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Damn–so I wasn't thinking that post comments didn't allow the "blockquote" html tag. So rather than going back and changing all those to "em"s i decided to be lazy and post my response to James here.
Posted before I have the sense to stop myself:
You'll have to forgive me here– I was never all that smart, and I currently have half a bottle of crap shiraz in me, so I don't even know if this will all be in English.
Post all you want James. Even if it's just a Fluxus concrete poem I won't mind. I used to have some of the most interesting discussions with a physicist friend of mine at bars–being boozed up doesn't necessarily mean that you'll be at all incoherent.
I'm a little unclear here, because it seems like you're agreeing with my idea of 'never trust the artist.' But maybe saying there's a different reason for not trusting him? Or at least not relying on him?
In a sense, yeah I am–but at the same time, I'm saying 'never trust the critic' (re: the intentional fallacy) because relying on a [particular] critical tradition's notion of what degree of intentionality to accept in an author's statements isn't any less problematic. And obviously these issues overlap with the whole idea of close-reading which tends to be inextricably bound up with the intentional fallacy. They create the the core of the so-called box of "Western Critical Theory" (or what I think the phrase textually driven criticism best captures) as I'm perspectivizing it.
And I guess I should throw out what I'm [implicitly] contrasting with textually driven criticism here so that some things might be a bit more clear (while at the same time other things will be more opaque). Forgive me for a moment as I make some broad sweeping generalizations as there will always be exceptions (see my qualifications for this here; also, this post is at Jim's new blog hosted at wordpress).
I'm basically interested in cross-cultural criticism (if you haven't noticed) so in a nutshell we can talk about three meta-traditions centering (historically) on ancient Greece, ancient India, and ancient China. Not that other cultures don't have a long critical tradition–that's obviously not the case, but these three in particular have the longest relatively unbroken lines of a critical tradition. Now for some more problematic generalizations: the Greek tradition can be seen to have developed into a textually driven one; the Indian tradition can be seen to have developed into a aurally/bodily driven one; and the Chinese tradition can be seen to have developed into a gesturally/visually driven one.
One big source of evidence (there are others) for these distinctions other than the criticism itself (which already perspectivize these ideas) is to look at the respective dramatic/theatrical traditions. Sure, there is overlap between the three–but if we use Neil Cohn's excellent distinction between modalities of expression (e.g. distinction between verbal expression, gestural expression, and visual expression) in conjunction with a generalization of Carstairs-McCarthy's formulation of synonymy avoidance principles (e.g. expression tends to diverge in some way to prevent overproductive synonyms) we can see a different emphasis between the three traditions. For example, if text is the focus of a traditional form, then the gestural and the visual aspects of the form will become de-emphasized.
If we talk about the frames within which these respective dramatic traditions exist and the discourse referencing them we can sort of tease out these distinctions merely through statements made about them or describing them or in the theory and praxis of them. We're already going to have a problem with ethnocentricity because the terms/phrases/statements that at least I will be discussing are going to be in English.
Generally speaking, traditional Western plays are written. This is part of the Greek tradition. We have playwriters, screenwriters, scripts. Actors read lines [of text], learn their lines, forget their lines. How long a particular piece lasts depends on the length of the script and how long it takes to perform the lines of the script. Laypeople can read the scripts in published form. Programs for Operas usually include the libretto (but not the music) in translation.
In traditional Indian theatre (commonly referred to as dance-dramas) movement and dance are almost always integral to the performance. These are usually not written, though some exceptions exist from the 5th century (e.g. Kalidasa). The "actors" (already a problematic term in some senses) learn the movement based "vocabulary" (another problematic term) of an intricately complex gestural "language" (need I say problematic?) that include mudras/hastas (depending on the time period the number of these "hand gestures" is usually around 70–the English alphabet only needs 26 letters to create literally millions of words) and chari ("leg movements") and karanas (movements of both legs–the Natyasastra lists 108 karanas). Text in Indian dance-dramas are rarely used alone (in between "acts" in some cases) and is almost never spoken (usually sung). Usually the actor dances the text (or we could say actors "interpret" the text through movement) whenever it is actually used. There also exists a number of genres of Indian theatre that are purely performed through dance-narratives. Early Indian theories of language invariably dealt with the spoken form (in fact, early Western linguistics–which focused on phonology–was based on the study of Indian phonetic theory before it became more textually driven). There are incredibly complex rules for precise pronunciation and memorization aids for the oral transmission of texts. Some modern day comparisons of written versions of these oral texts from different regions show that the rules of transmission made the texts much more similar than we'd think would happen through divergent oral transmission traditions. These precise rules for oral transmission are also reflected in the transmission of movements and gestures in the dance-dramas.
In traditional Chinese Opera (need I say that the "Opera" designation is problematic?) we see what might perhaps be call an incredible multi-modal form. I already mentioned some things regarding the wu lao sheng character type that Gordon Liu performs, and like traditional Indian theatre there is a highly evolved gestural/movement vocabulary. Like I also mentioned there are precise rules for beard movements and even for types of laughter (think Gordon Liu's performance again) and vocal enunciation. A.C. Scott lists and describes dozens of shou ("hand movements") and over a hundred hsiu ("sleeve movements" which Zhang Yimou tends to capitalize on in his wuxiu pian films, Hero and House of Flying Daggers). I could enumerate everything, but I mention the hand and sleeve movements because some of this plays on the idea of Chinese writing–or rather Chinese drawing of hanzi (characters). See, despite the fact that China had both the printing press and movable type centuries before Europe–calligraphy was still the preferred method of writing "texts." This has obviously influenced the history and theory of Literature and Literary Criticism in China–and has influenced how closely tied to Chinese brush painting and calligraphy had become. Some important aspects of Chinese literary theory is tied to how to interpret the actual brushstrokes of both brush painting and calligraphy. I remember as scene that in the movie Hero, when Nameless (Jet Li) talks about studying Broken Sword's calligraphy as being the path to discovering the true extent of Broken Sword's martial arts prowess–that's not just a metaphorical turn of phrase.
Obviously, these are gross over-generalizations, but I hope that I've at least focused a lens on some of the differences between cultures through the emphasis on different modalities of expression.
So going back authorial intention–it's not a matter of being able to trust him or not so much as it is a matter of how much skill you have in placing what he says in a context that might allow you to interpret whether what he says about his work is of any relevance to the work at hand. Obviously the work at hand is the first place to find authorial intention–and what I mean by this subjunctive/counterfactual position is: if the author had really intended something else, then the work would have existed as something else.
The author intends his work to be exactly as it is–and since I've made the distinction between the intentionality contained in the intentional object as opposed to an interpretation of an author's intention of the work by the author himself (which obviously then has it's own intentional content which may or may not be resonant with that of the object of interpretation at hand) I'm free to make a different set of critical distinctions that will allow me to take authorial intention more seriously than some forms of Western based criticism (e.g. those that accept the intentional fallacy, for example) will allow. See it doesn't become a matter of trusting the author so much as being able to trust our own judgements based on our level of skill in interpreting. Again I turn back to the idea of skillful means.
Obviously, because of the history of the printed text in the West, we lose a lot of the subtleties of the written hand that, say, Chinese Literary Theory would allow us to examine for the recovery of authorial intention–but that doesn't mean that Chinese Literary Theory hasn't found some generalizations from the recovery of authorial intention through "drawn" text that can't be applied to texts of any sort. In other words, having had a healthy tradition of examining a mode of text ("drawn/written") may give us some insight on how to look for something else in a different mode ("printed") text. The same thing could be said of Indian theories of spoken language. The old adage "if a hammer is your only tool, then everything will start to look like a nail" is a appropriate here, I think. I'd rather have either several different hammers, or maybe a saw or two; a screwdriver maybe; or possibly an awl–i.e. I like to jump boxes–with which to examine texts. I'd rather have a dense and rich interpretation than a plane that has been flattened of its nails.
Speaking of printing history, some of this textually driven criticism has also been critiqued by Johanna Drucker's in her works (especially in her analysis of experimental typology in the historical avant garde, The Visible Word: Experimental Typography and Modern Art). She focuses on the techniques and theories surrounding the analysis of written/printed text as a visual phenomenon–a focus on the iconic aspect of written/printed language that Jacobson and Pierce and Russian Formalists describe–rather than as just a notation system for abstract linguistic ideas.
Marc Singer also invoked Jacobson to talk about the metonymic aspects of superhero comics which might be something easier done in media with a visual modality(?). Some linguists actually theorize that metonymy might be more fundamental than metaphor in language extension–but as Marc notes, metonymy isn't usually the focus of (at least) comics criticism.
See, all these things have a materiality and history (maybe I'm waxing a little too Marx-ian on you now). We can talk about the death of the author all we want, but if we're reading outside the box of textually driven criticism there are all kinds of things we can use to interpret the context of a work–which can give us the context of when the author produced the work–thereby giving us some idea about the author's intentions (maybe not much, but some).
What I'm saying is that it seems like the paragraph I quote here comes to the same destination via different route that the "death of the author" guys travel. Please clarify for me.
Maybe it does–or maybe the box you're in only allows you to see it that way? I don't know if anything I've posted above helps, but it at least it gives you some context.
I'm surprised, actually, that all the things you do, Jon, are not the work of a post-modernist.
See, this sort of goes back to my idea of "skill" again. I would just say something like "I am." You call me a musician and I'll say, "Nah, I just happen to play a lot of music." You can call me an illustrator and I'll say "Nah, I just happen to draw some illustrations." In other words, I'll just reference the things I can do (or maybe the skills that I have) rather than the adjectival qualities about the subject me in a text. And in the end, I would just rather do them than describe them. one of the other reasons I took so long to reply your blog post is because after thinking about the idea of "living post-modernity" I realized that I needed to have some sort of online bio/resume (just because I get tired of constantly telling people what I do).
I had jumped on the "pomo bandwagon" back in '96 as I decided I didn't want to be just "a classically trained musician." I got over it (pomo that is) after a couple of years. My prediction is that pomo will be a footnote in history of modernity. I'll continue to do everything I've been doing (plus more to boot) but I really don't feel any differently than I did before going off the deep end. If it's more difficult for people to categorize me, well tough–that hardly means I can't be categorized, only that people lack the necessary skills to do so. 😉
that I've meant to go into for a while. I believe critics are actually people who love an artform too much to be able to confine themselves to actually making it. I find the "those who can, do" formulation too easy.
Don't worry–I have a theory about practically everything too. See, this is where my distinctions allow me to interpret things differently. I would say that critics are actually people who love a particular response to certain artforms so much rather than the loving the artform itself. This is probably my inner Buddhist coming out again–the idea of attachment to certain feelings and emotions being what people really care about.
See, given this Buddhist viewpoint, I could say that a critic prefers the box that allows her to have a particular set of responses to one thing, say, watching films, than to another thing, say, making films. This distinction isn't as easy to make when everything gets flattened out into text to be interpreted. Given this distinction, I would say regarding:
I think film critics are actually people who love movies so goddamn much that they would rather spend their time consuming as many movies as possible, rather than just making a few. For a man who just absolutely loves movies, what's better? Making 2 a year? Or watching a hundred? I think you can only be a real critic if you love a given form so much you are possessed of the (completely insatiable, slightly irrational) desire to consume all of it.
that film critics are actually people who love watching movies so goddamn much that they would rather spend their time consuming as many movies as possible, rather than making any. In other words, I'm perspectivizing the activity of watching movies and the set of responses to that activity as opposed to the activity of making movies and the set of responses to that activity. And we can contrast these activities with writing criticism about movies and the set of responses to this activity.
There's nothing that essentially ties any of them together, but to go back to the modalities of expression we could say that those who make movies may not be as likely to write criticism about movies as those who just watch movies–just because those who make them already have an outlet for expression. But I think that's a false dichotomy–I'm sure that many filmmakers love to watch movies, they just happen to use the mode of expression of filmmaking to make a commentary on cinema rather than the mode of expression of writing to make their commentary on cinema. Ultimately, those who love making movies is not coextensive with those who love movies any more than is the latter is coextensive with those who love writing criticism about movies. I think this goes back to my issues with flattening out text as being inherently ambiguous because there isn't a distinction being made about the relative levels of skill that different readers have. And I think we can agree that loving to make or loving to write criticism about movies isn't intrinsically tied to making good or writing good criticism about movies.
Which explains for me why critics get so mad when a piece of work sucks– it's like the entire art form reared up and spat at them. Imagine the man or woman you've loved your whole life cheating on you with the wife-beating slope-browed troglodyte next door. Fucking hurts, don't it?
Going back to the Buddhist attachment to responses–why a critic gets mad when a piece of work sucks is because he's so stuck in a box which has a set of expected responses to certain types of movies–namely those types of movies that the box already designates as being "good." I don't think our feelings and emotions are any different than our interpretations in these respects. We can change the way we feel (jump boxes)–whether or not we do so consciously depends on our abilities and skills (and willingness).
And see–this gets us into a whole other set of ethnocentric issues–the idea that we are able to change ourselves fundamentally is looked at differently in different cultures. Even Charles Murray in his book, Human Accomplishments: The Pursuit of Excellence in the Arts and Sciences, 800 B.C. to 1950, states (concerning the invention of Meditation) that, "this is one aspect in which Eurocentrism is a genuine problem." I'll quote him at some length from the section on Meta-Inventions in Philosophy (of which both Logic and Ethics are included):
The Invention of Meditation. India, culminating circa -200
Shortly after Homo sapiens developed consciousness, he must also have become aware of one of the curious aspects of consciousness, its chaotic substrate. However lucid the conversation we may be holding, or however intensely we think we are concentrating on the task before us, a little self-examination quickly shows that, flowing along just below the surface of the coherent line of thought, is a string of flighty, unpredictable, apparently uncontrollable other thoughts, irrelevant to what we're supposed to be thinking about. Try to walk for a hundred yards, for example, while thinking about nothing but the act of walking. Untrained people [my emphasis] can seldom get beyond the first few steps without finding that their attention has already wandered.
In this simple observation about the nature of human consciousness lies a challenge that was taken up sometime in the course of Hinduism's long development: focus the mind so that the tumble of extraneous thoughts is slowed, then stilled altogether. The practice that developed, which we know as meditation, is of unknown antiquity. It was certainly already in use when the Upanishads were put into writing circa -6C.
In the West, despite the importance of forms of meditation in Catholicism and some Protestant Christian churches, the word meditation has become identified with some of the flamboyant sects that attracted publicity in the 1960s and 1970s. In some circles, meditation is seen as part of Asian mysticism, not a cognitive tool. This is one instance in which Eurocentrism is a genuine problem. [my emphasis] The nature of meditation is coordinate with ways of perceiving the world that are distinctively Asian. But to say that the cognitive tool called meditation is peculiarly useful to the Asians is like saying that logic–my next meta-invention–is useful only to Europeans. Meditation and logic found homes in different parts of the world, but meditation, like logic, is a flexible, powerful extension of human cognitive capacity.
Meditation is also a bodily thing. Mihaly Csikszentmihalyi describes it as Flow:
being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost.
Not surprisingly, Flow and Dr. C were invoked during the last time intention and interpretation were discussed in the comics blogosphere. I don't think we can overestimate how much the idea of meditation permeates Asian history through the diffusion of Buddhism as well as through indigenous traditions (e.g. Taoism in China). It has become inextricably tied to the traditional dramatic traditions of Asia and is coincident with what we might call a healthy "martial arts" tradition throughout Asia (I've already mentioned the link between Asian dramatic forms and the martial arts here).
Performance theorist and editor of The Drama Journal, Richard Schechner, has discussed what he calls Rasaesthetics and how that ties into recent research about the enteric nervous system. Ever wonder why we have all these metaphors for emotions and the stomach (e.g. "butterflies in the stomach," "you got guts boy"), well here is your answer. In Japan the seat of the soul is in the hara ("abdomen") which is why seppuku (or harakiri "abdomen" + "cut") happens as it does. Need I say anything about the phrase "navel gazing?" Most forms of meditation focus the attention on the stomach (as well as the mind)–as this is the seat of being able to modify the emotions. The enteric nervous system needs the autonomy it does as our brains may not be able to react as quickly to life-threatening stimuli as is needed–the flight/fight response empties out the bowels to make flight easier (less weight to allow you to move quickly) or fight easier (nothing slowing down your movments). But being relatively autonomous from the brain means that the methods of control over it are different. Hence meditation.
It is integral to most forms of traditional Asian martial arts and traditional Asian theatre. And as such becomes a part of scenery of Asian arts and criticism. Reading texts about brushwork in Chinese calligraphy or sections from the Natyasastra, or the treatises of Zeami, the poetry of Basho and you'll find Flow and meditation. And the act of immersion is just part of that type of activity.
So to to give you the short of it. No, I think it's the critic's inability to jump boxes that allows him to get mad when a movie doesn't give him the response he wants.
But then, I question if Tarantino knew. And so here I am putting all the weight on the author, regardless of the final text (or is Liu the author of his performance? or how about I just smash a hammer on my foot right now and complete the circle of pain and confusion I've started?).
I would say it's a collaborative effort. Maybe Tarantino knows–maybe he doesn't. But Gordon Liu certainly does, and has been an actor within a cinematic tradition where he has often performed many of those traditional roles. See making a movie isn't unlike playing in a Symphony orchestra–you have one director, but many players. you need them all to make the whole, no matter how much the director does, he only shapes the performances–he is not the author of them–just the author of the shape of the performance. So this comes down to an issue of "multiple authorship" and therefore "multiple intentions" which isn't quite the same thing as single authorial intention.
The real problem with Kill Bill isn't the movie, but the polarizing effect of Tarantino. And thus I shall leave it, lest I go off on another tangent.
Eh? You can go off on as many tangents as you want here.
Oh, wait, was that rhetorical? The differences are important, man. They're what make you choose paint over clay, or dance over comedy (can we make stand-up the "tenth art," please? I fucking love stand-up; blue collar jazz, motherfucker).
It was partially rhetorical. But at the same time, going back to the idea of being able to "unambiguously designate something as ambiguous" there are ways to articulate the differences if you have the skill to do so. This was more of an aside referencing how often lit crit and a lot of Western scholarship equivocate language and thought. Maybe more about that later.
I think communication is a basic human drive, like sex and sleep and eating. And all the things we do, including cooking and fucking, are variations on the attempt to "speak" to other people. So there's going to be fuzzy lines between forms, yeah, because all the forms are essentially trying to do the same thing.
Here's that "later." See, yeah we can call all these things just "communication" but that hardly does justice to the differences between different "forms of communication." By equivocating different forms of communication, the landscape gets flattened in a very particular (and in many cases predictable) way. And I think this is part of what textually driven criticism does–and obviously by just talking (or in this instance posting) about different critical traditions in English, we flatten those traditions in very particular (and predictable) ways. That's probably one of the reasons I jump boxes–it keeps the landscape full of valleys and mountains.
What I can't do, or don't want to do (and why not? am I just too hidebound to try it another way?), is speak of a given work as an independent object. I can't talk about The Book, I have to talk about the book as uniquely constrained interface between Reader and Author.
See, that is question begging–just as my position is question begging. Whether or not we accept that there is something outside of ourselves non-solipsistically just boils down to which box we primarily are in with regards to certain ideologies and world viewpoints. But with those assumptions come differences in interaction with the world. And those're the differences that interest me.
Watch this. I can get really annoying and say that your different approach, rather than being wrong, is simply you, a Reader, "interfacing" with the Author in a completely different way than I. Much the same way two readers interpret a single text differently.
You see what I did there? I went all po-mo on your ass, even though that shit gives me the hives. How fucked is that? It's such a useful tool, I must admit, to make argument pointless. It's like the Academy's variation on the schoolyard trick of repeating everything you say till you get frustrated and walk away (that's how it works on me, anyway).
Nothing wrong with that at all. And it really doesn't defeat my position. I could just say that either you or maybe neither of us have the necessary skill to access the "Truth" of a text or the "True" authorial intention. This just comes down to question begging of both our positions.
You want to know what my blog is all about? Of course you do, what else could you possibly have to do with your life? My blog is me trying to figure out how all this shit works, in public, so that people like you will laugh at me and tell me my zipper's open.
Heh. You could consider mine to be the blogging equivalent of me beating amplified sheet metal on a stage.
I will end with a thought that really only just popped into my head today: artists misunderstand critics far more often than the reverse.
Perhaps. I would have to say in response that artist-critics understand both more than either understands the other. 😉
originally posted here as "Being a Lazy blogger":


