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Jolt Awards: Coding Tools, February 06, 2013 The best IDEs and coding tools of the past year
Finalist: ActiveState Komodo 7.1 IDE
While Microsoft's Visual Studio reigns supreme when it comes to creating Windows-centric programs, there are times when I need to develop cross-platform applications. For those occasions, I turn to ActiveState's Komodo IDE. It's not as sophisticated as Visual Studio (what Windows IDE is?), but its cross-platform commitment is hard to beat. Capable of running just as powerfully on the Linux, Mac OS X, and Windows platforms, Komodo is the best IDE I've used to write Perl, Python, and Ruby scripts and Web applications. (It also works with Tcl.) And because it looks and performs identically on these operating systems and languages, I feel instantly at home and productive regardless of what OS I'm running it on. Thanks to a new feature called Komodo Sync, I can also have all my custom key bindings, layouts, templates, remote connection settings and IDE preferences synchronized across these platforms as well, saving me hours of initial tweaking. And in addition to broader language support (CoffeeScript, LESS, Node.js, and SCSS are just a few of the recent additions), there's a new built-in code profiling tool for Python and PHP that nicely shows me where my performance bottlenecks are.
Support for ActiveState's cloud service, Stackato, is also backed into the product. And finally, for teams using Komodo, the new code collaboration tool shows real-time version changes thereby ending the cycle determining who added or removed lines of code and what they are working on right now. Combine this with the base of features that evolved over the previous six releases, and you have a beautifully refined cross-platform IDE.
Mike Riley


text: "Santa Coming!" Christmas Necktie€25.001 in stock Add to cartProduct DescriptionDescriptionWant to add some Festive mood to your outfit? This Necktie is Handmade from Silky Polyester Tie.It doesn't need to be tied and has a button and a loop closure at the back.Size ChartLength: 37cm, Width: 9,5cmAll bebrave Neckwear is made to fit, so please put your neck measurement or short description in a box provided when making an order and we will make sure that your chosen Necktie fits you perfectly.Bebrave Neckties are not like traditional self tie neckties and look like a scarf, cravat tie or a neck piece. Their collars are slightly longer than you neck size, just to give some space for your shirt collar, if you would decide to wear it in a traditional way.Item #RD0009 Category: NecktiesShare:

subset: commoncrawl


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A few months ago, I was searching the Internet for information on a certain family I was researching for a friend. I came across an interesting article on a related family in which the author attempted to prove a lineage based almost solely on federal census records from 1830 through 1850, and on one man's date of birth, source not given.
It was evident from the author's presentation that he did not understand how to use the federal census records from that time period. No census from 1790 through 1870 provides direct proof of a relationship; the 1880 U.S. census was the first to provide relationship indicators, and then only to the head of the household. The population schedules from 1850 through 1870 suggest relationships, but they do not prove them. The early federal censuses do not even suggest relationships; they are merely an enumeration of the number and ages of persons living within a household at a certain time.
A better argument could have been made if the author had used several record sets in tandem with one another. There was no mention in this "proof" argument, for instance, of probate records, although they are one of the more obvious and well-known record sets, even amongst beginning genealogists. Nor was any mention made of a search through local land records, which often corroborate or suggest relationships not evident in other contemporary documents. And so forth. For the area and time period in question, there are several record sets other than federal censuses this researcher could have used to provide better support for his argument, but these were all neglected.
This leads me to the point of this post, via a paraphrased truism: No record (or record set) is an island unto itself. Whenever possible, we should always seek further information to corroborate relationships, especially where records might provide indirect evidence but no concrete "proof". Even where such proof is directly stated, we should examine other records when and where ever possible in order to provide the most well-rounded and solid argument we can based on the most exhaustive search possible.


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located within the following watersheds: Lake Tarpon Watershed, Old Tampa Bay Watershed
The area provides some of the most diverse and abundant recreational environments and facilities in the U.S. Visit these pages and links to learn about their locations, trademark features and amenities, and regulations for their use.
Find maps and waterway navigation guides, descriptions of facilities and recreational amenities, as well as warnings and restrictions pertaining to their use.
Find information pertaining to the locations and facilities available at your local parks, beaches, piers and boat ramps.
For more information about fishing regulations and licenses concerning both freshwater and saltwater fishing in Florida, visit the following websites.


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Azure Blue 42887L Touch Up Paint for 1974 Jaguar All Models
Order spray cans, paint pens, brush cap bottles or larger sizes of Azure Blue touch up paint.
PaintScratch custom mixes each paint order to match the original factory color of your vehicle. Because your Jaguar All Models is 20+ years old, the paint may have faded, and we cannot guarantee a color match for Azure Blue 42887L. There are no refunds on paint ordered for vehicles manufactured before 1986 and we recommend you send us a part for custom matching . We will not remix this paint even if the color does not match.
Azure Blue
Color Code: 42887L
Ready to order this paint?
The vehicle color code will list the paint color exactly so finding it is important. In order to guarantee the accuracy of a color, paint should be ordered based on the color code. Learn where to locate your Color Identification Plate .
The color plate is normally located on the drivers door jamb. Jaguar colors shown for pre 1985 Jaguars are just guesses as we have no color chips. However, if your code matches, we can make the color. We mix by the paint code, not by what is shown on the screen!. If you have any pictures of pre 1985 Jaguars and you know the color code, please send it to us so we can update this section! For pre-1985 Jaguars, any code that has the format '8323LH' or '8540L' is the actual DuPont Lacquer code as this means the paint code was unavailable.
Please do not order based on the color you see onscreen. Because computer and phone screens are all different, the color you see on online may not look exactly the same as the paint you receive. For more information, view the FAQ'S .
Always verify your Jaguar color code on your vehicle before ordering. Azure Blue may go by several different names and the color sample shown above for 1974 Jaguar All Models is approximate.
Additional Jaguar paint colors may be available, especially interior, trim and wheel colors. Try searching other Jaguar All Models years or Submit a color request.


