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When Edmund Cullimore died in 1941, his obituary said:
"Thornbury has lost one of its oldest and best-known residents by the death of Mr Edmund Cullimore, of Shen, Thornbury, in his 91st year. During the course of his long and tremendously active life Mr Cullimore not only founded the Thornbury Saw Mills and Brick Yards, but he pioneered the introduction of electricity to the town, maintained the Gas Company at a critical period, and for many years took a prominent part in the public life of the community.
Mr Cullimore was a member of Thornbury Parish Council from its inception in 1894 until ill-health caused his retirement about four years ago. He had also been a member of the Town Trust, and had represented Thornbury on the Gloucestershire County Council and on the Thornbury District Council and Board of Guardians for many years. He was appointed a magistrate some 20 years ago; he was a governor of Thornbury Grammar School and one of the earliest members of the Thornbury Permanent Benefit Society. He took an active part in politics, championing the Liberal cause. It was he, too, who had the Thornbury Picture House built just over 21 years ago.
At Thornbury Police Court on Tuesday morning Captain R. A. Bennett, chairman of the Bench, referred to Mr Cullimore's death, stating that for 10 years Mr Cullimore sat regularly on the Bench and took the greatest interest in all proceedings, but about 10 years ago, owing to increasing deafness he ceased to take any active participation in the Bench's work at Petty Sessions, although he continued to remain a magistrate. Mr Cullimore also held many public appointments in the town and he was always most conscientious in his work in that connection. He asked Mr S. P. Taylor (Magistrates clerk) to write a letter to Mrs Cullimore expressing the Bench's great sympathy with her at her bereavement. Associating himself with all the Chairman had said, Mr Taylor added that Mr Cullimore was a considerable figure in the life of the town and district of a large number of years until recently, and Thornbury would not be quite the same without him".
Edmund was born on 3rd December 1850 and baptised on 29th December 1850. He was the son of Ambrose Cullimore, a farmer of Morton and his wife, Hannah. According to a letter written by him to the Gazette in 1924 he was born at Great Leaze Farm, Lower Morton. Click here to read a transcript of this letter
The 1851 census shows Ambrose Cullimore a farmer aged 37 farming 40 acres with Hannah his wife aged 38. Both were born in Thornbury. Their children are William aged 19 Drusilla aged 15 Jane 11 Clara A 8, Leonard 3 and Edmund aged 3 months.
A letter from Edmund Cullimore was printed in the Gazette on 27th December 1924. In the letter he referred to his childhood. "My first recollection of Thornbury was about 1853 to visit Dr Long's in Castle Street to be vaccinated. The doctor was very tall and with his head held on one side and jocularly told people he was born with two heads but one dropped off, hence the position of the one left. He was very affable and clever and fond of a jibe, also good horses and dogs and a keen politician on the Liberal side. He offered me two half pennies to keep quiet while he operated on my arm." He went on to say the doctor was true to his word and gave him the promised money. Mr Cullimore also mentioned that although he never suffered from small pox in his life, he was unconvinced that this good fortune was caused by the vaccination.
According to Edmund's other documented reminiscences, after periods at a Dame School kept by Mrs. Hawker at Oldbury Naite and at Oldbury National School, he was sent at the age of eight years to a private school at St. John Street, Thornbury kept by Mr. Champion. The Master was noted for driving knowledge into boys by severity: the means used were a cane and his hat (a soft one). This was used instead of the cane if the offence was not serious. Lessons consisted of learning to spell twelve words correctly, a sum and writing.
Next young Edmund Cullimore went to Thornbury National School where the master was Mr. Joseph Lugg. The fee was 2d per week paid in advance. At this time the school was located next to the St Mary's Churchyard outside the walls of the Castle. Mr. Lugg taught reading, writing, arithmetic, grammar, geography, history, poetry and gave lectures in anatomy. He took a great interest in the scholars' games, taught cricket, football and hockey in proper season, also marbles and buttons.
Edmund developed his business acumen early as the following story he told disclosed: 'I fully enjoyed all these games and was fairly proficient at them all. But more especially the game of buttons as this gave me my first impressions of business. I was an expert player and won and held a reserve of 1,200 besides having sufficient to speculate and play with. From this reserve I sold and was able to control the button market at the school putting up the price when it was a good day for button playing and reducing it when there were not many players. From this source and the sale of hockey sticks, which I collected from my father's and other farms on the Saturday and sold to the hockey players on the following Monday, I began my first banking account with the Penny Bank which was started at this time at the Savings Bank in Castle Street. Our master, Mr. Lugg, encouraged us in this saving scheme by allowing every boy who wished to bank his pennies to leave school at 3 p.m.'
In the 1861 census the Cullimores were living at Oldbury Lane and Ambrose and Hannah have an additional son, George aged 5. There is also a 14 year old farm servant called Thomas Nash. Clara is the oldest child living with the family.
We are grateful to a contact, Jane Bryn, for pointing out to us that Edmund, here described as Edward Cullimore was working as a farm bailiff for his half sister the widowed Drusilla Ann in Olveston by the time of the 1871 Census.
Edmund married Sarah Adams in the Bristol area in September quarter 1876. Sarah was baptised at Rockhampton on 14th November 1850. She was the daughter of Ambrose Adams, a yeoman and his wife, Ruth. The 1871 census shows Ambrose had died and Ruth was now a farmer of 24 acres and a beerhouse keeper. Their home was called the Yew Tree Inn in Newton. Sarah was also living there with her mother and she was described as a governess. We think the photo on the left shows Edmund with Sarah.
We know by 1879 Edmund had become a timber merchant living in Rockhampton as he is described in that way when he acted as trustee of William Weekes, the late father of Edmund's half sister, Drusilla. The 1881 census shows Edmund was a timber merchant living in Yew Tree Farm, Newton just outside Thornbury. He was employing 9 men and two boys. His mother in law, Ruth Adams was also living in the house and she was described as a publican. They have an 18 year old servant called George Bennett and a lodger called Joel Bendall.
Edmund and Sarah had a daughter, Helen Garfield Cullimore who was born in December quarter 1881. We don't know where the middle name of Garfield comes from.
In 1886 Edmund acquired about 6 acres of land in Thornbury from the trustees of John Wetmore Grove who had died in December 1885. In his will John had directed that his daughter, Anna Maria Bevan (the wife of James Bevan) be given the first opportunity to buy the property. When she declined the offer, Edmund bought it, paying £1040 for the property, of which £450 was paid to John King of Rockhampton who had provided John Wetmore Grove with a mortgage. The property was described as: all that close of pasture land formerly three closes called the Home Closes then planted to an orchard and having a frontage to New Gloucester Road in the occupation of Mr John Williams as tenant thereof and bounded by lands of Edward Stafford Howard Esq M. P., the governors of Thornbury Grammar School, Mr J. Williams and Mr G. Hodges and where the said close of land is number 307 on the Tithe Commutation Award for the said parish of Thornbury. This was copyhold land bought in customary fee simple under the will of the Lord of the Manor and subject to rents payable to the Manor. In June 1886, the trustees for the will of Henry Howard deceased who was the former Lord of the Manor agreed to sell the property to Edmund in fee simple for £78 16s 0d, thus removing the need to customary rent to the Manor.
On 5th July 1888 Edmund sold part of this orchard land fronting Gloucester Road (containing 1 rood and 25 perches) to Walter William Pitcher for the erection of the house and outbuildings which later became known as 24 Gloucester Road. We have a copy of an abstract of title for the remainder of the property bought by Edmund in 1886. The abstract together with the attached plan (which can be seen by clicking on the thumbnail on the right) gives an indication of how the property was being used. It refers to an indenture dated 6th July 1888 showing that Edmund was using a small part of the property as a timber yard and saw mill and that he had already erected a carpenter's shop, stables and other sheds on the land. This area was coloured pink on the plan. Edmund had fenced off an area of pasture and orchard land (containing about 4 acres) with a small frontage to the Gloucester Road and that was being used John Day, butcher. This area was coloured green on the plan. Another small piece of fenced off garden land (1 rood and 20 perches) adjoining that occupied by John Day was being used by Edmund and this is where Edmund was to build his future home which he was to call 'Shen'. This area is marked in blue on the plan. The area coloured yellow was another fenced off area on which he was to build a pair of semi-detached houses which became known as 'West Shen' and 'The Elms'.
The 1890 rate book shows Edmund was occupying the house later known as 10 The Plain. In the census of 1891 Edmund and Sarah are lodging at 7 The Crescent, Christchurch near Bournemouth. Edmund is described as a timber merchant and their daughter Helen is with them aged 8. We assume that the family must have been away 'on holiday' at the time of the census.
