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In the days prior to close of the NFL trade deadline, Les Snead and the Los Angeles Rams made a flurry of moves, completing trades, both blockbuster and minor, signings and releases.
Taking a break In between the wake of the disappointing loss to the Tennessee Titans and preparation for the upcoming game with the dreaded San Francisco 49ers, here's a tracking and grading of not only last week's moves, but ALL of Snead's trades since joining forces with Sean McVay in 2017.
- Acquired OLB Von Miller from the Denver Broncos for 2022 2nd and 3rd round picks.
- Sent ILB Kenny Young and a 2024 7th rounder to the Broncos for a '24 6th.
- Traded a '22 6th and 2023 4th for RB Sony Michel.
- Moved DT Michael Brockers to the Detroit Lions for a 2023 7th.
- Gained QB Matthew Stafford from Detroit for Jared Goff, #101, and 1st's in '22 and '23.
- Traded back from #88 to #117 (DT Bobby Brown) and #121 with the San Francisco 49ers.
- Swapped #121 and #209 to the Jacksonville Jaguars for #130 (CB Robert Rochell), #170, and #249 (Ben Skowronek). This move is in tandem with and completes the 2019 Jalen Ramsey trade.
- Moved back from #170 to #179 (DL Earnest Brown) and #231 (Jake Funk) with the Houston Texans.
A+ Go to the head of the class. By any measure, these moves are outstanding. The blockbuster acquisitions of Stafford and Miller alone raise the Ram talent level, arguably, to the best in the NFL. Michel has been a good RB2 and Skowronek has a the chance to break out as WR4. Rochell, although a little shaky, looks like he only needs seasoning to make a tangible contribution. With the injury to Sebastian Joseph-Day, At some point, Brown will certainly get some snaps at nose tackle. Young was given away, most likely as an unofficial part of the Von Miller trade.
- Moved Brandin Cooks and a '22 4th to the Texans for #57 (WR Van Jefferson).
- Traded #126 to the Texans for #136 (TE Brycen Hopkins), #248 (K Sam Sloman), and #250 (OL Tremayne Anchrum).
C+ Pretty quiet for Trader Les. The decision to stand pat during the whole covid situation was a smart move, not one person could say that the whole season wasn't in jeopardy. Snead likes to move around in the draft, but the loss of much of the college season, no combine or pro days, the cancelation of OTA's and rookie camps left many NFL teams being conservative in personnel moves and draft position swaps. VanJeff looks like he will be a fixture on the Ram offense, but Sloman is gone and Hopkins and Anchrum haven't impressed enough to earn many snaps.
- Swapped a '21 5th to the Cleveland Browns for C Austin Corbett.
- Sent Marcus Peters to the Baltimore Ravens for ILB Kenny Young and a '20 5th.
- Garnered CB Jalen Ramsey from Jacksonville for '20 and '21 1st's and a '21 4th
- Traded Aqib Talib and a '20 5th for a '22 7th.
- Traded #31 and #203 to the Atlanta Falcons for #45 and #79 (CB David Long).
- LA turned around and traded #45 to the New England Patriots for #56 and #101.
- Rams then swapped #56 to the Kansas City Chiefs for #61 (S Taylor Rapp) and #167.
- Picks #94 and #99 were exchanged with the Tampa Bay Buccaneers for #70 (RB Darrell Henderson).
- LA traded up again using #101 and #133 to take New England's #97 (OL Bobby Evans) and #162.
- Another move with the Pats added #134 (NT Greg Gaines) and #243 (S Nick Scott) for picks #162 and #167.
A- Adding Ramsey was the lynch pin for the Rams second revival under the Snead/McVay regime. Peters never seemed comfortable in the Rams defensive scheme and Talib didn't have much left in the tank. Corbett has been solid. Henderson and Gaines have contributed good value as rotational players, and this season, have been thrust into bigger roles. Rapp has made mistakes but is an aggressive tackler and continues as a starter. Scott and Long are capable backups. Young flashed some potential but never lived up to it.
- Dealt Robert Quinn and #209 to Miami for #111 ( C Brian Allen) and #183.
- Added CB Marcus Peters and #209 from Kansas City Chiefs for #124 and '19 #63.
- Sent Greg Robinson to Detroit for #194.
- Acquired WR Brandin Cooks and #136 from the Patriots for #23 and #198.
- Moved Alec Ogletree and '19 7th to the New York Giants for #85 (DT John Franklin-Myers) and #176 (RB John Kelly)
- Bartered Tavon Austin to the Dallas Cowboys for #192 (OL Jamil Demby).
- Grabbed OLB Dante Fowler from the Jags for a '19 3rd and a '20 5th.
- Received CB Aqib Talib from Denver for #160.
- The Broncos then turned around traded #160 (Ogbonnia Okoronkwo) back to Rams for picks #183 and #217.
- Traded back from #87 to Las Vegas Raiders for #89 (OL Joe Noteboom) and #217.
- Exchanged #194 to Atlanta for #244 (OLB Justin Lawler) and #256.
- Moved back again from #136 to Carolina Panthers for #147 (ILB Micah Kiser) and #197.
- Rams then flipped #197 and #256 to Washington for #205 (OLB Trevon Young) and #231 (ILB Travin Howard).
B+ At first look, the additions of Peters, Cooks, Talib and Fowler would seem deserving of a higher grade. Fowler had two good seasons and Cooks started out hot before being derailed by concussions, but Peters and Talib, although solid, didn't dominate as expected. In this draft, you can really notice how Snead makes subtle trade moves to target players on his want list. Allen is playing very well this season and Okoronkwo and Noteboom have added value filling in for injuries. Lawler, Kiser, and Howard have struggled with injuries.
- Sent Greg Robinson to Detroit for a '18 6th.
- Swapped Chris Givens to Baltimore for #234 (OLB Ejuan Price).
- Traded William Hays to the Dolphins for #193 (RB Sam Rogers).
- Acquired TE Derek Carrier from Washington for a '18 7th.
- Added WR Sammy Watkins and an '18 6th for E.J. Gaines and an '18 2nd.
- Bartered #37 and #149 to Buffalo Bills for #44 (TE Gerald Everett) and #91 (S John Johnson).
- Trafficked #112 to Bears for #117 (WR Josh Reynolds) and #197.
- Packaged #197 and #141 to New York Jets for #125 (OLB Samson Ebukam).
C+ The first Snead/McVay season was mostly about cleaning out the dead wood from the Fisher era and they didn't have a lot of draft capital after the Jared Goff trade. Many of the players couldn't garner much, if any trade value and were cut outright. The biggest addition of Watkins turned out to be more smoke than sizzle. Johnson was a solid player. Everett, Reynolds, and Ebukam added rotational value. But overall, these moves seem average.
A solid B+ bordering on A- With five seasons under their belts, Snead and McVay have shown the ability to make both supernova and subtle moves for the betterment of the Rams. Sure, there are some misses, but they have the awareness to not double-down on the bad moves, and are willing to cut bait and move on from them.


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Free «Causes of the 2003 Iraq War» Essay
Table of Contents
The reasons for the United States invasion of Iraq in 2003 is the question that disturbs minds of many people, not only from America, but also from the entire world. It is impossible to deny that there are many conflicting views to the reasons that motivated the US to invade Iraq. In fact, the Iraq War remains one of the most significant events that have happened so far in the 21st Century (Fordham, 2016). The US invasion of Iraq garnered much praise and criticism in equal measure, yet the US government did not have any apologies to make over its move to attack Iraq. Many people chose to focus on whether the move was justified or not, putting little effort in trying to understand the root cause of the war. Undeniably, the 9th September 2001 terror attack (henceforth referred to as the 9/11 attack) laid the foundation for the US invasion of Iraq (Ritter & Pitt, 2002). However, that was not the only reason for the attack on Iraq; it culminated from several other interrelated activities that had been present long before 9/11 which are critical to examine. Among other reasons, the invasion was triggered by Iraq's support of terrorism, their possession and manufacture of weapons of mass destruction, the desire of the US to compel Iraq to embrace democracy, and the American reaffirmation of its militaristic superiority.
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Timelines of the Iraq War
The Iraq War or the Second Gulf War is divisible into two phases. The first phase was quite short since it lasted for only few months and it started in spring 2003. On 20 March at exactly 5:34 am, the coalition forces (consisting of armies from the US and her allies, especially the United Kingdom) embarked on the invasion of Iraq in what they termed as the Iraqi Freedom Operation (Ritter & Pitt, 2002). The US considered the invasion a success since it resulted in the defeat of the Iraq army and the consequent collapse of Saddam Hussein's government. Moreover, the coalition forces were able to capture Iraq's major cities. By 1 May upon the direction of President Bush the US army ended the major combat. The capture of Saddam Hussein followed on 13 December 2003 (Schwartz, 2016). While most Iraqis were happy with his arrest, the citizens were wary of the US-led occupation of the country. The US occupation of Iraq resulted in increased insurgency which paved way for the second phase of the war (2004-2011). The second phase of the war was slightly longer and it resulted in far-reaching negative consequences to the country.
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During the second phase, the United States occupied Iraq with the intention to ensure a smooth transition of power from the interim to the elected government. However, citizens of the country struggled against the occupation which led to increased insurgency in 2004-2007 (Roussel, 2007). Another highlight of the second phase of the war was the trial of Saddam Hussein who was charged with crimes against humanity which followed his execution in 2006. Following several years of an active military situation in the country, 2007 saw declines in violent activities caused by the militia troops. Within the next year the situation in Iraq seemed stable, and so, in 2009, the United States began to reduce its military forces in Iraq (Schwartz, 2016). Finally, in 2011, the US forces left Iraq. Existing records show that the war resulted in massive losses both on the American and Iraqi sides, including casualties among Iraq citizens and military personnel. The United States also incurred significant financial costs in sustaining the war (Fordham, 2016). Despite the Iraq War coming to an end, over the past few years most people continue disputing over the real causes of the US invasion of Iraq.
Causes of the Iraq Invasion
9/11 Attacks
One of the main reasons for the US invasion of Iraq is the suspicion that Iraq was a state sponsor of terrorism activities. The 9/11 terror attack on the American soil awakened the reality of the threats posed by international terrorism upon which President George W. Bush declared the global War on Terror (Roussel, 2007). While The War on Terror mostly targeted the Al-Qaeda, the organization believed to be the masterminds of the 9/11 attack and the attacks on the US embassies located in Africa, it also targeted any country that engaged in the training, supporting, and equipping of the terror groups. Iraq had all along been facing accusations of harboring terrorists from Iran, Pakistan, and other neighboring countries (Schwartz, 2016). Based on the reliable testimonies given to the United States National Commission on Terrorist Attacks (9/11 Commission) formed after the 9/11 events, it clearly emerged that Iraq actively supported terrorist groups by providing them with hideouts, training, arms, and financial support for terror attacks (Fordham, 2016). Moreover, there were accusations that the Iraqi forces greatly supported Al-Qaeda and helped them prepare the 9/11 attacks (Ritter & Pitt, 2002). For that reason, Iraq became a prime target perceived to support terror and thereby threatening the peace of the world.
