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Gómez de la Serna, Ramón
Last Updated on June 7, 2022, by eNotes Editorial. Word Count: 2552
Gómez de la Serna, Ramón 1888–1963
Gómez de la Serna was a Spanish poet, dramatist, essayist, and novelist who is best known as the inventor of a new genre, the greguería, a kind of serendipitous parable.
El teatro en soledad, written in 1911 by Ramón Gómez de la Serna, and Pirandello's Sei personaggi in cerca d'autore, written about ten years later, are strikingly similar in many significant ways. Coincidence cannot be the explanation, and it is extremely unlikely that Pirandello knew about Ramón's play, which was published in an obscure Spanish journal. The key to the explanation of this phenomenon may be found by turning to Paris during the "Banquet Years" and especially to the cubist school of painting. (p. 59)
El teatro en soledad is a very important document in the history of pre-Pirandellism in Spain. The first twenty of the eighty pages are devoted to the "Depuración preliminar" in which Ramón describes his state of mind … and his purpose in writing the play…. He also speculates about literature in general, rejects almost all manifestations of the Generation of '98, meditates about artistic creation, and gives his opinions about the future of literature…. In short, this part of the manuscript is a type of literary manifesto. (p. 60)
Like Sei personaggi, El teatro en soledad is a play which serves to dissect the theater and the techniques employed destroy theatrical illusion by showing people and elements which should remain behind the scenes. There are several levels of reality; in fact, in the list of characters the participants are separated into two groups in both plays: characters and actors. In addition, the author and the spectators, who were to become so important in Pirandello's theater-within-the-theater trilogy, are discussed. The characters are even more important in Ramón's play than in Pirandello's, since the stage belongs to them completely during most of the play. The actors and characters do not occupy the stage simultaneously as they do in Pirandello's play, and the actors are unaware that the characters exist; however, the characters have a critical attitude toward the actors very similar to that shown in Sei personaggi.
The actors in Ramón's play are presented as a rather sorry lot: poorly dressed, unattractive, and disagreeable. They converse about several problems associated with the mixture of levels of reality, such as when they criticize Enrique, an actor, for playing only himself instead of his role. After the director has left, the actors complain about his control of them …, a complaint rather similar to that found in Questa sera si recita a soggetto. (p. 62)
The characters who arrive after the actors and stagehands have left for the night constitute the core of the play. They are autonomous characters, just as Pirandello's Sei personaggi are, and they are also searching, because they are characters without a drama. But unlike Pirandello's characters, they do not even have a story; indeed, they are self-sufficient and do not want an author. They appear to be searching for an absolute expression of true drama.
In both plays the stage itself, stripped of illusion, occupies an important position. Although many details are reversed, the first stage directions of the two plays give similar impressions. (p. 63)
In Sei personaggi in cerca d'autore the main desire of the characters is to represent their drama on the stage. They suffer when the actors try to play a scene from their life because it lacks authenticity…. The characters of El teatro en soledad , even though they are also actors, have a similar problem…. Later they...
(This entire section contains 2552 words.)
further discuss the difficulty of representing true emotions on the stage….
The theater-within-the-theater techniques used by Pirandello, which even include such extreme devices as participation by spectator-actors, interruptions, and scenes in the lobby, have led to the decrease or destruction of aesthetic distance. That is, the observer is no longer separated from the art form he is contemplating—he becomes a part of it and is thus unable to view it with the necessary detachment. It is interesting to note that Ramón, who foreshadows Pirandello in so many ways, also touches on this problem. For example, the director tells the actors that their untidy appearance upsets the audience. After he has left, one of the actors observes that when their collars become detached during a performance, it distracts some spectators who involuntarily look at their own collars to make sure that they are in place. Similarly, a young actress remarks that she was afraid the director would mention that during the performance she was smiling at her novio who was in the audience. In both cases the audience has overidentified with the actors and thus cannot contemplate the work of art as such. However, there is also a reverse side to this phenomenon—a strong audience-actor rapport which enhances the actors' performance. (p. 64)
In addition to the technical innovations in these two plays, the moods in them are extremely similar…. In El teatro en soledad the intellectual dialogue almost always has an undercurrent of passion, which yields a tone remarkably similar to that of Pirandello's plays.
Since most of the innovations found in Ramón's play can be explained by applying cubist aesthetic theories, it will be necessary to show his close involvement with the artistic environment of the time. Ramón made his first trip to Paris in 1906, the year in which Pablo Picasso began "Les Demoiselles d'Avignon."… Much more important, however, was Ramón's residence in Paris from 1910 through 1911, the most significant period for the development of analytical cubism. He frequented the Bateau-Lavoir, the birth-place of cubism, and became acquainted with many of the leading artists of the day. Ramón himself enjoyed drawing and illustrated many of his writings. He was greatly interested in the artistic innovations of the epoch, and his 1931 book Ismos bears witness to this.
In the prologue of Ismos, Ramón [indicates that] he reacted to the August 1910 Exposition des Indépendants as one would to sighting the coast of a new continent…. He enthusiastically reveals that this was a turning point in his interest in art…. (p. 65)
In Ismos Ramón gives evidence of his commitment to the new attitudes. Of course twenty years had passed since he wrote El teatro en soledad, however, certain evidence in the play itself indicates that when he was writing it he was experiencing the same emotions that he more maturely described in Ismos which is a very personal study of the epoch then ending. (pp. 65-6)
Ramón states that he has always been a "vanguardista" and that he is especially a "porvenirista." In a discussion reminiscent of Lessing's Laocoön he ponders the relationship between literature and art. He believes that literature is even more capable than art of capturing the new aesthetics …, and goes on to explain the limitations of painting as compared to the wide possibilities of verbal expression.
He tells how painters' techniques can also be applied to literature…. He believes that it is necessary to devour innovations, use them, and continue on to new things, for repetition is monstrous in art. (p. 66)
In the Historia de las literaturas de vanguardia Guillermo de Torre points out that the term cubism is always used hesitatingly by literary critics…. However, the present analysis of El teatro en soledad shows that with almost mathematical certainty, cubist aesthetic theory applied to the theater would produce techniques such as those found in Ramón's play and later in Pirandello's. For example, the cubists' abolition of the single viewpoint, their showing the object from a multiplicity of angles, would correspond to the different angles from which the stage is viewed. At one moment we are in the rafters with the stagehands, looking toward the stage, at another we contemplate the empty auditorium with the electrician; we see the author from the actors' point of view and then the actors from the characters' viewpoint, and so on. Also, the cubists broke up volumes. A cubist playwright dissects theater, almost destroying the very medium he is using to convey his art. The collage, which involves the attachment to paintings of "real" items such as newspapers or cigarette packs, would, of course, correspond chiefly to the "life" brought into cubist-oriented drama in the form of spectators, ushers, or stagehands. The superimposed planes so important in cubist paintings become the many planes of reality manifested in the theater by various forms of theater-within-the-theater technique. In essence, both cubism and Pirandellism are intellectual arts, both strive for maximum possibilities of expression and a new confrontation with the materials at their disposal, and both participate in the "art-about-art" trend.
El teatro en soledad, besides being a cubist play in technique, contains imagery of cubist origin, and there are many interesting details in the play which prove that Ramón actually had pictorial representation very much in mind when he was writing it. In the "Depuración preliminar" there are numerous references to painting. These pages, although obviously a literary manifesto, are unintelligible in parts if one does not consider the artistic background of the time. (pp. 67-8)
Ramón speaks about perspective in a manner which suggests painting rather than literature….
He realizes that he is adapting artistic theory to literature, and finally he actually formulates a literary theory based on these concepts…. (p. 68)
In the play itself there are also numerous details which suggest cubism. The names of the characters sound like the titles of cubist paintings: "La vieja amarilla," "El de la nariz vinosa," "El de chistera," "La de la frente lunar," "La de los aretes," "La de la boca violeta," and "El recio de pómulos." (some of Picasso's titles are "Mujer en verde," "Señora del sombrero negro," "Mjuer con abanico," "La señora del manguito," "La mujer del moño.")
Some of Ramón's character descriptions are verbal sketches of cubist paintings. (p. 69)
Several critics have suggested that Pirandello transposed cubist inspiration into theatrical terms. MacClintock comments on Pirandello's changed point of view and compares it to contemporary painting and poetic techniques. He explains that art does not necessarily resemble reality as most know it. Picasso "takes the elements of a form as he sees it and jumbles them into a pattern which has nothing to do with what we see." He believes that Pirandello's philosophy of drama is the same:
So to Pirandello the drama is also a self-contained medium of expression with conventions of its own and its own justification; the action need not be based upon facts (which are illusory), it need not contain a thesis or teach a lesson, it need not even be probable if only it is psychologically and philosophically true.
(pp. 70-1)
The fact that Ramón's play, which was directly inspired by the cubist school of painting, contains many of the same elements which later appear in Sei personaggi certainly supports [the critics'] contention that Pirandello was also influenced by the new philosophy of art. Pirandello was strongly inspired by the parallel philosophical and psychological currents of the epoch, while Ramón shows more concrete influence of cubist painters. Ramón wrote his rather tentative practice piece at the beginning of an epoch during one of the most exciting years of discovery and development of cubism. Luigi Pirandello wrote his masterpiece several years later at the end of the cubist epoch; although art would never be the same, the official denotation of cubism would no longer be applied to subsequent paintings. Ramón was young and greatly inspired by the new movement when he wrote El teatro en soledad, while Pirandello was a mature and experienced writer when he wrote his play. Ramón's drama has been forgotten except by a few scholars, while Sei personaggi in cerca d'autore is recognized as one of the most significant plays of the twentieth century. Both plays, however, directly reflect the spirit of their age as it appeared in the plastic and literary arts. (p. 72)
Wilma Newberry, "Ramón Gómez de la Serna," in her The Pirandellian Mode in Spanish Literature from Cervantes to Sastre (© 1973 State University of New York), State University of New York Press, 1973, pp. 59-72.
Ramón Gómez de la Serna, or simply "Ramón," as some critics refer to him and as he preferred to be called, is fast becoming recognized in North America not only as an outstanding innovator in literary creation who was one of the most representative Spanish authors of the period between 1914 and 1936 but also the one who illustrated perhaps better than any other the universal Spanish intellectual (and humorist) of the twentieth century. Julián Marîas went even further a few years ago when he maintained that in Ramón's generation only three men reached the status of genius: Ortega in philosophy, Picasso in art, and Ramón in literature.
The "great Ramón Gómez de la Serna," as Octavio Paz has called him, has among his many publications a work on the major "isms" that came into being between the two world wars, and his own ideas, style, and name have been associated with many of them: Ultraism, Cubism, Dadaism, Surrealism, even Futurism. Some critics accept him as a precursor of many of these "isms" as well as an influential figure who had a major impact on the forms and direction his Spanish literary contemporaries and followers were to take. (pp. 237-38)
Indeed, during the greater part of this century, Ramón, a prose writer, largely through his use of metaphor, imagery, and other figurative devices more consistently than any poet in Spain lived up to Aristotles' dictum, namely, that the poets' mission is to discover similarities between things, a "mark of genius" Ramón flaunted to the fullest in the greguería, a new literary genre he named in 1909 and of which he became the first conscious cultivator. Poets have always been aware of the infinite possibilities of analogy, and Ramón Gómez de la Serna like them has ventured to take daring steps that join clashing and contrasting extremes thereby enlarging the scope of analogy. The power to startle consistently with surprising analogies is one of the major artistic achievements of the greguería. The expression of this surprise, shock, and astonishment is one of the main objectives of this literary "invention" which, together with his reputation as a humorist, will perhaps be Ramón's greatest and most lasting claim to fame. For, although his total literary output is massive, it is the greguería … that made him famous back in the Twenties and Thirties, long before his total literary production was known. And the greguería, often inédita, continues to appear even after his death…. (p. 238)
Ramón, in breaking with the set forms of literature, has had lasting success with the greguería as it survives, and its form together with his vision of the world which evolves from a personal and humanistic attitude based in part on the personification, animation, and humanization of things is partly responsible for this survival. (p. 242)
Richard L. Jackson, "The Status of the 'Greguería' of Ramón Gómez de la Serna," in Modern Fiction Studies (copyright © 1976, by Purdue Research Foundation, West Lafayette, Indiana, U.S.A.), Summer, 1976, pp. 237-42.


