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How Pizza Hut App Got Role in Latest iPhone Spot
CHICAGO (AdAge.com) ?- Pizza Hut's iPhone app will be featured in an Apple-sponsored iPhone commercial breaking tonight. The pizza chain's app was the first for the fast-food space, released this past summer.
Ian Wolfman, chief marketer for Pizza Hut's digital agency, IMC2, said that while the marketer had planned to contact Apple and campaign for a place in one of its commercials, the computer maker called the pizza chain first. "And they moved quickly," Mr. Wolfman said. The initial call came just three weeks ago.
Apple did not immediately return calls for comment. Pizza Hut declined to comment for this story. The commercial will appear during "House," "The Big Bang Theory" and "Monday Night Football."
The true boost from an Apple endorsement remains hard to quantify. Apple promotes apps from a variety of other marketers, including Whole Foods, Yelp, Facebook and the New York Times. But only a few are chosen for broadcast-TV plugs. And it's good to be singled out. For instance, the iBird Explorer, a field guide for casual ornithologists, got seven seconds of an Apple commercial, and quickly became the No. 1 reference app in a 35,000 app category.
For more insight into how mobile apps are changing the marketing landscape, come to our Apps For Brands conference on September 23.
For instance, Mr. Wolfman said, consumers can shake off ingredients they've accidentally put on the pizza, and actually watch them fall off, with a resulting picture of the pie they would like delivered. This builds trust that their order will be correct. "One of the insights we have is that when people are ordering, they want to have confidence in what [the pizza is] going to look like," he said.
Pizza Hut, which also developed the first ordering platform for Facebook, expects to pass $1 billion in online sales by 2012. As part of that effort, the chain will begin promoting its app with five-second tags at the end of its TV ads, offering a whopping 20% off orders placed by iPhone. Pizza Hut's creative agency is BBDO, New York.
The chain is also looking for ways to boost sales. It has dramatically expanded its menu to include pasta and wings, and it has struggled in recent quarters. The chain's same-store sales fell 8% during the second quarter, because the brand is heavily slated to the more-expensive dinner category. Delivery pizza has suffered as a segment during the recession, as consumers have shifted to lower-priced frozen varieties.


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Today I have a tag to share with you. This is my first time of making a Vintage Tag of this type. I was so excited to try it. I started with a picture of one of the Vintage Ladies from Tsunami Rose Collection. I sized it a little larger as my tag is bigger than normal. The tag is used to hold six flowers that I made for a flower swap.
I sized my tag according to the amount of lace I wanted to use at the bottom of the tag. Because I am thrifty, I didn't want to cut the lace in the middle of the scallop, so I measured accordingly. Besides, cutting in the middle would just look bad, right? I used a nice vintage paper, which in the end you can't see anyway, but it is a nice thick card stock to help support the flowers I made for the swap.
I carefully glued the ivory lace down and then added the vintage lady over the top of the lace. I then topped the vintage lady with the beautiful mulberry flowers to accent the colors in the background paper. The tag looked rather plain, so I decided to add a bow in the top right hand corner. I added tails around and down the left side and just down the right. I use my hot glue gun to glue in place. I toyed with the idea of adding a vintage charm to the bow, but decided against it as I thought it might distract from the over all look.
For my first time, I am very pleased with the results. I hope you like it!
Though it is hard to tell it in the photograph, there are additions of color on the paper behind the vintage lady that almost match perfectly to the paper I used. You can see just a hint of the paper under the image.

subset: commoncrawl


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According to a new article from the Times Square Chronicles:
"In the last week, nearly 100,000 fish washed up on the shores of the Arkansas River, dead. Also in Arkansas, thousands of red-winged blackbirds fell from the sky and plummeted to the ground where they were also found dead. The scene repeated itself in Southern Louisiana where 500 red-winged blackbirds recently plunged out of the sky, dead on arrival, and in Chesapeake Bay, thousands of dead fish have begun washing up onto bay shores. Recently several million animals have mysteriously died in the United States. Although some thought that the cause may have been related to fireworks, disease and sudden cold, the cause may be more obvious, the steady, but rapid movement of the Magnetic North Pole towards Russia."
Well, it seems like people still need a little help here, a reminder of what we were warned about…36 years ago:
35th Contact, Tuesday, 16 September 1975
Ptaah: Earth's magnetism has been disturbed by atomic explosions. These explosions produce a weak repulsion of the Earth, which influences the rotation by nearly immeasurable value. In addition, the Earth has been forced a little out of normal orbit and slowly searches for a new orbital course. Because of these explosions, Earth's scientists have committed a crime against the planet and all of mankind. The changes caused by these explosions will have a far-reaching effect of great importance, which can produce catastrophic results. The magnetic poles are already being increasingly displaced. Today, the Northern magnetic pole has already been displaced into the Canadian Ice Sea while the South Pole moves in the direction of South America. In about 1,000 years, the migration of the poles will have progressed so far that the South Pole will be in South America and the North Pole will be in Saudi Arabia. The calculated location of the North Pole in the year 3,000 will be between Jeddah, on the Red Sea, and Mecca.


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Are you thinking about applying for a new job in market research? Has it been a while? Do you need to dust off your CV from a few years ago? If you want to inject some change into your career in market research and insight, then follow these five easy steps to refreshing your CV and see where it could take you!
1. Format/Design – Has your CV always used the same format? Take this opportunity to do a bit of research to see if there might be a better structure or design for you. There are heaps of examples on the internet and you can download templates to work on. Make some changes and mix things up a bit!
2. Update Current Role – Obviously it's a given, but you need to put your current market research job onto your CV if it's not already there, and spend some time thinking about what you can add in terms of skills and achievements that you've gained at your workplace.
3. Edit Earlier Roles – If you have worked in a number of market research agencies, it might be the time to lose one or two or your earlier roles, or the positions of responsibility you held at university etc, or to reduce the text under those roles/positions.
4. Language – Go through and assess all the language that you've used on your CV. Make sure you include keywords and phrases where you can, and make every word work for you. Ensure that everything is essential and that it's doing its job of showcasing your skills, attributes and experience.
5. Profile – When embarking on the quest for a new role, make sure you completely rewrite your top-line profile (the profile should be a 'living, breathing and evolving organism' that you can adapt every time you apply for a new job in market research). Start again with something new – don't just rework what you've written before. You've moved on and are hoping to move up – do something new.
And don't forget to tailor your CV when applying for specific market research job applications! Qualitative jobs call for different skills to quantitative roles or hybrid positions. Good luck research and insight job hunters, and if you'd like us to give you a helping hand, please get in touch…..


