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Chuggington Review
Chuggington StackTrack Brewster's Big Build Adventure Playset
All new to train play, this Chuggington set by TOMY features a working escalator that takes your engines back to the top so you can send them speeding back down again and again. Or take Brewster for a ride on the elevator so he can get to the top to operate the giant crane and repair the broken track. There are so many ways to play. Brewster's Big Build Adventure Set is based on the Chuggington tentpole episode airing this fall, so it's sure to keep the excitement going as kids play out their favorite scenes from the show. This set comes with an elevator, an escalator, a working mega crane, a trick bridge, a tunnel, and two Die-Cast engines. It even features 4 levels of elevation and multiple layouts for extended play. Take train play to new heights with the Chuggington StackTrack system! SRP $49.99. Ages 3 years+. Available in-store and online at Toys R Us and Target.
Trish: The Chuggington Stack Track Brewter's Big Build Adventure Playset is the PERFECT toy for your little boys! My boys are big fans of tracks. Train tracks, car tracks, I think we have over 20 different tracks between the two of them! This track is super easy to put together. I know many tracks I've had to put together are a nightmare and take so long to put together. This is especially difficult if you have an impatient and excited child who wants the track together RIGHT NOW! This track took me maybe 5 minutes to figure out how to put it together. The pieces easily fit together and you can easily take them apart if needed. This is a very good sized train track that features tunnels and a really cool elevator that you are able to manually turn the handle to lift the trains up which my children thought was really cool! This track comes with two trains, which was perfect for both boys to be able to play with the train track together. It also looks like you are able to hook together other tracks from the Chuggington line to form one giant train track! The track is very durable and strong, this is good because my boys tend to play rough at times and they have broken a few tracks that were quite flimsy before. The Chuggington Stack Track Brewster's Big Build Adventure Playset would make the PERFECT gift for any little boy you know! With Christmas coming up very fast, this is definitely a toy to consider for your child! I have a 3 year old and a 6 year old who have really enjoyed this playset, so the age span for this toy is pretty wide! We were also able to enjoy the Chuggington Ready To Build DVD. My boys really seemed to enjoy these episodes on the DVD. They liked to watch the DVD while playing with the train track. Included with the DVD is a poster which is now hanging on the wall inside my boy's room! The DVD would make another great gift or stocking stuffer for Christmas! If you are looking for the perfect gift for your child this Christmas, consider this train track and DVD! It's easy to put together and the kids will have endless playtime enjoying this track!
Lynette: Chuggington: Chugineers-Ready to Build DVD was enjoyed by my 6 year old boy and was even watched by my 4 and a half month old son. As a Mommy, I appreciate that it was friends working together and being kind to each other. I also greatly appreciate that there wasn't a need for a villain in the show. Each episode had valuable teaching moments for children. The tunes were catchy and the trains are a hit for my son. He has made a wish list of other Chuggington toys that he would like to get after watching the DVD. My son enjoyed that there were rescue trains in the series as well. He loves to play rescue. The only thing he thought was missing is helicopters. In his eyes, nothing is complete without a helicopter being part. This would make a great stocking stuffer for kids this Christmas!!


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The latest edition of the paper brochure is now out. If you would like a copy, just email me on [email protected], or ring 01787 229955.
New courses for the future include:
- Dyeing using natural materials
- Fitness for the over 50s
- Metal detecting
- Jam & chutney making
- Beef cattle for beginners. This course is for those who would like to keep a few cows on a few acres, or who need to graze an estate
- Book-binding for beginners
- Wild meat butchery: pigeons, rabbits, pheasants & muntjac
- Christmas wreath-making.
- Willow fencing & hurdles
- Cat psychology with Roger Tabor
Have a look at the website, www.assingtonmill.com for full details of all the courses

subset: commoncrawl


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Therapy Services
SHC's Therapy Clinic provides a wide range of physical, occupational and speech therapies. You will receive excellent care regardless of your age or condition, in both our Grangeville and Kooskia outpatient locations, and as an inpatient in the hospital.
Our skilled, licensed staff provides caring treatment whether we see you for just a few visits or for several months. Treatment plans are tailored to meet your specific needs and goals.
Physical Therapy
Our physical therapy team has excellent relationships with regional medical providers, including orthopedic surgeons, to help you achieve optimal recovery after surgery.
Services include:
Occupational Therapy
We are pleased to announce that we have teamed up with St. Joseph Regional Medical Center to provide occupational therapy at Syringa in our Inpatient, Outpatient and Hospice Departments. While physical therapy is aimed to increase mobility and function from an impairment or disability, occupational therapy helps to restore independence for daily living such as dressing, brushing teeth, combing hair, and other purposeful activities.
Services Include:
Speech Therapy
Speech therapy is appropriate for any age group when speaking or communicating, reading, writing or swallowing present difficulties whether due to illness, injury or other medical condition, and is designed specifically for the individual in order to increase independence and meet patient and family needs.
Speech therapy services are provided to infants, toddlers and children experiencing delays in talking, play, interaction and feeding skills.
We provide aural rehab for individuals with a hearing impairment, along with recommendations for augmentative and alternative communication devices.
School Services
Our OT and PT team work closely with regional schools (Grangeville, Kamiah and Kooskia) to ensure the success of children with special needs. Our goals are to:
Contact the Physical Therapy office directly for specific questions at (208) 983-1873


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Technical expertise remains important at a more senior level - but technical expertise needs to play a supporting - not a primary - role. All resumes, of course, are achievement based. Duties and responsibilities remain relatively similar for similar jobs - but achievements are individual. When you move into a leadership role, the need to demonstrate results grows exponentially. So technology no longer takes the center stage.
Here are a few thoughts on the most effective approaches to integrate technical expertise into your leadership Resume.
1) Don't lead with Technical Core Competencies:
As a Director, VP, or C-level technology executive, your "value proposition will revolve around effective integration of technology with strategic business objectives. Metrics - increased efficiency, reduced cost, and streamlined operation - are primary. So focus your profile in delivering business value, and highlight strategic Core Competencies on the first half of page 1.
2) Position Technologies at the End of the Document:
Since Technical Core Competencies are supporting information for a senior level resume, that information needs to easily available - but not distract from more crucial achievements. End of page 2 (or page 3, if your resume requires it) is often the best fit. Keywords are there for automated systems - and can be scanned by human readers - but don't take up valuable first page real estate.
3) Streamline the Technical Core Competencies:
While a Developer would be well served to include a comprehensive list of tools and technologies, at a more senior level, it's better to cut back to more essential approaches. Organize the Technologies clearly, and include the most critical in today's market. As a rule of thumb, 1/3 of a page is adequate - you don't want all of page 3 to be a list at a senior level.
There is some debate in the Resume and Recruiting industries on including Technical Core Competencies for a Senior Level IT Resume. Needless to say, as CIO, no one will expect you to write code.
But I feel technologies do add real value - at the Manager, Director, and C-level - if the technological expertise is effectively presented. Technical depth builds credibility - both with many hiring authorities and with technical teams. So include it - but distract from more critical concerns.
In my next blog, I'll address older, obsolete, or legacy technologies.
Please email a copy of your existing resume to firstname.lastname@example.com for an initial resume review!


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The Department of Science and Technology- Science and Technology Information Institute (DOST-STII) announces that nomination of media personalities to the Bantog: The Science for the People Media Awards is still on. The Institute shall receive nominations until May 31, 2018.
Read Also: DOST-PCIEERD and Toon City Academy Strengthen PH Animation Industry Through P20-M Collaboration
The Bantog Awards is given in recognition of the important role of media practitioners (print, radio, TV and online), in government and private practice, who made significant contributions to the promotion of science and technology information.
The awards have four categories.
The Institutional Media Award is given to an institution or organization that served as a vital link between the science and technology (S&T) sectors and its clients through informative advocacy. Meanwhile, the Outstanding S&T Journalist Award is given to an individual media practitioner who has been an ardent advocate of science and technology whether in print, broadcast, or online. Further, the Outstanding Regional Media Practitioner Award is given to an enthusiastic regional media personality who has shown strong support in promoting science and technology information. Finally, the Outstanding Information Officer Award is given to exemplary information officers in DOST working in the area of communication production and dissemination.
Read Also: DOST bats for first "smart farm" in PH
Nominees should be Filipinos or Filipino-owned media companies which have broadcast and published S&T information on January 2017-March 2018. Nominees for individual practitioners from print, broadcast, and online media shall be judged according to substance, form, style, the relevance of works, and additional requirements by the board of judges. Meanwhile, nominees for institutional awards shall be judged according to innovativeness, relevance, and commitment to S&T reportage. The DOST Information Officer Award shall be based on his/her accomplishments in print, broadcast, online media, and public relations.
All Bantog Awardees shall receive trophies while the individual category winners shall receive additional cash prizes. The Outstanding S&T Journalists for online, print, radio and TV will all take home P100,000; P50,000; and P25,000 for the first, second and third prizes respectively. The sole winner of Outstanding Regional Media Practitioner will receive P50,000 and the Outstanding DOST Information Officers will get P30,000; P20,000; and P10,000.
Read Also: eCompareMo wants to lead Philippines in FinTech industry
For queries and further information on Bantog, please contact STII Public Affairs Unit at email@example.com or call(02) 837-2071 local 2146 or mobile no. 09493039998 and look for Ms. Ma. Lilibeth P. Padilla.
Written by Mark Francis S. España, DOST-STII
The Department of Science and Technology (DOST) is the premier science and technology body in the country charged with the twin mandate of providing central direction, leadership, and coordination of all scientific and technological activities, and of formulating policies, programs and projects to support national development.


