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Sponsored by Dell and Microsoft
With Windows Server 2012, Microsoft is packing an unprecedented breadth of tools into its core enterprise platform – much more, in fact, than it has in in any previous version.
The latest edition serves up new PowerShell features, much improved capabilities to manage both virtual and physical storage and networking, deduplication tools, Server Task Manager capabilities and host-based Hyper-V replication. Also getting attention is the inclusion of Azure's cloud-development tools, which is seen as a clear signal of Microsoft's intention to shift away from traditional and costly server platforms and toward cloud computing. In fact, the company has taken to calling Windows Server 2012 its "Cloud OS."
Beyond the new Windows Server, the company has rolled out System Center 2012 (presenting it as a management platform for the cloud as well as for hypervisors, the data center, automation and applications) and Visual Studio 2012 (aimed at developers creating custom software to be used across multiple platforms).Access >>>
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Categories > Celebrities > My Chemical Romance > romance?!?
ninteen...3 Reviews
Frank and i stood in the hall upstairs of the party house. it was alot quieter upstairs than it was downstairs. we lost Gerard, Ray and Bob somewhere in the crowd but most likely they were near a beer keg or something. Mikey was at home...trying to get Fuck Tart to like him...or at least thats what he said when he called us an hour after he left the party. who knows what he really was doing.
just then a guys with a really tight hollister shirt came up to me.
"so whos your new year's kiss?!?" he asked. he was drunk from what i could tell...stinky breathe and holding himself against the wall. i looked at my watch. 11:59...
"not you, thats for sure" i said. i looked at Frank for a little help but he seemed to be ignoring me.
"10!..." we heard from downstairs as they began the count down to the new year.
"what?!?" this guy yelled. then i noticed Frank look at him.
"uhh, yeah you heard. now get out of my face!" i told him. he looked at Frank.
"dont tell me he's your kiss?!?" he asked and pointed at Frank.
"im not to sure either" i mumbled as i took a step closer to Frank, so that i wouldnt be so near to mr. drunk hollister guy.
"PUNK!" the hollister guy yelled.
"2...........1!" mr. hollister grabbed my wrist and pulled me towards him then i felt Frank's hand on my other wrist. Frank pulled me out of mr. drunk's grasp. he threw me against the wall, placed his body on mine and pressed his lips on mine.
"mother fucker!" the drunk guy yelled and left. i thanked God for not letting him do anything damaging to Frank. even though the guy left, Frank and i stayed attached. Frank licked my bottom lick, asking for permission to let him proceed. and you know what?!? i did...

subset: commoncrawl


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Now a full time member of the TLD team, I first came to Top Left Design as an intern for two weeks when I was just 14 years old. I've spent a lot of time with the team helping out for the past four years and have learnt countless amounts of new and interesting things, and still have much more to learn!
Posts Tagged 'Design'
11 things I've learnt at Top Left Design so far
Tuesday, October 11th, 2011
The designer tips I learnt at Top Left Design – by Julien Michot (one of our interns)
Thursday, August 18th, 2011
Julien is one of the two french students (Julien and Caroline) who spent a 10 week internship at Top Left Design. In this post he shares with you a few new things he learnt about design.
Here is what Julien wrote
Hi everyone! I've just finished my 10 weeks internship here at Top Left Design. Usually I work more with the programming side of things, and have never really learnt much about the design process. I like coding because I've learnt a lot about how to do it, and so now it's easy for me. But during this internship I saw that design is not so different from coding, you have to always keep in mind some key rules and guidelines to create a good design.
Here are the 7 most important rules I learnt at top left design during my 10 great weeks:
3,2,1… London 2011! You don't need to be a sportswoman to develop your skills – by Caroline Campan (one of our interns)
Thursday, August 18th, 2011
Caroline and Julien are two french students who spent 10 weeks with the team at Top Left Design on a summer internship. 10 weeks have flown by! They have sadly left and will be truly missed by all of us at Top Left Design. In this blog post Caroline shares a little bit about her experience at TLD and the new things she learnt.
Here is what Caroline wrote
Here we are: 10 weeks have gone by, and it's already the end. When I look at the pieces of paper which I wrote all of my tasks on each week, I think we can say that it's been amazing. From tasks which took me several days to complete to some which only took me a few minutes, each week has been a new experience.
A collection of websites for Food Businesses (designed by Top Left Design)
Tuesday, August 16th, 2011
Food – Its yummy and we can't live without it! (even if you tried). Designing a food website presents an interesting challenge – the design has to look good enough to eat!
Whether it be for a restaurant, or a company that sells food online, the focus has to be on the product, which in these cases, are the food itself, or the venue in which you will be eating the delicious consumables.
Good professional photography is essential for this genre of website, and thankfully, our clients recognise this with the beautiful images they have supplied to us in the past.
Should we have professional photography in our website?
Tuesday, August 9th, 2011
Having good quality images on your site can set you apart from your competitors in a big way. Have you ever been to a website and thought "those pictures are awful"? How did that affect your impressions of the company? I'd be willing to bet that your perception of the company went down some – the quality of your content is directly linked to how your visitors perceive the overall quality of your company.
There's nothing worse than having a great website designed, only to populate the pages with low quality clipart style stock imagery, or dodgy team pictures.
- If you are a venue – people will want to see the venue in all it's glory
- If you have a physical product – then show off the product with high quality pictures
- If you have people in your business – (yes we know this means everyone!) – adding team pictures creates trust and transparency
Professional photography really does add a sophisticated and unique feel to your company and products. Below is just a small collection of professional photography used throughout websites TLD has designed – now you'll be able to see why professional photography is a must!
9 great "Meet the Team" pages designed by Top Left Design
Thursday, June 9th, 2011
We pride ourselves in making an effort in designing each page with a purpose. This way the website doesn't look templatey and the information on the page gives the information it needs to and looks visually appealing. Below is a specially compiled collection of Team Page Designs we have done here at Top Left Design. Feel free to comment and enjoy!
Who's say was it anyway?
Wednesday, August 25th, 2010
Team TLD is big into websites, big into team building exercises, and big into having fun.. so when an opportunity arises to combine all three it's really a bit of a no-brainer!
A couple of weeks ago the whole team trekked off to Wales for a weekend to participate in our second Our Say Our Way Steering Group Residential, a project which is going along swimmingly! For those of you not familiar with the Our Say Our Way project, this a website we have just recently launched that will give Young People in the UK, involved in the Our Say Our Way project, a voice within their communities.
Our postcards – illustrated by Tina!
Monday, November 30th, 2009
We wanted to show you a set of 4 postcards designed and illustrated by Tina Webster. Tina works for Top Left Design (as you may have noticed on our Team page) and is also a freelance illustrator. She graduated from Kingston University in 2008 and her work has been featured in the Guardian, Supersweet Magazine and on the London Architecture Diary website. She has also taken part in a number of exhibitions in central London including a submission for Shelter House of Cards exhibition for Amelia's Magazine, and the Coningsby Gallery and 93 Feet East
Her illustration style is mainly collage and paper cuts. She works by painting paper and then creating textures with objects such as folks, tissue paper and sponges. This gives her illustration work as 3D feel. Her work is suited to book illustration, editorial and advertising. The designs above form part of a series of 4 postcards for Top Left Design. They feature animals which we also use on our Twitter page background. The postcards will be sent to our clients and friends and the cards can be collected and then placed together to created one big image.
If you would like to find out what Tina is up to, you can Find Tina on Twitter!.


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Two top 10 teams were upset this week, and to the surprise of few, they were Southern Cal and Georgia.
AUBURN, Ala. - Chris Denson scored 21 points with seven rebounds and four assists to lead five Tigers in double figures as Auburn defeated Victory University 109-67 in its exhibition opener on Monday at Auburn Arena.
Auburn shot 60 percent from the floor for the game and led 56-31 at the break after a 3-pointer by Dion Wade at the halftime buzzer. The Tigers held Victory to 23 percent shooting (7-of-30) in the first half.
Freshman point guard Tahj Shamsid-Deen scored 16 points on 4-of-5 from outside with four assists. Benas Griciunas added 15 points off the bench while KT Harrell and Asauhn Dixon Tatum each scored 14 points.
Malcolm Canada totaled nine points with nine assists. The Tigers finished with 25 assists on 43 field goals. Auburn out-rebounded Victory 51-33 led by eight rebounds from Chris Griffin.
Tyrell Hursey and Michael Davis each scored 20 points to pace the Eagles.
Auburn closes out exhibition play on Friday against Paine College at 7 p.m. CT.
1909 Wynnton Road
Columbus, Ga. 31906
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Schumann: Symphony No. 4; Debussy: La Mer; Le Martyre de Saint Sébastien, suite / Guido Cantelli (live, Edinburgh 1954)
1 CD / ICA Classics / 2012-09-25Works: Robert Schumann: Symphony no 4 in D minor, Op. 120; Claude Debussy: Le martyre de Saint Sébastien, symphonic fragments (arranged by Caplet); La mer
Conductors: Cantelli, Guido
Ensemble: ; Philharmonia Orchestra
Highly respected by Toscanini, Italian conductor Guido Cantelli (b. 1920) started recording with the Philharmonia Orchestra for EMI in the early 50's but was tragically...continue...
