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Two weeks ago, before getting into the whirl of teaching four workshops in two days at the Knitting & Stitching Show, I had treated myself to a three-hour one-on-one goldwork tutorial at the Royal School of Needlework. My tutor Heather Lewis and I were at a table by a window in a cubby-hole leading to a storage room. But then you don’t need much room to embroider, and anyway this was not just any cubby-hole – this was a cubby-hole with A View!
I’d asked specifically for the tutorial to concentrate on attaching fabric to fabric in such a way that it doesn’t wrinkle or pucker, and on soft string padding. The former because I simply cannot seem to get smallish bits of beautiful fabric attached to large bits of useful calico backing and have the same tension on both, and the latter because it is a technique I’d never tried and I liked the 3D look of it. Heather gave me some good advice about attaching fabrics (the main one: don’t have too much tension on your ground fabric when applying the top fabric) but as you will see from the pictures, I need a bit more practice – the green silk for the leaf is definitely not completely flat!
You can see a bit of the other technique in there as well – soft string padding uses, unsurprisingly, soft string (in yellow as padding for gold, and white or grey for silver) which is couched down in a bundle and cut gradually from below to fill the desired shape, in this case the leaf stem. You start with the full bundle at the widest part of the shape, then cut one or two threads at a time from the bottom of the bundle (hence flipping it over as in the picture above) depending on how quickly the shape becomes thinner. Below you can see the stem all cut and couched into shape; this will be covered in cutwork, but first the leaf was outlined in double couched Jap. I chose to couch in visible green rather than invisible gold, a choice I regretted just a little bit as any irregularities in your couching are so much more noticeable in colour.
You’ll have noticed that the stitches attaching the silk leaf to the background are not quite covered by the double line of Jap. Another line is needed, but as I’ve done a fair bit of couching before Heather and I decided I could do that at home, even though strictly speaking it should have been finished before starting the next bit. There was enough Jap in the kit to do another line, bricking the stitches as is traditional, but I’ve decided I’d like a different, wavy effect so I will do the inner line using either rococo, check thread or milliary wire (which I described to my husband as “the goldwork equivalent of Toblerone”). I’ll probably add some spangles of different sizes as well. A bit of extra bling never hurt anyone!
So on to the cutwork. This uses small lengths of purl (in this case smooth purl, but rough, wire check or bright check can also be used) which are attached much as you would beads, by taking the needle through them. The trick is to cut them to exactly the right length to cover the soft padding, and to handle them as little as possible. It is fiddly and time-consuming, and I didn’t manage to finish it all, but on the whole I am not dissatisfied with my first attempt.
So here is the leaf as it was at the end of the tutorial; and now to finish it. The bits nearer the ends of the stem are going to be more tricky and no doubt some re-cutting will occur. I’ll probably do the wavy inside line of the leaf before completing the top end of the stem so that I’m doing it as much as possible in the “proper” order, and then spangles to round the whole thing off. With some spare time this weekend and next it shouldn’t be too long before I can show you the finished article!
I keep most of my goldwork materials in small glassine envelopes – little greaseproof paper bags which are translucent so you get an inkling of what’s inside (and how pretty it looks). The envelopes are in turn kept in a storage box, where they are stacked in shallow rows: a stack of different pearl purls, a stack of spangles, a stack of milliary wires and so on.
It works very well, and I can lay my hands on whatever I want with ease. Generally. Recently, however, I could not find an envelope of gold Elizabethan twist, and one of silver smooth passing. I knew I had them (I keep a record of all my stash), I could visualise them, but although I went through every compartment of the storage box half a dozen times, they would not turn up.
This puzzled me especially because I remembered quite clearly that the Elizabethan twist was a relatively large roll of metallic thread which had only just fitted inside the envelope. Surely that couldn’t hide anywhere so successfully? The solution to the mystery turned out to be twofold: a) bad memory – my stock of Elizabethan twist wasn’t nearly as big as I though, it was the gold smooth passing (which was not missing) that rather stretched its envelope, and b) an annoying tendency for glassine envelopes to form close bonds with each other, especially when not very full. The gold twist and the silver passing were both where they were meant to be, just hiding inside the flaps of their neighbours…
So now that I had all threads and wires present and correct I could finally do what I had actually got the storage box out for: choosing the golds for the silk version of the Tree of Life. These will be used for the bird sitting on one of the leaves, for a small detail in the top leaf, and for or nué (a type of couching) on the final leaf. After some consideration I’ve chosen smooth passing, pearl purl and wire check, as well as some gold kid which isn’t shown here. I’m looking forward to showing you my golden bird and leaves!
Have you ever heard of the hopping procession of Echternach? Although throughout its history it has been danced in various forms, the one that has always stuck in my mind is the three-steps-forwards-two-steps-backwards version. It strikes me as being a very accurate description of many of life’s projects, including embroidery ones.
You may remember a small goldwork project I started last year, based on a design in Sampler and Antique Needlework. It’s a Jacobean-style flower and leaf, and I first used it as a sampler for trying out crewel wools from Renaissance Dyeing and Pearsall’s. But it was always intended to be a goldwork piece, and I thought it would make a nice project to get a bit of practice in with the various techniques. Although I roughly stuck to the design, from the start it was my intention to change whatever I felt like changing, and possibly to add a few things here and there. Some of the changes were planned, some weren’t.
This is where I’d got to last November. It shows both types of changes: the use of silver, two sizes of pearl purl, and check thread were definitely planned. The small beads inside the big leaf weren’t – they were a consequence of the small green silk leaves coming out too small and not filling the leaf outline satisfactorily.
6 months later I felt it was high time that this project got finished. There’s the RSN goldwork boot to complete as well (my stitching friend who came to the workshop too has already finished hers!) but as this one was all framed up, and pretty close to completion (much closer than the boot with all its plunging still to do…) it got priority.
The main part of the remaining work was the chip work that was to part-fill the flower cone. In the original design, this is done in gold chips of bright check. My plan was to stick with the bright check, but to shade it from copper through gold to silver. I couldn’t use the thread size guide of the original as I’d chosen to enlarge the design a bit, so I’d have to work out what looked best. As it’s still a fairly small project (a little over 3½” wide) a not-too-chunky #6 seemed the best choice.
I rummaged in my project box. Copper in the bigger #4. No gold or silver. Very odd. Have a look in my big goldwork box. Gold and silver in both #4 and #6, but no #6 copper. Bother. I could have sworn I had both thicknesses in all three metals. Obviously not. And as I definitely wanted to use copper, I started the chip work in #4 bright check. I did all the copper I wanted, and started filling in the gold. And I really, really disliked how it looked.
There was no help for it, it just had to come out. I’d have to do something in gold and silver only, or choose some other wire. Another rummage through my project box for inspiration… what was that bag of copper #6 doing there? Ah. At one point I had considered doing the chip work in coarse and fine copper, and so I’d put both thicknesses (but no gold or silver) in my project box, and somehow the #6 had hidden itself right at the bottom.
So I could do the chip work as planned – yay! And it did look so much more like I’d envisaged it.
Finish the gold chips, scatter some silver chips around, and then there were just a few more spangles to add for my Jacobean goldwork flower to be done.
The last stage, the finishing finishing, will be to lace it very tightly as the fabric wrinkles rather when taken off the frame, and then possibly frame it; unless I can lace it around the insert of one of my satin boxes. I’ll keep you posted!
There aren’t many positive sides to gastric flu. For a moment it seemed to hold the promise of starting the Easter egg season with a few pounds to spare, but even that proved short-lived. However, it did mean that last weekend I had energy for very little more than sitting in the garden, reading a bit, absorbing the sunshine (and incidentally getting my calves sunburnt), observing the bumblebees and enjoying the colourful sight of the tulips and grape hyachinths and late daffodils, and I’m sure this was very good for my soul. It also gave me some ideas.
Having looked forward so much to my RSN day class I understandably had goldwork on my mind, and looking at the bold outlines and the variety of petal shapes of our red, yellow and pink tulips I was reminded of a vague intention some time ago to “do” something with tulips and goldwork. I exchanged my novel for a sketchbook and tried to capture the various tulip profiles, with some grape hyacinths thrown in for good measure.
After a few separate doodles I decided on a combination of a single tulip with a couple of grape hyacinths, and some random sprigs of flowering grass which no botanist could possibly put a name to. I also scribbled some notes as to possible threads and wires and techniques to be used; for the grape hyacinths I jotted down two options, one using purl chip work and one using spangles. I like both options so may try a separate grape hyacinth to see which looks best. As the design has two grape hyacinths I toyed for a moment with the idea of doing one in each style, but on second thoughts I discarded that idea – it would just look indecisive and confused. I do want spangles in there somewhere so I’ll probably use tiny ones for the flowering grass, and chips for the grape hyacinths.
The next day I tried incorporating some of my daffodil sketches into the mix, but I simply couldn’t get them all to work together; the result was a separate design of a single tulip and a single daffodil.
Over the next week I tidied them up in my photo editing program, and in the process produced a second version of each design in which the tulip had been shortened a bit. For some reason I tend to create designs which are square or nearly square (or circular), and this one looked a bit elongated. I haven’t quite decided yet which I prefer.
As I was playing with the designs it occurred to me that they would also work quite well in coloured embroidery, whether using stem stitch throughout, or a variety of stitches (like short bullion knots for the grape hyacinths – nothing like setting yourself a bit of a challenge). In fact, I felt it would be just the thing for a little celebratory embroidery in honour of my mother-in-law’s 90th birthday if I added a “90” to it. So I did. Now I just need to stitch it. By Thursday evening at the very latest. So far, I’ve chosen the silks…
We had a lovely weekend planned, my husband and I. Separately, it is true; he was to go on a vintage car trial in Scotland with a friend, I was to attend my RSN goldwork day class, a belated birthday present to myself. It didn’t quite go to plan. Stomach flu intervened, and if you’ve ever had it you will know that it is not an intervention you can easily ignore. Scotland had to be given a miss altogether, and although I did go to the class I had to hoist the white flag after a couple of hours. Oh well, it can’t be helped; at least I got a little bit done, and had the kit to take away with me to finish at home.
As this was another beginners’ class (like the watering can I did some years back) there weren’t any techniques in the design which I hadn’t come across before, so I’m reasonably confident I’ll be able to produce a creditable Victorian ankle boot! I may add a few extra flourishes just to use some of my goldwork stash though…
The tutor for this workshop was Angela Bishop, who funnily enough recognised me from the previous day class when she assisted Sarah Homfray. The kit was very nicely presented in a neat little box, which held general notes on goldwork, instructions for this design, and of course all the threads and wires and bits and bobs. (The cat was not part of the kit. She’s just being nosy.) The third picture shows you most of the materials in close up: a pretty little heart-shaped bit of beeswax, a sparkly snaky length of bright check purl (sometimes known simply as bright check) to be used for chipwork, wavy Rococco thread, a piece of stiff-but-pliant pearl purl (great name), and three spangles (which can be told from sequins by the little indentations, caused by being made from a flattened coil). I’d already used most of the Jap thread, so that’s not shown, and you can see the remnant of a piece of yellow felt (used to pad the toe of the boot) in the box.
I still haven’t finished the Jacobean flower, but I may try to complete the boot first, just so it doesn’t get put away in a drawer and forgotten for several years (it’s not been unknown…). Updates to follow, hopefully soon!
Over the years I’ve been to several Royal School of Needlework workshops and day classes; they are always well-taught, well-organised and very enjoyable, and the workshops especially have been a great way of finding out in a relatively economical way which types of embroidery are just not my cup of tea (I’m talking about you, stumpwork) and which are not just my cup of tea but a whole afternoon tea at the Ritz (hello goldwork!)
Whenever I’ve found something I enjoy doing (like calligraphy and various embroidery techniques), I tend to read as many books about it as I can and then just have a go (for example with the padded gold kid in Treasure Trove, and my present goldwork Work-In-Progress the Jacobean Flower).
But sometimes it’s helpful – not to mention a lot of fun – to get some formal instruction. After the first RSN goldwork taster workshop I did in 2012 (the dragonfly) there followed another one at the next Knitting & Stitching Show (the bee; which did end up looking a little different from the original design…); then I found the RSN occasionally did day classes in Rugby and treated myself to one as a St Nicholas present (the watering can). And this year they’re offering another one! I’d hoped they would do an Intermediate level this time, but oh well, I’m happy to take what I can get so I am now booked in for April, where it looks like we’ll be stitching a goldwork ankle boot.
