keyboard. Equipped with Nazzareno Binci voices, it has a very powerful and particularly pleasant sound.
Another interesting instrument, from the constructive point of view, is Fratelli Crosio of the late 50s.
This accordion has an important characteristic, consisting in the application to the keys of a mechanism for the precise adjustment of levers. This mechanism, developed by Ettore Crosio, allows the perfect support of the valves on the harmonic level. From the sound point of view, the voices are mounted on the skin and spiked: a rather clear sound comes from it, incisive and full of harmonics.
We will now take care of the Hohner Gola, another extraordinary instrument, produced by the Trossingen house (Germany) in 1962. The Gola is ranked among the highest achievements in the accordion manufacturing sector. The instrument was designed by the technical musician and tuner Giovanni Gola di Stradella in 1954. This accordion was requested by the best concert artists of international renowned and is still much sought after today. The instrument is equipped with very soft and precise keyboards. What I have personally witnessed is that due to its size, in a sound position, it is very easy to play; another detail that the players immediately feel is the very low air consumption compared to other accordions. As in all the others of the same period, the sound is naturally very respectable.
In the collection there are also several models of the Titano, the model Royal cassotto bass standard, Royal cassotto free bass, Emperor cassotto free bass, Palmer Convertor Emperor flat bottom and free bass, model Orchestra flat bottom standard bass and Virtuoso model flat bottom and standard bass .
All of the early 60s and all equipped with Catraro voices, in my opinion of the highest quality and exceptional timbre.
Another instrument that deserves to be taken into consideration is the Giulietti model Classic 127 and the Super Model, also from the early 60s. With their voices Nazzareno Binci, they express the best among the accordions of those years.
Last but not least, the Cavagnolo model Vedette 10, typical instrument of Vercelli, adopted by the French. Instrument with a bright, if not crystalline sound in its high notes, at the same time deep in the lower part. An instrument that has always fascinated me.
In your collection are there some instruments that belonged to famous people or artists?
Actually in the collection there is an instrument that belonged to a famous accordionist: the Fratelli Crosio of the fifties, of Louis Ferrari. It is an original Crosio, still in excellent condition and with typical characteristics of the Stradella accordions.
Are there any artists who refer to you to have a good instrument?
In the last two or three years, some artists, coming to know my collection, asked to try these instruments of the 60s. Some young people who had never had the opportunity to have in their hands one of these specimens, were absolutely impressed, especially by the beauty of the sound and the character that distinguishes each of these instruments built by various accordion companies of that era. Each has its own sound identity.
Recently the very famous French accordionist Richard Galliano was also interested in an instrument that was part of my collection, strictly from the 60s.
In your collection, is there an instrument that is your favourite?
To be honest, I find it a bit difficult to answer this question because each of these instruments has a high degree of quality, but for the truth there is an accordion that satisfies me particularly and it is the Royal Model Titano of 1964 with convertor bass system for fifth.
In this one, in my opinion, all the main features that any accordion could wish for are summarized. In particular, the timbre of the Catraro voices: a well-defined sound and rich in harmonics, which I would call "magical", then the mechanics (left hand) play beautifully and is very balanced with the right keyboard, unlike for example the Royal with standard bass, always with Catraro voices, but with the left that is slightly intrusive on the right hand. In conclusion, I consider it a very versatile instrument, which lends itself well to performing different genres.
Why is the Beltuna the only instrument of the current accordion production that you inserted in the collection?
I recently visited the renowned "Beltuna" accordion company.
As they will remember (Francesco and his father Arnaldo Mengascini, the owner of Beltuna), during my visit, they were very helpful and courteously took me on a visit to their company. This was followed by a pleasant conversation, with exchanges of opinions regarding the instruments of the 60s and those of modern production. I was immediately intrigued by the fact that in this company there is a lot of research and innovation.
Now, we know very well that in the 50s / 60s the best instruments were produced, but in my opinion, we should not rule out the possibility of aiming at a production of accordions that can at least approach these historical specimens.
To answer your question precisely, I would say that I have included in the collection a "Beltuna" (in this case the Leader model) first of all for the particular attention paid to the sonic response and quality of the voices. In particular, I greatly appreciated the "Amplisound" patent which, above all, in this model allows you to obtain greater intensity of sound.
As for the aesthetic part, I find, without any doubt, that it is a very refined product. Quality of materials, aesthetic refinement and timbric research make Beltuna a unique instrument in the production scene of modern accordions: this is why it is included in the collection.
Is the collection complete or missing anything?
I certainly do not have the presumption to affirm that this is a complete collection, I simply believe I have collected a good part of historical professional accordions, of the most famous big Italian and foreign companies of that era.
Questo post è disponibile anche in: Italian


