text:
Here goes nothing: After rebuffing Microsoft's $44.6 billion offer, Yahoo is accepting a helping hand from Google, via a 10-year, non-exclusive search advertising deal.
The plan: Yahoo will be able to run Google ads on its U.S. and Canadian search results -- where and when it wants to -- and will continue to sell its own ads via Panama. Yahoo estimates the deal could generate $800 million in annual revenue and $250-450 million in incremental operating cash flow -- but little to no cost savings.
What Yahoo's not doing: Entirely outsourcing search to Google or getting a huge, up-front check. What it is doing, according to president Sue Decker: Using Google ads where they perform better than Yahoo's, like "long-tail" search queries, and keeping its own ads on more mainstream queries, where it thinks it can do better. In addition, Yahoo could end up helping Google with display ads, president Sue Decker said on a conference call.
Yahoo and Google say they won't need regulatory approval for the deal before starting it, but the companies say they'll voluntarily wait three and a half months before beginning, while the Department of Justice looks it over.
Also part of the deal: Yahoo and Google will make their instant messaging platforms interoperable.
LIVE conference call notes:
Jerry: Going over Microsoft (MSFT) announcement. Board meeting where MSFT said it didn't want all of Yahoo, even at price range previously suggested.
Convergence between search and display key to success. How will it work? Commercial agreement that enables Yahoo to post Google ads alongside search results. Will continue with Panama. Agreement is 10 years long with a 4-year initial term, with two 3-year renewals at Yahoo's option. U.S. and Canada only.
$250-$450 million in incremental operating cash flow in first 12 months. "New and innovative steps" to generate value.
Sue: We're really excited about the potential of what we're announcing today! Hallmark is flexibility: Full control over all of YHOO's business. Yahoo (YHOO) chooes whether to run ads and how much. Will work well with tail queries; will keep YHOO for common searches, etc. Advertisers pay Google (GOOG) directly; Google will pay YHOO TAC for click through revenue. Advertisers will continue to pay YHOO directly for Panama. Improve access to paid search universe that leverage strengths, etc.
First release of AMP will be active with initial pilot publishers next week. Broader rollout in Q3. Agreement includes interoperability between Yahoo and Google's instant messaging apps.
Jerry: Directly addressing one key element in YHOO's strategy to success in search and display. Will keep looking at alternatives. Look forward to sharing accel. progress with you as we move forward.
Merrill: GOOG has market share leadership. Will advertisers still want to buy YHOO when they can buy GOOG and potentially get on YHOO? Any interest in your part on serving content ads on GOOG pages?
Sue: YHOO monetizes competitively with query ads, but not in the tail, because of GOOG's scale. Flexibility of deal lets us get the best of both worlds. Can optimize every single day. Will keep marketplace alive and vibrant. Components of this deal where we'll be working on other elements of value, and one might be helping Google with display ads.
Lehman: What % of search queries do you expect to run third party ads on?
Sue: Important to emphasize that $800 million opportunity is relevant to just queries in which we see opportunity. Will continue to monetize head on our own. Don't expect many cost savings; some variable serving costs, but expect to maintain expense base.
Q: Not disclosing TAC split. Favorable to both?
Sue: "Competitive" TAC split. Both parties felt it was an attractive opportunity.
UBS: Will partner sites just go straight to GOOG? Minimum guarantees?
Sue: Publisher partners are included in this agreement. Our choice and theirs whether they'd like to avail themselves into this opportunity. Deal does not extend to new partners that might join publisher network, which we'll service with Panama. Can't comment specifically on financial terms, in terms of guarantees.
DB: Trying to control more display, but in search, doesn't this go against must-buy strategy? Or is this a different advertiser set? $800 million annual or first four years?
Sue: $800 million is annual, on the portion of queries we think there's an oppty; not on all of query base, based on current monetization, not future. In terms of must buy, we think fits in to AMP strategy. We are open to third party networks in display the way we'll be in search with Google. Will assure best monetization rates to publishers, best ads to consumers.
Q: Allocating 3.5 months to regulatory. What's biggest hurdle?
