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Top News Stories
NCS Stars Shine at Junior Theater Festival
If you can imagine Iron Chef for theater, the Junior Theater Festival is it. Throw a director, choreographer, music director and group of kids in a room, give them a musical number to perform and 60 minutes to get ready. Then it's lights, camera, action and an audience of 5,800 people! It was great to see our kids represent Nashville Christian School on that stage! Produced by iTheatrics and sponsored by Music Theatre International (MTI), Disney Theatrical Group, and Playbill®, the Junior Theater Festival is the premiere festival dedicated to young people and musical theater. It was held January 15-17 at the Cobb Galleria in Atlanta, GA, and this year the there were 115 groups from 28 states, Canada, South Korea and Australia.
Each group performs a selection from a Broadway Junior or KIDS Collection musical for professional adjudication by a distinguished panel of international theater professionals. Our experience began a few months before as we prepared our adjudication piece. We took a show we did two years ago, Beauty and the Beast, and cut it down from 1 hour to 15 minutes. Then, in the midst of athletic practices and academic demands, we made time to learn almost all-new choreography and improve our acting skills.
The students who represented NCS in Atlanta were Annmarie Alexander, LeAnna Batson, Tollie Boone, Abby Elmi, Jack Forte, Madison Gupton, Brian Hedden, Joey Hendricks, Sarah Hendricks, Anna Jones, Bailey Knerr, Justin Littrell, Hope McWright, Kassie Perez, Laura Beth Pickard, Celena Randall, Roger Sauls, Abby Shivers, Hendrick Shelton, and Sara Wilson.
Hope McWright and Brian Hedden were selected to attend an invitation only choreography audition by the talent scouts seeking out the next students to film iTheatrics choreography DVD's for upcoming shows. Additionally, NCS students Kassie Perez and Roger Sauls were named to the Junior Theater Festival All-Stars, made up of outstanding performers attending the festival. The All-Stars performed a song during the closing ceremony for all 5,000+ festival attendees. Also performing on the main stage were the Slam participants who were nominated by their directors, mixed in with all other groups and then drawn at random by the staff. We had two participants in this event, Roger Sauls and Bailey Knerr.
Students came to perform and support other student actors, but a big part of the weekend is the opportunity they have to see, listen to and even meet successful artists. Stage and screen stars Darren Criss (Glee, Hedwig and the Angry Inch), Andrew Keenan-Bolger (Newsies, Tuck Everlasting), Ben Platt (Pitch Perfect, Dear Evan Hansen), were among the talent at the 2016 Junior Theatre. Authors Jodi Piccoult and Mary Pope Osborne who are both working on new musicals were there to share their work, meet the kids and do book signings.
Watching our students strive to become better actors and a stronger ensemble was incredibly rewarding. Before the event was even over they were making plans about how to improve their submission for next year. As we discussed the experience before we headed home, a recurring theme was that those who grew up participating in NCS drama had often spent more time with one another than at home and they discovered that family doesn't only come through blood. WE are NC.


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men in a beautiful combination.
The music was soft and intimate then quickly getting louder and more
powerful. "Gloria" was trying to make a point in a almost begging manner.
My favorite was the Amen at the end, and how it was equally distributed
between the female and male.
I also enjoyed Credo. It was sad and hurtful. The strings and
oboe played at the time when the choir was singing soft and low which
impacted the mood of the composition.
Coro was the second second group of performers in the concert. Ave
Maris Stella, Magnificat, Quatre Motets pour le temps de Noel, Jauchzet dem
Herrn, Poor Man Lazrus, Celtic Hymn, and If I Got my ticket, can I ride,
were the spiritual pieces of Coro. I enjoyed these songs because although
they were hard to understand it was easy to feel the mood they tried to
I particularly liked Poor Man Lazrus and If I got my ticket, can I
ride. Poor Man Lazrus was upbeat asking for forgiveness. The line that
caught my attention was, "Dip ...
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subset: commoncrawl


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China seems to now pay people per porn website discovered and reported. Being cynical, I wonder to which extent this solution might be cheaper than hiring them as full-time employees for the Great Firewall. A future law and economics study?
In terms of human rights and liberties, well, using people to report websites (free of charge) is a common procedure in most countries. UK does it with Internet Watch Foundation; France does it with the Internet Gouvernance website and system, etc… None however when as far as paying them! The question is probably how the prospect of being paid could affect the "objectivity" (if any) of the person's appreciating the contents of the website. As usual, how the information reported is used by Government or non Governmental agencies is crucial as lack of transparency promotes censorship and violation of human rights.
"China Looks To Build Human Firewall With Fun, Prizes" (13 February 2009)


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Back again for some more food and football before I have to go back to the hotel and sit some mock exam papers before tomorrow afternoon's two and a half hour exam. Oh how I'm looking forward to that.
I was pretty certain that if I chose any other pub to watch the England match, it would be absolutely rammed, and probably with some fans that I wouldn't fancy watching football with. So I've returned to my World Cup safe space for some more interesting beers and a bite to eat. Beers first.
First up tonight was Gose from Hi-Wire Brewing, a 4.2% sour with mild tartness and a subtle saltiness.
Also accompanying dinner was Tepache from The Wild Beer Co. I was looking forward to this one. Tepache is a traditional Mexican soft drink made from spontaneously fermented pineapples flavoured with spices. A beer version of that sounded most interesting, but there was just a very slight hint of pineapple, and a sort of cinnamon flavour lurking. Thought this one might be amazing but sadly not.
Tonight's burger was Cluck Norris, sesame and poppy seeded brioche bun, southern fried chicken, avocado, red onion, cajun mayo & coriander. A decent bit of fried chicken.
That's the end of my Camden Brewdog adventures for now. It's still about the best bet for a decent beer around here, only Caps and Taps a little way to the north is better, and they have limited opening hours and no food, but I will get there one day.
For the record I should probably note that a much changed England side lost 1-0 to Belgium but progress to the next round to play Colombia.


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With the help of 2 Texans, Nick Reenan at 182lb and Patrick Munn at 138lb, Wyoming Seminary wins its first Walsh Ironman Tournament, Nick Reenan from Dallas was the 182lb Champion, and Patrick Munn from the Houston area took a 5th place finish.
Also Jack Mueller won a Championship at 120lb a former Texan with Seminary who now returned to wrestle for Texas Christian Academy, Jack Also won the Major Ray Mendoza Award at tournament's end. for his dominating wins


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The Raine & Horne Business Sales Database shows that the bakery sector has performed well over the last 8 years with a 38.8% growth in turnover. As
a result, return and market prices for bakeries are also substantially higher. Our data shows that even small bakeries can trade quite profitably with
median return being over 23% of turnover. Bakeries are best valued based on a return to a working owner.


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Lift Top Storage Bench Plans – Today, as a lot of men and women are downsizing their homes to conserve electricity or save money or both, space for everything becomes a problem. A practical solution is an old colonial idea somewhat modernized, an Upholstered Storage Bench. Even if downsizing isn't happening, who do not need additional storage space for those hard to set, but mandatory products? Actually, they'll go in only to any room in the house, even the eat-in kitchen.
In addition to storage, they may be used for additional seating or even as an additional table or coffee table. There are benches that look like chaise lounges. Some are square and boxy, while others are rectangular. Many have arms at either end while others have nothing in any way, or are rimmed across the top. No matter what the decoration is, there is an Upholstered Storage Bench to suit, whether it is French provincial, Italian Renaissance, or modern.
lift top storage bench
In addition to the shapes and fashions, these chairs can be found in any covering imaginable. From tufted leather to hounds tooth cloth to overstuffed with bare arms, the Upholstered Storage Bench is versatile enough for almost any home. Some chairs are made to combine in such as the camouflage style seat for your kid's room, while others are designed to stand out as a focal point in a room such as the tufted white leather seat.
lift top storage bench
After the shape and style and covering of this seat, the next point is colour. Not only white, gray, brown and black; no, today there is a rainbow of colours available for your Upholstered Storage Bench. Pinks and Greens and Herringbone and Purple; when it can be imagined, there is most likely a seat already made in that colour.
When considering dimensions, among the first things to do is determine precisely what will be kept in the seat. This will probably also ascertain in what area the seat will be put. A seat large enough to accommodate what is to be saved, but at the same time not overpower the room is the optimum arrangement.


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|Open For Adoption
The year 2003, in real life, was relatively stable as far as world oil production. However, in an alternate universe, far, far away and not so long ago, the dreaded phenomenon Peak Oil is not only real, but occurs. This horrible occurrence began in late 2003, with suddenly the supplies of oil dropping. The price of oil soared, and this problem continued for the rest of the year and well into 2004. Due to the massive oil crisis which is destroying the economy, George W. Bush proposes using the military to seize more oil during his reelection campaign. This idea is popular among Americans, and leads to Bush being reelected in a landslide over Democratic challenger Howard Dean.
In 2005, the oil crisis continues. Saudi Arabia runs out of oil to give to the United States, and tells the US so. The US believes that Saudi Arabia is hoarding its oil, and stopped production to hurt the US even more. Bush launches an invasion of Saudi Arabia. Russia, China and the EU all invade the Middle East as well, due to an increased desperation for oil which is destroying modern society. Although initially these four powers work together to bring down the Arab nations that united to protect their region from the invaders, they turn on each other by June. This results in a third world war, which turns nuclear within months, and reduces humanity to a mere three million survivors, mostly in areas unaffected by the war.


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Ben Carson said President Obama was "raised white" and can't understand the African-American experience the way he can, according to a Politico podcast published Tuesday.
"He's an 'African' American. He was, you know, raised white," Carson said in the interview. "I mean, like most Americans, I was proud that we broke the color barrier when he was elected, but … he didn't grow up like I grew up … Many of his formative years were spent in Indonesia. So, for him to, you know, claim that, you know, he identifies with the experience of black Americans, I think, is a bit of a stretch."
Carson, who has been polling at the bottom of the GOP pack, long dismissed questions about race as divisive and downplayed his own race. But recently, he's been running ads against affirmative action in South Carolina and condemning black crime as "a crisis" that only he knows how to tackle.


