#roof repairs london

[horncastleroofing]

Horncastle Roofing: Premier Roofing Services in the UK

At Horncastle Roofing, we specialize in delivering top-quality roofing solutions to meet your needs. Our expert team provides comprehensive Slate Roof Repair and Tiled Roofing Repair, ensuring your roof is both durable and visually appealing. Serving the Greater London area, we are your go-to choice for Roof Repairs London. Our services extend to Roof Repair Edmonton, offering reliable solutions for all types of roofing issues. If you’re located in North London, our Resident Roofing in North London ensures local expertise for your roofing needs. We also cover Roof Repair Islington, delivering prompt and professional repairs. As Lead Roofing Specialists, we excel in handling lead-based roofing requirements with precision and care. Trust Horncastle Roofing for exceptional service and craftsmanship, tailored to your specific needs throughout the United Kingdom.

[ydvconstruction]

Innovative Roofing Contractor: Real-World Practices for your East London Home

Introduction

The need for creative and professional roofing contractors is growing along with the roofing industry.

Roofing contractors and companies provide homeowners superior solutions that improve the property’s energy efficiency, durability, and beauty.

In East London, innovative roofing practices are transforming the way we think about and maintain our roofs.

This article explores some of the most advanced roofing technologies followed by the roofing contractors in East London and materials available today, offering practical benefits for modern home.

Some of the practices that are performed by the roofing contractors in East London are listed below. Also the materials that are in trending in roofing construction.

[toproofcoatings001]

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[londonplatformroofing]

Chimney Repair & Maintenance London

At London Platforms Roofing, our expert roofing team can keep your chimney maintained or conduct emergency repairs when necessary. We have years of experience and we’ll do our utmost to ensure that you’re glad you chose London Platforms Roofing.

[sprayfoamremovals]

Are you on the lookout for a low-cost roof repair solution from a local tradesman who provides top-notch results in East Central London? Well, you found us!

[wonder-worker]

"The memory of [Emma of Normandy] was of a generous patron. At Ely an inventory made in 1134 listed her gifts of precious textiles to the church. They included an altar frontal worked in gold and silver with an image of Christ in majesty, seven cloths with gold worked fringes (orfrey) and one of rich purple fabric, perhaps shot silk taffeta (purpura), adorned all round with orfrey work and precious stones, a purpura pall for each saint and each altar, and four woollen dorsals. The twelfth-century Ely monks also recalled a blood red altar cloth with a gold border a foot wide, and the magnificent purpura one worked with orfrey and adorned in a chequer pattern with gold and gems which she made for them, as well as the gold and gem-worked silk cloths for each saint,’ and, richest of all, the cloth she gave to cover the tomb of St Æthelthryth. The twelfth-century Abingdon Chronicler told of the gold and silver shrine she and Cnut had given to the church. It bore an inscription recording the two hundred and ten mancuses of gold and twenty-two pounds of silver which had gone into its construction. At Winchester they remembered her striving with Bishop Ælfwine to adorn the church of St Swithun, a contest which she won.” Canterbury tradition recorded the cup of gold worth 13 marks, two altar cloths, two copes with gold tassels, and a golden ornamented text which Emma had given.

Canterbury was not the only church to which Emma gave books. She sent an English psalter to her brother Robert, Archbishop of Rouen. She and Cnut have been associated with a lively production of de luxe manuscripts in the third decade of the eleventh century, most of which were intended as gifts for English and foreign churches or individuals. Gifts of manuscripts linked Emma and Cnut with such English churches as York, Canterbury, London, New Minster and Bury, and with cross- Channel recipients in Germany, Scandinavia and France. Peterborough, with its strong ties to queens in general and Emma in particular, was a major centre of this production. Wulfstan of Worcester remembered how a skilled scribe and painter of manuscripts who had taught him there as a boy gave Emma and Cnut a psalter, which eventually ended up in Germany. Ervenius was the scribe who taught Wulfstan. He is the same Earnwig who followed Emma’s close associate Ælfsige as abbot of Peterborough.

Emma was an acquirer of relics, and her acquisitions were almost invariably followed by their distribution. When the bishop of Benevento visited England in Cnut’s reign, Emma bought from him the body of St Bartholomew, which he happened to have with him; she gave most of it to Christ Church Canterbury, though retaining the arm for herself. Whilst staying in Rouen after the death of Æthelred she bought the body of St Ouen, which she again split on her return to England, this time keeping the head for herself and giving the body to Canterbury. New Minster was thus particularly favoured by her gift of the head of St Valentinus. A queen’s gifts were much sought after, and sometimes the process of giving was shortcircuited. Emma kept the head of St Ouen; after her disgrace, her goldsmith purloined it from her reliquary and gave it to Malmesbury where his brother was a monk.

Sherborne attracted her largesse in a more standard way. According to Goscelin writing c. 1100, she and Cnut came to visit St Wulfsige’s shrine at Sherborne. There the king pointed out to her the poor state of the church; the poverty of the angelic citizen Wulfsige was an accusation of them, weighed down as they were by gold and jewelled ornament.” It was up to her to repair it. She gave twenty pounds’ worth of silver for the repair of the roof. Sherborne is a rare instance of Emma as a patron of buildings. She may have contributed more than general support and intercession to the development of Bury and St Benet Holme.’ But according to the surviving sources her most generous building patronage was far away in western France where the rebuilding of St Hilaire at Poitiers was in ‘large part paid for by the queen of the English'.