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National Catholic Organizations
United States Conference of Catholic Bishops
The United States Conference of Catholic Bishops (USCCB) is an assembly of the hierarchy of the United States and the U.S. Virgin Islands who jointly exercise certain pastoral functions on behalf of the Christian faithful of the United States.
Archdioceses/Dioceses in U.S.
USCCB's listing of the Catholic (Arch)Dioceses in the United States.
Canon Law Society of America
The Society is active in the promotion of canonical and pastoral approaches to significant issues within the Roman Catholic Church and has been involved in the United States for the revitalization of church law.
Catholic Charities USA
Catholic Charities agencies and institutions nationwide provide vital social services to people in need, regardless of their religious, social or economic backgrounds.
Catholic Encyclopedia
The Catholic Encyclopedia, as its name implies, proposes to give its readers full and authoritative information on the entire cycle of Catholic interests, action and doctrine.
Catholic Extension Society
The Catholic Church Extension Society exists to sustain and extend the Catholic Faith in poor and remote mission areas of the United States where diocesan resources are insufficient.
Catholic Health Association
The St. Louis-based Catholic Health Association of the United States (CHA), founded in 1915, supports the Catholic health ministry's pursuit of the strategic directions of mission, ethics and advocacy.
Catholic Health Initiatives
Catholic Health Initiatives is a national non-profit health corporation based in Denver, Colorado.
Catholic News Service
An organization devoted to reporting the news that affects Catholics in their everyday lives.
Catholic Press Association of United States and Canada
The mission of the Catholic Press Association of the United States and Canada is to build and strengthen the value and worth of the Catholic press by facilitating the professional, economic and spiritual growth of our members.
Catholic Relief Services
The mission of CRS is to assist the poor and disadvantaged, leveraging the teachings of the Gospel of Jesus Christ to alleviate human suffering, promote development of all people, and foster charity and justice throughout the world.
Catholic Worker
The Catholic Worker Movement, founded by Dorothy Day and Peter Maurin in 1933, is grounded in a firm belief in the God-given dignity of every human person.
Center for Applied Research in the Apostolate
CARA is a national, non-profit, Georgetown University affiliated research center that conducts social scientific studies about the Catholic church.
Center of Concern's Education for Justice
Education for Justice is an online library of resources to promote Catholic social teaching and justice issues. Members have access to thousands of pages of resources on more than 50 justice topics. In addition, members receive bi-weekly e-mail notification of new materials posted since the last report.
Conventual Franciscans
Website of the Conventual Franciscans (OFM Conv.).
Diocesan Fiscal Management Conference
This organization promotes the spiritual growth of its members; encourages the development of professional relationships of its members; facilitates the free exchange of ideas and information; and provides fiscal and administrative expertise and professional services to the local and national church.
Diocesan Information Systems Conference (DISC)
This conference meets each year to promote the spiritual growth of its members, provide data processing expertise and professional service to the church, encourage development of professional relationships among its members, and facilitate the free exchange of ideas and information.
Federation of Diocesan Liturgical Commissions
The Federation of Diocesan Liturgical Commissions (FDLC) is a national organization composed primarily of members of diocesan liturgical commissions, worship offices and/or the equivalent diocesan liturgical structures.
Knights and Ladies of Peter Claver
The Knights and Ladies of Peter Claver exists to render services to God and his Holy Church and to recognize the fatherhood of God and the brotherhood of man, particularly as these attributes are defined in the spiritual and corporal works of mercy.
Knights of Columbus
The Knights of Columbus is a Catholic men's fraternal benefit society that was formed to render financial aid to members and their families.
National Association of Catholic Family Life Ministers
The National Association of Catholic Family Life Ministers (NACFLM) is a growing association of professional ministers within the Catholic church who work with, for, and beside families.
National Association of Diaconate Directors (NADD)
Founded in 1976, NADD membership includes directors and staff members of diocesan diaconate communities across the country.
National Association for Lay Ministry
The National Association for Lay Ministry is a professional organization that supports, educates and advocates for lay ministers and promotes the development of lay ministry in the Catholic church.
National Association of Catholic Chaplains
The National Association of Catholic Chaplains is a professional association for certified chaplains and clinical pastoral educators who participate in the healing mission of Jesus Christ.
National Association of Church Personnel
The National Association of Church Personnel Administrators advocates for workplace justice rooted in Gospel values.
National Association of Pastoral Musicians
The National Association of Pastoral Musicians (NPM) is a membership organization primarily composed of musicians, musician-liturgists, clergy, and other leaders of prayer devoted to serving the life and mission of the church through fostering the art of musical liturgy in Catholic worshiping communities in the United States of America.
National Black Catholic Congress
The National Black Catholic Congress, comprised of member organizations, represent African American Roman Catholics, working in collaboration with National Roman Catholic organizations.
National Catholic Cemetery Conference
The National Catholic Cemetery Conference (NCCC) exists to provide a forum for the discussion and dissemination of information concerning all phases of Catholic cemetery development, operation and maintenance.
National Catholic Educational Association
The National Catholic Educational Association has been providing leadership and service to American Catholic educators since 1904.
National Catholic Council for Hispanic Ministry
The National Catholic Council for Hispanic Ministry provides a national network and forum for the religious, social, professional and civic advancement of Roman Catholic Hispanics in the United States.
National Conference for Catechetical Leaders
The National Conference for Catechetical Leadership (NCCL) has been a leader in Catholic religious education in the United States since 1967. It is dedicated to bringing the teaching ministry of Jesus to every Catholic child, youth and adult.
National Federation for Catholic Youth Ministry
The National Federation for Catholic Youth Ministry participates in the mission of the Catholic Church by advocating for and supporting Catholic youth ministry on the national, diocesan and local levels.
National Federation of Priests' Councils
NFPC is composed of councils from Dioceses throughout the United States.
Paulist National Catholic Evangelization Association
The Paulist National Catholic Evangelization Association (PNCEA) builds up the body of Christ by equipping Catholics to evangelize.
Project Rachel
An organization devoted to help women suffering from grief after an abortion.
Renew International
RENEW International serves the needs of pastors, ministry leaders, and participants by offering a full range of spiritual processes with step-by-step guides, sound materials, and personal support, including Why Catholic?.
Tekawitha Conference
The purpose of the The Tekawitha Conference is the evangelization of Native American Catholics.
USCCB Bishops Committee on the Liturgy
The Committee has the responsibility in the bishops' conference for all matters relating to the liturgy.
USCCB Publishing
The official publishing arm of the U.S. bishops and the official source in the United States for documents from the Pope and the Vatican.
Worldwide Marriage Encounter
National organization for this Catholic marriage enrichment program.


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Stormy issue of Sandy aid settles down in House
WASHINGTON -- The political tempest stirred up by Superstorm Sandy appears to have moved on after wreaking havoc among congressional Republicans divided over how much aid to allocate to the victims.
In a 241-180 vote Tuesday night, the House approved $50.5 billion in disaster relief for Sandy victims. The Senate is expected to accept the measure early next week and send it to President Barack Obama in spite of some Democratic concerns that it doesn't do enough.
"While the House bill is not quite as good as the Senate bill, it is certainly close enough," said Sen. Chuck Schumer, D-N.Y.
House Democrats supported the aid package in large numbers Tuesday night, but substantial Republican backing was needed for its passage in the GOP-controlled House. There were 192 Democrats and 49 Republicans voting to pass the measure.
"Time is of the essence, we strongly prefer that the Senate take up this legislation quickly, pass it and send it on to the president for his signature," said Rep. Rodney Frelinghuysen, R-N.J.
The victory was tinged with some bitterness for Northeast lawmakers who have complained that Congress approved tens of billions of dollars in aid within days of Hurricane Katrina but dragged their feet for more than two months on Sandy aid.
Sandy pounded several states in late October and has been blamed for 140 deaths and billions of dollars in residential and business property damage. New York, New Jersey and Connecticut were hardest hit. Power outages and interruptions to public transportation made life miserable for millions, and the clamor for federal relief began almost immediately.
Rep. Peter King, R-N.Y., called it an "outstanding victory for the people of New York, New Jersey and Long Island," but he added that "it is unfortunate that we had to fight so hard to be treated the same as every other state has been treated."
House Democrats were politically pointed as they brushed back most attempts by Southern conservatives to reduce the measure or offset part of its cost through spending cuts elsewhere in the budget. Critics said the proposed cuts would crimp Pentagon spending as well as domestic accounts.
Conservatives did succeed in stripping $150 million for Regional Ocean Partnership Grants and $9.8 million for rebuilding seawalls and buildings on uninhabited islands in the Steward McKinney National Wildlife Refuge in Connecticut.
The House measure includes about $16 billion to repair transit systems in New York and New Jersey and a similar amount for housing and other needs in the affected area. An additional $5.4 billion would go to the Federal Emergency and Management Agency for disaster relief, and $2 billion is ticketed for restoration of highways damaged or destroyed in the storm.
The Senate approved a $60.4 billion measure in the final days of the Congress that expired Jan. 3, and a House vote had been expected quickly. But House Speaker John Boehner unexpectedly postponed the vote in the final hours of the expiring Congress as he struggled to calm conservatives unhappy that the House had just approved a separate measure raising tax rates on the wealthy.
Boehner's delay sparked a public uproar, much of it from other Republicans like New Jersey Gov. Chris Christie, who lobbied Congress hard for aid.
"There's only one group to blame for the continued suffering of these innocent victims, the House majority and their speaker, John Boehner," Christie said on the day after the delay was announced. King fumed that campaign donors in the Northeast who give to Republicans "should have their head examined."
Less than two weeks later, the GOP leadership brought legislation to the floor under ground rules designed to satisfy as many Republicans as possible while retaining support from Democrats eager to approve as much in disaster aid as possible.
Congress has already approved a $9.7 billion increase in a fund to pay federal flood insurance claims, much of it expected to benefit victims of Sandy.
The House-passed Sandy aid package does not include some projects that were in the Senate version and drew sharp fire from conservatives as unrelated to the storm. Not included in the House bill was a provision for $150 million for fisheries disasters that states such as Alaska and Mississippi could have shared. Also left out was $188 million for an Amtrak expansion project that included new, long-planned tunnels from New Jersey to Penn Station in Manhattan.
The House version has $1.1 billion more than the Senate bill to help repair storm-damaged highways.