We know very little about Edmund's religious beliefs except a reference to him being a lay preacher at some stage. In 1895 he was Treasurer of the Gospel Total Abstinence Society.
Edmund certainly had very strong views – perhaps some of which were contradictory. On 4th February 1898 there was a long report in the local newspaper about water and the meeting of ratepayers which was convened to discuss the problems of the inadequate supply in Thornbury. The solution much favoured by others was to pay the West Gloucestershire Water Company to improve the supply which at that time came from a water tank at Thornbury railway station (to read more about water from the railway click here). Edmund Cullimore was outspoken in his condemnation of this idea of spending money saying; "the clerk to the Rural District Council thought it a great blessing to have a high pressure of water to extinguish fires. Property holders in Thornbury did not think that a great blessing as all, in fact they did not care whether their houses were burnt down or not…because the property was fully insured and if it were not they were great fools."
This contrasted sharply with his attitude the following year after his timber mill burned down. The newspaper of 15th November 1899 reported; "Mr. Cullimore whose saw mills were recently destroyed by fire said that he would like to know whether the fire brigade knew where the fire plugs were placed in the town, who kept the keys and whether there were was sufficient pressure of water in the mains to extinguish a fire. When his sawmills were burning no one knew whether they could have water or how to set about using the appliances. If they had one half of his saw mills would have been saved."
It seem that no issue was too insignificant to escape Mr Cullimore's attention. Edmund Cullimore was also reported on 21st January 1899 as trying to get the the Board School to be more cost conscious. He got rather worked up about the waste of pens in the school and said that pen wipers should be provided or brought in by the children to prolong the life of the pens. George Whitfield who was at the meeting said that the Board had to provide all the basic requirements and so would have to buy the pen wipers while pens were "exceedingly cheap." The matter was dropped.
We have heard it said that Edmund 'built' several houses in Thornbury. We have found no evidence that Edmund ran his own firm of builders and we believe that a more appropriate description of his activities in this respect would be a 'property developer'. Certainly he was associated with the building of several splendid houses in the town – starting with 'Shen' his own home built in 1891 and then the two houses built alongside this which were built in 1895/6. Edmund's name appears on an abstract of title of two villas in Gloucester Road which were known as 'Cefyn House' and 'The Tarn' and which were being used as security in 1896 for a mortgage. We can't be sure without seeing the deeds for these houses but we suspect that they could be early names for the two houses which became known as 'West Shen' and 'The Elms'.
The 1901 census shows Edmund settled into 'Shen'. He was described as a timber merchant and saw mill proprietor aged 50. He was living with Sarah aged 50, their daughter, Helen aged 19, Fanny Adams, presumably a relative of Sarah's who was living on her own means aged 59 born in Wotton Under Edge and a servant, Eva Ball aged 20 from Cam.
According to his grand-daughter, Sally Gordon, the name of Shen comes from a place in the Bible. The Internet provides the following description of the word: 'Shen – a tooth, probably some conspicuous tooth-shaped rock or crag (1Sam. 7:12), a place between which and Mizpeh Samuel set up his "Ebenezer." In the Hebrew the word has the article prefixed, "the Shen." The site is unknown'.
On 11th February 1906 Edmund's wife, Sarah, died aged 57. She was buried in Thornbury Cemetery and Edmund added the words 'Beautiful rose of love that bloomed for me by the wayside' after her name on the gravestone.
In the September quarter 1907 there were two weddings for the Cullimores. Edmund's daughter, Helen Garfield Cullimore, married Francis Henry Grace on 7th August 1907 at the Congregational Chapel in Thornbury. Francis was born at Park House, Thornbury on 30th December 1878. He was the second son (and ninth child) of Edward Mills Grace, physician and surgeon, and his wife, Annie. Click here to read about Francis and Helen
The second wedding was when Edmund re-married – this time his wife was Amy Elizabeth Alpass. We don't why but the wedding took place in the area of Newport, Monmouthshire. Amy was born on 11th May 1858, the daughter of Thomas and Emma Alpass (nee Clark) who came from Berkeley. In 1861 and 1871 the Alpass family were living at Oldbury Naite. In 1881 they were in Shepperdine House Farm, although by this time Amy had left home. We have been unable to locate her in either the 1881 or 1891 census. In 1901 Amy was living with her widowed mother at 81 High Street, Thornbury. The photograph on the left is of Edmund and Amy Cullimore at Shen. Following their wedding, it appears that Amy's mother moved in to live with them in Shen as that was Emma Alpass's address when she died on 4th March 1907.
In 1914, Edmund had two more houses built on the west side of Gloucester Road. These were built in a field known as 'Ten Acre Field' and the houses became known as 'Stevelands' and 'Auklands'. It is interesting to note that the two houses were initially occupied by two of Amy's cousins, Ella, (who married Charles Phelps in 1914), and Lilly (who married Frederick Bishop in 1914). We understand that Edmund also had built a similar house in Park Road called 'Westover'.
According to Sally Gordon, Edmund's grand-daughter, 'Edmund was a very successful businessman, starting from nothing and when he died he owned a lot of property around and in Thornbury. He founded the Thornbury Saw Mills and Brick Yards, pioneered the introduction of electricity to the town, maintained the Gas Company at a critical period, provided Thornbury with a cinema and he was the biggest employer in Thornbury of the men around'. Click on the following links to read about some of these ventures:
Edmund was particularly good at using his wealth and influence for the benefit of his family. In addition to providing houses for several of them to live in, he helped in other ways although Edmund also seemed to get some benefit from his schemes. He was quick to see the potential of electricity and made good use of his son-in-law's knowledge and enthusiasm for electricity. We understand Francis Grace had trained as an electrical engineer at Bristol Technical College and had worked for R A Lister Company at Dursley. In spite of Francis being warned by his father not to get involved in the business of electricity, he is credited with the introduction of the new form of power to Thornbury in 1906. We suspect that Francis was encouraged and financially supported by Edmund. It was Edmund's saw mill which was the initial source of electricity and its main customer. The earliest electricity in Thornbury was produced by burning the waste from the Saw Mill and this initially powered the saws directly. Later a bank of electrical accumulators had been installed nearby and a few houses in Thornbury received DC electricity. The situation was formalised on 9th June 1927 when Francis Henry Grace applied to the Electricity Supply Commissioners for authorisation "to supply and distribute electrical energy for all public and private purposes" within " the circumference of a circle having a radius of one and one-third miles and having its centre at the Saw Mills Thornbury.
During this period when there there was a danger of Francis and Helen moving to Canada, Edmund used his influence with the Thornbury Gas Company (in which he had acquired an interest) to ensure that Francis became Secretary for the Thornbury Gas Light and Coke Company. When the demand for gas expanded and a new showroom was required, Edmund provided a suitable site in St John's Street and a new buildings with showroom was provided in 1932.
We have seen the Gazette for 1937 in which Edmund Cullimore announced that he would no longer be standing for re-election to the Parish Council of which he had been a member since 1894. The councillors expressed their regret as he had been a valuable member and his advice had always been sound. Edmund said he was born in the parish in 1850 and had lived in the town itself for 50 years (by 1937) and had always done what he thought best for the town. The article said that Edmund "advised the young people of the town not to let politics interfere with their social life" and to "let them keep the well-being of the town in front of them always."
Edmund and Amy were joined in Shen by their niece, Elizabeth and her husband, Dennis Haley and they continued living there after Edmund died and Amy moved away.
Edmund and Amy continued living at Shen until he died on 6th September 1941 aged 90. He was buried in Thornbury Cemetery in the same grave as his first wife, Sarah. A quotation from Longfellow was inscribed after his name – 'There's a brave fellow. There's a man of pluck. A man who is not afraid to say his say'.
Amy died in the Central Spa Nursing Home in Cheltenham on 11th January 1943. She was aged 84. She was buried at Cheltenham Cemetery. She had been a staunch Methodist all her life and was a member of the Thornbury Methodist Church for over 50 years. She 'made provision for the benefit of the Church in her will. In her earlier days she had been a Sunday School Teacher.
We know from Edmund's estate which put up for sale at auction on 5th November 1958 that Edmund had acquired a considerable amount of property in Rockhampton, Falfield, Oldbury, Thornbury and Wotton-Under-Edge. The notice of sale refers to 'three freehold farms, a smallholding, accommodation land, woodland, cottages etc comprising 486 acres'. The farms included Pennywell Farm and Luce's Farm, Rockhampton; Sunday's Hill Farm, Falfield and the Old Holt Farm, Oldbury-on-Severn.