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Weapons Manufacturing
Apart from the links to terrorist organizations, the invasion on Iraq also arose from the suspicions that not only it possessed the weapons of mass destruction, but it also engaged in their manufacture. Considering the prelude to the war, the new president of the USA, George W. Bush, established the US strategy during the State of the Union address in 2002, in which he asserted that the American intelligence had investigated and found that Iraq was producing nuclear weapons (Fordham, 2016). Although Iraq denied such accusations, historical proofs of its association with weapons of mass destruction (including the chemical, biological, and nuclear weapons) worked against them. For example, in 1981, Israel had launched attacks on Iraq on suspicions that the latter were building a nuclear weapon to attack Israel (Ritter & Pitt, 2002). However, Iraq maintained that although it was building the nuclear reactor, it was just meant for experimentation. Moreover, in 1983, Iraq engaged in war with Iran during which time they used nuclear weapons (Schwartz, 2016). In 1991, the United Nations Security Council (UNSC) enacted a law that aimed to compel Iraq to eliminate its presumed stocks of weapons of mass destruction and the means to manufacture them (Ritter & Pitt, 2002). However, efforts to establish whether Iraq had complied were futile since the country hampered all efforts by the United Nations to inspect whether they had destroyed all the weapons (Fordham, 2016). Over the years, there were fears that Iraq's possession of the nuclear weapons could continue to undermine the world peace.
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The US invasion laid its foundations on Iraq's long history of possessing and engaging in the manufacture of dangerous weapons. Throughout the 1990s and into the millennium, suspicions about Iraq still manufacturing even more dangerous weapons continued. Those accusations were worrying since in 1998 the US army (under the instructions of President Bill Clinton) had organized a four day air campaign (dubbed Desert Fox) whereby they struck the Iraq bases believed to produce, store, and distribute the dangerous weapons of mass destruction (Roussel, 2007). Despite such efforts of the US, in 2002, the United Nations Security Council (UNSC) raised more fears that Iraq was still in possession of the weapons of mass destruction and despite the inspections aimed to retrieve the weapons, they were not found, raising even more fear (Schwartz, 2016). Based on that knowledge, the US legitimized its invasion of Iraq using the fact that the latter could at some point decide to use the weapons to cause even greater destructions and casualties (Ritter & Pitt, 2002). Based on that knowledge one cannot help but feel that the main priority for the United States government invasion was to disarm Iraq and, consequently, participate in the downfall of the ruling regime.
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Establishment of Democracy
Another reason for the US invasion of Iraq is connected to Saddam Hussein's arrest, the abolition of his regime, and introduction of democracy to the country. President Bush and his administration wanted Iraq to follow democracy principles and end the tradition of dictatorship which was rampant in the Middle East countries including Iran, Lebanon, Syria, and Pakistan among others. President Bush often referred to Iraq and other Middle Eastern countries that did not value democracy as to the "Axis of Evil" (Schwartz, 2016). The ongoing authoritarian rule propagated by Saddam Hussein and his Baath party was extremely hard to control due to many reported cases of human rights abuses towards dissenting citizens. Iraq had some of the worst human rights abuses and it was a matter of concern for Bush since he felt that every government should provide an environment in which each individual would have the chance to lead a decent life, yet the ruling regime in Iraq was in the frontline to abuse its citizens (Fordham, 2016). For that reason, the US administration felt that it was obligatory to replace the tyrannical rule of Saddam Hussein and his Baathist regime with democracy.
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President Bush and his administration reasoned that if Iraq became a democratic state, it would set an example to other countries in the Middle East. The implication was that the Bush administration hoped that the attack on Iraq would produce a domino effect, which meant that citizens in other Middle East states that experienced hostile regimes would start demanding the same democratic freedoms enjoyed by the liberated people of Iraq (Ritter & Pitt, 2002). Consequently, the era of hostile authoritarian regimes would come to an end, replaced by friendly chosen governments that were not only democratic, but also pro-American, which would ensure that the Middle East citizens enjoy a stable, peaceful, and secure life (Christopher, 2005). President Bush felt that encouraging the countries in the Middle East to embrace democratic principles would signify major victory in the War on Terror since there would no longer be militia activities in these countries. However, the attempted democratization of Iraq and other Middle East states proved futile and for that reason political instability continues to thrive (Roussel, 2007). Still, after the Iraq invasion, many citizens obtained a chance to enjoy more rights including their ability to vote which meant that the American dominance in influencing foreign affairs became even more pronounced.
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Geopolitical Goals of the US
On that note, the fourth reason that exemplifies the invasion of Iraq is the desire of the US to reaffirm its position as a super power. Following the 9/11 terror attack, most Americans almost had lost trust in the Bush administration, yet President Bush had just begun his term (Schwartz, 2016). The fact that every government has the obligation to protect its citizens is undisputable. Thus, having been unable to prevent the 9/11 attack, President Bush knew that he had to redeem the image of America by demonstrating a tough approach to terrorism (Schwartz, 2016). The assertion is that President Bush aimed to erase any manifestation of weakness, so that the rest of the world would realize that the US was capable of using force as an option to maintain peace and security for their country. Due to its links with the terrorists and its possession and manufacture of nuclear weapons, Iraq seemed as the most visible enemy (Christopher, 2005). That is why the US targeted Iraq with the intention to send a message to other possible terrorist states, warning them not to disrupt the stability of the US and also of the whole world.
In other words, the administration of President Bush was sending a message that the US military was still the most powerful in the word. One can presume the provocation by Iraq through their links to the terrorists provided an alibi for the US to reiterate their global power and authority (Roussel, 2007). Moreover, the fact that Iraq was highly suspected of being in possession of the weapons of mass destruction, the Bush administration knew that failure to act would result in further global catastrophes as the weapons could be used for further terror actions, thereby undermining peace in the whole world (Schwartz, 2016).
In conclusion, it emerges that 2003 US invasion of Iraq was a result of various interrelated factors, including Iraq's support of terrorism and terror related activities, their manufacture and possession of nuclear weapons, the US desire to compel Iraq to embrace democracy, and the America's reaffirmation of its position as the world superpower. The Bush administration accused Iraq of harboring and sympathizing with the Al-Qaeda terror group that was responsible for the 9/11 attacks and other attacks in American embassies in African countries. Further, Iraq manufactured the weapons of mass destruction and even used it to terrorize its neighbors and the citizens. Furthermore, the Bush administration hoped that toppling Saddam Hussein's regime would result in the rise of democracy not only in Iraq, but also in the entire Middle East region. To summarize, another reason for the US invasion of Iraq was the need for the America to reaffirm itself as the dominant superpower. The Bush administration felt the threat of terrorism had undermined its superiority and, hence, the need to teach a lesson to Iraq and other nations that supported terror activities at whatever level emerged. Overall, understanding the causes of the US invasion of Iraq is critical in shedding light on what really pushed the US to the extent of imposing war on Iraq regardless of the financial and humanitarian costs involved.
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Greyhound Racing Tips For Thursday 2nd July 2009
Welcome to Australian Racing Greyhound's free Greyhound Racing Tips for Thursday 2nd July 2009 with Tips tonight from Sandown Park (Victoria), Dapto (New South Wales), Albion Park (Queensland), Angle Park (South Australia) and Mandurah (West Australia).
Tonight's racing features four heats of the Imagetec Gold Coast Cup, which for the first time and for near future is being run at Albion Park due to the closure of Gold Coast track last year.
But the highlight of the night should be the Superstayers Invitational at Albion Park, which depsite the loss of Queen Lauryn to a season and Lady Moscato to an injury, has brought together a sensational field of stayers. The four dog field conditions give every greyhound their chance and it should be a cracker of a race.
As usual we'll provide our betting Tips for each of the feature races tonight as well as our expert selections from the best of the other Greyhound Racing action on offer tonight.
From last night's runs though, I'm afraid we have to resign our selves to the fact Birthday Boy has evolved in to a trial track champion. After running a sensational trial in the lead up to last nights race, he had every hope and was more than dissapointing finishing second last and racing well below what he is capable of. I'm afraid without some serious changes, he's racing days are finished. Birthday Boy gets added to our Never To Be Backed Again (NTBBA) files.
Similarly, up in Queensland Miss Amy Jade dissapointed for the second time and has to leave the Australian Racing Greyhound Kennel. Again jumping well enough, she refused to push up under greyhounds and pulled herself out of the race back to last before finishing on yet again to be just behind the placegetters. Will probably win some weak 700m races but doubt she has the confidence to go much further than that, based on what she's doing at the moment.
With tonights Greyhound Racing coming from Sandown Park (Victoria), Dapto (New South Wales), Albion Park (Queensland), Angle Park (South Australia) and Mandurah (West Australia), lets just recap our track advice for those tracks.
Sandown Park is considered one of the best two turn tracks in the country and plays reasonably fairly, although there is a slight bias towards railers and greyhounds on the speed.
Dapto is a track greyhounds either handle or they don't. Favouring early speed greyhounds over all distances, it is one of the few tracks in Australian Greyhound Racing where dogs can race Welcome to Australian Racing Greyhound's free Greyhound Racing Tips for Wednesday 1st July 2009 with Tips tonight from Ballarat (Victoria), Warrnambool Greyhound Racing Australiaextremely wide and still make ground. Look for greyhounds with exposed form on the track.
Albion Park was the first track in Australia to move to the finish-on lure system and it is definitely the better of the two Queensland TAB tracks. A lack of depth in a lot of races can cause upsets at Albion Park when favourites are over-rated or suffer interference. Tread warily when betting on the corner start 600m races; and the 700m races will often throw up odds-on favourites that have alot of weakness about them.
Angle Park is all about leading to the first corner, class dogs will knock up winning in South Australia as their is a definite lack of depth, even at higher grades. Again be wary of betting in 600m and 700m events at Angle Park as in many cases it is just the last throw of the dice for connections and there are very few genuine stayers.
Mandurah can be a punters graveyard, the 492m distance, 647m distance and the 302m distances are corner starts and even the 405m start is only a short run before the corner. Good beginners are decidedly advantaged as are the red boxes over all 3 shorter distances.
Sandown Greyhounds – Race 2 – Box 3 – Hello Sienna
Hello Sienna has been quietly racking up the wins on the Gippsland track and has managed an impressive record of 5 wins from 10 starts with a further 3 3rds. With wins at Sale, Traralgon and Warragul she's already demonstrated quite a good deal of versatility and very good box speed. Has led or been near the lead at all her 5 wins and should be able to hit the front at the post the frist time around from box 3. Looks a more than handy greyhound, who is capable of winning on debut in town.
Dapto Greyhounds – Race 5 – Box 1 – Cawbourne Grace
From the Gilbert/Lord kennels Cawbourne Grace might just go around over the odds here and net us a nice collect. The kennel have had avery good run with their ex-NZ greyhounds at their first few starts in Australia and cawbourne Grace is first up since mid March in New Zealand. Failed past 2 starts but had all first 3 career starts of over shorter journeys than this. Will most likely show some of that early pace tonight and should be able to set up a nice lead.
