It is homier and more bohemian than the house in Norfolk.
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But the familiarity makes it homier, a regular place to take a break.
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The couple bought things to make the van homier and more comfortable: a fruit basket, a travel bidet.
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What are some ways to make that area feel homier and more private for people who are staying over?
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It's fun and colorful, a special-effects extravaganza that somehow feels friendlier and homier than most films of its ilk.
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There is more space between tables, and sturdy, armless wooden chairs that the company said will lend a homier feel.
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Returning to some of the same places each time you visit will turn you into a local, and there's nothing homier than that.
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Winter weather is hitting the U.S. hard right now, and nothing is homier on a "shit, it's cold" kind of night than a shepherd's pie.
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The revelations that follow are dense with images of dragons, ocelots and creatures called "half-wolves," as well as homier evocations of everyday family life.
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The two continued their dedication by opening a separate facility, called Lily's Place, to provide a homier environment for babies exposed to drug use before birth.
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Set aside extra money for a fresh coat of paint, a new kitchen backsplash or a new sofa to make the place a little homier. PAPERWORK.
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For a homier stay, try Alpine Village Inn, a motel-style guesthouse with a well-tended garden that's a short walk from the main drag in Blowing Rock.
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Once the architectural details were in place, the Channel Zero actress was able to integrate a few homier touches, with her essentials, including flowers, candles and coffee table books.
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But it's Yip's clever use of layered patterns — a frightening tactic for many home decorators — that pulls the space together and makes it much homier than a hotel room.
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Further north, Brooklyn — quickly becoming one of the most expensive places in the U.S. to live — offers a "homier" environment than Manhattan, and all the offerings most residents need.
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This hand-poured soy candle — with notes of pine, orange, cinnamon, cypress, and fir — is just what they need to make their home feel even homier this holiday season.
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But there's a homier side to the person New York magazine called "Silicon Valley's most feared and well-liked journalist": Swisher has been buying and renovating houses since she was a teenager.
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" The apartment's homier, more down-to-earth touches have come courtesy of Ms. Lloyd Webber's mother, Sarah Hugill: the large bouquet of silk flowers on the dining room table — "Aren't they amazing?
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Facebook's pulling back from the news — which necessarily depends on conflict — and elevation of homier material may bolster the company's attempt to enter China, where it has been met with stiff resistance.
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But in exchange, amateur singers have access to a homier and more refined space than say, a sticky-floored private room or a tiny, harshly lit (and quite public) platform stage in a dive bar.
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As restaurant desserts have become simpler and homier — olive-oil cake, anything with chocolate — once plainspoken baked goods have turned rococo, offering an aura of luxury, enhanced by how difficult they are to procure before selling out each morning.
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He is probably the closest heir we have to Geri Allen — the first postmodern piano master in jazz, who died last year at 60 — and a homier counterpart to the pianist Jason Moran, a MacArthur fellow and leading figure in improvised music.
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Restaurant Robuchon, which opened in 1994 on the Avenue Raymond-Poincaré, elevated him even further, with a homier, more robust style of cooking reflected in dishes like pot-au-feu of cured pork with buttered cabbage and truffles and roasted pigeon with potatoes fried in duck fat.
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After a year of testing smaller, homier stores as part of a pop-up program called "In Residence," it is scheduled to open a new permanent space (the company prefers not to call it a "store") at No. 5 Carlos Place in Mayfair in the spring.
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If the post-recession farm-to-table craze of the last decade brought a return to homier desserts — particularly at bakeries like Christina Tosi's Milk Bar (there are now 15 across North America), where layer cakes and pies are built as much from whimsy as sugar — it also introduced rising labor and operating costs that have made restaurants' margins, punishing in the best of times, even less accommodating to the pastry chef.
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Apple MacBook Pro (323-inch, 512GB) Chromebook 5190 2-in-1 laptop Apple AirPods with wireless charging case Bose QuietComfort 35 II wireless noise-canceling headphones Tile Mate four pack Echo Dot (3rd Gen) Fitbit Versa Lite Edition Apple iPad Pro (11-inch, WiFi, 64GB) Latitude 3500 15-inch laptop Wireless keyboard and mouse Fujifilm Instax Mini 9 instant camera Kindle Oasis e-reader TCL 32-Inch Roku smart TV Sony 10-inch digital paper Portable Charger A dorm room really can't compare to the comfort of your room at your parents's house, but there are some essentials you can get to make it feel a little homier.
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Joseph-Arthur Homier (born Montreal, 1875–died Montreal, 1934) was the first director of feature-length films in Quebec. A renowned professional photographer and amateur playwright, in 1922 Homier directed Oh! Oh! Jean, a slapstick comedy about a servant who courts a widow.
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Homier died in 1934, and Gendron married Allan Robert Green in 1939. Emma Gendron died in Montréal, Quebec, in 1952 of an asthma attack.
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As with his earlier efforts, the film was well received but generated little profit because of its limited distribution in Quebec. As a result, Homier abandoned cinema and devoted himself to photography.
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Shortly after writing Namounah, Gendron met Joseph-Arthur Homier, who was making newsreel films about Montréal at the time. Gendron’s first screenwriting credit was for Homier’s feature-length film, Madeleine de Verchères (1922), a book adaption based on the tale of Quebecois heroine, Madeleine de Verchères. The film was successful in Canadian box offices, which led Gendron and Homier to release another film, La drogue fatale (1924). La drogue fatale (1924) failed to reach Anglophone-Canadian audiences and was not nearly as successful as Madeleine de Verchères (1922).