text:
Detailed plot synopsis reviews of Can't Buy Me Love
Script Analysis of Can't Buy Me Love
Click on a plot link to find similar books!
Plot & ThemesTime/era of movie: - 1980's-1999 Romance/Love/Hugging - Yes Kind of romance: - dating someone for bet/gag
Main CharacterIdentity: - Male Profession/status: - student Age: - a teen Ethnicity/Nationality - White American
SettingUnited States - Yes The US: - California City? - Yes City: - Los Angeles Misc setting - school
Writing StyleAccounts of torture and death? - no torture/death Sex/nudity in movie? - Yes What kind of sex: - kissing - touching of personal anatomy - seeing breasts Any profanity? - Occasional swearing
Movies with storylines, themes & endings like Can't Buy Me Love
|One Small Hitch starring Shane McRae, Daniel J.Travanti, Aubrey Dollar
|My Best Friend's Girl (2008) starring Dane Cook, Kate Hudson, Jason Biggs
|Picture Perfect starring Jennifer Aniston, Jay Mohr
|Honeymoon In Vegas starring Nicolas Cage, Sarah Jessica Parker, James Caan, Pat Morita
|Failure to Launch starring Mathew McKonehey, Sarah Jessica Parker


text:
Austerity bites
Community Care have reported a 20% rise in funding from the S.17 budget (an emergency fund available to Social Services to support children in need under Section 17 of the Children Act 1989).
This is clear evidence of the rise in poverty and social deprivation since the introduction of cuts to welfare benefits and the rise in sanctions introduced under the previous (coalition) government.
There is clearly a worrying trend here, but it is also evident that while savings appear to have been made by the government in one area of expenditure, there have been consequential rising costs in another. It is with huge relief that George Osborne has, in today's financial statement, withdrawn the proposed swinging cuts to Tax Credits, or at least to allow rising wages under the new 'living wage' to come into effect first.
Just imagine how much greater the impact would have been on local authority budgets if it were not for food banks. But food banks cannot fill the whole gap – nappies, travel, clothing, including school uniforms, toiletries and other essential household items, or cash for electric and gas meters, are not covered.
Picking up these costs is still cheaper for the local authority than taking a child into foster care – which they would have to do if the alternative is that the child is being classified as physically neglected because the parent cannot adequately feed or clothe their child.
I'll say no more – for social workers reading this I'm merely teaching my grandmother to suck eggs – and anyway, the article says it all better than I can.


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Let me take a moment to introduce ourselves. I'm Greg and my wife is Sheila. We are both retired forensic investigators who now focus on training. My wife Sheila specialized in fingerprint analysis and comparison techniques, and has made a career out of teaching her practices to forensic professionals around the globe. My focus early on was chemical analysis, however for the last ten years of my career I've focused on digital forensics and cryptography.
This is our personal blog where we'll be posting interesting topics related to our careers and teaching in forensics. If you have a question for us, please visit the Contact Greg & Sheila tab and submit the form. We'll do our best to answer your forensic questions, but please be patient as we aren't getting paid for this. Think of us as more like the DMV than the fire department. "We'll get to it when we get to it".
Welcome to our blog, hope you enjoy, and feel free to leave a comment below.
P.S. This picture isn't actually us. We're much better looking in real life, but given the number of cases we've helped to solve we can't risk posting our real likenesses online.


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Artistic Faucets
Discount Taps
There was a serious boost of fascination with the earth of inside create. Prior to the only portion on the dwelling that the majority people today would like to start looking decent is considered the living room now most of the residences nowadays have an excellent kitchen position and bathroom. Within the least difficult depth like taps are even innovated and made way more attractive. Designers have arrive up with creative ideas that regular people today would do not ever give you the option to contemplate a standard faucet would appear to be. And because of these strategies men and women end up being increasingly engaged on what other styles they could occur up with.
From Price reduction Taps, Kitchen area Faucets, Bathtub faucets. LED Taps, Bathroom and Shower fixtures, Shower Faucets, Antique Taps, Lavatory Sink Taps and Bathroom and Shower fixtures all of these are enhanced and are redesigned in accordance into the flavor in the consumers. The highest valued clients of modernized faucets are 5 star resorts and resorts that have different themes. Some are modern-day like many people are vintage and no matter what kind of concept these taps are made to suit all themes and so are personalised.
Only a few providers offer you individualized themes, some are featured by freelance interior designer and other is given by internet vendors which can be authorities of tailored faucets. These taps you shouldn't come in an inexpensive value that is definitely why it is very fundamental to locate a really good producer or maker of resourceful faucets which could assurance their purchasers 100 % toughness and model or else it may definitely be an expensive error.
Tapso British isles is often a online site that gives merchandise these as lavatory and kitchen area faucets with unique layouts. All are of excellent superior quality and marketed in cost-effective price tags. Tapso British isles is one of the very best producers of resourceful faucets that could be why they're not just well-known in the region but also internationally. They just improved to a new shipping courier that may be now a lot faster plus much more easy than before shipping all their merchandise with time and at once.
http://www.tapso.co.uk/ is their formal blog exactly where all their recent updates regarding their most innovative products and costs are available. If a visitor would want to obtain the newest updates before these are typically posted inside their blog just easy sign-up without cost and grown to be a member. Tapso Uk will now be expanding their horizons with a lot more creative taps to come back they can be also accepting 100 % free lance interior designers to collaborate with them to come up with new themes for their products and solutions. This can be a good chance for brand spanking new comers from the subject of interior style and design to reinforce their potentials and turned out to be parts with the community.
Discount Taps
The development of such resourceful and impressive taps is actually a signal which the evolution with the industry of arts and crafts is recuperating throughout the years from bathroom taps. Designers do not ever fall short to come back up with stunning concepts which can be timeless and therefore are extremely appealing. They guarantee that every single merchandise is produced out of passion and talent that may absolutely wow their clientele. The supplies that they use are of top quality they usually continually consider the choice and style in their clientele in the past creating an idea.