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6 out of the top 10 companies lost market cap of Rs 54,916 crore; highest losses to Reliance Industries Ltd
In the market cap, 6 out of the top 10 companies of Sensex, recorded a total of Rs 54,916.4 crore last week. Reliance Industries suffered the biggest loss. Besides Reliance, the decline in market cap of ITC, HDFC Bank, State Bank of India (SBI), HDFC and ICICI Bank was seen, whereas the rise in market capitalization of Tata Consultancy Services (TCS), Infosys and Kotak Mahindra Bank was recorded.
RIL's market capitalization declined by Rs 22,153.28 crore to Rs 7,18,317.52 crore while ITC's capitalization declined by Rs 14,877.75 crore to Rs 3,35,637.09 crore. HDFC's market capitalization dropped by Rs 5,139.73 crore to Rs 3,35,611.54 crore and State Bank of India's capital declined by Rs 7,987.51 crore to Rs 2,45,783.14 crore. HDFC Bank's capitalization dropped by Rs 3,080.47 crore to Rs 5,72,419.47 crore, while ICICI Bank's market cap declined by Rs 1,677.66 crore to Rs 2,26,769.52 crore.
On the other hand, TCS's market cap increased by Rs 9,512.30 crore to Rs 7,48,957.23 crore while Infosys's capital gains up to Rs 6,356.32 crore to Rs 2,97,523.86 crore. Hindustan Unilever's market capitalization went up by Rs 14,990.19 crore to Rs 3,94,583.03 crore and Kotak Mahindra Bank's capital rose Rs 9,516.85 crore to Rs 2,44,548.88 crore.
In the top 10 companies in terms of market capitalization, TCS is at the top. Following are the positions of Reliance Industries, ADFC Bank, Hindustan Unilever, ITC, HDFC, Infosys, State Bank of India, Kotak Mahindra Bank and ICICI Bank. The 30-share Sensex of the Bombay Stock Exchange fell 521.05 points, or 1.43 percent, to close at 35,673.25.


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BBQ & Silent Auction at Fence
June 2 @ 3:00 pm - 7:00 pm$25
Event Navigation
Date: June 2nd, 2019
Time: 3 pm to 7 pm
Location: FENCE house
Tickets: $25 each (includes dinner)
Address: 3381 Hunting Country Road, Tryon, NC 28782
Entertainment includes local musicians, a silent auction with items donated by local businesses, and Foothills Mountain BBQ dinner and deserts!
Tickets will be sold in advance and at the event! Please make checks out to Brandon Knox and mail to Patti Lovelace at 411 Creekside Lane, Tryon, NC 28782.
Looking for additional donations to make the auction a huge success! Please contact Patti Lovelace at 828-817-3508.


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Nigerians take #NYFWSS18 in Style! ??
From the edgy Fenty x Puma motocross show to Teyana Taylor's jaw dropping performance on the runway, we're closely following all the thrills and fun at NYFWSS18.
While the Spring 2018 collections showcased are defining the trends that will be big this new season, our favorite style stars are giving us major fashion moments.
Whether they are backstage, on the red carpets or strutting down the streets of NY, Nigerians are totally rocking New York Fashion Week.
Check out some of our favorite photos so far
Photo Credit: Instagram / @missvivacioust / @doctoridia / @jackieaina / @iamefetommy / @awedbymonica /@pepicola / @favlogu
7 Comments
I really hope to also be on the runway for THE NEWYORK FASHION WEEK BY HIS GRACE…
Mrs Faith Ifeoma Ogaga, mother of 2kids, from delta state represented Nigeria in the just concluded
MRS UNIVERSE 2017 Pagent, Durban, South Africa…
A pagent held over 10days in the beautiful city of Durban had 83 contestants in attendance..
Mrs Faith Ifeoma Ogaga, despite great challenges, clinched the title for
She would be working on promoting the theme of the event which is
She calls on NGO'S, Companies with Corporate Social Responsibility , the Entertainment Industry to support and help to drive this initiative..


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In the summer of 2017, it was our pleasure to have Blake Tyers of Creature Comforts at the brewery to spend some time, brew some wort and then share some beers and food as we began the process to create Le Feu Vert. Le Feu Vert translates to "The Green Light," a play on the hoppiness that we wanted to assert through this beer and also the Edison bulb that is shared in both of our logos.
Blake and I share inspiration from the classic, traditional, rustic beers of Belgium. Although our Side Project culture has migrated toward a more lively, vibrant and tart profile, we wanted to try to push it back, slow it down, and create something that resembled a more "rustic" flavor profile.
We brewed a Barrel-Aged Farmhouse-inspired Pale Ale with Pilsner malt, two types of wheat, oats and spelt. We hopped it aggressively with aged Styrian hops and fresh Citra to merge old- and new-world ingredients and then fermented it with a blend of our house Saison yeast and local Missouri microflora. Being the hoppiest beer we have used our mixed culture on to date, we knew that an extended aging period in French Oak White Wine barrels was going to be needed for everything to come into a balanced harmony. Le Feu Vert was aged for 15 months in oak and then bottled conditioned for an additional 5 months before being ready to be shared with you. The result is a deep, layered, funky beer that exhibits the profile of Side Project, but with more rustic, hoppy, classic Belgian roots.
This Saturday at both locations, we will have bottles of Le Feu Vert available to go. Bottles will be $30 for a 750mL and allocations will be based on the turnout. As always, if you are in line by the start of the release (noon at The Brewery and 1pm at The Cellar), we will have an allocation for you.
I would like to thank Blake for his time, his collaborating, and most importantly his friendship in creating this beer.
We hope that you enjoy Le Feu Vert and thanks to all of you for reading this and supporting our tiny niche brewery.
Cory King


