If you want your story to pop off the page and into the imagination of readers, don’t waste your money on any other course, just take this one.
You started out with a great premise, larger-than-life characters, and a fast-paced plot. Your walls are plastered with goal-motivation-conflict charts and you could recite each character’s internal and external arcs in your sleep. Maybe you even came up with a detailed outline before you started writing your latest masterpiece.
But now that it’s time to edit your rough draft, you realize your characters’ emotions and personalities didn’t make it onto the page, and the scenes that were so vivid in your head seem flat or rushed on paper. What went wrong?
Nothing, actually. First drafts are for getting the basic story nailed down. Revision is where you crank up the voltage and get the emotions right.
This workshop focuses on practical techniques to help you edit the spark back into your story. Topics covered include:
- Why stimulus-response chains can make or break a scene, and how to use them for maximum dramatic effect
- How to fine-tune the progression of emotion in a scene
- Techniques for infusing the POV character’s personality and worldview into each scene
- How to streamline exposition and make infodumps do double-duty as characterization
- Why descriptions are inherently boring, and how you can make them compelling
- How to write narrative summary that your readers won’t be tempted to skim
- How to recognize and eliminate author intrusion
- How to make sure your characters’ emotions make it onto the page
At the end of the workshop, you’ll have an editing checklist that guides you through the process of transforming your rough draft into the exciting, dynamic story you originally envisioned.
As a direct result of her class I’m now a published author with a New York editor who consistently seeks out my work.
—Paula Millhouse, author of Dragonstone
Self-Study (download the lessons and work through them on your own): $30.00
One-on-One Mentoring (ask questions, receive feedback on the exercises): $60.00
Lynn has a way of nurturing fledgling authors into powerful storytellers. As a direct result of her class I’m now a published author with a New York editor who consistently seeks out my work.
—Paula Millhouse, author of Dragonstone
This workshop changed my life. Editing has always been the hardest part of writing for me. Lynn gives you a plan which breaks the process down into manageable, bite size pieces. Her detailed and incredibly perceptive feedback is by far the most valuable part of the course. She is the most superb teacher I’ve ever had the pleasure of learning from.
This workshop really opened my eyes and made my writing so much better! The best part was the feedback I was given on my own project. I would have gladly paid ten times what I did for this class; it was worth every penny.
—Stacy McKitrick, author of My Sunny Vampire
I believe Lynn’s class is the reason I’m a finalist in two RWA contests this year. This workshop and Lynn’s devotion to detail will bring out the best in your story and you.
—Elizabeth W. Gibson
This workshop fundamentally improved my writing. Lynn’s lessons are easy to understand but challenging to complete, guiding you toward a deeper understanding of what makes a story work. Lynn appreciates that every writer uses a different process. She supports, and can help you improve, your writing style, from pantser to plotter and everything in between. If you want your story to pop off the page and into the imagination of readers, don’t waste your money on any other course, just take this one.
The quality and depth of my writing improved dramatically when I took Edit the Life Back Into Your Story. She taught me how to break down a scene so that instead of simply depicting a series of events, I now incorporate character reactions (emotions, thoughts, inner monologue) to each of those events. Lynn’s classes are hard—she demands a lot from her students—but you walk away with the knowledge and skill to write much better stories.
—Pauline Gruber, author of The Girl and the Raven


Helen Kwok is a multimedia artist and designer who specialises in creating playful installations, experimental games, and public play activations.
Her creative practice often involves blending the digital and physical, playing with tangible and intangible materials, and crafting work that playfully extends beyond the screen. Helen is a first generation Hong Kong immigrant currently based in Naarm (Melbourne, Australia).
In 2020, Helen collaborated with Chad Toprak on Street Tape Games, a public art installation that allows the public to play socially-distanced street games. A direct response to COVID-19, and initially conceptualised as part of the Test Sites funded program, the duo received grants from Moreland City Council and City of Melbourne to further develop the project for presentation in 2021. She has also been commissioned by Bunjil Place, Moomba Festival, and Melbourne Knowledge Week to create a series of activations specifically designed with social distancing in mind. Helen also collaborated with Dr. Troy Innocent and the Moreland City Council in a playable cities project to reconnect people to the lived experience of Brunswick through urban play. In 2021, Helen was selected as one of four emerging artists nationwide (and the only Victorian artist) to participate in NAVA’s inaugural collaborative mentorship program.
Helen has spoken and showcased her work at festivals, conferences, and events both locally and internationally, including at IndieCade (Los Angeles, USA), A MAZE. (Berlin, Germany), Game Arts International Assembly (Montreal, Canada) and Freeplay Independent Games Festival (Melbourne, Australia). She was named a Freeplay Awards finalist in 2020, and recently graduated from the Master of Animation, Games and Interactivity degree (with Distinction) from RMIT University. Throughout the two years of her Masters degree, Helen engaged in practice-based creative research for her studio projects, working at the intersection of art, design, games, and play.
2021 – Beyond Screens: Alternative Controllers, IndieCade (Los Angeles, USA)
2021 – Game Arts International Assembly (Montreal, Canada)
2020 – Freeplay Parallels, Melbourne International Games Week (Melbourne, Australia)
2020 – Master of Animation, Games and Interactivity Guest Lecture, RMIT University (Melbourne, Australia)
2020 – A MAZE. Fest 2020 (Berlin, Germany)
2020 – Freeplay Independent Games Festival (Melbourne, Australia)
2021 – Street Tape Games – Freeplay Independent Games Festival, City of Melbourne
2021 – Street Tape Games – Fawkner Festa, Moreland City Council
2021 – Rainbow Paths – Mind the Gap Party, Assemble Papers
2021 – Rainbow Laneway – Moomba Festival 2.0, City of Melbourne
2021 – Rainbow Bird Playground – Bunjil Place, City of Casey
2020-2021 – Connexions Videogames Exhibition (Strasbourg, France)
2020 – MAGI EXPO 2020 (Online)
2020 – Community Play Party: 10th Melbourne Global Game Jam (Melbourne, Australia)
2019 – MAGI EXPO 2019 (Melbourne, Australia)
2016 – AWARD School Showcase (Perth, Australia)
2015 – Make a Noise! Student Showcase (Perth, Australia)
2021 – Collaborative Mentorship Initiative Program, NAVA
2021 – Annual Arts Grants, City of Melbourne
2020-2021 – Festivals Moreland Development Program, Moreland City Council
2020 – Test Sites Online 2020, City of Melbourne
2020 – Vice-Chancellor’s List for Academic Excellence, RMIT University
2020 – Best Pitch Prize, Creative Urban Places Team, City of Melbourne
2020 – Finalist (Best Student Game Award), Freeplay Independent Games Festival
2018 – Finalist (Diamond Club Online Achievement Award), Western Australian Young Achiever Awards
2017 – Gold (Best Induction/Onboarding Project), LearnX Impact Awards
2016 – 3rd in WA, AWARD School
2015 – Top 15 Shortlist, Graphic Design Award by Yamaha


I never meant to write a book about horse-racing. Nor – after “Today We Die A Little” – did I mean to write another book with a Czech hero. Then I came across the story of Lata Brandisová. It was simply too good to leave untold.
It’s set in what used to be Czechoslovakia. Its defining scene takes place in October 1937. Europe’s youngest, most idealistic democracy is on its knees. Millions are mourning the death of the nation’s founding father, the saintly Tomáš Masaryk. Across the border, the Third Reich is growing ever more menacing – and plotting to invade.
In the Czechoslovak heartlands, vast crowds have gathered to watch the threatened nation’s most prestigious sporting contest: the Grand Pardubice steeplechase. Arduous and absurdly dangerous, the race is considered Europe’s ultimate test of manhood and fighting spirit. The Nazis, as usual, have sent their paramilitary elite: SS and SA officers schooled to be Hitler’s most ruthless enforcers. Their mission: to crush and humiliate – yet again – the people they despise as “subhuman Slavs”. The local cavalry officers have no hope of stopping them.
But there is one other contestant: a middle-aged, silver-haired countess riding a little golden mare…
The story of Lata Brandisová is one of the strangest and most inspiring – and most undeservedly forgotten – in all sporting history. Born into privilege, she spent much of her life in poverty. Modest and shy, she none the less refused to accept the constraints society placed on her because of her gender. Instead, with quiet, stubborn courage, she repeatedly achieved what others said was impossible.
The scandal of her first attempt to ride in Pardubice reverberated across Europe. Ten years later, she became her nation’s figurehead in its darkest hour. Then came retribution, first from one totalitarian regime and then from another. Her achievements were erased from history, and her story, as a result, has never been fully told before.
Unbreakable is a tale of courage, heartbreak and defiance, in an age of prejudice and fear. In the background are forces – sexism, class hatred, nationalism – whose shadows darken today’s world too. In the foreground are eccentric aristocrats, socialite spies, daredevil jockeys – and a race so brutal that some consider merely taking part in it a sign of insanity. At its heart is a unique hero – and a unique love affair between a woman and a horse.
What they’re saying:
“One of the most remarkable racing stories I have ever had the pleasure of reading” – James Crispe, Thoroughbred Owner/Breeder
“A fabulously written book about a remarkable lady. A must-read for National Hunt enthusiasts” – James Fry, International Racing Bureau
“Heart-stopping reading that left me in tears… An extraordinary story of an exceptionally courageous woman who needs to be remembered and deserves to be celebrated.” – Clover Stroud, Daily Telegraph
“Astonishing, inspiring, sad… I found it utterly compelling” – Rose Paterson, chairwoman, Aintree Racecourse
“Fascinating” – Stephanie Cross, Daily Mail
“Thrilling” – Wall Street Journal
“A racing story of Hollywood proportions… [This] thoroughly researched, deeply moving account does justice to a remarkable life” – John Cobb, Racing Post
“[An] extraordinary story… Askwith’s compelling book, as much about 20th-century history and women’s equality as it is about racing, is a fitting tribute to a truly remarkable and courageous woman” – Camilla Swift, Mail on Sunday
“Lata Brandisová… overcame massive gender prejudice to compete in the world’s most dangerous horse race, becoming a national heroine by going on to triumph in it over the sporting elite of Hitler’s Germany… The Czech nation will surely feel that [Richard Askwith] has done her justice” – Robin Oakley, Literary Review
“Magnificent… As thrilling a description of a horse-race as you’re likely to find on paper” – Strong Words
“An inspiring story of an indomitable spirit” – Nick Pitt, Sunday Times (Best Books of 2019)
“What an amazing story – uplifting but tragic. I really enjoyed it. I cannot believe that someone hasn’t snapped up the film rights” – Paul Hawksbee, TalkSport (“Hawksbee & Jacobs”)
“All the ingredients of a compulsive page-turner: an aristocratic heroine; a broken country; henchmen of the Third Reich; and an extraordinary horse… A thrilling story that I can only recommend you read” – The Field
“Vivid, stirring stuff” – History Revealed
“Outstanding” – Dostihový svět
“A riveting story” – Aktuálně
“What a great story, one worthy of the silver screen… The finish will bring a lump to your throat” – South Wales Evening Post
“It’s like a National Velvet story but better because it’s true, and who doesn’t love a story where a woman shows up the Nazis?” – Susan Friedland Smith, Saddle Seeks Horse (“20 Horse Books to Read in 2020”)
“What a fantastic story – it would make a thrilling film” – Jilly Cooper, novelist
“Inspiring, heartbreaking… an intense roller-coaster from start to finish” – Publishers Weekly
“Unbreakable reads like the purest page-turning thriller. Boasting a cast of unforgettable characters, Askwith’s elegantly written account enthrals from first page to last” – Waterstones Sport
Read Clover Stroud’s review of Unbreakable in the Daily Telegraph (30 March 2019) here.
Read James Crispe’s review of Unbreakable in Thoroughbred Owner/Breeder magazine (February 2019) here.
Unbreakable was named Biography of the Year at the 2020 Telegraph Sports Book Awards. Awarding the prize, judge Annie Vernon said: “Not only was this incredibly impressive in terms of the amount of work Richard Askwith would have done… but… what a fascinating story: a story which… deserved to be told and needed to be made public.” You should be able to see my short acceptance video here.
Unbreakable also won an international WINNIE Literary Award, for best historical work, at the 2020 Equus Film & Arts Festival. You can see me being interviewed for the festival about writing the book here.
Unbreakable had previously been long-listed for the 2019 William Hill Sports Book of the Year award.
Unbreakable is currently being developed as a film by Caroline Heer and Daniel Olson..
Read my article about Lata for the Sunday Telegraph here.
Hear, or read, my interview with Radio Prague (in English) here.
Hear me interviewed (and reading passages from the book) on Susan Jamieson’s Zoomer Radio show here.
Find information about forthcoming events at which I will be discussing Lata and Unbreakable here.