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• Self-Laminating Photo Tags. You can fill in vital information along with your photo and seal with the clear, self-adhesive laminate.
• Preprinted Photo FaceTags™. Just upload any photo and we will automatically crop it and print it on our premium heavy-duty, laminated plastic. Order tags for your entire team.
• Our attention-grabbing "My Life is On the Line" photo lockout tags save lives!


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Here's something to consider when you're hiring your wedding photographer; you may spend anywhere up to 10 hours of your big day with them and around 8 hours with your new husband or wife.
Yep - crazy to think about, huh?
So your wedding photographer has the potential to make a MAJOR impact, not only in the reliving your wedding through the longevity of their art, but also on how relaxed you feel on the day itself.
In my opinion, you not only need to be looking for a photographer whose work you enjoy on an aesthetic level, but you need to like how they work and appreciate just being around them in general.
Do you get on easily and laugh at the same things?
Do you have similar values?
For me, Dan Evans of Dan Evans Photography is just a pleasure to be around - just like an old (or quite young!) friend. There is no pretence with him and he's also very passionate about what he does.
We sat down for a coffee at The Edge Deli Brighton, just down the road from his studio, to chat about how to make your wedding photos fun and relaxed which in turn, translates into an awesome end result.
How long have you been doing this?
"It's been around 10 years since I picked up my first DSLR and I am currently in my 6th season as a professional wedding photographer. If I am honest about how I started out, I sort of fell into the industry after a string of unfortunate incidents (laughs). But it has probably worked out much better than if I had taken my initial career path."
"I had always wanted to be an architect, and after moving from the UK to Australia after completing all of my A-Level course work, I had around 5 months in which to complete year 12 and apply for university. I worked incredibly hard to get into my course and apply only to be told that I would be classed as an international student which would mean huge upfront course costs.
I consequently left a little confused at what to do next and began taking on work as a photographer."
"It all just blossomed from there and now I am lucky enough to travel all over the world plying my trade. I think I have been extremely lucky on my path into the industry, things have somewhat conveniently fallen into place along the way.
I know it can be an incredibly hard industry to break into so I am very grateful to all those who stood behind me and encouraged me at the beginning, right up to those still supporting me today."
What kinds of photography do you specialise in?
"I have always really enjoyed photographing people.
I've always loved meeting new people and getting to know them. Weddings have offered me the perfect outlet, really. I know it may sound a little over-sentimental and saccharine coming from a guy in his mid-twenties, but I can't think of a better way to spend my workdays than surrounding myself with beautiful people while enjoying and absorbing every drop of happiness, from what is arguably, the best day in their lives.
I love creating, always have, especially when I know what I do will remain with someone for the rest of their lives."
When should couples look to book their wedding photographer?
"Perhaps I am biased, but for me it would be one of the first things to book in, but it really depends on the photographer. Most popular photographers can be booked out years in advance, particularly during the busy months of October/November & March/April.
I have had people book as far in advance as 4 years to secure dates, but you should really look to leave it no later than 12-18 months to avoid disappointment."
What should they look for in a photographer?
"Obviously the first thing to look out for is their style, to make sure it sits well with you as a couple. This will usually be apparent straight away and really will be the most important thing.
Make sure they have a number of wedding portfolios on their website and not just a handful of nice photos; you really want to make sure that they are consistent and show a clear and accurate representation of their work overall. You need make sure you are 100% happy with the style of photography.
Probably the worst thing you could do is book a photographer, then give him or her a long list of photos you want them to replicate that are completely out of their realm of style. Trying to micromanage the day and asking your photographer to shoot like someone else is never a great idea. A shot by shot list will take the spontaneity out of the day and doesn't allow your photographer's creativity to flow naturally."
"Secondly, you need to feel relaxed in their company. If possible, I would highly recommend catching up and having a face to face meeting to ensure that there's that chemistry between you. You will usually know pretty early on as to whether you're going to be a great match."
Seen any new/emerging trends in photography that you'd like to share?
"The industry has vastly improved over the last 10 or so years that I have been following it. I think the days of stiff and contrived photography have fallen by the wayside as digital photography has taken over.
There are so many excellent photographers showcasing a range of different styles all over the world. Documentary or photojournalistic style photography is very popular at the moment and there are a bunch of innovative ways that photographers are interpreting that style.
I have seen more people asking about having some of their day documented on (analogue) film, going back to the roots of photography, which is something that I really like. There's something about an image captured on film that you simply cannot replicate with digital."
If you could dispel the most common misunderstanding about your profession, what would it be?
"One thing that I sometimes hear is how people think that the "location shots" between the ceremony and reception have to be a big, laborious task.
I often encourage my clients to bring along a few drinks and some food so that people aren't getting hungry, and try and break it up with decent conversation and a few laughs. If you're relaxed and enjoying yourselves, it always shows in the photos."
What do you want couples to know?
"I would certainly encourage people to ask more questions. I'm a huge asker of questions as I like to know everything! (laughs)
Asking your photographer's opinion on light, locations etc. can really improve your day. Ask them what they think of the timing of your ceremony. Try not to plan it in outside in the middle of the day when the sunlight is as its harshest, not just for your photographer, but also consider the wellbeing of your guests sweltering on a hot summer's day."
"Also, rules are made to be broken. Don't feel you have to conform to tradition or adhere to what everyone else tells you to do. Make the day your own.
Some of the best weddings I have had the pleasure of shooting have been really cool and alternative and as a photographer, it's always great to see something new and innovative."
Dan Evans Photography
FB: www.facebook.com/Dan.Evans.Photography?fref=ts


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Hi, I have a problem. I just bought 2 GT06 from a seller which also made the account for me. Logging in in the old platform is not a problem, but when I tried to use the new version, it asks for email activation. The problem is, the seller was using random emails for each device, which unfortunately belongs to someone else. I tried to change the email in the old platform's setting, but apparently it can not be changed.
Is there anyway to change the email registered to my accounts? Thanks.


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Screech owls are yr spherical residents in almost each state throughout the nation. They primarily inhabit woodlands, but they're additionally commonly found in suburban and concrete areas. They are one of many smallest owls in North American, standing about 10 inches tall with a wingspan up to 24 inches across. I selected a 4-in-1 stonefruit fruit salad tree for my garden. Babcock white peach, Late Santa Rosa plums, Blenheim apricot, and Fantasia nectarines -these colourful labels with footage of the 4 stonefruits reassured me that at some point quickly I will be harvesting these juicy fruits from this tree in one-quarter of the area. The multi-grafted fruit tree is also self-pollinating, which means every sort pollinate one another and extend the harvest season.
Appears like divorce papers are in order, SC. Is perhaps value getting a computer techie to reformat, and even change, your onerous drives. I do not suppose he lived there however I do keep in mind him talking about how he ran the Dairy for them. I might take her to the vet for a examine-up. She might have a UTI or different medical condition that is causing this. Give her numerous consideration and petting so she would not really feel confused. If the vet provides a clear invoice of well being, her downside is behavioural and one thing is causing her to act out.
Screech owls wish to nest in abandoned woodpecker holes or the pure cavities in useless timber. They are most active during the fall and winter breeding season, as they seek for a mate and place to nest. Like many birds that depend on tree cavities for nesting websites, habitat loss is making it more durable for screech owls to search out suitable nesting sites. Happily, screech owls will readily transfer into a birdhouse to boost their younger – so long as the nest field is build to fulfill their specific needs. This nesting box is sized to draw screech owls, and it is a simple venture to make from a pine or cedar board.
Kirsty is an Australian artist, a mom of two and the creator of Artventure Her ardour for sharing artwork has led her to create a wonderful online library of video art classes to encourage younger artist to draw and paint. Artventure is an online (internet entry required) assortment of just about 250 art classes that are aimed at primary aged youngsters (5-12 years outdated). My youngsters are aged eleven, seven and five years previous and all three of them have loved using Artventure I have even enjoyed doing a couple of art classes myself!
In my opinion, this is what makes sense essentially the most. The lower down model of it, proven beneath, is just 6.8 inches lengthy and uses just a single fan. So, it is able to becoming in a wide range of HTPC cases and nonetheless gives you the efficiency you're looking for. We're hoping to maneuver home quickly – if we are able to find a place we want to transfer to that's! We've been repainting and tidying and dong minor repairs and your suggestions relating to mild fittings and shabby things will now be next on our checklist. Thanks!


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Take a Guided Tour:
Hotel Facilities in Central London
At our Central London hotel all our bedrooms are comfortable and clean with television, hairdryer, tea and coffee making facilities and a safety deposit box. All our rooms have their own fully tiled bathrooms with powerful showers, toilet and wash basin.
Our range of single, double, twin, triple and quadruple rooms enables us to match your requirements for optimum comfort during your stay with us.
Free Wi-Fi is available throughout the building.
A complimentary English breakfast is served daily between 07.00am and 09.00am in our NON SMOKING breakfast room. We pride ourselves in good home cooking.
Check in/out
CHECK IN: available after 2.00pm. You can leave your luggage with us if you arrive earlier.
CHECK OUT: 10.00am. You can leave your luggage with us until the time of your flight.
The Luna Simone hotel is a NON SMOKING BUILDING. Also please note that the Hotel DOES NOT HAVE AN ELEVATOR (LIFT) OR AIR CONDITIONING.


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A refined and strikingly sophisticated collection of slender wall tile in eight colors.
Select color and/or size options contain recycled content, which may contribute toward points for LEED certification.
NOTE: Product availability may vary according to location. Please contact us for specific inquiries.
All tile sizes are nominal, not actual.


text: Unionmade just dropped these new Birkenstock colorways and they are fucking hot fire. Not only do they come in a myriad of subtle earth tones (hey Unionmade, I can write product descriptions all good and stuff too), but they boast a calfskin contrast leather strap destined to reel in that upstate New York "just visiting my friends in Brooklyn" for the weekend set. But don't go full hippy dippy when wearing these because those types of chicks can smell a poser from a free range mile away.


