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cf/x convert full review
While there are batch facilities built into Photoshop that enable you to convert image formats they require a couple of things. Firstly that you actually have to load Photoshop in the first place, then load all the images in which can take some time. Then there's the limitation that if they are RAW files you need to process them first. So this is where cf/x convert comes in, which is a standalone package to convert images. Simply drag and drop the entire folder of images into the workspace and they appear with handy sized thumbnails. Images can be quickly rotated if they are the wrong way round and they can be sorted manually, by name and date, ascending or descending, width, height or size. This also applies to RAW files which are loaded just like everything else, and don't have to be laboriously opened.
The options for the conversion are all on the right, starting with what file format to use. These cover JPG, PNG, PDF, PSD, TIFF, GIF and BMP as well as some special options to create a single PDF book where each image occupies a page, or as a PDF contact sheet with 30 images per page. There's also an option to turn everything into a HTLM catalogue with converted JPG resources.
Images can be saved at their actual resolution or you can resize them, for example when converting images for use on websites. You can shrink or expand the size, though the latter isn't recommended and the app does flag this up with a warning as well. The parameters for shrinking are by percentage, pixels, inches or millimetres and can be based on the width, height, width and height which may crop certain images, the longest edge or the shortest edge, which is a neat way of doing it.
The good news is that the original images are never overwritten, but file names can be based on the original, or you can give them all a batch name prefix which is appended with a number. Files can be saved in the same location or custom folders. There's a final set of options for keeping or losing the EXIF metadata and any alpha transparency and adding a watermark or header and footer. The watermark is only a text overlay, smack in the middle of the image, so it would be nice to see the option for graphics and more accurate positioning.
Clicking on the green arrow button sets the process off with large green tick marks appearing over the thumbnail for a successful conversion or a red one if the process is interrupted or fails for some reason. When finished you get some stats over how long it has taken. So, 31 12Mp RAW files, converted and saved as TIFFs took 90 seconds. Converting from TIFFs to JPEGs is considerably quicker. An interesting safe guard is that it checks the naming conventions and if you are saving to the original folder, ensures you don't overwrite them.


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(Don't) GO GATORS!
ESPN.com 5:29 pm Thursday May 31
After leading the Gators to the last two national championships, the 42-year-old Donovan has received a six-year contract offer from the Magic worth $6 million annually, a source told ESPN.com's Pat Forde.
Team officials told the Orlando Sentinel, which first reported the story on its Web site, that Donovan is expected to take the job. But as of 4 p.m. ET, multiple sources close to Billy Donovan confirmed to ESPN.com's Andy Katz that Donovan has not accepted the job yet. . . .
Sigh. The good old days seem so recent, almost like mere weeks ago . . .

subset: commoncrawl


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Saturday, April 21, 2007
Quilt Show Pictures
This is a fabulous applique quilt, a tremendous amount of work went into this quilt. Lots of tiny pieces, hand appliqued and embroidery.
The blue quilt is one I've always liked from Better Homes and Garden Quilt magazine. It was nice to see it made up.
The Tea Cups from Crabapple Hill was stitched by my dear friend Vera.
The stitchery bunnies another Crabapple Hill pattern was stitched by Andree, she is in my quilting group.
Another pattern I really like and hope to make one day.
The wool applique quilt is called "Midnight Garden" and was hand applique by another dear friend Teresa.
The Bacon and Egg small wallhanging was the funniest at the show. The sign read "this was made for my son because he thinks bacon is a food group" Too hilarious!
The picture was taken at the Quiltopia booth, a local quilt shop. The Heart Quilt in the back of the booth was made by ME!
The show organizers made some really cute signs to remind everyone not to touch the quilts. I took this picture because my MIL likes frogs.
And this is my purchases for the day, not much but that's because I have soooo much fabric at home waiting for me. Cheryl Wall is a local designer of Country Quilts and she has only been making patterns for a few years. I swear she doesn't sleep with all the quilts and patterns she produces. So I picked up one of her patterns just because. The 2 rolls of fabric are 1/2 yards and I couldn't resist the folksy pincushion.
17 comments:
- Silverthimble said...
I was at that same quilt show today! The Fraser Valley Guild has one of the best shwos around--I never miss it--it is worth the long drive!
- April 21, 2007 at 5:41 PM
- Carole said...
Oh, ah, ouh, ah, what lovely quilts. Thanks for taking all those pictures and posting about it. What a lovely show it must have been. It makes even more special when you know the people who are showing their work. Thanks again!
- April 21, 2007 at 5:56 PM
- Leigh said...
Great purchases. Do you know the name of the green floral fabric? It looks really yummy.
What a thrill to have your quilt displayed. :)
- April 21, 2007 at 6:18 PM
- Doodlebug Gail said...
Oh what fun! Thanks for sharing the quilts. Love tea cup stitchery one ..... was at our Creativ Festival here in Toronto yesterday and another of Crabapple Designs caught my eye "Blue Ribbon Seeds" - OMG, such dainty stichery put together with soft pastel fabrics.
- April 21, 2007 at 6:28 PM
- Quilts And Pieces said...
Oh that blue quilt is gorgeous! I would love to make that one too! And I love Country Quilts patterns! I've got several - and even have started them! Thanks for sharing the quilt show pics!
- April 21, 2007 at 8:30 PM
- Kim said...
I love your heart quilt!
- April 22, 2007 at 12:04 AM
- Rose Johnston said...
Sounds like u had a great time Wendy.....i love ur heart quilt, how special to have it displayed so well!!!.......my favorite would have to be the pink and green applique (the one u hope to make!!!)
- April 22, 2007 at 4:58 AM
- Patti said...
Looks like a wonderful show - I love all the pictures you've posted. No one in our area seems to do quilts like that at all. If it weren't for the internet I'd feel so alone in my love for antique quilts, reproduction fabrics, folk art and primitive.
- April 22, 2007 at 9:09 AM
- Diana said...
What a great quilt show. There is a lot of talent in your area. I love the little "do not touch" quilted signs!
- April 22, 2007 at 1:53 PM
- Rose Marie said...
The quilts are lovely ... thanks for sharing!
- April 22, 2007 at 8:16 PM
- Darlene said...
What a wonderful array of quilts you showed us. I love "your" heart quilt at the back of the booth. Wow, Quiltopia looks like a great shop - you teach there?
Nice little gathering of treasures, as well.
- April 22, 2007 at 8:47 PM
I love what you did with my quilt pattern (Heather's Lacy Heart). May I borrow the photo to share on my blog & link to your blog? Sandy - Berryvine Designs.
My blog has moved although this sign in will only let me sign in with my old blog info. So.. you can go there & there is a link to the new one : )
- April 22, 2007 at 9:13 PM
- Unknown said...
I just love the Crab Apple Hill designs, and your friends did a superb job of stitching them up. How fabulous that your quilt was displayed, just lovely.
- April 22, 2007 at 9:30 PM
- swooze said...
Thanks for the pics! I like the quilt in pink and green with the 4 flower blocks. Do you know the pattern name?
- April 23, 2007 at 8:43 AM
- Libby said...
Wow - what great quilts. Nothing like a good quilt show to inspire you to get busy *s*
- April 24, 2007 at 7:50 AM
- Jeanne said...
Congrats on having your quilt in the booth! Love the frog quilt. Is the pattern available for purchase somewhere?
- April 30, 2007 at 3:46 PM
- Julia said...
Thanks to you, I was able to learn a lot of interesting things. I hope to learn more. I congratulate you on these wonderful shares. Keep going !
voyance par mail
- April 10, 2020 at 6:19 AM


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Meet Results: Generate meet fees from results
Admin Level - Webmaster
Billing meet fees is a two step process.
- Generate a meet fees batch from either
- Meet entries or
- Meet results
- Invoice and charge meet fees.
This article covers step 1b, where you generate meet fees when you import a meet results file.
- First import the meet results like normal. When it completes, you will see a new row with the meet name.
- Click Gen Entry Fees by the newly imported results.
- Enter Notes if desired.
- Click Generate Entry Fees Batch NOW. This will generate a batch from the meet results just like when generating them for meet entries.
- If you are a Super User or full access Financial Admin, you may then process the meet fees batch. The only difference from processing them from meet entries is Option 2: Use Custom Fees will be selected by default and you will need to enter the fees since the results are not connected to a meet. You may still select Option 1 and manually connect to an existing meet in SwimOffice.
See Also
Import meet results
Invoice and charge meet fees