Dapto Greyhounds – Race 6 – Box 3 – Freckles
You want get much of a price about this Freckles here tonight but she should be untroubled to win. Unbeaten over the 600m at Dapto and usually wants to use a bit of the track, but still maanged to win well last week running 34.81 from box 3. With 2 vacant boxes to her outside she'll get every chance to lead or be near the lead which is where she does her best racing.
Dapto Greyhounds – Race 9 – Box 3 – Azam
Azam was very impressive last week flying out from box 8 and bolting in to win by 13.5 lengths in a very good 29.89. That was his 4 career win from 12 starts and makes you wonder what he'd being doing in the 3 unplaced runs prior at Bathurst and Cowra. Have to trust he'll find the same form as last week with the added confidence and will win from box 3 tonight. Could lose 5 lengths on last weeks run and still win this, so just has to put himself in the race.
Albion Park Greyhounds – Race 3 – Box 4 – Dashing Top Hat
Dashing Corsair's litter brother has tongues wagging last week after winning in 42.25 at his distance racing debut. Managed to find the front and led all the way and although they got close on the line he had enough in hand. Looks as though he should be able to lead again despite the 4 box and on times will be very hard to beat. Just have to hope he deosn't suffer from the "second-up syndrome" many greyhounds experience when they go over the trip again just a week later. Usuallly that happens with greyhounds that only just get the trip and Dashing Top Hat showed enough to suggest that the veteran of just 14 starts will improve with racing.
Group 2 Gold Coast Cup – Albion Park Greyhounds – Race 4 – Box 2 – High Earner
Despite getting himself beaten here last week High Earner is making a habit of winning when it matters and should have every chance to lead all the way from box 2 tonight in the first heat of the Gold Coast Cup. Looked ordinary last week finishing third but was a different dog all together the week prior running them ragged in the Queensland Derby final. High Earner has the better of both his main Qld rivals here in Surfin' Silence and Keroma Oh Seven, so only Trew Millions can threaten here.
Group 2 Gold Coast Cup – Albion Park Greyhounds – Race 5 – Box 2 – Dashing Corsair
Could be a big night for Dwyer Lennon if our tips fall the way we want as Dashing Top Hats litter brother Dashing Corsair gets his chance to win again from a favourable box 2 draw. Has raced very well recently in both the WA and Queensland Derby's and has an ecpetional run behind in High Earner in the Queensalnd version to get third. Looked very confident and fast last week bolting in a 600m event by 8 lengths in 34.80 and should get enough of a crack at them from the inside draw to win this.
Group 2 Gold Coast Cup – Albion Park Greyhounds – Race 6 – Box 6 – Cosmic Rumble
Tricky race made harder by trying to figure out which Turanza Bale will turn up. On best from Turanza Bale could win this race, but don't be suprised to see him just go around and I fancy Cosmic Rumble who, looks like a world beater from a wide draw, will ping the leads stay away from the trouble inside and blitz this heat. Has a PB of 29.85 here which will be quick enough and demonstrated that sort of ability with flying 29.80 Peter Mosman Classic Qualifying Heat win a few starts ago. Ran 3rd in a Queensland Derby heat to Take The Kitty from box 2 at his last start but goes much better out wide.
Group 2 Gold Coast Cup – Albion Park Greyhounds – Race 7 – Box 3 – Ryan's A Rocket
Another very tricky race and despite the fact Ryan's A Rocket let us down last week, we'll give him another chance in this harder race from box 3. Has won 3 of his last 5 starts with the only failures ending in a 3rd behind High Earner in the Queensland Derby heat and last weeks 1.5 length 2nd behind Grampian. Had a good 30.11 win here over Millenium the week earlier and and should go close to winning again.
Superstayers Invitational – Albion Park Greyhounds – Race 8 – Box 7 – Forty Twenty
Forty Twenty has shown an incredible liking for the Albion park circuit and with Mantra Lad and Amity Bale likely to surge forward early along with Lilley Criminal, he'll get the ideal run for him, being able to drop down to the rail and just roll along until they hit the back straight the final time. Coming of his last start 729m Dapto track record run and, unlike Mantra Lad and Amity Bale who went around in the Lizrene, has had a week off in preparation for tonight. Lilley Criminal at her best is right up to this but is first up tonight off a long break. Forty Twenty gets the ideal race for him tonight and might just be shooting for track record number 3.
Angle Park Greyhounds – Race 3 – Box 1 – Rustic Wizard
Unbeaten in his past 3 starts here at Angle Park, Rustic Wizard should be able to win with ease here from box 1. Has shown good early pace to lead all the way at all those 3 past wins running 30.33, 30.24 and 30.03. Won't have to go any quicker than last weeks run to win again.
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Australian Racing Greyhound Dog House (NTBBA – Never To Be Backed Again)
Me Boss (New South Wales)
Bikini Beach (Queensland)
Autumn Honey Bee (New South Wales)
Teaman Titch (Victoria)
Sculpted (South Australia)
Miss Opie (Victoria)
Birthday Boy (Victoria)
Australian Racing Greyhound Kennel
Uno Express (Victoria)
Monique's Doll (New South Wales)


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American Women Writers: Bibliography 1830-1839
Adams, Hannah. (1755-1831or 1832) A Memoir of Miss Hannah Adams, written by herself. With Additional Notices by a Friend [ Hannah Farnham Sawyer Lee] . Boston: Gray and Bowen, 1832.
Allen, Hannah Bowen. (n.d.) Farmer Housten and the Speculator: A New England Tale. Portland: O.L. Sanborn and Co., 1839.
Bacon, Delia Salter. (1811-1859) Tales of the Puritans. The regicides. The fair pilgrim. Castine. New Haven: A.H. Maltby; New York: G. and C. and H. Carvill and J. Leavitt, 1831.
_____. The Bride of Fort Edward, founded on an incident of the revolution. New York: S. Colman, 1839.
Barnes, Charlotte Mary Sanford. (1819-1863) The Night of the Coronation. Written on reading the account of the coronation of Victoria I. London: D. Cahn, 1838.
Beecher, Catharine Esther. (1800-1878) The elements of moral and mental philosophy, founded on experience, reason and the Bible. Hartford: Peter B. Gleason and Co., 1831.
_____.Arithmetic simplified: prepared for the use of primary schools, female seminaries, and high schools: in three parts. Hartford: Robinson and Co., 1832.
_____. Primary geography for children, on an improved plan. Cincinnati: Corey and Fairbank, 1833.
_____. An essay on the education of female teachers, written at the request of the American Lyceum and communicated at their annual meeting, New York, May 8th, 1835. New York: Van Norstrand and Dwight, 1835.
_____. Letters on the difficulty of religion. Hartford: Belknap and Hammersley, 1836
_____. An Essay on Slavery and Abolitionism, with Reference to the Duty of American Females. Philadelphia: Henry Perkins; Boston: Perkins and Marvin, 1837.
Brown, Phoebe Hinsdale. (1783-1861) The tree and its fruits; or, Narratives from Real Life. New York: Ezra Collier, 1836.
____. The village school, to which is added Jenny; or The conversion of a child, a narrative. New York: E. Collier, 1836.
Bullard, Anne Tuttle Jones. The Stanwood Family; or, The History of the American Tract Society. Boston: Massachusetts Sabbath School Union, 1830.
_____. Louisa Ralston; or what can I do for the heathen? Boston: S.S. Society, 1831.
_____. The Reformation; a True Tale of the Sixteenth Century. Boston: Massachusetts Sabbath School Society, 1832.
_____. Little Aimee, the persecuted child: to which is added The frightful story. Cincinnati: Truman and Smith, 1833.
_____. The wife for a missionary. Cincinnati: Truman and Smith, 1835.
Chandler, Elizabeth Margaret. (1807-1834) Essays, philanthropic and moral, principally relating to the abolition of slavery in America. Philadelphia: L. Howell, 1836.
_____. The poetical works of Elizabeth Margaret Chandler. With a memoir of her life and character by Benjamin Lundy. Philadelphia: L. Howell, 1836.
Chapman, Maria Weston. (1806-1885) Songs of the free and hymns of Christian freedom. Boston: I. Knapp, 1836.
_____. Right and wrong in Massachusetts. Boston: Dow and Jackson's Anti-Slavery Press, 1839.
Child, Lydia Maria. (1802-1880) The mother's book. Boston: Carter, Hendee, and Babcock; Baltimore: C. Carter, 1831.
_____. The coronal; a collection of miscellaneous pieces, written at various times. Boston: Carter, 1831.
_____. The biographies of Lady Russell and Madame Guyon. Boston: Carter, Hendee and Co., 1832.
_____. The biographies of Madame de Stael and Madame Roland. Boston: Carter and Hendee, 1832.
_____. An appeal in favor of that class of Americans called Africans. Boston: Allen and Ticknor, 1833.
_____. Good wives. Boston: Carter and Hendee and Co., 1833.
_____. The girl's own book. New York: Clark Austin and Co., 1833.
_____. Authentic anecdotes of American slavery. No. 1, 2. Newburyport, Massachusetts: C Whipple, 1833-1835.
____. The oasis. Boston: Allen and Ticknor, and B.C. Bacon, 1834.
_____. The history of the condition of women, in various ages and nations. 2 vols. Boston: J. Allen and Co., 1835.
_____. Anti-slavery catechism. Newburyport, Massachusetts: C. Whipple, 1836.
_____. The evils of slavery, and the cure of slavery. The first proved by the opinions of Southerners themselves, the last shown by historical evidence. Newburyport, Massachusetts: C. Whipple, 1836.
_____. Philothea; a romance. Boston: Otis, Broaders, 1836.
_____. The family nurse; or, Companion of the frugal housewife. Revised by a member of the Massachusetts Medical Society. Boston: C.J. Hendee, 1837.
Cunningham, Virginia. (n.d.) Maid of Florence; or, A woman's vengeance, a psuedo-historical tragedy in five acts. Charlston: S.S. Miller, 1839.
Cushing, Caroline Elizabeth Wilde. (d. 1832) Letters descriptive of public monuments, scenery and manners in France and Spain. 2 vols. Newburyport, Massachusetts: printed by E.W. Allen and Co., 1832.
Davis, Mary Elizabeth Morague. (1815-1903) The British Partizan: A Tale of the Times of Old. Augusta, Georgia: William T. Thompson, Printer and Publisher, 1839.
Day, Martha. (1813-1833) Literary remains of Martha Day, with the Rev. Dr. Fitch's address at her funeral, and sketches of her character. New Haven: H. Howe, 1834.
Downer, Sarah A. (n.d.)The contrast; or, Which is the Christian? Hudson, N.Y.: Printed by Ashbel Stoddard, 1837.