Recording information: Usher Hall, Edinburgh (09/09/1954)....continue...
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Rachmaninov: Symphony No. 2; Bernstein: Candide Overture / Svetlanov
1 CD / ICA Classics / 2012-09-25Conductors: Svetlanov, Evgeny
Ensemble: London Symphony Orchestra; Philharmonia Orchestra
Rachmaninov was, by his own account, Svetlanov's favorite composer. This new live recording of his Symphony No.2 from the Royal Festival Hall in 1993 with...continue...
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New York, NY -- (ReleaseWire) -- 02/26/2014 -- Growing Stock Report expands its NYSE Active Stock Weekly Watch List adding Delta Air Lines Inc. (NYSE:DAL) and Petróleo Brasileiro S.A. (NYSE:PBR).
Delta Air Lines Inc. (NYSE:DAL) a company that provides scheduled air transportation for passengers and cargo in the United States and internationally closed up in its previous session (+2.43%) on 15,333,593 shares traded after Coverage was initiated on Delta Air Lines by Stifel. Delta Air Lines Inc. (NYSE:DAL) is currently up (+145.74%) from its recent 52-week low which has prompted Growing Stock Report to add the stock to their NYSE Active Stock Watch List.
Click Here to find out what other Investors are saying about Delta Air Lines Inc. (NYSE:DAL)
Petróleo Brasileiro S.A. (NYSE:PBR) operates as an integrated oil and gas company in Brazil and internationally closed down in its previous session (-2.91%) on 18,749,468 shares traded. Petróleo Brasileiro S.A. (NYSE:PBR) is currently down (-41.32%) from its recent 52-week high which has prompted Growing Stock Report to add the stock to their NYSE Active Stock Watch List.
Click Here to find out what other Investors are saying about Petróleo Brasileiro S.A. (NYSE:PBR)
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Whole Grilled Fish
From Tom Keegan
1 6 to 9 pound fish
¼ cup good quality olive oil
Kosher salt and fresh cracked pepper
2 cloves garlic, smashed
2 sprigs of fresh thyme, plus extra for garnish
2 sprigs fresh oregano, plus extra for garnish
2 sprigs fresh parsley, plus extra for garnish
melted butter, for basting
Half a lemon, sliced thin for garnish
Have fishmonger remove scales, guts, fins, and gills. Leave tail on (head is optional). Wash fish and pat dry. If cooking with head on, score fish to spinal bone, perpendicular to spine behind head. Score above tail, as well as few slashes in the side. Rub fish inside and out with olive oil, and season generously with salt and pepper. Place garlic and herbs in cavity. Wipe grill grates with canola oil. Heat grill to 500 degrees or until coals are very hot, then reduce to 425 degrees. Place fish on grill, belly facing away from you, with head at the highest heat, and tail at the lowest. Grill 10 minutes per inch of thickness. Flip fish between two spatulas so belly faces you. Lightly baste with olive oil and melted butter, avoiding flare-ups. Grill for another 10 minutes per inch of thickness. Fish is done when meat inside the belly is no longer translucent. Check the meat at the spine where it was scored behind the head—it should be completely opaque. With spatulas, transfer the fish from grill to platter. Garnish with fresh herbs and lemon slices.
This recipe is part of a full menu created by Tom Keegan for the July 2012 issue.
Photograph by Chris Smith
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Preview the Pilot for a chance to win an iPad!
Aug 11
The PATCO Pilot is launching Sept. 26 to all customers, but you can be among the first to participate and enjoy the flexibility of the PATCO Wave & Pay ANYWHERE Visa® Prepaid Card.
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Young Bosnia
|Mlada Bosna
Gavrilo Princip, Young Bosnia member and the assassin of Archduke Franz Ferdinand of Austria.
|Belgrade and various other places in Serbia and Bosnia.
|Key people
|Gavrilo Princip
|Main organ
|Black Hand
Young Bosnia (Bosnian, Croatian, and Serbian: Mlada Bosna; Cyrillic: Млада Босна) was a revolutionary movement active before World War I. The members were predominantly school students.[1] It included primarily Serbs but also Bosniaks and Croats[2] There were several motivations promoted amongst different members of the group. There were members who promoted Yugoslavist aims of pan-South Slav unification of territories including Bosnia into a Yugoslavia.[3][page needed][4][5] There were members who promoted Serbian nationalist aims of pan-Serb unification into Serbia.[6] Young Bosnia was inspired from a variety of ideas, movements, and events; such as German romanticism, anarchism, Russian revolutionary socialism, Fyodor Dostoyevsky, Friedrich Nietzsche, and the Battle of Kosovo.[7]
The ideologue of Young Bosnia[8] and tyrannicide as its method of the political struggle, was Vladimir Gaćinović.[9] In one letter to Dedijer, one of revolutionaries from Herzegovina (Božidar Zečević) stated that the name of Young Bosnia was first mentioned by Petar Kočić in journal "Homeland" (Serbian: Отаџбина) in 1907. In 1911 Gaćinović published an article titled "Young Bosnia" in Almanac (Serbian: Алманах) published by Prosvjeta.[10]
The rise to power of the popular Karađorđević dynasty in Serbia in the 1900s after the May Overthrow of the Obrenovic dynasty by the Serbian Army in 1903, stimulated support by both Serbs and South Slavs for their unification into a state led by Belgrade.[11] Support for revolutionary Yugoslavism in Bosnia grew with the rise of the Serbo-Croatian Progressive Organization in 1911, and drew in support for the cause from Serbs as well as Croats and some Muslims.[7] Young Bosnia sought the assistance of the Serbian government and received assistance by the Black Hand - a covert organization founded by the Serbian Army.[7]
It was formed during the 1900s in the Condominium of Bosnia and Herzegovina (an annexed condominium of Austria-Hungary), with significant influence from neighbouring Serbia.[4][dead link][5]
Assassination of Archduke Franz Ferdinand of Austria[edit]
Two notable organizations are referred to in connection with Young Bosnia: Narodna Odbrana and Black Hand. During a Serbian kangaroo court in French-occupied Salonika in 1916–17, Chief of Serbian Military Intelligence Dragutin Dimitrijević Apis testified that he had organized the assassination of Archduke Franz Ferdinand of Austria, in Sarajevo on 28 June 1914, (the assassin was Gavrilo Princip). In the process, he used not only his power over elements of the Serbian military, but also the Black Hand. Leaders of the Black Hand in turn had penetrated Narodna Obrana and used the Narodna organization to infiltrate the arms and assassins into Sarajevo.
The Serbian National Organization of Petar Kočić had ties with the Young Bosnia.[6] They participated in the assassination of Archduke Francis Ferdinand which ultimately, led to World War I.
"The political union of the Yugoslavs [..] was my basic idea [..] I am a Yugoslav nationalist, aiming for the unification of all Yugoslavs, and I do not care what form of state, but it must be free from Austria"
-Gavrilo Princip during his trial[6]
Claimed members of Young Bosnia who participated in the assassination were:
- Danilo Ilić (1891 – 3 February 1915)
- Veljko Čubrilović (1 July 1886 – 3 February 1915)
- Miško Jovanović (executed 3 February 1915)
- Nedeljko Čabrinović (2 February 1895 – 20 January 1916)
- Vladimir Gaćinović (25 May 1890 – 11 August 1917)
- Trifko Grabež (June 1895 – February 1918)
- Gavrilo Princip (25 July 1894 – 28 April 1918)
- Muhamed Mehmedbašić (1886 – 29 May 1943)
- Cvjetko Popović (1896 – 9 June 1980)
- Vaso Čubrilović (14 January 1897 – 11 June 1990)
An evening before the assassination of Archduke Franz Ferdinand, Princip, Čabrinović and Ilić visited the grave of Bogdan Žerajić for the last time.[12] Žerajić's proclamation "He who wants to live, let him die. He who wants to die, let him live", was quoted by Gavrilo Princip in one of the songs he wrote (Serbian: Ал право је рекао пре Жерајић, соко сиви: Ко хоће да живи, нек мре, Ко хоће да мре, нек живи).[13]
Museum of Young Bosnia[edit]
The Museum of Young Bosnia was built in the period of SFR Yugoslavia in 1953, at the place where the assassination took place. It commemorates the assassins, popularly known in the Kingdom of Yugoslavia as the "Vidovdan heroes". At the front of the museum was a plaque, inscribed: "From this place, on 28 June 1914, Gavrilo Princip, expressed with his shot the people's revolt against tyranny and their centuries-old struggle for freedom. (Са овога мјеста 28. јуна 1914. године Гаврило Принцип својим пуцњем изрази народни протест против тираније и вјековну тежњу наших народа за слободом.)" In 1992, soldiers of the Army of the Republic of Bosnia and Herzegovina destroyed both the plaque and Princip's footprints. German forces had removed the 1930 plaque in 1941.
|Wikimedia Commons has media related to Young Bosnia.
- ^ Stevenson, David (2004). 1914 - 1918:The History of the First World War. Penguin Books. p. 11. ISBN 978-0-14-026817-1.