This is, you will agree, quite as much excitement as a stitcher can be expected to handle, but there is more! Following a link in the RSN’s recent newsletter I found that they offer private one-to-one tutorials.
I’ll allow some time to let that sink in a bit.
A private lesson, taught by one of the RSN tutors, at Hampton Court Palace *starry-eyed look* – what more could any stitcher wish for? Well, a bigger needlework budget would be nice. It would be lovely to book a whole day (10am till 4pm with an hour off for lunch) (who needs lunch?) (actually, I would; I like food quite as much as I like stitching) but a quick look at the latest bank statement suggests that a 3-hour class is probably more realistic. So I took the plunge and rang them, and I am now pencilled in for a goldwork tutorial on Wednesday 11th October, an extension to my usual Knitting & Stitching Show jaunt. It is as yet dependent on them finding a tutor available, so I’ll let you know when I hear more!
Remember the Craft Fair last Saturday? The organisers had asked people with stands if they could give demonstrations at various points throughout the day, and several did, among them a lady spinning wool, and a woodturner. I offered to demonstrate goldwork embroidery, which proved a good opportunity to finally get some work done on my SANQ/Jacobean flower project! I’d already been playing fast and loose with the design so I decided to leave the picture of the model, which is usually magneted to my frame, behind and just do whatever I liked. Ah, liberty! The two petals, originally intended to be done in paired gold Jap, I did in silver, and I intend to have some tiny silver spangles in there with the charted green silk. The cone, or whatever that other bit of the flower is called, was likewise charted in paired gold Jap with fairly chunky pearl purl on the outside; I swapped this for very fine pearl purl and some of the check thread I picked up at the Knitting & Stitching Show. I really like the effect of the wavy line bordering the delicate purl, and will definitely use it again.
To show the progress, here are some Before and After pics.
Some years ago I designed a series called Floral Lace; as my husband won’t let me forget, it started out as a small collection of three designs but kept growing until in the end there were 18. Some of these came out in late autumn and it gave me the idea of doing a Remembrance pair as well. I decided on Poppy and Rosemary, made some sketches none of which quite satisfied me, and so they disappeared into my When I Get Fresh Inspiration folder. Then one night last week I woke up with the design worked out in my head; the next morning I quickly got it charted up in my design program and so after well over two years “Floral Lace: Remembrance” is finally finished. I’ve even started stitching it, at my Embroidery Group yesterday afternoon with a bit more work done in the evening.
It seemed oddly appropriate to be stitching a remembrance-themed project at the group meeting yesterday, as we recently lost one of our long-standing members, and a number of us will be attending her funeral today. It’s a nice thought that this piece, as well as symbolising a more public remembrance, will also remind me of Jean.
Having made an enthusiastic start on getting my little goldwork project up and running, it all rather ground to a halt after the initial transferring. There were several reasons for this; for one thing I got terribly distracted by those pretty floral gems, and they in turn reminded me that I needed a good stock of cards and coasters to sell at the church Christmas Fair, and so far I didn’t have that many. There were also some occasions that warranted hand-stitched cards, and they naturally had priority.
And then there were a few things connected with the goldwork project itself. You may remember that the transferring process didn’t go altogether smoothly, and both the drawing pen transfer and the pencil one ended up with rather thicker lines than I’d aimed for. The pencil one being marginally the finer of the two I picked that one, but it wasn’t ideal. Next came the framing up. The piece of dupion isn’t large enough to be stretched on the Millennium frame and even if it were, it would still need a backing material. The usual procedure is to attach the dupion fabric to a larger piece of calico by means of herringbone stitch all around, and then to stretch the calico; the dupion will then automatically stretch with it.
I’ve done it before, and it has worked just fine. But this time I just couldn’t get the top fabric smooth. However I attached it (and I tried at least three ways) the moment I got the calico taut the dupion started wrinkling. In the end I attached it top and bottom only, got it as smooth as I could, and decided to just ignore the slight wrinkles that were left and hope I’d be able to get rid of them after I’d completed the project.
So I finally got to stitch *yay*! As this is meant to be a relaxing project where I can just go where the fancy leads me I’m completely ignoring the instructions – I’ve attached the colour picture from the original magazine article to my frame and will go roughly by that, but if I think a different thread or way of doing things will suit me better, that’s what I’ll do. And as I’d chosen to make it rather bigger than the original minuscule pincushion I’ll need different thicknesses of thread and wire anyway.
The first thing I did differently was the way of starting the Japanese threads for couching the leaf. I had cast a glance at the instructions before deciding not to use them, and it said to cut two 9″ lengths of Jap thread, couch them leaving an inch at the start, and then to plunge the two ends at the start and the two ends at the finish. Plunging means to take the ends to the back of the fabric and attach them there as a way of fastening off. The method employed in the magazine would mean four ends to plunge, and I dislike plunging – it’s necessary but cumbersome and involves fiddly stitching with a curved needle, and the more I can avoid it the better I like it. Why not cut a double-length piece of Jap and fold it in half, with as sharp a fold as possible, and attach the fold with a single stitch before couching the two halves together? To my delight this worked just fine, although I did have an uncomfortable moment when I realised that the 9″ length was calculated for the original pincushion size, not my double-sized version. Fortunately the magazine writer chose to err on the side of caution, and I found that my doubled-up 18″ piece was ample to do the entire leaf with.
The second bit I did differently was unintentional. I’d forgotten to transfer some of the little green leaves-inside-the-leaf, and the ones I did transfer had come out a bit on the small side. I’m really pleased with the way the Threadworx overdyed Vineyard silk stitched up in the satin stitch leaves, but there is too much empty space within the left side of the leaf, so I will probably add a few spangles there. And finally I chose to use two different sizes of pearl purl for the main stem and the leaf stem; partly because I haven’t got that much of the #2 (the thicker of the two) but plenty of the Super (the finer one). Unfortunately the Super is too thin to use throughout, so I may have to get some more #2 at the K&S Show…
Having got this far I find that the wrinkles do annoy me too much to ignore, so I’m going to try and stretch the dupion sideways and get it smoothed out just a bit more. And then it’s on with the flower!
Right. The most urgent deadline stuff is out of the way, with the next one not due until October (except for getting all the workshop kits ready, but I’m going to devote a large part of the coming weekend to that), and there is nothing that I absolutely Have To Stitch Now. This means that for my next project I can choose whatever I jolly well like – luxury!
At this point, my mind went blank and I had no idea whatsoever as to what I wanted to stitch. The only thing I did know was that I didn’t want to do anything that would need photographing or monitoring or tweaking or serious thinking. This ruled out any of my own designs. Well, I have quite a few designs by other people tucked away in my One Day folders, so I had a good rummage through those and found just the right thing. You may remember that earlier this year I saw a little goldwork pincushion on a magazine cover shown in Mary Corbet’s blog and fell completely and unreasoningly in love with it. I eventually managed to get the chart, but then used it not for goldwork, but for two crewel wool experiments: one with Renaissance Dyeing crewel wool and one with Pearsall’s Heathway merino wool.
So now is the time to actually get it done in goldwork. One of my favourite stages in any project is getting the materials together – I love playing with stash and have been known to put project boxes together for projects that subsequently didn’t get stitched. No problem, everything just gets put back into the storage boxes and I have the pleasure of doing another project box when I do get round to that design!
My usual project boxes, the ones with little compartments, don’t really work for goldwork; for one thing, the acid-free glassine envelopes that the various precious metals are kept in won’t fit unless I fold them over, and some of the reels of thread will only fit at an angle, taking up a compartment each. I resorted, therefore, to borrowing a small lunch box from one of the kitchen cupboards. Here it is with the tools and metals and threads – doesn’t it look inviting? And this picture was taken in a shady spot; the one I took in direct sunlight had so much sparkle and shine on it that it was unusable .
Of course it takes more than the threads and metals; we need fabric too. I decided on some cream satin dupion, stitching on the shiny side. I transferred the design with one of my fine drawing pens, but unexpectedly the line bled rather severely, leaving a much thicker line than I wanted although it may still work. To see if a different method would work better I did another transfer using an ordinary pencil, and this came out better. It did take a lot of going over the lines to make them visible enough, though, and the tip of the lead occasionally got caught in the fabric. I’ll have to see if there is a more effective method for dupion, and I also want to try transferring to the less shiny side, to see if that makes a difference. Another thing I would like to experiment with is to draw the design on the calico backing in black, to see if it will show through the dupion sufficiently to work from. In that case, if a transfer goes wrong, I’ve only wasted a bit of calico, not my pretty fabric.
So here is the whole caboodle, everything that is needed for the project, including both transfers. I’ll need to decide which one to use, then iron the calico and attach the dupion to it with herringbone stitch, and mount it on my Millennium frame. By the way, you may have noticed that there are two green threads, and that not all the goldwork materials are gold. The original design used a variegated silk by Pearsall’s which unfortunately has been discontinued – in fact, all their embroidery silks have been discontinued *sniffle*. There are two candidates to replace it: a Vineyard Silk Shimmer in a light greyish green with sparkle (which, incidentally, seems to have been discontinued as well) and a Treenway 8/2 reeled silk. I may use both as they are equally lovely.
The reason for the silver and copper purl getting in on the act is because I’d like to try some shading in the chipping used on the flower head. Yes, once again I just can’t seem to work the design as originally intended. Oh well. I’m also seriously considering using overstretched purl with a silk core for the stem, and I’ll probably attach the spangles using tiny petite beads instead of chunky purl chips. I’m sure it’ll still be recognisable. More or less.
One disadvantage of the goldwork project is that it isn’t exactly portable, even using the lap stand, so it’s not really suitable to take to the monthly craft group meeting at the local library tomorrow. Another project was obviously called for, and as I was going through my One Day folders this Christmas tree freebie by Kelly Fletcher cheekily suggested that it was Just The Ticket and that it was about time it got stitched. I’ll do this on Rowandean’s cotton fabric, which I got at last year’s Knitting & Stitching show. Interestingly, it has a plain side and a slightly fuzzy side; last time I used the plain side, so I’ve decided to go fuzzy this time. The threads are Caron Watercolours and Wildflowers. I may use different stitches for the baubles from the ones Kelly Fletcher suggests, and definitely will do on the bucket/basket in which the tree sits. Let imagination roam free!
It makes sense, doesn’t it? You order one small thing that you need for a project, and pay the standard postage. And then you realise that the same standard postage would apply if you added a few other things. Which you’d be getting practically for free. Well, postage-free anyway.
True, unsympathetic persons will probably point out that the only thing it really means is that you are spending more than you originally planned; but anyone who has the sort of hobby for which you buy materials in smallish amounts will recognise the argument, especially when “buying only the one thing you need” turns out to mean paying twice or three times in postage what the item itself costs.
So how does this sound principle lead to adding more bling to your SAL? Well, you may remember that one of the items on the SAL materials list is metallic kid leather. It is optional (I realise not everyone wants to get into goldwork), but if you decide that you’ll give it a go and you don’t already have metallic kid in your stash you will have to buy some. And unless you are lucky enough to have an uncommonly well-stocked local needlework shop, that means buying online, and paying postage.
Golden Hinde sells sensible-sized bits of metallic kid for 70p. Which sounds very affordable indeed until you find out that their minimum postage is £2.60. So what are the options? Well, one option is to buy one small piece of kid and pay £3.30. Another is to go for one of their larger pieces (9 times as big but only about 7 times the price) and still pay £2.60 postage. Or you could think of it as your golden opportunity to collect some serious bling and experiment with it in the SAL.
Without increasing the postage you can go for the larger piece of kid leather, and add 1 gram of 3mm gold spangles (about 70, more than enough for the SAL) or 4mm silver spangles (about 40, still enough) as well as 18″ of a purl of your choice. Purls (except for pearl purl, which I love and which has a brilliant name but wouldn’t work in these projects) are thin, flexible tubes of wound gold/silver/copper wire, shiny or matt, circular or angular, which you can cut into “chips” (short lengths) and use as you would seed beads or bugle beads. For the SAL, a size 6 would probably work best.
The aforementioned unsympathetic person would no doubt point out that including the unchanged postage your shopping basket now stands at £14.40 instead of £3.30 – and he’d be absolutely right. So if you’re fairly certain goldwork isn’t your cup of tea, this would be the moment to close the Golden Hinde website and stick to beads, sequins and a scrap of gold or silver lamé, a 22mm round sequin or even some shiny card instead.
But if your budget can stand it and you’d like a not-too-daunting introduction to using some of the standard goldwork materials, think about it. Because, well, don’t they look pretty?