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In the last 14 years, I had seen myself moving from waterfall methodology of software development to Iterative and then to Scrum and finally to Scrum-ban. I will explain a bit about the different methodologies and then move to Scrum Process. Below is the pictorial representation of the Waterfall, Iterative and Scrum software development process. More info about Kanban and Scrum-ban will be posted in my upcoming blogs. In this article, i would like to demo on how to use the Microsoft Visual Studio Scrum 1.0, process template built specifically for Scrum teams
Picture 1: Pictorial representation of Waterfall, Iterative and Scrum Software Development methodologies.
The waterfall approach is highly risky, often more costly and generally less efficient than more Agile approaches. It requires the creation of up-front documentation before any real business value is created. i.e. You don't realize any value until the end of the project. This is confounded by the fact that product development is started downstream, or much later in the project's expected timeframe. This has the obvious disadvantage of delaying the point at which business value can be realized.
Remember the 80-20 rule, 80% of a product's value comes from 20% of its features. With this in mind, can we conceivably build a software product that provides 20% of the feature set? Yes, We can deliver "version 1" with 20% of the features, then, a little later, "version 2" with a further collection of features and later "version 3". The beauty of this approach is that development of 20% of the features should not take 100% of the project's expected schedule and budget: we can realize business value much earlier in the cycle.
Iterative Waterfall Development focuses on delivering a sprint of work as opposed to a series of valuable/shippable features. In my experience, The most commonly occurring issue in this type of process is you deliver loads of code and leave it until the last minute to test everything. One issue takes longer than expected to resolve, you miss your sprint deadline and you deliver nothing. Another common symptom of this type of approach is over-commitment. It's really difficult to estimate the total effort associated with a particular User Story/Feature when approaching delivery in this phased way. You're more or less forced to estimate each phase separately (e.g. estimate development separately to testing in this instance) – this doesn't work as the phases are not separate, they're totally intertwined. For example, if you find an issue with the test, you must return to development. The whole team must remain focused on delivering the end goal, not the separate phases. It's also worth noting that velocity and burn downs are far less (if at all) useful in this type of environment – you don't benefit from early-warning-signs as you don't find out whether you're on track until the end of the sprint.
Scrum Development focuses on delivering fully-tested, independent, valuable, small features. As such, we diversify our risk – if one feature goes wrong, it should not impact another feature. With that said, we still plan our work in iterations and we will still release at the end of each iteration.
For Example, if we run two projects for identical requirements, same time period (For ex: say 1 year) with same team, but one in waterfall Software development process and another in scrum. Assuming you know how scrum and waterfall both work, if you look at the project delivery after 6 months, it would be very interesting output. In the 6 months, the waterfall project might have reached a stage where the requirement analysis is fully complete, design is complete, programming has started and half way through. If I am a customer, how much business value this stage would give me, think about it? At the same time, the scrum project team would have against prioritized product backlog and started delivering shippable product after every sprint (say of 4 scrum cycles every 2 month). Scrum focuses on shippable product in small iterations, and that not only gives the best business value at certain moment in project life cycle but also allows change during the development process that can be taken up in future sprints.
Microsoft Visual Studio Scrum 1.0 Process Template
Last week, Microsoft announced Microsoft Visual Studio Scrum 1.0, a process template built from the ground up specifically for Scrum teams. Below is the step by step guide to Downloading, Installing and setting up the Scrum process for the Project Teams.
Step 1: Downloading the Microsoft Visual Studio Scrum 1.0 Process Template:
There are two ways to download the template.
Option 1: Download from the link Microsoft Visual Studio Scrum 1.0 from the Visual Studio Gallery
Option 2: Download Microsoft Visual Studio Scrum 1.0 using Visual Studio 2010 using the following steps.
Open VS 2010
On the Tools menu, click Extension Manager.
In Extension Manager, in the left pane, click Online Gallery.
In Online Gallery, click on Tools and select Process Templates
- In the right pane, Select Microsoft Visual Studio Scrum 1.0 and click on the Download button.
- This will download the Microsoft_Visual_Studio_Scrum_1.0.MSI to the location you select in the download dialog.
- Click on the Microsoft_Visual_Studio_Scrum_1.0.MSI file to start the installation.
- The MSI installs the required files to the location (default) C:\Program Files (x86)\Microsoft\Microsoft Visual Studio Scrum 1.0. (I am running Windows 7, 64 bit OS)
Step 2: Launch the Process Template Explorer in Visual Studio 2010
If you already have a connection to the Team Foundation Server, please ignore the Steps A to D and go to Step 1.
Prerequisite: The following process requires a connection to a Team Foundation Server. In my scenario, i Installed Microsoft Team Foundation Server 2010 locally on Windows 7 PC. Below are the steps to connect to a Team Foundation Server (team project collection).
Step A. In Visual Studio, on the Tools menu, click Connect to Team Foundation Server.
If you do not see this option, you have not installed Team Explorer. You must install Team Explorer before you will have the option to connect to Team Foundation Server.
Step B. In the Connect to Team Project dialog box, in the Select a Team Foundation Server drop-down list, click the server that contains the team project collection to which you want to add your team project.
If the drop-down list is empty, click the Servers button to manually enter the server connection settings. Contact your Team Foundation administrator or team project administrator to obtain the connection settings.
Step C. Click the name of the project collection to which you want to add your team project from the Directory list
Step D. Click Connect. The Team Explorer displays the team projects that you selected. Following is the screenshot of my Team Projects.
- In VS 2010, Click on Team menu
- Select Team Project Collection Settings → Process Template Manager. OR in Team Explorer window, right click on the collection, select Team Project Collection Settings → Process Template Manager.
- Click Upload button and select the folder where the Microsoft Visual Studio Scrum 1.0 process template is installed (Default: C:\Program Files (x86)\Microsoft\Microsoft Visual Studio Scrum 1.0\Process Template). Click on Select Folder button.
- Once installed, Click on Make Default button to make it the default process template. The Microsoft Visual Studio Scrum 1.0 should be listed in the Process Template Manager as follows:
Create a Team Project
- In Team Explorer, right-click the project collection, and then click New Team Project. OR open the File menu, point to New, and then click Team Project.
On the Specify the Team Project Settings page, in the What is the name of the team project? box, type a name for the team project that you want to create and type the description of the project.
Click Next. On the Select a Process Template page, in the Which process template should be used to create the team project? list, click on Microsoft Visual Studio Scrum 1.0 template. Click on Finish
The following tasks are performed automatically:
A SharePoint site for your team project is created.
An empty version-control folder for your team project is created.
Team Explorer displays the following information
To start using the Scrum process, refer to the site http://msdn.microsoft.com/en-us/library/ff731587.aspx


