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Last Updated on
Change the wallpaper and theme on any Samsung galaxy device will change the look of your galaxy Note 9 or other devices. Here's how to change theme on Galaxy Note 9 Oreo 8.1. In latest android devices, user manually change theme dark or light mode. When set new theme on android device, it'll change your device icons, wallpapers, AOD and more.
Be default android Oreo 8.1 OS running on Galaxy Note 9 devices. In android Oreo 8.1, change device look depend on wallpaper. If you want to set Note 9 dark mode, set black wallpaper. And set light theme to set white wallpaper in your device. In latest android P 9.0, you'll manually change theme light or dark mode. Let see how to change theme on Galaxy Note 9.
Relevant Article:
How to enable Wi-Fi calling on Galaxy S9 & S9 Plus
How to set up fingerprint on Galaxy Note 9
How to enable/disable Bixby button on Galaxy S9 & S9 Plus
How to change theme on Galaxy Note 9 Oreo 8.1
If you don't want to use by default Galaxy Note 9 theme, download theme from Samsung store or play store also. Follow below given step by step process to change or set Galaxy Note 9 dark mode.
Step 1: Long press on the blank space on your Samsung galaxy Note 9 home screen
Here you can see wallpapers & themes, widgets and home screen settings.
Step 2: Tap wallpapers & themes
Step 3: Touch themes tab on bottom of the screen
Step 4: Select theme you want to set in your device and download it
Step 5: Tap Apply after completed download theme
Step 6: Tap Apply again to confirm it
Now wait for few seconds and you'll see change your galaxy Note 9 look. You can use live wallpaper on Note 9, but live wallpaper consuming more battery in your Phablet. Also use Note 9 launcher to change icon pack, layout, icon size and more customization.
How to manually change theme on android Pie 9.0
In Google's upcoming latest OS android P 9.0, you'll manually change android P theme as dark mode or light mode using below given settings.
Step 1: Swipe down notification panel twice and tap Settings gear icon
Step 2: Tap Display
Step 3: Tap Advanced
Step 4: Tap Device theme
By default set android P 9.0 theme as automatic (based on wallpaper).
Step 5: Choose Light or dark you want to set
And that's all. I hope this article helpful to change theme on Galaxy Note 9 Oreo 8.1. If you have any question, tell us in below comment box. Stay and connect with us for latest updates.


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As I was writing the extraordinarily dull, lackluster title to this post (I tried for like 42 minutes to figure out a way to turn it into a "See Spot Run" pun, but it just wasn't working…), I almost died laughing when I remembered that when I was little, my sisters and I named one of our Barbies "Foam." Yep, that's right — most hideous, weird name ever. (My apologies to any real-life "Foams" that may be reading this…) In the context of our Barbiedom, however, "Foam" may have been a step up from some of the other gems we bestowed upon our dolls, including "Buzz" (an androgynous child Barbie, who we sometimes cast as a daughter and sometimes cast as a son, depending on whether we'd located the pink Barbie helmet that could cover Buzz's head and thereby mask her short hair and make her — from our vantage points — passable as a girl), "One-legged Barbie" (I'll let you guess what her handicap was), "Midge" (where did we even absorb that name?), and — my all time favorite — "Calvin of Recici" (some sort of hybrid between St. Francis of Assisi and Calvin & Hobbes). Anyway, that's all beside the point of this post, which is: seafoam, my new color obsession du jour de l'annee (of the year). Ever since I saw this snap of Clemence Poesy in the February Marie Claire (see the entire phenomenal shoot here), I've been smitten with the hue —
That little Hermes bag is TDF! I, of course, would not pair it with those clunky contraptions currently strapped to her feet, but hey — to each her own. I like the idea of pairing that minty/seafoam color with milky/creamy whites, soft daffodils, and other ready-for-spring palette mainstays, as illustrated in the shots below: first, a lovely street style shot snapped during NY's fashion week — in.love with that pleated skirt!; second, an image I found while cruising around on Tumblr (I believe it's from a J. Crew catalog — it has Jenna Lyons written all over it), c) a snap from backstage at Fendi illustrating the power of color contrast; and d) a little unexpected POP of green (that clutch is amazeballs!) —
{image via Elle}
{image found on Tumblr}
I'm thinking of a happy little blouse in greens and pinks ($114, Antik Batik — and P.S., like the print?! Get it in maxi dress form for $222 at Shopbop), paired with cheery white skinnies and a pair of happy little flats (Dolce Vita, $69, Heels):
I'd finish with a tassel necklace ($168, Wendy Mink — apparently tassels are a current micro-trend, so jump up on the bandwagon!) and a neutral bag in a rich leather fabrication (also with a tassel — $800, Anya Hindmarch):
Now — let's all take a moment to die over this gorg.eous little number by Geren Ford ($265, Steven Alan) — I MEAN. My top pick for dress of the season. Wouldn't it be lovely at a beachy wedding? Especially offset by a pair of fuschia-on-green studs ($74, Oliphant), which introduces just the right amount of color contrast into the mix, and makes the green of the dress truly pop?
I'd pair with some simple nude sandals (MiuMiu, $490, Net-A-Porter) and a woven raffia clutch ($185, J. McLaughlin) accented with pistachio-green beads:
Or how about starting with a breezy white voile tunic dress (Velvet, $130, Shopbop) for a warm spring-summer day —
And finishing with a statement necklace ($89, BaoBao) and some seafoam gladiators (more tassels! — Dolce Vita, $126, Helianthus NY):
I'd finish the above look with a textured, neutral/metallic tote, like this Ghibli straw find ($560, Forzieri):
Incidentally, the above pair are rather similar to a Jeffrey Campbell pair that Amy Stone of Coffee Talk owns and has styled and photographed to great effect (love it with the red):
{images from Coffee Talk}
Working in a similar palette, imagine how cute you'd look in a minty-fresh blouse (DVF, $325, Matches) paired with a red-and-green stone necklace ($298, Couture Candy) and some crisp white shorts ($115, Seaton Surf)?
Perfect with some gold Jack Rogers ($98, Jack Rogers) and a bold red tote ($300, Ssense):
UGH. Now I'm seriously dying for some sunny, warm weather. Imagine how retro-chic you'd look in this pistachio green polka dot bikini (Shimmi, $240, Net-A-Porter):
Perfect beneath a pom-pommed white tunic ($156, Seaton Surf), paired with a nautical-themed canvas tote (Anya Hindmarch, $135, Net-A-Porter):
Just throw a simple pair of flip-flops (Tkees, $46, Singer22), pack your beach essentials (my Karen Walker shades — $180, Shopbop; some easy-application sunscreen wipes ($34, SuperGoop), and you're set.
If you're into one-pieces (I think they can look super-glam, but they scare me for some reason, because I think it's easy to look like a dowdy spinster if not done properly), consider this fetching swimsuit from Anthro ($138, Anthropologie) — look how excellently they've styled it for us! Die.
For more beachy/vacation readiness (at this point, I'm ready to skip spring entirely and launch straight into summer…), how darling would you look with a breezy scarf ($32, TopShop), an airy mint sleeveless blouse (Bodkin, $196, Steven Alan), white jeans, and some neutral wedges (Pour La Victoire, $270, Shopbop):
I'd finish with that Marc by Marc Jacobs clutch I've featured a bajillion times already ($298, Barney's) and — to roundout that vacation hipsta cool vibe — a Panama hat ($58, J. Crew):
For a dressier occasion (this would have been perfect for one of my bridal showers), I'm dying over the idea of this lovely lace dress by Calypso (on sale for $99, Calypso):
I'd finish with ladylike enorma-studs ($70, Max and Chloe) and some mint green heels ($298, Kate Spade):
I'd finish with a ladylike Kelly-style bag in blush ($110, Joseph M):
And for a serious knock-your-socks-off look at a big black tie event, how ah-mazing is this Temperley goddess dress ($1,495, Net-A-Porter), especially with these show-stopping enorma-studs ($320, Bounkit):
I'd wear my hair up, and then add only gold strappy heels (love that these are dubbed "The Covets" — $325, Kate Spade) and a statement clutch (still can't get over the perfect compactness of this Amanda Pearl roll clutch — $1,495, AmandaPearl):
In the spirit of full disclosure, the above was totally inspired by one of my ultra-icons: Grace Kelly:
Lovely. Makes me want to try a bold red lip and some Veronica Lake waves. For those of you only interested in test-driving the color (small doses first), consider testing Essie's matte nail lacquer ("Turqoise and Caicos," $8, EssieShop), or slipping into these suede accented sandals ($75, TopShop), or a teal-accented raffia bag ($248, Henri Bendel):