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In our efforts to bring you expanded, go-anywhere access to your data, we're excited to announce that LastPass has acquired Xmarks! It's a great opportunity that not only ensures the survival of the Xmarks add-on, but will also enhance our mission to provide the best data-syncing tools out there.
Xmarks, formerly known as Foxmarks, provides the world's leading browser add-on for cross-browser bookmark sync that has successfully grown to over 4.5 million users syncing more than 1 billion bookmarks across 5 million computers. Xmarks has become an integral part of the browsing experience for millions of users, and you can rest assured that we will continue to expand the service in the coming months.
Xmarks is transitioning to a "freemium" business model, the same model that allowed us to grow into a thriving, profitable business. The browser add-on and the vast majority of what users have enjoyed will remain free. Users can then opt to purchase Xmarks Premium for $12 per year, which includes new enhanced features like Android and iPhone mobile phone apps, priority support, and more. The Xmarks and LastPass Premium offerings are also available bundled together at a reduced subscription rate of $20 per year. For current LastPass Premium users, this means you can upgrade today for only $8 more per year.
We believe the acquisition will prove to be a success because of the common mission shared by LastPass and Xmarks. Xmarks complements LastPass' vision of secure, universal access to the information that gives you entry to your digital life. As the ultimate cross-browser, cross-platform team, Xmarks and LastPass will work together to help more people simplify their digital lives and access their data from anywhere, at any time.
We're excited to welcome Xmarks to the LastPass family, and hope you will support both of these great services through your business and your Premium subscription. For more information, please check out the FAQs.
The LastPass & Xmarks Teams


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Hundreds of millions of you who read this post today will also eat a sandwich. OK, maybe hundreds of millions of you won't read this post (it is a Tuesday, after all), but you will eat a sandwich.
Will it be a classic breakfast sandwich of tender eggs, melty cheese and crisp bacon on a toasted English muffin? A humble lunchtime ham and cheese? Perhaps it'll be a delightfully gloppy Sloppy Joe with the kids for dinner.
Everyone loves sandwiches. That's because they are among the most democratic of foods. They can be eaten in your car at lunchtime and over the kitchen sink at midnight. They can be a quick snack or a bona fide meal. Decadent or plain, six inches or six feet, sandwiches have always been filling, unfussy, honest food.
Now, there is an entire book dedicated to the glorious sandwich: Today is the official release date of The Encyclopedia of Sandwiches, written by yours truly. It was a labor of love and gluttony. (I gained five pounds while testing the sandwiches and had to upsize, um, upgrade my skinny jeans.)
The book shares recipes, history and trivia for 110 beloved sandwiches and includes over 400 variations. Each sandwich, as you can see from the images here, is accompanied by a full-color, gorgeous photo beautifully styled by Adam C. Pearson and photographed by Matt Armendariz of Matt Bites. Thank you, gentlemen, for your talent, creativity and hunger!
The book would never have been as tasty without the guidance of my editor, Margaret McGuire. Thank you for your support, wisdom and humor. Many thanks to Jenny Kraemer for her fresh, stylish design and to sandwich aficionados Jane Morley and Alenxandra Bitzer for their research and editorial support.
Thank you, Food Blogga readers, for your encouragement and support. You are fabulous! Finally, thanks to my dad thanks for proudly telling every person in Rhode Island about this book. To my mom for happily testing every recipe in this book. And to Jeff, for eating every sandwich in this book. Often more than once. And for never complaining when his jeans got tight.
In The Encyclopedia of Sandwiches, you'll find cherished classics such as Peanut Butter and Jelly, Fluffernutter and the Muffuletta as well as perky up-and-comers including The Cubano, the Artisanal Grilled Cheese Sandwich and the Vietnamese Banh Mi.
Regional favorites such as Hawaii's Spamwich, New Orleans's Po' Boy and Pittsburgh's Primanti are included along with quirky creations such as The Potato Chip Sandwich, The Chow Mein Sandwich and The Doughnut Sandwich.
Belly-busters such as the Italian Hoagie, The Muffuletta and the all-American Jucy Lucy, or "inside-out" cheeseburger, share space with Skinny Sandwiches including the Grilled Portobello Sandwich, the Salmon Sandwich and The Roasted Vegetable Panini.
You didn't think we'd leave out desserts, did you? The book has several sweet options including the kid-friendly Banana Split Sandwich, the adult-friendly Nutella Sandwich and everyone's favorite frosty treat, the Ice Cream Sandwich.
Whether you're a carnivore, vegetarian or omnivore, you'll find plenty of tasty options between sliced bread in The Encyclopedia of Sandwiches.
The Encyclopedia of Sandwiches, Recipes, History, and Trivia for Everything Between Sliced Bread (April 5, 2011). Published by Quirk Books and distributed by Random House, Inc.


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IRONMAN WALES ((Fb Watch))
IRONMAN Wales begins on Tenby's North Beach, which provides one of the most spectacular swim locations on the race circuit. Despite challenging bike and run courses, athletes are treated to consistent and motivating inspiration from some of the most vocal and enthusiastic spectators in endurance sports
2018 Athletes' Choice Awards Globally: 3rd in "Will Recommend To A Friend", 4th in "Overall Run Experience", 5th in "Overall Swim, Bike and Venue Experience" and 7th in "Overall Host City Experience".
Tenby is a seaside town steeped in ancient history and surrounded by an imposing medieval stone wall. Over time, Tenby has seen many changes, but it has been on the leisure map for over 200 years. With all that experience, the people of Tenby know how to offer each and every visitor an unforgettable time. Notable features of Tenby include 4 km of sandy beaches, the 13th century medieval town walls, the 15th century St. Mary's Church; the Tudor Merchant's House; Tenby Museum and Art Gallery; and the Pembrokeshire Coast Path—part of Wales' only coastal National Park.


text: Share: March 31, 2011 Road Salt On December 15, Cary Institute researchers held a press conference with officials from East Fishkill, NY, to release findings and recommendations regarding road salt use. Local media attended and interviewed Dr. William Schlesinger, Dr. Stuart Findlay, and Ms. Victoria Kelly. Coverage of the event based on the Institute report, "Road Salt: Moving toward the Solution," has been featured in newspaper and online sources and by affiliates of NPR and Time Warner.Last winter, between 10 and 20 million tons of salt were used nationally. When the practice of salting snowy roads began in the 1940s, annual use amounted to 5,000 tons. It was formerly assumed that road salt washed out of watershed areas with spring melts, but as Findlay notes, about 10 years ago high salt concentrations were found in local streams during the summer. A 2008 study conducted in Dutchess County revealed that the average sodium concentration of 128 wells was over twice the amount suggested as safe by the EPA.During the press conference, Schlesinger said that "snow is a fact of life in the Northeast, but there are techniques to keep roads clear that result in less of a salt burden, on both the environment and municipal pocketbooks." Kelly, who was lead author of the report, emphasized numerous ways to improve the efficiency of road salt applications, such as properly calibrating equipment, retrofitting trucks with temperature sensors, and reducing the amount of salt in sand mixes. The example of East Fishkill is instructive: its retrofitted salt trucks reduced salt use by 3,483 tons, and the town saved $243,810 in salt costs during the first year.The full report is available online. Share: Feature Cary road salt report generates regional buzz › March 31, 2011


