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I've been writing for a good long while, but this is my first attempt at a creepypasta. Any constructive criticism is welcomed. Thanks.
I’m not really sure how to start this, I’m only writing it because there’s a blizzard outside right now and I’m pretty sure I nearly got horribly murdered a few minutes ago. I guess I’ll start with some personal information, that makes sense right?
My name is Mia, I live in Colorado, have my entire life. I’m big on video games, once again, have my entire life. My dad bought an NES when I was two, and I grew up around it. I started playing it with him when I was old enough, you know, Mario (all three), Zelda, Contra (never beat it), Metroid, Final Fantasy, all the classics. We got a Super Nintendo the year after it came out, I was about nine, and I played the hell out of that for the next few years. During that time, I got into arcades too, Ghosts and Goblins, Centipede, the great titles of our generation or whatever. Whenever I could I would beg my mom or dad for quarters to go spend on games.
It didn’t occur to me at that age that besides two or three others, I was the only girl there. Well at least not until I hit puberty, when I noticed that saying I liked to play video games got me weird looks from my peers, no matter the gender. Apparently girls who play video games are an elusive species or some bullshit. It didn’t help that genetics were… let’s go with generous. So at age fourteen I started wearing a baseball cap and thick sweater or coat whenever I went for fear for being recognized. Yeah, I get that this is really stupid, but I’d just gotten into high school, quite possibly the most judgmental place on the planet, and there was no way in hell that I was giving up my games, so this was a happy medium.
That is until the arcade moved to the mall. The mall was across town, which meant I would need a ride, since I had just turned sixteen and didn’t have a car or a license. That meant someone could recognize my parent’s car and if that happened it was goodbye popularity and hello freak, nerd, and whatever other insults they would throw my way. I was a girl in high school, I didn’t need any more self-esteem problems.
So for a few months I had to content myself with the N64, not a terrible fate mind you, but there was an atmosphere about the arcade that I loved and missed so much, I felt anti-social sitting in my house and playing. But miracle of miracles, the empty building where the old arcade had been was bought and the new owner set up a new arcade. Finally I could do my gaming a bit more socially.
The first time I went there was the day after it opened. The place was called Adventure Arcade and it was run by a guy named Vince. He was a skinny guy, maybe early twenties, a bit pale, but he looked nice enough. There was already a crowd when I got there. He opened the door and welcomed everyone in, watching us all pass. I was the last one, and he had already gone back to his front counter when I entered, but no sooner had I stepped through the door did I hear “Oy, gamer girl.”
Of course he was talking to me. He was looking at me with a raised eyebrow. “Hat’s off, nothing to obscure the camera.” I started to protest but he cut me off, “No buts, you wanna play, lose the hat. And you might wanna ditch the coat too, AC’s a bit faulty.” I huffed angrily and took the hat off, letting my hair fall, I hadn’t thought to bring a ponytail since usually I got to keep the hat. I made no move to take off the coat though; that stayed. He shrugged and sat down. “Alright, now you can go.”
I guess I got why he made me do it, but that didn’t stop me from being mad. It didn’t matter too much, most people really didn’t notice, and the few who did didn’t really seem to care. Most of the well-known games were already taken and had lines, so I kept going, weaving through the labyrinth of people and flashing lights until I came to one that wasn’t in use.
The pale blue pallet of the art on it was inviting, depicting a lone warrior in fur-lined armor against a horde of creatures in a snowy wasteland. The biggest of which being something that the blizzard was obscuring and all you could see were the glowing red eyes. My interest was piqued and I walked up to the front. The instant I got to it, I shivered a bit, even in my coat. I thought Vince had said the AC was broken, it was working just fine here. Whatever.
The machine was only one quarter to play, but rather than just “insert one coin” the game said “Ante up (1) piece”. I put in a quarter, and the opening screen came up. The text blurb at the beginning started scrolling.
If you are reading this, then it is too late for you to turn back, and your life is on the line. It was the moment you entered. I’m here to help you, but you have to help me too. You’re in control, but I’m the one who can fight. So keep me alive, and I’ll do the same for you.
Fourth-wall breaking that stayed serious, I liked it. It showed the controls until I hit a button and it sent me to the opening screen. The game wasn’t hugely detailed, but I could definitely tell what everything was, my character was a small sprite on the left, it was kind of Zelda-ish in a way from the controls and view. There was a button for a ranged and melee attack and the joystick moved me as well a third button that gave me a kind of roll. The enemy sprites on the left were pretty good, there was a wolf, and evil looking snowman, and a white spider. All three were moving towards me.
The sound in the game was amazing. There must’ve been speakers all around the area for it, because it seemed like I was in the place of the character. The twang of the bow or the swing of the sword sounded almost real, and the entire time rather than music there was this ambient wind that gave it a really creepy feel, I loved it. As the wolf got closer the speakers in front of me played the sound of it running through the snow. With a twang of the bow it got hit and went down with an obviously simulated whimper. I killed the spider the same way, hearing a squishing sound from it as it died. The snowman got pretty close, and the speaker in front of me played the sound of it sliding pretty loudly. The increase in volume made me jump a little bit and I pressed the melee button, the sword swung out and the snowman went down, giving this weird sighing sound.
With the monsters dead I moved to the next screen. The speakers behind me played a faint roar that sounded like it was a long way in the distance. It made me jump and glare backward, even though I couldn’t see any of the speakers, it was a bit dark. The next screen held a few more wolves, all of which I took out with the bow with three more satisfying yelps. The screen started having little white snow pixels come down and a message appeared.
It’s not heavy now, but the snow can warn of the great beast Gelzin’s approach. Run away from him, as he cannot be killed.
I kept that in mind and continued. After a few more screens I got a new enemy, a yeti. It moved faster and took two arrows rather than one. It also had this heaving sound that it made when it moved that sounded really freaky, it was like these big, lunging steps through the snow. I took it down, and found no other creatures on the screen. I moved on.
The next screen had the snow getting a bit thicker, and the terrain was getting more elaborate, it wasn’t just flat snowy ground anymore, there were risen spots, with stairs leading up, reminding me once more of Zelda. There were a few spiders, a wolf, and a yeti, all of which were moving in their normal patterns when they didn’t see me. Before I could do anything, another message popped up.
“We need to get away from the mountain fast, Gelzin is coming down and as long as we’re in his territory, we’re not safe.”
So the goal was to escape the faceless evil by rushing away from a mountain where it lives, made sense. I moved forward and the wolf came toward me, it got closer this time than before, and I heard the sound of panting from the front speakers. I killed it and smiled, I had no idea who made this game, but they went all out on the sound design, and the combat was pretty fun too, if a bit too Zelda-y.
I took out the spiders with the arrows and went to kill the yeti with the sword. I rolled back right afterward and avoided a swipe of its arms pretty narrowly. The wooshing sound in front of me was loud… almost too loud. My ears rang a little from it, and I could almost feel the speaker’s boom, it wasn’t a terrible feeling, it added gravity to the attack. I swung the sword and killed it, and there was a squishing sound with it, probably only programmed to come up when you killed it with the sword, that was cool.
Next up was a larger group; three snowmen, two wolves, and three yetis. They all saw me immediately and I started shooting arrows. The wolves went down, but the rest were too close. I hit one of the snowmen with the sword right before it hit me, and I felt the AC kick up for just a second. The cold air shocked me, but didn’t stop me from playing, I muttered a quick complaint and kept soldiering on.
