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Author Feature-Sherry Thomas
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"How Well Do You Know YA Maps?"
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This game option is easy to set up, but it also requires lawn space, fair weather, and either a borrowed croquet set or the funds to purchase one. Simply set up the croquet game on your designated lawn and help participants play the game according to the usual rules. If an outdoor game is not feasible, try using pairs of bookends arranged as wickets for an indoor game (if space permits).
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- Author Information
- Book Trailer
- Book Discussion Questions
- Academic Program
- Active Program
- Passive Program
- Resources
Spirit of Texas Reading Program
High School
Featured Author
Sherry Thomas
The Burning Sky
Sherry Thomas is an award winning romance author who has published over a dozen novels. She lives in Texas with her family and spends time playing computer games with her sons or reading when not working on her next novel. The Burning Sky was Sherry's first novel for teens and the sequel, The Perilous Sea, released in September 2014 from Balzer & Bray.
Find her on the web:
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Book Trailer
If you have questions or comments for the Young Adult Round Table, contact the YART webmaster.
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Book Discussion Questions
- Why do you think Thomas chose the very specific and real time period of 1883 as the setting for the novel? How does that time period affect the story?
- The setting includes both a real place (Britain) and a made-up fantasy place (The Realm). Why do you think Thomas chose to include a real place in the setting of her fantasy novel?
- Why did Titus expect the great elemental mage to be a boy?
- Why do you think Thomas chose to set the story at Eton? How would the story have been different if Iolanthe had hidden somewhere else? Why not make up a school?
- Can you think of any other instances in history when it was necessary for females to dress up as males? Why was it necessary? What about males dressing up as females?
- Can you think of other instances in literature where characters dress up as the opposite gender? Is it always females dressing as males? What role does this trope play in the development of the stories?
- With all the many options available to him, why do you think Titus chose to create a Sleeping Beauty story in the Crucible? And why was it important to him that her garrett reflect neglect?
- Titus puts a lot of faith in his mother's vision. Do you think some people can tell the future? What do you think the purpose of our dreams is?
- Do you think his mother's vision was fulfilled because of fate, or did Titus make it a self-fulfilling prophecy? Would it have been possible for Titus to have altered or prevented his fate?
- Why is the tyrannical state Iolanthe and Titus are fighting called Atlantis? Why would Thomas choose that name?
If you have questions or comments for the Young Adult Round Table, contact the YART webmaster.
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Academic Programs
General Introduction
The Burning Sky is a unique blend of fantasy and historical fiction. Educators can capitalize on this combination with students, using the novel to help students understand its historical context and the historical context to more deeply analyze the novel. Further, the fantasy elements offer opportunities for academic activities that are fun for students but require them to analyze the novel's many rich literary elements.
Activity 1 - Map the Setting
With this activity, students will create a map of the setting, either for the main story (ie. The Realm) or the book that Iolanthe and Titus enter (ie. The Crucible). By providing text evidence from the book for their choices, students will demonstrate their understanding of a literary text.
- English 1 - 5, 7, 12, 21b, 23c
- English 2 - 5, 7, 12, 21b, 23c
- English 3 - 5, 7, 12, 21b
- English 4 - 5, 7, 12, 21b
Books to Display*
- Shadow and Bone by Leigh Bardugo
- Demon King by Cinda Williams Chima
- Exquisite Captive by Heather Demetrios
- Huntress by Malinda Lo
- We Were Liars by E. Lockhart
- Throne of Glass by Sarah J. Maas
- Monsters of Men by Patrick Ness
- Clariel by Garth Nix
- Snow Like Ashes by Sara Raasch
- Days of Blood and Starlight by Laini Taylor
*These are the books that are the answers to the anticipatory quiz in the activity below. You could also include the incorrect answer books from the quiz.
Supply List
- Blank unlined paper
- Colored pencils
Anticipatory Activity:
To introduce the mapping activity, pique students' interest, and give them examples of literary maps, use the "How Well Do You Know Your YA Maps" link to quiz them over maps from YA books. Probably the easiest way to do this is to project the map on a large screen and have students raise their hand to guess each book, or have students write their guesses on a sheet of paper and then review the answers together as a class at the end of the quiz.
"How Well Do You Know YA Maps?"
Map the Setting:
Tell students that they will be creating a map for The Burning Sky that could be published with the book such as those in the quiz. You can choose whether you want them to map The Realm or The Crucible or if you want to give students the choice.
Review the different maps from the quiz together as a class. Have students identify different elements common to all of the maps (location titles, geographic features represented by symbols and/or names, compasses, graphic symbols of important elements in the novel, etc.). Distribute the included instructions/text evidence page in Activity Resources and review with students. Students can do this in class or for homework, but it will probably take at least two or three class periods because they have to locate the places and text evidence in the book in addition to drawing the map. Display completed maps around the room or library. You could have students explain their maps to the class and/or vote on the best ones.
- Mapping the Setting Handout
- "How to Create a Map for Your Novel" by Roberta Osborn via Stormthecastle.com
- "How to Draw Original Fantasy Maps for Your Fiction" by Jay French via eHow
- "How to Make a Fantasy World Map" by Isaac Stewart for Tor.com
- "How Well Do You Know YA Maps?" via Epic Reads
Activity 2: From Page to Screen
Students will pretend they are pitching The Burning Sky to a movie production company to buy the film rights to the book. They must understand the book in order to make a case for why it would make a good movie and what the key scenes and characters are.
- English 1 - 2, 5a, 5b, 13a, 15b, 16, 18, 19
- English 2 - 2, 5a, 5b, 13a, 15b, 16, 18, 19
- English 3 - 2, 5a, 5b, 13a, 15b, 16, 18, 19
- English 4 - 2, 5a, 5b, 13a, 15b, 16, 18, 19
Books to Display
- Writing Treatments That Sell by Kenneth Atchity and Chi-Li Wong
- The Maze Runner by James Dashner
- The 10 Day Screenplay by Darrin and Travis Donnelly
- Movie Storyboards: The Art of Visualizing Screenplays by Fionnuala Halligan
- Selling Your Story in 60 Seconds by Michael Hauge
- Writing Screenplays That Sell by Michael Hauge
- Inception: The Shooting Script by Christopher and Jonah Nolan
- Save the Cat: The Last Book on Screenwriting You'll Ever Need by Blake Snyder
Supply List
- Pens or pencils
- Copies of the Movie Pitch Template found in the Activity Resources section below
Anticipatory Activity:
Show a trailer for or a clip of a popular movie that is based on a book, such as this movie trailer for The Maze Runner by James Dashner.
As a class, have students brainstorm books that have been made into movies and then circle the ones they liked. Have students discuss the question "What kind of books make good movies? Why?" The instructor or a student can write the suggested criteria on the board as students contribute ideas.
Pitching the Book:
Tell students they will be creating a "pitch" to convince a movie studio to buy the film rights to The Burning Sky to make it into a movie. They will fill out the included Movie Pitch Template. You can have students present their ideas or just their "elevator speech" to the class if you want to.
Activity 3:Victorian Education
By reading and analyzing Virginia Woolf's A Room of One's Own, students will learn more about and understand better the historical context of The Burning Sky's setting, particularly Victorian education and Eton. Students can think more deeply about the society in which Iolanthe was living, the roles and status of males and females, and the need for and effects of Iolanthe's cross-dressing. Further, students can consider the issue of "women's fiction," what it means to be a female author, and whether or not the issues faced by women in Iolanthe and Woolf's eras are still relevant today.
- English 4 - 1B, 1E, 2A, 2C, 6, 7, 8, 9A, 9C, 9D, 10B, 18, 19, 26
(Although this lesson could potentially be done at other grade levels, the difficulty of "A Room of One's Own" and the focus on British literature at the senior level make it probably best suited to English 4.)
Books to Display
- Pride and Prejudice by Jane Austen
- Virginia Woolf: A Biography by Quentin Bell
- Jane Eyre by Charlotte Bronte
- Middlemarch by George Eliot
- Mary Barton by Elizabeth Gaskell
- Lycidas by John Milton
- The Complete Works of Shakespeare by William Shakespeare
- The Victorians by A.N. Wilson
Supply List
- Print dictionaries or access to an online dictionary (school-provided or on students' own mobile devices)
- Internet access (could be students' own mobile devices)
- Butcher paper or poster boards
- Markers
Anticipatory Activity:
Before beginning the book, have students share what, if anything, they know or have heard about Eton. Then show them the first film clip of Eton boys playing cricket and have them share anything new they can infer about the school from the clip (example: all boys, upper-class, white, very old school -- infer the time period of the clip based on clothes, lack of automobiles, film quality, etc.). You can set up the clip beforehand by telling them they are playing cricket, or you can ask them what they were doing after viewing the clip and discuss what cricket is.
British Pathe - Eton College Film Clips
A Room of One's Own Jigsaw
Lead the class in a close reading of the first paragraph of Woolf's A Room of One's Own. The instructor can make print copies in advance to distribute to each individual student (which would allow students to annotate), or the text can be projected on a large screen for all students to see. A Room of One's Own is from 1929, but the content discusses the history of British women's education and writing.
Divide students into six groups. Each group will be responsible for reading, understanding, and explaining one chapter from A Room of One's Own. Each group will complete the sheet "Understanding A Room of One's Own" (included in the Activity Resources). The students can fill it out on a regular 8.5x11 sheet of paper as it appears here, or they can be instructed to use the same format but put it onto butcher paper or poster boards so that they can be shared with the class. If you have access to computers, students could even make it into a digital presentation. You can allow students to divide up the work as they see fit, or you can assign each member certain sections of the chart. Once groups are finished, have them share their completed charts with the class. If they are not digital, they can be displayed around the classroom or library. Each group is responsible for teaching the rest of the class the chapter they studied.