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|Madhav International
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Inner & Bottom: Dull Santoon
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text:
Monday, June 06, 2005
more thoughts on Dumas, Saltz, the art market, etc.
George made a good observation in the comments section of a recent Modern Kicks post on Saltz's article - "Saltz complains about speculation at the auctions, but participates in promoting the speculation at the entry level". YES. Another interesting thing about that post for me was JL's remark that "the shakeout he (Saltz) longs for sounds like it would cost me my job. Let the eagle soar, I say". It made me realize again that there are so many people working in the art industry dependent on its continued growth and expansion, maybe not always in the best interests of art? Are artists the only art industry people that don't have salaries and insurance? Why are we on the bottom of the pile? Wouldn't it be nice if we had job security to worry about?
Aren't you artists that don't live in NY sick of hearing about this fantastic market in which shows sell out before they open and everyone has a waiting list? They keep saying "the art market" like it is the same all over, but is that what's happening in Chicago, Boston, Philly and wherever else? Seriously, I don't know, so please tell me. It isn't happening in Richmond, that's for sure. Am I the only one that doesn't sell?
I doubt it. Spector Gallery is one of Philadelphia's *hot* galleries and Jim Houser is her hot artist but look at how low most of his prices are! I'm not saying I love his work or anything but I'm surprised that a hot artist in a hot gallery in a big city is so affordable what with all of this stuff we always here about the out-of-control market. I was similarly surprised last year when Sarah McEneaney, a Philadelphia artist whose work I do love and who gets great reviews, showed at Reynolds Gallery. Her prices were lower than I would have expected also.
29 comments:
- Anonymous said...
You think Houser's work is priced too low? Granted it's no where near what they would be priced in NYC, but $2,000 for a 20" x 16" painting is hardly a drop in the bucket.
How much are you charging for your paintings Martin? Ask yourself if it is realistic. How many art collectors are in Richmond? How many people really feel ok dropping $2k for a picture?
The prices of my work in my current show range from $75 to $1,400. The cheap stuff has sold while the expensive stuff has not. No surprise there. Expectations must be managed.
If it's all about location, my recommendation is for you to move to NYC, make your fortune, and retire back to Rishmond. Easy enough, right?
(Some of the above was written in jest, but you get my point.)
- Anonymous said...
It's true I work in the art industry, as you put it, but my point regarding Saltz's seemingly implicit desire was meant to be broader - that there's a decent chance that any art market collapse would be part of a broader economic one. Saltz seems to ignore the fact that, if this were the case, not only would insufferable art world types get their comeuppance, but school teachers, sales clerks, machine operators, etc., along with them. Which seems a high price to pay so that he can feel better about his scene.
I basically agree with you about the raw deal artists in general get in what is a market awash with money. In my case, just to be clear, very little of what I'm paid for has anything to do with current art and alas, we're not awash in money. On the other hand, I'm not sure there's an easy equivalence to be made between a growing (even inflated) art market and the given quality of art at a moment in time. I'm not convinced that it's either good or bad for art in the long run. To the extent that it allows a certain amount of bullshit to float, it's annoying; on the other hand, sometimes the flows into places it might not otherwise, which can be a good thing.
- Martin said...
J.T. - Prices are reasonable, and of course predicated on the local market. Smaller work at my recent ADA Gallery exhibition was priced between $400-$600, and the two large pieces were offered at $2,000. That is actually lower than the price we sold a large piece for last year ($2,600).
My best sales year was 2002, when I sold a painting for $3,500 out of my show at the Philadelphia Art Alliance and Williams College bought four large works for $2,000 each (they had been on-loan since 1999 - if you visit the Mission Park building check them out!).
No offense, but I just checked out your resume and you've been showing since 2003 and got your Bachelor's in something other than art in 2001, right? Your trying to sell at $1,400 and Houser at $2,000 is sort of ridiculous. We're all VERY WELL AWARE that your current show is your FIRST SOLO SHOW; Houser's current solo show at Spector is his fifth solo show AT THAT GALLERY. Never mind that he is showing in a commercial space that takes 50% and your show is in a non-profit that probably takes 25-30%, or that he is showing in a hot gallery in the fifth largest city in the country and yours is in a suburb of DC.
Sorry to get nasty, but my point is that it's upsetting and frustrating that we (you and me and Houser and McEneaney and everyone else) are LOCKED into this $300 to $8,000 range REGARDLESS of our experience, location, and abilities while we have to read all this hype about a booming market. I'm just sick of it.
P.S. I'm not from Richmond, I've lived here less than two years. I'm always moving. That is definitely part of my art career problem and one of the reasons that I started this blog. I've belatedly realized it's important (career-wise) for an artist to build a base or somehow be somewhere you can always be found, otherwise with each move you are forced to establish a reputation from scratch. Thank you Blogspot!
- Megan McMillan said...
Los Angeles is a white hot art market. Undergrads at Art Center are selling clean out at open studio events. A Santa Monica dealer I talked to has nothing in his back room right now, and his fall shows are already sold out. Everyone seems to be on guard, though, waiting for the bubble to burst (just like the real estate bubble death watch).
I'm not sure there's an easy equivalence to be made between a growing (even inflated) art market and the given quality of art at a moment in time.
I don't know, I do think there is a correlation. Maybe it's that LA is such a commercial scene right now, but there's definitely an attitude among some artists that this is the time to crank out salable work while the getting's good, and not the time to be exploring new ideas.
Same dealer I mentioned above also talked about how the pace of the market is requiring him to sign artists whose work is underdeveloped and immature, even though in less booming times, he'd encourage them to grow and develop more before getting into the gallery.
The flip side is that though art as commodity is flourishing, arts funding is still in recovery-mode after 9/11. California has had such a state budget crunch that some of the individual funding for artists had dried up completely.
Being artists who primarily depend on funding to subsidize our work (our performance installations are generally funded by grants or stipends, but we don't make a profit), this means we're not experiencing the art boom first-hand.
- Anonymous said...
there's definitely an attitude among some artists that this is the time to crank out salable work while the getting's good, and not the time to be exploring new ideas.
I think you're probably right about that. I was thinking along somewhat different lines: a hot market may bring certain types of b.s. and various distractions, but a bad market isn't better, it just brings different kinds of b.s. and other distractions. In both cases (to keep to this simple model), the values of art struggle with other kinds of values.
- Anonymous said...
Yo yo yo yo... I think this is exactly why people have a problem with your blog. Not once did I get "nasty" about your work or prices or anyone else's for that matter. And for you to go to my resume page and pick out dates and my degree (as if that means ANYTHING about the quality of my work) is simply stupid. Never did I say my prices were optimal and I admitted I don't expect to sell much work at all. It's all about expectations.
Martin, if you want to get nasty we certainly can. But bro, think before you write. I'll hold back this time (I'm feeling generous) but please, don't bring that crap to me.
Back to the point... to the vast majority of people $2k is a ton of money for some paint on canvas and it is certainly a ton of money for a few pieces of wood with some holes in it. It just is. For those who sell works for $10k and up. Good for them. Frankly I don't give a damn.
- Anonymous said...
You were antagonistic in your first post.
- Anonymous said...
Are you new to this blog? Antagonism is the way things are done here. I think Martin has admitted as much about his own posts.
I asked serious questions. Martin clearly is not happy about not selling work (both his own work and other artists he knows). This is fine, but you have to understand the environment. You have to manage expectations. Never did I suggest he was asking too high a price. Never did I say he didn't deserve it. Hell, when I sell a piece for $75 I feel like I made out like a bandit. I don't make art for the money so it's icing on the proverbial cake.
There's nothing to complain about here. Make your art is all you have to do. If you're in it for the money, well, I imagine hunger pains are the norm.
- donald yi george said...
JT and MB. thanks to both of you: that you can be so candid and objective about your experiences with the art market. this is a great forum to look at the cold hard facts of this situation.
- donald yi george said...
i just read mark kostabi's artnet articles. perhaps this is old hat, but any comments?
- Anonymous said...
It's interesting to look at Kotsabi's career. His work is far from expensive (in his world) and he supposedly sells thousands of paintings a year. But I suppose he isn't like many of us. He just wants to sell. I think any of us could sell that much art per year if we wanted to. Just keep lowering your prices ($2k - $1k - $500 - $100 - $50 - $5) and it will sell.
Kotsabi is one interesting guy, that's for sure. But not a guy I'd want to be friends with!
- Anonymous said...
Your inferences were antagonistic. Just don't pretend that they were not.
- Anonymous said...
Never denied it...
"Are you new to this blog? Antagonism is the way things are done here."
But I didn't talk about Martin personally though. I should have known that's what I would get though.
- carol es said...
i have recently read about pricing and here's an interesting concept about it. ex: if your full annual overhead is roughly $12k a year (with studio rental,supplies,promo, etc), and you average about 30 pieces, then your base price for each piece needs to be around 400 just to pay yourself back! add to that a labor fee of say, 25 bucks an hour, and if it takes you 20 hours to create a piece from conception to finish, that's another $500 on top of that. if you sell this piece through a gallery for $1500, you are losing $300 per piece.
the same book also made a point about posting low prices being a public proclamation of your low self-esteem.
interesting, isn't it?
- Anonymous said...
interesting, isn't it?
It is. A colleague of mine has been doing photography for several years now, mostly on her own. A year or so ago, she started doing straightforward commerical work, family portraits and the like, basically on a referral basis. That in turn has led to people seeing the stuff she did for herself and wanting to buy prints of them, get her into a gallery, etc., and she has no idea what to charge for her work. I've been recommending that she follow this kind of advice. Parts, labor, and all that. It helps, or could help, I think, to simplify what otherwise can be an unpleasant and nerve-wracking business.
- Martin said...
Donny - Edward Winkleman, the guy that runs Plus Ultra, has a pretty good blog on which he recently talked about Kostabi and his artnet column. Check it out at http://edwardwinkleman.blogspot.com/2005/05/kostabis-world.html.
I met Kostabi once and he's really nice. Visit his website.
JT - Make your work is all you have to do?
Neutral Reader - Thanks for your input, I agree with you, but I think that with his last comment JT admitted as much.
- Anonymous said...
Admitted as much as what, Martin? And yes, all you have to do is make your work.
As for pricing, I don't agree with what has been said. I collect a fair amount of work and not once did I care how much time it took the artist or how much materials cost him. All I care about is the value of the work to me. So if you spend 100 hours on a painting and I still only think it's worth $200, that's all I'm going to pay. Take it or leave it.
This is the interesting part of pricing art, I think. There is no logic. In my opinion you must experiment until you make sales. The market determines the value of your work. So while you can price your work at $10k, it may or may not sell. Perhaps drop the price to $5k. If you sell 5 paintings super quick you are low on price (obviously). So, then, you need to raise your price. Say to $6k, then $7k, until you feel the balance is satisfactory. As you gather plenty of data points, the pricing works itself out. If the market says your paintings are only worth $50, well, you need to decide if you want to sell for that.
I think starting with materials and labor is fine for a starting point (I use size... as in $/sq. inch). Some have recommended I perhaps go by # of holes. Point is, it doesn't matter. The market will tell you over time what your work is "worth."
(Disclaimer: My use of "you" above is not directed to Martin but instead a general "you.")
As an aside, I once heard a statistic that said something like 90% of MFAs stop making art within 5-10 years (anyone know the true stat?). If that's true, then what's the point of the BFA or MFA? I'd bet that 5-10% of non-BFA/MFA graduates make art (in some form) 5-10 years after college. What's the value add?
- carol es said...
why should an artist allow someone like YOU to decide what the market is? or any customer of anything for that matter? the creator should set the price. why should the artist be such a martyr? we should not do that crap to ourselves. if the artist wants 10k for their work and it won't sell for that, then they can wait until they find their collector base, or create smaller works for less cost, or work something else out that doesn't make them lose money on their work, or lose confidence. that's not to say an artist shouldn't work at building a career so they can fetch the prices they want, but i'd say big fat "no" to lowering prices when they don't feel it's right. if more artists stood firm on that then maybe you'd have to just get more money to buy the art you really like. just like anything else you want real bad that costs a lot of money - a car, a computer, furniture, a purebred dog, a camera, whatever. if you want it bad enough you will save for it. there will always be artists who sell their work for pennies. look at ebay. maybe it's priced low because the artist thinks he sucks, and maybe it does suck. it's all opinion. but whatever the ARTIST determines the retail price is, is what it is worth. that's just my .02. jt, what is your point in being such a negative rabble rouser? not that it isn't fun and all.
- Anonymous said...
Wow!! I can't believe someone could mis-read a comment so thoroughly. But Snoopy, you certainly did. Here's the sentence you seem to have missed in your eagerness to respond:
"If the market says your paintings are only worth $50, well, you need to decide if you want to sell for that."
What this means is, if the market says your painting is worth $50 but you want more for it, don't sell it. Simple as that. Artists are certainly allowed to set whatever price they want. And I do too. But your expectations have to be in line. You can't say, "I don't understand why someone won't pay $5,000 for this painting." It's clear economics.
Something tells me you didn't study economics, did you? Maybe not being an art major wasn't such a bad decision after all!
As for this sentence:
"why should an artist allow someone like YOU to decide what the market is?"