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McKinsey Quarterly has an interesting analysis about the future economic centers of gravity in the world, i.e. cities. It also ranks emerging cities based on population, GDP, floor space, municipal water and containers.
It estimates that by 2025, emerging cities will create over 4 billion "consumer class" with a total demand potential of $25 trillion. Here is a link to an illustrative chart on emerging global cities. Unfortunately, none of the cities in Nepal feature in the list. But, the emerging cities with high-income consumers are mostly from China and India, the two countries that share borders with Nepal.
Excerpts from the report:
Our research indicates that 440 emerging-market cities, very few of them "megacities," will account for close to half of expected global GDP growth between 2010 and 2025 (Exhibit 1). Crafting and implementing strategies that emphasize such cities will require new attention from senior leaders, new organizational structures that take account of urban rather than just regional or national markets, and potentially difficult choices about which activities to scale back elsewhere to free up resources for new thrusts.
Companies that adopt such a strategic approach may gain early-mover benefits. For some, developing better insights into demographic and income trends—such as an understanding of the urban areas where the population of older, wealthier consumers is growing most rapidly—will be sufficient. Others may need to dig deeper, learning the market dynamics of specific products in target cities. To illustrate the different panoramas of opportunity that appear when companies use a city-specific lens, we looked at five business sectors, each with different demand profiles. We then ranked cities with the highest growth potential for each of the sectors. Among the takeaways:
- Companies marketing health care products to seniors would find Shanghai and Beijing topping the list of cities with growing populations of older consumers whose incomes are sufficiently high (above $20,000 on a purchasing-power-parity basis) to afford these products. Tokyo and Osaka are the only developed-world cities among the top ten—a sign that well-off, aging consumers no longer are found exclusively in developed markets.
- Baby food is at the other end of the age spectrum. Combining income and demographic data—in particular, the numbers of households with young children—we found that cities in Africa offer great potential. More than half of the top ten cities enjoying rapid growth in the number of children who live in households with incomes from $7,500 to $20,000 (on a purchasing-power-parity basis) are in Africa.
- São Paulo, Beijing, Rio de Janeiro, and Shanghai rank highest in a targeted analysis of market growth for laundry products. In fact, over the next decade, São Paulo will experience more growth in the sale of detergents and related cleaning products than the national markets of France or Malaysia will. That's just a small shard in the global-consumption mosaic for emerging cities. We project that urban consumers in developing countries will spend an additional $14 trillion annually by 2025.
- By 2025, cities worldwide will need to spend at least $10 trillion more per year on physical capital—everything from office towers to new port facilities—than they do today. In building construction, the new floor space required will be equivalent to 85 percent of today's entire residential and commercial building stock; 40 percent of that growth will be in Chinese cities.
- Urban water-related infrastructure, another pressing need, will require $480 billion in global investment by 2025, with 80 percent of that flowing to emerging-market cities. Mumbai and Delhi will be the leaders in that spending.
Read more here.


