text:
Hospitals have a lot of rules. And delivery rooms have even more rules — because the staff there are responsible not only for their patients but also for the baby. While most of these rules exist for the sake of a woman and her little one, some of them don't make a lot of sense. And quite a few regulations can even disrupt the entire process, causing excessive stress to a woman.
However, we shouldn't feel discouraged and opt for home births or birth centers to avoid these rules. After all, hospitals are always the safest alternative because they'll have everything needed in case of an emergency. We just need to know what their rules are. Thusly armed, we'll be able to either get ready for them or find a way to disobey them.
For example, if we want to choose an alternative birth position, refuse cervical checks, or let our partner catch the baby, we need to discuss it all with the doctor beforehand and clearly state these requests in the birth plan. Then the delivery process will be much smoother and less stressful. Isn't it what every pregnant woman wants when it comes to planning for her labor?
So let's see what we should keep in mind before heading to the hospital to help little bundles out into the world!
Thinking about a woman giving birth, most of us imagine her lying on her back in a hospital bed with her legs spread apart. We consider it to be a traditional, if not the only one possible, position to give birth. But, in fact, nothing can be farther from the truth.
A woman can actually give birth in a variety of different positions. According to What to Expect, she can be standing, squatting, on all fours, kneeling over a chair, lying on her side, or even rocking on a chair! Unlike the more popular back-lying position, all these positions help the woman use the force of gravity to help her push the baby out of her womb.
Then why do women in labor keep on lying on their backs in hospitals? Because it's more convenient for the doctor – it allows getting a clear view and easy access to you-know-what. But if you feel uncomfortable and want to change your position, don't hesitate to do it, even if they say you can't.
In most hospitals, when a woman in labor arrives, the first thing they do is place an IV and fetal monitoring that, as they say, should be on during the entire process. There are certain advantages to it. For example, IV helps hydrate the woman, if she can't drink water during labor. Or, if an emergency situation arises, meds can be immediately entered through the IV tube. Meanwhile, a fetal monitor checks the baby's heart rate to ensure that everything's fine.
Of course, there's a lot of sense in all this, but there's also one huge disadvantage. Having all these tubes on her body, a woman can't move freely, which is likely to impede the delivery process. So feel free to ask the nurse not to place an IV and monitor, but be sure to do it in advance.
One of the many positions for delivering a baby is using a birthing ball. In fact, it makes the delivery process much easier, because it helps a woman sit or stand in various positions and maneuver her body in different ways. Besides, it relieves the pressure on her back and helps ensure the strong flow to the uterus.
Despite all these advantages, some hospitals won't allow a mom to use a birthing ball. First of all, they don't want all these cords and wires from IV and fetal monitor to become tangled. Secondly, they still want the woman to be on her bed. And thirdly, they don't even have a ball to provide the woman with.
Water birth is becoming more popular these days. According to some studies, it has quite a few benefits, such as helping the mom to relax and move more freely, improving circulation to the uterus, and reducing the chance of tearing. However, since the results of these studies aren't 100% clear, many hospitals still don't allow women to have a water birth. Even if they do, they will ask the woman to go out of the tub at the second stage of labor, when her cervix is completely dilated.
As the College of Obstetricians and Gynecologists puts it, "a water birth during the first stage of labor may have some benefits but delivering your baby underwater should be considered an experimental procedure with risks."
VBAC stands for "vaginal birth after C-section". Most hospitals consider it to be a too risky thing and don't allow women to do it. In some way, they are right, because VBAC carries a risk of rupture of the scar left after the previous C-section. It may create serious issues both for the mother and her baby.
As Self mentions, "Once a C-section, always a C-section" is still a standard recommendation for most hospitals. So if you want to do otherwise and want to have a VBAC, you need to talk your chances over in advance and see if your doctor is willing to arrange it for you, or not.
A breech baby means that the baby in the womb is not positioned head down, which is a preferred position for vaginal labor. According to Mama Natural, the woman who has a breech baby will most likely need to have C-section. Doctors resort to this solution in 80% of the cases.
It's quite easy to understand why breech birth is a risky procedure - it carries quite a few challenges with it. But, at the same time, C-section is also not the safest surgery ever. Besides, there have been cases, when a breech baby would turn to the correct position during natural labor and come out just fine. So be sure to discuss this situation with your doctor beforehand.
According to WebMD, on average first-time labor should last 12-18 hours (the second one can be quicker). If it lasts for more than 18 or 20 hours, it's called prolonged labor. In many cases, when it happens and nothing else helps, the woman will require a C-section.
It's easy to understand why doctors want to speed up the delivery process. After all, they are also people and they get tired from standing next to you for hours. They want to have a nap or just go home and have dinner. It's completely understandable.
However, forcing a C-section isn't the best thing to do, if a woman doesn't want it.
On the one hand, the delivery process can be too long, but on the other hand, it can be too fast. At times, the baby starts coming out even before the doctor arrives. What to do in this case? Let nature do its thing? Not if you're in a hospital...
Many hospitals will still want the delivery to actually begin only when the doctor is there to control the process. Therefore, you might need to wait and pray for your doctor to come sooner. It won't usually take long, because the doctor is usually somewhere around, but you should keep this in mind, just in case you have a quicker delivery than expected.
According to a common hospital policy described in Glamour, doctors don't need a mother's permission to give C-sections in case they believe there's "reasonable possibility of significant benefit" for the fetus that "outweigh[s] the possible risks to the woman."
On the one hand, they have a right to do it, because they see the situation from the medical point of view and can assess all the risks. But on the other hand, it's still not good to force a C-section, in case a woman clearly states that she doesn't want it. It may create excessive stress and even lead to health issues and postpartum depression.
Besides, a patient's opinion should always be respected, shouldn't it?
Usually, in hospitals, the umbilical cord is clamped right after the baby comes out of the womb. Somehow, it became a norm and doctors still do it, especially after a C-section, when they want to immediately proceed with sewing up the mom's incision.
However, the newest research proves that we should get back to an older practice — to delayed cord clamping. In fact, if the cord is allowed to pulsate before it's cut, the baby gets more iron and more oxygen through it, which helps it become healthier later in life.
According to Mama Natural, the WHO recommends waiting for at least 1 minute to clamp the cord. So if your doctor doesn't know about it, let them know in advance. Or find the doctor, who knows this fact.
Since a long time ago, there has been an opinion that a woman shouldn't eat or drink during labor, because it can lead to certain health issues. Most of the hospitals still follow this point of view and don't allow any food or even water in a delivery room.
Nevertheless, according to the most recent studies described in Very Well Family, restricting food during delivery is not a good idea. In fact, it can cause more stress to a woman, as well as lead to dehydration.
So if your hospital is one of those that share the outdated point of view on this matter, don't hesitate to share the recent findings with them. But, of course, do it in advance, because it's unlikely that you can talk about it during contractions.
Most often, a woman needs a midwife (or a doula), when she wants to give birth at home or at a birth center. But sometimes it happens that she has certain complications in the process and needs to be admitted to a hospital. Unfortunately, in most cases it means that this woman will have to continue the delivery process with a hospital doctor because her midwife won't be allowed in.
It's easy to understand why it happens - hospital workers don't want any competition. They want to just do their job. So in case you have a midwife and want to make sure she can be with you during the entire process, talk it over way in advance.
Labor is painful, and everyone knows it. So it's not surprising that many women plan to have an epidural injection. Some of them have very strong and painful contractions from the very beginning and they feel like they can't stand it. However, hospital staff won't allow them to get an injection too early, even when it seems to be too much to handle.
According to Baby Center, an epidural can be given only when the woman is 4 to 5 centimeters dilated. If done before then, it can impede the labor process and slow down the contractions. It's quite a clear rule and most hospitals follow it.
However, sometimes hospital staff can refuse from giving an epidural injection at all. It might happen if the woman has been taking specific meds or if she has certain health issues. Besides, Very Well Family warns that an epidural can be refused if the mom is fully dilated, which means that she's 10 centimeters open.
So in either case, it's likely that the woman will have to handle the delivery process by herself and withstand all the pain that comes her way. Even though it might seem to be too much, it's a natural process and it's actually possible to handle it. It's not going to last forever, after all.
In most hospitals, a woman in labor isn't allowed to get up from her bed and have a walk or at least stretch her back muscles. There are a few reasons to it. First of all, as we've discussed in one of the previous entries, most hospitals will get you hooked up to IV and fetal monitoring right after you arrive. It makes it hard to move around with all these wires attached to your body. Besides, they can get tangled and you certainly don't want it to happen.
If a woman is given an epidural injection, she has another reason to stay in bed. If she gets up, she can feel dizzy, so it's safer to just lie down.
Sure, there are tons of birth photos all over the Internet these days. It seems that every other pregnant woman wants her delivery process to be documented on photo and video to then share it on her social media or at least show it to her family and friends.
However, even though it seems that you can just take a photographer to the delivery room with you, sometimes you can't. The thing is, many hospitals restrict birth photography - they either don't allow it at all or ask not to make any photos during certain parts of the process.
So if you want birth photos, clear this question up beforehand.
During a cervical check, a nurse or a doctor checks how dilated the woman is to learn the labor progress. Even though it seems that it's done for a good cause, some women find these routine checks uncomfortable or even painful. But since hospital staff says it's a necessary procedure, they tend to deal with it.
However, it's not so necessary and you can actually refuse from getting cervical checks. In fact, there are other ways to check your progress. An experienced and attentive doctor can actually understand it even from the way you talk and move! Besides, cervical checks are not even that accurate in assessing the progress and predicting how long the labor will be.
So if you don't want these checks, speak up and refuse from them.
The benefits of taking a shower during labor are undoubted. According to Baby Med, the pressure of warm water spraying on a woman's back relaxes her muscles and eases the pain, which can benefit the labor progression.
Nevertheless, most hospitals won't allow you to have a shower during labor, simply because they don't want you to end up giving birth in there. And let me ask you, if you're in a hospital, would you really want to give birth in a shower? I guess not!
So what's the best thing to do then? Take a shower at home, right after your labor has started and only then head to the hospital.
This rule is quite logical and we should actually be happy that it exists. After all, would you really want to have a bunch of people in a delivery room, who wouldn't only make you feel embarrassed but also distract your doctor from the process?
The number of people who can be present during labor and delivery differs from one hospital to another, but most of them don't allow more than 3 persons in there. Parenting says that in case you need a C-section, only one person is allowed to stay and support you.
So think about it and decide beforehand who you want to be with you on this special day.
If your partner is the one you choose to be present during the delivery process, you should know that not all doctors will allow him to catch your baby, even if he really wants to do it.
The reason for it is simple - hospital staff doesn't want your partner to do something wrong and hurt the baby somehow. After all, they're responsible for you and your little one's health in the process and want everything to be fine.
So if your partner really (like, really) wants to do it, you should discuss it in advance and ask your doctor to teach him to catch the baby properly.
Sources: What to Expect, WebMD, Very Well Family, Self, Mama Natural, Parents, Glamour, Baby Center, Belly Belly, Baby Med