text:
Cruz Rock (The name as it would appear in a gazetteer)
Cruz Rock (The name as it would appear on a map)
If this information is incorrect, please e-mail firstname.lastname@example.org
Feature type: Rock
This name originates from United Kingdom. It is part of the Gazetteer of the British Antarctic Territory and the SCAR Composite Gazetteer of Antarctica.
Names that other countries have for this feature:
Large rock N of Canales Island, off Ferrar Point, Discovery Bay, Greenwich Island, South Shetland Islands, called Islote Cruz by CAE 1947, after a member of the hydrographic survey party. (Chile DNH chart 500, 1951.)
No images of this place could be found.

domain: geography


text:
What types of nipple discharge are associated with benign etiologies?
The typical benign discharge may be greenish, brownish, or milky in color. Bilaterality and discharge arising from multiple ductal orifices are also benign characteristics.
In a patient with a suspicious type of nipple discharge, what is the likelihood that the discharge is due to cancer?
The likelihood is about 10%.

domain: medical


Embedded server option allows digitizers to run remotely
The acquisition and analysis of electronic signals in remote locations has become easy thanks to the release of a new option for Spectrum’s Ethernet based digitizer products. The Embedded Server option can be ordered with any of the companies digitizerNETBOX series of LXI instruments. It effectively turns them into PC-based data acquisition units that can operate independently or, when connected to a LAN, as parts of a larger system.
The digitizerNETBOX family, with more than 30 different models, offers the widest choice of LXI based data acquisition capabilities. Units are available with sampling rates from 200 KS/s up to 5 GS/s, resolutions of 8, 14 and 16 bit, bandwidths up to 1.5 GHz and from 2 to 16 fully synchronous channels. The units are normally controlled via Ethernet, however, installing the Embedded Server option allows fully independent operation. The Embedded Server option combines a powerful CPU, a freely accessible SSD, more memory and a remote software development access method using standard Linux remote shell. This enables an open platform where you can run your own software while at the same time you can still be connected via LAN for remote access. For example, with the option installed you could run a programme to acquire and analyse electronic signals in a fully automated process. Then, whenever you desire, you can choose to transfer just the information (waveform data or calculated results) that you need in a client-server based software process.
This capability makes the digitizerNETBOX ideal for data logging and surveillance applications where you need to monitor signals over long periods of time. The units can work autonomously collecting and analysing data for hours or even days on end. The results can be stored on the internal SSD and then, whenever needed, the important information can be accessed via Ethernet. The digitizerNETBOX can even be setup to send notification emails or alerts over the LAN, or offload stored data as soon as it’s connected again to the network.
Founded in 1989 Spectrum is a pioneer in the design and manufacture of PC based test and measurement instrumentation that is used for electronic signal capture, generation and analysis. The company specialises in high-speed digitizer and generator technology and has available over 450 modular products in the most popular industry standards; PCIe, LXI and PXI. The company is headquartered in Grosshansdorf, Germany and sells its products worldwide via an extensive sales network offering outstanding support directly from the design engineers. Please contact: email@example.com or visit our web site: www.spectrum-instrumentation.com.