One of the most famous English novels was published in 1834. Charles Dickens’ A Christmas Carol tells the story of a rich man called Ebenezer Scrooge who treats his workers poorly and does not believe in Christian charity. It was written at a time when a lot of the Christmas traditions we celebrate in England today were having a renaissance – a growing middle class was starting to celebrate Christmas as a time to indulge in rich foods, give each other gifts and sing more secular Christmas songs or ‘carols’.
‘Humbug’ means ‘nonsense’ and is something people used to say when they heard something they disagreed with or felt was untrue. We might say something like –
‘All this talk about the earth being flat is just humbug’.
In the opening chapter of A Christmas Carol Scrooge famously says that giving money to the poor at Christmas is ‘humbug’. He says ‘Bah Humbug’ [‘bah’ is more of an utterance, it is not strictly speaking a word]. The novel then tells the story, borrowed from a more ancient morality tale, of Scrooge being visited by various phantoms who eventually change his perspective on the true meaning of Christmas. At the end of the novel he is a changed man, and much more generous with his wealth.
This novel had such a huge impact on British culture that, even today, people who are regarded as uncharitable might be called ‘a Scrooge’, and people who do not like celebrating Christmas might hear their friends or family say ‘Bah Humbug!’. For example –
‘My brother is such a Scrooge… he earns a fortune, but I’m always the one who pays for lunch!’
‘I can’t believe that customer drank champagne and ate lobster but didn’t even leave a tip!… What a Scrooge!’.
‘My neighbour is a bit ‘Bah Humbug’ about Christmas… She doesn’t decorate her house or come to our annual Christmas party’.
Written by Keith Kinsella, Tutor @ The Harrogate International Academy


Reza is a multi-instrumentalist composer and producer raised in London and living in Los Angeles. Prior to working in film he was a Universal Music songwriter and record producer/engineer with work spanning from pop to underground. He has worked with artists as diverse as Dr Dre, Britney Spears and underground UK rapper Akala.
Reza's influences are a tapestry of romantic era classical music such as Debussy and Satie, Hip Hop, minimalist techno, and shamanistic music. His textured approach fuses orchestra with contemporary production, exploring soundscape as much as harmony and melding the two to serve the image in a tactile way.
Reza’s most recent work can be heard in the Cinemax period martial arts show, “Warrior”, originally conceived by Bruce Lee and produced by Justin Lin.