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subset: commoncrawl


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Samsung Galaxy S9 needs this revolutionary in-screen fingerprint sensor
Will it be ready for Samsung Galaxy S9 launch on February 25?
Update: There's further evidence that the Galaxy S9 may turn to a form of Face Unlock called Intelligent Scan Biometrics and leave the Note 9 to become the first Samsung phone with an in-screen fingerprint sensor, as we theorize below.
Two major developments happened this January: the Samsung Galaxy S9 launch date was officially announced for February 25, and we got to test out the world's first phone with an in-screen fingerprint sensor – it's in a Chinese phone you'll probably never be able to buy.
There needs to be a wedding date to marry these two technologies together, as Samsung desperately needs an in-screen fingerprint sensor. Its placement of the Samsung Galaxy S8 and Galaxy S8 Plus sensor – on the back of the phone and off to the side of the rear camera – didn't agree with anyone.
Luckily for Samsung, and all phone makers in a world where all-screen designs rule and home buttons have no place, the front fingerprint sensor can return to its original location digitally. iPhone X users who are struggling with Apple's Touch ID to Face ID transition, don't worry. There's hope for you, too.
Both Synaptics and Qualcomm are developing in-screen solutions. Here's what we experienced from our demo of the in-screen fingerprint sensor and why we are hopeful you may see it in a Samsung smartphone this year.
How it works
The fascinating technical details behind in-screen fingerprint sensors make this furustic idea seem even more revolutionary for smartphones.
The tiny embedded scanner was able to read our fingerprint from behind the glass and the display, looking through invisible spaces in between the display pixels, according to Synaptics in our demo. For this reason, the technology works only on OLED screens (another knock on LED).
Everything felt natural. We placed our thumb in the familiar front location at the bottom of the display, the fingerprint icon instantly lit up around our finger to capture our print and within half a second the phone was unlocked.
This groundbreaking in-screen fingerprint sensor demo didn't happen first on the Galaxy S9, surprisingly. That hasn't been unveiled yet. The world is hopeful, however, it'll be there on February 25 – such a sensor has been rumored ever since the Galaxy S8, and again in the lead up to the Note 8 launch. Apple and the iPhone X went through the same series of rumors followed by dashed hopes.
Instead, the Chinese company Vivo was the first to show off the Synaptics in-screen fingerprint sensor on an unnamed phone due to launch later this year. You probably won't be able to get one since it isn't due for worldwide release.
But the Synaptics demo had a lot of promise and gave us a new hope. Though it wasn't the fastest fingerprint sensor we've ever used, it's fast enough. To give you an idea, it was a bit slower than current fingerprint sensors, roughly the speed of the first Touch ID fingerprint scanner from Apple. Of course, Synaptics, known for its laptop touchpads, said it's currently refining the technology.
Will Samsung Galaxy S9 or Note 9 get it?
Everything seems to line up: We just demoed the first phone with an in-screen fingerprint sensor, the Galaxy S9 launch event is next month with a rumored March 16 release date, and Samsung needs this technology in its phones.
Alas, current leaks of the Samsung Galaxy S9 and Galaxy S9 Plus don't give us much hope for an in-screen fingerprint sensor on these phones. Another year of dashed hopes, but we are at least due to get better placement: a sensor on the back, underneath the rear camera and not awkwardly to the side of it.
So where does that leave us? Well, the Samsung Galaxy Note 9 is then likely to be the beneficiary of the first in-screen fingerprint sensor in a Samsung phone, whether it's from Synaptics or Samsung's System-on-a-Chip partner for the US, Qualcomm.
The Note 9 makes a lot of sense, too. Samsung has always treated the Note as its more experimental smartphone, and this will be a key feature to differentiate it from the Galaxy S9 Plus besides the Note's S Pen stylus and its increasingly meaningless 0.1 inch of extra screen space. Samsung will also likely launch it in August of this year, one month ahead of a potential iPhone X2 launch (and other new iPhones) with any Face ID improvements Apple plans to make.
There are two things we're sure of: the days of terribly placed fingerprint sensors are numbered and the revolution of in-screen fingerprint sensors are real. You can have your all-screen phone and have it read your fingerprint, too.
- Ready? New phones await MWC 2018
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What are the challenges of a museum located in a peripheral area? What strategy is the Director expected to implement in order to reach new audience?
Art&food are two necessities of life and a strong vehicle of local identity
how can local community cooperate with the peripheral museum to reinforce the synergy between art&food?
In_Nova MusEUm project aims to strengthen the capacity to attract new audiences of European museums located in peripheral areas, through activities of audience development related to Art&Food, valorization of museum artworks collections and local cultural heritage.
Specific Work packages (WPs) are dedicated to experiment in the partner museums and in stakeholder museums Art&Food activities with the local communities.
Activities, in In_Nova MusEUm, seek to help peripheral museums and their collections reach as many people as possible across Europe and extend access to cultural works to under-represented groups.
It also seeks to help peripheral museums adapt to the need to engage in new and innovative ways with audiences both to retain them, to build new audiences, diversify audiences including reaching current "non-audiences", and to improve the experience for both existing and future audiences and deepen the relationship with them.
In_Nova MusEUm includes collection and data analysis about current audiences, provides specific training activites on AD and Digital engagement for partner staff (museum responsibles, communication responsibles, artistic directors) and associated partner by structuring the unintentional and potential AD strategy under a codified AD methodology.
Finally, the project experiments a combination of audience development and new technologies through a pilot of digital engagement (also by involving external experinenced AD services provider).
Art&Food is the common creative framework that guide all In_Nova MusEUm activities
This project involves 2 partners Museums (Skoklostersslott Castle and Theodoros Papagiannis Museum ) and 5 associated partner Museums:
- Museu Bordalo Pinheiro (PT),
- Palazzo Chigi di Ariccia (IT),
- Kilkis Museum (GR),
- National museum George kastrioti skanderbeg (SE),
- Muzeu Arkeologjik Durres (AL).
Stakeholder networks of museums in Italy, Sweden, Portugal, Albania and Greece are indirectly also involved.
The creative and participative lab Tirana Ekspress and the CICANT R&D Unit of Lusofona University act as technical partners together with the associated Cultural Department of Patras University.
The partnership is lead by Centro Europeo per il Turismo, lo Spettacolo e la Cultura (Italy).
In-Nova MusEUm an Creative Europe Co-funded Project officially starts on October 1


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On July 22nd, 2014 I shaved my head completely. Each month from then until now, I've posted a monthly blog talking about my journey. For my natural hair anniversary I decided that instead of giving you guys a long drawn out blog crying about how great of a year it's been (cutting my hair, falling in love, quitting my dead end job, and enrolling in college) or how fun it was rocking different styles (the afro, the headwrap, the mohawk, the shaved head)
If I Can Give Anyone Any Advice about their big chop…
- Don't cry. When I shaved my head, I cried my eyes out like my life was ruined. Things had fallen apart and I was beyond unhappy with myself, but when it was all said and done and I was completely down to nothing.. I rebuilt from it and my hair grew back as if it'd never left. That being said:
- Don't look at this as if it is a loss but a gain. The journey is one that is filled with twists, turns, hard lessons, and self love. This is going to excite you even if you can't see it the moment you embark.
- Pay attention to your hair. I spent a lot of time nurturing my hair and seeing what it needed. From bald head, to fro, to mohawk, I did what was best for it when it came to protective styling, laying off the heat, etc.
- Your hair is your crown. No matter how shiny or bejeweled it is, it speaks for itself. It says, I am a queen. Don't ever forget that.
Now, to Unveil the big surprise..
I dyed my hair a new color. I had been saying I wanted this hair color for years but there was so much stopping me. (One time, I'd tried and my hair had turned silver). Another reason was because everyone got me confused with Vex, my love. Her hair is far longer than mine and she's got hip dermals.
Yet.. To another year of natural hair, change, and the stunning revelation that when you take care of your hair it has the potential to be everything you could ever want it to be..