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Coating and curing like nothing before
People often don't realise how important coatings are to a lot of products and industries. Electrolube recently attended electronica 2018, to show live demonstrations of what it describes to be revolutionary, and one of a kind, new 2K850 conformal coating material using a line-up of three machines covering: dispensing and cure, followed by an end-of-line test of the coating using new technology.
The 2K850 new conformal coating is one of the most important ones to come into the market in recent years and was dispensed, cured and tested in as close as possible to a real processing environment that could have possibly be reproduced at an exhibition.
The 2K850 is the latest addition to the company's new '2K' two-part conformal coating portfolio and thanks to its advanced UV cure mechanism, 2K850 delivers significantly faster processing times while still offering superb levels of protection.
What makes this product different is that it does not rely on a moisture cure unlike many conventional single part coatings, and in fact, the secondary cure can be guaranteed in less than 12 hours. Julia Vorley, Marketing at Electrolube said: "That normally can take a few days, I don't think engineers understand quite the difference and saving we are making here."
The new 2K range has been extensively tested against UV and silicone coatings in thermal shock, powered salt-spray, condensation and mixed flowing gas test regimes that are commonly used during automotive qualification campaigns. In each of these tests, the new 2K materials outperformed the UV and silicone materials in every respect, withstanding thermal shock and demonstrating outstanding salt-mist and condensation resistance.
Electrolube work across a number of industries including automotive, optoelectronics, alternative energy and more. The coatings Electrolube can provide need to be of the highest quality as they are used within cars, aeroplanes, energy saving LEDs and wind turbines.
The company also have carried out projects around the world, with one including being able to light up a whole village within India.
Vorley added: "This really does provide coverage like nothing we have ever seen before, and we believe it really is in its own league."


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Our bakery has created thousands of custom designed wedding cakes. Let our experienced staff help you with your dream wedding cake. At Linda's Kitchen we are constantly trying make our website more helpful to all of our brides. That is why we not only put as much wedding cake information as possible on our website, but also update all of our albums with our most recent pictures of wedding cakes. Be sure to check out our albums of cakes we have done in the past, and if you have had your cake done by us, look for it to be posted in our albums of wedding cake pictures soon! WeddingWire, the nation's leading wedding technology company, just announced that Linda's Kitchen has won the 2011 Bride's Choice Awards! In its inaugural year, the Bride's Choice Awards recognizes and honors vendors from the WeddingWire Network that demonstrate excellent quality of service, responsiveness, professionalism, value of cost and flexibility. This year's recipients represent the top three percent of WeddingWire's vendor community, which includes over 100,000 wedding vendors from across the US. That means Linda's Kitchen is one of the very best! Unlike other awards in which winners are selected by the company, the Bride's Choice Awards are determined exclusively by recent newlyweds through surveys and reviews. We are excited to launch this annual award program to honor high-performing vendors based solely on the experiences of our WeddingWire community, according to Timothy Chi, WeddingWire's Chief Executive Officer. This year's recipients have set the bar high, exhibiting excellent service and expertise in the wedding industry. Linda's Kitchen would like to thank our past clients for speaking on our behalf and helping us win the 2011 Bride's Choice Award! We create our wedding cakes with the goal of giving each bride the wedding cake of her dreams, Linda's Kitchen custom designs wedding cakes. Check out our pictures of our wedding cakes by clicking Wedding Cake Pictures to the left. For 3 tiered and larger wedding cakes, call to schedule your personal consultation. We do over the counter bookings for servings less than 80 servings or 2 tiered cakes. You will need to have your design with you at this time.
15 Reviews
Linda's Kitchen is a licensed food service operation. For your safety, always be sure when selecting a wedding cake that your decorator has a food service license. Always ask to see the location where your cake will be decorated to ensure your cake will be made in a clean and safe environment. To ensure we will be available to provide your cake, a $100.00 non-refundable deposit is required to reserve your date. The deposit will be applied toward the cost of your cake.
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Parisians have a certain sort of, well, to put it in their words, je ne sais quoi about them. A sort of effortless chicness in the way they present themselves. They could be wearing the simplest outfit, like a button-down and jeans, and still look as if they've stepped out of a Scott Schuman photo.
And while they have no problems looking stylish in the fashion department, their beauty habits take considerably less effort. Here's one little secret the French have up their sleeve: learn how to work with what you've been given. Cliché, I know, but seldom observed. Oftentimes the French use cosmetics, not as a way to change their appearance, but to subtly highlight their favorite feature.
In this video you'll observe the French way to do a smokey eye, which, thankfully, doesn't involve numerous blending attempts or flawless airbrushed skin.
Watch on!
Illustration by Gab Gutierrez


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The SAi flagship product, offers the total solution for any Sign Making business. With genuine Adobe® PostScript® 3 RIP engine, ICC profile support and built-in direct drivers, FlexiSIGN-PRO offers a complete set of design, cutting, RIPing and printing tools for maximum productivity.
* Smart, Easy and Powerful
* Print & Cut Made Quick, Easy and Accurate
* Gerberâ"¢ User Support
* Complete Color Separation Controls
More information on : http://www.saintl.biz/Flexi8482;_FAMILY28.asp
Hidden Block (you must be registered and have 15 posts):You do not have sufficient rights to see the hidden data contained here.


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One of the great things about being in The Beauty Blog Network is when blogs you have been reading for a while join the network–then I get to really know these fabulous ladies on a whole other level. Beauty Snob recently joined the network, and as a reader of Bag Snob, I'm excited to be able to get to know this beauty and fashion blogger. Go check her out for yourself: Beauty Snob
You Might Also LOVE
Shannon began A Girl's Gotta Spa! beauty blog in 2005 to morph her love of beauty and in educating women on what truly works and what does not. In 2013 she launched a bath and body line as an extention of the beauty blog. One thing she always has on her at all times? Lip balm.


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The beautiful inexperienced hentai video green hair Elf princess girl trailer 1 seems in entrance of Sir Calvart.
College Princess 3 Ep 1 Uncensored 5. The very sexy big tits hentai video woman within the school drama Hyoudou Ibuki episode 1 is strict the president of the school membership who has a large mystery, she likes to be tied up and will get fucked within the ass. CEU med student scandal.
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Despite racial hurdles, self-taught entertainers The Fabulous Nicholas Brothers became one of the biggest musical acts of their time. Stormy Weather brilliantly showcases their dazzling, show-stopping numbers. Fred Astaire named the film's 'staircase' number the greatest of all musical sequences.
Part of the BFI Black Star season, taking place UK-wide, supported by Film Hub North West Central, part of the Film Audience Network, awarding funds from the National Lottery.


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The Capricorn lover may seem cautious and even a little bit cold, but he or she holds more than a few degrees in naughtiness from the school of love.
As in other areas of life, Capricorns' biggest problem is one of confidence.
This individual is always worried that a chosen love interest will prove fickle or even faithless.
Capricorn natives respond very well to domestic life because it provides the order and stability they need.
Once they fall in love and commit to a relationship, the typical Capricorn man or woman is unlikely to jeopardize the union in any way.
Although there are times when career matters must come first, Capricorn men and women place great importance on their personal happiness and rarely lose sight of this objective.


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Explore Toronto's Buildings | May 23 & May 24, 2015
The 16th annual Doors Open Toronto – presented by Great Gulf – returns with free and rare access to more than 155 architecturally, historically, culturally and socially significant buildings across the city.
Explore the Aga Khan campus during the Doors Open Toronto weekend & learn all about the Aga Khan Park, Aga Khan Museum & Ismaili Centre.
Aga Khan Museum
Saturday, May 23: 10 a.m. – 5 p.m.
Sunday, May 24: 10 a.m. – 5 p.m.
Via Doors Open Ontario, Aga Khan Museum
Ismaili Centre, Toronto
Saturday: 10 a.m. – 5 p.m.
Sunday: 10 a.m. – 5 p.m.
Via Doors Open, The Ismaili Centre, Toronto
Aga Khan Park
Sunday at 2 p.m. (pre-registration required)
Via Doors Open
More information at Urban Toronto.ca, What's Out There Weekend and Great Gulf Doors Open
Learn more about Doors Open Toronto at http://www.doorsopenontario.on.ca/Events/Toronto.aspx
View colorful photos of the Aga Khan Park at http://salimnensi.pixieset.com/autumn-agakhan-park/


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The JBL EON ONE linear-array P.A. system brings legendary JBL Professional audio to your next performance, conference or meeting. Your entire audience will experience powerful, accurate sound, thanks to the patent-pending speaker configuration and unobstructed 10″ bass reflex subwoofer.
Quick View - JBL EON ONE in Action
EON ONE by JBL PROFESSIONAL
All-In-One, 6 Channel, Linear-Array PA System
Bluetooth Streaming Audio
Play pre-recorded backing tracks for singer-songwriter gigs, stream your favorite playlist to set the mood for any party, or play audio during conferences and events.
One-Hand Carry
The EON ONE is the only truly all-in-one linear-array P.A. that you can carry with just one hand. No shoulder bags, no second trips to the car.
Powerful Bass You Can Hear And Feel
An unobstructed 10″ bass-reflex subwoofer – the largest in its class-delivers clear, well-defined low-frequency response for your whole audience.
Crystal-Clear JBL Sound
The unique patent-pending speaker configuration relies on the same principles as our massive concert line arrays.
JBL Directivity Control Geometry optimizes the spacing and angle of each driver to ensure extraordinary sound quality and consistent directionality.
Compact, All-in-ONE System
The spacers and high-frequency unit conveniently pack into the base – making it easy to set up or break down in seconds.
Extra-Wide Coverage
Every member of your audience will experience the same great sound – no matter where they're standing.
JBL EON ONE Product Tour
JBL EON ONE Transport System
Protective padded cover and convenient rolling board to make safely moving your EON ONE a breeze.