Jerry: Commercial agreement, no regulatory really, but voluntarily told DOJ they could look at the deal. In advertising, the way we do it between search and display. Gain the right to use Google to back-fill some of our advertising, but we're in full control.
Thomas Weisel: Incremental operating margin/profitability you listed? How much in the way of TAC splits... what rev. canibalizing? How long will it take you to get fully optimized?
Jerry and Sue: We don't understand your questions!
Jerry: Ramp toward full implementation... not going to be talking about that. Want to leverage relationship to build long-term competitiveness. As we go through learning and understanding how we can create marketplaces, we'll be understanding opportunity. Lots of options for us.
Sue: When we contemplate incremental cash flow, contemplating how we might learn and implement in various verticals, types of queries where Google is particularly strong where we don't have best scale. Long-term objective of convergence!
Call ends.
Get the latest Google stock price here.


text:
Flying High
There's nothing you can't do
Now you're in New York
These streets will make you feel brand new
Big lights will inspire you,
Let's hear it for New York
Jay Z ft Alicia Keys
Have a great long weekend!
American Apparel Bodysuit, H&M lace skirt, Calvin Klein Pumps, Vintage earrings, Ralph by Ralph Lauren Sunnies, Marc by Marc Jacobs watch.
62 comments
Luuvvv it!ReplyDelete
like the second pic.
Gorgeous body :)
the back of that dress is so alluring! I really need a dress like that.ReplyDelete
ah those shoes ! love your outfit. I wanna buy that bodysuit but I'm always wondering "can I really wear nothing underneath ?"ReplyDelete
such a cute skirt!!ReplyDelete
you are gorgeous, girl.
You look great... I love those shoes...ReplyDelete
Amazing outfit
love the hair style and your black pumpsReplyDelete
Absolutely stunning!!!! I love the 2nd pic the most!!! Gorgeous hair, dress & pumps!!! This post gets a A+++++++++++++++ =)ReplyDelete
Love your outfit, you look so chic and sophisticated! It's nice to see you in black since you almost always wear bright colors ;)ReplyDelete
gorgeous dress girl, it fits you perfectly!ReplyDelete
Killer legs & killer outfit, what more could you ask for?!ReplyDelete
X, fashion-nerdic.
Love the all black look! So chic and very Audrey Hepburn!ReplyDelete
What a fab get-up in black. Luv the skirt! :)ReplyDelete
- AnonymousSeptember 5, 2009 at 6:49 PM
delmy, are those calvin klein pumps true to size? or do they run big?ReplyDelete
I love the bare back, so chic! very cute "little black dress"! :)ReplyDelete
- AnonymousSeptember 5, 2009 at 8:20 PM
This is so Audrey Hepburn! Stunning!ReplyDelete
Keep it up-
Marine: Well only if it dark. but still wear pasties. ;-)ReplyDelete
Julia: Yes, it felt quite nice to wear all Black again.
Nerdic: Aww you're too sweet!
Anon01: They are true to size. They fit like a glove.
Thanks all! XO
- AnonymousSeptember 5, 2009 at 8:38 PM
love your outfit! :)ReplyDelete
Super-hooray for the long weekend. You look like a ballerina :)ReplyDelete
Love the all-black ensemble! Looks fantastic.ReplyDelete
Gorgeous, gorgeous, gorgeous. Your body rocks. Love the whole outfit!ReplyDelete
love the earrings! so lady like.ReplyDelete
i love this outfit! it's like a modern day, chic ballerina!ReplyDelete
Ahhhh I love your skirt Delmy! :)ReplyDelete
WOW. This is so classy and chic. Delmy you always amaze me, and I love your earrings!ReplyDelete
GORGEOUS drees!ReplyDelete
You look perfect!
I like so much your LBD!
xoxoxo sweetie
basic, yet still chic....love it! :)ReplyDelete
-k a m
love the back of the top.ReplyDelete
amazing you!