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Admiralty & Maritime
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Here visions throng on People and on Bard,
I see great Shapes in vague confusion march Like giant shadows, moving vast and slow, Beneath some torch-lit temple's mighty arch Where long processions go.
I see these Shapes before me all unfold,
(From Memorial Ode.)
Our history is a shining sea
And its great Pillars of Hercules,
here behold in majesty
These Pillars of our history,
The Father of his Country
JAMES WOOD DAVIDSON was born in Newberry County, South Carolina, and educated at South Carolina College, Columbia. He taught at Winnsboro and at Columbia until the opening of the war, when he enlisted as a volunteer in the Army of Northern Virginia, and served throughout the great struggle. After the war he taught again in Columbia till 1871. Then he removed to Washington and in 1873 to New York, where he engaged in literary and journalistic work. He has also lived in Florida and represented Dade County in the State Legislature. He is now living in Washington City.
Dr. Davidson's "Living Writers of the South" has made his name well known as a critic and student of literature, and his labors in behalf of Southern letters entitle him to high regard.
(From Poetry of the Future.*)
The relation between the Beautiful and Beauty on the one hand, and the Poetical and Poetry on the other, has generally been seen, when seen at all, vaguely; that is to say, seen as the Beautiful and the Poetical themselves have been seen-" in a mirror darkly." This indistinctness seems * By permission of the author.
to have grown out of the faulty views of nature taken by the speculators.
In brief, then, Nature is an effect- a product—of a Power lying behind or above it; and it stands, accordingly, to that Power in the relation of an effect to a cause. That cause we shall describe as Spiritual; the effect, as Natural. The Natural, or Nature, is the material Universe embracing the three kingdoms, known as mineral, vegetable, and animal.
Such being the case, everything in nature is a correspondent of some thing-is expressive of and consequently representative and exponential of something-above it or behind it; and that something is an idea-a thing not material. It follows, then, that every object in nature has real character in itself as a representative of an idea; just as, say, an anchor is representative of hope, a heart, of love, an olive branch, of peace, and a ring, of marriage.
We next come to consider the percipient mind. Men's minds have limited and imperfect faculties and capabilities. That which is good, or true, or beautiful, to one mind can hardly be the same in the same way and degree to any other mind. It is true-as some writers have stated, but none seems willing to push the propositions to their legitimate conclusions that the Good and the Beautiful are true, the Beautiful and the True are good, and the True and the Good are beautiful. We wish to accept the propositions in their most comprehensive scope and with all their legitimate consequences.
Let us note, at this point, the fact, obvious enough but generally overlooked, that in perception the result depends far more upon the percipient mind than upon the object perceived. To a ploughboy, a pebble is an insignificant thing, suggestive possibly of some discomfort in walking,
and fit only to shy at a bird, may be; but to the geologist it appears worthy a volume, and speaks to him of strata may be a million of years old, of glacial attrition, of volcanic action, of chemical constituents, of mineralogical principles, and crystallogenic attraction, of mathematical laws and geometric angles, and of future geognostic changes. That is to say, the pebble contracts and expands, as it were, with the faculties and the prejudices of the person of the mind-that sees it.
Or, again: The crescent moon is visible in the clear sky. A sees a bright convenience which enables him to walk better-not so good a light as the full moon would be, but valuable as far as it goes. B sees a lovely luminary to light him to his lady-love, a hallowed eye half shut that watches with protecting radiance over her slumbers. C reckons the intervening 238,000 miles, its diameter of 2,162.3 miles, and his mind busies itself with orbits, radii, ellipses, eclipses, azimuth, parallax, sidereal periods, satellitic inclinations, and synodic revolutions. D, with a turn for symbols and history, sees in it something of the " ornaments like the moon that Gideon captured from the Sheikhs Zebah and Zalmunna, something of Byzantine siege, Ottoman ensign, the Crusades, the Knighthood of Selim, the battle of Tours, and the city of New Orleans.
The Beautiful
between the man that sees and the object seen. harmonious relation brings perfect beauty.
is a relation A perfectly
The Poetical
is the beautiful;
and this may be expressed either in prose or in poetry.
Poetry, more closely defined, is the poetical expressed in rhythmical language.
CHARLES COLCOCK JONES, JR., was born at Savannah, Georgia, and made his literary fame by special study of the history of Georgia and the life of the Southern Indians. He was by profession a lawyer, was colonel of artillery in the Confederate Army, and from 1865 to 1877 lived and practised law in New York City. Since 1877 his home was "Montrose' near Augusta, Georgia, where he left a fine library and large collections of Indian curiosities and of portraits and autographs. His style is full and flowing, and the following list shows his great activity with his pen.
Colonel Jones is the most prolific author that Georgia has produced and his works place him at the head of her historical writers.
(From History of Georgia.*)
During the four years commencing in 1729 and ending in 1732, more than thirty thousand Salzburgers, impelled by
* By permission of Mr. Charles Edgeworth Jones.