Well, that's hilarious. I don't determine the market on my own. Again, simple economics. It's a collective effort on the part of buyers and sellers. However, when it comes down to me considering whether or not to buy your piece of art, I'll make the judgment of what I think it's worth. We either transact, or not.
If you'd like I'd be glad to recommend some remedial economics books for you to brush up on things such as supply/demand, markets, value, etc.
"A negative rabble rouser"??? I'm just trying to help you understand how markets work. You are entitled to think your art is worth eleventy-billion dollars... just don't complain when it goes unsold.
So, to review, do I need to explain just how wrong this is:
"but whatever the ARTIST determines the retail price is, is what it is worth."
Unless, you mean "worth" to the artist and not to the market. As for the market (which is the topic here), have you ever heard the saying that something is only worth what someone will pay for it?
Give it some thought. I'd be glad to discuss more if you want.
- carol es said...
i didn't misunderstand you. i disagree with you - despite your expertise on economics. don't misunderstand me either, i'm not talking about MY art. i'm not bold enough to price it out the roof at 10k or whatever. i'm talking about a viewpoint on something i read, which i agree with. i don't agree with you, so leave it at that. my post is an offering of a different view than yours. my eagerness is not as righteous as your insistence of the truth. there is more than one truth in something like this that is so unquantifyable. should i offer up some book titles for you on the subject of physics? please.
- Anonymous said...
Oh Lord... ok, let's throw years and years of economics down the drain so that you can feel happy-go-lucky about artmaking. I pointed out the faults in your comment but I guess you feel like those aren't actually faults. Not sure what to do now. It's like telling someone 2+3=5 and they say not all the time, 2+3 can = 6 if it makes me feel good inside. Rock on Snoopy!
So what was it that you read and agree with? Let's move the conversation there and examine it.
- Anonymous said...
I've got to agree with JT on this one. I think it is a big mistake to price art according to: (1) the cost of labor/materials/overhead, or (2) whatever the hell the artist thinks it's worth. It's worth -- at least in economic terms -- is what the market says it is worth, that is, the price at which it sells (consistently). I don't see how you get to that other than through trial and error, as JT suggests, and sometimes through heavy marketing and outright lying, as I think the Saltz article illustrates.
- mjp said...
J.T. Kirkland pontificated: This is the interesting part of pricing art, I think. There is no logic...If the market says your paintings are only worth $50, well, you need to decide if you want to sell for that.
"the market," as it applies to art sales, does not exist, rather many markets do. which market would you be referring to? galleries are a market, so are "art fairs," and ebay. but those are all radically different markets. since this started as a discussion of galleries, more often than not, the artist isn't really involved in gallery pricing.
If you'd like I'd be glad to recommend some remedial economics books for you to brush up on things such as supply/demand, markets, value, etc. I'm just trying to help you understand how markets work.
maybe you need some remedial real world training. supply/demand is meaningless when you're talking about most commodities. how much is that gallon of gas worth to you? three bucks? i'll bet you bitch and moan at the pump as much as anyone, yet the supply and price of gasoline is artificially controlled to keep it high. ever bought a piece of diamond jewelry? if so, you were again bent over the table by an artificially inflated market, that actually dumps their surplus out into the ocean when prices seem to be in remission.
the market - artists - could certainly control the price of art. they don't, but they could. but with the explosion of amateurs attempting to sell art (that in previous generations would have likely wound up in a box in the basement where it belongs) in the internet era, average prices have taken a major hit. anyone outside the gallery system is forced into competition with thousands of freaks and wastrels selling paintings for a penny.
maybe this generation's next great artist is hawking his paintings on ebay right now. i doubt it, but i suppose stranger things have happened.
you are suggesting that textbook economic principles apply to the art market, and as i read the posts about using cost/time calculations to price art, they are saying the same thing. i'm not sure how you can apply what you learned in your college economics class in one instance and argue against it in the other. seems contradictory.
- Anonymous said...
Scott - Thanks for the support. One thing I'd make clear though is that an artist technically CAN price their work anyway they want to. What must be managed though is the artist's expectations of selling. But I think you agree with that.
MJP - Welcome! What we're discussing here is the pricing of art. It can be in a gallery, eBay, or whatever. It gets down to setting a price and being happy with if it sells or not. That's all. You can break down the market into as many sub-markets as you want. The idea from 10,000 feet is the same.
Hey! Have you been spying at me when I'm pumping gas? Otherwise how do you know what I do at a gas station? In actuality, I wish gas prices were higher. What most people fail to realize is that gas prices today are still relatively cheap compared to Europe and during gas shortages of previous decades. I say raise the prices!!
Supply and demand is what drives most commodities. Even if you feel prices for some commodities are set artificially high, you (the buyer) still get to play the role of demand. You can buy the commodity or not. You don't have to buy anything, but you will if you are willing to pay the set price. Again, simple as that.
I've never bought a piece of diamond jewelry (I have no value for it) but I can promise you no one is bending me over anything.
Artists could never control the art market completely (given artists' knack for organization, the idea is hilarious!! Don't get mad, I'm one of you like it or not). That is, unless the are going to buy each other's work. As long as artists are dependent on people with money for sales, they won't control anything. You can't forget about the buyer.
When talking about "amateur" artists (however you define that), you speak negatively of them selling paintings for a penny. I wouldn't sweat it too much. The "collectors" who buy penny paintings are not my audience (if I actually had a target audience). So who cares? If you price a painting at $1,000, then the buyer needs to find 100,000 times the value in your painting than compared to the penny painting. If your work is that valuable to a buyer then most certainly they will buy it.
In your closing paragraph you demonstrate (like your friend Snoopy) that you have not read closely or understand the underlying principles. What I stated about pricing in terms of economic theory certainly holds true. For an artist to set their prices (when they haven't made a ton of sales) they have to find their price point somehow. You need data points! So you can get a first start at pricing by using size, time/cost, # of holes, whatever. It does NOT mean the painting will sell. You may go too high and sell nothing. You may go too low and sell everything. But you need those data points to determine the value (in the market) of your work. It's one of the toughest things about selling art.
But, this talk misses the point of my original and subsequent posts. The economics will work as they will. The only thing you can control absolutely are your expectations. If YOU value your work at $5k and you sell nothing, are you mad or content? I got the impression that Martin was mad about it (for himself and other artists). And I think that is unfortunate. If you care about selling your art (just to sell it) you can price it at one penny and put it on eBay. If you don't care about selling work then price it at what you think it's worth. If it sells then you know a buyer placed the same value on the painting as you did and you both can be happy.
So, to close, there's nothing contradictory here. Just please don't get mad at me or any other collector who won't pay $500 for your painting that we potentially only value at $100. Hell, how how many stories have we heard about masters of art who never had a dime to their name their whole life, only to get "discovered" after their death. What are you in this game for? There's obviously easier ways to make a living.
- Anonymous said...
I think it is a big mistake to price art according to: (1) the cost of labor/materials/overhead, or (2) whatever the hell the artist thinks it's worth. It's worth -- at least in economic terms -- is what the market says it is worth, that is, the price at which it sells (consistently).
Just to be clear: when I was suggesting setting a price in terms of material/labor/etc. costs, this was meant as a sort of heuristic to serve as a starting point for someone who didn't know what to charge. Obviously, if people turn out to be willing to pay 10x (or whatever) that amount, go for it. It's useful to have an idea of what's needed to cover production cost and labor and all the rest just to know what one should not consider going below if one wants to profit from the sale. If that's not a concern, or not an important one, the equation changes, of course.
- Anonymous said...
I agree with you that time/materials/overhead is a useful benchmark, particularly for deciding whether one can make a profit or a living from one's art. My only point is that this type of benchmark is not likely to give an accurate market price -- it usually will be too high or too low. Or maybe more to the point, I don't think it's likely that the prospective buyer is going to care how much the material cost or how much time went into making the artwork when deciding how much to pay. If a piece of artwork cannot transcend its raw materials, it's not much of an artwork.
- Anonymous said...
This is the smartest thing said in this entire thread:
"If a piece of artwork cannot transcend its raw materials, it's not much of an artwork."
- Anonymous said...
I don't think it's likely that the prospective buyer is going to care how much the material cost or how much time went into making the artwork when deciding how much to pay. If a piece of artwork cannot transcend its raw materials, it's not much of an artwork.
I totally agree with the second sentence reproduced here. As for the first, I agree in part: they probably won't care, but they don't need to. Most of us don't care, or even think about, what goes into the price of the things we pay for in life. We may wish those prices lower, but we don't tend to think about how they were arrived at. The same applies here. The business of convincing someone something is worth a certain price is different from calculating what one needs the price to be.
- Anonymous said...
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text:
Morgan Stanley (MS) Chairman and CEO James Gorman said Friday that the industry was through the mayhem of the financial crisis that led many brokers to switch firms. Plus, with consolidation in the industry, there are fewer firms for advisors to jump to.
If "you look at where the industry, the wealth management industry now is, it's very concentrated. And during the period of turmoil of the crisis, post-crisis and then our acquisition of Smith Barney and various staggered pieces that we hurdle on the way, there was a lot of attrition, a lot of moving people between different firms," Gorman explained on a conference call with analysts posted online.
The movement created a burden for both firms and investors. "That is the tax on the industry obviously, and it's inconvenient for clients in many cases," Gorman said.
Such turmoil is no more, according to the executive, which means lower costs for brokerage firms. "But that level of turnover has dropped significantly, and we expect it to continue to drop," he shared. "So that reduces your overall compensation costs, because obviously recruiting deals can be very expensive, number one."
For Morgan Stanley, its merger with Smith Barney — now complete — is producing desired results on the bottom line as the strengths of the two firms can be better taken advantage of by its 16,500 advisors, the company leader says.
"No. 2, the strength of the old Smith Barney business at its core was its managed money program, and the strength of the Morgan Stanley business at its core was its capital markets capability, which is based upon Westchester," Gorman said. "And we are continuing to see each of those strengths sort of populate the other side of the house. So it's now become together as one firm."
This growth should add to results going forward, he notes. "And that's why you are seeing so much growth in the managed money side, and you are seeing very good retail distribution of institutional underwriting," Gorman said. "So I think just fundamentally it's a more robust business and the broader industry structure is more accommodating to better performance over time."
Earnings Jump
On Friday, Morgan Stanley said its third-quarter earnings from continuing operations nearly doubled to $1.01 billion vs. $560 million. Revenue grew about 7% to $8.1 billion from the year-ago period, excluding debt value adjustments.
The bank saw its equity sales and trading boost revenue to $1.7 billion from $1.3 billion in the year-ago period. Its fixed-income and commodities trading revenues, however, declined sharply to $835 million from $1.5 billion in the third quarter of 2012.
"Our strategy to combine a world-class investment bank with the stability of the largest U.S. wealth management franchise and strong investment management is enabling us to deliver exceptional advice and execution for our clients as well as stronger returns for our shareholders," said Gorman, in a press release. "Overall, our stronger year-over-year revenues and net income reflect the progress we have made to position the firm well for the future."
Advisor Results
Wealth management operations at the investment bank, which account for 43% of total sales, grew 8% year over year to almost $3.5 billion. And the unit's net income jumped to $430 million, a 32% gain over last quarter and nearly double the year-ago period's results.
The number of advisors at Morgan Stanley grew 1% to 16,517 in the third quarter from 16,321 on June 30 and 16,378 a year ago. The wealth-management unit has seen a number of highly productive advisors depart to rival firms this year but continues to attract FAs.
For instance, in early November Theresa Chacopulos moved to the firm from Wells Fargo Advisors (WFC) in Scottsdale, Ariz., where she had over $1 billion in client assets. Also joining from Wells recently was the Costantino Group of Binghamton, N.Y., which had assets of $123 million and yearly fees & commissions of $1.28 million.
Francesca Zavolta left Barclays and moved to Morgan Stanley's office on East 52nd Street in New York. He's managed close to $75 million in assets and had $1.26 million in production for the past 12 months.
Morgan Stanley says its advisors had trailing-12-month production of $848,000 on average, down 2% from the prior quarter but up 8% from last year. Rival Merrill Lynch said earlier this week that its veteran advisors have about $1.3 million in yearly production, while its overall average advisor production is $1 million).
Total client assets were $1.83 trillion at quarter end (vs. $1.85 trillion for Merrill Lynch and $2.28 trillion for Bank of America's (BAC) overall wealth-management operations).
Client assets in fee-based accounts at Morgan Stanley were $652 billion, an increase of 22% from last year. Fee-based asset flows for the quarter were $15.0 billion, a 50% improvement from the second quarter and a 121% increase from the prior year. (Flows in Q3 at Merrill $13.3 billion.)
"With our high-margin predictable wealth management business such a significant percent of our portfolio, we have a significant shock absorber in weaker markets," said CFO Ruth Porat on a conference call with analysts. "In addition, we expect that our earnings will be even more predictable with the ongoing execution of our bank strategy."
Check out ThinkAdvisor's Q3 2013 Earnings Calendar.