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Harvest Journal: Waiting On Wine
The vineyards have been stripped of their fruit, the juice is in the winery, and I am no longer getting attacked by berries and fruit flies; the harvest part of harvest is over. So what am I still doing here?
I'm waiting on wine.
The work of winemaking continues past harvest and crush. Most of the wine has now gone through alcoholic fermentation (though some stragglers remain, particularly the native fermentation Chardonnays, which seem determined not to give me the satisfaction of seeing them finish), but our focus has moved to malic acid.
The secondary fermentation that all of our red and many of our white wines go through is malolactic fermentation, the process by which tart, apple-like malic acid is converted to milky lactic acid. This change softens the wine and happens thanks to lactic acid bacteria that munch up the malic acid to produce carbon dioxide and lactic acid. The process can take place naturally in the wine, and for our natively fermented lots we let the lactic acid bacteria already present do its thing. For wines that were inoculated for the primary alcoholic fermentation, we add the lactic bacteria Oenococcus oeni, which smells like powdered ranch dressing mix and malt balls.
These inoculations are simpler (and less messy) than those with yeast, and have become a fairly routine part of my work. The problem is that—same as with the yeast—once inoculated, the wines have to be checked. We do malic checks once a week, at which time I get to return to the barrel rooms and sample from as many barrels as I can reach (I have sworn off the dreaded stepstools and now I climb the barrels like an alcohol jungle gym). Our lab robot (an actual robot—I'm not making a reference to the routine nature of being a lab tech) tests the samples, and once a wine has completed malolactic, it will be mostly left alone until blending.
So we are waiting and checking and waiting and checking. As wines reach completion, we are increasingly busy in the lab—each finished wine needs a full analysis to make sure that everything looks good. The best part of this final round of lab work is getting to taste the baby wine. We have a centrifuge to spin down samples and remove solids from the wine so as to avoid clogging up any of our fancy lab machinery. This is a rather crude way to filter, but the resulting wine is, well, wine. We've made wine. It smells like wine. It tastes like wine. We can measure its sugar and alcohol to confirm that it is wine.
These wines are young, not ready to drink, and the earliest releases won't be until next year. But the juice that we crushed, pressed, inoculated (or not), checked compulsively, cleaned up after and waited on, is becoming wine. Fermentation works like magic. Or science.
About the Author: Sarah Chappell is a winemonger and writer living in
Brooklyn Napa. She holds the Advanced Certificate with Distinction from the Wine and Spirit Education Trust and has contributed to Foodista, Palate Press and WineChap. Follow her on Twitter @chapsholic.
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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Created for: The Sims 4
This hair style has 20 kinds of color
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Dig this -- Archaeology students excavate on campus
Dr. Dennis Blanton (center) and his students conduct a shovel test outside Moody Hall, which rests on the site of a post-Civil War farmhouse that belonged to the original landowners, the Henry D. Newman family.
Letting the evidence speak
A group of James Madison University students are seeking to uncover some of the history and stories hidden beneath the university's 106-year-old campus.
The historical archaeology students, under the direction of Dr. Dennis Blanton, an archaeologist and assistant professor of anthropology at JMU, are initially focusing their work on the changes in landscaping on the "Quad" over time and the area around Moody Hall, which rests on the site of a post-Civil War farmhouse that belonged to the original landowners, the Henry D. Newman family.
Other searches will focus on the wooded area near the Edith J. Carrier Arboretum, a portion of which borders the site where Confederate Brig. Gen. Turner Ashby was killed during a skirmish with Union troops on June 6, 1862, as well as telltale evidence of the cultural revolution on campus in the 1960s and 1970s.
"I have every reason to believe that we'll find evidence of some of these things in the soil," Blanton said. "It's a brand of detective work. The evidence will speak for itself."
Unbiased history
The project required a lengthy approval process before the fieldwork could begin. Blanton met with JMU administrators as well as representatives from Facilities Management and local utility companies to ensure that the digging will not damage underground lines or alter campus aesthetics. "We're taking a respectful approach," Blanton said. "This is a privilege. We've been granted an opportunity to excavate areas that people don't normally dig in."
The students are currently conducting shovel tests at each site, which involve cutting a circle of sod about the diameter of a dinner plate and digging a few feet down into the soil. At regular intervals, a shovel full of dirt is poured into a box screen, where it is sifted to allow the lighter soil to fall through the screen mesh while the heavier pieces remain inside the box. Any items of possible historical value are documented for testing, and the soil and the sod are replaced. As the project evolves, the test sites could be extended to allow for more significant discoveries.
On a recent dig, a team working outside Moody Hall uncovered a brick believed to have been part of the Newman farmhouse. The find sent a charge through the group, which was excited to be finally excavating after months of research and numerous weather delays.
"As archaeologist David Hurst Thomas so aptly says, 'It's not what you find; it's what you find out," said Aaron Lovejoy, a junior anthropology major from Yorktown, Va. "History is always written with a certain bias. The cool thing about archaeology is that what's in the ground is unbiased. It's a clean slate of interpretation. And historical archaeology gives you a chance to listen to the voices of people who weren't written about."
Hands-on for everyone
Catherine Grimes, a freshman from Chesterfield, Va., said the work is focused and collaborative. "We're all pretty much interested in the same thing, whether it be the historical side or the anthropological side of it," she said. "We all contribute. One person will dig, another screens and another records. It turns what can be a monotonous task at times into something that's fun."
Previously, the class' fieldwork involved trips up to an hour away, but Blanton, who arrived at JMU in the fall of 2013, wanted the students to gain experience at sites that were more localized and sustainable. "Why not tell the story of our own property?" he asks.
Similar work has been done on college campuses in the U.S., including Brown University, where Blanton completed his master's degree, and the College of William and Mary, where he directed the Center for Archaeological Research from 1989 to 2005. The mother of all campus archaeology projects is Harvard Yard, which has been going on for more than 20 years.
"At the end of the day, we're giving our students of archaeology a quality experience," Blanton said. "The only guarantee is that they'll learn something."
Jim Heffernan ('96), JMU Public Affairs
April 4, 2014