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24: Dilemma
written by Danielle Shemaiah
[[SFX: tape recorder starts]]
UNITED STATES OF AMERICA v JULIUS ROSENBERG, ETHEL ROSENBERG, ET AL:
...It is our purpose and object to secure a jury that has no feeling, no bias, no prejudice as to either side of this controversy. To put it another way, the minds of the jurors should be the same as a white sheet of paper with nothing on it, with respect to this case, and you should only take the testimony as it comes from witnesses and from no other source.
[[SFX: radio tuning; a fireplace; Esther's soft footsteps]]
BRIDGET CHAMBERS (BC): Ettie, you're pacing again.
ESTHER ROBERTS (ER): Huh. I never did send this... "Dear JW, I hope you've been well. The weather in Colorado is still pretty unforgiving. My mother always did say I was never meant to live in the countryside. I suppose you and Penny don't have that to worry about, wherever you are–"
[[SFX: Esther crumples up the letter, tosses it into the fire]]
ER: And screw you too.
BC: Oh, honestly, I don't know what that is going to accomplish, other than the awful burning smell.
ER: The prosecution doesn't have our technology. What they do have… is enough kindling to start a fire. And I'd like to think I'm entitled to what little of my private life remains.
BC: [laugh] Ettie, I doubt they're in tune with all of your private life.
ER: Well, you are the expert.
BC: I never said that.
ER: No, my mistake, tell me - where in the Library can I find the Big Book of Government Secrets?
BC: Don't make me the enemy, here. If you'd just take a moment, and focus on anything that might really cast a shadow over your innocence—
ER: Oh, I have no delusions about "shadows cast over my innocence." My being brought to trial isn't about whether or not I'm a Communist, after all.
BC: Is that what Director Whickman said?
ER: [a dark laugh] Chet said that "Everyone" was working "around the clock" to "get to the bottom of this."
BC: …And you don't believe him.
ER: Well, there would be a lot of that going around, wouldn't there.
BC: Ettie–
ER: What, Bridget? Why do you keep saying my name like that? Over and over again? What on earth do you want me to say? I'm being dragged into this farce as some sort of scapegoat, like... Like my contributions to our efforts here mean absolutely nothing. All because someone with a seat in Washington doesn't believe I could possibly–
BC: Damn it, Esther, would you stop?
ER: Bridget, if I'm going to have to defend myself I need to be able to–
BC: Stop. Ettie. Look at me. Look at me.
ER: [sigh] ...What?
BC: It's alright to admit that you're afraid.
ER: I'm not.
BC: Your hands are shaking.
ER: ...I'm a fool.
BC: Well that I won't argue with.
ER: I'm serious. Every test, every string I've pulled, every bent rule and compromise... and I mean as far back as Polvo. Bridget, did you know that we were only fifty miles from the Manhattan demonstrations? And fifty miles in the other direction, Americans were being held in internment camps only a hair's breadth away from Majdanek! Agent Sugimura's family was there. Did you know that? And I just kept at it, I–
BC: You couldn't have known-
ER: No, you aren't listening! I did know, Bridget. That's the problem.
BC: ...What is it you aren't saying? Just tell me. Straight out.
ER: The only thing I can say for certain is that I have no idea what we do here, anymore. I cannot say to any degree of certainty just who I'm working for. Hell, I would perjure myself saying I even knew what we were working towards! And, well, if I don't know... Who does, Bridget? Does Chet? Does the President? Do you?
BC: ...Alright. That's a first.
[[SFX: an authoritative knock at the door; Esther nervously shuffles papers]]
ER: [gasp] Shit…
[[SFX: door opens; Hank and Chet enter]]
HANK CORNISH (HC): Miz Roberts. You're being taken into custody under the direct orders of the Secretary of State, to await trial in lawfully provided quarantine under the rules of the Federal Espionage Act of 1951.
[[SFX: Esther picks up a bag]]
CHET WHICKMAN (CW): Leave that. You won't need it. Miz Chambers.
HC: Follow me, Ms. Roberts.
[[SFX: radio tuning; a crowd mills inside a courtroom; gavel]]
DIRECTOR OF CENTRAL INTELLIGENCE ALLEN DULLES: [clears throat] I suppose we can call all of this to order.
CLERK: The United States in cooperation with the Central Intelligence Agency versus Ms. Esther Roberts. Are both sides prepared?
HC: The prosecution is at your disposal, Your Honor.
CLERK: Mr. Cornish, if you would like to begin.
HC: Ahem. Ladies and Gentlemen gathered here today, we understand that every criminal prosecution, especially those within our own ranks, has grave implications. Not only for the defendants, but for the civil servants and for the people of this great nation. And none more serious than the charges brought before you today: that Ms. Roberts did repeatedly collude and conspire with the Communist party to forward their subversive interests, leading to the untimely assassination of Joseph Stalin by one of her known subordinates. Through these actions Ms. Roberts has plunged our country into uncertainty and made possible the acquisition of certain classified technological materials entrusted to her, which are now available to the Soviets for their own use. The evidence and testimonies presented here in the coming days will prove that the loyalty and allegiance of Ms. Roberts is not to our country, but to Communism, and the advancement of the Communist Agenda throughout the world.
[[SFX: radio tuning]]
SALLY GRISSOM (SG): Diary of Sally Grissom, March 3, 1953. To the point. Roberts is… she's in trouble. After the mission went to bunk there were…maybe 12 hours before Cornish and a hangdog-looking Whickman showed up at Roberts' door and took her. The transport out of town was four cars long and completely silent. The lights were enough to wake everyone on our street, though. My neighbor looked like she'd seen a ghost.
So of course I came out to DC with them. What else was I supposed to do? It's one thing to not want to interfere with the future. It's another thing entirely to pretend that you don't know exactly how this plays out for people like her. I…I just can't. Anybody but Roberts.
And maybe that's stupid. Maybe she deserves this and I shouldn't meddle. I'm not saying she shouldn't answer for her actions–I've said that much to her face–but there's a difference between being brought before an Ethics Committee and... this.
I want to say something about positive ions in recirculated air and about how there was this feeling of dread that could be explained away by science. That sinking feeling was undeniably unscientific. It was straight up history, repeating itself. And this is the first time in a while that I've felt like I'm standing in anything close to the textbooks I read in grade school.
It's some seriously scary shit, dude.
Roberts is my friend. She's the best friend I've got around here. Or at least, the best friend I've got that isn't trapped in a timeless void. Anyway whatever Cornish and the rest of the suits have to say, it's…I just don't see a timeline where she's working for the Communists! She might be batshit insane, but if anyone stands to benefit from it, it's the United States of America. Greater good, and all that... Ugh. It's definitely not the fucking Soviets.
Predictive Mechanics would be pretty helpful right about now. I don't know where we go from here. There's no way this trial happens in a history without me in it. I feel like we're going off script, like we've scrubbed through to the end of an old VHS and somehow the tape is still running? You keep waiting for something else to appear – something you recorded over a long time ago and forgot about, but it's just those lines, and a screen that's not quite black… We could rewind it, but, mostly there's that niggling curiosity about…what's at the end of this thing? If I keep going, what… y'know? The minute they took her we just… I don't know, it felt like time froze. Timelines converged, everyone ground to a halt. I mean, that's not how time travel works, I'm just saying that's what it felt like. You know what I mean.
[[SFX: radio tuning]]
BAILIFF: Do you swear to tell the truth, the whole truth, and nothing but the truth, so help you God?
ER: I do so swear.
DULLES: Your witness, Prosecutor.
HC: Good Morning, Esther.
ER: Hank.
HC: The sooner we start, the sooner this will all be over.
ER: That is how time works. I'm something of an expert.
HC: Certainly... Why don't we start there, then? Walk us through how you joined ODAR.You began in research and development, correct?
ER: I was shoved into a Computing basement when I first began, but yes. I was stationed at the Polvo Research Community for two years.
HC: And then you were part of the relocation to Point-of-Exile, Colorado in 1946?
ER: Do I really have to answer that? You were there.
HC: For the record and for the Committee, Ms. Roberts, I ask that you be detailed and specific.
ER: Yes, I was moved to Point-of-Exile in January 1946, where I continued to fine-tune the Timepiece project with reduced resources.
HC: The Timepiece was the only thing you worked on?
ER: In my official capacity, yes.
HC: So you weren't involved with the CAGE project?
ER: I… Well, I mean, it's the same device, really––
HC: Answer the question, Ms. Roberts.
ER: Yes, I worked on a number of Timepiece derivatives.
HC: In point of fact, you were one of the first test subjects for the CAGE project, is that right? You spent a relative 24 hours inside it with Mr. Chet Whickman?
ER: Uh, I–
HC: And isn't it true that upon exiting the CAGE, you then proceeded to enact a plan made by you and Mr. Whickman to wrest power of ODAR from William Donovan?
ER: ...His health was in severe decline, a succession plan had to be put in place–
HC: Did you or did you not conspire to take control of ODAR from its director and your superior officer?
[[SFX: crowd murmurs]]
ER: You're really not pulling any punches, are you Hank?
HC: Ms. Roberts, we're only just getting started.
[[SFX: radio tuning; outside the courthouse; Petra approaches]]
SG: Hey kid, what kept you?
PETRA (P): Took me a second to slip my handler. What, um... What did I miss?
SG: Not much. Tense in there. Deciding whether or not we're going to be allowed to sit in on the important bits at all.
P: It's because they want me to testify, isn't it?
SG: Wait, what? You're not on the witness list...
P: It was redacted. Apparently my existence is a higher level of state secret than ODAR and the Timepiece? They're gonna clear the room of nonessential personnel during my testimony.
SG: ...Well Jesus, what am I, chopped liver? Have you thought about what you wanna say?
P: I think they just wanna know what my impressions of her are. Her signature is on my ID forms, after all, even if she hasn't signed them yet.
SG: If that's the case, why wouldn't they call me? I've known her longer than you have, I've got years of potential Roberts dirt.
P: Well, that's the point, isn't it? They probably think you're biased. Which, let's be fair here, Sally, you kind of are, I mean–
SG: –I've been on both sides of it. She's my friend, but… I dunno. But still, have you seen the witness list? It's not even just you. Griggs, Whickman, one of her neighbors from Polvo... they're beating the weeds on this one. And Jesus, after everything Roberts has been through already, I'm not surprised to see her rattled.
P: That's... not what I mean. At all. Look, I know she's your friend, and you're everyone's hero, and whatever, but you weren't over there. You didn't see what happened. Don't you think the fact that Esther is being investigated is cause for, I don't know, concern rather than outright relief? I mean, how can we be so sure we're on the right side?
SG: ...You're gonna testify against her, aren't you.
P: No – Yes, I – I don't know. I just think that it's probably for the best that I tell the truth. About everything. That's what Carm would have done.
SG: And where will that lead the Committee?
P: ...How should I know?
[[SFX: Bridget and Lou approach]]
BC: You know, if we're handing out accusations of espionage and collusion based on looks alone, two sore thumb loners standing just outside a courtroom whispering amongst themselves doesn't exactly leave the pair of you smelling like roses.
P: The gang really is all here.
LOU GAINES (LG): Looks that way.
P: I'll see you all inside.
[[SFX: Petra ascends the courthouse steps and goes inside]]
BC: Something we said?
SG: She's just nervous about testifying.
BC: And what about you?
SG: What, am I nervous about Petra testifying? ….Yeah. Kinda.
BC: Comforting.
LG: You know what you're gonna say up there?
BC: Spare me a smoke and I might tell you.
LG: Didn't know you smoked.
BC: I don't make a practice of it.
[[SFX: Lou digs through his pockets for a cigarette and a lighter; he lights Bridget's cigarette]]
BC: Well, whatever there is to say, I'm obviously not here to see her walked out in chains.
SG: This entire thing is a clusterfuck. It's good that you came, though. To speak up for her.
BC: ...I didn't say that.
SG: What do you mean?
LG: She's not sure she's going to testify at all. That's why you didn't–
BC: Lou, please.
SG: No. No! Chambers, what the heck? You're one of Roberts' oldest and... best friends–
BC: Ettie disappeared for years, Sally. I know now what she was doing for at least part of that time, but I won't perjure myself to say we stayed in contact, and I know the rest.
SG: So you're drinking the Kool-Aid now, too?
BC: What is that supposed to mean?
SG: You're buying into this lunacy! You're one of the few people who can actually speak to her character, and you're just rolling over?
BC: And what about you?
SG: Not the world's most reliable source at this point, am I? Whickman's obviously off the table, and Wyatt's in the wind... This isn't about you! It's no time to be selfish about–
BC: I didn't say that I wouldn't testify... What I meant, was that it's complicated. You know why it's complicated.
SG: It's not like you have to say–
BC: Don't.
SG: Don't what?
BC: You know exactly what, Sally Grissom, and I'll thank you to keep your voice down. You have absolutely no idea what you're saying. Whom you're defending. You don't live inside my head and, in the words of one June Barlowe, you are not always the smartest person in the room, despite an overwhelming belief to the contrary.
SG: ...You're a coward, Chambers.
[[SFX: radio tuning]]
ER: We were at MIT together, and then we worked together at ODAR. He was my lab partner.
HC: Would you say Jack's opinion was one that you held in high regard?
ER: I'm not sure where you're going with this.
DULLES: It's not your job to understand why the prosecution is asking you what he's asking you, Ms. Roberts. It's your job to answer him, to the best of your ability.
ER: [sigh] Yes. Jack was a well respected engineer in his field, he was smart and did good work, and I trusted him with my life and safety on a daily basis.
HC: He'd say the same about you?
ER: You'd have to ask him about that.
HC: Gentlemen of the Committee, if you will turn to page 4b of your evidence packets, you'll find an excerpt from the file of one Mr. Jack Wyatt. He has been AWOL, considered missing, for nearly a decade now. And in his last communication with ODAR facilities, on the night of December 25th, 1946, you said (and I'm quoting the transcript here), Wyatt: "If they think they can use you to bring me back in, they're dead wrong." Roberts: "I wouldn't let them… I owe it to you. I told them you were headed east… I want you to be free of all this. You of all people deserve it." Does this ring any bells for you, Ms. Roberts?
[[SFX: Esther is silent]]
HC: How about the surveillance tape obtained via portable recording device from that night, where Jack Wyatt's destination was hard-scrubbed from the record?
[[SFX: Esther is silent]]
HC: Ms. Roberts, were you aware that Jack Wyatt was under breach of contract with the US government when he fled Point-of-Exile? That because we were unable to properly debrief him, we have no way of knowing what secrets he may have taken with him–
ER: He didn't take anything!
HC: As you said, Ms. Roberts, we'd have to ask him.
[[SFX: radio tuning; gavel, a recess; the crowd mills about outside the courtroom]]
SG: I'm gonna try to track down a vending machine or something. You want anything?
BC: A vending machine? In a… government building?
SG: Never hurts to try. I'll catch you inside.
HC: Ah, Ms. Chambers, a moment?
[[SFX: Sally exits; Hank approaches]]
HC: Good Morning, Bridget. I'm glad you could make it. I hope you're well.
BC: I wasn't aware that attendance was voluntary, but good morning all the same, Mr. Cornish.
HC: I don't think any of us wants to be here any longer than we have to. I know I'm running this into the ground, but I really do want to get to the bottom of this, whatever that truth may be.
BC: Glad to hear it.
HC: Have you given any thought to your testimony?
BC: With regard to...?
HC: Well I know you've been "in the fold," shall we say, for a few years now, is it? But there is a… discrepancy regarding the timeline of your recruitment.
BC: A discrepancy?
HC: Well, there is a question about how you two reunited after so many years apart?
BC: She was an old college friend who'd been out of touch. She told me she was in town, and I met her at a bar.
HC: You two talked the whole evening away at that bar?
BC: I can't say I remember.
HC: [laugh] Well, you'd remember if you exchanged any classified information, government secrets, anything like that, so I guess it really doesn't matter.
BC: Obviously not my area of interest, unless you all are hiding the Library of Alexandria or the Dead Sea Scrolls in your archives, somewhere, and I know I haven't heard anything about that. You are aware I'm essentially a librarian, right?
HC: I'll bet you had no idea what you were stumbling into when you saw your old college friend again, did you?
BC: I can't say I know that much more now, Mr. Cornish.
HC: So Esther never mentioned to you what she did? Not even in passing?
BC: Again, this was quite some time ago, and a lot has happened since then, I can't say I remember what we spoke about.
HC: You don't remember the night at all?
BC: Of course I remember the night–
HC: But you don't remember what you talked about. That's strange, isn't it? Especially since we know you visited Point-of-Exile, only weeks before the security breach at the ODAR prison facility? What was it, Ms. Chambers? Family nearby?
BC: ...Well am I under oath, Mr. Prosecutor?
HC: It's only fair, since I asked you here, that you be prepared for some of the things that you might be asked on the stand.
BC: You're too kind.
HC: Of course, Mrs. Chambers. I'll see you inside.
[[SFX: Hank walks away; radio tuning]]
DULLES: Director Chester Nathaniel Whickman the Second, do you swear under oath to be truthful in your responses to the best of your ability, as you did so swear in taking your oath to serve and protect these United States of America during your time in the Armed Forces?
CW: Yes Sir.
DULLES: Well alright, then. Let's get down to it.
[[SFX: Chet sits]]
Dulles: Now, we already have a prepared, written statement from you (you all can find that in your evidence packets if you have not already perused it), so we really are just here to get some clarity, as I said, for the record. So. Mr. Whickman.
CW: Chairman Dulles.
DULLES: What was your initial impression of Ms. Roberts as relates to the Office of Developed Anomalous Resources?
CW: Esther Roberts has been an integral part of every step of our organization, almost since the beginning. She's a brilliant mind, sir. Undisputably.
DULLES: Do you think of her as a trustworthy individual, Whickman? Is she someone that you can put your faith in, as a commanding officer?
CW: Absolutely, sir. I'd have never made Esther Roberts Head of Research and Development if I didn't think her not only qualified, but dedicated to the duties that the position would come to demand of her.
DULLES: And how would you say that Esther measured up to those expectations?
CW: I'd say she met and exceeded them, sir.
DULLES: Were you ever given any reason to believe that your trust in Ms. Roberts might have been betrayed? Or that your initial assessment of trustworthiness may have been misplaced?
CW: When do you mean, sir?
DULLES: Hm. Well, that certainly is one way to answer the question, I'd say. That's a good question, Chet. When would you say is the first time you had reason to question Esther Roberts?
CW: Listen, sir, if I'm being honest, I question everyone. Everything, all the time. It's a part of my job. I keep informed.
DULLES: Fine. It is evident as we sit here today that the woman before this court is not the one you entrusted to be your second in command when you took office. So: what changed?
CW: [sigh] Esther Roberts and I had our fair share of disagreements, that much is well documented. I stand by my statement that she has the mind of a visionary. She was a civilian scientist, The way she did things was never going to be completely in line with my training in the Armed Forces and the work we do here at ODAR. I'm not here to sound an alarm on Esther Roberts because we butted heads. I respect her, though I may have missed the mark when it comes to making it apparent in our day to days. When I say I trusted Esther Roberts, I absolutely mean it.
DULLES: It sounds like you're coming up on a "but" there, Whickman.
CW: Trusting your team...sometimes means taking it on faith that they're doing what's best for all of you in the moment, and not asking those questions even if they're biting at the back of your brain like ants on an old apple core. And y'know, the things you'll see there written in the testimony are just... There were times when I had questions, you know? It wasn't like I never had any doubts. I just chose to believe we were on the right track. Now, looking back...
DULLES: ...You're not so sure.
CW: I'm saying that there are blank spots. Gaps I wish I'd had filled in. That I take full responsibility for. And I don't know what they all have to do with each other, I've admitted as much. But I do know that what they've all got in common–and I'm sorry about this, genuinely–is Esther Roberts.
DULLES: Please, Mr. Whickman, can you be specific?
CW: Of course. Well, for one, it was never clear to me why she paired the two prison cells that were breached the night of the prison incident. In the end, that countermeasure did more to get the both of them out that night-
[[SFX: Dulles flips through his packet]]
DULLES: I believe Ms Roberts was injured that night, correct?
CW: She was. But that never sat right with me, either. And... I'm sorry, Esther, but I have to admit it did occur to me that yes, it'd be a convenient way to make sure no eyes came drifting back over to you when it was time to place the blame.
It'd be nothing if that were the first time, but... Why did you insist on going to New York yourself when we had that supply issue? And why'd you need to take Sally with you? She wasn't working for us at the time, and she came back with a hostile who went directly for our equipment. She just... walked him through the door. She never would have been in a position to do that, were it not for you.
Hell, if you knew what Donovan was doing, why didn't you say something? Why didn't you stop it, Esther? Huh? And why'd you let that damn machine spin up that day after I'd told you all to stop those tests? Did you know I'd get stuck in there with you? Once we're asking all these questions, what's to stop me from believing that you didn't have that planned, that you knew exactly what to say and what not to say to get me on your side by the time we made it out of the CAGE?
[[SFX: Esther stands]]
ER: Chet, how the hell would I–
DULLES: You'll speak when addressed by the court, Ms. Roberts!
[[SFX: Esther sits]]
DULLES: Please continue.
CW: I... I can't get my head around how you add up all those zeroes and come up with anything other than a question. We used to have a way to hedge our bets on this kind of uncertainty, but the Blackroom went dark on the day of the assassination! And then the Soviets recovered our Timepiece, and... I tried to take your word, Esther, but… I just don't know.
DULLES: Would you say, given the events you have brought to light here and in your written testimony, that you stand by the statement made earlier today, that you totally, without reservation, trust Ms. Esther Roberts in the position to which she's been appointed?
CW: Not without reservation. No.
[[SFX: radio tuning]]
P: Marquez.
HC: Excuse me?
P: Petra Marquez.
[[SFX: Hank searches through his paperwork]]
HC: That's not your legal name, is it?
P: Well, Hank, you're about to start questioning me, and I've been sitting here this whole time watching this go down, so I figure what's about to happen is: You make a big deal out of my name, even though you've known me for years and know I don't have a last name. I respond, you snowball the fact into an emotional sob story–
HC: Objection, witness is making presumptuous accusations–Petra, can we stick to answering the questions?
P: Well, stop me when you hear something wrong! Sob story about the inhumanity of my not knowing my parents, growing up the way I did, having everything including my name taken away from me when I was barely out of diapers. But I'm not a character witness, Agent Cornish, I'm evidence. And as well as I know that? I'm not going to sit here and let you call me "Miz-Twenty-Nine" for the next four hours. And there's plenty real issues to talk about without digging in on the "Little Orphan Annie" angle. So yeah. Petra Marquez. It's the name I've chosen for myself. If the court doesn't mind.
DULLES: Proceed, Mr. Cornish.
HC: Fine. Miss Marquez, since you're so far ahead of the rest of us, why don't you start by telling us where you're from, and how you found yourself under the employ of Ms. Roberts.
P: [sigh] I was raised as part of an experiment to improve neuroplasticity and raise tolerance to the damaging effects of repeated manipulation of causal events. AKA Butterfly Syndrome.
HC: And when you finally made it back to your arrival point, and you encountered the defendant Ms. Roberts for the very first time, did she tell you what your job description was? What you and the remaining members of your program would be doing while there, and working for ODAR?
P: Our job was to survive. To make it to the end point. That was all.
HC: Why?
P: So they'd understand how Butterfly Syndrome worked, and could figure out how to beat it.
HC: I see. How'd your classmates die, exactly, Miss Marquez?
P: Colorful and varied ways. You're gonna have to be more specific than that.
HC: How did Liam Seventeen die, Ms Marquez?
P: ...Complications from a stroke.
HC: Related to Butterfly Syndrome?
P: I wasn't allowed to see the report–
HC: Page 47c of the evidence packet. According to that report, Liam was no older than 15. How did watching your friend die affect you emotionally, Petra?
P: Probably a lot, I'm not a shrink.
HC: Have you ever seen one?
P: Have you?
DULLES: Miss Marquez, please.
HC: Gentlemen of the committee, if you will turn with me to the back of your evidence packets, you'll find the files pertaining to these experiments, authorized by Esther Roberts and her subordinates. I once again ask the court's understanding, as these documents are dated far into our future. Is that consistent with what you know to be true, Petr–Miz Marquez?
P: I guess, technically?
DULLES: It either is or it isn't, young lady.
P: That's... Alright. I was born in 19█. The papers from that year, before our first jump, have Esther's name on them, yeah, but that isn't... why are you making me explain this? It's Esther, but it isn't this Esther, because it hasn't happened yet, and now that she knows she can choose a different path! It's my past, but it's not yours.
HC: You make an excellent point, Miss Marquez. But it remains your past. You know her, in a way no one else in the world possibly could.
P: Except for Carmen–
HC: Yes, and if she hadn't been allowed to leave ODAR, never to be heard from again, I'd have her on the stand too! Now then. Your arrival at the end of the experiment was the first time Esther Roberts met you, but it wasn't the first time you'd met her, isn't that right? You knew she was behind the experiment even before she did?
P: Yes.
HC: Would you say you resented Ms. Roberts for her part in your... well, shall we say mandatory participation in the experiment?
P: You could say that, yes.
HC: Why? If she hadn't signed off on your experiment yet, if she was capable of making different choices with the information gained by your arrival, why did you harbor such resentment toward her? Enough so that you abdicated your position at ODAR–
P: Uh, am I on trial here?
HC: Not today, Ms. Marquez, you'll get your turn. But I have to know: if Esther never made the choice, why didn't you trust her?
P: Because… Because I had met her before. I've seen what ODAR becomes, with her at the wheel. More than I was cleared to know, that's for damn sure. And when I got there, to that end point, and I saw the youngest Esther Roberts I'd ever met… Just because she didn't sign the papers, doesn't mean she isn't the kind of person who would.
[[SFX: radio tuning]]
SG: [sigh] That's where we are, now. Petra was Cornish's last witness, but she was just the cherry on top of a mountain of evidence. They have brought in every big hitter they could, uncovered every red mark in her ledger, and the worst part of it is that I can't say anything Cornish has said is entirely outside of the realm of possibility. Damn, even I'm saying it now.
If the gravity of this whole mess wasn't clear to you before, it should be now. Whatever she's actually done, this isn't... You can't be okay with this, Partridge! I mean, I get it. You're caught up in this too, you disagree. Partridge, she doesn't deserve this. I know she's not your favorite, but now would be a really great time to step in if you've got... really, literally, anything.
[[SFX: the crowd returns inside]]
LG: Sally, you may want to come inside.
SG: Okay... I gotta get back. Come on. Say something. Please.
[[SFX: no reply; Sally hangs up; radio tuning]]
HC: You're a Jew, aren't you, Esther?
ER: Yes.
HC: Are there a lot of Jews in Point-of-Exile, Colorado?
ER: I wouldn't know. We don't all know one another.
HC: Fair enough. Is there some kind of synagogue or temple, a place of worship that you go to?
ER: No.
HC: Why not?
ER: Since 1946 I've occupied a rather demanding position. Unfortunately, I tend to work on the Sabbath.
HC: Isn't that against one of your commandments?
ER: You're a Christian Man, are you not, Hank? They're your commandments too, I'm pretty sure.
HC: Hey, let's get through this together, hm? We're almost done here. Eyes up.
[[SFX: Hank takes a drink of water; Esther rolls her eyes]]
HC: You pray often, Ms. Roberts?
ER: What does this have to do with–
HC: Just answer the question.
ER: Sometimes.
HC: So, you don't attend synagogue–
ER: I work on Saturdays! I work for the United States government on Saturdays–
HC: –and you pray "sometimes," you say. We have limited records on your contact with your family, and nothing on your involvement in any religious groups, institutions, anything like that for almost all of you tenure, it looks like.
ER: Is this a bad thing?
HC: It made you a pretty good candidate at the time of your hiring, I can say that. You're your own, Esther Roberts, through and through, that's for sure. But if you don't mind my asking–and I don't mean this to sound rude–what kind of Jew does that make you?
[[SFX: silence]]
ER: A living one, Mr. Cornish.
[[SFX: awkward silence; Dulles clears his throat uncomfortably]]
ER: I'm an American, Hank. I was born here, I've spent my entire life here. Everyone that I know and care about is here.
HC: So you'd say you don't see yourself as a Jew at all.
ER: The two are not mutually exclusive! I did not say that.
HC: If you were forced to put them in an order–
ER: Are we here to interrogate my status as an American woman, or my status as a Jew, Hank? How about you put them in an order, and then maybe we can get somewhere?
HC: I'm... taken aback, Ms. Roberts. There is no need for that sort of tone.
ER: No? You think I haven't heard this line of questioning before? "Am I a Jew, or am I an American"–is this the horse upon which you wish to mount your prosecution, Mr. Cornish? Is she "Jewish enough" to harbor resentment about our country's handling of the Holocaust? American enough to set aside her personal beliefs for Truth, Justice, and the American Way? Is that the freedom our government works so hard to ensure? Freedom to be shoved into a choice between my blood and my beliefs? Do you think you're the first man who looks the way you do, to stand before a court and demand that answer from someone who looks the way I do? Because you aren't. Burn me to the ground if you wish, but at least have the stones to be explicit about why. I'm not here to plead the case of my humanity. I won't. Next fucking question.
HC: Since it may enlighten you beyond your vast but still yet limited perspective for my doing so, Ms. Roberts, I will tell you that my purpose here is to ascertain your allegiances. If you don't attend prayer services, and you've shut yourself off from your community, and you left home and family at the first chance you got, and your closest friend fled your side under cover of night, and you have perverted–
DULLES: Cornish–
HC: –perverted the power and purpose of the United States Government without oversight to pursue hidden agendas, and you've lost faith in God Himself, I am trying to figure out, Ms. Roberts, who you serve!
[[SFX: the crowd mumurs wildly]]
HC: No further questions, Mr. Chairman.
[[SFX: radio tuning; faucet running]]
BAILIFF: (outside the door) Excuse me–
BC: (outside the door) You won't keep me from using the facilities, unless you've somehow managed to manifest another ladies' room somewhere closer to the proceedings.
BAILIFF: (outside the door) ...Sure. Go ahead.
BC: (outside the door) I thought not.
[[SFX: Esther turns off the faucet; Bridget enters]]
BC: Ettie?
ER: ...Hi.
BC: Oh, Esther…
[[SFX: they embrace; Esther sobs]]
BC: Are you alright?
ER: I don't know anymore... I don't know anything anymore. My head's spinning.
BC: Oh, honey, look at you…
ER: I'm fine, I'm fine. Bridget, you have to know–
BC: Shh, I know. I do. I promise I do.
ER: They're asking about my family, Bridget. What does my mother have to do with any of this? Even if I were... what they said I am, what do my Dad, and my sister have to...
BC: Nothing, Ettie. Nothing at all.
[[SFX: Esther cries; Bailiff knocks]]
BAILIFF: Hey ma'am, are you done in there? It's time to get back.
ER: Bridget, I've got to ask you something –
BC: Esther?
ER: ...Reconsider?
BC: What, running away together? After all this time?
ER: Not that. Don't think I haven't thought about it... You've seen enough of this to know what's going to happen at the end of it, you keep up with the newspapers. I know you have your reservations but... I don't know if there's a way out of this for me if you don't say something, Bridget. The deck is pretty stacked against me.
BC: A real dilemma. [laugh]
ER: [laugh] I'm serious.
BC: Ettie... I don't know if I can.
ER: I wouldn't ask if I thought there were other options.
BC: Wouldn't you?
ER: Bridget, you know me. Better than I'd like. Maybe I am all of those awful things you think I am but you know I'm not a... you've been to my home, for heaven's sake! You've met my parents, you've met my sister! You know everything there is to know about ODAR at this point Bridget, you know–
BC: I know your heart, Esther. I do. And I-believe me, I've been fighting myself on this since the moment they took you away in the middle of the night. But Ettie, if I swear under oath, and I tell the truth, the whole truth about you…
ER: ...You think they'd lock me up and throw away the key. [long sigh] I know how this looks. I refuse to pity myself, I just thought–
BC: You can't give up, Esther.
ER: I have no intention to. That's... I'm not giving up, but… Look. If you won't speak, please, do something for me?
[[SFX: Esther takes out an envelope]]
BC: What is-
ER: I need you to give this to my mother, if I don't see her again. Knock on the door, their house is the same. The next time you're in the City. My sister will answer the door, but don't let her read it. It's for my mother's eyes only. Can you… please?
BC: Esther, I don't think this is–
[[SFX: Bailiff knocks]]
BAILIFF: (outside the door) Ma'am, I need to insist. You need to come out right now.
ER: Bridget, please. Promise me.
BC: Esther, what does this say?
ER: ...It's a letter for my mother, Bridget, what–
BC: I've never known you to write letters in Yiddish.
ER: My Mother's reading is stronger in–
BC: Esther Roberts, what is in my hands? The truth. There's no one here but me. What does this say?
ER: ...Don't take it, then.
[[SFX: Esther grabs the letter; the two women struggle over it]]
BC: No! Read it to me.
ER: ...I'm not going to do that, Bridget.
BC: Esther, I can't–
[[SFX: Bailiff knocks]]
BAILIFF: (outside the door) Ma'am, you've got five seconds or I'm coming in there, ladies' room or not!
ER: I'm coming! Wait a few minutes before you follow me out. Fucking Cornish…
[[SFX: Esther exits; radio tuning]]
HC: Ladies and gentlemen, Chairman Dulles, members of the Committee. We as representatives of the American people, decided to go where no one had dared to before. Daring to do so only on the understanding that a trust had been struck between the United States, and the agency tasked with the research and development of this new technology. "God Forbid," we said to ourselves, "this technology be replicated or created by a country less moral than our own!" Our deepest fears, I fear, have now been realized, because of Ms. Roberts' actions and temperament in a position of unprecedented power in our nation, as we have proven in this court. I respectfully submit to the Committee that this betrayal cannot be overlooked or undersold, and advocate not only for the removal of Ms. Roberts from her position and her immediate termination, but for the disbanding of the gaping wound of an agency called the Office of Developed Anomalous Resources as a whole.
CW: Now wait just a minute there–
HC: You had your chance to speak, Director Whickman–
CW: Now I never said–!
DULLES: That's enough, Mr. Cornish. Director Whickman. I've heard–
HC: If you'll pardon my–
[[SFX: gavel; a commotion, which then settles]]
DULLES: I said, I've heard enough! Ms. Roberts. Understanding the allegations we have been put forth here by Mr. Cornish, and the findings through evidence and witness testimony presented in this trial... Do you have anything to say for yourself?
[[SFX: silence; tape recorder stop]]
ars PARADOXICA was created by Daniel Manning & Mischa Stanton. This season was also written by Eli Barraza, Julian Mundy, Danielle Shemaiah & Tau Zaman.
Episode 24: Dilemma features –
Kristen DiMercurio (Sally Grissom)
Katie Speed (Esther Roberts)
Lia Peros (Petra)
L. Jeffrey Moore (Lou Gaines)
Preston Allen (Bridget Chambers)
Reyn Beeler (Chet Whickman)
Dan Anderson (Hank Cornish)
Todd Faulkner (Allen Dulles)
Alexander Danner, Donna Semel*, Dennis Connors (additional voices)
with special thanks to Isabel Atkinson
Original music by Mischa Stanton and by Eno Freedman-Brodmann.
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10 Things to Do in Steamboat
Steamboat Resort
With 2,965 acres of legendary Champagne Powder® snow, a beautiful location in northwest Colorado's Yampa Valley and famous Western hospitality, it's no wonder that Steamboat Resort has a legendary status among skiers. Check out our list of favorite things to do at the mountain paradise.
Ski with an Olympian (for free!)
Steamboat's enduring authenticity attracts an impressive roster of world-renowned winter athletes, including Olympians. Intermediate and advanced skiers and riders can gain advice from 1964 Olympic silver medalist and World Champion Billy Kidd, who serves as Steamboat's director of skiing, during the Ski with Billy Kidd program. Or join the aptly named Nelson on Nelson's mogul clinic hosted by Olympic bronze medalist and World Cup Mogul Champion Nelson Carmichael on select Sundays at Nelson's Run.
Other complimentary programs built into the price of your lift ticket include free guided snowshoe and cross-country ski tours.
Soak away your sore muscles
Unwinding in a steamy, natural hot springs amid falling snowflakes is one of our state's most quintessential winter experiences. Take a dip in stone-lined pools flanked by the Routt National Forest at Strawberry Park Hot Springs, 7 miles from downtown Steamboat; or relax in eight mineral pools at Old Town Hot Springs, conveniently located right downtown and also equipped with two water slides and a fitness center.
Ride North America's longest mountain coaster
The longest of its kind on the continent at 6,280 feet, the Outlaw Mountain Coaster's dips, turns and 360-degree spins satisfy thrill riders of all ages year-round. The ride is part of the Land Up Adventure Zone in the base area, where other grin-inducing fun includes a bungee trampoline and climbing wall.
Sample delicious Steamboat brews
Butcherknife Brewing Co. uses water from Continental Divide snowmelt to brew their offerings, like the refreshing Amputator IPA, while Storm Peak Brewing Co.'s inviting taproom has a wide variety of rotating brews, including IPAs and sours. You can pair a pint of the smooth Locals' Lager with seasonal dishes cooked in their wood-fired oven at Mountain Tap Brewery (we recommend the Neopolitan-style Rancher pizza made with local Italian sausage); or try one of Mahogany Ridge Brewery & Grill's juicy hand-packed Angus burgers with the Alpenglow, a full-bodied amber ale.
Eat (and eat and eat)
Delicious Steamboat dining options abound, so satisfying your cravings all day long is a no-brainer. Start the day off with a breakfast burrito from The Paramount, or choose from 13 types of eggs benedict at Creekside Café. Lunch is divine at Hazie's, where the stunning mountain vistas and lump crab mac and cheese will warm your body and soul, and Freshies, featuring farm-to-table fare that's the perfect fuel for your next adventure. With tasty cocktails and comforting bites, Tbar and Laundry are both excellent go-tos for après ski or happy hour.
For dinner, reserve a table at Cafe Diva to savor specialties like peanut butter and bacon sandwiches with Asian-braised pork belly, or opt to sear your own local buffalo steak over a 500-degree lava rock grill at 8th Street Steakhouse. Those seeking late-night bites can indulge in pub grub at Slopeside Grill or pasta and pizza at Mazzola's Italian Diner — both of which have nighttime happy hours.
Explore the area on horseback
Horseback riding is one of the best ways to encounter northwest Colorado's enchanting snow-dusted aspen woodlands and appreciate Steamboat's celebrated ranching heritage. Book a two-hour trail ride with Del's Triangle 3 Ranch, an outfitter that has led excursions for all abilities through the Mount Zirkel Wilderness Area for six generations. Other local outfitters offering winter horseback tours include Saddleback Ranch and Elk River Guest Ranch.
Stay up late with night skiing and riding
The resort's Christie Peak is equipped with future-forward Ultra-Tech™ Lighting, giving guests access to five trails and 1,100 vertical feet of terrain after dark. Night skiing is available five nights a week from mid-December through late March, and the SnowSports School also boasts lessons under the lights. Bonus perk: Guests who fly into Steamboat/Hayden airport enjoy free night skiing the day of their arrival.
Take an extra-special ride to dinner
Steamboat has several opportunities for unforgettable sleigh-ride suppers. Haymaker offers a sleigh ride through the area's rolling hills and a three-course Colorado meal of prime rib, free-range chicken or seafood, while Ragnar's treats guests to a dazzling nighttime gondola ride, a snowcat-driven sleigh ride under the stars and a five-course Scandinavian-inspired dinner. Saddleback Ranch whisks families to Double Dollar Ranch via sleigh for a home-cooked meal and calf-roping lessons, and Four Points Lodge includes an excursion in a luxe snowcat to a five-course culinary experience on the mountain at 9,716 feet.
Soar in a hot-air balloon
Capture rare, aerial panoramas of the ski resort and the Yampa Valley on a flight with Wild West Hot Air Balloon Adventures, which offers 45-minute tours in the air. All flights, which can accommodate up to 10 people, include a continental breakfast, special certificate and champagne ceremony.
Hit the slopes at the oldest ski area in the West
Open since 1915, Howelsen Hill is Colorado's oldest ski area in continuous use and is also home to the most complete natural ski-jumping complex in North America. The training grounds of 89 Olympic athletes, Howelsen's intimate slopes are steeped in skiing history. Power down 17 runs, check out 21 kilometers of Nordic trails or survey the mountain on a fat bike (select hours only).
More things to do in Steamboat >>
Browse Steamboat deals and packages >>
Photo credits: Mountain Tap Brewery, Mountain Tap Brewery; all other photos, Larry Pierce/Steamboat Ski Resort