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LeapFrog Product Review
Leap Pad - Quantum Pad
iQuest -Turbo Twist
Leap Frog produces numerous electronic educational toys. They are quite innovative and they drew my attention because one of my children is speech and language impaired and benefits from devices which talk to her.
The first product which we purchased was an early Turbo Twist math toy. It was useful except for the fact that it lacked an earphone jack. Needless to say it could be quite irritating but it was an effective teaching tool.
The second unit was the Leap Pad (similar to the later Quantum Pad). Books for this vary from $12-$15. We invested about $300 total in this product and the books.) This product has been a useful educational tool but was to put it mildly pricey. In retrospect money invested in the Leap Pad & Quantum Pad products would have been better spent on computer software.
The third unit purchased was a Turbo Twist spelling unit. Thankfully this has an earphone jack. This unit was advertised as having the ability to program the child's spelling words. What was not clear in the advertising hype was that this function required paying an annual fee to use the feature. So the Turbo Twist was $30 retail ($25 on sale) and it gave the impression that the programmable feature was available with the purchase of a cartridge ($15) and a Mind Station programming station ($25).
Other products like this come with the necessary software and when you buy the product is is useful for it's life as is. But Leap frog has come up with a different business model which is great for them and not so hot for the consumer.
When the customer buys the Turbo Twist, the cartridge, and the Mind Station for about $60 retail Leap Frog gets about half of the sale price, namely about thirty dollars. Cost of production, marketing, and other business overhead leaves Leap frog with about half of the $30, or say $15 net.
But instead of giving the consumer the software to load spelling words (or any other programmable feature) Leap Frog has set it up so that all words have to be loaded from their web site. There is no way to store the words on your computer. So you have to subscribe indefinitely to their service to use much of the advertised features. It is likely that Leap frog makes more money off these subscriptions then they do selling the product.
The third product purchased was the iQuest and the Mind Station to program cartridges and several extra cartridges. The iQuest unit talks, but only on some functions. In addition, we did not find even one of our child's text books supported by the iQuest over several years. Much of the navigation does not speak and it turned out that for us the iQuest was a complete waste of money.
Annual subscriptions Turbo Twist $18, iQuest outlines $12, textbook w/outlines $24, Leap Pad $18.
Leap frog produces an innovative product line. But their business model is deceptive, in that many of the features they hype are only available if you pay for annual subscriptions. The subscription rates are such that Leap Frog will make more money each year from your subscription then they likely make from selling you the product.
If it were not for Leap Frog's gouging on subscriptions I would highly recommend their products. But this blending of included features and those for which you must pay for indefinitely is in my view misleading and unethical.
In retrospect when I look at the $500 or so dollars I spent on Leap Frog products and compare that expenditure to buying computer software or books which continue to deliver the service year after year, it is my feeling that many of the Leap Frog products were in the end not as good a value as other products. The exception being the Turbo Twist products with pre programmed cartridges. Those devices do deliver reasonable value.
Ronald J Riley
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Collection of werma signaltechnik wiring diagram. A wiring diagram is a simplified traditional photographic representation of an electrical circuit. It shows the parts of the circuit as simplified shapes, and also the power and signal connections between the gadgets.
A wiring diagram typically offers information about the family member position and plan of tools and terminals on the gadgets, to help in building or servicing the device. This differs from a schematic layout, where the arrangement of the parts' affiliations on the diagram usually does not represent the parts' physical places in the completed gadget. A pictorial diagram would show a lot more information of the physical look, whereas a wiring diagram utilizes a much more symbolic notation to highlight interconnections over physical look.
A wiring diagram is usually made use of to repair troubles and to earn sure that the links have been made which whatever is existing.
werma signaltechnik wiring diagram
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Wiring Diagram Pics Detail:
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- Dimension: 1010 x 1617
Collection of werma signaltechnik wiring diagram. Click on the image to enlarge, and then save it to your computer by right clicking on the image.
Just what is a Wiring Diagram?
A wiring diagram is a simple aesthetic depiction of the physical links and physical layout of an electrical system or circuit. It shows just how the electric cables are adjoined and also can additionally reveal where fixtures as well as elements could be attached to the system.
When as well as The best ways to Use a Wiring Diagram
Usage wiring representations to help in building or making the circuit or electronic tool. They are likewise valuable for making fixings.
Do It Yourself lovers use wiring layouts however they are also typical in residence building as well as car repair work.
For example, a house contractor will certainly intend to confirm the physical area of electric outlets as well as lighting fixtures utilizing a wiring diagram to prevent expensive errors as well as developing code offenses.
Just how is a Wiring Diagram Different from a Schematic?
A schematic reveals the plan and also feature for an electrical circuit, but is not worried with the physical design of the cords. Circuitry representations reveal just how the cords are connected and where they need to situated in the actual device, as well as the physical connections in between all the elements.
Exactly how is a Wiring Diagram Different from a Photographic Representation?
Unlike a pictorial diagram, a wiring diagram makes use of abstract or streamlined forms and also lines to show parts. Pictorial diagrams are usually pictures with labels or highly-detailed illustrations of the physical components.
Common Wiring Diagram Icons
If a line touching one more line has a black dot, it implies the lines are linked. When inapplicable lines are revealed going across, you'll see a line jump.
Many symbols used on a wiring diagram look like abstract versions of the actual things they represent. A switch will be a break in the line with a line at an angle to the cord, much like a light button you can turn on and off.