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Donate to Bark! Your contribution makes a difference!
The Sportsman 's Paradise proposal is to log near the Sportsman 's Paradise community. The project has been put through a collaborative group of mostly local landowners. Recommendations from the group included thinning for fire suppression, improving road access for fire escape routes, increasing elk habitat and allowing access to roads by off-highway vehicles.


text: Below are some of my favorite blogs. I try to read them daily, but between work and custody schedules and wiping butts (not mine), it shrinks to once a week at best. More importantly, these have served as inspiration and a source of laughter for me, so a proper hollah! is in order.


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Enjoy cocktails, dinner, great auction items and stay for dancing after our program. The event will be cocktail attire – but feel free to wear your "fun" sneakers! Join us as we raise funds to support and build confidence in our youth, assist our girls on scholarship and showcase how we are making a difference in the community.
We are excited to have as our Guest Speaker, Bonnie St. John who became the first African-American to win Olympic Medals in downhill ski racing at the 1984 Paralympics. She graduated Magna Cum Laude from Harvard University, won a Rhodes Scholarship to Oxford, and was appointed by President Clinton to the White House Economic Council. She is also the best-selling author of the book "How Great Women Lead – A Mother-Daughter Adventure into the Lives of Women Shaping the World".


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Bull, Bear or Pragmatist?
How You Label Yourself Will Determine Your Level of Success
For 25 years, the Real Estate Investment Network, has been providing investors from across the globe with insights, tools and analysis on the North American real estate market.
In my position as researcher, analyst, consultant and investor I have the opportunity to speak with many economists, sovereign and family wealth fund representatives, major financiers, REITs and international bankers. In fact, on my frequent journeys to Europe, these conversations play a major role in my fact finding missions.
Through these conversations I continue to gain current perspective on the world's perception of Canadian and US economies and real estate markets. I have found, without this international perspective, it is easy to get trapped in the local informational feedback loop. Hearing the same opinions spouted enough times that people begin to think it is the truth.
On one of my recent trips, part of my job was to walk around and meet these people in London, in Italy, and in Scotland to find out what their perception of the economy is locally as well as in North America. My quest was to uncover storms that could be sitting on the horizon that may affect the Canadian economy (and therefore its housing market). My secondary quest was to find out where these large funds are focusing their capital investments so that they are parked solidly in a calm port when the storms come.
"In Calm Economic Waters, Every Ship Seems To Have A Great Captain"
Over the years we have witnessed many an advisor, in good and clear economic times, look like geniuses, almost economic prophets… only to see them disappear as soon as the economy starts to slow or send mixed or stormy signals. This run and hide (or change messaging) has always been an issue for investors who don't really need 'direction' when the waters are calm. Right when an investor NEEDS direction and leadership is when many 'leaders' seem to disappear or start talking about tax shelters or other get rich quick schemes. At REIN, when the waters get stormy, we grab the helm so our Members can ride it out with minimized risk in ports where the storms are less violent.
The truth is, over these 20 years, we have seen the markets skyrocket, come crashing down and then recover back up. Our analysis remains the same, our indicators have proven true in all market conditions. Do they indicate the exact top of a market, or the exact bottom? Of course not, that is just not possible in the housing market due to its nature. However, what our analysis has proven to provide is certainty and direction right when you need it.
Bull Or Bear or Stuck In Heuristics?
With the advent of social media and the blogosphere we are witnessing more people loudly declaring themselves either "Bulls" (positive inclination) or "Bears" (negative inclination) on some many subjects. Whether it be stock market, world economies or real estate, it does seem like more than ever before people are labeling themselves.
This can be troubling, if you wish to be a strategic investor. It is proven that once you label yourself, or you have a fixed un-wavering belief in something, heuristics kick in. In very general terms, this means that your brain will begin to filter the information flow to pick out items that support your position. This is basic human instinct, wanting to be right. We have all been caught in this loop at one time or another in our lives, however as stated earlier it is a dangerous place in which to live.
2 simple examples are:
As a strategic investor you must force yourself to stay mentally fluid, mentally aware. It is not enough to support your argument regarding market direction. In fact it is VERY easy to feel good about yourself when the market takes a turn towards your belief. However, that doesn't make you wealthier or a better investor, it just feeds ego. It shocks me to see how many people say they'd rather be rich than right – however their actions prove the exact opposite.
By understanding and studying the difference between market drivers and market influencers a strategtic investor stays available for opportunities no matter which direction the market chooses to go. They don't care to pick a side (pro or con) then cheer it on –what they care about is their ultimate long-term financial goal and how they are going to get there.
Anybody who has ever called themselves a bear about the market will look for everything that's bad. The same is true if you label yourself a bull: you will miss some really important negative signals by only focusing on the positive.
From this moment on, I implore you to shift your thinking away from the polarization where many seem comfortable hanging out in (let them keep those blinders on). It is time to re-train your brain to watch for opportunities and signals.
Be Informed, Be Pragmatic, Discover the Secrets to the Canadian Real Estate Cycle Here
The Giant Funds Didn't Get Where They Are By Being Caught in Feedback Loops
In the discussion I have, whether here in North America, or over in Europe, there is one thing that becomes very clear. The 'big guns' do their own research and their own analysis (yes they take ours and others research and combine it to come to their own investment conclusions) – however they complete this analysis without a predetermined opinion they are trying to reinforce.
As we sat around discussing research, analysis and pre-chosen opinions (yes, a geek fest it was) we came up with a term that describes how we look at the world. A term that I think does a decent (although not perfect) job of describing our approach and why we have all done so well over so many market gyrations. That term is: Connective Pragmatics.
