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So, I don't really do awards. I never win things, though admittedly I never enter things, either.
You may remember that I was nominated for designer of the year (knit) in the British Craft Awards? Well... I won. I didn't go to the event as it was a long way to travel and all non-urgent travel is cancelled for the time being and I honestly did not expect to win being the outsider indie and all that.
I really don't know how to process this at all, but I know the important thing is to say thank you for all your support and votes! A video is also good practice at taking myself out of my comfort zone, and it's all fine as long as I don't have to watch it.
Yup, it's been quiet around here. The blog posts I wanted to share of our trip to India never happened as the blogging app went wonky. Coming back I was pretty poorly with jetlag and tracheitis (seems my sulphite allergy has changed and now it gives me trouble breathing. Joy). And then I needed to dive head-first into writing all the handouts for the brand new workshops I'll be teaching at Edinburgh Yarn festival and Woollinn.
I'm coming out of the other side of this now (although still coughing) and I'm not quite sure where I am... it feels like I've lost a few months in time but the snow today is telling me otherwise. I'm learning to sleep properly again and eat properly again (yey for adjusting to another new diet) and I really can't wait for winter to bugger off. My right shoulder is improving but my left shoulder is now deteriorating rapidly and I'm learning to manage all that all over again, too.
And there, I've broken the ice.


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Even by the standards that now characterise policy debate and government pronouncements about the student experience, media coverage of the recent HEPI report plumbs new depths.
The report in question and the media recycle similar assertions to those made when the first report came out in 2006 – that variations in the contact time students have with lecturers are grave matters, that students are dissatisfied if they get fewer contact hours, that if students pay more in fees then they should expect and get more contact time (why?), that time consumed in studying is linearly and causally related to the quality of learning achieved, that students in the UK are getting a bad deal and probably inferior degrees compared with those in the rest of Europe…
These are claims that fly in the face of evidence and logic.
Just a few points:
- What students say they get is not a measure of how much they actually get. Self reports on time spent are a poor substitute for hard data.
- The new report somewhat disingenuously says that it and the previous ones are not mainly about contact time. Apparently it was all the fault of universities for thinking that they were.
- The fees are not extra money; they replace taxpayers' money. Whether or not more contact is a good thing, it is illogical to assert that the same amount of resource should lead to more teaching time. This is a rhetorical sleight of hand on HEPI's (and the government's) part.
- Beyond a certain minimum, amount of time is unrelated to quality. It is not how many hours you study or spend in lectures that matters: it is the value you add to your learning during that time.
- The report itself provides evidence that there is no relation between national student survey results and either contact time or private study time. However, it invites us to draw the opposite conclusion.
- Does anyone really believe that students in Italy and Spain receive a better education than in the UK because they spend more time in class?
In fairness, quite a few comments on the Guardian's story about this report pick up similar issues and articulately shred the whole media hype into fragments.
The report does raise some interesting issues, though. I stand by the response I made to the first HEPI report back in 2006 (except the parts that are a naked self-promotion of the HEA, of which I was then chief executive):
As a social science undergraduate, I studied statistics. Being something of a duffer at maths, I spent five hours private study on what my friend, Kevin (maths A-level), did in 30 minutes. I was at every lecture 10 minutes early. He skipped half of them. We both passed. We were both happy with the value for (taxpayers') money the course gave us.
The point is that the number of hours you study does not tell you about quality of learning, student satisfaction, or value for money. It does tell you about students' experiences, and we need to know more about them. That is why the Higher Education Academy funds research that tells us about those experiences.
The Higher Education Policy Institute (Hepi) report gives us a snapshot of how around 15,000 first and second-year students in English universities, taking a range of subjects, perceive the services and inputs they receive. A striking conclusion is the high level of student satisfaction with their academic experience. This is consistent with the findings of the National Student Survey.
What do the reported differences in hours spent tell us about the student experience in English universities?
We learn something about inputs, but very little about outcomes. People learn in different ways and at different paces. The relationship between hours invested and students' learning outcomes is intricate. Research into students' approaches to learning suggests that a high number of contact hours and private study does not automatically mean they learn better. You can fritter away 30 hours in front of the computer or your books and emerge with very little to show for it. You can go to a lecture and remember nothing significant. What is more important than time is the quality of the engagement – the degree to which you try to understand the material.
How any one student learns is a complex mixture of motivation, ability, peer pressure, available learning resources, previous knowledge, learning opportunities outside the classroom and other factors – as I found when I sat next to Kevin in statistics classes all those years ago.
The students surveyed by Hepi were broadly satisfied above and below a certain number of hours of set teaching time. It would be good to find out whether it is the hours themselves or the quality of what they do with those hours that affects their view. Are students who study longer hours more or less likely to be positive about their overall HE experience and to succeed?
Nor does the report tell us much about the degree system in English universities. Assessment does not depend on how many hours it took someone to complete a programme of study. A strength of the UK sector – not just in England – is the freedom it gives universities and colleges to set their own parameters and students the chance to find the method of learning that best suits them. It would be a pity if a crude cut of the data reported on hours spent became another form of league table (longer hours equals harder degree).
What the report does do very successfully is open up a number of policy areas around widening participation and definitions of "full-time" students. There is striking variation in the proportions of students at the different institutions who do differing hours of paid employment. This survey found that the impact of paid work on student satisfaction and on academic outputs is relatively small. The greatest reported impact is on perceptions of value for money among students who have paid jobs on top of their studies. This is an area crying out for further investigation.
The Higher Education Academy funded Hepi's research because it is important to understand how students say they use their time. These are student experiences – not facts about quality. The quantitative benchmarks established, while limited, will provide a valuable basis for comparison as the impacts of fees and the next stages of the widening participation agenda begin to filter through to universities. We still need to find out more about the student experience: this report raises important questions about it.


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At the 2015 Goodwood Festival of Speed, Lotus announced the all new Lotus 3-Eleven. The fastest (and the most expensive) production car that Lotus has created! Designed to be completely compromised and to be purely focused for outstanding handling and blistering speeds. 2 variations of the Lotus 3-Eleven will be built; The Race version and The Road version.
The road version will start at £82,000 inc VAT and the race version will start at £115,200 inc VAT.
The race version comes with a more aggressive aerokit, highly tuned sequential gearbox and an FIA approved racing seat with harness.
Speed is everything with this car, the Supercharged 3.5l V6 Engine produces 450bhp and because it weighs less than 900KG, it is very light!
0-60 is under 3.0 seconds and top speed is around the 180mph mark.
Aerodynamic downforce of up to 215 kg at 150 mph (240 km/h) - Race version and it lapped the Hethel Lotus track with a 1 minute 22 seconds time, which broke the record.
A very dramatic styled Lotus that is purely performance focused. The dramatically sculpted body perfectly balances the technical efficiency of a track car with the surface refinement of a road-going supercar. Two front splitter configurations are available, depending on whether the vehicle is configured for road or race use, and the front arches are wide enough to cover the car's wide track and the new 225/40 ZR18 tyres.
Manufactured from very light weight composite materials, optimizing vehicle weight, aerodynamic and structural requirements, the 3-Eleven's composite body is 40% lighter than the GRP equivalent.
This new process is a first for a production car, and an example of Lotus' focus on utilising pioneering new technology and lightweight materials in its vehicles. The choice of material technology has allowed extreme vehicle performance targets to be met, and help realise the 3-Eleven's dynamic styling.
We had the fantastic opportunity to have the Lotus 3-Eleven in our Lotus showroom in Poole for 1 day before the car was set to be released.


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Chase Grover
"I had my first experience with clay in January 2011 at Eastern Illinois University under Dwain Naragon. Unfortunately, I lacked natural abilities to manipulate clay, but was determined to learn. After a very short time, I, on a whim, decided that that is what I wanted to be, "A Ceramic Artist." I began to work as hard as I could to progress and so far things are looking up. I am currently in my third year of my MFA at Central Washington University with full intentions of pursuing a career in the field." - Chase