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Full Blumenthal video may tell different story
The political firestorm raging around Attorney General Richard Blumenthal's war record shifted Wednesday to whether The New York Times provided readers with all of the necessary information.
The Times reported Monday that Blumenthal, who this weekend will seek the Democratic Party's nomination for the U.S. Senate after 20 years as Connecticut's top lawyer, misled the public to believe he was in Vietnam during the war rather than stateside in the U.S. Marine Corps Reserves.
Key to the Times' story was a video clip accompanying the article of Blumenthal at a 2008 event in Norwalk telling the audience "we have learned something very important since the days that I served in Vietnam."
In the full video of the event, Blumenthal first identifies himself as "someone who served in the military during the Vietnam-era in the Marine Corps." The footage was obtained by Hearst Connecticut Newspapers Wednesday from the senior housing facility that hosted the 2008 event.
Blumenthal's campaign claimed the footage, which was also obtained by other news sources, bolstered his assertion during a Tuesday news conference at a West Hartford VFW Hall that he has "misplaced words ... on a few occasions out of hundreds that I have attended."
"This full version of the video pretty much speaks for itself and reinforces what Dick said yesterday," Blumenthal campaign spokesman Maura Downes said in an e-mail. "It shows pretty clearly that, despite misspeaking later in the video, that he honestly described his service during the Vietnam era -- just as he has countless times over the years. It also shows his passion for fighting for veterans, and it's that passion he looks forward to taking with him to the Senate."
Republican Linda McMahon, the World Wrestling Entertainment maven who is hoping to earn the Republican Party's Senate nod this weekend, balked at efforts to mitigate the fallout of the Times' piece.
McMahon's camp late Monday night indicated to reporters that it was the source of the Times' information, including the video, but has since declined to comment further. A poll of 500 likely Connecticut voters Wednesday by the Rasmussen Poll suggests Blumenthal holds a nominal 3-point lead over McMahon, well within the margin of error of 4.5 percent,
"Had he said `I served stateside in the military, during the Vietnam era' that would have been accurate. Early in the video, Blumenthal says `I served in the Marine Corps.' That statement is not true and complete and accurate; it is at best ambiguous. Had he said, `I served in the Marine Corps reserves' that would have been complete and accurate and truthful," McMahon campaign spokesman Ed Patru said. "Dick Blumenthal has lost his credibility because he clearly made demonstrably false statements. ... Instead of straight talk, he's fuzzy. That is what is at the core of the New York Times report."
Longtime Connecticut political columnist and radio host Colin McEnroe said there are major questions surrounding the Times' omission of Blumenthal's full speech that undermine the report's credibility.
"It would be very possible to watch that speech with both of the elements and still come to the conclusion Blumenthal was saying he served in Vietnam," McEnroe said. "I still think you can't get away from the fact they showed the most damning element and clipped out the exculpatory element. We're not in the business of not telling people stuff we know. If the Times knew this and didn't share it, it really does look like they're cherry-picking the information to make Blumenthal look as bad as possible."
While the Times cited other evidence in its report of Blumenthal mischaracterizing his service, McEnroe said the video drove the story.
"The big leg under the story was the Norwalk speech," McEnroe said. "Everything else was either subject to interpretation or a conclusion the Times had drawn."
Hearst Connecticut Newspapers asked New York Times spokesman Diane McNulty via e-mail Wednesday whether the newspaper reviewed footage of Blumenthal's entire speech and, if so, why it was not referred to in the article and posted in full online.
The paper did not answer the questions but in an e-mail statement defended the original report, which was posted online Monday night and published in Tuesday's print edition.
"The New York Times in its reporting uncovered Mr. Blumenthal's' long and well established pattern of misleading his constituents about his Vietnam War Service, which he acknowledged in an interview with The Times," McNulty wrote. "Mr. Blumenthal needs to be candid with his constituents about whether he went to Vietnam or not, since his official military records clearly indicate he did not. The longer version of the video doesn't change the story. Saying that he served `during Vietnam' does not contradict or override his later, more specific, statement that he served in Vietnam."
But McEnroe said it is important to know "did the Times ever know this information or was this video delivered to them in its edited form by the McMahon campaign."
The complete Blumenthal speech was available on McMahon's website.
Mary Windt, executive director of The Marvin in Norwalk, believes the Times treated Blumenthal unfairly by not displaying his full speech.
Though the Times did not report specifically which event Blumenthal attended, Hearst Connecticut Newspapers Tuesday traced the footage to The Marvin. Windt confirmed Blumenthal was one of several politicians congratulating senior residents at a ceremony who had sewn 1,000 blankets for military personnel.
Windt was not aware the 2-year-old footage, which she says was given to all the politicians who attended the ceremony, was making national headlines until she visited the Times website Tuesday and recognized the setting.
"You'll see where they took it out of context," Windt said, adding Blumenthal's remark about serving in Vietnam appeared to her "a passing comment" and not his message.
"I don't think it changes anything," said Mystic Democrat Merrick Alpert, who is challenging Blumenthal for the U.S. Senate nomination. "You still have someone who never served in the Vietnam War repeatedly saying they served in Vietnam. ... He knows what he's doing."
Jim Bellano, an assistant professor of political science at Western Connecticut State University, said the Times probably should have reported on Blumenthal's full speech if they had access to it.
"One of the things that made the story credible, in a lot of people's minds, is it came from The New York Times," Bellano said.
But while Bellano said the full tape may give the arguments Blumenthal misspoke more credibility, "I don't know if it's going to make the story go away. Politicians, and one that's attorney general and has the resume that Blumenthal has -- words have meaning to them."
Staff Writer Brian Lockhart can be reached at firstname.lastname@example.com.