If you are a connective pragmatic, you start to see the world exactly how it is, not how you hope it be or how you think it's supposed to be. All you are doing is looking at the world exactly how it is. Rather than rail against the machine and protest, rather than argue your point to those who don't believe you, rather than pontificate for no reason, rather than do our best to make others opinions wrong – we take the exact same data and analysis available to everyone and use it to uncover opportunities.
It takes the exact same amount of energy (and often times much less) to look at the world and say: "There's the world as it is. How do I position myself to win?" That's it, that's your only game.
Being pragmatic becomes so freeing emotionally. You don't have to push your opinion on anybody. If you have investment and mental flexibility. You waste a lot less energy "raging against the machine" because you begin to look at situations both local and international with the question: "How will this affect my family, my investments, my business?" For instance, you'll begin to see how a high unemployment in Spain increases your cash-flow in certain cities in Canada.
The world begins to become your oyster. You start to position yourself without arguing against anything. Sure, the world and local economies will continually throw you curveballs but as a Connective Pragmatic you just adjust to them, rather than lean into it and get hit because you're just too blind to see.
Connective Pragmatics know that the market will never be at statistical norm, it will never be perfect. Sometimes it will be considered a seller's market, and then it turns into a buyer's market as the cycle continues its inevitable journey. We also understand that within larger markets (Canadian, US, TSX, S&P) there are always opportunities that arise that are performing opposite of the large market trend. And THOSE are what we look for and latch on to.
As you begin to retrain how you look at markets, no longer do you get emotionally buffeted around by the inevitable market storms, as the protagonist in the above cartoon is experiencing. You find hidden safe havens within economic storms, your find crystal clear waters when storms blow over and are often the first boat out to enjoy the calmness.
As I look back, my largest home-runs in life came from taking action in adverse conditions. (Including asking Connie to marry me on the evening following Black Monday in October 1987, buying property in energy regions while the headlines screamed fear around the coming "Kyoto Accord", to finding ways to raise rents while others were having to give incentives due to vacancy. The list can go on).
One of Warren Buffet's quotes entered a few of the conversations I had while over in Europe. We often discussed the dire NEED of some people to be chasing money, rather than waiting for the right opportunity to strike. It is a fitting and appropriate way to help wrap up this essay:
"You do things when the opportunities come along. I've had periods in my life when I've had a bundle of ideals come along, and I've had long dry spells. If I get an ideal next week, I'll do something. If not, I won't do a damn thing."
― Warren Buffett
Try the Connective Pragmatic approach and enjoy the investing journey as you spend less energy creating better results without the emotional highs and lows that so many investors are addicted to. Let your new mindset uncover the opportunities rather than relentlessly chasing them.
Please share this post with others you think would like to be pragmatic, rather than emotional, investors.
Tags: Canadian real estate, Connected Pragmatist, Don R. Campbell, Pragmatic investing, Real Estate Investment Network
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text:
FeniceEF-RegularItalic Fonts
<link href="//db.onlinewebfonts.com/c/eae65172e2636fdae1996ebc21c484e7?family=FeniceEF-RegularItalic" rel="stylesheet" type="text/css"/>#2 Using @import CSS directive, put the following line in add to your css file.(http | https)
@import url(//db.onlinewebfonts.com/c/eae65172e2636fdae1996ebc21c484e7?family=FeniceEF-RegularItalic);#3 Use font-face declaration Fonts.(http | https)
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Brassiere Seethru
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Graham MeadeCopyright
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Melancholic Roadeo Regular
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Metro Office W01 Italic
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Metro is a trademark of Linotype GmbH and may be registered in certain jurisdictions.Copyright
Copyright 2006 - 2008 Linotype GmbH, www.linotype.com. All rights reserved. This font software may not be reproduced, modified, disclosed or transferred without the express written approval of Linotype GmbH. Metro is a trademark of Linotype GmbH and may be registered in certain jurisdictions. This typeface is original artwork of Akira Kobayashi and William A. Dwiggins. The design may be protected in certain jurisdictions.License
NOTIFICATION OF LICENSE AGREEMENTYou have obtained this font software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This font software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this font software is limited to your workstation for your own use. You may not copy or distribute this font software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informations concernant le contrat d'utilisation du logiciel de polices, veuillez consulter notre site web www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418
Pfennig Bold
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Copyright (c) 2009, Daniel Johnson (firstname.lastname@example.com),with Reserved Font Name Pfennig.This Font Software is licensed under the SIL Open Font License, Version 1.1.This license is copied below, and is also available with a FAQ at:http://scripts.sil.org/OFL-----------------------------------------------------------SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007-----------------------------------------------------------PREAMBLEThe goals of the Open Font License (OFL) are to stimulate worldwidedevelopment of collaborative font projects, to support the font creationefforts of academic and linguistic communities, and to provide a free andopen framework in which fonts may be shared and improved in partnershipwith others.The OFL allows the licensed fonts to be used, studied, modified andredistributed freely as long as they are not sold by themselves. Thefonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reservednames are not used by derivative works. The fonts and derivatives,however, cannot be released under any other type of license. Therequirement for fonts to remain under this license does not applyto any document created using the fonts or their derivatives.DEFINITIONSFont Software refers to the set of files released by the CopyrightHolder(s) under this license and clearly marked as such. This mayinclude source files, build scripts and documentation.Reserved Font Name refers to any names specified as such after thecopyright statement(s).Original Version refers to the collection of Font Software components asdistributed by the Copyright Holder(s).Modified Version refers to any derivative made by adding to, deleting,or substituting -- in part or in whole -- any of the components of theOriginal Version, by