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When she studied the photograph—after the initial shock had subsided—she was surprised to note that the jumper appeared to be not muddy brown, as she had believed for years, but instead, a dark mossy green. The revelation was so startling that for a moment it eclipsed the many more troubling feelings aroused by the picture.
The jumper had been her husband’s in the first place. She’d coveted it in the early days of their marriage: not the way girls in movies coyly don their boyfriends’ clothes after sex—a trope she, an actual girl in actual movies, found deeply unconvincing, having been directed to do so countless times in her career. She didn’t want the jumper for its outsize symbolising of her desirability or femininity. It was simply a nice jumper: on the finer side of chunky knit, with a slightly rolled, slightly wide neckline—somewhere between turtle and boat. It had been almost snug on her husband, who was slim-built; on her it betrayed no sign that it was menswear other than in the sleeve, where the cuffs overshot her wrists, requiring two turns back, which she found pleasing—both the act of turning and the result.
She did not like her hands (they had never lost their childhood dimpling) but the effect of the adjusted cuffs, which flatteringly exposed an inch of forearm, coupled with the two plain silver bands she wore—one on each ring finger—somehow made them look a little more like the kind of hands she would have expected to have; the kind of hands befitting a moderately famous, critically-acclaimed, forty-something (her Wikipedia entry was deliberately vague on this point) actress.
Despite its good quality and fit, however, she almost never left the house wearing the jumper: the question of its colour had only surfaced in the plein air of the tabloid photograph. This had not been a conscious choice, yet she must have felt on some level that the jumper’s provenance revealed something too cosy, too personal for the outside world—like being witnessed by the neighbours clomping out to do the bins while wearing her husband’s shoes.
But now, here it was: front page news. She was not totally unprepared for this moment. A few days earlier her agent had phoned about ‘certain baseless rumours’ circulating ‘in the gutter press’ concerning her and her co-star, whom the agent also represented. The agent was so firm in his dismissal of the rumours that she almost believed he didn’t know they were true. The relationship was not something they ever openly discussed, but the three of them had shared enough dinners, enough late-night drinks in hotel bars, for the agent to have witnessed the deepening and quickening of his clients’ affections. Hadn’t he?
They never kissed in front of him, or anything tacky; but she found that in the agent’s presence her vigilance eased—she could be truly mellow, as opposed to her natural state of merely seeming mellow. The agent legitimised their being together: he provided a professional bolster for any off-set, after-hours socialising, but she also vaguely sensed he lent them, if not a moral, then perhaps, quasi-classical standing—a Friar Lawrence figure rooting for the younger lovers. Conversely, when she and the co-star were alone, she was ambushed by waves of terrible anxiety and guilt, anticipating both possible immediate disasters (the surprise arrival of her husband at the hotel) as well as more abstract catastrophes (the sudden, unexplained disappearance of her children as cosmic penance for her treachery).
So she had been taken aback by the agent’s convincing rebuttals, but, of course, she remembered, after hanging up, the agent, too, had trained at a prestigious drama school, and even worked a little professionally—she’d once found an IMDb page listing credits for such decades-old screen roles as ‘Rent Boy #2’ and ‘Camp Bartender’, bit-parts revealing not only the tenor of those times, but also, possibly a poignant indication as to why his career as a performer had not ultimately taken off. Could it be that he was now drawing on these same acting chops to tacitly let her know he had her back? That despite knowing the truth, he would never tell a soul; that his discretion extended even to their one-to-one dealings? The agent said he had already spoken to her co-star about the rumours, and they’d agreed: No comment, no comment, no comment. ‘But won’t that look like—’ she said, and he replied: ‘Lovely, you can’t light a fire without oxygen.’ Should she warn her husband? ‘No need,’ the agent said. ‘Give it a couple of days—I promise this will all be over.’
She sat tight: too frightened to call the co-star in case their phones had been tapped. Under any other circumstances, she would have scoffed at the idea that the tabloids could find her worthy of interest. She had never courted the press, and when required to give interviews, was consistently, doggedly pleasant. Once, a journalist had remarked that she was notoriously inscrutable, and she’d laughed and said, ‘Nothing to see here!’—joking that the phrase should be the title of her autobiography, which would naturally be filled with blank pages.
She preferred to let her work speak for itself: she rarely used social media, and refused to be drawn on the many, mounting controversies that troubled the industry, even when journalists chipped away at her resolve. Didn’t she have an obligation they would ask, to speak up? Was she not in a position of privilege and therefore power? Didn’t she owe it to audiences to take a stance on X, Y or Z? To which she would smile, and say her job was to make the best work she could; to reflect life in as complex and truthful a way as she was able. The rest was interference.
She’d seen various colleagues take up the ‘issues’ mantle with gusto. A few even benefitted professionally, becoming the go-to guys on equal pay, sexual harassment or diversity, suddenly enjoying media profiles and consequently, a rash of auditions no amount of four-star reviews could muster. But she couldn’t help noticing that often the people whose stands made the greatest impact, whose comments were most widely circulated and headlined, were not themselves the subject of the cause in question, which created (to her at least) an uncomfortable paradox. It seemed impossible to raise awareness without also drawing attention to oneself—and eluding scrutiny was the whole reason she got into this game in the first place.
She didn’t discover acting until her mid-teens. Of course, she’d spent her life acting—engaged in a constant, critical dialogue between thought and action, closely monitoring others’ reactions to establish what was too much (her laugh) or gross (picking at the dry skin on her lips) and making the necessary adjustments. At this kind of acting, she was world-class; but the idea of being good at it as a discipline or hobby, let alone a possible career path—that was extremely far-fetched, something reserved for the wealthy, cool, extroverted girls who would say it so offhandedly, ‘I’m going to be an actress,’ as though already a done deal.
Still, she and her friends agreed to take theatre studies together, thinking it would be a doss—and it was. Underfunded and overlooked, the drama department lacked sufficient rehearsal space, and they were left to their own devices in the tiny rooms dotted around the school that doubled as detention cells for disruptive students. Often, they were so absorbed in the ruthless dismantling of their peers’ personalities, that they missed the bell for breaktime and then the next one for lessons, emerging, long-forgotten by their teacher, into silent corridors: disoriented and dazed.
Being so self-conscious, she initially mopped up the minor roles no one else wanted—curtseying servants and ‘Yes-sir’–ing envoys—until the teacher, either going on a hunch or exercising due diligence, re-shuffled the cast of a class performance of A Doll’s House, thrusting her from maid to lead role. As Nora, she found she completely disappeared and it was the most intoxicating, liberating experience of her life.
Conventional wisdom had actors down as hopeless show-offs; in it purely for the adulation and attention. For her, however, the job afforded just the opposite—it meant the painful business of being herself was largely taken out of her hands. During costume fittings she would marvel at the skill and insight of the wardrobe department—how precise the choices were, how eloquently they spoke to a particular character, how every detail had to be just so. It was a relief to slip into these other lives, ones that had, however miserable or extreme, a through line of coherence, even if it was not apparent to the characters themselves. She would put her own clothes back on afterwards, slightly deflated, keenly aware that they had not been chosen with anything like the same kind of care or thought. Hers did not seem to add up to a recognisable ‘person’, rather, a random assortment of items that served only the most basic functions of protecting her modesty and keeping her warm.
She was intermittently plagued by the idea of someone tasked with designing costume for the role of ‘her’. Any suggestion of a personal style dissipated the moment you took into account that virtually everything she ever wore in a public capacity—awards ceremonies, screenings, photoshoots—was loaned or gifted. And where to begin with her day-to-day wardrobe? How on earth could an outsider grasp, for example, that the trousers she favoured were not any old black trousers, but specific old black trousers bought during her first pregnancy; not officially maternity wear, but with a subtly elasticated waist to accommodate early-second trimester thickening—soft brushed cotton trousers, which, three pregnancies and multiple repairs later, remained a stalwart of her post-children ‘look’? How to account for the T-shirt she wore in bed, which said Dreaming of Paris in pink cursive over a wistful rendering of the Parisian skyline, a gift from her sister-in-law one Christmas; an item she would never ‘dream of’ choosing for herself, had even balked at wearing in bed, but which she did now out of defeated habit, ever since the week the washing machine was out of action? Even her husband didn’t understand such things: the thousand banal, pragmatic secrets that made up the stuff of her life.
When the news about the affair first broke, it was midnight: she was awoken by her phone flashing erratically with notifications, like distant detonations. Her husband was asleep beside her, snoring gently, and she lay, breathing shallowly, planning her next move. In the kitchen she only had to type the first few letters of her name before autocomplete delivered the goods. Smooch, snuggle, cavort, clinch, canoodle, flaunt, tryst, caress. It was a clean sweep, full-house: infidelity bingo, with every search result accompanied by the same photograph of her and the co-star.
They were standing in a park, close together, and the co-star’s hand was on her back. The smoking gun—the detail that so excited the tabloids, and upon which the whole scandal depended—had to do with the placement of the co-star’s hand. His palm was pressed against the hem of her jumper which had slightly risen up, revealing a narrow band of bare skin; but it was the co-star’s fingers she’d noted, with growing dismay, that were the real problem, in that they were partly obscured by the waistband of her trousers, into which they had casually slipped.
If it weren’t for that detail, there was next-to-nothing to it: colleagues, old friends, sharing a joke, perhaps, a moment of camaraderie, even, yes, flirtation. It might have troubled the gossip sites for half an hour, at most. But this was a breach, shocking in its nonchalance, a careless, stupid mistake that made it impossible to minimise or explain away; made it possible in fact only to extrapolate from; to amplify, blow up, zoom in, as the press had duly done; with red rings, arrows and gleeful outrage.
She first encountered him at the chemistry read for the series in which they would become co-stars. She had already filmed a pilot for the show, but with a different actor, a relative unknown who had not rated well with test audiences and executives. The removal of that actor had been fraught, and felt to her somewhat violating, like taking a comfort blanket away from a child. It was her first lead role post-children; it would have been his first proper foray into television. The actor’s firing felt like a failure on her part, that she had failed to meet him at the required level, and there was survivor’s guilt too—that despite not achieving a successful rapport, she had escaped the same fate.
The executives had decided that this time, they needed a name, someone more established and familiar. Their previous choice had been too much of a risk, with a background mainly in theatre and independent film, and they shortlisted three possible candidates to replace him. She was vaguely aware of their work, though most of it tended towards male-dominated genres she was not especially au fait with—war, sci-fi, historical crime—whereas her casting bracket had skewed more contemporary: ‘complicated young woman’ when she first started out (code for ‘woman who knows what she wants’), and since her early thirties, ‘complicated older woman’ (code for ‘woman who doesn’t want what she has’).
When she was brought in for the chemistry reads, the casting director told her, ‘Have fun, don’t be afraid to play around, test them a bit, put them on the spot.’ She had always been sceptical of the notion of these reads, found them mildly insulting, even, the insinuation that the personal mattered more than the professional; that there was some magical ingredient, a wild factor, prized above the intelligence and craft of the individual performance. She read with all three suitors (that was how it felt, feudal, medieval; that they were there to win her hand) and though she did not think any sparks flew, she believed nonetheless that, being such a consummate pro, she could make it work with any of them. But at the end of the day, as he was leaving, the third actor—whose performance she had found a little too earnest, if she was being brutally honest—approached her, hoisting his rucksack on his shoulders, and said: ‘I wanted you to know that whatever happens, I’m glad I had a chance to read with you.’
He said it in such a natural, direct way, without a hint of ulterior motive, that she was stunned. It was like being confronted by her children when they barrelled in from wherever they were to wherever she was, to impart urgent information that had suddenly come into their possession: ‘You must twist, never pull when you pick an apple!’ shouting over each other to deliver this kind of quaint, timeless news, as though she was in imminent danger of apple picking, let alone bungling the technique. Their unselfconsciousness—and its inevitable waning—was a source of deep joy and acute pain for her. Occasionally she would see her eldest daughter, giddy and spiralling with some notion or whim, quickly check herself, and she would feel both relief, that she did not have to do it, and quiet devastation that her daughter had known to do it herself.