U are GORGEOUS!ReplyDelete
One Love,
Black never fails!ReplyDelete
Gorgeous Delmy
U look amazing here!! Just wanted to let you know that I my blog is finally up and running! I have linked ur blog inder The CHic Ones. www.fashionjazz.co.zaReplyDelete
Jasna xxx
all black..i love it..xReplyDelete
Love the outfit. And especially the watch!ReplyDelete
Black is so chic!!!ReplyDelete
- AnonymousSeptember 6, 2009 at 5:54 PM
FAB BODY...ALL BLACK VERY SEXYReplyDelete
follow follow-->
girlll you look like audrey - i LOVEEE ITTTT!!ReplyDelete
<3 The Voguette
Gotta' love AA <3ReplyDelete
love it!ReplyDelete
awesome blog btw
helen x
lovely!! Looking great as usual!ReplyDelete
the new header(haven't been blogging for a while, so i don't know how new it is) :P ... it's so cute, and matches your sweet personality!ReplyDelete
love this look. black, and fierce heels sing for you in such a lovely way!
love alwaysxoxo !@!
great outfitReplyDelete
this is lovely! i have this skirt in white and i have to admit..i live in it! its really perfect for any situationReplyDelete
Gorgeous darling! Lovely style! xoReplyDelete
loving this chic classic look delmy..your so pretty :PReplyDelete
You look great! So chic!ReplyDelete
simple, fresh and beautiful!ReplyDelete
beautiful, classic, elegant, cool!!!ReplyDelete
lovely blog!!
You look so elegant, classy and sweet!ReplyDelete
Me encanta como te queda esta faldita! Vas monisima!ReplyDelete
you're so sexy, delmy!ReplyDelete
i love the classy and very feminine look!
You look like a naughty ballerina :-)ReplyDelete
Great looks!ReplyDelete
Very cute look. Looks great on your body too.ReplyDelete
X, fashion-nerdic.
I though I missed this look, because I haven't been bloggin' lately, guess what I haven't!ReplyDelete
I already left a comment hahah! Well two compliments and even more you desirve!
X, fashion-nerdic
Very sexy! Love the skirt!ReplyDelete
love ittttttttttttReplyDelete
i'm new to your blog and i must say that its really cute! loving this look on you - that skirt is divine :)ReplyDelete
I think I have that H & M skirt in beige. I LOVE it and it looks amazing on you. Also love the "Empire State of Mind" song...I'm feelin it and I'm not even from NY lolReplyDelete
love the black and white photo. beautiful. xReplyDelete

subset: commoncrawl


text:
UVFX Black Light Poster Paint
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All my life, I've been communicating with people the wrong way. What on earth was I thinking when I actually spoke to someone instead of holding up an iPhone with a comic-style speech or thought bubble?
The iBubbles app is gonna cost you a dollar and is available on iTunes now. No guarantees that it'll actually improve your interpersonal communication skills. [iTunes via Dessine Moi Un Objet]


text:
There were small stacks of clothes covering the carpeted floor of Jennifer Lawrence's bedroom in her duplex in Santa Monica. Downstairs, it was tidy and suburban cozy: The couch was overstuffed, family snapshots were stuck on a corkboard, there was a cantaloupe in the fruit bowl waiting to ripen. Upstairs, it was organized chaos. "I call this the International Quarters," Lawrence said, on a cloudy day this past June, as she stood among the neatly folded piles of shorts and pants and shoes and sweaters. She was wearing skinny jeans, a hip-length white undershirt, and a waist-length black jacket. Lawrence is tall and curvy, and her long blond hair was twisted into a loose bun. The overall effect, like the apartment, was chronologically schizophrenic. Although she just turned 20, Lawrence can seamlessly switch from her young self—an actress who just may be the best of her generation—to her mature, almost parental self. "I don't feel young," she said as she surveyed the room.
There were stylist-sanctioned gowns hanging in their pristine plastic shells, with Baggies full of jewelry attached; scripts were piled everywhere; and the bed was unmade. "It may not look like it, but I do have things organized," Lawrence continued. She pointed to the piles on the floor: "These are my flying clothes. I just pick them up from each pile and put them in the suitcase and then put them back in the piles when I come home. Lately I haven't had any time to put things away. There's no point—I'm always leaving."