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The federal judge and legal scholar Guido Calabresi likes to pose a conundrum to his law students. He asks them to imagine a deity coming forth to offer society a wondrous invention, one that would make everyday life more pleasant in almost every way.
This invention comes with a cost, however. In exchange, the deity would choose 1,000 young men and women and strike them dead.
Calabresi then asks the students if they accept the deal. In 30 years of giving the lecture at Yale, the answer is almost always no. At which point he delivers the lesson: "What's the difference between this and the automobile?"
Modern society is impossible to imagine without the automobile, yet it's also one of the biggest destroyers of life. In the United States, crashes claim 1,000 lives every nine days. Last year, 40,000 Americans died, about as many as from breast cancer and more than twice as many as from murder.
We put up with these costs because we imagine them as unavoidable human imperfection. We are willing to make some changes, like wearing seatbelts and driving sober, which have caused deaths to decline gradually for decades. But we assume there is no cure. We've accepted the deity's offer: modernity in exchange for 1,000 lives, again and again and again.
The digital revolution, however, is changing the calculation.
It is both making the problem worse and creating a potential solution. First the bad news: Vehicle deaths are surging, up 14 percent in the last two years. It's the first significant rise in a half century, which qualifies as a public-health emergency. The recent increase, by itself, exceeds the entire annual toll from skin cancer.
The only plausible cause is the texting, calling, watching and posting that people now do while operating a large piece of machinery. Insurers understand that, as The Wall Street Journal reported, and are raising rates.
The stories of individual deaths — and I read many while reporting this column — are awful. They make you think of your family, your friends and, guiltily, your own distracted driving.
Five-year-old Moriah Modisette was in her parents' Toyota Camry near Dallas when a man driving an S.U.V., and using his iPhone, slammed into the Modisettes, killing Moriah.
Megan Goeltz, a pregnant mother of a 3-year-old girl, was in her Ford Fusion at a stop sign in Minnesota when a distracted driver's car flew over an embankment and crushed her.
Joseph Tikalsky was getting the newspaper out of his mailbox one morning. Ten-year-old Raquel Rosete was walking on the sidewalk. Brittanie Johnson, Brianna Robinson and her sister Jade Robinson, none of whom was yet 20, were passengers returning home from a vacation. Every one of them was killed by a distracted driver.
Unfortunately, stories like these won't persuade most people to give up distracted driving. We are overconfident about our own driving abilities. (I'm just going to glance at my phone on this straightaway.) And smartphones, with their alerts, are so darn enticing.
"This is a really difficult traffic safety problem, unlike any other one," says David Teater, a Michigan business executive who became an anti-distraction advocate after his 12-year-old son, Joseph, was killed. Drunken driving and seatbelt-less riding don't tempt drivers at almost every moment. Phones do.
Like most public-health crises, this one requires a societal solution. Today, not a single state has a sensible law. Most forbid holding a phone while driving, but penalties and enforcement are weak — and hands-free use is still dangerous, studies show. The distraction, not the physical act of holding a phone, creates the problem.
Think of it this way: Allowing hands-free talking and texting is akin to forbidding drivers from getting drunk on liquor yet letting them have a few beers before getting behind the wheel. Some companies, including Exxon Mobil and Johnson & Johnson, have a better approach. They have banned employees from all smartphone use while driving.
The other answer is technology. "There is strong, robust technology available that could solve a lot of the distracted-driving problem immediately," Teater points out. Apple and wireless phone companies could install a driving mode on phones, much like airplane mode, that would allow only directions, music and podcasts. It would turn on automatically in a moving car (and passengers could override it). The companies' refusal to do so suggests that they take convenience more seriously than safety.
Long term, technology can also take over more driving duties, like automatic emergency braking. I realize "driverless cars" make many people anxious. But automation has made airplanes vastly safer, and it will for cars, too.
Remember Calabresi's lesson: Even before distracted driving, cars claimed a toll that would be shocking if it had not become normal. Technology has now given us the choice between making a terrible problem worse and saving a lot of young, healthy lives.


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Media Image Ltd
Though it's all quiet on the transfer front for Chelsea in terms of incoming deals – despite whisperings of a late deal for Wayne Rooney coming on the back of Jose Mourinho's claims that managers can lie to the media to hide their intentions – they are on the verge of sanctioning another outgoing deal.
With Victor Moses sent out on loan to Liverpool for the season, and a raft of attacking options supplemented by the signing of Willian, and Porto's striker Christian Atsu, who will spend this season on loan at Vitesse Arnhem, Demba Ba has been pushed down the pecking order after just a few months as a Chelsea player.
And his likely destination, according to two of the country's biggest football journalists is Arsenal, who have so far stolen much of the final day focus with their big money move for Mesut Ozil from Real Madrid.
According to John Cross at the Mirror, Arsene Wenger is on the trail of the Senegalese striker, having missed out on him in January when he headed to Stamford Bridge, and he is now firmly back in the Frenchman's sights:
Talksport's Ian Abraham's agrees with that intention, confirming that Arsenal are close to signing Ba from Chelsea, as he states that France Football have said the deal is almost done:
Should Chelsea be giving one of their chief rivals the opportunity to bolster their attack? If Mourinho is so keen on letting Demba Ba leave, he would surely be better off blocking a move to a direct rival and allowing Ba to move either to Roma, who have been linked with interest, or to Newcastle, who are perpetually linked with re-signing the striker they allowed to leave back in January.
The post Chelsea Transfer News: Arsenal Close To Signing Demba Ba appeared first on WhatCulture!.


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Day 2 of Year Long Roadtrip Following Scenic Byways Around the USA
Best Places to Visit in the Arkansas Ozarks
OMG! As I left Dallas Tuesday, I told my mom it would be hard to sleep because it would be so hot…WRONG…whew, the wind was cold. I closed up all of VANilla's windows in the middle of the night! I'm not complaining because I think sleeping on hot nights is what will be challenging given my "A/C" is an 8 inch, 12 volt fan will cool down VANilla. I'll probably find out tonight!
Rich Mountain Fire Tower
To finish off the Talimena Scenic Byway, I stopped off at Rich Mountain Fire Tower, located on the highest peak of the Ouchita Mountains (2,681 feet). Today I was able to enjoy some of those scenic vistas and actually see what the area looked like without cloud cover.
Hot Springs National Park
On to the City of Hot Springs which according to the road sign Bill Clinton's boyhood hometown. Here, I would connect to my next scenic drive through the Arkansas Ozarks. My first stop in the Ozarks was at Hot Springs National Park. The town, on the edge of the park, is quaint and cute. There is a row of ornate bathhouses right on the main road. The area looked a little too nice for my mangy mutts. Instead of going to the springs, I opted for driving up the winding road on ZigZag Mountain. At the top we took a 45 minute hike on a simple trail. The summit offered a selection of routes, including one hike into the gorge with a signed that warned it was a 40 minute strenous return. That sounded too hard for my old companions on this HOT day.
Rock Shops
After stretching our legs, we continued on our trip. For the next several miles, we passed by numerous rock shops. After about the 10th one, I thought I should get a rock for my friend Rootie's rock garden. As such I stopped off at the next store (with two open signs and two closed signs), to find that it was closed. Fortunately, a hundred feet down the road I happened upon another one, and it turned out to be the last one on the route that I noticed. According to their card, Coleman's Cyrstal Mines and Rock Shop has the World's largest selection of crystals and gems. Visitors can even mine their own crystals. After browsing the options, I left with a piece of quartz.
Ouachita National Forest
My Reader's Digest Scenic Drive book mentioned additional stops at Lake Ouchita State Park and Ouachita National Forest, but I didn't feel like I had time to visit if I wanted to make it to a campsite by 5 with some daylight to spare, so I pressed forward. Though, as I was passing the expansive woods, I saw a sign for Winona Scenic Drive through the forest. OK, I thought, this is my chance to get a quick view. As I turned in, I bounced along a dirt road. My GPS (which I think has been my best investment outside of VAN-illa), said it was a 3.7 mile loop before going back to Hwy 7. That seemed simple enough. Both wildlife and scenic views were non-existent, and when I got to mile 3.7 to get back on the highway, I was still in the forest with no left turn available. "Recalculating" says Gina the GPS! That made me a little nervous, given electronic navigating isn't always accurate. Fortunately, Gina succeeded, at the stop sign in the forest, she told me to turn left on County Road 54. Low and behold, 2.1 miles later I found Hwy 7.
Holla Bend National Wildlife Refuge
Onward…I decided to stop at Holla Bend National Wildlife Refuge. I've never been to a national wildlife refuge that I know of, so it struck my curiousity. Marci, at the visitor's center informed me that main purpose of the refuge is to provide a winter home for migrating ducks and geese. The staff plants soybeans and corn for the birds so they have a resting spot in the winter. The refuge is open to hunting though, so I'm not sure how much of a rest the birds get…maybe it is only hunting for deer.
Anyway, there is an 8 mile driving tour past lakes, marshes and forests where visitors can spot bobcats, coyotes, beavers, deer, as well as migrating birds. While I'm glad I stopped by, I needed Njano our African safari guide to spot wildlife for me! I saw a rabbit, a few birds, and do grasshoppers count? One of them hitched a ride on my windshield for a while. In all seriousness, it was 3:30 in the afternoon, and I was driving a little bit fast (20 mph) to really see much. I simply visited for the experience. I'd definitely go back or visit another wildlife refuge and allow myself more time to explore.
Petit Jean State Park
My resting spot for the evening is Petit Jean State Park. It looks magnificent. I am definitely going for a hike in the morning here. In the meantime, I met a guy named Bryan, who just graduated college with a film degree, at the campsite. He is roughing it with a car and tent while on a meandering route to Reno from Atlanta to visit his mom. We went to watch the sunset at Mather Lodge…it was quick, yet magnificent. ETB
Other Posts About Arkansas
Day 3 – Arkansas Ozarks Continued
Day 4 – Formations of the Arkansas Ozarks
For notecards and key chains, visit My Shop on this website.