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Pitchfork Fondue Fundraiser Sept. 20
September 12, 2018 | View PDF
On Thursday, September 20 come enjoy a pitchfork fondue of flat iron steak, salad, potato and dessert. This event takes place at Richland County Fairgrounds, old commercial building. Beer, wine, pop and water will be available for purchase. The social begins at 6 p.m. with dinner at 7 p.m. and music to follow.
The $30 tickets will be available at Tami Maltese CPA office; Fink Dental Center and St. Matthew's Church (after mass only). Please purchase your tickets one week prior to the event.
St. Matthew's Charitable Foundation sponsors this event and the proceeds will go toward replacing the church parking lot.


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Have you taken up this summer's challenge of Reading Takes You Everywhere? If Destination O: Read a Book with a Main Character Near Retirement Age is a stop on your journey, perhaps one of these books will get you there! Check out the first lines of these five books to see if any pique your interest.
"It was a love song. At least it started out that way."
The Supremes Sing the Happy Heartache Blues by Edward Kelsey Moore
"'I'm dying and I know it.' Cliff Cooper stretched out a hand to me. 'Will you help me, Jessica?'"
The Ghost and Mrs. Fletcher by Jessica Fletcher and Donald Bain
"You might think he could have made up his mind earlier, and been man enough to inform his surroundings of his decision."
The 100-Year-Old Man Who Climbed Out the Window and Disappeared by Jonas Jonasson
"A few minutes after two in the morning Rebecca Winter woke to the sound of a gunshot and sat up in bed."
Still Life with Breadcrumbs by Anna Quindlen
"They finally stopped me at Dover as I was trying to get back into the country."
The Universe Versus Alex Woods by Gavin Extence


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It's time for another edition of Sunday Music here at Robert Frost's Banjo.
We continue our feature on the band Esmerine with a live performance of their piece "Barn Board Fire", shot at Château de Monthelon.
"Barn Board Fire" is a more recent composition than the music we featured the previous two weeks; it appears on their 2014 Constellation Records release, Dalmak. Esmerine composed the music for the album & began recording it during a year-long residency in Istanbul; in fact, "dalmak" means "immerse" in Turkish. The recording was completed back in Montreal in 2013. For more information on the recording process, you can follow this link to the Wikipedia entry on the band.
If you enjoy what you're hearing, please consider supporting Esmerine by purchasing their music.
Image links to its source on Wiki Commons
Château de Monthelon by Wiki Commons user Serein, who makes it available under the Creative Commons Attribution-Share Alike 3.0Unported license.


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A related synesthesia occurs in the detonation of a Zen temple bell used to summon monks to prayer, as well as to simply mark time or signal important ceremonies. The intermingling of sensory acts begins with lifting a weighty mallet by hand, and then swinging it through an arc to strike a massive bronze bell, whose vibrations extend back into the fingers and arm. The lifting, swinging and striking produces a surprising and pleasing aural event, an extraordinarily low tone with deep resonance that carries over a great distance. The sound begins with the clear clean tone of an impact strike, followed by the prolonged reverberation of a low rumble, which then dissolves into a decaying resonance that can last up to a minute, a sound felt to be calming and highly conducive to meditation.
The deep satisfaction felt in a door responsive to human initiative can also derive from a window endowed with latent mutations that are unexpected and full of wonderment. Consider, for example, the colourful painted wooden shutters of old Dutch towns, especially those with combinatory or nested motions. Some streetside shutters are hinged to open up and down, rather than across, turning the shutter into an impromptu sunshade or shelf.
More complex are the large banks of shutters in the tall leaded windows of seventeenth-century Dutch houses, which can be subtly adjusted to control the illumination of long, narrow rooms lit from one side. These finely tuned lighting effects were carefully studied by Steen Eiler Rasmussen, who described their typical form as a 'four-framed window with a shutter to each frame that could be opened or closed independently, so that the light could be regulated at will … the light could be dimmed down to a most mysterious gloom. Or all of it could be concentrated on one spot, leaving the rest of the room in semi-darkness. No one has employed these effects with greater skill than Rembrandt, as his paintings show. They also show the wealth of textural effects that could be produced by this special lighting method.'60 Rasmussen goes on to discuss how similar shutter manipulations were used by Vermeer to produce the delicate moods of his paintings.
Related controls over light and air must have also been a concern in otherwise fortified castles, palaces and monasteries, for their deep windows were often given self-embedded shutters to permit control over conditions of the recess and room beyond (p. 84). Light, view, breeze and sound can be roughly governed by opening or closing the overall windows and shutters, and more finely regulated with smaller hinged flaps inside the panels, expanding the scope of action. Especially intricate shutter systems were invented by American Shakers in the nineteenth century, who were renowned for merging practicality with simple beauty. These include adjustable wooden transoms for ventilation, and so-called 'Indian shutters' that slide horizontally over windows and eliminate winter drafts. On the ground floor of the huge granite dwelling house at Enfield, New Hampshire, a four-shutter system was built into each window to finely modulate light and outlook. Each of the dualhinged shutters can be folded in half, allowing it to assume three different positions – fully closed, half open, or fully open – so that each window has, in effect, over eighty permutations. The degree of participation increases as people deliberate and test the latent positions and motions of shutters, finding pleasure in the way smaller hinged orbits pass inside the larger orbits of multifold panels. When opening all the shutters at once, something equally marvellous occurs, for they disappear, as if by sleight of hand, into the recesses of reveals.
10 Kitchen Design Ideas Photos Photo Gallery
From the standpoint of its atrophy of manual control, decorating's dual threat of immobility and automation can be seen as a process of disembodiment, and in this sense a betrayal of man. Those few built parts retaining a role for human operation – standard hinged doors, double-hung windows, sliding curtains, Venetian blinds – are stripped of any real action that would confirm our power to be a cause and, more broadly, feel a sense of responsibility in the physical world. By failing to exceed their functional purpose, eradicating play from work, these mobile remnants virtually destroy the possibility of human deeds.
Fortunately this trend to fossilization and cybernetics has been resisted by architects concerned with preserving some human dignity in modest acts of kinesis. Among them is Wharton Esherick, who fitted the doors of his house and studio with hand-carved latches and handles of satiny rosewood (p. 88), no two of which are alike, with shapes and textures inviting fingers and skin to touch and engage their mechanisms. People doing so become the locus and source of action by entering into a toy-like play with the intermeshed parts, whose movements and repercussions are enthralling but never immediately apparent. In a similar vein, Esherick's light-pulls are tiny metal figures that startle and delay our grasp, and lamps are hung from long wooden arms that swing through space in wide orbits. The largest kinetic element is a trap door to the bedroom operated by rope and pulley, facilitated by a rising and falling counterweight. In each loving marriage of use and delight is an idea about the core of life that echoes the words of Robert Frost in his poem 'Two Tramps in Mud Time':
Maybe You Like Them Too
- Study Interior Design
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Plum Results offers expertise in customising a training series or workshops to meet your specific requirements.
By modifying our existing training materials or building your content into training, your in-house program will be a tailored solution that addresses the unique and specific training needs of your team and outcomes sought by your organisation.
Contact Plum Results to discuss your training customisation requirements.