Jennifer Lawrence
A few days earlier, Lawrence had returned from Scotland, where Winter's Bone, in which she stars, was shown at the Edinburgh International Film Festival. In the movie, which won the Grand Jury Prize at Sundance, Lawrence plays Ree Dolly, a willful and fearless 17-year-old who must fend for her two younger siblings and find her missing father. The film is set in the Missouri Ozarks, which is its own world, full of rituals and secrets. Ree is searching for the truth behind those mysteries, and her quest puts her life in peril. Lawrence perfectly captures the stubborn courage of the character, as well as her sense of adulthood and responsibility. "The movie would be unimaginable with anyone less charismatic playing Ree," David Denby wrote in The New Yorker. "She's more believable as a heroic character than any of the men we've seen peacocking through movies recently."
Initially, Debra Granik, the director of Winter's Bone, felt that Lawrence was too pretty for the gritty role of Ree Dolly. "They told me that my look wasn't right," Lawrence said as she headed downstairs to her kitchen. "And my agent acted like that was the end of it. I said, 'It's not.' I flew to New York that night and auditioned again. I made them see me. And I apparently looked pretty bad from flying on the red-eye—my look didn't seem wrong anymore." Lawrence paused. "There are actresses who build themselves, and then there are actresses who are built by others," she said. "I want to build myself."
While American male actors in their early 20s seem to be concentrating on plucking their eyebrows and sculpting their abs, American actresses are blossoming into brave and beautiful Streeps. "Where are the boys?" Lawrence asked me. "Where are the Robert Redfords and Paul Newmans of my age group? I love James Franco, but where's the next James Franco? Where are the hunks who can act?"
It's not just the lack of guys—since Streep's career began in the Seventies, there are new obstacles to cinematic greatness. Actresses like Lindsay Lohan squander their talent in exchange for tabloid fame. And all too many young actresses have a tiny bit of success and then become, essentially, models—known more for the labels they're wearing than for the difficult parts they're tackling. With discipline and some luck, Lawrence and her generation will not, let's hope, become addicted to the paparazzi or fashion, sacrificing their dreams of artistic integrity for high-end-product placement. It's hard to imagine, for instance, Greta Gerwig, 27, who first became known for her work in the genre called Mumblecore, which stresses honest emotion over pyrotechnics, selling out her talent. This year Gerwig starred in Greenberg as a vulnerable, kindhearted girl who was somewhat lost. Gerwig's portrayal was naturalistic yet layered—which made the character both unique and instantly familiar.
It's that quality of complication that defines this generation of actresses: While the guys preen, the girls are taking chances. Emma Roberts, with her debutante looks, could have been a classic ingenue, playing the perfect princess again and again. Instead, at 19, she has chosen to portray a psychiatric patient in It's Kind of a Funny Story, which is in theaters September 24. Opposite her in the film is Zoë Kravitz, 21, who made her first notable film appearance in The Brave One as an abused prostitute. "My part in The Brave One was actually written for a blond with a European accent," Kravitz told me. "My part in It's Kind of a Funny Story was originally written for an Asian girl. They didn't initially think of me for those roles. It's my job to change minds."
Twenty-nine-year-old Jessica Chastain, who graduated from Juilliard in 2003, first garnered attention when she starred opposite Al Pacino in the play, and then the film version of, Salome. Every night she would bare all at the finale of the Dance of the Seven Veils. "To learn that dance," Chastain told me, "I went to strip clubs in L.A. just to be, like, Okay, this is normal. There's nothing taboo about it." Yaya DaCosta, 27, who costars in The Kids Are All Right, had a similar challenge: She had to hold her own (and establish a character) in a sex scene with Mark Ruffalo. DaCosta's role could have easily become a cliché—the exotic lover—but she gave the character a heartbeat.