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New Native Languages, May 08, 2012 D, Go, Vala, and Rust: A new generation of native languages.
D is the brain-child of Dr. Dobb's blogger Walter Bright. Like all the other languages discussed here, it's fundamentally an OO language with numerous features that push it into different areas of programming. Originally conceived in response to perceived flaws in C++, D has grown to embrace a wide range of features — optional memory management (garbage collection), robust safety features (via bounds checking and design by contract). While the language has a low-level feel (inline assembly language is supported), it has high-level constructs such as closures, metaprogramming capabilities, and other features associated with functional programming. Because it first appeared in 2001, D has benefited from considerable refinement and optimization. As a result, programs written in D generally show performance close to their C++ counterparts.


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Your dream internship in Bulgaria
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Gismeteo Weather Forecast. Real time weather and detailed forecast all round the world
The best way to see the Weather right in your browser. Easier than looking outside!
Gismeteo weather forecast in speed-dial
Gismeteo weather forecast in speed-dial. Real time weather and detailed forecast all round the world
Push to Kindle
Send web articles to your Kindle
Виджет НГС.ПОГОДА
4PDA Инспектор
Weather icon in your toolbar displays real time weather of your place.
Google™ Weather
A lite and accurate weather extension for the entire globe based on Google Technology
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The easiest way to check the weather while you browse internet!
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Prayer times | مواقيت الصلاة.
معرفة مواقيت الصلاة
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Provides local and long range weather forecast using Weather Underground
RSS Zing
Notification for new RSS feed posts. No account required.
xora.pl, Pogoda
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Loads up Dharmesh Patels's excellent Web App for Hackernews on the Sidebar
All news of the day. Follow main events in the country and in the world.
Feedly Notifier
Extensión para Feedly news reader
InoReader Companion
Quickly view your updated feeds, subscribe to your currently opened site and more...
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Islamic Monthly Prayers Timetable with HTML5 localStorage
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Find out what the mainstream media is keeping silent about.
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weather forecast for every country on the planet
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This extension provides nice bitcoin ticker using Coindesk data.
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RT ofrece una alternativa real en el mundo de la información.
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Browse technology news on Techmeme in the sidebar.
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Accurate weather forecast. Local to Global.
Tiny Weather Forecast
Tiny extension what showing you weather forecast from yr.no (Norwegian Meteorological Institute and the NRK)