text:
Miss These Ways to Avoid Flare-ups While Grilling at Your Own Risk
You're cooking your chicken, all is great, and suddenly the grill flares up. Most people would panic at this point, try to douse it with water or something. Find out what really happens when you douse a grill flare-up with water and then learn how to avoid the flare-ups in the first place.
Arun Prabhu
Last Updated: Jul 21, 2017
Surprise fact number one- water is bad for containing grill flare-ups! To know why water isn't too effective on a grill flare-up, you need to know how it all happens. You get an uncontrolled flare-up if any fat comes in direct contact with the flame source. You get grease on the charcoal or the inside of the grill if:
- You accidentally slather too much grease on the meat. Some of it falls down onto the source.
- Grease collects on the lower surface as the grill gets older. It eventually catches fire when you use the grill.
How to Prevent Flare-ups While Grilling?
Putting Out a Flare-up
Now, if you try to put this out with water, it will just sizzle off, mix with the fat and create more smoke, making the whole affair even messier.
If you try to spray water on it, the grease might start spreading out, getting thinner-layered. This will go out two ways; it will stop the fire at the moment, but you will get another flare-up eventually, or it will only make the fire much bigger with all that hot grease spreading around. You will, therefore, restrict yourself from using a spray bottle on a gas grill!
If you try to spray water on it, the grease might start spreading out, getting thinner-layered. This will go out two ways; it will stop the fire at the moment, but you will get another flare-up eventually, or it will only make the fire much bigger with all that hot grease spreading around. You will, therefore, restrict yourself from using a spray bottle on a gas grill!
The right way to put out a grill fire is to get it under control. The best way to do it is to get your meat out from the place where the grill caught fire and shut the lid on the grill. That way, you'll cut off the oxygen to the flame and it will stop burning. If you're using a gas grill, turn off the gas from the cylinder itself. Always make sure that no vent stays open when you close the lid on the flame.
If the fire is caused by fat dripping on to the flames, cut down on the fat. I know, the fat is what makes the meat taste better. I'm just saying lower the fat content outside the meat, cut off all excess fat on the outside the meat. With a little experience, you will successfully be able to get rid of extra fat without making the cooked meat too dry.
Make sure your grill is clean whenever you want to use it. Clean up all the older grease that's dried up on the inside of the grill. A clean surface ensures no more flare-ups. This needs to be done regularly because even if you take precautions against the fat reaching the fire, you will still spill some anyway. Cleaning your grill works in two ways; you avoid future fires and your chicken won't taste like beef! Cleaning off the older fat ensures you don't get that taste on the current meat you're cooking.
Another way to avoid a potential flare-up is to push the coal (before you start the grill up) onto one side of the grill and placing a pan on the other side. Cook your meat over the pan, so any excess fat that melts away from the meat falls into the pan and not the coal. You can also arrange the coal around the pan or on either of two sides of the pan.
If you're grilling chicken on a broiler rack, don't line it with aluminum foil. Although it may protect the rack from burns, what happens is the fat that leaks off the chicken collects onto the foil folds. This will cause a flare-up once the foil reaches a hot enough temperature or accidentally drops off into the flames.
And there you have it, a fail-safe checklist of making sure you don't get a flare-up when you least expect it to happen. Always remember that you're playing with fire here and it pays to know how to use it right.

subset: commoncrawl


text:
Iran Armed Forces Pay Tribute to Doomed Tanker Crew
TEHRAN (Press Shia Agency) – Chief of Staff of the Iranian Armed Forces, the Army, and the Islamic Revolution Guards Corps expressed condolences over the loss of Iranian crew on board the Sanchi oil tanker, which sank on Sunday after burning for eight days off the coasts of China.
In a message on Monday morning, Chief of Staff of the Iranian Armed Forces Major General Mohammad Hossein Baqeri expressed deep sympathy for the crew of the Iranian oil tanker that went under water following a raging inferno caused by a crash with a Chinese freighter on January 6.
He also praised the crew for devoting their lives to service for the homeland and to the country's progress.
In separate messages, the Islamic Revolution Guards Corps (IRGC) and the Army offered condolences for the tragic incident, saying the lonely death of the crew in the faraway waters shows the extent of their devotion.
Sanchi, with 32 people on board, including 30 Iranians, collided with a Chinese freight ship in the East China Sea on January 6 and had been burning ever since.
The Panama-registered tanker was carrying 136,000 tons of condensate, an ultra-light crude that is highly flammable, to South Korea.
It sank on January 14 after the spread of fire to new oil condensate tanks created blazes as high as 100 meters and increased temperature to 350 degrees Celsius (660 degrees Fahrenheit).


text:
Laura Hoehn Of Counsel
Laura Hoehn represents nonprofit organizations and political committees on corporate, tax, and campaign finance matters. She works with a variety of clients, new and long-established, to provide practical solutions that manage legal risk and respond to legal threats, protecting her clients' interests while achieving their mission and goals. Laura has more than a decade of experience as General Counsel for a national nonprofit membership organization, and more than two decades of service in the nonprofit sector as a volunteer, senior manager, and attorney.
She counsels nonprofits at all stages, including formation, ongoing operations, amending governing documents, mergers, and dissolutions. Laura provides advice and training related to nonprofit governance duties and policies, and negotiates contracts for her clients with business vendors, as well as program partners. She also advises clients seeking to protect their name, logo, and other content, and works with clients to implement best practices regarding third-party content and effectively respond to libel and related threats to free speech activities.
Laura is located in Bozeman, Montana and can be reached directly at (406) 219-3511.
University of Oregon School of Law, J.D., Order of the Coif, 1997
Washington University in St. Louis, B.A., Phi Betta Kappa, 1998
Bar Admissions:
Prior Professional Experience:
Sierra Club, General Counsel
Earthjustice, Public interest attorney
Judicial Clerk to The Honorable Procter Hug, Jr., U.S. Court of Appeals for the Ninth Circuit


text:
PHILIPS Avent Classic+ Medium Flow Nipple - Pack of 2 : 3M+
The Philips Avent Newborn Flow Teat is an extra-soft silicone teat with one hole, ideal for newborn babies. Philips Avent teats make it easier to feed your baby, whether entirely by bottle or a combination of breast and bottle. The naturally shaped silicone teat allows your baby to control milk flow as it would when breastfeeding. This allows your baby to suckle almost as at the breast. As your baby feeds, the unique skirt on the Avent teat flexes to allow air into the bottle, rather than baby's tummy, preventing colic. The gentle whistling sound and watch the air bubbles burst on the surface of the milk. That's your guarantee that the air is being released into the bottle--not into your baby's tummy.
Brand - Avent
Type - Nipple
Material Type - Silicone
Age recommended - 3 months +
No. of pieces - 2
Style - Medium Flow
Easy latch on due to the unique valve on the teat
Clinically proven to significantly reduce fussing
Unique anti-colic system
BPA free teat
Different flow rate teats available
Compatible with Classic feeding bottle
Care & Warnings:-
Before each use, pull the nipple in all directions. If there are any signs of damage or weakness, please dispose. Never leave your infant unsupervised when bottle feeding.
Philips AVENT is a leader in parenting and baby products. The Philips AVENT product range includes breastfeeding, bottle feeding, toddler feeding, baby monitors and newborn gifts. AVENT has been designing and manufacturing products since 1984 that are inspired by nature and have been developed through extensive research and clinical trials. Now, as part of the Philips Group, the new Philips AVENT will continue to produce innovative solutions that make feeding and caring for your baby easier.
Prepared for DBABYHEAVEN2015 Made by ThemeGlobal - OpenCart Template Club
Prepared by Our Kiddy Shop. Tempahan Website Ecommerce. Hotline : 019-6431509


text:
Renee Alper
(1957 — July 27, 2015)
US filker and Tolkien fan who founded the Tolkien fanzine Annuminas, Minas Aeron (the Chicago local chapter of the Mythopoeic Society), and the American Hobbit Association. She basically ran all aspects of the American Hobbit Association for twelve years.
She won or placed in the OVFF Songwriting Contest twelve times and was nominated for two Pegasus Awards. She hosted Filkaholics Anonymous at her home in Mason, OH.
Awards, Honors and GoHships:
- 1993 — Musicon 2
|This is a biography page. Please extend it by adding more information about the person, such as fanzines and apazines published, awards, clubs, conventions worked on, GoHships, impact on fandom, external links, anecdotes, etc.
page revision: 6, last edited: 25 Nov 2018 13:21


