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"I just got the phone call one day," is how poet Richard Blanco describes to Fresh Air's Terry Gross how he learned he had been selected to write and read the inaugural poem for President Obama's second swearing-in on Jan. 21.
Blanco is the first immigrant, Latino and openly gay poet chosen to read at an inauguration and, at 44, also the youngest. The author most recently of the collection Looking for the Gulf Motel, which explores themes of sexuality and home, says he doesn't know how or who put his name up for consideration.
"I'm sure it will come to light at some point," he says, "[but] in some ways I don't want to know. ... In some ways I like the mystery myself that I'm not sure exactly. ... I'm wondering if I'll be disappointed when I find out. ... [Now] I can imagine him sitting in the Oval Office with my book and saying, 'Get this guy in here!' "
After the phone call came, Blanco wrote three poems for the inauguration committee. Of those, they chose "One Today." Written shortly after the Newtown shooting, the poem references the 20 children killed:
the impossible vocabulary of sorrow that won't explain
the empty desks of twenty children marked absent
today, and forever ...
"What I find interesting about the inaugural poem as almost like a subgenre," says Blanco, "is that it's a unique snapshot of where we are as a country at that moment," and Newtown, of course, says Blanco, was part of that snapshot and "emotional landscape" that he was trying to illustrate.
The balancing act then came in deciding where he, himself, belonged in the poem.
"One of the hardest challenges of the poem itself overall was how to at once put myself in there, but realizing that this poem isn't about me, it's about our country," he says. "Part of the process that I went through was deciding what was important enough to me that I felt I needed to put in there. Of course, the first impulse was — because I was the youngest, first openly gay, first Hispanic or Latino — the first impulse was: I have to represent all this in the poem, and sort of be more of an in-your-face kind of poem. Then I took a step back from that and I realized, well, yes, it's all those things, but I think there's a larger platform here, a larger sense of what America is that I need to come through in the poem."
Interview Highlights
On his Cuban grandmother
"My grandmother was as xenophobic as she was homophobic, so I remember growing up so that anything that seemed culturally odd or weird or strange was also sort of tagged as 'queer' — and I'm talking like things like Legos and Fruit Loops — so anything she perceived as strange she also questioned in terms of my sexuality. ... My grandmother was also a very central figure in my life for being one of those relatives that ended up doing a lot of good for you, in terms of all the harm that they did to you."
On where he's "from"
"I always claim that my soul is Cuban — my soul was made in Cuba — and I was assembled in Spain and then imported to the United States, because I was only 45 days old when we left Spain for Manhattan, so my green card photo is my first baby photo."
On how being an engineer — as he is — is similar to being a poet in the sense of having a catastrophist's temperament
"As an engineer ... in your designs and whatnot, you're trained to figure out what's going to go wrong. That's how you design a lot of things. You're like, 'OK, that's a decently designed curve there in the road, but what could go wrong? What's wrong with this design?' And you're constantly putting things up to the test and up to the test, and overdesigning and implementing things and safety factors, and if I wasn't like that already, 25 years of engineering have pretty much reinforced that."
On writing a poem about his father's grave
"That poem really started with this idea of, 'Where I will be buried, where do I ultimately belong, and where do I want to spend eternity?' And, as it mentions in the poem — especially in New England — you see these really old graveyards and you're wondering, 'I don't know. I love being in New England, but I don't know if I want to be buried here, and I don't know if Miami is the right place either.' So I haven't decided, but it's something I've always thought of in the sense of we're not where we're from necessarily, but where we choose to die. Where we choose to be buried, in a sense, tells more about who we are than where we're born, which we have no say over."
On how being the inaugural poet affected his sense of being American
"All along, through different stages of my relationship with America ... I've always been sort of wondering: Where's home? Is home America? That ideal doesn't really exist, does it? Where's all those sort of principals that I grew up with? And when I was up on that platform — for those two hours or so that we were up there — it was like all those ideals came to life in ways that I had never imagined. So even with all the politics and all the fiscal cliff and all the rest that [was] going on, for those two hours there was still this sense that was still so pure about America. ... Just the idea that all those hundreds of thousands of people have just come to bear witness. ... I really embraced America up there like I never had before, and I think I finally felt like I was home in some way. ... And I turned to my mother at one moment and I told her, 'Well, I think we're finally American.' "
This is FRESH AIR. I'm Terry Gross. I really enjoyed the poem that Richard Blanco wrote for and read at President Obama's second inauguration last month, the poem "One Today." I wanted to talk with him, and this Presidents Day seemed like a good day for that.
Blanco was the youngest of the five inaugural poets in American history. He just turned 45 a couple of days ago. He was also the first Latino and first openly gay person in that role. Many of his poems are about identity. His parents emigrated from Cuba in 1968, the year he was born. He grew up in Miami, aware of the mix of nostalgia and anger adults in his community felt toward Cuba. Blanco is the author of three collections of poems. The latest is called "Looking for the Gulf Motel."
He's taught at Georgetown University and American University and now lives in Maine with his partner Mark. He writes: A Cuban like me living in Maine? Well, what the hell. Mark loves his native snow, and I don't mind it, really.
Richard Blanco, welcome to FRESH AIR. It's a pleasure to talk with you after hearing you read your wonderful poem on inauguration day. How did whoever it was that selected you know who you were?
RICHARD BLANCO: You know, it's still a mystery. I have no idea. I'm hoping to get to the bottom of it soon. You just - I just got the phone call one day, and there's so many layers with the Inaugural Committee and then the White House. There's so many layers of I guess coordination and whatnot. The person that originally called us, we had asked if they knew - it's one of the first questions you have on your mind, and they said no, I don't, I was told to call you.
So for lack of wanting to pry too much and the fact that I had to hurry up and write the poem, I haven't dug any deeper, but I'm sure it'll all come to light at some point. In some ways I don't want to know. I don't know if that makes sense, Terry. In some ways I like the, sort of the mystery myself, that I'm not sure exactly how it was, and I'm wondering if I'll be disappointed when I find out.
GROSS: Sure, you just go on and keep thinking that it was President Obama himself who said I know, I know who I want.
BLANCO: Exactly.
BLANCO: I imagine him sitting in the Oval Office with my book, you know, and saying get this guy in here.
GROSS: Yeah. So did they give you a time limit? Did anybody say keep it short, kid, people don't really have much of an attention span for poetry?
BLANCO: I think they roughly - again, there were such a - this was such a crazy time, I'm not sure, you know, if they gave me any - so much information was transpired or filtered through other people. But they did say about three minutes, and I think the poem ran a little bit longer than that.
But once they picked the poem that they picked, because as you know, I had to wrote three, it was - they didn't change a single word, they didn't tell me about the timing, anything at all. I think they really liked the poem enough to trust it at that point, so...
GROSS: Right, so they said give us three poems, and we'll choose the one we want. Did they have a Plan B? Like say they didn't like any of those three poems.
BLANCO: Not that I know of, but I believe other inaugural poets have only had to write one.
BLANCO: So maybe I was Plan B. I'm thinking because of the short time span, and I was trying to sort of do the timing on when they actually - they called me on December 12th, which is kind of late, I think, a little bit. But I'm not sure. I don't know the details of other - when this has happened before with inaugural poets.
But I think I may have been Plan B in the sense here's, you know, write three, I'm sure we'll like one, or one would be suitable, rather than writing one and taking, you know, the three weeks to write one and then it's a week before the inauguration, they're like, um, we're not sure this is going to work.
So as far as I know - also speaking of firsts, I think I'm also the first one that had - the first inaugural poet that had to write three poems.
GROSS: So I've asked you to read an excerpt of "One Today," your inaugural poem, and I've chosen a couple of my favorite verses. So this is - begins with the second verse. The first verse is the opening with, you know, one sun rising over so many different people with so many different days ahead of them. So if you could pick up with the second.
BLANCO: Sure. My face, your face, millions of faces in morning's mirrors, each one yawning to life, crescendoing into our day, pencil-yellow school buses, the rhythm of traffic lights, fruit stands: apples, limes, and oranges arrayed like rainbows begging our praise.
Silver trucks heavy with oil or paper - bricks or milk, teeming over highways alongside us, on our way to clean tables, read ledgers, or save lives - to teach geometry, or ring up groceries as my mother did for twenty years, so I could write this poem for all of us.
All of us as vital as the one light we move through, the same light on blackboards with lessons for the day: equations to solve, history to question, or atoms imagined, the "I have a dream" we keep dreaming, or the impossible vocabulary of sorrow that won't explain the empty desks of twenty children marked absent today, and forever.
Many prayers, but one light breathing color into stained glass windows, life into the faces of bronze statues, warmth onto the steps of our museums and park benches, as mothers watch children slide into the day.
GROSS: You refer in that verse to the massacre in Newtown, in which 20 children were killed. You gave this inaugural poem a month after the massacre. How did you decide to include it, and how did you think about how to include it? I thought what you wrote was just beautiful, the empty desks of 20 children marked absent today and forever.
BLANCO: Yeah, this was, of course, in the emotional landscape of what was happening while I was writing the poem, and it just - as it, you know, as it struck us all so deeply, at the time I could barely watch the news, but I just - something, something emotionally in me felt that it was just right to include it. At the same time, in a poem like this, you want to be very careful to not sort of throw in references that are just gratuitous or for the sake of enlivening the poem in some way or in some, you know, shaping the poem in some way that feels disingenuous.
But that part, I lived through that whole thing while I was writing the poem, and I wanted some place for it to be recorded in this very moment because what I find interesting also about the inaugural poem as, as I said, almost like a sub-genre, is that it's a unique snapshot of where we are as a country at that moment.
GROSS: So in a poem that simultaneously celebrates difference and commonality in America, you mention personal things about your family. You don't mention that you're gay. Did you say to yourself, OK, I'm going to leave that out of the poem, or did it just not fit in the poem, was it not relevant to the poem?
BLANCO: You know, that was one of the hardest challenges of the poem itself overall, is how to, how to at once sort of put myself in there but, you know, not realizing, or rather realizing that this poem isn't about me, it's about our country and whatever that means in its totality.
Part of the process that I went through was deciding what was important enough to me that I felt I needed to put in there, and of course the first impulse was to sort of, because I was the youngest, first openly gay, first Hispanic or Latino, the first impulse was kind of - I have to represent all this in the poem and you know, sort of be more of in-your-face kind of poem.
And then I took a step back from that, and I realized, well, yes, it's all those things, but then there's - I think there's a larger platform here, a larger sense of what America is that I need to come through in the poem.
I didn't have any specific references to my sexuality in here. You know, in the creative process, sometimes things come up, sometimes they don't, but sort of if you see the sort of - the texture of the poem is about these, you know, the people going through their days and whatnot, and I always, in the back of my mind I always thought about my father and my mother.
Even the moment I heard the news, well, after it sunk in for about a couple hours, I was overcome with this sense of gratitude and understanding that all this sort of happened because of all the sacrifices and hard work that my parents did to - to let my brother and I have a better life, education, et cetera, et cetera, the sort of - the more typical sort of immigrant or exile story in my case.
And so I felt like that was really part of my emotional center for this poem, was my mother and my father and my ancestors, so to speak, the people that got up here, the people that ushered me forward into this world in more ways than one.
GROSS: Your parents left Cuba in 1968. Why did they leave and why at that moment?
BLANCO: As far as I understand - because of course there's nothing like living through something like that. The revolution was obviously '58, '59. So historically, as I understand, there was a lot of momentum after the revolution, and people weren't sure exactly what was going on or how things were moving.
And I think slowly throughout the years they saw the changes that they weren't keen on, and I think they saw that they - you know, it's again, you know, the typical sort of American exile immigrant dream of a better life, someplace that also means freedom and liberty and all the rest. And I think they went for that reason.
And it was - by 10 years after the revolution, I think they made that decision, and back then, of course, there was no really diplomatic, as there is now, no official diplomatic relations with Cuba. So we had to go to Spain as a third country, they used to call it, before coming to the United States.
But I think their - you know, it's - I think their motivations were very similar for the reasons that people come to America from all over the world in that sense. We weren't - there wasn't - there isn't any political sort of - you know, my dad wasn't a political prisoner or anything like that. But there was a sense of just not wanting to - not agreeing with what was going on and seeing a better life for themselves and my brother and I.
GROSS: You talk about "we" left Cuba. You were in utero. You were still - your mother was pregnant with you when the family left for Spain.
BLANCO: Yeah, I always claim that my soul is Cuban, my soul was made in Cuba, and I was assembled in Spain and then imported to the United States because I was only 45 days old, actually, when we left Spain for Manhattan. And so my green card photo is actually my first baby photo. So...
BLANCO: And I always say when I - the first time I went back to Cuba, I always say, and it does feel literally like you're going back because there's so much - you grow up with so much family lore, so many photographs and stories and things like that, that you feel like you have been there in some way, emotionally. So when you do go, it does feel like a going back, sort of things coming back to life.
GROSS: So you're a poet, so words are obviously very important to you. How good was your parents' English when you were growing up, and were you fluent in Spanish? What language did you use in the house?
BLANCO: In the house, in our house we spoke Spanish. After several years, maybe when I was around already nine or 10, my parents could understand enough English that we would speak to them in English in parts, and they would answer us in Spanish, but they hardly ever spoke English to us.
I don't ever remember having a first language. As far as I can remember, I've always known Spanish and English. And I was the first - speaking of other firsts, I was the first in my house that I remember that actually started learning English, because my brother was six years, six and a half years older.
So I remember my parents asking me how do you say this in English, how do you say that in English, from the time I was like maybe four or five years old.
GROSS: And how did that affect your feelings of competence and responsibility, to be able to help your parents like that?
BLANCO: Well, it was very empowering. It was also something I write about in my prose. It was very empowering to know a language that you could get away with things that they wouldn't know about. So there were - there's a lot of tricks that my brother and I used to - or not tricks but things, how we used to get around things by speaking English.
We weren't the best behaved kids. But there was certainly - as I look back on it, there was a sense of power of knowing something that your parents, you know, didn't and linguistically how you had sort of the upper hand in the family.
GROSS: I'm going to ask you to read a poem from "Looking for the Gulf Motel" that's about your father. It's called "The Port Pilot." And some of the lines in this poem refer to various jobs your father had. He was a meat butcher in a butcher shop. Did he work in a bank for a while? Is that the reference to counting money?
BLANCO: He was, yeah, a bookkeeper - by trade.
GROSS: Bookkeeper. OK. So those are the two things I wanted to mention before you read the poem. Is there anything else you'd like to say before you read it?
BLANCO: Well, the genesis of this poem had to do with finding out one day, many years after, that my father was a port pilot, and of course in Miami there's these big cruise ship terminals, and one day my mom tells me that's what your dad studied or was going to do in Cuba, he was a port pilot.
And so he - I just found that so interesting, that little factoid about my dad's life that I had never known before. And this is what happens when you grow up sort of in an exile family or immigrant family. You just get little pieces of information, like throughout the years, and you've got to piece all this stuff together. And so this is sort of piecing together some of my father.
"The Port Pilot." Before I knew him as a butcher, coming home with blood stains on his cuffs that Mama could never wash out in the kitchen sink, before I learned he'd spent all day in the sky in loafers and a necktie counting other people's money in a tower with a view he couldn't afford, years before he started gambling with me on cockfights at Tio Budede's(ph) farm every Saturday night, teaching me how to bet on death, long before he was diagnosed and staying alive became his fulltime job, his agenda filled with appointments to kill whatever was killing him, a lifetime before I had to cradle him in and out of bed, he carried me on his shoulders over the jetty at the port.
Minutes after I'm called to the hospital, I remember that day, sitting together on a rock, watching the ships glide past us, when he told me that years before he was my father he was a port pilot in Havana, steering ships safely into harbor, then guiding them out to sea again, never to see them again, seconds before I hear his last breath, told to leave the room.
GROSS: That's Richard Blanco, reading his poem "The Port Pilot" from his latest collection of poems, "Looking for the Gulf Motel." What did it mean to you when your father told you he'd been a port pilot in Havana? Why did that have such a big effect on you? Because of the responsibility that he had or because of the fact that he was guiding these ships to safety and they'd never know who he was?
BLANCO: Well, I mean I think that's an afterthought as an adult. At the time, I was much younger, and I just thought it was just neat as all hell.
BLANCO: I mean you've got to understand the landscape of growing up in Miami, these huge, like, ships that we used to watch, you know, going off into the Caribbean on sunset. And so I just thought it was so neat. But it was also sort of the story of my father, of how being such a sort of emotionally absent person that, you know, finding out these little bits and pieces about him, were so interesting to me.
And since he died when I was relatively young, before I really was a mature adult, I never got to sort of meet him, in a way. And so through the poetry I've gone back to these little tidbits and sort of tried to re-create him on the page and see what he meant to me and what our relationship was about.
GROSS: So you were in your early 20s when your father died. How did that change your life?
BLANCO: In ways, not immediately at first, in the sense of, as I said, you know, my father was sort of emotionally distant and so there wasn't that great sense of sort of someone who was my pal or my buddy kind of feeling. But it left an incredible - an ever bigger hole in the sense of understanding that now I would never really be able to get to that moment with him.
And I only understood that actually later in life. I mean now, you know, as I hit my late 20s, 30s, you know, my relationship with my mother is completely different. I've come to that relationship now as an adult, as a mature adult. We've hashed out a lot of things. I really know who my mother is now. And I always feel, you know, that I never got the chance to do that with my father.