_____. The triumph of truth. A Tale. Written for the New York Christian Messanger and the Philadelphia Universalist. Hudson, N.Y.:Printed by Ashbel Stoddard, 1837.
Dix, Dorothea Lynde. (1802-1887) American moral tales for young persons. Boston: L.C. Bowles and B.H. Greene, 1832.
Ellet, Elizabeth Fries Lummis. (1818-1877) trans. Euphemio of Messina. By Silvio Pellico. New York: M. Bancroft, 1834.
_____. Poems, translated and original, incl. Teresa Contarini. Philadelphia: Key and Biddle, 1835.
_____.The characters of Schiller. Boston: Otis, Broaders and Co., 1839.
Embury, Emma Catherine Manley. (1806-1863) An address on female education, read at the anniversary of the Brooklyn Collegiate Institute for Young Ladies, by Fanning c. Tucker. Written for the occasion by Mrs. Emma C. Embury. New York: Sleight and Robinson, Printers, 1831.
_____. Constance Latimer, or, The Blind Girl; with other tales. New York: Harper and Brothers, 1838.
_____. Pictures of early life; or, Sketches of youth. Boston: Marsh, Capen, Lyon and Webb, 1839.
Farrar, Eliza Ware Rotch. (1791-1870) The Children's Robinson Crusoe; or, The Remarkable Adventures of an Englishman who lived Five Years on an Unknown and Uninhabited Island of the Pacific Ocean. Boston: Hilliard, Gray, Little, and Wilkins, 1830.
_____. The story of the Life of Lafayette, as told by a father to his children. Boston: Hilliard, Gray, Little, and Wilkins, 1831.
_____. John Howard [From the series: Lives of the Philanthropists]. Cambridge: Brown, Shattuck, 1833.
_____. The Youth's Letter Writer; or, The Epistolary Art Made Plain and Easy to Beginners, through the example of Henry Moreton. New York: R. Bartlett and S. Raynor, 1834.
_____. The adventures of Congo in search of his master:an American tale, continuing a true account of a shipwreck and interspersed with anecdotes found on facts. Boston: Munroe and Francis, 1835. [AAS records a contorversy over authorship. First published in London, 1823. Farrar claimed authorship. The family of Wm Gardiner claimed it for him posthumously.]
_____. The Young Lady's Friend. Boston: American Stationers' Company, 1837.
Follen, Eliza Lee Cabot (1787-1860) Hymns, songs and fables for children. Boston: Carter, Hendee, and Babcock, 1831.
_____. Sequel to the well-spent hour, or The Birthday. Boston: Carter and Hendee, E.W. Metcalf and Co., 1832.
_____. Little Songs for little boys and girls. Boston: Leonard C. Bowles, 1833.
_____. The Skeptic. Boston: James Monroe, 1835.
_____. Sketches of a married life. Boston: Hilliard and Gray, 1838.
_____. Nursery Songs. New York: S. Colman, 1839.
_____. Poems. Boston: William Crosby and Co., 1839.
_____. Sacred Songs for Sunday Schools, original and selected. Boston: B.H. Green, 1839.
Fox, Mary Anna. George Allen, the Only Son. Boston: William Pierce, 1835.
Fox, Mary L. The ruined deacon: a true story. Boston: Ford and Damrell, 1834. [Same as Fox, Mary Anna above?]
Fuller, Margaret, trans. (1810- 1850) Conversation with Goethe in the last years of his life. Boston: Hilliard, Gray, 1839.
Gilman, Caroline Howard. (1794-1888) Recollections of a housekeeper [by Mrs. Clarissa Packard, pseud.] New York: Harper and Brothers, 1834.
_____. The lady's annual register, and housewife's memorandum book for 1838. Boston: T.H. Carter; Philadelphia: Henry Perkins, 1837.
_____. The lady's annual register, and housewife's memorandum book for 1839. Boston: Otis, Broaders, and Co., 1838.
_____. Recollections of a Southern Matron. New York: Harper and Brothers, 1838.
_____. The poetry of travelling in the United States. With additional sketches, by a few friends; and a week among autographs, by Rev. S. Gilman. New York: S. Colman, 1838.
_____. Tales and Ballads. Boston: W.Crosby and Co., 1839.
_____, ed. Letters of Eliza Wilkinson, during the invasion and possession of Charlestown, S.C., by the British in the Revolutionary War. New York: S. Colman, 1839.
_____. Verses of a life Time. Boston and Cambridge: James Munroe and Co., [AAS date 1839] [OCLC date 1849].
Gould, Hannah Flagg. (1789-1865) Mary Dow, and the Little Beggar Girl. Boston: Boston Chemical Printing Co., 1830.
_____. Poems. Boston: Hilliard, Gray, Little, and Wilkins, 1832.
_____. Esther: a scripture narrative; together with an original poem. New York: D. Appleton and Co., 1835.
Griffith, Mary. (D. 1877) Our Neighborhood; or, Letters on Horticultural and Natural Phenomena, Interspersed with Opinions on Domestic and Moral Economy. New York: Elam Bliss, 1831.
_____. Camperdown; or, News from our Neighborhood. Philadelphia: Carey, Lea, and Blanchard, 1836.
_____. Three hundred years hence. Philadelphia: Carey, Lea, and Blanchard, 1836.
_____. Discoveries in light and vision: with a short memoir containing Discoveries in the mental faculties. New York: G. And C. Carvill, 1836.
Grimké, Angelina Emily Weld. (1805-1879) Appeal to the Christian women of the South. New York: American Anti-Slavery Society, 1836.
_____. An appeal to the women of the nominally free states, issued by an Anti-Slavery Convention of American Women, held by adjournments from the 9th to the 12th of May, 1837. New York: W.S. Dorr, Printer, 1837.
_____. Letters to Catherine E. Beecher, in reply to an essay on slavery and abolitionism, addressed to A.E. Grimké. Rev. By the author. Boston: Printed by I. Knapp, 1838.
Grimké, Sarah Moore. Letters on the equality of the sexes,and the condition of woman. Adressed to Mary S. Parker, President of the Boston Female Anti-Slavery Society. Boston: Printed by I. Knapp, 1838.
Hale, Sarah Josepha Buell. (1788-1879) Conversations on the Burman Mission. Boston: Massachusetts Sabbath School Union, 1830.
_____. Poems for our children: designed for families, Sabbath schools, and infant schools. Part I. Boston: Marsh, Capen, and Lyon, 1830.
_____. Flora's Interpreter; or, The American Book of Flowers and Sentiments. Boston: Marsh, Capen, and Lyon, 1832.
_____, ed. The school song book. Adapted to the scenes of the school room. Written for American children and youth. Boston: Allen and Ticknor, 1834.
_____. Traits of American Life. Philadelphia: E.L. Carey and A. Hart, 1835.
_____. The Book of Flowers. London: Saunders and Otley, 1836. [British repub. of Flora's Interpreter?]
_____, ed. The Ladies' Wreath; a selection from the female poetic writers from England and America. With original notices and notes; prepared especially for young ladies. A gift book for all seasons. Boston: Marsh, Capen, and Lyon, ; New York: D. Appleton and Co., 1837.
_____. The good housekeeper or the way to live well and to be well while we live containing directions for choosing and preparing food in regard to health, economy, and taste. Boston: Weeks, Jordan,and Co., 1839.
Hall, Fanny W. Rambles in Europe; or, a Tour through France, Italy, Switzerland, Great Britain, and Ireland, in 1836. New York: E. French, 1838.
Hall, Louisa Jane Park. (1802-1892) Alfred [and the Better part]. Boston: J. Munroe and Co., 1836.
_____. Miriam; a dramatic poem. Boston: Hilliard, Gray, and Co., 1837.
_____. Joanna of Naples. Boston: Hilliard, Gray, and Co., 1838.
_____. Hannah, the mother of Samuel the prophet and judge of Israel. A sacred drama. Boston: J. Munroe and Co., 1839.
_____. The New Year's Day. Boston: B.H. Greene, 1839.
Hall, Sarah Ewing. (1761-1830) Selections from the writings of Mrs. Sarah Hall, author of Conversations on the Bible, with a memoir of her life. Ed. By Harrison Hall. Philadelphia: H. Hall, 1833.
Hentz, Caroline Lee Whiting. (1800- 1856) Lovell's Folly. Cincinnati: Hubbard and Edmands, 1833.
Hinckley, Mary. The Seymour Family; or, Domestic Scenes. Boston: Leonard C. Bowles, 1830.
_____. Sequel to the Seymour Family; or, Domestic Scenes. Boston: Leonard C. Bowles, 1830.
Holley, Mary Austin. (1784-1846) Texas; observations, geographical and descriptive. Baltimore: Armstrong and Plaskitt, 1833.
Kirkland, Caroline. (1801-1864) A new home - who'll follow? Or, Glimpses of Western Life. New York: C.S. Francis; Boston: J.S. Francis, 1839.
Larned, Mrs L. (n.d.) The Sanfords; or, Home Scenes. New York: Elam Bliss, 1830.
_____. Grace Seymour. New York: Elam Bliss, 1830.
_____.The Fairy Tale. Providence: Cory and Brown; Hartford: W. Marshall and Co., 1831. [Heshbon, the benevolent genius; or, The true fairy tale AAS]
____. Sarah and her cousins. Boston: Carter, Hendee and Babcock, 1831. [AAS, not NUC]
_____. The American Nun; or, The Effect of Romance. Boston: Otis, Broaders, and Co., 1836.
Lee, Eliza Buckminster. (1794-1864) Sketches of a New England Village in the Last Century. Boston: J. Munroe, 1838.
Lee, Hannah Farnham Sawyer. (1780-1865) [there is some confusion between Hannah Lee and Mrs. L. Larned] The Backslider. Boston: James Munroe and Co., 1835.
_____. Three Experiments of Living: living within the means; living up to the means; living beyond the means. Boston: William S. Damrell, 1837.
_____. Fourth experiment of living: living without means. Boston: Otis, Broaders, and Co., 1837.
_____. Living on other people's means; or, The history of Simon Silver. Boston,: Otis, Broaders, and Co., 1837.
_____. The Contrast; or, Modes of Education. Boston: Whipple and Damrell; New York: Scofield and Voorhies, 1837.
_____. The Harcourts: Illustrating the Benifit of Reentrenchment and Reform. New York: S. Colman; Boston: Wells, Jordan and Co., 1837
_____. Rich Enough. A Tale of the Times. Boston: Whipple and Damrell, 1837.
_____. Elinor Fulton; sequel to Three experiments of living. Boston: Whipple and Damrell, 1837.
____.Worth a Million. New York: S. Colman; Boston: Weeks, Jordan and Co., 1838.
_____. Rosanna; or, Scenes in Boston; written and sold for the benefit of the infant school in Broad St., Boston. Cambridge: John Owen, 1839.
_____. The life and times of Martin Luther. Boston: Hilliard, Gray and Co., 1839.
Lee, Jarena. (b.1783) The life and religious experience of Jarena Lee, a coloured lady, giving an account of her call to preach the gospel. Philadelphia: Published for the author, 1836.