The patronage of both Emma and [her daughter-in-law Edith also included] land. Emma gave Newington to Christ Church, acquiring it from Cnut after Ælfric forfeited it; she bequeathed land at Kirby to Bury, and together with Harthacnut gave land to Ramsey for the soul of Cnut. Edith was remembered as a benefactor of Wells, granting Milverton and Mark to bishop Giso. Emma almost certainly made gifts of land to the Old Minster, Winchester, where she and Cnut were buried: her son Edward confirmed her grant of the urban property of Godebegot in Winchester to the Old Minster, and after 1066 the Old Minster claimed that she had left them land at Hayling Island in reversion, after the death of her servant Wulfweard the White."

-Pauline Stafford, Queen Emma and Queen Edith: Queenship and Women's Power in Eleventh-Century England

[neathbound-fiends]

My rough timeline of the major plot points for the Horticultural Show for people who didn't play it

It came to my attention from a friend being like "bestie WHAT is going on over there" that the fact that the plot moved so rapidly and had a lot of different moving pieces was hard to understand from just discussion and the dash, so here is my (rough) sequence of events for clarity and handy dandy purposes. If anyone else wants to correct something or add on, please do!

Garden festival (yay! Everyone spent the first day gardening and having fun!)

the opening ceremony happens, and during that Starved Men start attacking the City. no one is happy about this happening

we begged for help, and everyone said no :(

Sinning Jenny and the Admiralty actually end up helping (Jenny organizing volunteers for the relief effort like tending to the wounded and repairing damaged buildings, the Admiralty organizing volunteers for trying to drive the Starved Men out with violence)

this isn't working! at all! so we get sent to go look for clues about the Starved Men and how to actually defeat them and what they might want from us

we get a bunch of clues and now we can actually start hurting them and getting them to leave! everyone is excited about this part because it's the first time it feels like there's actually hope

we capture a few Starved Men that surrender, and who are the last ones in the City, and they're held prisoner in the brig on one of the ships while scholars try and figure out how to communicate with them

we can talk now! yippee! the Admiralty thinks these guys suck and doesn't wanna talk, Jenny wants to understand why. they tell us that it looks like the City is gonna be destroyed so they came down to try and make it Weird™️ in a way it'll survive this. there is also revealed to be another group of Starved Men who think it would be kinder to us to just murder us all instantly and are planning to flood London with sunlight. we are all distressed to hear this

we are now working on a two pronged approach: gather more allies to help fight with us and destroy the weapon (an oculus, which is basically a big sphere that's gonna have the light hit it and then it'll make the light go everywhere and burn everyone to death), and to actually FIND where they've got it. people get to take airships to the roof to look for the weapon, and you can take your ship and other things to other locations to recruit allies

we found it! now we have to destroy it. your player character goes with the group that's actually there to destroy it. other groups are running interference and trying to keep you safe to make it through

if you took too much damage, I guess you just land? I'm not sure, because I passed all my checks to not get smoked. I failed the check to destroy the oculus with the cannons, but even if you passed it, it doesn't actually destroy it, so you can't win. you either try and evade and land or you can crash your ship directly into it and the shaft of sunlight that will definitely permanently kill you

it doesn't! you get killed by the crash before you're killed by the sunlight, so you're good! everything worked out in the end!

the Boat Man confirms that London is not destroyed, which is handy because although it would be INCREDIBLY funny to have an event that ends the game completely and unexpectedly in concept, people would not like it if it actually happened. you get the option to either be relieved by this, pessimistic because what's the point if it'll probably happen again, or so outrageously overjoyed you start bellowing songs (and the Boat Man thinks you're so annoying he instantly clears your wounds so you go away)

you can plant stuff in a new community garden because Londoners decided to replant as a symbolic thing of moving forward! a Starved Man comes and you can either be like "fuck this guy, get out of here" and then destroy the flower he plants, or "come in friend and plant your thing" (I chose to let him plant the thing and then planted my own thing)

[scotianostra]

On November 4th 1864 Robert Stodart Lorimer was born.

The son of a law professor, Lorimer was educated in Edinburgh, but left university before graduating in 1884, to join the office of the Scottish Revivalist architect Robert Rowand Anderson. In 1889, he moved to London, where a spell working for G. F. Bodley helped shape his Gothic style and fired him with enthusiasm for the Arts-and- Crafts Movement. Here, he developed his commitment to the unity of art and nature in architecture, and his delight in materials and the richness of textiles and colour. Among his friends in London were young architect Walter Tapper and fellow Scottish architects J. J. Stevenson and James MacLaren. After the latter’s untimely death, Lorimer worked for his successors, Dunn and Watson, their influence left a strong impression on Lorimer, as seen in his roughcast cottages at Colinton, and other small houses in the Lothians of the 1890.

His first big commission, from 1891, was the restoration of Earlshall in Fife. In reviving this tower house as the atmospheric setting for R. W. Mackenzie’s collections, Lorimer was greatly influenced by his boyhood experiences at Kellie Castle, which his father had sensitively repaired as a summer home. At Earlshall, Lorimer designed fittings, furniture and a garden inspired by that at Edzell, all in harmony with the spirit of the old house.

He went on to do many more tactful restorations, his favourite being Balmanno, Perthshire (1921), with furniture and an elaborate compartmented garden also to his design. Lorimer’s earliest new houses were English (such as the Lutyens-like High Barn at Godalming), and in Scotland, too, early works such as Wayside in St Andrews (1901) absorbed English influences. But, in 1903, he started work on Rowallan in Ayrshire, the first of three country houses that gave full expression to his love of the Picturesque forms and romantic qualities of 16th-century Scottish architecture. Ardkinglas (1906) and Formakin in Renfrewshire (1914) followed, the architecture of the latter echoed by its outstanding group of ancillary buildings, which incorporate playful carved monkeys and humorous inscriptions. Lorimer’s gate lodges were his ‘happiest inventions,’ wrote Hussey.