Similarly, in Scott Pilgrim vs. the World, which was just released, Mary Elizabeth Winstead literally portrays a cartoon (graphic novel!) character come to life. Ramona has multihued hair and many ex-boyfriends. The 25-year-old Winstead has a talent for subverting stereotypes; she imbues Ramona with an undertow of melancholy. In the same vein, Kat Dennings, 24, is both naive and knowing in films like Nick and Norah's Infinite Playlist. In that movie she's youth incarnate— simultaneously sophisticated and fearful, never just a "girlfriend." Which is precisely the point: Unlike other generations of actresses, none of these eight women are living in the margins of men. They are not onscreen just to make guys looks good. They're creating complex characters that are often at the center of the film.
"The business does try to type you," Lawrence said, sitting in her kitchen. "You can either be pretty and dumb. Or ugly and smart. Or pretty and bitchy. Or ugly and nice. But you can say no. I'm good at saying no. Even though I was 14, I knew I wasn't a Disney kid. I knew I didn't want to play any of the typical stereotypes. I thought those things were stupid."
In 2004 Lawrence and her mother traveled from their home in Louisville, Kentucky, and visited New York for the first time. Lawrence had always wanted to perform in some way, but her parents consistently dissuaded her. She and her two older brothers were supposed to be athletic and scholarly—not theatrical. "My parents run a children's summer day camp," Lawrence said over a tuna melt at Snug Harbor, one of her haunts in Los Angeles. "I grew up in the camp, and eventually I became the assistant nurse. I grew up thinking I would be a doctor." She paused and took a bite of her sandwich. "But I always wanted to act," she said. "Although nobody ever wanted to watch me, I wasn't shy: I'm an extrovert who wants to be an introvert. I'll start to extrovert, and then I realize I have to go back to introvert."
Lawrence had begged her parents to let her audition for an agent or modeling agency, which was part of the reason they went to New York. While they were sightseeing in Union Square, watching break-dancers perform, a man asked Jennifer's mother if he could take Jennifer's picture. "We didn't know that was creepy, so we said yes," Lawrence recalled. "He said he was a scout, but we weren't sure what that meant." During the next few days, on the advice of this man who was impressed with her looks, Lawrence went to some modeling agencies and was asked to read for a commercial for Reese's Peanut Butter Puffs cereal. "At the audition—which was my first audition—they said, 'No 14-year-old has ever read better,' " Lawrence said. "That was the first time I'd ever been told I was the best at something."
She had modeling offers, but instead of signing with an agency, Lawrence convinced her parents to let her try acting in New York. "My parents did everything they could to stop it from happening," Lawrence said between bites. "But I was determined. And I convinced them that I should move to New York." She prevailed: Jennifer and her mother relocated to Manhattan. But a year later her father was ready to bring them both back to Louisville. When he arrived in New York, Jennifer was asked to fly to L.A. to audition for a pilot.
"That was a rough time," Lawrence continued. "During that first year in New York, my dad wanted me to come home, my mom wanted me to stay, and it was the first time I ever heard them fight. I just felt I had to get a part so they could see that this was worth it." In 2006 Lawrence was cast as the daughter on the The Bill Engvall Show, a situation comedy about the humorous travails of blue-collar family life. And that was pretty much the last time she played a conventional character. "The money from the show, which lasted three seasons, funded my indie career. I've never had to do something crappy to pay the rent."
When she was 16, Lawrence, without her mother's knowledge, auditioned for The Poker House, a drama in which her character is raped by her mother's pimp. "My mother would never have let me do that," Lawrence explained. "But it was a great part. I didn't find the rape scene traumatizing. I don't think I can say being raped in a movie is difficult or isn't difficult; it's technical." The next year, in 2008, she played the young Charlize Theron in The Burning Plain, for which she received the Marcello Mastroianni Award for best emerging actor at the Venice Film Festival. And then there was Winter's Bone, in which she had to carry the movie. Watching Jennifer Lawrence as Ree Dolly is almost like watching a documentary. She seems to be living that life: caring for her brother and sister; skinning squirrels for food; living off the land as best she can. It took some work.