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- Carol
- Hello and welcome to my blog. Here I will be showcasing all my design team work, general crafting and digital scrap booking.I hope you enjoy seeing my creations and listening to my ramblings. If you leave a comment I'll know you've been and be able to visit you in return. I read and appreciate all comments which are left - good or bad! Thank you for taking the time to visit me. Pop back soon. Carol xx
Wednesday, 8 October 2014
26 comments:
A fabulous CAS card Carol, I love your graduated colours.ReplyDelete
Love this Carol xx JanReplyDelete
This is gorgeous Carol, the colours are so beautiful.ReplyDelete
Sue xx
Just loving this card, great colours and design ! I have also become your latest blog follower !!ReplyDelete
Clever use of Autumn colours. I love the simplcity of this card :-)ReplyDelete
Simple but beautiful!ReplyDelete
Love this image, especially with those wonderful autumn colours!
Thanks so much
"Less is More"
So beautiful is your card Carol xReplyDelete
This is gorgeous Carol. Love the autumnal colours and stamp.ReplyDelete
Linda xxx
Super CAS and love your stamped imagesReplyDelete
Thanks so much for sharing and taking part.
Sarah xx
Less is More
Carol your inkpad has lovely autumn shades, great card!ReplyDelete
Thanks so much for joining us in our autumn challenge
LIM Designer
Fabulous CAS card Carol. Love the graduated colours. I was just thinking this morning that I hadn't used vellum for ages! Michelle xReplyDelete
This is beautiful Carol, lovely floral image and Autumn colours, Kate xReplyDelete
I love it! Funnily enough I have recently 'found' some of these ink pads that I didn't know I had and a pack of parchment which I will use as vellum - thank you for the inspiration!ReplyDelete
And I hope you've been over to Crafters Companion blog hun - congratulations! Karen xx
I am like Karen...just found a pack of Vellum and wrestled with the idea of donating the varigated inkpad...now I am glad I didn't!ReplyDelete
This is lovely Carol I really like the variagated look of the image...so is striking!
Will pop through your posts Ihave missed lately...but not sure if I can
comment on each one as I have to go out and close blogger and reopen and sign in each time I leave a comment! Some weird glitch, I guess!
Beautiful fall card, the colors are gorgeous!ReplyDelete
A really delightful Autumnal creation Carol and so very elegant.ReplyDelete
Thanks so much for sharing your creativity with us at Stamping Sensations challenge.
B x
Beautiful CAS card Carol, love the graduated colours. Susan xReplyDelete
A beautiful CAS card - love the colours.ReplyDelete
Thank you for joining us at Sweet Stampin this week, Wedgie xxx
Beautiful CAS card.Thanks for joining us at Sweet Stampin'ReplyDelete
Cass xx
Absolutely stunning carol!ReplyDelete
John x
Beautiful CAS card.ReplyDelete
Thanks for joining in at Sweet Stampin'
Beautiful card! I am sure I have a few of those long forgotten ink pads too! Love how you've used it on this card!ReplyDelete
Thanks for joining the crew at Shopping Our Stash this week for the "Most Colourful Time of the Year" challenge!!
Simple and fabulous! I need to take out my Kaleidacolor pads & play too! So glad you came to play at Shopping our Stash :)ReplyDelete
Love the clean and simple effect on this card, the graduated colours work beautifully. Thanks for joining us at Stamping Sensations this monthReplyDelete
well, i'm POSITIVE that whatever was in your head was lovely, too, but it's hard to imagine a card lovlier than this one! thanks for SHOPPING YOUR (colorful!) STASH with us this week! :)ReplyDelete
I love your choice of image, beautiful design too, thanks for joining Stamping Sensations, good luck.ReplyDelete
Happy crafting
Tracy x
Many thanks for taking the time to comment on my post. Constructive comments are always welcomed and appreciated on my creations. Carol x


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I know this is a little late, so please excuse me, but I just couldn't let this go without saying something.
You might have heard that some serious heavyweights in the comics industry dismissed accusations of sexism, while also saying that comics are usually following, not leading, social change, so that makes it totes ok if they were sexist, which they aren't. Their arguments read like a greatest hits of privilege apologetics (e.g. "We objectify men, too!", "Why don't they make their own comics?", and the suggestion that superhero comics, like skepticism, are more of a guy thing), and include a digression that touches on race by arguing that actively pursuing diversity automatically means not creating a stand-alone good character.
The people in question are Len Wein, most famous for creating Wolverine, Gerry Conway, who invented The Punisher (and gave what was to me the most baffling and infuriating quote, that "…the comics follow society. They don't lead society."), and Todd McFarlane, who developed a comic book as an excuse to sell toys.
Before we get too into this, I think it's important that we have some context for these guys' careers, because they are not lightweights in the industry, and all of them have had significant impacts on the way we experience comics to this day, for good and for ill. But by examining where they came from, we might be able to understand why they are so horrendously wrong.
Let's start with Wein. While Len Wein is best known for his creation of Wolverine, he actually created a number of the X-men that are incredibly popular, including Nightcrawler, Storm, and Colossus. He revived the book from five years of hiatus in 1975 and his tenure on the title set the stage for the team most non-comic readers would become familiar with: the 90's animated series composition. Wolverine was introduced to the team in this book, but the fuzzball was introduced to the universe over a year before in Incredible Hulk 181, touted as "The World's First and Greatest Canadian Super Hero". However, unlike his predecessors and, to an extent, his successors, X-men under his direction wasn't as socially conscious, preferring to focus less on the place of mutants in the world and more on super-powered people beating up on one another. Wein eventually became Editor-in-Chief at Marvel.
It was under his leadership that a man named Gerry Conway would be writing The Amazing Spider-man. Conway started at Marvel around the same time as Wein. In fact, 1970's Daredevil #71 was Wein's first comic at Marvel, and Daredevil #72 was Conway's. Conway took over Spider-man at the tender age of 19, after a couple of years of writing duties being passed between Roy Thomas and Stan Lee. Again, we saw a move away from making any statements (ironic, only a year after Amazing Spider-man #96-98, which was not given a Comics Code Authority label because Lee wouldn't abandon a plot thread about the dangers of drug use), and the eventual introduction of Punisher in issue 129. He would also script "The Night Gwen Stacy Died". Punisher wasn't given his own book until the early 80s, but stood out for his willingness to kill, a function largely of his antagonists being the mob and it being easier to mow down scores of faceless goombas than to have to create a new Doctor Octopus or The Vulture every couple of issues because you keep killing off unique villains.
Finally you have McFarlane. It's hard to count him among the other two since he didn't make his money or his fame from comic books directly. Rather, he created a comic, then marketed the hell out of toys for the comic. Yes, he did work on Spider-man as well, but really his success came from his founding of Image comics, an exercise in remembering why artists don't just write their own stuff, and the creation of Spawn, who has limped along in comic fandom with some hard core followers but no lasting impression. I'm sure there are some Spawn fans out there, maybe even a couple that can name a Spawn villain off the top of their head that isn't Clown, Satan, or Martin Sheen, but when your supporting characters are so incidental (BTW: Spawn had a supporting cast) that they can be cannibalized by your former company in an ill-advised continuity-merging event, you haven't created a lasting property. Ultimately, McFarlane's influence would probably be felt less as a creator and more as one of the people most fueling the Speculation Bubble that was one of the main reasons 90s comics were so awful.
The reason why I go into this digression is two-fold. The first is to point out that asking Todd McFarlane his opinion on comic books is a lot like asking Uwe Boll his opinion on movies. Sure, he's made a few, but they're not very good and usually a means to an end. McFarlane is much better equipped to answer questions about character design, much like Boll is better equipped to answer questions about just barely avoiding committing fraud.
The second point is that while McFarlane, who drove the Liefeldian testosterone-fueled 90s overeaction to body shape and human behavior (hello Youngblood, Cable, Doom's IV, and Hardcore Station, to name a few), could be excused for thinking that comics never did anything he wasn't interested in doing, Wein and Conway know better.
As I mentioned above, Conway, who gave the damn quote, took over Amazing about a year after Stan Lee specifically bucked the industry trade group in order to publish an incredibly timely comment on drug abuse and its dangers. Wein revived a book that had a really respectable seven year run as a metaphor to the Civil Rights movement while it was going on. Both of them started at DC and worked there during Denny O'Neill and Neal Adams' incredibly well done and successful Green Lantern/Green Arrow crossovers, which were specifically designed to address social issues because those were the books that were popular at the time (as a side note, they were also astounding and dealt with issues from a really balanced, but hard-hitting way).
Conway and Wein were executives at Marvel when X-men: God Loves, Man Kills was published in 1982. They were part of the industry and even could have grown up reading Archie Comics, which has always presented Riverdale as progressively accepting of other people, being one of the first comics to have regular appearances by characters of color, fairly recently introducing gay teen Kevin Keller, depicting Keller's future marriage to a same-sex partner (after coming home a war hero), and this month showing him kissing his boyfriend on the cover of his title book.
Wein and Conway both should be aware of William Marston's opinion that women should be in charge of the world, and how his feminism guided the creation of Wonder Woman. They might have even heard of Truth: Red, White, and Black, X-men: Magneto Testament, or Pride of Baghdad. You'd think they would have been familiar with Iron Man's continuing battle with alcoholism or the decades of thoughtful fallout from Hank Pym's abuse of his wife. Or with the importance of the introduction of characters like Black Panther, Luke Cage, and White Tiger. It's possible they haven't seen how well Batgirl has been doing since the launch of the New 52 under Gail Simone's leadership.They almost certainly have heard of the Marvel Civil War, which is my favorite crossover event of all time because it dealt with the question of how much liberty we can sacrifice for security at the height of the War on Terror.
Even if all of those things escaped their notice, they might be peripherally aware of this comic about an immigrant boy who comes to be raised in middle America and becomes a hero. In fact, the popularity of this comic is attributed as one of the reasons why many immigrants joined the war effort in the early 1940s, despite immigration being a very sore subject during the time of that comic's popularity.
Comics have consistently been ahead of or right in the middle of social change. They are often overlooked as a significant mover of social progress, mostly by people like Wein, Conway, and McFarlane who have never and will never have to worry about whether a character is like them at all: most characters are in a number of ways. They will never care about seeing people dealing with the problems that affect their lives, because the problems that affect their lives are not the kind of problems that need heroes.
But to suggest that comics are behind the curve is to project their own apathy onto a medium that has spoken directly about issues that have had to be tiptoed around in other places. It has been in front of so many social movements, and that we see it lagging behind on women's issues in many significant ways is more disappointing because they have been a positive voice on so many other things.
Comics can be a catalyst for change, especially super hero comics, even from the Big Two publishers. That's why it's important that we push back against these types of attitudes, and demonstrate that the books that we want are the ones that are not only well written, but make a point to be inclusive and allow characters to be something other than wish fantasy fulfillment for straight white cis teenage boys.