So my life would change in ways not immediate but in ways I would see afterwards, and I think that's why he becomes a topic of my poetry a lot, to sort of understand what that relationship could have been in some way. I have to say some emotional outlet to understand that connection that never was.
Immediately after, luckily, you know, the family stepped in in terms of any financial hardship and all that. There wasn't anything sort of drastic in that context.
GROSS: Your grandmother was a very important figure in your life and you write about her in a few poems. I'm going to ask you to read an excerpt of one of those poems and it's called "Queer Theory According to My Grandmother." Do you want to introduce it for us?
BLANCO: Oh, sure. So my grandmother was as xenophobic as she was homophobic, so I remember growing up so that anything that would seem culturally odd or weird or strange was also sort of tagged as queer - and I'm talking like things like Legos and Froot Loops - so anything that she perceived as strange she also questioned in terms of my sexuality. And so I think that's where this poem sort of gets its - a lot of its sort of energy from. But it was also, my grandmother was a very central figure in my life for - as one of those relatives that end up doing a lot of good for you in terms of all the harm that they did to you. And so this poem, which I thought at first was this very poignant, angry, bitter poem, first time I read it, people just were like laughing in their seats. And then I got the humor behind this and I realized how I was treating the subject. And this is in the voice of my grandmother.
GROSS: And this is your Cuban grandmother who was your father's mother?
BLANCO: Yes, my father's mother.
BLANCO: "Queer Theory According to My Grandmother." Never drink soda with a straw. Milkshakes? Hmm. Maybe. Stop eyeing your mother's Avon catalog and the men's underwear in those Sears flyers. I've seen you. Stay out of her Tupperware parties and perfume bottles. Don't let her kiss you. She kisses you much too much. Avoid hugging men, but if you must, pat them real hard on the back - even if it's your father. Must you keep that cat? Don't pet him so much. Why don't you like dogs? Never play house - even if you're the husband.
So the poem goes on to catalog all these sort of atrocities, my grandmother used to say. And then towards the end - I'll pick it up about two thirds into the poem, towards the end.
Don't watch "Bewitched" or "I Dream of Jeannie." Don't stare at "The Six Million Dollar Man." I've seen you. Never dance alone in your room. Donna Summer, Barry Manilow, the Captain and Tennille, Bette Midler, and all musicals, forbidden. Posters of kittens, "Star Wars" or the Eiffel Tower, forbidden. Those fancy books on architecture and art, I threw them in the trash. You can't wear cologne or puka shells. And I better not catch you in clogs. If I see you in a ponytail, I'll cut it off. What? No, you can't pierce your ear, left or right side. I don't care. You will not look like a goddamn queer. I've seen you, even if you are one.
GROSS: Great poem. How did you respond to your grandmother at the time when she was giving you all these do's and don'ts - mostly don'ts?
BLANCO: That's a good question. I think I've written a few essays sort of retracing what that meant and how it affected me. And one of the things that I realized is what it made me was a very sort of self-conscious child and therefore much more introverted than maybe I was naturally, and a great observer of the world because I had to understand how to react. I had to, how could I say? I had to pick up how people were perceiving me, in other words, so that I knew how to respond. Or at least that was my interaction when my grandmother - you know, sit straight. Don't fold your legs. No, cross your legs. Don't do this. You know, say - don't say things this way. Do, you know, all that stuff. So it made me very self-conscious. But at the same time I learned the skill of how to read people and read people's sort of emotions. And I think in part - I don't want to attribute all this to my grandmother, but I think in part that made me, I mean as writers, as poets, what do we do? I mean we sit back and sort of watch the world and observe what may be other people miss. And I think that's part of how I became interested in writing in some way subconsciously.
GROSS: Did you try to win your grandmother's approval by trying to fix yourself in her eyes, and you know, not listen to musicals or Bette Midler or look at your mother's Avon catalogs or any of the things - you know, have a cat, the things she urged her not to do because it was too feminine?
BLANCO: Yeah. Certainly. I mean every, you know, of course I wanted my grandmother's love and approval. So yeah, at every turn I would try to please her and try to do things that I - well, in everything I did there was always the before thought of will my grandmother like this? And literally almost everything I did. So you never knew what you were going to get.
BLANCO: You know, sometimes I'd do something or say something or ask for something that would be met with OK. And then sometimes there were these other responses that you couldn't stand, but nonetheless, yeah. I remember my grandmother, I always wanted to be in the Cub Scouts and to her that was queer.
GROSS: Really?
BLANCO: You would think the Cub Scout, you know, boys camping.
GROSS: Yeah. Yeah.
BLANCO: Oh no, because it was this - also this culture component. It's like what is that? You know, that's queer, you know.
GROSS: So did it make it hard for you to have your own compass because you always had to be wondering - well, I want to do this, I like doing this but my grandmother might think it's bad, I don't know if it's bad, I have to see what she has to say?
BLANCO: Yeah. I think in the long run, yeah. At such an early age, that as I'm still discovering ways in which my grandmother's relationship was so significant and affected my life sometimes positively, a lot of times negatively. But one of the things that has happened is, I always say, I should do this or I should do that and I catch myself saying these things. And a friend of mine, a poet friend of mine said why do you say I should be doing this or should be doing that? And how about I want to do this or I want to do that? And I realized that - this was just about eight months ago. And I realized, damn, there's my grandmother again saying - I always measured or always was cautious of doing the right thing. And when it came to decide for a career, I think it was the same element, that same idea of like I should do this because this is what everybody wants me to do or this is the thing where, you know, I won't be called queer, you know, on subtext on that. And so, yes, I definitely, I still behave that way.
GROSS: OK. So the first career that you had, the one where you thought you wouldn't be called queer was being a civil engineer. But your grandmother threw out your architecture and art books when you were young, which is exactly the kind of thing you'd want as preparation to later be a civil engineer.
BLANCO: Yeah. No, no. Architecture was queer....
BLANCO: ...because it involved painting and drawing and things like that...
BLANCO: ...so, so that was out the door. Civil engineer was manly. And I also - part of that influence was also my father, and I think he also always wanted to be an engineer and I don't think he had the opportunity to.
GROSS: So when you realized that you were gay and your grandmother had been warning you all these years not to do things because those things were queer, did it scare you about being gay? Did you see that through your grandmother's eyes before you could accept that in yourself?
BLANCO: I think naturally, yeah. I mean that was - I didn't come out till I was about 25. And I think part of the delay in that was obviously having to overcome that fear. And she was still living when I came out but I never spoke to her about it. So she was already getting on in age, way on. And so, again, you say when I realize, I mean all through that poem that I read I already knew in that - I mean I had known since I was three years old probably that was gay. I didn't know what that meant but I knew it. So it's sort of a double-edged sword. Here you are sort of not really understanding and being chastised for something that you don't understand, but in some other level in your subconscious you know you are, so that really you are this bad thing that your grandmother, even though you're not sure what it is that your grandmother is pointing at, some other element of that comes into play at that childhood, you know, that consciousness of a child. So I think it took me longer than probably I would have ordinarily simply because of all that I had to overcome and just grow up and face the music.
GROSS: Was your mother any more supportive than your grandmother?
BLANCO: My mother was - I wouldn't say exactly supportive, but certainly not my grandmother at all. When I came out - in fact, when I came out to my mom, one of the things I told her was, like, grandma was right.
GROSS: My guest is Richard Blanco, who read that his new poem "One Today" at President Obama's second inauguration last month. His latest collection of poems is called "Looking for the Gulf Motel."
We'll talk more after a break. This is FRESH AIR.
GROSS: My guest is Richard Blanco. Last month he read his poem "One Today" at President Obama's second inauguration, becoming the youngest inaugural poet in American history, as well as the first Latino and first openly gay writer in that role.
So you live in Maine where it's now legal to be married. And my understanding is that you and your partner, Mark, might at some point in the future get married. You have a poem about him I want you to read. And just to preface this, you know, you grew up in Florida but now you live in Maine because it's where he has lived, and I guess where his work is too. So that must be quite an adjustment, living in the Maine climate, especially after big snowstorms like the one you recently had.
But anyways, the poem I want you to read is called "Killing Mark."
GROSS: It's not what it seems. So you're welcome to introduce us or to just jump in and read it.
GROSS: And this is going to be an excerpt of the poem. We're just trying to squeeze in a lot of poems, so I've been asking you to excerpt them.
BLANCO: What's always sort of surprised me about this poem a little bit is that it is obviously - "Killing Mark" is the title. It's about my partner. It's about being in a gay relationship. And yet in the small town where I live in, in Bethel, this is one of the favorite poems...
BLANCO: ...which is greeted with such enthusiasm because I think what it speaks about is something that really transcends a gay relationship. I mean it's just something fundamental and one understands a gay relationship is a relationship. So "Killing Mark."
His plane went down over Los Angeles last week, again. Or was it Long Island? Boxer shorts, hair gel, his toothbrush washed up on the shore of New Haven, but his body never recovered, I feared. Monday he cut off his leg chain-sawing. Bleed to death slowly while I was shopping for a new lamp. Never heard my messages on his cell phone. Where are you? Call me. I told him to be careful. He never listens. Tonight, 15 minutes late. I'm sure he's hit a moose on Route 26. But maybe he survived. Someone from the hospital will call me, give me his room number. I'll bring his pajamas and some magazines. 5:25, still no phone call. Voice mail full. I turn on the news, wait for the report. Flashes of moose blood, his car mangled, as I buzz around the bedroom dusting the furniture, sorting the sock drawer.
By 7:30, I'm taking mental notes for his eulogy, suddenly adoring all I've hated, 10 years worth of nose hairs in the sink, of lost car keys, of chewing too loud and hogging the bed sheets, when joy yowls. Ears to the sound of footsteps up the drive and darts to the doorway, I follow with a scowl: Where the hell were you? Couldn't you call? Translation. I die each time I kill you.
GROSS: I really liked that poem. Who hasn't done that? Who hasn't had those horrible imaginings when the person they love is late?
BLANCO: Yeah. I had a friend of mine who told me you can divide the world into two kinds of people, those that panic when you don't call in five minutes and those that have no idea and they're the ones who are not calling.
GROSS: Oh. So what does Mark think of that poem?
BLANCO: He likes it. It makes him chuckle as well. I think he totally gets it and understands. And it hasn't changed his behavior whatsoever, so. He knows it's a love poem at the end of the day and I think it helped him to understand sometimes why I do get so out of control and neurotic. It's not out of - it's just out of - I have that sense of that something's going to slip away at any minute.
Something I've tried to get better at in my day-to-day life and with other things of impending doom and panic. It sort of, I guess, follows maybe poets around. I'm not sure.
GROSS: So are you a catastrophist about other things?
BLANCO: Yeah. And I think it's as an engineer, which is something that sort of reinforced that. As an engineer in your designs and whatnot you're trained to figure out what's going to go wrong. That's how you design a lot of things. You're like, OK, that's a decently designed curve there on the road but what could go wrong? What's wrong with this design?
BLANCO: And you're constantly putting things up to the test and up to the test. And over-designing and implementing things and safety factors. And if I wasn't like that already, you know, 25 years of engineering have pretty much reinforced that.
GROSS: Are you still doing engineering work?
BLANCO: I was. I'm still officially employed by my firm in Miami, by C3TS Santec where I've been for decades. Well, not decades. I'm not that old. But certainly about 20 years on and off. I enjoy it very much. I'm not sure I'll have time to continue at the same pace. But I've always felt it's important for the way my brain functions. I need to have a left brain activity constantly.
I can't be too much in my right or in my left because they suffer. Since I was, I think, a kid I always was like that. And so I'm hesitant to say I can't go back to engineering because I really do hope I can in some capacity, in some way. But I know it's going to be very difficult.
GROSS: My guest is Richard Blanco who wrote his new poem "One Today" at President Obama's second inauguration last month. Blanco's latest collection of poems is called "Looking for the Gulf Motel." This is FRESH AIR.
GROSS: My guest is poet Richard Blanco. Last month, he read his poem "One Today" at President Obama's second inauguration, becoming the youngest inaugural poet in American history, as well as the first Latino and first openly gay writer in that role. A lot of your poems are about place - Cuba, where your parents are from, America where you're from, Florida where you grew up, Maine where you live now.
There's a poem I want you to read called "Bones, Teeth" that's also about a sense of place, a grave. Your father's grave. Would you read that for us?
BLANCO: Sure. (Reading) Bones, teeth. His bones, his teeth. Does his hair decay, I ask myself as I watch my mother on her knees pouring water over my father's gravestone, her palm gently washing the bronze letters as if she were stroking his face once again. With school scissors she cuts the blades of grass from edges, yanks the weeds creeping underneath the crown of thorns still alive 10 years since she planted it in the dirt that is my father now forever.
His wedding band, cufflinks, bones, teeth - that's probably all that's left of him here, I tell myself, as she replaces the dead mums with a dozen fresh ones that will last only a few days in the sun, she complains. Her eyes fixed on the ground, she speaks silently with him, feeling what I cannot - the haunt of his breath, his touch rising from deep inside the Earth that waits for her also.
Beside him again someday. Who will tend his grave when she's gone too? I worry, suddenly thinking of winters driving past old cemeteries, gravestones under snowdrifts, the dead and their dead children and grandchildren forgotten. Where will I be buried? There's no place for me here. Who will visit with flowers, speak to what's left of me? Yet I don't kiss his grave. Forgive me, Papa, bones that are my bones, teeth that are my teeth.
GROSS: That's Richard Blanco reading a poem from his latest collection "Looking for the Gulf Motel." When you ask the question in that poem where will I be buried, there's no place for me here, did you mean that literally in the sense of there's no plot purchased near where your father's plot is? Did you mean that more figuratively? It's just not where you belong.
BLANCO: I think I'm going to give you the poetic answer: both.
BLANCO: No. I think there's obvious a very literal sense to it which is there isn't, yeah, I mean, that's my grandfather - both my grandparents, both his parents are buried there, and my father and so will my mother. And so there's really no place for me here. But that makes me think - I mean, that poem really started with this idea of where will I be buried?
Where do I ultimately belong and where do I want to spend eternity? And as it mentions in the poem, sometimes, especially in New England you see these really old graveyards. And you're, like, wondering - I don't know. I love, like, being in New England but I don't know that I want to be buried here.
And then I don't know if Miami is the right place either. And so I haven't decided but it makes me want to think - it makes me think something I've always thought of and something that my - in the sense of we're not where we're from, necessarily, but where we choose to die. And that sense of where we choose to be buried in the sense tells more about who we are than where we're born which we have no say over.
GROSS: Since so many of your poems are about what does it mean for you to be an American with two Cuban parents who - it sounds like they never quite fully adjusted to America, never fully got the English language and were very much of both worlds and, you know, feeling in between worlds and so on.
So now that you've given the - you know, now that you've written and given the inaugural poem for President Obama's second inauguration, has that just affected your feelings for what it means for you to be an American?
BLANCO: Oh, yes. I mean, it's in a way that I hadn't expected. It's been an incredible, incredible experience. And not till the moment where I was up there and finished reading the poem, exactly. I mean, that whole process of being on the platform was amazing. This is going to be a long answer, so.
Well, part of what I grew up with and part of what's in one of the other two inaugural poems is that ironically, growing up in an exile or immigrant family, there's actually a more heightened sense of those idealistic or those ideals of America. And so we grew up with very high expectations of America. It's not that my parents - yes, I my parents didn't adjust fully.
But it was almost as if because of how much they held up America and those values that were instilled in us in ways that perhaps other people might take for granted. So I always grew up with these ideals of America. And then living in Miami, which was a very culturally insulated place for many years, I grew up watching - I thought America was what I saw on "The Brady Bunch" and picture books of Pilgrims and whatnot.
I really believed the whole sort of American dream, the whole idealistic vision of America. Because what was around me didn't feel like America because everybody was Cuban like us. So then I really thought Miami was sort of like this sort of benevolent sort of purgatory between Cuba and the real America.
BLANCO: It was like this holding pen. And since we weren't rich, I didn't really - I never visited another American city until I was in my 20s. So I really didn't know any better. So all along I'm going along with this at some - through different stages of my relationship with America, psychologically perhaps, I've always been sort of wondering where is home. Is home America?
You know, that ideal doesn't really exist, does it? I mean, where are all those sort of principles that I, you know, grew up with? And when I was up on that platform for those two hours or so that we were up there, it was like all those ideals came to life and in ways I had never imagined.
And so even though all the politics and all the fiscal cliff and all the rest that was going on, for those two hours there was still this sense that was so pure about America, that sense of that transfer of power. Or just the idea that all those hundreds of thousands of people have just come to bear witness. I never got that. I'm like why would people go to the inauguration and sit down there in the cold?
For one moment Beyonce, James Taylor, President Obama, all the representatives, all the senators, were there for one purpose. And it was so powerful that it was something that - it was a principle to come to life that we've, as a country, as people, have not been able to mess up in some ways. At least, maybe I was in the moment, my poetic moment, but I really, really embraced America up there like I had never before.
And I think I finally felt like I was home in some way. Not, perhaps, an idealistic home that I had thought, but really home. And I turned to my mother at one moment and I told her, well, I think we're finally American.
GROSS: I want to thank you so much for talking with us and thank you for, you know, for writing and delivering such a really good inaugural poem. It's been a pleasure to talk with you.
BLANCO: Thank you, Terry. It has been wonderful.
GROSS: Richard Blanco's poem, "One Today," which he read at President Obama's second inauguration will be published along with two other poems he was asked to submit for the inauguration probably sometime in the spring.
GROSS: Blanco's latest collection of poems is called "Looking for the Gulf Motel." You'll find three poems from it on our website, freshair.npr.org where you can also download podcasts of our show. And you can follow us on Twitter at nprfreshair and on Tumblr at nprfreshair.tumblr.com. Transcript provided by NPR, Copyright NPR.
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GOST 7.67 Latin three-letter geocode for Colombia. The code is used for transactions to and from Colombian bank accounts and for international shipping to Colombia. As with all GOST 7.67 codes, it is used primarily in Cyrillic alphabets.
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subset: commoncrawl