changing formats or by porting the Font Software to anew environment.Author refers to any designer, engineer, programmer, technicalwriter or other person who contributed to the Font Software.PERMISSION & CONDITIONSPermission is hereby granted, free of charge, to any person obtaininga copy of the Font Software, to use, study, copy, merge, embed, modify,redistribute, and sell modified and unmodified copies of the FontSoftware, subject to the following conditions:1) Neither the Font Software nor any of its individual components,in Original or Modified Versions, may be sold by itself.2) Original or Modified Versions of the Font Software may be bundled,redistributed and/or sold with any software, provided that each copycontains the above copyright notice and this license. These can beincluded either as stand-alone text files, human-readable headers orin the appropriate machine-readable metadata fields within text orbinary files as long as those fields can be easily viewed by the user.3) No Modified Version of the Font Software may use the Reserved FontName(s) unless explicit written permission is granted by the correspondingCopyright Holder. This restriction only applies to the primary font name aspresented to the users.4) The name(s) of the Copyright Holder(s) or the Author(s) of the FontSoftware shall not be used to promote, endorse or advertise anyModified Version, except to acknowledge the contribution(s) of theCopyright Holder(s) and the Author(s) or with their explicit writtenpermission.5) The Font Software, modified or unmodified, in part or in whole,must be distributed entirely under this license, and must not bedistributed under any other license. The requirement for fonts toremain under this license does not apply to any document createdusing the Font Software.TERMINATIONThis license becomes null and void if any of the above conditions arenot met.DISCLAIMERTHE FONT SOFTWARE IS PROVIDED AS IS, WITHOUT WARRANTY OF ANY KIND,EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OFMERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENTOF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THECOPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIALDAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISINGFROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROMOTHER DEALINGS IN THE FONT SOFTWARE.
Bree W01 Extra Bold
Veronika Burian, Jos? ScaglioneTrademark
Bree ExtraBold is a trademark of TypeTogether.Copyright
Copyright (c) 2008 by TypeTogether. All rights reserved.Description
Copyright (c) 2008 by TypeTogether. All rights reserved.License
This end user License Agreement (hereinafter Agreement) is a legal agreement between you, or, if you represent a legal entity, that legal entity (hereinafter You) and TypeTogether (hereinafter TT), and is applicable to the Font Software that is accompanied by this Agreement or that you have ordered online. By downloading the Font Software or opening the package, you agree to be bound by the terms of this Agree- ment. If you do not agree to the terms of this Agreement, do not download, install, or use the Font Software. If you have purchased a License to use the Font Software in a sealed re- tail package and do not agree to the terms of this Agreement, return it unopened to the place of purchase. definitions 1. You are bound by the Agreement and you acknowledge that all Use (as defined herein) of the Font Software (as defined herein) supplied to you by TT is governed by the Agreement. 2. Font Software means coded software that generates typeface designs when used with the appropriate hard- and software plus any and all other data including documenta- tion provided with such software. 3. Licensed Unit means an installation of the Font Software that allows up to five (5) concurrent users and any amount of output devices to use it at a single geographic location. A single geographic location is in particular the site of your place of business. The geographic restriction does not ap- ply to portable computers if they are owned by you. If you require font software to be used by more than 5 users, you need to purchase a license extension. 4. Commercial Product means a product (e. g. electronic document, soft- or hardware) which is distributed to third parties with the intention of ( i) obtaining a financial or other consideration and/or (ii) increasing awareness of ones own company or institution, products, and services in order to gain more business. grant of licence 5. 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You may transfer all your rights to use the Font Software to another person or legal entity provided that (i) the transferee accepts and agrees to be bound by all the terms and conditions of the Agreement, (ii) you destroy all copies of the Font Software, including all copies stored in the memory of a hardware device, and that (iii) you notify TT about the transfer by submitting the online form located at www.type-together.com/notifications/ or by writing to Rodriguez 1339 Suite 7, 2000 Rosario, Argentina. Without limiting the generality of the foregoing, you agree that you will not distribute or disseminate all or any part of the Font Software through any online service. limited warranty 14. Limited warranty. For a period of ninety (90) days after delivery, TT warrants that the font software will perform in accordance with its documentation. To make a warranty claim, you must return the Font Software to the location from which you obtained it along with a copy of your sales receipt within such ninety (90) day period. The entire, exclusive, and cumulative liability and remedy shall be limited to the refund of the license fee you paid to TT to obtain delivery of the Font Software. Neither the warranty nor technical support do not apply to any font software converted or modified by the user. 15. Disclaimer of warranties. TT DOES NOT WARRANT THE PERFORMANCE OR RESULTS YOU MAY OBTAIN BY USING THE FONT SOFTWARE. THE FOREGOING STATES THE SOLE AND EXCLUSIVE REMEDIES FOR TTS BREACH OF WARRANTY. EXCEPT FOR THE FOREGOING LIMITED WARRANTY, TT MAKES NO REPRESENTATIONS OR WARRANTIES, EXPRESS OR IMPLIED, AS TO NON-INFRINGEMENT OF THIRD PARTY RIGHTS, MER- CHANTABILITY, OR FITNESS FOR ANY PARTICULAR PURPOSE. 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You agree to inform all users who have access to the Font Software about the content of this Agreement and to make sure that they comply with the terms of this Agreement. TypeTogether End User Licence Agreement, version 1.1 copyright TypeTogether 2006
Prelo W01 Medium
Dino dos Santos _DSTypeAuthor
Dino dos SantosTrademark
Prelo-Medium is a trademark of Dino dos Santos _DSType.Copyright
Copyright (c) 2008 by Dino dos Santos _DSType. All rights reserved.Description
Copyright (c) 2008 by Dino dos Santos _DSType. All rights reserved.
Brownstone W95 Frames Thin
Alejandro PaulAuthor
Alejandro PaulTrademark
Brownstone Frames is a trademark of Alejandro Paul.Copyright
Copyright (c) 2010 Brownstone Frames by Alejandro Paul. All rights reserved.Description
Copyright (c) 2010 Brownstone Frames by Alejandro Paul. All rights reserved.
Sidewalk Cafe BF W01 Underlay
Bomparte's FontsAuthor
John BomparteTrademark
Sidewalk Cafe Underlay BF is a trademark of Bomparte's Fonts.Copyright
Copyright (c) 2008 by Bomparte's Fonts. All rights reserved.Description
Copyright (c) 2008 by Bomparte's Fonts. All rights reserved.