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Customize Your Product and Make Your Mark
Finding an untapped niche in this massive worldwide market, at times, seems impossible – especially when you have a specific idea and you keep your head down. Many people are great business owners, but are they missing elements that could make them true entrepreneurs? Yes, you have to make what you love, but not at all costs – flexibility is a virtue. You have to learn to customize so your customers can see that you really want them!
Why you must customize
An entrepreneur has a great idea, and then makes a mad dash to transform the idea into an income-earning business. Not every idea, however, ends up making money or even gels into a cohesive plan. What's the difference? Passionate and excited people who are successful can also be stubborn; I'm saying this from personal experience. You can stick to your guns and just keep making what you think is perfect, but if it isn't, your stubbornness may come to haunt you. If you're so right about what is perfect, you could miss out on variations to your idea that could be successful. This is a key to being a successful entrepreneur. Sure, we're always "right," but keeping your head up and your eyes open is critical. What other options does your product have? What other problem is it solving? How can you grab the attention of a completely different demographic or market than the primary one you targeted? If you're really paying attention to your products and the reactions from your audience, you will see that there are always other avenues to follow. With minor changes to your ideas, you can hit an entire untapped market. Your widget V1.2 could get more play than V1.0!
How does customization help a brand expand its audience?
For my market in the handmade indie jewelry business, customized work or creations can really lead to a broad customer base for one's business. The indie/handmade/eco-friendly/small biz arena is hot right now. (Never mind if you get into the specifics of jewelry or accessories.) It's hugely competitive, and not in the typical way that iPhones compete with Androids. Everyone needs a mobile, right?
But does everyone need a new necklace or pair of earrings? Well, of course – but in a different way. We all need special things, but this is such a personal experience that it's hard to tell what will have the broadest appeal or even attract a specific target. So when you customize items, not only are you trying things out for a see-what-sticks approach, but you are making people feel really special, as they should, when they are patrons of your business. Indie shops are frequented by people who want to set trends and are looking for something unique; they want a gift that says, "Hey, I could have given you a blue box, but this is better! I put a ton of thought into you and not just it!" People have choices when things are custom. They are part of the design and, therefore, have a stake in how the product is viewed when they wear it or use it. When someone asks them about it, they can say they got it from a shop and helped design it. How cool! So now your customer is engaged, as is the person who asked.
How customizing has changed our marketing
I recently have started to add charms to some of my collection. Charms? What do they have to do with the traditional, historic, crafted-the-same-way-through-the-centuries evil eye beads that I exclusively use? Everything! Many people like the idea of adding a little luck to their lives with adornments. Why not make that luck carry over to specific parts of their lives? I've made bracelets and necklaces with specific themes (horses, animals, peace, or love) that target pretty niche groups. I am me, within a group is an interesting social theory, and it's a strong desire for many people. Taking advantage of that desire will make your product relevant in any market.
How can companies find ways to customize their products?
Customizing your products for impact is easy in many markets, and it can make a big difference in the popularity of the items. Take Dell Computers as an example. Dell knows how to market to niche groups, add what they need, leave off what they don't, and boom: a perfect computer, just for the user! Don't you feel that Dell really cares about what you need, just because they asked?
Also, consider online sellers like Zazzle and Cafe Press. They've made a business of personalizing anything and everything you can think of. Great companies have jumped on this customizing bandwagon, like Nike, Vans, Ford Motors, Hallmark, and M&Ms. These companies' customized campaigns have been extremely successful in bringing their products to new markets and customer bases, which is the only way to survive in the world of capitalism.
Your idea is unique to you, but you need to make your customers feel it's unique to them. Give them choices and let them feel like they're part of the process. You're small right now and you can use that to your advantage; you can adapt to almost every customer's need. You can keep your passion and ideas, yet still customize – it's a win-win for both you and your clients.
Christine Lorenzo is a Boston-based designer and founder of SariBlue, an earthy, bohemian jewelry collection centered on the Turkish evil eye bead. As a member of The Artisan Group, her collection has been featured at the GBK Productions Luxury Lounge honoring the 2012 Golden Globes, the 2012 Oscars and the 2012 MTV Movie Awards nominees and presenters.


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Scholarships for Veterans
As a veteran of the Armed Forces you have many opportunities available to fund your education. We encourage you to visit the following sites to research what is out there for you.
Get the most out of school as a U.S. military veteran
You can finish a program you started, get a two-year professional degree from a community college or technical school, or ride higher education all the way to a PhD.
Scholarship Opportunities


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Hi Henry, -----Original Message----- From: firstname.lastname@example.com [mailto:firstname.lastname@example.com]On Behalf Of Henry S. Thompson Sent: Friday, June 09, 2000 6:38 AM To: John Boyer Cc: firstname.lastname@example.com; Joseph M. Reagle Jr.; Daniel Veillard; email@example.com; firstname.lastname@example.com Subject: Re: XPTr bare names and XPATH id() "John Boyer" <email@example.com> writes: > Oops, yes I used incorrect terminology. This replacement should be > satisfactory: > > Furthermore, as I pointed out to the dsig group yesterday, and with which > you indicate agreement below, we are free to process an Xpath node-set or > XPointer location-set in any manner necessary. Therefore, the XPointer > URI="#E" can > be processed by XPath serialization (or by the new c14n) by processing > E plus all nodes that have E as an ancestor. In other words, > subtree(id("E")). I agree entirely, up to the last few lines. I think it is unnecessary and indeed somewhat misleading to define your serialisation in terms of your definition of subtree. The flattened set of all descendants has the wrong shape. It makes serialisation non-recursive, i.e. you can't say: to serialise an element node (an XPointer result), do this, that, then serialise its attributes, then do blah, then serialise its daughters in order, then do zyzzy. I suggest that that's precisely what you want, your own, recursively specified, definition of 'serialisation'. That's why I brought up 'string-value': I think the definition of 'serialisation' should be very similar to that of 'string-value'. Doing the definition in terms of node sets actually makes it harder, in my opinion. <john> The use of node-set doesn't make anything harder. At any point in the lifetime of a node-set, there must be sufficient internal data structures necessary to move in along any axis of the parse tree in order to do the next location step. The information isn't lost. The genesis of the view of node-set as a set of nodes began around last August at a face to face meeting of the dsig group when I presented on the use of Xpath to perform document subsetting, which solves lots of problems related to digital signatures. I'm not going to reiterate the months of email explanations pertaining to the idea, nor the public specifications of how it works [1,2], but I will reiterate the point as made in a recent email by Dan Connolly [3], we're using the notion of set to specify *which* descendants to serialize, and which to exclude. Finally, it should be obvious from the archives that I agree with your definition of the serialization as a recursive process (trees adhere well to recursive definitions, after all). Yesterday (and into this morning) I went to extra lengths to ensure that this recursive nature was clearer than ever in the new c14n draft, and that the recursive descent was being used in combination with set membership to decide, for each node, the text that is generated [4]. It should be clear from the description that an element's descendants are visited even if the element is omitted from the node-set. [1] http://www.w3.org/TR/xmldsig-core/ [2] http://www.w3.org/TR/xml-c14n [3] http://lists.w3.org/Archives/Public/w3c-ietf-xmldsig/2000AprJun/0248.html [4] http://lists.w3.org/Archives/Public/w3c-ietf-xmldsig/2000AprJun/0246.html John Boyer Software Development Manager PureEdge Solutions Inc. (formerly UWI.Com) Creating Binding E-Commerce firstname.lastname@example.com </john> ht -- Henry S. Thompson, HCRC Language Technology Group, University of Edinburgh W3C Fellow 1999--2001, part-time member of W3C Team 2 Buccleuch Place, Edinburgh EH8 9LW, SCOTLAND -- (44) 131 650-4440 Fax: (44) 131 650-4587, e-mail: firstname.lastname@example.com URL: http://www.ltg.ed.ac.uk/~ht/Received on Friday, 9 June 2000 12:53:30 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 6 January 2015 21:21:33 UTC


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Set up a questionnaire
Applies To: Microsoft Dynamics AX 2012 R3, Microsoft Dynamics AX 2012 R2, Microsoft Dynamics AX 2012 Feature Pack, Microsoft Dynamics AX 2012
Before you can set up a questionnaire, you must set up questions, answers, and questionnaire prerequisites. For more information, see Designing questionnaires and Using questionnaires.
Click Home > Common > Questionnaires > Design > Questionnaires.
Click New to create a new line.
In the Questionnaire field, enter a unique identifier for the questionnaire, and in the Description field, enter a brief description of the questionnaire.
In the Type of questionnaire, select the type of questionnaire to set up.
For more information, see About questionnaire types.
Enter additional information, as needed.
For more information, see Questionnaires (form).
Possible next steps
The following links provide a logical progression to follow in the sequence. Depending on the questionnaire features that you are using, refer to the following information about the next steps:
Attach a question to a questionnaire without result groups
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"Blessed is the man whose strength is in You, whose heart is set on pilgrimage" (Ps. 84:5, NKJV).
There came a moment in my life that Holy Spirit breathed into my spirit a new description of spiritual resilience. He called it "holy stubbornness." There was a reason He was giving me this new branding of an ancient concept. I needed it for the battle raging around me. It was the only way I was going to come out on the other side victorious. I needed to determine in my heart that, by God's empowering, I was going to be more stubborn than the enemy. Sheer holy stubbornness was going to keep me in the fight no matter how much I was bleeding.
Psalm 84:5 tells us that there is a blessedness that encompasses a determined believer – one "whose heart is set on pilgrimage." There are seasons in all of our lives when we must resolutely, tenaciously set our heart on the finish line. During those times, it will seem like all of hell has turned out in the war against our joy. Battle after battle after battle in seemingly unending succession will pummel our will to continue. The testing of our faith will at times feel agonizing. It will be in those moments that we must lock our teeth on God's promises like a bull dog. No matter what is unleashed against us, we simply can't let go. Holy stubbornness must possess our souls as yet again we lean into Holy Spirit's admonition:
"And let us not grow weary of doing good, for in due season we will reap, if we do not give up" (Gal. 6:9, ESV, bold emphasis mine).
If we do not give up! Sometimes, it's all we can do to put one foot in front of the other, or even one knee in front of the other as we crawl forward. But we simply can't give up. Harvest really is coming!! This season of difficulty and distress WILL NOT LAST FOREVER!!!
We know we can endure and pull through to victory because Jesus went before us, showing us how to do it – in the weakness of a human body, complete with the vulnerability of human emotions. Isaiah foretold His suffering with so much detail that the passage reads more like a historical narrative than a prophecy. In the verse following his prediction of Jesus' beard being plucked out, we read this cry of our Savior's heart:
"Because the Lord God helps me, I will not be dismayed; therefore, I have set my face like flint to do his will, and I know that I will triumph. He who gives me justice is near…" (Isa. 50:7-8a, TLB).
Do you see it there? Holy stubbornness. "I have set my face like flint to do His will." Determination as immovable as a rock. Jesus was resolute, unyielding, unwavering, steadfast. No matter what the cost, He was going through with it. He saw the triumph on the other side of the pain. He saw you in His arms forever. Nothing, absolutely nothing in all of creation, was going to stop Him from obtaining that intimacy with you.
Is there a war raging around you right now? The Spirit of Jesus is one with your spirit, mighty warrior. Let His holy stubbornness rise up on the inside of you in this moment. Set your face like flint. Raise your voice and cry out with Him, "Weeping may last for the night, but joy is coming in the morning! I know that I will triumph! He who gives me justice is near!" Bite down like a bulldog; sink your teeth into the unfailing promises of God; and never, ever, ever let go!
Do you have any personally gleaned insight about not giving up even when most everything inside of you wants to? I'd love to hear your wisdom in the comments!