As seen in the pics, the twin-turreted gate lodges at Formakin are characteristic, with their ogee roofs echoed by the garden pavilion, another favourite structure of Lorimer’s.

By 1919, Lorimer had been appointed an official architect to the Imperial War Graves Commission, and in this capacity designed over 300 memorials in villages, towns, and schools in Scotland and England as well as cemeteries in Greece, Macedonia, Italy and Egypt. The largest, and perhaps the best known of these commissions, was the Scottish National War Memorial, Edinburgh Castle.

My favourite memorial designed by Lorimer is the one in Paisley, which looks more like a memorial to the old style wars during the struggle for Independence, and reminds me of Pilkington's statue of The Bruce at Bannockburn, it depicts soldiers from the western front accompanied by a medieval knight on horseback and having noticed he did some work with Pilkington I can see where the influences came from.

It wasn’t all simple designs for Lorimer, one of his most famous work was the Thistle Chapel in St Giles, Edinburgh, the other pic is a memorial to Lorimer, also in St Giles.

Sir Robert Lorimer died at 12 Randolph Crescent, Edinburgh in 1929. He was cremated at the newly opened Warriston Crematorium and his ashes were thereafter buried with his parents at Newburn in rural south-east Fife, close to the family home of Kellie Castle. The grave (which he had designed himself at the death of his father) lies in the extreme south-west corner of this tiny and very remote churchyard, overlooking rural Fife towards the Firth of Forth, as seen in the last two photos.

[beardedmrbean]

Dozens of pro-Palestinian activists occupied and vandalised offices of the insurer Allianz overnight, throwing red paint over walls and windows in protest at the firm’s links with Israel.

Surrey Police said three activists had been arrested at the Allianz Insurance building in Guildford. 

A man and two women were detained on suspicion of aggravated trespass and criminal damage, and were being held in custody. The force said inquiries remained ongoing.

The action began on Monday evening as people around the world commemorated the first anniversary of the Oct 7 Hamas attacks on Israel.

Palestine Action said it targeted 10 offices owned by the German financial services firm in protest at the company’s investment in Elbit Systems, Israel’s biggest weapons firm. It has said Allianz is one of Elbit Systems’ “principal institutional shareholders”.

In a statement, the group called for Allianz to pull out of Israel, adding: “Without insurance, Elbit couldn’t operate in Britain. Palestine Action will cost more than you gain from enabling genocide. 

“Allianz, it’s time to stop insuring and investing in Israeli weapons firm Elbit Systems.”

Nine of the occupations ended within hours, but the Guildford office remained occupied on Tuesday morning. 

A number of Palestine Action supporters could be seen on the roof of the office’s entrance, spraying the walls with red paint and daubing slogans on the windows that read “drop Elbit” and “free Palestine”.

A police team trained in the removal of protesters at height arrived at  Allianz Insurance building by mid-morning, and staff were asked to work from home. Surrey Police later said the three activists had been arrested, bringing an end to the occupation.

Supt Mark Offord said: “Officers were sent to the premises as soon as we became aware that the protesters had broken into the Allianz Insurance premises. While we recognise the right to protest, there is no excuse for anybody using it as an excuse to engage in criminal activity.”

Sites in Manchester, Lancaster, Belfast, Birmingham, Bristol and Milton Keynes were also targeted. The cost of repairing the damage is estimated to run into tens of thousands of pounds.

In September, the group vandalised 10 branches of Barclays Bank in protest against what it described as the bank’s ties to Israel. 

The targeting of Allianz offices came as vigils were held to remember those killed and taken hostage by Hamas on Oct 7. 

Palestine Action claims Israel’s response to Hamas, which has killed as many as 41,000 Palestinians in Gaza, has justified its tactics of direct action against businesses with links to the Jewish state.

Elbit System manufactures over 85 per cent of Israel’s drones, including quadcopters used by the nation’s military to perform targeted attacks.

The group added: “Elbit has publicly advertised its weaponry as being ‘battle-tested’ on Palestinians. Its business operations are central to Israeli war crimes in Gaza, the West Bank and Lebanon, and its technologies uphold the brutal occupation regime.

“These nationwide actions serve as a reminder that, throughout the past 12 months, Western capital has continued to profit from the mass murder of Palestinians. 

“If Allianz refuses to understand that dealing with Elbit is immoral, it must be made clear that maintaining its involvement will become increasingly unprofitable.”

A spokesman for Allianz said: “We have had disruption overnight at several of our offices. The safety and security of our colleagues is paramount, and we have closed these sites today. Our operations and service to customers and clients are unaffected. As this is an ongoing police matter we have no further comment at this stage.”

Police said officers were called at 4am to reports of red paint being sprayed onto two buildings in the City of London. They arrested a 19-year-old man on suspicion of criminal damage following a chase on foot.  The offices were later sealed off by police.

[taz-ma-raz-skylar]

I tried my best to translate the interview from Tikitakas!

( Mario Espinosa de los Monteros took the interview and uploaded it on March 29, 2024 08:42 CET)

Taz Skylar, the canary who triumphs on Netflix: "One Piece gave me an interspatial rocket with which I travel between planets"

The actor reviews his life with Diario AS and tells how he has left everything he had, several times, until he played Sanji, one of the protagonists of the series.