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Shipping & returns
Returns have no extra cost.
Purchases may be returned within 30 days from the order's delivery date.
ECOALF will refund the import of the returned product/s through the same payment method used by the client to make the purchase. Only the initial shipping costs of the order will be deducted from the refund since they were initially required to make the package arrive to its destination.
For further information on the return process click here.
If you want to make a return directly click here.
Think Responsibly, Act Accordingly.
Ecoalf will, of course, accept returns of its products but we are in favour of our customers' making the right product choice in the first place.
The return process involves a long procedure that diminishes our principal goal: to take care of the planet.
REpacking (more paper) y REdelivering another product (more gas emissions) are only two of the negatives of the return process, preventing Ecoalf from being as sustainable as it is committed to.
So please think twice before purchasing an Ecoalf product, thank you.
Important: All products that have been bought personalized are not permited for exchanges or returns.


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PIIRS research community aims to deepen the study of empires
An interdisciplinary group of Princeton University scholars working to enrich the study of empires has been selected by the Princeton Institute for International and Regional Studies (PIIRS) as its 2012-15 research community. The community, "Empires: Domination, Collaboration and Resistance," is composed of nine core faculty members from six disciplines and is eligible for up to $750,000 in support from PIIRS over the three-year period.
The group's founding members work in history, politics, French and Italian, Spanish and Portuguese, and Near Eastern Studies. They intend to enhance the longstanding and vibrant study of empires by focusing, though multiple lenses, on less-examined aspects of domination, collaboration and resistance. Funding from PIIRS will support research, conferences and course development.
Jeremy Adelman, the Walter Samuel Carpenter III Professor in Spanish Civilization and Culture, professor of history, director of the Council for International Teaching and Research, and chair of the Fund for Canadian Studies; G. John Ikenberry, the Albert G. Milbank Professor of Politics and International Affairs and co-director of both the Center for International Security and the Princeton Project on National Security; and Atul Kohli, the David K. E. Bruce Professor of International Affairs, professor of politics and international affairs, and co-director of the Project on Democracy and Development, are the group's coordinators. Kohli will lead it in 2012-13, Adelman in 2013-14 and Ikenberry in 2014-15.
When announcing the selection, PIIRS Director Mark Beissinger said, "Princeton has a large group of outstanding scholars working on roughly analogous issues of empire across multiple disciplines. The goal of PIIRS in sponsoring this research community is to bring these scholars into a common dialogue in order to push the study of empires forward in new and exciting ways."
The idea of engaging with colleagues in a variety of disciplines who are working on critical issues related to empires is central to the core group, which includes Molly Greene, professor of history and Hellenic studies and associate chair of the Department of History; Amaney Jamal, associate professor of politics and director of both the Mamdouha S. Bobst Center for Peace and Justice and the Workshop on Arab Political Development; Nick Nesbitt, professor and chair of the Department of French and Italian; Rachel Price, assistant professor of Spanish and Portuguese languages and cultures; Michael Reynolds, associate professor of Near Eastern studies; and Bradley Simpson, assistant professor of history and international affairs.
"We are convinced," their proposal states, that the focus on empires "holds out a promise for building a vibrant scholarly community that will engage scholars across disciplines and geographic interests" and can "buoy sustained discussion and stimulate collaborative research and writing about this basic subject in global affairs."
They point to the history department's world history core group; the cluster in history that published "Worlds Together, Worlds Apart: A History of Humankind from Its Beginning to the Present" (2011); a graduate seminar on empires taught by Ikenberry and Kohli; the Project on Democracy and Development's workshop series; and the recently established Center for International Security Studies and the security studies cluster at the Woodrow Wilson School of Public and International Affairs, as examples of the ways in which faculty are already seeking interdisciplinary perspectives on issues of power, order, hierarchy and development.
"One of the challenges of 'empire' as a theme is that it can cover so much ground; the challenge for us was how to keep ourselves broad, as the title would suggest, and yet focus on some critical issues," explained Adelman, a global historian who teaches at both the undergraduate and graduate levels. "The concept and history of empires is really important. I need to be talking and learning from colleagues about this to improve my teaching."
Focusing on how to think about empires in a larger context is also important, he said, for his current book project, a general history of Latin America, whose societies were colonies of Spain and Portugal — the largest European empires before 19th-century Britain.
"So when a community is really clicking," he said, "it will help us as teachers and as researchers."
Kohli's interest is in the informal empires — situations short of colonialism but in which major powers have decisive influence over some key policy areas of weaker political economies — of Britain in the 19th and early 20th centuries and of the U.S. during the second half of the 20th century through the present.
"I am hoping that, at minimum," he said, "the research community will help the quality of research of each of the members as they interact regularly with a set of interdisciplinary colleagues and, at maximum, build a sense of community beyond the core members and also attract doctoral students to a vibrant area of research."
Ikenberry's interests focus on how empire has evolved into the contemporary era. The questions that concern him include how imperial structures of hierarchy have evolved in the face of the rise of liberalism and democracy and whether the spread of democracy and the liberal ascendency killed empire, or simply made it more informal and hidden.
In 2012-13, the community will sponsor a public lecture series. Other events include one-day workshops: "Empires and Ideology" will be held on Oct. 5, 2012; "Empires and Violence" will be held on March 8, 2013; and "Informal Empires," will be held on April 19, 2013. A schedule of events can be found on the group's web page at www.princeton.edu/piirs/research-communities/piirs-empires-research-co.
In 2013-14 the community will support up to four visiting fellowships and postdoctoral associate positions. Activities planned for that year and for 2014-15 include a graduate student forum for doctoral candidates; a research symposium where colleagues present ongoing research findings and where group members undertake joint writing projects; a summer institute for advanced graduate students and assistant professors; and exploring the creation of a credit-bearing core course.
About PIIRS research communities
The PIIRS research community initiative was established in spring 2011. It provides funding over three years to groups of Princeton faculty in support of research, teaching, and scholarly dialogue on a common theme of broad interest within international studies that cuts across disciplines and world regions.
The annual deadline for Princeton faculty to submit research community preproposals is Feb. 15. Information is available at www.princeton.edu/piirs/funding/faculty/research-communities.
Visit the Princeton Institute for International and Regional Studies on the Web at www.pricneton.edu/piirs.