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Your Custom Text Here
The challenge of the palette knife in painting is losing yourself in the energy of the color and edges of the paint. Explore with Laurie in a unique setting to see a new side of painting and creativity; discover how to loosen up your control of the canvas and explore the other side of the brain with color and movement.
Click here to contact Laurie to book your own private weekend working with your knife.


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Hackney's Speaker, Sharon Patrick, brought together Hackney musicians and choirs to raise money for three charities that do great work for Hackney people: Alzheimer's Society, which works to improve the quality of life of people suffering from dementia; The Sharp End, which offers services and activities to promote the health and well-being of older people; and The Laburnum Boat Club – a community-based boating project that provides opportunities for the personal development of children and young people. The concert took place in the atmospheric St John of Jerusalem, E9.
Hackney Singers were proud to participate in this fantastic event. We sang excerpts from Mozart's Requiem, as well as participated in a rousing finale of the Hallelujah Chorus with the other musicians.
A huge thank you to those who gave their time to perform, and also to those who attended and gave generously to the charities.
fun performing 4 @hackneyspeaker concert congrats @vicparksings @benlsmith320 @HackneySingers @HackneyEmpire @suzukihub #hackneymusic????????
— three4 (@three4uk) April 19, 2015
Thank you @HackneySingers you were great too and I would love to sing with you at one of your concerts!! ???????? #Hackneymusic
— Emma Dogliani (@EmmaDogliani) April 19, 2015
Great singing from Hackney Festival Chorus, @HackneySingers @EmmaDogliani @hackneyempire choir @vicparksingers. A joy pic.twitter.com/kqnkxMv8Qy
— Benedict Lewis-Smith (@benlsmith320) April 18, 2015
Thanks to those who came to the @hackneyspeaker's charity event last night, and to @dracstorey for his marvellous conducting! Great evening.
— Hackney Singers (@HackneySingers) April 19, 2015


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On Thursday I had the distinct pleasure of attending a business event where I got to meet Craig Kielburger, the founder of Free the Children.
I have met some people that are really obsessed with Craig and despite how amazing he is, I am blessed to have stayed out of the "fangirl" zone. However, I was captivated by his interpersonal skills. Each time I have encountered him (mainly at We Day) I am captivated by his ability to connect with people and inspire them. Things like a smile, eye contact, a firm handshake (with elbow touching?), and using someone's name really go a long way.
Hearing him speak really brought up many emotions for me. I was go grateful to have a reminder to BE THE CHANGE. Whenever I am motivated by someone I feel this funny feeling inside. I noticed it especially when watching inspirational videos. It is like someone has tied a string around my heart and is connecting it with the hearts of others. I kid you not, this is a very physical, embodied experience. I was almost in tears. I think that's why I love film so much, you have the power to really affect people.
The event I attended was centered around Haiti and it was really interesting to reflect back on what happened a year ago. Had I forgotten? Do we ever really forget?
I'll end with this. What motivates you? And what are you doing to make the world better? Think about that. Everyday.
PS: I wore my vegan Doc Martins. Yeah.


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Grand Central Hotel Glasgow Wedding photos - Christine & Russell
I was very excited to photograph Christine and Russell's wedding at The Grand Central Hotel in Glasgow.
It was great to get back to Glasgow to photograph a wedding and what a stunning hotel! Located right in the heart of Glasgow city centre and part of Central Station it really is a fantastic place to get married. The hotel has recently been renovated and gave us plenty of beautiful locations to photograph.
It was great to see so many kilts and Christine's bouquet with my favourite flower, the flower of Scotland (Thistle incase you weren't sure!) I had a great time and really can't wait to get another wedding in Scotland. Hope you enjoy some of the photos from the day. If you'd like to hire me as your Glasgow wedding photographer please get in touch...
All images copyright Duncan McCall Photography 2014


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The University's quality and standards of its education provision have been confirmed by the Quality Assurance Agency for Higher Education (QAA).
The Higher Education Review, which took place in February 2016, judged that the University had successfully met the UK expectations in all four areas of judgement: academic standards; the provision of learning opportunities and information; and the enhancement of the quality of student learning opportunities.
Professor Judith Squires, the Pro Vice-Chancellor for Education and Students, said: "We are very pleased to receive such a positive report from the QAA. The findings endorse the continued commitment of our staff to the delivery of a high-quality student experience that enables our students to reach their personal and professional potential."
The Review is carried out every five years by expert staff and students from other universities. The full report can be downloaded from the QAA website.
The University has produced an Higher Education Review 2016: Action Plan (PDF, 96kB) to outline how it will address the review's recommendations, continue to implement the affirmations and further embed good practice.
A Self-Evaluation Document (UoB access only - pdf, 3,910kb) was provided in advance of the Review containing evidence on the setting and maintaining of academic standards and the management of quality processes for the education we provide.


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He's played with Bryan Ferry, Humphrey Lyttelton and Rufus Wainwright – and now audiences in Bedford can hear the talent of Robert Fowler live.
He will play the weekly Monday Night Jazz session at the Bedford Arms on July 24, demonstrating what The Observer has described as his "juicy cavernous sound".
Robert's jazz career began while studying graphic design in Bristol. On graduating he was approached to play with The Pasadena Roof Orchestra. There followed nearly a decade of international and national touring, travelling much of Europe, the USA and the UK, which Robert found invaluable - nurturing his early talent and developing his rich sound.
Robert has worked with many bands from the British jazz scene, appearing with The Echoes of Ellington and the BBC Big Band and is a regular with Alan Barnes' octet as well as The Back to Basie Orchestra.
In 1999, Robert was asked to play on a session for Roxy Music's Bryan Ferry for the album As Time Goes By. This led to a further two years of touring with Bryan and working across other areas of the musical spectrum.
Robert has also played with Canadian singer,Rufus Wainwright, as well as appearing with the RTE Orchestra in Dublin and the CBSO in Birmingham. About ten years ago, Robert joined the ranks of the Humphrey Lyttelton Band. Since Humph's death in April 2008, the band is currently honouring many concert dates, performing his music as a tribute to the great man.
He will be joined by bassist Mark Lewandowski, who has become a regular at Ronnie Scott's Jazz Club.
The music starts at 8.30pm, with suggested donations of £5 per person.


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No where in Africa does the climate have such a profound effect on the movements of wildlife than in the Makgadikgadi, another place in Botswana where the forces of nature seemed to have rewritten the rules. As in much of southern Africa there is a wet season and a dry season in the Makgadikgadi but it is in the physical attributes of each season where the attractions of this fascinating region lie.
Best Time to Visit Makgadikgadi Pans
A time between the seasonsThis time is from late September through to early November, peaking through October.
Although the climatic seasons of Makgadikgadi can be broken up into the wet season and the dry season there is a time that needs special attention. This is the time between the two seasons, a time when the sky is washed in dust and mirages dance on the horizons.
This is the hottest time in the Makgadikadi, where temperatures can rise to 45 degrees during the day, but despite this it is a time of expectation and excitement for each day that passes is a day closer to the coming of the rains.
Rainy SeasonThe rains usually begin in November and end in about March, with the pans retaining water until April or May. The area becomes transformed as grasses sprout and the salt pans fill with algae soup. The largest breeding flock of Flamingos in Africa congregate here and great herds of Zebra and Wildebeest move into the area.
Unfortunately, even 4x4 vehicles get bogged down in the instant mud at this time of year and most lodges are closed. Therefore, a fly-in safari is the best way to see the amazing influx of birds. Summer rainy season temperatures reach 40°C (104°F) in the day, while nights are mild and warm.
Dry seasonAccording to the lodges of Makgadikgadi, the best time to visit the area is during the dry season from March to September. These months include the winter period where days are lovely and warm, but nights become shiveringly cold.
From April to November great numbers of Antelopes, Wildebeest and Zebra move from the south-east pans towards the Boteti River in the west, where rain is expected to fall in November. From August to November the wind starts picking up and huge whirlwinds build in intensity as they skid across the flat pans.
A place for all climatesAlthough the climate plays a huge role in the experience of each season of the Makgadikgadi it can truthfully be said that it is a place for all seasons, providing an unforgettable experience throughout the year.
Enquiries / Questions


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Previous Exhibition: Two Views
The public is invited to a reception at Art/Place Gallery for "Two Views", the oil paintings of new members, Jeffrey Starkes and Elizabeth Higgins on January 15 from 2 to 5 pm.
Jeffrey says he is inspired by the art and artifacts of aboriginal cultures and of our earliest ancestors. "I endeavor to produce works that are as much about instinct as they are about intellect."
Elizabeth (Betsy) says, "I think the subject matter whether it be a landscape, figure or still life simply provides a vehicle for my painting…a starting off point.
"Woman in Yellow Light", Elizabeth Higgins
"Marks of Mankind", Jeffrey Starkes


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There are many advantages to owning a home business enterprise, but there can be problems, especially when you are unaware of what you are doing. Doing some homework can help you avoid all of the common mistakes home based business owners make. Here are some excellent ideas to help your business thrive.
Make sure you put real efforts into making your current customers your number one priority. It is easier to generate income from repeat buyers than it does to convince a new one to buy for the first time. Keep clients happy and they'll come back.
Join forums about home businesses in general. This is a good way to talk with others in your shoes and get your business.
Have a banner page on your website for banners.This will give you the ability to trade banner links with other businesses in which you stay in contact. This will help you with rankings and is fairly simple.
The Internet is a great place to gather ideas when you're beginning a work from home business but can't decide what you want to do. Be aware, though, of the online scams. There are many websites that sell guides containing information that is already freely available, or is simply unusuable because it doesn't tell you anything you don't know. There are complex scams as well that take your money for various things.
Find a niche for you. Find the market that fit with what you have to sell. It will be easier to sell to people when you define your customer base. Ask your friends and colleagues if they feel about the niche you have chosen.You can get valuable referrals from these same people for referrals. Go to trade shows or conventions to learn more about customers.
These things will keep your business honest and focused on success, not failure. You don't want to continually make the mistakes others have made. This will give the resources you need to help your business prosper.