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Archive - November 2017
Recent Posts
- Thinking Of an Escapade to Bromont with Your Family? Check This Guide!
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- Luxury Cruise Experience that You Should Not Miss
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- Get the cheap travel insurance for students
- Book your northern lights tours at affordable rates
- Discover your inner-adventurer with a nature tour in Chulaporn Pattana 9 Tourism Community, Yala


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We bring your property right to the buyers – through our top search engine rankings and our local estate agencies. That's how we achieve our shared goal of selling your property fast at the best possible price... Find out more...
Real estate in a good location in Mallorca is one of the soundest investments around. You can maximise your returns by letting your property to reliable long-term tenants... Find out more...
Holiday letting – the profitable alternative if you aren't using your house in Majorca all the time. Through "Porta Holiday", we are the first estate agency to offer this service... More about holiday letting...
Cala Mayor, Bright, spacious apartment in a quiet complex with pool, garden, parking and sea views in Cala Mayor
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The bay of Cala Mayor goes along with the harbor of Porto Pi in Palma. It is a very busy place with many restaurants and boutiques and is also very famous for its animated night life. The highlight of Cala Mayor is the beach which has the same name of 1km longitude and is fine sandy, flat and with very clean water and is very famous for families. Above the bay of Cala Mayor the famous painter Joan Miró had his studio. Now the Miró museum is located there. This place is a very interesting holiday destination through its closeness to Palma throughout the year.>


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Dear visitor, welcome to Kartonbau.de - Alles rund um Papiermodelle, Kartonmodellbau und Bastelbogen. If this is your first visit here, please read the Help. It explains in detail how this page works. To use all features of this page, you should consider registering. Please use the registration form, to register here or read more information about the registration process. If you are already registered, please login here.
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Items you may wish to buy in preparation for your self-catering holiday rental at Craigwell Cottage in Edinburgh City Centre, ideally situated near the Royal Mile, Holyrood Palace, Scottish Parliament and Dynamic Earth. Perfect for holidays, short breaks and vacation rentals in Scotland's Capital City. Within easy walking distance of many Festival Venues. Also easy walking distance to the Family History Centre where you may expand your research into your own Family Story.
get ready for your stay at Craigwell Cottage
We spend lots of time in the wee small hours reading and researching articles and information about things to do in Edinburgh, and history, geography, fiction and non-fiction writings about our fair City. We're pleased to recommend some ideas here which can be bought from Amazon by clicking through to their site from the links below.
recommended reading
Susan recommends some books about Edinburgh or with an Edinburgh theme which you might like to read in preparation for your stay at Craigwell Cottage
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SOUTHBURY, CT--(Marketwire - May 17, 2010) - Owning a single unit franchise can be a sure path to self-sufficiency, but many seasoned franchise owners know that the money is in the numbers -- or numbers of units. Today, according to the International Franchise Association (IFA), 18 percent of franchisees are multi-unit owners controlling nearly 50 percent of all units. So, if you want to grow your finances, consider becoming a multi-unit franchisee.
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An evening to celebrate math for the NYC youth community, the Top Honors annual fundraiser benefits NYC middle school students committed to improving their math skills.
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AGE // Are there ID or minimum age requirements to attend the event?
Top Honors welcomes anyone 21 or over to this open bar event. Our venue reserves the right to ask for IDs before serving a guest.
THREADS // What do I wear?
Whatever will get you in the mood to celebrate our passion for math. Most of our guests come straight from a Manhattan office, but you be you!
SUBWAY OR CAB? // What are my transportation options for getting to and from the event?
Subway to any of these stops in midtown Manhattan will bring you a few minutes on foot from the venue.
- 23rd Street (1/C/E Subway Lines)
- 28th Street (1/2/6 Subway Lines)
- 28th Street Broadway (N/Q/R/W Lines)
TICKET // Should I bring my printed ticket to the event?
No, please don't. We want to get you inside quickly and efficiently! All we need is your full name.
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Pease contact Top Honors with the attendee's name so that their name will be on the guest list at check-in. See instructions above under "GUEST NAME CHANGE // Can I update my registration information?"