text:
Steubenville, Ohio
Any last hope that this year's election would be anything but an unprecedented wallow in muck, misstatement and disrespect was lost Wednesday, at a neighborhood spaghetti joint on the border between Ohio and West Virginia. Vice President Joe Biden, after a day of glad-handing locals and attacking the values of Mitt Romney, stopped off for some chicken parmesan, initially unaware that a few feet away sat Ryan Williams, a spokesman for the Romney campaign who had flown to Ohio for no other reason than to cause problems for the Vice President.
For years now, rival campaigns have sent low level staff, called "trackers," to shadow each others' campaigns. They were often interns toting video cameras who passively mingle with supportive crowds hoping to catch a candidate in a gaffe. Williams, a former communications director for the New Hampshire GOP, is a different breed—a hybrid spokesman/tracker. He toted an iPhone, but seemed uninterested in documenting Biden's every move. Rather, he was there to cause mischief in the hopes of getting attention from the press.
Earlier in the day, at Biden's noontime campaign speech in Youngstown, Williams had arrived quietly, nervously walking by the national press who recognized him, as if he did not want to be noticed. The event was opened to the ticketed public, and Williams had flown into the state the night before to visit a local Obama campaign headquarters to request his ticket. He sat politely through vice president's remarks, and then, with the event over, made his way to press corps where, with many Obama staff unaware, he began spitting fire. "It's remarkable to see a presidential ticket that ran on hope and change in 2008 resort to such negative and dishonest campaign tactics," Williams said, among other things, before entering the press filing area to continue the onslaught. "Voters elected Barack Obama in 2008 to fix the economy. Now he has no record to run on for reelection."
Once Obama campaign staff figured out what was going on, they asked the Secret Service to ask Williams to leave the press filing area, which is reserved for credentialed reporters, but allowed him to remain at the event. It was by no means the first Obama campaign event that a Romney tracker/spokesman had crashed to spin free media gold. And Williams restricted himself to speaking with reporters, choosing not to confront the staff or other dignitaries, like former Gov. Ted Strickland, who stood nearby also working the reporters.
Then came dinner.
In an interview afterwards, Williams said that he had happened upon Biden's unannounced dining location by accident. Steubenville is a faded steel town on the Ohio River, known for being the birthplace of Dean Martin but not for its many dining options. When he arrived at the restaurant, with a newly hired Romney state staffer, Chris Maloney, they were informed that a secret guest would be arriving later, so they settled in for a long meal.
Biden entered shortly after 6 p.m. with his usual burst of enthusiasm. "I love Italian food, and I am hungry," he said, before joining his dinner guests, the owners of a nearby automobile dealership where Biden will speak Thursday. After reporters had been ushered out of the main dining hall, staff identified Williams and pointed him out to the Vice President, who invited the Romney staffer over to his table. At that point, even though there were no reporters in the room, Williams went on the attack, asking by his own account, "Why do you think coal is more important than terrorism?" (Biden's own staff said they had trouble making out exactly what Williams said.)
In eastern Ohio, just a few miles from a major coal-powered electricity plant, the question was about as courteous as asking why a politician beats his wife. It was based on a bit of opposition research: In 2007, Biden was asked on HBO's Bill Maher show to rank the degree of danger that "air that has too much coal in it," high-fructose corn syrup or terrorism posed to the American people. Biden answered that coal and corn syrup killed a greater number of Americans, though he did not discount the danger of terrorism. "That is not in any way to diminish the fact that a terrorist attack is real," Biden said on the program.
Biden did not answer the Romney staffer's question. And moments later he shifted his dinner party to an adjoining table so that he could distance himself from Williams, who staff said continued to appear to be eavesdropping on the vice president's conversation. On Twitter, Williams announced that Biden was "quickly ushered out of the dining room," but Biden's staff said he only moved a few feet, to the other side of a divider in the same open dining area.
The Steubenville confrontation comes at a time when both the Romney and Obama campaigns have settled on daily messaging that is almost entirely negative, and often misleading. In Youngstown, Biden had been introduced on stage by a former employee of a company that had gone bankrupt after it was purchased by Bain Capital, the private equity firm that Romney once ran. "All I can tell you is Mitt Romney will stick it to you," said Randy Johnson. Another Obama surrogate at the event, former Ohio Gov. Ted Strickland, described the presumptive Republican nominee as "a person who represents the 1 percent." "I sometimes feel sorry for Mitt Romney," Strickland continued, "because I feel he tries to relate to ordinary people but does not have the capacity to do so."
Biden's own speech was also fiercely negative, portraying Romney as a financier more interested in wealth creation than job creation, who did not understand the needs and hopes of working people. That message was matched by an afternoon Obama campaign conference call with reporters, in which deputy campaign manager Stephanie Cutter described Romney and his business partners as greedy money men who ruined the lives of many working people. "They didn't create jobs," she said. "They slashed and burned them."
All this comes just a few weeks after the official start of the general election, and the tone is only bound to deteriorate further. For both campaigns, positive messages about their own candidates' plans are easily drowned out by the fusillade of daily attacks, which speak to core strategic goals. Obama is determined to disqualify Romney as someone who Americans see as a viable president. Romney is determined to hold Obama responsible for every bit of economic misery that has occurred over the last three years.
For the Romney campaign, the Williams stunt was seen as a success. On Thursday, the RNC released an online video that neatly followed the messaging of Williams own question with an attack on the Obama Administration. "Vice President Biden will try and gloss over their anti-coal agenda to try and shore up their plummeting support among blue collar voters," said RNC Chairman Reince Priebus, in a statement to reporters, "but their record speaks for itself." This was accompanied by a new RNC web video filled with carefully edited quotes from Obama and Biden about coal. No doubt a prompt response attacking the values of Mitt Romney will be forthcoming from Chicago.