text:
\\Louie's Gameables//
Ghetto Mario Bros
First game i ever made... Second game i actually finished.
Alright! Finally finished mario! Ok, u get to control mario n jump around n stuff. u want to get to the end of all
the levels and get as many points as possible. You get points by jumping on enemies heads and collecting things,
like coins. This game may be a little glitchy but the control are pretty good, at least I think so... compared to one
game I made... Anyway, here it is just for you.
Because this game is a glitchy, from time to time i may clean things up a little and update.
Made by me, so there! Oh ya, nintendo owns it all and crap, so i said it so dont sue me, plus im not selling this one!!!


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However, I will get to partake in the event as a volunteer at one of the aid stations. While signing up for this on their website, I noticed that they have water stations set up along the route during the weekends for the month of June so folks can train on and get use to the course, if they want. So, in a sense, I will sort of get to do the Peachtree this year : ) I did a large part of the course this morning.
On another note, one of the other goals I've had was to join a walking group. I found a group that has a nice setup - they have multiple sub-groups for different distances and pace. This allows a person to fit in with a group that has similar goals. Also, and this is really the best 'selling'' point of the group, each week they walk in different locations in the Atlanta area - so you are not always doing the same route every Saturday. I really like that aspect. Well, it was just my luck that this week they were doing their route on the sidewalks of the Peachtree Road Race course. So at 6:30 AM, we all met up in Atlanta, broke up into smaller groups and headed out on Peachtree Street.
As a follow up from last week (falling in the river with my camera), I bought a new one and used it today just trying to get use to it...
|Woodruff Arts Center
|Flying Biscuit - great breakfast!
|Piedmont Park
|Others getting ready for the Peachtree Road Race
|Current population of Atlanta


