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Searching and ordering on our site is simple. You can search by language, age or product type using the list on the left side of our site (note: click on the white box on the top-left if you are on a mobile phone, iPad or small screen). If you click on "Spanish", you will find a robust selection of Spanish children's books, Spanish audio books, Spanish English Bilingual Book sets for kids, an illustrated English Spanish dictionary as well as multilingual posters and teaching cards that include Spanish, English and other languages. Similarly, you can click on "Arabic" and find Arabic children's books, Arabic audio books, Arabic English book sets, an English Arabic dictionary and more. If you click on "Chinese", you will find Chinese children's books, bilingual dictionaries, Chinese audiobooks that can be heard in Cantonese or Mandarin, etc.



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Looking for the best bilingual books for language learners? We make it easy to get engaging dual language books into the hands of children. Readers will find fiction and non-fiction books in over 60 languages, including Arabic, Chinese, French, Korean, Pashto, Russian, Spanish, Ukrainian, and much more! Use our books, interactive audio, and free teaching resources to strengthen the parent-home connection, promote literacy, and celebrate diversity.


We believe that sound should be natural and we strive to reproduce true, accurate, representations of audio. We start every product with the pure vibration created when we capture sound, using this analogue transducer technology to create products that transcend everyday sensory experiences; heightening our sensibilities. Our quest to create pure, natural, audio is perpetual - it never stops, never ends.


All opinions expressed by individuals purporting to b

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The reality looks very different for others. For many, working two jobs in low-paying sectors is the only way to keep the family afloat. Twenty percent of our children are living in poverty, and too many of our parents are working minimum wage jobs just to put a roof over their head and something resembling food on the table. We are so busy.


Becky Eldredge is an Ignatian-trained spiritual director, retreat facilitator, and author of two books: The Inner Chapel (Loyola Press, April 2020) and Busy Lives & Restless Souls (Loyola Press, 2017). She leads a ministry that offers spiritual direction, resources, and retreats (virtual and in-person) rooted in the Spiritual Exercises of St. Ignatius. Passionate about Ignatian spirituality and teaching people how to pray and discern, Becky draws from over twenty years of ministry experience to help people make room for God in the busyness and invite them deeper in their walk with Christ. She holds an M.P.S. from Loyola University in New Orleans, a M.Ed. from Louisiana State University. You can learn more about her ministry at www.beckyeldredge.com.




Doing testing in my office and pushing out several commands and profiles to a device. The device is connected to WIFI and has 5 bars signal strength. Everything works great until the screenlock kicks in, at which point, all progress comes to a complete halt. Any commands not executed going into pending with the status message "Device was busy. Will try again".


To make matters worse, I just noticed that once the command goes pending with the "Device was busy. Will try again" status, even if I unlock the screen, nothing changes. For several minutes, the screenlock has been off and the WIFI is connected, but the command remains pending with the same message.


This can be the only command in the queue and it will still happen. And the connection can be fine. As soon as the screen lock kicks in I see the status go to "Device was busy. Will try again". Same connection, no other commands. The only difference is the screen lock is on.


Free/busy information is unavailable in a hybrid deployment scenario between Exchange Online and an on-premises Exchange Server 2003 organization or a mixed on-premises Exchange Server 2003 and Exchange Server 2007 organization.


Users in either environment in the Exchange federated organization can't retrieve free/busy information from mailboxes that are located in the other environment.

In this case, the problem may be that Outlook isn't up-to-date or that Exchange federation may not be set up correctly.

To help troubleshoot this issue, ask users to determine whether the issue occurs when they use Microsoft Outlook and when they use Outlook on the web (formerly known as Outlook Web App) for Office 365. If the behavior differs in Outlook and Outlook on the web, the problem may be that the Outlook client doesn't meet the requirements for Exchange federation. Ask the user to follow these steps:



After the user sets up Office 365 desktop applications, the free/busy issue should be resolved.

If this problem occurs identically in Outlook and Outlook on the web, there's probably an issue regarding how Exchange federation is set up in your organization. In this case, see the Microsoft Exchange Server Deployment Assistant to make sure that the environment meets the system requirements.