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"Our community is committed to a lifestyle conducive to holistic childrearing and personal growth." – from the Breitenbush Credo
For almost six years now, I have had the honor and privilege of serving as the Childcare Coordinator for the children who live at Breitenbush. To me, "holistic", as it appears in the Credo, means the unbroken connectedness of life, community, and environment. The world is our classroom. Learning doesn't flow from a canned curriculum created by some educational publishing company, it evolves out of what is important in our world. Our childcare program is committed to loving and respecting children as complete human beings, as much teachers as they are learners. All of us here in community benefit from the presence of our children.
The children and I focus on participation in the wonder and beauty of our natural environment, as well as supporting the community in which we live. For example, Childcare enhances Breitenbush's recycling effort by acting as the RAT Patrol (Recycling Action Team). We gather and sort recyclable materials and help raise awareness of the importance of completing the circle of resource use. We also support our community by honoring members who demonstrate superior commitment and dedication by awarding the "OJ Hooray Award". Whenever we find a deserving member of the community, we present that person with a glass of fresh squeezed OJ along with a cheer and a song to let them know how much we appreciate their efforts. Daily we learn about the birds and critters, the trees and plant life. We fall into the soft, moist moss of spring and autumn, and breathe deeply the rich loamyness of our Mother Earth. We sing to the river and listen as she sings back.
This year, the Breitenbush Community has gifted our current and future generations of children with a new childcare facility – a 16' by 20' room added on to the original 80-year-old School House cabin. It is my hope that we will choose to create here a beautiful "studio". I have recently become involved in studying the Reggio Emilia approach to early childhood education. Originally developed in Italy, it is named after the town in which it began. People around the world have become attracted to this model because it allows children and adults alike to open up to the wide array of materials that we can use for the purposes of communication, education and building meaningful relationships. It is a way of working that cultivates creative thinking everywhere.
As we evolve in our marvelous experiment of community, may this addition of an art-based curriculum for our children help us to know and understand each other better and give us other ways to share and better love all of our fellow human beings. Every loving and educational exchange with a child is an investment in the future of the world.
– Carol Leona


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OK, I seriously meant to post this right after Thanksgiving as I actually made it the day after. But, you know how things go this time of year. So anyway, with all the extravagance and overindulgence of Thanksgiving, this soup made the perfect, cozy Friday dinner.
The recipe came from Cuisine at Home magazine and is for chicken, but hey, when life gives you an abundance of leftover turkey, you gotta make do. Actually I think it was much richer and tastier due to the turkey than chicken would have been. Either way, a great soup. Definitely not for the faint of cream or the lactose intolerant among you!
Southwestern Cream of Chicken (Uh, or… Turkey) Soup
Makes 8 cups
3 Tbsp unsalted butter
1 red bell pepper, seeded and diced
1 poblano chile, seeded and diced
½ cup diced onion
1 Tbsp minced garlic
1 tsp hot chili powder
1 tsp ground cumin
½ tsp ground coriander
6 Tbsp flour, divided
3 cups whole milk
1 cup beer
1 cup chicken broth
½ cup dry converted white rice
3 cups shredded pepper Jack cheese
2 cups shredded cooked chicken
Lime slices for serving
Melt butter in a large pot. Stir in bell pepper, poblano, onion, garlic, chili powder, cumin and coriander. Sweat mixture until peppers begin to soften, about 5 minutes.
Whisk in 3 Tbsp four to coat vegetables; cook 2 minutes. Whisk in milk, beer, and broth until smooth. Bring mixture to a simmer. Stir in rice; simmer until tender, about 15 minutes.
Combine cheese with remaining 3 Tbsp flour in a resealable plastic bag; toss to coat. Add cheese to soup a handful at a time, stirring to melt completely before adding the next handful. Add chicken (or turkey) to heat through – 3 to 5 minutes.
Garnish each serving of soup with lime slice.


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The reviews are coming in for the bipartisan budget deal crafted by Republican Rep. Paul Ryan and Democratic Sen. Patty Murray and as the Los Angeles Times says, the package seems to have "something for everyone to dislike."
"It won't cut federal spending or shrink the national debt, so conservative Republicans don't like it," the Times says, and "it won't restore much money for domestic programs or extend unemployment insurance, so Democrats don't like it either. Its main virtue is that it will spare members of Congress from worrying about a government shutdown during their long Christmas break."
However, Rep. Alan Lowenthal (D-Long Beach) said that there's more to it. "There's something in it for everybody to dislike, but there's enough in it for everybody to like also and to get through," Lowenthal told KPCC. "And I think that's what's going to happen."
According to Lowenthal, the deal got better than where it had been previously. "This is a much better deal, a positive deal," Lowenthal told KPCC. "We've cut much of the sequester cuts and much of those are balanced, but it really helps the non-defense side a great deal."
"It's nowhere close to what Republicans like to have," Rep. Darrell Issa told KPCC. "It doesn't have long-term entitlement reform, it doesn't really deal the way we'd like to deal with long-term reforms, particularly things like Medicare and even Social Security fix. Having said that, this is a divided government and Chairman Ryan got an extremely good compromise to preserve much of the savings the sequester had anticipated in the form of a mandatory deal. I think for all of us, that's the best you can get without another election."
Basically, adds The Washington Post, "the deal denies both Republicans and Democrats what they want most. Republicans didn't get any changes to Medicare and Social Security — much less any structural ones. Democrats didn't get any new taxes."
On Morning Edition, NPR's Tamara Keith summed up the agreement this way:
"The deal ... would set the federal budget at just about $1 trillion this year and next. It would replace a big chunk of the sequester cuts with other trims and increased fees. And that's pretty much it."
In other words, Tamara said, Murray and Ryan went "small" instead of going for a "grand bargain."
Of course, if one side had come out of the Ryan-Murray negotiations claiming victory, that might have doomed the plan's chances for passage by both the Republican-controlled House and Democratic-led Senate. On the question of whether the agreement will be OK'd by both chambers, The National Journal writes that "Ryan may face the most immediate challenge, meeting behind closed doors Wednesday morning to explain the agreement to skeptical House conservatives."
It adds, though, that:
"Ryan, whom conservatives describe as the most highly respected member of the House GOP when it comes to fiscal matters, seems up to the task of selling the deal. He repeatedly framed the agreement as 'conservative' on Tuesday, emphasizing at the outset: 'It reduces the deficit without raising taxes.' ...
"At one point, Ryan seemed to speak directly to his House GOP colleagues, perhaps previewing the pitch he'll make to them at Wednesday morning's conference meeting.
" 'As a conservative, I think this is a step in the right direction,' Ryan said. 'What am I getting out of this? I'm getting more deficit reduction. The deficit will go down more by passing this than if we did nothing. That's point No. 1. Point No. 2 is, there are no tax increases here. Point No. 3: We're finally starting to deal with autopilot spending, that mandatory spending that has not been addressed by Congress for years.' "
How is the deal playing in other news outlets? Here's a sampling of headlines:
-- "Conservative groups sound alarm over tentative budget deal." (Fox News)
-- "Conservatives balk at budget deal." (Politico)
-- "A Least Bad Budget Deal." (Wall Street Journal editorial)
-- "U.S. budget deal could usher in new era of cooperation." (Reuters)
-- "U.S. budget deal: What does it ad up to?" (The Financial Times)
Update at 8:30 a.m. ET. It's called compromise, Murray says:
She and Ryan agreed "it was important for us to put together certainty for this country [so] we worked hard to get a two-year deal," Murray told Morning Edition host Steve Inskeep this hour.
"Neither one of us got everything we wanted and we were able to keep the other person from getting some of the big things they wanted," Murray added, "and that's called compromise."


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14K Gold Studs With Cushion Cut Lemon Topaz Gemstones
Product Description
14K gold studs with lemon topaz cushion cut gemstones which are fancy cut (multi faceted) for extra sparkle. Large 10 X 8 mm lemon topaz gemstones are hand set into 14K gold bezels with 14K gold posts and pushback locks.
Stone Size:
Cushion 10 X 8 mm
Metal Type:
14K Gold
Type Of Lock:
Push Back
Product Reviews
Write Review


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Last chance for Early Bird rates for 2019-2020 Elementary Strings Program
Continuing Education is pleased to share that the registration is now available for the 2019-2020 Strings Program and we've extended our Early Bird package rates until this Friday, June 14th!
Students in grades four through eight during the 2019-2020 school year are invited to participate in this fee-for-service program. The fee includes use of a violin or cello, music book to use and keep, 30 half-hour lessons (group or private), two dress rehearsal and two concert opportunities. Participating students also have the option to join the Orchestra to participate in 30 additional one-hour Orchestra lessons (additional charge applies). For more information or to register, please visit www.hwdsb.on.ca/cce/strings
Updated on Tuesday, June 11, 2019.