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by Shelley Cohen, RN, BS, CEN
Most of your staff members are probably keeping an ear tuned to the presidential prospects for the upcoming election. With this in mind, many will be listening to and watching the debates between both the presidential and vice presidential hopefuls. This is a wonderful opportunity for nurse leaders to take advantage of debate fever and relate it to the workplace.
The structured debate can serve as a springboard for initiating change, implementing evidence-based practices, or even defining unacceptable behaviors for a department. When staff have an opportunity to hear the pros and cons, as they do in a debate, they learn how to validate their needs. A controlled, professional, yet fun, environment of presenting both sides is what the debate process has to offer. Examples include debating changes in holiday scheduling, or how patients are assigned.
Use of the debate process provides staff:
The debate processes teaches the leader and their staff:
To get into the debate mode, start with these steps:
And lastly, the points and goals for the debate process include:
This collaborative process teaches staff tolerance for others and their ideas. In addition, the next time they come knocking on your door wanting something for the department, you can bring their suggestion to the debate table for all to participate.
When debate fever spreads and catches on, organizational leadership can take advantage of this momentum for organizational change. Develop house wide debate teams to present options related to implementation of upcoming changes. Representatives from departments could even work together on the same team.
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The Ford Sports Performance off-season program has been the home for over a dozen NFL athletes each year. Our program consists of speed and strength sessions five days a week. Each session will include equal amount of time in the weight room and on field sessions so to ensure sport-specific skills are enhanced. Our "blue collar" approach to training has been proven by many professional athletes to take performance levels to a new height. CLICK HERE TO CONTACT.
Our mission with the NFL OTA's/ Rookie Mini Camp is to push your body both physically and mentally to it's limit while working SMART and not over training, in order to make everything you do in OTA's or Rookie mini camp become EASY. CLICK FOR MORE INFO.
The biggest difference in the pre-season program at Ford Sports in comparison to the off-season is the customized conditioning program specific to your sport. This conditioning program will focus on adequate work-to-rest ratios to help build the athlete's aerobic capacity. Not only do we make the program position specific, but we also incorporate game type situations that will enable you to perform at your best. CLICK FOR MORE INFO.