Yet here was someone who had seemingly retained the same seriousness, the expectation that he would be understood; the ability to communicate what was on his mind or in his heart. She had never encountered an adult like this, let alone an actor, who did not—would not? or could not?—dissemble. And it was because this way of being was so far removed from hers, that it rang so clear and true; it suddenly seemed so thunderingly obvious that this was how one should be that she felt her entire perception of reality shift. ‘I’m glad too,’ she said.
The first time anything approaching something happened was a few weeks into the first series shoot. They had been filming at night, with an early start the next morning, so production had put them up in a hotel close to set. In the lobby, after they’d checked in, he said, ‘I’m going to have a drink.’ This, she was learning, was typical of him; neutral, declarative statements of intent that functioned both as invitation (join me?), and an opportunity to part ways (so goodnight). It was as though he could hold all possibilities, would be receptive and agreeable to any response, and she would have found this kind of open-mindedness maddening if he were not then so quick to follow up when she did join him—‘I hoped you would’—as they walked into the bar.
That the co-star was handsome was not in dispute, but since having children, she had become desensitized to men’s appeal; as if, in the act of giving birth she had been biologically purged of spontaneous desire. She could recognise that someone was good looking (she had not lost her aesthetic sensibility), and could enjoy someone’s company, yet the two things no longer seemed inclined to fuse together to generate any kind of heat within her.
But in those first weeks, she had spent so much time so close to the co-star, waiting between takes and during complicated lighting set-ups, that she had become intimately acquainted with the cartography of his face. She learned how front-on, his features were open, broad and generous, but from the side he looked altogether more angular, even at times severe; and then there was the emotional terrain, the listening smile he used when taking a note from the director, where everything arched and stretched in attentiveness, versus his instinctive smile, in response to the funny way she delivered a line, when all his features crinkled and crumpled together—and she realised, sitting there with him, as he had ‘hoped she would’ that she was, after all, not entirely numb.
When they had finished their drinks, he placed both his hands on the table, another classic-him gesture—both shutting down (meeting adjourned) and opening up (what next?). She put a hand on one of his; plonked it really, impulsively, tipsily, then, unsure in what spirit she had even done so, whether goodnight squeeze, or establishing-of-physical-contact, tapped his knuckle with her forefinger, and he looked down at this pantomime and then straight into her eyes, at which point her tapping slowed to a light stroke, and he closed his eyes and breathed out slowly and she thought, Thank God and then, Oh shit.
They were playing a married couple, and in the course of the shoot had already kissed a hundred times, been in bed together in various stages of undress. What she had felt on those occasions was not lust, but the same satirical wonderment she’d experienced throughout her career: how unsensual, synthetic—almost rubbery—and comical another naked human form could feel so close to her own. It was in their more mundane scenes where she felt, as the weeks wore on, anything distantly akin to arousal; when the meeting, or not-meeting of each other’s eye might shift from obligatory or routine, to something more freighted and intentional.
But after the cataclysmic non-event in the hotel (following which they retired to their separate rooms), she scoured her pages for further physical opportunities, a permissible outlet for what she came to think of, mockingly, as her ‘feelings’. Having feelings—how laughably inadequate was that as a description for the weather systems sweeping through her? ‘I have feelings for you,’ she imagined saying to him, practising the emphasis, feelings, feeeelings—the heavy lifting the poor word was required to do could move mountains.
The day did come when they were required to kiss again; and of course, it was not just a kiss, but a long, involved sex scene, and she thought about referencing this to him, via a cliché like, ‘it never it rains but it pours!’, or, ‘feast or famine!’—to relieve a bit of pressure by acknowledging, ironically, how ridiculous this situation was. It could have been a romcom set-up, romantic leads fall in love! but in fact the experience felt closer to watching a horror film, specifically, the pervasive adrenalized dread—because this was not a charming, pleasing turn of events; it was a living nightmare to find herself so besotted when she already (so she thought) had that part of her life neatly and tidily squared away.
Production had hired, per industry best practice, someone to advise on the sexual content in the show. The official job title was ‘intimacy coordinator’, but, perhaps because this seemed too unwieldy, or virtue-signalling, or frankly too unsexy, the employee (an intimidatingly professorial young woman in her mid-twenties), was known as the choreographer. When mapping out and rehearsing this particular sequence with the choreographer, she found she could approach it technically, as a task of coordination, a system of motions and manoeuvres. But when everyone else had retreated to their places, in that hot second of silence before action! was called, something in her tripped and the whole scene devolved into a fumbling, trembly fiasco. She could not kiss him without their teeth clashing; was so wracked with anguish and desire that she couldn’t regulate herself, could neither perform as she was meant to, with self-control, nor succumb as she wanted to, with none. The director, previously a paragon of tact and encouragement, grew so frustrated that he called lunch early, telling them to ‘fucking sort it out, whatever your problem is, I don’t care, just sort it out’.
They went to her trailer (rebuffing the choreographer’s concerned advances) where she sat in silence, covering her eyes while he stood by the door with his arms hanging redundantly by his sides. Eventually, she said, ‘Can we try running the lines?’ and he said, ‘Good idea,’ and they did, holding each other’s gaze, and then she said, ‘Again, but this time with,’ gesturing to mean, everything and he said, ‘OK’, and they did, not stopping where the scene ended, nor at the boundary where art crossed into life.
Processing these events, she built her moral defence: how could it have turned out any other way? They had not chosen to fall in love, had not set out to hurt anybody, if anything, the considerable pain—of secrecy and deceit—was, in fact, theirs to bear! However carefully choreographed it was, however delicately discussed in advance, they were still contractually obliged to kiss, to be all over each other, virtually naked in bed, so where precisely, she wanted to know, was the harm located, who could possibly be hurt if these same things were to occur, only without witnesses? If she kissed him on screen, and it meant something to her, was that not—in fact—far worse than if it happened in private? Surely it was better to get the real stuff out behind closed doors, rather than broadcast for all (including their respective partners), to behold? Wasn’t that the kinder, more responsible, respectful way to behave?
When she was pregnant with her second child, she had not believed she could love another baby as much as she loved her first; it was the thing people said, ‘Oh you just do,’ but honestly, she assumed it was a lie, you had to say it so you didn’t sound cold-hearted, but secretly, you knew and everyone knew, the first baby was the one true love. But then when the new baby was born, it arrived with more love, the right amount, different yet equal, like two bubbles cleaving together, and she started to say it too: ‘Oh, you just do.’ In this way, she had never previously understood infidelity, how you could claim to love someone, yet betray their trust; she did not believe you could truly love someone if you were able to do that. Now she realised how naïve that was; how the two were not mutually exclusive; that the love for her co-star also fed and nurtured her love for her husband; made her realise how much she did not want to live without him, and besides, for as long as he didn’t know (and she was scrupulous in the lengths she went to, in order to protect him) his trust was not really betrayed at all.
The day the photograph was taken she had agreed to meet the co-star in the park. It was the last day of the summer holidays, the first day of September: his wife was at work, her husband was away on business and they were both looking after their children alone. The co-star said their agent (who was godfather to his younger son) would be coming too, and for this reason she agreed to go. There was something appealing about being with the co-star while their children were present; something honest, almost, healing about it, the idea that it would validate their bond as an entity other than seedy or illicit, more like family friends.
The TV show was about to go to a fourth season. It had been a ‘phenomenon’, in that the ratings were initially low, but steadily built via word of mouth. By the second series it had started to, in the words of one reviewer, ‘impact the public conversation’, spawning memes on social media contrasting screenshots of the co-stars in the throes of extreme antagonism and intense affection.
Her promotional press for the show always focussed on her own domestic set-up; she resisted endless demands to be photographed ‘at home’ with her husband and children, but did dutifully answer, in her anodyne way, strings of questions about marriage and the pressures of balancing career and family. Meanwhile, the co-star’s interviews centred on his other projects, with the obligatory dance around his interest (‘Never say never!’) in being cast as the next James Bond.
In the park, their children eyed and circled each other before setting up some kind of camp or fort underneath a tree. The agent went to the kiosk to buy drinks and snacks for everyone, and they stood together watching their kids, and it felt so normal, so easy to be standing there together in the open, that she turned to him and said, ‘I’m glad we did this’, which was the moment he drew her to him, putting his hand on her back, and said, ‘I’m glad too.’
It was the agent who suggested meeting for lunch, but she was left with the impression that she had forced him into it, unwittingly emitting distress signals that had obliged him to come up with a means of handling her. Things were quiet workwise ever since the story broke. It had played out in a way that should not have been surprising: she cast as the seductress, the co-star, her powerless prey, a narrative subsequently nourished by her trial separation and his marital reconciliation—which tacitly, yet deafeningly, put an end to the question of a fourth season. In their final conversation, the co-star had shown the same guileless candour that blindsided her in the first place—‘This isn’t right any more’—and she found herself similarly undone.
They were meeting at the restaurant where the agent had taken her for lunch when he’d first signed her, so many years before—one of those long-standing institutions that people frequented more out of habit and familiarity than anything special about the place itself. The agent was already there when she arrived; had in fact, already ordered, hoped she didn’t mind—he had another meeting straight after, but if she ordered right away, hopefully their food would come at the same time. She knew then how this was going to go, but she played along, spaghetti alle vongole and a glass of white wine, enquiring after his partner and responding to his euphemistic probes about how her children were coping with ‘the recent changes’. She told him about the studio flat she was subletting from a mutual friend who was currently in Canada filming a prestige TV drama, and how the children called the flat ‘Mummy’s private house,’ and kept asking where all the other rooms were.
When their plates had been cleared, his coffee arrived almost immediately—he had included even this in his pre-emptive order—so she finally brought up the question of work. There was a project she had been waiting to hear about for weeks, was there any news? He said yes, he had heard, and unfortunately, they were going in a different direction on this one. And, he added, while they were on the subject, that he had been thinking about the future, about consolidating his books and, things being as they were, given the current landscape, and taking into account any possible conflicts of interest, he would completely understand if she wanted to look elsewhere; that perhaps it was time to admit he had reached the limit of what he was able to do for her; that he would of course be devastated but would not for a second think ill of her if she decided it was time to part ways.
She listened, staring at the tablecloth, dabbing up salt with her forefinger, then brushing it off with her thumb, nodding, making the right noises in the right places, even managing to smile when he tossed in a couple of jokes. As he finished his coffee, she excused herself to the toilet, where she sat in the cubicle with her eyes shut, forgetting to breathe until her head started spinning. Eventually she rallied, adjusting her hair and clothes in the mirror before stepping out again, only to find the agent gone, and their table re-set with fresh linens and silverware, ready for the next service.
Perhaps owing to the glass of wine, or the toll of the lunch, she didn’t realise until it pulled up that the taxi had been heading for the family home. Her children were still at school, her husband at work, and crossing the threshold she was flooded, foolishly, with the old bliss of entering a rarely-empty house. A few of her jackets and coats hung from the pegs, and several pairs of her shoes remained among the boots and trainers on the rack.
In the children’s rooms she straightened the duvets, erasing the morning’s disarray. In the room she had shared with her husband, she sat on the bed for some time, gripped by the sort of heaviness that often overwhelmed her after showering, when she would sit and sit and sit in her towel, staring at the wall—only returning to herself with reluctance and great effort, usually in response to a child’s insistent call.
But no one was calling now as she went to the wardrobe, and looked at her things: trousers and dresses and shirts and cardigans, all intimately familiar and utterly remote. She took the jumper from its hanger, the jumper from the photo that had once been her husband’s, and brought it to the window, where she watched as it turned from brown to green in the daylight: a kind of developing phenomenon, like the onset of dawn, imperceptible yet inevitable. She pulled it on over her clothes, freeing her hair from the collar with a brisk, graceful movement; and going downstairs, she rolled up her sleeves, then walked out of the house, pulling the front door smartly behind her.