As an optional follow-up, students can answer one or more of the following example questions in a Socratic seminar, journal, short-answer, or essay.
- Did Woolf sufficiently make her case that ___?
- Why does Woolf use fictional stories in a nonfiction text?
- What does A Room of One's Own tell us about education for females during Iolanthe's time?
- Do you think that women have a way of writing that is distinct or different from men? Can you tell if a book had a male or female author?
- How do you think The Burning Sky might have been different if it had been written by a male author?
- Woolf asserts that female writers "had no tradition behind them." Do you think this is true of Sherry Thomas? What "tradition" of writing does Thomas have behind her? Do you see any ways that might inform her writing?
- Woolf quotes Sir Arthur Quiller-Couch that "a poor child in England had little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born." How true, if at all, is this statement in America today?
- Woolf laments that females are rarely depicted as friends, that "almost without exception they are shown in their relation to men." In thinking about the books you've read, do you agree? How would The Burning Sky have been different if it had been about two girls? Two boys?
- Woolf asks, "What conditions are necessary for the creation of works of art?" What is your answer to this?
- Understanding A Room of One's Own
- British Pathe - Eton College Film Clips
- More lesson ideas for A Room of One's Own from Virginia Woolf and Her Female Contemporaries: The 25th Annual International Conference on Virginia Woolf, June 4-7, 2015. Bloomsburg University. 12 Jan. 2015. Online.
- Full texts of Virginia Woolf's A Room of One's Own are available from many online sources, such as this one from eBooks@Adelaide, the University of Adelaide.
If you have questions or comments for the Young Adult Round Table, contact the YART webmaster.
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Active Programs
Title: Fairy Tales and Top Hats - A Victorian + Fantasy Themed Event
Bring fairy tales and real history to life with an afternoon of themed events inspired by The Burning Sky. Teens will get a taste of Victorian culture, explore alternative versions of their favorite classic stories, and share their own fantastic ideas. This event includes one unstructured activity, one structured activity, and three activities that can be either structured or unstructured depending on your preferences.
Books to Display
- Alice's Adventures in Wonderland by Lewis Carroll
- Seraphina by Rachel Hartman
- Charmed Life by Diana Wynne Jones
- Wondrous Strange by Lesley Livingston
- Wicked Lovely by Melissa Marr
- Bloody Jack by L.A. Meyer
- Cinder by Marissa Meyer
- Alanna: The First Adventure by Tamora Pierce
- The Burning Sky by Sherry Thomas
- The Accidental Highwayman: Being the Tale of Kit Bristol, His Horse Midnight, a Mysterious Princess, and Sundry Magical Persons Besides by Ben Tripp
- plus, any fairy tale collections or books with a Victorian setting that fit the theme
Activity 1: Fantastic Photo Booth
Set up a goofy photo opportunity for teens using Victorian and fairytale inspired accessories.
Supply List
- A well-lit area
- Plain backdrop
- Camera, if providing photos to participants
- Various themed accessories, including but not limited to: top hats, fascinators, crowns, fairy wings, capes, and hand-held mustaches (free printable examples are included in resources)
If the participating teens possess their own cameras or smartphones, encourage them to use their own devices to take selfies or photos of their friends. Offer to take group photos.
If participants do not possess their own cameras or smartphones, you can either (a) provide a disposable camera and let the participants pick up their prints at the library at a later date or (b) use a digital camera to take photos and either email them to participants or upload them to an online album. If uploading pictures to the Web make sure that you have parental permission!
- Examples of printable props and other photo booth tips from HGTV
- Colorable, printable props from Celebrations.com (Disney network)
- Printable props from MagnetStreet
Activity 2: "Yriaf Selat" Contest - Reversed Fairy Tale Costume Contest
Have teens compete for the prize(s) for the most creative "reversed" Victorian- or fantasy-themed costume. This may include gender-bender or good-guy-gone-bad (and vice versa) categories.
Supply List
- Index cards (3"x5")
- Costume contest sign-up card labels: Template 1, Template 2
- Ballots: Template 1, Template 2
- Ballot box
- Winner and participant prizes, certificate templates: Winner, Participant
Registration for this event may be necessary but should be determined by the librarian in charge. Take into account average teen program attendance and typical behavior of regular teen program participants at your library.
If requiring registration, print the sign-up labels and put them on the index cards. Either make these available as a sort of self-serve sign up system at a desk or display area, or fill them out when teens contact you to sign up for the event. The cards will later be used to announce each participant during the actual contest. These cards are also your way of making sure your teens have a clear idea of what sort of costume contest they'll be participating in.
This costume contest requires a small panel of impartial judges; parents of participants and other non-participant teens are not ideal judges for this activity. Try engaging library staff or community leaders who are not usually part of teen programming. This may be the perfect time to win over another supporter for your Teen Department!
Set a definite time frame for the costume contest. If you are conducting this contest as part of a larger event (including other activities from this program collection), we recommend either (a) having the contest at the beginning of the event, allowing teens to participate in other activities in their regular clothing should they choose to change out of their costume, or (b) having the contest at the end of the event, allowing a short time for participants to change into costumes if they did not arrive already dressed, and also allowing plenty of time for stragglers and last-minute costume repairs if needed.
Clear a space for contest entrants to strut their stuff while you announce and describe their costume based on the cards you received from each participant.
After the participants have showed the judges their costumes, the judges must convene to vote for their favorites. If you encounter ties for any categories, you can either allow the tie and award both winners or you, as event MC, can act as tie-breaker.
We recommend using only one of the optional ballot templates. Ballot 1 includes the following categories: Most Creative, Biggest Effort, and Funniest. Ballot 2 includes the following categories: Best Gender-Bender, Best Hero-Turned-Villain, and Best Villain-Turned-Hero.
If only a handful of teens participate, you may wish to forgo the use of ballot templates and vote for 1 simple "best overall" category. If many teens participate, you may wish to award additional smaller prizes for the runners-up in each category.
Please consider the possibility that transgender and intersex students may wish to participate in this event. Be sensitive to their needs and avoid making the costume contest into nothing more than a cross-dressing joke.
- 2 certificate templates are provided; these can be printed on cardstock or another high-quality paper for winners and/or participants.
However, you may also wish to provide small prizes for winners as incentive to participate. In the interest of encouraging community engagement, we suggest providing gift cards to a local bookshop, tickets to an upcoming school or community theater production, or a school or library T-shirt.
Activity 3: Fan-tastic: Fan Art from the Community
Display an art gallery specifically focusing on "fan art" and allow the teens to try making their own. Get a local artist or two involved if possible.
Supply List
- Bulletin board, large poster board, or wall suitable for displaying artworks
- 10-20 pieces of "fan art" from various artists, either public domain or used with permission
- Sketching paper, or plain white paper if unavailable and various sketching implements
- Watercolor paper, watercolor paint sets, various paint brushes and/or watercolor pencils, cups of water, and paper towels
- Podium and microphone for presenter(s), if needed
Prepare a bulletin board, poster, or wall for an art display. This should be well-lit and easy to find but away from high-traffic walkways to encourage lingering.
Choose artworks to display and get permission to display the items if needed. See the resources listed below for examples of places you can get free art for your display. Remember, the displayed artworks should feature creative interpretations of fairy tales, fantasy stories, or popular myths. It is acceptable to use older "classical" material, as those artworks can be used to show that "fan art" has been around for a long time (Example, Victorian-era paintings of Shakespeare scenes such as Romeo and Juliet (1884) by Frank Dicksee).
Mat, back, or cheaply frame the artworks if budget and time allows. Include either a single sign listing all titles and artists or include small labels next to individual pieces. Next, arrange art supplies on tables for "free range" art-making. Remember to include any required extras, depending on your art supplies. For example, watercolor materials will require small cups of water and paper towels for blotting.
If inviting artists to present:
Search for local artists who might be willing to help with your program well in advance of the event. Make your expectations very clear when inviting them and confirm their attendance at least a week prior to the event.
How your artists participate is up to you and them. They may be comfortable giving a short talk or Q&A session about how fairy tales and fantasy stories have influenced their work. Alternatively, they may wish to provide basic instruction on techniques at the art-making station. Some local art groups provide art education programs with definite lesson plans or audience participation expectations.
- "Getting permission to use copyrighted works" via the University of Texas Copyright Crash Course
- Public domain and out-of-copyright artwork resources:
- Smithsonian collections
- National Gallery of Art
- Open Content Program from the Getty
- Metropolitan Museum of Art OASC
- Other possible artwork resources:
- DeviantArt - Search for particular topics or browse the #fanartfriday section
- Local art education resources for Texas cities:
- Amarillo, Amarillo Museum of Art
- Corpus Christi, Art Association
- Dallas, Dallas Museum of Art
- El Paso, El Paso Art Association
- Galveston, Galveston Art League
- Houston, Art League Houston
- Houston, Young Audiences of Houston
- Lubbock, Buddy Holly Center
- San Angelo, San Angelo Art Club
- San Angelo, Cultural Affairs Council
- San Antonio, ARTS San Antonio
Activity 4: Fractured Fairy Tales Game - Fairy tale "Mad Libs"
Play a fairy tale/fantasy-themed "Mad Libs" style game. This can be done as a group or individually.