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text: It turns out that starting a new job and dealing with health issues at the same time takes a lot of energy and time. Throw on top of that managing a household and you have very little sewing going on. I've been working on a Simplicity dress off and on for months. I cut out a Butterick shell two days ago, intending to sew it all in one afternoon, and here we are–days later–with no progress. I get easily frustrated. I've gained more weight and now I'm rather lost as to adjustments, etc. I'm hoping things settle down soon so that I have time to create. In the meantime, I've been loving seeing what y'all have made.


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Just a little story about your average sword-swinging, karate-chopping, crime-fighting ninja librarians. "[Downey] shows a rare gift for crafting scrambles so madcap that it's hard to turn the...
Just a little story about your average sword-swinging, karate-chopping, crime-fighting ninja librarians. "[Downey] shows a rare gift for crafting scrambles so madcap that it's hard to turn the pages fast enough to keep up." —Kirkus Starred Review
An Overdue Library Book Can Change Your Life. (So Can a Pet Mongoose.)
When Dorrie and her brother Marcus chase Moe—an unusually foul-tempered mongoose—into the janitor's closet of their local library, they make an astonishing discovery: the headquarters of a secret society of ninja librarians.
Their mission: protect those whose words get them into trouble, anywhere in the world and at any time in history.
Petrarch's Library is an amazing, jumbled, time-traveling secret base that can dock anywhere there's trouble, like the Spanish Inquisition, or ancient Greece, or...Passaic, New Jersey. Dorrie would love nothing more than to join the society, fighting injustice with a real sword! But when a traitor surfaces, she and Marcus are prime suspects. Can they clear their names before the only passage back to the twenty-first century closes forever?
Chapter 1
Twelve-year-old Dorothea Barnes was thoroughly un-chosen, not particularly deserving, bore no marks of destiny, lacked any sort of criminal genius, a...
Chapter 1
Twelve-year-old Dorothea Barnes was thoroughly un-chosen, not particularly deserving, bore no marks of destiny, lacked any sort of criminal genius, and could claim no supernatural relations. Furthermore, she'd never been orphaned, kidnapped, left for dead in the wilderness, or bitten by anything more bloodthirsty than her little sister.
Don't even begin to entertain consoling thoughts of long flaxen curls or shiny tresses black as ravens' wings. Dorrie's plain brown hair could only be considered marvelous in its ability to twist itself into hopeless tangles. She was neither particularly tall or small, thick or thin, pale or dark. She had parents who loved her, friends enough, and never wanted for a meal. So why, you may wonder, tell a story about a girl like this at all?
Because Dorrie counted a sword among her most precious belongings. Yes, it was only a fake one that couldn't be relied upon to cut all the way through a stick of butter, but Dorrie truly and deeply desired to use it. Not just to fend off another staged pirate attack at Mr. Louis P. Kornberger's Passaic Academy of Swordplay and Stage Combat (which met Tuesdays behind the library after Mr. Kornberger finished work there) but, when the right circumstances arose, to vanquish some measure of evil from the world.
Dorrie regarded every opportunity to prepare for that moment as a crucial one, and the Passaic Public Library's annual Pen and Sword Festival—always bursting with costumed scribblers and swashbucklers—afforded, in her strongly-held opinion, one of the best. On its appointed day, she pounded down the wide battered staircase of her home long before the rising sun finished gilding the rusty dryer that sat, for lost reasons, on top of it. She did so in the one tall purple boot she could find, dragging her duffel bag behind her.
At the bottom, in the vast chamber that had once served as a ballroom, Dorrie caught a glimpse of herself in the mirror that hung over a bureau by the back door, and hiked up her wide leather belt. She had buckled it over a hideous, electric-blue-and-black-striped suit jacket with ripped-out sleeves that Dorrie's father swore he had worn proudly out in public in a bygone era. Underneath it, a shirt with great puffy sleeves and dangling cuffs screamed "pirate" loudly and well. After taking a moment to tug on the hem of the moth-eaten velvet skirt that was meant to hang to her knees but had got caught in the waistband of her underwear, she glowered into the mirror, her sword aloft. Despite the missing boot, the overall effect pleased her.
"Yo ho, Calico Jack," called her father. "Put this back in Great-Aunt Alice's sitting room, will you?" Dorrie looked away from the mirror to see her father, holding a tiny carved owl. He wore a ruffled, candy-striped apron that read, "You Breaka My Eggs, I Breaka Your Fast". With his free hand he was stirring a pot of glopping oatmeal in the part of the old ballroom the Barnes called "The Kitchen". Other parts of the once grand chamber served as "The Living Room", "The Office", "The Rehearsal Hall" for Dorrie's fourteen-year-old drum-pounding brother, Marcus, and "The Playroom" for Miranda, Dorrie's four-year-old sister.
Dorrie made her way to her father across one of the dozen rugs bought cheap from thrift stores currently living out their end days beneath the daily burden of ill-conceived art projects, the occasional mislaid plate of scrambled eggs, and books. Heaps and hills and hoards of books. Books left open on the back of the sway-backed sofa and under the piano, on the top of the toaster and hanging from the towel rack.
"Miranda borrowed it," he said, dropping the carved owl into Dorrie's outstretched hand. Dorrie gave her father "a look." Her sister had a deeply ingrained habit of "borrowing" things. Dorrie set off for Great-Aunt Alice's sitting room, which lay on the other side of the deteriorating mansion.
Great-Aunt Alice had invited Dorrie's family to live with her two years ago when her sprawling home had become too much to care for by herself.
Besides the ballroom and a few bedrooms, the rest of the mansion was her territory. Just as shabby, she kept it spare and clean and orderly. Great-Aunt Alice claimed the Barnes side of the house gave her fits of dizziness.
After Dorrie set the owl back on its shelf in Great-Aunt Alice's empty sitting room, the thick hush tempted her to tuck her sword beneath an arm and open a little stone box that stood beside the owl. Inside lay an old pocket watch and a silver bracelet set with a cloudy black stone.
The doorbell rang, and Great-Aunt Alice's voice in the marble-floored hallway made Dorrie's hand jerk so that the box's lid fell closed with a small clack.
Hurriedly, Dorrie pushed the box back onto the shelf. Then, in a silly horror at the thought of Great-Aunt Alice—who often seemed as remote and unfathomable as a distant planet—catching her snooping, she wrenched open the lid of a cavernous wicker trunk that stood against the wall and scrambled inside, sword and all. She pulled the heavy lid down on top of her. It bounced on her fingers, trapping them, just as Great-Aunt Alice hobbled into the room. Dorrie sucked in her breath, the pain making her eyes water. She heard the sitting-room door close.
"Well, did he see you go in?" asked Great-Aunt Alice.
"Oh, he doesn't have the imagination to suspect," said a young woman breathlessly.
Dorrie pressed her eyes to the gap made by her swiftly swelling fingers. Amanda, Dorrie's favorite librarian at the Passaic Public Library after Mr. Kornberger, stood now, inexplicably, just inside Great-Aunt Alice's sitting-room door. Everything about Amanda Ness was long. Her skirts, her hundred braids which hung down below her shoulders, and her nose—which had been given the usual infant inch and had taken a mile. If a long temper was the opposite of a short one, well, she had that too.
"You should be more careful," said Great-Aunt Alice, stopping at her writing desk. She smoothed a few white hairs back toward the tight bun at the back of her head. "Has anything changed?"
"Not yet," said Amanda, sitting down on the edge of a little pale-blue sofa.
"No. Of course not," said Great-Aunt Alice, easing herself down into a straight-backed chair. "It's patently absurd that we're even discussing the possibility."
Amanda looked vaguely hurt.
"I don't know what I've been thinking," said Great-Aunt Alice. "Sneaking around in there like a thief these past weeks."
Amanda clasped her hands together. "You were thinking that the stories might be true!"
Dorrie listened so hard that she could almost feel her ears trying to creep away from her head.
Great-Aunt Alice picked lint from a sweater hung on the back of the chair. "Well, I'm a foolish old woman." She caught Amanda staring at her. "Oh now, don't look so disappointed."
"Give it more time!" pleaded Amanda. "He said he wasn't sure how long it might take."
Great-Aunt Alice absently toyed with a little jar of pens on her desk. "I'm ashamed that I believed even for a moment in the possibility."
In her wonder at the thought that Great-Aunt Alice could believe in anything fantastical for even the briefest of moments, Dorrie barely felt the wicker strands of the trunk embedding themselves in her knees. After all, Great-Aunt Alice had frowned disapprovingly when Miranda asked her to clap her hands so that Tinkerbell wouldn't die.
Amanda leaned toward Great-Aunt Alice. "But it's obvious that something special is supposed to happen there." Dorrie held her breath so as not to miss a single word. The conversation positively bulged with mysterious possibilities.