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Acoustic Guitar Community brings important information and latest updates about the world of guitar. We are passionate about bringing guitar players, enthusiasts and musicians into one community where we can share knowledge about our passion, expertise, and love for music. We make sure that we only provide factual news and reliable information from our trusted sources:
Acoustic Guitar
Acoustic Guitar brings you information about music, musicians, and instruments, especially guitar. They also offer lessons and tutorial through their interactive content.
Guitar World
Guitar World provides latest news and updates about the most popular guitar players in the world and of all time. They also offer lessons and tutorials about playing guitar and choosing the right gears.
Guitar Fella
Guitar Fella is a one-stop-shop for guitar, accessories, and gears. They also provide news, reviews, lessons and tutorial videos.
Uber Chord
If you want to learn guitar fast, you can check out this site. They offer tutorial services about the different chords. They also have an app that you can install in your smartphones.
Guitar Adventures
Guitar Adventures is a simple blog that provides knowledge about the guitar. They can provide you lessons and tips on how to improve your guitar skills, especially the beginners.
Guitar Noise
Guitar Noise has started their online services since 1999. They provide lessons and tutorial services for beginners and professionals alike. They specialize in both acoustic and electric guitar.
Apart from their guitar products, Gibson also offers relevant facts, information, and tips about playing guitar.