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Police & Fire: February 13, 2013
Warrant arrests
Chippewa County Sheriff Deputies report a pair of recent warrant arrests.
• BillyJack McMillan Sr., 30, of St. Ignace was picked up Tuesday evening on the force of a Friend of Court.
• Jeffrey M. Schroeder, 43, was also arrested Tuesday evening on a failure to appear warrant. Schroeader was arrested at an E. 12 Mile Road residence and subsequently booked into the Chippewa County Jail.
Harassment complaint
City police were called to the 2000 block of Ashmun Tuesday evening where a woman complained that an ex-boyfriend continues to call and text her despite the fact that she no longer wishes to receive any communication from him.
Police contacted the suspect and advised him that any future correspondence could result in criminal charges and the man agreed to stop contacting the woman.
The books, at least for the time being, are closed on this particular matter.
Hostile meeting
Sault Police took a complaint late Tuesday night from a male who entered into a confrontation with a second individual near the intersection of Adams and Minneapolis. The first male said the second had thrown a beer bottle at his vehicle apparently in a conflict over a woman.
Police noted no damage to the vehicle.
In speaking with the suspect, he provided a different version of events.
No arrests were made regarding this incident and police urged both men to avoid each other in the future.
Sault Firefighters were called to the 1000 block of Meridian after a cooking apparatus inside a residential complex began shooting flames.
An employee at that location shut-off a gas valve, snuffing the flames while evacuation efforts were underway. Firefighters note that with the flames extinguished no one was required to leave the building.
Firefighters remained on the scene for approximately 40 minutes, determining the only damage inside the complex was limited to the steamer.