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Totally slipped my mind to make this post yesterday morning, so here we go: Friday's Gobbledygeek, "Higher Education," is available for listening right here. Fictional schools discussed are Sunnydale High, Greendale Community College, Xavier's School for Gifted Youngsters, Hogwarts School of Witchcraft and Wizardry, and many (seriously, many) others. No annoying tech problems this week, either! In the bonus hour, we talk about the DVD's that will be out this Tuesday, the new direction the Batman comics are taking, and this season of True Blood so far (though largely spoiler-free, since Kevin hasn't started the season yet, and we wanted to be all considerate-like). Enjoy!
alyson hannigan
Top 100 Characters in Modern Pop Culture: #10-1
Last night, Paul and I reached the conclusion of our countdown of the Top 100 Characters in Modern Pop Culture. Here are choice excerpts from our top 10's, but be sure to listen to the whole show to hear everything we said:
PAUL: Calvin & Hobbes (Calvin & Hobbes)
The series was not only the funniest comic strip of all time (and on this point I will brook no dispute), but it was almost the most philosophical, satirical, and thought-provoking.
AJ: Death (The Sandman)
With the usual concepts and presentations of Death's visage from Western culture so ingrained in my mind, just the idea that Death didn't have to be gloomy or terrifying, and instead could be a radiant beacon of hope, felt stunningly fresh and bold to me.
Top 100 Characters in Modern Pop Culture: #40-31
On last night's show, Paul and I continued our countdown of the Top 100 Characters in Modern Pop Culture with #s 40-31. Be sure to listen to the show for our full run-downs, but here are some choice excerpts:
PAUL: Jesse Custer (Preacher)
He's a good ol' Southern boy, with a hard-drinking work ethic and a code of honor that he follows to an almost fundamentalist extreme.
AJ: The Joker (DC Comics)
Though the Joker is frightening on his own, as has been explored in many comics and filmic adaptations, he would mean nothing without the Batman. He is Batman reflected through a funhouse mirror, living to terrorize and provoke Gotham City as much as Batman exists solely to protect it and keep watch over it.


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Lord Bagenal Leighlinbridge Carlow
Oh I really do love summer weddings. Its nice and warm and the sunshine just brings out the best in us and everybody is just having a blast and can't wait to party. The Lord Bagenal Leighlinbridge Carlow is one venue where I haven't been at and what a pleasure it was to photograph there. I must admit that do have some of the best cream scones and trust me I'm partial to a few of them though my waistline wouldn't agree! Anyway this was going to be a great wedding, as they all are. Anna was just so laid-back and couldn't wait to get to the church to marry her man, Andy! Working alongside Kate Rose MUA is always a pleasure and its so important to have a highly skilled make-up artist. It makes all the difference. Anyway Anna and her family all belong to the drama society and I can tell you, thats a recipe for fun.
The Wedding
Like most grooms, Andy was brickin it! He was grand till she walked down that isle and he saw her. Smitten but just how stunning Anna was and that he was going to marry this amazing lady. Anna's dad was his usual messer and giving the couple a quick swig of, something rather strong, during the ceremony but it was enough to put hairs on your chest. After the church we headed off to Altamont Gardens near Tullow for the family and bridal photos and what a place to go to. Just stunning grounds and immaculately kept. A photographers paradise and you just know that the couple are going to have amazing photos at the ned of it. I just love the Gardens here! Then it was off the the Lord Bagenal for the reception and I am impressed with this place, good food and service and right on the river also make an ideal place for a wedding.
I'm sorry I can't add more photos to this blog. I really could have thrown in another couple of hundred images there were so many to choose from but below is just a very small selection of how this amazing day went.


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Darf das wirklich Radio machen - Eine Radioethische Betrachtung
From SHA2017 Wiki
This will be a radio show on the Projects:BinaryVoice.
Contestants wanted
Have you ever watched a movie? Are you able to hear? Then this is your chance to win fabulous prizes.
All you have to do is recognize audio clips of (more or less) famous movies and TV shows. You then get points which are edible. The number of uneaten points are used to determine who may select their prize first. Knowledge of German is not needed. Bring your laptop!
The prizes are DVDs and CDs of various sorts. Since there probably will be more prizes than contestants, it's very likely that everyone will get one.
The edible point system has been provided by HFO-Telecom [[1]]. They are looking for people who have worked with computers in the past.


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Volcano/Volatile hull & plan set
1/48th scale paddle tug HMS Volcano (renamed HMS Volatile in 1919) from the original John R. Haynes mould.
The hull is moulded in GRP and has plating detail, bulwarks, washports, anchor hawsers and rubbing strakes moulded in.
Another feature of the hull moulding is the deck mounting flange inside the hull, this makes fitting the deck much easier.
Also included is a full size plan.
Hull Dimensions:-
Length 37.5" (95.2cm)
Beam 6.75" (17.2cm)
We now have some fittings are available and more will be added in due course. See what is available at the bottom of the page
Fittings available at extra cost
Scale rudder
Paddle shaft support brackets
Light weight GRP funnels & hollow resin bases
Cowl vents
Steam capstan
Anchor winch
Roller fairleads
Call for prices.