text:
Worcestershire CBA has a Facebook page which may be of interest.
The 70th Midland Counties Congress is being held on the 3rd-5th January 2020. Click here for brochure.
1 Membership Requirements
To play in the following events entrants must be Player Members of the EBU and have primary allegiance with the WCBA:-
County Championship Knockout Teams
County Championship Pairs
County Championship Knockout Teams
County Championship Pairs
To play in the following events entrants must be Player Members of the EBU and either have primary allegiance with the WCBA or be dual members of the WCBA :-
Ladies/Men's Pairs
Mixed Pairs
Mixed Teams
Seniors & Veterans Pairs (Players must be at least 60 years old and must be at least 70 years old to qualify for the Veterans Trophy)
Open League
Ladies/Men's Pairs
Mixed Pairs
Mixed Teams
Seniors & Veterans Pairs (Players must be at least 60 years old and must be at least 70 years old to qualify for the Veterans Trophy)
Open League
To play in the following events entrants must be bona fide members of a Club affiliated to the WCBA :-
Garden Cities Qualifier (Ron Allen Cup)
Club Representative Pairs
Healey Cup (Teams are also invited from Clubs affiliated to the Herefordshire BA)
Garden Cities Qualifier (Ron Allen Cup)
Club Representative Pairs
Healey Cup (Teams are also invited from Clubs affiliated to the Herefordshire BA)
There are no membership requirements to play in the following events :-
Chairman's Cup (Must have learnt to play bridge within the previous 5 years.)
Irene Allen Non-Expert Swiss Pairs
No-Fear, Newcomers and Beginners League (However if a player is a member of the EBU then he/she must also be a member of the WCBA.)
Christmas Charity Swiss Teams
Chairman's Cup (Must have learnt to play bridge within the previous 5 years.)
Irene Allen Non-Expert Swiss Pairs
No-Fear, Newcomers and Beginners League (However if a player is a member of the EBU then he/she must also be a member of the WCBA.)
Christmas Charity Swiss Teams
2 Events
2.1 Healey Cup
This is a Inter-Club Swiss Teams competition for Clubs affiliated to either the WCBA or the HBA. There is no restriction on the number of teams that each affiliated Club can enter but all players must be bona fide members of the same affiliated club.
2.2 Mixed Teams
If practicable, this will be a single session, all-play-all, multiple teams event with one change of partner. Each team of four must contain at least one man and at least one woman. In the case of 11 and 12 teams this will involve a mixture of 2 & 3 board matches. Specifically for 11 teams 3 boards will be put out on each table and 4 3-board matches played and then the 3rd board in each set will be removed and 6 2-board matches played. For 12 teams a Stagger movement will be used playing 6 2-board matches and 5 3-board matches.
If there are more than 15 teams then the field will be split into two sections played as above. The winners will then play a private 24-board match with captains tossing a coin for the choice of venue. The home team must offer three dates to the away team with at least two alternative days of the week being offered. The final shall be over 24 boards. Captains must toss a coin before the start of the match and the winning captain can choose whether to have choice of opponents for the first or second set of boards. Substitutes will only be allowed in exceptional circumstances by prior approval of one of the following :- Chief Tournament Director, Chairman, Secretary who is not an interested party. Substitutes may not already have played for another team in the competition.
2.3 Irene Allen Swiss Pairs
Open to players whose rank is below Regional Master in the EBU system of rankings who also have no more than 25,000 Masterpoints. Non-members or lapsed members (providing they confirm to the above proviso) from this and neighbouring Counties are also permitted to enter. At the end of each Master Points year (31st December) the EBU produces a set of current rankings and the most recent such list is used to define a player's rank.
2.4 Phillipps Competition
Some County Nights throughout the year are identified as qualifying events for the Phillipps competition. Pairs are ranked by calculating the average percentage of their best 8 scores during the qualifying season. The pair with the highest score wins the Phillipps Qualifier Cup. There are also prizes for the pairs with the highest average of their best 4 results in heats 4-9 & 10-15 this year.
2.5 Master Point Competition
The Wormald Cup is awarded to the player who earns the most Master Points at Monday evening events from the beginning of May until the end of April. Only Master Points issued by the WCBA count towards this, so for Simultaneous Pairs events any National awards are not included.
2.6 County Championship Knockout Teams
Teams can consist of up to six players, if additional players are added to a team at a later stage they must be full members of the WCBA before they play and they must not have played for any other team in this year's competition.
There is no qualifying event for this competition.
A random draw will be made with the finalists from the previous year being seeded; they will be placed in opposite halves of the draw and they will also benefit from any first round byes that may be required. If more than 12 teams enter then the losing semi-finalists will also have seeding rights meaning that they will not play another seed in the first round and may also benefit from first round byes.
Each captain shall be sent a copy of the draw together with dates that matches must be played by and other regulations. The first named team in each match is the home team who must organise the venue, which must be within Worcestershire. The home team shall offer the away team four dates, at least two alternative days of the week must be offered and the dates must include one Saturday or Sunday. For the semi-finals if teams have qualified without having to play a quarter final match the the first named team is the home team. Otherwise if both teams were the home team or both teams were the away team in their quarter-finals then they will toss to decide who is the home team. If one team was the home team and one was the away team in their quarter-finals then they shall swap so that the team that was the away team for their quarter-final will become the home team for the semi-final. For the final the two Captains will toss to decide who is the home team with the Captain winning the toss having the choice of home or away.
Each match shall consist of 32 boards unless the captains both agree to reduce the number of boards to 28 or 24. The final shall be 48 boards or 32 by agreement. The boards are to be played in four equal sets, six sets in the final, with scoring after each set. Seating rights shall be decided by the toss of a coin, with the options of having choice of opponents in either odd numbered sets or the even numbered sets.
In the case of one team arriving late, the match is to be reduced by two boards for each completed 15 minutes delay with the non-offending side being awarded three IMPs per board lost. The match commences with a short set. After one hour of unnotified late arrival or two hours of notified late arrival the match is awarded to the non-offending side. If both teams are late then the match shall be curtailed according to the time of the latest arrival but the difference in arrival times shall be used to calculate any penalty.
In the event of a tie after the agreed number of boards, four further boards will be played. if there is still a tie, further sets of four boards will be played until a result is achieved.
There will be a Plate Competition for teams who lose their first match. Early matches in the Plate Competition should be of 24 boards and the Plate Final should be 32 boards or 24 by agreement.
2.7 County Championship Pairs
This is played as a 2-session event. If practical it will be all-play-all otherwise pairs will play as many other pairs as possible. There is a prize for the pair who rises the most places in the 2nd session and does not finish in the top 3 places.
The top 3 pairs in the Championship Pairs Final qualify to play in the Corwen Trophy. If any of these pairs are unable to play then substitutes are allowed and are invited on a next-in-line basis provided that they scored more than 50% in the Championship Pairs Final. The highest placed 4 pairs who do not play in the Corwen are invited to play in the Edgar Foster Cups. If any of these pairs are unable to play then substitutes are invited in order of their position provided that they scored at least 50%. In the event that 4 pairs cannot be found who are available to play in the Edgar Foster Cups from the Championship Pairs finalists then the selectors can invite any other pairs to make up the numbers.
2.8 Pairs Ladder
There will be two divisions. The First Division will be made up to a 5 table full Howell movement of 3 boards per round, provided that the Second Division contains at least 5 tables.
If the Second Division would consist of less than 5 tables then it will be merged with the First Division. A Howell movement will be played whenever possible to ensure that participants play against as many oppenents as possible and their will be a random draw for seating positions.
Pairs will be required to be seated by 7.15 p.m. otherwise their status will be lost if the director has already promoted another pair into their place.
Each division will be scored separately using average cross-imps and then the total IMP scores for each pair converted to victory points using the appropriate scale from the table below. Non-integer scores will be rounded to nearest whole number of IMPs with fractions of precisely 1/2 being rounded up.
There will be no automatic promotion or demotion each month, instead the event will be run strictly on a ladder basis using each pair's average score in the event to determine their position, as long as they have played at least twice. Specifically the average of up to the last 4 scores for each pair is used to calculate their average but only scores from the previous 10 events are included in this calculation. If pairs have only played once in the previous 10 events their average is deemed to be 0. The top 10 pairs play in Division 1 and the remainder play in Division 2. If there is a tie for 10th place then it is split in favour of the pair who has played the highest number of events in the current season or if there is still a tie the pair with the highest best score.
If new pairs are formed during the season then until they have played together twice their position in the ladder will be the lower of their average scores with their regular partners, this being 0 if they have not played before. Thus if two County players participate in mid-season they are likely to play in Division 1 but two new players will play in Division 2.
The overall winners will be determined using the total of each pair's best n results where n is half the number of qualifying heats plus 1, rounded down.
Victory Points Scales
2.9 League
Regulations for this competition are issued separately to all teams by the League Sub Committee.
2.10 Grand Prix Teams
This is a multiple teams competition with 7 heats held over the year. The IMPs total of each Team is converted to VPs using the standard EBU scale for 24 board matches (see below). Teams must consist of between 4 & 6 players but can use as many substitutes as they need. Those players who were selected for or played for the County in the Tollemache Cup in the previous year are defined as Tollemache Players. They can be members of teams but at most 2 Tollemache Players are allowed to represent a team in any particular heat. At least 2 members of a Team must be present for the score to count. A team's final score is the sum of their best 5 results and if they play in more than 5 heats they can drop their worst scores. In the event of a tie at the end of the event the team scoring highest in the last event will win. If there is still a tie then the head to head score in the last event and then the head to head over whole event will be used to split the tie.
2.11 Garden Cities Qualifier
This is a teams-of-8 competition for Clubs affiliated to the WCBA. There is no restriction on the number of teams that each Affiliated Club can enter but all players must be bona fide members of that Club and satisfy the EBU requirements for representing their Club. The winning team will be awarded the Ron Allen Cup and be entitled to represent Worcestershire in the Regional Final of the Garden Cities Competition. Substitutes are allowed to play in both the Regional & National Finals although such players cannot have represented a different Club in the qualifying event. Substitutes from other teams who represented the same Club in the qualifying are allowed.
3 General Regulation
3.1 Splitting of Ties
Ties are only split to :-
1. Determine winners of trophy events.
2. Determine qualifiers for trophy events.
1. Determine winners of trophy events.
2. Determine qualifiers for trophy events.
Ties are split broadly in line with EBU guidelines; note however that special conditions in 2.6 (Closed teams), 2.9 (Pairs Ladder) and 2.10 (GP teams) prevail over this general principle.
3.2 VP Scales
Recommended EBU victory point scales are to be used in all competitions apart from the League, which has its own scales. Where matches consist of less than 5 boards straight IMP scoring will be used.
3.3 Protest Times
Monday Evening Competitions - The results will be posted on the notice board at the next Monday meeting. Players shall then have until 9.00pm on that evening to notify any errors in the results to the scorer, Chief Tournament Director or Director in charge.
Saturday/Sunday Competitions - Results will be announced as soon as possible after the end of play. These results are provisional only. Players then have until 9.00pm on the Monday meeting immediately following the competition to notify any errors in the results.
Errors in the result shall be notified to the TD of the competition, or if not available, the Chief TD of WCBA. If neither are available then to the following in order: Secretary, Chairman, Vice Chairman and Committee member. If no errors are notified within the protest time stated, the results will stand and no corrections will be permitted.
3.4 Scoring
All pairs events will be scored in accordance with EBU regulations, in particular, all boards will be factored to a common top.
3.5 Licensing
In the majority of competitions level 4 systems and conventions are permitted.
In the Chairman's Cup only Level 2 systems and conventions may be played.
The Worcestershire League Regulations define the licensing level for each section.