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10 Important VA Forms
Throughout the disability compensation claim process, there is a corresponding form for nearly every action you wish to take. VA requires veterans to complete certain forms at specific times in order to have their claim considered. This post will highlight common VA forms, explain the function of each, and provide some of the timelines involved in submitting them. Whether you are filing an initial claim, appealing a decision, or seeking an increased rating, VA has a form for that.
Before we begin, it is important to keep a few helpful tips in mind:
- Make copies of everything so that you can keep track of your own claim, and never send original documents to the VA. Always send copies.
- Adhere to deadlines set in place by the VA, otherwise your claim or appeal will not be considered timely, and you may get denied.
- Send documents via certified mail so that you are sure VA has received them.
- Keep the VA updated as to your current marital status so that missteps such as overpayment can be avoided. Notifying VA of a change of address is also an important action to take in order to prevent VA from sending notices and sensitive medical information to an outdated home address.
- Seek assistance from a VSO or VA accredited claims representative if at any point you feel as though you need help completing these forms.
Claim Documents
- 21-526EZ: Application for Disability Compensation and Related Compensation Benefits — is your formal application for VA disability compensation. Before beginning to fill out this form, be sure to read the instructions carefully. Included under the "evidence tables" section of the 526EZ, VA lists the information that you should provide in order to best support your claim. Reading this information can offer insight as to how to prove your claim, and how your claim will be reviewed by VA.
Those filing under "special circumstances," such as the need for Aid and Attendance or Total Disability based on Individual Unemployability, should read the corresponding instructions listed under that circumstance. The information contained in this section lists the supplementary forms that you must submit along with the 21-526EZ in order for your claim to be considered.
It is important to submit as much relevant evidence as you have with your 21-526EZ.This evidence can include: service personnel records and documents such as your DD214; service treatment records; and current medical records.
You can request that VA takes on the responsibility of obtaining the private medical records it needs to support your disability claim by submitting VA Form 21-4142: Authorization to Disclose Information to the Department of Veterans Affairs. Federal treatment records (i.e. service treatment records or VA medical records) will be gathered by VA only if you "adequately identify [them] and authorize VA to obtain" them. These documents are vital to your claim; for example, past service treatment records may correspond to current medical records, showing that you are still suffering from a condition incurred during, and treated while, in service.
You will notice that there are two claims processes you can choose from when filing a claim for disability benefits: the Standard Claim Process and the Fully Developed Claim (FDC) Program. The FDC program is an optional expedited process for having your claim reviewed. When you choose this option, you are stating that you are submitting all of the evidence available to support your claim along with the application. If you selected the FDC option upon filing, but have since discovered additional evidence, you are still able to submit that evidence. However, you will be placed into the standard claims process upon this submission.
Throughout the standard claim process, VA has more responsibility to obtain the information required to support your claim. In this process, you are able to submit additional evidence for up to one year after filing your claim. If you wish to opt into the standard claims process, be sure to check the box under item 26. If you need assistance completing VA Form 21-526EZ, do not hesitate to ask for help from a VSO or accredited claims representative if you need it.
- 21-0966: Intent to File a Claim for Compensation and/or Pension, or Survivors Pension and/or DIC— If you are planning to file for disability benefits through the VA but need more time to gather evidence, you can submit this form to notify VA of your intent to file a claim. After submitting your Intent to File, you have one year to complete your claim application (21-526EZ). The date that VA received your intent to file will also be the effective date of your claim.
- 21-526c: Pre-Discharge Compensation Claim— This form allows active service members to apply for the Benefits Delivery at Discharge program. Active service members can file disability compensation claims "from 180 to 90 days prior to separation or retirement from active duty or full-time National Guard duty." VA stresses the importance of submitting this form as close to 180 days prior to discharge as possible in order to schedule and complete your Compensation and Pension Exam. Claims processed using this program are typically decided much faster than those filing a standard claim for benefits.
- 21-526b: Veteran's Supplemental Claim for Compensation— Veterans who have been previously granted disability compensation can use this form to claim the following circumstances:
- Increased evaluation- if your service-connected condition has worsened since you were last rated by the VA, you may file for an increased rating using this form.
- Secondary Disabilities– if you believe that your service-connected disability has caused or aggravated another medical condition, you may submit a form 21-526b to establish secondary service connection.
- Aid and Attendance (A&A)– If your service-connected condition warrants the need of in-home care from another person, you may apply for A&A.
This form also provides options for establishing service connection for new disabilities and reopening a previously denied claim; however, the best way to file a claim for a new disability or to reopen a previously denied claim is always to submit a 21-526EZ with new and material evidence supporting your statements.
- 21-4138 Statement in Support of Claim— You can use this form to provide VA with a statement in support of your claim for service connection, increased rating, TDIU, etc. This is a multi-purpose form in which you may include anything you want VA to know. Information provided by you on this form can include specific details about your claim and buddy statements from family, friends, or fellow service-members who have witnessed the impact that your service-connected disability has on your life.
- 21-8940: Veteran's Application for Increased Compensation Based on Unemployability—If you are seeking Total Disability based on Individual Unemployability (TDIU), VA will likely require you to submit this form. This form requests basic treatment information, employment and education information, and an opportunity to submit remarks detailing how your service-connected disability(s) affect your ability to work. Note: VA will send the previous employers you list on your 21-8940 a form 21-4192: Request for Employment Information in Connection with Claim for Disability Benefits upon receiving your application for TDIU.
To reiterate, if you need assistance filing any of these forms, please seek assistance from a VSO or qualified veterans lawyer.
Other Documents
- 21-686c: Declaration of Status of Dependents—This form can be used to change the status of your dependents, such as a spouse, children, and parents, in regards to your VA disability compensation benefits. Reasons for adding or removing dependents from your disability compensation benefits can include: marriage, death, divorce, or acquired ineligibility of children due to age.
It is very important to notify the VA of these changes as soon as possible. If you fail to inform VA that you no longer have a dependent, you will likely experience an overpayment, , for which VA will seek reimbursement. Conversely, if you are adding a dependent to your VA disability benefits, you may be entitled to receive additional monthly compensation.
In order for children to qualify as dependents, they must be unmarried, under 18 years old, or between the ages of 18 and 23 while attending a VA approved school full time. Children seriously disabled before age 18 may also qualify as a dependent. Note: if your child is between 18 and 23 and attending school full-time, you must also file VA Form 21-674: Request for Approval of School Attendance to claim them as a dependent.
- 20-572: Request for Change of Address/Cancellation of Direct Deposit—Although it may sound trivial, forgetting to change your address with the VA can sabotage your disability compensation claim. If you do not update the VA as to your change of address, you may miss important correspondence such as the scheduling of your C&P examination, causing you to miss your examination. Failure to attend a C&P exam can lead to a denied disability claim. VA may also send medical or benefits information to this address. Failure to inform VA of a change of address can lead to your sensitive information being sent to the wrong place.
Appeal Documents:
- 21-0958: Notice of Disagreement (NOD) — A Notice of Disagreement's purpose is to inform the VA that you disagree with its decision regarding your disability claim. The NOD initiates your appeal and it must be filed within one year of the date included on your rating decision notification letter.When completing your Notice of Disagreement, be sure to list the specific aspects of VA's decision with which you disagree; try to include as much detail as possible when filling out your NOD. Usually, veterans file a Notice of Disagreement to dispute the VA's decision if:
- it deems the claimed condition unrelated to service;
- it denies entitlement to an increased rating;
- it grants a lower disability rating than the Veteran believes is warranted;
- it grants the claim, but with the wrong effective date.
- VA Form 9: Appeal to the Board of Veterans' Appeals — The substantive appeal form, or VA Form 9, is an official appeal to the Board of Veterans' Appeals (BVA). You receive a VA Form 9 along with your Statement of the Case (SOC); the VA sends an SOC if upon reviewing your NOD.
Your Statement of the Case will explain in more detail the reasoning behind VA's denial of your claim. It should also list the evidence VA used to make its decision. The VA Form 9 gives you an opportunity to contest the information provided in the SOC, and present additional evidence. In order to successfully appeal to BVA at this stage, you must carefully and thoroughly list the specific issues you would like to contest and provide supporting evidence for each assertion. You can choose to contest some, or all of the issues listed on your SOC (or SSOC).
There is a 60-day window from the date of issuance of the SOC to submit a VA Form 9. If you do not submit your Form 9 within the deadline, your appeal will be closed.
Under Block 10 of Form 9, VA asks whether you would like to appear at a Board hearing, and if so, where you want to appear. Hearings in front of the Board of Veterans' Appeals are entirely optional. If you do request a hearing, you have the option of attending it via videoconference, in Washington D.C., or at your local VA Regional Office.
Per instructions listed on the Form 9, seeking assistance from a VSO or legal representative is recommended at this stage of the appeals process: "Most people who appeal to the Board of Veterans' Appeals do get a representative." Once you have completed your Form 9, follow the instructions listed on your SOC to learn where to file it.
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Just one year ago appeared the great Clark Terry tribute film, "Keep On Keepin' On," which has won all kinds of acclaim and awards. It had limited distribution and I never got to see it. Last night I found it on Netflix, and I urge all of you to check it out if you haven't yet had the chance.
The story revolves around Clark's relationship as mentor to Justin Kauflin, a 23-year-old blind piano prodigy who is learning jazz from the master. Justin and Clark develop a close bond as Clark suffers progressive debilitation from diabetes. Justin's stage fright gets the better of him at the Thelonious Monk International Jazz Piano Competition, but he forges on in his study. Clark teaches him from his sick-bed by scat singing and vocal inflections á la "Mumbles," which method is remarkably successful.
The movie counterposes Justin's story with that of Quincy Jones, who went on later to produce the film and was Clark's first pupil at age 12 way back in St. Louis. It's a clever and effective juxtaposition. Here's a brief review.
After a long struggle, Clark died in February of this year at the age of 95. I wrote about his passing, which affected me strongly not only because of his music but because I got to know him briefly at two different points in my career. The first was when I was a college kid going to hear the Ellington band at Chicago's Blue Note. Clark would sit with us between sets and tell great stories. Some of these are reflected in his autobiography which has many more. Second, I later interviewed him in 1968 for my music column at The New Leader about the AFL musician's strike. We had a long, straight talk about many issues on the business side of jazz.
The thing I most remember about Clark was his entire openness. He could and would talk on most anything, and there were no holds barred. You get the flavor of this in the film, which also contains some wonderful music tracks, of course. The film renders something extraordinary about Clark the man. Beyond that, his trumpet and flugelhorn playing affected everyone who heard it because of its joyous content and technical sophistication.
He wasn't content simply with being the best jazz trumpeter. His driving urge in life was to educate younger players not just in how to play jazz but in the jazz mystique. "Keep On Keepin' On" tells that story and tells it beautifully.