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While the short story "The Way We Live Now" (Sontag 1987) is explicitly about AIDS and situated in an early moment of the epidemic, the story has also become timeless and impersonal in a way that makes it, actually, deeply universal. We may not all be (or think of ourselves as) directly affected by AIDS, but we have all experienced (or will) being sick ourselves or the sickness of someone close to us. Furthermore, the adaptation of this story during our current moment, situated as we are in the midst of the opioid epidemic, makes a connection between the AIDS epidemic and the opioid epidemic explicit: the number of people currently dying of opioid overdoses is roughly equivalent to the number of those who died in the late 1980s and early 1990s of AIDS.
Through our personal experiences within the opioid epidemic, as a chronically ill person being treated with these medications and as someone who lived through the overdose of a loved one, we have come to believe it is a social and political imperative to make the relationship between the AIDS epidemic and the opioid epidemic clear. Not only in order to use the activism and community organising models developed by groups like ACT UP as a way of responding to this crisis, but because the AIDS epidemic provides a valuable lesson in demonstrating the horror and violence that accompanies the biologically-driven, fear-driven, stigmatization of people with diseases. We see this kind of stigma attaching itself now to those who are both affected by opioid abuse and those living with chronic pain, and believe that this lesson is one that bears repeating, writing about, acting on, and performing.
The Way We Live Now (2017) therefore aims to invite and facilitate the public processing of what often remain private and painful experiences, in a participatory, audience-generated and multimedia format. Through a series of workshops set up for the general public as well as run for specifically invited community groups and stakeholders, we will use the model of Susan Sontag's short story to ask: what does it mean to live within an epidemic? How do we continue living? Using the structure of the story as a foundation, we will develop a workshop program in which one larger group of participants, split into several smaller groups, have multiple ongoing conversations that are self-reflective and reflexive even as they are unfolding. Informed by the language and details Sontag uses, we will work towards a similar mix of specific and personal yet general and relatable situations, prompts and statements: centered on a unnamed ill person, as the story is, we will also create a fictionalized and creative format through which participants can be better able and more comfortable to share personal stories.
Through these workshops, we will provide space for a particular form of coming out: whether pain, illness, drug abuse or use, discussions of these experiences often remain private, traumatic and sources of embarrassment instead of points of interpersonal connection and public togetherness. Gathering multiple forms of documentation (including first-hand reflections from participants, photographs, transcripts and audio recordings) throughout this process will allow us to develop a workbook and produce a publication that could be used by other groups to host their own workshops and as a guide for our own future programming.
This future programming is vital to our goals, if only because the opioid epidemic shows no signs of ending or even slowing down. But the epidemic does not end in death. It is the way we live now, and we go on living. Our culture continues to struggle to find ways to process pain and trauma amongst the living while attempting to take political action to end the epidemic. Inspired by Sontag, who herself was a theater maker and activist, we recognize that any such attempt must be rooted in a willingness to openly engage with our lives, those of others affected, and with personal truths that feel risky, honest and necessary.
Doing so will rely on skills Maia Dolphin-Krute and Jesse Erin Posner have developed through their careers as a writer and disability activist, and theater director and community organizer, respectively. Dolphin-Krute is the author of two books within the fields of disability studies and critical theory: Ghostbodies: Towards a new theory of invalidism (Intellect, 2017; Peer Reviewed) and Visceral: Essays on Illness Not as Metaphor (punctum books, 2017; Open Access). Through these projects as well as her positions as Editor at the disability-related literary magazine The Deaf Poets Society and the Boston-focused arts publication Big Red & Shiny, Dolphin-Krute has consistently worked to argue for and make available disability rights that attend to the theoretical as much as the physical; she strongly believes that the currently circulating discriminatory rhetorics of the opioid epidemic make the need for theoretical and imaginative rights all the more urgent. Working from a similar belief in the power and urgency of the imaginative and social, Jesse Erin Posner's career and creative practice has revolved around the art of coming out: whether working as a theater director, community organizer or artist, she has focused on developing participatory public experiences and has done so with Saul Alinsky's Industrial Areas Foundation (IAF), the Obama Campaign in 2008, the 9to5 National Association of Working Women, ArtsEmerson and The Theater Offensive. Producing a wide range of projects, Posner has focused on developing programs that remain inclusive, reflective, and respectful of those involved.
For more information, please contact us at email@example.com