domain: literature


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NetComposites Ltd has transferred the rights and ownership of this website to Gardner Business Media Inc.
On 1st January 2020, NetComposites' media assets including netcomposites.com, newsletters and conferences were transferred to Composites World (Gardner Business Media).
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During remarks at GrapChina 2015 in Qingdao, China, Dr. Bor Jang, Chief Executive Officer and Co-Founder of Angstron Materials (AMI) unveiled a two-pronged plan he says will eliminate bottlenecks and jump start market growth.
According to Angstron, graphene has the potential to fully charge your phone in five minutes, clean up radioactive waste, create a super strong artificial limb or make ocean water drinkable. Until now large scale adoption of the “wonder material” has been stymied by limited production capabilities and a high price tag.
“We are ramping up production of graphene from 300 metric tons a year to 1000 metric tons a year in 2016,” says Jang. “Inability to source commercial scale quantities of graphene has historically hampered the growth and implementation of graphene-enabled and graphene-enhanced applications such as next-generation energy technologies, composites, water treatment, and corrosion protection. Increased production means we can bring market costs down too, giving companies previously priced out of the graphene market access to the material’s unique performance advantages.”
Jang also revealed that AMI will open its extensive patent portfolio. “We’ll license our graphene production processes to select partners worldwide,” he says. “This open architecture approach will create a graphene ecosystem that can foster innovation and tear down walls that have inhibited global collaboration. In turn this will equip manufacturers to develop graphene-based products that range from everyday items to inventions that are truly life-changing.”
AMI explains, the first to successfully produce nano-graphene sheets in 2001, Jang and Wen Huang patented the first production method for pristine graphene under US patent number 7,071,258 in October 2002. Jang and Co-founder Aruna Zhamu hold more than 160 graphene-related patents. AMI will use its technical know-how and experience to assist suppliers with high volume production and help users accelerate time to market.
“By partnering with other companies, we are dramatically increasing the availability and knowledge base of this new class of material,” notes Ian Fuller, Vice President for Business Development and Engineering at Angstron. “The applications of graphene are too large and varied for any one company to address alone. By opening fundamental intellectual property to global players, the graphene industrial ecosystem will multiply and allow commercialisation to flourish.”
“To cultivate the growth of graphene in its new market space, AMI has established a win-win strategy that will invite and promote development of new applications,” adds Executive Vice President Dr. Edward Chan. “Sharing AMI’s patent portfolio is a key step in shaking loose the inertia that has plagued the graphene industry while at the same time forging a new paradigm of collaboration for application development.”
For more information visit:


text:
Title Page of the 1904 Hutchinson and Co. Reprint
“Title Page of the 1904 Hutchinson and Co. Reprint,” Wide, Wide World Digital Edition, accessed December 5, 2020, https://widewideworlddigitaledition.siue.edu/items/show/3683.
In the title page for Hutchinson & Co.'s 1904 edition of the novel, the title is printed in the top quarter of the page followed by a period. The author's pseudonym Elizabeth Wetherell is printed in the page's middle. Below the pseudonym is a list of eight seperate works by the author. Hutchinson & CO.'s address is listed as "London 34, Paternoster Row."
Wetherell, Elizabeth [Susan Warner]. The Wide, Wide World. Reprint, London: Hutchinson & Co., .
The Wide, Wide World Digital Edition by Jessica DeSpain, Jennifer Brady, Melissa White, and Jill Anderson is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

domain: library


text:
Yesterday the House passed, with my support, H.R.66, the Route 66 Centennial Commission Act.
This is the second bill in the last two months that I have supported to preserve and promote the treasured history of Route 66, which cuts right through Missouri’s Fourth Congressional District.
This bill establishes the Route 66 Centennial Commission to honor Route 66 on the occasion of its centennial anniversary in 2026. The Commission would study and recommend to Congress activities that are fitting and proper to celebrate that anniversary in a manner that appropriately honors America’s Mother Road. This measure also directs the Department of Transportation to prepare a plan for the preservation needs of Route 66.