- ^ Dejan Djokić. Yugoslavism: histories of a failed idea, 1918-1992. London, England, UK: C. Hurst & Co. Ltd, 2003. Pp. 24.
- ^ Neven Andjelic (2003). Bosnia-Herzegovina: The End of a Legacy. Psychology Press. ISBN 978-0-7146-5485-0.
- ^ a b http://books.google.com/books?id=bAaqxRJiXiEC&pg=PA24
- ^ a b John R. Lampe (28 March 2000). Yugoslavia as History: Twice There Was a Country. Cambridge University Press. pp. 90–. ISBN 978-0-521-77401-7.
- ^ a b c The national question in Yugoslavia: origins, history, politics Ivo Banac
- ^ a b c Stevan K. Pavlowitch (2002). Serbia: The History of an Idea. New York University Press. pp. 90–91. ISBN 978-0-8147-6708-5.
- ^ Belgrade (Serbia). Vojni muzej Jugoslovenske narodne armije (1968). Fourteen centuries of struggle for freedom. The Military Museum. p. li.
- ^ Лесковац, Младен; Форишковић, Александар; Попов, Чедомир (2004). Српски биографски речник. Будућност. p. 634.
- ^ Dedijer, Vladimir (1966). Sarajevo hiljadu devetstso četraneste. Prosveta. p. 831.
- ^ Dejan Djokić. Yugoslavism: histories of a failed idea, 1918-1992. London, England, UK: C. Hurst & Co. Ltd, 2003. Pp. 59.
- ^ Stand To!: The Journal of the Western Front Association. The Association. 2003. p. 44. "On the evening before 28 June 1914 Princip, Cabrinovic and Ilic paid a last visit to the grave of Bogdan Zerajic in Sarajevo. Zerajic had planned an assault ..."
- ^ Marković, Marko (1961). Članci i ogledi. p. 193.


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The Seniors Tennis Circuit; Worshipping Mammon
Tennis Balls
with "The Girls in their Summer Dresses," "The Eighty-Yard Run"
is my favorite Irwin Shaw short story. Christian Darling's memory of his broken-field
run as he walks along the grass where he played 15 years earlier is a magical
moment in fiction. Although Darling's run was only in practice, all the memories
of youth flood back. Darling is by now a dinosaur, unable to adapt to a changing
world, pretty much broke and dreaming of his youth when he felt invulnerable.
As an old
athlete, Shaw knew all about it. How one remembers most vividly the days of
glory, of victories. The whole world seems to be in one's lap, "but nothing
is except a fleeting moment of health."
I have been
thinking a lot of Christian Darling recently as I tour resort towns in Switzerland
and Germany competing in veterans tennis tournaments. As some of you may have
guessed, tennis is a very easy game. All one needs to do is hit a small ball
over the net and inside the baseline only one more time than one's opponent.
Needless to say, this simple game has driven more people nuts than LSD, crack
and booze combined.
Back in
the good old days, when I was on the men's circuit, traveling from town to town
was fun. One checked into the hotel, went to the club for practice and then
hunted for women. Forty years later, things are almost the same, but not quite.
One checks into the hotel, has a practice hit before the match and then lies
down hoping to be able to go three sets in the heat. The few women who watch
are one's age, which means they're over the hill and basically untouchable.
Why does
one compete in veterans tennis? The Christian Darling syndrome is more addictive
than cocaine. You think you don't care anymore, but one victory has you dreaming
about "what if." This week, in Flims, a beautiful Alpine village in
the Grisons of Switzerland, I pulled one out after a tiebreaker in the third
set. The next day, still hung over, I faced the third seed, an Italian chap
known for giving bad calls even when he plays against his children. We were
on court for three hours. I lucked out in the end and went on to win
the tournament. It was Christian Darling time, but it's all an illusion. Next
week in Germany I'll probably go down in the first round and wake up, just as
Darling did.
Still, the
hotels one stays in are wonderful, with old-fashioned grand salons, impeccable
service and piano concertos every afternoon. I have not heard the f-word once,
have not listened to any ghastly rap sounds, have not watched tv in more than
a month. This is the good news.
The bad
is the anti-Americanism, which is as prevalent as the Alps. Even among tennis
players—traditionally apolitical and mostly illiterate—Uncle Sam is hardly their
favorite relative. Last week's Davis Cup tie in Brookline, MA, is a perfect
example of American arrogance. The rules are very simple. Davis Cup rules forbid
substitutions except in the case of injury or illness. With the U.S. down 2-1,
and desperately in need of a victory, they tried to salvage the situation by
inserting Pete Sampras in place of Todd Martin. Martin, one of the few gentlemen
on the present circuit, did feel under the weather because of the heat, but
so did everyone else. The ploy failed, Martin won the first two sets but eventually
Australia prevailed. The Aussies, however, were furious. They had suspected
that Uncle Sam tried to pull a fast one.
like Kosovo," said a tennis veteran to me. "They think the rules are
for others. Never for them."
Well, I'm
an old Uncle Sam lover, but he has a point. Killing 17 Iraqis last week as if
they were flies is now routine for the Clinton-Albright gang. Albright is meeting
with the Chinese foreign minister next week to kiss ass because China is strong.
Clinton uses the Kennedy tragedy to push through legislation. He would, wouldn't
he? Once upon a time sovereign states could only be attacked when they attacked
another sovereign state. The Clinton-Albright mafia has changed all that. And
even in peaceful little villages like Flims, people are outraged at the bully
Uncle Sam has become.
Jim Holt
I Worship Mammon
There is no greater nonsense
than the view, propounded on the opposite page by a columnist who ludicrously
calls himself "Hamlet," that the rich are not to be
envied. Hamlet claims to be a Jew, but I think he is a closet Christian. For
it was Jesus who is ultimately behind this line of argument. "It is easier
for a camel to go through the eye of a needle than for a rich man to enter the
kingdom of God," he said in the Gospels.
By the law
of unintended consequences, this statement actually proved to be a great boon
to the rich, as it freed them of any obligation to be benevolent toward the
poor. "Why should we here on Earth do anything for the wretched rabble,
who will one day be happier than we in heaven?" the rich quite correctly
reason. (The Victorian novelist Samuel Butler, on the other hand, could not
help thinking that if it is hard for the rich to enter heaven, it must be a
lot harder for the poor.)
Jesus' libel
against wealth was echoed by St. Paul, who wrote in an epistle that Radix
malorum est cupiditas. This is usually misquoted as "Money is the root
of all evil," but it really translates as "Greed is the root of evils."
And the poor are greedier than the rich. Hence they are more evil. As Oscar
Wilde noted, "Wealthy people are, as a class, better than impoverished
people, more moral, more intellectual, more well-behaved. There is only one
class in the community that thinks more about money than the rich, and that
is the poor. The poor can think of nothing else. That is the misery of being
Money won't
buy happiness, the bores are fond of claiming—including that prince of bores,
Dr. Freud. Happiness, Freud submitted, consists in the deferred fulfillment
of an infantile wish, and most babies do not crave money. Yet Freud also maintained
that gold is symbolically connected to feces (which is presumably why we call
people "filthy rich"). And anyone who has spent time with babies knows
that they take a very lively interest in their feces.
old Carl Sandburg gassed in one of his poems that "Money buys everything
except love, personality, freedom, immortality, silence, peace." To which
the far better poet Ogden Nash rejoined:
there are lots of things in life that
S money won't
buy, but it's very funny—
Have you ever tried
to buy them
without money?
In truth,
as the great majority of non-rich Americans have discovered, you can
buy these things without money—on credit. "All decent people live beyond
their incomes nowadays, and those who aren't respectable live beyond other people's.
A few gifted individuals manage to do both." (That was one of Saki's cracks.)
It helps to hang out with the right people. There is no point, for example,
in associating with children; for, as Fran Lebowitz observed, they are seldom
in a position to lend one a truly interesting sum of money.
The secret
of being a happy debtor, many Americans have also discovered, is to be a big
debtor. "Small debts are like small shot," said Samuel Johnson; "they
are rattling on every side, and can scarcely be escaped without a wound; great
debts are like cannon: of loud noise but little danger." And if you do
end up getting dunned, take the advice of Baudelaire: "Whenever you receive
a letter from a creditor, write fifty lines upon some extraterrestrial subject
and you will be saved."
lie about money is that Old Money is somehow better than New Money. Only the
nouveaux riches worry about the age of people's money. Everyone else, including
Old Money, merely worries about money. (So I have been assured by Miss Manners.)
If the age of money were important, then no one would spend ostentatiously,
because that would demonstrate that they had not been rich long enough to inherit
their valuables.
How do you
know when you have enough money? People on Wall Street are always debating what
The Number is—the amount of lucre you have to amass before you can quit the
money game. I do not like this one-size-fits-all approach. A more personalized
indicator of the adequacy of your fortune is how cavalierly you treat your money.
Picasso used to have around the house an old, red-leather Hermes trunk in which
he kept five or six million francs—so that, as he said, he'd always "have
the price of a package of cigarettes." Andy Warhol said that no one who
carried his money around in "Gucci this-es or Valentino thats" really
had enough of it; the superrich always kept their cash in a long business envelope.