"It's obvious my father wanted something special to happen," Great-Aunt Alice corrected. "My believing that it will happen is as ridiculous as Dorothea believing that she's going to corner modern evil with a sword."
At the mention of her name, Dorrie nearly lost her grip on the sword in question and had to scrabble to keep it from falling noisily to the floor of the trunk. There was a moment of silence during which Dorrie felt certain that Amanda and Great-Aunt Alice could hear the small cave-in taking place in the general vicinity of her heart, but her great-aunt only sniffed and began to talk about Mr. Scuggans, the new director of the Passaic Public Library, calling him insufferable.
Dorrie began to breath again in shallow little huffs. Ridiculous! She turned the stinging word over in her mind. Dorrie had never stopped to think about whether her desire to wield a sword against the villains of the world was sensible or ridiculous. It just was. She squeezed the hilt of her sword, drawing strength from it until the crumbling hollow feeling in her chest faded a little.
The conversation outside the basket had turned to the difficulty of cleaning the library's gutters, and stuck there for what seemed like an excruciating eternity until, at last, Great-Aunt Alice showed Amanda out. Dorrie, her heart pounding, slipped from her wicker prison, and back through the double doors that led into her family's side of the house.
She stood still for a moment, her thoughts whirring madly. Insults aside, what had Great-Aunt Alice and Amanda been talking about? Something important. "Special," Amanda had said.
Her gaze fell upon the clock hanging slightly askew on the wall above the back door. Shocked at how much time had passed in the trunk, Dorrie sprinted halfway up the staircase.
"Come on, Marcus!" she bellowed. "Hurry up! The Festival! We're gonna be late!"
With relief, she heard Marcus let down his drawbridge, the chains rattling as they lowered the doubled-up piece of plywood that he had attached to the outside of his bedroom window. It landed with a muffled thud on the roof of an old garage that served as their chicken shed. Somehow, being able to do his chicken-feeding chore without having to technically leave his room counted as a great victory in her older brother's battle to do less—a battle he waged with a fanatic's energy.
After a hurried circuit of the ballroom in search of her still- missing boot, Dorrie threw herself down on the rug in front of the Barnes' threadbare barge of a couch and began to grope beneath it. A splash and a cry of "Oh, Miranda!" came from the bathroom below the stairs. Dorrie's mother emerged, a wet cell phone held up gingerly between two fingers.
Behind her, Miranda clanked along, a velvet ribbon around her neck hung with two spatulas, a ring of old keys, and a plastic funnel. Her bushy red hair was inexplicably full of paper clips. Miranda stopped to rearrange her dangling collection. Dorrie noticed a porcelain kitten in a tiny basket hanging between the two spatulas.
"Hey, you little magpie," said Dorrie. "That's my kitten!"
"It likes me better," Miranda said, just as Marcus landed at the bottom of the stairs with a furniture-shaking thud.
"You're not even dressed yet!" Dorrie howled at him.
Marcus yawned. "Shirt," he said pointing to the black T-shirt he'd worn to bed. White letters across the chest read, "Apathy is Hard Work." He pointed to the reindeer-print flannel pajama bottoms that covered his giraffe-like legs. "Pants."
"That's what you're wearing?"
"Not every pirate was a fashion icon."
"You're not taking this one bit seriously!"
Marcus yawned luxuriously. "Who would?"
Dorrie felt her face warm as Marcus sauntered away toward the refrigerator. I do, she said to herself, swallowing hard.
"I can't find my boot!" she shouted at the top of her lungs.
"And I can't find any of my duct tape," her father said calmly, stooping to pick up the mail that had just come cascading through the letter slot in the back door.
Dorrie's father built prototypes for people who thought up interesting inventions but had no idea how to use a screwdriver. He used a lot of duct tape.
"Ask little Lady Lightfingers about it," said Marcus, looking back darkly at Miranda. "She took my drum key right out of my pocket."
Dorrie swept her arm under the couch again. It landed on a half-sucked lollipop. Trying to shake it off, she upset a tottering stack of books that had grown to the height of an end table beside the couch. Dorrie only had time to cover her head with her hands before they came bouncing and tumbling down upon her. She sat up with a jerk, and The Princess Bride: S. Morgenstern's Classic Tale of True Love and High Adventure slithered to a stop beside her knee. It held within its pages her favorite sword fighting scene of all time.
Dorrie slowly picked the book up, the echo of Great-Aunt Alice's words in her ears. Staring at the cover, it suddenly dawned cold and hard on her that though she might want to wield a sword against modern villains, modern villains probably had not intention of making themselves available to her for a spearing. Not the spectacularly vile wicked ones who really knew how to brew up trouble. Not the ones who surely lurked behind the radio news stories about bombs and starving kids and poisoned rivers. Not in the cooperative way they used to once upon a time, at least according to the books she liked to read.
Her father's voice interrupted the terrible thought. "Dorrie," he called in a singsong voice.
She tossed the book aside and stood, full of hot confusion. Modern villains probably wouldn't make themselves helpfully obvious with swirling black cloaks, scars in all the right places, or fiendish laughs, either.
"Please find The Three Musketeers, will you? " asked her father, sifting through a fresh pile of violently yellow envelopes, every square inch of them stamped "Urgent" and "Overdue" in blood-red ink." Before Mr. Scuggans buzzes the house in a helicopter."
"I've been looking!" said Dorrie, tossing The Princess Bride aside, and getting to her feet. And she had. For the last three weeks, Dorrie had suffered for the missing book, not daring to set foot in the Passaic Public Library. Whenever Mr. Scuggans caught sight of a delinquent borrower, he liked to publicly announce the size of any fines owed with a bullhorn. Amanda and Mr. Kornberger always took care to lower their voices when delivering any bad news about fines or the blocking of borrowing privileges. It was rumored that Mr. Scuggans wore a toupee.
Dorrie's mother's phone rang. "Well, praise Neptune, it still works," her mother said, looking pleased as she threw a handful of spoons on the table and placed the phone gingerly alongside her ear, if not exactly touching it. "Hello?" Dorrie's mother listened for a moment and then fixed Dorrie with an exasperated grimace. "Oh hello, Mr. Scuggans."
"I don't think she's so pro-Neptune anymore," said Marcus, jamming his hand into a box of cereal.
"Yes, she…yes, I…yes, she's…uh…actively looking for it." Dorrie's mother flailed one arm at Dorrie as though she were a chicken who needed shooing.
For the third time that week, Dorrie hurriedly lifted the sofa cushions. The Three Musketeers wasn't there. But her missing purple boot was. She held it up to her mother triumphantly. Her mother did not look impressed.
"Yes, we have the title," Dorrie's mother continued into the phone, as Dorrie hopped on one foot, tugging on the boot. "Hmm? No, I don't think I need the bar code numbers. Well, of course I'm taking this seriously." The doorbell clanged again in the front hall. Dorrie's mother put her hand over the phone. "Go get it," she hissed.
Dorrie jabbed her finger at the clock. Her mother jabbed her finger toward Great-Aunt Alice's territory. After giving her mother what she hoped was a suitably put-upon look, Dorrie stomped through the separating doors, Miranda skipping along behind her.
In the black-and-white marble-tiled front hall, Dorrie heaved open the door. Her eyes traveled upward. An immense man in a dark overcoat, crisp white shirt, and shining tasseled loafers stood on the doorstep. His silvery hair seemed to absorb the sunlight. At the curb behind him idled a long, black car with tinted windows.
Dorrie blinked at the man, struck by the thought that the red bow-tie he wore did not look the least bit merry on him.
"We don't want any!" said Miranda, pushing her head out from beneath Dorrie's arm.
"Charming," the man said in a velvety voice, as though the word didn't taste very good. At his side, the fingers of one gloved hand began to move up and down like piano hammers as he rolled two walnuts around and around each other in his palm.
Dorrie's face reddened. Now, strangers ringing Great-Aunt Alice's doorbell were hardly unusual. Great-Aunt Alice was an anthropologist who wrote long books filled with very small type about humans and the things they believed in. For as long as the Barneses had lived with Great-Aunt Alice, a steady stream of peculiar guests had come to be interviewed by her.
Dorrie felt these visitors came in two varieties: ones who would rather give up a kidney than talk to Dorrie, and those who, if allowed, would ensnare Dorrie in long, bewildering conversations about the mystical symbols buried in dollar bills or their identities as kings or queens of lost civilizations. The men tended to sport long walrus-y moustaches, and the women, fringed shawls and carpetbags. This man had none of these things. A hair-raising sort of wet growling was coming from inside his car.
Dorrie thought back to the conversation she'd overheard. The morning was getting stranger by the minute.
Miranda made her own gurgling, growling sound and, with bear claw arms, began to run in tight circles around the stranger.