domain: news


text:
If you like the swirls i used on this card.. you can order these at Debbies Die Cuts. I have used the swirls on many of my cards. They are fabulous for a nice whimsical touch. They do have a nice size - different than the ones you can cut with other brands dies.
Sentiment: "Thanks a ton" Stampin up Hostess gift
Embellishments: Swirl is from Debbies Die cuts
To celebrate my 170.000 blog hits iam offering for you this blog candy.. a handmade book filled with 200 stamped images of my collection some of your choice and a new Magnolia stamp perfect for fall cards. Please take a look here on how you can enter to win.

domain: hobby


text:
How to improve the odds of developing successful new drugs using Big Data and state-of-the-art analytical tools.
Animated cartoon features the benefits of newborn screening for genetic diseases.
Dr. Linh Hoang, Vice President, Neonatal Screening, at PerkinElmer, talks about the challenges, opportunities, and company activities to address the need for newborn screening in India.
The Torion® T-9™, the first portable GC/MS, runs samples onsite and can test for contaminants in the environment, food and products.
PerkinElmer's Phenoptics™ quantitative pathology research system helped researchers reveal a predictive biomarker for Merkel cell carcinoma.
Using TIBCO Spotfire® visualization tools, PerkinElmer demonstrates this analytical versatile software in the study of infectious diseases.
PerkinElmer-GIS Centre for Precision Oncology leverages genome expertise and leading edge imaging instrumentation to develop new cancer therapies.
Making a statement for safer pregnancies and healthier babies in India.
Researchers at the University of Oklahoma have discovered potent polyphenols in brown seaweed that target and prevent the spread of pancreatic cancer cells. Their research is a potential blueprint for fighting the most lethal form of cancer, saving thousands of lives each year.
PerkinElmer, a global leader in life and environmental science, recently expanded its presence in Taiwan by opening a new Taipei customer service center.

domain: medical


text:
Q.Storing Grape Hyacinth
nancytrackwell added on July 16, 2011 | Answered
How do I store grape hyacinth until the fall?
Answered on July 17, 2011
Store your bulbs in a cool, dry, area. Or you can go ahead and plant them now, they will bloom in the spring
Was this answer useful?00

domain: agronomy


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text:
Mumbai is known as the financial capital of India and the city contributes more than 35 per cent to the nation’s GDP. The city is growing at a rapid pace and is expanding towards the north areas. The manner in which the metropolis is growing is already become a cause of concern for the town planners. Urban planners did not properly design the island city as is the case with other island-cities like New York City’s Manhattan borough. Mumbai’s poor land management has limited its growth, which, with an exploding population, is becoming an even more pressing issue.
Since there is scarcity of affordable land in Mumbai hence it has become difficult for the common man to purchase house in the metropolis. As a result of this, many people have to shift and buy home on the outskirts of the city like Vasai, Virar, Kalyan, Dombivali, Mumbra, Kalwa, Bhiwandi, Ambivali etc. Today people are even willing to go beyond Virar and settle in areas like Palghar, Boisar as the suburban services has started functioning in these areas.
Since real estate rates are cheaper in these far flung suburbs as compared to Mumbai, people choose to buy home there. Even though they purchase home but commuting to the city becomes a nightmare for them due to overcrowded suburban trains. There is lesser frequency of local trains towards these areas as travelling becomes extensively difficult for them especially during the peak hours. Even though land is available in the city but it either exists on salt pan land or mangroves where construction is barred due to ecological reasons.
Experts have often spoken about devising affordable homes for the middle class and poor but very little has been done in this regard. Thus we can see uneven development happening in the metropolis as slums have mushroomed at every nook and corner of the city. It even exists in the upmarket locations of Mumbai. The city’s outdated real estate laws have been blamed for the skyrocketing land prices. Land is concentrated in the hands of businessmen, builders, corporate who then construct luxury apartments and sell the same to buyers at premium rates. There are a lot of economic, regulatory and urban issues which need to be looked into for ensuring that there is enough affordable housing inventory to meet the demand.
The government must work on the PSU and PPP model. In the PSU model, the government remains the owner of the land and can take advantage of all future FSI benefits through redevelopment. As the land is already owned by the government and is lying idle, only the cost of construction needs to be funded. For developers constructing in far-flung suburbs, the government must develop civic infrastructure and ensure better connectivity through roads and railways, as this will lead to an influx of people.

domain: sociology


B&W GNXA4585 fits the following vehicle:
- 2007-2021 Toyota Tundra
- Grab additional cab clearance with the B&W Turnoverball Gooseneck Extender Ball
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When it comes to hauling trailers, it's important to measure everything to the millimeter. Because of this, the pivot point of your B&W Turnoverball Gooseneck Hitch may be moved back by 4 inches when you use the B&W Turnoverball Gooseneck Extender Ball. This additional space allows for a greater cab clearance, which will assist you in completing the task at hand.
Your B&W Extender Ball is constructed of sturdy 34-inch Steel plating, ensuring that it will endure for years to come. This detachable component has a maximum gross trailer weight capacity of 20,000 pounds and a maximum vehicle tongue weight of 5,000 pounds.
B&W is a trusted brand that makes quality products for its valued customers. NAPA proudly sells the USA-made B&W Turnoverball Gooseneck Extender Ball, protected with a Limited Lifetime Warranty.


Pop musicians have never been shy about having ambition. In recent times artists as different as the Magnetic Fields’ Stephin Merritt released a grand three-volume concept album composed of 69 Love Songs, the Flaming Lips put out Zaireeka, a four-CD set meant to be played simultaneously on four separate audio systems, and many other largescale projects strived to be majestic and impressive in their modest pop ambitions. Perhaps you can remember other fantastic projects whose objectives reached far beyond the more typical reach of just creating catchy songs.
The Holy Modal Rounders’ Peter Stampfel is the latest songster to think big. He’s just released a 100-song collection of his favorite songs from every year of the 20th century, appropriately entitled Peter Stampfel’s 20th Century. He began this endeavor back in 2001 in New Orleans with a small combo, continued in 2003 in Manhattan, and then after a long lull started up again in 2016 before finally completing his mission in 2019. However, Stampfel lost his voice and couldn’t even talk. He had to relearn how to sing. The final tracks feature him vocalizing in a lower register with less volume.
This 100-song collection features well-known tunes and obscure ditties. The songs range from the serious to the goofy, all performed in Stampfel’s inimitable absurd style. Stampfel’s a fiddle player with purposeful rudimentary talent. He strums sparingly to forward the melody and often seems to forget to play as he gets so wrapped up in the song’s words. Even at his best, Stampfel’s voice resembles that of Neil Young on a bad day. That’s not a critique. Stampfel’s whole point is that music needs to be taken less seriously as ART with a capital “A” and more to express humanity’s social and creative talents. His approach’s amateurish nature compels one to take these songs out of some archival museum and put them back on the front porch. He’s friendly to a fault, and in these days of enforced sanctuary, that’s a welcome tonic.
As for the songs themselves, as noted, they are all over the place. The first 33 that represent the opening third of the century generally have a self-conscious beauty. These pop songs were meant mainly to serve as an escape into some heavenly ether away from our earthly cares. For example, Stampfel opens with “I Love You Truly”, best known by more modern audiences as that tune caterwauled by Alfalfa of the Little Rascals while serenading Darla. While maybe lest earnest that Alfalfa, Stampfel’s version also quickly goes off-key and discordantly off-tempo. These traits remain prominent over most of the material. One cannot truly say there is a conventionally pretty version of any of the anthology’s romantic songs. Other songs on the first third include ditties such as the dreamy “I’m Forever Blowing Bubbles”, the dance tune “Charleston”, and Irving Berlin’s classic “Blue Skies”.
The second third of songs reveal a more serious America, even in comic form, such as Johnny Mercer’s “Lazybones”, written during the Great Depression or World War II songs of absence caused by the conflict including, “I Remember You” and “Long Ago and Far Away”. To be clear, none of Stampfel’s renditions evoke beautiful or solemn feelings. Instead, they capture the more quotidian aspects of memory.
Thirty-three years is a long time, and so the second third takes one up until the mid-1960s with rock and roll like Patti LaBelle and the Bluebell’s Girl Group innocent ode to drug dealers, “I Sold My Heart to the Junkman” and the Association’s tribute to marijuana, “Along Comes Mary”. The deranged renditions here seem less due to the medicated topics than continuing Stampfel’s unhinged performance style.
The last third of the compilation features more of a mix of styles from Leonard Cohen’s poetic diatribe “Everybody Knows” to Tom Robinson’s gay anthem “2 4 6 8 Motorway” to the Spice Girls’ anthemic “Wannabee”. The final song is Coldplay’s “Yellow”. It’s challenging to imagine a less shiny version. Stampfel’s vocals suggest the spirit is willing, but his voice is shot.
Peter Stampfel’s 20th Century displays the vast array of pop material during the last century but represents the artist’s creative biases rather than what music was out there. There are very few tracks performed initially by minority or ethnic artists, and female artists are also underrepresented. As such, this will appeal mostly to fans of Stampfel’s eccentric personality. His chutzpah is appreciated more than his talent.