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How can we worship a God we don't really know or understand? Learn who your God is and how to fully worship him, not just for what He has done for you, but for who He is. Listen as your heart fills with praise toward your God -- you won't be able to keep from worshipping the God who created you and loves you!
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1980 Califfo, pedal start 122 case inducted fan cooled motor. 60cc DR kit and NOS circuit pipe. 14.12 sha jetted at 66 in 24 degrees in Detroit, 63 in summer. This motor was split and completely rebuilt.
Copy this code and paste it into your website or blog.
Ben Horn:
What happened to the egg!?
Harvey Knight:
All your bikes have class..
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Following a very successful period just short of two years as Chief of the Defence Staff, Air Chief Marshal Sir Stuart Peach will this week stand down as the UK's most senior military officer in order to take up the appointment as NATO Chairman of the Military Committee. He will be succeeded as Chief of the Defence Staff by General Sir Nick Carter, current Chief of the General Staff.
In his new role as Chairman of the Military Committee and the most senior military officer in NATO, Air Chief Marshal Peach will also, by virtue of his being the principal military adviser to the NATO Secretary General, become the conduit through which consensus-based advice from Chiefs of Defence of all 29 NATO members is brought forward to the organisations political decision-making bodies. He will also the senior military spokesman for the alliance on all military matters. He succeeds General Petr Pavel.
As Chief of the Defence Staff, Air Chief Marshal Peach has served two Secretary of State for Defence in the form of Sir Michael Fallon and Gavin Williamson. His tenure has seen the UK has faced up to increasing Russian pressure and our lending of land, maritime and air support to countries in the Baltic region, Estonia and further afield to Romania. In the wake of terrorist attacks in London and Manchester the military has lent considerable support to the police and under his watch there has been a greater emphasis taken on homeland security.
Noticeably increased activity from Russian submarines and aircraft has seen Royal Air Force Typhoon 'Quick Reaction Alert' defence capability used with much greater frequency during his tenure in office just as the Royal Navy has also been required to be on constant vigil as the Russia tests our defences against sub and surface sea intrusion.
ACM Peach has embraced the hugely important issues that the UK has faced with our allies such as our continuing to play the leading role in countering DAESH, our training of over 60,000 members of the Iraqi Security Forces, delivering collective defence through the significant and leading role that we play within NATO and which includes supporting Eastern European NATO allies in the Baltic and Black Sea coast against the increasing Russian threat.
Importantly, as his period in office as Chief of the Defence Staff has seen the bulk of the work done that led up to publication of the National Security Capability Review he has in turn embraced the need for us to plan for the warfare requirements of tomorrow whilst at the same time ensured that we better understand the new technology and information based threats that we face including the need to raise our game in cyber, intelligence and electronic warfare and within this, embraced the need for enhanced ISTAR capabilities and other new capabilities that the UK will soon have in the form of Maritime Patrol Aircraft capability.
As Chief of the Defence Staff, Air Chief Marshal Peach has worked hard to support the Army, Royal Navy and Royal Air Force, their people, their needs, their issues, their abilities and capability needs. He has also rightly embraced one of the most important yet less well sung elements of UK defence capability now in its 48th year, that of our continuous-at-sea nuclear deterrence and its vital importance.
As his period in office coincided with some of the most important one hundred year anniversary of the Great War Air Chief Marshall Peach reminded that remembering those that gave their lives for us in past wars is a powerful part of our culture. Above all though for me as a passionate believer in NATO, it has been pleasing for me to see how he has emphasised the enduring qualities of this endurable organisation. ACM Peach believes as many of us do in collective security, in NATO's ability to project stability and he places much emphasis on the reputation of the UK within the alliance. Rightly in respect of future European defence, he does not support duplication of NATO structures, processes or capabilities. But he does also believe in cooperation and the need for complimentary national resilience and homeland security.
Rightly, as he prepares to move to NATO in Brussels, ACM Peach has defended the role of the Royal Air Force in the aerial bombing campaign against DAISH militants in Iraq and Syria insisting that these have been carried out as part of the most carefully planned and targeted air campaign in history. And in the past couple of weeks he has again stressed that he is deeply uncomfortable at the prospect of military veterans facing investigation for actions during the troubles in Northern Ireland and Falklands made it unequivocally clear that the Ministry of Defence will continue to support veterans with legal and other support required.
ACM Peach has also well understood the need for the military to reduce process and that our armed forces also need to be more flexible. He will no doubt push that same message within NATO as the alliance moves forward with the Enhanced Forward Presence strategy that is designed to not only enable fast deployment to conflict areas but also to provide reassurance and deterrence. Process and compliance are of course very necessary elements within the military arena but they are also a costly burden and of necessity must be better controlled.
As I witnessed for myself at RAF Cosford yesterday in an extraordinary display of importance surrounding skills, STEM and engineering subjects within the military that was an act of encouragement to thousands of young visitors who passed through and that may be encouraged to look at engineering as a future career, Air Chief Marshal Peach has, throughout his tenure in office, similarly embraced the importance of future skills aspects and requirement of the military.
He has also been open in his recognition that in order for the military to compete for the people and skills required there is a need to re-write outdated recruitment rules that are clearly no longer appropriate. These include aspects such as fitness requirements that, as just one example, prevent the ability of the military to recruit cyber specialists. There are as we all know, many other examples.
ACM Peach also gave warning recently that Britain's trade and internet are at risk of catastrophic damage from any Russian attack on underwater communications cables and he has constantly reminded of the "gathering storm" of threats facing the UK and that the military must evolve, modernise and adapt. The hope is that the Modernising Defence Programmes review process will be full recognition of what we need and intend to do.
In respect of maritime requirements ACM Peach has been clear in his belief that the UK needs to retain a balanced fleet that meets the capabilities and demands of the 21st century and importantly, one that included amphibious capability as part of a force structure in order to match the threats that we face. He has continually raised the growing threat to national security reminding of the combination of expression of terrorism across the globe combined with state-on-state competition as being the reality before us.
In Air Chief Marshal Sir Stuart Peach as the Chief of the Defence Staff we have had a true military professional and someone who does not take no for an answer. His tenure has seen much change in the global geo political scene and it has also witnessed an increased level of threat. He has fought for and been quite open about the need for the UK to spend more on defence in order to ensure that we have all that we need. He has embraced all three of our individual armed force elements in equal measure and has fought hard for their needs. He has spoken his mind without fear or favour and in doing so he has ample reassurance to those who look up to him as being the UK's most senior military officer.
In wishing him well in the important senior NATO role that he is about to take on, I take this opportunity of thanking him for his superb contribution to UK defence and those that serve just as I also do to his very able Vice Chief of Defence, General Sir Gordon Messenger who continues in post.
Air Chief Marshal Sir Stuart Peach was born in 1956 in the West Midlands. He was educated at Aldridge Grammar School, the University of Sheffield (BA), University of Cambridge (MPhil), RAF Staff College and the Joint Services Command and Staff College (HCSC). He holds three honorary Doctorates from Kingston University, University of Sheffield, and University of Loughborough.
Commissioned into the Royal Air Force in 1977, a navigator by training and profession, he flew English Electric Canberra PR9 aircraft in the photographic reconnaissance role prior to having three successive tours on Panavia Tornado GR1 in the UK and Germany, qualifying as a weapons and electronic warfare instructor.
Air Chief Marshal Peach went on to command IX (Bomber) Squadron at RAF Brüggen, Germany 1994-1996. This was followed by Staff tours that included his being personal staff officer to the Deputy Commander and Commander-in-Chief in RAF Germany, Executive Officer to Commander Second Allied Tactical Air Force and Director Defence Studies Royal Air Force.
Operational service includes Belize, Hong Kong and Germany in the 1980s, Deputy Commander British Forces in Turkey (Op Warden), UK Head Military Coordination Centre Zakho (Iraq), Detachment Commander in Saudi Arabia (Op Jural), Commander British Forces in Italy (Op Engadine), Air Commander (Forward) in HQ KFOR on Kosovo and Deputy Senior British Military Adviser in US HQ Central Command 2001-2002.
He commanded the Air Warfare Centre at RAF Waddington from 2000 to 2003, was Director General Intelligence Collection in the Ministry of Defence 2003-2006 and Chief of Defence Intelligence and Deputy Chairman of the Joint Intelligence Committee 2006-2009. He held the appointment of Chief of Joint Operations at PJHQ (UK) from March 2009-December 2011 before becoming the first Commander of the UK Joint Forces Command from December 2011-Apr 2013. He was Vice Chief of the Defence Staff from May 2013-May 2016. He assumed the role of Chief of the Defence Staff on 14 Jul 16.
Air Chief Marshal Peach is married with two children.
CHW (London – 11th June 2018)
Howard Wheeldon FRAeS
Wheeldon Strategic Advisory Ltd,
Skype: chwheeldon


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Minimally Invasive Structural Heart (MISH) Resources
The use of innovative catheter-based technology to manage heart valvular and other structural cardiac diseases is transforming traditional patient treatment options in Ontario.
The Ministry of Health and Long-Term Care (MOHLTC), working collaboratively with clinical subject matter experts and CorHealth Ontario, has formed a structural heart working group to help inform and guide system planning for minimally invasive structural heart (MISH) procedures (e.g., Transcatheter Mitral Valve Implantation (TMVI) and Transcatheter Aortic Valve Implantation (TAVI)).
The role of the MISH Working Group is to provide clinical expertise to the MOHLTC to support the planning, diffusion and monitor outcomes of these new and innovative technologies.
Updates and key documents developed by the MISH Working Group can be found below. For questions about their work, contact us at email@example.com.
Interdisciplinary Heart Team (IHT)
- Interdisciplinary Heart Team (IHT) Model
- Interdisciplinary Heart Team (IHT) Model – Factors for Consideration Checklist
- Interdisciplinary Heart Team Terms of Reference Template
Left Atrial Appendage Closure (LAAC)
- Ontario Percutaneous Left Atrial Appendage Closure Patient Eligibility Criteria Guidelines & Facility Quality Criteria
Transcatheter Aortic Valve Implantation (TAVI)
- Ontario Transcatheter Aortic Valve Implantation (TAVI) Patient Eligibility Criteria Guidelines & Facility Quality Criteria


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Search Results
Adept Evasion is a passive Rogue Ability in Pillars of Eternity 2: Deadfire. Abilities are usually class-specific, and players may opt to make a Multiclass character in order to pick from a mixture of two different ability trees. However, rarely some Abilities can be found in 2 or more Classes.
Adept Evasion Information
- Power Level 4 Rogue Ability
- Keywords: None
- Guile Cost:
Adept Evasion Tips & Notes
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On Wednesday, Israeli police arrested two students from the Yitzhar religious academy, south of Nablus, after finding knives, gloves, masks and other materials in their car, PNN reported.This is not the first time in which an attack against Palestinians is perpetrated by Israeli settlers near Nablus.
On Sunday, a settler from Yitzhar, 28 years old, was sentenced by an Israeli court for kidnapping a Palestinian boy aged 15. The court document says that the settler, Zvi Struk, along with another settler, attacked the boy, and left him naked in a field, having blindfolded and tied him to Struk's tractor. Struk's accomplice has not been arrested.
The Yitzhar religious academy, which is located in an illegal settlement south of Nablus, is one of the most radical within the Israeli Ultraorthodox movement and advocates violence by Jews to anyone who endangers their existence.
In 2009, the head of the school Rabbi Yitzhak Shapira claimed that Jews have the right to kill non-Jews in his book, 'The King's Torah'.
Shapira wrote at that time: 'If we kill a gentile who has sinned or has violated one of the seven commandments… there is nothing wrong with the murder.'