Leslie, Eliza (1787-1858) American Girl's book; or, Occupation for play hours. Boston: Munroe and Francis; New York: C.S. Francis, 1831.
_____. Two hundred Receipts for French cookery. Philadelphia: 1832. [Same as following?]
_____, ed. and trans. Domestic French cookery, chiefly translated from Sulpice Barue. Philadelphia: Carey and Hart, 1832.
_____. Wonderful travels; being the narratives of Munchhausen, Gulliver,and Sinbad abridged from the original works with numerous alterations and original designs. Boston: Munroe and Francis etc., etc., 1832.
_____. Atlantic Tales; or, Pictures of youth. Boston: Munroe and Francis, 1833.
_____. Pencil Sketches; or, Outlines of character and manners. Philadelphia: Carey, Lea, and Blanchard, 1833.
_____. Laura Lovel; a sketch for ladies only. Lowell: Published at the Franklin Bookstore, 1834.
_____, ed. The violet: a Christmas and New Year's gift, or birthday present for 1836. Philadelphia: E.L. Carey and A. Hart, 1835.
_____. Directions for cookery; being a system of the art, in its various branches. Philadelphia: E.L. Carey, 1837.
_____. Althea Vernon; or, The Embroidered Handkerchief. To which is added Henrietta Harrison;, or The Blue Cotton Umbrella. Philadelphia: Lea and Blanchard, 1838.
_____. The tell-tale; and, the week of idleness. London: Dean and Munday, [1838?] [query in NUC]
Livermore, Harriet. (1788-1868) A wreath from jessamine lawn; or, Free grace the flower that never fades. Philadelphia: Printed for the authoress, 1831.
_____. Millenial tidings no. 1. Philadelphia: Published by Harriet Livermore, 1831.
_____. The hero of Israel to meet the loud echo of the wilds of America. Philadelphia: J. Rakestraw, 1835.
_____. A letter to John Ross: the principal chief of the Cherokee nation. Philadelphia: Harriet Livermore, 1838.
Mayo, Sarah Carter Edgarton. (1819-1848) Ellen Clifford; or, The genius of reform. Boston: A. Tompkins and B.B. Mussey, 1838.
_____. The Palfreys: A Tale. Boston: Abel Tompkins, 1838.
Osgood, Frances Sargeant Locke. (1811-1850) Philosophical enigmas; a series of poetical enigmas. London: Rock,183-?
_____. A wreath of wild flowers from New England. London: Edward Churton, 1838.
_____. The casket of fate. London: C. Whittingham, 1839.
Packard, Hannah James. (1815-1831) The choice: a tragedy; with miscellaneous poems. Boston: L.C. Bowles, 1832. [Pub. Posthumously]
Paul, Susan (1809-1841) Memoir of James Jackson, the attentive and obedient scholar, who died in Boston, October 31, 1833, aged six years and eleven months. Boston: James Loring, 1835.
Peabody, Elizabeth Palmer (1778-1853) Holiness; or, The legend of St. George. A tale from Spencer's (!)Faerie Queen. Boston: E.R. Broaders, 1836.
Peabody, Elizabeth Palmer. (1804-1894) First Steps to the study of history: Being part first of a key to history. Boston: Hilliard, Gray and Co., 1832.
_____, trans. Self-education; or, The means and art of moral progress. Translated from the French of M. Joseph Marie, le baron de Gérando. Boston: Carter and Hendee, 1832.
_____. The Hebrews. Boston: Marsh, Capen and Lyon, 1833.
____.The Greeks; part three of a key to history. Boston: Marsh, Capen and Lyon, 1833.
_____. Record of a school; exemplifying the principles of spiritual culture. Boston: J. Munroe; Philadelphia: Henry Perkins, 1835.
_____. Method of spiritual culture: being an explanatory preface to the second edition of record of a school. Boston: J. Munroe, 1836.
Phelps, Almira Hart Lincoln.
_____, ed. Vauquelin, Louis Nicolas. Dictionary of chemistry. G. & C. & H. Carvill, 1830.
_____, ed. The child's geology. Samuel Griswold Goodrich. Brattleboro [Vt.]: G.H. Peck and Co., 1832.
_____. Botony for beginners: an introduction to Mrs. Lincoln's Lectures on botany. Hartford: F.J. Huntington, 1833.
_____. Address on the subject of female education in Greece, and general extension of Christian intercourse among females. Troy [N.Y.] : printed by N. Tuttle, 1833.
_____. Caroline Westerley; or, The Young Traveller from Ohio. New York: J. and J. Harper, 1833.
_____. Chemistry for beginners. Hartford: F. J. Huntington, 1834.
_____. The female student; or, Lectures to young ladies on female education. New York: Leavitt, Lord and Co.; Boston: Crocker and Brewster, 1836.
_____. Familiar lectures on natural philosophy, for the use of schools. New York: F.J. Huntington, 1837.
_____. Familiar lectures on chemistry; for schools, families, and private students. New York: F.J. Huntington and Co., 1838.
____. Essay on female education, and prospectus of the Rahway Institute. Newark: printed by A. Guest, 1839.
_____ and Emma Willard, trans. Madame Necker de Saussure. Progressive education, commencing with the infant. Boston: W. O. Ticknor, 1835.
Ritchie, Anna Cora Ogden Mowatt. (1819-1870) Pelayo; or, The Cavern of Covadonga. New York: Harper, 1836.
_____. Reviewers reviewed: A Satire. New York: printed for the author, 1837.
Robbins, Eliza. (1786-1853) Elements of mythology; or classical fables of the Greeks and Romans: to which are added some notices of Syrian, Hindu, and Scandinavian superstitions, together with those of the American nations; the whole comparing polytheism with true religion. Philadelphia: Tower, J. And D.M. Hogan; Pittsburgh: Hogan and Co., 1830.
_____. Introduction to Popular lessons, for the use of small children in schools. New York: M'Elrath and Bangs, 1831.
____. Grecian History; Adapted to the Use of Schools and Young Persons. New York: Roe Lockwood, 1833.
_____. Classic Tales; designed for the instruction and amusement of young persons. New York: Peabody, 1833.
_____. English History; Adapted to the Use of Schools and Young Persons. New York: Roe Lockwood, 1834.
_____. Biography for schools. Philadelphia: U. Hunt, 1836.
_____. The first book; or, Primary lessons for public and private schools. New York: E. Walker, 1838.
_____. The school friend, or Lessons in prose and verse. New York: Robinson and Franklin, 1839.
Royall, Anne Newport. (1769-1854) Letters from Alabama, 1817-1822. Washington: Printed for the author, 1830.
_____. Mrs Royall's Southern Tour; or, Second Series of The Black Book. 3 vols. Washington: Printed for the author, 1830-31.
Savage, Sarah. (1785-1837) Blind Miriam restored to sight. Salem: printed at the Register office, 1833.
_____. Trial and Self-Discipline. Boston and Cambridge: James Munroe and Co., 1835.
Scott, Julia H. Kinney. (1809-1842) The Sacrifice: A Clergyman's Story. New York: Messenger and Universalist Press, 1834.
Sedgwick, Catharine Maria. (1789-1867) Clarence; or, A tale of our own times. Philadelphia: Carey and Lea, 1830.
_____. Pleasant Sundays. Boston: L.C. Bowles and B.H. Greene, 1832.
_____. The Linwoods; or, "Sixty years since" in America. New York: Harper and Brothers, 1835.
_____. Tales and sketches. Philadelphia: Carey, Lea, and Blanchard, 1835.
_____. Home. Boston and Cambridge: James Munroe, 1835.
_____. The poor rich man and the rich poor man. New York: Harper and Brothers, 1836.
_____. Live and let live; or, Domestic Service Illustrated. New York: Harper and Brothers, 1837.
_____. A love token for children. Designed for Sunday school libraries. New York: Harper and Brothers,1837.
____. Means and ends, or Self-training. Boston: Marsh, Capen, Lyon, and Webb, 1839.
Sedgwick, Elizabeth Buckminster Dwight. (1801-1864) A Spanish Conquest of America. Designed for the use of children. Boston: Leonard C.Bowles, 1830.
Sedgwick, Susan Ann Livingston Ridley. (1789-1867) The children's week. Boston: Carter and Hendee; Baltimore: Charles Carter, 1830.
_____. The young emigrants: A tale designed for young persons. Boston: Carter and Hendee, 1830.
_____. Allen Prescott; or, The fortunes of a New England Boy. New York: Harper and Bros., 1834.
Sherburne, George Ann Humphreys. (n.d.) Imogine; or, The Pirate's Treasure. The Demon's Cave. Washington: William Fischer, 1839.
Sigourney, Lydia Howard Huntley. (1791-1865) Biography of pious persons; abridged for youth. Springfield: G. and C. Merriam, 1833.
_____. Letters to young ladies. Hartford: P. Canfield, 1833.
_____. How to be happy. Hartford: D.F. Robinson, 1833.
_____. The farmer and the soldier. Hartford: J. Hubbard Wells, printer, 1833.
_____. Memoir of Phoebe P. Hammond, a pupil in the American asylum at Hartford. New York: Sleight and Van Norden, Printers, 1833.
_____. Sketches. Philadelphia: Key and Biddle, 1834.
_____. The children in the wood: to which is added: My mother's grave, a pathetic story. New York: M. Day, 1834.
_____. Poems. Philadelphia: Key and Biddle, 1834.
_____. Lays from the West. London: T. Ward and Co., 1834.
_____. Tales and Essays for children. Hartford: F.J. Huntington, 1835.
_____. A book for boys; consisting of original articles in prose and poetry. New York: Turner and Hayden, 1835.
_____. Memoir of Margaret and Henrietta Flower. Boston: Perkins, Marvin, and Co., 1835.
_____. Margaret and Henrietta. [Same as above entry?] New York: American Tract Society, 1835.
_____. Zinzedorff, and Other Poems. New York: Leavitt, Lord, and Co.; Boston: Crocker and Brewster, 1835.
_____. Poems for children. Hartford: Canfield and Robins, 1836.
____ .History of Marcus Aurelius, Emperor of Rome. Hartford: Belkhap and Hammersley, 1836.
_____. Olive Buds. Hartford: W. Watson, 1836.
_____. Stories for youth; founded on fact. [Published for the American Peace Societies and Sunday Schools] Hartford: William Watson, 1836.
____. A book for girls, in prose and poetry. New York: Turner and Hayden, 1837.
_____. Letters to mothers. Hartford: Hudson and Skinner, 1838.
Smith, Elizabeth Oakes Prince. (1806-1893) Riches without wings; or, The Cleveland Family. Boston: G.W. Light, 1838.
Stephens, Ann Sophia Winterbotham. (1813-1886) The queen of a week. New York: W.W. Snowden, 1839.