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A new featurette shows off the amazing views of post-apocalyptic Los Angeles, plus an astonishing 10 new Terminators. They include a giant Harvester, the Moto-Terminator bikes, and an Aqua-Terminator... plus the primitive T-600, which you can see in action.
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Saturday, November 08, 2008
Terminator 4 Video Shows 10 New Terminators
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United Kingdom
The sole responsibility for the content of this website lies with the authors. It does not reflect the opinion of the European Union. The European Commission is not responsible for any use that may be made of the information contained therein.
Join the Earth Hour 2018!
European Covenant Board calls on Bulgarian EU Presidency for full involvement of cities in EU political agenda
Become the next European Capital of Innovation!
Empowering local authorities to build sustainable energy and climate strategies
The European Covenant of Mayors needs assessment report is now available!


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Need something else?
Gist Rough from Yellow Design Studio is the letterpress version of Gist. It's warm and weathered with a retro yet modern vibe. Every weight includes 3 versions with varying levels of texture which can be used individually or mixed to taste. It has highly detailed texture and looks great even at very large sizes.
With 627 glyphs per weight, Gist Rough is highly customizable…either keep it simple with the base character set or use ligatures, alternates and swashes for extra flair. All-caps typesettings have an especially retro edge. Also included are line layers for adding color to the inline areas. As a bonus, try Gist Rough Light Three for free!
Because of its complex outlines, Gist Rough may process slowly in some applications.
Opentype Feature Descriptions:
Ligatures – Enables the standard ligatures that fix overlapping letters
Discretionary Ligatures – Enables the funkier ligatures
Contextual Alternates – Enables the alternate caps and q, v, w, x, y, z alternates
Swash – Enables the swash caps
Stylistic Alternates – Enables the funkier h, k, m, n, v, w, y, z
Stylistic Set 1 (Same as Stylistic Alternates) – Enables the funkier h, k, m, n, v, w, y, z
Stylistic Set 2 – Enables the end-of-word alternates (terminal forms)
Stylistic Set 3 – Enables the alternate round lowercase a
Stylistic Set 4 – Enables additional alternate B, D, E, H, M, N, R,T, W, Z, &, d
Stylistic Set 5 – Enables additional alternate E, H, M, N, R, Z, d
Stylistic Set 6 – Enables additional alternate H, M, N
Stylistic Set 7 – Enables additional alternate l, t
Stylistic Set 8 – Enables additional alternate l, t
Stylistic Set 9 – Enables additional alternate l, t
Superscript – Enables the superscript characters
Gist Rough Tips:
– In Photoshop try different 'anti-aliasing' settings for best results.
– In Illustrator if the line layers don't align with the normal layers, change the "First Baseline" setting in the Area Type Options to "Leading".
– Works best with opentype savvy application, especially those with a glyphs palette like InDesign, Illustrator and Quark. All glyphs can also be accessed in any layout software by using the application "PopChar" by Ergonis.


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To find a care provider, please use our search features.
Find a physician near you
Treating your cancer to get the best results is important. But your quality of life also matters. Let your doctor and nurse know if you are experiencing any side effects or discomfort. Make sure you tell your doctor or nurse how these problems affect your day-to-day life. Your healthcare team is there to help you manage your symptoms as well as to treat your cancer.
It's normal to worry about any problems you may be having. You may ask yourself, "Is the cancer getting worse? Are the treatments working?" Talk with your doctor and nurse about your concerns. You also need to let them know as much about the problem as possible. Keep a record of the following information and bring it to your appointments.
What the problem is. Describe the problem (diarrhea, depression, appetite loss) that you're concerned about. Be as specific as possible. Include what it feels like. For example, if you have discomfort somewhere, is it itchy, achy, or burning?
Where the problem is. Is there a specific area that is affected, such as your stomach or your head? Be as specific as possible.
When it started. How long have you had the problem? Did you first notice the problem before or after a treatment session? Did you have it before you started treatment? Is it a constant problem? Is it worse or better at certain times? Does it come and go?
How bad it is. If you had to rank the problem on a scale from 0 to 10 (0=not bad, 10= worst), where would it rank?
Triggers that make the problem better or worse. Are there certain activities or environments that affect your symptoms?
How the problem affects your day-to-day life. Have you had to stop any activities because of the problem? Has your life changed because of the problem?
What you're currently doing to manage the symptoms. Is it helping? Be sure to share any complementary or alternative therapies you may be trying at home.
It may help you to keep a chart of your symptoms. Your chart might look something like this.
Sample Symptom Tracking Chart
Intensity Rating
(What did you do? Did it work?)
Jan. 3
I tried to watch a funny video, but I couldn't pay attention. I put a cool wet towel on my forehead and lay down in a dark room. After a nap, I felt better.
For more information or to schedule an appointment for a screening, please call 718-818-1234 or visit Richmond University Medical Center at 355 Bard Avenue, Staten Island, NY, 10310.