Whenever I watch The Truman Show, it puts me into a trance.
This film is an absolute masterpiece. Packed with multiple layers of symbolism and meaning, it only feels more relevant as the years go by. And the journey of our titular hero – Truman Burbank – only seems more profound.
In this post, I’ll explain why The Truman Show strikes such a chord with me. And in the process, we’ll unpack 3 powerful moral lessons.
Major spoilers ahead!
The Truman Show picks up with just another day in the life of Truman Burbank. Living on the picture-perfect island of Seahaven, he seems to have it all: stable job as an insurance salesman, gorgeous house, beautiful wife, and so on.
On the outside, Truman seems upbeat. But the film wastes no time in developing his character: he also yearns for adventure. Having never left the island, he longs to visit the exotic islands of Fiji.
Midway through the film, cracks start to appear in Truman’s reality. He enters a period of deep questioning. Why does he always seem to be at the centre of strange coincidences? Is he living in some kind of dream? Are his loved ones really on his side?
Wanting to know the truth, he interrogates his wife Meryll. But she dismisses him, which only makes Truman more paranoid. Unsatisfied, he digs even deeper. An explorer at heart, Truman won’t drop his hunt for answers.
As the audience, we then discover those answers: Truman has been living within the confines of an artificial dome since birth. The unwitting star of a global reality TV show, his every waking moment is being broadcast to billions.
Everyone around him is an actor hired by a giant corporation to maintain a facade. This corporation, run by the enigmatic director Cristof, even controls the weather.
In the end, Truman becomes spooked enough to attempt a bold escape. All he can think to do is set sail, despite his intense fear of the water. In an attempt to make Truman turn back, Christof generates a deadly storm, almost drowning him live on TV. But Truman prevails.
In the surreal final scene, his boat collides with the wall of the dome, which is painted to resemble the sky. He walks along the edge, reaching an exit door.
Christof now speaks to Truman directly, his voice booming from the sky. He lays out a choice: Truman can return to the safe, fabricated version of reality created just for him. Alternatively, he can head into the real world (which earlier in the film, he calls “the sick place”).
So, what does Truman do? In a triumphant, courageous moment, he leaves it all behind and steps into the unknown.
3 Life Lessons from The Truman Show
Now let’s dive into the weighty moral lessons presented by The Truman Show.
While it’s easy to get distracted by the film’s “Big Brother” theme, I think it has much more to say.
In some way, shape, or form, each of us is Truman Burbank. Like Truman, for instance, our indoctrination begins from birth – we’re told who to be, what to think, how to act, what to pursue, and what we’re capable of.
Consider these potential parallels between you and Truman:
- Like Truman, you face enormous pressure to conform to values you didn’t consciously or authentically choose
- Like Truman, you were conditioned to perceive only a wafer-thin slice of reality, with the truth hidden from sight
- Like Truman, you’ll have to confront your demons if you want to start discovering who you are (and seeing reality for what it is)
Perhaps these parallels explain why the film always chimes with me. Even with the movie’s fanciful premise, there’s something so relatable about Truman’s journey.
That said, here are 3 life lessons from The Truman Show that continue to inspire me.
Lesson 1: Beware The Tyranny of Conformity
From one angle, The Truman Show pays homage to the philosophy of humanism. It illustrates the powerful human drive to pursue truth, authenticity, and meaning. As Psychiatrist and Holocaust Survivor Viktor Frankl documented in Man’s Search For Meaning, this drive is unstoppable – even when the outside world tries to subdue it.
I’m talking about the “self-actualising tendency” – our impulse to become who we’re meant to be, and mature into fully realised human beings. This is a lifelong process with no definitive end.
For that to begin, we must outgrow our conditioning. This leads to turbulence: on one hand, we yearn to develop personal values congruent with our true nature. But on the other, we’re seduced by the potent (and often antagonistic) drive to conform.
Truman’s world portrays this dynamic to the extreme, with the pressure to conform most clearly represented by modern Western values – materialism chief among them.
In an early scene, for example, Truman discloses to Marlon a deep desire: he wants to “get out”. Out of his job, out of the city, and off the island. But in response, Marlon chides him: “Out of your job? What the hell is wrong with your job? You have a great job, Truman. You have a desk job. I’d kill for a desk job.”
Later scenes follow the same pattern: Truman expresses an authentic desire, which the cast and crew act to suppress. In one scene, when Truman brings up the idea of going to Fiji, Meryll condescendingly brushes him off as an idealistic teenager.
Developmentally, Truman sort of is a teenager. And not by accident – at every turn, the show has actively hindered his self-discovery. In turn, Truman seems to be disconnected with his life, with no solid sense of who he is. His life rings hollow because it’s a life he has been conditioned to value, with conformity being the main weapon of control.
Our world isn’t so different. If we’re to grow, there comes a point when we must override our drive to conform. This is no easy feat, especially with powerful entities (governments, corporations, elites) hell-bent on chaining us to self-serving narratives.
But to set ourselves free, we must stray from the perceived safety of the pack. To avoid this inner call is to usher in a form of death. Not literal death, but a slow and steady disintegration of the self. Truman recognised this risk and acted instinctively.
Here’s the lesson: beware the tyranny of conformity. On our deathbeds, we won’t wish we had been more obedient, more cautious, or more inhibited. We’ll wish we had ventured out more, spoken up at the right moment, and stepped outside the status quo.
Lesson 2: To Find Your Soul, Lose Your Mind
You probably haven’t heard of “drapetomania”. That’s a good thing.
Coined in 1851 by American physician Samuel Cartwright, this “mental illness” was put forward to explain why enslaved people kept trying to flee their captors. Cartwright judged the life of a slave to be such an improvement, that to reject it signalled madness.
Even at the time, drapetomania was recognised as hogwash. And today, it rings out as nothing less than absurd. But this practice – of relegating understandable suffering to the land of “illness” – lives on in society, albeit in less overt forms. In short, the line between sanity and insanity is an arbitrary one.
Take the experience we call “depression”. In a world obsessed with economic growth, it isn’t surprising that depression is medicalised. That’s largely because it doesn’t align with the economic imperatives of the day – to always be “busy” and “productive”, no matter the personal, social, and emotional cost. But perhaps the suffering of depression has a purpose. For example, to make us aware of how sick society is, so we can take action.
“It is no measure of health to be well-adjusted to a profoundly sick society.”
In the same way, Truman’s suffering has a purpose: it compels him to discover the truth.
We observe perhaps his first dance with that truth in a flashback, where he meets Sylvia/Lauren Garland. Their connection is instant, spontaneous, and undeniably real. This is juxtaposed with Meryll, who represents all that is forced and false in Truman’s world.
Although Sylvia is swiftly removed by her so-called father – and written off as “psychotic” – it’s too late: the seeds of truth have been sown. From then on, the only thing that really nourishes Truman is his dream of escaping to Fiji, where he believes Sylvia to be. Sylvia symbolises the truth.
Midway through the film, Truman’s disillusionment gathers momentum. More and more cracks appear in his fabricated, controlled reality. Why, for instance, is the man with flowers walking around and around his block on autopilot? And why did Meryll cross her fingers in their wedding photo?
As the illusion begins to falter, Truman enters a period of necessary breakdown. I mean that quite literally – his perception of reality is breaking down. Unable to piece together the fragments, however, Truman cycles through fear, loneliness, dejection, paranoia, and confusion.
This culminates in Truman taking Meryll for a joyride to Atlantic City. In one of my favourite scenes, he circles the roundabout shouting “somebody help me, I’m being spontaneous!” out the car window.
Predictably, Meryll frames this behaviour as Truman being “unwell”. In reality, of course, his spontaneity signals an impending awakening. As the audience, we rejoice knowing that the grip of conformity is starting to weaken. Truman is coming alive.
Finally, Truman leaves everything behind to pursue the truth. On his boat, we see him cradle an image of Sylvia, an image he has painstakingly recreated through trial and error. This marks the onset of Truman’s quest for the truth – the fragments of reality are beginning to coalesce.
How easy would it have been for Truman to collapse under the weight of his disorientation and suffering? Instead, he embraces his pain and heeds its call. There’s an important lesson here. When glimmers of truth appear through cracks in the status quo – and we suffer as a result – do we validate our discontent? Or do we seek refuge in the more culturally palatable idea – that we’re deranged, deluded, broken?
Following the inner call to self-actualise might be the high road, but that doesn’t mean it looks pretty. As the saying goes, you have to break some eggs to make an omelette – breakdowns can be a necessary stage on the path to living with purpose, authenticity and integrity.
As Alexander Lowen said, “despair is the only cure for illusion.”
Lesson 3: Embrace The Unknown
When Truman is blocked from leaving Seahaven via land and air, only one option remains. Despite his intense fear of water – triggered by the trauma of losing his father at sea – Truman takes to the open ocean.
Whenever I watch The Truman Show, these final scenes fill me with hope. In order to discover the truth, and liberate himself, Truman musters the courage to face his greatest fear. In the same way, if we’re to reinvent ourselves, or even simply to thrive, each of us must face the music.
I love the scene where Cristof spots Truman’s boat and a crew member exclaims, “How can he sail? He’s in insurance!” I smile realising that Truman was likely nudged towards a career in insurance to make him risk-averse. This makes his renunciation of that manufactured identity all the more climactic.
If we’re to effectively navigate our fear, we must dance with the unknown. And in The Truman Show, the “unknown” is symbolised by the ocean. Not only does the ocean represent the formless and the unfathomable, but it also stands for the endless interplay between creation and destruction. After all, the ocean is thought to be the original source of life itself. But it also has the power to silently and unforgivingly sweep life away, just as it did to Truman’s father.
This makes his voyage all the more poignant, with Truman’s rebirth forged in the crucible of oceanic chaos. In fact, he literally drowns on camera before coming back to life. At this point, we breathe a sigh of relief knowing Truman has pierced through the great unknown and triumphed over his fear. He is now free to reemerge as someone else; to recreate his life anew. When the time is right, all Truman has to do is choose.
And that moment of choice rushes up to greet Truman when his boat smashes into the wall of the dome. He comes to an exit door. But just as Truman is about to leave, Cristof talks to him, and he says “Listen to me, Truman. There is no more truth out there than there is in the world I created for you. The same lies. The same deceit. But in my world, you have nothing to fear.”
It’s here that we understand Cristof – Cristof has been acting out a distorted form of parental love all along (here’s a great article on this). By trying to protect him from the harsh winds of reality, Cristof has stifled Truman’s growth to the extreme. Truman must now decide whether or not to disentangle from Cristof’s warped vision of truth. And that’s exactly what he does. Truman exercises the ultimate human freedom – the freedom to choose.
Wouldn’t you be tempted to turn back? I know I would. Remember, Truman had zero knowledge of the reality beyond Seahaven. It would take serious guts to put your entire life on the line in order to be true to yourself. Yet Truman embraces the unknown without hesitation. He leaves the comfortable, safe mould created for him, accepting the inevitable pain and suffering this will bring.
I always enjoy the decision to portray the exit door as a black void. Consider the difference if the writers had instead hinted at bright, sunny skies ahead for Truman. Rather, blackness conveys a more realistic message: choosing freedom, authenticity and growth are daunting precisely because they ask us to embrace the unknown and the unknowable.
That said, here’s a question to reflect on: where in your life is there a “Truman door”, waiting for you to step through?
Truman’s existential situation isn’t so different to yours or mine – in ways big and small, we all confront forks in the road.
One road is the direction of truth and understanding, while the other road perpetuates our unconscious delusion. One road leads to enlargement of the self, while the other stifles and constricts us.
Leaving medicine to change careers was one of those forks in the road for me. It was difficult, painful, and nerve-racking to walk away. I also wondered if I was insane to do so. And at the time, I had no idea what would happen next (in fact, I still don’t).
But I’m glad I made that choice. By departing from the “known” and stepping into ambiguity, I somehow feel more… myself. Just like Truman’s voyage across the ocean, I have a sense that although I don’t know where I’m going, I do know I’m heading in the right direction.
If you’re up for it, I’d love to hear your thoughts in the comments below. Did you interpret The Truman Show differently? What life lessons did you draw?
As always, thanks for reading.
And in case I don’t see ya – good afternoon, good evening, and good night.


by Karen Elaine Greene
Buy your copy of Three Thousand Doors for $13.00 U.S. plus shipping and, in Texas, sales tax.
Why do I write?
Because I HAVE to.
I yearn for the feeling of the river running through my veins.
I crave the rush of power necessary
to push words through my pen and onto the page,
send them thundering over the rapids of my life —
the chaos culminating in a surging torrent
tumbling violently over the edge,
into the frothing maelstrom.
I float up
gasp for air
plunge again to the bottom; push off the rocks
thrust my way back to the top
break the surface like a mermaid
and gently collapse onto the calm glass-top face,
gliding quietly through the clear,
breathing deeply of the space surrounding me.
I write because if I do not
I feel I am no more than a leaf
trapped in the brush at the waters’ edge.
stagnant and decaying waste.
I write to remind myself
that I have at least a toe-hold on sanity.
I write because my life is extraordinary
And I cannot sit idly by.