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"I LOVE working with Stephanie, as she is incredibly creative, has amazing energy and when she says she is going to do something she does! Stephanie helped me focus and create some awesome marketing strategies that increased engagement and provided diverse public exposure! I have have total confidence in Stephanie and know anyone that works with her will be lucky to experience her incredible talents and her very lovely personality!"
Melissa Lloyd, Owner, DOODLE Lovely
Visit www.doodlelovely.com


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Sponsored Links
Software to organize and catalogue books, magazines, papers, ... for private and public use. Automatically catalogue of private and public books. Browse and search books by author, title, ISBN number and so on. PowerBK software manages a lots of books\' data fields, for example, location, number of pages, publication year, cover art. Software is password protected to guarantee your privacy and data protection.


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The Wheaton Arts and Cultural Center ("WheatonArts") founded as Wheaton Village, is a restored village and an arts organization in southern New Jersey emphasizing the creative spirit with a special emphasis on glass.
WheatonArts features a museum and gallery exhibits with interpretive demonstrations, an artist fellowship program; outreach and on-site school programs; and collector's seminars.
All serve to educate a multi-level audience on the role of the crafts in both traditional and contemporary life.
The Museum of American Glass is at the heart of the Center, housing the most comprehensive collection of glass produced in America with over 7500 objects including the world's largest bottle, from 18th century glass to fine contemporary glass art.
Located in Millville, center of the nation's first glass industry, the Museum is one of only 8 museums in New Jersey to be accredited by the American Alliance of Museums.
The Museum houses the nation's largest collection of American glass and encompasses examples of the earliest glass objects The Museum's glass and library collections are a primary resource for scholars, collectors, other institutions and artists.
Visitor's can watch highly skilled artists employ century-old techniques to transform hot molten glass into beautiful works of art in the 1888 TC Wheaton Glass Factory.
Chat with the glassblowers about their artistry and schedule an appointment to make your own paperweight.
Wander down Crafts and Trades Row and see regional New Jersey crafts demonstrated throughout the day.
Other highlights include the Down Jersey Folk life Center, the Stained Glass Studio, the Gallery of American Craft and unique museum stores.
WheatonArts offers many special exhibitions, events, and educational programs throughout the year.


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Overview (5)
|in Avondale, Ohio, USA
|in Los Angeles, California, USA (abdominal cancer)
|Birth Name
|Theodosia Burr Goodman
The Vamp
|5' 6" (1.68 m)
Mini Bio (2)
Theda Bara was born in Cincinnati, Ohio, as Theodosia Goodman, on July 29, 1885. She was the daughter of a local tailor and his wife. As a teenager Theda was interested in the theatrical arts and once she finished high school, she dyed her blond hair black and went in pursuit of her dream. By 1908 she was in New York in search of roles. That year she appeared in "The Devil", a stage play. In 1911 she joined a touring company. After returning to New York in 1914, she began making the rounds of various casting offices in search of work, and was eventually hired to appear in The Stain (1914) as an extra, but she was placed so far in the background that she was not noticed on the screen. However, it was her ability to take direction which helped her gain the lead role as the "vampire" in A Fool There Was (1915) later that year, and "The Vamp" was born. It was a well-deserved break, because Theda was almost 30 years old, at a time when younger women were always considered for lead roles. She became the screen's first fabricated star. Publicists sent out press releases that Theda was the daughter of an artist and an Arabian princess, and that "Theda Bara" was an anagram for "Arab Death"--a far cry from her humble Jewish upbringing in Cincinnati. The public became fascinated with her--how could one resist an actress who allowed herself to be photographed with snakes and skulls? Theda's second film, later that year for the newly formed Fox Studios, was as Celia Friedlander in Kreutzer Sonata (1915). Theda was hot property now and was to make six more films in 1915, finishing up with Carmen (1915). The next year would prove to be another busy one, with theater patrons being treated to eight Theda Bara films, all of which would make a great deal of money for Fox Films, and in 1917 Fox headed west to Califoria and took Theda with them. That year she starred in a mega-hit, Cleopatra (1917). This was quickly followed by The Rose of Blood (1917). In 1918 Theda wrote the story and starred as the Priestess in The Soul of Buddha (1918). After seven films in 1919, ending with Lure of Ambition (1919), her contract was terminated by Fox, and her career never recovered. In 1921 she married director Charles Brabin and retired. In 1926 she made her last film, Madame Mystery (1926), and promptly went back into retirement, permanently, at the age of 41. She tried the stage briefly in the 1930s but nothing really set the fires burning. A movie based on her life was planned in the 1950s, but nothing ever came of it. On April 7, 1955, Theda Bara died of abdominal cancer at the age of 69 in Los Angeles, California. There has been no one like her since.
- IMDb Mini Biography By: Denny Jackson
According to the studio biography Theda Bara (anagram of "Arab Death") was born in the Sahara to a French artiste and his Egyptian concubine and possessed supernatural powers. In fact, her father was a Cincinnati tailor. By 1908 she appeared in Broadway's "The Devil", using the name Theodosia de Coppett. In 1914 she met Frank Powell who cast her as The Vampire in A Fool There Was (1915), the role from which we have the word "vamp" -- a woman who saps the last sexual energies from middle-aged respectable men, no more than slaves crawling at her feet. In some of her publicity photos all that remains of her devoured victims are their skeletons before her on the floor. Most of these period parts (Salome (1918), Cleopatra (1917), Camille (1917)) were filmed from 1915 to 1919. After that public tastes changed - her final return effort, in Madame Mystery (1926) was partly directed by Stan Laurel.
- IMDb Mini Biography By: Ed Stephan <email@example.com>
Spouse (1)
|Charles Brabin
|(2 July 1921 - 7 April 1955) ( her death)
Trade Mark (3)
Trivia (27)
Personal Quotes (10)
Salary (3)
|The Stain (1914)
|$150 /week
|A Fool There Was (1915)
|$150 /week
|Cleopatra (1917)
|$4,000 /week