_____, ed. The Portland Sketch Book. Portland, Maine: Colman and Chrisholm, 1836.
Stewart, Maria W. Miller. (1803-1879) Meditations from the pen of Mrs. Maria W. Stewart. Presented to the First African Baptist Church and Society, in the city of Boston. Boston: Garrison and Knapp, printers, 1832.
_____. "Why sit ye here and die." Lecture delivered at Franklin Hall, Boston reprinted in The Liberator, 21 September 1832.
_____. Productions of Mrs. Maria W. Stewart, presented to the First African Baptist Church and Society, in the city of Boston. Boston: Friends of Freedom and Virtue, 1835.
Stowe, Harriet Beecher. (1811-1896) The gift, a Christmas and New Year's present for 1840. Philadelphia: Carey and Hart, 1839.
Taggert, Cynthia. (1801-1849) Poems. Providence: Cranston and Hammond, 1834.
Talbot, Mary Elizabeth. (b. 1805) Rurality: Original Desultory Tales. Providence: Marshall and Hammond, printers, 1830.
Warfield, Susanna. (n.d.) Illorar de Courcy: An Auto-biographical novel. By Josiah Templeton, Esq. [Pseud.]. Baltimore: William and Joseph Neal, 1835.
Wells, Anna Maria Foster. (1795-1868) Poems and juvenile sketches. Boston: Carter, Hendee and Babcock, 1830.
Wheatley, Phillis. (1753-1784) Memoir and poems of Phillis Wheatley, a native African and a slave: Dedicated to the friends of the Africans. Boston: Geo. W. Light, 1834. [Published posthumously]
Willard, Emma Hart. (1787-1870) A series of maps to Willard's History of the United States, or Republic of America. New York: White, Gallahar,and White, 1830.
_____. Abridgement of the History of the United States; or, Republic of America. New York: White, Gallahar, and White, 1831.
_____Ancient atlas: to accompany the universal geography by William C. Woodbridge and Willard. Hartford: Oliver D. Cooke, 1832.
____. Advancement of female education; or, a series of addresses, in favor of establishing at Athens, in Greece, a female seminary, especially designed to instruct female teachers. Troy, New York: N. Tuttle, printer, 1833.
_____. Journal and letters, from France and Great Britain. Troy, New York: N. Tuttle, printer, 1833.
_____. A system of universal history, in perspective: accompanied by an atlas, exhibiting chronology in a picture of nations,and progressive geography in a series of maps. Hartford: F.J. Huntington, 1835.
_____. Atlas, to accompany a system of universal history. Hartford: F.J. Huntington, 1836.
Williams, Catherine Read Arnold. (1790-1872) Tales: National and Revolutionary. Providence: H.H. Brown, 1830.
_____. Original Poems on Various Subjects. Providence: H.H. Brown, Printer, 1830.
_____. Aristocracy; or, The Holbey Family. Providence: J. Knowles, printer, 1832.
_____. Fall River. An Authentic Narrative. Boston: Lilly, Wait and Co., 1837.
_____. Biography of revolutionary heroes, containing the life of Brigadier Gen. William Barton, and also, of Captain Stephen Olney. Providence: printed by the author, 1839.


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Ori And The Will Of The Wisps Feeding Grounds: how to hide from Shriek
Don't get caught in her talons!
You've likely seen Shriek already in Ori And The Will Of The Wisps, but this big bird is out for blood. Entering the Feeding Grounds area, you'll soon have to sneak your way past this massive bird before it sees you. It's surprisingly more difficult than it sounds.
Ori And The Will Of The Wisps Feeding Grounds guide
This part of the game is one that certainly caught me off guard when I first came to it. When Ori first comes to the Feeding Grounds, a twig will snap underneath, putting the Shriek on high alert. She can't really see Ori while he's behind cover, so you need to dash in short bursts to the next point of cover before she sees you.
There is an audio cue indicating how much time you have left that can be best described as breathing out with greater intensity. If Shriek sees you, she'll take off and swoop shortly afterwards, killing Ori on the spot.
The video above does go through this section step by step, but there are also some text instructions below:
- From the cover, head for the grapple point and latch on.
- Drop down and float up to the pole. Climb about halfway up to shelter behind the canvas.
- Jump to the ledge on the left, then jump far to the left and grapple onto the moss. Hide behind the canvas here.
- Clamber up and run as fast as you can to the right. Shriek will drop down to the ground and the rocks will crumble. Jump off the ledge to the right to end this section.
Ori And The Will Of The Wisps guides series
Now that the terrifying stealth section is behind you, you can soldier on with the rest of the game. There are more guides readily prepared below that cover all sorts of things, from the locations of life and energy cell fragments, builds for Ori's skills, and tips for other boss fights/chase sequences.
- Ori And The Will Of The Wisps guide - Our hub area for all of our guides for Ori And The Will Of The Wisps.
- Ori And The Will Of The Wisps Gorlek Ore locations - Every location of the Gorlek Ore locations to rebuild the village.
- Ori And The Will Of The Wisps life cell fragment locations - Every location of the life cell fragments to increase your health.
- Ori And The Will Of The Wisps energy cell fragment locations - All the places you can find energy cell fragments to raise your energy bar.
- Ori And The Will Of The Wisps Spirit Shard locations - Places to find all the Spirit Shards in the game.
- Ori And The Will Of The Wisps map locations - All of Lupo's locations in the game.
- Ori And The Will Of The Wisps quests - Every side-quest detailed from where to begin, the item you need, and the rewards you get for completing them.
- Ori And The Will Of The Wisps Hand To Hand quest - Steps to finish the longest side quest.
- Ori And The Will Of The Wisps Regrowing The Glades - Find all the seeds and replant them.
- How to solve Midnight Burrows bell puzzles - Unlock the secret area by solving the bell puzzles.
- Ori And The Will Of The Wisps boss guide - Our central bosses guides hub will walk you through each of the bosses, with some general top tips for fighting them.
- Howl boss fight - How to defeat the Wolf boss.
- Horn Beetle boss fight - Learn how to squish the giant charging bug.
- Wellspring chase - Evade the mass of tentacles in this challenging chase sequence.
- Mora boss fight - Defeat the giant spider.
- Baur's Reach avalanche chase - How to not get crushed beneath a torrent of snow.
- Kwolok boss fight - Make that frog come to his senses.
- Sand Worm chase - Escape the crumbling ruins and the Sand Worms mandibles.
- Willow Stone - How to shatter this mini-boss with ease.
- Shriek boss fight - Beat the giant owl once and for all.


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Pet Licensing and Ownership
There are many benefits to owning pets. It's important to be a responsible pet owner.
- Vaccinate Your Pet for Rabies
- Get a Pet License
- Put Identification, License, and Rabies Tags on Your Pet
- Be a Responsible Pet Owner
- Report Bite Incidents
Vaccinate Your Pet for Rabies
This prevents them from getting rabies from a wild animal bite. If your pet bites another animal or person, it helps to stop them from spreading the disease.
- Wisconsin law says all dogs must be vaccinated for rabies by the age of five months.
- Rabies vaccines are good for 1 year or 3 years, depending on age at vaccination and vaccination history.
- Check with your vet to be sure your dog stays up to date on rabies vaccination.
Many areas in Dane County require cats to be licensed. A rabies vaccination is required for licensing. Check with your municipality to see if they require a license for cats.
Even if your cat never goes outside, it could escape, or a wild animal could get into your home. The best way to protect your cat from rabies is to get it vaccinated.
Get a Pet License
Why license your pet?
A pet wearing a license tag is easier to identify if they get lost. Your license fee goes toward helping lost, unwanted, injured, abandoned, and mistreated animals.
Your pet license fees support the following programs:
- Investigations into animal cruelty
- 24-hour animal rescue
- Recovering and returning lost animals to their homes
- Providing food, shelter, veterinary and care for stray or homeless animals
- Care for sick, injured, or trapped wild animals
- Education for animal owners
- You must license your dog by the age of five months, per Wisconsin state law.
- You must buy a new license for your dog each year.
- A license costs about $10-20 and is cheaper if you dog is spayed or neutered.
- City of Madison: Dog Licensing
- Dane County: County licenses are sold by individual town, city, and village clerks. See the map below for links to information on pet licensing from your municipality.
Once you have your dog license, you can get a dog park permit:
These municipalities require you to license your cat:
|City of Edgerton
|Village of Black Earth
|Village of McFarland
|City of Fitchburg
|Village of Cambridge
|Village of Mt Horeb
|City of Madison
|Village of Cross Plains
|Village of Oregon
|City of Monona
|Village of Deerfield
|Village of Shorewood Hills
|Village of Belleville
|Village of Maple Bluff
|Village of Waunakee
If you live in one of these places, you must buy a new license for your cat each year. A license costs about $10-20 and is cheaper if your cat is spayed or neutered. See the map above for links to more information by municipality.
Put Identification, License, and Rabies Tags on Your Pet
Your pet should wear an ID tag with your name, address, and phone number at all times. Don't rely on microchips. If someone finds your pet, they won't know if it has a microchip. The fastest way to get your lost pet back is to have an ID tag with your current address and phone number. You can get an ID tag from your local vet, at pet stores, or the Humane Society.
Your pet should also wear their license tag and rabies tag. Municipalities issue license tags. Your veterinarian will give you a rabies tag when your pet is vaccinated.
Be a Responsible Pet Owner
- Leashing. Cats and dogs must be on a leash if they are not on your property.
- Park Permits. If you take your dog to a dog park, they must have a dog park permit. Follow the dog park's rules, which are posted at the park entrance.
- Pets in Cars. Do not leave your pet alone in a car.
- Clean Up.
- Always carry equipment to clean up your dog's poop whenever you and your dog are off your property.
- Don't let your dog poop on any property, public or private, unless you immediately clean it up. Don't let your dog pee or poop in people's gardens. Try to avoid your dog peeing and pooping on private property if possible.
- Don't let dog poop accumulate on your property.
- Dog poop can pose health risks to people and pets and is a source of food for wild animals and pests, specifically rats!
- There are large fines for violating these ordinances.
- Barking. Keep your dog from barking as much as possible.
- Pet Care. The ASPCA has information about taking care of your pet.
- Animal Adoptions and Surrenders. The Dane County Humane Society can help you adopt or surrender a pet.
Report Bite Incidents
Even if you own the animal or you know the owner, it is important to report animal bites to us. We'll help you figure out the risk for rabies or other illnesses from the bite.
Report the bite to us at (608) 255-2345 (ask for Animal Services).
Animal Services
- Animal Services Officer Dispatch
(608) 255-2345 (urgent)
- Animal Services Office
(608) 267-1989 (non-urgent)


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Volkswagen is moving on from the Beetle. Here are some options to fill the void.
Volkswagen has announced that 2019 will be the Bug's final year. But forget the counterculture crying, the looking back to Nazi Germany, and the air-cooled lamenting — find other ways to go retro right now.
Volkswagen Beetle lovers — Mr. Driver's Seat among them — groaned collectively when Volkswagen announced last month that 2019 would be the last year of the Bug's run. A Final Edition will be offered to "celebrate its rich heritage," according to Volkswagen press materials. Yippee.