I took out the last snowmen and started attacking one of the yetis. While I was doing that the other came up from behind and tried to take a swipe. I rolled and dodged it, but this time something was weird. Maybe it was the AC again, but I felt another blast of air along with the swishing of the claw. Now I’m prone to losing myself in a good game (which this definitely was) but I still feel weird saying that it felt a lot like something just missing a swing at my back. Maybe I was getting too into this. I shrugged it off though, this was way too much fun to stop. The yetis went down and I moved to the next screen.
The snow was getting even thicker now, not obscuring my vision though, the wind looked like it was picking up too. The trees in the background were waving. Another text box came up.
Gelzin is getting closer, even the monsters from the mountain are running from him. They might come from behind me, be ready in case that happens, alright partner?
As if to punctuate it, the roar that I heard before sounded again behind me, still faint and distant, but getting closer. I don’t know why, but that sound unnerved me, the sound design in this game was still fantastic, and I know it was supposed to do that, but I wasn’t sure how much I liked it now. It was still fun, don’t get me wrong, but I was getting a weird feeling in my stomach, and it was really cold now. “AC’s a bit faulty” my ass.
The next screen introduced me to a polar bear, big son of a bitch with a bloody mouth. I fired arrows at it, hitting it three times, but it still didn’t go down. I rolled to the side to avoid its charge, then hit it with my sword. It finally went down, giving a roar, snow came up from the impact and I got another blast of cold air for my trouble.
I looked back at the screen just in time to see a wolf lunge for my guy. I moved him to the side as quickly as I could and just barely dodged it. A woosh brushed passed my side from the front and I shot the thing, cursing under my breath… wait a minute. That had come from the front, from the arcade machine, there wasn’t a fan there, or even a vent for one, at least as far as I could tell. I could’ve just imagined it… maybe? Okay I’m making up excuses by this point, but the game was fun, sue me.
I played through the next few screens, occasionally encountering a second wave of enemies from where I just was. Along the way more monsters were set up, I didn’t get a sixth enemy type sadly, and the trees got more animations, showing the wind was picking up. Every once in a while, the ambience would be split by the roar of Gelzin, who was definitely sounding a lot closer. The snow seemed to get darker too; at first it was barely any change, but it was turning gray, along with the environment. Oh, and Vince is a dirty liar, I don’t think I need to say anything more than my coat didn’t feel like enough. I was practically shivering.
Another thing this game did really well to build up this Gelzin thing. I barely knew anything about it, but there was this feeling of dread about the way everything changed as it got closer, if that thing caught up to me, I was dead. Just the idea of it getting closer to me was enough to spur me into combat on screen after screen, and the fact that more monsters took longer to kill made me nervous just from lack of progression. Up until the gray snow I had been confident I could beat this game long before it caught up, but now, I wasn’t so sure. Just how many screens were there anyway? Was there an end to this game, or did you just go until you died or he caught up?
Then, halfway through the next screen, he stopped. The character just stopped moving, no matter what I did with the control stick, he stayed where he was. He slowly turned pale, and the gray snow got heavier and heavier and heavier, until all I could see was his silhouette in the blizzard. I could hear the wind all around me now, like I was the one in the blizzard, freezing to death. It was not a good feeling, and I wasn’t having fun anymore. I was cold, and I could barely hear anything but the roaring wind from the speakers around me,
Oh, but I could hear the roar, I could definitely hear the roar. Especially because it sounded like it was right behind me. The thing came onto the screen, ten times the size of the polar bear. All I could see was a silhouette, long, gangly limbs, sharp claws, and two jagged horns. The sound of its huge footsteps came from the back speakers, as did the sound of its breathing. I was so cold that I could barely stand, I brought my arms away from the controls, feeling the hopelessness wash over me. The combination of the sound and cold, it was too well done, it was too real. The feeling of cold breath on the back of my neck, there was something standing behind me, I knew it, Gelzin was behind me, about to kill me, not the character, me. I was a freshman in high school, my whole life supposedly ahead of me, and I was about to die.
The huge figure on the screen finally moved again, it had just been standing behind the character, breathing heavily. It reared its head back, took in a huge breath, and let loose the familiar roar at a deafening volume. My ears screamed with pain and the temperature made me feel like I was going to freeze to death. The figure raised its arm like it was going to impale the character, impale me. Just as the claw went through my characters sprite, a hand came down on my shoulder.
I screamed, I’m not afraid to say it. I screamed like a (for lack of a better term) little girl. The hand drew back for a second before it and another one grabbed my shoulders tightly and held me. “’Ey, ‘ey! Gamer Girl, calm down, calm down!” The familiar voice drew me out of my hysterics. It was Vince, the guy who owned the place. He wore a concerned look on his face. “Christ kid, you gave me a heart attack.” He said with a wry smile, then shivered. “Jesus, what’s with the temperature?” He looked up at the vents. “Well that would explain why nowhere else was getting any air, it was all over here. Must’ve felt like the freaking tundra.”
I looked up at him, tears falling from my eyes. “You have no idea.” I said shakily. I looked back at the screen. It was a simple game over screen, just showing a big mountain with a cloud around the peak. It was asking for three letters to go with my score.
Vince looked at me, “Gonna put something in?”
I shook my head. “No thanks.”
“Then I will.” He said with a smirk. “Gmg, gamer girl.”
“Yeah I get it.” I said shortly.
“Well then I think you might want to get heading home.” He suggested, sweeping his hand across the now empty arcade. How long had I been playing that game? Vince and I walked toward the entrance, and I finally piped up.
“Hey, what’s with that game, the one I was playing? How much work did it take to set up at that surround sound thing?”
He gave me a weird look. “Surround sound, what are you talking about? I don’t have that kind of money.”
“But everything in that game, it sounded like it was all around me, like I was there.” I pressed, there was no way I had imagined all of that there had to be speakers all around me, that’s the only explanation I had.
“Kiddo, nothing like that in here.” I was about to protest, but once more, he cut me off, “Believe me, I would know, I own the place.” We stopped at the entrance, and I knew right there that I didn't want to go out there, not after the shit I'd just gone through, adding the fact that I might've hallucinated it all. “How far do you live?” He asked, suddenly looking stern.
“A few blocks, why?”
“Because you’re walking home alone at about 9:30 at night, and I don’t think that’s a good idea. If it’s alright with you of course, I can walk you home.”
I took the offer of course. I stayed silent, still trying to work out what had happened in my head. It had to be multiple speakers, there was literally no other explanation. Was Vince just trying to freak me out or something? We got to my house pretty quickly, and he stopped on the front walk. I had one last chance, so I tried a final time.
“Are you absolutely sure that there is no way that game makes it feel like you’re actually on some freezing mountain being chased by that… thing?”
He chuckled and raised an eyebrow at me. “I never said that.”
I’m a junior in high school now, and I’ve never gone back to the Adventure Arcade. I also stopped wearing my hat and coat and went to the one at the mall. Sure I get a joke about me now and then, but I don’t care, after whatever the hell had happened that day, I usually just laugh it off without a second thought. I do usually find myself in a bad mood during winter, I have this big abhorrence to the cold now, I think we all know why. The roar stuck with me too, I still hear it sometimes actually. Of course it’s at night, when no one else is around; when else, right? I joke about it, but when it actually happens, I’m sprinting from sheer reflex. Luckily it’s always distant, except for winter of course, when it’s snowing. You know, like it is right now as I’m typing this.
Like I said a the start, it's a blizzard, and I got caught outside during the thick of it. I heard, and as I was trudging toward my house as fast as I could, I know, I fucking know, that I saw something out in that haze, something big.