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Publication Year
Literature, Camus, Shadowed Corner, absurd, character development, literary criticism
Comparative Literature | Creative Writing | English Language and Literature
Willa Cather's title character in 'Paul's Case" is threatened by something quite frightening and unknown to him, which he characterizes as "the shadowed corner" and into which he eventually peers. From the short story, several interesting characteristics emerge that bear a remarkable resemblance tot he elements of the absurd experience Albert Camus presents in his essay "The Myth of Sisyphus" ("Le Mythe de Sisyphe," 1943). Upon this correspondence I have based the key device for this paper, an inn. Therefore, after a brief summary of "Paul's Case," I will establish the similarities between Paul's experience of the shadowed corner and the irrational, unreasonable world, an essential element of Camus' philosophy of the absurd. With this relationship established, I will describe the inn, The Shadowed Corner, and delineate the development of the rest of the paper with respect to it.
Department 1 Awarding Honors Status
English: Literature and Writing
Recommended Citation
Dampier, M. E. (1976). The Shadowed Corner: A Synthesis: a Selective Study of Albert Camus' Hero of the Absurd (Undergraduate honors thesis, University of Redlands). Retrieved from https://inspire.redlands.edu/cas_honors/563


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We have been working very hard over the past few months at Zap Sweets developing a new mobile-optimised version of our online sweet shop for everyone to enjoy on the move! You can now buy your favourite retro sweets, american candy and chocolate from your phone wherever you may be!
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Syria's Civil War is no broad two-faction conflict, but a seemingly unending array of minor battles between myriad different groups over different territory, complex and unpredictable.
Most of the fighting is stalemated, but the most recent territorial gains have been from Kurdish militias, which have ousted al-Qaeda from dozens of towns in the nation's northeast in recent weeks. For a lot of factions, this is a somewhat welcome shift, with Western nations hoping it somewhat blunts the impact of al-Qaeda's dominance over the rebellion and gives the more moderate (i.e. Western bankrolled) factions a chance to reassert themselves.
For Turkey it's a big problem though. Turkey embraced the rebellion early on, envisioning a Sunni Arab nationalist Syria that would weaken Kurdish autonomy bids, but instead finding Islamist incursions uniting Kurdish blocs and pushing them toward de facto independence.
In Iraq, long-standing concerns about Kurdish autonomy may be falling by the wayside, however, as the central government comes to appreciate them as an effective foil for al-Qaeda. Either way, the Kurdish surge looks to leave a lasting imprint of northeastern Syria, and further complicates the overall war.


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The PORTELAMOR invites all to do a visit to the past and remember the PORTELA´s birth.
In the Century XVIII and XIX there were 13 sugar mills in Rio de Janeiro, productive and economically important, being that a farm detached, Engenho do Portela, and its extension was from Campinho until Rio das Pedras, the slavers contributed in the daily labor. This extension of land later received the name of the cowboy and most famous seller of the locality: LOURENÇO MADUREIA.
In 1890, with the TRAIN arrival, an expressive number of persons got round this locality, named Rio Vizinho. In 1917 receives the definitive name of OSWALDO CRUZ in honor to the great sanitarist.
The History of the Portela reflects the 1921´s , when Esther Maria Rodrigues (1896-1964) and its husband Euzébio Rosas, then flag-bearer and samba host of the Solitary Star cordon of Madureira, moved from that district to Oswaldo Cruz, where found the group 'Who Talks about Us Eats Fly '.
A dissent of this group, controlled by Galdino Marcelino dos Santos, Paulo Benjamim de Oliveira (known as Paulo of the Portela), Antônio Rufino and Antônio da Silva Caetano, resulted in 1922 in another group, the 'Small baianas of Osvaldo Cruz', that in the following year adopted a status and established a directory, fact that made the foundation date of Portela be many times reflected erroneously to 1923. The Group, however, did not last too much time.
April of 1923 Rufino, Caetano and Paulo, gathered in a house , where fu ctioned the Bar of the Nozinho, in the Road of the Portela, number 412, decided to create an another Group, in April, 11 of 1926, being born then the 'Carnival Group Osvaldo Cruz'. Founded on the concepts of Paulo Benjamin de Oliveira, to avoid the confrontations in the streets. Days after the block foundation, Paulo undertook to the baptism. D Martinha baiana related to the Candomblé, and declared patrons of Our Lady of the Conception and Saint Sebastian. Mrs. Martinha was declared the sponsor.
'In 1930 the School emerged with the name of ' Who make us is the Whim', given by Heitor dos Prazeres after winning the contest of carnival and get home, assumed the Set of Oswaldo Cruz and its first providence was change the name of the 'Set of Oswaldo Cruz', realized some presentations, but there was not any contest. After the carnival Manuel Bam Bam and Antônio Rufino, the main adversaries of Heitor dos Prazeres, returned to the school government and changed its name for 'Come as you can'.
At 1st of May of 1934, at receiving the managers of the 'Come as you can' pretended to renovate the license of functioning, the officer Dulcidio Gonçalves did an unexpected proposal: the change of the name of the school. Alleged that the present name was indecent for a School of Samba of large-scale. Paulo da Portela tried to argument but the officer supported the idea of change and suggested a new name 'RECREATION CLUB SCHOOL OF SAMBA PORTELA'. Under the circumstances, the proposal was accepted.
The Samba Dominating the World, the old 'Come as you can', now PORTELA, entered the History as winner of the first parade of the Rio de Janeiro, in 1935. In the first step of the Portela´s History, Paulo Benjamin de Oliveira has been leading the School's destination, helped by its companions of samba, being Antônio Caetano e Antônio Rufino the close companions. Still around its leadership other 'Masters' were present like: Manuel Gonçalves dos Santos (Manuel am Bam), Ernani Alvarenga, Alcides Dias Lopes (Alcides, historical raskal), Nélson Amorim, João da Gente, Chico Santana, Alberto Lonato, Cláudio Bernardes, Osvaldo dos Santos (Alvaiade).
The second step of the Portela´s History was conduced by Natalino José do Nascimento, Natal; it was in the back of his father's house, Napoleão at the corner of the Street Joaquim Teixeira with the road of the Portela, that the School was founded. Responsible by an odyssey blue and white school in the revolution of the Schools of Samba of the Rio de Janeiro.
The death of Paulo da Portela that Natal decides to dedicate itself to the PORTELAand helped to become it the biggest of all the schools of samba. In 1972, Natal began to build the present headquarter of the PORTELA, the PORTELÃO. Natal was a composer samba, King of the Samba, of the district, of the city. Natal was a samba composer that never did samba, that never draw a step that never sang a refrain.
The LOVE overcame the PAIN. The first Portela persons were magic, made music persons of the ex slaves and theirs sons. The first Portela´s compositions portrayed all the difficulties, lack of human, budgetary and material resources that those persons passed in that period of liberation. The jongo, as a typically rural expression, found in the Madureira and Oswaldo Cruz region, away from the town center, a fertile field for the almost untouched preservation of its purest and most original form.
The visit to the past that the PORTELAMOR CHEERING invited all will stay here but the Portela continues to write its HISTORY.