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Previous Lecture
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The Safari Lounge Designer Classes
Welcome to the Safari Lounge Designer Classes!
What the Safari Lounge Designer Classes will be up to!
Whatever did not work...
Back to School: Create a Printable for Sale
Back to School Countdown Tracker (Create a Printable for Sale) (14:08)
Travel (CU Kit): Hawaiian Party Luau
Hawaiian Party Luau (CU Kit)
Create a Badge (Gimp Tutorial)
Granite Background (Photoshop Tutorial)
Course: Etsy Makeover Challenge
Etsy Makeover Challenge Course 1-7 (28:38)
Travel the World (CU Kit) + Which Designer Name and Logo is right for you?
Travel the World
Your Designer Name and Logo (6:10)
Roses are red (CU Kit) + showing your Products
Roses are red
Why it is essential to show what you can do with your Kits (8:05)
Wintertime Commercial Use Kit
Wintertime 1
Wintertime 2
Creating for Halloween
Create a Halloween Tag (9:47)
Hocus Pocus Papers
Hocus Pocus Elements
Designing for Zazzle & Co.
Palm Tree Set
Designing for Profit: Products for Zazzle & Co. (15:52)
Beach Life Mix
Create a Brush from the Beach Life Pattern Mix (7:26)
Create a Pattern from the Beach Life Pattern Mix (5:56)
Beach Life Pattern Mix
Designing for Summer
Sailor's Papers
Sailor's Paper Tutorial (5:12)
Travel (CU Kit): Australia
Create a Banner/ Header (12:19)
Create your Terms of Use
Prepare for Back to School
Learning is Fun! (CU)
Why Selling in More Stores Does not Equal More Money (8:48)
Make a Tie-Dye Paper in GIMP
Your Product Preview and Description (9:25)
Designing for Easter
Easter Factory (CU)
Chocolate Effect in Photoshop
Photoshop Tutorial: Etched Text on Wood
Designing for Valentines Day
Romantic Spring
Text Message in a Ball with GIMP
How to use Gimp
What you need to start
Making a Prong
How to Create a Template
Creating a Bottle Cap
Making an Envelope
Rubber Stamp Effect
Creating a Film Strip
Paper with Text Effect
Making Digital Charms
Creating Photo Corners
Creating Custom Shapes
Quality Control Check in GIMP
Creating a Custom Frame
How to Make Sewing Buttons
All About Digital Tags
Making Tabs
Creating a Quickpage
Making a Grunge Brush
Grunge Overlay
Making Patterns
Glass Effect
Creating an Eyelet
Engraved Text Effect
Dodge and Burn
The Diamond Metal Effect
Making a Cork Board
How to Make a Bead or Shiny Ball
How to Make Chain Links
The Brushed Metal Effect
How to Make Sticky Tape
Making a Ribbon
Creating the Sticker Effect
How to Create Staples in GIMP
Creating a Paperclip
How to Change the Color of Digital Elements
How to Extract from an Image
Crumpled Digital Paper
Creating a Striped Pattern Using the Color Picker Tool
Saving A Digital Paper Using GIMP
Making Textured Papers Using Seamless Tiles
Using the Cloud Filter
Create a Polka Dots Pattern
Getting started with Gimp
Silver and Turquoise Text Effect
Supernova Text Effect in GIMP 2
How to Make a Face and Text Art in GIMP
Removing Background from Hair
Blending Pictures in GIMP
Using Layer Mask in GIMP
GIMP Layer Effects
Splash Text Effect
Chrome Beveled Text Effect
How to Put Images in Text
How to Draw in GIMP
Basic GIMP Modifications: Scale, Crop, Rotate, Flip
Red Eye Removal in GIMP
How to Use the Select Tool
How to Use the Paths Tool
GIMP Overview
Commercial Use Products in Action
Create a Frame in Photoshop
Create your own Postage Stamp with GIMP
Make Colourful Polaroid Photo Frames in GIMP
Stitch Effect in GIMP
Blend Image to Background
April Rain Grunge Trimming
Enchanted Summer Nights Stickers
Enchanted Spring Digital Photo Frame
Because of You Communication Bubbles
Vintage Rose Border
Keepsakes Digital Patchwork
Say Cheese Washi Strips
One in a Million Playtime Banner
Time Goes By Digital Paper
It's Love Nostalgic Stationery
Someone Like You Postage Stamps
Textured Star Frames
Spring-inspired Peeling Stickers
Coffee Break Journal Cards
Vintage Valentine Notes
Santa's Little Gift Wrap Paper
My Coffee Mug – Digital Paper
Masquerade Paper in GIMP 2
How to Make Vintage American Tags
Water at the Sea Paper
Creating a Vintage Hawaiian Frame
How to Make an Owl Bottle Cap Charm
We Are United Colorsheme
Vintage Traveling Colorsheme
Vintage Artistry Colorsheme
To the Moon and Back Colorsheme
Spring Fever Colorsheme
Midsummer Night Colorsheme
Little Fairies Colorsheme
Garden Eden Colorsheme
Welcome to the World Colorsheme
Treasury Paper
The Sun Of Africa 2
The Sun Of Africa
Route 66
Rainforest Paperpack 2
Rainforest 2
Attic Treasures Grab Bag
A Summer Morning Grab Bag
Secret Garden Grab Bag
With Love. Always Grab Bag
December Grab Bag
You make me smile Grab Bag
Fairy Tale Grab Bag
Natural Feeling Grab Bag
Summer Holidays Grab Bag
Summer Escape Grab Bag
Fantasy Grab Bag
April Rain Grab Bag
Enchanted Summer Nights Grab Bag
Enchanted Spring Grab Bag
Because of You Grab Bag
Walk on the Wild Side Grab Bag
Vintage Rose Grab Bag
Keepsakes Grab Bag
Say Cheese! Grab Bag
Birthday Party Grab Bag
One in a Million Grab Bag
Time Goes By Grab Bag
It's Love Grabbag
Someone Like You Grabbag
Spring Imagination Grabbag
Soulmate Paperpack
Vintage Valentine
Santa's Little Helpers
Coffee Break Set
Masquerade Labels
Vintage American Labels
At the Sea
Vintage Hawaiian Paper
Owl Bottle Caps
Let's get started!
Introduction (2:11)
Course Outline (1:30)
Your Business Foundation
Choose your Designer Name and Logo (6:10)
Create a Blog and use a real Domain (6:01)
Create a Header for your Website (12:19)
Create a Blog Background (2:43)
Modify your Blog with Widgets (4:21)
Content creation for your Website (5:56)
Install Google Analytics (2:51)
Set up a Newsletter (4:12)
Create a Newsletter Box with a Button (10:32)
Make the Newsletter Graphic clickable (4:12)
Create your Terms of Use (5:21)
What you need to decide upfront...
Your Packaging and Product Description (9:25)
Why selling in more Stores does not equal more money (8:48)
Why it is essential to show what you can do with your Products (8:05)
Set Up A Store
Add a Woocommerce Store to your Site (2:42)
Add Categories to your Store (3:06)
Add the Shop to your Menu (6:21)
Set up a Product (9:29)
Basic Settings (Currency, Colors, etc.) (4:31)
Set up the Sidebar (3:16)
Add a sharing plugin (2:52)
Use Facebook to find new Customers
Using Facebook and why it is essential for your Business Success (7:50)
Set up a Facebook Page (5:10)
Set up an Image (3:11)
Set up your Logo on Facebook (1:51)
Content for your Facebook Page (4:21)
Load Videos and Images to Facebook (2:37)
Add your Newsletter to Facebook (4:48)
Like and Find Pages in your Niche (6:05)
Planning regular Posts (3:50)
Attract more Customers with Content
Creative Content for your Blog/Website (3:05)
Boring vs. valuable Content (3:29)
Linkbuilding - Spreading the Word about your Designs (5:41)
Pinterest is the place to go to share visual Content
Pinterest Overview (4:21)
Where your Pins appear on Pinterest (3:39)
Find Friends and Boards on Pinterest (4:11)
Your Profile on Pinterest (3:09)
Pin it from your Site (3:15)
Change and edit a Pin (1:11)
Create an Account on Pinterest (1:10)
Find your Friends on Pinterest (1:03)
Pin without the Pin it Button (2:04)
Add the right Picture on Pinterest (1:32)
The Power of Pinning (1:17)
Twitter - another place you can conquer
Using Twitter (3:37)
Set up your Twitter Profile (5:32)
Find Followers on Twitter (6:12)
More Ways to advertise
Meet your Customers where they are (9:48)
Why you have to price your products higher (9:22)
Marketing which lasts forever (4:26)
Marketing on a zero Budget
Welcome (1:21)
Is Marketing on a zero Budget a fit for you? (2:01)
What you can expect in this class (1:10)
Let's get started (0:53)
What you can expect in this module (1:10)
How Online Marketing works (2:52)
Paid Advertising (4:22)
Why paid advertising isn't always the best way to advertise your Business (3:47)
Indirect Paid Advertising (3:59)
Free Advertising (11:21)
How it all gets together (6:21)
Conclusion (0:34)
Why Content Marketing (4:36)
We need Content to advertise our Business (4:31)
What should I write about? (8:15)
Why should I create an Editorial Calendar? (2:05)
Google Calendar (9:08)
Weekly Planning (4:28)
Writing and formating your Text (12:10)
Graphics (2:07)
Create Graphics for Advertising (12:21)
Conclusion (1:35)
Why you need a Newsletter (2:00)
Why do I need an Email Marketing Service? (3:36)
What is the right Email Marketing Service for you? (2:49)
Segmentation - Not each Solution fits to each Subscriber (3:30)
A Tool for Segmenting your Subscribers (6:06)
Your Freebie (4:49)
The Freebie is done - now what? (6:25)
The Foundation Content- and Email Marketing (2:31)
Conclusion (0:55)
What's now? (0:53)
Warm- and Cold Acquisition (4:44)
Make sure that your potential Customer gets to know you (7:45)
Why you should specialise on one Social Network first (2:09)
Bonus (1:18)
Congratulations (0:47)
You did it!
Go for your Passion! (0:52)
Bonus Lecture: What else we are up to and Coupons (5:00)
Affinity Designer Class
The Program Interface (3:40)
The Move Tool (1:22)
The View Tool (2:18)
The Zoom Tool (3:06)
The 3 Personas (1:46)
Tools of the Designer Persona (8:50)
Tools of the Pixel Persona (6:09)
Tools of the Export Persona (1:42)
The Toolbar (3:42)
The Context Toolbar (1:09)
The Color Panel (6:05)
The Panel Swatches (1:36)
The Panel Stroke (1:58)
A Summer Morning Grab Bag
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Wave(redirected from Wave moth)
Also found in: Dictionary, Thesaurus, Medical, Encyclopedia.
A short-term movement that goes against the general trend. For example, if the DJIA rallies on a given trading day but overall is in the midst of a prolonged bear market, the rally is called a wave against the bearish tide.
Farlex Financial Dictionary. © 2012 Farlex, Inc. All Rights Reserved