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Okay, I guess I will start at the beginning. I am a homicide detective located in the town of New Orleans, Louisiana. Every year my town hosts an "Annual Film Festival Extravaganza!". Basically, the film festival requires people to turn in their own home made films and the winner will receive $10,000. This year someone won by the name of Keith I. Luston. Keith's film took place in the abandoned theme park Six Flags New Orleans. Six Flags New Orleans was considered defunct after it was flooded in 2005 by hurricane Katrina and is strictly off limits. Anyways, the film involved six teenagers, whose names are the following: Zack, Nic, Christian, Jason, Ty, and Allie. They went to the theme park to film a horror movie and Nic was going to be the main antagonist. I got special access to the film after it was viewed and won. I wanted to inspect the film because it looked extremely realistic and the film's location was off limits to the public. The film was recorded on a crappy camcorder. Okay, I guess I will tell you what is in this film.
The film begins with the six teenagers driving down I-10 Service Road on the way to Six Flags New Orleans at night in a 2011 Honda Accord. Traffic is light but there are still cars on the road. Eventually some random guy in a beat up 1978 Toyota Corolla comes up behind the car full of teenagers and puts his brights on. The teenagers begin to respond to this by saying things like "What the fuck, man?!" and "Fuck you, go around, you asshole!". The teens also proceeded to give the driver obscene gestures. The driver then turns his brights on and off, over and over to annoy the teenagers and then eventually merged over and sped away into the night.
The film continues with the teenagers having a conversation in the car. "Man, when we win this film festival we are going to be loaded!" Zack said, "Hey Ty, how far are we from the park?". "Not very far, only five miles down this road." Ty replied. Not long after, the top of Mega Zeph, the theme park's wooden coaster, could be seen. The teenagers arrived in the parking lot and parked their vehicle. Ty seemed unnerved by this park, "Hey guys, I am going to wait here for you guys, this place is giving me the creeps." Ty said obviously nervous. "Haha! Ty's a little pansy! Alright, you can stay, we will be back in four to five hours." Nic replied. The five other teens proceeded to exit the vehicle and approach the entrance.
The teenagers arrive at the turnstiles that lead into the park and proceeded to enter the park. The teenagers arrive in what appears to be the "Cajun Country" section of the park. "Alright Nic, go change into the costume in Spongebob Squarepants 4-D, we will be out here ready to film." Jason told Nic. "Okay" Nic replied and then reluctantly walked into the theater. After that there was about five minutes of silence until finally a lone silhouette stood in the darkness. The silhouette appeared to be a man about six feet tall with a surgeon mask on and some scrubs. In his left hand he held large, rusty bone shears. "Nic, you look awesome!" Jason said. No response from Nic was heard. "Okay guys, let's begin!" Zack shouted. Nic refused to move an inch. "Nic, what the fuck are you doing man? He said start, say your lines!" Jason yelled at Nic. Jason proceeded to walk furiously at Nic and when he was within three feet of Nic the bone shears pierced Jason's stomach. "What the fuck, Nic!" Christian yelled. Jason screamed in pain and the bone shears slid out of his stomach. Jason collapsed onto the ground and began to writhe in pain and agony. "Run! For Christ's sakes, run!" Jason screamed at the top of his lungs. The bone shears were brought down into his side and Jason was silent.
The three teenagers began to sprint towards the exit of the park. The teenagers finally arrived at the car and quickly found the car doors locked. Allie peered inside of the driver's window and found that Ty was missing and so were the keys. Zack walked over and saw a trail of blood leading from the driver's door to the entrance of the park. The teenagers began to run for the exit of the parking lot only to find that the gate was padlocked shut and there was no escape due to the barbed wire fence that surrounds the park. "We are so dead! Dead! Dead!!!" shouted Christian. "Damn it! Get a hold of yourself, Christian! We need to think about this!" Zack yelled at Christian. After some time the teenagers finally agreed to re-enter the park in search of Ty and the car keys.
"Oh my god, oh my god" Allie cried. Allie buried her face in her hands and wept. "Baby, it will be alright. We will make it out of this." Zack told Allie trying to comfort her. Zack wrapped his arm around her and kissed her on her cheek. "Man, what the fuck! Why would Nic do this shit! Was he that fucked in the head?" Christian exclaimed. "Calm the fuck down, Christian!" Zack screamed at Christian trying to snap him back to reality. Christian soon stood silent staring at the entrance to the park. The rest of the teenagers also stopped in awe and terror. On the entrance were the words "It has only just begun" in what appeared to be blood.
The teenagers returned to Cajun Country and decided to check inside Spongebob Squarepants 4-D but found nothing but words painted in blood upon the walls, "So close, yet so far.". Suddenly the teenagers heard a gut wrenching shriek that sounded like Nic. The teenagers could not locate the direction in which the shriek came from. After scouring the park for what seemed like hours, the teenagers decided to split up and turn on the power from the breakers located on opposite sides of the park. Their idea was to turn on the power in order to signal for someone. They decided to split into two groups, Allie and Zack, and then just Christian. The breakers were in Jazz Country and Pontchartrain Beach. Zack and Allie went to Jazz Country and Christian went to Pontchartrain Beach. I do not know what Christian experienced on his way there since Zack held the camcorder.
It had been about two hours since they last saw Nic. Jason's body was also missing from Cajun Country. Zack and Allie reached Jazz Country and pulled the breaker. "Hey babe, I'm sorry that I brought you into this." Zack apologized to Aliie. "It's okay, I wanted to come." Allie replied. The two proceeded to kiss for a few seconds and then broke the kiss. Zack was in the middle of leaving the breaker room when he heard Allie let out an abrupt gasp. Zack turned around and to his horror he saw the bone shears sticking through her chest. The bone shears began to spread open tearing Allie's torso apart before sliding out. Allie was still barely alive but she couldn't scream, she was in too much pain. Allie began to yell "Get the fuck out of here, Zack! Run!". Zack reluctantly ran out of the breaker room.
Zack and Christian soon met up at Cajun Country again and Christian was horrified to hear of Allie's gruesome demise. The power was on but only the lights, the rides were flooded during Katrina and their electrical systems were destroyed. Zack and Christian were wandering around the park trying to find Ty and suddenly they heard an engine roar. They were so happy at that sound for they thought that they had been rescued but to their horror they turned at saw the 1978 Toyota Corolla behind them with the brights on. The car sped at them and ran directly into them, the film went to static.
The film started up again but this time in the projector room of Spongebob Squarepants 4-D. Zack and Christian were strapped to chairs and the camcorder was recording from a fixed point in the room. Then Nic entered the room and walked over to Christian's chair very slowly. He examined Christian's hand and placed the shears around his wrist. In one swift movement there was a loud bone chilling snap and Christians hand fell to the ground and blood gushed from his wrist. Christian writhed and screamed in agony. It was unlike any acting I have ever heard, It was too real. "Shut the fuck up!" Nic screamed, but it wasn't Nic's voice, it was someone different. What happened to Nic? Was this really Nic the entire time? Zack was still unconscious but now the screaming had awoken him. There was another snap of bone and Christian's other hand dropped to the ground and blood gushed all over the walls. Finally, there was a final snap and Christian's head fell to the ground. The sick fucker cleaved off Christian's head! Then there was a scream from another room and the man exited the room to attend to the scream. Zack soon tugged and pulled on the straps finally breaking them and grabbed the camcorder.
Zack ran over to Christian and proceeded to vomit at the sight of his best friend beheaded. Christian's lifeless corpse sat motionless. Zack quickly ran for the door and ran out. Suddenly the man appeared and chased Zack into a room but Zack locked and blocked the door with a table. Zack turned around and to his horror lie his other friends dismembered and strapped down. Ty had his foot sliced off and his ear was missing. Jason's eye sockets were just dark holes that seemed to suck out your soul the longer you stared into them. Nic was in the corner with his mouth open covered in blood but his tongue was missing. Nic also had open wounds where his kidneys would be. Finally, Zack came across Allie strapped to a chair barely breathing. Allie had no lips and her hair was cut off. Allie was also missing her big toes and thumbs. "Run." were the final words that passed through Allie's mouth before the camcorder was dropped and a scream was heard. The film ends at that point.
I decided to investigate this film for the following reasons: It looks too real for a low budget film, the acting was performed too well for teenagers, no one is allowed into the park, two days before this film was viewed six teens went missing with the same names as the characters in the film. I am now going to enter the park for myself and investigate the park. I am especially going to investigate Spongebob Squarepants 4-D and the rest of Cajun Country. Keith I. Luston does not exist in any files, something is not right here. I believe that "Keith I. Luston" is the sick fucker who brutally murdered these six teenagers and collected $10,000 off of their deaths.


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The Lewisham News Shopper reports on Cllr Morrison's free employment advice service at Crofton Park Library.
Councillor Pauline Morrison is to provide an employment service in Crofton Park Community Library. Cllr Morrison, one of the leaders of the Save Crofton Park Library Campaign said: 'I volunteer in the Library twice a week and thought that this was agood use of my time and experience in this time of high unemployment. I will be happy to help local people with their CV, job search, interview skills and any other support in their search for a job. The service will be free but a donation to the library would be appreciated.'
For more information please contact Councillor Pauline Morrison, 020 8244 5315.
Email: email@example.com


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Today was the Brickyard 400!! NASCAR racing in Indianapolis. Thanks to a very good friend I was able to attend this beautiful day. Matt Kenseth is my favorite driver, I've followed him since I've followed NASCAR. I met him a couple years back and I was so nervous I couldn't remember how to use my camera, it was pretty awesome. Today he finished 4th. I also consumed a foot long corn dog that was absolutely amazing!!
(*side note: I've been a vegetarian for several years*)