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Best Procedures to Improve Your Breasts
There's no doubt that breast surgery is one of the most common plastic surgery procedures requested when seeing a plastic surgeon in New Jersey. It can be a little confusing as to what these procedures are and what they can do to improve the shape of your breasts.
As women, our bodies and breasts change with weight loss, weight gain, pregnancy, breastfeeding and, of course, with aging. These are natural changes that occur over our lifetime and can not only change the size your breasts but change the shape. Unfortunately, once these major changes occur, our breasts never really revert back to what they looked like before.
If I had a dollar for every time a woman came to me and said all she wants are the breasts she had before, I'd be a very rich woman and I would not be writing this blog right now, LOL! All jokes aside, I thought this would be a good thing to discuss on this blog and answer some questions I typically get during a complimentary breast augmentation consultation. First, let's review the main breast procedures.
Breast Augmentation
Breast Augmentation enhances or increases the size of the breasts. It can be done with the use of a breast implant or with fat grafting in which fat is removed via liposuction from another part of the body and injected into the breast tissue for a natural breast boost. Breast implants are either silicone or saline and are placed under (or over) the pectoralis muscle through a small incision in the breast crease, armpit, or areola most commonly. Results can be natural or have that augmented appearance depending on its placement and size. Typically, we want to choose an implant that fits your current chest and breast dimensions to avoid future problems. Fat grafting places fat uniformly within the breast tissue and is natural in appearance. It most often only will increase your size 1-2 cups.
Breast Lift
A breast lift also known as a mastopexy is the removal and tightening of extra breast skin and repositioning of the nipple. Patients who typically need this have that "sagging" appearance where the nipple is at the lower portion of the breast and the breast feels deflated. This is commonly seen after pregnancy, breastfeeding and with aging. This procedure lifts the nipple back to the center of the breast and removes the extra skin that has stretched causing the sagging. Typically breast tissue itself is not removed. The incisions can vary to just around the areola, a vertical incision, or an anchor incision depending on how much the nipple needs to be lifted and how much skin needs to be removed.
Breast Lift with Implant
Sometimes the two procedures above can be combined. This is ideal for the patient that wants a lift but wants to be bigger in size or wants that fullness at the top of their breasts or cleavage area. As you can imagine, when you combine procedures you double the risks so it's important to consult with a board-certified plastic surgeon.
Breast Reduction
Breast Reduction makes your breasts smaller. It can be done for appearance (you just don't like your larger breasts) or if you have pain from the weight of the breasts causing muscle strain or rashes. The extra skin and breast tissue are removed through vertical or anchor incisions to create a smaller breast and the nipple is again repositioned.
Common Q&A
Q. Can I get a mammogram if I have implants?
A. Yes, you should continue to undergo normal screening via mammogram. Typically, the radiologist obtains special views to look around the implant.
Q. Do implants increase my risk of cancer?
A. No, not the traditional breast cancers we typically see (ductal and lobular invasive cancer). The caveat to this is there is a rare blood cancer called ALCL or Anaplastic Large Cell Lymphoma that is associated with textured breast implants. Again, this is rare and only seen so far in textured implants. Treatment would include removal of the implants and capsule and referral to an oncologist.
Q. Will my breasts be lifted with a breast reduction?
A. Yes, this is one in the same with a breast reduction procedure. When we remove extra skin and tissue, we are also lifting and making the breast "tighter." The nipple is also moved to a higher position.
Q. How do I know if I need a lift?
A, Typically, the nipple is below your crease or along the lower portion of your breast. If that is the case, a lift is recommended with or without an implant.
Q. Is fat grafting permanent?
A. Yes, however, over 6 months-1 year it's common for 40-50% of the fat to dissolve. The remaining will stay in place.
Q. If I lose weight, will my breasts get smaller after fat grafting?
A. Yes, it will act like fat anywhere else in the body. So, if you gain or lose weight, you might notice a change in your breasts.
Q. Can I breastfeed?
A. Typically, yes but you may not produce enough milk requiring supplementation with formula. Some may not be able to breastfeed at all.
Q. Will I lose sensation in my nipples?
A. This is a complication of any breast procedure. More often, especially with reductions, you may be more sensitive in the initial healing period.
Q. How long do implants last?
A. Generally, 10-15 years but that does not mean that you must exchange your implants at that time. It really depends on if you are having any complications or symptoms from the implants or your breast shape has changed. Typically, this occurs since we age significantly during this time so many of us will need a lift.
Q. Can my breasts say high and tight after the surgery?
A. While this may be the case immediately after the surgery, unfortunately, no. Our skin stretches, we cannot change that. So as the swelling improves, gravity kicks in and the skin stretches, your breasts will settle down to a more natural position, typically within a 3-month period.
Contact Our Office Today!
This is a good start for now. Have any other questions? Ask us!


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ASIC has today commenced proceedings in the Federal Court of Australia in Melbourne against GetSwift Limited (GetSwift) and its directors Mr Bane Hunter and Mr Joel Macdonald.
ASIC's case relates to a series of ASX announcements made by GetSwift (ASX code: GSW) between February and December 2017 relating to agreements with clients for the use of the company's software-as-a-service (or SaaS) platform.
ASIC alleges that GetSwift made representations in a series of ASX announcements relating to client agreements, between February 2017 and December 2017 that were misleading and that it failed to notify the ASX of material information in relation to these client agreements.
Further, ASIC contends that Mr Hunter and Mr Macdonald were either involved in the failure of GetSwift to meet its obligations and failed to discharge their duties to GetSwift with the requisite degree of care and diligence that a reasonable person in their respective positions would exercise.
ASIC is seeking:
- declarations that GetSwift, Mr Hunter and Mr Macdonald contravened provisions of the Corporations Act
- orders that GetSwift, Mr Hunter and Mr Macdonald pay penalties to the Commonwealth, and
- That Mr Hunter and Mr Macdonald be prohibited from managing a corporation for such period as the Court thinks fit.
The matter has been set down for Case Management Hearing at 9.30am on 1 March 2019.
ASIC will be making no further comment at this time.
Links to the Originating Process and Concise Statement filed by ASIC to commence its proceedings are below.
Editor's note:
The matter is listed for a further case management hearing on 19 March 2019.
Editor's note 2:
On 15 March 2019, ASIC filed its Statement of Claim and Amended Originating Process joining the company's former director, Mr Brett Ronald Eagle as a defendant in the proceedings.
Editor's note 3:
On 4 April 2019, the Court scheduled ASIC's application for hearing on liability commencing on 8 June 2020.
Editor's note 4:
ASIC's application for hearing on liability commenced on 15 June 2020 and was heard over various dates, concluding with closing submissions on 30 September 2020. Judgment has been reserved.


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Peers for the Planet
Onshore Wind Bill introduced
Updated: Aug 23, 2021
@rawfilm via Unsplash
This Bill was introduced by Baroness Hayman on 8 June 2021. A date is yet to be set for second reading — when the Bill is first debated. The Bill, which would support the UK's decarbonisation targets, seeks to improve the planning process for onshore wind farms. in the 2019-21 parliamentary session Baroness Hayman introduced a Contracts for Difference and Onshore Wind Bill, of which this is an updated version.
You can see more details of the Bill here


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€24 inc. VAT
Bellamianta X Maura Higgins shimmer Glow Mist creates the ultimate sunkissed finish.
Enriched with hyaluronic acid and bursting with superfruits, this ultrafine mist will give you a bronze glow and help to hydrate, plump, set, refresh and add an instant dewy finish to your look.
Use on the face on its own or under / over makeup - can also be applied on top of your body tan for a natural sheen!