Supply List
- Game sheets (Templates provided)
Assign one player to fill out the game sheet. The players then take turns providing the type of word that is required to fill in the blank. When all of the blanks have been filled, read the completed story by filling in the words that the players came up with.
- "Fractured Fairy Tales" Game Sheets
- "What a ___ Job: How Mad Libs Are Written" at SplitSider
- "Mind Meld: SF/F Mad Libs" at SF Signal
Activity 5: Fancy Tea Party
Try a Victorian-style tea party, complete with "fancy" drinks and finger foods. If weather and budget permits, a quick game of croquet can enhance the Victorian theme.
Supply List
- 1-3 types of tea, served warm in a pot or iced in a carafe depending on the weather
- Lemonade option for participants who do not drink tea
- Fixings for the tea: sugar cubes, lemon slices, milk, non-dairy milk substitute, honey packets, and mint leaves
- Easy-prep finger foods: British "biscuits" of various flavors, crackers with toppings such as cream cheese and cucumbers, mini scones or similar pastries
- Stylish disposable cups and saucers, or "real" tea cups and saucers if budget and clean-up are not obstacles
- Table decorations such as Victorian-ish tablecloths, inexpensive flowers in non-breakable vases, etc.
- Background music, if available
- Full croquet set and a lawn on which to play it (optional)
Simply provide themed drinks and snacks at decorated tables. We recommend playing instrumental background music from the Victorian era if your library has a license to do so or has access to public domain music.
Remember, even if a composition is old enough to be out of copyright, a recent recording of a musician playing it may not be. Playing music in a school library for an educational program is usually considered Fair Use. However, that same concept of education-based Fair Use does not always apply in public libraries and performance of audiovisual media is usually covered by an umbrella license. Please speak with your library's legal expert for clarification if needed.
(See copyright discussions in resources below.)
IF playing outdoor croquet....
This game option is easy to set up, but it also requires lawn space, fair weather, and either a borrowed croquet set or the funds to purchase one. Simply set up the croquet game on your designated lawn and help participants play the game according to the usual rules. If an outdoor game is not feasible, try using pairs of bookends arranged as wickets for an indoor game (if space permits).
(See croquet rules in resources below)
- Articles on copyright as applied to classical music and public libraries:
- http://www.shockwave-sound.com/Articles/010_Copyrights_in_Public_Domain_music.html
- http://www.nh.gov/nhsl/services/librarians/gsl/2005/414using.html
- Croquet field layout and rules from the United States Croquet Association
If you have questions or comments for the Young Adult Round Table, contact the YART webmaster.
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Passive Program
Activity 1: 3 Word Book Talk
Can you convince someone to try a book in less than a second or two? Describe your favorite books using just 3 words!
Books to Display
- Shadow and Bone by Leigh Bardugo
- The Girl of Fire and Thorns by Rae Carson
- Seraphina by Rachel Hartman
- Egg & Spoon by Gregory Maguire
- Wicked Lovely by Melissa Marr
- Cinder by Marissa Meyer
- Sisters Red by Jackson Pearce
- The Grimm Legacy by Polly Shulman
- The Glass Casket by McCormick Templeman
- The Burning Sky by Sherry Thomas
Supply List
- 2 plastic sign holders, displaying program signs (see activity resources)
- 1 large jar or similar container; opening must be large enough to easily admit hands
- 1 bowl
- Multicolored paper, cut into strips
- Library pencils
- Counter, table, shelf top, or other surface on which to place display
Detailed Description of Activity
This is a student/patron-driven "booktalk" program, with an optional digital component. This tabletop display encourages teens to share their opinions of books with each other. Begin by printing the provided signs. Place Sign 1 at the left side of the display to explain the concept of the program. Sign 1 asks participants to write a book or story title and author (if known) on a slip of paper along with 3 words that describe the book or story. The objective is to "sell" the book or story to their peers.
Provide eye-catching paper slips in the bowl to the right of Sign 1. Leave an empty, lidless jar next to the bowl. To demonstrate the concept and encourage participation, fill out a few "starter" slips and place them in the jar.
If you manage your library's social media accounts on platforms that utilize hashtags: Customize Sign 2 to advertise your presence on social media. Publish a few #3wordbooktalk examples and share or "like" others.
Activity Resources
- Sign 1
- Sign2
- Karen Jensen's Teen Librarian Toolbox blog, originator of #3wordbooktalk idea (used with permission) -
Activity 2: Fantasy Maps Quiz
How well do you know your epic fantasy worlds? Test your map-reading skills here!
Books to Display
- The Girl of Fire and Thorns by Rae Carson
- Graceling by Kristin Cashore
- The Demon King by Cinda Williams Chima
- Seraphina by Rachel Hartman
- The Wheel of Time by Robert Jordan
- Finnikin of the Rock by Melina Marchetta
- Dragonflight by Anne McCaffrey
- The Burning Sky by Sherry Thomas
Supply List
- 20 templates and 1 instruction sheet (printed on cardstock)
- 1 craft knife
- Bulletin board or large poster board
This is an interactive display that encourages teens to use their knowledge of fantasy and YA literature while subtly recommending books that may appeal to them. Begin by printing the quiz question templates and instructions on cardstock or similarly thick paper. If you're concerned about the cost of special paper, print only the FRONT pages on cardstock.
Use a craft knife to cut along dotted lines on FRONT pages, creating flaps that can be lifted to reveal hints or answers. Paste the FRONT pages over corresponding BACK pages so that hints and answers are aligned with flaps. Be sure that the FRONT and BACK pages match. Arrange quiz questions and instructions on a bulletin board or poster board as desired. See the "visualization" document for an illustration of this arrangement.
Activity Resources
- Instruction sheet
- 10 FRONT quiz pieces
- 10 BACK quiz pieces
- EpicReads "How Well Do You Know Your YA Maps?"
- Barnes and Noble "The 5 Best Fantasy Maps Ever Drawn"
Activity 3: Make-Your-Own Map Contest
Do you have the imagination and skill it takes to make a map from scratch? Submit your original drawing here and see your stuff in a mini art gallery – and maybe even win a prize!
Books to Display
- Shadow and Bone by Leigh Bardugo
- The Voyage of the Jerle Shannara by Terry Brooks
- A Wizard of Earthsea by Ursula K. LeGuin
- The Chronicles of Narnia by C.S. Lewis
- Sabriel by Garth Nix
- Wild Magic by Tamora Pierce
- Mistborn by Brandon Sanderson
- The Burning Sky by Sherry Thomas
- Lord of the Rings by J. R. R. Tolkein
Supply List
Part 1 – Submissions
- 1 plastic sign holder for displaying program signs
- Program Signs (see resources)
- 1 bowl
- Labels, printed with template (see resources)
- Heavier-weight art paper suggested, but plain printing paper will do
- Counter, table, shelf top, or other surface on which to place display
Part 2 – Voting
- 1 voting box, such as a shoe box wrapped securely in newspaper with a slot in the lid
- 1 voting instruction sheet (see resources)
- Paper, cut into strips
- Pencils
- Bulletin board or large poster board
- Labels or sticky notes, so that each submission can be numbered for voting
- Counter, table, shelf top, or other surface on which to place voting materials
- Inexpensive mats or backs for submitted art, optional
Detailed Description of Activity
This is a 2-part student/patron-driven art contest that encourages teens to practice geography and art skills and appreciation.
Part 1 - Submissions
Choose a start and end date for submissions; include this in the appropriate spot on the provided Sign 1 template.
Print labels using the provided Label template and cut these into individual labels that you'll make available for students/patrons to take from the bowl. You'll use these labels to identify winners and allow participants to reclaim their artworks at the end of the program.
Place the sign, labels, and art paper on a flat surface near a staff desk or other observable area. This will encourage students/patrons to ask questions if they have any and will discourage non-program-related expensive art paper misappropriation. If you're concerned about said misappropriation, provide only a few pages at a time and replenish the supply as needed.
Part 2 - Voting
Choose a start and end date for voting and include this in the appropriate spot on the provided Sign 2 template.
Number each submission and label them for voting purposes. If the artist did not follow directions and signed the front of the artwork, you may be able to use the number label to cover the signature. However, use caution with number label placement to avoid damaging the artworks. If matting or backing the art, do so at this time.
Prepare your ballot box and voting slips. Arrange the voting instructions and artworks on a bulletin board or similar "art gallery" style display area; this should be next to a counter or should include a small table for voting materials.
After voting is concluded, contact the winner to arrange for prize pick-up. You may also wish to contact all participants to let them know that the contest is concluded and they can pick up their artworks at the library within a reasonable time frame.
- 1 art supply pack for contest winner which might include: Sketchbook, Charcoal pencils, Graphite pencils, Colored pencils, Watercolor paper, Watercolor pencils, Watercolor paint set, Paint brushes set
If you have questions or comments for the Young Adult Round Table, contact the YART webmaster.
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Understanding A Room of One's Own
Costume Contest Sign-up Card Labels Template 1
Costume Contest Sign-up Card Labels Template 2
Fractured Fairy Tales Game Sheets
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Created on Apr 5, 2015 | Last updated July 15, 2015


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If you want to support yourself while investing your time on a pursuit you love, consider beginning your own emergency situation locksmith service business. Before you determine what precisely you truly want to do, you require to thoroughly look at the things you are excellent at and take pleasure in doing. Prior to you begin tolerating consumers or browsing out clients, make specific to make a company arrangement. Keep reading in the event that you want some practical recommendations on ways to begin.