"I'd shot a gun before—I mean, I'm from Kentucky," Lawrence said. "But I'd never skinned a squirrel. I like when things are hard; I'm very competitive. If something seems difficult or impossible, it interests me. I've always had this dangerous mentality of never even considering the thought of failure. If I want something, I just go until I get it."
Lawrence quickly finished her sandwich ("My job is not to be skinny," she said happily, "my job is to act"), and we walked to her car. She was running late for an appointment in Coldwater Canyon, easily 45 minutes away. For her next role, in a movie that still doesn't have a title, Lawrence will have to sing. The director, Mark Tonderai, had suggested that she meet with some prospective songwriters, who would tailor songs for her character.
She's supposed to start her new movie at the end of July, but before that Lawrence has to return to New York to do some reshoots on The Beaver, which stars Mel Gibson as a man who overcomes his depression by speaking through a beaver hand puppet. "Mel Gibson is unbelievable in this movie," Lawrence told me in June, before the Gibson-goes-crazy tapes were released. "At the first table read of the script, I thought, He's going to win an Oscar." (Later, after the Gibson scandal broke, I saw Lawrence and asked about her reaction. She was speechless and kept shaking her head in disbelief. "It's tragic," she said finally. "No one will be able to see his performance in The Beaver clearly now. Even if Mel Gibson is great in the movie, I'm afraid no one will go.")
As we drove east toward Hollywood, Lawrence received a call from her agents at CAA; she thought they might be calling her about Lie Down in Darkness, a script based on the William Styron novel, in which she'd play a doomed Southern belle. "I am obsessed with that part," she said. "I have this feeling of protectiveness over characters I want to play. I worry about them—if someone else gets the part, I'm afraid they won't do it right; they'll make the character a victim or they'll make her a villain or they'll just get it wrong somehow." Lawrence paused. "I'm trying to write the director of Lie Down in Darkness a letter to convince him that I should be in his movie. I'll chase him if I have to. I'll sit outside his house." She laughed. "I'm beside myself over that script. When I get like that, anything's possible."
Actually, her agents were phoning about a more commercial project. Matthew Vaughn, who is set to direct an X-Men prequel, would like Lawrence to play Mystique, the shape-shifting blue supermutant. At first Lawrence wasn't interested. But she read the script ("I had to read it in a locked room at Fox") and was impressed. The X-Men choice is strategic: In all likelihood the movie will be an international hit, and Lawrence—who will be naked and indigo for long stretches of the film—could become a global star. Theoretically, that will make her famous and help garner an audience for her smaller films.
"I wouldn't do X-Men if I didn't find the character interesting," she said as we pulled into a steep driveway. She waved hello to Claudia Sarne, one of the songwriters, who was standing in the garage. "I always have this bigger-picture thing," Lawrence said, turning off the car. "As a kid I never did drugs because I was thinking about the future. I sound like an old person, but when I saw kids making dumb decisions, I would think, What's your future going to end up being?" She paused and grabbed her purse. "I hardly ever get nervous, and I'm nervous about singing," she said finally. Yet despite all the swirling activity—reshoots on The Beaver, Oscar buzz for Winter's Bone, and a movie starting in a few weeks—she did not seem nervous. "Let's go sing," she said.
Sarne and her songwriting partner, Leopold Ross, had written a series of folk/soft-rock songs to fit Lawrence's character. They wanted to hear her voice to see if her vocal style fit the music they'd created. The three settled around a long wooden dining room table. "What would you like to sing?" Sarne asked. It was decided that Lawrence should sing "Wonderwall," by Oasis. Without hesitation she began. Her singing voice, like her speaking voice, is low and a little raspy, which makes her sound older. "I said, maybe, you're going to be the one that saves me," Lawrence sang. It sounded beautiful. Sad but hopeful. Lawrence wasn't sure. "It's something like that," she said finally. "I don't know exactly how to get there. But I'll figure it out."


text:
What art moves people most, in terms of connecting them to everyone everywhere else on the planet on a deeply meaningful issue, is, of course subjective.