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A meaningful apology from the provincial government to Sixties Scoop survivors will most likely occur in the New Year.
"We would like to move forward with it as soon as possible. But as soon as we're able to provide those meaningful words and that meaningful apology," Premier Scott Moe said.
Moe did not indicate exactly when the apology would be delivered.
The Sixties Scoop Indigenous Society of Saskatchewan conducted six sharing circles throughout the province in October and November to hear from survivors as to what they wanted to be included in the apology.
The Society, according to a funding agreement with the province had until the end of November to submit a final report.
Moe confirms that he met with the group a few days ago, discussing the apology. He says he is still reviewing the final report.
In the 1960's and 70's the province participated in the adoption process of removing Indigenous children from their homes and placing them in non-native families.
(PHOTO: Sixties Scoop Indigenous Society of Saskatchewan logo.)


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Two More VideosJune 7th, 2010
I recently received an email from Bob Wooldridge who pointed me to this video of George Sakellariou. In Bob's words:
I was just watching this video that was recently uploaded by Dave Schramm. Take a look at Sakellariou's right hand fingers. There are several points in the video where the camera is looking at his hand from the left side and you can clearly see how his fingers are attacking the strings. I think you will find this interesting:
My own continuing youtube research also uncovered this video of Douglas Niedt:
In both these videos, one can clearly see the same upward motion in their fingers, in that same circular trajectory I had talked about earlier in my Isbin post.
There's quite a bit of hand bouncing too in Niedt's hand, which is absolutely essential in chordal playing, but is also very much a part of this circular type of playing.
Most good players develop the circular approach to plucking naturally and intuitively. It's something they probably don't even think too much about.
So why is this a concern?
Because for some players, developing this natural approach may not come so easily.
This is especially true if they have been subjected to the strict playing-from-the-knuckle methodology, (plucking strictly from the knuckle) or if they have been taught to exaggerate the follow-through in their fingers after the stroke.
The inevitable result of playing only from the knuckle is a loss of fluidity in the fingers. That's because you wind up with stop and start pendulum-type motion in the fingers.
Exaggerating the follow-through also results in the same stop and start pendulum-type motion as the knuckle stroke.
The great thing about circular plucking as I explained in the AOV is that it creates a continuous flow of motion.
There're two parts to plucking a string, the plucking and the rebounding (to reposition the finger). As soon as you pluck the string, you have to bring it back to reposition it. So there're two points where you have to effect a direction change in your stroke.
If you move back and forth in a pendulum-type motion, you'll have to stop at each point to reverse direction. This is inefficient. It stops the flow of your motion and you lose momentum.
But if you loop around each direction point, you can keep the flow of your motion going even as you change direction. That's why circular motion is so crucial to speed and fluidity.
Circular motion of course is nothing new. It's central to Tai Chi and Aikido.


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- Not to be confused with Sil-Var-Woad.
- "A Bosmeri village has been defiled and destroyed. It is now festooned with the skin, bones, and other regalia of Daedra worshipers and necromancers. The smell of burning wood and flesh was not present before and forces me to retch in disgust and tie a cloth across my face."
- ―Flaccus Terentius[src]
Gil-Var-Delle or Gilverdale[1] is a town located on the western edge of the Grahtwood region, in the province of Valenwood. Gil-Var-Delle is infamous throughout Valenwood, considered a cursed place ever since Molag Bal destroyed the city many years ago.
By gameEdit
Gil-Var-Delle is one of the bigger settlements in the province of Valenwood, being built from the large trees that inhabit the province. Gil-Var-Delle itself is located west of the city of Elden Root and the Falinesti Winter Site, and north of the city of Southpoint. The ruins of Gil-Var-Delle are vast and is an utter wasteland when compared to the lush greens of the Tarlain Heights. Some paths cut through the ground, where bones and soddy water lurk, as well as, lowlife creatures of Coldharbour such as the Daedrat or Hoarvor. The upper grounds of Gil-Var-Delle have roots jutting out of the ground, as well as, ritual stones from Necromancer groups. Southwest of Gil-Var-Delle is a large pit infested with Harvesters and Daedroths.
First EraEdit
In 1E 2920, sometime around the Four Score War, the King of Senchal was named Dro'Zel, who was infamous for being the Mad King of Senchal and having the mentality of a child. One fateful day, Dro'Zel was visited by a bard from Gil-Var-Delle, who told a story of Polydor and Eloisa and the story of Heart's Day, which had a grim ending. This ending left Dro'Zel furious and devastated that the Bard told him such a sad tale. Through dark magic, Dro'Zel summoned Molag Bal and ordered him to destroy the city of Gilverdale. Molag Bal arrived into Gil-Var-Delle through a powerful red mist, which engulfed the buildings throughout the township. The town of Gil-Var-Delle was left ablaze and in utter ruins. Unfortunately, some people believed that the situation in Gil-Var-Delle was a hoax and that Molag Bal did not destroy the town, but a large fire burned it to the ground. The Devouring of Gil-Var-Delle brought interest to Sotha Sil and Almalexia of the Tribunal. This event led them to the Isle of Artaeum and the Dreaming Cave to discuss with the Daedric Prince about future endeavors such as the one in Gil-Var-Delle. This pact would last for quite sometime until 2E 583.[1][2][3]
Second EraEdit
- Main article: Gil-Var-Delle (Online)
During the Interregnum in 2E 578, the Order of the Black Worm began to inhabit the ruins of Gil-Var-Delle and establish their ritual sites throughout the wasteland. Mannimarco had made Gil-Var-Delle the base of operations for the Worm Cult in Valenwood and had at one point, captured the Bravilian scholar named Flaccus Terentius. Around the same time, the Planemeld had ravaged the province of Cyrodiil, and the besieged the city of Bravil with his massive army of Daedra. Mannimarco had already expanded his followers throughout the provinces of Tamriel, ranging from the city of Markarth to the Grand Imperial City. Terentius had unfortunately died in a ruined house in Gil-Var-Delle, where his notes were discovered by a courier from the Fourth Legion, who then passed the notes to Abnur Tharn in Cyrodiil.[4][5]
In 2E 582, the High Ordinators of Mournhold were sent to the ruins of Gil-Var-Delle to force the Worm Cult out of the area and to diminish Molag Bal's influence. High Ordinator Danys was sent to Gil-Var-Delle by Almalexia herself to deal with the situation. Danys was in a dire situation and needed help with the situation in ruins, luckily he met a warrior known as the Vestige, and both ended the Worm Cult's scheme in the ruins of Gil-Var-Delle. There was a weaker version of a Dark Anchor situated in the middle of Gil-Var-Delle that was used to bring an army from Coldharbour. The Vestige defeated the Harvester guarding the Dolmen, and destroyed the Dark Anchor, relieving the area of the Cult. Danys would return to Mournhold with the mission to Gil-Var-Delle complete.[6]
- The Elder Scrolls III: Morrowind (mentioned only)
- The Elder Scrolls IV: Oblivion (mentioned only)
- The Elder Scrolls V: Skyrim (mentioned only)
- The Elder Scrolls Online
|Valenwood Locations in Lore
|Arenthia • Elden Root • Falinesti • Greenheart • Haven • Marbruk • Silvenar • Southpoint • Woodhearth
|Grahtwood • Greenshade • Malabal Tor • Reaper's March
|Bone Orchard • Cormount • Deepwoods • Elden Grove • Gil-Var-Delle • Hectahame • Jathsogur • Moonmont • Ouze • Seaside Sanctuary • Selene's Web • Tempest Island • Treehenge • Verrant Morass • Xylo River