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Instructional and Informational Posts on SuiteCommerce
NOTE — this blog post is over old
In the SuiteCommerce world, the commerce extension framework represents one of the biggest changes we've made in a while. Not only does it offer new levels of ease in terms of development, it also ushers in a new way to approach webstore customization.
This blog post is a write-up of a talk Joaquín Gatica and I gave at SuiteWorld 2018. In it, I want to talk about why it's so important, how it will change the way you work, and how you can — and should — work to migrate your existing functionality to use the extension framework.
Up until now, you've been making customizations to your Kilimanjaro or older webstore using a lot of the methods I described in my list of essential customization tidbits. This meant template overrides, extending objects, wrapping methods, etc.
While we feel that this approach to customization still offers a number of benefits, there were a number of difficulties that they created. Broadly speaking, they can be split into two categories — administrator and developer — and are as follows:
These problems are obviously all related. For example, while a site administrator may be frustrated that they cannot implement a design change by themself, a developer might equally be annoyed that they have to spend their time changing a font color.
For smaller companies with limited resources, these issues are amplified. If you have no in-house developer, then approaching a third-party to make changes you feel you should be able to make yourself can be prohibitive. And what happens when a new release of SuiteCommerce is released, and you want it? A migration can be time-consuming and expensive.
We recognize the above problems, so this is where SuiteCommerce and the commerce extension framework come in.
SuiteCommerce (formerly SuiteCommerce Standard) runs from a managed bundle. This means two things: you cannot modify the source code yourself, but you are always running the latest code as we will update your site automatically.
But how you customize the site without modifying the source? The extension framework allows new functionality to be introduced without relying necessarily on the customization methods of yore. There are three key elements to it:
So, what do these three things mean? What can we expect to get out of them? Well, from a developer point of view, it means that you should now focus your efforts on creating themes and extensions — formalized packages of look-and-feel and functionality augmentations. These packages can be easily versioned, distributed, and activated across different sites and different versions of sites.
In terms of the redistribution of power between administrators and developers, it means that after developers have worked on and then shipped these packages, sites administrators are free to activate them on their site if they wish — they can then customize and configure them (if applicable), roll back to a previous version, and deactivate it entirely on their terms.
To summarize the changes that affect SuiteCommerce sites:
And what this all means is we:
A key thing to keep in mind is that regardless of whether you use SuiteCommerce or SuiteCommerce Advanced, the mechanisms and features of the extension framework are available to both products. The crucial difference is that with SCA, you are able to modify the source code — of course, we would still recommend that you use the framework (or at least the API) wherever possible though.
If you are going to 'edit the source' of SCA, as it were, we also still recommend that you follow the traditional way of not editing the source directly, and instead continue keeping your customizations in a separate parent folder, extending, wrapping and overriding as necessary.
OK, so now let's take a look at what extensions and themes actually are.
Extensions are micro-packages of modular SuiteCommerce code. They are bundles, in the NetSuite sense, and add new functionality to a site. They share the benefits that bundles typically have:
Themes are similar but different. They modify how the site looks, rather than behaves, and are:
Because of this division of labor — where extensions handle functionality and themes handle appearance — we decided to make the difference formal.
Crucially, you should know that we do not allow SuiteScript, JavaScript and configuration files in themes. However, templates, Sass, fonts and images are allowed in both.
Themes can also come in different flavors called skins. So, for example, while you may like a particular theme lays things out, you may wish to have a particular color scheme: with skins, you can have seasonal presets so that things are familiar but different depending on how you want to brand things. Keep things roughly the same but adjust colors and fonts for fall, winter, spring and summer, for example. Check out our documentation on skins for more information.
So, one of the key benefits of this paradigm shift is a high level of confidence in extension code continuing to work after an upgrade to the core code. It is the extensibility API that provides that assurance. But how?
In short, it is a logical layer between the internal parts of the code and your code. It's a JavaScript API that is available throughout your site — although some components of it are contextual to the current area (eg the checkout).
In the past, if you wanted to a child view, then we'd tell you to find the view that you want, extend its prototype, wrap its initialize, convert it to a composite view, then add a childViews function, and then call your view there. Now, you can avoid most of that — you just find the component for the part of the site you want to change, and add a child view to that. You don't have to worry about what might happen if we change a name in a release — your code will still work!
The API will keep growing in each and every release. But know that this growth will be sideways, in the sense that we be adding in new methods, and fixes will happen behind the scenes. We want this to be the foundation for customization on SuiteCommerce sites, and we want that foundation to be stable.
Components are the classes from which the extensibility API draws its power. It's a relatively new concept, which adds a new layer of abstraction. We talked a bit about them around the release of Elbrus.
The idea is that instead of going through the source code and finding idiosyncratic solutions to typical problems, you rely on a number of a ready-made classes and methods that we provide. In other words, where you previously had to find a particular object to extend, or a function to wrap, now you can rely on simple, stable methods.
They're somewhere between modules and applications, and can be shared between applications. They are also usually contextual. For example, we have a component for the product details page, which is only available on the product detail page. The PDP component can be used, for example, to pull stock information or set the options (without the shopper having to click them); it can also be used to listen for specific events, for example after an option has been selected, or before a quantity change occurs.
At the time of writing we currently have components for:
If you've coded a custom content type (CCT) before, then you'll already be familiar with the CMS component as we have to use its registerCustomContent method in its entry point file. The principle for other components is the same.
Take a look at this very simple example: let's say we really want to automatically increase the quantity of the item on a PDP to 10 after the view's content has been rendered — how would we do that? If you had to write that code without using the extensibility API, would you even know how? Would you be sure it was the best way to do it? Would you be sure that it would continue to work on different sites, running different versions of code?
With the extensiblity API, it's this simple:
var PDP = Application.getComponent('PDP');
PDP.on('afterShowContent', function ()
We're using two separate two methods: we're setting up an event listener for when showContent has finished, and then running a method for increase the quantity. This'll work on any site running at least this version of the API (at the time of writing), and will continue to work in the future.
Keep in mind that the general idea for components and the extensibility API is for us, NetSuite, to worry about the guts of making technical changes to your site, and then for us to provide you with an easy-to-use toolkit, so you can make the changes you want.
The behavior of the methods you see today probably won't change (or, at least, not drastically — we might add new parameters to existing methods, for example). Instead, the idea is grow their power sideways so that we will eventually encompass all conceivable areas of customization for all areas of the site. In the meantime, you can certainly sit down and get to work for areas of the site we already cover, with the methods and events we already provide.
Finally, feel free to make your own components. We have a base component that can be extended, and if you're creating your own self-contained bit of functionality, then there's no reason why you can't open it up for extensibility too! (Just be mindful of the components we might add in the future, and you namespace properly.)
For a full list of available components, see our frontend extensibility API documentation (you must be logged into NetSuite to access it).
One of the questions you probably have right now is, if there's a new way to add in customizations, does this mean that it will be a different experience to write them? The answer is: yes. I think there are five key differences:
When you get your hands on SuiteCommerce code for the first time, the first thing you may notice is how it is so different from previous versions of SuiteCommerce Advanced code. The core code for SuiteCommerce Advanced Aconcagua contains only the Configuration, JavaScript and SuiteScript files; comparatively, the core code for SuiteCommerce... is not available.
When you develop on SuiteCommerce, you must use either the theme developer tools or the extension developer tools. Both are similar in the sense that they create a microcosmic workspace for you to work. Each one contains just what you need to work on that theme or extension, and nothing else.
If you're developing on SuiteCommerce Advanced, this means that you are potentially working with three different developer tools. Note that these are all kept separate, including the commands. For example, if you are in the context of the SuiteCommerce Advanced developer tools, Gulp commands for themes and extensions won't work!
Because of this small-slice approach, you don't have to deal with package and distro files. Instead, we have manifest files. These provide the indexes required for the compilers to understand where the files are meant to go. They also determine the metadata (name, description, version, etc) that is used in the extension manager.
One important thing to note with manifest files is that they almost entirely automatically generated by Gulp — the only time you need to manually intervene is when you want to add Sass entry points for any newly introduced Sass entry points. You can manually control the manifest but note that it will be overridden on deploy unless you supply a flag on deploy saying not to. For example, let's say you have included a new image asset in your theme, it will automatically be added to the manifest and included with the deploy; however, if after generation, you remember you don't want to include it, you can delete its entry and then specify that you don't want the manifest to be regenerated.
I'll mention the command for this in a moment, but let's look at the development flow in general and as a whole first.
OK, so once you've got the source code — now what?
Before you can begin, you need to get the theme developer tools and install them.
The development process for a new theme should start with an existing theme. We have included a SuiteCommerce base theme, which is designed to work out of the box as well as being an excellent example of best practices. It's available as a bundle, which you install when you prepare an instance for SuiteCommerce, and can then be fetched for use within your development tools.
From there, you can customize the existing theme or use it as a basis for a new theme. If you want to create a new theme, or simply create a new version of the theme, you'll need to update the metadata in the manifest file. In either case, you can do your normal theming work: modify templates, styles and asset files — note that you cannot include any JavaScript, SuiteScript or configuration files in your themes. If you want to use these types of files as part of your site's look and feel then you'll need to create an extension and store them there.
While working, you can use your local server to preview the changes prior to deploy, just like you would with normal extension or SCA development.
When you're done, you update your manifest and deploy your changes. It's important to remember that the deploying a theme or extension doesn't automatically apply it to the site, like in SCA development; instead, you will need to activate it on your site.
For theme development, note that we have new Gulp commands. They all begin with gulp theme and have additional flags at the end, such as:
gulp theme
In addition to these, some of the commands have additional flags that you can attach them. For example, the aforementioned command to prevent a regeneration of a theme's manifest file is gulp theme:deploy --preserve-manifest — note that you can use with the local keyword too.
gulp theme:deploy --preserve-manifest
See our section on the new Gulp Command Reference for Themes and Extensions documentation for a complete list.
The development flow for extensions is largely similar, but note the differences.
You still need to fetch the current theme, so that you can use this when you start a local server on which to test your extension.
From there you can start work on a new extension, or fetch an existing one and continue working on that. If you do create a new one, you can use a new Gulp command to automate it. When you run gulp extension:create you will be asked a series of questions about your proposed module — these range from basic metadata questions to questions about the types of files you're going to include. Based on that information, a number of dummy files (such as an entry point file, a view, etc) which are properly namespaced and correctly set up with dependencies. You don't have to run it if you don't want, but you may find it much easier to get started with.
gulp extension:create
From there you do your work, spin up a local server, and, when you're finished, deploy and activate. Simple.
Check out the documentation mentioned above for the Gulp commands associated with extension development — they're different but similar.
When you deploy your code to NetSuite, the system will check to see what version number is included in the manifest. If a version in NetSuite already exists with that version, it will overwrite any files in NetSuite that's already exist for that version. If it's a new version, NetSuite will go through the steps of creating new records for your theme or extension. This is important to keep in mind.
If you're working on a development version of your theme or extension, then you should feel free to overwrite the 'development version' number you've given it. However, once you're happy with a version and have 'released' it, then you should be wary of overwriting an existing version.
In other words, we strongly recommend that you employ versioning discipline to prevent old, stable versions of your work from being summarily replaced. For example, we recommend using a version control system (eg Git) for your work, in addition to the versioning offered by NetSuite.
One issue that versioning introduces is to do with asset files, ie, fonts and images. After all, if they are updated in a version and you want to roll back to an older version, won't the old theme or extension use the new asset files?
The answer is no: when a new version is created, its files are stored separately from all other versions.
But, this begs the question: when working on template and Sass files, how you do reference the asset of the currently activated version? Special helpers for Sass and Handlebars.
Let's take a fantastical example: let's say you want to set an image as the background of your body tag. But, this image could change with each release — how can you mark up your Sass file so that the correct URL path is always generated?
/* Example Sass */
body {
background-image: url(getThemeAssetsPath('img/flowers.jpg'));
/* Example after evaluation */
body {
background-image: url(http://mywebstore.com/c.12345/sca-dev-aconcagua/extensions/webdevvendors/supercooltheme/1.0.0/img/flowers.jpg)
/* Example with unevaluated placeholders */
body {
background-image: url(<domain>/c.<company ID>/<SSP application>/extensions/<vendor>/<theme name>/<version>/img/<file name>)
In other words, getThemeAssetsPath and its siblings do the hard work of resolving the correct URL paths. It still uses the traditional _.getAbsoluteUrl, but it does some work before hand to ensure the correct extension (themes are extensions!) and version are included.
OK, let's talk about something I've mentioned a few times now: activation.
After your theme or extension has been deployed, it is not automatically applied to your site: it must be activated. This is true even if you're overwriting an existing version of code. This is one of the differences you will notice when working on extensions and themes; in this sense, you could consider these environments to be microcosmic.
When you've finished writing and testing your extension locally, your new code must be muxed with the SuiteCommerce base code — and any other theme or extension code — to produce to final compiled output. This process is called activation, and it takes place in the Extension Management page (Setup > SuiteCommerce Advanced > Extension Management).
After selecting what site you want to change, you're asked to select a theme and extensions to activate. Note that previously installed versions of an extension are saved and can be activated if you want to roll back.
Metadata about each extension is provided — name, description, version and provider — to aid you to make a decision. When you've made your choices, activation runs and recombination begins, which will output your site's final code.
Also note that while I have used the word 'site', you actually activate themes and extensions on a per domain basis. What this means is that if you operate multiple SSP applications for development, or otherwise have different domains for different versions of your site, activation on each occurs separately. (I will, however, continue to use the word 'site' in this post.)
So. With that in mind, how do all the bits connect together?
Unless you are developing on SuiteCommerce Advanced, the core SuiteCommerce source code is locked down. Any code-level customization you wish to make must plug into the extension manager, and, for extensions, this means talking to the extensibility API. If you are developing on SCA, you can (and should) use themes and extensions, but you do not have to.
But, yeah, for SuiteCommerce developers, the core SuiteCommerce code (and the extensibility API it provides) is locked and managed by us. If you want to communicate to it — ie add new functionality or change how it looks — then you add in a theme and extensions. You can activate as many extensions to your site as you wish, but only one theme.
Using best practices will ensure that your extensions take full advantage of the benefits of the framework. It means that as time goes on, your extensions will require less work to maintain and scale more easily. Remember, the key concepts here are to do with sustainability and upgradeability — using the extension framework to its fullest may mean having to re-learn the best ways of doing things.
First, avoid relying on activation order.
If you have multiple extensions and they depend on each other, they should not require one extension to be muxed into the code first.
Second, when you need to access the SuiteCommerce core, use the extensibility layer exclusively. When writing in the isolated extensions developer environment, it may be tempting to open up your other folder, which contains the SCA core code, and find particular functions to wrap or classes to extend — resist this temptation.
When an upgrade happens, you may find that a name has changed, or that module no longer exists, or is in the process of being deprecated. We will update the the extensibility API so that the methods you rely on can continue to be relied upon, but the guts of them may change.
The only real exceptions to this are to do with generic Backbone stuff. For example, if you need to create new routes, pages, views, collections, feel free to continue to work you normally would have. Just build your module out as you normally would.
Third, when interacting with a theme, it is best to depend on the templates, Sass variables, and classes that are bundled with SuiteCommerce. Again, think about what will happen when a site is upgraded: we (NetSuite) will test our work with the base theme to ensure it works, and we will certainly include updates to the base theme. You should, therefore, try to rely on the base theme as much as possible.
Finally, when working with other extensions, the answer depends on whether you own the extension or don't. So, if the extension is your own then we encourage you to consider making your own interface — perhaps your own component! — and then work with that. This allows you to apply the same principles we use for our code. Create a controlled, stable API for it that won't change, and then talk to it through that. That way, if you need to change the underlying code, you can minimize the impact it will have on the extensions that depend on it.
If you don't own it, try to attach as little as possible to it. Avoid unnecessary dependencies. You could create an adapter — but this is a pretty advanced software design topic that we don't cover, so you'll need to do some independent research on it yourself.
The above images illustrates these different approaches:
When developing large customizations, the question arises as to whether you should put everything in one extension, or whether you should split them up into smaller ones. The answer is: it depends.
This is a question you'll have to answer for each project. We would counsel that you avoid the two extremes: avoid putting everything into one huge extension, and avoid putting everything into piecemeal ones. It's undesirable to maintain one mammoth extension; it's undesirable to maintain twenty small ones.
When deciding, consider three core principles:
In general, follow similar coding standards that you would for SCA. Realistically, this means don't feel confined to a one-module/one-extension model: feel free to split up your functionality across multiple modules if it helps. Similarly, doing so consider the advice we just gave about the scope of extensions — is the new module you're creating reusable, independent and easy to maintain?
Templates and Sass that are specific to an extension should always go with that extension: do not put them into your theme.
Remember that a site's theme will contain a number of Sass variables (eg for colors) and you are free to use them in your extension's Sass files. This is why you must fetch the site's theme when developing, and part of the reason why we recombine files during the activation process: everything is joined up, so make use of all the bits!
However, the question arises about what to do when templates are shared between extensions. There are two options: extract part of the template into a child view to abstract that part, or voluntarily keep it in the theme. The latter may be preferable as its better for multiple extensions to depend on a theme rather than than a theme on an extension, or extensions between themselves. Remember, your theme can always be forked — taken off the vendor's upgrade path — and then tailored to fit your site's needs. Be wary, however, as this can cause maintenance headaches later on.
It's important to think long-term, for example:
Keep in mind things like what happens when a site is upgraded to a newer version, there's an upgrade to theme, or the extension is ported to another site with a whole different setup.
One thing to make clear: upgrades don't take effect until you activate them. However, be aware that if you're developing on a SuiteCommerce site then know that any activation will trigger a recombination with the latest core SuiteCommerce code.
Generally speaking, take advantage of test domains. You have access to a release preview account, plus you're free to setup your own test domains. These things should be relatively easy to test without it affecting your live site.
When a core NetSuite release is made available, it should have a minimal impact on your site, so testing in release preview should be fine.
For SuiteCommerce release, it's probably a good idea to test things on a test domain on the same account.
Finally, if you're using a theme or extension then, again, try it out on a test domain. Unmanaged bundles can be manually updated at a time to suit you, so take advantage of that.
We talked about this a bit already, so let's reiterate.
We always recommend versioning your code in a version control system outside of NetSuite, such as Git. A basic implementation is easy to get started with.
For more advanced users, consider what strategy you want for internal vs deployed code; ie, the code you're currently working on vs what is actually published. You could have a stable (master) branch in your VCS and, after each merge, publish your extension as a new version. Thus, this creates a map between merges and NetSuite versioning.
There's also a wider strategy to consider: what are the purposes of the extensions of your extensions? Do you want to have one big repository for all of your site-specific extensions and themes? Maybe you want to have individual repositories for each extension and theme? Maybe you even want some sort of hybrid, where reusable extensions are in one and site-specific ones are all grouped up together. We can't answer these questions for you — you will need to consider the scope of your work, and what makes most sense to you.
Perhaps the biggest question a lot of you will face: should I take my current site customizations and build them out into themes and extensions? In short, yes.
If you compare the source code of Kilimanjaro to Aconcagua, you will see that we've moved all of the templates and Sass into the base theme. You can do the same: follow the steps for creating a new theme, and then copy and paste each folder into your new theme workspace. Keep in mind, however, that there were likely some changes, additions and deletions in the Aconcagua release. You may want to do a full diff of the template and Sass files to see if you missed anything.
If you're interested in taking advantage of the new theme customizer in the site management tools, then you'll need to do some work to make it ready. We have developer docs on how to do this and it may well feature as a topic in future blog posts. It's an important feature of our push for administrator independence, so we encourage taking it up.
When it comes to JavaScript that you used for look-and-feel and user experience (eg animations), the only solution is to add these to an extension. You could consider refactoring them to be CSS only (HTML5 and CSS3 is pretty powerful now, you know) or perhaps removing them entirely. However, there's nothing wrong with writing a proper UX extension, containing all of the site-specific things you need to make your site beautiful.
As for custom functionality, you may find that refactoring to be particularly hard work. In any case, be systematic and try to identify areas that could make use of the extensibility API. If you have customizations that don't yet cover areas supported by a component, consider keeping them separate from the rest of your extensions. For example, the account application does not currently have a component, but it (probably) will later on. If you have customizations here, try to keep them isolated for now.
Remember that anything that is already completely separate — for example if you have custom pages or features — can (and probably should) be their own extension. It can still have its own router, model, views, etc. Just keep in mind that you may be able to take advantage of some components along the way too.
Phew. That was a lot to take in and we hope you find it useful. It's still early days for the commerce extension framework and so some of this advice might change — they'll certainly be new additions when we and you get stuck into it.
If you have any questions, or any advice of your own to add, leave them below in the comments. You can also download the presentation.