Personality, desires and ambitions are always cooked on a low heat. The pillars that support an individual are built brick by brick. The pillar of the past seems to be over, but every second something new is added. The one of the now is the closest and the most fictitious, because it gets out of hand before it can touch it. And the one of the future is raised by a ghost. That's how complex the reality is. Taz Skylar makes it simple: he steals his own bricks and assembles an excavator. It puts it in sixth gear, rams and destroys everything. Then, he collects the debris and begins to build again: a pillar in the shape of a scriptwriter, another with the appearance of an actor, another as a surfboard manufacturer. "You don't have to know everything, you just have to know what the next thing you have to do."

Taz plays the chef Sanji in the adaptation that Netflix has made of One Piece, the best-selling manga in history - so say the Guinness records - but to get there he has had to give a few strokes to his life. Today it is difficult to present it, but we will say that, among all things, he is a great actor who has been reinventing his life since he had the power to do so.

When we remember the life of Taz, who at 28 years old is still insultingly young, we see the times he has done and undone his way. His father is an Arab of Lebanese origin born in Sierra Leone, and his mother from Yorkshire (England), but he was born in Tenerife. As a child, "I didn't have too many friends" and "I spent all day on the internet, reading and watching videos." He was an introverted person who began to cook his imagination. He wasn't good at soccer or basketball, he was afraid of water and didn't run fast. The school wasn't his thing. He was diagnosed with dyslexia. Now he parachutes on Sundays, he is a black belt in taekwondo and has four series in production.

Leave everything to get somewhere.

At only 15 years old he started the excavator: he found an escape form in surfing, left school and went to Australia to repair boards. My whole life has been that. I'm leaving school and I'm going to Australia. I get there and look for my life. I'm running out of visa. Where am I going now? To California, come on. Then where? To San Sebastian." In this last city, capital of Guipúzcoa, he came to settle. "I was 18 years old and a little house, my car, a schedule that allowed me to train and travel." But he changed it to go to London "to live in a house shared with five people that had leaks on the roof and a bucket in the corner where the water fell." He wanted to be a screenwriter because he told the stories of the surfers to sell the boards. He broke with everything.

"When I went to Australia I didn't have much to lose, at most I was thrown there. But I was fifteen years old and I didn't look starving, someone was going to give me food and water." That's why, when he left San Sebastián, he felt that he was sacrificing something for the first time. "In London my bed was an Ikea sofa bed with a sleeping bag on top. I remember getting there and saying 'what the fuck did I just do'. I threwat everything I had in the trash and changed it for that, simply because I would like to be a screenwriter." Why did you hesitate that time, after years of knocking down pillars? "It's harder to give an axe to your life when it's tolerable. That is, it is easier to cut the head of nothing to achieve a lot, than to cut the head of something with the possibility of staying in nothing. There's the danger, in having something." Well, cutting heads on their way to London.

Question: Would you have gotten to where you are without maintaining that attitude?

Answer: "No, crazy, not at all. If I hadn't kept it, I don't know what would have happened to me. Basically I have a very intense energy, I have analyzed it a lot and I am aware that, if it were not because I have the ability to put my energy into positive things, I could easily have ended up badly, a person very addicted to things that are not good. Luckily I'm addicted to good things. If it weren't for this attitude, I could easily have been in a circle of bad things."

The beginnings in London were difficult. The change to urban life, too. Taz wrote and wrote. He enlisted in the Army reserves, but suffered a traffic accident and did not pass the medical exam. Then, he wrote and wrote, and released a play called Warheads, which explores the life of a soldier before and after the war and the post-traumatic stress it generates. Warheads was nominated for the Olivier (the most prestigious theater award in the United Kingdom) and the leaks of his house, the sleeping bag and the Ikea mattress made sense. Now yes.

Q: You say that Warheads changes your life completely.

A: "Yes. It was the moment when I felt that I could take the world outside me and put my will on it. In England, theater is very important for culture and Olivier is a literary prize for a very cultured person. For me, as a person who felt with an uneducated complex for not having gone to school, for always having spelling mistakes and for having a way of writing that no one understood, it was like an 'ah, I don't have to be intelligent in the conventional way to be able to aspire to have a prize'. Suddenly, everyone around me took me seriously. A door was opened that led to another staircase that led to another floor. I saw very new things and I was able to enter rooms that I had not entered before."

Q: If that changes your life, what does One Piece do with it?

A: "Warheads gave me a car. I was walking through life, and suddenly I had a car. One Piece took the car, threw it through a ravine and gave me an interspatial rocket with which I travel between planets. I talk all day with my best friend Vincent about how absurd it is and the number of opportunities and beautiful things we can do now. We are not taking it as if it were normal. We look into each other's eyes and say 'I can't believe this is happening'. And that's happening every day."

"But the One Piece thing was very fast. When One Piece announced the characters, that night I was at the theater in London doing a play, and when I entered the dressing room during the break, I saw my cell phone doing 'backflips' (it makes a gesture of an uncontrollable spiral with my index finger). I was followed by 1,000 people per minute. The transition from the car to the rocket was very fast, from one day to the next he had 200,000 followers. Although followers are not a way to govern your life, there I could see the difference so instantaneous. When the promos came out, people began to recognize us more, but in the Canary Islands they still asked me if I was still making boards. He was completely alien. But when the series came out, we already had the rocket mounted and they pressed the button. When I returned to Tenerife, the fruit shop asked me for photos."