Painting and film and dance all have the power to do so, as does music, which is why songs and concerts and symphonies and quartets so often play on World AIDS Day. Music is a way to remember the many lives lost around the globe, and it helps gather people together who want to reflect and pay tribute to those lives in a respectful and yet joyful-of-heart, never-forgetting way.
Performers in the Colburn School's Zipper Auditorium will do that over Thanksgiving weekend. World AIDS Day is December 1, but a concert will take place on Saturday, Nov. 30 to "remember the 35 million people who have died of HIV/AIDS."
Local news from across Southern California
Student will play pieces by Rachmaninoff and Piazzolla. The concert is free but tickets must be reserved (and are reported to be going fast).
LeVar Burton is the master of ceremonies for the evening.
One part of the night involves saying thank you to those honorees who've worked on behalf of those with HIV to create more awareness, better health choices, and a community of support. Robin Smalley, who co-founded mothers2mothers, is one honoree; Sir Ian McKellen and Sir Patrick Stewart will also be honored.
For more information on World AIDS Day, and how you, too, can be a part, click. To learn more about mothers2mothers, "an international nonprofit organization dedicated to preventing mother to child HIV transmission," click. And for further information on the AIDS Research Alliance, which is presenting the evening, click.


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If you are a customer of UPAD Ltd, please see our information page here
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Enter your Tenancy Deposit Certificate Code
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Your landlord or agent should have a copy of your tenancy deposit protection certificate. Alternatively, search below using details of your tenancy.
There are three schemes which protect tenancy deposits. If your deposit is not protected by the Tenancy Deposit Scheme, click here to visit the Shelter website and search the other schemes.


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Greeley Square, located between 6th Avenue and Broadway and between 32nd and 33rd Streets, and the pedestrian plaza immediately to its north, are home to a new outdoor pop-up food festival called Broadway Bites. Opened just last week in partnership with UrbanSpace, Broadway Bites is already racking up buzz through word-of-mouth, lunch blogs, and newspaper reviews.
|Photo credit Erin Kestenbaum.
|Broadway Bites is perfect for lunch, an after-work drink...or dessert! From the Stuffed Cannoli kiosk.
Photo credit Erin Kestenbaum.
|There is plenty of seating so please feel free to linger!
Photo credit Erin Kestenbaum.
If the offerings seem overwhelming, consider purchasing a Broadway Bites tasting tour from Gilt City. For just $55, you and a friend can sample donuts, tacos, sliders, stuffed bagels, and craft beers. We can't think of a more pleasant way to spend a crisp fall afternoon!
Broadway Bites
Greeley Square
Through Sunday, November 24
Daily, 11am -- 9pm


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The Accounting Historians Journal Vol. 14, No. 2 Fall 1987 Richard Mattessich UNIVERSITY OF BRITISH COLUMBIA PREHISTORIC ACCOUNTING AND THE PROBLEM OF REPRESENTATION: ON RECENT ARCHEOLOGICAL EVIDENCE OF THE MIDDLE-EAST FROM 8000 B.C. TO 3000 B.C. Abstract: Recent archeological research offers revolutionary in-sight about the precursor of abstract counting and pictographic as well as ideographic writing. This precursor was a data processing system in which simple (and later complex) clay tokens of various shapes were aggregated in hollow clay receptacles or envelopes (and later sealed string systems) to represent symbolically assets and economic transactions. Scores of such tokens (the recent explana-tion of which is due to Prof. Schmandt-Besserat) were found by archeologists all over the Fertile Crescent in layers belonging to the time between 8000 B.C. to 3100 B.C. — after this date cuneiform clay tablets emerged. The economic-philosophic implications of this discovery are important. First, it suggests that accounting preceded abstract counting as well as writing. Second, it suggests that conceptual representation emerged gradually. Third, it confirms the previous hypotheses that counting emerged in several stages. Fourth, it reveals the existence of an abstract input-output principle some 10,000 years ago and a kind of double entry over 5,000 years ago. Finally, it offers the earliest illustration of the (occasional) validity of the correspondence theory. To assist readers I have inserted at the beginning of the fifth section some explanatory paragraphs on Wittgenstein's work. Introduction The quest for the origin of symbolic representation is not unrelated to Wittgenstein's perennial question: How is lan- This paper was initially presented as "Wittgenstein and Archeological Evidence of Representation and Data Processing from 8000 B.C. to 3000 B.C." at the 12th International Wittgenstein Symposium (Kirchberg/Wechsel, Au-stria) in August 1987. It is reproduced with permission of the General Editor of the Wittgenstein Publication Series, Elisabeth Leinfellner, and the publishing house, Hölder-Pichler-Tempskey, Vienna. Financial support by the Social Sci-ences and Humanities Research Council of Canada for this project, and the valuable correspondence with Professor Schmandt-Besserat are acknowledged.