text:
Last January I received a call from a potential customer requesting a new patio. As we met, he started describing an amazing outdoor space his friend has. He didn't want anything as elaborate but he would like a built-in grill, a fire pit and a screened in gazebo to escape the mosquitos. What I thought to be a simple patio became a very special and fun project that has turned into one of my career favorites. My customer has gained an outdoor space they will enjoy for many years.
The project flowed as most do. I measured the property doing a complete site analysis. Then, I developed a contour plan showing all the existing grading information. Through this it became apparent that although the yard was large, 2+ acres, the area I had to work with was cut off by a swale that drained water around the house. Once you crossed the swale, there was a hill that climbed a seven or so feet before leveling off.
The challenge became, how do I meet the goals:
- Create an outdoor kitchen.
- Provide a patio with an eating area and a fire pit.
- Develop a screened-in porch.
- Disrupting water flow.
- Without getting the patio or gazebo too far from the house that it became too inconvenient to use.
Before Picture:
After Picture:
I was able to design a very nice space (as seen above) with all the customer's request except the screen porch. I recommended a mosquito abatement system called the Nutone Haven mosquito repellant fixture. This caused some leeriness from my customer to give up the screen porch, but they did. In the end, it completely paid off, they were very happy with end project and it is mosquito free.
The final design included a built-in grill along with outdoor cabinets by NatureKast™. We built walls to define and support the structure using cut natural stone. The back wall is built taller acting as a backsplash and providing the ability for raised bar seating. The counter tops are Tahoe Suede granite.
This project is located just outside of Madison, Wisconsin so it is not used in the winter. A specific request by the customer was to avoid amenities requiring winter maintenance such as a refrigerator or a sink. One of the NatureKast™ cabinets houses a Yeti cooler so that food or drinks can stay cold outside avoiding the cost and maintenance of a refrigerator.
The grill is a Weber Summit S-670 built in natural gas. It is set into the natural cut stone wall. The wall provides a 24" combustible free material surround per the manufacturers specification.The stone was set with spaces to allow venting, again per manufacturer's specification, to allow the release of natural gas if a leak develops.
The paving is all manufactured by Unilock. In the kitchen area we used Artline with an IL Campo finish. In order to avoid awkward elevation changes to provide for drainage and to maintain level lines along the cabinet structure and the deck steps, we set the Artline with space between the pavers to allow for permeability. We used Unilock's Easy Pro permeable polymeric sand in the joints.
The remaining patio spaces are paved with Bristol Valley pavers with a soldier course of IL Campo to create continuity with the IL Campo finished Artline in the kitchen area.The fire pit has a 24" band of Courtstone pavers to provide a "warning track" around it.
There is large pergola, which covers the outdoor kitchen area and extends to cover the outdoor eating area. In order for the pergola to be long enough to cover both the kitchen and eating area, a wooden detail was designed to serve as a connector of the two supporting beams. The pergola is nearly 30 feet long requiring 6 posts (2 in the center). For an added festive touch, we added LED bistro lights that drape across the beams.
One of the biggest design challenges was the "snow ball" effect of minor changes to the layout. For every small change in the kitchen, the pergola had to shrink or stretch to so the center pergola posts would land in the raised bar counter. The center pergola posts not only support the pergola but also the cantilivered raised bar counter.
The fire pit area extended out far enough that we needed to reroute the swale. The area is defined by a seating wall constructed by the same cut natural stone used to build the kitchen. The wall is 18" tall on the patio side but 30" tall on the swale side so it along with natural stone outcroppings function as retaining wall as well. The fire pit is natural gas using an insert by Fire Gear and capped using English Mitered Autumn Sky Stone. The paving immediately around the fire pit is Unilock Courtstone.
To create different textures in the various walls, we set each wall a little differently. The seating/retaining wall was set with the stone ends split providing a subtle textural change. The stones on the columns at the end of each wall have cut ends so the stones fit tightly together making a much more refined look. The stone in the kitchen is also set with cut ends to duplicate the refinement. The fire pit stone is set with the natural stone ends and a slight space between. This was done to create rougher look with some additional shadowing but more importantly to provide venting in case of a gas leak.
The completed project is one of my career favorites for many reasons. First, the customers were special people. They stayed involved throughout the project. I saw them daily during the construction. They would even set coffee out for my crew daily and sometimes doughnuts too. I got to know them well. The design was challenging and had many elements that had to be brought together in a relatively small space. My employees did a tremendous job organizing and implementing the plans. We were able to meet our customer's goals with a high-quality project. What I enjoy most in my job is watching the transformation in a yard and witnessing my customer's realization of their project and knowing they will enjoy it for years to come.