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Grevillea willisii
Grevillea willisii is a spreading shrub reaching a height of three metres with a similar spread and is a native of northern Victoria.
The leaves are grey-green, stiff and lobed. Large creamy-white toothbrush flowers are an outstanding feature. Spring is the main flowering period when plants become covered with the nectar-rich blooms.
Grevillea willisii, in our cold climate garden, has proved to be hardy, free-flowering, frost tolerant and with low water requirements once established.
The species is classified as rare with limited distribution. There are two forms. The typical form has short leaves, up to six centimetres long and develops into a spreading shrub. The long-leaved form grows into a small tree with leaves up to 14 centimetres long. This form may be extinct.
The last collection was made in northern Victoria in 1973.
We first saw the species in the National Botanic Gardens, Canberra during a trip south. The plants were so impressive that it went down on our must acquire list. Fortunately we came across the species, in a Canberra nursery, during the same trip.
Propagate from cuttings treated with hormone gel. We use red Clonex for all cuttings.
Warren and Gloria Sheather
P.O. Box 263
Contact us here: email@example.com
Membership: merleaps@bigpond.
Copyright © 2020 The Australian Plants Society - NSW. All Rights Reserved • Site by HighlandCreative.com.au


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Chennai: DMK members were suspended from the Tamil Nadu assembly till Friday when a debate on Sri Lanka caused an uproar that the speaker ruled was undignified.
Upset over Local Administration Minister K.P. Munusamy's remarks against DMK chief M. Karunanidhi, DMK members stormed to the speaker's podium shouting slogans.
Deputy Speaker R. Jayaraman ordered them evicted, saying their conduct breached the dignity of the house and that their protest was undemocratic.
Speaker P. Dhanapal later suspended them for the rest of the session -- which ends Friday. The DMK has 23 members in the 235-member assembly.
Congress legislators also walked out after the treasury benches accused the central government of not caring for the Tamils in Sri Lanka.
The ruling AIADMK has accused the DMK of ignoring the large-scale killings of Tamils during the final stages of the military offensive which crushed the Tamil Tigers in May 2009.
Around that time, DMK stalwarts were gathered in New Delhi meeting Congress leaders to seek select cabinet posts in the Congress-led central government that had been re-elected.
Updated Date: Feb 07, 2013 19:08:16 IST


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One question to all my windsurfing readers: do you like to go fast? If you answered "yes", you should join us at the ECWF Cape Cod on September 17-18, 2016 to meet the fastest windsurfer in the US:
|Boro in Lüderitz 2015 - top speed: 51.16 knots (59 mph, 94.7 km/h)
Boro will visit us for the upcoming East Coast Windsurfing Festival Cape Cod on September 17 and 18. We plan to have a little "Speed with Boro" session during the lunch break on one of the two days, so come and join us to learn how to go faster! All those who join the ABK windsurfing camp in Hyannis the week before will have another chance to hear Boro - he'll give a guest lecture on speed on Sunday, September 11th. He'll also be around for some actual speedsurfing on or near Cape Cod in the week between ABK and the ECWF - so let's hope we get some great wind! Hope to see you at the ABK camp and the ECWF next month!


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Well, well, well. Its not every weekend you're gonna find Wild Ponies in a Bearwood library but there you go.
Nashville's alt-country Wild Ponies, featuring vocalist/stand up bass player Telisha Williams and guitarist husband Doug plus assorted pals, can make a racket akin to a rockin' Ryan Adams and are not averse to a touch of the strained sensitivities of the Civil Wars here and there either. It's all rockin' n rollin' up in a country way to the Thimblemill library on Saturday, January 28th.
Although deeply entrenched in the Nashville music scene... (Their song, Radiant, the title track of their most recent album, was co-written with student Mariah Moore, whom Telisha and Doug tutored on a nashville country music association outreach program...) The Wild Ponies sound can veer a little more toward West Coast country, I think you'd agree. A stripped down, Bonnie Owens/Merle Haggard thing. Maybe no more so than on the title track of their 2013 album Things That Used To Shone. Not so much of the Billy Sherrill production values. Or Nashville as Seen on TV. Mercifully. Oh and not to obfuscate, some of the most recent material can reach into what I call and no one else does, Eno-Country. That beautiful, breathless, delicate, shimmering, deamy guitar and vocal country... You wanna go there.
I am going to tell you that you are going to hear great, breathtakingly exceptional songs. The withering need and desire of "I'm Gonna Make You Mine" feels like a threat... OMG if you're as as damaged as me it reads like a typical lost Saturday Night/Sunday Morning of dreams. And the delicious archetypal country twang of Trouble Looks Good On You... And then there's the The Amazing, Love is Not a Sin, so prescient this week it feels to me, could be the country counterpart to Macklemore's emotionally emptying Same Love. Anyway, that kind of comment on commitment means something to me.
What that all adds up I think is a remarkable, challenging and joyous Saturday night in store for everyone who can make it over to the library. As a bonus the openers will be Birmingham's Lost Notes.
I'd say the WIld Ponies are most likely the best thing that's been in the library since the put they books in. Don't Miss.
Essential Info
Wild Ponies
+ The Lost Notes
Thimblemill Library, Bearwood
Saturday January 28th, 7.30pm
Tickets £5
Advance Tickets: Skiddle
publisher, lamontpaul is currently producing a collection of outsideleft's anti-travel stories for the SideCartel, with a downloadable mumbled word version accompanied by understated musical fabulists, the frozen plastic
Ancient Champion - A Song For Older Skins Outsideleft contributor the Ancient Champion is taking over the world in 2018. A new single every month and a collection of short stories to come.
Punk Publishing Andy Conway and David Wake's guide to the world of DIY book publishing. Love this so much almost don't want to share it!
Walker Brigade - Therapy Animal (LP) Loving the latest LP from the Walker Brigade 'Therapy Animal'. They say Anthemic despair and savoir faire. Difficult to argue with that.
Christian Present - Ma Dernière Pelée Christian Present's beautiful, challenging and enthralling poetry...
The Rakers - Regina (LP)... Petulant, primitive & all-powerful rock 'n' roll from Baton Rouge's Rakers. Amazingly graceful and not to be trifled with.
Pixie Kisses... Our favorite poet, Pixie Vic brilliantly skewers every rock you reside on or under. Out in December.
Most Things Don't Happen... Great collection of Kirk Lake's song lyrics, poetry and prose of the past decade and more
Buried In Time... Andy Conway's Jack the Ripper takes a trip to Birmingham
Every Day I Atrophy... Award winning Chris Connolly's first collection of short stories. Get it from Amazon and elsewhere....
Ron & Nancy - the SideCartel present out loud SoCal 90s pranksters Ron & Nancy. Every one a winner, baby that's no lie.
Prehistoric Man - Soundscaper Prehistoric Man's ransacks his library of sounds. Blissfully.