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Back when I first started reading Aaron Neathery's Endtown, I was talking with him on Facebook and I asked what webcomics he liked to read. He very quickly replied, "Doc Rat". At about the same time, I noticed someone in the Endtown comments section going by the name of "Jenner" and using the Doc Rat character as his avatar. Ultimately, I went through the Doc Rat archives, which took a couple weeks because there's so many strips. That was fun. The artwork is very clean and the character designs are both professional-looking and distinctive; you know you're not looking at something copied off of another artist. Initially, Doc Rat was a gag strip, with a joke-a-day pattern that goes on for a few years. After a while, the characters get fleshed-out and start "living their own lives." At that point, the strip becomes more long-format, with a growing conflict between predator and prey species (a situation that Jenner has credited to the influence of Endtown). Doc Rat has grown and evolved since then into a living, breathing collection of characters, some with fairly painful back stories, but with significant high points as well, interspersed with the occasional gags.
Jenner runs a caption contest, and the winning entry receives the original artwork with their caption written in. I've won twice. I'm letting other people have their chances, now. But I'm not happy about it.
Basket Case interview – Jenner
17 September 2016
BC: Who are you?
J: I am an Australian cartoonist and writer, best known for the long-running comic strip Doc Rat. I'm fifty-six years old, and I live in Melbourne, Victoria with my wife, Julia. I'm also a full-time doctor in general practice (which in the USA would be known as a family physician).
J: So why the name "Jenner"? For the purposes of my professional cartooning career that has a public face, I prefer to work under a pen-name. This is so I could have a 'firewall' of sorts between my two sides – it's what I call an ethical courtesy to my patients. I take the confidentiality of my job as a doctor seriously, so when I create a funny comic strip about medical situations and predicaments, I prefer not to leave it open to be misunderstood. I would absolutely never use someone's private story for a Doc Rat joke, and of course most people would understand that, but for the sake of those few who may be in doubt I've simply drawn a veil of secrecy, you know, just to be safe.
J: The secret of my real name isn't watertight. Anyone could track it down on Google in less than a minute. So for the purposes of this interview, away from the usual domain of my patients, there's no harm in revealing that in real life I'm Craig Hilton.
J: I grew up in Perth, Western Australia. That's a very outdoors sort of place, great for small boat sailing. And very isolated from the rest of the world, especially back in the Sixties and Seventies. The most isolated capital city in the world. You live with the mindset that everything big that really exists only ever happens somewhere else. And so you make your own things happen, for yourself. You become self-sufficient. All through my childhood, my head was exploding with stories, jokes and wry observations. I think I was drawing madly from a young age, just to get onto paper what I could see in my head. At some stage in primary school, I systematically borrowed every how-to-draw book from the school library and drew every single lesson one by one, page by page. That's where I learned shapes, perspective, shading, figure construction and all the other basic skills. In high school, I was taking the academic stream to maths and science with a view to entering Medicine in university, but I was also involved in the extra-curricular Special Art course. That briefed me in a wealth of techniques, and it also schooled me in the discipline of draw-draw-draw. Fill sketch block after sketch block.
J: At the University of Western Australia, in medical school, I learned whole new fields of education and more mature ways of thinking. Trade-off, though – there was less time for serious art such as painting and sculpture. Still, there was at least still time to draw cartoons. I compiled an annual magazine of my own jokes and comics called Leechcraft and sold it to my friends for the price of the photocopying. Later, when I discovered science fiction fandom, I learned people around the world were doing the same sort of thing and called them fanzines. I guess that was when I could say I found my tribe. That was in 1983.
J:I won the Australian Science Fiction ("Ditmar") award for Best Australian Science Fiction or Fantasy Artist in 1987. I learned about the new trend in (then-called) funny animal comics when I saw the earliest issues of Critters and came face-to-face with the works, amongst others, of Steven A. Gallacci and Stan Sakai. It felt like coming home. This led to my hunting down the nascent furry fandom that was based mostly in the USA. A key part was the group called ROWRBRAZZLE, in which fifty or more creators shared their work in a quarterly publication. I learned a lot from the cross-pollination, and my style matured over the decade. I did cartoons about a secret agent bunny rabbit and, of course, lots of rats. That was when I came up with the name Doc Rat – initially it was a nickname for myself, but later I applied it to a GP doctor character in a series of single-panel gags I contributed to medical publications.
(Craig, in consultation, dear.)
J: My medical career took me all around the country, and over the decades my cartooning output was inconsistent. Sometimes nothing, and then for a year I drew a country town newspaper strip about coal mining, called DownUnderGround. I've been in Melbourne since 2001. I was greatly honoured to be inducted into the Furry Hall of Fame (Australian Fandom Conventions) in 2010. And I'm now heavily involved in helping run the Australian furry fan convention ConFurgence.
BC: Do you consider yourself a doctor-cartoonist, a doctor-illustrator, a doctor-artist, or something doctor-else?
J: My first profession is doctor. My second profession is cartoonist, illustrator, caricaturist and comic strip creator.
J: In 2006, I decided to go professional as a cartoonist. That meant I set aside a dedicated day a week at a dedicated location and went about it with a professional seriousness. I set myself a work production target and committed myself to reach that target. I looked at the long-term goal of accumulating a body of work and brand recognition. And I solicited magazines, papers, web sites and professional word of mouth. I just put myself out there, at any time I could.
BC: What do you think your biggest breaks were?
J: Big breaks were when people approached me for work, thanks to my reputation as a medical cartoonist. The Medical Journal of Australia needed a cartoonist for a new caption competition series. The British Journal of General Practice contacted me to ask to run a Doc Rat strip once a month. And there was a time that Australian Doctor, a weekly magazine, was advertising for a political cartoonist. I sent in a portfolio and won the job.
BC: What led up to your starting Doc Rat?
J: Doc Rat had appeared as single panel gags non-professionally in various papers for many years. When I decided (in late 2005) that I could make a success with a comic strip on the Internet, it occurred to me that success depended on a big following, and a big following depended on a regular reading habit, and that meant daily without fail. Consequently, I knew I would have to put in a regular and substantial session of work, and set aside a dedicated time every week, and a dedicated place to do it in. Putting out the work out on-line could give me a cheap way of distribution, but how to get money from it would be the next step after that. I found it hard to solve that question (and I wasn't alone there, and I'm still not), but whatever the solution could be, it kept coming back to a good-quality product with a big fan base. In other words, it wasn't enough to have a web comic. It would have to be a GREAT web comic, ideally the BEST web comic. Because when a reader decides she only has time these days to follow her favourite three strips, Doc Rat would have to be one of those three. … No pressure.
J: Doc Rat is still my main body of work, right now. I'm happy to take some commissions, and I am trying to work on my caricature line of work. But I can't take on too much, because my time is short and finite. I mean, I am also a full-time doctor – that takes up a lot of my days. Having said that, I intend to stock the web site's archives fully. And I have a longer vision of putting out the Doc Rat books as e-books.
J: And alongside these, as well, last year I illustrated and published a collection of the writings of my old mentor, Dr Max Kamien: "Barcoo Rot, Sperm That Untie a Knot and Other Medical Tales from the Back o' Bourke and Beyond". It's available by mail order, but if you do buy it from outside Australia you really should offer him more money for the international postage because otherwise he runs at a loss.
BC: Which of your works are you most proud of?
J: I was very proud in 2009 to see an enormous Doc Rat strip on the side of a building, as part of a public art project.
J: And it's very satisfying to read the strips as a story in one go. When I go through the phase of a short story arc or even a longer story, even though I have the overall structure planned out, it's still a fraught process setting it down, strip by strip. Hoping there are no continuity errors or connections that are unclear to a new reader. I've just compiled the pages for Volume 17, telling the story of the eight-year-old boy Jarrad and his friends who, in the course of playing at being detectives, have to save the life of the teenage Quarrydog the wolf cub, who's fallen down a deep hole. If they fail, he dies, and with him goes all hope of world peace. So having given the rescue their best shot, there's a coda to take them through some reconciliation, growth and closure. People's lives are hanging by a thread, and even though it's only diligent mutual support of one conscientious person to the next that holds it all together, that's still enough to deliver success at the end of the day: it's a lesson for us all. And what pleased me most was just how well the story held together as a single unit.
J: I love stories where the compelling narrative to resolve a crisis is wrapped up in a larger issue, which itself is wrapped in an even larger one. I love multiple layers. I was very pleased with how Jarrad and the Detectives moved through the themes and layers, sort of wheels-within-wheels. (The book is titled It's a Mystery, Doc – Doc Rat collection, Volume 17.)
J: I also like coming up with clever titles for the strips, which can be a joke that's added over and above the joke in the strip itself. For example, nurse Mary was scolding Ben for knocking all the bandages off the shelf. The title: Ben gets a dressing down. And when Ben and Daniella finally kissed (and it lasted for three days), the title: Rodents kiss. (Their positioning is modeled on the famous sculpture by Rodin.)
J: When the strips' serial numbers approximate a significant year, I tried to do a pertinent title and theme. DR1901 had a tribute to the Federation of Australia. DR1960 (my birth year) had a self-portrait. From that time onward until the present, I was putting in those date references really thick and fast. It was made harder by the fact I didn't have the freedom to pick and choose subjects. This was right in the middle of a dramatic story: Daniella was walking home from work, heavily pregnant and starting to develop bleeding complications; Ben at home started reading a book of rabbit reconciliation poetry; Quarrydog found Danni in the park and offered to decoy the predators away from her. Every strip title was some yearly reference or song title or two. DR2014, when the strip numbers caught up with the date, was titled "Here and now". DR2015 was titled "Hereafter".
J: I'm pleased to get poetry in there, or to write in a poetic meter when it helps set the atmosphere. That's almost like background music, the way the words are written. It evokes a mood subliminally. It works best when read out aloud.
J: And in Doc Rat, it's a very important matter of principle to me that it shows General Practice performed to a high standard of craft. I'm proud of my profession. These are not jokes built on a greedy or inept doctor or at the expense of a disempowered patient. They are jokes where we laugh or cry side by side with one another in the process of the competent performance of ethical health care. In the adventure story arcs, the same moral and ethical values prevail.
BC: Where can readers find paper copies of Doc Rat?
J: Order them on-line from my web site. Sometimes there's been a bit of an issue keeping it current, especially with the function that calculates the mailing costs. Any problems and you can e-mail me. Or of course you may buy them directly if you can catch me at a convention. I have plans to be at Anthrocon in July 2017.
BC: How do you approach that blank sheet of white paper when you decide to start your next strip or panel?
J: Look, that's really not the problem many people think it is. I mean, imagine going to Michelangelo and saying: "You know that job for the Sistine Chapel ceiling, well I've got a great idea you can use. You should put God and Angels and clouds and stuff all over it. Well, I suppose I've done most of your work for you now. The really hard part's coming up with the idea. So I'll just swing by when you're done and take my half of the proceeds, you know, for my contribution, all that intellectual capital I've given you."
J: Coming up with an idea for a strip is EASY. You just come up with several and then pick the best one. If it's a one-off joke, I take the 'seed' of a joke and stretch it, bend it, re-word it and re-interpret it – basically I turn it into a well-delivered comedy routine. The pacing, the set-up, the punch-line. And now you ask: Where does the 'seed' come from? Well, thoughts come to me any day, at any time – "Hospital sounds like Horse Spittle." "Bees have hives." "A giraffe is very tall." There's a joke in there. The real work comes when I try to work that into a comic strip. But that's all it is: work.
J: I play with language. I mess around with words. I perform evil juxtapositions.
J: And when I'm doing a sequence that's telling a story about some of the existing characters, I go into daydreaming mode. I start with the premise, which is usually some values-based conflict, imagine the key scenes, sketch in the connection lines, and then progressively refine the plot. If it's complex, I will draw out a timeline, to help ensure continuity. And then I'll daydream the scenario, over and over again. Once the specifics of the events are fixed, I replay it with attention to the emotions, in what I call "the emotional symphony". How does a character feel, and why? I'll 'stop the film' and 'take the characters aside' one by one, and I'll 'interview them' on what they think is happening right now. That way, I can get inside their heads, and thus I can write their actions to portray their actions in the most credible way.
J: When someone asks: "Where do you get all your ideas?", it makes me sad for the poor, forlorn, interviewer's barren existence. It makes me feel like replying "What's it like not to have an imagination?"
BC: Ouch.
BC: If your strip had a soundtrack, what would it be?
J: Jazz, classical music and some Indy, particularly Australian. Some are very specific – I attached them quite deliberately to the particular moment. The character Daniella is named after the song of the same name by the John Butler Trio. And from there, I also attached Daniella's personality to Girl U Want, by Devo, on the Tank Girl movie soundtrack album. This took me on to exploring other aspects of Daniella's personality, following the other songs on the album, and that's where I discovered she had some very angry phases in her past, and also some very sad ones, very dark. Roads, by Portishead. I would listen to that as I drew an emotional part of the story, and I'd be crying as I drew.
J: Miserere, by The Cat Empire. Push It Up by Cookin' On Three Burners. Mercy, Mercy, Mercy by Cannonball Adderley. There was a local jazz compilation called Jazz in Melbourne (Volume 2) that was the soundtrack for the "I love Jaz" fishing trip story. The Man I Love, sung by Peggy Lee, was a specific song in the "Daniella's secret" story. It's a VERY sad song – it's not about hope, it's about despair. And of course that story is wrapped up by a performance by Emma Pask and James Morrison – cameo appearances of course. On the day I was in the process of drawing this, I had the incredibly lucky chance to attend an intimate jazz performance by Morrison and Pask, so I actually got the chance to collar them and ask their permission to use them in the story. So, from the album Emma, we had the play-out song No More Blues. Very happy music, at long last.
J: And finally, I can't go past some movie soundtrack inspirations. The Bond movie Skyfall had a track called Tennyson. In the movie, M (Judy Dench) is defending herself in front of the interrogation-like court of a governmental inquiry, and even though she has just been quietly informed the assassin is on his way to kill her, she continues to hold her ground and recite the verse. Cinematically it cuts back and forth between the emotionally tense inquiry room and the frank violence of the hit squad approaching and storming the building. The music is restrained and insistent, like a ticking clock. All you can hear is music and poetry and yet it's impossible to relax.
(Ben and Daniella, from Doc Rat.)
J: I tried to duplicate that ambiance in a segment of Doc Rat. I aimed to do in graphic novel form what I'd experienced in the cinema. It was a challenge. The music wasn't there, but perhaps you could imagine it as I did. Ben reading to himself the verse from Daniella's upcoming, rabbit-culture-styled apology ceremony and finally understanding why she'd been under such stress – the day she didn't come home was the day he finally 'got it' – and there you the reader were watching something horrible Ben couldn't see: Danni was starting to lose it, lose everything she had. I tried to write verses of poetry that would do it all justice, and I hoped people would be imagining music similar to that in the section of Skyfall. In one small token to that track, I made reference to Tennyson Street in the script. Check it out.
BC: Who are your favorite artists/writers?
J: Novels: John Le Carre writes in beautiful language with not a word wasted, and exceptional human observation; moreover his work is written to be read out loud. Paul Kidd writes adventure stories whose plots have solid bones and simply ooze pure joy. Terry Pratchett is a literary genius who can reveal the most serious human truths while secretly stealing your braces – I can't get enough of his humour. Shakespeare – I intensively watched Henry V, both Branagh and Hiddleston, to see how I could use the techniques in the Agincourt speech to craft Boss Alpha Blutenstein's 'speech of his life', as he persuaded his pack followers to convert from apex predators to pacifists who may still represent themselves on the top status rung.
J: Comics: Most definitely Aaron Neathery, who creates Endtown, in my opinion a master work of the genre. It's surreal fantasy in the realm of the human condition. Think Mad Max meets Pogo meets Labyrinth meets The Bed-Sitting Room. I was hooked from the first pages, and I'm hooked still. And there's Bill Holbrook, who creates Kevin and Kell, a semi-serious animal society daily strip. Gary Clark, with Swamp, a daily gag strip with a strike rate for new and funny jokes that I envy to death. Juan Diaz Canales and Juanjo Guarnido for Blacksad (writer and artist respectively) – for pity's sake this series is good; it's movie-length, cinematic-quality, full-page watercolour 1950's detective fiction, from a part of the world (Spain/France) that wears the anthropomorphic animal genre like a well-fitting suit. Stan Sakai for Usagi Yojimbo, a long-running title that simply has no equal. Murray Ball, Charles Schulz, Tove Jansson, Ursula Vernon…
BC: I bought the first Blacksad hardcover on your recommendation, and I agree, it's absolutely beautiful stuff (but, not for children).
J: For the record, I know Neathery, Holbrook, Clark and Sakai, and they are all splendid people.
J: And I want to give a prize to all the writers, artists, animators and producers of Zootopia.
BC: What do you look for when you read someone else's strips? What do you think makes for a good comic?
J: I want them to be very good at what they intend to do. If it's a daily gag, I expect it to be a funny gag. More than that, I want to know it's the best gag that could be done by a skilled exponent. I want to know the creator gives a damn… comes up with an idea, looks at it and says: "Very funny, Cartoonist, now throw it away, do it again and make it funnier."
J: If it's a story, I want it to add some richness to my life… you know, something I wouldn't ordinarily have had myself from my own resources. Tell me a story to which I can't guess the ending. A story that has a theme and an undertone as well as a plot. A story that passes on to me a little of the writer's wisdom of life in the process of working the narrative's crisis to its resolution. I want to come away enlightened. In that way, Swamp tells the funniest jokes, Kevin and Kell works the genre and Endtown succeeds with a sublime story on every level – it's paradigm-challenging and perspective-changing.
J: Visually, I expect the artwork to be just as fresh and appealing. I want it to be drawn well, and I want each panel to offer something different and interesting. (Peanuts is the exception that proves the rule, of course.) I want something more than talking heads. And my maxim is: "Above all else, the story." If it came to it, I'd prefer well-written and poorly-drawn over poorly-written and well-drawn, every time. So, when it takes so much longer to draw a comic than to write it, then please spend that extra bit of time on improving the writing. Edit, edit, edit. Cut out any words that don't have to be in there. Comics are a visual medium, so whenever possible "show, don't tell". If the writer and artist are separate people, then they should communicate closely, because a solution can be found in the image that can help remove parts of the text.
BC: What do you think of Patreon?
J: Patreon is a brilliant, new solution to the existing problem of how a comic creator can make a reliable income. Creators with a sufficiently popular product can get a regular payment from people who love their work above all others'. The old business models are withering, and some new one has to take over. There is still, though, the age-old caveat: if it were easy, everyone would be doing it! In the Golden Age, hopeful artists and writers would drag their portfolios around to comic publishers and newspapers, and it was possible in that way to get hired, but only the top percent would make the grade. Now, with Patreon, it's still only the top percent who will make it. Even though the model is different, that part hasn't changed.
J: Neathery, with merit, has a lot of loyal fans of Endtown, and the regular income from Patreon has been instrumental to his continuing to work as an Internet cartoonist for a living. But even so, his patrons have been promised rewards for their scheduled payments. He spends at least a day every month alone drawing and sending postcards, and writing a very long exclusive email, and there's the cost of mailing prints and even original strip artwork to the larger supporters. Yes, Neathery does get that money, but he sure works for it – over and above what he does to keep the strip running.
J: Holbrook has a similar, self-run system of supporters and sponsors. He has something like 25,000 site visitors a month, so he can charge a good price for the ads. Of course, with the numbers he's built up over twenty-plus years, his clients get value in what they pay for.
J: Neathery and Holbrook work full-time. I work very limited hours as a cartoonist and writer. My first priority is to completing five comics a week in the time available to me. Patreon or Kickstarter would be an idea for sometime in the future for me, but not right now. The last thing I'd want to do would be to promise extra benefits I'd fail to deliver. Supporters deserve to be treated with respect.
J: But please, folks, do visit Doc Rat daily. Or @DocRatComic on Twitter. And buy the books.
BC: Do you have any appearances scheduled for conventions?
J: I'll be at ConFurgence 2017 in Melbourne, January 6 – 8, 2017. I'll probably be at Anthrocon 2017 (June 29 – July 2, 2017), too.
(All artwork here has been reproduced with the permission of the artist. Copyright Jenner © 2016.)
(This interview is the copyright © of Curtis H. Hoffmann 2016. It may not be reproduced in whole or in part without the permission of the author.)
Poll question: Do you eat an apple a day to keep the doctor away, or do you just like apples?