text:
Our host Peggy Anne Salz catches up with Walter T. Geer III, a creative visionary well-known for transforming advertising through innovative ad creatives, to discuss how (and why) innovative approaches and formats that push the boundaries are also driving deeper customer connection. Walter holds six U.S Patents for digital ad formats and has a long track record implementing creative strategies for a variety of publishers and leading technology and media companies including Google, Viacom, and MySpace. He draws from his career learnings to offer actionable advice about what marketers need to understand and undertake in order to ignite consumer emotions and impact brand engagement.
Hello and welcome to Mobile Presence. I'm your host, Peggy Anne Salz, Content Marketing Strategist at Mobile Groove, where I plan, produce and promote content that allows my clients to reach their performance goals and scale growth. And I'm really excited, I'm not even going to say too much in advance, it's just we all know what's going on out there, we see the rise in ad blocking, I'm seeing research that says people are bored with their mobile ad creatives, so we're at a juncture in the industry where we have to look around for some new ideas and some new inspiration for how we reach and engage really audiences with compelling creatives.
So, today, I have Walter Geer the Third, he is, I would say, the man who literally wrote the book on mobile ad creatives with a twist, formerly VP and Creative Director at Verve, before that New York Times Digital, Google, Viacom, MTV – you name it, it's a long track record. Walt, I'm just happy to have you on the show to talk about how we're going to make mobile ad creatives, you know, great again, alright? It's great to have you on the show.
I'm really excited to be here so thank you for having me.
I want to dive into this because when I was reading over what you were actually doing in the industry, it's not that you're just thinking about mobile ad creatives but you've actually patented quite a few of them as well. Maybe you can just give me some background here – what are you bringing here in your career – was it you said one day, you know, everything in advertising needs a fresh look and you decided that was your mission, to set out and do that? What started you on this very interesting career path?
Thank you. So, I used to be a front-end developer for years and it was interesting because by the time I went to Viacom, that was the first time that I'd actually been able to sit within a sales organization and my job really at the end of the day was to figure out ways to drive incremental revenue. And it was interesting because when I looked at the space as a whole and I've been doing this for almost two decades now, at that time I realized that so many people in the advertising space were trying to throw crap at a wall and hope it sticks, right? They have big grand ideas for RP's and what not and while at that time, you know, 12/13 years ago, it was a lot easier to get a million dollar deal on something like a homepage takeover, you also had to make sure that you were selling to an idea that was going to work – not only invent it but something that could guarantee success for these advertisers.
So, what I started to do really was a different approach and my approach since then has always been that research and data really matter. So, when I started at MTV, I started by actually opening up a feasibility lab, but the type of feasibility lab was biometric. I don't know – are you familiar with biometric research at all?
Yes, well, yes, but our listeners, we have to be clear on that too, that's really where you're paying attention to the neuroscience of whether or not an audience is interested.
Exactly, 100%. So, what we were doing is essentially understanding the emotional state of the user when they engage and interact with something, and in my case, it was ad formats. So, you do this by, and it literally looks like someone is in the ICU, you have something in your hand, something stuck on your chest, your arms etc, and we were essentially tapping into the emotional state of a user by understanding things like heart rate, pupil dilation, arousal, which is sweat on the palms, eye tracking, facial expressions, whether they're leaning forward or leaning back, and to do this you can essentially tell what works based off colours, call to action, speed of animation, position on page. So, it allowed me to really create the perfect ad for consumers.
So that's really how this whole kind of thing really started.
And since then, it's interesting that you started in a very data-driven approach before we were really truly data-driven. Do you feel that you're sort of in your element now that we're thinking about data-driven marketing, we're thinking about programmatic, we're thinking about engagement targeting, retargeting, segmentation – now, you have to have creatives that don't just work but also deliver?
Yes, yes. I started there and I guess I didn't realize how important the research in the data is and now when we look at mobile devices, and the information that we can actually get from them, I mean, the mobile device is the most powerful advertising tool we have, like, ever been given, and truth be told, it really is an empty canvas but not a lot of people are truly innovating in smarter ways that will allow brands to communicate effectively with the people that matter.
So why do you think that is, Walt, you've been around for a long time, you have quite an impressive track record? Is it just that we were saying is it that syndrome of oh, new screen, let's do the same thing we did on old screen, just make it slightly different – so what worked in online, squeeze the banners, put them on a mobile phone, or that we just didn't get mobile because I think we're starting to understand now that mobile, mobile advertising is broke and we need to fix it, but what took so long?
Yes, I think you hit on a lot of things that are problems with the space and industry right now. For one, you're right, you're absolutely right – we have taken display formats and brought them down to the mobile device and treated them as if they were the same when they're so far from. For instance, 728 by 90, everyone knew, and they still use on display. In our mobile device, it's just a 320 by 50, same format, same exact position on the page – top of the page or the bottom of the page.
We look at, and this is something I say all the time, is the fact that comScore did a report almost nine years ago called "Natural Born Clickers" and they found that 8% of the internet audience was responsible for 87% of clicks which is why we saw the entire rich media industry move from things like a click to a roll-over. Yet when we look at a mobile device, every single mobile banner you see says "Tap", right? Which is why you're scrolling and scrolling and you accidentally tap on something and you open up these opportunities and that's bad for two people – one, the brand because I may not have wanted to see you in the first place, and two, the publisher now because I feel as though you're spamming me with something that I don't want.
So, yes, to your point, so many people, the majority of people, are trying to take them – advertising styles and formats from the display and bringing them down to the mobile device as if they're the same. Now, I think the way we correct that is by creating opportunities that are more cohesive with these devices, right? It's applying things like jesters – it's thinking of new approaches to creative native formats and solutions and ways for advertisers to communicate.
It is understanding things like location data, right, and the place that an individual has actually gone so that you can deliver something in a relevant moment or the right opportunity. So, it's really kind of now being able to advertise in a meaningful manner to a consumer means that a brand needs to truly know them, an individual, better than they know themselves.
So I agree on location, that's really a big part of it, but sort of like where you are is also a lot about who you are as well, and there are other types of data, you know, not just the ordinary demographics but getting creative in how you address, engage, target, whatever you want to call it, I don't want to use target too much, always make me think of a bullseye on someone's back, right? Consumers engage, consumers with advertising – what do you think is sort of like essential because some marketers can't do all of the above but is there like, you know, the absolute minimum viable product as far as mobile ad creatives are concerned?
Yes, so I would say that most people can do native advertising, there's a lot of different ways – like, if we went around a room of 10 people and asked what is native advertising to you, you'd probably get 10 different answers. Native advertising really at the end of the day is the ability to insert or inject an advertiser's content, and that could be a 300 by 250 in line with content on the page that you're reading.
So, I think native advertising is a really great opportunity right now – it's, I don't want to say simple, but it's a great way to actually allow a brand to get their message in front of a consumer and doing it by having relevant content, like contextually relevant content. So, if you're able to let's say if you're espn.com and then you're serving a Nike ad in an article for espn.com, that makes sense for a reader. So, I think at the very easiest level, contextual relevance is a big thing but when you're delivering your creative, the thing that's often missed is so many people aren't truly thinking about the types of format to deliver to an individual.
So, the 320 by 50, for example, is a banner that no-one looks at or you have those overlay ads, for a moment in time, will completely block all of your content and then you'll have your X button at the top right and we are conditioned to look top right and close, which is why we never remember those ads.
So, you know, it's about thinking about different types of formats other than those normal IB standard formats to really then garner more attention.
That's a great segway where I want to take you but I'm going to take you there after the break, Walt, is talking about those new creative formats and many of those which you have also patented but just a point to what you were bringing up there earlier brings to mind a piece of research not long ago that we also featured here on Mobile Presence which was about biometric research around what people do with their ads, and it was interesting to your point when you see this full screen, all singing, all dancing, complete takeover, the first thing you do is you want to find that X in the corner, you want to activate that because it actually activates the fight or flight part of your brain.
So, really, to your point, there's this thing going on where it's like I see this very annoying ad, I'm very annoyed and deep in your DNA, you really are and you have to get away from that, so that was just, for me, an interesting point that ads don't just annoy us maybe we think we're annoyed but in our bodies, in our brains, that's exactly what happens. I don't know if you heard about that research, Walt, but it really does underline what you're saying.
Yes, I agree, which is why I go to the point that, look, ads, there's such a negative connotation with the word "Ad", ads in general – no-one likes them. So my thing is my approach to designing these advertising experiences, they need to be experiences, right? Like, if you create an experience for a consumer, they will engage and they will spend time with your brand but creating an experience means you have to give them something in return for their time spent.
On that note, Walt, I do have to go to a break, I feel bad now because we're going to go to an ad – you say we don't like ads, we're going to go to one but no, we do give value here at Mobile Presence, we give you other content that might be interesting to you and send you that way, so don't go away, we'll be right back.
Welcome back to Mobile Presence. I'm your host, Peggy Anne Salz, with Mobile Groove and we have today, Walter T. Geer the Third, he was VP and Creative Director at Verve but overall, just a creative visionary about how to make ads that matter and move us. So, Walt, right before the break we were talking about how we have had to think about advertising before, how we've evolved our thinking and we haven't really pushed the boundaries, pushed the envelope yet and we have to think about different ways of doing it.
So, what would you propose, because you're also the brains behind quite a number of interesting formats that people might not know about?
Yes, so, it's true. I think that reinventing mobile advertising, again, it doesn't necessarily mean that we have to go back and reinvent the wheel, it's about really stopping for a minute, assessing what you're currently doing, where you might have gaps and then simply adjusting, right? So, take, for example, when I was at Verve, there was this creative format that we called the Canopy Arm Scroll. Now, again, to our point earlier, no-one looks at a 320 by 50 banner, they just don't.
There's something called banner blindness which essentially means when you're on your favorite apps or your favorite sites and you're reading your content and you know where ad formats are, you completely block them out, you stop looking at them entirely which is why when I present, I'll typically ask people, you know, in an audience, when was the last time you saw a mobile ad? Everyone put their hands up. I then ask them, do you remember the brand – keep your hands up if you can remember the name of that advertiser. 90% of the hands will drop. And then I say, OK, for the last 2 or 3 hands that are up, if that was your company or your client, put your hand down. And no-one's hand was up – it's because they just don't remember the ads.
So, this format that we did, what we essentially did was let's take the most standard banner format, the 320 by 50, and think of a different way to get someone to actually look at it. So what we did was, when a user actually scrolls up or scrolls down the page, only at that time will we animate that banner. That banner will have different elements that'll protrude out of that 320 by 50 space above it and so what happens is it will literally forward and rewind your creative across the screen.
So what we found happened from that is, when users were actually scrolling up and down, they actually start to look down because they realize as they scrolled, they're controlling the experience below. This unit ended up being one of the highest, most interactive units that we've had there for that simple point.
Then what we did was we measured that unit by quartiles, the same way you measure video which is 25%, 50% and 75% and 100% completion rates which allowed us to be smarter around the creative. So, I could go back to a brand and say, look, your animation in that creative is 20 seconds look – we found a significant drop off after 50% of that creative. Why don't we actually minimize that down to a 10-second piece of content and let's figure out the most impactful pieces of copy that you need to make sure that you're getting across to a consumer. So, really, doing simple and subtle things to really kind of reinvent this space.
What happens on the other end, Walt, where we're talking about measuring the results? I'm just wondering because maybe we have to think about that differently too. I was in a conversation the other day with someone at marketing at ABC News and he said before we used to think about push notifications, this is something different, not your type of ad creative, but he said, you know, we used to measure it in opens, right, and now, because push is being rich push and this, that and the other, and you can do more with it, we have to think about a different way to measure it. And, to your point, maybe we're not clicking on it the way we used to, we're interacting with it differently for different amounts of time, or other creatives that do something different, look like the app and aren't – are we also going to have to rethink how we measure the results?
I certainly think so, I definitely think so.
Have any thoughts on how that's going to happen? I would like to hear how we're going to have to, we're going to need to rethink it – what might our options be?
So, very similarly to what I was saying earlier with clicks, we saw in display, everyone moved from clicks as a call to action to rollovers, so then what happened is once you had rollovers, then there was about – OK, now we can do time spent, and so I think that similarly with mobile devices now, I think secondary actions are going to be really important but I think, more importantly, we as an industry need to think of smarter people, smarter ways to get someone to interact to open up these experiences.
So, for me, what I say is, well, let's start moving over to think like gestures, right, so I think what Snapchat did brilliantly was their kind of swipe experience. You're going through articles with different content and then it says Swipe Up, you swipe up and you have this ad experience in front of you and you continue swiping and then it's gone. But, that worked in their natural portable habitat, right in their space, because that's how they delivered content.
So, for someone like that, then of course things like interaction rates of secondary actions make sense but now with understanding location, we have the ability to also understand who are the people that we delivered an ad to and did we now see those people actually go into, let's say, a particular store?
So, attribution, there are so many different things we can actually do now with mobile and I consider a lot of it is still continuing to grow and, truth be told, I'm still trying to find out what's next as well.
I was going to do that, exactly, I was going to ask you that at the end of the show but now that you mention it, Walt, I mean, obviously we can't know what's next but you can have a feeling for sort of what's coming down the pipe because if you think about, again, Verve's most recent research, I was reading, very exciting, over half of the people who look at an ad are bored by it, which was translating into millions of ads not being seen… ad blocking, mobile ad blocking, you know, increasing – something's not quite right so what might be coming next to make that right?
That's a tough one. I mean, look, if we kind of step back for a second and say What's next as a whole in advertising? I think there's an easier answer to that and it's the conversation that everyone's been talking about which is AI. I think that eventually at some point, these mobile devices – I personally think, even right now, a mobile device, it's your hub – for me, it allows me to get into my house, it allows me to change my temperature, it allows me to, you know, do so many things.
I think that as we move forward, that mobile device will eventually at some point be gone and I have Alexa in almost every room of my house and now my 3.5-year-old daughter is coming into a room and turning on the music, Frozen or something of that nature, and turning on my light at 6am when she wants to because she can just sit up in the bed and say Hey, Alexa, turn on the bedroom lights.
I think the world as a whole is changing by AI and I think that we all need to get on the bandwagon very quickly to start ideating and innovating in terms of how does advertising work? Like, how do we get advertisers integrated into this speechless, this speech type of opportunity?
That's a great point because not too long ago, there was this discussion of OK, we've figured out SEO, we've figured out ASO, what do we do when it's a digital assistant of some type that we have to appeal to with our advertising so that we end up as part of the suite of possibilities it presents to the human user. No answers on that, really fascinating question. I'm just curious here before we go to a break, if you have some thoughts on that because it was hard enough engaging humans, we still haven't cracked that one, by the way, and now we have to think about, OK, now how do I become a skill that is going to be appealing, or how am I going to get my head around this? So, it's a completely different game but maybe you have some quick thoughts about how to approach it?
I think it's going to be, a lot of it's going to be about understanding my needs, right? So, Alexa and Google Home, those folks need to now understand on a very high level, like what are the things that I'm purchasing, what are the things that I like to do and being able to tell that to me at relevant moments. Know that hey, I typically buy whatever, milk every two weeks knowing that that date is coming up – maybe suggest Hey, just wanted to let you know there's a sale on this but boom if you say, X, Y, Z, we can actually have it delivered to you right now.
Right, so, I think over time it's about figuring out smarter ways to integrate advertising into your life through those experiences but, again, it really boils down to how can we use these technologies to understand everything about this individual so we can give them something that's truly relevant and only at that time, will you be able to take a brand and insert someone properly and effectively into your life.
And how does that fit in with native advertising, in a way, because you're talking about inserting a brand and brands are also having some difficulty inserting themselves properly in native advertising without it seeming, well, you know, a bit weird? At some level, it has to be valuable without being deceitful but at the same time, it is hidden in there. Do you have any views on how to approach that in a more open way but still effective?
Yes, so, personally I'll be 100% honest with you, I've never really been a fan of native advertising, I think that when native advertising first came out in the kind of confusion between, OK, well maybe this is this publisher's content, then you read through it and then you realize, Oh, nope, this is not the publisher's content, it's an advertiser's. I think it's finding that subtle kind of mix between giving someone something that's relevant but also like giving it to them when they want it. So I think that, if you understand that I'm commuting to work two hours every day, back and forth each way, and you know that I go shopping at Target or Wholefoods every single Saturday, then give me something – deliver me something for those brands when I'm on my commute, when you know I'm actually looking at my device, when I'm engaging at the right time.
So, I go back to let's give those opportunities albeit sometimes annoying when someone actually is engaged at the right time. And when we start talking about native performance in terms of how they're being delivered to people, I don't necessarily think it should be about scrolling up and then all of a sudden you get this big giant full-screen opportunity because when we do that, we're just going back 10-15 years when we used to be about, let's just throw a big overlay on top of someone's page and let's get our branding as large as possible.
Think of different subtle approaches, it doesn't have to be so bold and in your face. If you can deliver something at a relevant moment and it's a product that's relevant to me, it doesn't have to be big and flash, it can be simple.
Well, I am enjoying this immensely, I almost hate to go to a break but listeners, we do have to go to our final break but don't go away – when we get back, we will be talking about how you can make your advertising, how Walt puts it here, authentic, assistive and amazing, I think is a great word for what it has to be. So, don't go away, we'll be right back.
And we are back. Welcome back to Mobile Presence. I'm your host, Peggy Anne Salz, with Mobile Groove and we have today, Walter T. Geer the Third, Walt, it's been great to have you on the show and talking about, you know, how you reinvent creatives. Actually, purposely, I'm hoping this will convince you to come back at least once a quarter to share your thoughts on this.
I'd love to.
I'd love to have you here. I love straightforward, you know, right where it hits, what you need to do, how you need to think and the hard truth that some people don't want to hear. So, on that note, we're on the same page, let's assume our listeners are too. We're saying, OK, mobile advertising as is right now, mobile ad creatives, it's not an experience, it's broken, you have to get better, you have to up your game. If they're on the same page with us, what do they need to do, how do they need to prepare, how do you approach this? One easy answer would be just Hey, great, find a great agency and be creative but that's probably not it, right?
Yes, it's not. I think it's a few things. Number one, a lot of times you look at a lot of these agencies that are in the space, they're putting in folks that are like, quote, unquote, innovation – but they're really not innovation people. I think that it really starts with getting the right creative people involved and the creative people in the room, but those creative people need to be in the room with the data folks as well. So, I always say, and I'll go back to the point that if we're going to engage people in effective ways, you've got to have good creatives and you have to have good data.
Right, so what I tell folks is look, having the right relationships matter, so bring in some data experts, bring in some creative experts, get them in the room together and allow them to brainstorm together. So when I personally come up with ideas, it always starts with the research Yes, Indeed, but I also need to truly understand how the data works and what are the pieces of information I can get back from the consumer and when I understand that, it's only then that I can actually figure out the smartest ways to actually engage those consumers from a functionality point of view, from a format point of view, from a dynamic messaging point of view.
I also go to the point that dynamic creative is a very big deal so understanding how your brand can actually truly use dynamic messaging in an impactful, effective way. A lot of people in this space say that they do dynamic creative but truly they're delivering 30 or 40 types of creatives.
So work with those partners who understand dynamic creatives on a high level in terms of being able to truly deliver one creative that can speak differently to someone based on their location, their area or the things that they like, being able to change call to action, functionality, the background images, the product images and the whole nine yards.
And I think that when you start to look at a lot of these folks, I think that these brands are bringing these teams and bringing these people in-house, and I think that's really important because when you have these companies that can bring all of those things under one roof, it allows you to truly understand how the different pieces of the machine really work. I think sometimes it's difficult to work with an external, let's say, data provider or whatnot, because you both need to truly understand how your businesses work and how your different areas of expertise work. So, bringing them into one house under one roof I think is truly important.
It makes sense because this is really going to be decisive in how you address, engage, convert audiences so it makes sense that you don't want this necessarily outside. To your point about bringing together the creative and the data people – I hear this a lot. Just wondering, you know, in your other positions or how you see the world, how you might go about this because everyone says sort of bring them together and you think, OK, if I just put, you know, their cubicles are next to each other, life is good, but that isn't quite what we mean and a lot of people have a lot of trouble relating to it – it's like the data people or the people from Big Bang Theory and the creative people are always wearing black… and that's not the way it is either. It is sometimes, but not always.
The wearing black part might be a little true!
Yes, that's a little bit true, and the shades at all times, day and night. But how do you bring them together?
Yes, look, it's not an easy thing, right, because I think going back to my earlier point, you have companies that focus on primarily one thing or the other. So, when I first came to Verve, I thought that that was the most important critical piece which is why at that point we completely changed how our messaging in the marketplace. I sat down with the Head of Analytics and we would brainstorm together. He needed to know the way my mind worked and the way I started thinking about creatives, and the way I start thinking about engaging with individuals and I needed to understand how his brain works when it came to data. Like, I don't know everything about data and I surely never will but it allowed me the opportunity to have him sit with me and say, well, I can give you weather, I can give you location, I can give you X, Y, and Z and when I have all those pieces, then it was really about now sitting with our engineering team and creating these APIs that allowed us to pull the data and influence our creative.
Live, really good information there, Walt. I will look forward to having you back but in the meantime, should our listeners want to get in touch with you, maybe follow up on what you're doing, what you're writing, what you're sharing out there – what's the best way to do that?
Sure, feel free to reach out to me on LinkedIn, Walter T. Geer III. I'm also on Instagram a ton, and that is 3rdgeers, third gears.
Oh, cool, very cool. And I saw your motorcycle.
Oh, yes, yes.
Awesome. So, true to form, that's exactly that and we'll have those details of course on the website as well, so you don't have to jot those down, we have show notes and all the rest. And of course, if you want to keep up with me throughout the week or find out more about how you can be a guest or sponsor on Mobile Presence, then you can email me, firstname.lastname@example.com, Mobile Groove where you can also find my own personal portfolio of content marketing and app marketing services. So, that, my friends, is a wrap of yet another episode of Mobile Presence and you can find this and all other earlier episodes of our show by going to webmasterradio.fm or you can find our shows on iTunes, Stitcher, Spreaker and iheartRadio simply by searching Mobile Presence. So until next time, remember, every minute is mobile, so make every minute count.