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domain: library


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Your first restaurant challenge and it was a buffet?! You don't mess around, do you? Seriously, that is just wonderful, you must be so proud of yourself. That certainly is a WooHoo accomplishment. Keep up the good work!
Fitness Minutes: (13,468)
10/18/12 7:37 P
I succeeded in staying in control during my first real restaurant challenge, a trip to a Chinese buffet and BBQ. I only went to the BBQ and skipped the buffet. I had one plate of vegetables with some lean protein. One plate was satisfying! I stuck to a half cup of ice cream for dessert and tracked my calories within my range for the day. I think this is the first time ever I've had one plate at a buffet, but will not be the last!
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domain: food


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Air Fryer Quiche is an easy breakfast quiche recipe that's loaded with spinach, eggs, and parmesan cheese. It's baked in your air fryer basket in less time than it takes to make a traditional quiche in the oven!
A Versatile Dish
- Most quiche recipes require heavy cream, cheddar cheese, and a pie shell or puff pastry crust. But, this light and crustless quiche is a welcome addition to your morning routine.
- There's no formed dough to worry about or heavy ingredients. It's one of those air fryer recipes you'll be making over and over again.
Quick & Easy Prep
One of my favorite things about this delicious air fryer quiche is you can make it ahead of time! Mix the ingredients the night before and refrigerate. Pour the quiche filling into a tart pan or ceramic quiche dish.
Pop it into the drawer of the air fryer when you wake up, and in 25 minutes, breakfast is waiting! Or, enjoy it for dinner with my Strawberry Pecan Salad.
With a short cooking time and gluten free ingredients, this easy quiche recipe is protein-rich and makes a healthy keto dish.
You can serve it as a mini quiche or cook it in a large bowl, silicone muffin cups, or cake pan. It's one of those delicious recipes that's great for week days or a special occasion.
- large eggs - bring to room temperature if possible
- frozen chopped spinach - thawed and drained
- shredded parmesan cheese - be sure to use shredded and not grated
- sour cream - full fat sour cream works best in this recipe
- onion powder - flavor without the bulk
- garlic salt - enhances the egg and cheese
- dried parsley - adds a hint of color
1 - Add eggs, cheese, sour cream, onion powder, garlic salt and dried parsley in a large mixing bowl.
2 - Whisk eggs together with other ingredients.
3 - Fold in spinach and stir well.
4 - Pour egg mixture into an oven safe dish or pan that fits in the basket of the air fryer. It should be sprayed with cooking spray before adding egg mixture.
5 - Wrap bowl with parchment paper or aluminum foil and set cooking temperature to 325 degrees for 25 to 30 minutes. Eggs cook better at a lower temperature.
6 - Check every 5 minutes to ensure it is cooking properly and not over browning. There should be no liquid in the middle when done.
*TIP* Air fryers cook differently, so yours may need more or less time depending on the size and depth of your dish.
7 - Let rest for at least 10 minutes before serving.
Homemade Quiche Ideas
Using the air fryer is a great way to create easy breakfast meal prep. Making a crustless quiche, or frittata, is simple and fun!
Here are a few ideas on how to create your own special homemade recipe...
- Quiche Lorraine - bacon, shredded cheese (gruyere or white cheddar), onion, black pepper, nutmeg
- Veggie and Cheese Quiche - roasted vegetables, chives, feta cheese, tomatoes, leftover potatoes, mushrooms
- Broccoli Quiche - broccoli florets, cheddar cheese, red peppers, onions
- Meat Lovers - ham, sausage, bacon and havarti cheese
Storage and Reheating
- Store leftover quiche in an airtight container in the refrigerator for up to 3 days.
- Reheat leftovers in the microwave for 30 to 60 seconds until warmed throughout.
- To reheat in the air fryer, set temperature to 390 degrees for 2 to 3 minutes.
Use a knife and insert it slightly off center. If it comes out clean, it's set. If it's watery or anything clings to the knife, it needs to be cooked longer.
If you have a fluffy egg filling, it will turn out perfectly every time. My trick to making the filling fluffy is to add sour cream instead of heavy cream. It adds richer flavor and creates a very creamy custard.
You can wrap your dish with aluminum foil or parchment paper to prevent it from getting too brown. Be sure to remove the foil or parchment paper during the last 5 to 10 minutes of cooking to achieve a golden brown crust.
- Air Fryer Whole Chicken Wings
- Buffalo Chicken Meatballs
- Air Fryer Chocolate Cherry Cobbler
- Quiche for One
- Meat Lovers Quiche
Air Fryer Quiche
*See notes in blog post for detailed tips, photos and instructions.
- 4 large eggs
- 1 cup parmesan cheese (shredded)
- ½ cup sour cream
- ½ teaspoon onion powder
- ½ teaspoon garlic salt
- ½ teaspoon dried parsley
- 1 cup frozen chopped spinach (thawed and drained)
- Add eggs, cheese, sour cream, onion powder, garlic salt and dried parsley in a large mixing bowl.
- Whisk eggs together with other ingredients.
- Fold in spinach and stir well.
- Spray oven safe dish or pan that fits in the basket of air fryer with cooking spray.
- Pour egg mixture into an oven safe dish.
- Cover and seal dish with aluminum foil and set cooking temperature to 325 degrees for 25 to 30 minutes. Pierce foil with a fork to allow steam to escape. (Eggs cook better at a lower temperature.)
- Check every 5 minutes to ensure it is cooking properly and not over browning. There should be no liquid in the middle when done.
- Let quiche rest for at least 10 minutes before serving.
- All air fryers cook differently. You may need more or less time depending on the dish you choose and how deep it is.
- Flat and shallow dishes are a better choice because they cook quicker and ensure the middle will set. If you divide this recipe into individual 4 inch ramekins, they will cook in about 15 minutes.
- Be sure to cover and seal your dish with aluminum foil before cooking to avoid over browning.
Nutrition info is an auto generated estimate.


MiniLCD Handheld Remote
An ergonomic handheld RF or IR wireless remote with customizable LCD display, 5-way thumb pad, and an intuitive array of pushbuttons.
The ML-600 MiniLCD is a handheld wireless remote that features a customizable LCD display, a 5-way thumb pad controller, and an intuitive array of pushbuttons designated for a variety of common AV functions. But, Crestron® designed the ML-600 to go beyond conventional home theater and AV system control, extending domain over lighting, climate, security, and more as part of a complete Crestron system. Its compact size and ergonomic design offer easy one-handed operation.
The large, easy-to-read LCD screen supports the creation of numerous pages of custom functions and favorites, all executable using a set of ten corresponding menu buttons. Three additional buttons are included for fast menu page selection. Any of the ten functions, or "Groups" provided on the Main menu page can be assigned to access up to four additional Option pages. Additionally, up to 5 pages of Favorites can be configured.
Adjustable LCD contrast and switchable electroluminescent blue backlighting ensure optimal visibility in a range of lighting environments. While drawing very little power, the menu commands remain active and ready on the screen at all times. When battery levels are low, a "Low Battery" message is displayed while pressing the Power button allowing for timely replacement of batteries. Non-volatile memory ensures that programming is retained when batteries are low.
The buttons on the ML-600 feature a glossy, domed, firm rubber treatment with a sleek translucent appearance and secure tactile response. Backlighting of every button facilitates control in a darkened room. An optimized button layout enables easy access to every system function, with 27 programmable buttons labeled for power, volume, mute, channel selection, transport control, and numeric entry.
The ML-600's intuitive 5-way thumb pad with discrete center select button affords effortless cursor control for navigation of onscreen menus and other functions.
RF and IR Wireless
Proven Crestron RF wireless technology affords an operational range of up to 200 feet with complete freedom of movement. Long-range 418 MHz 1-way RF communication enables compatibility with any Crestron control system via the CNRFGWA-418 gateway. The ML-600 is also ideal for use with a Crestron MC2W Integrated Wireless Control System.
This product may be purchased from an authorized Crestron dealer. To find a dealer, please contact the Crestron sales representative for your area. A list of sales representatives is available online at www.crestron.com/salesreps or by calling 800-237-2041.
Crestron and the Crestron logo are trademarks or registered trademarks of Crestron Electronics, Inc. in the United States and other countries. Other trademarks and trade names may be used in this document to refer to either the entities claiming the marks and names or their products. Crestron disclaims proprietary interest in the marks and names of others. ©2011 Crestron Electronics, Inc.
Last Updated: Apr 8, 2011


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Do you like going to Italy? Well soon you can combine that with a bit of LEGO retail shopping, as soon there will be a LEGO Certified store in the country. The LEGO Group announced that it has signed with Percassi the agreement for the opening of the first store LEGO certified shops in Italy . The first will be open by the summer of 2016, in the new shopping center in Arese , near Milan .
It will be the first in a series of shops, managed by the business company Percassi , which will be opening in the coming years throughout the country. So what is a LEGO Certified Store?
An LEGO Certified Store (LCS) is not owned by The LEGO Group or LEGO Singapore but managed and operated by a third party under agreement. An LCS is a store that is designed by The LEGO Group, and adheres to all the store fit-out and experience guidelines as laid down by The LEGO Group. All its fixtures and furniture are exclusively designed by The LEGO Group.
It offers the following unique features that inspire and develop the builders of tomorrow through creative free play and developing the imagination :
- Pick-a-Brick wall (PAB) – a custom-built fixture with cylindrical canisters filled with LEGO bricks and elements where shoppers can hand-pick and select what they need to build something based on their own design and imagination.
- Fully assembled LEGO sets in a “Brand Ribbon” around the circumference of the store to inspire LEGO fans.
“The Living Room”, the interactive play area that’s prominently positioned in the centre of the store to give children a “hands-on, minds-on” experience with LEGO bricks.
- Exclusive LEGO sets available at the same time as their release in normal brand owned stores.
Thanks to Andrea founder of www.mattonito.com, the leading Italian language site for LEGO news for telling us about this.
Founder of Brick Fanatics. I'm Richard Hayes a 34 year old runner based in Sheffield. However I'm better known as the Mohican Runner due to my very distinctive hair style. I've gone from 20st to a runner, I've raised over £1.3 million for charity by doing various running challenges.
I'm supported by Absolute360,SockMine and Tribesports.
Currently I have a 17:20 5k PB, 36:02 10k PB, 81:11 HM PB & 3:08:24 for the marathon.
You can find me on my blog http://mohicanrunner.co.uk