text:
Windows has always been the best OS in terms of innovative and extra-ordinary features to play with it. Though Windows Phone users are less when comparing to Android or Apple OS, but Windows phone users can do a lot of things because of its Windows integrated features in it. Today i will show you how to project Windows phone screen on PC.
Steps to Project Windows Phone Screen on PC :
Download Project My Screen App :
Download and install Project My Screen App for Windows to connect wirelessly or through USB.
Download here – https://www.microsoft.com/en-in/download/details.aspx?id=42536
Connect Windows Phone :
Now connect your Windows Phone by going to Settings > Project My Screen , if your mobile isn't connecting wirelessly then connect to PC using USB.
You are Connected :
If you want to Disconnect phone just go to Settings > Project My Screen > Tap on Windows-PC to disconnect. Hope this tutorial helped you.


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IR remote controlled light appliance application for the 32×32 RGB LED Matrix by Craig Lindley, that is available at Github:
My latest creation, the Light Appliance. This device displays various graphical routines (plasmas, fractals, etc.), animated GIFs, displays time, date and temperature, can be an open or closed sign for a business and a mood light. This is a quick demo to show what it can do
Check out the video after the break.


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Rising Storm − The Official Website
It has been some time since Storms awakened the heart of earth, since they
brought fear to all those, who knew what was about to come. It is, as it always has been, the same with
music. It has the power to change, overwhelm and reach the darkest corners of our world to give it life.
Although one could think, that the days of the great storms have long passed. A continuous effort to
imitate what once was, expiring into a mundane struggle, is what we see today.
But our tale shall be a tale of hope, not only for those, who remember the greater days of music, but also to those, who will discover what power it holds.
In 2013, Rising Storm will release their first full length studio album. An effort, dedicated to music itself. The tides change and the sea stirs once more...A Tempest comes.