I have one slightly rich (and sweetly eccentric) friend who has newly minted
hundred dollar bills sewn into booklets. He rips them out like food stamps when
settling big restaurant tabs, which never fails to make an impression.
feast is made for laughter, and wine maketh merry: but money answereth all things,"
proclaims the book of Ecclesiastes. (To which Woody Allen adds: "Money
is better than poverty, if only for financial reasons.") How can we not
envy those who have more of it than we do? How can we not disdain those who
have less?
It greases
the palm, feathers a nest,
heads above water, makes both ends
meet. You
don't know where it's been,
but you put it where
your mouth is. And it talks.
No wonder
we love it! Unfortunately, as Baron Rothschild once pointed out to me, it is
not enough that you love money. Money must love you.
Scott McConnell
Off the Bus
One of America's most bitter
battles petered out in mid-July, neither side triumphant. The Times signaled
the end with a below-the-fold headline: "Busing's Day Ended: Boston Drops
Race in Pupil Placement." A few weeks prior, a court had voided a Yonkers
school integration plan, extending a national trend. Black parents no longer
supported busing, dissident members of the NAACP questioned it and the liberal
elites who dreamed it up in the first place had moved on to other causes.
Few want to dwell on this
epochal failure of Great Society social engineering. (I know, having several
years ago circulated a book proposal on the subject.) The purely educational
consequences of busing were well known by 1974, when federal judge W. Arthur
Garrity set out to reorganize the Boston school system. Busing black kids into
white schools did not improve their reading and math scores very much, if at
all. It may have lowered white achievement slightly, but less than critics feared.
As for the mutual understanding and respect between the races that would supposedly
arise from sharing classrooms, this proved nonexistent, much as Norman Podhoretz
had predicted in 1963, when he published an account of his experience in a 1940s-era
integrated school. Studies showed that black kids bused to integrated schools
tended to be more hostile to whites than those who attended all-black schools.
Still, liberal
judges and social engineers pressed forward. After all, it was not their
children who would serve as the pioneers in school integration. The guinea pigs
in the busing experiment were the children of the white working classes. In
the case of Boston, this meant kids from the Irish and Italian enclaves in Charleston
and South Boston. Oh, the scorn that the dominant media of the day attached
to the phrase "ethnic enclave." It conveyed an impenetrable web of
backwardness and bigotry, the kind of neighborhood that needed to be shattered
so that mankind could progress. A Newsweek story of the era about Louise
Day Hicks, Boston's popular antibusing politician, gives the flavor. Describing
Hicks' followers, the magazine wrote, "They looked like characters out
of Moon Mullins, and she was their homegrown Mamie-made-good. Sloshing beer
at long tables…sat a comic strip gallery of tipplers and brawlers and their
tinseled overdressed dolls." Try to imagine Newsweek writing like
that about Latinos.
up schemes to bus other people's children long distances involved a singular
calculus. As Nathan Glazer once noted, formulating transportation plans from
which one's own private- or suburban-schooled children would be exempt offended
a basic rule of morality in both the Jewish and Christian traditions. Nevertheless,
elite liberals pressed on, maintaining that racially integrated education was
a constitutional right. During this period, liberals largely abandoned the work
of securing popular political majorities for their programs, proceeding instead
through the courts.
This was
how their plan worked in Boston: Thousands of working-class white kids would
be bused out to black districts every day, while thousands of black teens would
be bused into Charleston and South Boston. When something went wrong, it was
the fault of the whites. When an Irish Catholic boy was stabbed by a black classmate,
author Jonathan Kozol (a hardcore busing proponent) wrote that it was Louise
Day Hicks "who put the knife in."
An interesting
footnote to American feminism is that both the leadership and the bulk of activists
of the antibusing forces were female. But when a delegation of them tried to
meet with Gov. Michael Dukakis' commission for "International Woman's Year"
they were rebuffed. The suburban feminists, "dressed [according to the
late Anthony Lukas' classic Common Ground] in Town and Country tweeds,
Pierre Cardin silk scarves and eighty-five dollar alligator shoes," had
nothing much to say to the neighborhood ladies, clad in windbreakers and "Stop
Forced Busing" t-shirts, only that busing wasn't a women's issue. Then
Gov. Dukakis, fond of being photographed as a concerned dad walking his own
children to their neighborhood school in suburban Brookline (a luxury many Boston
parents no longer enjoyed), changed his schedule to duck the meeting. If elite
liberals were disturbed by the hypocrisy of it all, they never let on. In the
25 years since, so many white families fled the Boston school system there is
no longer enough to integrate with: a system 52 percent white when busing began
is now 84 percent "minority." You can see why it's difficult for anyone
to claim victory.


text:
Citadelle de Namur
Dominating the town, the mighty Citadelle de Namur covers a whole craggy hilltop with ramparts, tunnels and sections of grey outer wall.
Dominating the town, the mighty Citadelle de Namur covers a whole craggy hilltop with ramparts, tunnels and sections of grey outer wall.
Don't miss the Trésor du Prieuré d'Oignies. This one-room treasury is housed in a modern convent and is guarded by the Sisters of Our Lady. Ring the bell to be taken on a guided tour of the exquisite hoard of Gothic religious treasure (chalices, crosses and reliquaries), much of which was created by Brother Hugo d'Oignies.
The pedestrianised central square, Place d'Armes, has been brutally marred by a 1980s concrete department store. However, it still features the elegant stone-and-brick Palais des Congrès conference centre, rebuilt in the 1930s with war reparations from Germany (the German army having torched the whole square in 1914).
In its later guises, the fortress moved the majority of its key installations underground. Fascinating visits, by walking tour only, take you through the citadel's web of dripping tunnels showing you the never-tested 1939 gas-proof bunkers and some clever Vauban architectural tricks.
In an 18th-century mansion that's currently receiving a facelift, this interesting museum displays old artworks from the local region, paintings by 16th-century artist Henri Blès and many religious pieces including a hoard of priceless Mosan chalices, crosses and reliquaries with a very colourful history. Entry fees rise during temporary exhibitions.
Baudelaire reputedly described this remarkable 1777 baroque church as a 'sinister and gallant marvel'. Even when it's officially closed, the interior's purple marble columns, black stone arches and complex ceiling tracery can often be glimpsed through a locked glass doorway.
The citadel's central section is a 19th-century former barracks with an information office, cafe, free exhibition room and an informative documentary film that plays alternately in French and Dutch. Most citadel tours start from here.
This specialist perfume maker fills an old stone house with floral aromas and classical music. While it's mostly a shop, there are tours of the cavern-based perfume laboratory behind on Saturdays at 3.30pm (€3.50).
Celebrated local artist Félicien Rops (1833–98), born a few streets away at Rue du Président 33, had a penchant for illustrating erotic lifestyles and macabre scenes as you'll rapidly discover at this eponymous museum.
In a very fine 1753 former abbot's house are displays of decorative arts in 23 beautifully furnished rooms around a formal courtyard garden. Don't miss the 18th-century kitchen.
Now housing an archaeological museum, the 1590 riverside Halle al Chair is one of the only medieval buildings to have survived Namur's history of continual wartime pummellings.
This little museum-cum-info-office in the Wépion area sells strawberry beer (€1.70), strawberry liqueurs and strawberry jams.


text:
(saved images and fonts go here)
Veer was founded in 2002 by former members of the marketing, product and design teams of Getty Images, EyeWire, and Adobe Systems.
By offering high-quality, filtered images and fonts through a simple, easy-to-use web site, Veer became a one-stop resource for designers and art directors looking for a creative edge. Veer's reputation for quality and creativity led to its acquisition by Corbis in 2007.
In 2010, Veer simplified its web site and introduced more affordable images to appeal to creatives of all kinds.
Corbis Sites:
Exceptional images for inspired ideas and stories>
Creative and editorial motion clips from the world's leading collections and studios>
Affordable creative stock photography, illustrations,and fonts>
Rights clearances for music,film clips, celebrities, andiconic properties>
© 2014 Veer, a Corbis Corporation Brand. All rights reserved.


text:
The Pros & Cons Of Dating Multiple Women
Let's face it: Men like new and different. It's just the way we're made. In fact, according to Tim Birkhead, author of Promiscuity: An Evolutionary History of Sperm Competition , sexual promiscuity is the norm, rather than the exception, throughout the animal kingdom.
But for women, just the opposite seems to be true. Even though the female double standard is alive and kicking (when a woman wants to date more than one man, she's "exploring her options," but if a guy goes multiple, he's a typical male pig who can't make a commitment), a woman's ultimate goal is still marriage, meaning committing to one sex partner for the rest of her life.
So the question is, is it wise — or even practical — to juggle more than one relationship at once? Is it worth it — outside of your private fantasies — to have more than one woman on your string?
It's one thing if you're just meeting different women for a drink or an occasional pizza, but once sex — and deeper feelings — enter the equation, you're starting to tiptoe through a very dangerous minefield.
So the answer to the question is both "yes" and "no," depending on how you look at the pros and cons of the situation.
the goodThe pros are fairly obvious:
You can afford to be picky and call the shots
The perfect woman doesn't exist, so by dating more than one you can relish the unique characteristics that each different woman brings to your table. It's a great way to learn about what you want (and don't want) from women and relationships.