domain: design


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Plenty of innovative beauty products have already hit the market this year. There are makeup sponges that resemble bra-inserts, color-changing nail polish and my personal favorite, eyeshadow palettes that feature built-in brush cleaners.
In fact, the idea is so good it got me thinking about whether there was a way I could add a built-in brush cleaner to my existing palettes. It would be incredibly handy when travelling, as I wouldn't have to take multiple eyeshadow brushes with me. Not to mention, it would also cut down the time I spend in front of the mirror attempting (and often failing) at an intricate smokey eye. Vera Mona Color were one of the first beauty brands to release a built-in brush cleaner. So, I used their Lotus Palette as inspiration for creating my very own DIY.
In the palette, the brand have attached a small strip of material that you can sweep your brush against to clean off any eyeshadow pigment. Taking note of last year's popular hair donut cleaning hack, I used the fabric of the hair tool to replicate this strip. It's incredibly easy to do, takes mere minutes and, best of all, works just as well as the real deal.
Fancy trying it out yourself? Here's what you need to do.
What You'll Need
To add a built-in brush cleaner to your eyeshadow palette, you'll need the following:
- Eyeshadow Palette
- Hair Donut
- Glue Gun
1. Clean The Eyeshadow Palette
Start by cleaning the eyeshadow palette with makeup wipes. Ensure that there's no loose pigment on the packaging, paying special attention to the area you plan on sticking the built-in brush cleaner too.
I rarely use the brush-storing section in my palettes, so decided to attach the cleaner there. But, if you do use it, or if your palette doesn't have one, you can mark out a small section on the front or back of the casing.
2. Cut Small Insert Into Hair Donut
Next, cut a small insert into the hair donut. You want to make sure that it's roughly the same size as your fingers, as the next step involves pulling apart the fabric and slowly unravelling it.
4. Unravel The Netting
Now you have the insert, begin to unravel the donut. The aim here is to break apart the layers until the material comes loose. As you do this, the hair tool should slowly lose it's shape.
5. Continue The Process
Repeat the insert/unravel process until the donut begins to resemble something like the GIF above.
6. Measure And Cut
Now you have the material, measure it against your eyeshadow palette. If you're adding a built-in cleaner to the brush-section of the palette, cut a long strip. Alternatively if you're using the front or back of the packaging, cut out a square or rectangle.
7. Glue The Area
Now, apply a small layer of glue to the area you plan on adding the cleaner too. Personally, I recommend using a glue gun for this, as it dries instantly and the glue is a lot stronger than standard craft-store buys.
8. Apply Material
Once you've applied the glue, let it sit for a moment until it's tacky. Now, apply the fabric and slowly push it in place with your fingers.
9. Let It Dry
After you've glued in the material, wait a few seconds until the palette is completely dry. If you're using a shallow eyeshadow palette, this is also a good stage to test whether you can open and close it.
10. Try It Out
And there we have it, your palette now features a built-in brush cleaner. It's now time to try it out. After adding a cleaner to some of my smaller palettes, I decided to create one for my Urban Decay Naked 3 Palette. I usually take it with me when I'm travelling, as there are so many different options and many of the shades are multi-purpose and can be used on my eyebrows or as a highlighter.
To test how well the built-in cleaner works, I decided to swatch one of the darkest shades in the palette. It's one that I often use to create a smokey eye.
Typically, if I wanted to build on this and add a lighter color to my eyes, I'd have to use a different brush. But thanks to my new brush cleaner, all it takes is a few sweeps across the strip of fabric and, voila, the same brush is now completely clean and I can use it to apply a new eyeshadow shade.
Overall, I'm incredibly happy with how the DIY built-in brush cleaner turned out. It works great and I'm definitely planning to add more to the rest of my makeup collection.
The idea of a built-in cleaner is so simple, yet incredibly useful. It's something I'd love to see from more beauty brands in the future. Fingers crossed, it'll happen very, very soon.
Images: Emma Matthews

domain: artistic


- 13 Sporting Goods Companies From The 90s That You've Completely Forgotten About
- Them's Fightin' Skinny Jeans: Larry Sanders Gets In Club Brawl, Throws Bottles
- Report: Jameis Winston Is Not Going To Be Charged With Sexual Assualt
- Sad Indiana Fan Watches Her Beloved Hoosiers Lose To 'Cuse, Sans Clothing
- Column: Because Of Messi, Cristiano Ronaldo For Golden Ball
And Now, David Beckham As A 21-Year-Old Scoring A Ridiculous Goal From Midway Line
David Beckham had only made his Premier League debut a year earlier as a 20-year-old when he scored this goal for Manchester United, firing a shot from midfield that went over the head of Wimbledon goalie Neill Sullivan. Beckham announced his retirement today.
It was the first day of the 1996-97 season, according to Business Insider, and look at that hair.
That’s the same year, by the way, that Victoria Adams, also 21, was dubbed Posh Spice by the British press.
- Weigh-in Has Alien, Short Cake, Kick-Ass Threats
- Teila Tuli Heartbroken 20 Years After UFC
- Robert Duran: Pacquiao Still Dangerous
- Smartest Fighter in UFC?


“Europe’s Greece problem, which brought the euro area to the brink of a breakup in 2015, is back in the headlines,” says Jeromin Zettelmeyer, economist at the Peterson Institute for International Economics. And so is also the issue whether Greece can succeed without more debt relief.
“Greece needs indeed more official debt Relief,” says Zettelmeyer exploring ways how this could be delivered.
“The good news is that this includes options within the political and legal red lines drawn by European finance ministers last year, which rule out outright debt forgiveness. The bad news is that these options will nonetheless raise formidable political challenges, as they imply that, in one way or another, Greece will owe debt to its European partners for a very long time. Indeed, under some options, Greece’s official debts would rise substantially before they fall again.”
Excerpt from the PIIE working paper “Greece Needs More Official Debt Relief—But How Much and at What Price?” by Jeromin Zettelmeyer, Eike Kreplin (German Federal Ministry for Economic Affairs and Energy) and Ugo Panizza (Graduate Institute, Geneva).
“In a report released on February 7, 2017 (link is external), the IMF argued that Greece’s debt is “highly unsustainable” and called for deep debt relief involving all official creditors but itself. Two days later, Klaus Regling, the managing director of the European Stability Mechanism (ESM), responded (link is external) that if Greece fully implemented its ESM-supported reform program, debt sustainability could be “within reach,” and that in any case, Greece’s euro area partners had pledged additional debt relief at the end of the ESM program, should there be a need for it. If anything, these two statements understate the underlying disagreements. While European institutions, including the ESM, have long advocated some degree of additional debt relief for Greece, a number of creditor countries, led by Germany, remain unconvinced. German Finance Minister Wolfgang Schäuble has repeatedly stated (link is external) that if only Greece undertook meaningful structural reform, it would not need debt relief.
Who is right? Our paper seeks to provide an indepth answer based on state-of-the-art debt sustainability analysis and an empirical analysis of the international experience with protracted fiscal adjustment. We arrive at three main results.
First, Greece does indeed need extra debt relief, and quite a lot of it. While one can write down fiscal adjustment and growth assumptions that would make Greece’s debts sustainable, Greece is not likely to conform to these assumptions. Under any scenario that is consistent with typical—rather than exceptional—advanced and emerging-market country behavior in the past, Greece will need more debt relief.
Second, the measures that Greece’s European partners have said they would conside (link is external)r when deciding whether to grant debt relief could in fact be enough to deliver the debt relief needed—but only if they are taken to an extreme. In particular, Greece would likely require both extensive maturity extensions and interest deferrals relating to its €131 billion debt to the European Financial Stability Fund (EFSF), the ESM’s precursor. The interest deferrals imply that Greece’s debts to the EFSF would be growing for a protracted time in the range of €100 billion or more for several decades before they start declining. This would be very difficult for the European creditor countries to accept.
Third, there are possible solutions to this dilemma. They include extending debt relief to other types of official debt, such as the €53 billion “Greek loan facility,” a vehicle based on bilateral euro area government loans to Greece used in Greece’s initial 2010 bailout. Another approach would be to attempt to reduce the EFSF’s long-term funding costs, with the savings passed on to Greece under euro area rules, through operations that attempt to lock in today’s low interest rates.
Yet another approach would be to combine the debt relief measures envisaged by the Eurogroup, except for EFSF interest deferrals, with continued financing of Greece through the ESM. From the perspective of both saving Greece money and reducing the scale of required debt relief, this approach would make a lot of sense, as it would avoid borrowing from the private sector at a time when doing so is still very expensive for Greece. But it would also require a fourth, and possibly fifth, sixth, and seventh ESM program, for which there is very little appetite both in Greece and in the Eurogroup.
To summarize, Greece’s debt problem can be solved. Not only can it be solved, but it can be solved within the broad political and legal red lines laid out in last year’s Eurogroup statement, namely, that “nominal haircuts are excluded, and that all measures taken will be in line with existing EU law and the ESM and EFSF legal frameworks.” But finding an adequate solution will still be politically very difficult, and it may require considering options beyond the measures that the Eurogroup has publicly put on the table so far.” (full analysis PIIE)
The problem lies elsewhere. The Germans, who dominate the Eurozone and the ECB, have specific policy targets which aim at the destruction of the economies of the South. Candidate countries for destruction include Italy and France, in an effort to diminish their ability to produce and to export. Without national currencies as a regulating mechanism for exports, the (ridiculous) architecture of the Euro and the crisis magnify surpluses and put deficit countries at a permanent spiral of decline. This is why the Germans want to perpetuate the crisis for as long as possible. Greece is the bad student on whom to try the “punishment” and a perfect way to make an example. The ultimate target of the Germans is the extension of the memoranda regime to Italy, France and Spain, which will render them as the new China for the purpose of cheap production under German ownership and control.
Any meaningful debt relief for Greece would send the wrong message and would jeopardise the plans for total economic domination of the South. Under this point of view, there is no way the Germans will allow any debt relief for Greece. They are not conventional lenders, they are predators. They are not interested in getting “their money back” as many ignoramuses claim. They consider the money as a good investment towards their target. And, according to their elites, this target goes through the complete destruction and annihilation of Greece and its people. It has also been suggested that at the final stages of the plan, and once all vital economic structures of the South have been destroyed, Germany will abandon the Euro and reap the benefits of an appreciating new Mark. This will allow it to buy the entire South at peanut prices and to transfer all its production there.