subset: commoncrawl


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What you keep.
Uncharted 4: A Thief's End takes place three years after the events of Uncharted 3: Drake's Deception, with Nathan Drake now retired from the exhilarating life of treasure hunting. We are introduced to a much different Nathan Drake, one who has settled down. He also does paperwork. Yes, paperwork. He even has a real neat stamp! Again, this is a much different Nathan Drake that what we've become accustomed to. You can see it in his eyes, read it in his body language. Nathan Drake is a man living a much different life. But there's still that fire, you can see the spark in his eyes. This is when Nate's older brother Sam, who has been presumed dead for 15 years, comes back into the picture. Sam is in a whole heck of a lot of trouble, and Nate is the only one who can help.
Uncharted 4: A Thief's End begins in media res, akin to the opening of the deservingly praised Uncharted 2: Among Thieves. I'll keep the exact details out in order to keep this review spoiler free, but I absolutely adored being thrown right into the action. Even better so, was how Naughty Dog eventually approached returning to that same scene later in the narrative. Unlike Uncharted 2, I wasn't forced to replay through the exact sequence, which was appreciated and welcomed with open arms. Little improved techniques and approaches like this became more and more apparent throughout my approximately thirteen hours spent during my first playthrough of Uncharted 4's single player campaign. Uncharted 4 is the magnum opus of all that Naughty Dog has learned and created and it is so apparent during every second spent inside of the world that they have crafted. Despite turbulence and delays and anxious worrying about what the end product of Uncharted 4: A Thief's End might be, I am over the moon about what it is. It's phenomenal.
There are so many moving parts within Uncharted 4: A Thief's End, but each various piece and gear and mechanism are what make it so outstanding. It's the love child of Uncharted and The Last of Us in the very best of ways. Uncharted 4 gave me exactly what I wanted; all the while giving me so much that I never knew I could have. While past Uncharted experiences have been harrowing and dramatic and altogether action packed, which has been great, this is the first Uncharted that feels wholly tangible. Is Nathan Drake a wisecracking and charming action hero? Of course. Does Uncharted 4 humanize him and the supporting cast in ways that gave me chills on numerous occasions? Most certainly. So many fans of the series were worried when Neil Druckmann and Bruce Straley took over after the departure of Amy Hennig. Many voiced their opinions and fears that the dark and morose nature of The Last of Us would bleed into Uncharted. Was this, perhaps, a silly fear to have in the first place? Of course. But Druckmann and Straley injected a much-needed dose of honest maturity and a truly tangible sense of humanity into Uncharted 4 that I never knew I really wanted, and that I never knew I would love so much. Nathan Drake is a flawed character, and Uncharted 4 shines lights in all of those broken and jagged spaces. And you know what? I love Nathan Drake all the more because of it it.
Uncharted 4: A Thief's End is the love child of Uncharted and The Last of Us in the very best of ways.
These advances in how Naughty Dog approached the narrative isn't restricted only to Nate though, but branches out to the rest of the cast and how they interact with him and each other. These interactions feel real and genuine, they're uplifting and heartbreaking, and every one was singularly special. Whether I was appreciating a vista with Sam after an intense action sequence, or having a heart to heart with Elena, every moment felt palpable, so real that the experience felt just out of my own reach. Every character is given multiple moments to shine, and they do so without hesitation or fault. Yes, I am invested in these characters and who they are because I've spent a trilogy with the majority of them, but Uncharted 4: A Thief's End infuses so much depth and emotion and humanity into these characters. The entire experience is all the better because of it it. As much as I love Sully because of his past adventures with Nate, by the end of Uncharted 4 I felt just as strongly about newcomer Sam Drake. While my feelings about Elena have changed from game to game, after Uncharted 4 I am now riding on an Elena high. And of course, Sully is Sully and par for the course, but still contributes to the phenomenal work done by the entire cast. Even the antagonists were given scenery to chew, and chew they did. Both the direction given and action taken by the entirety of the cast proves the point that video game performances should be taken just as seriously as that for film or TV, if not all the more so.
Uncharted 4: A Thief's End keeps up this pace, well, with their exceptional setup and structure. While there are quieter moments of introspection and retrospection, there's not a dull moment within the digital walls that Naughty Dog created. Had it not been for a shift at work, which I seriously considered missing, I would have played through Uncharted 4 in a single sitting. I was that mesmerized, that engrossed, that engaged by every single moment spent adventuring as Nathan Drake. There are huge action set pieces that had my heart racing. There are beautifully crafted puzzles that had my mind spinning. There are gorgeous sections where Nathan Drake is set loose in, free to explore and wander through as he pleases. These moments merge beautifully into the next, creating a brilliant experience through and through.
All of these moments, all of these developments are only enhanced by how Naughty Dog has treated Nathan Drake in Uncharted 4: A Thief's End. Yes, I've always been fond of Nate as an action-adventure hero. He's always been great at that, without a doubt. Uncharted 4, however, gives Nate the opportunity to truly shine as a pseudo archeologist. This is the most I've truly felt like a full-fledged adventurer and treasure hunter probably since I was laughingly rubbing my PlayStation Vita and holding it up to light sources while playing through Uncharted: Golden Abyss. Naughty Dog has created truly vast sandbox areas to explore, providing collectible treasure as in previous entries, but also providing a hoard of contextual collectibles, optional dialogue and environmental story telling in spades. Even further, Nate's notebook is involved and integrated and integral to the narrative progress you make. The more I found and collected and discovered, the more the pages within my notebook filled. Could I have solely focused on progressing from Point A to Point B? Most certainly, but that would have been a shame. Every different aspect funnels into the next, and during my time with Uncharted 4, I felt like I was finally and fully Nathan Drake, honestly for the very first time. All of his potential, his knowledge and know-how, everything that Nathan Drake is, I was.
Feeling like Nathan Drake to the Nth degree, it didn't hurt that Uncharted 4: A Thief's End is the most mechanically sound game in the Nathan Drake Saga. The combat is what you expect from previous adventures, but refined to a T. Oh, also, you don't have to shoot every single bad guy in the face to continue! Parallel to how The Last of Us approached combat, there is versatility in these encounters. Heck, shooting a single bullet is entirely optional in most sections. Whether I was taking out enemies with stealth, climbing a tower to take advantage of the sniper rifle I had, or tossing grenades with whimsy, it's the best that Uncharted has ever felt. The same goes for general adventuring and climbing. There is a fantastic new grappling hook that adds a brand new option for both exploring and combat, and brings something special to some of the more intense action sequences. Also gone are the hoards of bright and shiny and obviously climbable ledges that we came to love in the PlayStation 3 era. Sure, there's still an occasional white ledge that appears to be a favorite spot for any and all birds to defecate on, but the climbing sequences feel as tangible as the rest of Uncharted 4 does. Every change, drastic or minor, all continuously focuses into the grandiose experience that Uncharted 4 is, and it's astounding.
Gone are the hoards of bright and shiny and obviously climbable ledges that we came to love in the PlayStation 3 era.
*As a quick aside, this review will not address the multiplayer aspects within Uncharted 4: A Thief's End, because the servers have not been live. While these aspects will be addressed, based off of multiple experiences and impressions from the beta tests held, they will not have an effect on the final verdict.
There is so much greatness within Uncharted 4: A Thief's End, far more than a single review can or should hold. Uncharted 4 is wholeheartedly a journey full of secrets and nostalgia and contains a plethora of treasures within. This is a final chapter that ties a beautifully crafted bow around the Nathan Drake saga. It's greatness that must be experienced, not told. Greatness from small beginnings encompasses both Naughty Dog and the Uncharted franchise in one fell swoop that is blissfully accurate, charmingly so. Previous to playing Uncharted 4, I don't think that I could have let go of Nathan Drake. I could have never said goodbye. I never wanted to say goodbye. Now? There's only one thing I can say now. See you around, cowboy.