text:
Azioni libroInizia a leggere
Informazioni sul libro
The Pleasing Hour: A Novel
Di Lily King
A New York Times Notable Book
Young, inexperienced, and fleeing a terrible personal loss, Rosie—the new au pair to the Tivot family estate in France—finds herself ill at ease when trying to connect with Nicole, the cool, distant, and beautifully polished mother of the three children she cares for. There is something about the woman that both fascinates and unnerves Rosie.
The same is true of the rest of the Tivot clan. Nicole's dissatisfied husband, Marc, and their children all seem to be caught in an unending struggle against each other for love and acceptance. Only when Rosie is sent to care for Nicole's now-elderly guardian—the storyteller of the family's secrets—does she finally discover the truth. There, Rosie will learn of a past darkened by war, duplicity, and a tragedy that still resonates in the Tivot's lives . . .
With this novel of family, betrayal, and the naïveté of youth, Lily King has spun a story that is "powerful . . . splendid . . . [and all] so assured that it's hard to believe the book itself is her debut" (The New York Times Book Review).
"Expertly constructed, full of surprises, superbly paced and sweetly sad, King's book hardly reads like a first novel." —Publishers Weekly
Anteprima del libro
The Pleasing Hour - Lily King
Praise for The Pleasing Hour
Here, as with a palimpsest, each new form of pleasing delineated by the author is made more complex by the imprint of the last.
—The New Yorker
King brings alive a palette of colorful and robust characters that might have been collected from an afternoon sidewalk café in Provence. … This is a rich first novel about families lost and found from a promising writer with an ear for the kind of language—language from the heart, that touches deeply.
—Ron Frascell, The Christian Science Monitor
King's economy with detail is perfectly calibrated to the tension created by Rosie's language deficit, cultural discomfort, and emotional isolation. … Though she tells lean stories, King can brush lush descriptions, with majestic colors and vivid, fleeting pleasures.
—The Seattle Times
Well written, absorbing … [King] is an accomplished stylist, repeatedly demonstrating a fine control of her complicated structure. … An altogether pleasing debut.
—Heller McAlpin, Newsday
"The Pleasing Hour is a beautiful, sad novel that leaves a lasting impression."
—Julian Garey, New Woman
"King delivers an emotionally suspenseful story in language nearly as exquisite as the setting itself. … The Pleasing Hour, like all intersections at which lives converge, belongs to more than one person—but ultimately it is Rosie whose emotional evolution we celebrate, and with it the arrival of Lily King to the world of bright new literary voices."
—Jessica Treadway, Ploughshares
In gentle, elegant prose, first novelist King … has taken some unusual elements and worked them into a believable, beautifully etched tale of people who, scarred by their past, are now trying to get it right.
—Library Journal
Expertly constructed, full of surprises, superbly paced, and sweetly sad, King's book hardly reads like a first novel … the seamless integration of theme, plot, and voice produces a rare sense of intimacy.
—Publishers Weekly
With longing and sweetness, this subtle and gorgeously crafted novel takes us into a tangle of family affections … the play of French against American, of fresh hurts against old but still aching ones, of lovers and mothers, is gently woven in language of great purity.
This is a deft and moving novel, with grace notes and shocks of recognition on every page. Elegant, sensual and, above all, aware, it offers a stunningly dramatic presentation of ambivalences and reconciliations. You feel wisdom in these sentences, and care for the truth.
—Phillip Lopate, author of Portrait of My Body
This is a lovely book, elegant and wise, full of illuminations about France, and families, and love.
—Roxana Robinson, author of This Is My Daughter and Summer Light
"Lily King has written a luminous first novel. Her psychology is original and subtle, her mise en scene perfect, her deft and lovely language and gentle humor irresistible. The Pleasing Hour is a find, and a joy."
—Beth Gutcheon, author of Saying Grace and Five Fortunes
"In this lovely, subtle debut novel, Lily King writes with delicacy and wisdom of inner and outer lives, of exclusion, loneliness, and survival. The music of her writing is a deliciousness in itself. She sees with a rare discernment, an insight as profound and surprising as it is graceful and forgiving, and understands the complex structures invented by the will to love. In The Pleasing Hour, she imbues love's insistent forms—its misbegotten, maternal, and romantic powers—with a poignancy that enchants."
—Alice Fulton, author of Sensual Math
The Pleasing Hour
The Pleasing Hour
Lily King
Copyright © 1999 by Lily King
All rights reserved. No part of this book may be reproduced in
any form or by any electronic or mechanical means, including information storage and
retrieval systems, without permission in writing from the publisher, except by a
reviewer, who may quote brief passages in a review. Scanning, uploading, and
electronic distribution of this book or the facilitation of such without the permission
of the publisher is prohibited. Please purchase only authorized electronic editions, and
do not participate in or encourage electronic piracy of copyrighted materials. Your
support of the author's rights is appreciated. Any member of educational institutions
wishing to photocopy part or all of the work for classroom use, or anthology, should
send inquiries to Grove/Atlantic, Inc., 841 Broadway, New York, NY 10003 or
Published simultaneously in Canada
Printed in the United States of America
Library of Congress Cataloging-in-Publication Data
King, Lily.
The pleasing hour : a novel / by Lily King.
p. cm.
eBook ISBN-13: 978-0-8021-9786-3
I. Title.
813′.54—dc21 99-25528
Design by Laura Hammond Hough
Grove Press
an imprint of Grove/Atlantic, Inc.
841 Broadway
New York, NY 10003
Distributed by Publishers Group West
For all of my families
PLAIRE IS NOT A WEALTHY TOWN. IT IS NOT ONE OF THOSE IMMACULATE, ROMANTIC villages described in books about the south of France. Its streets are not made of cobblestones or clogged with visitors in the hot months. It does not have red cliffs, or châteaux, or the carapace of a fortress. The churches are unremarkable, the café terraces viewless. In the afternoon the narrow streets grow sinister, blackened by enormous shadows with clawed edges that slowly scale the pitted stucco walls. Half-dead ivy creeps down to meet them. Even at two o'clock on a bright spring day, you can turn down one of those streets and all light and heat will be gone. You will have to wait until your eyes have adjusted to move on. Through the slats of closed green shutters above, you can hear music or the sound of water in a basin or heavy plates being stacked or unstacked. The grocery bags will start to cut into your fingers, and the two miles back will seem, from that dark street, unachievable. But once you reach the valley, and Lucie Quenelle's farmhouse appears on the next rise, there seem to be seven suns stretching across the sky, each one celebrating your return.
She is waiting for me in the garden. I can see her straw hat twitching as she swats at something. At the sound of my sandals through the grass, a smile appears just below the hat's brim. It does not feel like penitence to be here with this old woman, though I know it should.
Once she sets me to work on the table grapes with her, it doesn't take her long to start in with more questions. She has so many, mostly about Nicole.
She was very careful as a child, deliberate. Is she still?
Yes. I try to be curt, entirely uninterested.
And so equable.
Perhaps you are too young to know exactly what I mean.
Perhaps, I say, feeling too old to argue.
She's teaching me how to rewire the trunks of the vines to their posts. Beside her quick spotted hands, mine work clumsily.
Would you say she's happy, Nicole? Would you say she married the right man?
I don't know. But she wants more. She will not stop until she's wrung me dry.
He's not a man I would have married, I add.
Why not?
I can't think of one word to throw her off.
It's hard to pinpoint, isn't it? she says, furrowing her entire face.
But there's something about this Marc Tivot. A man should never make you feel old.
She looks half her age, I say, deliberately misunderstanding, veering away.
She's in good shape. She's healthy, nimble—
Nimble! Where did you learn a word like nimble? Sometimes you surprise me with the words you know. How is it that you can have such an extensive vocabulary but absolutely no memory for the definite articles?
I don't know. It's just a block I have, I say, embarrassed my errors have been noticed already.
Nicole's daughter, Lola, always insisted it was obvious. Look, she said, running to the table she had just set, a knife is masculine and a spoon is feminine. Look at them. You can just tell. Look at this plate. It's a girl's face. And this glass, it's a man. Can't you see it? Lola had bangs and a birthmark on her ring finger and pronounced my name, Rosie, with the best unrolled r in the family.
Here. Not so tight. Please, she says with sudden impatience.
You're strangling the poor thing. And look down here. His roots are being pulled up.
Sorry. I let go the vine.
I love this earth. She squeezes a fistful and, when she releases it, it keeps the hollows of her fingers and the sharp peaks between them. I feel her smiling, waiting for me to look up. But I can't receive her at times: her pale eyes, her pressed white collar and the triangle of scaled skin it reveals, her nimble hands working the earth. Leste. All my words lead back to that family.
Marc called me nimble during my first week in Paris when I caught the glass at dinner. Their son had knocked it hard off the edge, reaching for the lemon syrup, and I caught it, a full glass of water falling from the table. Marc called me leste and the whole family looked at me, everyone but Nicole, like I might work miracles.
Look at you. You're freezing, she says, leaving a hand on my bare leg.
The body is so beautiful when it's young. Enjoy it, Rosie.
But I can't feel anything—not her withered hand or the earth she loves or the suns that are still blazing above us—and I know if there's one thing I ache to abandon it is my body.
You are eighteen, nineteen?
What on earth could make a child of nineteen so … She studies me for a word that thankfully never comes.
When I was nineteen, she continues,
we moved here, to Plaire. Nicole's family lived right up there, through those trees, which in those days weren't so high. You could see their house, from here, and the sun, as it fell below those mountains. But everything's higher now. Or maybe I've shrunk. I don't know what's different today about the sun and the air, but then the sky would go purple sometimes—not purple, exactly, but mauve. That's what Nicole's mother called it.
You knew her mother? It is an odd image, Nicole as a child.
"She was seventeen years younger than me, but she ended up being the closest friend I ever had. She told me that when she was a little girl she'd sit on her grandfather's porch in Roussillon and have tea and cakes during the mauve hour. I never hear the word mauve without thinking of her, but the light's changed since then. Anyway, I think it's probably time."
But we've done quite a lot today. Thank you.
She is giving me room, board, and two hundred francs a week, but she has thanked me every evening of the three weeks that I've been here.
We put the tools and the wire back in the broken basket and follow the path through the roses to the back door. She takes my arm on the steps for balance.
Ah, she says.
Can't you smell the stew? You were right to put in that extra basil. She gives my arm a good tug as if she might be falling, then casts off from me altogether as we enter the house.
After dinner I will write my sister a one-sentence postcard with no return address: Walked the path van Gogh walked with his bloody ear. It's a lie—a place Lucie Quenelle has told me about farther south.
In the New Hampshire house with the red door—and the gold slot into which these cards are dropped—live my sister, her husband, and the baby I gave them. All I can hope is when that child has words he will tell them the things I cannot. Perhaps my whole life here in France will spill out of his mouth.
La Rentrée
I SHOWED UP LAST FALL AT 121 PORT DE SUFFREN THE DAY BEFORE THE RENTRÉE, THE day that all French children return to school. Perhaps in Paris alone that day there were ten or eleven thousand other young foreign women showing up on doorsteps, buzzing intercoms, calling from phone booths for the door code they were not given, taking the place and the room of the summer girl who had just vacated. I never became part of that network of women, but I saw them everywhere: at tennis lessons, in doctors' offices, beneath the wide arches of private schools. Wherever I was sent, so were they.
They worked in clusters, met at parks, flicked their cigarettes into the sandbox, kept a loose eye on the kids. They went out at night. They ordered jugs of sangria in small bars packed with foreign women and the men who wanted to meet them. They complained about the families and traded stories of the condescension, the false accusations, the humiliation. They laughed and laughed. They dated Frenchmen and rolled their eyes. Then they fell in love. They told each other everything, rarely in their own language. Sometimes they quit their jobs and got new ones through their agencies. Always broke, they lent each other money. They missed their boyfriends back home. They broke up with their boyfriends back home, succinctly on the phone, digressively through the mail. They sneaked men back to their maids' rooms on the top floor of their buildings, then couldn't get rid of them. They spoke French better and better, with the intent of becoming translators, hotel managers, tour guides, diplomats. French was their third or fourth language. They read Proust or de Beauvoir or Duras and decorated their rooms with prints of Manet, Pissaro, and Gauguin. They mocked tourists who tried to speak French and helped the ones who didn't. They went home for the holidays, then returned to find the Panthéon buried in snow. They studied more French. They were perpetually studying French. By spring, there was nothing left about the kids that was endearing, nothing left about the parents that was a mystery. But they had gotten what they wanted: the words, the vowels and the consonants, the idioms and the intonations that could be gotten only in Paris. They had ripped the tongues from these families and wanted nothing more. They were glad it was nearly time to go. They detached themselves easily at the end of their year, a precise Parisian fluency accomplished, lives ahead of them. If they remembered, they sent a Christmas card each year until they knew their face had lost its definition in the long parade of other foreign girls who had shown up on that doorstep on the eve of the rentrée.
I should have been one of them: guarded, flinchless. I should have wanted only a tongue, not safety, not solace. A family will rarely give you those—not your own, not anybody's.
No one had told me it was a houseboat. I approached the long string of them from the stern, reading each name loudly in my head as I passed. Vanesa was a forest of squat pines planted in boxes, so many you couldn't see any part of the boat within. La Liberté was utterly bare with every window boarded up. La Chienne was painted fire-engine red and its deck cluttered with several pairs of shoes, a few rusted bicycles, and an overcrowded clothesline that stretched bow to stern, the middle sagging on the roof of the cabin and on the backs of the two dogs sleeping there.
On La Sequana, which was sleek and spare, Nicole stood in the black bottom of a bikini.
I was not used to seeing other breasts. At school, girls had changed facing their lockers, and on overnights they slipped their bras off beneath a nightgown. My sister's breasts were the only ones I knew, and they were the same as mine. But Nicole's were utterly different: perfectly conical and nearly wholly enveloped by dark brown areolas.
She stood on deck, brushing Odile's hair, which rose magically in the breezeless air each time it was released from the bristles. At sixteen, Odile was already a head taller than her mother and had to bend her knees while bracing herself on the railing and grimacing to the rhythm of the hard strokes. She wore a neon-green one-piece. I saw them before they saw me: Nicole jockey-like, quick, and deliberate, her small body in perfect proportion; Odile more languid and willowy but erratic. She flung an arm back toward her mother for hurting her.
Lola, younger by four years, sat waiting on the stoop of the short ramp, fully dressed. She had her head craned in the opposite direction, expecting me in a taxi. Then she heard my step and turned.
Ah, elle est là!
I didn't expect her French. Lola's face was so open and her mouth so wide and unpuckered that I didn't expect French to come out of it. It was always a surprise to me, every time, Lola's French.
Her little brother, Guillaume, in swimming trunks too long for his nine-year-old legs, launched himself from the chaise longue toward me. Immediately he was disappointed, which I knew from the expression of expectation that didn't change, as if I might turn into someone else if he could just get close enough. He'd bet his friend Arnaud that his American jeune fille would be prettier than Arnaud's new Norwegian one. But I was big and unspectacular, nothing like the cinema samples, and he'd have to give back Arnaud's fountain pen.
I disrupted everything briefly.
The family lined up to kiss me. With Guillaume and then Odile, I aimed for the wrong cheek and ended up butting noses with Guillaume and nearly kissing Odile on the lips, which seemed to horrify her and her profound sense of propriety. Before her turn, Lola told me,
Right cheek first, which clarified everything, and I was prepared for Nicole. No one else seemed to be bothered that Nicole wore no shirt. As we kissed, I smelled makeup and removers, nail polish and toothpaste, and the lingering odor of her younger children—sour milk and butter cookies. The heat had brought to the surface of her skin all of these scents that I never again smelled so strongly, though I never thought of Nicole again without them, just as I never forgot the shape of her breasts beneath her clothes.
Nicole found her silk shirt on Guillaume's chair mashed into a pillow and scolded him in a singsong voice that just made him grin at her. She asked me a few polite questions, which I answered with the simplest expressions I knew. There was something about Nicole, the swift strokes with Odile's brush and now the same movement with her hand to rid the silk of wrinkles, that told me immediately that she was not a person to tolerate mistakes, and I suspected that my four years of textbook French would not hold out for very long.
I had the feeling, from the moment Nicole glanced up and saw me, that I had either arrived too late or too early in the afternoon. There was something distinctly inconvenient about me, which turned out to be a feeling that persisted for several months. It could disappear for long stretches of time, then resurface inexplicably one day as I walked into the kitchen with her dry cleaning or into the living room to call her kids to dinner. She would look at me with that same vague surprise, that attempt to veil vexation. During those first months, no matter how close I came to feel to that family, that look of Nicole's could cast me straight back out to that initial moment on the deck when I wondered if I was too early or too late to begin my life with them.
I followed her down the steep stairs into the house. I'd never been on a houseboat before or been to Paris or spoken French outside a classroom. A house on a boat on a river in France. A house on a boat on a river in France. It took a tune in my head as we clomped down the steps and I thought someday I'd sing it to Lola, who liked me already, which I knew by the way she watched beside me with her seal face, her round brown eyes, and hopeful mouth, watching for my reaction to this new world, her world. I wondered if she knew any English, if she would understand house or boat or river. Already I felt that if I said those words—or any words—Lola would understand them all.
I was actually the only one who clomped. Lola bounced and Nicole trotted, gold thongs swatting her heels as she led me down a corridor and pointed without stopping to the children's rooms, bright with rugs, posters, and comforter covers. The beige hallway carpet bled into my room at the end, where there was no vestige of the many girls who'd come before me, only a single bed covered in a washed-out floral fabric that appeared more vividly beneath the glass of the dressing table and on the pillows of the ottoman in the corner. I glanced at this corner placidly, as if I'd often had an ottoman in my bedroom.
Nicole showed me how to open the window and told me I was not to spill in the room or use nails on the walls or eat meals anywhere but in the kitchen. Then she made me open the window myself and repeat back to her the negative commands she'd given. I couldn't remember some of the words she'd used. My comprehension was still way ahead of my recall. Nicole's face said she'd done this a thousand times with the same result. For her I was just another fille marking another year, another rentrée.
Lola pleaded my case.
Don't worry, Maman. She's understood you. But Nicole looked one last time at the room, as if she'd never recognize it again, and led Lola away to let me unpack.
But Lola and Guillaume were back in my room in a few minutes to model their back-to-school clothes. Lola's were boyish, mostly jeans and soft cotton shirts, while Guillaume's were for a child far younger: wool shorts with tall socks, a shirt with a scalloped collar, plaid overalls. I showed them the pieces of magenta and chartreuse paper I found in a dresser drawer, and they told me it was Sigrid's from two years ago. Because I couldn't understand all of their simultaneous explanations, they resorted to fingers that became scissors, then pulled me into each of their rooms to show me the framed cutouts on their walls.
And the other girls. How many? I was wary, in those early days, of full sentences.
Millions, Lola said, letting her arms flail.
Thirty or forty? She looked at her brother for verification. She was a spindly, awkward girl in the most awkward stage of her life. I knew from watching her that people had begun to tell her to calm down, to lower her voice, to keep her arms at her side.
More, Guillaume said.
Their fingers became full of names.
Pilar! Lola stopped.
Remember her? She wore Maman's clothes when she wasn't home.
But Tonia was worse, Guillaume said.
She called Turkey every night and the bill was five thousand francs and she had to work six months for nothing. She cried a lot.
They went through the long list: Vibeke the witch, Begonia the poet, Hélène the belcher. They spent awhile debating if it was Ella or Elsa who ate her cigarettes after she smoked them.
And me, what? I finally dared ask.
You mean what will we say?
I nodded. Lola shrugged and said something I wasn't sure was a word.
She repeated it.
Chais pas.
What does it mean?
Chais pas? She seemed disappointed, as if she'd had higher hopes for me.
Je ne sais pas.
Chais pas. I practiced.
Chais pas.
How do you say it in English?
I don't know, I said slowly.
But she was impatient.
I know, but how do you say it fast?
I dunno.
Dunno, Lola said, in that precise accent she had whenever she repeated me.
Dunno, Guillaume tried.
Dunno, I repeated.
Good, I said, but it was a lie to stop the game short and he knew it.
I don't need to learn English. I'm going to be a priest.
A priest? I said, trying to say the word prêtre as beautifully as he had and failing.
We'll say that you aren't very stylish—I'm not either—but that you're very nice, Lola said.
That you're disorganized. Guillaume looked at my open suitcase and all the balled clothing.
And that you have a pretty smile.
And that you're a little fat.
It's okay, I said.
It's true.
But you're smaller here. She poked her leg.
And here. She touched her cheek. "And it's very smooth. Look at Guillaume. He already has two boutons and he's only nine."
Though I suspected what Lola meant, I feigned confusion to diffuse a moment I thought would be embarrassing to Guillaume. But he showed