text:
Heat a pan or kadai and add 1 tsp of oil. When the oil is hot, add the onion petals and saute until it turns slightly soft. Transfer it to a plate and set them aside. Ensure to retain the crunch and not overcook the onion petals.
In the same kadai, add the paneer cubes and saute them till it turns light golden brown. This step is optional, though. Transfer it and set it aside.
Add the remaining 2 tsps of oil to the kadai and when it is hot, add the finely chopped shallots, onions, and ginger garlic paste. Saute until the onions turn soft and translucent.
Mix the 2 tbsp of tomato paste with ½ cup of water and add it. Also, add all the spices - red chili powder, coriander powder, cumin powder, salt, turmeric powder, and garam masala.
Add ¼ more cup of water, and over medium-low heat, cook this onion-tomato-spice paste for about 8 to 10 minutes or until the raw smell of the spices goes off. Please do not leave this mixture unattended and keep mixing it every two to three minutes.
Now add the sauteed onion petals and paneer. Mix well.
Add the cream and cook for a couple of minutes.
Next, add the sugar and crushed fenugreek leaves. Mix and cook again for a couple of minutes.
Finally, add some cilantro and turn off the heat. Serve hot with rice or roti of your choice. You can add one more tbsp of cream on top before serving.
As always, adjust the salt and spices to taste.
My paneer do pyaza is not runny gravy curry. You can thin down the consistency by adding little extra water or cream.
Instead of tomato paste, you can add ½ to ¾ cup of store-bought or homemade tomato puree. Alternatively, you can use two medium-sized fresh tomatoes as well. Make sure you cook the tomatoes to a nice mushy consistency.
Sugar is optional.
If you find the store-bought paneer hard, you can soak it in hot water for about 15 to 20 minutes.

domain: food


text:
Highly nutritious and versatile cress. Fresh and peppery.
Environmental issues are very important to us. In all our actions, we strive not to burden nature and the environment. We make sustainable choices throughout the entire production process, from the irrigation system to the packaging materials of the products.


text:
SAN FRANCISCO » The former Stanford University swimmer who got six months in jail for sexually assaulting an unconscious woman will be required to attend drug and alcohol counseling on top of random testing after he was caught lying about his high school habits.
Brock Turner, 20, will have the counseling requirements added to his probation before his Sept. 2 release, according to internal probation department communications obtained Tuesday through a public records request.
A judge sentenced Turner in June after he was convicted of sexually assaulting a 23-year-old woman who had passed out outside a campus fraternity house. The six-month sentence led to a national outcry from many who viewed it as too lenient. Turner is expected to serve only half the term because of good behavior.
Santa Clara County Judge Aaron Persky, who is now the target of a recall effort, also had ordered Turner to register as a sex offender for life and submit to random drug and alcohol tests. But Persky didn’t require Turner to undergo counseling, and the probation report did not recommend it.
Turner will go back to court and be ordered to attend counseling sessions, probation manager Jana Taylor said in a June 15 email. She said Turner needs counseling and the department doesn’t “want to be placed in a position in the event we violate him for positive tests and his attorney argues we never modified probation to include counseling.”
Taylor said a judge other than Persky will handle the change in Turner’s probation terms, which is expected to be approved.
Santa Clara County court spokesman Joe Macaluso didn’t respond to an email or phone call seeking information on Turner’s next court date.
Turner denied using illegal drugs in his first interview with a probation officer in May and said he began drinking only after arriving at Stanford in September 2014. But text messages that investigators retrieved from his phone and released after his June 2 sentencing showed otherwise.
He again denied drug and alcohol use in high school during a June 14 jailhouse interview, the probation manager said in her June 15 email. After he was told his texts discussing drug use had been publicized, Turner conceded he was lying. He said he used LSD on three occasions and frequently smoked marijuana and drank alcohol in high school.
The emails also show that Turner asked for protective custody in jail after receiving threats. His attorney, Mike Armstrong, didn’t respond to a phone call and email placed late Tuesday.


text:
In the locker room plastered on a chalkboard were the words “Statement Week.”
While Carmel had erased a horrific non-league season by rattling off four straight league wins, it had yet to beat a team with a winning record — a team like them, that has championship aspirations dancing in their heads.
“We haven”t had a statement win,”” Carmel coach Ryan Sanchez said. “A month ago, this wouldn”t have happened. We”ve grown up and matured a little bit.””
If this was statement week, championship week can not be far behind with unbeaten Pacific Grove coming up next week.
Yet, forgive the Padres for being in a celebratory mood Thursday after holding off a late Stevenson surge to secure a 63-55 win.
“We are trying to get to Pacific Grove,”” said Carmel forward Alex Martinez, in reference to remaining within a game of the Breakers in the Mission Trail Athletic League. “We had to have this.””
In the Padres” first meeting with Pacific Grove on Jan 8, it dropped a 51-47 decision.
“We have to worry about Soledad first,”” said Sanchez. Carmel faces Soledad on Monday to start the second half of the MTAL season. “But wow, this was big. We haven”t had a win like this in 18 months.””
The Padres haven”t had a run like this since rattling off eight in a row in 2006.
For as much as Carmel struggled in the preseason, Sanchez saw enough progress to believe this was possible. Two losses were by two points. Another came when it failed to hold a fourth quarter lead.
“This is a sign of a team that has grown up,”” Sanchez said. “When things got tight, we didn”t lose our composure. We acted like a team that had been in this position before.””
The truth of the matter is the Padres had — 48 hours earlier when it used a 3-point goal from Alex Pickert to hold off King City in overtime.
Yet, this was different.
Like Carmel, the Pirates came in with just one loss in the MTAL. They have a winning overall record, something the Padres are inching closer to at 8-10 overall.
“A lot of it is heart and desire,”” said Martinez, who finished with 16 points. “We reset our goals and learned to fight back.””
That was evident in the fourth quarter when a once imposing Carmel 20-point lead was cut to two with 4:31 left in the game after the Pirates went on a 10-2 run over the course of 88 seconds.
With three players nursing four fouls and only two reserves on the bench, the Padres had to play tentatively. But Carmel never looked rattled or lost its edge. And no one came out of the game.
“It”s going to be that way the rest of the year,”” said Sanchez, alluding to the fact that the Padres only have eight players on the roster. “We have to play smarter when we get in that position.”
Sanchez never wavered in his decision to keep Pickert, the team”s leading scorer, in the game after he picked up his fourth foul early in the fourth quarter.
In two of its non-league losses, Pickert fouled out in the fourth quarter while Carmel had the lead, ultimately losing both games.
“We have to take risks,”” Sanchez said. “Depth is an issue. When we put ourselves in that position, we have to learn to play with caution. We can”t be as aggressive.””
That doesn”t mean Carmel can”t be efficient.
Stevenson got back into the game by using a potent press. It was the Padres” ability to break it down the stretch that enabled them to regain control of the game.
That and their composure at the free throw line, where the Padres hit 8-of-10 in the fourth quarter, including a 6-for-6 performance from Martinez in the final 25 seconds.
“I like pressure situations,”” said Martinez, who established single-season school records in football this past fall for receiving yards and receptions.
“That”s the difference in the game,”” Stevenson coach Matt Arruda said. “They made their free throws and we did not.””
Of course, the Pirates only went to the line 11 times, hitting six. Martinez went to the line 10 times by himself.
“We just dug ourselves too deep of a hole to get out of,”” Arruda said.
With Pickert, who leads the MTAL in scoring at just under 25 points a game, being shadowed, Jordan Rigby hit the team”s first two baskets while Martinez maneuvered his way in the paint for a pair of baskets.
It didn”t seem to matter where Stevenson was on the court, it couldn”t get a shot to fall, knocking down just four field goals in the first half.
When Pickert, who finished with a game-high 21 points, hit a 3-point goal to put the Padres up by 20, a member of the Pirates yelled a number of times “we”re not done playing.””
He was right.
With Brian McKinney coming off the bench to provide 14 second half points and Connor Hale warming to the rims, the Pirates got to within two.
With 1:25 remaining, Stevenson was still within striking distance at four. But Kenny Johnston hit two free throws, then burying a 3-point goal to put the finishing touches on the Padres” biggest win of the year.
“They”re on cloud nine right now,”” Sanchez said. “But there”s a lot of basketball left. Nothing has been settled.”
John Devine can be reached at email@example.com and 646-4405.