Users can't access free/busy information through Exchange federation in one specific direction. For example, on-premises users can't access free/busy information from cloud mailboxes. Or, cloud users can't access free/busy information from on-premises mailboxes.

In this scenario, the problem may be caused by a misconfiguration of the Application Target URI. Or, the sharing policies in the on-premises Exchange Server environment and in Exchange Online may not match.

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Although often performed in its tenor ossia, Britten originally conceived Les Illuminations for the soprano voice. The score is dedicated to 
Sophie Wyss
, who sang the world premiere at the Aeolian Hall in January 1940. The soprano original was also heard in the Philharmonia concert, with Julia Bullock as soloist.


In addition to the orchestral suite, Ravel reworked the music into a continuous ballet score, adding four interludes, a prelude and an extra first scene. The thirty-minute ballet version is perhaps the most perfect of all, with its vivid narrative and alluring orchestral palette.


Scored for duple woodwind and horns, percussion, keyboards, harp and strings, a series of tableaux from iconic fairy-tales is evoked into splendid music. There is no clear-cut narrative. Rather, the score reflects certain aspects and associations from its source tales, such as the Sleeping Beauty or Beauty and the Beast.


This remarkable run culminated in the composer's War Requiem (1962), a work which tore through the musical world and gave Britten his greatest success. It may very well be the most recent work to score with critics, professionals, and amateurs, and like Bartók's Concerto for Orchestra, it did so without musical compromise. In fact, the War Requiem threw Britten's subsequent music somewhat into the shade, despite fabulous pieces. These include the Symphony for Cello and Orchestra (1963), three "church parables" (Curlew River, The Burning Fiery Furnace, and The Prodigal Son; 1963, 1966, 1968), the final opera, Death in Venice (1973), and the cantata Phaedra (1975).


Throughout the course, theoretical-practical lectures, in which a conceptualization and synthetic approach of every unit will be provided, alternate with others of a more open nature (commentaries of scores, auditions and texts, as well as seminars). These practical sessions will be developed in small groups, according to the size of the whole group.
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The Moog synthesizer was brought to the mainstream by 
Switched-On Bach
 (1968), a bestselling album of Bach compositions arranged for Moog synthesizer by Wendy Carlos. In the late 1960s, it was adopted by rock and pop acts including the Doors, the Grateful Dead, the Rolling Stones and the Beatles. At its height of popularity, it was a staple of 1970s progressive rock, used by acts including Yes, Tangerine Dream and Emerson, Lake & Palmer. With its ability to imitate instruments such as strings and horns, it threatened the jobs of session musicians and was banned from use in commercial work for a period. In 1970, Moog Music released a portable, self-contained model, the Minimoog.


In 1970, Moog Music released the Minimoog, a portable, self-contained model, and the modular systems became a secondary part of Moog's business.[1] The Minimoog has been described as the most famous and influential synthesizer in history.[15]


After the sale of Moog Music, production of Moog synthesizers stopped in the early 1980s. The patents and other rights to Moog's modular circuits expired in the 1990s. In 2002, after Robert Moog regained the rights to the Moog brand and bought the company, Moog released the Minimoog Voyager, an updated version. Moog released several Minimoog reissues, with some changes, starting from 2016.[1][41][42] In 2018, Moog released the Grandmother, followed by the Matriarch in 2019; parts of the circuitry used in these instruments were inspired by the Moog synthesizer.[43][44][45]


Moog described himself as a toolmaker designing things for his users, not himself.[2] His development was driven by requests and suggestions from various musicians, including Deutsch (who devised the instrument's keyboard interface), Richard Teitelbaum, Vladimir Ussachevsky (credited with devising the ADSR envelope shape), and Wendy Carlos.[2] His other early customers included choreographer and composer Alwin Nikolais and composer John Cage.[8] Universities established electronic music studios with Moog synthesizers.[2] In 1970, Moog released the portable fixed-architecture Minimoog, described as the most famous and influential synthesizer in history.[14][15][16]