Handling an emergency situation Raleigh Locksmith service organisation is no small feat, and typically it consumes up more of your time and effort than you ever thought it would. Owning and handling a thriving service will take a good amount of effort, attention and investment of your personal time. In the first stage of company, absolutely avoid multitasking. Being a smart business and residential locksmith center owner means you'll acknowledge if you're becoming overwhelmed, and you'll know when to hand over different tasks over to other people.
An excellent way to clear your thoughts when it comes to making hard emergency locksmith professional service company options is to brainstorm with your employees. Your organisation' preparing methods can take advantage of an easy to understand list of pros and cons. Its no secret that making a list like this can help to reveal the much better alternatives for your service future. It is a terrific practice to meet a service advancement professional if you are uncertain of exactly what the next step for your emergency locksmith service business should be.
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Manufacturer: Die Antwoord
Price: R265.00
Product ID : rolling stone
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Die Antwoord on the Rolling Stone cover of the South African edition. Issue #3, February 2012. Daughter, Sixteen is also featured on the cover of the February edition of Rolling Stone SA magazine together with mom & dad, Ninja & Yo-Landi. Rolling Stone magazine went out of print in South Africa after only a brief two and a half years. Circulation numbers were around 7000 copies per edition and only a few sealed copies of Die Antwoord featured on the cover are available. We have a limited amount of 20 sealed copies available. This will become a great collector's item to the true fans, not only because of Die Antwoord, but because such few copies were printed in Die Antwoord's home country before Rolling Stone stopped printing its South African edition after such a short period.
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Stephanie Duerr
Stephanie Duerr is the Sales and Marketing Assistant at Counsel Financial, where she manages the coordination and logistics of the over 35 tradeshows the company attends annually. In addition, she plays an integral role supporting the sales team through research, prospecting and client retention functions.
Stephanie holds a Master's Degree in Integrated Marketing Communications from St. Bonaventure University and a Bachelors of Science in Paralegal Studies from Hilbert College. During her graduate program, she spent the summer studying at The University of Oxford in England, United Kingdom.
Prior to joining Counsel Financial, Stephanie began her career in the legal field for five years before pursuing her love for event planning. She worked as the Manager of Events at Shea's Performing Arts Center and Buffalo Riverworks, planning large festivals, sporting events and weddings.
Stephanie lives in East Aurora, New York with her husband, Barry, and their labradoodle, Luna. She enjoys spending time outdoors, most often involving dog-friendly activities. To give back, Stephanie participates in many charity walks to honor people close to her—most notably, a 60-mile breast cancer walk in Washington, D.C.


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Neptune, the Planet of Illusion and dreams, will turn direct tomorrow in Pisces, in mythology Neptune used to be the God of the Seas, as He governed the Oceans of Earth which is a metaphor for the real role that this Planet has on us, as Neptune rules our emotional side, and like water it can be changeable and uncontrollable but also strong, adaptable and sheer, purifying everything that it touches, giving us the gift of looking within ourselves, becoming aware of the Divine beings that we are and getting in touch with the eternal and observant being that lies within ourselves. Neptune offers us the opportunity to cultivate our spiritual side, to balance our humanness with our Divinity and to become One with the artist and dreamer that we all have within and that is eager to express all the precious gifts that he possesses within.
Neptunian energies can cause chaos and confusion as its shadow is powerful and we could get lost in it, but when we realize that it is only by embracing those inner shadows that are also a part of us and that it is only through the proper understanding of them and the essential role that they also play within Creation is that we can get to know ourselves better as well as uncover and shine our own Light even brighter, accepting Neptune's gift and directing its energy into the betterment of our own selves. Neptune can also help us to express our creativity in new ways, it brings into the surface the inner muse that we all have within and it helps the ones that have decided to embrace their creative side by assisting them with new ideas about whatever it is that you are trying to give birth to at the moment, so with Neptune direct in Pisces we have a wonderful gift for keep expanding ourselves more into our Soul gifts as well as to keep with the process of unification in which we have been merged for a few months, as Neptunian energies are the perfect ones to fuse ourselves with our higher aspects, taking further our Divine connection and alignment with our Higher Self and Divine wisdom.
Neptune is also a blessing for us to work on self-healing, giving us the opportunity to go deeper into our subconscious mind, bringing into the surface all that should be healed and purified, Neptune can be very intense but as always it is up to us whether we chose to go with the flow and channel its powerful energy to the betterment of our lives and inner being, diving deep into our inner senses and directing the new but at the same time ancient knowledge that we are constantly remembering as we keep merging with our Souls and the higher aspects of us, to be of selfless service as in the end, we all came here to contribute with our unique spark of love and wisdom so this huge shift and leap into a New Era was possible.
Together with Neptune, Chiron, the Cosmic Healer, will also turn direct on Pisces on November 23rd a cosmic gift for all of us to keep healing old wounds, to keep nurturing our inner beings and to realize what are the feelings that are still causing us suffering and that should not be there anymore so we can move forward and start a new life without resentment from the past and for those who we left behind, Chiron invites us to nourish and take care of our inner child and look at ourselves as we tend to look others, with infinite love and compassion as sometimes we simply see others in that loving and nurturing way but we forgot that we are all made of the same Divine Essence and that we also should look ourselves as the Divine beings of love and light that we are, honoring and respecting our personal choices as well as forgiving ourselves during this earthly path if our choices were not aligned with our soul desires sometimes, as we can only master ourselves by experiencing different results, and it is only by facing these challenges that we can truly ascend and keep learning that it is only through love, forgiveness and compassion that we can get closer to our True and Divine Essence.
Neptune together with Chiron assists us to realize that we are all One, remembering us that it is only through inner communion that we can also reach for a deeper sense of togetherness with others and that we can only do that when we embrace the different polarities that lies within us, accepting them as a gift and transcending matter and our ego with the Divine remembrance that we are constantly embodying and manifesting through a deeper merging with our Souls and through the unification process that we are having at the moment which makes us clearly realize that what we do affects all and that only by healing our own selves first, is that we can also help and assist others in their own path without directly interfering in their own and unique life experiences.
Neptune, rules our dreams and our deepest inspirations and visions and in combination with Chiron, often called the Wounded Healer and which I prefer to call the Cosmic Healer, will align themselves to offer us the gift of healing all we are in need of and keep releasing more of the old but also the blessing to see beyond our Human senses, it will be a great time to have Lucid Dreams and other forms of divination and guidance. Both Neptune and Chiron together will not only invites us to heal and let go but they will also inspire ourselves into a new creative phase to keep expanding into our inner gifts, so for those of you who are still needing some healing, both Lights direct will be wonderful for keep taking care of your own selves so you can begin the month of December by being purified and fresh as December will lead us into a new and fresh energy with the Winter Solstice that will assist us to start a new cycle of our lives and these energies are going to be perfect whether you need inspiration or healing in your life.
In love and light,
Natalia Alba


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A Conversation with Counting Crows' Adam Duritz
Mike Ragogna: Adam, what is the concept behind the assembled material you recorded for Underwater Sunshine?
Adam Duritz: No concept, they're just really records we liked, songs we wanted to play.
MR: The material also, for the most part, isn't about big hits, much of it being a little lower on everyone's radar.
AD: Well, we weren't really thinking about doing ones they were or weren't familiar with. We just picked songs we liked, you know, and doing our versions of them. As it turns out, it's literally the most obscure covers album ever made, but it sounds like a Counting Crows album, which was what it was supposed to sound like anyway. We never intended to make a covers album that was like a jukebox of their favorite songs, these are our favorite songs.
MR: I'm not sure how many times that's been done before, if ever, by a major band.
AD: It was kind of accidental. But, I mean, it would never have occurred to me to make the record for the other reason anyway.
MR: What was the approach for gathering the material?
AD: We had some songs we'd been playing for a little while that we wanted to document and come up with really great versions of, and I said to the guys, "Bring in the stuff you want to bring in," so there's some of that. Then there's stuff I surprised them with and I didn't tell them until that day. I never played the songs for them, sometimes. The Travis song, "Coming Around," we had a really bad day in the studio and I kind of wanted to wipe that away, so early the next morning, I sent Millard, our bass player and one of our guitar players this Travis track and said, "Look, just don't play the song for anybody, and don't spend too much time with it yourself and we'll just come up with our own version today." We just sprung it on everyone. If they had heard the song before, they weren't thinking about it. I don't know if anybody had heard it because it wasn't on any records, it was just a single from England. But I remember it from when we were playing festivals together and I always loved that song, so we did it. I don't know if anyone in the band had ever heard it before we did it, only a couple of us and even they hadn't listened to it very hard.
MR: Speaking of England, you do a cover of the song "Meet on the Ledge" written by Richard Thomspon, it coming from Fairport Convention. Did that group mean something to you?
AD: Oh, yeah. That was a band that I really loved. They were one of those bands that I read about when I was a kid. But their records weren't available in America. They were out of print. A lot of records were out of print when I was a kid. So, I made a list. I think a lot of music geeks had a list of the records that you couldn't find. I had on that list at one point or another Pet Sounds, Smile, The Modern Lovers, all the Big Star records, all the Fairport Convention, all of the Richard Thompson, except for Shoot Out the Lights. Shoot Out the Lights would come out here and you'd read articles about Richard Thompson, Fairport Convention, and how great his records were, but you couldn't hear them. They weren't available anywhere.
MR: Did you visit England when you were younger?
AD: My parents took my grandmother to England when I was a kid and I went along. All I did, all day, was go into every used record store in England and Scotland. Everywhere we went, I would go into every record store I could find and I found all the records. The last one I found on the very last day, I picked the one record store on the way to the airport. I literally closed my eyes and touched the phone book and found a store and the last one I found was on the very last day I was there. I brought them all home in this little suitcase. I spent the rest of my life being affected by those records.