Playing the field buys you time to get to know a woman's real self — not the false front she puts on while she's campaigning to get that ring on her finger.
You remain a challenge
You present yourself as a challenge — you're busy, unavailable, independent, and, above all, not desperate for any one woman's attention. Furthermore, it's an ideal way to sidestep the "let's be friends" trap — women are amazingly competitive and if she thinks you're an in demand item, there's no way she'll ever dump you in the "friends" category.
Furthermore, by being the object of desire of your "harem," you naturally present yourself as sexually confident, which is a magnet for attracting (even more) women.
You don't have to put up with crap, but then, neither do they...


text:
Map It
Map City Services
Metro Newsroom
LouisvilleKY.gov Links
Thursday September 3, 2009
Changes take effect Oct. 1
The Parking Authority of River City will begin booting vehicles that have two or more outstanding tickets, and it will raise fines for violators who do not pay their citations on time.
The changes, effective Oct. 1, are designed to ensure that on-street parking is used as it's designed – as temporary parking that turns over several times a day.
"The boot has been a very effective method of encouraging people to follow the city parking laws," said Cathy Duncan, PARC's executive administrator. "However, some people still have not heard the message."
Since booting was implemented nearly two years ago, 1,633 vehicles have been booted, resulting in $345,000 in fines collected.
Starting next month, any vehicle that has at least two outstanding tickets will be eligible to get the boot, even if the vehicle is parked at a meter with time remaining on it. Previously, vehicles were booted on the fourth ticket and only if the vehicle was parked at a meter that had expired.
According to PARC records, about 10,000 vehicles have two or more parking tickets. People who want to avoid the boot should pay their tickets before Oct. 1 or risk having their car immobilized.
In addition, PARC will increase the fees for people who do not pay their tickets on time.
People have a seven-day period to pay their parking tickets at the discounted cost of $15. On the 8th day, the price increases to $25 and a reminder letter is mailed to the address of the vehicle owner. On the 15th day, a certified letter is sent and the amount owed increases to $55.
PARC has 278,878 outstanding parking tickets, representing $6.5 million in unpaid citation revenue.


text:
Child Trafficking in Europe: A broad vision to put children first
AbstractWithin and across borders in Europe, children are trafficked into a variety of exploitative situations, violating their human rights and threatening their survival and development. This report assesses the legal, policy and implementation frameworks in place to address child trafficking in the region. Covering more than 50 countries/entities, the report investigates the complexity of the trafficking phenomenon, and maps trafficking patterns and targeted legal and policy responses. Child trafficking is addressed in the framework of the Convention on the Rights of the Child, with a focus on prevention, protection and empowerment.
Download InfoIf you experience problems downloading a file, check if you have the proper application to view it first. In case of further problems read the IDEAS help page. Note that these files are not on the IDEAS site. Please be patient as the files may be large.
Bibliographic InfoPaper provided by UNICEF Innocenti Research Centre in its series Innocenti Insight with number innpub498.
Length: 64
Date of creation: 2007
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Handle: RePEc:ucf:innins:innpub498
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Related researchKeywords: child protection; child trafficking; children's rights; children's rights violation; national policies; right to care and protection; right to education; right to health and health services;
Find related papers by JEL classification:
- K19 - Law and Economics - - Basic Areas of Law - - - Other
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text:
Trying to communicate from Tacloban city
My name is Hatai Limprayoonyong and I am Plan International's Internal Communications Specialist in Asia, reporting from the Philippines
Today, I went to Tacloban City, one of the worst-affected areas, together with my Plan colleagues and 13 volunteers.
There is no signal here at the Plan office in Tacloban and things are in a bad way. To get connected, you need to go out to the city hall. At the city hall there is a vital hub served by the Department of Social Welfare and Development, where you can make contact with others through radio. There's also computers with internet access.
They tell me this hub has been set up here since November 9 and 1,000 people come here every day. With only five computers to serve the whole city population and the provinces nearby, our time is limited to three minutes per person. I suppose this is just enough time to Facebook or Tweet those close to us, those who depend on us, that we're OK.
"I am alive" is the popular phrases here.
They say this centre will be here as long as the gas and generator are working.
Things aren't safe here and we're given a strict curfew from the government by 8pm but for Plan staff, we set it to our base by 5pm – the security guard will be waiting for us and there is a password for us to get access to our team house. People sleep wherever they can.
But now I hear there is an issue with transportation. We're in trouble as we may run out of fuel. Gasoline is precious - for both power and transportation.
For now, we have to wait and I wonder when we will make it back to Plan's base in Manila.
We are staying positive and doing what we can, but I can see the staff from Plan's local team are tired and exhausted. Some have lost their homes. Others have lost everything they know.
It's a difficult situation to comprehend, as we are responsible for providing relief for people, yet we are also affected.


text:
International Laboratory of Air Quality and Health, Queensland University of Technology, G.P.O. Box 2434, Brisbane QLD 4001, Australia
Abstract. The aim of this study was to characterise the new particle formation events in subtropical urban environment Southern Hemisphere. The study measured the number concentration of particles and its size distribution in Brisbane, Australia during 2009. The variation of particle number concentration and nucleation burst events were studied and the particle growth rate was characterised which was first reported in urban environment of Australia. The annual average NUFP, NAitken and Nnuc were 9.3×103, 3.7×103 and 5.6×103 cm−3, respectively. Weak seasonal variation in number concentration was observed. Local vehicle emission was major contributor of the pollution observed in the morning which was dominated by the Aitken mode particles, while particle formed by secondary formation process was contributed to the particle number concentration in the afternoon. 65 nucleation burst events were identified during the study period. Nucleation burst events were classified into two groups with and without particle growth after the burst of nucleation mode particles observed. Average particle growth rate of the nucleation events was 4.6 nm hr−1 (ranged from 1.79–7.78 nm hr−1). Case studies of the nucleation burst events were characterised including i) the nucleation burst with particle growth which was associated with the particle precursor emitted from local vehicle emission, ii) the nucleation burst without particle growth which was due to the transport of industrial emissions from the coast to Brisbane city, and iii) interplay between the above two cases which demonstrated the impact of the vehicle and industrial emissions on the variation of particle number concentration and its size distribution during the same day.
Citation: Cheung, H. C., Morawska, L., and Ristovski, Z. D.: Observation of new particle formation in subtropical urban environment, Atmos. Chem. Phys. Discuss., 10, 22623-22652, doi:10.5194/acpd-10-22623-2010, 2010.


text:
In 1961 a very young Bob Dylan recorded "Blowin in the Wind" and within months his life had changed forever. After seeing "With Trees" I have a feeling life won't ever be quite the same for Dav, either.
So here we are in the lull before the storm. I think it's true to say that, outside of UK landscape photography circles, Dav is largely unknown. But amongst us he already has a reputation for quietly doing his own thing with no other purpose than to make beautiful images. If Dav tweets a link to a new image on his website, Twitter goes quiet for a while as we all click to see what he has achieved this time. Then the retweets and plaudits begin, such is his reputation.
So when it was rumoured that Dav would like to "do a book", many urged him forwards and since then the landscape photography community in the UK has held its communial breath and waited. The waiting is almost over.
Davs reputation is largly built around his images of trees and woodlands and so it was natural that they should be the basis for this book. I haven't seen a physical copy of the book itself for this review as it is currently being printed in Europe, but knowing Dav and his attention to detail it will be beautifully finished and presented.
So what can we expect as regards the presentation of the book and its technical specification? The book is quite large, bigger than many photography books at 270 x 345mm with 112 pages. The hardcover is to be printed directly, so no dust jacket, and the cover is matt laminated. There will be 88 photo plates.
Dav and David are pushing for real quality with this book by opting for 170 gsm paper for the inner pages. This quality is further emphasised by the fact that they have opted to go for the more expensive but infinitely higher quality stochastic litho printing which is very close in quality to fine ink jet printing as opposed to using dot pattern printing employed in more cheaply produced photography books.
There are to be a very limited run of 30 luxury limited edition books, signed and numbered, which come with three of Davs signed prints (you can't choose which, but if you know his work, this shouldn't be an issue). These prints are limited to the book making this a very good value purchase for those fortunate enough to secure one. The prints will be made on 310 gsm Photorag paper at 195 x 245mm, each individually signed and numbered. This edition also comes in a foil blocked slip case at ôÈ125 plus postage.
There is also a special edition of the book limited to just 50 copies which comes with one of Davs signed prints (print specification as above) which will not be available elsewhere. (Again you cannot choose which print) These books will be signed and numbered by Dav and also come in a foil blocked slip case. The price for this edition is ôÈ75 plus postage.
The standard edition of the book, pre-ordered, will also be signed. These are priced at ôÈ40 plus postage.
The book is now available to pre-order now (from 28th April 2013) from the website http://www.withtrees.co.uk and for those who do pre-order and pay in advance for their copy are to be rewarded with a gift of an additional signed print. These won't be available once the book goes on general release, so a very good reason to pre-order your copy.
The book is being published by David Breen at the newly formed Triplekite Publishing and I interviewed David recently about the project. (This interview took place about a week before the book went on pre-release).
Is your background in photography?