Marin Alsop has been announced as the next Chief Conductor at the ORF Vienna Radio Symphony Orchestra Vienna from the 1st of September 2019 for an initial period of three years. Alsop will conduct the Orchestra in concerts, opera productions, tours, broadcasts and recordings. She succeeds Cornelius Meister.
Celebrated internationally as an inspiring and influential conductor, Alsop’s innovative programming and commitment to audience development across all ages is driven by her passionately held belief that "music has the power to change lives".
Radio Director Monika Eigensperger and the Managing Director of the Orchestra Dr. Christoph Becher recommended the appointment of Marin Alsop as new Chief Conductor of the Vienna RSO to Director-General Dr. Alexander Wrabetz, who formally invited Alsop to accept the position.
Dr. Alexander Wrabetz comments: "The ORF Vienna Radio Symphony Orchestra Vienna grew artistically under the leadership of Cornelius Meister and increased its reputation both nationally and internationally. Therefore, it was important that we find someone who would be able to continue to inspire and challenge us and we are thrilled to have been able to convince Marin Alsop to take up this position. She is an extraordinary conductor, who will further develop the RSO’s high artistic qualities. With her at the helm we’re in an excellent position for the future."
Monika Eigensperger comments: "I am delighted that our Orchestra will now have its first female Chief Conductor with Marin Alsop. She has been a pioneer for women and has been the first female Chief Conductor at many orchestras, not least her two current orchestras, the Baltimore and the São Paolo Symphony Orchestras. I’ve long admired Marin and I am very much looking forward to her arrival."
Marin Alsop on her new appointment: "I am very excited about the prospect of collaborating with the Vienna RSO. We share the same enthusiasm for expanding the repertoire and for connecting with new audiences. I am deeply moved by the fact that the players instigated my appointment and I can't wait to start this journey with them, working closely with the Orchestra's partners in Vienna, across Austria and beyond."
Alsop and the Vienna RSO collaborated for the first time in 2014 with a concert of works by Leonard Bernstein and Gustav Mahler. Their next project is a recording in autumn 2018 and she begins her first season as Chief Conductor as the Orchestra celebrates its 50th anniversary.
Marin Alsop conducting the Vienna RSO in April 2014
Marin Alsop conducting the Vienna RSO in April 2014
Dr. Christoph Becher comments: "After the Orchestra's musicians performed with Marin in Vienna in 2014 they unanimously put her forward as their new Chief Conductor. I particularly enjoyed our passionate and extensive exchanges on contemporary music and the importance of concerts for children and young people. I am delighted she has chosen Vienna and our outstanding Radio Symphony Orchestra."
Chief Conductor & Artistic Director Cornelius Meister on his successor: "I wholeheartedly welcome Marin's appointment. Of course, I will closely consult with her from now on in any future decision-making. The Vienna RSO will benefit extensively from her international experience and I'm hugely looking forward to being an audience member in her performances with the RSO!"
Both Executive and Artistic Directors of the Wiener Musikverein and the Konzerthaus welcomed Alsop's appointment.
Matthias Naske, Director of the Konzerthaus comments: "The Konzerthaus community in Vienna and myself share the view with Marin Alsop that 'Music has the power to change lives' and her relentless quest for artistic excellence. Congratulations on the Orchestra's choice and we look forward to welcoming the Vienna RSO with their new Chief Conductor at our hall."
Dr. Thomas Angyan, Director of the Wiener Musikverein comments: "Marin Alsop's appointment is a huge asset to the Orchestra and to Vienna as a city of music. Marin is familiar to Austrian audiences from her performances at the Musikverein. As Director of the Gesellschaft der Musikfreunde in Vienna, I am delighted to welcome Marin Alsop to the Musikverein as the first female conductor to lead the Orchestra that is so dear to Vienna."
Until the start of her tenure, Marin Alsop holds the title of Chief Conductor Designate.
Music Director of the Baltimore Symphony Orchestra since 2007, Marin Alsop's tenure has been extended twice and currently runs until 2021. Among the initiatives she has created there are "OrchKids", which brings the BSO's musicians into schools in socially deprived areas of the city, the BSO Academy and the "Rusty Musicians" for adult amateur musicians.
Alsop has also been Principal Conductor & Music Director of the São Paolo Symphony Orchestra since 2012, where she champions a diversified concert programme as well as outreach activities. She has taken them on several international tours, including appearances at the BBC Proms, the Edinburgh and Lucerne Festivals and in Berlin, Paris, Salzburg and Vienna to great acclaim. She will become Conductor of Honour at the end of her tenure in 2019.
Marin Alsop conducts international orchestras including the London Symphony Orchestra, London Philharmonic Orchestra (with whom she has recorded a complete cycle of the Brahms Symphonies), Gewandhausorchester Leipzig, Royal Concertgebouw Orchestra, Filarmonica della Scala and Orchestre National de France. In the US she regularly leads the orchestras of Los Angeles, Philadelphia, Cleveland and Chicago. Further highlights of the 2017/18 season include guest appearances at the Budapest Festival Orchestra, Orchestre de la Suisse Romande and Danish National Symphony Orchestra.
Marin Alsop has always championed contemporary composers, not least as Artistic Director of the Cabrillo Festival of Contemporary Music for 25 years. As one of Leonard Bernstein's best known pupils, Alsop is central to his 100th anniversary global celebrations in 2018: she opens and closes the Bernstein tribute by the London Symphony Orchestra, will conduct his "Mass" at the Ravinia Festival with the Chicago Symphony Orchestra, where she curates the programmes for 2018 and 2019, and at Southbank Centre in London, where she is Artist in Residence. At Southbank Centre she will also conduct the Orchestra of the Age of Enlightenment (OAE) in a Beethoven programme as part of a UK-wide tour. Her regular association with the OAE has resulted in recent performances of both the Brahms and Verdi Requiems at the BBC Proms.
In September 2013, Marin Alsop became the first female conductor to lead the BBC's Last Night of the Proms, which resulted promptly in a second invitation to conduct in 2015.
Her extensive discography has led to multiple Gramophone awards and includes the Symphonies of Brahms, Dvořák and Prokofiev as well as further recordings for Decca, Harmonia Mundi and Sony. Among her many awards and academic positions, Marin Alsop is the only conductor to have received the prestigious MacArthur Fellowship. She is an Honorary Member of the Royal Academy of Music and Royal Philharmonic Society and she has directed the Graduate Conducting programme at the Johns Hopkins Peabody Institute since 2015. She attended the Juilliard School and Yale University, who awarded her with an Honorary Doctorate in 2017. Her conducting career was launched in 1989, when she became the first woman to be awarded the Koussevitzky Conducting Prize from the Tanglewood Music Center.


The iconic Pasifika Festival is celebrating its 25th birthday. With free entry, more than 220 performance groups and 60,000 visitors expected, this is a party you won’t want to miss!
Western Springs Park will be transformed into 11 villages representing different Pacific Islands. Each village has a distinctly different vibe. From the peaceful setting of the Niue and Tuvalu villages, follow your nose and you will discover Hawaii’s smokey BBQ delights; if you are wondering what the noise is about, head along to the Aotearoa, Cook Island and Samoa villages. They are renowed for their stage performances.


Lover of literature, published poet, and Shakespeare aficionado John Michael Stanko passed through nature to eternity on Saturday April 28 2018. He leaves behind a loving family: his wife Johanna (Tomasello); five daughters Heather, Rebecca (Matthew) Weiland, Seneca (Mateusz) Gawlik, Suzanne Kline, and Jeanelle; five grandchildren Siana, Ty, Merrick, Abigail, and Jacob; two sisters Virginia Graney and Irene Hutchinson; and his dalmatian Max. John was predeceased by his brother Ed Stanko, sister Alice Kiesewetter, and daughter Jennifer Kline.
John cherished his memories of playing high school football at both Bristol Central and Bristol Eastern High Schools. He attended CCSU and completed his higher education with a master’s at Trinity College in Hartford.
He had a profound and lasting impact on the lives of students, cross country teams and colleagues an educator and coach with 30 years devoted to academia. In Simsbury he inspired literature and drama students’ involvement in philosophy, slam poetry, creative writing, and theatre, most notably directing the groundbreaking production of “The Shadow Box” in 1991. An early adapter of technology, he taught himself to design computer systems and websites in the 80’s and 90’s and was later able to combine his love of education and technology as a network specialist in Bloomfield.
In his spare time John enjoyed running, officiating races for Westminster School, cooking, canoeing, photography, and redesigning his home. You could often find him at Stratton Brook Forest where he loved to bring his teams to practice, or walking his Dalmatians around town in Winsted.
A warm thank you to all who helped care for John during his battle with ALS, the condition named for Lou Gehrig of his beloved Yankees.
His family will receive friends on Saturday May 5th from 10am to 12pm at the Vincent Funeral Home, 880 Hopmeadow Street in Simsbury. Reception and celebration of life to follow. In lieu of flowers, donations can be submitted to the ALS Association Connecticut Chapter, 4 Oxford Road Unit E4, Milford CT 06460, or www.alsact.org. To view John’s permanent online memorial and express your own thoughts, please visit: www.vincentfuneralhome.com.
In the words of Hamlet - The rest is silence.


**In the comment section, feel free to link up your favorite Christmas craft that others would enjoy!
Merry Christmas from Seamingly Smitten!
Hug your little ones, play silly games and enjoy their giggles! They grow up way too fast!
Sewing and Crafts with Kids
1. Scrap Fabric and Clay Pot Nativity Scene
*My little boy came home with this from school yesterday and he couldn't wait to show us our gift! This project is so simple and only took a few items: 3 miniature clay pots, 3 wooden balls, scraps of fabric, a marker, hot glue, ric-rac and some raffia for the hay. Simply glue on the fabric, add the faces, some hay and a halo and you've made a Christmas Nativity.
2. Make a Stuffed Animal or Figure from your child's drawing
*This activity and tutorial can be found HERE on Martha Stewart and would be an instant hit with the kiddos in my house. Just think of all the animals that children could come up with - even if they combine two of their favorite animals to make up the silliest animal they can imagine.
*My son wanted to make something with me the other night and this is what we did! He drew his design - A Superhero Sailboat - then picked out his fabric. I cut out the shapes, pinned the design and let him push the foot pedal the entire time (but his hands were not near the machine). He loved it and the pictures below prove it with that big old smile!
Photo from Martha Stewart.com
3. Monster Tooth Fairy Pillow - get the HOW-TO HERE.
*Some of you may have children losing teeth already - we aren't there yet in this household, but we will be in the next year or two. This Monster Tooth Pillow is such a fun idea from The Long Thread blog! The mouth of the monster is a pocket to hold money that the Tooth Fairy leaves and is a safe place to put that tooth all night. Boys would love a monster like this and girls could change it up by making their monster a prettier monster - pink, glitter, ric rac, pom pom teeth, ribbon hair...etc.
Photo and tutorial found HERE
4. Sew Finger Puppets
*Bedtime stories are a huge hit in our house and right now we love The Gingerbread Man. This finger pupper sewing craft would be a fun activity to create characters from a favorite story in your house so the kids could play along as each character in the book.
*The TUTORIAL FOUND HERE from Obsessively Stitching blog will show you how to create finger puppets for The Three Little Pigs (and even that wolf who huffs and puffs).
5. Sock Puppets
*I found this TUTORIAL HERE on the blog Six Sisters Stuff and wow this brings back memories of playing with Kermit the frot puppets! Who remembers that? If this sock monster project doesn't get your kiddos laughing, I'm not sure what will! I can just see my little ones running around after each other trying to make their puppets talk to one another. I must make this!!
I hope you enjoyed this list of a few crafts that you might love to make with your kids over the holidays (or anytime). If you have a favorite kid's craft tutorial SHARE IT in the COMMENTS below!
Happy Sewing and Crafting!


Flat whites are such treats! I have been traveling through New Zealand for the past two weeks, and apart from the scenery, the people and the deliciously warm summer weather, I have a new favorite coffee drink!
These insanely popular drinks from New Zealand are my new love and obsession. I simply cannot go a day without sipping the espresso-milk-foam combination. What makes it different from a latte you ask? Less foam, more charm, and without fail a cute little design on top that brings a little bit of art to a morning. I must learn how to make these lovely little buggers when I arrive home. Sweet as!


The vision of Café Avalaun is brought to life through the story of Brian and Jennifer Doyle that starts when they met at the age of 14. The café is named after Brian’s late mother, Avalaun Harrill Doyle, who died when Brian was 7 years old. Avalaun was an eclectic artist working across many mediums including poetry, oil paints, watercolor, sculpture, singing and songwriting. When Brian and Jennifer met years later, Brian quickly became part of Jennifer’s family and grew close with her mother, Suzan Smith. Suzan was also a talented artist, with her hand in ceramics, drawing, and writing. She was passionate about cooking gourmet meals for her family. Her relationship with Brian fostered even more of his love for cooking that was born in him from a very early age.
Together they enjoyed going on culinary adventures and challenging themselves to create new recipes using the unique ingredients they would collect in their travels. Jennifer’s mother Suzan also passed away too young at the age of 49, on the 2nd birthday of Brian and Jennifer’s 1st son, Logan.
It was a dream of Brian and Jennifer’s to partner with Suzan and eventually open a café focused on fresh baked breads and homemade soups, which were Suzan’s specialties. Brian and Jennifer believe that it is the influence of their mothers that instilled both a love for creativity and a passion for food that brought them to the vision that is Café Avalaun.
The vision of Café Avalaun is to invoke the spirit of their mothers through art. Tributes to them will be apparent throughout. Expressing their personality, hearts, and minds, Brian and Jennifer believe in sustainable considerations throughout all facets of the business with upcycling and reclaimed materials. The café features an art installation created by Jennifer’s cousin, Carole Werder. Her style is rooted in heavy layers of impasto pigment, bright colors, and sometimes popsicle sticks that comprise her paintings. Carole’s art examines the psychological condition and provides a biographical narrative of the subjects of her work.
WHY GLUTEN FREE?
The menu at Café Avalaun is 100% gluten free. This focus on gluten free foods is born out of their own family’s need to be gluten free. Their oldest son, Logan was diagnosed with autism at age 2, and has been gluten free for 16 years and the rest of the family went gluten free in 2011. Around that time, Jennifer had a medical induced debilitating condition that left her unable to walk or work for 3 months.
Doctors couldn’t offer any solutions. Brian quickly realized that diet held the key to her recovery and so began a journey to wellness for them both via an anti-inflammatory diet. After the diagnosis of gluten intolerance they both lost weight and had numerous gains in health going on a primal-style diet. Brian also became a certified health coach from the Institute of Integrative Nutrition. Since then, Chef Brian realized he could no longer work with gluten in his professional life and avoids it for his own health. This had dramatic changes for his career and professional life as a chef.