The stranger stared straight ahead, his gaze not so much resting on Dorrie as burning through her. In his hand, one of the walnuts cracked smartly, and bits of nuts and shells fell in a thin, dusty shower onto the doorstep.
"Sorry about her," Dorrie said, hastily grabbing the back of Miranda's shirt as she passed and hauling her back inside. "Can I help you?"
"I'm Aldous Biggs. I've come to see Alice Laszlo. Is she in?"
"I'm Alice Laszlo," said Great-Aunt Alice from her sitting-room doorway, where she leaned on her cane. Dorrie found it hard to meet her eyes. "How can I help you, Mr. Biggs?"
"I've come in response to your advertisement. About the book."
"Ah," said Great-Aunt Alice. "I haven't run one in some time."
"Just the same."
Great-Aunt Alice studied Mr. Biggs. "Please come in." She opened her sitting-room door wide for him. Relieved to escape Great-Aunt Alice's gaze, Dorrie began to drag her sister back across the hall. Once firmly back in Barnes territory, Dorrie pretended not to notice when Miranda stepped with a splash into her imaginary dog's bowl full of very real water.
Dorrie's mother dropped her phone on the counter, looking exhausted. "Dorrie, you've got to find that book."
"I will," Glancing at the clock again, Dorrie slid into her seat, seized her spoon and began to shove oatmeal into her mouth double-time.
"I already did," said Miranda primly, as her mother lifted her out of the bowl of water and set her on a stool next to Dorrie.
Dorrie and Marcus and their mother and father all stopped what they were doing and stared at Miranda.
Miranda dug her spoon into the sugar bowl. "I put it in her bag."
"Oh, praise Nataero!" said her mother, grabbing the spoon back before Miranda could close her lips around it.
"Thank you?" said Dorrie, looking suspiciously at Miranda and not at all sure the Roman god of lost things deserved much praise in this case.
"New burning question," said her father loudly, as he passed around a bowl of hard-boiled eggs. "Who was fooling around with my helium tank?"
"Could have been me," said Marcus, his voice unnaturally high.
"Well, don't do it again. You left the valve open," said her dad. "You could knock someone out leaving that on."
"So are you ready for today's performance?" said Dorrie's mother, peeling an egg for Miranda. "Marcus says yesterday's rehearsal went pretty well."
Marcus began to gesture furiously, his mouthful of oatmeal traveling from cheek to cheek. He finally choked it down. "I believe my exact words were, 'It wasn't an unmitigated disaster.'"
"I wish I could watch the performance," said Dorrie's father, "but—"
"The helium-suit field-test," everyone else at the table intoned together.
"Assuming I can find the duct tape," said Dorrie's father, wiping his mouth and getting up. He grabbed his goggles, distributed kisses, and disappeared through the back door.
"I wish I could see the show, but I won't be back from the conference until late tonight," said Dorrie's mother, fishing Miranda's ribbon of treasures out of her oatmeal. Dorrie's mother taught Latin and Italian at Passaic Community College. Her classes were never full. "Miranda will be at the babysitter's, and you two are on your own for dinner."
Dorrie threw her bowl and spoon in the dishwasher with extra force. As she slung her duffel bag over one shoulder, she turned to see Marcus making a sandwich at the counter. "We just ate!"
"Be riiiiiight with you," said Marcus, busy interspersing slices of meat and cheese to create a teetering tower of sustenance.
Dorrie's mother pointed to Dorrie's glass of orange juice which still sat on the table. "Finish that before you go."
"I don't have time," said Dorrie, picking up her sword.
Miranda held the glass out to Dorrie, her small face looking its most angelic. "It's good for you," she said. "It's got medicines."
"Okay, okay!" said Dorrie, grabbing the juice and downing it in one long gulp. Miranda beamed at her. Dorrie lowered her glass. "Why is she looking at me like that?"
Marcus slapped a piece of bread atop a massive avalanche of mayonnaise and looked up. "I think she just poured water from the imaginary dog's bowl into your juice."
Dorrie spat into her glass and looked at Miranda. Her little sister clutched a squat, silver bottle in her fist, its stopper dangling from a short, thin chain. "Miranda!"
"Go," said her mother, pushing Dorrie toward the door. "Marcus will catch up." She tucked a hank of hair behind Dorrie's ear, dug some money out of her pocket and handed it to Dorrie. "Go get 'em, tiger. Come tomorrow, things will be back to normal around here."
Just then, Miranda, who had picked up an abandoned hard-boiled egg, shot the yolk into the pot of oatmeal, sending a warm spatter flying over the table. "Normal!" she squawked happily.
"The book's voice and diverse characters will appeal to many Middle Grade readers hungry for stories about the interaction of kids from different times and places. Teachers will find ...
"The book's voice and diverse characters will appeal to many Middle Grade readers hungry for stories about the interaction of kids from different times and places. Teachers will find the novel a useful springboard for discussions about freedom of speech. Plus, the historical characters provide useful cross-curricular opportunities...But I think librarians and those who love libraries will appreciate THE NINJA LIBRARIANS most of all." - Nerdy Book Club
" "Ninja Librarians" is fun-filled, fastpaced and alive with details to appeal to all of the senses, including a sense of adventure." - Richmond Times Dispatch
Length: 8.25 in
Width: 5.5 in
Weight: 0.00 oz
Page Count: 384 pages
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Even as the Congress looks to rebuild in Maharashtra after the crushing defeat in Lok Sabha elections, it is faced with infighting and rebellion in the state unit.
This came to the fore Thursday when the party's Sindhudurg district unit openly boycotted a meeting convened by the Maharashtra Pradesh Congress Committee (MPCC) to take stock of the party's worst-ever Lok Sabha performance.
"This would be the first time when an entire district unit has openly defied the party's orders," said a senior Congress leader.
The boycott comes two days after the district adopted a resolution demanding appointment of senior party leader Narayan Rane as Maharashtra's chief minister.
Ironically, even Rane, who is Sindhudurg's Guardian Minister, skipped the meet despite being in Mumbai. The meeting took place at the party headquarters in Dadar. His son Nilesh, who failed to retain the Sindhudurg Lok Sabha seat, also remained absent.
However, later in the evening, Rane attended a review meeting of Congress ministers at Chief Minister Prithviraj Chavan's residence in South Mumbai.
Rane has offered to resign from his ministerial posts taking "moral responsibility" for the party's poor show in Sindhudurg, but Chavan is yet to accept his resignation. There is a popular perception within the party that Rane's resignation was an act to pressurise Chavan into stepping down from the top post. The Rane family has, however, denied this allegation.
On Wednesday, Rane had created a flutter by skipping the cabinet meet even as the family said this was "purely for prior family commitments".
Taking strong objection to the rebellion, a section within the Congress has demanded dismissal of the Sindhudurg district unit.
State party chief Manikrao Thakre, however, did not appear to have bought this demand. He said office-bearers of the district unit had sought another meeting. "The meeting will be held later," said Thakre.
The district unit was originally allotted time on Wednesday.
Thakre, however, adopted a sterner stance on the resolution to make Rane the CM. "There is no tradition to adopt such resolutions at the district or state level. It is for the party's central leadership to decide on any realignment in the state leadership or organisation," he said.
Partymen seek rethink on alliance with NCP
Complaints regarding "highhandedness by party ministers" and "lack of cooperation from local leaders of ally Nationalist Congress Party (NCP)" were common during the review meetings held for other districts. A source said a common demand was to rethink on alliance with the NCP. Partymen and Lok Sabha candidates also complained that during the election campaign some ministers remained confined to their own Assembly segments but still most of them weren't able to muster a lead for UPA candidates in these segments. Anger was also directed against CM Prithviraj Chavan for slow decision making and lack of political engagement. Delays in deciding on the controversial local body tax and Maratha reservation issue were blamed for the party's poor performance. The state party leadership also took the hit for failing to "market" policies implemented by the state and the central government effectively. On Thursday, Thakre and Chavan took stock of the election performance in Nanded, Hingoli, Latur, Aurangabad, Jalna, Nandurbar and Dhule.
Former CM Ashok Chavan projects himself
Former chief minister Ashok Chavan, who was present during the review for Nanded that he won, reportedly sold his track record. A source said he projected himself as being ready to take up any responsibility assigned by the party. While there is a buzz that Ashok Chavan had shared his concerns regarding the state leadership with the party high command in Delhi two days ago, Chavan desisted from targetting the CM directly during the meeting. When contacted, he, however, said certain "lingering administrative and political decisions needed to be taken on priority" to revive party's fortunes ahead of the state polls. He later called upon Vidhan Sabha speaker Dilip Walse Patil to tender his resignation as an MLA.