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GIGABYTE is always keen to get involved with grass roots overclocking events that really help the sport to grow and prosper. So it came as no surprise to us here in Taipei to learn that our GIGABYTE UK folks were sponsoring an event in Cambridge UK a couple of weekends ago, and perhaps even less surprising to find it was held in a good old fashioned English pub.
Put together by Team Great Britain, the Cambridge Big Freeze event was by all accounts a pretty cool event which catered to both novice and pro overclockers. Divided into two parts, the event first focused on getting the novice element up to speed on the basics of life such as how to handle LN2, prep the hardware and of course how start pushing your rig to new heights. Later the Pros then got down to some serious overclockers with the less experienced attendees looking on, gleaning advice from the experienced players as the competition heated up.
The LN2 delivery guys was clearly having a busy day by his standards…
Plenty of UK records were broken, with winners on the day walking away with some pretty nifty GIGABYTE prizes.
If you're based in the UK and fancy getting involved you should follow their Facebook page for updates regarding forthcoming events. Word on the street is that Bristol is next up.
More photos of the Big Freeze Event can be found here.


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GoogledGnome #12
wolk gear screenshots
I am afraid you have come to the wrong place for these.
I didn't get a Beta key.
I wouldn't know one if it bit me on the face.
If I got one, I would just have to give it away… and who would I give it to? You?
OK, if I get one I will give it to you… you know who you are… don't you?
So where can you get some screenshots of gear from WoLK?
- SpoonCraft
- MMOChampion
- WoWInsider
- Get yourself a Beta key, and take some yourself.
Gnomer and Out!
This was another post in the continuing exploration of how people reach Armaggedons Coming via Google. As usual, plese feel free to comment or ignore


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Crazy Blue Panther Contact Lenses
Buy Crazy coloured eyes now, Crazy Blue Panther Contact LensesAre affordable special effects contact lenses that change your PE eye colour to the design of a wild animal of the jungle to give them great results for Halloween, Photos, Props at Parties and Clubs or just general other promotional Fx.
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Title: Cursed Moon
Author: Jaye Wells
Release date: August 2014
Publisher: Orbit
Series: Prospero's War
Genre: Urban Fantasy
Source: Bought
Description: When a rare Blue Moon upsets the magical balance in the city, Detective Kate Prospero and her Magical Enforcement colleagues pitch in to help Babylon PD keep the peace. Between potions going haywire and everyone's emotions running high, every cop in the city is on edge. But the moon's impact is especially strong for Kate who's wrestling with guilt over falling off the magic wagon.
After a rogue wizard steals dangerous potions from the local covens, Kate worries their suspect is building a dirty magic bomb. Her team must find the anarchist rogue before the covens catch him, and make sure they defuse the bomb before the Blue Moon deadline. Failure is never an option, but success will require Kate to come clean about her secrets.
My thoughts: I loved the first book in this series so I was eager to get stuck in to this one, and Ms. Wells did not disappoint. The pace, action, twists and character development are as good as book 1 (Dirty Magic). I love the will-they-won't-they, does-she-even-realise-she-likes-him-that-way side of Kate' relationship with Moralles. I also really enjoyed seeing the changes in her relationship with her brother after the events of the previous book.
As a classicist and having written my dissertation on Dionysus, I really enjoyed that aspects of his myth were used in this story as well. I always enjoy seeing how different authors use various myths and as you can guess, Dionysus is a bit of a favourite :)
There are a lot of characters that readers got to see a bit more of in this book who I look forward to 'meeting' again in subsequent books in the series - Uncle Abe and John Volos in particular.
I'm giving this 8 stars, it was one of those books I wanted to keep on reading but also wanted to make last much longer!


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If you can't find your desired vehicle in stock, simply fill out the CarFinder form and we'll do the searching for you! Be sure to check out the latest New Vehicle Specials as well as John Hoffer Chrysler Jeep's Featured Vehicles.
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John Hoffer Chrysler Jeep is 100% committed to our local customers. If you live or work in the Topeka and surrounding areas, we want you to know that we value your business and appreciate the opportunity to help and service your new or preowned vehicle long after your purchase. We may not be the largest dealer in NE Kansas, but we have access to thousands of Chrysler and Jeep vehicles in a trade pool with our partnering dealers across the midwest. We will not mislead you on a "to good to be true price" online or in the newspaper. Or add in the destination fee twice, add back in rebates that you do not qualify for, or charge you $500 -$600 doc fees. We all pay the same price for new vehicles from the factory, so it comes down to the shopping experience and service you receive after your purchase. Give us the final opportunity to earn your business and we will prove it is worth purchasing locally from John Hoffer Chrysler Jeep.
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** Discounted prices on vehicles in stock include all factory rebates and dealer discounts.**
* MSRP is the Manufacturer's Suggested Retail Price (MSRP) of the vehicle. It does not include any taxes, fees or other charges. Pricing and availability may vary based on a variety of factors, including options, dealer, specials, fees, and financing qualifications. Consult your dealer for actual price and complete details. Vehicles shown may have optional equipment at additional cost.
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* In transit means that vehicles have been built, but have not yet arrived at your dealer. Images shown may not necessarily represent identical vehicles in transit to your dealership. See your dealer for actual price, payments and complete details.