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Home > Sectors > Hospitality
Cushman & Wakefield provides Market Value and Fair Value opinions for hotel properties, suitable for regulatory and transactional applications. Additionally we offer development appraisals, feasibility studies, brokerage, operator selection and market studies.
You will receive a considered and market facing opinion, supported by in-house knowledge of the markets, trading parameters and operator competencies, delivered under a trusted global brand, within an agreed timetable and at a competitive price.
Across Asia, whether it is a luxury hotel in a destination city or a limited service hotel in the regions, our service is aimed at owners, investors, operators and lending institutions.
• A hotel is a trading entity, where the property is but one element of the trading entity
• Our advice allows the owner or investor or lender to reach an informed decision whether it is proposed to invest in the property, sell or acquire the hotel, or lend against it for security purposes.
How We Can Help
Our report comments on:
The property
We comment on the state of the condition of the property and highlight any capex required
The operation
We comment on the existing trading outturn relative to its competitor set and provide an analysis of the trading potential
Trading projections
We compile our own trading projections where appropriate
Our valuation methodology encompasses a number of approaches, such as income capitalisation and discounted cash flow. We benchmark our conclusion against the evidence available in the market and our knowledge of the expectations of the investment community.
Adding Value – The Advantages Of Our Approach
We ensure that we have no conflicts of interest and therefore our advice is without bias.
We have considerable experience in this specialist market across Asia, ensuring that our valuations are compiled with regard to market forces and sentiment.
Our opinions are considered and well founded, and each report is overseen by a Director. We believe that the highest professional standards are applied in each and every case, whatever the type of hotel and the fee basis.
Experience and Resources
With 580 valuation professionals in 86 offices, Valuation & Advisory is one of the largest fully integrated property valuation advisors in the world. In APAC we are 55 professionals in 8 offices. Last year we valued over 3,000 properties with an aggregate value of US$73 billion.
Marketbeat is a brief description of market situation, which includes statistics, analitycs and graphics.
New York attracted the most commercial real estate investment during the last year as the global real estate investment market saw volumes increase by 17.2% to US$788 billion, according to Cushman & Wakefield's annual 'Winning in Growth Cities' report launched today at EXPO REAL in Munich, Germany.
The Occupier Edge is a bi-annual publication.This edition features articles on high-tech drones, keeping your employees safe against a terrorist threat, the globalization of e-commerce and its influence on real estate, the rise of solopreneurs, co-working and fintech.


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Illinois frontier populated by fans of books
Getty Images
Reading was a cherished pastime for frontier Illinoisans, who sought libraries even in the state's earliest days. Several towns in the area were at the forefront of the state's first libraries.
Though literacy levels were low and many settlers struggled to survive, there was a clear thirst for reading on the Illinois frontier, as elsewhere. Books were sold in general stores and advertised in catalogs, and they were prized possessions in the log cabins and shanties of the prairies.
The tax-supported public libraries we know today still were decades away, but reading collections of various forms took root, even in the infancy of Illinois. Some, called "social libraries," were owned by members of a society for the purpose of creating a general-interest library.
These social libraries gained a foothold in the Ohio Valley in the early 1800s. One was founded in 1818 in the southeastern Illinois town of Albion, while another social library of 216 volumes was formed in Edwardsville. Eventually, 13 social libraries were established in the state.
There also were "subscription libraries," where readers paid a fee to join a sort of club with book-borrowing privileges. The first subscription library in the United States was the "Library Company of Philadelphia," organized in 1731 by Benjamin Franklin.
In Illinois, a subscription library was founded by the Belleville Debating and Literary Society and incorporated by the General Assembly on Jan. 27, 1821. Touted in the incorporating act as "a society for the purpose of acquiring and disseminating general and useful knowledge," the society was given the power to elect officers and a board of directors who, in turn, could hire a librarian, assemble a collection and set rules for admittance to the society.
Two years later, the Edwardsville Library Association was incorporated with similar powers. A requirement for membership at both Belleville and Edwardsville was a lifetime interest in the society. No member was able to "withdraw his interest," but that interest could be transferred "to any person whom the society may admit as a member."
The demand for libraries continued sporadically throughout the 19th century, and early semi-private libraries eventually were founded in Alton, Greenville and elsewhere. By 1872, there were 40 subscription libraries across Illinois.
As the decades passed, a movement arose to promote the formation of public libraries. On March 7, 1872, Gov. John M. Palmer, a former Carlinville resident, signed the Public Library Act into law. The act passed the Illinois House, 124-4, and carried the Senate, 34-1.
The act authorized cities, incorporated towns, and townships to maintain free public libraries and reading rooms "for the use and benefit of the inhabitants of each city."
A public library board was to consist of nine members and was charged with creating rules and regulations for governing and financing the library. The board also had the power to "appoint a suitable librarian and necessary assistants" and "in general, carry out the spirit of the act."
Under the law, "every library and reading room … shall be forever free to the use of the inhabitants of the city."
The act was spurred by the catastrophic Chicago Fire of the previous Oct. 8, in which all libraries in the city were lost to the flames. The first Illinois community to establish a public library was Elgin, on April 2, 1872. Chicago followed one day later.
Many thousands of books had been donated to Chicago, especially from British citizens and universities. But, because of the fire, the city still did not have proper reading space. An old iron tank was converted for use as a library. The huge, imposing tank provided a temporary — and fireproof — reading sanctuary.
Tom Emery is a freelance writer and historical researcher from Carlinville. He may be reached at 217-710-8392 or email@example.com.