Fans were excited when the company brought back the model for the 1998 model year, almost 20 years after the last air-cooled convertible came to the States.
The company had announced the 2012 Beetle's redesign from the curvy '98 model at a worldwide extravaganza in 2011 in New York (among other cities). But the thumping bass and model hotties serving model-size portions of food seemed out of place for this little car, so I left feeling underwhelmed — as if the era of the underpowered air-cooled Punch Buggy were sealed off for good.
A fitting tribute: So, how to celebrate the end of this predestined era? The Beetle has never been that beloved by Volkswagen or its main sales base of Europe, and not all that much by buyers in the States now, apparently.
Readers don't need another round of blah blah blah blah Hitler creation blah blah blah blah hippie love machine blah blah blah my uncle had one and we always went for ice cream in it.
It's time to move on; Volkswagen did, so we fans can be cold and calculating, too. Solutions journalism, my click-counting colleagues might say.
So where can buyers turn for their retro/oddity car fix now — without buying something previously enjoyed?
I'm glad you asked. Here are some options:
Jeep Wrangler
Not the four-door hulking beast. Jeep parent FiatChrysler still produces the two-door version with a removable top and doors and fold-down windshield — and they've made all the adjustments easier than ever for 2018.
So easy that even Mr. Driver's Seat, Sturgis Kid 4.0, and two of the Sturgis boyfriends could get it disassembled in about 15 minutes before heading off to a game of tennis.
Not as economical as the Volkswagen, the Jeep comes with a 3.6-liter V-6 or a 2.0-liter turbocharged four. Jeep is making money off this bad boy, with a starting price of $29,240 and a fully loaded model like I tested running $48,060.
You can't feel any cooler — there's something about dropping out the doors that's oddly entertaining. Check out the full Mr. Driver's Seat review next week.
Mazda MX-5/Fiat 124 Spider
The two-seater convertible or hardtop MX-5 RF version sits low enough to the ground to take you back 40 years and turn even the worst commute into a romping good time.
Much to my surprise, I found the Fiat the more fun of the two, but either one's a winner. They both make 155 horsepower, though the Fiat engine is torquier.
My 2017 MX-5 RF review goes into detail.
Mini Cooper
This covers a wide range of Minis, from the little Hardtop or Convertible to the bigger Clubman or Countryman models. They're all riotous fun and handle superbly. And though the Hardtop has grown over the years, it still looks the same as ever.
Hardtop, Countryman, or Clubman all start at 134 horsepower, moving on up to 228 horsepower in the John Cooper Works version, with most stopping at 189 as well. Prices start at $21,700 for the Hardtop.
Inside, toggles across the dashboard delight, and the gigundo speedometer is smile-worthy. It's been a while since Mr. Driver's Seat has been in a hatchback or convertible, but check out the Countryman Hybrid review from March.
Buick Regal TourX
It's one of the last full-on station wagons sold in the States. Maybe it's not the brand of retro you'd been dreaming of, but with this one, you can have your retro and load some cakes into the back, too.
The 2.0-liter turbocharged four-cylinder engine creates 250 horsepower and 295 pound-feet of torque. The TourX starts at $29,070, and ran $37,485 as reviewed in July.
Tesla Model 3
What's this doing here? you ask. Nothing could be more modern than this electric car from the newest car builder in the States.
True, this fits more with the oddity portion of our thesis statement. Look at the front of one closely, and you'll see bug eyes. And this little car is a whole lot of fun on the road as well. It starts at $36,500, but our tester with a 310-mile battery, Autopilot and luxury upgrade lowers the old bank balance by $57,500.
Look for the review — a comparison with the Chevrolet Bolt EV — in columns in November.


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Office of Sponsored Research
Our Mission
The Office of Sponsored Research (OSR) at Soka University of America collaborates with faculty and administrators to identify and pursue externally funded research opportunities. OSR is engaged in the encouragement and support of the academic community at SUA by providing services to faculty seeking external funding in support of curriculum development, scholarship and advanced research, service, and creative achievement. OSR supports the mission of Soka University through the pursuit of research collaborations that inspire global citizenship and the contributive life and also that advance SUA's commitment to social justice, diversity, and inclusion through research and scholarship.


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Nil and Karin Romano are self-taught contemporary artists, who live and work in Tel Aviv.
Creating together with harmony and completing each other, they work primarily with acrylic & oil paint on large canvas surfaces.
However, they do not restrict themselves into a particular medium; they also create works using pen or ink on paper.
The use of strong and bold colours, together with the dark, surrealistic scenes that they unfold through their paintings capture the viewer's eye and imagination.
For the artists, each work is an opportunity to narrate a story of their inner world.
Their interest revolves around the complexity of human soul and emotions and they communicate these notions through motifs such as chaos, ritualism and nihilism.
They explain that such ideas resulted from a long period of depression and, therefore, of isolation from society.
As they explain, "being introverts by nature, we found in art a way to communicate our messages to the world".
Their creations are mutual and simultaneous and their style is intense, ritualistic and cult-like, dealing with beliefs and religion, relationships between women, magic, as well as with the power of emotions.
Romano often use themselves as a reference to create imaginative female characters, something particularly visible through their black and white series of drawings.
The black & white series of works by identical twins Nil and Karin Romano is a spectacular fantasy in four hands.
The pen-and-ink drawings are the result of harmonious collaboration between these two autodidactic artists.
Their attention to detail has yielded crowded drawings teeming with situations and occurrences, creating a full and explosive kaleidoscope of images, animals, furniture and architectural items reflecting off one another and shattering/splitting in the mirrors mounted on the sides.
Each drawing contains an inner space built in a different architectural style—modern, baroque or nouveau art.
In some the space can be identified: the interior of a synagogue, a temple, a bedroom.
Yet often the constructed architecture bursts out into nature.
The space strays beyond the walls, and its dimensions are unclear and do not conform to any rules.
The perspective battles with the flatness that has been forced upon it.
The most outstanding element is the symmetry.
Almost every work has a clear center line, a central event stage that balances the right side of the drawing with the left.
In psychology, symmetry is identified with obsession and narcissism.
These works serve the artists as a form of correction, a way to relate to the other, to achieve a balance within the chaotic and the psychedelic.
The works are laden with many details that call for examination.
The elements inspire a sense of ritual: various religious symbols alongside witches and black magic; an abundance of accessories and props—masks, umbrellas, chains, lamps, candles; an assortment of animals, such as turtles, bats, rabbits, pheasants, shellfish and snakes alongside imaginary hybrid creatures.
In between, the human figures stand out, first and foremost duplications of the twin artists' faces and bodies alongside other female figures with flowing hair, naked or dressed in ceremonial attire.
All are in motion, symbiotic, powerful in their appearance.
The artists do not conform to any rules, neither those of perspective nor those of proportion.
They let their fantasies run free, such that a dung beetle or an ant may be larger than a human figure.
They take symbols and images originating in various cultures and turn them into new and very personal images that extend beyond all theories of analysis, decoding or diagnosis.
Nil and Karin Romano invite the viewer into their world—a superhuman world of dreams that is larger than life and offers a hypnotic and multi-sensual experience.
While self-taught, Romano sisters have grown a unique style of painting, and they have attracted the interest of international art collectors.
They have exhibited their works in both solo and group exhibitions together with other emerging and well known artists.
How did you find out you are artists?
As children we were always creative and thinking out of the box, it was always there inside of us, waiting for the right moment to explode.
We truly believe that some people are born to be artists and we think this is the case with us, we feel it's our duty for the world and our destiny.
Creation burns inside us like flames.
We have always been creative individuals that are driven by imagination.
We started working intensely on art on a daily basis around 6 years ago after we experienced major depression and some mental storms.
Through art we discovered we have a place in the world, in a world we never really felt belonged.
art for us is our therapist, our closest friend, our oxygen. when we don't create we tilt like flowers who don't get their water.
At first we were exploring different media, we started by creating our punk leather jackets and our own clothes, painting on jeans, on cloths etc and real fast after we started working like busy bees on large scale paintings & drawings on a daily basis persistently.
Was your family supportive?
Hmm if to be honest not very much.
It's not the ultimate dream job because we all know that being an artist is not an easy task.
It's not easy to make a living by it so it was kinda hard for them to support.
They preferred we will go study in a decent university learning not exciting topics, but we are driven by our passions so we all knew that it won't gonna happen and that we are stubborn and go after our desires.
Nowadays they are more sensitive and learned to accept our decision and we think they understand that this is what we meant to do.
With the years it was easier for them to accept it especially after they saw in their own eyes how people react to our exhibitions in real time.
To see all the people intrigued and curious and shocked by our talent made them be less hard with us.
It made them believe we have a future in the art scene.
What is your relationship to instagram?
We have had instagram for around 6 years, but only 3 years ago we started posting more often our creations and sharing it with the world.
In the beginning we didn't find instagram exciting at all since it seems people are focused on their look and fashion all the time , it doesn't really do us a thing, we do not understand the shallow preoccupation with the culture of beauty and fashion.
It's boring for us, we can't see a soul, that's the hardest thing for us with instagram. but from the art aspect it's a great platform for artists from all over the world to share their fire. we explored many interesting artists through instagram and it's a true pleasure to come across art with a soul, and to see the passion in others.
With the years we understood the importance and the power of instagram.
Yes , we are late bloomers, haha we are aware.
How important is digitalization in connection with your art practice?
We think it's an important platform because we show how persistent we are and how devoted we are to art and people learn to understand our world better.
Our art is very genuine it provokes emotions globally and we are honored that people from all over the world believe in our creativity process and its always heart warming for us to get compliments.
Good feedback makes us even better artists.
Good words build us up maybe because we didn't get many of them from our parents, good words seep into us.
We also like to show our development as artists and share it with the world..
It brings us good feelings inside. make us shine in the dark.
How has the pandemic left a mark on your work?
We are pessimistic by birth so the pandemic did not particularly surprise us, we expected every scenario.
Besides to this we are lone wolves so it felt that we had more tools to cope in such times.
We have to admit we felt even more belong to the world in such time since we are outsiders so we felt now people can understand us better, be in our shoes and experience loneliness in big doses, or mental pain.
It's a little egoistic thinking but it doesn't come from evil. It's just we felt more understood.
This year has been for us the most creative and developmentally meaningful because we have worked hard all this year on an important exhibition at a museum in Israel called Janco Dada Museum.
We have created a body of works of about 30 dense black and white drawings that explain the twin closeness into the world of the inner occult that dwells in us.
We named the exhibition "The Secret World Of The Introverts"
The exhibition is still ongoing and it has even been extended for several months in view of the success and admiration of the visitors. We are proud of each other that out of such a chaotic and challenging year we have managed to get the best out of it.
The hard work paid off.
This year was full of inspiration for us and it was precisely in this chaotic year that we blossomed.
When, where do you work best?
We create art from a set of emotions whether it is sadness or joy.