Taz plays Sanji, the cook of the crew of the pirate ship on which the One Piece manga is based, which is something like a 'Japanese-a-ye' comic. Netflix has made an adaptation of the illustrated work to a Live Action, a series with real actors. His character is one of the best known, most beloved, most charismatic. In the previous video, Taz puts a black belt on the character he plays. His character fights with kicks, so he had to learn martial arts in record time.

Q: You added the taekwondo to your list of things to learn

A: "I feel many times that I do everything in a mediocre way, but I don't do anything very well. There's something very nice about that. I took the taekwondo as an example for this. Because when you get your greatest growth is from white to black belt, but once you are in black, the improvements become very difficult, as if very perfect. That is, I go from 0 to 10 from white to black, but the 11th, which is perfection, I am not so interested, only in some aspects. I don't think you can have an 11 in everything, maybe in your life you can only have an 11, or two at most. But not everything can be an 11. I have a lot of fives, a couple of eights, a few ten, and I still don't have an 11, but that's what I'm in."

If we attribute each copy sold (more than 500 million) to one person, the readers of One Piece would considerably exceed the population of the United States and would be more than 10 times that of Spain. In the face of this mass phenomenon...

Q: Are you afraid that Taz will become Sanji? That the character stars with you?

A: "Yes, it is not a fear as such, but it is something that all of us (the rest of the actors of the series) have in mind and to which we are all vulnerable. But look, if that happens, not so bad, because we won't be able to complain about a life like that, it's still a beautiful life. In my case, since I have never fallen into what people thought was going to fall, I have a feeling that it is not a real problem for me. I may be wrong, but between the first and second seasons of One Piece I have made a series and two movies that have nothing to do with the character of Sanji. I have four series in production that have nothing to do with the world of One Piece. I don't say it in an arrogant way, but confident of myself or aspiring to be sure of myself."

Q: The Live Action of other series have not been as successful as yours. Why One Piece, yes?

A: "Two reasons based on my analysis. Matt Owens, the showrunner and lead screenwriter, is a true fan of the anime, he wants the anime with all his heart and the anime knows it better than most fans."

Taking care of the smallest detail, the producers of Live Action contacted One Piece content creators to ask them about the production and script of the series. One of them was Artur - The Library of Ohara, who helped in "the process of writing the script, mainly for the story, the 'Easter Eggs' and the timeline." He appears several times in the podcast 'Radio Pirata', where he demonstrates his knowledge and, ultimately, why he received a call from Netflix.

Taz continues explaining the first reason: "Matt, while making the series, put his artistic opinion on it, and at the same time kept everything he loved about intellectual property. That's not something that everyone can do. It wouldn't have been the same series without Matt, he knew deeply what he wanted from each character and who was going to play it. He took great care of us and gave us the tools to bring from the characters what we wanted. I went one day and I told him 'Matt, I want to do all the fights, I don't want to be bent'. I tell him like a 25-year-old boy who has never gone to school, who has not studied theater or done action dubbing in his fucking life. He took and looked at me with all the confidence in the world and said: 'Okay, let's do it.'"

Q: And the second reason?

A: "The cast of actors, the set of what we five are, is the other reason. I'm sorry because we're all very different, but since only one of us is missing, it's not the same in interviews, organizing anything, recording... The fact that we are different makes us complement each other perfectly. There is something very special that happened with the symbiosis of the five of us, we are really friends, which is not something as common as you would expect in this world. We are really friends and we take great care of ourselves both inside and outside the series."

Two weeks after the premiere, Netflix announced that a second season of One Piece's Live Action would be filmed. There are many important characters left to appear, protagonist characters who will be incorporated into the second season.

Q: Is that good relationship and connection between actors a requirement to be part of the cast in the second season?

R: "It's a good question. Yes, I know that's part of the conversations, but we don't decide or think about who it will be. We hear the conversations and talk inside them (Taz laughs, he seems to remember something). And in those conversations we see that it is very important that the people who join form a good part of the family, but that is as much work of the actor who comes new as ours. It is a basic decency to give a good welcome to people who arrive new."

Q: Have you felt pressure when adapting One Piece?

A: "From the moment we started, from the first moment, everyone reminded us of Death Note. People close to us tell you a little jokingly and don't realize the severity of what they are putting in your head. They are telling you, in a casual way, that there is a possibility that these three years of your life in which you have bled to dead for something, are absolutely worthless. We had to manage that at all times within ourselves, going to work firmly believing in what we were doing and in the people with whom we were doing it. Three years militants. The time comes when you can't do any more work and what you've done is what's left, and you can only wait until what you did with others is enough so that they don't cut your head (laughs). But I want to clarify that the fans are very enthusiastic and most of us supported us from the first moment."

The creative process and convincing a mother

There's something curious about Taz and it's the number of times he laughs per minute. Smile when we bring ut more serious topics. He smiles when he almost misses something about the new actors. He smiles as he recalls anecdotes with the fans. But it changes to a serious face when we talk about the actor's creative process. In the premiere of the movie Gassed Up, he said that he only wanted to be part of projects that his mother could enjoy.

Q: I think it's the most ambitious goal anyone can have, always to convince a mother!

A: (Laughs) "I think I meant something a little more different, but what you say is true. I wanted to say that, since I do not come from this world (that of interpretation) I see it as my secret weapon because it gives me a real perspective on what we do in art. Sometimes we do a cult of certain things that I think is important and productive, but it can be elitist. Although I can appreciate and understand some more complex or cultured things, my mother doesn't have to appreciate them."

Q: In an interview you told the journalist that, if I had met you as a child, I would never have imagined that you would end up this way. And you, would you have imagined yourself like that?