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The official Reba McEntire website featuring music, tour dates, merchandise and more
We would like to show you a description here but the site won’t allow us.
2.1m Followers, 128 Following, 2,068 Posts - See Instagram photos and videos from Reba (@reba)
REMASTERED IN HD! Celebrate the 30th anniversary of Reba’s "Rumor Has It" album featuring two bonus track versions of her signature hit “Fancy” – a new live ...
Reba may refer to: Reba McEntire, an American country musician and actress Reba, a sitcom featuring her; Reba, one of her albums; Reba: Duets, another one of her albums; Reba (Midianite king), in the Hebrew Bible; Reba Rambo, a Christian music singer and songwriter; Reba, the mail lady from Pee Wee's Playhouse "Reba", a song by Phish
Music video by Reba McEntire, Kelly Clarkson performing Because Of You. (C) 2007 MCA Nashville, a Division of UMG Recordings, Inc.
On March 28, 1955, Reba Nell McEntire was born in McAlester, Okla., to Clark Vincent and Jacqueline Smith McEntire. The third of four children, she was raised on her family’s 8,000-acre family ranch in Chockie, Okla., and travelled frequently to watch her father compete at rodeos.


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Selkirk First Nation, Pelly Crossing (Northern Tutchone)
This project began December 2013 and ran for one year. There was one master and two apprentices learning together 15-20 hours/ week. Apart from the classroom setting, they would go out on the land together setting snares and fishing at fish camp. They would also sew and bead together in the language. All participants had fun despite the challenges and report that they improved a great deal in the language. All are pursuing further education in the language. The panel and community is pleased with their progress.
Tr’ondëk Hwëch’in First Nation, Dawson City (Hän)
This project began December 2013 and ran for one year. They had one mentor and two adult apprentices learning the language 15 hours/ week. They greatly expanded their vocabulary; however, they did not have a language panel to record their progress and give feedback (they do not have enough fluent speakers for a panel). The challenge was that the apprentices had work responsibilities and felt that the program would be more effective if they had more time to focus just on speaking the language.
Ta’an Kwäch’än Council, Whitehorse, (Southern Tutchone)
This project began December 2013 and ran for one year. There were two master speakers, and a few apprentices. The apprentices became very advanced, and the teaching plan had to be adjusted. Master and apprentices met daily from 10 am -1 pm. The masters performed daily assessments on students, and another fluent speaker was brought in for a panel. The participants felt more funding for field trips, more students, and more interest from community members would have enriched the program; however, they felt very optimistic toward the potential of this program.

domain: sociology


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Eclectic singer, songwriter and actress Jojo Abot will headline this year’s #SabolaiRadio Music Festival, organisers have announced.
Put together by art collective Accra Dot Alt, the event, which has been running for the past five years, has been described as “the largest African indie music showcase in West Africa”, providing a platform for brilliant acts across hip hop, AfroBeat, traditional fusion, soul, electronic and rock music.
This year, the concert ( a two- part series) is scheduled for the Efua Sutherland Park, starting with the Accra Cookout on December 22, and Sabolai Radio Live on December 23.
Born on August 4 1988, Jojo hails from Ho in the Volta Region of Ghana, and creates music across Afrosoul/Reggae and Afrobeat.
In April this year, she performed at Lauryn Hill’s Diaspora Calling! headlined by the Grammy winner at the King’s Theatre, Brooklyn. She also joined her for MLH Caravan: A Diaspora Calling! Concert Series.
In June 2015, Jojo Abot released her debut EP. Titled FYFYA WOTO, the 4-song project is a lamentation of love gone wrong. She sings in English and Ewe, she’s inspired by such music giants as Fela Kuti, Savage Rose, SEEED, and Israel Maweta.
Watch her single Lom Vava below:


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Smuin’s fiercely festive The Christmas Ballet is a confection for everyone on your list! New treats, fun and frolic include your favorite choreography by Michael Smuin. Don't miss this signature showcase of classical and contemporary dances set to songs of the season and two world premieres and other delights from brilliant dancemakers.
Mountain View Center for the Performing Arts
500 Castro St. Mountain View, CA 94041
Carmel's Sunset Center
San Carlos Street & 9th Ave, Carmel, CA, USA


Emirates has announced that its flagship A380 service will return to Bangkok’s Suvarnabhumi Airport from November 28.
The daily A380 flights will operate as EK372/373, adding much-needed capacity and frequency to its flights to Bangkok, in response to the uptick in travel demand that the airline is witnessing.
The deployment of the double-decker aircraft will complement Emirates’ existing services, EK384/385, also operating on a daily basis with a Boeing 777-300ER aircraft in a three-class configuration, in addition to its five weekly flights to Bangkok via Phuket, operating as EK378/379, which is set to increase its frequency to daily from December 1.
The daily A380 service to Bangkok, flight EK372, will depart Dubai daily at 09:30hrs, arriving in Bangkok at 18:40hrs. Flight EK373 is scheduled to depart Bangkok at 20:35hrs to arrive in Dubai at 00:50hrs the next day. All times are local.


Bella Vista city facilities will remained closed to non-emergency public traffic until the beginning of the year, according to a release from the city.
Bella Vista announced Monday that the administration offices at city hall, the Bella Vista public library, the Bella Vista District Court, community development services and the city's street department, would all be closed until January 4, 2021.
The lobbies of the police and fire departments will remain open to emergency traffic. The offices are closing to contain the spread of covid-19, according to the release.
The public library book drop and digital access will still be available during the closure.
Some Bella Vista facilities have been closed to the public since the beginning of November.


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Number of nights:
All year round
Departure from home destiny to Santa Cruz. Meals and night on board.
Arrival in Santa Cruz de la Sierra, transfer to Hotel K Misional or similar. Day available to customers. Free meals and overnight.
Breakfast. Transfer to the airport and departure by direct flight to Sucre. Arrival and transfer to the Hotel Independencia or similar. Afternoon dedicated to the visit of the city, with Plaza de la Recoleta, the ASUR Foundation Museum, plaza principal and Parque Bolivar. Free meals and overnight.
Breakfast. Tarabuco excursion, where you can visit the authentic Tarabuco market (only on Sundays). Lunch in a restaurant in Tarabuco. Return to Sucre and departure towards Potosì (about 3 hours of travel), a city declared a World Heritage Site by UNESCO. Accommodation and overnight in a Colonial hotel or similar. Free dinner.
Breakfast. Morning in Potosi: excursion of your choice (to be requested first): Visit Museum of Santa Teresa, Portal of the Church of San Lorenzo, Arco de Cobija, Main Square and the Tower of the Jesuits or visit of a Cerro Rico mine to learn about local traditions. Departure in the direction of Colchani, crossing the villages of Chaquilla, Visicia, Ticatica and the Pulacayo mine. Arrival in Uyuni. Accommodation and overnight at Los Girasoles hotel or similar. Free meals.
Breakfast. Departure by car in the direction of Salar de Uyuni, visit of a family-run salt factory and its handicraft center, to the village of Coquesa built at the foot of the Tunupa volcano. Continuation towards Incahuasi Island. Time available to customers to visit the island. Box lunch. At the end transfer to Uyuni airport and departure with flight to La Paz. Arrival and accommodation in Hotel Real Plaza or similar. Free dinner. Overnight at Hotel.
Breakfast. Departure towards Lake Titicaca, until the village of Copacabana. Sailing to Isla del Sol. Typical Aptapi lunch. Visit the Pilkokaina archaeological site and the Inca gardens. Return to Copabana. Free dinner and overnight at the Estrella del Lago Hotel or similar.
Breakfast. Short visit of the Basilica of Copacabana, a place of pilgrimage. Departure for La Paz. Visit of the city: the Government Square, the Cathedral, Calle Linares with its typical shops of "curanderos", craft market and San Francisco. Accommodation at the Hotel Real Plaza or similar. Free meals and overnight.
Breakfast. Transfer to the airport and return home with a stopover and change of aircraft to Santa Cruz. Meals and night on board.