text:
On 6 January 1999, the Revolutionary United Front rebel group
attacked the capital city of Sierra Leone. During the invasion,
around 40000–50000 people were killed and 500000 civilians fled
the country.1Countless children saw family members being
burned alive, dismembered by machetes or tortured. Both the
nature and magnitude of warfare stressors vary from conflict to
conflict, as do the psychosocial effects produced by these events.
Research from war-torn countries indicates that higher levels of
exposure to traumatic events among children are associated with
higher levels of post-traumatic stress disorder.2–8In response to
the conflict, Plan International collaborated with the Ministry of
Youth, Education and Sports, and the United Nations Education,
Scientific and Cultural Organization (UNESCO), to implement a
psychosocial pilot project aimed at normalising displaced
children’s lives and alleviating psychological distress by participating
in nonformal education, trauma healing and recreation activities.
The major objectives of the pilot project were: (1) to assess the psy-
chosocial status of displaced children enrolled in the Rapid-Ed inter-
vention; and (2) to determine whether the Rapid-Ed intervention
reduced trauma symptoms that interfere with learning.9
The pre-test psychosocial assessment was administered at Trade
Center and Grafton camps for internally displaced persons
between 12 October and 2 November 1999, approximately 9–12
months after the rebel invasion. The post-test survey was adminis-
tered between 5 December 1999 and 10 January 2000, 4–6 weeks
after participants completed the nonformal education, trauma
healing and recreational activities at both camps.
Enrollment in the camp schools was mandatory for all school-age
children registered at Grafton and Trade Center camps. The
sampling approach was based on three strata:
(a) camp site;
(b) gender – a balance of about 50% for both male and female;
(c) class level at the camp schools.
A total of 315 displaced children aged 8–17 years were
randomly selected from the handwritten school registration lists
provided by the Ministry of Education, using rolled dice. All the
participants were interviewed in their mother tongue, Creole,
for the pre- and post-test surveys. A total of 97% of the pre-test
sample was re-interviewed for the post-test 4–6 weeks after com-
pleting the intervention. Nine children returned to their village
after completing the pre-test, resulting in a 3% reduction in the
post-test sample (n=306).
A detailed written and verbal explanation of the purpose of the
assessment, confidentiality issues and the voluntary nature of the
survey was provided to the supervisors at both camps prior to
administering the interviews. Written authorisation to participate
in the assessments and the intervention was obtained by Plan
staff from camp supervisors in the presence of the children.
Verbal permission was also obtained from each child before
conducting the interviews. Six camp teachers participated in
training to learn how to implement the Trauma Healing Module
of the intervention.
All 315 children who participated in the surveys were interviewed
individually by four locally trained female research assistants at
their respective camps. The semi-structured pre-test questionnaire
written in Creole contained four parts. Part I included basic
demographic items; Part II included a list of 34 ‘exposure to
war events’ items; and Part III contained a 15-item revised version
of the Impact of Events Scale (IES) developed by Horowitz et al.10
This scale focuses on intrusive images, avoidance of reminders,
arousal symptoms and associated post-traumatic stress reactions.
Respondents were asked how often they experienced symptoms
over the past 2 weeks, and the symptom frequency was assessed
Psychosocial intervention for war-affected
children in Sierra Leone
Leila Gupta and Catherine Zimmer
There are no psychosocial interventions to address both
educational needs and psychological distress among
displaced children in post-conflict settings.
To assess the psychosocial status of displaced children
enrolled in the Rapid-Ed intervention; and to determine
whether the Rapid-Ed intervention alleviated traumatic stress
symptoms that interfere with learning among war-affected
children in Sierra Leone.
A randomly selected sample of 315 children aged 8–18 years
who were displaced by war were interviewed about their
war experiences and reactions to the violence before and
after participating in the 4-week Rapid-Ed intervention
combining basic education with trauma healing activities.
High levels of intrusion, arousal and avoidance symptoms
were reported at the pre-test interviews conducted
9–12 months after the war. Post-test findings showed
statistically significant decreases in intrusion and arousal
symptoms (P<0.0001), a slight increase in avoidance
reactions (P<0.0001) and greater optimism about the
The findings suggest potential for combining basic education
with trauma healing activities for children in post-conflict
settings, but confirmatory studies using a control group are
needed. Conducting research in post-conflict settings
presents unique challenges.
Declaration of interest
None. Funding detailed in Acknowledgements.
The British Journal of Psychiatry (2008)
192, 212–216. doi: 10.1192/bjp.bp.107.038182
on a 4-point scale (‘Never’, ‘Rarely’, ‘Sometimes’ or ‘Often’). Part
IV included eight pilot items about children’s world view and
future perspectives. The pre-test interviews lasted 50–75 min.
The post-test questionnaire contained three parts. Part I
repeated the demographic questions; Part II included an 8-item
subjective assessment of children’s feelings11before and after
participating in the trauma healing activities; and Part III con-
tained the revised IES described above. The post-test interviews
lasted 20–30 min. After completing the interviews, the children
received two pieces of candy as a token of appreciation for parti-
cipating in the project. The subjective assessment questionnaire
asked children about the type of activities they engaged in during
the 4-week intervention (i.e. drawing pictures, story-telling,
writing essays, singing, dancing, role-playing and sports) and their
feelings ‘before’ and ‘after’ participating in the activities. The re-
maining four subjective assessment items addressed the prevalence
and intensity of selected post-traumatic stress symptoms (e.g.
‘How is your concentration now after sharing your experiences
from the war?’). The responses included ‘Much better’, ‘Better’,
‘Same’, ‘Worse’ or ‘Much worse’. The latter four items, which were
pilot-tested in Sierra Leone, may need to be revised to avoid
potential response bias in future studies.
The contextual meaning of each item from the pre-and post-test
instruments was carefully reviewed by the six-member Sierra
Leonean translation team to ensure cultural appropriateness and
linguistic accuracy. The final English–Creole version of both
questionnaires was verified by translating the Creole version back
into English, using a masked approach to ensure reliability and
face validity. The overall individual item correspondence between
the English–Creole translation and the Creole–English version was
96% for both questionnaires. The final Creole version of the pre-test
questionnaire was piloted on 25 children aged 8–18 years using a
convenience sampling technique. Three revisions were made based
on the pilot findings prior to administering the pre-test.
The information contained in the Rapid-Ed literacy and numeracy
modules was reviewed by a leading educational research specialist
in consultation with the Ministry of Education and the Plan
International staff to ensure that the content accurately reflected
the Sierra Leonean cultural context. The information on general
stress theory contained in the locally produced Rapid-Ed module
was modified by L.G. to integrate current theoretical information
on the neurophysiological aspects of traumatic stress reactions,
and to include detailed lesson plans for implementing the trauma
healing and recreation activities. The revised Trauma Healing
Module was then integrated into the existing Rapid-Ed literacy
lesson plans prior to implementing the pilot project in Sierra
Leone.12Before administering the Trauma Healing Module, the
camp teachers participated in a 6-h training session on basic child
development, current traumatic stress theory, loss and grief
reactions, and how to implement the structured trauma healing
and recreation activities. A total of eight 60-min structured
trauma healing activities were implemented in the camp classes
twice per week during the 4-week intervention. These activities
focused on reducing the children’s levels of emotional distress and
post-traumatic stress reactions that often interfere with learning
such as difficulty concentrating, nightmares, flashbacks and hyper-
(a) providing a safe environment to share their war experiences;
(b) providing accurate information about the war to clarify
misunderstandings and correct magical thinking;
(c) normalising children’s reactions to reassure them that they are
(d) rekindling a sense of optimism/hope about their future by
linking some of their positive memories before the war with
their present life and future aspirations.
The structured trauma healing activities included the following:
(a) sharing their war-related stories in pairs or small groups;
(b) drawing pictures about one of their worst memories (online
(c) sharing their drawings in small groups;
(d) writing essays about their experiences;
(e) taking part in role-plays;
(f) singing or performing traditional dances;
(g) playing musical instruments.
The children also participated in various recreational activities
for 20 min per session 4 days per week. These unstructured
activities (i.e. jump rope, volleyball, athletics, football, ball
tossing) enabled the children to engage in enjoyable physical
activities that helped release tension while providing respite from
their bad memories and/or painful feelings.
After all the interviews were completed, the data were coded, double
ate and multivariate analyses. Correlational analyses were conducted
assess the differences between groups for the pre- and post-test
samples, which varied across analyses because of missing data.
The demographic characteristics of the 315 children interviewed
in the pre-test survey are presented in Table 1. One-third of the
camp children lived with one parent, 20% lived with both parents
and the remaining children lived with a relative or guardian. A
total of 75% of children had been living at the camps for 4–7
months when the pre-test interviews were conducted and the
mean age was 10.7 years. The post-test interviews were conducted
on 306 children (n= 97%).
Exposure to war violence
The total number of war experiences to which the respondents an-
swered ‘Yes’ were added up to achieve an overall summary score
(alpha=0.80). Data analyses revealed that participants (n=311)
were exposed to an average of 25 war-related exposures, with a
range between 8 and 34 experiences (online Table DS1). Overall,
the percentages shown in Table DS1 reflect high levels of violence
where the majority of children witnessed someone being injured/
killed by guns, saw dead bodies/body parts, and houses being
burned. Altogether, 80% of the children experienced a death in
their immediate family, and more than half of them witnessed
the killing of their parent(s), sibling(s) or relatives. No significant
differences were found between males and females in terms of
number of exposures to war experiences (t=0.64, P=0.5214). How-
ever, a very small difference was found to be significant between
the two camps (t=3.83, P=0.0002) with children at Grafton
(mean=25.7) being exposed to 2.3 more violent events than those
at Trade Center (mean=23.4). A similarly small significant differ-
ence in number of exposures (mean difference=2.2, F=7.30,
P=0.0008) was evident between children aged 8–10 years and
Psychosocial intervention for war-affected children
Gupta & Zimmer
11–13 years. Figure DS1 provides an example of a trauma healing
activity completed by a 13-year-old boy, whose drawing shows a
rebel amputating a man’s hand using a machete.
The IES pre-test data in Table 2 show that the majority of
participants experienced intrusive recollections and intense
arousal symptoms. A total of 95% reported that they thought
about the event sometimes or often when they did not want to,
and 71% experienced recurrent pictures in their minds about
the worst event. Most of the children also reported increased arou-
sal symptoms such as irritability, hypervigilence, sleep distur-
bances and difficulty concentrating at school. Bad dreams or
nightmares associated with the violence they witnessed were
reported by 72%, and 76% were worried that they might not live
to be an adult. In terms of avoidance symptoms, almost all the
children said they sometimes or often tried to avoid reminders of
the violence. The correlation analyses conducted on the exposure
to violence and psychological reactions data revealed a positive
dose–response relationship, whereby greater exposure to war events
produced higher total IES scores (r=0.54, P50.0001). The positive
dose–response effect observed in this study is consistent with other
research findings in children affected by war from the former
Yugoslavia, the Middle East, Rwanda, and Afghanistan.5–8,13–15
The IES post-test data (alpha=0.73), also shown in Table 2,
revealed a significant decline in reported occurrence of intrusion
(alpha=0.57) and arousal symptoms (alpha=0.61), and a slight
increase in avoidance symptoms (alpha=0.74) following the inter-
vention. One possible explanation for the reported increase in
post-test avoidance reactions may be that the structured drawing
and writing activities were more effective at reducing the levels
of intrusive images/recollections,
activities targeted the arousal symptoms. Additional explanations
for this finding are provided in the discussion section below.
The difference in the total intrusion mean sub-scale scores at
the pre-test (mean=13.0) and post-test (mean=10.2) interviews
was statistically significant (t=14.5, P50.0001); and the difference
whereas the recreational
in the total arousal mean sub-scale scores at the pre-test
(mean=17.0) and the post-test (mean=8.7) was also statistically
significant (t=29.3, P50.0001) (Table 3). For the avoidance sub-
scale scores, the pre-test mean was 12.5 and the post-test mean
was slightly higher (mean=14.5, t=–6.8, P50.0001). One of the
most striking changes between the pre- and post-test study findings
was a 63% reduction in the frequency of intrusive images reported
by the participants. The most notable reduction in the frequency of
arousal symptoms reported between the pre-test (80%) and post-
test (9.9%) occurred among the children who had difficulty concen-
trating at school. The mean total IES score at the post-test was sig-
nificantly lower than the mean total pre-test IES score (32.9 and 42.5
respectively; t= 18.82, P50 .0001). The mean total IES scores were
also significantly lower at the post-test for both boys and girls within
every age group, irrespective of the time spent in camp and their
living situation. Baseline exposure to violence was strongly posi-
tively correlated with the total IES at pre-test. However, there is
no significant relationship between the exposures from the pre-
test on the total IES as measured after the intervention (r=0.12,
P=0.0526). These findings suggest that participation in the trauma
healing and nonformal education intervention may have reduced
the levels of the children’s psychological distress associated with
their exposure to the violence they witnessed during the war.
Subjective assessment of trauma healing intervention
The data below reflect the children’s subjective responses to five
questions about their feelings 4–6 weeks after participating in
the intervention. All 306 children who completed the question-
naire had participated in story-telling, small group discussions,
singing, dancing and jump rope, and 98% of the sample drew pic-
tures, participated in role-play, and engaged in volleyball, football
and catch. Overall, 75% of the respondents from the upper class
levels (classes 5 and 6) completed the writing activities. The
majority of children who participated in the trauma healing activ-
ities said they felt much better (22.3%) or better (73.4%) after
sharing their bad memories of the war. A total of 95% reported
that their concentration problems at school were also better or much
better, and 96% said their bad dreams and/or nightmares dimin-
ished. More than half of the children said they felt relief while
participating in the structured activities and 36% experienced sad-
ness. About 5% of the children reported mixed feelings or fear
while participating in the trauma healing intervention.
The magnitude of violent events witnessed by the children in this
study, coupled with the elevated levels of emotional distress and
traumatic stress symptoms reported, is sobering. Given the
sudden, cruel and interpersonal nature of the violence inflicted
at close range during the rebel invasion in Sierra Leone, it is no
wonder that these survivors experienced intrusive images, bad
dreams, nightmares and intense arousal symptoms. Not sur-
prisingly, the levels of exposure to violence as well as the intrusive
recollections, bodily arousal and avoidance reactions observed in
this sample are consistent with the findings from other studies
conducted in war-affected countries.7,8,14–17The data from this
pilot study integrating trauma healing activities with basic edu-
cation indicate that providing an opportunity for children
affected by war to share their bad memories/painful feelings in a
safe setting may significantly reduce the prevalence of intrusion
and arousal symptoms that interfere with learning, while restoring
a sense of optimism about the future. Overall, 96% reported a sig-
nificant reduction in concentration problems, sleep disturbances,
bad dreams and intrusive images after participating in the trauma
healing and recreation activities.
have been displaced by war in Sierra Leone (n=315)
Demographic characteristics of children who
Class at school
Mother or father
Duration spent in camp, months
Psychosocial intervention for war-affected children
However, the modest increase observed in the post-test avoid-
ance scores must be examined. Perhaps this finding may be par-
tially due to the unique nature of acute post-conflict situations,
since previous studies on the Rwandan genocide8as well as the
Taliban takeover in Kabul, Afghanistan,15reported similarly elev-
ated cognitive and behavioural avoidance reactions among chil-
dren. One might postulate that increased avoidance reactions
may serve as adaptive defense mechanisms in the short term,
which enable survivors to cope with the daily post-conflict realities
without being overwhelmed. However, prolonged denial and
avoidance of traumatic memories is considered maladaptive and
can result in future development of post-traumatic stress disorder.
Although these findings appear promising, it is important to note
the following limitations. The results of this pilot study would be
more conclusive if the researchers had included a matched control
group of children who did not receive the intervention. However,
given the horrific nature of the atrocities committed during the re-
bel invasion, it seemed unethical to deny a certain group of survi-
vors an opportunity to potentially alleviate some of their distress
by participating in the intervention. Future researchers may
choose to withhold the structured trauma healing activities from
a group of similarly exposed children; or alternatively, a staggered
approach could be used where one group of children receives the
structured trauma healing activities, while another group receives
the recreation activities, and a third group receives the nonformal
education only. A phased approach would enable researchers to
determine the relative contribution of each module, and to iden-
tify the most effective component in the Rapid-Ed intervention.
Conducting rigorous research and evidence-based interven-
tions in the aftermath of conflict poses several unique challenges.
First, there are always security risks to staff members due to the
participants occurred within the past 2 weeks for each item. Post-test responses (n=306)
Pre-test–post-test psychological reactions using the revised Impact of Events Scale (n=315). Responses reported by
Item Never Rarely SometimesOften
Do you think about the worst event when you don’t want to?
Do you try to remove the worst event from your mind?
Do you worry that you may not live to be an adult?
Do you have difficulty concentrating at school?
Do you have strong feelings about the worst event?
Do you startle more easily because of loud noises?
Do you avoid things that remind you of the worst event?
Do you try not to talk about the worst event?
Do pictures of the worst event suddenly come into your mind?
Do other things make you think about the worst event?
Do you feel upset in your body when reminded of the worst event?
Do you try not to think about the worst event?
Do you have difficulty falling/staying asleep at night?
Do you get irritable easily?
Do you try to stay alert to avoid bad things?