MR: You cover a few songs here that have affected a lot of people's lives. For instance, "Amie" by Pure Prairie League and "Return of the Grievous Angel" by Gram Parsons.
AD: I love Gram Parsons, always have. Gram Parsons was a huge deal for me. The International Submarine Band, The Byrds' records -- that was really life-changing stuff for me. It's really how I got my way into country music, to some degree. "Amie" by Pure Prairie League has nothing to do with anything except I just love singing that song. We just love singing it. It's just really fun to sing.
MR: That had been a standard bar sing-a-long song for a long, long time.
AD: I'm sure. It's just fun to sing. It's just really fun. I don't know any other word for it. It felt so good.
MR: I wanted to ask you about your recording the Big Star track, "The Ballad of El Goodo."
AD: That band means more than any (other) one and is at the heart of anything I do. As much as any musician that made a difference to me, I'd say they did. I was really obsessed with Big Star. When I brought those records home and heard that stuff, it blew my mind. I listened to it non-stop for years and years. When I got in this band and we went on the road, the first thing Dan and I did was we went through Memphis, and there was the drummer from Big Star. We started talking and struck up an acquaintance. In the early '90s when they played a concert at Columbia and then they played at San Francisco a month or two later, Jodi called and offered us a gig opening for them. I said OK but I would only do it if we could go under an assumed name, 'cause it was at the height of Counting Crows and I didn't want the club to sell out with Counting Crows fans. I wanted it to sell out with Big Star fans. It's a great poster -- Big Star, The Shatners and The Gigolo Ants. We went as The Shatners. The concert just sold out with all Big Star fans. It was really cool. I met Alex that day. He came out to Florida that summer, he opened for us. He lived in New Orleans back then, which was my home away from home and I spent a lot of time down there so I could see him a lot. I was always really shy around Alex and couldn't talk very well around him.
MR: Were you also a Chris Bell fan?
AD: Sure. I never met Chris.
MR: Chris Bell's I Am The Cosmos album, boy... I thank journalist Rob Kemp to this day for turning me on to that album.
AD: That wasn't available then. That came out a little while later. When they finally got released on CD, the first thing that came out was a German CD with Radio City and #1 Record on it.
MR: What a great influence they had on many others.
AD: I think there's probably no more influential bands except for maybe the Velvet Underground on modern rock 'n' roll. Replacements, R.E.M., and a million great guitar rock bands during the '80s and '90s would never have existed without Big Star. I think it was said about Velvet Underground that almost no one bought a Velvet Underground record except almost every one who did pick up a guitar and started a band. That might have been Andy Warhol. I don't know who said that, but I think it's very telling about them, and, also with Big Star, although everybody, of course, now knows both bands.
MR: Adam, what advice might you have for new artists?
AD: This is a great time to be in a band, probably the best time I can remember to be a new musician since the '80s when all the great college radio stations were popular and the big indie labels were starting up. I don't know if you're going to be a superstar tomorrow or not, but it's possible to be in a band and survive and even thrive now in a way that hasn't been possible in a long time. It's really great. It's so much easier to record now, it's so much less expensive and there are so many great bloggers out there writing about music who love music, as opposed to being like really entertained by how clever it is when they talk about how much they hate music. There are a lot of people out there writing who love music and who are completely motivated to talk about your band. So bands can make records, tour, and build audiences, and they can survive now. I think it's really great. I tell people to learn to use the studio in your computer and join Twitter. Make friends. I've made so many friends through Twitter. So many of my friends are musicians and bloggers I've met through Twitter.
MR: What advice would you give Counting Crows, looking back at your career at this point?
AD: Same thing, learn to work a computer and join Twitter. It is a social environment right now for musicians. It's easy to meet everyone, network with everyone, your friends and your fans. There's a great camaraderie out there. All these musicians... it's really cool. One of the jokes that me and my friends have is how long we can go being friends without being in the same room together, without meeting in person. Some of my best friends keep in touch by emailing and tweeting, or whatever for periods of time, until finally we're in the same place. You meet people because we like each other's bands or we stumbled upon each other on the Internet. You cannot emphasize how much that eases your way as a musician these days and how important it is.
MR: Of course, you played SXSW this year.
AD: Our showcase wasn't official, we had 21 bands on three stages in our showcase in a little club. We were on time. We really worked hard promoting it. We had 4,500 to 5,000 people come through the doors of the club that afternoon between noon and six. We set up a download page where we got each of the bands to give us a song to download and we got about 25,000 downloads, 20,000 in the first week. It was pretty amazing. The testament is to how many bands there are now.
MR: Yes, and it's easier to get your music out there through all sorts of smart innovations.
AD: I don't think it's a great time to be on a label or to work at one, but it's a really good time to be in a band. A lot of choices.
MR: And, Underwater Sunshine is on your own label, right? It's the first one not on a major label. So far, so good?
AD: Well, yeah. You can do things like those downloads. They (major labels) don't seem to understand. Until they understand that the Internet exists... If you're not going to pay attention to the Internet, I've got no time for you. I waited long enough and they're just not coming around.
MR : And, when it comes to music, you get to enjoy others' music too. You seem to really appreciate it, obvious proof of that being Underwater Sunshine.
AD: That's why I want to do it.
1. "Untitled (Love Song)" by The Romany Rye (written by Luke MacMaster)
2. "Start Again" by Teenage Fanclub (Norman Blake)
3. "Hospital" by Coby Brown (Coby Brown)
4. "Mercy" by Tender Mercies (Kurt Stevenson and Patrick Winningham)
5. "Meet on the Ledge" by Fairport Convention (Richard Thompson)
6. "Like Teenage Gravity" by Kasey Anderson & The Honkies (Kasey Anderson)
7. "Amie" by Pure Prairie League (Craig Fuller)
8. "Coming Around" by Travis (Fran Healy)
9. "Ooh La La" by The Faces (Ronnie Lane and Ron Wood)
10. "All My Failures" by Dawes (Taylor Goldsmith)
11. "Return of the Grevious Angel" by Gram Parsons (Gram Parsons)
12. "Four White Stallions" by Tender Mercies (Kurt Stevenson and Patrick Winningham)
13. "Jumping Jesus" by Sordid Humor (Tom Barnes and Jim Gordon)
14. "You Ain't Going Nowhere" by Bob Dylan and The Byrds (Bob Dylan)
15. "The Ballad of El Goodo" by Big Star (Alex Chilton and Chris Bell)
iTunes Store bonus tracks
16. "Borderline" by Madonna (Reggie Lucas)
17. "Girl from the North Country" by Bob Dylan (Dylan)
Transcribed by Brian O'Neal
A Conversation with Trampled By Turtles' Dave Simonett
Mike Ragogna: Dave, Trampled By Turtles has released quite a few albums up to this point -- Songs from a Ghost Town, Blue Sky and the Devil, Trouble, Duluth, Palomino, and now Stars and Satellites. You're classified as "bluegrass," but the sound goes beyond that, and your songwriting has the depth of classic artists like Jackson Browne. What inspires the style for Trampled by Turtles?
Dave Simonett: Directly, I don't know how to add to that concisely. On a broader scale, all of us are influenced by such a variety of music. We know everybody in our band listens to a lot of stuff. We've all been in rock bands, some of us have been in hip-hop bands, everybody has a pretty diverse musical background, and I think when we brought all of that stuff to this instrumentation, that's what influenced us the most
MR: How did you Turtles get together?
DS: It was in 2003, and we started as sort of a hodgepodge. The four of us that started the band were in different rock bands in Duluth, Minnesota, and we started this as an acoustic project to have on the side, play once in a while, play small venues, side shows, and just to do something besides the rock band format. Slowly, all of our other bands broke up and left, and we decided to try to this full time.
MR: Why did you title the new album Stars and Satellites?
DS: The title came about because of where we recorded the record. We did it at this log home on the north shore of Lake Superior, out in the boonies, and it was just a really beautiful, calm recording experience. It was in September so it was the most beautiful time of year up there, and everybody felt really relaxed. I think the songs take that tone, it's a relaxed record for us.
MR: I was going to say, there isn't a lot of hip-hop on this one.
DS: Yeah, which is a departure for us. (laughs) I think it fit, where we did it, what the music is, the lyrics and songs all fit together.
MR: What was the creative process like?
DS: Well, most of it was me writing the songs, I had this cache of songs, and we wanted to record a record and we had this little window of time that we could do it. So we got together and recorded, and most of the stuff we had never played together before. We arranged everything on the spot, got a real, fresh, off-the-cuff recording session, which for our band works pretty well.
MR: What inspires your writing?
DS: Oh man, everything. I think that most songwriters probably have a hard time thinking specific things. I think it's just daily life, everything that happens to you in the course of the day, work, relationships, death, love, all of that stuff soaks into you. Once in a while, a song comes out of it. Very few of my songs are a specific instance or specific theme. I think they just come out as descriptions of broader times of my life.
MR: Not a lot of love songs on this project.
DS: It's kind of a poor subject for that because I've been married since 2005 and been in a relationship for a really long time, so I'm lucky enough to not have a ton of heartbreak on my record. I have to dig way back, but when that stuff comes in, it's maybe trying to visualize that through somebody else, or through another situation, but I do try to stay away from a lovey-dovey love song.
MR: You just don't go there.
DS: It's not because I don't like that stuff, but it's because it doesn't come naturally to me. I just try to be honest.
MR: One of your songs is "Walt Whitman." Are you a fan of his work?