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Questions tagged [annual-inspection]
Questions about the inspections required every year in order to (hopefully) make sure that your aircraft won't fall apart while you're trying to use it.
1 question
173 views
How feasible is it to sell a plane with an expiring annual?
I'm preparing to sell my plane, an IFR-equipped, low-time, C150E, but the annual expires at the end of this month. What's the best course of action? I know that if I was buying a plane, I would love ...


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(Miami, FL – December 30, 2016) – Diana Arteaga, Esq., Director of Government Relations for the City of Miami has been appointed to the National League of Cities 2017 Finance, Administration and Intergovernmental Relations Committee.
"It is an honor for the City of Miami to be one of four other cities in Florida represented on this national committee. Diana will be able to shape the priorities and direction of the NLC as well as advance the City's interests on the federal level," said Miami City Manager Daniel J. Alfonso.
This Committee is responsible for developing policy positions on issues involving national economic policy, general financial assistance programs, liability insurance, intergovernmental relations, Census, municipal bonds and capital finance, municipal management, antitrust issues, citizen participation and civil rights, labor relations, Native American sovereignty and municipal authority.
"As an attorney and main liaison with the state legislature Diana brings the perspective and the needs of big cities like Miami to an important national platform," said Miami Mayor Tomas Regalado.
As a member of the committee, Diana Arteaga will play a key role in shaping NLC's policy positions and advocating on behalf of America's cities and towns before Congress, with the new administration and at home.


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When it comes to San Francisco real estate, nothing is more important than having an edge, and as our clients and readers you're getting a major one today. We, at theFrontSteps, have long been fans of alternative methods and avenues to get your property sold, and ways to connect buyers with sellers that simply don't … Continue reading Exclusive Access To San Francisco Off Market (Private) Listings
Category: real estate
Haight Ashbury Victorian Sells In A Flash For $1,800,000
I had barely figured out how to turn the heat on in this place and it was gone….Listed for $1,649,000 on a Friday, in contract for $1,800,000 on a Tuesday. Gone in a flash. Congratulations to the buyers and sellers of this killer property in the Haight. If you're bummed you missed out on this … Continue reading Haight Ashbury Victorian Sells In A Flash For $1,800,000
SOLD | 11 Shephard Place | Nob Hill | $1,750,000
Congratulations to my clients on their successful purchase of this rare find of a single family home in Nob Hill at 11 Shephard Place. What it is: 4 beds, 3 baths, 1 car parking and 2243 Square feet:
State Of The Real Estate Union
If you had to guess, what would be the most common question you think a Realtor is asked? "What's my home worth?" No. "Should I stage my home when I sell it?" No. "Do you think interest rates are going to rise?" No. All very close, and all very common questions we certainly answer more … Continue reading State Of The Real Estate Union
If It's Not Selling Over, It's Selling Under
Top 10 Underbids in San Francisco this past week: Address BR BA Parking List Price Sold Price Underbid 1219-1219A Stanyan Street N/A N/A 2 $2,579,000 $2,100,000 -18.57 % 1111 Bay Street 2 2.00 1 $1,199,000 $1,000,000 -16.60 % 677 Ellis Street N/A N/A 0 $2,695,000 $2,275,000 -15.58 % 338 Spear Street 2 2.00 1 $1,999,999 … Continue reading If It's Not Selling Over, It's Selling Under
May 2016 Central San Francisco Market Conditions
District 5's (See SF Districts Map Here) April numbers continue their strong upwards trend with their highest ever median sales price of $2,287,500. Year-over-year, the median price is up 8.9%. Resale Condo/Loft Median Prices Resale condo-loft median prices have resumed the downward trend that started last September with a brief uptick in January and February. … Continue reading May 2016 Central San Francisco Market Conditions


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Tag Archives: diet
Diet & Exercise vs. Stress & Anxiety
So here's the thing: I have, in my possession, a certificate that states that I know enough stuff to be a personal trainer. I can, in fact, lead the average person (beginners would be best) through a series of workouts, … Continue reading
Posted in everyday life, Fitness/Working Out, health Tagged diet, stress, weight Leave a comment
Gateway Foods
…they're like gateway drugs but healthy for you. I remember way back when I made the decision to stop eating white bread. I think I must have been around 13 and back then everything wasn't enriched with whole grain. White … Continue reading
Posted in health Tagged being healthy, diet, eating, food Leave a comment


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COVID-19 and Convocation
Please click the button below for the most current information about Spring Convocation.
Diploma Release Schedule
Parchments, the legal document embossed with the University seal and the graduate's name and degree, will be mailed after the degrees have been conferred. They will be released on a schedule.