I am not that sure I would describe what photography means to me as a ãbackgroundãmuch as a passion. I have had numerous cameras over the years, but for a long time I ãtookã some photos as opposed to ãmakingã an image. Quite a few years ago I stumbled into landscapes and itô felt natural and to be something I could become knowledgeable about.
For me, my photography passion is not just about making an image myself, I am genuinelyô fascinated andô enthralled by the genre in its entirety. I probably started to become somewhat proficient myself about the same time as my 3 children arrived. So as I should have been practicing more and developing, I found an equalô lack of time.
So I am possibly more versed in the output of other peopleãs photography than my own. I have also always had a borderline obsession with books and learning, which is my career, so naturally the genre of the Photo Book became a real interest and active collection.
How did the project between you andô Dav come about?
I have had a few ideas for books over the last few years, associated with photography mainly and the organic aspects of corporate structure and politics as another, not surprisingly I think one of those will be a little more interesting to produceô than the other. Parking the delights of comparing plants to large corporates to one side, I started to look for a photographic related book project. This is where twitter, some fortuitous coincidence and going with your instincts combined. I knew ofô Davô and his work through twitter and I decided for many reasons to try out working with film. I got amazing help over many days of many people, but most notably Timô Parkinô andô Dav. Between them 140 characters and the odd email, they taught me zone metering and off I headed to Padley Gorge. As I parked up in Surprise View car park I saw a fella wandering around the woods with a square of cardboardô in front of his face, coincidence meant I metô Davô Thomas, who was as helpful in real life as online. A few months later a bunch of people were asking, encouraging, cajolingô Dav to publish his own book via twitter and it seemed a natural question to ask if he would like some help to do so.
Why did you think it was worth backing a book by Dav?
Oh, thatãs a toughô question, there are so many reasons and so few of them all that logical. I would love to say its because I have years of experience on photo book publication and can spot real, undiscovered talent, but that would be a lie. And to say I think this will be a huge commercial success would be a lie too. Probably the closest I can get to explaining it is to say, I believe his work has a unique feel to it which can be appreciated by both photographer and non, in equal measure.ô And that doing this, gives me the opportunity to fulfill a personal goal, business goal and to help someone else,ô helped me, in the process. Which is not to say I donãt think it will be a commercial success, or that it wonãt lead to other things.
What were your first thoughts about the book when you saw Dav's early proofs?
Shock, amazement, satisfaction and relief. Shock that he had achieved so much in such a short period ofô time,ô I was expecting a book layout with maybe ten percent of the images in it for illustrative purposes, what he sent looked almost finished. Amazement at just how good it was, and that every pageô turnô seemed to reveal another gem. As well as the images which he hadnãt shown publically, those a little different. Satisfaction that my gut instinct was looking to be proved right, and relief thatô Dav and I wouldnãt be working the car boot sales of Northern England for the next couple of years.
Do you have a background in publishing?
This will be the first book my company has published, which is a business goal of mine achieved. When we get to send that first edition off to the national archive of the British Library, which is a legal requirement,ô it will be a very special moment to me personally and I expectô Davô also. But to say I am completely new to publishing isnãt exactly the full story either. I have worked for nearly 20 years in the field of professional learning and development and in that time have supervised and been responsible for the publication of many things. So the process of it isnãt new. My company today also has a fledgling business channel in greetings cards and calendars from other photographers known to me.
Whatô difficulties have you encountered in the process, and how have you overcome them?
We have been lucky so far in this respect asô Dav is also a graphic designer, so the book layout etc. is down to him. With that experience comes many print contacts and support. I think we are also in that fortunate position of it being our first, so we donãt know what mistakesô we are making, and are therefore not precious about changing our decisions. The quality of the finished book is always the deciding factor. At the end of the day,ô Davô has put his faith and trust inô Triplekiteô to help him to produce as good a book as we can of his work. We believe we are working with a photographer of high enough quality and potential that we can truly make something great. The rest as I so often say ãis just noiseã.
We are planning to have the book in the UK, in our possession during July of this year, and launch at the Masters of Vision Exhibition whereô Davô is exhibiting.
Will you be selling throughô book shops, through online retailers or just throughô Davs website?
We are still very much in the planning stages where this is concerned, initial pre orders with the ãthank youã print, will be sold direct. We are still in ongoing planning & in some cases discussions with numerous retailers, both independent and larger. We do however only have 600 copies in the first edition, so its very much dependent on how the pre orders and initial sales go.
How are pre-sales going at this early stage, is much interest being shown in the book?
So far we have only really soft launched it to friends via twitter,ô Facebookô andô Davsô website. Support has been incredible and we are truly appreciative of all the support. To show how much that support means,ô we changed our pricing strategy by asking anyone who cared to contribute to tell us how much the book should be. Its fair to say that we dropped the price of one edition, kept the price of another the same, and chose to ignore the opportunity to raise one price based on the feedback given.
If the project is a success, do you think you would like to be involved in another photography book?
I think so yes, ISBN numbers are bought in blocks of ten so I have 9 remaining, 8 if I include the ãOrganicô Organisation book. But all joking aside we have spoken about other titles with some people. The attention, resource, energy and focus right now,ô is about making this book as good as it possibly can be.
If so, any hints as to photographers you might like to feature, or is that all under wraps at the moment?
I think it would be unfair and commercially unwise to talk about any particular photographer. There are of course namesô whoô are producing great work right now but are yet to be published, these artists spring to mind when asked, but who knows. It may not even be a monographic work. The other answer is of course that we are open to ideas and approaches, talking about possibilities costs nothing, but rarely is anything made that hasnãt started with a conversation. There will be many, many photographers out there with great skill who we have no idea even exist right now.
Have you considered publishing a book of your own images?
Of course I haveãÎ I have a project called ã18 monthsã which is a journal of hotel room images I have stayed in during my recent business lifeãÎ and if I ever find a desire to own 600 copies of my own book I will definitely be publishing it. My commercial side suggests to me I will be better off publishing otherô work, or a ãset of 6 postcardsã of my own.
So what are my impressions of the book?
The first thing I saw was the cover image of Bullrushes in the Frost, which is a particular favourite of mine. In fact, I have a print of it on the wall of my studio. It. Is a fitting image to set he tone for the rest of he book.
Inside we find a foreword from David Ward, which again says much about the book and even more about Dav and his work. David would not put his name to any book that did not show the very highest of standards in photography.
Turning a few pages soon confirms that Dav spends most of his time photographing in mist, frost and very subtle light. If you are a lover of intense sunrises and post apocalyptic colours then this is not the book for you.
Most of the images are made in the Peak District close to Davs Sheffield home, although interspersed among them are images from Scotland, the Lakes and elsewhere. Using, mainly, a 5 x 4″ large format film camera, Davs images reveal intense detail and subtle colour and tonal detail. He works with a number of film types and these seem to be chosen to work well with Davs chosen subtle light and colour palette.
It is evident from close inspection that Dav takes great care when scanning his negatives or transparencies to maintain the subtleties the film has captured. He then maintains this subtlety by going gently with the sliders and controls in the software. Just because a slider goes to ten, he certainly doesn't feel the need to push it to ten. There is a lesson there.
For many of us, to wander into a woodland with our camera is to come out in a cold sweat. For many it is not long before we wander back out again in search of a nice easy beach, some lovely boulders or a comfy lake. The confusion, tangle and chaos of the woods can be intimidating. Where are the flowing lines? The foreground interest? The fore, middle and background all neatly delineated? Where is the sky? The horizon? Minimalism? No chance. Simplicity? In your dreams! And yet, here is Dav Thomas making it look effortless. The chaos is tamed. The tangle, untangled. The confusion, simplified. It can't be as simple as he makes it look.
A close examination of the images reveals that he doesn't just point his lens at just any old tree. He obviously takes enormous care in searching out his subject and then dignifying it by carefully placing all the elements so carefully in the frame. And all this in fast changing light with a large manual camera with no instant feedback screen and histogram. This is evidence of a master at work.
While many images in the book are shot and revel in the colours of autumn, Dav doesn't rely solely on this season to make his images. We find many are also shot in spring and through winter. If anything, I get the feeling Davs camera lies undisturbed for the summer. I failed to find any images which were clearly shot in the warmer months.
If anything comes close to competing with the trees which are the star of he show, it is the weather. Frost, mist and various types of subtle light show off the trees to best effect. I also suspect Dav has an affinity or grasses and bracken too as they often feature as strong elements in he images.
I was pleased to be able to interview Dav recently about the book. Here is what he had to say.
Dav, can you tell me a bit about your photographic background?
Iãve more or less always had photography in my life, it was a passion ignited by my cousin who taught me how to print my then rubbish black and white photos in his darkroom when I was about 10, he also gave me his hand-me-downs, allowing me to set up my own darkroom. I studied photography a bit at art college, but then became a graphic designer by mistake! I carried on with photography using medium format cameras, mainly alongside my graphic design business, offering product photography as part of the service. I became interested in landscape photography about 6 years ago ã it was part of a plan I had to get fit (which didnãt work!).
For those interested, what sort of kit do you use for the images in the book?