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The film's success enabled Homier to found the Le Bon Cinéma National company, which in 1922 produced his next film, Madeleine de Verchères, an epic historical drama written by his 18-year-old collaborator Emma Gendron, a Montréal journalist. Filmed in Kahnawake, the film tells the story of the celebrated 17th century Quebec heroine, Madeleine de Verchères. Homier changed the name of his company to Le Cinéma Canadien, set up a studio in Montreal, and, working again with Gendron, made La drogue fatale (1923), a drama about the social harm caused by drugs. Although he made English and French versions of this film, he was not able to cover his expenses.
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In 1852, he married Léocadie Homier. He was defeated when he ran for reelection to the assembly in 1863. He died in L'Assomption at the age of 50. His brother Pierre-Urgel Archambault also served in the assembly and was a member of the Canadian House of Commons.
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After La drogue fatale (1924), Homier and Gendron began work on another film, Les fils de la liberté. The film was to recall the Lower Canada Rebellion against the British Empire in 1837-1838, but was never pushed to production, likely because of the lack of success of La drogue fatale.
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He was defeated in 1858 and returned to the practice of law. He married Sophie, the daughter of Jean-Baptiste Homier, a member of the municipal council, in 1857. In 1858, he became counsel for the town of Montreal. He died of cancer at L'Assomption in 1862 and was buried at Montreal.
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The show is directly based on the format used in similar television programs: the American Inside the Actors Studio and the French Les feux de la rampe, in that each episode features a cinema or theatre actor answering questions from the host, René Homier-Roy, and, at the end of the show, from members of the audience.
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A war memorial was designed by Mark Homier and is situated in front of the courthouse and lists the names of Defiance County soldiers from World War I, World War II, the Korean War, the Vietnam War, and the Global War on Terror. The memorial depicts a grieving soldier and a nurse in the center of two gently sloping wings. The memorial also contains an eternal flame in honor of those who gave all for their country.
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Those were mostly documentaries, some of which were made by priests (Albert Tessier) and civil servants (Herménégilde Lavoie). Joseph-Arthur Homier is considered the first director of feature-length films in Quebec, and his 1922 production, Madeleine de Verchères, was based on the life of the 17th-century Quebec heroine, Madeleine de Verchères. In the 1940s and 1950s, the first commercial attempts at cinema happened. Two production houses were at the origins of all the movies of this period: Renaissance Films and Québec Productions.
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Gendron was born in the small Canadian village of Saint- Barnabé, Quebec, Canada in 1895. She was educated through a convent prior to starting work as a secretary at 13-years-old. In her early 20s, she moved to Montréal, Quebec, to study and later became a regular contributor to a number of local newspapers. During her career as a screenwriter in the 1920s and 1930s, she was rumoured to have been in a romantic relationship with film director Joseph-Arthur Homier, though he was married with children.
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Gendron’s first credited film, Madeleine de Verchères, was directed by Joseph-Arthur Homier and retold the story of a Quebec colony that was defended in 1692. Madeleine de Verchères was a 14-year-old historical heroine who was said to have saved the new colony from the Iroquois with the help of only a few settlers. The film was produced by the British American Film Manufacturing Company (BRIAM) and began production in 1912 near Montréal. During this time, many lost or forgotten Quebecois heroes were being brought back into the media.
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Shortly after the release of La drogue fatale (1924), Homier and Gendron began working on their third film, Les fils de las liberté, which was to be a tale of the Quebecois rebellion against the British in the late 1830s. However, this film was never taken to the production stage. After the release of La drogue fatale and end of her work on Les fils de las liberté, Gendron returned to journalism in Montréal. She became well-known for her advice column, Courrier de Manon, in which she wrote as her persona, Manon. The column was later gathered in La Revue de Manon, a women’s magazine and film digest.
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David then worked as a building contractor before joining a firm with Sévère Rivard, lawyer Gustave-Adolphe Drolet and architect Michel Laurent which specialized in real estate and house construction. He served on Montreal city council from 1861 to 1877; David served as chairman of the roads committee and ran unsuccessfully for the post of mayor. He was married twice: to Olive Boyer, dit Quintal in 1844 and to Sophie Homier, the widow of Joseph Papin, in 1868. David was involved in the temperance movement of the time. He also was vice-president of the Saint-Jean-Baptiste Society at Montreal, president of the Société de l’Union Saint-Joseph de Montréal and the Société de Colonisation de Montréal, and a director of the Montreal Northern Colonization Railway.
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From humble beginnings, the craft of rug-making in Scandinavia has blossomed into a complex art form with various outlets for craftspeople to explore. And though Rya rugs fell out of favor with the nobles of Scandinavia and were subsequently relegated to the domain of folk art, there was a massive explosion in the popularity of the traditional Rya rug in the middle years of the twentieth century – a phenomenon that continues on today. Ryas had been made with abstract, geometric designs for centuries, and had always been made with thick shaggy pile. This design style was particularly appealing to the modernist designers of mid-twentieth-century Europe and North America, who felt that shaggy, colorful carpets worked well to offset the harsher and colder design elements that dominated their own aesthetic: in a home with many straight lines, hard woods, and metals, the soft and colorful design style of Rya rugs gave a sense of warmth and color that often worked to create a homier house.
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