domain: psychology


text:
What is a Wildflower?
By expert estimates, there are over 20,000 species of flowering plants in North America, belonging to about 300 different families. Those that grow in the wild or on their own, without cultivation, are called wildflowers. Wildflowers indigenous to the continent are called “natives”. Others, which may be quite common, but not indigenous, have been introduced from some other part of the world and are referred to as “naturalized.” Both types share one common distinction: They are equipped to grow on their own in nature.

domain: biology


Flowserve Headquarters Address, Email ID, and Phone Number are replaced here. The Flowserve Corporation is a multinational corporation of industrial and environmental machinery in USA. Being a largest supplier, it supplies end face mechanical seals, gas, valves, services to the power, automation, chemical, pumps and so on. If you would like to purchase the products of Flowerve in United States, then they are available at lower rates.
The contact details of Flowserve includes Media Relations Phone Number, Office Locations, Customer Service Contact Number, Transfer Agent Contact Details, Fax Number, Contact Information and More.
Flowserve Headquarters Office Address and Contact Details
If you are searching for the Headquarters Office Address, then here we have the same. The noting down address is 5215 N. O’Connor Blvd., Ste 2300, Irving, TX 75039 USA. The contact number is +1 (972) 443-6500. The fax number is +1 (972) 443-6800.
Investor Relations and Media Relations Contact Information
If you are looking forward to be an investor at Flowserve and wanted get the details from investor relation, then here we have the contact details of investor relation. You can write an email to investor relation at this email address. The email address is MMullin@flowserve.com.
The journalists who wants to get the latest news about the company, then they can contact to media relations at this email address. The email address is email@example.com.
Transfer Agent Contact Details
To get the information about the stock, its purchase, stock transfer and change of the address, you can come across in the contact with transfer agent. The address is EQ Shareowner Services, P.O. Box 64854, South St. Paul, MN 55164-0854. You can also talk directly with transfer agent using this contact number. The number is (800) 468-9716. For more details, please visit this website https://www.shareowneronline.com/.
Official Site and Email Address
To get the latest updates about the product and the company, then you can visit this website https://www.flowserve.com/.
We will update the email address as soon as we will find it.
Also Read: Worldpay Headquarters Address
Social Media Accounts
Article first published on September 30, 2020.


text:
All that glitters is gold: Salma Rashid shows off her new gold iPhone!
The gold iPhone with Salma's name engraved on the back. (Image: Gololy)
Former Arab Idol contestant Salma Rashid is taking a leaf out of Ahlam's expensive book!
The pretty starlet posted a picture of her latest "purchase": An all-gold iPhone with her name engraved on the back, exactly like the one the Emirati singer was pictured using in a photo with Arab Idol judge Wael Kfoury.
However, don't judge the young singer too quickly; she actually received the phone from one of her biggest fans - bet he put a simcard in there too so he could call her whenever he pleases!
- Keeping up with the divas: Jenny Asper joins the gold iPhone club
- All that glitters is not gold
- More technology, less fashion: Why fashionistas haven't exactly fallen for Apple's smartwatch
- Would Gigi Hadid's Palestinian family mind her PDA with bf Cody Simpson at the Oscars?
- Toys “R” Us reveals annual Holiday Hot Toy list

domain: celebrity


Monocoque vs. Semimonocoque Fuselage
There are two main approaches to the construction of the outer shell of an aircraft fuselage: monocoque and semimonocoque. Monocoque systems were employed in early aviation, starting in 1918, but semimonocoque methods are the most widely seen approach in modern aviation. The main differences between the two approaches is in their designated support structures.
Monocoque is a French term that means “single shell”. Similar to the concept of the surface of an aluminum can, the fuselage is wrapped in a layer of stressed aluminum alloy. The monocoque system does not have a second support structure behind its outer layer, so it is completely dependent on the construction of the outer layer to distribute stress and load. To add strength to the skin of the fuselage, it is sometimes fortified with stiffeners. This approach becomes very strong, as twisting and bending stresses can be distributed through the external skin. However, this method is not tolerant to any type of surface corrosion or deformation. When stiffeners are added, it increases the weight of the monocoque. As such, monocoque approaches have been widely phased out in favor of semimonocoque structures. Automobiles still use the monocoque approach, and some smaller aircraft, such as helicopters. This is because a one-layer system allows for more space in the interior of an aircraft.
Semimonocoque methods utilize part of monocoque technology, as the name suggests, but add a partial “inner skeleton”. It is essentially a dual layered construction. A semimonocoque fuselage uses a substructure that consists of bulkheads and formers which reinforce an outer skin layer. The second layer of support reinforces the outermost layer by assuming part of the applied load, therefore stress is evenly distributed across the fuselage. Due to the extra layer of support, the fuselage shape is able to stay intact, and has better longevity than a monocoque approach.