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Next Episode of Weekend Landscaping is
"Weekend Landscaping" with host and horticulturist Jessie Mack Burns, plants ideas for sophisticated landscaping projects that can usually be accomplished in one weekend (occasionally two) by intermediate gardeners. Projects such as learning how to build a water garden with smoke and mirrors and transforming a spacious front yard into a tranquil resting spot with creative planting beds and paths may sprout inspiration among serious gardeners. Jessie also sheds light on projects such as a hillside garden with terraces; a narrow lane landscaped with columns and plants; a putting green; a firepit area; and an outdoor kitchen and dining area. (Source: http://www.diynetwork.com/diy/shows_wkl/)
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"[Fredrick Winslow] Taylor sought to precisely measure the movements of factory workers and their timings to make them as efficient as humanly possible. This made him beloved by executives and detested on the factory floor, and it also made him one of the world's first management consultants. In a recent article in The New Yorker, 'Not So Fast,' the historian Jill Lepore takes a hard look at Taylor and his claims for scientific management. According to new research, he was a better salesman than consultant. Many of his facts were made up, and most of his results never materialized. We now know that Lillian Gilbreth, an early proponent of scientific management, had serious doubts about the movement she helped proselytize.
All this is important because Taylor, with his system of scientific management, was the father of efficiency. From scientific management we get the lust for efficiency in business. It became part of the dogma of business schools, almost none of which existed before his time. Business schools from their earliest days have promoted efficiency and the handling of business as something like industrial engineering. From operations to finance, from marketing to sales, business school education has focused on narrowing problems, identifying resources and working to get the most out of the least."
(Adam Hartung, 16 October 2009, Forbes)
"Efficiency in human behavior is a goal that is rarely questioned in contemporary culture. This course will study and draw connections between disparate fields to trace the development and influence of this view. The course, drawing a mix of humanities and engineering students, will include readings and lectures on 19th and 20th century philosophers with discussions of new technology and team experimental projects.
Frederick Taylor, the father of industrial engineering, analyzed human motion to optimize industrial productivity, which had great influence on Henry Ford, military logistics, and Stalin. Michel Foucault traced the history of the minute analysis of human motion from Napoleon's methods for transforming peasants into soldiers to modern methods for reforming prisoners. Martin Heidegger claimed that 'efficient ordering' was the defining characteristic of modern culture. Through the course, students will learn to recognize how this obsession with efficiency for its own sake relates to technology and to their daily lives."
(Questioning Efficiency: Human Factors and Existential Phenomenology, UC Berkeley course syllabus, Fall 2006)
SEVENTH INTERNATIONAL CONFERENCE ON DESIGN PRINCIPLES AND PRACTICES, Japan
Proposals for In–Person Presentations Due: 6 December 2012
"The International Conference on Design Principles and Practices, its associated design journals, the On Design Book Series and the Design News Blog are sites of discussion which explore the meaning and purpose of design. Participants in these forums also speaking in grounded ways about the task of design and the use of designed artifacts and processes. The Conference, Journal, Book Imprint and News Blog support a cross–disciplinary knowledge community, bringing together researchers, teachers and practitioners to discuss the nature and future of design. The resulting conversations weave between the theoretical and the empirical, research and application, market pragmatics and social idealism.
In professional and disciplinary terms, the conference, journals, book series and online media traverse a broad sweep to construct a transdisciplinary dialogue which encompasses the perspectives and practices of: anthropology, architecture, art, artificial intelligence, business, cognitive science, communication studies, computer science, cultural studies, design studies, education, e–learning, engineering, ergonomics, fashion, graphic design, history, information systems, industrial design, industrial engineering, instructional design, interior design, interaction design, interface design, journalism, landscape architecture, law, linguistics and semiotics, management, media and entertainment, psychology, sociology, software engineering, technical communication, telecommunications, urban planning and visual design–to name some of the design disciplines."
(Common Ground)
"How does the structure of prototyping practice affect learning, motivation, and performance? In this talk, I will describe research on iteration and comparison, two key principles for discovering contextual design variables and their interrelationships. We found that, even under tight time constraints when the common intuition is to stop iterating and start refining, iterative prototyping helps designers learn. Our results also demonstrate that creating and receiving feedback on multiple prototypes in parallel – as opposed to serially – leads to more divergent concepts, more explicit comparison, less investment in a single concept, and better overall design performance. This talk highlights relevant research in cognitive and social psychology and shares the results of our preliminary design studies."
(Steven Dow, 19 November 2009, Google Tech Talk)
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Research at Leeds Beckett
Dr Henry Irving
Dr Henry Irving
Senior Lecturer
School of Cultural Studies & Humanities0113 81 27730 firstname.lastname@example.com
About Dr Henry Irving
Henry Irving joined the School of Cultural Studies and Humanities as Senior Lecturer in Public History in 2015. He completed his PhD at the University of Leeds and has previously worked for the University of London, the University of Bradford, and the Workers' Educational Association.
Henry is a specialist in mid-twentieth century British history. His research interests centre on the Second World War, with a particular focus on the public's response to wartime legislation and propaganda. He is currently writing a book on the history of wartime recycling that draws together these two themes. He is also a contributor to the AHRC-funded project 'The Publishing and Communication History of the Ministry of Information 1939-45' at the Institute of English Studies.
Henry is committed to public history and occasionally tweets @drhenryirving.
Current Teaching
Henry teaches BA students on the History and English and History degrees. He also contributes to the MA in Social History.
Research Interests
Henry's research focuses on the relationship between state and society in mid-twentieth century Britain. Much of his recent work has been undertaken alongside Professor Simon Eliot (Institute of English Studies, University of London) on an AHRC-funded project titled 'The Publishing and Communication History of the Ministry of Information 1939-45'. This project involved detailed research into the methods used to disseminate official messages, press censorship, and the use of opinion polling to measure the effect of campaigns. Preliminary results are available on the website http://www.moidigital.ac.uk/ and will be published in a forthcoming book.
Henry's work on the Ministry of Information has led to a related project on the social history of recycling in the Second World War. He is using a mix of local archives and individual testimonies to uncover this overlooked aspect of life on the Home Front. He is committed to using these findings to inform contemporary environmental debates through knowledge exchange.
He has previously written on the political debates that surrounded the prolonged use of state controls between 1945 and 1955. This allowed him to explore a diverse range of case studies: from the control of vacuum flasks to the post war rationing of bread. His work on Harold Wilson demonstrated how a lack of definition in debates about 'controls' allowed technical measures to be transformed into potent rhetorical devices by a political class keen to exploit their symbolic meaning.
Henry is also part of a team of researcher working with the History of Parliament Trust to create an Oral History archive of life stories from former MPs.
Selected Publications
Journal articles (4)
- Irving H (2019), 'We Want Everybody's Salvage!': Recycling, Voluntarism, and the People's War. Cultural and Social History
View Repository Record
- Irving H (2016), Towards 'A New Kind of Book': Publishing and the Ministry of Information, 1939-46. Publishing History: the social, economic and literary history of book, newspaper, and magazine publishing, vol. 75 (1), p. 53-76.
View Repository Record
- Irving H (2016), Paper salvage in Britain during the Second World War. Historical Research, vol. 89 (244), p. 373-393.
View Repository Record
- Irving H (2014), The Birth of a Politician: Harold Wilson and the Bonfires of Controls, 1948-9. Twentieth Century British History, vol. 25 (1), p. 87-107.
View Repository Record
Chapters (1)
- Irving H (2019) 'Propaganda Bestsellers': British Official War Books, 1941-46. In: Irving H The Concept of the Book: The production, progression and dissemination of information. London: Institute of English Studies, pp. .
View Repository Record
Reports (1)
- Irving H; Townend J (2016) Censorship and National Security: Information Control in the Second World War and Present Day. . History and Policy.
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- Cultural Studies & Humanities Good News
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- 'Mr Squirrell's Boys' - book launched to uncover wartime stories from PwC
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- Event to explore urban dreams and nightmares