A: "Yes. It's a good question, bro. And yes. So much so that I was alone, and I had no friends, I stayed all day on the internet, reading and watching videos. My life was a fantasy and it said 'it would be beautiful to do what I saw in an action movie'. I remember watching skydiving or surfing in movies and telling my mother 'that would be beautiful to do'. But I was never going to do it. I had fantasies of doing things that I was afraid of at the same time. But when you think about doing something, there's always a part of you that thinks it's not going to happen."

Q: The fear of taking a risk

A: "Yes. No one gets into this industry without aspirations to make a living from this. To have a beautiful life, to take care of your family... But there is a large part of you that has in mind that it is quite likely that you will not get it. If you asked me when I was little that I was going to be older, I wouldn't have told you that I would, I would have told you that I hope something handsome."

Q: What if I ask you now?

A: I hope to be something better than I am now.

[liroofing19]

A Full Guide to Roof Installation

A full guide to roof installation encompasses a comprehensive overview of the entire process, including planning, preparation, material selection, and the installation itself. Below is a detailed step-by-step guide to help you understand the roof installation process:

Assess and Plan:

Inspect the existing roof (if applicable) and evaluate its condition. Determine if a roof replacement or repair is necessary.

Consider factors such as the roof’s slope, size, shape, and potential challenges like chimneys or skylights.

Set a budget for the project and choose the roofing material based on your needs, budget, and climate.

2. Obtain Permits and Permissions:

Check with your local authorities about necessary permits for roof installation. Ensure compliance with building codes and regulations.

3.Safety Precautions: Prioritize safety throughout the installation process. Use safety equipment like harnesses, helmets, and non-slip footwear. Set up barriers and warning signs to keep others away from the work area.

4. Remove Existing Roofing (if applicable): If replacing an old roof, remove the existing roofing materials carefully. Dispose of the old materials responsibly and in accordance with local guidelines.

5. Repair and Prepare the Roof Deck: Inspect the roof deck for damage or decay. Replace or repair any damaged sections before proceeding. Ensure the roof deck is clean, dry, and free of debris.

7. Install Drip Edge: Install a drip edge along the eaves and rakes of the roof. The drip edge prevents water from seeping under the roofing material.

8.Flashing Installation: Install metal flashing around roof penetrations, such as chimneys, vents, and skylights, to prevent water leaks. Use appropriate sealing materials to ensure a watertight seal.

9. Roofing Material Installation: Follow the manufacturer’s instructions and local building codes for the installation of your chosen roofing material (e.g., asphalt shingles, metal, tile, wood shakes, etc.). Start laying the roofing material from the bottom edge of the roof and work your way up, row by row, staggering the joints.

10. Hip and Ridge Installation: Install hip and ridge caps to cover the peak of the roof and provide added protection against leaks.

11. Final Checks: Double-check that all installations comply with manufacturer specifications and building codes.

Please remember that roofing installation is a complex and labor-intensive process. It is recommended to hire professional roofing contractors with experience in the specific type of roofing material you choose. Get reliable roof installation services in London at LI Roofing. Trust our expert roofing companies to deliver top-quality results. Contact us for a free quote today!

Source Code : https://medium.com/@liroofing.uk/a-full-guide-to-roof-installation-438f69b78f4d

[ydvconstruction]

Sustainable Roofing Practices: How Contractors in East London Lead the Way

Hello people want to know about sustainable Roofing Practices.

 Well, you are at the right place people in this bustling city of East London, where the cityscape continues to evolve rapidly.

 roofing contractors East London are pioneering sustainable practices that not only benefit the environment but also contribute to the longevity and efficiency of buildings. From innovative materials to eco-friendly installation techniques, these contractors are at the forefront of a green revolution in the construction industry.

Visit below link to know more:-

[quill-pen]

A Father's Regret

Based on one of the many, many, many impromptu RPs/character convos @rom-e-o and I get wrapped up in.😅 Honey, I've RPed more in half a year with you than I have my entire life of fandom. I suppose there's no stopping now.

Warnings: Depression mostly, I guess; nudity and implied sex, but nothing at all graphic. Um... hauntings maybe?

Summary: Marley returns to the Scrooge household to deliver a very important message.

Theme:

Jacob Marley was a damned soul, doomed to wander the ends of the earth for all eternity; no rest, no peace. A soul riddled with regret for things he hadn't done, things he had done, and things he was now unable to do as he traversed the world and witnessed its many horrors and hardships.

Not among the least of these regrets were the ones he had in terms of his attempts at being a husband and a father--i.e. attempts he hadn't made. And for his folly, the pain and suffering in the world had only grown and claimed yet another innocent victim; that victim being his own daughter. If he possessed any right to call her that or think of her in such way; he'd abandoned her after all.

Perhaps that was why the ghost had decided to return to London, yet again, on this stormy, August night; making his way through the gloomy, rainy streets of the old city to the familiar, three-story, brick house on Craven Street, his chains and safes rattling and clanking behind him.

Scrooge Manor, as it was called now, was a thriving and bustling home compared to what it had been the first time Marley had ever seen it and the first time he'd visited old Scrooge on that fateful Christmas Eve just a few years ago. The roof was repaired and leakless, perfect for this dreary, stormy night; the windows were all replaced and unboarded with new, freshly painted shutters; the chimneys, one now spewing out a lazy curl of gray smoke, had been torn down and built back up with new brickwork; old crumbling places of the walls of the house had been rebricked as well. And the front flowerbeds, though looking dull at the current moment, were chocked full of a variety of flowers and growing shrubbery. The building actually looked like a place someone might actually want to live in from the outside.