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Inside a Dog
"Outside of a dog, a book is a man's best friend. Inside of a dog it's too dark to read."
Currently reading
Madness, Rack, and Honey: Collected Lectures
Mary Ruefle
Recently added
The Confessions Of Max Tivoli
7:00 pm 18 May 2008
It is a delicate task to write a book in which the main character repeatedly ruins the life of and frightens almost to death another major character and to make that protagonist sympathetic. You understand why he does what he does, you see how he fools himself into believing the consequences of his actions will not be bad as they truly unfold to be, and you watch with great empathy for both him and his victim. It is a balancing act to show such obsessive love as Andrew Sean Greer does in
The Confessions of Max Tivoli
while not shirking from the end results of such love.
Let me just also add that this demanding balancing act also has to exist within the confines of an entire book built around a peculiar fantastical device. Like something quite similar to the joke conceit of the Jonathan Winters character Mearth from 70s sitcom,
Mork & Mindy
, the titular protagonist is born a shriveled, decrepit old man who grows physically younger as he ages chronologically. We are spared the considerations of scale in the actual birthing process by the oddity of Max being infant-sized then rapidly growing into the size and shape and appearance of a 70 year old man. Seventy is indeed the magical number, Max's apparent age always 70 minus his chronological age. Thus the book opens with what appears to be a twelve year old writing down his experiences over the last 58 years.
Starting from his birth in 1871, Max's experiences also manage to form some rather fine historical set-piece writing by Greer filled with a sort of filigreed detailing, small touches here and there like a man's vulcanized rubber tooth fillings, a beetle attached to a minuscule gold chain worn as a leashed pendant, whorehouse tricks with latch keys. And so we have here on our hands what amounts to a romanticized fantasy historical novel about the corrosive effects of obsessive love wrapped up in a morbid reflection on one's own ever present mortality. Did I mention this is only Greer's second novel?
While the course of the story sometimes veers into sentimentality, it never feels terribly mawkish or absurd, more an outgrowth out of a certain type of young man who grew up in a certain time and place. Greer directs him right into the kind of trouble a seventeen year old would get up to, falling in love with a girl a little younger, then stirs up the tensions with the fact of Max's fifty year looks. Alice, the object of his affection, we get to watch grow up the normal fashion, as Max's desperate pursuit of her, her inability to believe his tale, and his dying quest to end his life with her, slowly warp and twist her life into a thing of hidden bitterness.
Originally falling in love with Alice when she is the fourteen year old daughter of his family's tenant, Max kisses her one night after her heart is broken by another boy. This leads to her mother packing up all their belongings and moving away, disappearing into the turn of the century, escaping the apparent child molester. When he refinds Alice, it is a charming moment, Max given a second chance at love in a strange new way. Greer knows how to sweetly slide the blade in. "This sounds like a wretchedly broken heart, you're thinking; this sounds like revenge." When they both confess to each other the story of their first kisses, meaning each other years ago, it is a fanciful dance of perspective, hers filling in the other half of the story, his avoiding it. Max should learn from this a lesson his entire life should have prepared him for: your perspective is not reality.
Indeed, it is Max's inability to see past his own specific wants and desires that is the novel's weakest element. Max ought to know better than anyone that perception can radically depart from reality and he ought to better understand Alice's reaction to the old him of years ago and how he cast a shadow over her present life with him. That he remains so trapped in his own ideas can't be excused by his — what shall we call it? — temporal condition because his entire life is lived according to the precept his parents instilled in him "Be what they think you are." At one point he muses, "What do we abandon to claim our heart's desire? What do we become?" but the question is rather moot as he never does this, even in the face of Alice's horror.
I had, while listening, a great sense at the book's beginning that the author wanted to write a deep, intellectual book with a fantastical conceit, wanted to show us the real world, the simpler, more profound world under all our nonsense, but it didn't seem at first as if Greer were really capable of writing that kind of book. As things moved along, the book started to work on me, yet there remained a nagging feeling that this wasn't smart enough, nor clever enough, not sensitive or wise enough to pierce the skin of existence quite as deeply as he wanted. I was won over to the book after some initial struggle, but that tense feeling remained until I read through many of the quotes I took from the novel, until I had time away from the actual reading of it.
And that was when it struck me how instrumental a reader can be to one's judgment of a novel, and how correct my wife was in insisting that part of what made listening to an audiobook fundamentally different from reading it was the interpretive spin a reader brought to the words. Keeler has a saccharine voice on the high end of the register, a pleasant tootling little trumpet better suited to mystery novels wherein cats solve crimes and smoke meerschaums while dressed in feline model deerstalkers.
This story is a sad one, melancholy, bitter even, yet Keeler reads as though he were narrating one of those sweeter Hallmark Presents coming-of-age made-for-TV movies. Lines like "We all hate what we become," referring to the self loathing that comes over us as we age, is not a sticky line of plucked heart strings, but the reader sounds like a well-coifed, friendly uncle telling you a charming tale of sleeping princesses. "The body, that pale spider, stuns the mind" is another fine phrase made a bit treacley by the narration. Occasionally, he can work his voice up to a sneering emotion, such as the elderly Max's irritation at having to pretend to be a boy and learn the times tables, but this edge is missing throughout when it is most necessary.
It is for this reason that I have pledged to revisit this novel some months from now, long after the effects of a particularly cloying reading have vanished, long after the taint may have subsided, when I can return to Max Tivoli once more. I plan to dilute the effect prior to this by tracking down Greer's other works, his debut novel,
The Path of Minor Planets
as well as his short story collection,
How It Was for Me
. It is clear from his abilities here that Greer writes with an uncommonly confident style.
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Okay, we're going to get a little interactive here. Hands up if you own one of the following; Ford Territory, Subaru Tribeca, BMW X3 – X6, Toyota RAV4 or Kluger, Nissan X-Trail, Hyundai Santa Fe, Kia Sorrento or Tucson, Mitsubishi Outlander, Holden Captiva, Mercedes M-Class, Volkswagen Tiguan, Honda CR-V or any other so-called SUV.
Right, got them up, good, now keep them up if you can tell me why. Seriously, what made you buy one of these over a regular station wagon? For the life of me I can't figure it out and I deal with pretty much every one of the aforementioned vehicles on a daily basis. Where, you might ask? In the scrub? No. Out on a mountain trail? Again, no. In fact I deal with them on the daily school run. This makes the mystery of these vehicles run ever deeper.
In the commercials for these cars we see families leaving the city behind and heading into the bush. We see them climbing mountain roads and heading into regions that even Sir Ranulph Fiennes would balk at, towing a boat! They are the ultimate answer to a question that nobody has ever asked.
When the first SUV, or Sports Utility Vehicle, lobbed onto our shores, motoring journalists across the nation didn't even know how to refer to them. The first term used was Soft Off-Roader and referred to the Toyota RAV4. Off-roader? Most of these things would have trouble climbing a leafy driveway. So that one was scrubbed and we borrowed the term SUV from the Americans.
When I think about the term SUV in its entirety I can't even work out how that one fits. Let's break it up. S stands for Sports. When I think of Sports and how it relates to vehicles I think Lotus Elise/Exige, I think Porsche 911, I think touring cars and Formula One. In other words I think lightweight track cars that make the driver and car connect in a way that ensures driving nirvana. I sure as hell don't think of a near two-tonne lumbering barge that even when you really give it the beans has trouble getting to one hundred km/h inside double figures.
U stands for utility. Once you tick the option for the extra row of seats, (and yes, I'll admit that having seven seats can be handy), the luggage capacity for one of these is reduced to the size of a hand-bag. So unless you're carrying the average super-models lunch you're going to run into problems trying to fit the shopping in, let alone heading out to Bunnings to pick up supplies for that little DIY project. Utility in Australia means just that. The Holden Ute, the Ford Ute, Toyota HiLux and others. They're one-tonners and they get the job done. How many tradies do you see on-site with their Captivas waiting in the wings?
V stands for Vehicle, and when you get right down to it that's what you're buying. Forget everything else. At best they're a niche market that's gone mainstream. I would conservatively suggest that 85% of these vehicles are driven by women and I sometimes watch and wonder what they are thinking when they're struggling to get into a Shopping Centre car park or trying to perform a three-point turn. I'm not suggesting that male drivers could do these manoeuvres any better, I'm just trying to point out they're a big car and big cars are harder to park than smaller cars. It's just common sense.
A friend recently bought a Ford Territory and I posed the question to him. Why? The best he could come up with was that it has a high-driving position. Personally, I hate a high driving position for a number of reasons. One, you're high, and that means you're further removed from the road and therefore less likely to be able to feel what the car is doing. Two, you're high, this means that your centre of gravity is too. This is why back in the early days of these vehicles had a nasty tendency to fall over when navigating a slight bend. When it all comes down to it the only reason to buy a vehicle with a high driving position is so you can see over all the other idiots that have bought these stupid vehicles.
In Europe, sales figures of SUV's have plummeted as the public have drifted back to station wagons. They have realised that there is no distinct benefit to buying one. You get no extra room, no extra features and a worse driving experience. Because these vehicles also have a token 4WD option you get a massive amount of weight which in turn pushes your fuel costs up until even people like me, with massive V8's, are laughing at you as you fill your tank for the third time that week.
For example, as some of you may have read, last year I drove from Melbourne to Surfers Paradise in my V8. This was a trip that my father in law did in a Hyundai Sportage V6 not so long ago. The results: I managed 5000 kms at a combined average fuel use of 10.4l / 100 km. The Hyundai managed just 12.5l / 100 km. It was basically the same trip except I had more in town running which should have made my figures a whole lot worse.
Then you get that special idiot who's bought one of these who comes out with the standard, "I like having the option of going off-road." Yeah, really, how's that working out for you Sparky? Let's face facts, the closest any of these will go to being off-road is parking on someone's nature strip, and even that will be a struggle. They are a compromise, they are supposed to drive like a car on the road and perform like a Range Rover when they're off it. What we end up with is something that can't do either. A real off-road driver buys a LandCruiser or a Range Rover which is fantastic in the scrub but handles like a boat on the road, and that's how it's supposed to be. No compromise and no excuses, they are what they are, dedicated off-road machines.
The SUV is a category of vehicle that should never have existed. There was no need for them then and no need for them now. The sales figures though suggest otherwise and prove that the idiots are indeed breeding. I urge you all, if you're considering buying one of these mutants, take a wagon for a drive before making your final decision. You will thank me for it later.
This articles was first published in the May 2010 issue of The King's Tribune.