DS: Yeah, he was a big influence. I don't want to say he was a big influence on my writing because it gives me too much credit, but he was a big influence on my life. He was one of my favorite authors, and an exercise that I have when I'm stumped, when I have writer's block, is to take words from different books and try to put them together in a different form, to make a poem, a song, something, just a total writing exercise. For a lot of the time, before this record came out, I was using Leaves of Grass, so I figured I'd give him a little credit.
MR: Who are some your other favorite writers?
DS: Jack London... John Steinbeck is way the hell up there. Mark Twain. I really like the late 1800s, early 1900s American ethnic writers. I seem to gravitate towards them.
MR: Do they influence you?
DS: Absolutely.
MR: Are there any contemporaries that you admire?
DS: I don't know. You mean bands that have the similar instrumentation as us or something like that?
MR: Kind of, and I don't mean to throw them into your interview, but maybe acts like the Punch Brothers or groups like them?
DS: Yeah, those guys are great, I saw them. I have a hard time saying it because I don't want to put myself with these bands because so many of them I look up to. I don't want to say, "Hey Mumford & Sons," because they are this huge thing. But I just think that there's so much great music happening, I think a lot of people get bummed out about modern music in general, but especially if you come to a place like this. You see that there is so much passionate, beautiful music happening in the world and I just try to soak up as much as I can. (Note: This interview was recorded at SXSW.)
MR: Dave, got any advice might you have for new artists?
DS: I think, to keep it short, be true to yourself and music. I think if you start to gain momentum as a band, you're going to have all sorts of people telling you what you're doing wrong, how you can change to become more popular, or for whatever the reason. I think as long as you do exactly the music that you want to do and how you want to do it, you can be very proud of what you're up to.
MR: Has that been your story, do people jump in every once in a while and say, "Hey, here's what you should do... "
DS: Oh yeah. Man, there's no shortage of people that are willing to give you free advice, not even in just this line of work, but any. I'm sure in yours too.
MR: Well, the thing that I've noticed is, especially these days, is it's really hard to give advice to anyone. There's no one answer. This question gets many answers, and one of the major ones is to thoroughly use the social networks. I imagine Trampled By Turtles uses all of them -- Facebook, Twitter, YouTube ...
DS: Absolutely, as well as I can. Obviously, the things you mentioned are great tools to use. If you're going to do anything for not only your living, life in music is all about something that you really like to do. It's not just your living. On the career side of it, you have to learn how to do it right, you have to learn the tools that are available. But on the creative side of it, don't forget that that's the most creative part. You can tweet until the cows come home, but you have to remember that the focus should be on your music, your songs, and that is the passion. The other stuff is just work.
MR: What is the future like for Trampled By Turtles?
DS: To just keep plugging away. We're in a great spot, we're completely independent of any label obligations or really anything out of our own. We're really lucky because we're able to do whatever we want. Really, we've already achieved our biggest goal in that sense, so we just like to keep going with that and tour as much as we want to do it, and make music like we want to do it, and just keep going as we're going and have a great time.
MR: One last thing, your name, Trampled By Turtles. Does it mean slow and steady wins the race, and look out, you're going to get trampled by these Turtles?
DS: (laughs) Well, that's become our philosophy in the musical world -- keep plugging away and keep your focus where it needs to be and keep going. But the name came as a bit of a joke. Like I said, we started as a side project, we had a couple of shows booked and we didn't have a name. We went through all these lists of what everybody came up with. Nobody could agree on anything, and our mandolin player, Eric, just threw that out and it was the first thing that nobody hated, so we just thought alright, let's just put it on the flier, we're going to play three shows in our lifetime and that's it. But then it stuck.
MR: I've been asking a lot of artists lately for their words of wisdom.
DS: Drink a lot of water.
1. Midnight On The Interstate
2. Alone
3. Walt Whitman
4. High Water
5. Risk
6. Widower's Heart
7. Sorry
8. Beautiful
9. Don't Look Down
10. Keys To Paradise
11. The Calm And The Crying Wind
Transcribed by Narayana Windenberger
A host of artists affiliated with Communion Records, including Ben Howard and Ben Lovett (co-founder of label) came together at SXSW this year to record a version of the song "Over The Hill" from late folk musician John Martyn. Howard is the first artist to release an album in the U.S. on the taste-making independent label, Communion. His new album Every Kingdom has already gone gold in the UK and is now available in the U.S. It's really lovely, check it out...


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January 2005By Anne Barbeau Gardiner
Anne Barbeau Gardiner is Professor Emerita of English at John Jay College of the City University of New York. She is author, most recently, of Ancient Faith and Modern Freedom in John Drydens The Hind and the Panther (Catholic University of America Press).
Truly Our Sister: A Theology of Mary in the Communion of Saints. By Elizabeth A. Johnson. Edwin Mellen Press. Continuum. 379 pages. $26.95.
In Truly Our Sister, Elizabeth Johnson reveals that feminists have a grudge against Mary for standing above them as the Virgin Mother of Christ. Johnson, a Sister of St. Joseph who teaches theology at Fordham University, claims that a torrent of hatred for women has resulted from the honor given to Mary. But change is coming, she hopes, because devotion to Mary has died out among hosts of women and our culture scorns medieval faith symbols. Yes, medieval, even though there is evidence that our Lady was evoked in the third century. Johnson thinks it is time now to remove such titles as Mother of mercy from Mary and give them back to God She Who Is, according to Johnson and to reclaim Mary with new liberating interpretations. From now on, God will have her own maternal face, and Mary will be demoted to the level of other women. Accordingly, Johnson depicts Mary as a Galilean drudge and outcast lacking all supernatural privileges, but who is now truly our sister because she is no longer honored above other women. What is this but a tirade against our Lady!
For Johnson, humility is Marys first rock of offense. According to Johnson, patriarchal men invented the official portrait of the Virgin Mary as a strategy to disparage and control other women. They made Mary unique in her privileges so she could serve as a model of subservience for them. But today women find it intolerable to be offered such an example of self-sacrifice and obedience to the will of God a problem only made worse by the thoroughly masculine character of the deity, since God is envisioned as male, and she obeys him and Jesus is Messiah and she is oriented to him. What is this but to turn our religion upside down? It is non serviam, because women can no longer serve humbly a God envisioned as their Father and a divine Messiah incarnate as a man. Better a big lie about a goddess, than the simple truth. Yet humility is the foundation of all holiness. Commenting on Christs words, follow me, for I am meek and humble of heart (Mt.11:29), St. Augustine warns: You are thinking of constructing some mighty fabric in height; first think of the foundation of humility; for the mightier building any seeks to raise, the deeper let him dig for his foundation. Where does feminist scorn of humility lead except to the first of the seven deadly sins?
Johnson dismisses the Churchs rarified reflections on our Lady during the second millennium as a severe case of fixation. She fails to see that these reflections were developments of the title Theotokos given to Mary at the Council of Ephesus in the fifth century. Johnson welcomes the seismic upheaval of Vatican II as having taken the Mother of God off her pedestal. But this is not true; not one jot of our Ladys glory was lost when Vatican II also made her the model of the Church in faith, charity, and close union with Christ. Indeed, no council has the power to remove dogmas about Mary defined by former popes and councils. Yet, Johnson herself complains that Vatican II did not go far enough to suit the feminists, for it failed to make Mary the model of the church in its official role of governing, preaching, and administering the sacraments, failed to make her the model of the Churchs ordained priesthood. Rather, it left Peter as that model of the Church. Johnson is willing to accept Mary as a model of exterior power in the Church, but not of humility and holiness, not of interior power. Johnson also faults Pope John Paul II for speaking of a womans virtues as those of a helper, not those of a self-actualizing, creative leader. Again we see that she has no use for humility: women must be leaders in the Church, or non serviam.
For Johnson, virginity is Marys second rock of offense. To glorify Mary for her perpetual virginity, she says, is to give her an unearthly asexual exaltation and to insult other women in the holy exercise of their own sexuality, for women today see the sexually active female body as blessed and are reclaiming their sexuality as part of their blessed human and spiritual wholeness. Reading these lines, one is amazed that a Catholic nun and theologian would call sexual activity holy and blessed in our age of rampant promiscuity, without the qualification of within holy Matrimony. Johnson even celebrates women of different sexual orientations who seek respect for their embodied life.
Her strange idea of holiness is based on an even stranger idea of grace, for she claims that grace cannot be lost by sin: Rather than something that can be rather easily lost by sin and regained by repentance, grace remains as Gods permanent offer of love and thereby of salvation to the creature, an offer that cannot be extinguished by the grossest sin. Not by even the grossest sin? Then why repent, why go to Confession? And why did our Lord warn us to avoid the broad way that leads to damnation (Mt. 7:13)? Here we see the consequence of renouncing humility; it is to invent a false religion of automatic and universal salvation.
To pretend that our Ladys perpetual virginity was the invention of third-century men, Johnson declares that Jovinian, who denied this truth, was arguably more in accord with church tradition up to that point than were St. Ambrose and St. Jerome, who won the day. She hides the fact that Jovinian was condemned as a heretic in A.D. 390 (see Catholic Encyclopedia, 1910, under Jovinianus). The holy Fathers knew that Marys perpetual virginity was part of Apostolic Tradition, as did the Lateran Council, in A.D. 649, when it condemned any who would deny that our Lady remained a virgin before, during, and after the birth of our Lord.