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+1 (719) 215-4139
6547 North Academy Blvd, 80918
Colorado Springs, USA
208 Moskovskaya st, 224020
Brest, Belarus
Moskowskiy ave. 31A-12
Vitebsk, Belarus
SmartexLab collaborated with a German startup to create an end-to-end solution that unifies all business systems, processes, and data under a single IoT platform.
Mobile UI/UX
New designs and functionality for the platform's iOS and Android apps with configurable styles and layouts in line with a user's corporate identity.
The features to define a user's location and apply related settings accordingly, such as the date and time formats and the language (English, German, Russian).
A calendar for creating and tracking users' events, with the ability for the owner to invite other people.
This feature allows the user to choose any asset or place and book it, placing the event in the calendar.
This feature lets users communicate with each other with the help of groups, channels and private messages.
This feature lets users view and manage information within each mesh.
User is provided with the diagnostic info on different services such as Location, Bluetooth, and Internet Connection.
The app has the ability to listen to nearby beacons which may contain specific location info (wiki, process etc.).
In order to improve user experience and performance of the app, main images, icons, fonts are cached, as well as main data entities (which are also periodically retrieved from the server side).
IoT plugins
Proximity, Touch and Temperature sensors — options for sensors to start both as a master, and as a slave.
Light control and occupancy sensors — logic drafts (API calls, XMPP events stream logic).
Different configurations of Light, Thermostat and Jalousie controls, Virtual BACnet devices communication (connecting with different devices running on the same IP and port). Sharing one port for several devices on the Thing-it side restarts optimization. BACnet device simulator, BACnet events subscription auto-disabling (workaround for unexpected crashes/stops). Status check logic for complex actors. Logic sharing and reusing for several devices (via redux).
Implemented communication protocol for BLE Bluetooth Low Energy – device ECO Side Lock 7010.
HVAC, light, media and room controls.
Switch, occupancy sensor, power outlet/plug, temperature sensor.
Technical highlights
Taking the existing IoT platform, the startup's team decided to upgrade it to suit more industries, including healthcare, agriculture, energy and hospitality.
Thing-it was searching globally for a UI and frontend development team with a good grasp of UX/UI trends. SmartexLab implemented a pilot task on the design and migration of their legacy application to a new technological base and won the contract.
After proving our expertise in creating a stunning mobile UI the client tasked us with working on the other parts of the platform, including IoT.
While our mobile team continued to add new features to the product we dedicated another team to work on IoT, building plugins for a variety of controls and sensors outlined above. Currently, both our teams total 7 full-time engineers each.
The platform powers multiple smart buildings including Cube Berlin, Europe's smartest multi-tenant office building.
The startup raised a 7-figure amount, is growing fast, and expanding cooperation with SmartexLab.


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Rajabrata Banerjee and
Kartick Gupta
Economic Modelling, 2019, vol. 78, issue C, 262-274
Using a comprehensive dataset covering 42 countries spanning 2002–2013, this paper empirically examines the effect of environmentally sustainable practices (ESP) on R&D intensity in firms. We use three separate firm-level ESP scores that distinguish between the mandatory and voluntary compliance of environmental regulations mandated within an industry and a country. Our main finding is that an increase in ESP increases R&D intensity. Therefore, ESP encourages a higher number of innovations and there is a negligible trade-off between these two factors of firm performance. Further, the positive effect of ESP is stronger in countries where institutional quality and R&D infrastructure supports are superior. Our results have important policy implications for firms, investors and national governments.
Keywords: Environment; Sustainability; R&D; Institutional quality (search for similar items in EconPapers)
JEL-codes: Q01 O30 F23 (search for similar items in EconPapers)
Date: 2019
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Downloads: (external link)http://www.sciencedirect.com/science/article/pii/S0264999318304905
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Persistent link: https://EconPapers.repec.org/RePEc:eee:ecmode:v:78:y:2019:i:c:p:262-274
DOI: 10.1016/j.econmod.2018.09.024
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"As of the moment, over $13 billion in pork projects have been listed by bloggers over at the PorkBusters page. (Take that, Tom Delay!)," writes InstaPundit, reminding us to keep on keeping on:
But remember -- follow-through is everything here. Don't just list your project: Call your Senators and Representative and ask them what to do about it, then post their responses on your blog, and link 'em at the PorkBusters page.
When you do that, send me a link to your post with the subject line "Pork Response" and I'll link it.
We've left voicemail at the local offices of Rep. Michael E. Capuano and Senators Edward M. Kennedy and John F. Kerry. 'Guess we'll just have to wait for that link from the big guy.
Update: We guess we know where Rep. Capuano stands. 'Just found this quotation in a press release from his office last March announcing House passage of the $284 billion six-year surface transportation bill, "The Transportation Equity Act: A Legacy for Users":
"Despite the fact that many members of Congress have renewed concerns over the cost overruns associated with the Central Artery/Tunnel Project as well as concerns over the ongoing problems associated with leaks, we were able to secure record funding for the Commonwealth's transportation infrastructure," stated Congressman Capuano, who is a member of the House Committee on Transportation and Infrastructure.
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Marcus Tullius Cicero was assassinated on December 7, 43 BCE. He left behind a substantive body of writing. Some years ago a colleague shared Cicero's list of "man's drastic mistakes." I often review them as a reminder. As you consider your New Year's resolutions perhaps you will reflect with me on these attributes.
The delusion that individual advancement is made by crushing others
The tendency to worry about things that cannot be changed or corrected.
Insisting that a thing is not possible because we cannot do it ourselves.
Refusing to set aside trivial preferences.
Attempting to compel others to believe and live as we do.
Neglecting development and refinement of the mind and not acquiring the habit of reading and study.
For a more in-depth discussion of these mistakes go to:


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Atlas/Forms of Water 2019
As the finale of this show and thus this post, I offer a beautifully produced recording of my interview with audience Q&A by Brett Barry of Silver Hollow Audio. This discussion ranges from my decades of contemporary landscape painting to the environmental themes of this show to the gallery-artist relationship. You can listen here:
Water is ease, water is in our dreams, water kills. Water is 60% of our bodies and covers 71% of the planet. We float, swim, sink, ride on, drink, cook and grow with, own, fight over, drown in, boil, crave, gaze at, and are mesmerized by water. It bears repeating: Water is life.
Water use has also been political since the beginning of our time on earth. As thirst, water rights and fights; severe storms; droughts, fires, floods; and sea level rise become increasingly critical on much of the planet, I have been catapulted into creating an expanded rubric for water imagery in my work. This focuses in on our environment and the challenges it faces, while continuing to celebrate the beauty our planet provides.
Atlas /Forms of Water maps the environmental theme while mapping my body of work, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To make these connections, I have created a site map for the body of work on view.
Maps functions as an aid to find our way. In this context, I am mapping our bodies and states of water; the paintings in the exhibit; memory and self; and threats to our environment, among other, more elusive things.
The Site Map has small monotypes running up both sides that are interpretations of the major paintings in the show. The four other prints are a conversation about threats from global warming: bigger hurricanes in upper left; sea-level rise in upper right: and stream/river flooding in the two at bottom, before and after.
At the top, I have included topographical contours, a loose and flattened version of the Escarpment that curves around Woodstock and then runs north parallel to the Hudson River.
Mountains are the first source of our surface water, and the painting below includes that form of water visible as the Catskill Mountains rising above the back shore, as well as mists, a cloud, and the Hudson River.
Another new collaged map for the show is of the NYC watershed, water tunnels included. New York City has negotiated—and renegotiated, multiple times—a pass on national regulations that mandate the filtering of drinking water. This exemption is a huge deal, and requires constant monitoring and regulation of the watershed townships within the areas shown, and many mandates for property owners to keep the water flowing into NYC reservoirs clean. While this makes our relationship to our larger neighbor to the south a complex and co-dependent one, it also has transformed our stewardship of our land and streams.
The below same-size collage from the year before is of the Hudson Canyon, which is essentially an underwater extension of the Hudson River, extending southeast until it drops off the continental shelf.
Also in mixed media/collage, "Forms of Water: A Taxonomy". This small tintype drawer contains the following seven categories, from the top row moving down: states and phases of visible water; geographical bodies of water; wetlands; types of clouds; storms; waves; and human made forms of water.
Creating pieces in vintage boxes, drawers, muffin pans, and child's blackboards has been one of my ongoing series for some years now. It requires a listening attitude to select and then bend the imagery to work with the support that I have chosen, starting the process in a different way from a blank canvas. In the below piece, the box and the piece of wood that I painted on had elements that determined both what imagery I chose and how I painted it.
For decades now, I have been devoted to painting fog, suspended water that softens our landscapes, sometimes obscuring, sometimes defining:
Many of my paintings depict wetlands, so gorgeous and vital for controlling flooding caused by excessive rain events, storms, tidal flooding, and sea-level rise; as well as filtering sediment in water and providing habitat for wildlife. Visually, salt marshes in particular create color and shape that I return to paint over and over again.
Manmade forms of water are included in the show, as seen in the flood image near the top and in the vertical painting below, which depicts a wetland developed by humans to cultivate cranberries.
The pieces in the show include landscape imagery in oil on linen; monotypes; small works in oil on board; water imagery using vintage boxes, blackboards, and other containers/support; and map collages.
I was motivated in fall of 2016 to move towards creating shows that place my open, color-field landscapes within a complex experiential web. Three major factors came into play at just that time.
The first was anticipation of a residency in Nantucket scheduled for that winter, and this dovetailed with the second, some thoughts about turning 60 later on in 2018. Given that my background is in contemporary art and that I have always viewed my progressions in landscape painting through that lens; my question to self was—what do I want to do, now, that I haven't yet?
Among my answers to this question was learning monoprint and linocut techniques, which I now employ both for stand-alone prints and also for the Site Map. Below, some recent monotypes.
The third factor was key. Feeling profound grief over the outcome of the 2016 election, my mind returned repeatedly to the single biggest issue on the table, climate change. The conviction that time is running out here and that four years could be critical was decisive in determining the direction that my work has since taken. The acceleration of bad news in this arena since then is eye-popping—sea level rise predictions alone are much, much higher and sooner than was predicted while I was researching the topic in my February, 2017 Nantucket residency.
Snow and ice appear in my work and in the context of Atlas/Forms of Water, depict one of the main three phases of water, solid.
Water vapor, the gaseous state of water, is invisible. The closest thing that is visible is steam, such as the image of a geyser below.
Globally, precipitation has shifted so that many of the wet places are wetter and the dry locales are dryer. For this reason, I decided to create and include several pieces that depict water's opposite, fire.
My imagery is heavily weighted toward the Northeast of the United States, as that is where I have spent much of my life. But I could be anywhere on the planet, exploring the same themes, and I bring with me memories of living in the arid Andes and central Castile; painting in rain-soaked Western Ireland; traveling Northern California to capture the coastal golden hillsides of late summer; and returning to the Nebraska flatlands of my early childhood. It all informs the matrix. It is all water.
This show builds upon my Atlas/Hudson River Valley show in March of 2017, which you can read about here:
We are collaborating with Riverkeeper and Catskill Mountainkeeper on a fundraising benefit October 12th, 5-8. That evening, 15% of sales will go to these vital local environmental organizations, as well as the proceeds of a raffle for this 12″x12″ painting:
(Note: Raffle was drawn on 11-16. Tickets were $20. We raised almost $1,300 from the raffle alone!)
"Gallery:Studio – A Symbiosis" Solo Show with Albert Shahinian Fine Art
Additional works at the gallery:
As 2016 Rolls into 2017…
Additional images can be viewed at:
I am very pleased to have new representation at Gallery 901 in Santa Fe, NM. Please check out the gallery if you are in town:
I have just added some newly returned work to my data-base, and taken off the aforementioned holiday gifts. If you are looking for a large painting, this is a rare moment to peruse the many choices:
Since I sold the piece in October that was on my large living room wall, I have had the pleasure of replacing it, temporarily at least, with this favorite that I recently had returned to me:
Looking ahead, my thoughts are on the project I am developing for my residency in Nantucket in Feb.-March. This will involve an expanded and more experiential exploration of place, using drawing, printmaking, painting, writing…and who knows what else? Memory will be a theme.
Also coming up this winter, a special show/sale starting in early February at Albert Shahinian Fine Art in Rhinebeck, NY. More on this in a few weeks.
Finally, for those of you who do the drive from Kingston, NY up Route #28 to your home or weekend place, or if you just want to listen to a very well-produced culture/history/arts audio tour of the Catskills, check out this piece by neighbor and friend Brett Barry of Silver Hollow Audio (who Catskills/HV/Berkshires folks will know from the segments that he does on WAMC). My bit is about half-way into it, but with Brett's interview prompts that created the individual discussions followed by skillful editing, the whole piece is beautifully interwoven and well worth listening to.
I am wishing us, individually and collectively, a year of truth-seeking and compassion; of finding community; and exploring our deepest joys.
Available Work/Studio/Oil on linen and board
This post, designed primarily for the galleries and consultants that I work with, serves as a data-base for oil-on-linen paintings that are currently in my studio. As work sells or is consigned I will remove it, and new or returned work will be added.
My website– created by Stephanie Blackman Design—was beautifully designed as a calling card. Since I create/sell/move work around frequently, it was never my plan to keep it current at all times. With this data-base I will have a comprehensive selection for you all to peruse and can reduce the number of emails that I send showing dealers my currently available work, as those become outdated quickly also.
Often I am expecting some work back imminently or have a painting on the easel that is almost finished, so please feel free to inquire if you have a particular need: email@example.com.
For works on paper (pastel; oil on paper; mixed media/collage; monotype) consult this blog post: https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Julie Heller Gallery in Provincetown, MA; Louisa Gould Gallery on Martha's Vineyard, MA; Butters Gallery in Portland, OR; Thomas Henry Gallery on Nantucket, MA; and Thompson-Giroux Gallery in Chatham, NY.
Oil on Board
"Contours/Distillations": a Solo Show
"Contour/Distillations" has been extended to October 11th.
We are tremendously drawn by stuff. The content of our lives—acquiring possessions; taking care of or replacing said possessions; packed schedules; busy brains—loudly demands attention. What we need the most for balance is intervals of the absence of our stuff, and yet it is hard to reset and choose openness over content.
Creating space in my life is an ongoing project, and has long drawn me both to spend a great deal of time outdoors and to paint my landscapes in an open and minimalist manner. This approach quiets the mind, evoking a direct response. Abstract elements can elicit deep, complex feelings, (a theme beautifully explored in Vassily Kandinsky's 1910 "Concerning the Spiritual in Art") and larger, flatter shapes with soft edges awaken the wide-open feeling of being outdoors in our atmospheric world.
Delving further into the less-is-more discussion, I think that less is different. If there are many details to look at in a painting they tend to compete for attention, creating an experience that remains purely visual or intellectual without going deeper. With fewer elements and more open space, both the emotional and formal content have enormous impact, often visceral. At the same time, what is there has to hold up under analysis, as there is no hiding.
My process in the studio is comprised of long swaths of time in which I am intensely focused and living within the emerging painting, punctuated by intervals of scrutiny and analysis during which I observe the elements with as much distance as possible. This rigor is, ultimately, what allows the viewer to sink into the piece—-many small just-so decisions to create a seamless whole.
The landscape inevitably holds powerful associations, so painting it becomes a back-and-forth between exploring the narrative and focusing on the formal elements of shape, composition, surface, color, and edge. In this body of work, drawn from the past several years, I am presenting the most open, color-field aspect of my work. Viewers can bring their own memories to these paintings, as mine are only suggested, or simply experience them as a conduit for feeling.
Both the above and below are from my Affinity Series. These pieces start with fraying the edges of raw linen; gluing it down to the board; priming with dark primer, and gridding the whole thing with graphite. Then I do the actual painting, and when it dries some selective regridding. The series evolved from the desire to manipulate my support in a way that moves my other choices in a more abstract direction, and brings attention to the surface.
Sometimes, as in the new postcard piece, "Tender Reds", there are more shapes included. I see this as being a rhythmic approach—repetition of similar shapes moving across the surface of the painting.
This piece is less minimalist, but just as abstract. The reduced palette with a white sky allows it to hover between a dreamy in-the-moment being there and an on-the-surface color-field painting.
If one were to consider this as a totally abstract piece, the exercise would be to turn it sideways, or upside down. Compositionally, upside down would work very well, but not sideways—too strong of a horizon line, now going vertical. This would be true of every painting I do—abstracted, but not abstract, and usually with a clear horizon line as an anchor.
"White Trail" has a number of horizons, but the strong line in this piece moves on a skipping, slightly diagonal vertical, emphasizing the format. This piece, too, has a sense of rhythmic repetition of forms.
I have been exploring for this show how a large composition can be successful in small format with these oil-on-paper pieces.
Quiet, tonal color is most often my choice, as it tends to sit back, creating emotional space and allowing for introspection.
But every so often I like to move to stronger color to intensify the timbre of the experience. Whites work well—like a thirst-quenching drink of water— when paired with strong, saturated color.
Most of my pieces have quite a bit of contrast, moving from an atmospheric white or off-white (often tinged with a bit of Mars Violet) to a true black. I find, though, that low-contrast pieces can be intensely riveting in a different way, kind of like a full-throated, low hum. "Evening Shoreline", below, is an example of this.
"Continuing Progression" is really a study in monochromes. The detail of the row of trees on the right, seemingly very subtle, actually pops more because of the reduced palette.
The body of work presented represents the core of my thinking, my base of operations. Albert Shahinian Fine Art, my gallery of longest standing, is the perfect venue for this theme-based exhibition, having shown, over the years, every possible exploration that I have launched from this base.
I hope you can join us for the reception on July 25th and my talk on August 2nd to see all 40 pieces and hear more about landscape, form and mood.
Link to a short but sweet article on the show by Paul Smart in the Almanac:
The installation and reception, below:
Additional work in the show:
So much happening! Summer Season 2014.
Over the top busy this spring and summer, with new galleries, a solo show in place and several other shows coming up between now and August.
We had a lovely, packed opening reception at Chace-Randall Gallery in Andes, NY. I will be updating the blog post I created about the work in the show as pieces continue to sell—but you really should see the show in person, if you couldn't make the opening! Thank-you to Zoe Randall for the party and especially for a great job hanging the work. The show will be up through July 7th.
I am showing again at Butters Gallery in Portland Oregon— and so pleased to add this reputable gallery in a new locale to my list. I participated in the "Line" show there last winter, curated by Melinda Stickney-Gibson, and have remained on the roster. Opening June 5th is a 4-artsist landscape show, invitation below. For my work in the show, see their website:
BUTTERS GALLERY LTD 520 NW DAVIS PORTLAND OREGON 97209 (503) 248-9378 (800) 544-9171 gallery hours: tuesday-friday 10-5:30 saturday 11-5 http://www.buttersgallery.com
East / West
June 5th – 28th 2014
Opening Reception: Thursday June 5th, 6 – 9 pm
My newest gallery is Edgewater Gallery in Middelbury, VT. This happened the way we artists love it to happen—a phone call offering representation. A beautiful space and locale, I am happy to be on the walls, and look forward to events there, starting with a visit and meet-and-greet in October. I just shipped off this triptych, painted with them in mind. See their website for additional work:
Up next is my duo show (with M.J. Levy Dickenson) at Julie Heller East in Provincetown, July 18-31, with an opening reception on July 19th from 6pm on. That same night we are also hosting a reception through the gallery at the Anchor Inn with larger pieces of mine and the work of Polly Law, 7-9pm. The idea is that viewers can go from East End to West End and see both shows.
Arriving at the Anchor Inn/JHG on June 5th, this new piece.
In August I will be showing with Louisa Gould Gallery on Martha's Vineyard in a show with Louisa herself and Paul Beebe. Dates are August 7-27. with opening reception August 9th, 5-7pm. I am new to this beautiful gallery in Vineyard Haven, though I have been showing on the island since 1998, beginning with Carol Craven Gallery and most recently with Dragonfly (thank-you, Carol, Don, and Susan!). The show will include several large-formeat pieces of Vineyard locales.
Here are a few pieces hanging now in her Memorial Day show, including several new ones recently delivered.
Tucked in among all of these shows with my galleries is a very sweet happening, a show called "Three Generations" at Cano (Community Arts Network of Oneonta) in Oneonta, NY. This show will feature my mother, Gerri Scheele, with the ceramics that she was so well known for and the landscapes that followed; myself; and my daughter and son Tessa and Tony Scheele Morelli. This will be a special family affair staged at the Wilbur mansion, where I did my first oil painting at age 11 and where my mother showed extensively for many years.
Heading next week to Gold Gallery in Boston, this newly repainted piece. I am looking forward to my second solo show there in March of 2015.
Some spring sales:
ALL of my galleries have work of mine at all times, so wherever you are or travel to among these locales, check them out!
Workshops are upcoming at the Woodstock School of Art June 23-25 and Provinctown Artists Association and Museum, September 15-18.
Abstraction and Narrative in the Landscape
Working in Oil or Pastel
Using photograhic reference, we will investigate how the elements in a landscape painting serve the whole, accessing the formal qualities of color, shape, edge, and composition to create compelling imagery. The first day we will explore these tools and how they impact the implied narrative of the painting through exercises in oil or pastel on paper. In these studies we will add, subtract, move elements around and change color using our painterly hand. Instead of painting over changes, each study will remain intact while we start a new one so that all variations can be rigorously critiqued and compared before being used as a springboard for a larger painting.
Days 2-4 will include a demo of color-mixing from primaries; more compositional studies, and pursuing fully realized landscape paintings on canvas or larger pastels. Instruction will emphasize the reduction of detail to create a strong, clean composition, along with discussion of both the abstract and the narrative qualities brought out in individual paintings.