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Skin care is essential to keep the personal hygiene up to the level and to look good as well. As for combination skin, it is different since there is nothing particular and specific skin care routine unlike oily and dry skin type. In such a skin, you have to do normal skin care plus see what else you skin requires and take care of it accordingly.
At some places in face, your skin is dry and at some places, it is oily so there is nothing specific cosmetic that you can apply to solve both the problems. But do not freak out as here are some tips that can ease your pain.
Firstly, like any other skin care regimen this one requires a proper cleansing, toning and moisturizing. For cleaning, just find a mild face wash in market and that would do. Avoid heavy ones or oily ones. Wash your face twice a day with it and follow it with application of toner and then a water based moisturizer. Then comes an important part of skin care and that is exfoliation.
Now this one cannot be ignored irrespective of skin type. You need a gentle scrub and with it scrub your skin once in a week. Put more pressure over the oily areas as these are the places where white and black heads occur. You can go for chin, nose and forehead areas in such case.
Face mask are essential since they add to the glow of skin and give it luster and nourish ness. These are also required to be applied once in a week. Choose fruit masks as they are meant for combination skin. Papaya, cucumber, mud, etc type of masks support combination skin well. These clear off the oil and take care of dry areas as well.
Then the final thing is to take care of tanning. To avoid it and be protected from the harmful UV rays, apply ample amount of sun block 20 minutes before going out anywhere, especially in summers. Use SPF 20 and the one which is oil free. Some basic things like good diet, drinking loads of water, perfect exercise regimen, etc need an obvious attention so do focus on them as well.