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Moskowitz, HerbertDirector, DCMME
Office: Rawls Hall 4095
Phone: (765)-494-4421
E-mail: firstname.lastname@example.com
Ph.D., Management, University of California, Los Angeles, 1970
M.B.A., Management, California Western University, 1964
B.S., Mechanical Engineering, Newark College of Engineering, 1956
Professor Moskowitz is the Director of the Dauch Center for the Management of Manufacturing Enterprises and the Lewis B. Cullman Distinguished Professor of Manufacturing Management. His main teaching interests are management science and quantitative methods. His current research interests are in manufacturing and technology management, quality improvement, judgment and decision making, and expert systems applied to these areas. He has authored or co-authored more than 120 reference journal articles and four textbooks which include: An Experiential Approach to Management Science: Statistics, Mathematical Programming, and Decision Theory Applied to Management Problems (Waveland Press, 1975, 1977); Operations Research Techniques for Management (Prentice-Hall, Inc., 1979); Statistics for Management and Economics Research (Merrill, 1985); and a prize paper award for "R & D Manager's Choices of Development Policies in Simulated R & D Environments," IEEE Transactions on Engineering Management, 19:1 (February 1972).
Professor Moskowitz has obtained various grants from public and private organizations, such as the National Science Foundation, the Office of Water Resources Technology, General Electric Foundation, IBM, and AT&T. He is currently a consultant to the Fulbright Commission and a past member of the DRMS Advisory Panel and Mathematics Advisory Panel on Calculus of the National Science Foundation. He has served as a consultant in project management, quality management, new product development, and other areas for a number of organizations including Bechtel Corp., Sola Basic Industries, Clark Equipment Co., Penton, Office of Naval Research, NSF, Decision Research, Canada Council (Humanities and Social Sciences Division), Institute for Research on Public Policy (Canada), General Motors Research Laboratories, Stellite Division of Cabot Corp., Abbott Laboratories, Bell Laboratories, AT&T, New Jersey Institute of Technology, Resorts Condominium International, Inland Steel, Eli Lilly, Dana Corporation, Owens Brockway, Thomson Consumer Electronics, Case Corp., and several law firms on product liability litigation.
He has been or is an associate editor of Operations Research, Decision Sciences, Journal of Interdisciplinary Modeling and Simulation, Journal of Behavioral Decision Making, and Management Science. He is a fellow of the Decision Sciences Institute and also served as vice-president, secretary, and member of the Executive Board of this organization. He also holds or has held various positions with TIMS and ORSA, and is a member of the American Society for Quality Control Standards Council.
He has been at Purdue since 1970 and has had visiting appointments at the University of Mannheim (West Germany), the University of British Columbia, the London Business School, Middle Eastern Technical University, Helsinki School of Economics and Management, Technological University of Costa Rica, Monterrey Institute of Technology (ITESM), and the Wharton School. He was awarded a Fulbright Grant for 1985-86 under the Western European Regional Research Scholar Program to conduct research with colleagues in England and Finland. He is a past director of graduate professional management programs and executive education at the Krannert School and present participant in various executive management programs. In 1988, Professor Moskowitz was named the first James Brooke Henderson Distinguished Professor of Management.
Before coming to Purdue, Professor Moskowitz was a research engineer for General Electric (1956); a maintenance officer for the United States Air Force (1956-60); and a systems engineer for General Dynamics, Convair (1960-65).