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Explore property info agents won't send you (but we will).
Get the deets on this home and its surroundings
Sophiastraat 18
In Noorderkwartier the average offer is 14% above list price.
|List price
|Purchase price
|Sophiastraat 18
|View purchase price →
|Sophiastraat 16
|85m² · (5m² smaller)
|€ 375,000
|View purchase price →
|Waldeck Pyrmontstraat 22
|79m² · (11m² smaller)
|€ 319,000
|View purchase price →
|Anna Paulownastraat 33
|74m² · (16m² smaller)
|€ 340,000
|View purchase price →
|Sophiastraat 7
|82m² · (8m² smaller)
|€ 385,000
|View purchase price →
Discover the real valuation for Sophiastraat 18 in Leiden.
Sophiastraat 18, Leiden
View purchase price information of 25 comparable homes.
Find the Walter plan for you.
Get the deets on this home and its surroundings
Sophiastraat 18, 2316PN, Leiden
Purchase prices of comparable houses.
Sophiastraat 18, 2316PN, Leiden
Price development in 10 years.
Sophiastraat 18, 2316PN, Leiden
Basic information at a glance.
Walter Plus
€ 8.99/mnd.
No commitments, cancel at any time.
- Create unlimited property reports
- 100 comparable houses
- Compare prices per square meter
- WOZ-value and 10 year price trend
- Adjusted purchase prices
Sophiastraat 18, Leiden
Your house hunt homework done. It's so convenient.
100 comparable homes.
10 year price development.
Data-driven home valuations.
The official purchase prices.
Neighborhood check.
Foundation check.
What others say
This is what others have to say.
Great tool
Walter is an excellent tool to get deep insight
The only way to not get swept up in the madness, is by having access to the right information."
You can count on Walter
Questions? We are here to help
Walter Living has built an automated system that processes all kinds of data about the housing market at lightning speed. We brew a clear story from millions of data points, so that you can go house hunting smarter.
You can have unlimited access to our data, so you can buy a house with more confidence. We offer various services, from on-demand help in making a bid to access infinitely many home value reports with Walter Plus. There are no hidden costs at Walter Plus. You can cancel at any time.
As a new user you get 7 days free access to Walter Plus. With us you do not pay any start-up costs to start your trial period and your membership is not automatically renewed. You will not be billed once your trial period has ended.
If you are happy with the Walter Plus, you can activate Plus online at any time through your My Account page.
You will not be charged a subscription fee after the end of your free trial period. Read more →
Too bad! It looks like Sophiastraat 18 isn't for sale. That means you can't make this single-family house your home right now. Are you looking to find a similar place in Leiden? Check out the comparable homes in Noorderkwartier that are for sale.
As soon as you've found this single-family house of your dreams, make sure to check all the facts with Walter Plus. With a subscription to Walter Plus, you can check and compare the info about all the homes in Noorderkwartier, Leiden or even the whole country for € 8,99. Want to test the waters?
Walter Living goes beyond analyzing the basic data about Sophiastraat 18. We look at all the ingredients that make up the value of a house, including the neighborhood. Walter tells you exactly for how much properties were sold above the asking price, and if it's above market trends in Leiden.
If you'd like to know the exact stats about how this Noorderkwartier performs compared to the rest of Leiden, get Walter Plus. We'll give you all the facts, percentages included. With a subscription to Walter Plus, you can check and compare the info about all the homes that are for sale in Noorderkwartier, Leiden or even the whole country for € 8,99.
A Walter Plus report for Sophiastraat 18 will give you the most important information that's usually reserved for the expert few, laid out in a way you'll understand. It's pretty much the workbook for this home, where you'll find neat overviews of the facts about this this single-family house and the trends in Noorderkwartier.
The best part is that you're not limited to just Sophiastraat 18. With Walter Plus, you can check and compare the info about all the homes that are for sale in Noorderkwartier, Leiden or even the whole country. By taking a subscription to Walter Plus, you get unlimited access to our detailed valuation reports for € 8,99 per month. If you want to test the waters, you can always give Walter valuation report a try.
Walter valuation reports contain:
- Basic information about this home
- Home valuation per home condition
- Renovation budget
- Extensive analysis of the local housing market in Noorderkwartier
- Selling prices and WOZ values of most comparable properties in Noorderkwartier
- All the official documents from the Kadaster about Sophiastraat 18 (+ € 14,95)
Yes. Walter All-in-1 is designed to help you make the winning bid for Sophiastraat 18 in Leiden.
A Walter buying agent guides you through the bidding behavior in Noorderkwartier, how many people bid above the asking price, the purchase prices of comparable properties and three data-driven bidding strategies. Each strategy shows you exactly how much chance you have of creating Sophiastraat 18 in Leiden your new home. Walter All-in-1 contains a detailed report with all current market information for this this single-family house in Leiden.
In short, with Walter Alles-in-1 you get direct access to:
- 1 on 1 advice from your own Walter buying agent
- Tailor-made bid recommendations for Sophiastraat 18, Leiden
- Exact purchase prices of 100+ comparable properties in Noorderkwartier
- Analysis of bidding behavior in Noorderkwartier, Leiden
- We are your source of questions during the entire purchase process
- Your Walter buying agent will negotiate the best conditions and the sharpest price on your behalf.
- We do a legal check purchase agreement
- We help you find the right notary
Are you going to buy with us? Then you pay a fixed low rate of € 1.950 for the entire guidance. So it's nice and clear. The full amount will be settled with the notary. If you use the 14-day cooling-off period, free cancellation is no problem!
Do you want to know more about our services? View Walter Alles-in-1
The WOZ-value for Sophiastraat 18 in Leiden was € 340,000 in 2022. Get more info about the current and past WOZ-value of Sophiastraat 18 with Walter Plus. We'll give you an overview of the historic development of the value since 2016.
You can get access to the WOZ values for Sophiastraat 18 in Leiden by getting a subscription to Walter Plus. With Walter Plus, you get unlimited access to our detailed valuation reports for € 8,99 per month.


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Rules and routine
Children thrive on rules, routine, consistency and a calm environment. Decide on House Rules, develop a daily routine, and include your child while completing household tasks to increase his feeling of self-worth through responsibility. Young children who are raised with structure and routine will be better prepared as they move into their teen years. Teens that are expected to pitch in, help out, and think of others develop wonderful qualities which prepare them for the work force, and for a happy future. Don't do the job that belongs to your child, look the other way, or make excuses. Whether you have a toddler or teen, set your child up for success by providing an environment which nurtures those qualities you admire. Read the full article "Kids need rules and parents should stick by them".


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Gaming accessory and PC company Razer has just confirmed via its Facebook and Twitter pages that it will definitely be bringing its "Project Fiona" gaming tablet to market. Like other gaming tablets we've seen recently (including the Archos Gamepad and Wikipad), Razer's offering aims to differentiate itself by adding buttons and joysticks to go with the touchscreen. Unlike those tablets, however, Razer's will include an Intel CPU and a relatively powerful GPU. In theory, the tablet would be able to play touch-oriented tablet games, gamepad-optimized console ports, and traditional mouse-and-keyboard PC games
The company's announcement notes the tablet is still in the design phase, and that it will be taking customer suggestions for the tablet's design, features, specifications, and pricing on its Facebook page. The original "Project Fiona" concept tablet shown off at this year's CES was running an Ivy Bridge CPU coupled with an unidentified GPU, according to AnandTech. It could apparently play Skyrim smoothly at high settings on its 10.1" 1280×800 display.
Razer first got into the PC market last year with its Razer Blade gaming laptop, which was recently refreshed. Look for a review of the new Blade in the coming weeks.


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Light 'N Strike Math® Game
6 years & up. Arcade style game reinforces addition, subtraction, multiplication and division skills with three levels of difficulty. Large LCD screen displays math equations, then numbers flash and beep. When the correct answer lights up, players press it using a soft mallet (included) or their hands. Requires 4-AA batteries (not included).


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|Park / Campground
|Usage (day use, camping, etc.)
|Opening and Closing
|January 1, 2022 to December 31, 2022
Availability of some facilities and activities may be restricted to specific areas of the park, may be ecologically dependent, or may be seasonally weather dependent.
Before you visit: check what facilities/activities are available and pack what you need (e.g. water, snacks, mask/face covering, and hand sanitizer). Postpone your visit if you have any symptoms of COVID-19 or have been asked to isolate.
When you visit: Continue to follow public health advice including practicing physical distancing by keeping at least two metres from others, wearing a face covering where required, when physical distancing may be a challenge or not possible and when entering indoor public spaces, and wash your hands regularly with soap and water or use alcohol-based hand sanitizer if soap and water are not available.
Obtain your daily vehicle permit up to five days in advance to guarantee your day use spot at this park.
Visit the Ontario Parks day use page to learn more.


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Anna Kendrick Tweets Racy Message About Ryan Gosling
Hey girl! Seems like Ryan Gosling has quite the, ahem, fan in Anna Kendrick.
The Twilight star made an uncharacteristically racy (but kind of hilarious) admission about the actor via Twitter Monday.
Photos: Everybody's posing nude! Check out Rihanna and other stars who've bared all
"Ugh - NEVER going to a Ryan Gosling movie in a theater again," she wrote. "Apparently masturbating in the back row is still considered 'inappropriate.'"
Apparently others share the sentiment: As of Wednesday morning, the post had been re-tweeted more than 27,000 times.
Fifty Shades of Lame! Check out TV's unsexiest sex scenes
Gosling stars in Gangster Squad, which is currently in theaters.
View original Anna Kendrick Tweets Racy Message About Ryan Gosling at TVGuide.com
Other Links From TVGuide.com


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USA Conference Call Rates
Decide which conference call service works best for you.
We offer two great ways to conduct a reservation free conference call to USA and other countries. Our Pay-As-You-Go international conference call services offers the flexibility for businesses that conference call at random times during the year from USA or anywhere in the world. Our Monthly conference call service is the best option that fits for consistent conferencing demands every month.
Prepaid Plan
7¢ minute / caller
Prepaid $20 - Rechargeable. Up to 50 participants.
No obligations, no extra fees, no contracts. All minutes deducted from Prepaid Amount. Tier-1 Quality at low cost pricing with 24/7 Customer Support. See Toll Free and Global Access Numbers.
Unlimited to USA & 20+ International Countries
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Free Conference Calls
$25 a month afterwards. Up to 50 participants.
See Local and International Access Numbers
Host unlimited conference calls using local access from USA and 20+ other countries. Excellent call quality and secure network infrastructure.