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The dawning of legal weed in Los Angeles was supposed to be the end of the wild west for cannabis: the end of the semi-legit, semi-shady weed dispensary, and the beginning of the totally legit tax-paying cannabis retail business. But instead of closing off the frontier, so far Proposition 64 has created a brand new form of outlaw in LA.
Recreational retail shops wait on licenses, follow regulations, and inflict a whopping 45% tax on their customers. Not surprisingly, that gives consumers a hell of an incentive to seek out more convenient, cheaper alternatives in the city's cannabis black market.
As a result, legit pot shops are hurting, according to a report from Leafly. "It's gotten worse" since legalization, says Jason Kiloh. Kiloh is not only president of the United Cannabis Business Alliance (a trade group that helped put together the city's cannabis regulation Measure M), he's also the owner of Higher Path dispensary in Sherman Oaks.
Kiloh couldn't even get a city license for the first month of the New Year, and he says he had to watch his customers go elsewhere for their wares. "Come January an uneducated part of the market said, 'I can buy weed anywhere now.' Guess what they are doing? They are going anywhere. They've come out in droves to the illegal shops," Kiloh told Leafly.
Not only do consumers have taxless alternatives than the few legit shops in town; they can also just call up one of the city's delivery services. Kiloh estimates that about 200 delivery services have opened up since the first of the year. Licensed businesses can't keep up with them, because, as Kiloh pointed out, "Delivery is not even legal in the city of Los Angeles."
According to Leafly, the city of Los Angeles is expected to issue 157 priority licenses, 300 total retail licenses, and currently has roughly 1,500 illegal cannabis storefronts.
Photo via Flickr user Emmanuel.D_Photography


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Daran will be talking about home performance assessment, easy solutions to upgrade your home, and utility programs to assist business owners and homeowners upgrade their building's performance.
Getting involved in the Green Chamber: Greater Phoenix is as easy as 1-2-3! Each month we bring you 3 great, green events - Mark your calendar for the following dates:
1st Tuesday - Green Drinks
2nd Wednesday - Lunch & Learn
3rd Thursday - Coffee with the Board
Arizona Green Chamber of Commerce
70 S. Val Vista Drive
Suite A3-186
Gilbert, AZ 85296


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Main Molecular and Cellular Endocrinology The thyroid hormone receptor recruits NCoR via widely spaced receptor-interacting domains
You can write a book review and share your experiences. Other readers will always be interested in your opinion of the books you've read. Whether you've loved the book or not, if you give your honest and detailed thoughts then people will find new books that are right for them.