Moog only patented his filter design; David Borden, one of the first users of the Minimoog, felt that if Moog had patented his pitch wheel design, he would have become extremely wealthy.[16] According to 
Sound on Sound
, if Moog had created a monopoly on other synthesizer ideas that he created, such as modularity, envelope generation and voltage control, "it's likely the synth industry as we know it today would never have happened."[18]


Moog's awards include honorary doctorates from Polytechnic Institute of New York University (New York City), Lycoming College (Williamsport, Pennsylvania) and Berklee College of Music.[22] He received a Grammy Trustees Award for lifetime achievement in 1970, the Polar Music Prize in 2001 and a Special Merit/Technical Grammy Award in 2002.[23] In 2012, to celebrate Moog's birthday, Google created an interactive version of the Minimoog as its Google Doodle.[24] In 2013, Moog was inducted into the National Inventors Hall of Fame.[25]






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In the ensuing decades, Moog continued to produce groundbreaking instruments, including the Polymoog, Memorymoog, and plenty of others. And as the analog resurgence bubbled up in the 1990s and early 2000s, Moog was at the forefront: the Minimoog Voyager, Little Phatty, and Moogerfooger effect pedals were some of the most respected, sought-after, and forward-thinking instruments of their time, presenting a modern take on classic Moog circuits.


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Crusader Kings II: Horse Lords is the ninth expansion for the best-selling strategy RPG Crusader Kings II, bringing players expanded gameplay based around the dynamic and vibrant nomadic cultures of the Eurasian steppes. In Horse Lords, you will be able to take anything from a smaller nomadic tribe to a great horde and start building your empire from horseback.


Smile at us, pay us, pass us; but do not quite forget.
For we are the people of England, that never has spoken yet.
There is many a fat farmer that drinks less cheerfully,
There is many a free French peasant who is richer and sadder than we.
There are no folk in the whole world so helpless or so wise.
There is hunger in our bellies, there is laughter in our eyes;
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Only you do not know us. For we have not spoken yet.

The fine French kings came over in a flutter of flags and dames.
We liked their smiles and battles, but we never could say their names.
The blood ran red to Bosworth and the High French lords went down;
There was naught but a naked people under a naked crown.

And the eyes of the King's Servants turned terribly every way,
And the gold of the King's Servants rose higher every day.
They burnt the homes of the shaven men, that had been quaint and kind,
Till there was no bed in a monk's house, nor food that man could find.
The inns of God where no man paid, that were the wall of the weak,
The King's Servants ate them all. And Still we did not speak.

And the face of the King's Servants grew greater than the King:
He tricked them, and they trapped him, and stood round him in a ring.
The new grave lords closed round him, that had eaten the abbey's fruits.
And the men of the new religion, with their bibles in their boots.
We saw their shoulders moving, to menace or discuss,
And some were pure and some were vile; but none took heed of us.
We saw the King as they killed him, and his face was proud and pale;
And a few men talked of freedom, while England talked of ale.

A war that we understood not came over the world and woke
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They talked about rights and nature and peace and the people's reign:
And the squires, our masters, bade us fight; and never scorned us again.
Weak if we be for ever, could none condemn us then;
Men called us serfs and drudges; men knew that we were men.
In foam and flame at Trafalgar, on Albuera plains,
We did and died like lions, to keep ourselves in chains,
We lay in living ruins; firing and fearing not
The strange fierce face of the Frenchmen who knew for what they fought,
And the man who seemed to be more than man we strained against and broke;
And we broke our own rights with him. And still we never spoke.

Our patch of glory ended; we never heard guns again.
But the squire seemed struck in the saddle; he was foolish, as if in pain
He leaned on a staggering lawyer, he clutched a cringing Jew,
He was stricken; it may be, after all, he was stricken at Waterloo.
Or perhaps the shades of the shaven men, whose spoil is in his house,
Come back in shining shapes at last to spoil his last carouse:
We only know the last sad squires ride slowly towards the sea.
And a new people takes the land: and still it is not we.

They have given us into the hand of the new unhappy lords,
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They fight by shuffling papers; they have bright dead alien eyes;
They look at our labour and laughter as a tired man looks at flies.
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Their doors are shut in the evening; and they know no songs.