text:
Marguerite has been a dedicated volunteer at Hobart City Mission for ten years, and at 89 years of age, Marguerite… Read More »
Marguerite has been a dedicated volunteer at Hobart City Mission for ten years, and at 89 years of age, Marguerite… Read More »
Warrane City Mission Op Shop is celebrating a huge milestone – their 21st Birthday Party! It's been an amazing two-and-a-bit… Read More »
When you shop at City Mission Op Shops, you're not only getting great quality items at low prices, you're also… Read More »
Start the new Semester with a bang! Visit your local City Mission Op Shop between February 25th and March 2nd,… Read More »
We are sharing the love this Valentines day! Make a purchase in store between February 4th and 9th, fill an… Read More »
Our Op Shop volunteers are taking some much needed time off. Below are all our generic Christmas trading hours. However,… Read More »
Subscribe to City Mission Op Shops between Saturday 27th October to Sunday 4th November and receive a $5 coupon* to… Read More »
Celebrate Seniors Week with 20% OFF when you present your Seniors Card between October 15th & 20th at any City Mission… Read More »
Winter is gone, and Spring is here! Celebrate with City Mission Op Shops, with 50% OFF EVERYTHING!* Saturday September 22nd… Read More »
Spend $20 instore between August 27th to September 1st and receive a handy measuring tape for Dad to celebrate Father's… Read More »