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Property Search
Happy Customer
When I first met Ann she was a property manager working for a franchised group. I was extremely impressed with her ability to relate to people of all levels and backgrounds. I was also impressed with her level of knowledge and understanding of the real estate industry but more importantly her knowledge and understanding of property management. Over the years she has guided me with my investments and seen that those investments gave me good... Linda Ferguson


text: Last year, my sister completed El Camino (The Way). She is not only an explorer, but she is an amazing writer and photographer. Her YouTube video of the first part of the trip is very healing to watch. When I watch it, I feel as though I am walking the path with her. Enjoy!


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Do you have a MacBook Air? Chances are, you have been using this laptop for many years and you are slowly running out of disk space.
This is a common problem for many MacBook Air and older versions of MacBook pro users. The 128GB of storage space in basic versions of MacBook Air is simply not enough.
Even with upgraded 256GB of disk space, your Macbook's hard drive will still run out of space as you store more videos, images and other types documents.
MacBook Air is very useful, it is light in weight and runs most of the programs very well. If there is just a simple way to upgrade your MacBook Air storage space, life will be easier for all Apple Macintosh lovers.
The solution and short version of this blog
If you are too lazy to read this blog and would just like to find the answer, here is the main point of this blog.
You can buy a Baseqi Ninja Stealth Drive for $24.99. This is an aluminum SD card adapter that is made out of aluminum. You can insert a 128GB micro SD card into Ninja Stealth Drive and insert the whole thing into your MacBook Air's SD card slot. You will see a new 128GB disk show up on your screen and you can start dragging files there.
A 128GB Sandisk micro SD card is a high quality micro SD card, and it is being sold on amazon.com for $29.00 USD. Ninja Stealth Drive $25 + 128GB micro SD card $29 = $54. Get these 2 items, plug it into your MacBook Air and you will get additional storage space!
A Sandisk 256GB micro SD card runs for $73.71 and a 400GB micro SD card runs for $152.58 on Amazon.
There are many lower quality micro SD cards being sold on Amazon for cheap. These cards usually get low ratings and we do NOT recommending using them. You should always get a micro SD card from a reliable brand.
What makes Ninja Stealth Drive different is that it goes all the way into your MacBook Air, without any protrusions. It is designed to stay within your MacBook Air and stay there forever. The aluminum casing matches with your MacBook Air and no one will notice you have added an extra secondary drive for storage. Brilliant right?
Ninja Stealth Drive hides into your MacBook Air 100% with no protrusions
You can learn more about Baseqi Ninja Stealth Drive here. The special price of $24.99 (regular price $29.99) is available only available for a limited amount of time. You should grab it today!
Best MacBook Air Storage Upgrade Method
Now, we will look at the more detailed answer.
Baseqi Ninja Stealth Drive is the perfect solution to your problem. You can add 128GB of extra disk space within 3 seconds for less than $54 USD. If you have a bit more cash to spare, you can even add 256GB or 400 GB of disk space for around less than $99 and $178 USD respectively!
Usually, when we add more disk space, we have to take our computer apart, take out the SSD and replace it with a new one with more Gigabytes of storage space. This might be easy for tech savvy users, but can be a daunting task for people who are not familiar with computer hardwares.
We have invented a new way to do this, you won't have to tear down your computer at all.
Do you see the SD card slot on the right hand side of your MacBook Air? The SD slot is used to plug in a SD card. But since SD card is no longer the most popular way to store files, most of us rarely use this slot. The slot end up sitting there unused, and that is probably why Apple is removing these slots from the new MacBooks.
People rarely use these micro SD card slots on MacBook Air nowadays.
Baseqi took advantage of this SD card slot. Since it is rarely used, we decide that we can add storage to MacBook Air here. All we needed was a SD card that hides 100% into your MacBook Air and it can just stay there for a long time.
If you are not familiar with Micro SD card adapters, they are just an adapter to hold micro SD cards. Micro SD cards are smaller versions of SD cards usually used in digital devices such as cameras.
You can insert a micro SD card into an adapter and it will become a regular sized SD card.
SD cards are usually used to transfer files, it is not meant to stay in your MacBook and be used as a secondary drive. But we thought if we can remove the awkward protrusion from SD cards, it can stay in the SD slot forever and become MacBook Air's secondary storage drive!
Click here to learn everything you need to know about SD cards.
The design team at Baseqi took on this challenge and created a SD card that hides 100% within your MacBook Air. We gave it a name of Ninja Stealth Drive because no one will ever notice it. We even gave the SD card a silver aluminum finish to match the case of your MacBook Air, which perfectly camouflages the SD card adapter.
Ninja Stealth Drive is an upgraded micro SD card adapter, this is what it looks like.
This is the side view of a MacBook Air with Ninja Stealth Drive inserted. The aluminum styling matches your case perfectly and hides 100% into your MacBook Air
Remove the adapter instantly with your fingernail
To be honest, there are similar products on the market that looks like Baseqi. However, some of them requires a hook to take out. We know that taking out the SD card by a hook is a hassle because people will have to carry the hook with them at all times. They might also run the risk of losing this hook, and their SD card will stuck in their computer forever.
We tackled this problem with a different approach. We designed a small cut into the adapter so it can be easily pulled out with your fingernail. This was a perfect solution and we filed a patent for this invention. We are proud to announce that the patent was approved.
Our patented design allows you to remove Ninja Stealth Drive instantly, no tools required.
Please keep in mind that Ninja Stealth Drive is NOT designed to store computer programs. You should still install all of your computer programs on the original SSD on your MacBook Air. You can drag and store all of your image, video and document files into your new Ninja Stealth Drive.
So there you go, do you think this is the best way to add 128GB, 256GB or even 400GB to your MacBook Air? Please comment below or share this information with all of your friends!


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Feb 15, 2017 -
Feb 16, 2017
Starts 8:00 and Ends 17:00
(UTC+10:00) Canberra, Melbourne, Sydney
Sydney Omni Channel Retail Summit Sydney 2017
View Event Registration Details
An evolution is happening in retail. Customer demands and expectations are changing the game. The modern day retailer must truly understand their customer, and be ready to provide a seamless customer experience across all channels. Culture, technology and process are all pivotal. For bricks and mortar retailers who are expanding their eCommerce offerings, the omni channel journey is a long and evolving journey. Getting the right change management strategy in place will be pivotal for future success. Welcome to the Omni Channel Retail Summit: Bringing together a selection of leading retailers, this is a fantastic networking opportunity to get all of your core questions answered.
Enhance your conference experience with:
- International and domestic leading speakers: hear best of breed case studies
- Speed networking session: get ready to meet new people, make connections & build your network
- Interactive roundtable discussions to get all of your pressing questions answered
- Networking drinks to continue those valuable introductions and discussions
Who will be attending?
Heads of, Directors, General Managers & Senior Managers responsible for: Digital, Omnichannel, Multichannel, Online, E-Commerce, Operations, Logistics and Supply chain.
Featured Events
Jul 16
[CMSWire Webinar] Are Desktops Doomed?
Online, Online Webinar
- Jul 22
- Jul 23
Jul 28
[CMSWire Webinar] Run 3-D Applications in a Browser
Online, Online Webinar
Aug 25
Re/Constructing the Customer Experience
Online, Online Conference


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Stills of Song Jae Rim and Kim So Eun's First Meeting on "We Got Married" Revealed
The newest addition to "We Got Married," couple Song Jae Rim and Kim So Eun, will show their first meeting this Saturday.
According to the production team of the show, the couple, who have garnered much attention with just a preview, will show a different side to themselves from the images shown in their dramas—Song Jae Rim will be an unpredictable yet strange character while Kim So Eun will be unexpectedly honest and short-tempered.
Their first meeting was not very normal—they met for the first time in complete darkness, guided only by each other's voices. Taken aback by the situation, anxiety could be sensed in the air. In the interview, Song Jae Rim stated, "I was kind of annoyed since I couldn't see her despite the fact that she was right in front of me."
The two, however, advanced quickly with some bold skinship. Kim So Eun revealed that her ideal type was a man who had a pretty Adam's apple. In response, Song Jae Rim offered his neck and said, "You can touch it," and even held her hand. Kim So Eun was briefly taken aback by the sudden skinship, but soon confronted it and showed that she was no easy match. Song Jae Rim later revealed that he thought, "She's tough," foreshadowing a rough road to marriage.
When the two finally came out into the light and confirmed each other's identities, their reaction was said to have surprised the production team. The two are definitely not the losing type.
You can catch this first meeting on this week's episode of "We Got Married," which will air this Saturday, September 20 on MBC.
Who's excited for this couple?