I am a simple person with the most amazing blessings in my life. I love to be creative and use the talents God has bestowed upon me. I enjoy good conversation with great friends and cuddling up with my husband and kids. I love to be inspired by the people around me and want to leave a little peice of me in someone else’s life. I enjoy making things with my hands that are guided by my heart. There is nothing like a good song that fulfills my mood and touches my soul. I revel in the aroma of homemade cookies whisping through the house and ending a day with hugs and kisses and hearing the sweetest voices saying goodnight. I am a simple person.


Modern boho-style Australiana christmas cards featuring our native Australian wildlife.
Three pack options available: pack of 5, 10 or 20 christmas greeting cards.
A6 (105x148mm) card size and blank inside for your own personalised message.
Each card is printed on 100% recycled 300gsm uncoated (white) paper and comes with a 100% recycled brown paper envelope.
Illustrated by Jodie Quinn with Yuliya Derbisheva (at DerbishevArt) and Anna Szonn (at DesignWorkBoutique).


Mary Ann Moeller, 85 of Rostraver Township, passed away Wednesday, January 9, 2019 in her home. She was born in North Charleroi on February 21, 1933, the daughter of the late John and Anna Blasick Moeller. Mary Ann was a graduate of Charleroi Area High School class of 1951. She received her bachelor of music at Northwestern University, her Master’s degree in Music Education from Duquesne University. She earned advanced credits at Temple University, Hofstra University, Arizona State University and Dowling University. She was a life member of Music Educators National Conference, and taught Music for 32 years before retiring from Smithtown School District in Long Island, New York. Mary Ann was a member of the Presbyterian Church of Charleroi, where she played the piano and directed the choir. She was also a deacon and on the board of session. Mary Ann loved to play the piano and sing; her students nicknamed her “Miss Music”. In her retirement years she taught private piano and voice lessons. She was a very loving woman who devoted her life to her family and faith. She is survived by her nieces Paige Moeller (Donna) of Green Tree, Kerry Timko (Bob) of Rostraver Township, Jean Polzer (Ron) Painsville, Ohio and nephew John G. Moeller Jr. (Denise) of Key West, FL, sister in-law Larue Moeller of Cleveland Ohio. Great Nephews Bobby, Reid and Dylan Timko. Caleb Stoliker, Lee (Mindy) Polzer and great nieces Janet (Mike)Bauer, Jenna and Lea Moeller. In addition to her parents Mary Ann was preceded in death by two brothers John G. (Jack) Moeller, Jr. and Keith Moeller and a sister Kathryne (Jean) Moeller. A Memorial Service will be held on February 3, 2019 at 1:00pm in the Charleroi Presbyterian church with Rev. Mark Woomer and Rev. Sharon Woomer officiating. In lieu of flowers, memorial donations may be made to the Presbyterian church of Charleroi address 514 5th St, Charleroi, PA 15022.


Where does the KO team turn to feel inspired, get organized and stay active? Take a look at our list of favorite apps to find out:
Megan Rolerkite, Account Manager: MyPostcard It’s not an app I use daily, but I love the concept and use it when I’m on a trip or want to send a note to a friend afar. You use one of your photos from your phone to create a postcard. You fill out the address, and a personal note and MyPostcard does the rest. They print, postage and mail your postcard from anywhere in the world.
Emily Kropp, Social Media Director: A Color Story Photo editing at its finest! There are a lot of fun ways to enhance a drab photo on this versatile app, including adjusting curves, shadow colors, and the temperature of your image. Plus lots of juicy filters, of course. #selfietime
Emma Alpaugh, PR Account Manager: Instagram Can’t go a day (or hour?) without it. I follow food and travel sites, friends, and a few celebs. I enjoy the visual inspiration and also seeing what’s trending in various industries. On a personal level, I enjoy staying connected with friends across the globe.
Britten Stark, Senior Accountant: Dragon Box I never really understood algebra until I found an app that figured out how to teach it without any numbers. It’s weirdly addictive.
Cassie Croissant, Social Media Manager: Digit Digit is perfect for impulse spenders, like me. It syncs with your bank account and saves money for you behind the scenes each month, sending you daily balance updates that really help keep your spending in check. But it also lets you tap into your Digit savings whenever in case you need to buy something VIP.
Cindy Cooper, Chief Marketing and Impact Officer: Words with Friends I love that every word you make is like a nano puzzle. That’s gotta be good for you. Plus, you don’t get sucked into playing for long because you have to wait your turn.
Rachelle Running, Art Director: Soundhound If I hear a cool tune I’ve never heard, or one I can’t remember, the app “listens” and can tell me the name, artist, and a direct link to download. It stores my history too, so I can refer back later if I want.
Caitlin Harrington, PR Account Coordinator: ClassPass I love browsing through the workout classes I can catch after work. If my day’s been busy, I’ll hit up a yoga or pilates class to unwind. For an energy boost I’ll find a barre or cycling class. I love it so much I’ve even got my desk mate here at KO addicted to it.
Hayley Smith, PR Account Coordinator and Project Manager: Instagram In addition to keeping up with friends and family, I love the Explore tab and following the occasional celebrity or two. For a photography novice like myself, it’s fun to play with filters and editing tools.
Vicky Hahn, Director of First Impressions: Evernote I am OCD about finding it fast! I use the mobile app to capture and organize stuff that pops into my head at random times during the day. Ideas for presentations, to-do lists, recipes, travel info, etc. are sorted into their respective notebooks.
Shelly Graham, Developer: Apple iOS ‘News’ I decided to give the new News app a try and really like it. I liked that I could set it up so most of my news feed comes from professional, credible sources like the New York Times, BBC and NPR without the focus on comments and opinions.
Kate Peterson, Director of Client Services: Headspace I’m really loving Headspace right now. It’s a guided mediation app that makes learning meditation so much easier. I use it every morning and four weeks in I am already seeing some really nice benefits.
Art Knight, Designer: Instagram I like it because I can see tons of content from all over the world. from artists and musicians to news and comedy. Plus it’s a really low commitment. And it’s fun to think that somebody in Russia or Japan or wherever is checking out my vacation pictures.


Based in Maplewood, New Jersey (just west of Manhattan), I'm the director of content at the boutique Hoboken-based PR firm RoseComm.
A photographer for more than two decades, mirroring my career as a journalist for Bloomberg News, I'm lucky to have been one of few journalists whose reporting and photography have appeared in dozens of major U.S. newspapers.
In late 2015, I transitioned to the freelance world, allowing me to further focus on my love of visual storytelling. As you can see by my homepage I'm a generalist, enjoying the challenge of shooting a diverse scope of subjects and in many different settings.
Perhaps you have a photographic (or writing) need I can help you with, or interest in purchasing some art to complete your totally charming home? You can do that here.
Thanks for stopping by and don't hesitate to say hello.