text:
Why am I just getting an email to my Yahoo email address with no images, just a box in the upper left hand corner of each intended pic with a red X in it? This happened a couple of times before but a long time ago and now just today. What can I do to fix this problem and get the images to show up? Thanks so much.
These images are not attached to the email. That's only links to the images on the internet.
So maybe the email client program is configured, to not automatically download images from the internet, or the email client program is blocked by a running firewall, to not download images from the internet.
At least, this could happen, when the images are no longer available on the internet.
Are you using Yahoo webmail? There might be something you need to click on such as "show images"?
The most likely problem is that the person that sent you the e-mail did a forward to you but didn't forward the images. Happens alot. Contact the person and ask them to resend it and make sure the pics are attached.
Some HELP in posting on Computing.net plus free progs and instructions 7 Golds


text:
For those of us who wear eyeglasses, gone are the days of settling for bulky, awkward frames. Nowadays, glasses are expected to match your character without sacrificing their practicality or hijacking your own style. When navigating through Warby Parker's gallery, it is evident that Warby Parker acknowledges that one frame does not in reality fit all. Warby Parker is an internet and brick-and-mortar retail supplier of economically priced prescription glasses, sunglasses, and glass accessories. They offer something for everyone, for every style. Whether you are desiring to change your persona, get a pair for a special occasion, or just to find a brand-new tried-and-true standby, Warby Parker has you covered. Warby Parker Daisy Review
Warby Parker changed the prescription eyeglass business by being the first organization to market prescription eyeglasses online and deliver them directly to your front door. While many considered that a massive gamble, it succeeded. The company sold about 20,000 pairs of glasses online during its first year of operations.
When it eventually opened up retail stores, Warby Parker also transformed the images of shopping for and wearing. Its shops are not boring and clinical. They are polished, stylish, tastefully decorated, and enjoyable. They're also packed with fashion-forward hipsters, who appear to be its most devout purchasers. Warby Parker will make you fail to remember that there once was a period when people viewed glasses as "nerdy".
Warby Parker Daisy Review
Have a Look at Warby Parker's Top Ten Glasses Available: Warby Parker Daisy Review
These retro-inspired cat-eye eyeglasses may remind you of your old Aunt Kathy – the one who sported the exact white cat-eyed eyeglasses with polka-dotted shift dresses in the early '70s until she turned 90 – but in the best, most trendy way possible. If you desire a refined look, this shape is a fitting choice. Warby Parker Daisy Review
Clear eyeglasses have been around awhile. People love them because they look almost invisible from far away and go with a nice, clean look. The Eugene Narrow glasses are round and perfectly proportioned for tinier face shapes – if you don't like your frames burying your face, this might be the perfect pick. The modest rose tint offers them a little something extra.
The Baker glasses have a classic keyhole bridge with round lenses, and the Striped Sassafras shade is a modest way to liven things up – ideal for accomplishing a more smart appearance.
The Percey may look much like the Baker at first sight. They're both round, medium-width glasses with keyhole bridges, and they both even come in Striped Sassafras – but it is the small details that make all the distinctions: The Percey's lenses are more circular and its end pieces aren't quite as pointy. These differences make the Percey a slightly more carefree choice. Warby Parker Daisy Review
Known for flattering nearly any face shape, the Wilkie is a fantastic choice for the everyday man or woman who doesn't want to fuss too much about fashion. The Black Matte Eclipse version of these eyeglasses have a thin white border wrapped around the front. Nothing too insane – only a few extra fashion points.
The Welty is a current take on a classic form. Made from top cellulose acetate (such as all of Warby Parker's non-metal frames, the eyeglasses have a curved browline and an noticeable keyhole bridge. Imagine Nancy Drew: the youth idol who made it cool to be a nerd. These glasses are much bigger than some, but not so big that they cover your face.
The Watts feels and looks simple. Accessories have the potential to make or break an entire appearance: When it comes to our eyeglasses, we like to supplement outfits, not detract or distract from them. These polished glasses do exactly that.
This pair's style is classic. The Daisy is an clever spin on the quintessential cat-eye with sloping browline and thin eyewires. Don them with a tiny black dress or pair them with a business suit. These ageless glasses will only add to your elegant and modern style.
Blue isn't a colour you find all that often in eyeglasses, but looking at the Hardy in Striped Pacific, you have to wonder why. It is a simple, rectangular frame, but this oceanic hue makes it pretty striking.
Yes, we are mentioning the Wilkie again! We just like it that much. The Eastern Bluebird Fade colour incorporates tortoise on top with a trendy, translucent blue on the base. The contrast makes them look contemporary, but the neutral tones keep the glasses compatible with more or less any ensemble. Warby Parker Daisy Review
Warby Parker Daisy Review
Warby Parker's frames are made with cellulose acetate, sourced from a family-owned Italian company. Its eyeglasses are assembled in China and crafted on the exact same production lines as many of its competitors, but because the business eliminates the middlemen, the costs are more affordable. After the raw materials are trimmed into face fronts with a high tech CNC machine, it is tumbled with wood chips and hand-polished using a German wax compound. The eyeglasses are then carefully assembled and sent through a sequence of quality tests. When you decide to purchase, a new set is made just for you. Warby Parker polishes and custom-cuts the edges of your lenses, which have been treated with anti-reflective and scratch-resistant material. The eyeglasses always come with impact-resistant polycarbonate lenses that block 100% of UVB and UVA rays. After the eyeglasses are individually inspected and aligned, they're wrapped up and ready for delivery right to your doorstep.
Lens Options
In addition to selling the usual single-vision lenses, progressive lenses, non-prescription eyeglasses and readers, Warby Parker sells 2 lens style options. They are:
Clear – Well, not just clear – crystal clear. These regular lenses are for men and women that desire absolutely uncolored vision indoors and out.
Light-responsive – These lenses cleverly react to UV rays. They alter from completely clear inside to dark gray outside, even on overcast days.
Warby Parker provides polycarbonate lenses with any optical purchase. They are some of the most lightweight and impact-resistant lenses; and they come with the price of the frames!
But if you prefer a high quality lens, you can opt from the following:
1.67 high-index lenses – These are ideal for people who have a strong prescription since they are up to 20% thinner than polycarbonate lenses, but they are priced at an additional $30.
1.74 high-index lenses – Being up to 10% thinner than 1.67 high-index lenses, these lenses are suggested for those who have an especially high prescription. They are priced at an additional $130.
Want a certain coating on your lenses? No problem.
Warby Parker gives these coatings with all lenses at zero additional payment:
Scratch resistance – This protects your lenses from day to day wear and tear.
Anti-reflective – This coating mitigates eye strain from reflections and lessens glare.
Superhydrophobic – These lenses repel moisture to prevent smudging.
Concerning prescription sunglasses, Warby Parker offers all of the above and more! Along with scratch resistance, they provide UV-protective lenses and polarization, which reduces glare from light ray reflection.
They also provide different lens style choices, from gradient transitions to solid to flash mirrored.
Warby Parker markets eyeglasses, sunglasses, and accessories online and in retail stores – at relatively reasonable price points. Because the company designs its glasses in-house, it is able to sell you all glasses "Starting at $95, with prescription lenses." It's also awesome that different lens coatings are included in the purchase price of each pair of eyeglasses. Some lenses, like thinner lenses for very high prescriptions, go for a higher price.
The Maker Edition is currently the priciest series on the website beginning at $195. The least expensive collection is Spring 2018, which begins at $95. This means that the normal pair of eyeglasses is $145, which is considered as middle range in the market. Warby Parker Daisy Review
When it comes to sunglasses, the most expensive collections are the Resort and Epigraph beginning at $145. The most affordable series is Quintessentials at $95, making the usual price about $120. Once more, this is considered mid-range and ideal for people who have a reasonable number of disposable income.
Shipping and Support Policy
Warby Parker provides free shipping and returns if you reside in the US or Canada.
They have a 30-day, no-questions-asked policy for each of their eyeglasses, as well as a 1-year warranty for all their lenses where they'll replace the scratched lenses at no cost within the first 12 months.
The minimum shipping time is very reasonable at 5 business days for non-prescription sunglasses. The maximum duration is a short wait for progressive prescription glasses and single-vision prescription sunglasses at 10-12 business days.
This organization has the best customer service on our opinion. Customer care representatives are friendly, attentive, and helpful as they answered all our queries. You may reach the organization by phone, email or live chat. The site is quite easy to navigate as well. Warby Parker even has an order guide and FAQ section that will help you discover the right frames to match your preference.
Warby Parker Daisy Review
Home Try-on Service
One of the best things about Warby Parker is their "Home Try-On" service that really aids you to pick which eyeglasses will suit you.
All you will need to do is select 5 pairs of glasses and they'll be sent to you at no cost. Then try them out for 5 days and find which ones you want. Purchase your desired specs online and you will be given a brand new pair. Lastly, after your 5 days are up, set your box in the mail with its prepaid return label.
Warby Parker Frames Quiz
If you need assistance picking some glasses to test out, you should take the Warby Parker Frames Quiz. It only takes a couple of quick responses to ascertain which pair of great-looking eyeglasses will be the perfect choice for you. Warby Parker Daisy Review
Warby Parker prides themselves on being eco-friendly and sustainable in its operations as well. One of their key principles as a company is to actively work on minimizing its influence on the ecosystem. The company is a 100% carbon-neutral eyewear manufacturer. Additionally, Warby Parker proactively works to reduce their effects on the environment by mapping out the greenhouse gas emissions from their frame production, to shipping, warehousing, and office work. They are working hard to offset their carbon accordingly.
Warby Parker Gives Back
Another aspect that makes Warby Parker appealing to clients is that they are similar to TOMS Shoes, on the principle of buy a pair and give away a pair of eyeglasses. When a pair is bought they donate a set to someone in need. They found a need that people from around the world don't have the means to see clearly, which is a wide scale problem. Warby Parker is trying to address this issue by aiding people access eyeglasses to have the ability to see.
Final Thoughts Warby Parker Daisy Review
Warby Parker sells contemporary eyewear categorized into special and fun collections for both men and women. All in all, the experience with Warby Parker has been overwhelmingly positive. The brand new glasses are well-made and fit well, and the ordering process was simple and enjoyable. If you're looking for a brand new pair of eyeglasses or sunglasses, I urge that you give Warby Parker a try. For glasses wearers who are searching for a extensive assortment of options from the trendiest materials and designs, and prefer the option of being able to shop online or in store, Warby Parker is your merchant for you. Warby Parker Daisy Review
Are you interesting in trying some frames on at home for FREE? Just click here.