Overhead for using gtkmm?
- From: "Doron Singer" <antrax gmail com>
- To: gtkmm-list gnome org
- Subject: Overhead for using gtkmm?
- Date: Sun, 17 Dec 2006 12:12:10 +0200
There seems to be some problem with the list archives, as I'm sure
this question was asked before, yet I could find nothing in my search.
In any case, I'm interested in writing a project, using some flavor of
GTK for the UI. The question is, what is the overhead I'll have to pay
(most important is memory footprint at runtime) for using gtkmm?
(compared to the same application with a GTK interface, or just
absolute numbers). Is there any way to find this out other than
actually implementing and then running the application?
] [Thread Prev


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The local art museum is almost a one stop shop for cultures from all over the world. The standard collection will have pieces from both domestic and international artists for you to explore. There are often special collections that come in for a temporary stint too that you can visit and explore. Ideally, when you come to the art museum, you want to ensure that you have hours of time so that you can fully see everything.
Learning about the history of people all throughout the world gives you some perspective on how different cultures came to be. Learn about ancient traditions and customs that have shaped various cultures. This includes seeing how your own culture has changed over the decades.
Instead of heading to your favorite restaurant for date night, consider something new and exciting. Think about the types of cuisine you have yet to enjoy and look up local restaurants that serve it. At the restaurant, order a variety of things and make sure to get the server's opinions on the best dishes for those new to the type of cuisine.
You can often find concerts that display the music of different cultures, such as Mariachi bands or African drum bands. This gives you a chance to explore not only a new culture, but a different type of music that you normally do not listen to. You should get tickets in advance so that you can make sure that some are available since not all venues sell tickets the day of the event.
You can find art walks in Denver frequently because this city has a big art scene. You can just head to the area of the walk and get going, making this an excellent idea for a last-minute date. You get to see a variety of art, including that from local artists that you are not aware of. Pick up pieces for your home or office and even inspire some creativity in yourself. If you are an artist, this kind of event will also help you get more info to meet those who can aid you in getting your work out in the public eye.
When it comes to things to do in downtown Denver that help you to immerse yourself in culture, the possibilities are vast. Consider these options and make some plans for a weekend you will not forget.

domain: artistic


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Cody Jinks and Turnpike Troubadours. just announced a run of co-headlining dates for 2024, which includes stops at Boston’s MGM Music Hall at Fenway, Tacoma’s Tacoma Dome, Eugene’s Matthew Knight Arena, Boise’s Extra Mile Arena and more.
The best part about this being a “co-headlining” mini tour is that they’ll share equal time on stage, so it’s basically a two-in-one concert that will blow the figurative (or literal, in some cases on this run) roof off the place.
What more could you want? I wish more of my favorite artists did things like this more often…
Anywho, they’re bringing along Trampled By Turtles as openers, and I think it’s already safe to say that these will be some of the most highly-anticipated shows happening next year, and will most likely sell out very, very quickly.
Two of the premiere independent acts in country music, it’s a perfect pairing in terms of shared fan bases, and I can only hope they add more to the schedule and cover a little more ground in terms of which parts of the country they’re headed to.
And I know I shouldn’t get too greedy, but I feel like we need some sort of collab or even on-stage performance with both acts now that they’ll be spending plenty of time together, but I digress…
Tickets will go on-sale next Friday, November 17th at 10:00AM local time, and I’d suggest being ready to buy as soon as it’s time:
CODY JINKS AND TURNPIKE TROUBADOURS CO-HEADLINE DATES
February 9, 2024—Wallingford, CT—Toyota Oakdale Theatre
February 10, 2024—Boston, MA—MGM Music Hall at Fenway
March 7, 2024—Tacoma, WA—Tacoma Dome*
March 8, 2024—Eugene, OR—Matthew Knight Arena*
Mach 9, 2024—Boise, ID—ExtraMile Arena*
*with special guest Trampled By Turtles


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There is a remarkable warmth and presence that a quality grandfather clock adds to a home. With a selection of dozens of grandfather clocks in stock, and our ability to special order from a variety of manufacturers (including Howard Miller, Ridgeway, Hermle, Kieninger, and Comitti of London), there is a grandfather clock that will fit your style and budget. From modern styling and dark finishes to traditional and intricate designs, models with curio shelves or detailed carving, you won’t find a bigger selection anywhere in the region.
Our grandfather clock cabinets are all made in North America of solid wood and veneers, not the pressboard you find in cheap imitations, and feature quality German made mechanisms by Kieninger or Hermle. A well-made grandfather clock can be an heirloom that future generations will continue to enjoy.
We also carry a few vintage pieces by discontinued manufacturers Sligh, Hamilton, Herschede, Daneker, Emporer, and a few antique grandfather clocks.
The grandfather clock was a long time coming. Galileo first designed a basic clock pendulum in 1583, but very little was done with this technology until Christiaan Huygens, a Dutch astronomer and inventor, created the first real pendulum clock in 1656, when he designed a clock protected inside a large wooden case that allowed it to stand upright and swing freely. The clocks were called Long Case Clocks and even Coffin Clocks, until British manufacturers decided on the more family-friendly label of Grandfather Clocks, which we know and love today.
Initially, Grandfather Clocks were beautiful and valuable, but they kept poor time. By the 1670s, however, clock-makers discovered that longer pendulums made for more accurate time. Grandfather Clocks grew taller as they grew more precise. In the early 1700s, George Graham discovered the last pieces of the puzzle; by developing a more efficient and precise escapement (a design still used today), and better controlling for the temperature changes within the clock, Graham created a refined and beautiful Grandfather Clock which also kept time within a second’s accuracy per day.
Today, Grandfather Clocks are still valuable for their beauty, longevity, and craftsmanship. As a heirloom, they can connect generations within a family, serving a functional, familiar role as the timekeeper of the house for years to come. No other item in the home can connect us with our past while marking out our time into the future. The mellow chimes of a grandfather clock offer a regular, friendly reminder of the passing of time. The Tick Tock Shop has over 60 Grandfather

domain: history


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Better late than never, some photos from the Deltron 3030 show at the Starlight this past July. Shot with the D700 and Sigma 35mm f/1.4 Art. I processed these by reducing the blue saturation in the Lightroom’s Camera Calibration, something that really helped with the super saturated blue lighting.
Kaitlin and Sean got married this past June at the beautiful Landon Hall, just outside of Cambridge, Ontario. I’d already had the chance to photograph the two of them along with their adorable daughter, Alice, last winter so I know how wonderful they were to work with. I really admire how organized they were, especially when planning most of the wedding from Vancouver where they live. I also appreciated A Dream to Call Your Own Wedding Consulting for making the day run so smoothly. Bill Blyleven, a co-worker who I found in a pinch as a 2nd shooter, was a rock solid help and I was delighted to see how well his images fit in seamlessly with mine.
The perfect weather, awesome couple, beautiful scenery and killer guests made this a highlight wedding for me and I’m sure the photos reflect that.
After a week in England I took an 8 hour train up to Inverness in northern Scotland. Alison and Bobby Massie were wonderful hosts who took me into their home in Fortrose for my 3 day visit. Here are some photos from our day trip to Inverness, Loch Ness and the Clootie Well and my walk from Fairy Glen and along the Firth of Forth back to Fortrose.