text:
The point is that at the time, xkcd.com itself had not yet updated (for me at least) but biblequizzzingwebsite, I guess because it had never before been loaded on my computer, did have the new comic. So I see it, and my first thought is "well that's weird. it's just some strange religious parody of xkcd. they sure got the random nerd references down." But then I was like, wait, this is too close to real. What is this website?
I still, of course, have no clue. But I am sad to say that it appears this bullshit is indeed a real xkcd.
Where can I even start with this? No one can even figure out what the joke is supposed to be. One popular theory is that it is a joke on the time Ewoks thought C-3PO was a god in RotJ. Some people think that it's a joke on droids being named with letters, as god is with YHWH (or YHVH). Some say the same thing but with LOM. Others say it has to do with Anthony Daniels recording a version of the bible (except: he didn't.) Some people think it is just a contrast between a grandiose introduction in panel 1 and a nerd reference in panel 2. this guy, astoundingly, thinks it is about the LHC. In short, you've got readers - loyal, xkcd loving readers - completely disagreeing about what this comic is supposed to be.
Now on its own, this fact is a problem. If you have a joke you want to tell, the point of the comic is that you are expressing that joke through words and images, ideally in the clearest and funniest way. If your readers (your readers! you, Randall! I am talking to you! this is not hypothetical!) can't figure out what the joke is, then you have failed. It's not the worst thing in the world, I guess, but if it happens a lot, you've got a real problem. To be fair, this is not a problem that xkcd has all that often (the problem tends to be the quality of the jokes themselves, not their presentation). But it's part of the growing collection of signs that xkcd is really, truly, objectively, sucking.
Did you think I had gotten to the core of why this comic is terrible? I did not! See, these complaints are just the outskirts, the economically depressed suburbs surrounding Shit City. See, the problem is not just that all the readers came up with so many different explanations for what this comic is supposed to be. It's that none of them make any fucking sense.
First off, the ones that deal with the name of god. "Elohim" and "YHVH" would all be perfectly ok names to make jokes off of, if he had used them, which he didn't. For example, had the first panel been "I am YHVH, blah blah blah, and this is R2-D2" then it would have made some fucking sense. Because the droids in star wars all go by letter or number names, all spelled out like that, and it's not totally inconceivable to imagine a droid named Y-HVH or YH-VH or something. BUT RANDALL DIDN'T DO THAT.
Is the joke about how Ewoks thought threepio was god? I hope not, because as I recall, he was not exactly insisting that he was. His attitude was what you would call bewilderment and not exactly imposing. Not exactly much in common besides the notion of some sort of supernatural power. Anyway, R2 had nothing to do with that scene (right?) and it's not like threepio was even introducing himself to the ewoks, so if you wanted a good threepio line to make god say, it wouldn't be "and this is my counterpart, R2-D2" it would be something like "I command you to release master luke" (which even works with the comic, as Bible God asks Moses, in this scene, to ask pharaoh to free the israelites, so you've got a common theme there).
If Anthony Daniels had just recorded an audio version of the bible, then it would be funny, because hearing the bible in his voice might make one append c-3po quotes to bible verses. BUT HE DIDN'T DO THAT so it's just stupid. In a further example of Randall's so-close-and-yet-so-far syndrome, James Earl Jones actually did record a version of the bible, so making a Vader joke may have worked here. May. But hey, randall, it's not like you tried, so whatever, fuck it!
Was this comic supposed to just contrast God's super-grandiose introduction with C-3PO's epically mild one? If so...do I even have to explain? Can I trust that you are all intelligent enough people to see that that is a stupid fucking piece of shit? Here, I'll use a mocking tone of voice to make fun of the thought process that might have created that nonsense. "What are two things I can mash together? I know! I'll do a joke about how friggin crazy god is when he introduces himself! Or wait...could I make a joke about humble c-3po is when he introduces himself?" HINT: THOSE IDEAS BOTH SUCK DELIRIOUS QUANTITIES OF ASS. "Why, who cares, I'll instead make a joke about both of them! What if one spoke in the words on another? How very...incongruous! yes, it must be so."
I know there are other little theories about what this comic is supposed to mean. They are all even worse than the ones above. Nothing works. Nothing makes sense.
Lastly, look. I complain a lot about what we call reference humor, itself a subcategory of fan service. It's where instead of telling a joke, you just make a reference to something. It's not a joke about the thing - star wars, in this case. You can make good star wars jokes. That's fine. But if you just say "star wars" or "kessel run" or "this is my counterpart, R2-D2" then you aren't making a joke, you are merely referencing something. Now if your audience likes star wars, as I do, then perhaps they will enjoy this reference. After all, we like to be reminded of things we enjoy. And if fact, that sort of pleasurable feeling - which the reference is not responsible for, the referant, if you will, is responsible, the thing to which we are referring - can simulate the pleasure that comes from reading a good joke. But they are not the same. They are not the same.
Just sticking in a Star Wars reference is not a signal that you are creating anything of quality because you aren't actually doing any intellectual work. A computer could spit out pictures of star wars characters and audio clips from the movies. And that is of exactly the same nature as this comic. But some people don't seem to get that.
In fact, combine a lack of a joke with a star wars reference and smack the xkcd label on it, and some fucktard is bound to like it. Some fucktard like this fucktard. Also this guy, he is also a fucktard. As long as we have to deal with shitty people like that, xkcd will always be able to get away with bullshit. A lot of people called him on it this time - which is really encouraging. And hopefully some of those people will learn to use at least a slightly critical eye in the future. But the people who don't care, who gladly swallow shit and ask for more, they are the ones we have to reach.


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Mario Games
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Super Mario Racing 2
Choose from 6 different drivers in this fun recreation of the old Super Mario Kart games. If you beat the game, you will unlock Luigi and Toad so there is some added incentive there for you.
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Super Mario Flash 2
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Super Mario World
The original SNES game Super Mario World is here. This game has become an all time classic.
Super Mario Bros 3
Super Mario Bros 3 is one of the greatest games ever made. 8 Worlds and many bosses and challenges await you.
Super Mario Crossover
What would happen if Contra, Zelda, or Megaman got mixed up with the Mario Bros. games?? Find out in Super Mario Crossover
Infinite Mario
Contrary to the name of this flash game, Infinite Mario actually does end at some point. The question is when?
Super Mario Bros 2
Play the classic Nintendo game Super Mario Bros 2! Choose between Mario, Luigi, Toad, or Princess.
Mario Cart
Mario Cart emulates the great physics and tight turns of the famous Mario Kart series. Do battle against 3 enemy racers!
Super Mario Bros
Relive some old school nostalgia with this true to the original remake of Super Mario Bros. for the NES!
Super Smash Flash 2
The sequel to the very popular and addicting super smash bros. Choose from 16 unique and interesting characters.
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Play the SNES rom Super Mario Kart! Choose from 8 characters and try to beat all 4 cups.
Super Mario Star Scramble 3
Collect 3 stars on each stage to move on while facing the usual line up of suspects like Goombas and Rex
Super Mario Crossover 2
Super Mario Crossover 2 is a great sequel with tons of nintendo characters like Link, Megaman, Mario, and more
Mario Kart Super Circuit
Choose from 8 different characters and race in 5 different cups in this awesome Mario Kart rom
Super Mario World Hack
A fun hack featuring the 8 secret levels to play from Super Mario World
Super Mario All Stars
Remastered Super Mario 1, 2, 3 and Super Mario the Lost Levels all combined into one game. Nice!
Donkey Kong Country
One of the best games ever made for the SNES. Donkey Kong and Diddy Kong must fight their way through 6 worlds.
Mario Mushroom Adventure
Classic platform Mario flash game where you must clear 3 worlds of 4 levels each and of course rescue the Princess
New Strange Mario Bros
A fantastic rom hack featuring all sorts of new strange worlds to explore
Mario World 2
Monoliths Mario World II is a sequel to Super Mario World for the SNES. Play 6 different long and very challenging stages!
Marios Adventure 2
To beat each level, simply find the coin in the blue sphere to move on to the next level. Look out! It's harder than it sounds!
Mario Cart 2
Mario Cart part 2 adds new exciting tracks like Rainbow Road as you race against 3 other carts and collect items
Mario Ghost House
Mario must enter the spooky ghost house where ultimate horror and countless puzzles await him. Can you make it out alive?
Super Mario Crossover 3
The ever popular Super Mario Crossover 3 features new characters and a whole new mario style challenge
Mario Mushrooms
Mario must shoot the little mushrooms into the bigger mushroom in order to complete each level
Crazy Mario World
A crazy snes rom hack of Super Mario World. This game really does keep you on your toes!
Super Mario Racing
Super Mario Racing is a 2D side scrolling game featuring the usual list of suspects and items to throw at opposing karts
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