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Poster Painting: Shown above BG #75, acrylic/canvas, 30"x
42", sold
Bonnie MacLean made the following of the Fillmore Posters numbered
series in the late '60s: BG63 through 68; BG71 through 73; BG75 through
77; BG79, BG84; BG86 through 91; BG95, BG96, BG99, BG100, BG102, BG197,
BG198, BG209, and BG215.
Will accept commissions to paint in large format (30" x 42")
your favorite Fillmore Poster from the above list. Price: $7,000.
Work can be seen in poster books currently available at your bookstore:
The Art of Rock, Paul D. Grushkin, Abbeville Press, New York, NY,
1987 The Art of the Fillmore, 1966-1971; Gayle Lemke, Acid Test Productions,
Petaluma, CA, 1997 "Off The Wall; Psychedelic Rock Posters from
San Francisco", Amelie Gastaut and Jean-Pierre Criqui, Thames
& Hudson, 2004.


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Fylgia (The Follower)
They call her the Follower, and yet we follow her. We long for her. Sometimes she seems so far away for we have fled her and do not know the way back home. Then we look out the window with wist and wish for her. Sometimes we do not know it is she we long for. She is out there, calling us back to where we are ; we have fled our true location, and like a lost animal, we wander in the forests, bewildered, thinking she has strayed when we have lost our way. For we are youth, who lose ourselves so easily, and have not learned to trust. O, most loving one, she waits and calls the beacon call back home, that we might hear and let our melancholy and desire guide us back to where she sits. She has been watching all along.