text:
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Delicious on its own or use as a dairy milk substitute
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Sojade fresh specialities are made with premium quality soya drink using the finest ingredients only.
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This organic sunflower spread is trans-fats and dairy free and suitable for vegans.
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© 2021 Marshford Organic Foods. All Rights Reserved
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domain: food


Take a look at how Ed is building a full-stack Blazor web application using the most fully featured native component suite available—Telerik UI for Blazor! In this demonstration, you’ll learn how powerful the combination of Telerik UI for Blazor and the Blazor framework are as we tackle complex scenarios and heavy workloads with ease.
We’ll explore best practices for architecting a real-world application and how to implement common features including:
Microsoft Blazor allows developers to create rich web applications. It can run entirely on the server as well as directly in the frontend via a complete .NET virtual machine on top of WebAssembly. Telerik UI for Blazor is the most extensive suite of UI components and tools for Blazor. It helps developers focus on their application and not on reinventing the wheel by providing off-the-shelf widgets for many common scenarios.


text:
I love the Miss Fortune series by Jana Deleon. Seriously. Love, love, love it. I’ve recommended it to so many people. A few weeks ago, I got a notice from amazon that the latest book has come out. I quickly got tired of waiting for my library to purchase a copy, so I picked up Trouble in Mudbug, the first in the Ghost-in-Law series by Jana Deleon, in hopes that it would tide me over.
Botanist Maryse Robicheaux spends her days in the bayou hunting down plants and trying to avoid other humans. She lost her parents at a young age, which made her an oddity and a subject of pity in the small town of Mudbug. Then she made the mistake of marrying rich, bad boy Hank Henry. The marriage ended quickly, with Hank running off before Maryse could divorce him, leaving her stuck with his debts and his awful mother Helena. When Helena drops dead, Maryse thinks one of her problems is solved, until Helena’s ghost appears and tells Maryse she has to help her find the murderer. Then sexy zoologist Luc Lejeune shows up at her office saying the state has assigned him to her station. Just when Maryse thinks things can’t get any worse, someone tries to murder her. Maryse, Helena, and friends have to find the killer before the killer finds Maryse.
I thought this book would be perfect for me but I actually forgot I read this. The premise was good, I liked some of the characters, I loved the wackiness. I think the problem was that I found Maryse tiresome. Maybe she gets better in later books but I’m in no hurry to find out. And Luc was a cardboard cutout of a romance hero.
Overall, this was a swing and a miss for me.

domain: library


text:
A native of Floyds Knobs, Indiana, Madeline studied ballet at Southern Indiana School for the Arts and was later introduced to modern dance by Bill Evans. While completing her BFA in Dance Performance and Choreography at Ohio University's Honors Tutorial College, she was cast in a historical reconstruction of Alwin Nikolais' Noumenon celebrating the 100th anniversary of his birth. As an avid dance videographer and editor, she has worked on video projects for Bates Dance Festival and the Regina Klenjoski Dance Company in Southern California. She later served as a marketing and education manager for Lar Lubovitch Dance Company and is a former assistant editor—research for DanceMedia's various publications. She is currently the managing editor of Dance Magazine and Pointe.
The 2017–18 Broadway season is just getting underway! But before we look ahead to new productions, let's recall what came before. Here are a few of the sparkliest shows that opened on the Great White Way in previous Augusts.
42nd Street (1980)
The cast of the 2001 revival of 42nd Street performing at the Tony Awards
If you need an example of traditional Broadway-style tap, this couldn't be any closer. The original production of 42nd Street ran for over eight years. That's a lot of time steps.
This July marks Dance Magazine's 90th anniversary, and the milestone gave us the perfect excuse to do one of our favorite things: dive into our extensive archives of more than 1,000 covers.
We couldn't resist sharing just a few of the iconic and quirky images through the decades.
Broadway's Bandstand is chock-full of 1940s glamour. The show—which recently snagged a Tony for best choreography for Andy Blankenbuehler's swing-infused moves and depictions of soldiers post-WWII—has no shortage of charming women's fashions from the era.
But how do you transport a cast back in time 70-plus years to create an accurate look? We went backstage with Jessica Lea Patty, who's in the ensemble and understudies Julia, to see how she transforms into one of her characters, Flora.
As the face of brands like Dr. Pepper and Under Armour, Misty Copeland has shown the world what dancers already knew: Ballet is supremely athletic. And if anyone can bring more awareness to the art form's diversity problem, it's her. She's the ballerina of our generation.
When a dance company is in trouble, Michael M. Kaiser is the man to call. He's helped wipe out deficits at Alvin Ailey American Dance Theater, American Ballet Theatre and the Royal Opera House, and now consults for organizations worldwide as chairman of the DeVos Institute of Arts Management. At a time when arts funding is threatened, Kaiser isn't afraid to make tough calls to ensure future success.
Got a problem? The Actors Fund can likely help. Many of the services it provides online or through its offices in New York City, Chicago and Los Angeles are completely free:
• health insurance counseling
• primary and specialty medical care and referrals through the new Friedman Health Center for the Performing Arts in Times Square
• guidance overcoming injuries through The Dancers' Resource
• career counseling and scholarships through Career Transition For Dancers
• financial education, plus assistance for artists in crisis
• affordable housing options, including residences operated by The Actors Fund
We're not ashamed to admit it: The Dance Magazine staff is a big bunch of dance history nerds. But we also know that, sometimes, learning about our art form's past via textbook can feel stale. That's why we completely lost it (in a good way) when Seet Dance, a contemporary school in Sydney, Australia, contacted us about their special take on dance history. As part of their curriculum, they recreate scenes from famous modern and contemporary works with Legos.
Yes. You read that right. With Legos! Who doesn't love Legos?
And the level of detail—from the figures' positions to their costumes and the accompanying sets—shows a keen understanding of these iconic moments.
Browse through some of Seet Dance's set-ups below, and put your own dance history knowledge to the test. How many do you recognize? Scroll to the bottom for the choreographer and name of each work, and links to clips of these memorable performances.
All photos Courtesy Seet Dance

domain: artistic


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New York artist Mina Karimi sent us this cool sounding request for participants:
On September 6th, I am staging a large performance art piece that requires 6-8 hundred people recreating the parade scene from Ferris Bueller at the Deitch Art Parade in Soho. I am recruiting secret agents in the audience of the parade to mimic the extras in the movie as my Ferris float approaches. In order to fully reproduce the spirit of the scene I will need at least 100 agents on each block of the parade to get the Ferris joy-ball rolling.
This is what I want to happen:
If this looks like a nice Saturday afternoon activity for you, please email me at email@example.com for further details and instructions.
Subject line: “Ready and Willing” if you are ready and willing. “?” if you have questions. “!” if you have a comment.
(I will only be opening the “?”s and the “!”s)
Hoping to hear from you,
26 thoughts on “Upcoming: Ferris Bueller Parade (NYC)”
That’s an awesome project, but I’m a little sad that they’re doing it in New York and not Chicago
this is an amazing task and i am down for whatever anyone needs! will be willing to help with anything!
This is just stupid. “Performance Art Piece” my ass. you’re just copying a scene from an 80’s movie. While you’re at it, maybe you can do a “Thriller” re-enactment with Filipino prison inmates. Oh wait, that’s been done.
Plus you need a parade permit for something this large.
Plus that scene probably took hours to film in real life, even though they only used a few minutes.
Are you going to re-enact the jump-cuts as well?
But what I really want to know is how much coke were you on when you thought of this, and who’s your dealer?
As the parade scene in Ferris Bueller’s Day Off was Chicago’s Steuben Day Parade, you aren’t actually re-creating it if you’re doing it during an art parade in New York. But, as the Steuben Day parade does actually take place in September, and Ferris Bueller is set in the spring, the movie already took artistic license and all of this “authentic recreating” stuff is moot. Enjoy your “psuedo-re-creation” it sounds like fun.
Wow, that sounds like good fun…and jeesh…what a bunch of fun vacuums comment on this blog.
That sounds cool, but its not art. Come on.
Hey, yeah, the movie was set in Chi-town. What gives?
Is there a reason you guys are behaving like a-holes and raining on this person’s parade, so to speak? Jesus Christ, she wants to recreate (or “pseudo recreate”, if you really want to get a bug up your ass about it — whatever) something that sounds like a lot of fun from a movie that a lot of people enjoyed. Whether or not it imitates Thriller, the Steuben Day parade or the original FBDO movie itself is not the point. Who cares? “Art” is subjective. If you don’t like it, don’t come. If you’re pissed it’s in NYC and not Chicago, do one yourselves in Chicago. But get over yourselves and your negative, killjoy attitudes.
rock on just me
I think it’s a very awesome idea! It’s one of my very favorite scenes in the movie. But I am sad that it’s being done in NYC as well considering I’m from Chicago and my high school band was the marching band in the movie. But I still like the idea. 🙂
Think you’ve got a great idea. I’ve always dreamed of something like this happening….
why don’t you get yourself a float, join some random parade, plant 250 dancers among the spectators and time the song to play just as you pass them? Plant another 5 among the real spectators and get everyone to dance. It doesn’t exactly have to be soho. The spirit of Ferris Bueller is to just live and let live, that’s what this moment is about.
Get every last one to dance. Get them all to dance. Just don’t segregate like the film.
Lighten up.this looks like fun.And since when did art become so freaken serious.If you cant dance and laugh You might as well be dead!
Sounds fun, next time you could do a “Blues Brothers” dance routine in the street re-production.
Dietch Art Parade is a blast. I’ve been in it 3 years running. You’ve got a fun and simple idea. Rock it out. I’ll be there with Algorithm Nation. Can’t wait to see how it turns out
Comments are closed.