According to Johnson (and this would surely be news to the Pope), the Church no longer applies binding principles derived from eternal truths, but is now open to never-ending interpretations of Scripture. And so, feminist theologians such as Johnson can now reinterpret sacred truths with the flourishing of women as a goal. And since they despise Marys traditional image because she humbly accepts a secondary role assigned her in view of the priority of Christ the man they want to give her image a new subversive power. Their business is to do theology in a way that seeks liberation from the whole calcified pattern of structured sinfulness. Sinfulness here has nothing to do with arrogant pride, sexual indulgence, and abortion, but rather it is found in impersonal structures such as male domination as well as racism, classism, and heterosexism. Yes, heterosexism!
Some feminists have already discovered how to be subversive and liberating about Marys perpetual virginity. They point out that many virgin-goddesses in paganism engaged in sex and were still called virgins because they were autonomous. Johnson assures us that This symbolic interpretation of virginity is not as implausible as it might sound at first, because it allows Marys perpetual virginity to take on a strangely liberating power and carry some raw, subversive implications. This passage is an example of her style of persuasion: First she cites an outrageous opinion; then she uses a term such as not implausible to make the reader consider it; and finally she explains how this opinion is useful to feminist liberation.
The value of an interpretation, for her, lies in whether it advances the cause. For instance, she argues that Mary, in the Magnificat, refers to the fall of social and political tyrants, not to the fall of Satan and his powers of darkness. Thus, Johnson turns the Magnificat into an argument for women priests and bishops: If this is applied to womens struggle for full participation in governance and ministry in the church, the reversals of the Magnificat become rife with significance for ecclesial life. Our Ladys hymn is an overflow of her humility, but Johnson turns it into a song of pride, a call for revolution against male authority.
For Johnson, God as Father is the third rock of offense. Johnson wants to unsettle us in our humble worship of God the Father. She charges that the image of God as Mother has been suppressed in a patriarchal system, and that we who pray to God the Father create an idol whenever we understand Him to be masculine in a literal sense, however subliminally. Yes, an idol! But how can it be that our Savior commanded us to pray the Our Father and never once warned us of the danger of idolatry if we should unawares happen to take the name Father literally? Moreover, Christ urged us to receive His words like little children. Clearly there is no such danger of idolatry. Surely it is malice to impute it.
But Johnson gives no parallel warning that we might create an idol by understanding God as the Mother of mercy who has compassionate womb-love for all her children and by making the feminine into the icon of the divine in all fullness. Yet the danger is much greater on that side. First, our Lord never commanded us to pray to God as our Mother. Second, Johnson tells of several divine Mothers in paganism that stood for the powers of Nature, and she has to know that there is a revival of paganism today. Does Johnson not glance at an idol when she says that her divine Mother has a communion of saints residing in the matrix of the natural world, itself the original sacred community of life? There seems to be nothing supernatural about this Mother, who is very like Spinozas pantheist deus sive natura.
In the last part of her book, Johnson retells the biblical story of Mary subversively to advance her cause: If we are to seek out the liberating power of her memory in alliance with womens struggle for true human dignity, we need to connect her with other women then and now and tell her story subversively. She presents Mary as a woman who lived without supernatural gifts or extra advantages, a woman chosen by God not because she was holy and humble, but because she was socially marginal and insignificant. Marys memory creates liberating energies only if she is seen as just another woman exposed to patriarchal violence who had to make her own difficult choices with courage. Note the word choices. Johnson reinterprets Marys fiat at the Annunciation as autonomy and choice: In a self-determining act of personal autonomy, she decides to go for it. This is her choice and it changes her life. No room for humility here. And again, Mary made her own choice and this poor, unconventional peasant womans free and autonomous answer opens a new chapter in the history of God with the world. And so today, inspired by Spirit-Sophia, women who make their own decisions before God claim her into their circle.
Throughout this book, Johnson consistently excludes the supernatural, even in the retelling of Gospel stories. She justifies this exclusion by claiming that there are two kinds of knowledge, faith and history, and that the two are strictly divided: faith has to do with a different kind of knowledge than history. This wall she raises between faith and history contradicts the declaration of Vatican II (Dei Verbum #19), quoted in the Catechism (#126), that the Church unhesitatingly affirms the historicity of the four Gospels.
Nor does Johnson rest with the unprovability of a mystery such as the virginal conception of Christ. She goes further and cites the blasphemous imputation of Jane Schaberg that Mary was seduced or raped and that our Lord was an illegitimate child, drawing the reader into serious consideration of this silly opinion. Johnson observes that there is, after all, a valuable insight in Schabergs exegesis because it shows how God sides with the outcast, how disgrace can turn out to be grace, how the mother of Jesus was just another woman trapped in the terror of her situation, and how Jesus would be Gods beloved child no matter how he was conceived. She admits that devout persons will find the notion that Jesus was conceived by seduction or rape utterly shocking, yet she is relentless in insisting that the Gospel accounts of the virginal conception are not accurate renderings of history.
Without mentioning that God Himself speaks through St. Luke, Johnson uses nine phrases to imply that Lukes account of the Virgin Birth is purely man-made: he deftly combines two conventions and has a literary structure, a story pattern, a pattern, a fixed literary pattern, a five-point pattern, a pattern, elements of literary convention, and a formula. Later she says that St. Luke tries to impress his readers by depicting men in public leadership roles and keeping women in supportive positions, so as to give the new religion a look of trustworthiness. This makes him seem untrustworthy, rather than inspired.
Now, what advantage can feminists possibly gain by retelling the story of Mary subversively? Johnson explains that the story of illicit pregnancy places Mary in solidarity with women who suffer violence or the threat of violence from patriarchal authority, and The shadow cast by her scandalous situation connects in hope with oppressed women who struggle to survive patriarchal violence. By turning our Lady into just another unwed mother, she hopes to begin remaking the Church as a discipleship of equals. She offers women this utopian vision of an egalitarian Church. But in revolutions, as Orwell notes, egalitarianism is the bait, but afterwards it turns out there are some more equal than others. For all her talk of equality, does not this female professor of theology take her stand above the Galilean drudge?
So much does she want to advance the feminist cause that Johnson tries to show Christianity was founded by women: the legitimacy of the whole Christian message hinges on their [the womens] observation and interpretation, and without their initiative and witness there would have been no continuity in the story surrounding the end of Jesus life, no paschal narrative. So much for our Lord Jesus Christ having been the divine founder of Christianity! After it was launched, Christianity evolved by happenstance: The conversion of Gentiles was a windfall, and the belief in the divinity of Jesus was read progressively back into the Messiahs life when Paul first played this tune and Mark sounded the tune after him. Who could take this Church history seriously?
Johnson has borrowed her title Truly Our Sister from Pope Paul VI. But surely this Pope would be astonished to see his innocent phrase used to demean our Lady. Our own Pope John Paul II would be astonished to see what Johnson is teaching as Catholic theology in a Catholic university. In Ex Corde Ecclesiae, our Holy Father asked the bishops to take steps to ensure that true Catholicism is taught in the theology departments of Catholic institutions of higher learning. This book is a reminder to the American bishops that their urgent task has yet to be accomplished. It is time, even past time, that they undertook that challenge.


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The owner, Francine Gaucher studied at the Institut de Technologie Agro-Alimentaire de St-Hyacinthe, garden and nursery production. She obtained her degree in 1990. She did an internship in France at the nursery André Briand seedlings, which specializes in propagation and production of pots 4 ". She has also worked for 7 years in the nursery at St Paul Abbotsford Abbotsford. Francine discovers she has a sense of entrepreneurship, to raise the taste of Challenges and passion for propagating shrubs.
So by force of circumstances that Gaucher Nursery began operations in 1996 with the acquisition of the current site in Brigham. His beginnings were humble with its 1000 square feet of greenhouse production. It now has 14,525 feet. greenhouses and 20,000 square feet. square area of foreign productions. The nursery product in its infancy cuttings of shrubs plugs as well as shrubs and perennials in 2 gallons. Since the propagation of plants is rapidly growing, it has now become the main activity of the company.
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Manufactured durably from a heavyweight 15oz., 100%Cotton-Denim, Carhartt's 100%polyester-fleece-lined Jeans comfortably set at the waist and features a seat and thigh relaxed fit, with a 17-1/2" straight leg opening which allows boot coverage. The front and back-reinforced pockets are quite roomy. Finalizing pure ruggedness is a leather Carhartt logo patch on the back pocket.
Great comfortable Jeans if you need to keep warm on the job!
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Windows are an essential part of every home. They invite light indoors, add beauty inside and outside, and make the difference between affordable and exorbitant utility bills.
As such, replacing your windows is a job that should not be done on auto-pilot. Here are five things to consider when buying new windows.
1. Price is not directly proportional to performance
Instead of cost, pay attention to the elements of a window's description and installation so you get a durable frame that is insulated and has a low-emissivity coating, along with spacer and gas fills. All of those details affect a window's ability to prevent airflow between the inside and outside of your house.
The low-e coating is "a microscopically thin, virtually invisible, metal or metallic oxide layer deposited directly on the surface of one or more of the panes of glass," explains the U.S. Department of Energy. It lets sunlight in while preventing the warmth inside from passing outside.
Spacer and gas fills are used in double-paned windows to add insulation that is more effective than just having air between the panes of glass.
Finally, a weathertight seal stops leaks around the edges of your window.
2. Choose windows that match your local climate
The key is to look at U-factor, a number that tells you how well a window is insulated and can resist heat flow. The National Fenestration Rating Council rating method is the standard, with a range from 0.20-1.20. As with golf scores, low numbers are better.
"Low U-factors are most important in heating dominated climates, although they are also beneficial in cooling dominated climates," the Efficient Windows Collaborative says.