I almost exclusively shoot film for my landscape work (are trees landscapes? Maybe treescapes might be a more appropriate term!). Soon after taking up landscape photography I followed the obvious route and ãwent digitalã and sold all my medium format kit, processing equipment and drum scanner. It didnãt take me long to realise Iãd made a big mistake though; digital just wasnãt cutting it for me. So I returned to film, only bigger ã I took up large format.
The vast majority of images in the book are shot on 4×5 film, either with a Linhof Technikardan s45 or a Chamonix 045. Most images are made with a Nikkor 300mm lens, which is equivalent to about 80mm in 35mm terms. There are a few images made with a digital camera ã my Sony a900, a few medium formats (a Hasselblad 500c/m) and a couple of 35mm film camera images. Thereãs even an image in there taken with my iPhone!
Why do you prefer to make most of your images on film?
Thereãs a number of reasons; firstly, and I suppose most obviously, is the quality you get from film, particularly large and medium format. The quality isnãt confined to size and detail; for me the real benefit is the tonality of film ã it brings a scene to life and by utilising different film stocks I am able to render scenes differently. Increasingly, Iãm using negative film, which gives me a huge dynamic range and its tones are soft and understated, which I prefer in my images.
Secondly, the large format camera pushes me to work in a certain way ã itãs a much more pondered way of working than with a 35mm film or digital camera. I do the majority of my visualising before the camera even comes out the bag ã I work the scene slowly, itãs almost like stalking an animal (probably, Iãve never actually stalked an animal!); hunting down the best angle, working out how the image can be distilled to its important compositional parts.
The way the image is viewed on the ground glass is also important to me. Being under the dark cloth focuses the mind, cutting out any external influences, allowing me to totally concentrate on the composition of the image.
Why trees?
Good question! Iãve always had a love of trees I think, I have great memories of playing for hours in the lightly wooded area near my house as a child. The wonderful feeling of having an area of woodland to myself remains today, without sounding to New Age; itãs almost like being a fleeting guest amongst their midst. I started off with landscape photography much in the same way as most other people; views, the seaside, foreground interest and wide angle lenses. I soon realised this wasnãt reflecting ãmeã and my connection with the landscape, I started exploring more local ãwowlessã locations and inevitably this lead me back to woodland. Iãm fascinated by the textures of not only the trees themselves, but also the grasses and mosses that go along with them, and of course the changing atmosphere as the seasons change.
I must say I gain great pleasure in finding a location that no one has ever bothered even looking at before and finding beauty within it. Thereãs much more pleasure for me in making an image in such a location than Iãd get from any honey spot location in the world.
Many photographers avoid photographing in woodland. They struggle with the confusion and chaos. How have you overcome this? How do you find your compositions in such a chaotic place?
I really enjoy the challenge of finding images in these chaotic environments. I wouldnãt say I have a set formula for making my images in woodland ã at least, not one that I consciously think about. ô I tend to approach my photos as a graphic designer ã I look for an interesting shape, colour or texture that I can use to make a composition, itãs then a matter of working out if I can find a composition with those elements, usually this entails removing as many elements as possible to emphasis the feature that originally drew me in. Iãll do all this before I even consider getting the camera out; using a plastic viewing card to find the composition. One technique I use is to utilise swing on the large format camera to emphasise the relationship between two or more trees, that way I can throw areas of the photo out of focus, drawing the eye into the photo establishing the visual link that I want to portray.
You have a reputation amongst landscapers for being down to earth and not 'arty' about your images – what is your philosophy about making pictures (if thatãs not too arty a question!)
I canãt be doing with people forcing the ãIãm an artistã thing down peopleãs throats. Thereãs no great concept behind my photographs ã thatãs not to say Iãm flippantly taking photos when I go out ã I feel a great connection and love for the landscape that Iãm photographing and I hope that love comes out in my images. I simply photograph the things that fascinate me, treating the components of the landscape as elements to make graphic compositions with. Itãs not for me to tell you my images are art ã if the viewer considers them to be art, then all well and good, but I think itãs up to my audience to decide, not me.
How did you feel about working with David at Triplekite on the book with this being your first book, and his?
I must say, until David approached me about it, Iãd never really considered producing a book ã I suffer somewhat from self doubt when it comes to my photography, and without the help and encouragement from David (and a number of my Twitter contacts), my photos wouldnãt have made it much further than my website. Iãm sure Davidãs job has been made easier by the fact that Iãm able to design and produce the artwork for the book myself, meaning we havenãt had to deal with any third parties.
How has the collaboration between you worked?
Itãs been rather a laid back relationship, but itãs been great to have someone whoãs a natural salesman pushing me to get the book moving (Iãm not the most organised person!). Davidãs input about editions, pricing, marketing and the like have been invaluable. David has been busy sorting out the technicalities ã ISBN numbers, costings etc. leaving me to concentrate on photo selection, design of the book and the bookãs website. I only wish he could write the copy as well ã as itãs not a job I enjoy!
If this book is a success, do you think you could see yourself working together on other photographerãs books with you doing the design and David handling the publishing side of the business?
It would be great to work on the design of other photographerãs books with David and we have discussed the idea of working together further ã so hopefully our working relationship will continue.
How did you choose which images to go in the book?
The difficult part of the selection process was trying to get a flow through the book ã I wanted images that worked together and not to have too much of a jar when you turn the pages. The book is roughly organised by seasons, but as I have very few images from the summer months, it is definitely winter heavy! There are a few images that I have not been able to include, just because they donãt fit in with the mood of the book. The layout of the book allows for different sized images, which means I can use some images shot on smaller formats, whilst maintaining the quality of the images; they just appear smaller. The amount of pages in the book was only governed by how many images I had to include so I basically just chose the images that I feel most happy with.
I'm very tempted to ask if you are good at everything you do? I know you make amazing Indian food, bake superb bread, you are a talented graphic designer and hand make furniture with your own VW camper interiors business. All this, and you are a master with a camera? Please tell me there is something you can't do?
Haha, well Caryl, my girlfriend, sayãs sheãll make you a list of things Iãm no good at if you like! Iãve never liked the idea of being just one thingãÎ a designer, a furniture maker or a photographer. Iãm passionate about design and love to design furniture, brochures, websites and photos! I consider photography to be an extension of the design process, my photos are designed just as much as a brochure layout or a website design. The downside of this is that Iãve constantly got some creative dilemma going on in my brain, resulting in my inability to switch off and go to sleep ã one thing I definitely canãt do well is go to bed and get to sleep at a reasonable time! As you mention, I also love to cook ã Iãm not one to do things by halves, so if Iãm going to take something on, I tend to get obsessed with it; Iãve spent hours on curry forums trying to work out how to master the techniques involved, but like my photography; however hard I try, I never think Iãm quite good enough at it!
Do you have the images to make another book if this book does well?
I certainly donãt have another books worth of tree photos (Iãm not sure the world could take another book of tree photos!). So this will be the last proper book from me for a few years I think. I do have some ideas for a very different publication though in the next year or so.
I understand the release of the book is to be timed to coincide with the Masters of Vision exhibition. Will some of the images in the book be exhibited?
Yes, I all the images in the Masters of Vision exhibition will be images from the book, unless I manage to make 12 new masterpieces before then, which I think is unlikely!
Whatãs next for you, Dav? What are your photographic plans?
I have a rough plan for a project, which has a working title of ãwithout treesã! I donãt want to get comfortable with my photography and just replicate what Iãve produced before, although I wonãt go out of my way to work in new ways and produce ãartã for artãs sake. The project I want to work on will be focusing on the Peak Districts moorland which Iãd like to cumulate into a hand made, very limited edition, hand printed large format book. Back in my hippy days (!) I used to make my own paper and bind my own books ã whilst I wonãt be going as far as producing my own paper, it would be great to do my own binding. I see these as being very different images to my usual style, I need to get on and see where it takes meãÎ
Many of the images are well known to those of us who love Davs work. Indeed, it would be like going to a Dylan concert and him not singing "Blowin in the Wind" if they weren't there. But in amongst them are many new images too, including some wider landscapes for which Dav is less well known. Some photography books are comprised of many strong images but are filled out and somewhat diluted by a proportion of weaker ones. That is not the case with this book. In fact, there is only one image I really don't "get" and that is more likely to be me rather than the image! In fact, in this book you will see many images I truly feel are "world class", exceptional and worthy of the very highest praise.
I have written a lot of book reviews in the past but this has been the easiest. You may feel I have been a bit gushing about it. I tried, really tried to search for some negatives in the interests of balance, but honestly couldn't find any. Unless the print quality is awful or the book falls apart, those who buy this book are going to own something I feel is very special. As with many photography books, it is an opportunity for us to own a body of work from a photographer we admire, when we simply could not afford, nor do we have the wall space to by and hang them all as prints.
As I said at the outset, I think this is the start of something for Dav. I think we will look back in a few years time and view this book as a milestone. A turning point. As one of the special books in landscape photography that comes along from time to time. It deserves a place alongside Bae, Bien-U's "Sacred Wood" or Porters "In the Realm of Nature". As such I think it will quickly become collectible, a classic.
I, for one, hopes Dav stays "acoustic" and doesn't "go electric" anytime soon. The only problem, now, is going to be the "tricky, second album".