Our art is created mostly from pain tho.
From hard times we create the best masterpieces.
We have been majorly depressed since a young age and we think we make the best art when we feel pain in big doses .
We create art that comes from the depth of our emotions.
Where, how do you usually get inspired?
We've been isolating a lot together from society so we had the time to enrich our inner worlds with a lot of culture such as cinema, art philosophy, music psychology and poetry.
Our greatest source of inspiration comes from mostly chaotic films, from directors such as: Hanke, Maya darren, Lyne Ramsy Xavier Dolan, Chantel Akerman, Gaspar Noe, Catherine Breillat, Wong kar wai, Sofia Copolla, Cronenberg, Agnes Varda, Hanke, Bong Joon Ho and music figures from different subcultures such as: Blixa, current 93, Diamanda Galas Soap and skin, and many others.
We have a soft spot for movies that make us feel intense emotions on deeper levels. (maybe because that our personas are quite chaotic and driven by emotions) also we have a soft spot for music that makes us feel, we like melancholy music we find it super inspiring.
Virginia Woolf and Anais Nin are also great inspiration & expressionists such as : Otto dix, George Grotz and painters from the weimar era.
We think that our closest friends who are few btw inspire us the most, they made us make a series of drawings.
Our bestie, Daniel, he is gay and we recently made few drawings that focus on relationship between gays and queers inspired by him.
We have another friend that is a delicate pianist, we watched him play the piano and it made us create a few paintings and drawings that revolve around the piano.
Besides the fact that we really love piano.
What does success mean to you?
For us success can be to paint a painting that we are very pleased with its results.
That's the biggest success in our eyes, to be proud of what we create.
We never tried to please anyone besides ourselves.if other people can see the beauty in it we appreciate it.
Another success for us is to see the reaction of visitors to our exhibition and read their facial expressions especially when we recognize an intrigued face and ask many questions about the work process and the works themselves.
There is something very exciting about knowing how to touch people through a work of art.
We also like to get positive feedback from our close friends- it is success in our eyes.
When people from all over the world are interested in purchasing a work and knowing the story behind it.
All these above are success in our eyes.
What are you working on currently?
At the moment we work on a series of drawings that focus on queer relationships, we also work on a series of body of drawings that catch loneliness as a form of escapism.
Who are your fav artists?
Leonora Carrington, Leonor Fini, Remedios Varo, Francis Bacon, Edvard Munk, Egon Schiele , Nobuyoshi Araki, Man Ray, George Grosz, Otto Dix, Hans belmer,Hilma Af Klint etc.
Which is your fav piece and why?
There is this painting of George Grosz called the suicide.
We appreciate this piece a lot, it moves us.
Which is your own favorite piece and why?
It's a hard question because for us it's really hard to pick only one.
We feel attached to most of our paintings and drawings but we have a special spot for one in particular called: "The Funeral" because we did this piece of work when we were in the process of losing someone we really love which was such a unique and charismatic person, our aunt was a true rebel in her heart so we found it easy to connect with her.
She got ill and we prepared ourselves for the last goodbye when making a painting about it
Besides there are 2 recent favourites we created , one is called: "A Serenade For A Lost Nostalgic Love " the drawing shows a delicate and melancholy muscular man playing the piano with his legs wrapped around it.he plays a serenade for his lost "Forgotten" love.
The other drawing that we got attached to recently is called: "I Want To Pull The Sadness Out Of You" the drawing shows 2 gay muscular figures, one crying and the other enveloping him with love and support and pulling his body upwards in order to lift him from his pain, the 2 characters complement each other.
Describe your works in 3 words:
Chaotic, intense, mysterious
What is your creative process?
Normally we agree on ideas we want to focus on, then we decide on the subject and we take small papers for each that are used for intuitive fast sketches, right after we combine the both ideas into one sketch and we start working mutually and harmonically together with minimum fights and less talkings, four hand monster.
We get into the zone, let's call it that way, with music in the background and coffee besides.
We pretty much do equally the same, we invent new techniques together, that's our most favorite part.
We never went to an art school and we're glad about that since we don't believe in art schools and rules when it comes to genuine art.
We are rebels by faith.
it very much depends on our moods , sometimes we are very intuitive and sometimes very calculated.
Each of our work is an opportunity to narrate a story of our inner world.
Our interest revolves around the complexity of the human soul and emotions and we communicate these notions through motifs such as chaos, ritualism and nihilism.
Such ideas resulted from a long period of depression and, therefore, of isolation from society., "being introverts by nature, we found in art a way to communicate our messages to the world".
Our creations are mutual and simultaneous and our style is intense, ritualistic and cult-like, dealing with beliefs and religion, relationships between women, magic, as well as with the power of emotions.
Our interests are very diverse so the themes of our paintings and drawing are also diverse.
Do you have a favorite quote ????
Wow this must be the hardest question because we are junkies of movies and poetry let us give you few of our most favs quotes :
Anais Nin: "i can only connect deeply or not at all"
Kieslowski: "loneliness is important, so is love and the lack of it"
Edgar Allan Poe: "i was never insane except upon occasions when my heart was touched"
Nick cave: "sad songs don't depress me , its pop music that makes me want to slit my wrists "
Virginia woolf: "nothing thicker than a knife's blade separates happiness from melancholy."
Tom waits: "i love beautiful melodies telling me terrible things''
Kim Gordon: "this song is for all the girls who don't want to be mothers, or lovers, or bitches"
Tarkovsky: "those who create their own worlds are generally the poets"
Wong kar wai: "i'm not coming from film schools, i learned cinema in the cinema watching films"
Vladymir Mayakovsky:"i feel i have another person's heart in my chest but there are only hearts in my body. everywhere there's a siren whistling"
Movie quotes:
Betty Blue: "she was a flower with a psychic antennae and a tinsel heart"
Persona: "they said you were mentally healthy, but your madness is the worst.
Female Trouble: "the world of heterosexuals is a sick and boring life"
Wild At heart : "this is a snakeskin jacket, it's a symbol of my individuality and my belief in personal freedom"
Leaving las Vegas: "you're like an antidote that mixes with the liquor and keeps me in balance"
What makes you happy, what makes you laugh?
We honestly think that art animates us and inspires hope in us.
Being in the company of our close friends does us good at heart.
Black comedies make us laugh and also being silly with our closest friends is a good opportunity for some pure moments of laughter.
Also we make each other laugh.
We are quite cynical sometimes since life is too serious.
We have to spice it up with a little cynicism.
Which keywords describe you as artists:
Witchy, chaotic, madness, outsider, obsession, pedantry, passionate, extreme, wild, mischievous, honest, imaginative, occult, mystic, feminist, mysterious, story-telling, deep, driven by emotions, angry, soft, dark, twin connection.
If you could choose any place to exhibit where would it be?
We would be honored to exhibit in places that are open artistically cities such as: London, Berlin, Paris, Nyc , Tokyo. in places where the art scene is kicking and wild.
We are dreamers with big dreams.
We think we fully deserve to exhibit in the best places the world has to offer.
Let us pessimists finish this interview with a bit of optimism.
Thank you for hosting us. it was pleasure!
Jerusalem Post Newspaper, Haaretz, Ynet, Artsinsquare, Topainterstopaintings, Dreck Magazine, Ostrich_magazine, Kama.Fanzine, The.artmag, _Between_Spaces_, Hart Magazine, Macabre Art , Apocalyptic Midnight Death Cult, Artbrut_outsider_art, The Mysto Erector, Infernal Visions Ov Hell, Bibliotheque Infernale, שלוש נקודות, Goth Magazine, Magick & Spiritual Art, Agrath, Alteredcraftwitch, Occulture, The Macabre And The Beautifully Grotesque
Solo Exhibitions:
-Table Talk "Ballo In Maschera" -Tel Aviv (2018)
-Sputnik Gallery- "The Demon Is My Best Friend" Tel Aviv (2019)
-"The Secret World Of The Introverts" Janco Dada museum -Ein Hod (2021)
Group exhibitions:
-Blue Rose Studio - Tel aviv (2019)
-Teder "Psolet" group exhibition, Beit Romano, resident artists. (Psolet)
Tel Aviv (2019)
-The Great Machine Festival, Levontin , Tel Aviv (2019)
-Teder "Psolet" group exhibition, Beit Romano, resident artists. (Psolet)
Tel aviv (2020)
"Calling The Goddess" Beit Ha'ir Museum (2020)
-"Fountain group exhibition/Dissidents, Rothschild 9,Tel Aviv. (2020)
SOLO EXHIBITION-"The Secret World Of The Introverts" Janco Dada museum -Ein Hod, Israel (2021)
19.03.2021 - 01.09.2021
keywords \ hashtags
#nilkarinromano #romano #femaleartists #twins #twinartists #visualart #contemporary #modren #fineart #artoninstagram #aristsoninstagram #artoftheday #figurative #artcollection #expressionism #surrealism #blackandwhite #oil #acrylic #painting #inkonpaper #drawing #museum #occult #kunst #painters #paintingoftheday #gallery #visualart ......
Portraits of Nil and Karin Romano credit: @Amit Einy
and Avigail Uzi (YNET PAPER)
Images of artworks credit: @Nil and Karin Romano
A double thank you to the wonderful Karin and Nil, who truly took their time to share with all of us a bit of their world and their amazing work. Respect ladies, respect!


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Ernie Graham is a self-described "computer geek"—not surprising as the founder of a company called Homebot. For those unfamiliar, Homebot helps LOs and agents increase business by educating clients on building wealth through homeownership.
Topics: Insider, Producer Spotlight, Video
At Whiteboard CRM, we know how important loan applications are to your business and that it's important to make the process of getting the applications as simple and smooth as possible. The recent update to the 1003 Uniform Residential Loan Application – or URLA form – may be causing you and your team concern.
Topics: Insider, Industry News, Video
Top Producer Mike Garrett shares how putting the customer's needs first in every transaction has made him a top producer year in and year out.
Topics: Producer Spotlight, Video


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– Detroit, Michigan
Yes, Alfa Romeo is back in America. The 4C sports car might have appealed primarily to serious enthusiasts, but the Giulia sedan proved the Italian brand was interested in reaching out to an even greater swath of car shoppers. Now Alfa Romeo is expanding into the luxury crossover market with the Stelvio.
Built on the same platform, and featuring the same suspension and engines, as the Giulia sedan, the Stelvio places a premium on driving performance. It even has a carbon fiber driveshaft, something you won't find on most SUVs. And visually, the SUV is drop-dead gorgeous, translating the Giulia's rippling looks onto a bigger, more practical body.
But is that what matters in the hotly contested luxury-crossover segment? Crossover shoppers also look for comfort, roominess, and, more than ever, a long list of technologies and features that make everyday driving easier. Can Alfa's first SUV live up to that challenge, or does it give up some practicality in its effort to deliver sportiness and style? Find out as we put the Alfa Romeo Stelvio to the test in our latest Why Buy?
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Alfa Romeo Stelvio