text: I'm not so excited about it ... our office is moving so we have tons to get done before Thursday night. I also have to attend a seminar on Thursday so therefore my stuff has to be all packed by tomorrow ... who knows if we will be at work tomorrow! They have already had an annoucement that we are leaving early AND starting late tomorrow ... we'll see I guess!


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Commissioners voted unanimously to deny the use of boots, which fit over the wheels of cars and prevent them from moving. Customers at an Acworth McDonald's complained they were booted while inside the restaurant and required to pay a $500 release fee.
via Cherokee joins other counties in banning boots | ajc.com.
My Note –
So, since Cherokee county and three other counties have voted to refuse to allow these parking boots – the companies involved with them are going to small towns across North Georgia and downtown Atlanta areas to use them and get contracts for using them. Now, I don't care who they are – those companies and individuals doing that are just evil. Nobody is getting to elect them, nobody gets to vote on giving them authority, and nobody would consider that abuse of power to be anything right for people's everyday lives.
Any business that tolerates or contracts for those parking boot placing companies to be used on their properties, needs to be boycotted by all customers that would normally have spent their money with them. It is ridiculous.
And, after seeing the "Parking Wars" shows from other cities, I would have to say that to constantly abuse people that way, insult them, disrespect them, cost them and add to the exorbitant fees required just to live and make a living is nothing but inciting violence.
It discourages people from doing things in good ways and productive ways while promoting violence and encouraging people to simply not give a damn to be honest, decent, good and productive citizens. This crap and crap like it has got to stop.
If it is the goal of cities, counties and states to simply take 75% of every financial resource, time and effort of every citizen – then just come out and do that. At least it would be honest.
– cricketdiane
Just as a note –
The business people who decided to have a business in placing parking boots on people's cars could've made a business repairing our dams, providing better parking, restoring our bridges and other infrastructure, or developing better traffic pattern plans for the DOT to use or any of a number of other very helpful things our state and other states actually need. But, no.
For some reason, they chose to base their business model on some abusive, arbitrary, evil abuse of power while adding absolutely nothing of value to our communities, to our safety or to the productivity and opportunities of our daily lives. That is obscene.
And, the local leadership of city and county councils that support that way of doing things – are just as evil, abusive of their communities and wrong.
It has got to stop. Things like that make it harder for small businesses, people who are self-employed, individuals, families, contractors, subcontractors and business people to engage in productive activities while contributing nothing to the opportunities, safety and economic re-building of our nation. It is just wrong and costing us all.
The $500 being spent to get off that parking boot which never should've been placed on any car or truck or commercial vehicle – is money that didn't go to any of the other places and businesses where it would've otherwise been spent and distributed. It is stealing.
It steals that money from every other business where it would've been spent. It steals the goodwill, the time, the effort, the sense of encouragement, and the hopefulness of every single person and business that is subjected to it.
And, it steals the opportunities from that time, effort and money which would have otherwise been being made – whether it is the day of work not gone to, the job not efficiently completed, the economic damage made to those families, individuals and businesses because they had to get their vehicle with that money rather than pay other bills and provide for themselves, or if it is in the damage that is done by stealing people's hopefulness and willingness to be honest, decent, and productive in the community.
What value is there in our nation, for forcing people through things like this, to simply give up trying – especially at this point?
– cricketdiane