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In the dark, spacious cave of winter, I touched the places in my soul which are scared. Afraid of what we're doing to this world, to each other. I lost hope for a blink or two, there, in the depths of the spring that felt it would never get underway. Maybe you did, too?
But the sense of the days lengthening – kept me going.
So, the seasons save me. My practice of aligning with them give me ground beneath my feet when I need it most.
Last year, the feeling of the year slowing and the whiff of Autumn rotting down into the fertile ground brought me back to earth. When the wildfire that took my home in the hills had uprooted me, destroyed my home and pared my belongings down to a bag or two, and everything seemed senseless and strange.
And as I sense a greater urgency in my work to shift the impact we're having on the planet, I realise that living more seasonally might go beyond saving me. It might helps us save everything else that matters, too.
Here's how.
Seasonal living makes us saner
The seasons of the year are cyclical, but they're not relentless. They rise and fall, like the beating of our mother's hearts in the womb, like our ribcages, like night and day.
Humans weren't made for fluorescent-lit cubicles and production line efficiency. We need to run and then rest, to laugh and then cry, to speed up and slow down.
Aligning ourselves with the seasons is an endless invitation to come back to ourselves beneath the electricity, the networks, the money and the status.
We breathe in, and out, and the sky changes. We're home.
2. Seasonal living slows us down
Getting bored with the year doesn't work. Winter comes when it comes. The days lengthen and the moon rises and all of it's out of our control.
When we impose our own timelines on the world, we have a tendency to rush things. Move on to the next thing before we've allowed ourselves to go deeper into this experience. Beyond the point where we feel comfortable, past the point where we think we've "ticked the box" of what that season means.
In winter, after you've bought the pine-scented candle and instagrammed a cosy blanket, you feel the pang of what it means that we will die. In Spring, after the flush of cleaning and energy, pay attention and the real ideas you're meant to cultivate shoot through.
Slowing down might be the single biggest thing we can do to make our impact on the planet deeper, wiser and more powerful.
3. Seasonal living changes what we put into our bodies
Our diets would have changed with the season, long ago. We'd have eaten what came from the land around us, or what we could store. Slow cooked roots grounding us through the Autumn. Fresh salads and raw berries through the summer. Green sprouts and pickled leaves as we come to the end of Spring.
In the US, food produces approximately 8 tonnes of greenhouse gas emissions per household – 17% of the total. Eating food grown locally, cooking it yourself and using every scrap is the best thing we can do to reduce that. But more than that, as Wendell Berry said, "eating is an agricultural act".
What we eat each day is our opportunity to say how we want the earth to be used. Filled with food factories, transporting tasteless goods thousand of miles on oil-fuelled transport? Or thronged with small scale farmers who care about their land and nurture what they grow?
Seasonal eating is activism, writ small.
4. Seasonal living shows us how things are changing
Starving polar bears, melting ice caps, raging wildfires. We know what's going down. And yet when it comes to making small shifts in our own lives, it's so easy to pretend that everything's the same. Only, it isn't.
When did the first migrating birds arrive where you live? How cold did the winter get? How did your mood feel in October when summer heat still raged and you hadn't yet resorted to the woodpile?
Tracking the seasons in our own lives awakens us to what is going on around us. Mindfulness brings power to choose the right action, without losing hope. We move forward, step by step.
We wake up.
5. Seasonal living reminds us what we love
I have fallen in love with trees, with soil, with the river which wends through the valley I live in. Paying attention fosters connections with the objects around us. And in the words of Stephen Gould "we will not fight to save what we do not love."
It is this which keeps me paying attention, which reminds me of the battle I am waging each day. Love fortifies me to challenge the culture I swim in, the society which raised me, the belief that money is the most important indicator of status and endless growth is good and any alternative is "backward" or "weird".
Notice, and deepen your noticing. You might fall in love, too. You might change.
We are living in troubling times. Dark times, and whilst I believe that every civilisation has sensed its Doomsday, I cannot deny that at times I feel these years of heat and trauma might be darkest of all.
And then I look up from the screen and see the way the rain is blooming over the mountain, the way the charred soil is now carpeted with green, know that the lupins will flower next month and that so many of the cork oaks, cushioned and padded, will thrive even on these blackened hills.
I remember that the moon is waning and the light is growing and that I'm no better or worse than the birds beginning to ready themselves in the trees, to flit for food and prepare to build their nests.
The season's changing. Maybe we can change, too.


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Activision had another conference call today and released some staggering numbers.
Activision's numbers show the latest CoD entry as having moved over 18 million map packs since launch (which, priced at $15 a pop, works out to 270 million dollars in gross earnings), 7 million more than MW2 and 9 million more than WaW. Though the company isn't projecting any map sales yet for the next installment in the CoD franchise,
Activision Publishing CEO Eric Hirshberg stated, "There's plenty of runway this year, with 20 percent-plus expected growth in the HD console install base alone," referring to the company's expected sales of Modern Warfare 3 this holiday and beyond.
-SOURCE: Joystiq
comments below


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I've got a flatbread this week, somewhere in between a pita and a flour tortilla. The oregano is a really good addition, and though you can add it into the dough instead of just on the surface like I do here, I found you get plenty of flavor from having it on the surface, and I like the way it makes them look. These cool and soften well if you cover them with a towel, but they're also really good hot off the pan. In fact while I was making them I stole one to make myself a quick little dinner, a chicken breast, the flatbread and some pesto!
Oregano Flatbreads
Makes: 8-16 flatbreads (depending on size)
Time: Day 1: Elaborate starter. Day 2: Mix final dough, fold dough shape, proof, and bake.
- Elaborate your starter however you choose, but ending up with the same flour and water weights. (or make a commercial yeast preferment) Allow it to rise overnight.
- Now, cream the starter with the water and and olive oil for the recipe.
- Mix together the flours and salt , then mix in the creamed starter til the dough just starts to come together as a ball. Let the dough sit covered in the bowl for 20 minutes
- Take the dough out and knead it well, making sure to incorporate any flour that didn't get incorporated in the first mixing. The barley and kamut flour may make the dough not come out quite as smoothly as you would expect.
- When the dough has nearly doubled heat a large griddle or frying pan to medium low heat.
- Now it is time to start separating it into balls of dough from 2-4 oz in weight. Roughly round the pieces of dough into balls a few at a time, then use a rolling pin or your hands to roll the dough out to either about 1/4 inch or 1/8 inch thick. 1/4 inch will end up somewhat close to a pita, just without the pocket, whereas 1/8 will more resemble a slightly thick tortilla. Now sprinkle dried oregano over the top of the flatbread and run the roller over it once or twice more to mash the oregano down in.
- Spray the griddle or pan lightly with spray oil and place one of the flatbreads into the pan oregano side down. Cook about 2 to 3 minutes on the first side for 1/4 inch thick and 1 to 1 and a half on the first side for 1/8 inch thick. Then cook for another 30 seconds to minute and a half on the other side for both thicknesses. You want it to be just barely done so it will still be flexible.
- Place the cooked flatbreads on a plate and cover with a towel to keep them warm and help soften them.
- Alternate version: Roll the dough balls out part way and sprinkle the top with cinnamon sugar, then fold the dough over into a half moon shape and gently roll out again. Give it a short rest and roll further. These may take a bit longer to cook as they usually end up thicker. These are definitely best served warm, just as soon as they're cool enough to eat really!
This week's submission to YeastSpotting came about because I wanted to make some bread but I really didn't want to turn the oven on (it was hot out)! This was really a pretty spur of the moment recipe, but I like how they turned out. Especially the cinnamon sugar ones! Less than two weeks til my submission deadline at the LA County Fair, time to get excited!


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Hotel Hi-Ho is an award-winning, hi-tech hotel right off the historic Merritt Parkway in Fairfield, Connecticut. Guests appreciate the Hotel Hi-Ho's meticulous attention to detail and passion for all things purposeful. Find yourself relaxing in luxuriously appointed guestrooms, savoring in exquisite Spanish tapas from the on-site Barcelona Restaurant and Wine Bar, or planning a day trip to the best Fairfield County has to offer. The proximity of the hotel to the parkway, its accessibility to Fairfield County, and the undeniable charm of sitting atop Barcelona's Fairfield restaurant, make for a unique/boutique hospitality option, in an area short on places to stay. Wonderful rooms, amazing dinner, great complimentary breakfast and a wine shop! There is no front desk at this property. You will need a mobile phone to check into your room, so please be sure your reservation includes a valid email address and mobile phone number prior to your scheduled arrival date! You can contact the hotel directly to update this information at any time prior to day of arrival!
Very convenient - right off Merritt Parkway exit 44-Located on corridor between New York City and Boston
Guests who reserved this room also bought these add-ons & extras.