SFEMS’s regular concert series comes to a powerful conclusion the weekend of March 20–22 in a program of both virtuosity and depth. We will be treated to a joint appearance by two giants of their generation, violinist Rachel Barton Pine and harpsichordist Jory Vinikour, who are among the finest current exponents of their instruments. They will perform a program devoted to the music of Johann Sebastian Bach, including two of the composer’s sonatas for violin and harpsichord, which the duo recorded in 2017 for the Cedille label, as well as the great D-minor Partita for Solo Violin, BWV 1004, and the Ouvertüre nach Französischer Art (French Overture—Partita in B minor for solo harpsichord), BWV 831. The artists contributed these notes on the music they will perform.
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Johann Sebastian Bach’s six sonatas for violin with harpsichord obbligato (BWV 1014–1019) were likely composed during Bach’s period in Cöthen, between 1717–1723. Bach’s son, Carl Philipp Emanuel describes these works as among the finest his father composed. The idea of juxtaposing a thorough-composed harpsichord part against the “solo” instrument was quite novel at this time, the harpsichord possessing a tremendous solo repertoire, but used principally as a continuo instrument in ensembles. Apart from the concerti for harpsichord and strings, Bach used the harpsichord as an equal duo partner in three sonatas with viola da gamba, at least two with flute, and the six sonatas with violin.
These works, though never published in Bach’s lifetime, were admired by Bach’s followers, and copies circulated throughout Europe.
Carl Philipp describes these works as trio sonatas, much in line with the trio sonatas for organ. That is to say, the violin and the two hands of the harpsichord part each represent relatively equal polyphonic lines within this three-part framework. That said, the sonatas vary tremendously in character, and even in texture, Bach treating both instruments in a profoundly idiomatic fashion.
As a case in point, the sonata in B Minor, BWV 1014, begins with a highly expressive adagio. The violin’s florid cantilena is accompanied by a steady eight-note accompaniment from the harpsichord, with the right hand’s two voices mostly playing thirds or sixths, although frequently forming two independent voices. When one considers that the violin is also frequently playing double-stops, this brings the movement to a five-part texture. The second movement is a fairly straight-forward fugue, in a true trio sonata texture. The third movement, in D Major, is a serene andante, the violin and the right hand of the harpsichord embroidering over a steady eight-note bass line. The brilliant finale again shows the violin and the two hands of the harpsichord in a three-part contrapuntal texture.
Sei Solo A Violino Senza Basso Accompagnato (Bach’s Six Sonatas and Partitas for Violin Alone) The Six Sonatas and Partitas by Johann Sebastian Bach are the culmination of an almost-century-old tradition of multiple-voice writing for unaccompanied violin in Germany. Works by Thomas Baltzar (Preludes, Allemande, etc.), Heinrich Ignaz Franz von Biber (Passacaglia), Johann Paul von Westhoff (Suites), and Georg Pisendel (Sonata) serve as significant prior examples of this improvisatory and compositional practice with which Bach was intimately familiar.
Bach’s autograph manuscript from Cöthen is dated 1720, though some scholars believe he may have begun writing the Sonatas and Partitas as early as 1717. The title page includes the designation “Part 1,” with Part 2 being the Six Suites for unaccompanied ‘cello (probably the “da spalla” type of violoncello played by himself).
The Sonatas and Partitas are full of technical challenges that must be overcome in order to bring out the harmonies and polyphonies. They require a highly refined technique of both the left and right hand. Clearly Bach was not only a genius composer and master keyboard player, but also a violin virtuoso of the first rank. The violin was most likely the first instrument he studied with his violinist father, Johann Ambrosius. His first professional jobs in Lüneberg and Weimar included significant duties as a violin player and he continued to play the instrument for all of his life. Perhaps his esteem for the violin is reflected in the fact that the longest fugue he ever wrote was not for organ, harpsichord, or ensemble, but for unaccompanied violin (the Fuga of BWV 1005).
The internal symmetry of the six violin works points to his conception of them as a cycle, rather than merely a collection. Each Fuga is increasingly longer and more complex. In contrast, the third movements of the Sonatas become ever sparer, from three voices to two to primarily one. The Partitas increase in size from four movements to five to six. Their stylistic language follows a forward path, from the proto–17th Century of the B Minor to the High Baroque Italian of the D Minor to the new modern French style of the E Major.
The Partitas are suites of dance movements. Bach follows the standard Italianate sequence of Allemande, Corrente, Sarabande, Gigue in his D Minor Partita, but deviates from it in the last movement of the B Minor, substituting an intriguingly titled Tempo di Borea. (Perhaps this was a nod to Pisendel whose earlier sonata had concluded with a Giga and Variation.) Despite the fact that none of these dances were meant to accompany actual dancing, Bach is often meticulous in his adherence to symmetrical phrases indicating regular step units.
The first four movements of the Partita in D Minor could form a suite of their own, but it turns out that they are leading up to one of the pinnacles of all music. Much has been written about the Ciaconna as a monumental showpiece, or as a journey through the deepest of emotions. The theory that Bach wrote it as a memorial to his first wife has been convincingly debunked, but we still continue to hope that perhaps it has some hidden, poignant extra-musical meaning such as the crucifixion. (Another theory suggests that the three sonata-partita pairs may represent birth, death, and resurrection.) Yet the music need not justify itself beyond its notes and the emotions they portray. These thirty-four imaginative variations in three sections are grand, playful, peaceful, uncertain, triumphant, tragic. Yet, somehow, Bach never loses the spirit of the dance. (Rachel Barton Pine)
Ouvertüre nach Französischer Art (French Overture—Partita in B Minor), BWV 831 The so-called French Overture, originally titled Overtüre nach Französicher Art (Overture in the French style) was published in 1735, as the second work (following the Italian Concerto) of the second Clavier-Übung. These two works certainly seek to explore national styles, using the harpsichord in an orchestral fashion to emulate French and Italian traits. However, the French Overture, which Bach initially composed (although unpublished) in C Minor, serves to complete the sequence of tonalities of the six partitas for solo harpsichord, BWV 825–830 (published from 1726–1730 as the first volume of the Clavier-Übung).
The first movement, whence Bach draws the heading title of the work, is indeed an Overture, inspired by the early models of Lully. In Bach’s keyboard works, we find this type of movement in the D Major Partita, BWV 828, as well as opening the second half of the Goldberg Variations. The first half of all of these pieces is always in duple time, with dotted rhythms. Whereas in the D Major partita, and the 16th of the Goldberg Variations, the effect is jubilant, here, the mood is dramatic, even tragic. This opening section is followed by an extended fugal passage in 6/8, in distinctly delineated episodes. Bach notes the changes of keyboard with forte (lower keyboard) and piano (upper). At the end of this fugue, the opening material returns, bringing this extraordinary movement to a close.
Bach skips the customary allemande, following the overture with an elegant courante, strongly inspired by François Couperin’s models. A lively gavotte, which Bach marks forte alternates with a much more intimate (piano) gavotte in D Major. In this second gavotte, Bach writes this as a two-part piece, perhaps evoking a duet between oboe and bassoon. Likewise, the rather explosive first Passepied alternates with a crystalline B Major trio. Even the exquisitely introspective Sarabande is written in strict four-part counterpoint. The first of the Bourées is of a very rustic character. It alternates with a more flowing piece, also in B Minor. The gigue is very much in the mold of examples by the French composers who Bach so admired: Couperin, Marchand, etc. The suite concludes with an Echo—this rustic dance uses once more the contrasts of the harpsichords two keyboards, creating the effect that the title suggests. (Jory Vinikour)
Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016 The sonata in E Major, BWV 1016, opens with a monumental adagio. Over a thickly layered, choral-like accompaniment in the harpsichord, the violin soars freely in a richly ornamented line. This is followed by a merry fugue. The third movement, Adagio ma non tanto, shows the two instruments exchanging expressive tripletted figuration and chordal accompaniment. The final movement, a brilliant, concerto-like allegro, features the violin and harpsichord exchanging brilliant, swirling, sixteenth note figuration. The middle section of the movement juxtaposes a development of this writing with contrasting triplet material, creating an unusual “two against three” rhythmic texture. (Jory Vinikour)
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SFEMS presents Rachel Barton Pine and Jory Vinikour at 8:00 p.m., Friday, March 20, at First Presbyterian Church, 1140 Cowper Street at Lincoln, in Palo Alto; 7:30 p.m. Saturday, March 21, at St. John’s Presbyterian Church, 2727 College Avenue, in Berkeley; and 4:00 p.m. Sunday, March 22, at Church of the Advent, 261 Fell Street, in San Francisco. Tickets may be purchased online, through the SFEMS box office at 510-528-1725, or at the door 45 minutes before each performance.


I am Chathuranga Neminda from Colombo, Sri Lanka. With an extensive artistic background in design trends and the World Wide Web, NuClear Ambitions embodies my venture towards a more personalized service for my clients.
I collaborate with the best interactive developers and designers in the industry to provide cutting edge design solutions for your business. Feel free to visit my portfolio to see samples of my work in different areas of design.
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Photography: Art Direction, Digital Image re‐touching & Image Manipulation


Pathfinder Quilt - PDF Download
The Pathfinder quilt pattern is perfect for an advanced beginner or a beginner quilter looking to challenge oneself. Primarily made from half-square triangles, Pathfinder uses streamlined methods to allow a quilt to make the best use of one's time.
- Confidence Level: Confident Beginner
- Finished Size: 80" x 80"
This modern design looks great with solids and high contrast fabrics, but can also showcase low volume prints.
NOTE: This is a PDF Download. No physical pattern will be provided. Patterns are a final sale, due to their digital nature they cannot be returned or refunded.
Pattern copyright 2023 by Alison Barry Quilting. ABQ103. All rights reserved. Do not copy or reproduce this pattern without permission. Give credit if selling quilts from this pattern.


the diggs gallery prefers the fine are papers from hahnemuhle. they produce papers with passion and focus on quality instead of quantity, they see themselves as a manufacturer rather than a factory. using the best raw materials, craftsmanship skills, a lot of handicrafts, and a cooperative relationship with their customers make for the excellence and international acclaimed quality of their products.
below is a select list of the papers we prefer to use. while completing the sale we will work with you to determine the best paper for your print.
hahnemühle bamboo is great for color prints and is the world’s first fine art paper made from 90% bamboo fibers, for a natural look and environmentally friendly paper production. the natural white, warm-toned bamboo paper does not contain optical brighteners, and stands out thanks to its soft, lightly textured felt structure and sensual feel. the matt premium inkjet coating delivers excellent printing results with defined reproduction of color and detail, particularly for warm hues and monochrome prints. bamboo is acid- and lignin-free and meets the most precise requirements in terms of age resistance. the unique combination of sustainable bamboo fibers, soft surface texture, and impressive print quality gives the artwork outstanding expression and soul.
hahnemühle photo rag® satin is perfect for black and white photos and is a smooth 100% rag, acid-free paper with a very unique coating that produces a satin look wherever there is a printed image while leaving a matte surface in non-printed areas. photo rag satin is ideal for photographers and fine art reproduction where a slight surface variation and depth is desired.
hahnemühle torchon is great for either black and white or color. it is acid-free watercolor paper with a parchment or pastel paper surface. especially suits reproductions of softer color palettes and grey tones that can benefit from its texture and soothing display. a bright natural white finish in color. the printed side of this paper has been specially coated for excellent image sharpness and optimum color graduation. the coating also offers a very high level of water resistance.
inspired by scandinavian design, the hygge (hyoo-guh) collection by nurre caxton features clean lines and a beautiful neutral palette that is at home in every decor. crafted by european artisans, the hygge collection delivers the highest level of quality and consistency.
the danish word “hygge” refers to a lifestyle defined by warmth, comfort, and everyday pleasures. nurre Caxton translates that emotion into a molding. this collection brings simple yet distinctive elegance to any décor.
for hand-delivered framed prints we use tru vue conservation clear glass. this ultra-protective glass is a staple for custom framing – it’s tried and true, standing the test of time, safeguarding the personal mementos and works of art on consumers' walls every day for years to come.
for shipped frames, we use conservation clear acrylic save on the cost (acrylic is lighter than glass) and prevent any breakage in transit. rest assured you won’t get burned by this ultra-protective, crystal clear acrylic that strikes the perfect balance between color neutrality and protection.
both options block out 99% of uv rays for the best archival protection.
so many mediums to print on and so many frames to choose from. we had to start somewhere, above you will our standards. if you are interested in any of our art printed and displayed in a variety of ways, just ask. even if you are sure what is available, we can point you in the direction of the nearest rabbit hole to discover all sorts of creative ways to add are to your space.
shipping is a separate transaction that is calculated as items are sent to you. cost is based off weight, location, and packaging requirements.
if you aren’t satisfied with any of your purchases, please contact us directly so we can work together on a solution for your satisfaction.