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Best wishes to Craig on the opening of his exhibition in Shanghai today
Congratulations to Craig Easton on his exhibition 'Mirrors, Screens, Frames and Pathways", in Shanghai 21 May - 20 June 2016.
About the Artist
Born in 1961 in Dunedin New Zealand, Craig Easton is a Melbourne-based artist working within an expanded model of abstract painting. This model extends through languages including formalism, minimalism, pop, constructivism, architecture, and the screen, to attempt a (re)construction of what place reductive abstract painting might take in today's culture. Easton has held 27 solo exhibitions since 1996 and is a regular contributor to institutional, independent and commercial gallery projects. His work is held in major public and private collections including the National Gallery of Victoria, the Federal Court of Australia, Artbank, NAB (UK and Australia), RMIT University, East China Normal University Shanghai, Siemens Australia.
8 October - 2 November 2014
Constructed from a diversity of materials and mediums, the work in BUILD at Nancy Sever Gallery this October includes paint on canvas, aluminium and plexiglass, as well as object making, video, drawing, digital painting and photography, reflecting this engagement with painting as an expanded, hybrid field. While many of the materials used in BUILD are readymade products of industry, inspection also reveals a celebration of the hand and its imperfections, the painterly, and process in all its guises. Presenting artworks from 2007 until the present, BUILD also tests the limits of difference across the artist's practice, ultimately reflecting upon the act of 'building' a body of work.
Craig Easton has previously shown in Canberra with Ben Grady Gallery (2000, 2001) and at CSA Photospace (2001) while a visiting artist at the ANU. BUILD is his 27th solo exhibition since 1996 with his most recent: A Strange Arrangement at Margaret Lawrence Gallery VCA, Melbourne (August 2014) where he has been completing a PhD researching the possibilities for reductive abstraction through the alternative structural and conceptual model provided by ancient Chinese gardens. Other recent exhibitions include Concrete Abstractions at Conny Dietzschold,Gallery Sydney (2014); 50 Variations at Nellie Castan Gallery, Melbourne (2013); Concentrated Abstraction at East China Normal University, Shanghai (2012).
Recent curated group exhibitions include Perceptions of Space: Justin Collection, Glen Eira City Council Gallery, Melbourne; Tangible, Trocadero, Melbourne; Split-Level, Five Walls, Melbourne (2014); SNO 99, SNO Contemporary Art Projects, Sydney; Reading the Space: Contemporary Australian Drawing, New York Studio School Gallery, USA; Arthur Guy Memorial Painting Prize, Bendigo Art Gallery (2013, 09, 07).
Craig Easton's work is held in major collections, including the National Gallery of Victoria, the Federal Court of Australia, Artbank, NAB (UK and Australia), RMIT University, Siemens Australia.
BUILD is on show at the NANCY SEVER I GALLERY, 4/6 Kennedy Street, Kingston from 8 October to 2 November 2014. Gallery hours: 11am-6pm Wednesday to Sunday. T. 61 - 2- 6239 5434
The Canberra Times. Friday 24 October 2014
Solo Exhibitions:
- Build, Nancy Sever Gallery, Canberra
- A Strange Arrangement, Margaret Lawrence Gallery VCA, Melbourne
- Concrete Abstractions, Conny Dietzschold Gallery, Sydney
- 50 Variations, Nellie Castan Gallery, Melbourne
- Concentrated Abstraction, East China Normal University, Shanghai
- Formwork, Nellie Castan Gallery, Melbourne
- Chinese Garden, Nellie Castan Gallery, Melbourne
- Collapse, Nellie Castan Gallery, Melbourne
- Container, Nellie Castan Gallery, Melbourne
- Finish, Ryan Renshaw, Brisbane
- Essential, Boutwell Draper Gallery, Sydney
- Loose, Nellie Castan Gallery, Melbourne
- Slide, Boutwell Draper Gallery, Sydney\
- Damage, Nellie Castan Gallery, Melbourne
- Easy, Penthouse & Pavement, Melbourne
- Crush, Boutwell Draper Gallery, Sydney
- Smooth, Ben Grady Gallery, Canberra
- Slow, Photospace, National Institute of the Arts, ANU, Canberra
- Still, La Trobe Street Gallery, Melbourne
- Loaded, Ben Grady Gallery, Canberra
- 28.3.200 MA Show, Gossard Project Space, RMIT University, Melbourne
- Strange Place (with Natasha Johns-Messenger), Level 11, Melbourne
- Open Plan, La Trobe Street Gallery, Melbourne
- Questions of Minimal Importance, West Space, Melbourne
- Pure, Linden Gallery, Melbourne
- The Whole Deal, Stop 22, Melbourne
- Pop Monsters, First Site, RMIT University, Melbourne
- National Gallery of Victoria
- Federal Court of Australia
- Artbank
- ECNU Shanghai
- La Trobe University Art Collection
- National Australia Bank (UK and Australia)
- RMIT University Collection
- Siemens Australia
- TRU energy
- Private collections in Australia, New Zealand, Germany
2011 – 2014 PhD Candidate, Victorian College of the Arts
1998 – 2000 Master of Arts (Research), RMIT University
1994 – 97 Bachelor of Fine Art Honours, (Painting), RMIT University
1981 – 83 Bachelor of Arts (History), University of Otago, New Zealand
2012 iAIR residency ECNU, Shanghai
2011-2014 Melbourne Research Scholarship
2011-2013 Halo Architectural Commission
2007 Savage Club Invitation Prize for Painting – 2nd place
2001 Visiting Artist, National Institute of the Arts, ANU, Canberra
1998-99 Australian Postgraduate Award
Selected Bibliography:
- Dan Rule, Around the Galleries, The Age Life & Style, p.5, August 17, 2013
- Harriet Edquist & Elizabeth Grierson, A Skilled Hand and Cultivated Mind: A Guide to the Art and Architecture of RMIT University, 2012, p.140
- Martin Patrick, Collapse, Implosion, Possibility-Film at 11, ex-cat, 2009
- Mark Pennings, Finish - review, Eyeline 65, p.59, February 2008
- Stephen Haley, Unfinished & uncontained, ex-cat,2007
- Adrien Allen, Weep Holes, ex-cat, November 2006
- Andrew Paul Woods, Off the Wall, Presto No.77, October 2005, p.22-23
- Asim Memishi, Awkward Balance, ex-cat, August 2005
- Kit Wise, Contemporary Abstraction: Four Melbourne Painters, ex-cat, April 2005
- Ashley Crawford, Craig Easton: Loose, The Age Preview, p.30-31, April 17, 2005
- Robert Nelson, Slipping into Abstraction, The Age Metro, p.8, April 15, 2005
- Chris Beck, A Fix on Abstract, The Age Review, p.7, April 17, 2005
- David Thomas, Changing Times in Painting, ex-cat, May 2003
- Martina Copley, The Museum Aesthetic, ex-cat, 2003
- Gary Willis, X Melbourne, ex-cat, 2002
- Sasha Grishin, Clever works in a cool show. The Canberra Times, p.14, October 31, 2001
- David Thomas Smooth, ex-cat, August 2001
- Linda Williams, Glacier, ex-cat, September 2001
- Linda Williams, Still - review, Like Art Magazine No.14, pp 44-45, Autumn 2001
- Natasha Bullock, Look See: Five Contemporary Painters, ex-cat, March 2001
- Sasha Grishin, Flirting with aloofness and spiritualism. The Canberra Times, p.16, May 31, 2000
- David Cross, Loaded, ex-cat, May 2000
- Fiona Donald, Strange Place- review, Like Art Magazine No. 11, pp 56-57,March 2000
- Sasha Grishin, A taste of good things to come. The Canberra Times, p.14, December 1, 1999
- David Cross, Questions of Minimal Importance, ex-cat, May 1998
Selected Group Exhibitions:
- Faux Novel, Project Space, RMIT University, Melbourne
- The Museum of Abject Sentimentality, School of Art Gallery, RMIT University, Melbourne
- Tangible, Trocadero, Melbourne
- Perceptions of Space: Justin Collection, Glen Eira City Council Gallery, Melbourne
- Split-Level, Five Walls, Melbourne
- SNO100, SNO Contemporary Art Projects, Sydney
- SNO 99, SNO Contemporary Art Projects
- Reading the Space: Contemporary Australian Drawing, New York Studio School Gallery, NYC
- Arthur Guy Memorial Painting Prize, Bendigo Art Gallery
- Re: Stretcher, Trocadero, Melbourne
- Herbst. Zeit. Lose, Gesellschaft fur Kunst und Gestaltung e.V. Bonn, Germany
- Frames of Reference, Langford 120, Melbourne
- Drawing Folio 2, Block Projects, Melbourne
- ENP Monochromes, Everything Nothing Projects, Canberra
- Accrochage, Conny Dietzschold Gallery, Sydney
- Strange Frame, SNO, Sydney
- Lost in Painting, Dianne Tanzer Gallery, Melbourne
- Fletcher Jones Art Prize, Geelong Gallery
- Paul Guest Presents, Bendigo Art Gallery
- Nellie Castan Gallery at the Depot, Depot Gallery, Sydney
- Arthur Guy Memorial Painting Prize, Bendigo Art Gallery
- Drawing Folio, Block Projects, Melbourne
- Gegenstandslos, GKG, Bonn, Germany
- The Robert Jacks Drawing Prize, Bendigo Art Gallery
- Macarthur Cook Art Prize, 45 Downstairs, Melbourne
- Back to Front, 64zero3, Christchurch, New Zealand
- 2007 Stan and Maureen Duke Art Prize, Gold Coast Arts Centre
- Constructive Propositions, Peloton, Sydney
- Arthur Guy Memorial Painting Prize, Bendigo Art Gallery
- Melbourne Savage Club Invitation Art Prize for Painting, Savage Club, Melbourne
- Location, Location, Location, Boutwell Draper Gallery, Sydney
- Respirator, Conical, Melbourne
- Melbourne Art Fair, Royal Exhibition Building, Melbourne
- Lexicon, City Library Gallery, Melbourne
- Group Action 2, Criterion Gallery, Hobart
- Recent Acquisitions, Ian Potter Centre: NGV Australia
- Awkward Balance, Blindside, Melbourne
- Transmission, 64zero3, Christchurch, New Zealand
- Contemporary Abstraction: 4 Melbourne Painters, Criterion Gallery, Hobart
- Liquid Properties, Boutwell Draper Gallery, Sydney
- No Matter 2, Anna Bibby Gallery, Auckland, New Zealand
- No Matter 1, rm 103, Auckland, New Zealand
- Melbourne Art Fair, Royal Exhibition Building, Melbourne
- Compendium, Icon Museum of Art, Deakin University, Melbourne
- Floranova, Nellie Castan Gallery, Melbourne
- The Redlands Westpac Art Prize, Mosman Art Gallery, Sydney
- Glacier: Contemporary Painting, Touring Benalla Regional Art Gallery, Newcastle Region Art Gallery, QUT Art Museum, Bond University Art Gallery
- Six Artists from New Zealand: Abstraction and Time, Conny Dietzschold Gallery, Sydney
- The Museum Aesthetic, Gallery 101, Melbourne
- X Melbourne, Canberra Contemporary Art Space & Sydney College of the Arts Gallery
- Compendium, Platform Artists Space, Melbourne
- Geelong Contemporary Art Prize, Geelong Gallery
- Figure Out, Mass, Melbourne
- Briefcase 50, Boutwell Draper Gallery, Sydney
- Aestheticform, Idspace, Melbourne
- Only the Lonely, Block Gallery, Sydney
- South Sur, Canberra Contemporary Art Space
- Abstract Painting Salon 2002, Stephen Mclaughlan, Melbourne
- One Metre x One Metre, Boutwell Draper Gallery, Sydney
- The White Show, Ben Grady Gallery, Canberra
- 8 X Melbourne, Gallery 482, Brisbane
- Glacier: Contemporary Painting, RMIT Gallery, Storey Hall, Melbourne
- Look See: Five Contemporary Painters, Monash University Gallery, Melbourne
- A Brush with Death, La Trobe Street Gallery, Melbourne
- Opening Exhibition, Ben Grady Gallery, Canberra
- RMIT Fine Art at Yuan-Ze University, Yuan Ze Center for Humanities & Arts, Taiwan
- hi/lo exotico, Centro Alzate-Avendano Bogota, Colombia
- Real Abstraction, Victoria University Gallery, Melbourne
- Stop 22's Greatest Hits, Stop 22, Melbourne
- Finale, Renard Wardell, Melbourne
- Overview, Linden Gallery, Melbourne
- Drawing, Linden Gallery, Melbourne
- RMIT at Hong Kong Arts Centre, Hong Kong
- hi / lo exotico, Stop 22, Melbourne
- Parking, Level 11, Melbourne
- Naked, Honours Graduate Show, Stripp Gallery, Melbourne
- Graduate Painting Show, RMIT Studios, Melbourne
- Times Five, First Site Gallery, RMIT, Melbourne
- Chinoiseries, Sutton Gallery, Melbourne
VCA Margaret Lawrence Gallery, Melbourne August 2014
A Strange Arrangement: Constructing contemporary reductive abstract painting via the ancient Chinese garden.
Craig Easton's project takes a sometime circuitous route through the possibilities for reductive abstract painting as a contemporary visual language. In doing so its mediums are those of video, sound, photography, object making and architectural intervention as much as paint applied to canvas or any other 'traditional' support. At the same time a series of formal and conceptual alignments predicated on the unlikely model of Chinese literati gardens drive many of the choices made. In this strange arrangement between diverse modes comes a framing of reductive abstract painting's potential to operate as inmersive form.