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Topic: Create blackhole mail address (e.g. email@example.com)
If one needs a mail address from which you will only send mail out, but don't wish to receive mail (e.g. you send a newsletter with firstname.lastname@example.com as sender address), you can do this rather easily:
- edit the /etc/postfix/aliases file and add there as bottom line:
devnull: /dev/null
- rebuild the aliases.db file with the command:
- edit the /etc/postfix/virtual file and add as bottom line (replace the example.com domain with your main virtual domain):
email@example.com devnull
- rebuild virtual.db file with the command:
postmap /etc/postfix/virtual
Now create a mail user or alias that is forwarded to email@example.com ... that's all!


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Emporio Armani Spring/Summer 2012 Vivienne Westwood Spring/Summer 2012
Gleb Abrosimovv at Elite photographed and styled by Héctor Tre, in exclusive for Fucking Young! Online.
Ernest W. Baker unveiled its Spring/Summer 2021 collection during the Digital Paris Menswear Fashion Week.
Andrea Crews unveiled its Spring/Summer 2021 collection during the Digital Paris Menswear Fashion Week.
The Spanish brand was inspired by the aesthetic of the American photographer Slim Aarons.
BOTTER unveiled its Spring/Summer 2021 collection during the Digital Paris Menswear Fashion Week.
In lieu of the traditional fashion show format, Virgil Abloh has instead imagined a virtual and literal voyage across the world to present his new collection "Message in a Bottle".
Kevin D at Elite Models photographed by Giuseppe Vaccaro and styled by Alessandro Milzoni, in exclusive for Fucking Young! Online.
Matt and Will Ritson started creating music after an impulsive trip to a lone church in the Mojave Desert in 2019 capturing the surreal landscape of Beatty, Nevada.
For Spring/Summer 2021, SEAN SUEN tries to bridge the divide between the essence of human life and its internal emotions, and the spirit of the time.
"I don't like to deny reality. But I am more interested in creating an escape universe on my own. I want to open my brain, find new perspectives." – Boramy Viguier
Aries partnered with luxury London-based brand Hillier Bartley to create a unisex charm jewelry collection, featuring 7 different charms inspired by both brands' signature references.
The multicultural background of BLUEMARBLE founder Anthony Alvarez inspired this collection, rooted in summer escapes.
"We are alive in this moment,
In our homes and in our streets,
We just need the world to pay attention, and to see –
That we are unlike anything you thought we were,
But everything your fear we can be.
Our brown… »
A contemporary take on the classic running shoe, the N3W sneaker was launched earlier this year, but Acne Studios now presents the N3W Transparent edition.
Louis Gabriel Nouchi unveiled a new video during the Paris Digital Fashion Week, featuring his Spring/Summer 2021 menswear collection titled "L'Étranger".
'Strange Inside' is the latest track to be taken from Aime's forthcoming debut album Say Yes, Say No out on July 31st, which is entirely self-written, produced, and mixed by the Berlin-based Parisian singer.
'Bones in the waters' is a short film by Héctor Prats inspired by the story of the boatman who guides the souls of the dead to cross the river to the beyond.
Swimwear season is here and we want to make sure you are cool while getting hot, so we are partnering with Julian Zigerli for your chance to win a Cash Towel and Speedo.
In the context of ecological and social crisis, the EGONlab Spriung/Summer 2021 collection, "RENEWAL", sends a message of hope and renewal, in the form of an ode to life.
WOOYOUNGMI unveiled its Spring/Summer 2021 collection during the Digital Paris Menswear Fashion Week.
Études showed its Spring/Summer 2021 collection during the Digital Paris Menswear Fashion Week.
We wanted to bring some summer sunshine to our wardrobe and like many of you, we are hoping to upcycle our wardrobe.
Taken from his forthcoming EP 'Soundboy' due for release on July 17th.
The project FANTASTIC GREEN by MSGM pushes the very concept of (eco)sustainability in a new dimension: fresh, cracked, contextualized.
Marcus L at 95.Management photographed by Nivikka Andersen and styled by Mariapia Mineo, in exclusive for Fucking Young! Online.
This year marks 25 years for Raf Simons' namesake brand. As something as a summertime surprise, the label is reissuing 100 iconic pieces from the coveted archive dubbed "Raf Simons Redux".
Andrew Coimbra celebrates and elevates the vision of a truly versatile, sustainable collection – meant for people of any gender identity – through the warped lens of classic menswear aesthetic.
Leon Schikalla at PMA Models photographed by Tomas Cervinka and styled by Timo Luebker, in exclusive for Fucking Young! Online.
Emerging artisinal hats brand from Tulum, NORTE, unveil its new campaign featuring model Franco Bauducco shot by Pol Rodriguez & Agustin Ponso.
Jon Arri and Yves Gaetan photographed by Esperanza Moya and styled by Anna Otero, in exclusive for Fucking Young! Online.
Hollywood actor and amateur skateboarder, Jack Dylan Grazer fronts our Spring/Summer 2020 Olympic Issue shot by Kapturing in 2028 Olympic host city of Los Angeles. While 16-year-old Grazer empowers kids to go out and claim their own piece to skate on, the Olympics can also connect to fond childhood memories. We also look at it for inspiration and a call for togetherness.Spring/Summer 2020


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14 Gorgeous Outdoor Kitchen and Grill for Summer Backyard Ideas
homixover.com are really concern to Provide All About Home Design and Decoration Ideas. We are Gathering and Collecting photos from lot of source on internet. If some of them are yours, please don't be shy to contact us immediately, we are so pleased to add some credit to them.