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30 Scrumptious Holiday Breakfast Breads
Make your holiday mornings extra-special with our recipes for coffee cake, muffins, scones, quick breads and yeast breads.
Lazy Morning Cinnamon Rolls
Pizza dough is the secret shortcut in this 45-minutes-and-done recipe. It doesn't yield a fluffy Amish-style roll, but rather a breakfast treat with a toothsome chew, like the love child of cinnamon buns and garlic knots.
Chocolate-Kissed Monkey Bread
Caramel, chocolate and cinnamon give this monkey bread a delicious flavor. Be sure to get the large flaky biscuits for easy shaping.
Maple Butter Twists
These breakfast rolls are a family tradition with Jean Haviland of Carroll, Iowa. "My mom made these rolls with a maple-cream filling every Christmas-and still does!" she says. "Mom always makes extra and freezes them for later. They're great for breakfast or any time of day!"
Holiday Christmas Bread
There's no butter or shortening in this braided sweet bread. You won't miss it in this large loaf."We're the sixth generation to bake this holiday bread," says Margaret Kassing of Beatrice, Nebraska. "The 12 strips of dough represent 12 months in a year. The four layers of braided dough stand for the four seasons. Nuts and raisins indicate the type of year—mostly nuts represents a good year for farmers and mostly raisins a poor year. Before it's served, the youngest boy takes last year's crust outside to feed the birds, God's lesser creatures. Finally, a crust is saved for the next year to show there will always be bread in this home."
Eggnog Muffins
These tender holiday muffins, dressed up with a nutmeg-streusel topping, come from the Washington House Inn in Cedarburg, Wisconsin.
Swedish Tea Ring
Sprinkled with chopped red and green cherries, this tender, walnut-filled pastry is a perfect treat for Christmas morning.
Classic Challah
Minnesota blogger Molly Yeh often twists her challahs into simple spirals. This recipe—adapted from her cookbook Molly on the Range ($32.50, Rodale)—makes four small loaves, perfect for freezing or sharing. (Slightly stale challah also makes dreamy French toast.)
Sticky Cinnamon Apple Rolls
The Midwest Living Test Kitchen created this recipe for giant sticky buns bursting with chopped apples and pecans. The rolls bake in a sweet caramel syrup.
Almond-Cranberry Bread with White Chocolate Glaze
Sweet bread balances tangy cranberries in this winning recipe from the Wisconsin State Fair. Wrap and store it overnight to make it easier to slice.
Chocolate-Pistachio Wreath Bread
Chocolate frosting tops a moist chocolate bread to create a spectacular Christmas treat -- as delightful to look at as it is to eat. Use either chopped pistachio nuts or almonds for a bit of crunch.
Overnight Cherry Chocolate Coffee Cake
This is our give-you-a-break coffee cake. Prepped in a half-hour, it waits in the fridge till you pop it in the oven the next morning. Serve warm, and the chocolate stays irresistibly melty.
Chocolate-Almond Bubble Wreath
Chocolate wrapped in sweet-roll dough forms bite-size bubbles in this bread. Serve warm from the oven for breakfast or snacks.
Sour Cream Swirl Coffee Cake
A layer of brown sugar, cinnamon and pecans swirls through the center of this sour cream coffee cake from the Lantz House Inn in Centerville, Indiana.
Gingerbread Scones
Ginger and molasses unite in our spicy breakfast bread. Ground ginger and crystallized ginger give a double dose of the popular seasoning.
Sour Cream Cranberry Muffins
Brown sugar, pecans and pumpkin pie spice create both a filling and the topping for these muffins. Dried cranberries add tang and texture.
Chocolate-Pecan Coffee Cake
We put together our favorite coffee cake ingredients for this recipe: chocolate, butter, sour cream, pecans and coconut. It's worth the indulgence!
Creamy Butter-Pecan Cinnamon Rolls
We can't resist a good sticky roll -- especially one this easy to make. Starting with frozen bread dough, we added brown sugar, cinnamon, pecans and chocolate chips. When you turn it out, it makes its own gooey topping.
Cardamom Braid
The Bishop Hill Bakery and Eatery in Bishop Hill, Illinois, sells this lightly spiced Swedish bread. The orange and cardamom flavors pair perfectly with soft honey butter.
Orange-Spice Challah Buns
Melding her husband's Norwegian roots with her own Jewish heritage, blogger Molly Yeh's soft, slightly chewy rolls are ideal for brunch or even as a sweet complement to a holiday dinner.
English Muffins in a Loaf with Honey Butter
This easy-to-make yeast bread comes from Sherlock on Watson Bed and Breakfast in Ripon, Wisconsin. Slice and toast before serving, and top with soft Honey Butter.
Holiday Stollen
This classic German Christmas bread is traced back to the 1400s. In this version, created by the Hotel Pattee in Perry, Iowa, a variety of dried fruits and nuts dot the sweetly spiced oval-shaped egg bread.
Gingerbread-Sour Cream Muffins
We took a traditional holiday dessert ingredient— gingerbread—and turned it into a muffin. Crystallized ginger tops off these treats.
Caramel-Banana Muffins
Sugar-topped banana slices caramelize as they bake on top of these tender, cakey breakfast muffins. Serve warm drizzled with extra caramel topping, if you like.
Sausage-Cheese Scones
Cheddar cheese and sausage dot these flavor-packed buttermilk scones from the Washington House Inn in Cedarburg, Wisconsin.
Zippy Cinnamon Rolls
A Midwest Living® editor contributed the recipe for these gooey-good rolls. "Frozen bread dough and pudding mix can fool anyone into thinking you spent the morning baking cinnamon rolls," she says.
Cran-Banana Bread
Blend mashed bananas with a box of cranberry quick-bread mix for this easy-to-make, double-fruit treat. Serve to holiday guests, or make ahead of time for gifts from the kitchen.
Cinnamon Surprise Buns
These yeast rolls poof as they bake, hiding the filled center. Guests will love the spiced nut and brown sugar in the middle of these frosted treats.
Streusel-Topped Pumpkin Muffins
We took classic pumpkin bread batter, added some dried fruit, a little lemon peel and some assorted spices, and sprinkled on a crunchy sugar topping.
Anita's Cranberry Scones
Coarsely chopped cranberries spread the sweet-tart flavor throughout this tender scone, a winner at the Warrens Cranberry Festival recipe competition. A sweet almond frosting complements the berries.
Ravenwood's Cinnamon Rolls
Ravenwood Castle in New Plymouth, Ohio, served more than 15,000 of these rolls over the years. Now you can bake the popular Yuletide specialty at home.
Pompe de Noel and Provence Christmas Bread
Orange flower water gives a bright citrus flavor to Pompe de Noel (recipe link above) and Provence Christmas Bread, traditional sweet breads from Provence, France. Look for the flower water at specialty supermarkets or order online from specialty food websites.


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Small Wooden Artichoke
Disclaimer: Product Colours may vary depending on the device you are using.
Estimated Delivery Times
Free Nationwide Delivery On Orders Over €399
*Due To Covid-19 Our Delivery Times May Be Subject To Delays.*Click Here To View Our Covid FAQs
|In Stock
|5-7 Working Days
|2-4 Weeks
|10-14 Working Days
|2-4 Weeks
|Dublin, Tipperary, Kilkenny, Wicklow, Meath, Louth
|10-14 Working Days
|2-4 Weeks
|Wexford, Waterford, Connacht, Limerick, Clare, Kerry
|15+ Working Days
|2-4 Weeks
|25+ Working Days
|2-4 Weeks
*If a product you have purchased goes out of stock, we will contact you within 24 hours of your order
Can I order online & collect in store?
Yes we provide a Click & Collect Service. We follow up every order with a phone call so we will let you know when your order is available to collect
How much does delivery cost?
Orders over €200 are free delivery
Delivery of orders less than €100 cost €15
What guarantees do you offer?
Depending on the brand there is a 1 to 2 year Guarantee.
We have great relationships with all our factories. If there is ever a problem with a product you have bought from us please do not hesitate to give us a call immediately.
What is the Returns Policy?
In-store Purchases: We are happy to accept items as returns when bought in the shop within 14 days of the purchase date providing you have your proof of purchase and the items are in their original packaging, not used and are in a saleable condition. We do not offer cash refunds, a credit note will be issued.
Online Purchases: If you purchase an item online, you may return the item (non-furniture) within 14 days of delivery for a full refund once the item is in the original packaging, has not been used and is in a resaleable condition.Please take care to wrap the item appropriately to ensure its reaches us in perfect condition. Once the item has been returned we will review and inform you by email. Please allow up to 14 working days for the money to be refunded to your account.Furniture orders will have a restocking fee applied upon cancellation.
What Is a Made to Order Product?
A Made To Order Product is a once off product made to your specifications by one of our suppliers. For This reason we do not accept any cancellations on Made to Order products.
What If My Good Arrive Faulty?
We are fully confident that your items will arrive in perfect condition. In the unlikely instance that you have received a faulty item, it is our policy to replace any faulty parts as soon as possible.Non-Faulty goods will only be accepted for return if you requested to return them in writing within 14 days of the goods being delivered.Items must be in a resalable condition and in their original, undamaged packaging.
Do you offer assembly?
Munster Customers - We have a company we use for Cork and surrounding counties but they are external to Jellybean and payable directly.
Rest of Ireland - Depending on your location we are happy to give a recommendation for reliable companies we have used in the past.
We always recommend that you give your new solid wood furniture a suitable surface treatment before using it.
The furniture is maintained with a suitable care product (oil, soap or wax) 1-3 times a year – depending on how much wear and dry air your furniture is exposed to. You can see and download our maintenance guide here.


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Boost Repair Process
This body wash boosts your skin's natural repair process after daily exposure to environmental aggressors that can damage and prematurely age the skin.
Hydrate the Skin
Nourishes, hydrates, and softens the skin using beneficial botanicals – Aloe vera, green tea, pomegranate, grape seed, and oat kernel extracts.
This body wash contains subtle, refreshing natural citrus essential oils.
Frequently Asked
Your questions, answered
In your bath or shower, apply a generous amount to a washcloth, body sponge, or your hands, and massage onto the skin, daily. Rinse thoroughly. The Refreshing Body Wash can also be used as a foaming bath soak. For best results, follow with the Ultra Hydrating Hand & Body Cream.
Dirt and grime collect on the skin throughout the day, along with dead skin cells that become loose through the natural skin renewal process. These impurities not only affect the appearance of the skin but can also interfere with the benefits of skincare treatments and moisturizers. Gentle, thorough cleansing removes these impurities and prepares the skin for further treatments.
No fragrance is used in the Refreshing Body Wash. Instead, citrus essential oils are included to give the Refreshing Body Wash a subtle signature scent.
†††Transparency and accuracy are a top priority at Isagenix. We constantly strive to ensure that product information is complete, accurate, and current. However, at times, products may be unavailable or have different labels or attributes than those listed here.