To pre-order your copy go to http://www.withtrees.co.uk


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The Emma Masterpiece BBC Mini-Series (2009) is utter perfection. While the story is slightly altered, there is no doubt the changes are seamless. The actors are almost exactly as I had pictured them. Johnny Lee Miller (a fellow I have secretly crushed on since Hackers 1995) and Michael Gambon are flawless. Romola Garai (with her acting prowess) manages to make Emma more likable and accessible. Even knowing the ending, I still got the chills. 5 out of 5 stars
Rewatching Clueless (1995), now that I know Emma, was like being let in on a private joke. All the similarities and nuances suddenly became vivid and unmistakable. I loved it. It was such a delight to see the late Brittney Murphy do such good job as Tai (Harriet). Paul Rudd won me over with his sweet vulnerable Mr. Knightley. However, for me the best part was the flashback to my youth with pagers, saggy pants, grunge, Real World, cassette tapes, 90210, and even Beavis & Butt-head. 4 out of 5 stars.


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Create a Draft Sheet by Tweaking Fantasy Football Expert Rankings
If you're looking for fantasy football expert rankings I'd like to show you how to easily create a draft sheet of your own. This site outlines five ranking methods: creating fantasy football rankings by tweaking an existing expert fantasy draft sheet, player history method, gut feel method, average fantasy points method, and league to team to player statistics method. This article details creating a draft sheet based on expert fantasy football rankings from one, two, or three fantasy resources that you trust.
The tweak fantasy football expert rankings method utilizes position by position draft sheets from one to three fantasy football information sites. There are two ways to create a draft sheet based on information and data contained in expert fantasy football rankings. The best way is to find a fantasy resource that allows you to customize draft sheets based on your league's scoring system. There are several premium fantasy football services that
provide a customization option. I believe there are also a couple free services that provide draft sheet customization as well. Your other option is to bypass the customization and just find expert fantasy draft sheets that are based on a scoring system very similar to your fantasy football league's scoring rules.
I highly recommend comparing fantasy football expert rankings or customized draft sheets from two or three different fantasy football services. Then you can decide which list or expert fantasy draft sheet you trust the most, or you can do an average of all the lists. Once you have a set of expert fantasy football rankings that you are comfortable with you can start the process of tweaking the rankings based on several factors outlined in other articles on this site. See the fantasy football draft cheat sheet article listed further below for links to the "tweak your rankings" articles.
I don't like relying solely on fantasy football expert rankings because you usually have no idea how they came up with the rankings and fantasy point projections. Did they quick slap something together based on gut feel or do they have a proven system that takes into consideration off-season changes, strength of schedule, and trends over the last few years? If an expert fantasy football site has an article section, scan through the headlines and look for anything pertaining to projecting stats or creating a draft sheet. Read those articles. Many times the site will describe their preferred method of projecting fantasy football stats. Those articles will help you decide whether you trust the fantasy football expert rankings that you have taken from their site.
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Want to know what's more stressful than having a child or changing jobs?
The dream of getting a foot on the property ladder – one of life's most momentous occasions – is actually one of life's most stressful events, according to research from Which? Mortgage Advisers.
The process of buying a house topped the stress list at 91 per cent above other major milestones, including having a child at 81 per cent, changing jobs at 87 per cent and retiring from work at 43 per cent.
In spite of Government initiatives such as Help to Buy helping first-time buyers onto the property ladder, many are unprepared for how long the house-buying process will take. Moving day at 87 per cent and finding the right house at 80 per cent were identified as two of the most demanding moments, closely followed by securing the right mortgage, with three-quarters of people saying it is stressful.
Consumer trust in the mortgage industry is low with just a quarter at 25 per cent of people with mortgages saying they trust the industry to act in their best interests. Over-complicated language and terminology is also a problem for consumers, with over half saying they found all the language and terminology used in the process of arranging a mortgage confusing.
Seven in 10 people with a mortgage want to see the process of arranging a mortgage simplified, which is how a dedicated mortgage adviser can help.
Mike Lawton, managing director of Which? Mortgage Advisers, said: "Buying a house should be a happy occasion, but many people say it's more stressful than having a child or changing jobs."
What mortgage should I choose – 5 year fix or 2 year tracker?
With interest rates rises looming, it is tempting to believe that the only sensible course of action is to fix your mortgage – and preferably for as long as possible. But this may not be the right option, mortgage experts warn.
A five year fix is attractive in terms of guarding against future interest rate rises, but their recent increase in cost means they are beginning to look expensive, according to some experts.
And with some analysts predicting that the Bank of England will not increase interest rates until later than expected, are variable rates now coming back into the frame?
Ray Boulger, of mortgage brokers John Charcol, exclusively told Zoopla that if the cost of five year fixes rises much further, a two year tracker or other variable rate would be preferable.
But the deals would require no early redemption fees in order to look competitive or a droplock option so that fixing is an option during the term of the initial deal.
"This would offer the best of both worlds in that the borrower starts off with a very cheap rate, but buys time to decide if and when to switch to a fix," he said.
He recommends a two year tracker at Bank Rate, plus 1.29 per cent, from Santander. The mortgage is available to those looking to borrow up to 60 per cent of the value of a property.
It follows the first anniversary this week of the Bank of England keeping the Bank Rate at 0.5 per cent.
Top 10 Homes For Car Fans
Give your car the home it deserves…
1. Perfect for space saving in London – a double garage for your multiple sports cars.
5 bed in London, £11M – Hamptons
2. How would you like to live in the previous home of a car legend…Top Gear presenter Jeremy Clarkson grew up here!
4 bed in Doncaster, £595K – Jackson-Stops & Staff
3. This unique home comes with a spectacular two-storey 13, 000 sq ft contemporary vintage car museum – what more could you want?
7 bed in West Yorkshire , £4.5M – Beadnall & Copley
4. The sheer size of this church conversion allows ample space for showcasing car and motorbike collections.
4 bed in Uxbridge, POA – Chewton Rose
5. This central London home includes a garage large enough for not one but four limousines. However, it is also the most expensive property on the market in the UK.
21 bed in London, £90M – Messila Residential
6. Lewis Hamilton lived in this 4 bed in Stevenage from '97-'01, it was last bought for £540,000…maybe you could offer the owner a Tempt Me price?
7. A garage your car deserves…and no walking in the rain to get to the house.
4 bed in London, £19.8M – Charles McDowell
8. Something more appropriate for the countryside…we love this open-bay double car port in Tunbridge Wells.
5 bed in Kent, £2.75M – Knight Frank
9. Every car fan deserves a driveway with a view and this truly grand house also offers an underground garage to keep your beloved safe.
12 bed in Aberdeenshire, £2M – Savills
10. A true luxury for your car…it's very own home in the highly sought after area of Kensington.
Garage in Kensington, £300,000 – Foxtons
Send us a link via Twitter to your #propertyoftheweek on Zoopla and our favourites will feature on the blog every Friday.
Help to Buy allows borrowers to buy a home with less than 5 per cent
Fears are growing that the credit crisis is about to happen all over again after it was revealed borrowers are able to overstretch themselves financially due to the Help to Buy scheme.
The Help to Buy scheme was introduced too quickly by the Government last year and has been allowing buyers to purchase a property with a deposit of less than 5 per cent, the public spending watchdog has revealed.
The National Audit Office said "buyers are purchasing homes with a deposit contribution of less than 5 per cent" and is now calling on the Government to take further action.
It suggested buyers with a deposit of less than 5 per cent were still slipping through the net.
And it claimed that that the mortgage plus the 20 per cent equity loan available under the scheme was allowing almost a third of buyers to borrow five or more times their annual salary.
Experts warned it was laying the conditions for another credit crisis if households were allowed to borrow more than they could afford.
The financial collapse occurred after banks stopped lending money almost overnight in August 2007.
Home buyers who had previously been able to borrow more than the value of the property were suddenly left unable to meet their mortgage commitments and had no equity to repay their loan.
Jonathan Harris, director of mortgage broker Anderson Harris, says: "It is very important that buyers have an equity stake in a property; one of the indicators that the booming housing market had got out of hand was that people were borrowing more than the purchase price and not investing anything themselves.
"Prices can go down as well as up, and if you have little or nothing invested in your home, you are already in negative equity and will be trapped in the property, unable to move until prices recover.
"Having hardly any deposit is also a sign that a buyer is overstretched: it might make more sense to wait a while and save until you are in a stronger financial position before taking the plunge."
The scheme has proved popular, with almost 13,000 buyers using it during the first nine months.
Buying a home – what does £250,000 get you?
The average value of a home in England is just over £250,000, but what type of property does this amount of money buy in different corners of the country?
1. London: Studio flat in Maida Vale for £275,000
2. Torquay: Two bedroom flat for £250,000
3. Dover: Three bedroom detached house for £250,000
4. Isle of Mull: Five bedroom detached house for £265,000
5. Hartlepool: Eight bedroom detached house for offers over £250,000
6. North Yorkshire: Three bedroom terraced house for £275,000
7. Somerset: Three bedroom house for £250,000
8. Alnwick: Four bedroom detached house for £275,000
9. Romford: Two bedroom flat for £275,000
10. Isle of Wight: Two bedroom bungalow for £250,000