We hear men speaking for us of new laws stron

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Cines, películas y horarios de 
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I had known Faith for years, but only after working here, we became best friends. After going from foster home to foster home I ended up back at the group home I had been ever since I was a baby. Unfortunately, I had not known my parents or had any opportunities in life, so during my teens, I made a promise to myself to succeed. My goal was to finish high school, college and get a good job as a choreographer but it obviously didn't really work out like that. Not even I could have predicted I would've been working at a strip club at the young age of twenty-one.


Our boss Lucio Lamberti had many businesses and the strip club was one of them. Time from time he and his three sons would have business meetings with some of their business partners and today would be one of those days. We were absolutely not stupid and knew exactly what kind of business they were in but no one had the guts to say it out loud and just let it be. Lucio Lamberti was a kind and warm man who had given me the job the second he saw me. He was like a father figure to all the girls and a respected businessman to many.
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Alias is delighted to announce that it has won the 2023 Archiproducts Design Awards with the Prima chair designed by Mario Botta, a re-edition of the iconic chair presented at the 2023 Milan Furniture Fair.


Autodesk Alias is used to design innovative products and communicate ideas in a visual medium from 2D sketch to 3D form, from conceptual models to production-level data.\r\n"}]},"@type":"Question","name":"Who uses Alias?","acceptedAnswer":["@type":"Answer","text":"Alias is used by industrial designers, automotive designers, creative design professionals, digital sculptors, and production surface modelers.\r\n"],"@type":"Question","name":"Which versions of Alias can I use if I subscribe to the current version?","acceptedAnswer":["@type":"Answer","text":"Your Alias subscription gives you access to install and use the 3 previous versions. Available downloads are listed in your Autodesk Account after subscribing. See also previous releases available for subscribers.\r\n"],"@type":"Question","name":"Can I install Autodesk Alias on multiple computers?","acceptedAnswer":["@type":"Answer","text":"With a subscription to Alias software, you can install it on up to 3 computers or other devices. However, only the named user can sign in and use that software on a single computer at any given time. Please refer to the Software License Agreement for more information.\r\n"],"@type":"Question","name":"How do I convert my Alias free trial to a paid subscription?","acceptedAnswer":["@type":"Answer","text":"Launch your trial software and click Subscribe Now on the trial screen or buy Alias here. When buying your subscription, enter the same email address and password combination you used to sign in to your trial. Learn more about converting a trial to a paid subscription.\r\n"],"@type":"Question","name":"How much does an Autodesk Alias subscription cost?","acceptedAnswer":["@type":"Answer","text":"The price of an annual Alias subscription is and the price of a monthly Alias subscription is . The price of a three-year Alias subscription is . If you have infrequent users and are interested in a pay-as-you-go option, please visit Autodesk Flex page to learn more.\r\n"]],"@type":"FAQPage","@context":" "} Autodesk Company overview Careers Investor relations Autodesk Trust Center Newsroom Diversity and belonging 


 Autodesk Foundation Sustainability Contact us Students and educators Affiliate program Autodesk Research Autodesk Insights How to buy


I am looking to get specific information on the differences between Alias Design and Alias Surface relative to surface modeling. I do not care about the sketching portion or the reverse engineering meshes. But I do care about specifics to surface modeling and surface analysis. While I am not shooting for class A models, I'd like to keep my designs as light/clean as possible and have as much functionality as possible to be able to execute the design intent.


Actually you right! somehow I can see to purchase Alias Surface either, but I can see it on download on Autodesk webpage.

Anyway, I do have Alias Automotive 2014 at work. But I personally use very little the most exotic tools which differenciate from Alias Design. 
I use quite a lot mesh tools due to reverse engineering. 

But in the end I can say that you should be able to design pretty much anything even with Alias Design. As when I started using Alias it used to be wavefront still and Alias wasn't that level yet. 

Glad it helps, happy modelling...




Alias Design includes rendering, animation and sketching. Although it can create highest quality surfaces, Design does not include some of diagnostic shaders that Surface and AutoStudio has, such as Curvature and Draft analysis. Also, frustratingly, it doesn't have the dynamic sectioning tool which allows you to do cutaway views, tremendous

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