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In a previous article, we discussed the structure of the atom and mentioned that it contains positively charged protons and neutrally charged neutrons in the nucleus, and negatively charged electrons forming a "cloud" around the outside. Below is a helium atom as an example.
Despite the fact that electrons are many times smaller than protons, their charge is of the same magnitude. That is to say that the amount of negative charge on one electron is exactly equal to the amount of positive charge on one proton. An atom therefore needs an equal number of protons and electrons to have a neutral charge (in the case of Helium, this works out to 2 protons and 2 electrons). Whenever the number of protons and electrons are not balanced, the atom is called an ion
.At this point I would like to elaborate a bit on exactly what I mean by electron "cloud". In the early days it was thought that electrons circle around the nucleus in orbits called "orbitals". It seemed to make sense at the time that each atom must look like a little solar system with the nucleus playing the role of the sun and electrons the role of planets. As elegant as this sounds, the real answer turned out to be much more strange.
Whenever charged particles change direction or speed, they give off a little energy in the form of electromagnetic radiation. This law of nature is the reason radio towers can send music to your car radio receiver and why power stations can produce electricity from spinning turbines. If electrons were truly orbiting around the nucleus, as they turn they should constantly emit some electromagnetic radiation and in doing so lose some energy. This constant loss of energy should cause the electrons to spiral ever closer and eventually crash into the nucleus meaning that atoms would only be stable for a fraction of a second. Scientists couldn't help but notice that all the atoms in the universe don't seem to be spontaneously destroying themselves so it was back to the drawing board on the structure of the atom.
The solution to this problem required an entirely new branch of physics known as quantum mechanics, which is a study of motion on a very small scale. We will discuss quantum mechanics in a different article but it suffices to say that the solution to the problem is that electrons do not orbit at all, instead they exist around the nucleus in a sort of probability cloud. There are several different types of electron "clouds" (also referred to as "shells"). Each has a different shape and is capable of holding a different number of electrons.
Let's return to the periodic table of the elements for a moment (see the previous article for further details on the periodic table). We can use the table to instantly find the number of electrons needed for any given atom to have a neutral charge. Recall that the numbers given below are the number of positively charged protons in the nucleus of that atom. For example carbon (symbol "C") has 6 and argon (symbol "Ar") has 18. boron would therefore need 6 electrons to be neutral and argon would need 18.
We can also use the periodic table to determine how the electrons will organize themselves into various types of electron clouds. These clouds will fill with electrons starting from the inside (close to the nucleus) and moving outwards. Interestingly enough, most of the chemical behaviour of an element depends only on the number of electrons in its outermost cloud. These electrons are referred to as valence electrons. You can get a sense of how many valence electrons an element has by its position on the table. The elements in the far left row have one valence electron and the elements on the far right have a full outer cloud. So sodium (Na) has one valence electron and helium (He) has a full outer cloud. The elements in the second row from the right are one electron away from having a full outer cloud. chlorine (Cl) is an example of this.
So what does it matter whether the outer cloud is full or not? As it turns out, atoms will exchange electrons with other atoms in order to achieve an outer cloud that is either full or empty. For example sodium (Na) will readily give up its only valence electron to a chlorine (Cl) atom. Sodium empties its outermost cloud and chlorine fills its outermost cloud so its a good deal for both atoms. The result is a positively charged sodium atom (since it lost a negative electron) and a negatively charged chlorine atom (since it gained a negative electron). The two opposing charges attract and the two atoms stick together forming sodium chloride (which you may recognize as the chemical formula for good ol' table salt). I should note that this reaction is incredibly violent and yet the result is a chemical that is safe enough to sprinkle on your fries.
So why exactly do atoms care whether their outermost clouds are filled? They don't. It is often taught in introductory chemistry classes that atoms are "striving" to fill their outer clouds as if atoms are some sort of sentient beings trying to keep up with their neighbouring atomic Joneses. The reason an electron will move from the sodium atom to the chlorine atom when the two pass close enough is because the result is a lower energy state. Admittedly this isn't a very satisfying answer at first glance so let's look at an example.
Think of a ball sitting on a table. If undisturbed the ball will stay put. If you give it enough of a bump however, it will roll off the table onto the floor and stay there. If you bump it again, it will not hop back up onto the table because in the gravitational field of the Earth, the floor is a lower energy state than the higher table. Once it moves to a lower energy state, it takes a significant amount of energy to reverse the change (in this case you would have to pick the ball up to put it back). The outermost electron in a sodium atom is in the same situation. It's sitting there just fine, however if that sodium atom bumps into a chlorine atom, the electron will "fall" away from the sodium electron cloud towards the lower energy state in the chlorine electron cloud. One the electron has been transferred, it would take a lot of energy to move it back.
We've spent a lot of time discussing the electron clouds and transfer of electrons between these clouds, but what does all this have to do with chemistry? The answer is: everything! The movement of electrons between atoms is chemistry. When you see a firework explode, there is a rapid reaction taking place between oxygen and other chemicals that generates a lot of gas and heat in a very short time. The heat creates bright light and the rapidly expanding gases make a loud BANG! What about the old vinegar and baking soda trick? The atoms in vinegar (acetic acid) and those in baking soda (sodium bicarbonate) bump into one another and the electrons flow towards lower energy states. This results in the atoms recombining to form salt, water, and carbon dioxide which quickly bubbles out of the mixture. Every reaction you see in daily life, whether it be cooking food to improve its taste or watching metal rust, is the result of electrons moving between atoms. The sheer number of different types of atoms and the limitless number of ways they can be combined are the reason that chemistry is such a massive and complex field of science. And yet behind all this complexity is the simple movement of electrons from higher to lower energy states.