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Wulai (烏來區) is a small town in New Taipei, Taiwan, famous for its hot springs and aboriginal culture. The name of the town derives from the Atayal phrase kirofu ulai meaning "hot and poisonous". Don't let this scare you away from this lovely town! Consider going during the week if you can as it is quite crowded on the weekend. Also, in the summer, it might be a few degrees cooler than Taipei, but the elevation is not sufficient to provide real cooling.
In August 2015, Wulai was severely damaged by Typhoon Souledor. The road to Wulai was washed out completely and the town largely destroyed. Since then, the roads have been repaired and hotsprings are operating as normal, with some road work continuing.
Get in[edit]
MRT to Xindian Station (Xindian line). Take the bus, Bus Number 849, with destination name 烏來 Wu Lai at the bus stop in front of the station, just behind the Information Counter. The bus journey takes about 40 minutes (longer on weekends) and it is a one section fare, costs NT$15. If you are using the EasyCard, remember to tap both when you are getting on and getting off. Wulai is the last stop, so you can enjoy the journey without worrying when to get off. A seat on the right side of the bus allows views over the river.
The easiest and fastest way to get to Wulai is to take a taxi from Taipei. It only takes 30 minutes from Xindian MRT station, but is not cheap. At the Xindian MRT taxi line, they have a taxi fare sign with predetermined fares (depending on the destination). Going to Wulai from the Xindian MRT will cost you NT$600 one way. Returning from Wulai by taxi can be negotiated and should be cheaper than NT$600, but not cheaper than the bus.
Get around[edit]
This compact little town is easily covered on foot. There's a map posted next to the bus stop, with all tourist destinations clearly marked in English. If the taxi drivers waiting there tell you that Wulai Waterfall is too far away to walk, don't believe them: it's a nice stroll of less than half an hour. The walk also passes through the open air market on Wulai Old Street, and continues to the falls via the "Lover's Path", which affords some nice views of the river gorge below the falls.
The Wulai Scenic Train brings you to the terminus of the cable car that brings you to the top of a nearby mountain. From the main tourist street in the town, cross the bridge, and take the wooden staircase across the road. It goes up to the left. Follow the pedestrian street to the station. The scenic train costs NT$50 each way and takes you one and a half kilometers up the valley.
- 1 Wulai Station (烏來台車), ☏ +886 2 2661 7715. It was constructed in 1928 to transport materials for logging. After the decline of the industry, it was repurposed to transport tourists. The train was severely damaged by a typhoon in 2015 and was closed for 2 years for repairs, which have since been completed.
- 2 Waterfall Station (台車瀑布站).
- The Gondola is a spectacular way to see Wulai Falls as it takes visitors from the base of the gorge to the top of the mountain. At the top there is a hotel, conference center, and a beautiful garden park with paddle boats, nature trails, and a natural obstacle course (雲仙樂園)
History & culture[edit]
- 1 Wulai Old Street (烏來老街), No. 18, Wulai Street.
Parks & nature[edit]
- 2 Wulai Waterfall (烏來瀑布), No. 16, Pubu Road, ☏ +886 2 2661 6942. An 80-m-high waterfall with a viewing deck.
- 3 Fushan Botanical Garden (福山植物園). 0900-1530. The biggest botanical garden in Asia.
- 4 Wulai Atayal Museum (烏來泰雅民族博物館), No. 12, Wulai Street, ☏ +886 2 2661 8162. 09:30-17:00. A museum about local aboriginal culture on Wulai Old Street.
- 5 Wulai Forestry Life Museum (烏來林業生活館), No. 1-2, Pubu Road, ☏ +886 2 2661 6780. 09:00-17:00. The museum used to be the Wulai Tram Museum, but now focuses on forestry.
Famous for its natural hot water springs, along with Beitou, Wulai is the place in the Taipei area to soak away the winter cold and damp. In fact, the name Wulai is the aboriginal tribe Atayal's term for hot springs. The springs at Wulai are clear and odorless. Public hot spring etiquette requires that bathers thoroughly wash and rinse off their bodies before entering the bath, do not wear clothing (including swimwear) in the bath and tie up their hair so that it does not touch the water. Finally, people with high blood pressure, heart disease or open wounds should not enter the baths.
Places to bath[edit]
- Gwoji Hotel (Hotel International) charges NT$450 for a soak in their baths. In the public pool area, there are three hot (one outdoor) and one cold pool, a sauna and steam bath. It is a very relaxing and well maintained facility. The hotel is located on the right, about two minutes after crossing the main bridge into town.
- Long Men (龍門). The first store on the left near the tourist area adjacent to the Nashih Riverea. First time visitors are greeted with a cool, one-time offer of two-hours in a hot spring room for NT$200. The facilities include TV, music and whirlpool option. The spring also offer rooms for further relaxation.
- Yunding Hotel (雲頂) NT$500 will get you a soak in the outdoor pools at Yunding Hotel (Top of the Clouds). While the main building itself is a bit tacky, the outlay of baths has obviously been inspired by the spacious and luxurious resorts in Bali and Thailand. The hotel has two bathing areas, which they alternate for women and men. Call to make sure that the large baths are available for you on the day that you plan to go. The small bathing area is nowhere near as impressive as its larger neighbor. Yunding Hotel is located right at the very top of the town - turn right after crossing the second bridge and keep going up. The hotel is painted purple.
- The free hot springs are on the other side of the Nanshih River from the tourist street in downtown Wulai. Just cross the bridge, turn right, and walk up the road. Soon, on the right, you will see a stairway that takes you down to the river. Walk along the river and you will soon arrive at a rustic outdoor public hot springs area, with changing rooms, several pools, and even a sauna. You can also take a dip in the river when the water level is low and the current is weak. As this area is in the open, swimming wear must be worn.
- Pause Landis (璞石麗緻溫泉會館). This hot spring hotel has several open air themed rooms. Their public baths are also open-air overlooking the cliff side across a river. The establishment is clean and well designed with a modern and Zen-like feel.
- Wulai Hot Springs Resort (烏來名湯溫泉會館). Large hot spring resort with both private and public pools. Public pools are gender-segregated, are enjoyed Japanese-style (in the nude) and have an excellent view of the mountains. The public pools contain two hot pools, a sauna, a jacuzzi and a steam room. A NT$500 package allows for one-hour in the public pools - with a free meal in the resort cafe included (tea and toast). Towels, lockers and footwear provided. Please remember to bathe before enjoying the pools. The resort is a 15-minute uphill walk from Wulai Old Street. Find the side street called "Xiaoyi Road" along Wulai Old Steet and keep walking until you see the resort and its carpark.
There are a number of excellent hiking trails in the mountains around Wulai.
- 1 Xinxian Trail (信賢步道, xìnxián bùdào) (From Wulai Falls, follow the road west for 1.5km, walking on a separated footpath, arriving at a suspension bridge over the river. The trail starts at the other end of the bridge and ends 1km From Neidong Forest Reserve.). A 1.3km walking trail passing a series of waterfalls. Closed in early 2020 for repairs, and scheduled to re-open by the end of April 2020, though locals suggested it may take a month or two longer.
- Hand woven cloth made in traditional aboriginal designs. Available at stores on the main street.
- Mochi candy made of sticky rice (mua-ji) is a specialty of Wulai.
- Atayal Specialty millet wine, along with many many other types of Taiwanese liquor
- Spa treatments and massages
- [dead link] Taiya Po Po (泰雅婆婆美食店), 14 Wulai Street (cross the first bridge into town, on the right.), ☏ +886 2-26616371. Literally "Atayal Grandmother," this restaurant specializes in Aboriginal dishes such as Wild Mountain Boar (山豬), Bamboo Tube Rice (竹筒飯), Wild Mountain Yams (山藥), and Pickled Pork (damamein; 的麼面). Featured on Travel Channel's "Bizarre Foods: Taiwan"
As an Atayal aboriginal town, Wulai has a host of unusual and delicious dishes, including wild boar, Reeve's muntjac (山羌 - shan qiang), and bird's nest fern (山蘇 - shan su). A specialty of the area is seasoned rice steamed in a tube of bamboo (竹筒飯 - zhu tong fan). Another Aboriginal specialty is Millet Wine (小米酒), and various foods are seasoned with the Aboriginal spice maqaw (馬告, Litsea cubeba).
- Helen's Coffee, No. 1, Lane 86, Wenchuan Road. (cross the second bridge into town after passing through main street.), ☏ +886 2 2661 6392. The seating is mostly outdoors, so you can enjoy the fresh mountain air and a view over the river and town while sipping your latte.
There are numerous hotels in Wulai, making this a nice weekend getaway from Taipei. Many hotels will offer rooms with personal hotspring tubs, prices vary but a nice room with personal hotspring and sauna can be had for NT$4,500. Most people stay in Taipei and come to Wulai for a day trip.
Go next[edit]
To get back to Taipei, take the 烏來 Xindian-Taipei Main Station bus (849), and get off at the Xindian MRT station or continue on to the terminal stop Taipei Main Station for NT$45.


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A Fraidy Pants Lair
By The Turk & Toph
Published by Your Nickel's Worth
Reviewed by Jessica Eissfeldt
Price $24.95 ISBN: 978-1-894431-47-7
Colorful illustrations help underscore the rambunctious monsters that populate the page in this lively and vivid children's book about the monstrous consequences of lying. The main character, Freddie, fears her older brother will kill her when she breaks a string on his shiny new guitar. She lies about it to her mother. And that's when the monsters start appearing. The more lies she tells, the more monsters appear.
Cleverly weaving together an entertaining tale with multiple, vivid drawings on each page, A Fraidy Pants Liar serves as a great, yet gentle, guide to help youngsters realize "it's important to be honest with ourselves to create a world where love is power," as the reader's note states.
With this ingenious twist on a morality tale, the authors The Turk and Toph use ugly, persistent monsters to illustrate the point that lying is not the path to follow. Being afraid of the consequences of lying is far scarier than being able to speak up and tell the truth. Children will love the cartoon-filled book – the illustrations seem to jump off the page. And parents will surely enjoy this story as much as their children, knowing such a solid and heartfelt message underlies the plot.
But this tale, though direct in its moral point, still serves up great storytelling. Freddie, the main character, is empathetic and believable, and children will be able to relate to her antics, her fears, and her ability to help her best friend out of the same predicament she found herself.