Hello, Hello! Well it’s day two of the 15 day challenge and todays prompt is all about writing memoirs, short ones, 6 words to be exact. I didn’t know how I was going to do mine, I mean 6 words is really hard to work with! But then I saw Suze at Suze Blog at I really liked the way she set hers out. She came up with milestones or eras within her life and used them as a starting point to create the 6 word memoir. So because I think it’s such a great idea, I’m going to follow her lead and go with a similar method.
Childhood: Daydream Believing: adventure and magical hideaways.
Teenager: Pain, Anger and Truth with Lies.
20Something: Learning from the past; moving forward.
To go one step further, I’m going to explain my choice of words and why I feel they describe those decades in my life. First and foremost, the fun that was my child hood! I was a bit of a dreaming when I was younger, I was the type that believed in magical beings, fairies and other such things. I use to believe the characters in my books were real and there was a world of adventure I was missing out on. When I was living in New Zealand, our area use to flood a lot and I thought that I could be like Christopher Robin (but a girl) and turn an umbrella upside down and sit in it like a boat and it would take me away to some place amazing (clearly didn’t understand the concept of what floats and what sinks!) But my point is, I was one of those creepy kids that live in some imaginative world in their head because that’s just how they are.
As a teenager, I wasn’t exactly the poster child for perfection. I was really angry, I was sad, I was a jumble of emotions and while I realise it was my teen years and I’m not the only one to experience hardship in my life, I’m just well aware that all that pent up frustration I had and the animosity I had toward my parents and my family was part of the reason I made bad choices and basically led a life of self-destruction. I wasn’t a terrible teenager but I did make bad choices and if I could go back again and do it all over again OR if I could go back and tell my 15 year old self what she’s doing wrong, I would make it abundantly clear that I’m stronger than the choices I make, I don’t need to be impressing anyone else or fighting for the attention of my parents, I just need to find my own courage and make the choices I know are right.
And clearly my 20something memoir is fairly self-explanatory. I’m smarter these days and I’ve made plenty of mistakes in the past that I know what I need to learn and what I need to change in order to shape the future I want. The past is the past and there isn’t anything I can do about it to change it, I made my mistakes and whether or not the choices I made back then were right or wrong, I can’t change them; all I can do is look to the future and realise that the mistakes of my past are what gave my strength in the present.


The Quiet Horizon
As another year is about to sink completely into the realm of memory, I can’t help but look back and marvel. I couldn’t have asked for, hoped for, or even, if I’d been able, crafted for myself a better twelve months. It’s been filled with the fruit of many labors. An old book greatly honored, a new book warmly received, and the contours of a future book roughly completed. Specifically, Ordinary Grace received an incredible number of accolades: the Edgar, the Anthony, the Barry, the Macavity, the Dilys, the Squid, the Silver Falchion. Windigo Island, the fourteenth entry in my Cork O’Connor series, appeared on a number of best books of the year lists. And the first draft of This Tender Land, the companion novel to Ordinary Grace, was finished. If one of the things that keeps us vital is steeping ourselves in the work we love, then it has been a year of great vitality and great passion.
As I look ahead now, what do I see? 2015 will be a quiet year in many respects. I will have no novel published in the upcoming year, so no long book tours, no long periods that will take me away from home and family. I’m looking forward to months and months of peace, of uninterrupted writing, of simply catching my breath. In each of the last three years, I’ve scheduled more than a hundred events—signings, author talks, workshops, conferences. This year will be different, blessedly calm, filled with quiet, I hope, the kind of quiet that allows deep contemplation to become possible, the kind of quiet that feeds our souls.
In terms of the writing itself, for those of you who are interested, this is what I’ll be working on. I will polish This Tender Land and prepare it for publication in the spring of 2016. I will complete the next in the Cork O’Connor series, a novel I’ve just begun to outline, and that will probably also appear in 2016. And I will begin work on a short novel, an idea that has been knocking around in my brain for more than a decade. So, clearly, I won’t be idle.
Every year is different from those that have come before. Although I have plans, I don’t really know what to expect. Life has a way of surprising us, doesn’t it?
And so, I wish every one of you the best on your own journey in the year ahead. May your days be filled with vitality, with passion, with love. And also with that blessed quiet that will feed your soul.
© William Kent Krueger. Web site by interbridge.


Custom fortune cookies are a great treat for every special occasion. They make perfect party favors, graduation gifts, congratulation gifts and unique birthday gifts. We even have a giant fortune cookie - a fun gift for the whole family.
Normally the entire point of a fortune cookie is getting to the message inside, but not so with our custom fortune cookies. The cookie itself is crisp and delicious, and you can choose to dip them in either Belgian Chocolate or Caramel. They are decorated by hand by our artisans with royal icing and colored non-pariels, then wrapped in cellophane and heat-sealed for freshness.
Try a pail of our regular sized custom fortune cookies for unique baby shower gift ideas, holidays or birthdays.
Or send one of our most unique cookie gifts, the Giant Custom Fortune Cookie. Big enough to share and with a personalized message inside, these make great congratulation gifts and thank you gifts.


Day one of class
Give the gift that will last for generations this Christmas
About our Workshop
We are excited to offer our WINTER classes so that you to learn the skills to build and walk away with your very own hand built wooden canoe.
Our classes have been designed for someone who has little or no experience in woodworking. You will learn the stitch and glue method, a beginner friendly way to build a beautiful handcrafted wooden canoe.
We will walk you through the process of construction, fiberglassing and detail work to build your own wooden canoe. Now you can know the accomplishment and excitement of having the maiden voyage of your very own handcrafted wooden canoe.
Ask about our class schedule options!
Materials are $1,850
Tuition for the class is $800
Complete Build (without finish) $2,650
Limited Classes Available
Day two of Class.
"Years of road trips with my dad to Wooden Boat School in Maine and Chesapeake Light Craft in Maryland inspired me to start our own workshop in 2018 so that we can share the craftsmanship and accomplishment of building your own hand built wooden canoe right here in Little Rock Arkansas."
-Samuel Ellis Owner and Instructor


Leduc is a beautiful city located 33km south of Edmonton. The city is apart of the international transportation and industrial heartland of Alberta being within close proximity of both Edmonton International Airport and Nisku Industrial Park. Leduc also has an excellent arts and culture scene being home to the Maclab Centre for the Performing Arts it also has a large Recreation Center that houses three NHL-sized arenas, an aquatic center, and a curling rink. The city also has a wide variety of parks and sports amenities and has more than 35km of multiuse pathways. Overall, Leduc is an amazing city with many amenities and a great sense of community.


Join your Academy as we celebrate two important milestones in 2018 - 70 years and 10,000 members!
Our year-long celebration, 70 Years … 10,000 Stories, centers on our members’ unique stories about family medicine; their passions, patients, training, mentors and much more.
We will be collecting members' stories throughout the year, both online and at CAFP’s in-person events. Stories can be in the form of written narratives, audio or video recordings, photographs, illustrations, poems – anything that fires your imagination! These stories will come together throughout the year, creating a rich and beautiful tapestry of diverse voices.
Add your voice to our narrative!
Read this page for instructions on how to share your story! We can't wait to hear from you.
If you have any questions, feel free to contact us at myFMstory@familydocs.org or (415) 345-8667.


The Summit Avenue Music Series (SAMS) will conclude its fourth season with a program aptly titled Cello Treasures on Sunday, April 5, 2020, at 3:00 pm. Renowned soloist and educator Parry Karp will be featured wielding the cello bow through works of J.S. Bach, Johannes Brahms, and Robert Schumann. Joining Mr. Karp will be Martin Luther College’s own Kathryn Wurster (soprano) and SAMS Artistic Director Bethel Balge (piano). Tickets are available in advance through SummitAvenueMusic.com or at the New Ulm Chamber of Commerce (1 N Minnesota St). Individual tickets are $15 (general) and $5 (students with ID). Tickets may also be purchased at the door on the day of the concert. For artist bios and further information, please visit our website.


Savannah provides such a dreamy, fairy tale-like backdrop for engagement sessions! With its beautiful squares, cobblestone streets and awe-inspiring architecture you are bound to have beautiful engagement photos. We encourage our clients to fully embrace their interests. Engagement photography really captures the love you share for each other. We’ve compiled a list of some of our favorite locations for engagement photos in Savannah that might describe exactly what you are envisioning for your session.
1. Historic Squares
Downtown Savannah has 23 historic squares that are all unique. That means 23 free options for beautiful locations! Some feature fountains, landmarks, statues, beautiful oak trees and paths. All squares are surrounded by historic homes which adds to its charm. A few of my personal favorite squares are Lafayette Square, Monterey Square, and Pulaski Square.
2. Forsyth Park
If you are looking for a traditional and recognizable location that will instantly remind you of Savannah, look no further! Forsyth Park is probably one of the most photographed locations in Savannah, and for good reason. The main walkway leading into the park is lined with oak trees, beautifully framing a fountain at the end of the path. The Forsyth Park Fountain was installed in 1858 and I can only imagine all of the love stories it has seen in its time. One of my favorite intimate spots in the park is The Garden of Fragrance. The beautiful white columns and oak tree paths create a quiet spot away from the hustle and bustle. The street lamps in the park also add a classic and romantic touch.
3. Wormsloe State Historic Site
When I think of the classic south, Wormsloe is always the first place to come to mind. Wormsloe Historic Site holds the iconic avenue of oaks. The long avenue is lined with 400 live oaks and their mossy branches arching over the dusty driveway creates a stunning backdrop. These magnificent trees go on as far as the eye can see, creating such dreamy and romantic images! It is also much quieter than Forsyth Park giving you privacy to take gorgeous photos with no rush.
4. The Marsh
There are so many quiet marsh paths in the Low Country. The marsh offers a romantic, natural backdrop. A few things I love about the marsh are the waving marsh grasses, palm trees, and oak trees dripping with spanish moss. The marsh is a great option for a more relaxed and laid back engagement session. Let’s explore nature and have some fun!
5. Tybee Beach
If you are dreaming of romantic pictures of the two of you running on the beach barefoot and watching the sunset, look no further! Just 20 minutes from Savannah, Tybee Beach offers completely different photo opportunities than the city does. This is not your traditional Savannah and that’s the beauty of it. Tybee offers miles of gorgeous beaches, a pier, dunes, sea oats, and a beautiful Lighthouse. This beach has also been the backdrop for some pretty iconic movies such as The Last Song, Baywatch, Gifted, and The Beach House which also adds that unique factor.