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Core Record
|Painting Title
|Flagellation of St Barbara
|York Art Gallery
| Attributed to Siebenbürger, Hans (Transylvanian painter, died before 1483, active in Germany and Austria)
Previously attributed to Master of the Schotten Altar II (German painter, active in 2nd half 15th century)
|Date Earliest
|about 1460
|Date Latest
|about 1470
St Barbara is depicted being beaten by her father. According to the legend, Barbara was an early Christian saint and martyr, living in 3rd century Nicomedia. She was said to have been the daughter of a rich pagan named Dioscorus. Having secretly become a Christian, she rejected an offer of marriage. Her father tried to break her by locking her up in a tower and torturing her (e.g. with flagellation), but he did not manage to change her mind. Finally she was condemned to death by beheading and her father himself carried out the death sentence.
The Flagellation of Saint Barbara probably used to be a part of a retable and other panels from the same altar would be the Martyrdom of Saint Barbara (Upton House, Warwickshire) and Christ visiting St Barbara in Prison (current location unknown, on the Munich art market in 1924). They were all most likely created by Hans Siebenbürger around the same time as the altarpiece of St Ursula from Lilienfeld Abbey from around 1470; three panels from that altarpiece are: Martyrdom of Saint Ursula (Österreichische Galerie Belvedere, Vienna), Baptism of the St Ursula's Companions (sold Auktionshaus Albert Kende, Vienna, 1931, current location unknown) and St Ursula being blessed by the Pope (in the collection of Marianne Werther in London in 1970). Recent restoration in 2007 revealed the high artistic quality of the York painting, so it is now justifiable to attribute it to Siebenbürger himself.
|Current Accession Number
|religion (Saint Barbara Legend); figure; landscape
|73.6 x 54.6 cm
|oil on panel
|Acquisition Details
|Given by F.D. Lycett Green, Esq. through the National Art Collections Fund 1955.
|Sotheby's, 4th November 1931, purchased by F.D. Lycett Green.
|Principal Exhibitions
|F.D. Lycett Green Gift, York City Art Gallery, 1955, no. 27.
|Benesch, O., 'Die Wiener Tafelmalerei im Zeitalter Friedrichs III' in Wiener Jahrbuch für Kunstgeschichte VII, 1930, pp. 189-190; York Art Gallery Catalogue - Catalogue of Paintings, Vol. I: Foreign Schools 1350-1800, City of York Art Gallery, York, 1961, p. 90-91, pl. 77 as by Workshop of the Younger Master of the Schotten Altarpiece, late 15th century; Roller, S., 'Zwei Arbeiten aus der Werkstatt Hans Pleydenwurffs in der Nationalgalerie in Prag; Teil II. (Dv; práce z dílny Hanse Pleydenwurffa z Národní galerie v Praze; ;ást II.)' in: Bulletin Národní Galerie v Praze IX, 2001, p. 32 as ca. 1490; Oil Paintings in Public Ownership. North Yorkshire, London, 2006, p. 309 as by Master of the Vienna Schottenstift, active 1469-ca. 1480.
The so -called Wiener Schottenmeister (Master of the Viennese Schotten Altar) was a workshop that created the retable to the Schottenstift in Vienna in 1469 (so dated, but some scholars believe it was produced between 1469 and about 1475). 21 panels survive, now partly in Schottenstift Museum and partly in the Belvedere in Vienna. The Schotten Altar Master was clearly influenced by Nuremburgian painting, and he knew Netherlandish art as well. There has been discussion between scholars as to whether the Schotten Altar should be considered the work of two artists, or just one, hence the previous attribution of YORAG : 752 to the so-called Master of Schotten Altar II (or the Younger). According to recent research there was only one Master of the Schotten Altar, and he seems to be identifiable with the painter Hans Siebenbürger, of Transylvanian origin, who most likely studied in the Nurembergian workshop of Hans Pleydenwurff and later worked in Vienna until he died, before 1483.
Francis Denis Lycett Green (1893-1959) was a member of the wealthy industrial Green family from Wakefield that was among the great philanthropic benefactors of York. He began buying pictures during the 1920s, advised by some of the most famous art historians of the day. By the 1940s, he owned examples from almost every school and period of European Art – a comprehensive collection of over 130 paintings dating back from the early 14th century to the end of the 18th century, representing every important European school of art. In 1952, he offered it to the National Gallery of South Africa, having moved to Cape Town in the hope that the climate would improve his health (which was poor because he was badly injured in the First World War). However when a dispute arose with the Cape Town Gallery, Francis withdrew his pictures in protest and shipped them back to England. The entire collection of 130 pictures was at first on loan to the York Art Gallery and in the spring of 1955 he decided to give it to the Gallery.
|Rights Owner
|York Museums Trust (York Art Gallery)
|Dr Magdalena Łanuszka
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November 9, 2018
From left: Twins Lauren and Elizabeth Bradshaw receive an award from Centreville Day Chairman Cheryl Repetti (dressed as the historic Mrs. Spindle).
Stories this photo appears in:
Sully Police, Local Residents Honored
Centreville Day Planning Committee presents awards.
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Southern Nevada
Active Republican Women of Las Vegas (#44000170)
3rd Thursday evenings 5:30, Red Rock Country Club, 2250 Red Springs Dr., Las Vegas 89193 (702) 304-5600
ARW Website
Boulder City Republican Women (#44000281)
3rd Thursday, 11:30 a.m. Banquet Room at Railroad Pass Hotel & Casino, Henderson.
Dark: June, July, & August
December meeting 2nd Thursday
Club Mailing Address: P.O. Box 60264, Boulder City, NV 89006
BCRW Website
Mesquite Republican Women (#44002910)
2nd Wednesday, 5:00 p.m., Mesquite Veterans Center, 840 Hafen Lane, Mesquite, NV 89027
Club Mailing Address: 840 Hafen Way, Mesquite, NV 89027
Pahrump Valley Republican Women (#44001281)
Meeting: 2nd Monday, 7:00 PM, Nye GOP Office; NCRCC Office; 3370 Highway 160; Pahrump, NV 89060
Club Mailing Address: P.O. Box 21, Amargosa, NV 89020
Republican Women of Las Vegas (#44001447)
3rd Wednesday, 11:00am, Maggiano's, Fashion Show Mall, 3200 Las Vegas Blvd South # 2144; Las Vegas, NV
Club Mailing Address: 6550 Peachtree Lane, Las Vegas, NV 89103
RWLV Website
Southern Hills Republican Women (#44002305)
4th Tuesday, 10:45 social, 11:30 meeting, Revere Golf Club, Buckman's Grille; 2600 Hampton Rd; Henderson, NV 89052
Club Mailing Address: 2505 Anthem Village Drive, Suite E-223, Henderson, NV 89052
SHRW Website
(NOTE: Always check SHRW website to confirm meeting date)
Spring Mountain Republican Women (#44001895)
Meeting: 4th Thursday 11:00 meeting, Speidini's Restaurant, JW Marriott, Rampart, Las Vegas
(except Nov & Dec)
Club Mailing Address: 5704 Crimson Ridge Dr., Las Vegas NV 89130