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2015 European LP pressing.
Recorded the first day of February in 1963, but not released for a few years, Bucket! is a fairly typical Jimmy Smith session, featuring the organist running through a selection of originals and standards with guitarist Quentin Warren and drummer Donald Bailey in tow. The vibe is relaxed, not too laid-back but hardly energetic, as the trio easily strolls through bluesy ballads and lightly swinging soulful ballads. It's damning with faint praise to say that nothing exceptional ever happens but it doesn't need to happen, but that is truly the case here. Bucket! is simply a middle-of-the-road affair, not quite boring but never quite compelling either. It's good easy listening music, finding an organ master kicking out seven tunes without any pressure and with a minimal sense of style. That makes for a pretty good record, one that hardcore fans will find satisfying after they've exhausted the greater Smith sessions, but not one that will captivate the attentions of anyone who isn't a dyed-in-the-wool Jimmy Smith aficionado.
Stephen Thomas Erlewine ~ AllMusicGuide
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|Blue Note Records
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Thank the maker! It's finally time to put Untitled Snow White Project That's Not the One with Kristen Stewart to bed, as Relativity's competing Snow White project finally has a title: Mirror Mirror. It's a fine title, and pretty much gets the point across that we're dealing with fairy tales here. While there's a multitude of Snow White movies in development, this one differs greatly from its main competitor, Snow White and the Huntsman. The Kristen Stewart-led pic is an epic, dark, and gritty take on the fairy tale, while Mirror Mirror is described as a lighthearted comedy action-adventure.
The Fall's Tarsem Singh directs, so we're in for a visual treat, and Lily Collins stars as the eponymous Snow White. The supporting cast that includes Julia Roberts as the Evil Queen, Armie Hammer as the prince, Sean Bean as the King, as well as Nathan Lane. Click here to check out a number of images from the film, which should give you a better idea of the tone. Mirror Mirror opens March 16th, 2012. [Update: We've been sent the full press release, which is included after the jump]
Here's the full press release:
(Beverly Hills, Calif.) November 4, 2011 – Relativity Media announced today that the long-awaited title for its upcoming spectacular reimagining of the classic Snow White fairy tale is Mirror Mirror. Filming for the comedy action adventure wrapped in mid-September under the stylish direction of Tarsem Singh (Immortals, The Cell). The theatrical release date is set for March 16, 2012.
The newly titled film Mirror Mirror, stars breakout star Lily Collins (The Blind Side) as an exiled princess who enlists the help of seven resourceful rebels to win back her birthright and Oscar®-winner Julia Roberts as an evil Queen who steals control of a kingdom, in a magical adventure comedy filled with jealousy, romance, and betrayal that will capture the imagination of audiences the world over. The film also stars Armie Hammer (The Social Network) as the object of their affection, Prince Andrew Alcott, and Nathan Lane (The Birdcage) as the hapless and bungling servant to the Queen.
Rounding out the cast are: Sean Bean (HBO's Game of Thrones, Lord of the Rings: The Return of The King), Mare Winningham (Brothers) as Baker Margaret, Michael Lerner (Elf) as Baron and Mark Povinelli (Water for Elephants), Jordan Prentice (Harold & Kumar Go to White Castle), Danny Woodburn (Watchmen), Sebastian Saraceno (Bedtime Stories), Ronald Lee Clark (Epic Movie), Martin Klebba (Pirates of The Caribbean) and Joey Gnoffo (The Benchwarmers) as the Seven Dwarfs.
The film's producers are Bernie Goldmann (300), Ryan Kavanaugh (The Fighter), and Brett Ratner (Rush Hour franchise).The script was written by Melisa Wallack (Meet Bill) and Jason Keller (Machine Gun Preacher).
Looking ahead, Relativity will release its highly-anticipated epic action-adventure Immortals on November 11, 2011, starring Henry Cavill, Stephen Dorff, Isabel Lucas, Freida Pinto, Luke Evans and Kellan Lutz with John Hurt and Mickey Rourke. Relativity's expansive 2012 slate also includes its Haywire (in theatres January 20, 2012), Act of Valor (in theatres February 17, 2012), The Raven (in theatres March 9, 2012), Untitled Farrelly/Wessler Project (in theatres April 13, 2012), House at the End of the Street (in theatres April 20, 2012), Safe Haven (in theatres June 1, 2012) and Hunter Killer (in theatres December 21, 2012).


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If not for the economic contributions of the Chinese and Indians, Hindraf leader P Waythamoorthy says, the newly-born nation would have gone bankrupt.
GEORGE TOWN: The Federation of Malaya would have gone bankrupt if ethnic Indians and Chinese had not adopted the fledgling independent nation as their home, said Hindraf Makkal Sakti chief P Waythamoorthy.
"We should be grateful to Indians and Chinese who sacrificed their rights to save the newly-born Malaya from economic ruin," he said when revealing findings of his research into thousands of documents pertaining to Malaya's pre-independence talks.
He said the then auditor-general HM Watson's report on the accounts of Federation of Malaya as of Dec 31, 1957 revealed that rubber and tin export constituted the top two contributors of export duty for the country.
Rubber contributions made up 68% of tax revenue at $124.4 million in 1957 and $143.9 in 1956. Tin contributions came in second at 28%, generating tax revenue of $54.2 million in 1957 and $60.2 million in 1956.
The workers in the rubber industry were predominantly Indians while the Chinese dominated tin mining.
"If the British deported the Indians and Chinese out of the Federation following independence, obviously Malaya would be bankrupt instantly," he said.
His studies also revealed that Malaya would not have survived if the Straits Settlements of Penang and Malacca stayed out of an independent Malaya and remained British crown states.
He said Penangites and Malaccans were British subjects then entitled to United Kingdom citizenships and the Malay rulers had no powers over these two states.
"But the non-Malays sacrificed their rights to make Malaya their home," he disclosed.
He said ethnic Indians and Chinese were dominant communities in the Straits Settlements then, numbering some 1.3 million. The difference in population and property ownership between the two communities was razor thin.
The total population of both Malays and non-Malays in the other states was about four million then.
'Special position only for 15 years'
During constitutional talks and submissions to the Reid commission, Waythamoorthy said document revealed that the Tunku Abdul Rahman-led Umno delegation wanted the Straits Settlements to be part of the federation in return for citizenship and equality for non-Malays.
At the same time, Waythamoorthy said Tunku and Abdul Razak Hussein requested and assured the Reid Commission that the Malay special position would be implemented "only for 15 years, between 1957 and 1972, and after that all citizens shall be treated with equal status."
He claimed that Umno later manipulated and colluded with the British to make the provisions in Article 153, which governs the Malay special position, a permanent feature against their submissions and undertakings to the Reid Commission.
Based on his findings, Waythamoorthy said the notion that Indians and Chinese were immigrants and should be thankful for the opportunity given to prosper here "should stop once and for all."
"The country would have been impoverished should the Indians and Chinese decided to stay out of the Federation while Penang and Malacca remained as British colonies.
"Should the two states have remained under the British, the ethnic Indian and Chinese populations would be entitled to equality under the British laws. They would have prospered.
"It would have encouraged Indians and Chinese in other states to migrate to the Crown Straits Settlements and they would not be subjected to a racist system and be treated as second-class citizens like today," argued the London-based Hindraf chairman.
Waythamoorthy is scrutinising the pre-independence documents to prepare for his US$4 trillion class action suit against the former colonial master, the British government.
He originally filed the class action suit in London on Aug 31, 2007, the 50th anniversary of Malaysia's independence, to demand compensation for Indian Malaysians, whose ancestors were brought in by the colonial government as indentured labour.
However, the suit was stalled following the Malaysian government's clampdown on Hindraf and arrest of several lawyers under the Internal Security Act (ISA).
The suit claimed that, after granting independence to Malaya, the British had left the Indians without representation and at the mercy of the Umno government.
Hindraf's London-based lawyers would be in Malaysia for several days from Thursday onwards to meet potential ethnic Indian clients to become co-claimants in the suit.
'Built on their sweat, blood and tears'
Waythamoorthy said his findings proved that the newly-born Malaya was "over-dependent" on the economic contributions of the Indian and Chinese communities.
He said the rubber and tin industries generated other parallel revenues and development for the country such as infrastructure, transport and taxes.
He believes that the socio-economic factor compelled the British to keep the Indians and Chinese in Malaya.
He said the British wanted to protect the interests of their business and that of Malay rulers, who were direct beneficiaries of the contributions of the so-called "pendatangs".
"Non-Malays adopted Malaya as their new home as they were encouraged and welcomed by the British and Malay Rulers then. Truth is, this country was built on the blood, sweat and tears of ethnic Indians and Chinese," he said. - FMT


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Well, I'm almost finished with my current toddler sweater! I just need to knit the sleeves and do the finishing, which you know in my fevered imagination will only take a couple of hours..... ;)
And so obviously it's time to decide on my next project. My great niece Katelynne will be turning 4 at the end of the month, and so I have a couple of choices. I had planned to make 'Kitty,' the sweater that I made for Lydia's 4th birthday last May. However, I've made FOUR toddler sweaters in the last 4-5 months, and they have all been raglan sweaters with lace skirts, so it's possible that I should shake things up a bit. I do also have the yarn and pattern to make another 'Tulip' sweater, so that is an option.
It all started with the One-Skein Sweater for a baby shower:
I modified that (my own design) for Josie:
Then I did 'Kitty' for Lydia:
And finally, I'm doing 'Helena' for Maya:
So, please help me decide!! (Oh, and I have to get started in the next few days....just sayin')
Keep knitting!
Cynthia (aka Designated Knitter)


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