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With the Christmas holiday arriving next week, it’s amazing that any new books will be shipped, but a few are on the way. Dick Wolf, creator of the TV series Law & Order, makes his fiction debut. Simon Garfield, whose book on fonts was a surprise hit, turns his attention to maps and the tie-in to a “zombie rom-com” movie arrives.
Wolf, the creator of the TV series Law & Order introduces NYPD anti-terrorism detective Jeremy Fisk, in this, his first novel, planned as the beginning of a series. Expect heavy promotion for this one. It is already connecting with booksellers, who put it on the Indie Next List for January. Prepub reviews were enthusiastic about the tense plot, but not so much about the writing or character development.
On the Map: A Mind-Expanding Exploration of the Way the World Looks, by Simon Garfield, (Penguin/Gotham)
Garfield fed the growing fascination with fonts in his book Just My Type. Now he turns to a subject with even more enthusiasts, cartography. Published earlier this year in the UK and in several university library collections, this is a “fully Americanized edition” (besides taking out all those pesky u’s, we’re dying to know what that means).
Warm Bodies: Movie Tie-in by Isaac Morton. (S&S/Atria/Emily Bestler)
Billed as a “zombie rom-com,” the movie is based on a book that was originally a self-published success. Set in America after a zombie apocalypse, it features “R,” a young zombie who communicates mostly via grunts and moans. His favorite food is human brains, which give him a side of memories. After eating the brains of a suicidal teen, R falls in love with the boy’s girl friend. One hitch; her father, played by John Malkovich, is the country’s leading zombie killer.
Official Web Site: WarmBodiesMovie.com


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Your brand is more than just your logo and color palette, so a brand refresh should be more than an exercise in graphic design.
Branding is the process of defining, conveying and maintaining your firm’s core value and differentiators. It’s about figuring out who you are, what you stand for, why your clients should care and then conveying in a meaningful and consistent way.
Great brands aren’t built without effort and intentionality. So if your firm has decided that the time has come to update your brand, it needs to be done with a strategic approach. Here are seven crucial elements that should be included in your firm’s brand refresh process.
One of the most important elements on the list, but the one that often gets skipped over or undervalued is research. Ask your firm’s senior leadership who you are and what makes you different than the competition and they’ll surely have an answer. However, their answer might not be the same as what clients, prospects or even employees would say.
That’s where discovery and research, conducted by third parties using qualitative interviews and quantitative surveys where appropriate, should be the starting point for a brand refresh process.
An important trait of a powerful brand is that it’s credible and authentic. In other words, it’s important that what you convey about your brand is consistent with what your clients and employees experience firsthand. Research should be conducted to understand how the market already views your firm, uncover what actual differentiators you possess, and look for overlap between the internal and external perspectives.
Before you update your brand platform, it’s important to understand the competitive landscape at a high level. If you want to look, sound and feel different than the rest of the pack, you need to know what the rest of the pack is up to — and do it differently.
Performing a competitive analysis helps you consider a number of important factors including (but not limited to):
Once you’ve conducted research and have uncovered your firm’s market perception and true differentiators, the next step is to craft compelling key messages that pinpoint your unique position in the marketplace. These messages should aim to reach your key target audience at both a rational and emotional level.
Your marketing does need to address basic facts of who you are and what you do, but don’t forget to talk about why you do what you do, how your approach is different (assuming it is) and how this ultimately benefits the client.
The end goal of branding is getting past the tangible attributes of your company and tapping into the emotional triggers of your audience by conveying intangible attributes—the why factor—that can’t be easily imitated by the competition.
The need for a distinctive visual identity can’t be overstated. If you sound different than everyone else through compelling brand positioning and key messages, it’s equally important that you also look different (and better) than everyone else too. Your visual identity — logo, color palette, styles, photography, fonts, textures and other brand elements — is foundational to conveying the essence of your brand.
Now, the extent to which a firm updates their logo will depend on their need and/or desire. A brand refresh doesn’t always involve completely redesigning the logo altogether—although sometimes it does. Think of a brand refresh as more of a facelift, leveraging existing brand equity while expanding the look, feel and messaging with fresh treatments and positioning.
Sometimes a brand update doesn’t even involve changing the logo; it may just involve looking for ways to explore new type treatments, color palette expansion, photography styles, messaging and other brand elements.
The most powerful brands not only have a great visual identity, but that identity is methodically reinforced across every single touchpoint. Brand standards are a set of guidelines for how the logo and brand elements will be used.
The guide will define specifics around the logo usage, including critical guidelines for size, positioning, margins and colors, as well as various “lockups” for all acceptable variations (color, black and white, horizontal, vertical, etc.) depending on placement and usage. It will also address colors, fonts, photography styles, graphic elements, messaging and other components that comprise your brand.
Having a brand standards guide that is strictly enforced throughout the firm helps to ensure consistency and will support strong brand recognition in the marketplace.
After you’ve established a new and distinctive brand identity system and developed brand standards to reinforce it, a communications audit is necessary to ensure that the new system gets applied consistently across every touch point.
Take an inventory of anything and everything that uses your logo and all the ways your company communicates to external and internal audiences (emails, proposals, website, signage, etc.). You’ll want to evaluate your current communications and create a punch list of all the items that will need to be updated as part of your brand refresh.
The last element of the brand refresh and one that is critical to the success of the process, is a plan for rolling out the updated brand both internally and eternally. You’ve invested time and resources, so you’ll want to generate excitement and build momentum with the launch of the new platform.
The specifics on the rollout will depend on the extent of the change from the existing brand. But it will be important to communicate to employees, existing clients and prospects the inspiration for the change, some details around the process and the essence of the new brand platform.
Ideally, everything that was identified during the communications audit will be updated to reflect the new brand. If there have been more than just minor changes made to the logo, it’s going to involve considerable planning to rollout, and may require a phased approach.
Having a strong brand that stands out positively in the minds of your target audience and differentiates your firm from the crowded sea of competition is the end goal of the brand refresh process. In order to ensure that you achieve that goal, it’s crucial to include these seven elements as part of your brand refresh process.

domain: design


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A timeline of Colombia’s 55-year rebel conflict
BOGOTA, Colombia (AP) — Key developments in the half-century of hostilities between Colombia’s government and the country’s largest rebel movement:
— May 1964: Rebel leader Manuel Marulanda, alias “Sureshot,” founds the Revolutionary Armed Forces of Colombia, known as FARC.
— Aug. 7, 1982: Government of President Belisario Betancur starts peace negotiations with FARC.
— June 1987: Tenuous-at-best cease-fire wounded when rebels attack kills 25 soldiers in southern Colombia.
— April 1991: FARC, along with fellow rebel groups National Liberation Army and Popular Liberation Army, sit down for talks with government delegates in Venezuela. Talks are later moved to Mexico.
— October 1992: Negotiations end with no agreement.
— August 1998: President Andrés Pastrana announces new peace effort with FARC. Sets up Switzerland-sized demilitarized zone in southern Colombia where talks can be held.
— Feb. 20, 2002: Rebels hijack plane and take captive a senator who is member of peace commission. Pastrana breaks off negotiations.
— December 2004: Undercover Colombian agents capture Rodrigo Granda, considered FARC’s “foreign minister,” in Venezuela and bring him to Colombia.
— Aug. 16, 2007: Venezuelan President Hugo Chavez offers to mediate between FARC and Colombian President Alvaro Uribe. Effort collapses a few months later.
— March 26, 2008: Top FARC leader Marulanda dies of natural causes after more than four decades fighting government.
— Sept. 22, 2010: No. 2 FARC commander and top military strategist Jorge Briceño, alias Mono Jojoy, killed by air strike.
— Nov. 4, 2011: Top FARC commander Gullermo Saenz, alias Alfonso Cano, killed in attack by military.
— Feb. 26, 2012: FARC renounces kidnapping for extortion and frees all military officers in captivity.
— Aug. 12, 2012: President Juan Manuel Santos announces new peace talks with FARC.
— Aug. 24, 2016: Santos’ government and FARC announce peace accord.
— Sept. 26, 2016: Santos and FARC’s top commander formally sign accord.
— Oct. 2, 2016: Colombian voters narrowly reject the deal. Many consider it too favorable to rebels.
— Nov. 24, 2016: Santos and FARC sign revised peace deal. A U.N. mission is larger appointed to oversee disarmament and reintegration of ex-combatants.
— Aug. 27, 2017: FARC begins process of turning itself into a legal political party.
— April 9, 2018: Authorities arrest a former FARC leader, Seuxis Hernández, known as “Jesús Santrich,” who is wanted in the U.S. on drug charges. The case strains relations between the FARC and government. Santrich is later released due to legal immunity as a congressman, but he disappears in July 2019.
— Aug. 2, 2018: The National Center for Historical Memory reports that about 262,000 people had died in six decades of violence in Colombia.
— Aug. 31, 2018: Government says former senior FARC leader Luciano Marin, alias Iván Márquez, has disappeared. U.S. officials reportedly had sought him on drug charges.
— July 3, 2019: U.N. Secretary-General Antonio Guterres calls on government to respect commitments to ex-rebels and says that the U.N. mission in Colombia has verified 123 killings of former combatants since the peace deal was signed.
— Aug. 29: Marin — “Ivan Márquez” — releases a video showing him with Hernández and other ex-rebels declaring they are again taking up arms, saying government failing to meet commitments.

domain: politics


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Save the date for our second annual Soulful Sunday: Celebrating African American Heritage
The festivities will include a vendor fair, food trucks, musical performances, a DJ playing plenty of good dancing music and activities for the young and young at heart!
3:00pm – S.A.L.T.: Saved And Living Testimonies
3:20-3:40pm – Soul Expressions Band
4:00pm – Worship and Praise Church Praise Team
4:20-4:40pm – Soul Expressions Band
5:00pm – Sparklz Cheer and Danz
5:20-5:40pm – Soul Expressions Band
5:40-6:20pm – Line dancing
6:20-6:40pm – Soul Expressions Band
6:40-7:00pm – Line dancing
DJ Brannu will play music between performances and provide music for line dancing.