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My husband and I have devised an unofficial nap schedule on weekends. Whoever gets up with the kids that morning, often gets to take a nap in the afternoon.
A few Saturdays ago it was my turn. So I handed off the parenting-baton (figurative, not literal) to my husband and headed to the bedroom. I crawled under the covers, read about three pages and collapsed into the deep exhausted slumber only a parent can appreciate.
I woke up about an hour later to a lot of shrieking. I don't think the shrieking woke me up, it's far too common in our house to be a novelty. But I lay in bed and could just see through the open door into the main area of the house. Daddy was calling the five-year-old's name; over and over and over. I watched as he finally stomped off to go get her attention in person. I smiled with great reassurance that she didn't just ignore me.
I then watched as the five-year-old and her little brother did the "bum bum" dance. Which is really just bumping your hip against another's. Her brother practically collapses into hysterical laughter every time. What is it about butts that are so funny? Then they both grabbed small basketballs and sat on them bouncing around the room. Then it suddenly turned into a pretend toilet. Again, what is the fascination? And then, as the progression often goes, I watched with great amusement as my five-year-old took off her clothes and her brother followed suit, dropping his diaper right on the carpet. Suddenly they were now bouncing on the basketballs o'naturel. It was at this point that Daddy returned and with a loud soliloquy about the nature of germs and hot water and soap and toys, he scooped up the basketballs and instructed both children to redress themselves.
The whole thing was a very typical peek into an average 10 minutes in our lives. But the best part was, I felt no compulsion to get out of bed to help. It was my naptime.


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