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FPAC will present The Crucible on April 28 and 29 at 7:30 p.m. and April 30 at 2 p.m. at THE BLACK BOX. Winner of the 1953 Tony Award for Best Play, Arthur Miller's drama about the Puritan purge of witchcraft in old Salem is both a gripping historical play and a timely parable of our contemporary society. Set in 1962, the story focuses upon a young farmer, his wife, and a young servant-girl who maliciously causes the wife's arrest for witchcraft. The farmer brings the girl to court to admit the lie, and it is there that the monstrous course of bigotry and deceit is terrifyingly depicted. The farmer, instead of saving his wife, finds himself also accused of witchcraft and ultimately condemned with a host of others. While set against the backdrop of the Salem Witch Trials, Miller's masterful drama is an allegory of the McCarthy-era witch-hunts of the 1950s. The Crucible is a timeless work with a universal message about the power of false accusations, mass hysteria, fear, and intolerance.
FPAC presents The Crucible as part of the company's 26th season. For more information, call (508) 528-3370.
|THE BLACK BOX, 15 West Central Street, Franklin


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For litigators and those who find themselves in litigation, particularly small and not-so-small businesses, this legislation is designed to fill a gap in perhaps the most frequently used statutory basis for recovering one's attorneys' fees in Texas civil litigation. Before February, 2014, the accepted short-hand in breach of contract cases was to the effect that, if you sue for and win a breach of contract action, you are entitled to recover attorneys' fees. The statute that appears bound for revision by HB 2457 is section 38.001 of the Texas Civil Practice and Remedies Code.
As it currently reads, section 38.001 provides, in part:
A person may recover reasonable attorney's fees from an individual or corporation, in addition to the amount of a valid claim and costs, if the claim is for [any one of eight types of claims, including] (8) an oral or written contract.
Tex. Civ. Prac. & Rem. Code § 38.001. The phrase, "… from an individual or corporation" is the subject of HB 2457.
Many litigators will recall, that phrase—more appropriately, Justice Sharon McCally's 2014 reading and application of that phrase—caused rumblings throughout the civil litigation bar. See Fleming & Associates, L.L.P. v. Barton, 425 S.W.3d 560 (Tex. App.—Houston [14th Dist.] 2014, pet. denied).
In the Fleming case, two law firms were parties to a referral agreement for handling Fen-Phen pharmaceutical cases. The dispute was whether litigation expenses could be charged to the referring firm. The plaintiffs, "Barton," sued Fleming & Associates, L.L.P. for breach of the contract claiming it should not have withheld over $2 million from Barton's share of the fees. Barton won that claim and, it was awarded $790,000.00 as its attorneys' fees under 38.001.
On appeal, the two million dollar damage award stuck. However, the attorneys' fees were determined not to be recoverable because, "under the plain language of section 38.001(8), a person may not recover attorney's fees against a partnership." Fleming & Associates, L.L.P., 425 S.W.3d at 576. In a laudable exercise of statutory construction, the Fourteenth Court of Appeals agreed with Fleming & Associates' argument that as a Texas Limited Liability Partnership, it was not "an individual or [a] corporation" subject to payment of fees under section 38.001.
Since the Fleming & Associates decision, no Texas appellate court has disagreed. Indeed, in 2016, the Fourteenth court was faced with the "closer call" "whether an LLC [limited liability corporation] is within the scope of the term '"corporation'" as used in section 38.001. Alta Mesa Holdings, L.P. v. Ives, 488 S.W.3d 438, 453 (Tex. App.—Houston [14th Dist.] 2016, pet. denied). The court noted that corporations and LLC's are "governed by separate titles within the Business Organizations Code," citing, e.g., Tex. Bus. Orgs. Code §§ 20.001–23.110 (Title 2, governing corporations) and §§ 101.001–.621 (Title 3, governing LLCs). Addressing the appellees' argument that "LLCs are treated the same as corporations for certain purposes," the court said, this "reinforce[s] that these are distinct entities; if they were not, there would be no reason to specifically state when they should be treated the same." Id., at 454. Thus, just like a limited liability partnership is outside the current language of section 38.001, so, too, is a limited liability corporation. Id., at 455.
A clear response to these recent cases, Representative Meyer's House Bill 2457, voted out of committee in early May, proposes changes to section 38.001. Where the current language is, "individual or corporation," the amended statute would read, "individual or a corporation or other organization." See proposed HB 2457.The proposed revisions also inserts a definitional provision: "In this section, 'organization' has the meaning assigned by Section 1.002, Business Organization Code." See id. The definition of "organization" found there is:
(62) "Organization" means a corporation, limited or general partnership, limited liability company, business trust, real estate investment trust, joint venture, joint stock company, cooperative, association, bank, insurance company, credit union, savings and loan association, or other organization, regardless of whether the organization is for-profit, nonprofit, domestic, or foreign.
Tex. Bus. Orgs. Code § 1.002 (62).
HB 2457 still must finish winding its way through the Legislature, get to the Governor's desk, and be signed. If all that occurs, the amended section 38.001 will take effect on September 1 of this year. Until then, it appears well settled that neither an LLP nor an LLC—nor any other corporate structure that is not "an individual or corporation"—is liable for attorneys' fees under Chapter 38 of the Civil Practice and Remedies Code.
No information in this article is intended to constitute legal advice. For specific legal advice, please contact an attorney.
If you have any questions or would like more information about recovery of attorney's fees or the potential remedies for breach of contract, please contact Michael Conner at 713.220.9162 or email@example.com.


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Ubisoft Toronto is developing a remake of Tom Clancy's Splinter Cell, the stealth shooter that kicked off a series by the same name and introduced players to the character of Sam Fisher. Ubisoft announced the remake on Wednesday with a developer interview and a lengthy YouTube retrospective covering the original 2002 game.
Splinter Cell will be remade in Ubisoft's Snowdrop engine, which the company introduced with 2016's Tom Clancy's The Division. In the interview, technical producer Peter Handrinos acknowledged that "enough time to miss an entire console generation" has passed since the last Splinter Cell game (2013's Splinter Cell: Blacklist), despite the pleadings of the series' dedicated fans.
"We're going to take the time to explore what this means for us, for light and shadow, for animation tech, for gameplay, AI, even audio," Handrinos said. "We want to bring [fans] something new, yet still connect them to that feeling that they had two decades ago, playing that masterpiece for the first time."
No launch date or window was given for the Splinter Cell remake. The original game, which launched on GameCube, PlayStation 2, Windows PC, and Xbox, turns 20 in 2022.
A report in October suggested that development on a new Splinter Cell, for both PC and consoles, was underway at a Ubisoft studio other than Ubisoft Montreal, which developed the first seven titles in the series. Ubisoft did not confirm or respond to requests for comment on that report.
"With this remake, we are building a solid base for the future of Splinter Cell," creative director Chris Auty said, without elaboration.
In September 2020, Ubisoft announced a remake of 2003's Prince of Persia: The Sands of Time was in development at Ubisoft Pune in India. Originally due to launch in January 2021, it was delayed two months at first, and then indefinitely, to give developers additional time "to deliver a remake that feels fresh while remaining faithful to the original."


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The World Of Electronic Beats
The jungle tekno beat was released in the 1990s by Ron Wells, who had been credited with a successful tenure in music production. He also operated a studio which was equally successful. After many years of his absence in the industry, he has finally decided to reinvent his sound machines many of which are original analog synthesizers he used to develop the unique jungle tekno sound.
Below are some records which were derived from the jungle tekno sound.
Ruff With The Smooth, "Sounds Superior" (Basement Records 1993)
This sound can be compared with Kraftwerk even though it contains a more clubby effect and has a fast tempo.
It comes with adequate breakbeats. Ron developed the track in collaboration with Donavon Badboy Smith.
Fast Floor, "7th Heaven" (Smooth Recordings 1994)
Ron made this track together with Paul Clarke. Even though Paul had no prior dance music experience, Ron encouraged him to combine his pop artist and music skills to bring out the more musical concept of the tune. He played a major role in the track's composition transforming each release to give it a more melodic effect.
The fast floor track has a combination of atmospheric and dreamy sound, which is a contrast to the rather up beat jungle tekno sound.
20 Hurts, "The Voice" (Sound Entity 1993)
The 20 hurts combines some Belgian sound to give it the hardcore effect and bring out the jungle tekno feel. It was a fast and interesting track which seemed to increase its tempo with every production.
Some music enthusiasts described it as both fast and aggressive.
Learn how to play the analog vintage keyboard.
Smooth But Hazzardous, "We Are The Creator" (Sound Entity 1993)
The idea of this track came into realization after Ron left his TV on record mode.
He heard a specific sound which he used as a smple to create this sound.
He incorporated a darkside jungle tekno tone within the sound capturing events that that took place then in an efficient atmosphere.
Hedgehog Affair, "The Pipe" (Sound Entity 1994)
This track was created in collaboration with Spencer who was then a DJ. Spencer brought in break beats in the tune. However, they had to make several samples before settling on this particular one. By then, the jungle tekno sound was already a house hold name.
Bass and intelligent drum was making an entry into the sound industry which saw the elimination of 4/4.