domain: travel


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House Speaker Newt Gingrich announced on Friday his support for the anti-affirmative action initiative in California. Gingrich asserted, in a letter to Republican donors soliciting funds for the initiative, that the country must resolve the debate on affirmative action in favor of "individual rights over group rights." The initiative would place a state constitutional ban on gender and race preferences, which essentially eliminates any affirmative action programs for women and minorities.
Media Resources: Source: The Washington Post - October 28, 1995, A2
11/25/2014 Marissa Alexander Has Accepted a Plea Deal - Marissa Alexander, the woman imprisoned for firing a warning shot in the presence of her abusive husband, chose to accept a plea deal Monday with the state of Florida, pleading guilty to three felony counts of aggravated assault.
As part of the plea deal, Alexander received three years imprisonment, but she will be credited for the time she's spent behind bars. . . .
11/24/2014 The City of Louisville Has Overwhelmingly Approved a CEDAW Resolution - The city of Louisville, Kentucky approved a resolution that will use the UN Convention on the Elimination of All Forms of Discrimination Against Women (CEDAW) as a framework for all future policy aimed at ending gender-based discrimination.
Councilwoman Tina Ward-Pugh introduced the resolution, which passed overwhelmingly on November 6. . . .

domain: law


In recent days, the Syfy network has become most known for its schlocky creature features that you can catch most Saturday nights. While there is admittedly a certain giddy charm to titles like Sharknado and Mega Python Versus Gatoroid, would you really rather watch the latest installment of Octopotamus, or insightful, interesting episodic television? (Admittedly, I would watch would watch Octopatomus if that was a real thing.) Shows like Defiance and, at least concept wise, Helix have been a nice step, and hopefully Syfy’s upcoming endeavor Ascension is a sign that they are returning to the scripted, hour-long format that was their niche for so long.
The network has given the green light to Ascension, a 6-hour event series that will reportedly hit the airwaves in November of this year and continue through December. Created and written by Philip Levens (Smallville), the show will also bring along Jason Blum, of Blumhouse Productions, the folks behind low-budget moneymakers like The Purge and Paranormal Activity. This sounds like a good move, since Blum and company are good at getting their money’s worth out of every available element.
Here is the official synopsis:
In 1963, the U.S. government launched a covert space mission sending hundreds of men, women and children on a century-long voyage aboard the starship Ascension to populate a new world. Nearly 50 years into the journey, as they approach the point of no return, a mysterious murder of a young woman causes the ship’s population to question the true nature of their mission.
While the concept is big and ambitious, it also sounds totally doable as a television series. It doesn’t appear that there is going to be much action that takes place outside the confines of the ship, so you have a relatively contained environment and limited number of sets and characters to contend with. This limited scope can cut both ways. On one hand, you keep production costs low because once you have all of your primary sets constructed, you’re good for a while. On the other hand, however, bringing in new characters becomes difficult, unless you want people to inevitably ask where the hell they’ve been hiding all of this time. Then again, in six episodes, this likely won’t be an issue.
Syfy president Dave Howe said:
Syfy is more committed than ever to bringing to life epic event television. We have a rich history in this arena, from Steven Spielberg’s Taken to the highly acclaimed mini that launched the Battlestar Galactica series, to reimagined takes on classic tales such as Alice and Tin Man. In keeping with that grand tradition, we are delighted to bring this thrilling, provocative and intelligent event to our fans later this year.
While we’ll have to wait to see how Ascension turns out, it’s nice to see Syfy actually dedicating themselves and their resources to producing quality, interesting content. That is a much better use of their time than launching another crappy reality show. And I have to add, on a personal note, that it’ll be nice to get some space-themed sci-fi on the airwaves. As much as I like a lot of the genre stuff that’s going on, it’ll be nice to mix things up with some deep space adventure.


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"No Regrets" is the debut solo single by British hip hop artist Dappy, taken as the lead single from his debut studio album, Bad Intentions. The song was produced by TMS and was written by Dappy, Ayak Thiik, and TMS. It was released in the United Kingdom on 18 September 2011.
The music video was filmed in Los Angeles by director Benny Boom. It was first released onto YouTube on 5 August 2011, at a total length of four minutes and fourteen seconds. The video is split into four scenes. It sees Dappy name checking celebs, fictional film characters and even royalty in a number of topical references, he then proceeds with rhymes that come thick and fast backed with an athemic chorus laced with the kind of meaning that a lot of people will be able to relate to. The first scene finds Dappy in a L.A. neighbourhood, showing two friends who have gotten into gang trouble and a troubled woman dealing with a breakdown of a marriage while also aspiring to be a Nurse Practitioner. The second scene finds Dappy in a boxing gym, where it shows a boxer training and preparing for a boxing world championship fight, before fellow N-Dubz bandmate Fazer makes a cameo appearance playing on the piano. The fourth and final scene builds up to Dappy concluding the video with a track key change alongside gospel choir backing singers on top of an L.A. skyscraper.
Lewis Corner of Digital Spy gave the song a positive review stating:
"This is my king's speech, I'm nowhere near the end," Dappy announces on the opening line, proceeding to name-check no less than eight celeb mates over electro-hip-hop beats and a stirring piano riff. The result is the Big Mac of songs; you know it's no good for you, but it's thoroughly enjoyable nonetheless, and combined with an impressive vocal showing, a gospel choir and that key change that could put an X Factor winner's single to shame, Dapz's dream of a number one hit seems closer than ever before. .

domain: entertainment


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Good morning dears!!! Finally I have time to post on this blog, that already thinks that it was forgotten. Never! After such a long break I want to warm you up for a start with a post about sunny and delicious Barcelona. In September I went for my first solo trip to Spain and Portugal, and Barcelona was the first stop. The time I spent in Spain was awesome, with unique experiences. On Saturday evening, the 10th of September I arrived at the hostel Abrevadero, near the metro station Paral-lel. It was very easy to go from the airport to the city center with the AeroBus, which stops at Plaça Espanya, Plaça Catalunia and it costs around 10 euros.
- The Magic Fountain of Montjuic
The first night I went out to explore and lucky me I went out just in time to see the Magic Fountain of Montjuic, the most unbelievable and unique water show I have ever seen in my life. It was literally magic. Before going there you should check the time because it is not every day, and since maybe you go to Barcelona for 3-4 days like me, you want to make sure that you catch one of the shows at Montjuic.
2. One day at the beach
There are several beaches along the coast, some of them very good. The famous Barcelonnete beach is too much overrated, and I would recommend Beach Nova Icaria.
3. The Sagrada Familia
Of course one of the most stunning attractions in Barcelona is the Sagrada Familia, for which I ordered my tickets online 2 weeks before. It can be that even with the tickets you will have to stand in line, so I surely recommend ordering them online :). The building is still under construction, and is only planned to be finished in nearly 2026 year, so you must be probably disturbed by the noise of drilling and so on, nevertheless everything considered it is worth a visit.
4. Parc Guell
Still bearing the ecstatic mood after visiting the Sagrada Familia, the next stop must be the Parc Guell which was designed by the same architect as of Sagrada Familia, namely the famous Antonio Gaudi. The park has a surface of 17-18 ha, but the most visited part is the monumental zone designed with split ceramics, which makes it so unique. The entrance is around 8 euros, which is not so expensive but if you do not order the tickets online once there you will face a huge line, and what happened to me is that while waiting in line the girl was informing us that we could enter the zone only in 3 hours from that moment. Therefore, I recommend since you decided to go to visit the Parc Guell, you better buy the tickets online well in advance, because standing in line ain’t no fun :). I managed to walk around in the park zone which is for free, and sometimes there are artists performing, it was very nice and relaxing.
5. Take a walk on Las Ramblas
It is everything true what is saying about this pedestrian zone in Barcelona, and namely that is overcrowded by tourists and everything can happen so you must watch out for your belongings, nevertheless for me it was a nice walk and I got to see the famous Boqueria Market and just to admire the architecture of the city. There are a lot of booths with souvenirs and flower shops.
6. Plaza Catalunia
At the end of the Las Ramblas you will find Plaza Catalunia with its most loyal visitors – the pigeons.
7. Bairro Alto
The most amazing place in Barcelona which I loved the most, was the Bairro Alto. Considering that it is hot and the sun was so powerful, strolling the hidden streets of the Bairro Alto was a great experience. Those tiny pedestrian streets and the architecture brings you a completely different glimpse about Barcelona.
8. Torre Agbar
The high building is more impressive when visited at night, due to the lightnings.
9. Enjoy the food in Barcelona
Barcelona will always remain in my heart as an amazing destination with great beaches and super delicious food. It is worth visiting solo, with friends or family and a great destination year round for vacation.