domain: entertainment


South Sudan Vice President Riek Machar and his wife Minister of Defense Angelina Teny have contracted coronavirus, his office confirmed in a statement on Monday, May 18, reported Reuters.
In a statement posted on Facebook, the vice president’s office confirmed that a number of his office staff and bodyguards had also tested positive for Covid-19.
Machar “has issued a public statement declaring that he is found positive, and from today will self-quarantine in his residence for the next 14 days,” the statement said.
The results were confirmed after Machar and his wife were tested by members of the high level task force on Wednesday, May 13.
In a televised video, Machar said that he would keep himself in self-isolation for 14 days in his residence. The taskforce to fight the coronavirus was headed by Machar until last May 15 when President Salva Kiir dissolved it.
“I want to declare that, I, the deputy chair of the high-level task force has been tested [For COVID-19] and found positive,” Machar announced in a televised address to the nation. “There are other members who are also tested and found positive. I can only say at this stage that Madam Angelina Teny, the minister of defense and veteran affairs is also found positive.”
Angelina Teny she was encouraged to take the tests after two people in her ministry died after contracting the virus. She anticipated a positive test result after losing her sense of smell, one of the symptoms linked to coronavirus, about 8 days ago.
Teny said she will self-quarantine for 14 days and plans to execute her responsibilities as Minister of Defense from home during that time.
South Sudan has so far recorded 347 cases of COVID-19 and six deaths, according to the latest figures released by the health ministry on Monday. While the number of confirmed coronavirus cases in the country is relatively low, it is alarming to find out that only 3,908 tests have been conducted.


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“The P185 is our flagship machine, with its size representing the largest share of the portable air compressor market,” says Todd Howe, Doosan’s product marketing manager. “We kept the machine the same size as before but worked on a lot of internals.”
The updated P185 has both a Doosan engine and airend. Powered by Doosan Tier 4 D24 engine and Doosan DSN100 airend, the model delivers 185 cfm of air at a rated operating pressure of 100 psi. The unit runs 12 hours at 100 percent load, two hours longer than both the previous P185 model and its nearest competitor, says Doosan. The longer runtime is achieved through using a 34.5-gallon fuel tank.
By using its own components, Doosan says it can create consistency across models, including the redesigned C185 (see details below) and the new P250/HP210 models. These models now have service points in the same locations, simplifying maintenance.
The model has new curbside discharge valves and safer clean-out ports than its predecessor. All filters are readily accessible and clearly marked and the separated oil tank has a new fill and sight gauge. An LED backlit control display allows gauges to be read in almost any working condition.
Doosan says the P185 has the longest, deepest toolbox in the industry. The galvanneal-steel enclosure is designed to withstand jobsite conditions.
With a runtime of 12.6 hours at 100 percent load, the updated C185 air compressor is designed for rental operations, says Howe. The longer runtime was achieved by adding a 65 percent larger fuel tank, a move that the company says it made without sacrificing the compact size of the unit.
Powered by a Tier 4 Final Doosan D18 engine, the model also has a Doosan DSN100 airend, delivering 185 cfm at a rated operating pressure of 100 psi.
The C185’s new composite canopy resists the jobsite abuses and allows easy service access. A removable end cap makes cooler cleaning easier and safer, with no need to expose internal components.

domain: design


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Winton has arrived at Bloomhill Insurance! We were lucky enough to be the successful bidder on Winton! Destination Basingstoke hosted an event back on the 21st October in Festival Place to raise money for charity.
Whilst we didn’t win “Tommy” we secured Winton, who we are delighted with and he has now arrived at his forever home…Bloomhill Insurance!
The Basingstoke Gazette had reported that the event raised over £15,000 which was an incredible amount to raise for such a good cause.
Here are some words from the artist herself – Amy Goodman.
“Amy Goodman, once a student at BCOT, is the Artist in Residence at the University of Winchester, and an award winning sculptor. Some of her Public works include the ‘Romsey War Horse & Trooper’, and the recently unveiled ‘Arborfield Horses’. Also this year memorials to first Gurkha V.C, Kulbir Thapa rescuing a British Tommy in 1915; and the iconic nurse, Florence Nightingale have been unveiled in Aldershot.
‘Winton’ is a Winchester based hog, named after the famous alumni society of the University of Winchester.
Amy wanted to follow the band markings of a Hampshire Hog in her design, incorporating coloured countryside elements in the white areas, retaining the black areas of this distinctive pig, allowing striking contrasting details to come through in white. One of the monochrome details is one of the archways alongside Winchester Cathedral into Cathedral close. She decided to include two views of st Catherine’s hill. including the ancient mizmaze. As a nod to the previous trail ‘Sitting With Jane’, and her links to Winchester Amy painted a portrait of Jane Austen. She has included some of Winchester University’s students, King Arthur’s round table, and King Alfred’s statue from an interesting angle.
It’s lovely that the Basingstoke based company: ‘Bloomhills Insurance’ has decided to give Winton an appreciative home, and even better that all the proceeds from Winton’s sale at the Charity Auction organised by Destination Basingstoke went to the fantastic ‘Nowzad’ charity helping the vulnerable and neglected animals of Afghanistan”
For anyone that wishes to visit more of Amy’s work then take a trip to her studio at Project Workshops, near Andover. Details are below.
Project Workshops Xmas Open Studios
The Project Workshops residents are gearing up for another Open Studios Weekend on 20th
and 21st November. An ideal opportunity to purchase beautiful gifts in time for Christmas.
Artists and makers include Sally Newton, a recent addition to the creative community here. She has been very busy making stunning and varied work as part of her Residency at the local Cholderton Estate. View her elegant ink renderings, and mono prints, paintings, and etchings. She really has explored a wide range of media, and delicately and distinctively portrays the ever-evolving cycles of life, taking place on the farm.
Another relatively recent member of Project Workshops is textile artist Katy Rundle. Her love of wildlife is so originally and gorgeously represented through colour and texture with her distinctive fabric renderings. Her workshop is a feast for the senses.
Matt Duke, an experienced member of the Talos Art Foundry, and talented sculptor, won the best sculpture of the year award at the Cotswold Sculpture Park with his elegant Owl, ‘Spirit’. He will have many of his beautiful bronzes on show.
Soraya French, a world-renowned painter is starting to run her popular workshops again and has recently had another beautifully illustrated book published: ‘Contemporary Flowers in Mixed Media’.
Award winning sculptor, Amy Goodman has had three Public works unveiled this year. The Arborfield Horses near Reading; the poignant Gurkha Memorial highlighting the special relationship between the Gurkhas and British for over 200 years. It depicts first Gurkha Victoria Cross recipient, Kulbir Thapa rescuing a British Tommy in 1915. Also, an elegant bust of the Iconic Florence Nightingale, the pioneer of modern nursing. Ever more poignant it seems after these difficult times we have been living through thanks to Covid 19. A great thanks must go out to so many health care professionals. She will have a range of art on display as well as fast selling little ‘Noah’ the donkey, and a 17hh stainless steel horse nearing completion.
Glassblowers Mark Taylor and David Hill will have their workshop open, displaying their exquisite hand-blown reproductions of glass from the Roman period to the 18th century. Reginald Thompson will also have some of his glassware and jewellery on show. Search for his lovely little workshop across the Courtyard garden next to Jeremy Smith, whose stunningly crafted furniture, ornate boxes, kitchen, and charcuterie boards will tempt you, and make ideal gifts. He will be running a range of woodworking courses, starting early in the New Year, aimed at both beginners and those with more experience. You will be able to reserve a place on one of these courses.
Elaine Peto will have a wonderful array of her splendid and characterful ceramic animal sculptures. She has recently added Pelicans to her extensive repertoire.
Also, the evocative and beautiful works of Hannah Willow will be on display. Of note her very latest Diary, enhanced by beautifully written text by her partner in work and life, Phil Tree. Her gorgeous illustrations feature throughout. This year focuses on trees, our ancient guardians.
Not forgetting the Talos Art Foundry which will have its doors open ready for you to view the exciting and ancient processes of lost wax bronze casting. The Talos Art Gallery will also set up a magnificent display of bronze sculptures in the foundry’s main atrium.
Exhibiting Artists & Makers: Matt Duke, Soraya French, Amy Goodman, Sally Newton, Elaine Peto, Katy Rundle, Jeremy Smith, Talos Art Foundry, Hannah Willow & Phil Tree, Mark Taylor & David Hill, Reginald Thompson
Xmas Open Studios. 10am-4pm. Sat 20th & Sunday 21st November:
Project Workshops, Lains Farm, Quarley. Nr Andover. Hampshire. SP11 8PX