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1. The Game is beeing hosted on Silverlan's(The Developer) Laptop so if u arleady have noticed more slots would cause more laags and higher ping(full server is also laaging everyone has nearly a ping of 150 or more if there are only 3 players u have a ping of 70...) If u ask why this is the reason: To prevent people stealing Silverlans gamemode, the only way you could help getting up a server would be if you send him money for a gaming server.
2. The map isnt that much Big so if there are More players everyone would have problems with too less npcs and so on
3. I think if the Gamemode is in beta or at the final version there is going to be a more slotted server but this will take a while this is still a pre alpha
1. I didn't know he was running it on his laptop! That sure limits things!
2. Yeah Gm_atomic is huge but I'm not saying he needs to add more maxplayers limit all though it would be nice
3. Well if I still can't connect I'll just have to wait it out...


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"Yoga is like music. The rhythm of the body, the melody of the mind, and the harmony of the soul create the symphony of life." — B.K.S. Iyengar
Mimi is an avid yoga practitioner, coming from a background in Modern Dance teaching and performance. She incorporates yogic breathing, movement, and philosophies in her psychotherapy practice and is co-founder of Eugene Center for Mindful Living. Balanced Hot Yoga Studio is an essential piece of her Eugene life!


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My wife and I got back from London yesterday and we had a the time of our lives! This was the first time both Miss Delta Daggers and myself were invited to participate in an international festival, and I have a wee inkling that we killed it. Chaz Royal's London Burlesque Festival is one of the longest running burlesque festivals in the world with 2016 being it's tenth annual celebration of all things risque. Full of amazing showgirls from every inch of the globe, and it was so inspiring to be a part of such a huge production.
As classic performers, both Delta and myself were invited to participate in the "Gin and Jazz" night, devoted strictly to the classic art of vintage tease. Astonishingly, the date landed on my 28th birthday, so without my knowledge my act "encored" with the birthday song sung by our gorgeous MC with back-up vocals from audience. I think I cried in my paisties after realizing Delta was behind it all. And to top it all off, it was such an amazing surprise to see Sydney burlesque scene groupee, Peter Quinn, in the audience, which made me feel little bit homesick.
Below you can check out the official video of my performance, and be sure to keep watching to see my birthday surprise (and a bit more nudity!)
Chaz and Betty have organised an incredibly professional production, and really made everyone feel welcome. Betty made the rounds backstage to introduce herself to all the performers and honestly knew exactly who we were from our applications. What a talent! Everything was 'tip top' to the finest detail. Our lighting designer was on point, sound was perfect, and we even had a mini one-on-one photo shoot with Joanna Kor backstage before the show! Here's the gorgeous result which doesn't show the stress, mess and 'oh-so classy' change rooms backstage. I think she's a magician to get it all out of shot!
I can't wait to do it again. Maybe not next year, but definitely in the years to come.


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Paris, May, 1953 – Woke with beastly head again, Charlie beside me, again! This must stop. Something about that darned Chateau Latour he keeps pouring down our throats. As I say, it must stop and I shall tell him so, today. (God only knows what our tab at Marcelle's must look like!)
On that note, must wire papa today and beg for a teensy advance. Charlie says the market is quite 'buoyant' right now (Charlie loves using words he doesn't really understand) so, not such a bad time for begging, apparently.
Had a quick glass of bubbles with Fritz and the pretty Cuban girl, (Celeste, Celine, can't remember) before dashing to meet Charlie at Trocadero. Such a silly romantic boy, wanted to ride the childrens' roundabout under the Eiffel Tower at the 'purple hour'. I go along with these things, but really truly!
I think I saw the painter, Yves Tanguy dining at Chez Georges last night. He was sitting with a couple of other men (all in black, so dramatic these French artists), one maybe Braque, hard to tell..wearing a big hat.. indoors. Such arrogance. I adore it! Next to them was an old couple, perhaps in their thirties. He was plain and portly, she pretty, touch of the Jane Russells about her, curly dark hair (natural...to die for!), darling three quarter blouse with broderie anglaise and a Capri pant. 'Casual chic' as everyone keeps saying here. (Must partake when finances arrive. Sometimes I feel like I'm wearing a hessian sack next to these Parisian glamour pusses. Honestly.) Any hoo, strangest thing. Every time her husband left the table or spoke to a waiter, which was often (he spoke at the waiters, I could tell) or read his Match (Papa does this and I deplore it. Mother seems oblivious), this Tanguy fellow would casually lean his arm back around his chair (whilst facing the opposite direction, mind you) and tickle her foot. Odder still was the fact that she would actually extend her unshod foot (game!) in expectation. It was all in the darkness, Chez Georges is very,... what does Baby call it? 'Glowy', yes, and it is. But I saw what I saw. She kept a hand obscuring her face, like a Chinese fan, attempting to cover her mirth. Most unusual. Her husband...oblivious.
I seemed to be the only one who noticed.
Paris is divine!


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Hillary Tawse was following in a family tradition when she ran the London Marathon last month – and, unfortunately, she had a strong family reason for taking part.
In 2010 her younger sister Jennifer, then 33, ran the marathon in thanks for her own successful treatment for cancer.
Jennifer had set herself a target of £3,000 for Cancer Research, but donations mounted up and she soared way past the £10,000 mark.
Jennifer was well enough to return to work, and to marry Brian Walker.
She was such an example to others that she was invited to carry the Olympic Torch when it came through Clydesdale, and she went into schools to talk to youngsters.
But sadly Jennifer received another diagnosis of cancer last year, a devastating diagnosis which led to major surgery, in a 16-hour operation.
Now Hillary, from Biggar, has stepped up to help research into the dreadful disease, running the marathon in honour of Jennifer.
"Jennifer is doing well just now," said Hillary.
Hillary (40) completed the marathon in five and a quarter hours, and is pleased with that.
It was ten years since she last ran a marathon, and she had only months to train for this one.
"I only got the place at Christmas, so I only had four months to train. But I wanted to complete it," she said. "I just kept thinking 'I have to get round' and that is it."
Her whole family, including Jennifer, her brother James who is one of Biggar's Cornets, and brother Michael who is a joiner in the town, were down in London to cheer her on.
Hillary also set herself a target of £3,000, and already has raised over £8000.
"When you come from a small place like Biggar, everyone knows the family," she said.
"Everyone knows one another and they wanted to support us."
Hillary owns limehouseltd estate agents and Aroma Coffee House in Biggar, and she was overwhelmed with the number of people who just walked in and left donations.
She said: "It was unbelievable.
"Folk were coming into the shop and just handing cash in.
"I just really wanted to say thank you to everyone.
"Our family are so touched by the generosity shown by our local community.
Hilary is modest about the expected total from her run.
She said: "£8,000 is a drop in the ocean for Cancer Research.
"It is a big charity, but at some point everyone is touched by cancer."
Donations are still welcome, and can be made in person or on line.
Hillary has a fundraising page on the justgiving website; www.justgiving.com/HILLARY-TAWSE1/