While much of the country is all hopped up on green beer and pretending to be Irish, the Italian-American community is waiting for their own special feast two days later: Saint Joseph’s Day.
The story goes that during the Middle Ages, Sicily was in a severe drought. Sicilians prayed for Mary’s husband, Saint Joseph, to help. When rain finally arrived, the island’s residents held a feast in his honor.
The people of Sicily—a poorer area of Italy—made a humble yet delicious dessert the best they could: the deep-fried, cream-filled zeppole.
“Before Easter in the spring, chickens lay a lot of eggs. So the people, they had flour, they had eggs, they had oil,” says Gino Mozzicato, a Sicilian immigrant whose eponymous bakery has been making the dessert since opening in the ’70s.
“They say, what are we gonna put inside? Because on the farm years ago, they had milk to make fresh cheese, ricotta. So they mix ricotta and fill up the zeppole the way they can.”
Mozzicato’s begins taking orders for Saint Joseph’s Day beginning in February. While the traditional style is still made with ricotta cream, other flavors like chocolate and vanilla have become popular.
You’re not required to be Italian to try one, though it helps to be wearing red, the official Saint Joseph’s Day color.
Mozzicato DePasquale Bakery and Pastry Shop, 329 Franklin Ave., Hartford, 860- 296-0426, mozzicatobakery.com


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Stripes are always in, but especially this fall.ALL PHOTOS: TWENTY20
Feel that chill in the air? Here comes fall—and there goes your breezy summer wardrobe. Stylist Charlotte Jenkins, who works regularly with Drew and Jonathan, tells us the best men’s style trends for this fall and how to pull them off.
BUSINESS: POWER SUITING
How to wear it: Suits are updated in powerful prints, with pinstripes leading the way. There are more three-piece suits and double-breasted jacket options for fall, so layer up with a bold striped shirt and power tie. (Yes, you can wear a pinstripe suit with a striped shirt—just ensure the stripes are different widths.) Add another level of luxury with a long cashmere overcoat.
SOCIAL: ’70S COOL
How to wear it: Swap your summer suits for tailored blazers in retro corduroy, rich velvet, textured tweed, and herringbone fabrics. Pair those with dark denim or wear the matching pant for a head-to-toe retro vibe. Underneath, go for a micro-printed button-up shirt (get quirky with mini stars, florals, botanical prints, or polka dots) worn unbuttoned with no tie, and top it all off with a brown leather bomber or moto jacket with shearling collar.


High School Sports
- Scores & Schedule
|Piedra Vista, N.M.||16||19||15||12||62|
San Juan totals
Field goals: 29 Free-throws: 17 -23 (73.9%)
Piedra Vista, N.M. totals
Field goals: 24 Free-throws: 10 -20 (50.0%)
Logan Meyer recorded a double-double with 25 points and 11 rebounds, and Barkley Christensen added 25 points with six rebounds in the lopsided San Juan victory.
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LEAGUE legend Gorden Tallis has called out Aaron Woods as the man who needs to step up in the absence of Paul Gallen in Cronulla’s preliminary final against Melbourne on Friday night.
The Sharks confirmed on Thursday night that Gallen had succumbed to the shoulder injury he suffered against Penrith in their semi-final win.
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It leaves a sizeable hole in the team’s pack, but they’ve got plenty of experience to fill the void, with Tallis believing Woods is that man.
The 27-year-old joined the Sharks mid-season after a six-month stint at Canterbury and has so far played 11 games for the club, all off the interchange bench.
READ MORE NRL
LATE MAIL: Gallen out, Bellamy’s bench headache
SHOW ME THE MONEY: Munster weighs up Sharks move
SHOCKS AND LOCKS: Predicted Dally M Team of the Year
LIKELY TO PLAY: Greenberg won’t rush Burgess investigation
But it’s tipped Woods will come into the starting side at AAMI Park.
“There’s a lot of pressure on Aaron Woods,” Tallis told The Late Show with Matty Johns.
“He’s played at the highest level, it’s time for him to really stand up.
“He went from the Tigers, didn’t really find his form at the Dogs, he’s at the Sharks and this is the moment he repays them, I believe.
“(Andrew) Fifita’s got to stand up, all those guys have to play at their best
“But to replace Gallen, I think Woods has to come on and play a lot of minutes, and quality minutes.”

domain: sports


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Geodesic Dome Cabins
Geodesic dome cabins have become an interesting trend. Their complex shape made of triangles makes them a unique structure that has many more benefits than you’d think.
By being made out of a lot of triangles, dome cabins/houses are very strong and stable. Dome cabins don’t depend on interior framing like traditional homes/cabins do. A triangle is the only shape that will retain its shape which is why these structures are strong. Since these structures are strong, they do well against natural disasters such as, hurricanes, tornadoes, and earthquakes. The triangles interlock with one another and self-supports itself.
Images found on www.3dwarehouse.sketchup.com & Pinterest
Dome cabins are cheaper to build. This is because less lumber is needed to construct it. They can be assembled fairly quickly, making them ideal for those who want their home ready to go in less time. Dome cabins/houses are energy efficient and they can save you 30% or more on your heating and cooling bill. According to a source found on Google, “the interior shape causes either hot or cold air flows to occur that can be used to control the internal temperature, stabilize it and make it uniform, thereby eliminating potential cold spots. Due to this shape, it acts as a giant reflector towards the bottom part, reflecting and concentrating the heat on the inside, preventing further radial heat loss.” With the air flows being controlled and stabilized this saves you from always running the heater or air conditioner thus saving you money!
Image found on https://sites.google.com/site/dsdomes/conceptos
Geodesic dome cabins are perfect for the mountains. Their durability and shape help them withstand the mountain weather changes such as, snow, rain, and wind. We love the way they look in a rustic cabin style. Their complex shape against with the woods and mountains as their backdrop make them look even more amazing.
Images found on www.frommoontomoon.blogspot.fr, www.estately.com, Pinterest, & www.venuereport.com
Geodesic cabins/house are interesting structures but have a lot of benefits. What are your thoughts on them and would you live in one?

domain: geography


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Sounds Like: Professor Longhair, Louis Armstrong, Miles Davis, Louis Prima, Dr. John
Trumpet, Vocals, Accordion - Bill Averbach brings it home with Jazz, Blues, Cajun, and Gulf Coast music from the 20’s and beyond. When called, the flavor of New Orleans’ spicy Cajun influenced Blues and Mambo takes center stage surrounded by Brazilian Sambas, and World music.
Averbach has been p... See Full Bio
Bill Averbach and Bam-Jazz will be playing a free concer as part of the kickoff for the Arts Science Councils 2012 fundraiser. The band will be playing a mix of jazz, blues, cajun and original music featuring some of the best musicians in the region. Come on out and brown bag your lunch for some fine music.
Bill Averbach and Bam-Jazz Trio perform for the Stonecrest Summer Concert Series - jazz, blues, new orleans music and more...
Bill Averbach and Bam-Jazz performing free for the Stonecrest Summer Concert Series
Live music concert by Bill Averbach and Bam-Jazz playing jazz, blues, cajun, reggae, and more with a New Orleans feel

domain: entertainment


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There have been 243 new coronavirus cases added to Leicester’s tally today - the biggest daily increase the city has ever seen.
The previous highest daily increase was on October 30, when 176 cases were added.
Leicester has now seen 12,119 cases since the start of the pandemic.
Rates have also increased in all of the county’s districts and boroughs.
In Charnwood 99 new cases were confirmed.
Blaby added a further 51 cases to its total and numbers in North West Leicestershire increased by 42.
There were 41 infections detected in Hinckley and Bosworth and 31 in Harborough.
Both Oadby and Wigston and Melton added 17 new case to their totals.
The new cases, updated today at 4pm, mean that the total number of cases across the city and county since the start of the pandemic area by area are :
- Leicester: 12,119
- Blaby: 1,915
- Charnwood: 4,256
- Harborough: 1,257
- Hinckley and Bosworth: 1,595
- Melton: 650
- North West Leicestershire: 1,259
- Oadby and Wigston: 1,551
In other coronavirus news, a city medical centre has asked patients to stay away after a senior staff member tested positive for coronavirus.
The latest seven-day infection rates, area by area, are:
- Leicester: 360.2 cases per 100,000
- Blaby: 255.1 cases per 100,000
- Charnwood: 356.7 cases per 100,000
- Harborough: 178 cases per 100,000
- Hinckley and Bosworth: 188.3 cases per 100,000
- Melton: 177.7 cases per 100,000
- North West Leicestershire: 221 cases per 100,000
- Oadby and Wigston: 321 cases per 100,000
LeicestershireLive uses the gov.uk daily dashboard to track and report local cases and rates.
For the latest local coronavirus news, click here .