Additionally, your climate will dictate what glazing you want on your window. You can improve your U-factor number by using triple glazing on your windows, thereby increasing efficiency and saving you money on energy bills.
3. Focus on additional features that improve value
An easy-to-operate window sash is important in a sliding window. It is the framed part of the window made up of several pieces and, as The Spruce points out "if the pieces were disassembled, no sash would exist." Those pieces include the grille, which you can personalize to add style and value.
If you're worried about critters getting into your home, opt for full screens so you can open your replacement windows to welcome fresh air without inviting bugs inside.
4. Look for window styles that complement your architecture
Whether you have a traditional or modern home, choose windows in a coordinating style. From casement and bay windows to contemporary sliding and picture windows, choose a look that fits your space.
For example, window replacement company Renewal by Andersen uses a material called Fibrex that can be made into any type of window.
"Our special extrusion process allows us to craft your windows to any shape, meaning you can match the architectural style of your home or choose to define a new look," the company writes on its blog. "In this same process, the color is fused into the material, offering you a wide palette of long-lasting colors to choose from — even dark exterior colors not found with most other replacement windows."
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Windows are a vital aspect of your home's energy efficiency, with heating and cooling costs taking up almost half of your utility bill according to energy.gov. That's why it's key to look at the performance of the entire window, not just one part of it, and use a company that understands the need for efficiency.
Renewal by Andersen installs ENERGY STAR certified windows that benefit both the environment and your wallet. For more information and to schedule a free consultation, visit renewalbyandersen.com.


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"Alex among the Lilliputians" by Eric Rennie
I am primarily a landscape photographer, but like Lewis Carroll, I also occasionally like to take pictures of a certain little girl – not Alice in this case but Alex, my granddaughter. She is pictured above at age five at the Kid City children's museum in Middletown, CT. This image appears in a juried competition called Simply at the Center for Fine Arts Photography in Fort Collins, CO from February 26, 2016 to March 26, 2016. Forty-nine images were selected by juror David Carol from among 1,325 submitted by 352 artists from 29 countries.
We forget how the world appears to a small child and how little power they have to operate in an environment where almost everything is above their line of sight and out of reach. Dolls and toy trucks enable children to engage imaginatively with the larger world long before they are capable of mastering it any other way. They create their own small worlds. Those who build model cars and airplanes as kids may continue to build scale models as grownup engineers and architects. Walt Disney was a model railroad buff his entire life. The 1/8-scale miniature railroad he operated on a half-mile track in his own backyard became the prototype for the narrow-gauge steam trains he operated at Disneyland.
Why this lingering fascination with miniature realms? Perhaps it's because we never outgrow a sense that the world we normally inhabit is vastly larger than ourselves. And yet if we pay strict attention to the world as it actually presents itself to us, we will realize it is never larger than our own bodies. Our bodily senses conjure a world of sweeping vistas that plays out in the theater of the mind, but its true breadth is never greater than the space between our ears. It's one of those clever tricks of perspective that makes you believe the small world you actually occupy encompasses an entire universe.
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Brush Glossary, Materials, and Brush Construction Methods
Brush Filament
The following is a summary of the filament used in the construction of our brushes. In determining what filament is right for your application, consider the temperature, water, sun, speed, and what the filament is coming in contact with. Natural filaments will vary in diameter size, but our synthetics will have a wide range of sizes available. If you are replacing a brush in an existing application, use a micrometer to measure the exact diameter of that filament.
Natural Filaments
A perfect choice for high heat or strict standard applications. See Synthetics for less expensive alternatives.
Horsehair brushes are resilient and long lasting coming from the tail or mane. Horsehair is graded by degree of stiffness; the stiffer the hair (from the tail), the higher the quality and generally the price. Excellent for sweeping polished surfaces, horsehair is frequently blended with other materials in a wide variety of brush styles.
Palmyra is a medium coarse fiber from trees. Palmyra is a low cost fiber used in scrub brushes and floor brushes most often.
Tampico is an off-white fiber from the stalk of the Agave plant of Mexico. Widely used in scrub brushes or as a stiffner with other fillings, tampico holds liquids well and its texture is gentle to polish surfaces. It is widely used in applications where resistance to high temperatures is necessary.
Synthetic Filaments
The right choice for most applications. TIP: Nylon absorbs, therefore should sink in water, Poly materials will float.
Nylon is the toughest wearing synthetic filament available. Nylon bristle discourage bacteria growth and resist most acids. It is excellent for industrial and food service applications. Available as a straight or crimp shape and mostly offered as white or black.
Similar to nylon in many respects, but does not absorb moisture and tends to be slightly stiffer for comparative filament diameters. Polyester performs well in both acidic environments and outdoors.
This flexible filament is very efficient for thorough washing and polishing of delicate surfaces including fruits and vegetables. Polyethylene is ideal for soft wiping instead of brushing action and is usually extruded in either an "X" or triangle shape.
This outstanding synthetic brush material is resistant to abrasion and most acids and solvents. Unlike nylon, polypropylene will not absorb moisture. Normally oval when extruded, polypropylene filament can be extruded in other shapes for additional strength. Natural polypropylene is ultra-violet sensitive and is best if not used in high sunlight applications.
Metal Filaments
For aggressive and specialty applications.
Typically used in scratch brushes, carbon steel wire provides good cleaning in dry environments.
This is a stiff, hard-working resilient wire used in hand scratch and power driven brushes. Flat wire is the most aggressive brushing material available.
Rust-proof and spark resistant, brass provides gentle brushing action.
Rust-proof and very strong, stainless steel is used to prevent harmful ferrous deposits on brushed parts. Most brushes are made with 304 stainless wire unless specifically tailored.
Common End Fittings
The following is a summary of the end fittings commonly used in the construction of our rotary brushes. We offer a great selection of these end fittings for your custom brushes in all industries we serve and many are OEM compatible and price competitive.
THROUGH BORE WITH/WITHOUT KEYS is our most common end fitting. We can drill a bore size to fit your shaft diameter and key one or both ends. Regular steel and stainless are both available and has 2 set screws. Core diameter, bore size, and how you need your keys drilled are all that need to be specified.
2" PLASTIC SQUARE DRIVE INSERT is meant specifically for lugged core brushes that work in machinery for peeling produce and is flush with the core ends. Allows a square 2" shaft to pass through the brush. Reference # XS2264
EXTENDED ALUMINUM SQUARE DRIVE can fit our tufted rollers and extends 1.25" on each end of the brush. Reference # XS2120.
FLUSH MOUNT ALUMINUM SQUARE DRIVE will fit our metal grip roller brushes and the hub will be flush with the ends of the brushes. Reference # XS2112.
SINGLE SLOT END FITTING is a plastic hub that is made specifically for agricultural processing machining. Reference # XS2260.
POLY 1" SQUARE, .75" INSERT fits any 1" square drive hub. Reference # XS2121.
POLY .75" IDLER fits inside the 1" poly square insert. Reference # XS2122.
TAPER LOCK HUBS are flush with end of the core, and are used so the brush face can be at the maximum length. Please inquire about the various sizes, styles and bores.
1" PLASTIC SQUARE DRIVE HUB can be flush or recessed with a 2.625" brush core and is meant for tufted rollers. Works with 1" poly square insert and poly .75" idler. Reference # XS2254.
CROSS SLOT END FITTING is a different version of our single slot plastic hub also made specifically for agricultural processing machinery. Reference # XS2252.
Trim Options
Our trim options can greatly enhance agricultural product movement in your lines. Please inquire for your special needs, and we can provide a trim option to correct product migration, adequate wax coverage and thorough cleaning.
|STRAIGHT TRIM provides an even uniform trim across the entire surface for most cleaning, drying, washing, waxing and coating applications. This is the most common trim and works well for a versatile use.
|HI-LO TRIM is specially cut to control directional flow and tumble produce from side to end for increased brush contact during the waxing process with the tufted or metal grip roller brush. The wave-like trim alternates from brush to brush helping roll the produce side to side. This rolling effect helps to ensure thorough coverage during the waxing process of produce.
|SPEED TRIM helps direct produce through the production line when using the tufted brush. Excellent for oblong and irregular shaped produce that migrates to one side or tends to stay stationary on the line. Our own special design works well in conjunction when alternated with our tumble trim brush and will speed up rotation of produce. Works great for short brush lines.
|TUMBLE TRIM rotates produce more efficiently to help coverage of contact of the brush to the surface of produce. Meant only for our tufted brushes.
|STANDARD ROWS for the agricultural industry on a 2-5/8" diameter core are 20, 24, and 26 row tufted brushes. For the larger or smaller diameter tufted rollers, rows can vary depending on the produce coming in contact.
|HEAVY ENDS TUFTED ROLLERS are an option used for helping the produce move along straighter and to prevent it from trapping on the sides of the lines. Heavy ends are made with tufted holes closer together or by adding more rows, thus giving the brush more tufts in a smaller space. Standard in the agricultural industry are the 20, 24, 26, 32 and 36 row heavy ends that span 3" x 4", and even 6" on each side of the brush depending on the brush length.
|DIRECTIONAL CANTING is a trim that can help move produce in specific directions to accommodate produce lines that might become wider, narrower, or move from one side to another. Used in our tufted brushes.
|ROOT CROP TRIM is for our metal grip rollers that offer efficient cleaning of the crevices of root crop produce.
|RANDOM TRIM is used when the brush contact needs to clean in tight spaces. Ideal for root crop produce, any produce that may have irregular shapes, or be in contact with dirt.
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