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Did you mean?Try your search again
Nice restaurant tucked away in Clontarf.
It's downstairs from the Parlour Bar.
Went for lunch - get there at about 12:30 before it starts to get too busy.
Favorite Dish: The Duck bento box was great - especially with boiled rice and vegetable spring rolls.
Fresh food and great tatse.
Written May 9, 2006
Address: Hollybrook Avenue, Clontarf
Phone: 01-833 7926
Fish & Chips as it should be: fresh cod and crispy chips with salt and vinegar. Mmmmm!!
They have a choice of other fresh seafood as well. Both to eat in (limited seats) and take out.
Favorite Dish: Well - duh! Fish & Chips of course...
Updated Nov 7, 2003
Address: Vernon Avenue
A nice bright bar full of young people at the weekend. This is the place I had my first pint of alcohol on Irish soil and guess what it was............................ no it wasn`t Guinness it was Smithwicks Bitter.
Dress Code: Smart clothes,it looked like a trendy place.
Updated Jun 27, 2004
Getting to Clontarf:
Bus 130 to Castle Avenue departs from Lower Abbey Street regularly and reaches Clontarf in about 10 mins (traffic permitting, of course).
This service is operated by either the regular green Dublin Bus (double decker) or the brightly yellow CityImp bus and the bus fare is EUR1.40 to Clontarf village.
Getting around in Clontarf:
Definitely on foot or else by bike. Using the bus is not an option as buses only serve the main roads.
Updated May 10, 2003
Maybe not a real tourist trap, but I was fooled anyway... I thought Clontarf Castle would be a nice castle that you could visit to learn a bit about Clontarf's history. Yes, it is (was) a castle, but nowadays it houses a fancy hotel. The only tour you would get (if at all), is the one from the reception desk to your room...
Updated Feb 14, 2003
Favorite thing: Clontarf is located near Dublin Bay. There are a long cycling track and a footpath parallel to Clontarf Road. On a sunny day (or should I say 'on a dry day'), cycle or better still, take a brisk walk along the shore. Inhale the smell of the sea, look out over the bay, watch the sailboats, see the ferries arriving at and leaving from the harbour. It makes you forget the hustle and bustle of Dublin's city centre. At the end of the promenade, you reach the North Bull Wall and pier, leading to North Bull Island. Continue your walk on the beach!
Fondest memory: * Walking or cycling along the seashore (as described above) and on North Bull Island beach
* Walking around in St. Anne's Park
Updated Nov 20, 2004

domain: travel


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Sigalas Winery was founded in 1991 and it is located on the plains of Oia, the most picturesque village of Santorini. In fact, the winery is located in the region of Baxedes, famous for its vineyards. Along time, Sigalas Estate gained a reputation for producing superior quality wines and has won several prestigious awards in both, national and international wine competitions. Sigalas Winery have constantly featured and won awards in the Thessalonica International Wine Competition, a prominent event attracting superior wines from all over the world and judged by highly qualified Greek and foreign enologists.
Sigalas Winery is open to visitors from April to October, all through the week, and a guided tour is offered. Guests get to see and learn about the various processes involved from harvest to bottle and the tour culminates with wine tasting. The wine-tasting room, located in the middle of the vineyard, is a charming place and can receive up to 50 guests. Weddings and other parties can be hosted there. Visitors who arrive at the winery in the evenings can see the breathtaking sunset from the patio at Sigalas with the finest of Santorinian wines.


Justice department to accuse FBI of invoking crises to obtain details of more than 2,000 calls, Washington Post reports
by Chris McGreal in Washington
19 January 2010
The US justice department is preparing a report which concludes that the FBI repeatedly broke the law by invoking terrorism emergencies that did not exist to obtain more than 2,000 telephone call records over four years from 2002, including those of journalists on US newspapers, according to emails obtained by the Washington Post.
The bureau also issued authorisations for the seizure of records after the fact, in order to justify unwarranted seizures.
The Washington Post said the emails show how counter-terrorism officials inside FBI headquarters breached regulations designed to protect civil liberties.
The FBI’s general counsel, Valerie Caproni, told the Washington Post that the agency violated privacy laws by inventing non-existent terrorist threats to justify collecting the phone records. “We should have stopped those requests from being made that way,” she said.
Caproni said that FBI’s issuing of authorisations after the fact was a “good-hearted but not well thought-out” move to give the phone companies legal cover for handing over the records.
After the 9/11 attacks, the USA patriot act greatly expanded the government’s ability to monitor American citizens, including increased access to their phone calls with the approval of lower-level officials than previously allowed. But the authorisation had to be tied to an open terrorism investigation.
The Washington Post said two FBI officers had raised concerns. Special agent Bassem Youssef observed that the necessary authorisations were not being sought before phone records were seized and were sometimes only given later in response to complaints from phone companies. Another official, Patrice Kopistansky of the FBI’s legal office, noticed a similar problem. She also raised concerns when she was unable to get investigators to provide her with an open terrorism case to justify issuing relevant authorisation.
The Washington Post reported that Kopistansky and Youssef discussed the worsening “backlog” of cases without the necessary authorisations, or where false claims were made about terrorism emergencies. “I also understand some of these are being done as emergencies when they aren’t necessarily emergencies,” Kopistansky wrote to Youssef in April 2005.
The FBI subsequently issued a blanket authorisation covering all past searches, although its legality was questioned.
The Washington Post said journalists on the newspaper and the New York Times were among those whose phone records were illegally searched. The FBI later apologised to editors of both papers.
By John Solomon and Carrie Johnson
Special to The Washington Post and Washington Post Staff Writer
Tuesday, January 19, 2010
The Washington Post
The FBI illegally collected more than 2,000 U.S. telephone call records between 2002 and 2006 by invoking terrorism emergencies that did not exist or simply persuading phone companies to provide records, according to internal bureau memos and interviews. FBI officials issued approvals after the fact to justify their actions.
E-mails obtained by The Washington Post detail how counterterrorism officials inside FBI headquarters did not follow their own procedures that were put in place to protect civil liberties. The stream of urgent requests for phone records also overwhelmed the FBI communications analysis unit with work that ultimately was not connected to imminent threats.
A Justice Department inspector general’s report due out this month is expected to conclude that the FBI frequently violated the law with its emergency requests, bureau officials confirmed.
The records seen by The Post do not reveal the identities of the people whose phone call records were gathered, but FBI officials said they thought that nearly all of the requests involved terrorism investigations.
FBI general counsel Valerie Caproni said in an interview Monday that the FBI technically violated the Electronic Communications Privacy Act when agents invoked nonexistent emergencies to collect records.
“We should have stopped those requests from being made that way,” she said. The after-the-fact approvals were a “good-hearted but not well-thought-out” solution to put phone carriers at ease, she said. In true emergencies, Caproni said, agents always had the legal right to get phone records, and lawyers have now concluded there was no need for the after-the-fact approval process. “What this turned out to be was a self-inflicted wound,” she said.


The distraught family of Michaella McCollum Connolly fear she was set up by a ruthless drugs gang.
The 20-year-old nightclub hostess was last night facing 25 years in a Peruvian prison hellhole after she was accused of trying to smuggle €1.7million worth of cocaine.
But a family friend yesterday insisted the photography student would never knowingly involve herself in a drug ring and claimed she was an innocent pawn in a multi-billion-euro racket.
She told the Irish Sunday Mirror: “Someone must have taken advantage of Michaella. She’s only 20 years old.
“Her family have no idea what has happened. They are in a state of shock. They can’t understand what has happened.
“They didn’t even know she was in South America. They just know that Michaella is an innocent pawn in all of this. She must have been set up.”
Last night Michaella’s heartbroken mother told of her agony at learning her daughter was locked up in Peru facing serious drugs charges.
Clutching her rosary beads in her home in Dungannon, Co Tyrone, Nora Connolly fought back tears and said: “We don’t know the full facts. We are still waiting to hear them.”
Ms Connolly confirmed she has spoken to her daughter by telephone but didn’t want to discuss the details of the conversation.
She said: “We have been speaking to Michaella. It’s a very difficult time. We hadn’t heard from her in 12 days and now this.”
The family are distraught at the way Michaella is being portrayed as a party girl.
Her sister Samantha Connolly said: “It’s already a circus – all this stuff that’s been written about her.”
Michaella was detained on Tuesday as she tried to board a plane for Spain in the Peruvian capital Lima.
The Monaghan-born woman was arrested with Melissa Reid, 19, at Jorge Chivaz International Airport as they checked in for an Air Europa flight bound for Madrid.
It is claimed the pair were caught with more than 11kg of the class A drug which was hidden in food packets in suitcases.
Michaella’s family had launched an internet appeal for information last week after she apparently vanished after moving to Ibiza to work as a nightclub hostess for the summer.
She was the focus of a growing online publicity campaign to find her after her parents had not heard from her for 12 days.
She had been working at a popular nightspot in San Antonio and had also worked as a lingerie model at US-based Fierce Modelling and Talent.
Earlier this week sister Samantha posted a Facebook message saying: “To everyone who is supporting us and sending kind messages, I want you all to know we are confident we will find Michaella’s whereabouts.”
Michaella was on a summer break from a photography course at Belfast Metropolitan College and was due to return next month.
The Department of Foreign Affairs has been providing consular assistance to her family because she was travelling on an Irish passport.
Pictures posted online show fun-loving Michaella dancing in various clubs and enjoying cocktails with friends on the popular party isle of Ibiza.
Meanwhile, it emerged Michaella’s co-accused Melissa moved to Ibiza from Glasgow on June 22 for the summer to work in bars with friends, writing on her Facebook page: “Shout out to all my lost boys! Not going to lie scared about going to Ibiza but buzzing off my t*ts at the same time get me on the flight now!!”
The former energy company advisor’s family said yesterday they were in the dark as to what had happened to her.
Melissa’s 66-year-old father William said: “We don’t know anything.
“We’re in the position where we are just trying to come to terms with it and we don’t really know anything.”
A total of 248 people were arrested at Lima’s international airport last year and nearly 1,600 kilos of the illegal drugs, mainly cocaine, were seized.