domain: geography


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Ford, Argo, Walmart Delivery in Three US Cities
- September 27, 2021
- William Payne
Ford, Argo AI and Walmart are working together to launch an autonomous vehicle delivery service in Miami, Austin, Texas, and Washington, DC. The partnership will create Walmart’s first multi-city autonomous delivery collaboration in the US. The last mile delivery service will use Ford self-driving test vehicles equipped with the Argo AI Self-Driving System to deliver Walmart orders to customers.
The commercial service will be available to Walmart customers within defined service areas of the three markets and will expand over time, with initial integration testing slated to begin later this year. As consumer expectations continue to shift to next-day or same-day delivery — especially in the urban core where there is a higher concentration of deliveries — this collaboration will drive key learnings in how autonomous technology can enhance customer experiences, while also optimising logistics and operations.
Argo’s cloud-based infrastructure will integrate with Walmart’s online ordering platform to route orders and schedule package deliveries to customers’ homes.
“Our focus on the testing and development of self-driving technology that operates in urban areas where customer demand is high really comes to life with this collaboration,” said Bryan Salesky, founder and CEO, Argo AI. “Working together with Walmart and Ford across three markets, we’re showing the potential for autonomous vehicle delivery services at scale.”
“We’re excited to expand our autonomous delivery efforts in three new markets alongside Argo and Ford,” said Tom Ward, senior vice president of last mile delivery, Walmart US. “This collaboration will further our mission to get products to the homes of our customers with unparalleled speed and ease, and in turn, will continue to pave the way for autonomous delivery.”
“Argo and Ford are aggressively preparing for large-scale autonomous vehicle operations across a broad footprint of US cities,” said Scott Griffith, CEO, Ford Autonomous Vehicles & Mobility Businesses. “Pairing Walmart’s retail and e-commerce leadership with Argo and Ford’s self-driving operations across these multiple cities marks a significant step toward scaling a commercial goods delivery service that will ultimately power first-to-scale business efficiencies and enable a great consumer experience.”
In addition to testing self-driving technology in Pittsburgh, Detroit and Palo Alto, Calif., Argo and Ford have been operating in Miami and Washington, DC, since 2018 and in Austin since 2019, to build autonomous ride-hailing and delivery services and establish the necessary real estate footprint and commercial fleet management capabilities, including fuelling, servicing, and cleaning of self-driving vehicles, to support the customer and keep fleets running. Walmart previously tested with Ford in Miami in 2018.


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13 Oct 2013
The Tragedy of Carmen, Syracuse Opera
Carmen Lite: Singing shines in Syracuse Opera’s pocket-sized The Tragedy of Carmen
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Carmen Lite: Singing shines in Syracuse Opera’s pocket-sized The Tragedy of Carmen
But the production’s austere minimalist set and Peter Brook’s condensing of Bizet’s magnificent operatic score may not suit every listener’s tastes
The story of Carmen has been told countless times in countless ways — from the original novella by French author Prosper Mérimée that formed the nucleus of Bizet’s opera to the cinema (The Loves of Carmen with Rita Hayworth) to Broadway (Carmen Jones), and from ballet to Bugs Bunny cartoons. But few settings have captured the drama surrounding a proud soldier self-destructing over his relentless obsession with a gypsy femme fatale with as much emotional power and lyrical passion as Bizet’s Carmen.
Syracuse Opera’s season-opening production of The Tragedy of Carmen, a scaled-down but dramatically intense adaptation of Bizet’s opera by Peter Brook, gave listeners a taste of the story many had not experienced before and did so with some strong individual singing efforts. And although some listeners expecting to re-live the splendor of Bizet’s Carmen may have left the theater disappointed, the broad shouts of approval at the production’s conclusion suggests that great drama, expressed unconventionally, may merit a look.
Brook, the British-born theater and opera director widely respected for his productions of Shakespeare, offers much to contemplate in this boldly edited distillation of the Bizet masterpiece. Gone are the choruses, ensemble numbers (other than the duets) and several of the characters. Brook gives Carmen a second life, reworking Bizet’s music and libretto into a highly concentrated and emotionally intense reduction of the composer’s original.
At one-third the length of Carmen (the opera), The Tragedy of Carmen is an 80-minute product perhaps best labeled as Carmen Lite. And like Bud Light, Brook’s version is less filling. But whether the new product also tastes great depends on each listener’s palate.
I have to go on record admitting that I don’t much care for the Peter Brook version. I applaud his vision in focusing on and intensifying the dramatic aspects of Carmen, even though that means trimming away the fat. But it is well to remember that reducing fat also compromises taste. And for those like me who have spent many happy years basking in the sheer beauty and power of Bizet’s dazzling score, it’s difficult to embrace an alternate version that pares its music to Reader’s Digest proportions while reducing a full-size orchestra to a 15-piece chamber ensemble.
A second problem for Bizet enthusiasts is the depressing set used for the current production of The Tragedy of Carmen — which may have had some listeners wondering whether they took the wrong door and ended up at an Ingmar Bergman film festival.
Certainly, the set has to remain faithful to Brook’s dark, desolate and nightmarish drama in which all four characters are doomed. But Syracuse Opera’s ultra-bare minimalist set — a large circular carousel with a small black table and chair — captured the expressionistic atmosphere of the drama with uncompromising sterility. Eighty minutes of despair in a dark room is hard to take. When I left the theater I was ready for light therapy.
But whatever your feelings on the Brook setting and austere set, there is much to love in the singing here, and Ola Rafalo — singing her first-ever role of Carmen — deserves the lion’s (or should I say tigress’s) share of the credit.
Rafalo’s dark and richly hued mezzo soprano during the sultry Habanera established her character immediately as a seductress par excellence, and her pitch in the devious Seguidilla was incredibly accurate — with no sign of seams when navigating through vocal registers during thespacious octave leaps that permeate this demanding aria.
Rafalo’s acting skills are quite satisfactory in this role, buoyed by her good looks and attractive figure that breathe life into her persona as a deadly siren. When Rafalo performed the Castanets Dance in front of Don José, the poor soul remained frozen like a deer caught in the headlights. I especially loved her rendition of the famous Triangle Song, which she delivered in bravura fashion— although I wish she had danced this, as is customary, instead of simply twirling around a shawl.
We only hear the role of Micaëla at the beginning and end of the Brook version and that’s a shame, because soprano Colleen Daly’s silky and deeply penetrating soprano provided a treat for the ears I wish did not have to end. Daly’s duet with Don José at the smugglers’ camp was full of expression and nuance, and she projected well throughout the performance, with credible French diction.
As the doomed soldier Don José, Brent Reilly Turner overcame some tightness in his throat early on in his duet with Daly and found his voice, in all its glory, during the magnificent Flower Song (La fleur que tu m’avais jetée), which he delivered with great depth of feeling. The role of Don José in the Brook adaptation does not garner the same degree of sympathy as in the Bizet opera. The troubled soldier comes across here as little more than a cold hearted, cutthroat murderer — having killed his captain (Zuniga), Carmen’s husband García (a character in the original novella who does not appear in Bizet’s opera), and ultimately Carmen herself.
Had the bull not killed Escamillo, Don José may very have obliged him, as well.
Turner, whose acting Friday left something to be desired, nevertheless forged a character that appeared believably disillusioned with his life and his continuous spiral downwards into the depths of despair. Still, his exaggerated sobbing and uncontrollable cries of anguish at the end, as he kills Carmen, was over-the-top and unconvincing.
Like Turner, Wes Mason as the toreador Escamillo needed some time to shift his pleasant baritone into “drive.” He clipped his phrases in short staccato spurts at the at the beginning of his signature Toreador song before expanding the melodic lines into a smoothly sustained legato that laid bare the handsome quality of his voice. His baritone carried easily throughout the theater, and his high notes were solidly on-pitch. Mason, who raised eyebrows in the crowd when he removed his shirt, made the cover of the Barihunks blogspot — which touts itself as showing off “The Sexiest Baritone Hunks from Opera.” There may be a promising career ahead for this man — either as a singer, or a Chippendale.
The 15-piece orchestra, all of whom except the pianist comprises Symphoria musicians, provided excellent instrumental accompaniment in this newfangled chamber transcription provided by Brook’s musical collaborator, Marius Constant. Because the performance started some 25-minutes late (due to an unspecified “technical glitch”), intonation among the wind and brass instruments began slightly off-kilter, but the seasoned musicians brought pitch under control sooner than the crowd could say “Habanera.” The Entr’acte music with flute (Deborah Coble) and harp (Ursula Kwasnicka) was especially lovely.
Conductor Douglas Kinney Frost, Producing and Artistic Director for Syracuse Opera, followed the singers faithfully and maintained a proper balance between singers and instrumentalists that was well suited to the live acoustics of the Carrier Theater.
For this production, Syracuse Opera chose to use French, the language of Brook’s original, even though a perfectly adequate English translation by Sheldon Harnick (Fiddler on the Roof) is available and widely used in this country. I applaud Syracuse Opera for sticking to the original language for the arias and duets. But there’s no good reason why the spoken dialogue couldn’t have been delivered in English, the way the company had done in past productions of Mozart’s The Magic Flute. As it was, Bruce Paulsen (as Lillas Pastia) was the only one of the three speak-only roles whose French was even remotely intelligible. Common sense dictates either using English for the spoken dialogue, or else hiring actors whose résumés include French 101. Stage Director Jeffrey Marc Buchman’s antics ranged from the daring (simulated sex scene between Carmen and Don José) to the dangerous (choreographed knife fights). The fight sequence between Don José and Escamillo conjured a convincing sense of realism and danger that had me wondering whether Workers Comp covers opera-related injuries. I especially liked Buchman’s clever and audacious touches during Carmen’s Habanera scene, as the seductress appears to fondle Micaëla from behind, then raises the girl’s arms and begins to work her as one would a marionette.
Buchman’s use of an orchestra recording of the Toreador section in the Overture to Bizet’s Carmen during Escamillo’s nightmare sequence — where he foresees his impending death at the bullfight ring — proved a double-edged sword. On the one hand, I appreciated this clever touch and the pantomime that accompanied it. On the other hand, hearing this excerpt from the full-orchestra version made me long that much more for Bizet’s original score.
The barren set demands suitable compensatory lightening effects, which were craftily managed by Christopher Ostrom’s spotting on the characters at the proper moments. The stage remains dark and gloomy throughout the performance, so lighting is limited exclusively to spotlighting characters at dramatically opportune moments. For example, when Micaëla pleads with Don José to return home to his dying mother, only Carmen is illuminated — suggesting that Don José’s infatuation will prevail over dear old mom.
The present Syracuse Opera production, which runs through Oct. 20, signals a return to Carrier Theater at which the company routinely performed in its earlier years. The theater, which can accommodate about 463 listeners, allows an ease of projection on the part of the singers and instrumentalists that is flattering at even the softest dynamic levels. Moreover, there’s not a bad seat (either aurally or visually) in the house. On the other hand, the size of the orchestra pit is limited, which may affect the company’s choice of repertory. Even with a pit of only 14 instruments, the piano used in this production had to be positioned outside the pit (and out of sight), stage left.
I’m glad I saw this production of The Tragedy of Carmen. Even beyond the fine singing (and in particular the memorable performance of Ola Rafalo) there’s merit to seeing an old favorite rebottled as new product. To be sure, Peter Brook provides an interesting concept in his newly brewed Carmen Lite.
But in this case, one drink is my limit.
This review first appeared at CNY Café Momus. It is reprinted with the permission of the author.