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If your marriage isn't great it can be tempting to think . . .
There's nothing wrong with me – it's obvious the problems we are facing are all my partner's fault!"
As natural this thinking is to most of us, statistics show that if your first marriage fails there is a high risk your next marriage will fail as well!
Did you know? . . . Just like learning to drive a car, there are people skills anyone can learn that will help you command more authority & respect in your home?
- Do you know how to handle insults, put downs and slights?
- Can you admit it when you were wrong?
- Do you know what your anger and jealousy are signalling?
- Do you know how to build lasting bonds with people you want close?
A great marriage is not a role of the dice
The chemistry has to be there, sure, but once you get to know each other, it will be your own ability to build connection, set real boundaries and challenge your partner, that will determine if your relationship stands the test of time . . .
The good news is all of these emotional competencies can be taught and learned. Better yet, research shows that you are never too old; learning these skills actually gets easier the older we are.
It's sad that many people only find us once into their 2nd or 3rd failing marriage; We help these people sure, but how bad do you think they feel when they discover correcting their mistakes earlier could have saved their first marriage instead of their third?
What is the next skill you are going to learn?
If you want to learn to drive a car, you need practice, but you also need instruction from someone who knows how to drive. Learning better relationship skills is the same but it won't happen from sitting around talking about your past!
Just like learning to drive, learning better relationship skills will take practice and encouragement and someone to show you the way. For this reason reading a book once (and then leaving it on the shelf) won't help. That is why along side our eBooks we have an extensive knowledge base and membership site. All of this is there for you to access at any time of the day, from the privacy of your own home!
Steve and I look forward to introducing you to our online resources to get you started. Maybe you don't realize it yet but you may have already learned more than you might think!
- To get started choose the purple or orange button on the front page of this website HERE. Soon after you will be asked to join our mailing list to gain access to our free intro tutorial. There is no obligation to buy anything and you will learn more in this tutorial than you do in many relationship advice books.
- If you decide to purchase one of our introductory packages that you will be offered at the end of the tutorial – just follow the prompts and a day or so later you will be invited to join our members area online.
- If you have already worked through the exercises in our Love Safety Net Workbook and you decide you want personal assistance – you can purchase private mentoring with Kim Cooper HERE!
Very interesting reading. I'd want to learn more on what you are offering.