When Marley glided ethereally through the front door, leaving an icy impression of his visage around the doorknocker as he did so, he found the inside to be even more homey than the outside. Floorboards had been replaced and were polished to a sheen; new wallpaper had been put up; the railings and staircases had been repaired and polished; the chandelier above looked cared for and regularly used--extinguished but slightly melted candles adorned it now; a large, plush, round, timelessly stylish carpet graced the floor Marley hovered above. Not only did the house look like a place someone might want to live in--it looked like a place somebody did live in. Or rather somebodies.

Jacob slowly floated up the stairs to the second floor and down the hall. His chains softly clinking, the ghost slowly swept down the hall, gazing about him at countless more changes and repairs that had been made since he was last there, everything bearing a soft and lovely feminine touch. The biggest change of all was that a number of the rooms were now occupied. As he poked his head through a wall or door in investigation of the snoring he heard on the other sides of them, Marley found children in each room, boys and girls of varying ages. They were all soundly asleep, snuggled into big, warm beds under cozy quilts, most of them smiling happily as if right in the middle of wonderful dreams. The littlest girl cuddled a soft, stuffed toy as she slumbered. All of their faces were scrubbed clean, the girls' hair braided neatly back for the night, their sheets looked tidy, their pillows fluffy: They all appeared well looked after and tenderly cared for. Even in his dismal state of existence, it was enough to bring a little smile to the specter's ghoulish face. When he found good, old Prudence deeply asleep at the end of the youngest boy's bed, his smile broadened. The sheer amount of love and affection in this house was palpable, tingling through Marley's phantom body and warming it ever so slightly.

The spook moved on down the hall, past pictures new and old to the next set of stairs. He came out on the top floor. He paused for a moment, gazing at the large, mahogany door in front of him, listening intently both for sounds and to the energy in the air. There was just a hint of electricity lingering in the air that had nothing to do with the storm outside. But overwhelmingly the energy was steady, smooth, warm, mellow, happy, and deeply ensconced in sensations of love and devotion. Ah, that meant to proceed with caution. Marley slipped silently through the door and, for the first time, found himself in the master bedroom of the home, the master and mistress of the manor asleep in their large, impressive, rosewood, four-poster canopy just feet away.

The pair laid tangled together, Bess almost directly beneath Ebenezer as his large, lanky frame curled over and around her smaller, stouter one. Her bare back was flush against his furred chest as the man's long right arm curled about her waist and held her close, Bess's own curling up against her belly to hold his hand on her ribcage. The woman's freckled face was burrowed against the feather pillows, while her man's face was nuzzled into the crevice of her neck, his long silvery locks mingling with the sea of her coal black waves. Their left hands were woven together at the fingers among the tangle of sheets and blankets, their matching wedding rings and Bess' moonstone ring glinting in the strobing flashes of lightning that managed to come through the breaks in the curtains. While the storm raged outside, the couple slept, completely undisturbed and as peacefully as their wards downstairs. Small little smiles creased their faces as well.

Marley couldn't help but notice how perfectly the pair fit together, as if they'd be crafted precisely for each other. Nor did it escape his attention how happy they looked. Terribly, terribly happy.

Though they were quite covered by the swirls of their sheets and each other, it was obvious the happy couple was in the nude, and Marley suddenly felt quite awkward. It seemed seeing one's daughter naked in bed with a man was just as awkward for an absentee father as any other. In all rights, he probably should have left, but he couldn't quite manage to pull himself away from the scene. It was... beautiful; his daughter and the man he'd considered to be a son and a friend, wrapped up together in pure, sweet bliss having finally found much-needed happiness and love in each other's arms. After his actions had helped to sow bitterness and pain in their lives, of course. Particularly Bess'.

The guilt and woe that beleaguered Marley every moment of his forsaken afterlife swelled up in the ghost and made him want to wail out his shame and sorrow, but he held it in. Such a peaceful, happy, and love-filled space as this was no place for such despairing cries, even if that was how he felt. This room, in this moment, deserved to be treated with as much reverence as a cathedral.

What had he done? Much more than damn himself to this misery for all eternity, what had he done to his own child? His selfishness and ignorance had spawned bitter hatred and hardship for the girl her entire life. Of course, much of that blame could also be shared with her mother--not even Marley was woeful and blind enough in his guilt to believe the blame lied solely upon his shackled shoulders; but there was no denying his actions had set the ball rolling down the path.

If only he'd snapped to his senses and realized what a blessing he'd had in Beatrice--a beautiful, young wife who had, beyond all accounts, honestly loved him and wanted to make him happy--and what a blessing he'd had in his daughter--now a clever, lovely, compassionate, strong woman who seemed quite capable of taking the very world by storm--things would have been so very different for all of them. He might never have been in these blasted shackles; Bess would never have grown up to be so scarred, both mentally and physically, and bearing pain no person should ever have had to bear; and Beatrice... she would never have taken that razor to her wrists or been doomed to her long-desired legacy of being a good mother being forever tarnished by her own daughter.

Yes, things would have been very different. Better. But even in his guilt, something told Jacob that a better ending would not have been the best ending for his daughter. And she deserved the best. Looking at her curled up so snuggly and happily in the embrace of her beloved, Jacob was sure this was the best for Bess.

Consequently, it was the best for Ebenezer, too, and he deserved it just as much after working hard to turn around years of ruin and earn his redemption. A redemption he perhaps might never have needed if it weren't for Marley, as well. Yes, many of Ebenezer's past hardships were all of his own doing, but, again, there was little argument Jacob had given that ball a significant push as well.