We’re very lucky to have the Tate Britain art gallery right next door and it’s well worth a look if you get time while you’re coming to see us at Pimlico Osteopathy. You can see more information on their website here.
The home of British art from 1500 to the present day. It is open daily Monday to Sunday 10.00–18.00 and you will find it at Millbank, London SW1P 4RG. Entry to Tate Britain is free for everyone with a charge for special exhibitions.
There is a very useful map of the gallery showing all the main exhibition areas and facilities. It is normally £1.00 but you can download it free here.
The gallery opened on 21 July 1897 as the National Gallery of British Art. However, from the start, it was commonly known as the Tate Gallery, after its founder Sir Henry Tate. Before 2000, the gallery housed and displayed both British and modern collections, but with the launch of Tate Modern just over the river, Tate’s modern collections were moved there and the original gallery became dedicated to the display of historical and contemporary British art. As a result, it was renamed Tate Britain in March 2000.
Tate Britain holds the largest collection of British art in the world. You can walk through the history of British art from 1500 to the present day. See masterpieces by JMW Turner, John Constable, John Everett Millais, as well as outstanding modern and contemporary art from Francis Bacon, Lucian Freud, Barbara Hepworth, David Hockney and Bridget Riley – to name a few.
Tate Britain is well served by public transport:
London Buses – route 87 stops outside
London Underground – Pimlico on the Victoria line is only a 0.4-mile walk away
National Rail – Vauxhall station on South Western Railway is 0.5-mile walk
London River Services – Millbank Millennium Pier is only a 0.2-mile walk
And it is an easy walk to Pimlico Osteopathy Clinic nearby:
Find out about another local landmark – Victoria Station


The Sapienza Short Film Fest is a contest for videos made by Sapienza students organized by the Art History and Performing Arts Department in collaboration with the Roma Sapienza Foundation.
The scientific committee has selected 9 videos for “Fiction” Category (fiction short films, web series, mockumentaries, animations) and 7 for the "Remix” Category (video essays, re-cut trailers, sweded trailers, mash-ups).
You can vote for your favourite from March 1-28 by:
- Participating in the "Audience Award" - go to Sapienza's Short Film Fest website and click "the heart" for your favourite videos
- Participating in the "Social Award" - go to Sapienza's major social channels and click "like" on the videos posted on Facebook, Twitter and Instagram.
The awards ceremony will be held on March 31, 2017.
Sapienza Short Film Fest is promoted with the support of the Ministry of Cultural Heritage and Tourism and in partnership with Columbia College, a prestigious film school in Hollywood.
Follow us with hashtag #SSFF16.
- Passengers - Hassan Abolhassani
- Proof - Margherita Argan
- We Had Not Loved - Armando Mattia Belcastro
- Run - Edoardo Fischetti
- Burt Lancaster - Koga Yasuhiko
- IunivÈrsiti - The social study - Fabio Pasquali
- Just for a Coffee - Damiano Salvatore Antonini
- A Modern Jazz Fable - Giulia Schiavon
- The Trunk - Edoardo Spallazzi
- Alfred Hitchcock's 'The Great Beauty' - Louis Samuel Andreotta
- What Bass Creates - Daniele Clementi
- Apocalypse Soon - Marco Mammarella
- The Secret According to Murnau - Jonathan Pace
- Clint Eastwood First and Final Shots - Angela Santomassimo
- Star Cops - Claudio Spagnuolo
- If Apple Commercials Were Actually Infomercials - Edoardo Spallazzi


Brass Taper Candle Holder
An elegant little candle holder, made of solid brass. Tiny but heavy and sturdy. Fits any standard taper candle.
- Size: 1.60" x 1.30" (4.06 x 3.30 cm)
- Materials: Solid brass
- Packaging: Comes in a beautifully designed eco-friendly gift box
- Made in China
- Designed by Icelandic designer Thorunn Arnadottir
About the designer
Thorunn Arnadottir is the creative director and co-founder of 54°Celsius. Thorunn's multi-disciplinary work is driven by curiosity and interest in exploring everyday objects from a new perspective. She holds a MA degree in Design Products from Royal College of Arts and BA from Iceland Academy of the Arts.


Nestled in a valley within the Appalachian Mountains, the oldest mountain range in North America, is the ethereal yet peculiar little mountain town of Asheville. On my 26th birthday I took a leap of faith and moved my life here. I was inexplicably tantalized by the sound of buskers playing old folk songs in her streets. I was bewitched by the uninhibited creativity of free spirited hippies, artisans & dancers and seduced by the euphoric colors of her Blue Ridged horizon. She took hold of me. She captivated me and awoken parts of my being I never knew existed. I like to think she was calling me home.
Leaving the flashy Miami lifestyle for mountain life seemed like a questionable move to those close to me & even to myself. Nevertheless, I bid a farewell to the ocean that had been my neighbor my entire life, the year-round sunshine, my family and friends. Little did I know this land and the seasons held more lessons and growth for me than I could have ever imagined. I traded in my high heels for hiking boots with full embrace and never looked back.
Hiking and the intelligence of nature became my medicine instead of bars and nightclubs. Appalachia, being one of the world’s most biodiverse regions, turned the forests into a classroom for me. I began to take great interest in learning about plants, herbs and learning to identify wild edibles and mushrooms so I could forage this medicine for my own health and well-being.
Appalachia is the land of the waterfalls. As a now self-professed waterfall chaser I cannot get enough of spending an afternoon traversing rocky, grueling paths with the reward of mesmerizing cascades and a refreshing dip in the crystalline waters. The wildish music of the falls is an escape from the noise of modern life – it is an invitation to feed the soul a deep song.
Asheville is the wellness mecca of the east coast. If yoga, crystals, apothecaries, salt caves, hot tub soaks and tarot cards are your jam, you’ve hit the jackpot baby. One of the the things that drew me here was the plethora of alternative healing options this town has to offer.
I started here as a yoga & meditation teacher and became inspired by my personal mentors in the community to further my knowledge in the healing arts as a way of helping others in their journey of well-being and self-care. I now practice herbalism, wildcrafting and Usui Reiki.
While nature has played a big part in my adoration for these mountains, there are plenty more amazing facets about this place to note. This is an area that truly celebrates music and the arts. There is no shortage of festivals, drum circles and gatherings to attend that attest to this. LEAF Festival being one of my favorites, showcases an impressive line-up of international artists from around the globe in the Spring & Fall annually.
Maybe, it is because Asheville sits on the largest deposit of quartz in the state, that she beckons her magic upon soul searchers, travelers, free-spirits & people from near & far. The soulful & ancient vibrations of her Appalachian song is sure to awaken the spirit of those in need of healing, inspiration, or an adventure that soaks your soul with connection to Mother Earth.
If you are ever in the area and would like a guide to take you to some epically gorgeous locations or hidden gems around town feel free to get in touch! I love showing individuals and small groups all the magic our little town has to offer. We can plan a yoga hike, a waterfall adventure, a wellness/foodie outing on the town or simply reach out for some suggestions, I am happy to point you in the right direction!
Are you heading to Asheville soon? I’d love to hear your top hiking spots, favorite restaurants or wellness spots!
Blue Ridge Parkway
Looking Glass Rock
Pisgah National Forest
Shoji Spa & Lodge


I grew up on a farm in Spencer, MA and am the youngest of three. My mother's mother, Constance Mahaney, was a patron of the arts. There were many paintings hung in my grandparents' home, but the one I loved the most was of an alleyway leading out to a courtyard with a statute of a man on a horse. It was the dark blues along with the warm yellows that inspired me.
I didn't formally study art until I was in college. Marci Gintis was my painting professor and was a huge inspiration. Seeing her paintings in a gallery - those political paintings that were so beautifully executed that addressed the theme of mankind's depravity to one another during wartime - caused me to start looking at the world and to consider what my own contribution to it would be.
I primarily work with oils and charcoals, but have also worked with pen and ink, metals and found objects. I've been working with charcoal in recent years to focus on drawing. Wielding a thick, messy chunk of charcoal, using oils of my own hands, trying to obtain a painterly feel to a drawing, trying to make the flesh look fleshy...these are the things that excite me.
The display of my artwork for the show Tribute is dedicated to my grandmother, Constance Mahaney, who passed away February 4, 2009. May her steady hand guide me through every brush stroke.


Dancing at Express
At Express, classes are led by Ms. Hannah, the owner, or her talented head instructors.
Ms. Hannah is firm yet fun, and enjoys kids of all ages. Whether she’s teaching dance fundamentals or advanced techniques, she encourages an enthusiasm for dance in all her students.
We believe classes work best when expectations are clear on all sides, and our goal is to create an atmosphere of open communication with families. Our strict standards and policies are designed to ensure all dancers reach their highest potential.
Discover more about Ms. Hannah and her dance career here.
:: NOTE: Our Open House for 2023-24 registration will run July 13-15; deadline to register is August 6::
Ages 3-7; must be potty trained
Cost: $59 per month
A 45-minute class for our youngest dancers, designed to teach basic ballet and tap positioning of the feet, arms and hands while properly executing movement as well as facial expression. With tap, they will learn the basic shuffle steps needed to move on to more advanced classes as well.
pre-level 1 and Level 1
Cost: $80 per month
A 60-minute class that continues with ballet and tap, along with beginning lyrical, jazz and elements of hip-hop as they progress. Students will begin to learn more advanced material like leaps and turns, as well as focusing on flexibility skills and facial expression.
Cost: $80 per month
A 60-minute class that focuses on ballet, lyrical, tap, jazz and additional hip-hop. Skill sets will include the fundamentals of basic leaps and turns, building on technique, while executing more flexibility skills and facial expression.
pre-level 3 and Level 3
Ages 10-12 and 12-15+
Cost: $80, $120 or $155 per month depending on length of class
A class that combines ballet, lyrical and contemporary, plus tap, jazz and hip hop. This class will focus strongly on technique, as well as strengthening movement, facial expression and executing leaps and turns to prepare them for Express Elite.
Cost: $155 per month
The most advanced class we offer at 120 minutes long. Focused on ballet, lyrical/contemporary, tap, jazz and hip hop. Their skill set will continue to grow throughout the year in dance choreography and facial expressions as well as technical elements like leaps, turns and flexibility.
- $35 for 30 minutes or $65 for 60 minutes
- Dancers and parents are to discuss with Ms. Hannah reasons why they’d like to enroll in private lessons (what does the dancer want to improve on, why do they want to take private lessons to begin with, etc)
- Private lessons and solos/duets are separate (ex : if a dancer attends private lessons, this does not guarantee them a solo or a duet in recital)
- Meeting times of private lessons are TBD by Ms. Hannah – depending on availability
Have questions? You can find additional answers on our FAQ page, or send us a message here.