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Town Hall Youth Volleyball
Volleyball Coordinator Ginger Dagnall gave this report on this season’s youth volleyball games.
Division A (second and third grades)
• Green Dragons, Coach Jeremy Teeguarden, five wins.
• Black Panthers, Coach Jason Sonnier, three wins.
• Purple Maniacs, Coach Bo Dagnall, two wins.
Division B (fourth through sixth grades)
• Orange Loco Unicorns, Coach Dawn Sonnier, five wins.
• Sharks, Coach Lance Fogle, two wins.
• Idyllwild Heat, Coach Ginger Dagnall, one win.
I have noticed such an improvement in these little players. Some of the players have never played volleyball, or any sport for that matter, and are out there learning skills at such a young age. It will only make them more competitive as they reach junior high and high school.
We all get so excited when they get a serve-over and especially if there is a rally.
The older kids are being taught actual plays and focusing on bump, set and spike. I am amazed at the power these kids have serving and they will be a force to reckon with.
Playoffs are scheduled at 5:30 p.m. and 6:30 p.m. Monday and Tuesday, May 12 and 13, and championships are scheduled at 5:30 and 6:30 p.m. Thursday, May 15.
Idyllwild School Volleyball
Dagnall also gave this report: Idyllwild School’s Mountain Lions (sixth- through eighth-grade boys) have only played two games. The season has been cut short due to a team dropping out, and weather conditions prevented a team from coming up the Hill.
Their record stands at 1-1. The Lions played San Jacinto Valley Academy and won one match and lost one match to advance them to match 3 which they lost.
The second game was played at home and the team used its home field advantage to take San Jacinto Leadership Academy in two matches. Evan Biley’s and Ty McBride’s serves were going over with such force most couldn’t be returned. Noah Rutherford and Yan Ivanov were attacking the net with several spikes throughout the game.
The Lions’ upcoming games, all at 3:15 p.m., are Monday, May 12 at St. Johns; Monday, May 19, at Noli; and Wednesday, May 21 at St. Hyacinth.

domain: news


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A right thighful! Ashley James flashes a glimpse of her pins in a pair of over-the-knee boots as she steps out in Soho
She's passionate about music and even presents her own weekly radio show.
And Ashley James, 29, stepped out in Soho on Thursday night with pal Charlotte De Carle to check out the DJing talent inside the Lights of Soho.
The former reality star wore an oversized green hoodie and a pair of beige thigh-high boots laced from top to toe for the outing.
Scroll down for video
Music mad: Ashley James, 29, stepped out in Soho on Thursday night with pal Charlotte De Carle to check out the DJing talent inside the Lights of Soho
The beauty flashed a glimpse of her thighs as she sauntered through the night. She wrapped a pair of headphones around her neck, the colour of which perfectly matched her boots.
Ashley stored her essentials in a glossy black handbag which she hung over her right arm.
She gave her cheeks a dusting of colour and her lips a slick of red. The DJ's piercing blue peepers were enhanced by lashings of mascara, and her nails were given a slick of bold red polish.
Fashionista: The former reality star wore an oversized green hoodie and a pair of beige thigh-high boots laced from top to toe
Meanwhile, Charlotte dressed head to toe in black and also wore headphones around her neck.
A member of Ashley's squad, Charlotte wore a trendy black coat, leggings and indie-style kicks.
Earlier this month, Ashley was pictured looking sensational in a bikini while holidaying in Marbella.
Keeping it cool: Ashley wrapped a pair of headphones around her neck, the colour of which perfectly matched her boots
But despite her fabulous figure, she's admitted to previously suffering from body dysmorphia and explained that she thinks the condition stemmed from the constant attention she received for her large bust, telling MailOnline: 'I think a lot of it comes from having big boobs.
'I think there's a lot of judgement and sexualisation around boobs - but it's not like I've bought them - they're part of my body!
'I tried to dress a lot frumpier and older than I was to avoid comments from boys and teachers even.'
Girls' night out: Ashley's pal Charlotte de Carle dressed head to toe in black and also wore headphones around her neck
All black: Charlotte wore a trendy black coat, leggings and indie-style kicks
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domain: celebrity


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Argentina's beef exports could double in 2018 for a total of US$ 1.8 billion thanks to increased Chinese demand and a sharp devaluation of the peso currency, according to analysts and industry experts.
The Falkland Islands Meat Company (FIMCo) has announced the appointment of their new Business Improvement Manager. Michael Ledwith is to start this month on a new full-time contract, tasked with implementing change at the Sand Bay plant, “bringing peak performance through operational efficiency and productivity in the business,” according to information from FIMCo.
Global agricultural production is expected to grow 1.5% a year on average over the coming decade, compared with annual growth of 2.1% between 2003 and 2012, according to a new report published by the OECD and FAO released this week.
The Paraguayan economy is poised to expand 11.3% next year propped by the strong recovery from agriculture according to Pricewaterhouse Coopers, an estimate far more optimist than the 9.5% of the government budget.
A US start-up company has a solution for people who want to eat meat, but don't want to harm animals either: 3D printed meat. The 3D printing technique is already being used to create things from bike parts to chocolate to dental crowns and bridges. And scientists are working towards using 3D printing to make organs for transplant.
In spite of its love for horses, Argentina is the world’s leading exporter of horse meat having shipped 23.880 tons in 2010, valued 75 million US dollars according to the country’s Animal health and Agro-food quality service, SENASA.
Argentina plans to extend the equivalent of 750 million US dollars in subsidized loans to meat producers to spur increased production of beef, chicken and pork.
Vladimir Mironov, a US biologist and tissue engineer at the Medical University of South Carolina, has been working to grow “cultured” meat for a decade, and is closer than ever to achieving his goal.
China will open its market to Argentine beef consolidating the end of a conflict that started earlier this year when Beijing decided to suspend “on sanitary reasons” the import of soy-oil from Argentina, a ban that was only lifted last month.
Paraguayan meat sales increased 47% in value during the first four months of 2010 compared to the same period a year ago, totalling 295 million US dollars (USD), according to the country’s Food Quality and Animal Health Service, Senacasa.