The chains around the spectre tugged, warning him it was drawing time to be moving on. There was no denying the chains; they commanded all. So, with the urging of the shackles, Marley did what he'd come here to do. It would not lessen his burden or change much of anything, but it was something that needed done regardless.

Moving down, closer to the bed so that he was just hovering above the sleeping couple, the ghost reached out his bony, clammy hand and stroked it ever so gently over the woman's dark crown. A few, faint ice crystals formed on the coal-black strands of her hair, creating a hauntingly beautiful effect: A tiara for the daughter of a ghoul. Then Jacob brought his hand down to just barely caress the backs of his fingers against Bess' cheek. If phantoms had been capable of shedding tears, Marley would have shed them as the regret welled up ever more greatly inside him.

"I'm so sorry," he declared in a ghostly whisper. "I am so sorry, Bess, my most blessed child. I know an apology from beyond the grave from a fool you never knew and have no reason to hold any regard for will mean little to you, but I am most heartily and humbly sorry for the heartache I've helped bring upon you, my girl. If it is any consolation at all, know that abandoning you and your mother is my greatest regret. There is nothing but regret in me--regret and sorrow and shame."

He bowed his head closer to kiss the woman's temple, leaving more frost on her hair. "But also know," he rasped right into her ear, "that, in the brief moments between regret, sorrow, and shame, is nothing but the most brilliant pride for you, my daughter. Pride for the woman you've become; pride for how you haven't allowed the world to corrupt you as it has so many others; pride for the strides you have taken and those I know you will take in making this harsh globe a better one. You've already made a decent start--keep going and, for the fear of rattling chains, never let the momentum stop."

He kissed her once more. "Goodbye, my Bess. I doubt you shall ever see me again, but I shall see you. And I shall be filled with greater pride each occasion I do."

With that, Jacob turned his attention to the sleeping man wrapped almost double around his daughter. "You've done well, Scrooge, old boy," he said. "Very well done indeed. I see no chains. For the sake of everything good and decent, keep that weight off."

Jacob's gaze fell back to his daughter, and he thought of all those precious little souls asleep downstairs. "Take care of them, Ebenezer," he murmured. "Take care of them and cherish them forever. Take it from a regretful old fool: You never know what you have until it's gone."

The chains jerked, pulling Jacob away from the bed and to the windows. The phantom let them take him and wailed for misery as he passed through the curtains and glass back out into the torrential night.

At a particularly loud crack of thunder, Bess stirred and cracked open her eyes with a moan. The vague impression of a ghostly voice whispered through her sleep-addled mind as she slowly rose up onto an elbow and blearily gazed around the darkened bedroom. She saw nothing. Could it have been nothing more than a dream? Perhaps mixed with the sounds of the storm? Possible. However, Bess had never experienced any such dream before.

The sensation of cold--bitter cold--finally registered in Bess' mind as it came more into the present and out of the warm darkness of slumber. She reached up and touched the side of her face where the sensation seemed to emanate. It, in fact did emanate; her cheek was frozen and numb to the touch, as if she'd been standing out in a blizzard in the dead of winter. But it was only isolated to the left half of her face--the rest of her was snug and toasty, tucked into the cocoon of her sleeping hubby.

Peculiar. It all got even more peculiar when Bess felt ice crystals in her hair as she brushed her finger through it. Frost? In August? And just on her hair in a couple different spots?

She had to be dreaming. Surely she had to be dreaming! This had to be some sort of lucid dream-state where she only thought she was awake but was actually still sound asleep. Yes, that was it--lucid dreaming.

Her sleepy brain satisfied with that explanation, and with Ebenezer sleepily tightening his grip around her to draw her back in again, Bess rolled over and lay back down. Snaking her arms about her man, she snuggled as close as possible into his broad chest and closed her eyes as she nuzzled into his chest hair. A deep sigh of contentment left her as her lungs filled with his scent. She lazily pressed kisses to the man's sternum, her mouth curving slightly into a soft smile again. By the time Ebenezer had enclosed his arms around her again, Bess was already slipping off to Dreamland to rejoin him. But even as she did, in the back of her mind was the voice she could have sworn she'd heard, whispering great regrets, but also great praises in equal measure. And, somehow, that made her feel even warmer and more content than ever before.

Taglist: @luvreadingfics @amazingassash @beascrooge @themostanonymousscribbler @b4bynikii @sparklesphobia @christmasgaybusinessmen @tenodai @girlbosseveyhammond @witchypandamonium @purgratoriat @neonshoe @orangewierdo @mirthadra @the-enchanted-rose @simp2537 @pandora-native-ayatei @youngsongnerd @skyvstheworldsince1996 @crimson-phantom-designs @cila-17 @ry-ichi1 @artist-anon08 @alittlebitbethany @crowwritesthings @hyerizz @crowbones13 @rom-e-o @softmullet @cheesethegodfather @the-house-of-auditore-frye @thephantomofzaun @littlethief78 @oldmanlusting

[londonplatformroofing]

Roofline Replacement London At London Platforms Roofing, we have the necessary skills and experience to take care of all of your roofing maintenance and repair needs. This includes roofline replacement, which relates to the fascia, soffits, cladding or bargeboards which sit directly below the roof and eaves of many homes across the United Kingdom.

[sprayfoamremovals]

Are you on the lookout for a low-cost roof repair solution from a local tradesman who provides top-notch results in South East London? Well, you found us!