text:
Here is an interesting find that I've stumbled upon today, an Active DisplayPort to DVI adapter from Sapphire. The interesting thing here is that the adapter is Active, but does not have an additional USB power cable, but if you are paying enough attention you should note that this adapter is providing just a Single Link DVI output. The adapter is originally intended to be used with AMD/ATI video cards fro providing video connection to more common monitors that are not using DisplayPort if you want to built a multi-monitor configuration based on AMD's EyeFinity technology. This adapter however is not something that will work with a 3D Full HD monitor if your desktop or laptop has only DisplayPort output with the reason being that the output is not the Dual-Link DVI that is required to be able to push 1920×1080 video at 120Hz to the monitor. So you should be paying attention when choosing a DisplayPort to DVI adapter for use with a 3D monitor, you should look for an Active DisplayPort or mini DisplayPort to Dual-Link DVI adapter in order to make things work with high-resolution stereo 3D…
A Bit More on the Topic About Active DisplayPort to DVI Adapters
March 21st, 2011 · 4 Comments · General 3D News
Tags: 3d monitor·Active DisplayPort to DVI·AMD EyeFinity·DisplayPort adapter·DisplayPort to DVI·Dual-Link DVI
4 responses so far ↓
I ran into this problem this weekend. I just got a AMD Radeon HD 6970. I wanted to check out Eyefinity but couldn't use more than two monitors. I looked for an active display adapter at Bestbuy but they had no idea what I was talking about. I was about to order the Sapphire adapter today, but now I am weary because eventually I would like to hook up to 3, 3D monitors. I currently have an Acer GD235HZ that I use with my 480GTX with 3D Vision. I know that it isn't compatible with the AMD 3d, but I am hoping new the Acer GN245HQ would be.
I guess my real question is, What monitors can I get that would support 3D Vision, AMD's HD3d with Eyefinity and I could play PS3 Games on.
Dallas, you are asking for the impossible as AMD HD3D technology is not yet supported with the multi-monitor setups that the Eyefinity technology offers (at least not with active shutter glasses solutions), it is either one or the other, but not both together. If you want 3 monitors in a 3D setup then you would need to go for a 3D Vision Surround solution…
Other than that any 3D-capable monitor with HDMI 1.4 and Dual-Link DVI supporting stereo 3D such as the upcoming Acer GN245HQ or Acer HN274H would do. These are 3D Vision Ready 120Hz monitors that should also work with AMD HD3D and with PS3 over the HDMI 1.4 interface.
As for the Sapphire adapter, do have in mind that this is a DisplayPort adapter and not mini DisplayPort, so you should also check if your AMD/ATI-based video card uses the normal size or the smaller mini DisplayPort connectors should you decide to built an Eyefinity setup. If it is with mini DP, then you will need mini DisplayPort to DVI adapter…
To be clear about this (and no one at Best Buy knows) to run 3 monitors in Eyevision you NEED an active, 2-way, miniDisplay Port to DVI adapter. If it doesn't have a USB cable, it WILL NOT run 3 monitors off one card.
If you don't need 3 monitors the active adapter may (may) work.
I have an ATI 5570 card (and a couple 5770s). On the 5570, I have 3 monitors: one on DVI; one on the active 2 way Sapphire miniGP to DVI; and one on the analogue D-sub 15 port.
I also note that the graphics on the MiniGP adapter is limited in resolution from the ATI software.
This is NOT optimal. I have another computer with dual 5770 GPUs for 3 monitors, and even then it stumbles.
To compare I have a setup with 2 NVidia GTS 450s running 3 monitors with good performance.
Have fun….
Hi there, I am so glad I have stumbled across this I have been looking for ages about 3d with ati as LG have been very unhelpful.
I have the lgw2363d monitor and a sapphire 6970.
Am I right in thinking that all I need is a display port to dvi-d adapter, the iz3d drivers and some active shutter glasses and I will have a 3d system?
I really hope this is so as I do not want to go with nvidia.
Also, I have been told that any 3d shutter glasses will work with my setup and iz3d driver. Is this true?


text:
- This event has passed.
Gartner Security & Risk Management Summit 2016
June 13, 2016 - June 16, 2016
The FIDO Alliance is proud to be participating at this event in conjunction with Google, featuring Feitian, OneSpan and Yubico. Visit us at Booth #151 to see demos of a variety of FIDO Certified products.
Participating Member Companies:


text:
SOLA Cup
What's this about?
Teams taking part in the three SOLA relay races in Zurich, Basel and Winterthur can win prizes worth a total of CHF 10,000.
This is how you automatically take part in the raffle: The team captain registers for all three SOLAs with the same(!) team name. The names of all team members are entered on the registration portal.
2nd SOLA Cup – save the dates!
SOLA-Stafette (Zurich) 9 May 2020 (Registration starting 1 December2019)
SOLA Basel 6 June 2020 (Registration starting 16 November 2019)
Winti SOLA 26 September 2020 (Registration starting 1 March 2020)
The prizes will be raffled at Winti SOLA on 28 September 2019. You can win the following vouchers for the whole team:
1st prize Active regeneration in the mountains (voucher worth Fr. 4'000.-)
The winning team can look forward to a mountain bathing experience incl. overnight stay worth CHF 4000.
Leukerbad, known for its thermal water since time immemorial. At this unique location, 365 days a year, a variety of sporting outdoor activities meet a relaxing bathing experience!
2nd prize pure winter fun in the Elm holiday region (voucher worth CHF 3´000.-)
The main prize is an adventurous winter experience with snowshoeing and igloo building in untouched nature under the expert guidance of GetOutdoor. Afterwards the experience will be rounded off with a fine dinner and an overnight stay in the cosy Skihütte Obererbs in Elm. A very special team experience.
4th prize overnight stay in the Spa & Wellness Hotel Lenzerhorn (voucher worth Fr. 2'000.-)
Just relax and unwind in the open-air brine bath. Relax in the steam bath. Sweating in the sauna. Relax in the massage room. Fill up with light and music. Feel good in a relaxed atmosphere.
The spacious spa & wellness oasis on Lenzerheide offers you all this.
3rd prize SportXX voucher worth Fr. 1'000
A wide and attractive range of international brand and private label articles awaits you. And this in more than 50 Stores in all three language regions of Switzerland. Whether it's sports equipment, shoes, clothing or accessories in all areas, you get top quality at the best price-performance ratio.