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An English classic found in "Matglede Som Aldri Før" (Joy of Food like Never Before) utgitt av Skandinavisk Presse i 1977
A delicious recipe to add new dimensions of flavour to pork.
Serve it with buttered peas and mashed potatoes.
For 2 servings
1 tablespoon vinegar
2 tablespoons oil
1/8 teaspoon salt
1/2 teaspoon freshly ground pepper
1 teaspoon of spicy mustard
10,5 oz pork, in two thick steaks
1 small can of mushrooms
1 tablespoon chopped parsley
[1] Stir vinegar, 1 tablespoon of oil, salt, pepper and mustard vigorously and rub the steaks with the mixture and leave them to marinade for 1 hour.
[2] Pick the steaks up and wipe them. Make small cuts in the rind and fry them in the rest of the oil until they are crispy golden and done, about 5 minutes on each side.
[3] Let the mushroom drain off in the meantime. Cut them into slices.
[4] Place the steaks on a hot serving dish and keep them warm. Pour the rest of the marinade into the frying pan and reduce it, stirring well from the bottom. Add the mushroom and parsley and pour the sauce over the steaks.
Accessories: buttered peas and mashed potatoes.


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- Special Offers
- Latest Industry Standards
- Professional and friendly staff
- Insurance Claim
Getting to know the procedure
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We French Polish
Here at Bates we are keeping alive the traditional method of french polishing furniture. We believe that this technique which has been perfected over hundreds of years is still the best way to provide a deep, authentic lustre that is appropriate for antique furniture.
What is French Polishing?
French polishing is a wood furniture finishing technique that produces a superior finish. French polishing involves applying lots of thin coats of shellac to build up the shine and deep colour, the finish achieved with french polishing is considered to be the most beautiful ways to finish quality furniture, but it takes a high degree of experience and skill.
French polishing became prominent in the 18th century and was often on mahogany and other expensive timbers. It was considered the best finish for fine furniture. The process is very labour-intensive so other, quicker techniques were developed, but none can match the quality of true french polishing.


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The Birmingham Bark
Once again the newsletter of the Laughing Gravy Tent of Birmingham is packed with news of the activities of this very active oasis. Grand Sheik John Ullah has details.
Included are details of forthcoming meetings...
Eric Willoughby RIP
The funeral of Eric Willoughby, who died in Ipswich on the 25th April, was held in Ipswich Crematorium on 30th July.
Eric was a long-time contributor to Bowler Dessert, whose writings and support were much appreciate. We are very sorry to lose him.
Paul Harding writes:
Long-standing members will no doubt remember Eric from earlier days of the Men o' War Tent, including his inspiration for some local L&H activities including the 1994 event pictured here at Harwich's Electric Palace cinema (showing Eric as Ollie and David Lyon as Stan).
Mike Jones forwarded this from Facebook.
Lonesome Pine
Here is a treat for you all: Cilla Black and Christopher Biggins performing Trail of the Lonesome Pine on an old episode of Surprise, Surprise. Listen out for the seldom heard second verse! Enjoy!
Antony Mitchell-Waite
Fellow Chump Alan Kent has been at it again and has sent me another shedload of rare and unusual photographs he has downloaded off facetube which I will process and upload to the [Chumps] website in the next few days. He included a couple of film sequences he has unearthed too. I wanted to share the below with you.
These are short filmed segments of Stan and Ollie clowning spontaneously on the Queen Elizabeth and with a cab both before and during their visit to the UK in 1947. The Boys don't appear until 1:19 in https://www.youtube.com/watch?v=QHjJJxewSTU but are interviewed and come across very well.
Seeing this revealed https://www.youtube.com/watch?v=hWolu-R3ov0 as a link. This is all Stan and Ollie, though some of it is a repeat of the latter part of the above, plus another link to Laurel and Hardy attending the 21st birthday celebrations of the Romney, Hythe and Dymchurch Railway which can be found here - https://www.youtube.com/watch?v=q_1FwvhdxWM
Definitely worth a look, if for no other reason to see Stan and Ollie looking healthy and happy with their disappointing 40's films behind them. Thanks again to Alan.
I'm looking forward to seeing you all on Wednesday August 14th at the Ashbrooke Sports Club when the films will be Two Tars, Men O War and Sons of the Desert.
Mike Jones
Men o' War remembered
I have a set of pictures I took of Hollenbeck Lake in Los Angeles. These pictures were taken 78 years after the film Men o' War was made (the film was in 1929 and pictures I took were in 2007) and people are still visiting as a pilgrimage to the location.
On 7th August the Call of the Cuckoos Tent of Glasgow are showing Men o' War (released on June 29, 1929), 90 years almost to the month from release! Amazing when you look at the quality of the production today.
Glynne MacDonald
A mess
Bill Crouch saw this in The Herald (27.07.19.).