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Did you just discover how amazing the Instant Pot can be?
Did you just discover how amazing the Instant Pot can be?
Instant Pot Green beans!!
simple and delicious!
If you love making instant pot veggies try our garlic parmesan Brussel sprouts recipe
If you ever find yourself in need of seasonal relief read on about how I combat the symptoms of this wonderful season…
It's Fall!
That means, cool air, beautiful colors, my favorite cozy clothes… and if you are like me it also means.. headaches, itchy eyes, ear aches, scratchy throat… etc.
For awhile it just became routine that once the wind started up, I would need antibiotics for ear infections and congestion.. almost annually. Definitely puts a damper on the wonder of the season.
But, now that I have young living oils available to me… I haven't been on antibiotics for my seasonal issues in about 4 years!!! seriously!!
Here's how I use my favorite oils for my most useful purpose!! Read More
Preparing for overnight babysitters can be a daunting task but, although we don't get to do so very often, I find that it helps if I'm as prepared and organized as I can be. Maybe some of the things I did this week will help you too!
Chicken Parmesan Instant Pot Conversion Recipe
|Prep Time
|15 minutes
|Cook Time
|18 minutes
|Passive Time
|15 minutes
Today I am excited to share with you another family favorite recipe!
Smothered Beef Burritos now converted to the Instant Pot!
I've been really trying to convert some of our old crock pot recipes to be prepared in the Instant Pot. We have a lot of crock pot recipes, I use to grab my crock pot 2-3 times a week. and Now thanks to the Instant Pot I haven't touched a crock pot in about a year and a half!
So, we have really been missing this Smothered Beef burritos recipe and I'm so excited that it is now ready in under 30 minutes instead of 4-6 hours!!!
|Prep Time
|5 minutes
|Cook Time
|25 minutes
We hope you enjoy this conversion of an old favorite to the amazing Instant pot. If you are new to the Instant Pot please search here on Love and Scribbles for some tips, tricks and learn why we love it so very much! 🙂
If you know me even a little, then you know that I love food!
So, when you are reading what I'm about to tell you, and you think to yourself… this chick is a bit to excited about this… You would be right! haha but, you should still read on…
Truth is you are usually too much for me…
Your high-octane energy, simply put, exhausts me.
Everyday, at some point in the day, I find myself shaking my head and wondering how I can keep going.
There are three of you after all. And you need so much, seemingly all of the time.
Sometimes I just wish I understood you all just even a little bit.
For example: Why is everything better with a sound effect? Why does noise not bother you and in fact the louder the better seems to be your motto? Are bodily functions really that funny to you?
But, when I'm not frozen by my confusion I am overwhelmingly amazed by you!
All ready you have shown me more strength and courage than I think I've been able to muster up my entire life. Your boldness to embrace the unknown adventure which to you is in fact every day life. The curious way you are discovering every little thing around you in this great big world.
The strength you find inside of yourself to notice when you just need a cuddle from me in the midst of your conquering. HINT: I'll take those cuddles anytime you need! I need them too! Already, inside your small bodies is an enormous heart and a tenacious spirit.
God has created you with a warrior bravery and it's incredible.
So, I guess at the end of the day, what I'm trying to say is.. Thanks!
Thanks for letting me learn right along side you! Thanks for protecting me from the bad guys and keeping me on my toes.
I promise to keep praying us through this whole journey and even when I'm frustrated and confused I'm loving every bit of you!
I'm so glad I get to be
Your Mama
I realized that I never really posted some "after" pictures of the whole kitchen remodel. So I thought I would post some pictures of our finished Kitchen Concrete Counter Tops for you today.
I don't know why we didn't post these last year… Maybe because we just started using the kitchen right away. Maybe because the counters are NEVER clear enough to take a pic. Maybe because the kitchen really isn't done and there's a few things we would like to finish, someday. But the truth is, we LOVE our Kitchen and our remodel is the best thing ever. 🙂
The counter tops are arguably the best part of the whole project… I really love the way they look, how easily they wipe clean and seriously, they are made of concrete so, like I can't hurt them (they have hurt a head or two before the boys figured out they shouldn't bang their heads while running under them.. but everyone is fine) 🙂
We will need to re-seal them every 18 – 24 months but it's a pretty simple process.. when we remember to order the seal ( Ryan: since you are reading this, can this count as a reminder to order that? 🙂 ) And that's all the maintenance these counter tops require.
Anyways, the other day I cleared the counters and snapped a few pictures so I can share them with you!
But first, here are some before pics, So crazy
to think this use to be my kitchen….
some fun in process pics….
The boys had so much fun!
Now for the photos you've all been waiting for…..
Want to see more of the remodel?
I posted about it all as it was happening here!
Are you prepping for a kitchen remodel? Considering concrete counter tops here's what we did.


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Carrie Underwood Brings 'Good Girl' to the 'Dancing With the Stars' Stage
Carrie Underwood has really been making her rounds to promote 'Blown Away,' her newest album release. And while the entire album has received critical acclaim from the media, 'Good Girl' -- the first single from the record -- is her most performed song nowadays. On Tuesday night (May 15), Underwood took the soulful anthem to the stage on 'Dancing With the Stars,' where she was accompanied by four dancers who tore up the rug.
Underwood's rocking performance took the ballroom stage by storm during the semi-final competition. With a full band including back-up singers, Underwood took her post by the microphone wearing a short and lacy purple and blue dress. If her vocals weren't so powerful, her gorgeous getup and signature shoulder-length curly blonde hair would have stolen the show.
During the second verse, the 'Good Girl' hitmaker and her backup band were joined by four professional dancers, who twirled and displayed impressive footwork. The two duos flexed their dancing muscles by adding dips and swing moves into the mix.
After an intense round of dancing, one more contestant was eliminated from the 14th season of the show. Julianne Hough also performed with her 'Rock of Ages' co-stars.
Underwood has heard her smash hit single performed all over the country since its release in February. In April, the country superstar sang along with the 5th grade choir at PS22 in Staten Island, as they performed their own rendition of 'Good Girl.' Last week, a video surfaced of a toddler rocking out to the No. 1 single in her car seat.
Given the mega-popular status of 'Good Girl,' it's not surprising that Underwood made history with her most recent album. 'Blown Away' landed Underwood in the books by debuting at No. 1 on Billboard's Top Country Albums chart. This makes her only the second country artist in the 47-year history of the chart to have each of their first four albums debut at No. 1.
Currently, Underwood has five CMT award nominations under her belt, including Female Video of the Year, two for Video of the Year, Collaborative Video of the Year, and CMT Performance of the Year. Talk about being blown away!
Watch Underwood's performance on 'Dancing With the Stars' to catch a glimpse of why this lovely lady is getting so much critical acclaim.
Watch Carrie Underwood Perform 'Good Girl' on 'Dancing With the Stars'


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As I walked up to Gramercy Theater Friday night, there was already a line wrapped around the corner 30 minutes before doors – I guess the fact that it was Friday the 13th didn't stop anyone from coming out to enjoy some live music. While in line, fans pulled out their phones and documented the marquee outside the theater that read ATLAS GENUIS TONIGHT.
The Aussie alt-rock band just recently released their first song in 2 years and built the 63 Days of Love Tour around it. Lead vocalist, Keith Jeffery, explains that "63 Days" is the band's most personal song yet. It's a song about a time he broke someone's heart and not being able to forgive himself for it.
This intimate song grew into something greater when Keith and his brother Mike started to relate the song to how much pain there is in the world right now. "The things that tear two people apart are the very same things that can cause a rupture throughout the world," Keith explains in a video that the two brothers posted on their website about the 63 Days of Love project.
Their mission with the 63 Days of love project is to get people to connect with their loved ones as well as total strangers, to help out anyone in need, to get involved with charitable organizations and to reach out to those in need of some support.
That night at Gramercy Theater, the audience was full of love for the band and, seemingly, for each other. Going to a concert in recent times can be fearful for people in light of recent events but it was so uplifting to see a band spreading a message of encouragement and joy to a crowd that was accepting their message loud and clear.
Though parts of the night were emotional as they performed "63 Days" and the crowd sang back, the rest of the night was fun and dance-y as the band played songs off their 2015 album, Inanimate Objects including hits "Trojans" and "Molecules." They even threw in an Atlas Genius-ified cover of Dead or Alive's "You Spin Me Round (Like a Record)" during their encore that got everyone excited.
As their tour comes to and end at the end of the month, I look forward to hearing what other surprises Atlas Genius has in store for us.
Full Setlist:
– The City We Grow
– Stockholm
– Animals
– All These Girls
– Where I Belong
– Trojans
– 63 Days
– Back Seat
– Operate
– Symptoms
– When It Was Now
– If So
– You Spin Me Round (Like a Record) – Dead or Alive cover
– The Stone Mill
Article: Merissa Blitz


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