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Events Calendar
Summer is a Great Time to Become a Mentor!
Kids 'n Kinship is a local non-profit organization making successful mentoring matches for over 45 years in Dakota County. Individual, couple, and family mentors are needed to provide friendship to youth ages 5-16 in need of a positive role model. Caring, encouraging role models are needed. As a volunteer mentor you would get together with your mentee for an hour or two each week doing low cost or now cost actiities like biking, playing catch, board games, drawing or arts and crafts, going to the park, eating dinner together, or visiting the library. Mentoring is fun and rewarding and can make a huge impact! Find out more at an upcoming Information Session:
Please RSVP at firstname.lastname@example.com. See also www.kidsnkinship.org


text:
I will add 5 Million Credits to your Real Time MEGA Traffic Account.
Our membership is Growing. The points can be traded in for different kinds of advertisements. You do have to be a opt in member of http://rtmt.real-time-traffic.net Sign up is FREE! We have over 4900 double opt-in members!
This is a Kelimi Auction ONLY OFFER!
5 Million points is a lot! Trade those points into all kinds of ads including text links, banner ads and more!
Just 7 Bucks!
Please email me any questions if needed!


text:
As NaNoWriMo 2016 begins, we at Wrimo India are always excited to read the peptalks from our beloved writers from India. We have a very fine lineup of writers this year too, and they will be cheering wrimos forward with their words of encouragement and motivation. Today, we have with us, Krishna Udayasankar, author of the well-known Aryavarta Chronicles and her latest book, Immortal. Over to Krishna, then 🙂
Let your choice empower you – Krishna Udayasankar
Congrats on signing up for this year's #NanoWriMo. Now let me tell you a secret: I'm actually a bit in awe of you.
You see, the toughest part of writing a book is deciding to do it. I'm a six-books-and-counting author, but even now the beginning of a new manuscript feels like a mix of lifting a gigantic mountain,getting undressed in public and fighting off a really mean monster, all at the same time.
There's the practical side of it; the sheer effort, the discipline required, the juggling a gazillion things in daily life, be it a job, kids, a household or health or…anything really. What sane person would add one more thing to their "to-do list," and that too out of choice?
Then there's the emotional side of it, the fear and uncertainty – a universe of what-if's that make it so much easier to not open the Pandora's box called "writing."
You see, the toughest part of writing a book is deciding to do it!
What if I can't finish? What if it sucks? What if I don't find a publisher. What if I'm published but my book doesn't sell?And let's not forget that ultimate mean monster – call it time-sink, call it writer's block, or call it simple blankness but it's there… that state of wanting to make words on paper (or on a computer screen) but helplessly unable to do so.
I could tell you that every writer faces these problems and they never really go away no matter how much one has written or published, but I'm guessing you want to kill me right about now. Before you do, hear me out:
This sucks. This is illogical. This is painful.
The fact is, this is as good as it gets. It really, really doesn't get better or easier than this. This sucks. This is illogical. This is painful.
And yet, here were are.
That right there, is the key. You've probably figured this next bit out, but sometimes it's good to be reminded of why we do what we do.
We write because…we must!
We write, sometimes because we want to. But mostly, we write because the alternative – to not write – would… well, it might not destroy us, but it would come pretty close. But that's the last thing we want to admit, to the world or even to ourselves. But we write because we must, and that is a very, very powerful thing.
They say history is made by those who show up, and you have shown up, you've decided to write, to do this, even though there may be many reasons not to. You have made a choice, a decision. You've signed up for #NaNoWriMo. Recognize that, acknowledge it and use it to empower yourself.
There may be days when you don't make your word count, there may be days when you think of giving up. On those days, remember that fiery feeling in your belly that brought you here, even though it seemed to be the craziest place to be. The good news (finally), is that the problems don't go away, but neither does the euphoria, the sheer thrill, joy, ecstasy – whatever it is you get – of writing.
You are here. From this point on, it doesn't matter what you produce, how much you produce, whether it's the best literature ever or a rocking-good action thriller or anything really. You are here. You're a writer.
Have a great #NaNoWriMo and may the muse always be with you!
Warm wishes,
Krishna Udayasankar
(All pics kind courtesy: Krishna Udayasankar)
Krishna Udayasankar's bestselling debut series of mytho-historical novels, The Aryavarta Chronicles (Govinda, Kaurava and Kurukshetra; Hachette 2012, 2013, 2014) have received critical acclaim. She is also the author of Three, a novel based on the myths and legends surrounding the founding of Singapore; Objects of Affection, a full-length collection of poetry (Math Paper Press, 2013); an editor of Body Boundaries: The Etiquette Anthology of Women's Writing (The Literary Centre, 2013). Her latest novel is Immortal – a contemporary fantasy-adventure novel that is "part American Gods, part Indiana Jones." She is also the current Writer-in-Residence at Fort Canning National Park, Singapore, and her short fiction and poetry also feature in many print and online anthologies.
Krishna holds an undergraduate degree in law and a PhD in strategic management. She lives in Singapore with her family, which includes three bookish canine-children, Boozo, Zana and Maya, who are sometimes to be found at her laptop, trying to make her writing better.
Grab your copy of Govinda, Kaurava and Kurukshetra, here, here, and here respectively.
Immortal is available here.


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About Us
Over 40 years ago in Ancaster, Ontario, Don Bailey began manufacturing Standard Bred race harnesses. In 1975, Don began making custom saddles and since then Bailey Saddlery has become known for quality and craftsmanship. Bailey Saddlery has always been a family run business. Todd Bailey and his wife Peggy Bailey are continuing the tradition operating Bailey Saddlery located in a quaint town - Ridgetown, Ontario. Todd is a profesional judge for AQHA, APHA, NRHA, NSBA, and APPHC. He has experience in upcoming fashion and trends in the horse world and can offer advice on what is popular. At Bailey Saddlery, we guarantee our work and we put it to the test when we train and show horses. Don't hesitate to visit or give us a call if you have any questions about our products. We will design your next saddle, bridle or show halter just for you.
"We know what's riding on it"
Proud Sponsors of Loris Epis
London Horse Expo - 2014
Todd's saddle fitting demonstration at the London Horse Expo in 2014
Todd Bailey
Shown below are horses that Todd Bailey has shown and ride.
Breana Bailey
Shown below are horses that Breana Bailey has shown and ride.


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"This is the beginning of a new day. You have been given this day to use as you will. You can waste it or use it for good. What you do today is important because you are exchanging a day of your life for it. When tomorrow comes, this day will be gone forever; in its place is something that you have left behind…let it be something good."
Author Unknown
Baden Powell, the founder of the boys scout movement, his last wish before he died was to ask every one to strive to live this world a better place than you found it


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We invite you to help us cultivate a vibrant green space and inspire a community of environmental stewards.
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Download our 2018 Schedule of Activities Today!
Planning to join us in the gardens this year?
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Click here to download our Application →
Volunteers are some of our strongest allies and are needed year round. Let us know how you would like to get involved, be it: weeding, updating our website, or something else.
We are also looking for Board Members.
All gifts are appreciated, including: money, materials, and/or services.
Financial support is acknowledged and eligible as a deduction for income tax purposes.
Please send tax-deductible contributions via check or money order to:
Community Gardens of Henry County, Inc.
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"If I ran, I would win," he said, during an interview on a radio show, reports The Hollywood reporter.
"I can only think of a couple people who I think could beat Trump. If I ran, I would win. I would absolutely win. I 1,000 percent would win."
However, a bid for the real Oval Office is highly unlikely, because of his hosting duties on ABC's Match Game revival and his wife, Hilaria Baldwin, "would kill" him, according to the report.
The actor further emphasised that he wants to see "a healthy" Republican Party, so that the Democrats have "a smart opposition to keep them on their toes."
"I'd like to see the Republican Party get back to [John McCain or Mitt Romney]," he explained during the interview, adding, "I'd like to think that this thing with Trump is a one-off."
On that note, though Baldwin's portrayal of Trump on 'Saturday Night Live' drew criticism from the president himself, it also earned the actor an Emmy. (ANI)


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Since she was a child, poetry has been Rachel Reilly's first love. Over the years, her tastes have matured from Dr. Suess and Shel Silverstein to Anne Carson and Christina Rosetti. She has also come to love reading and writing fiction and non-fiction.
The purpose of this blog is to explore the ways literature "works" rather than to analyze what it "means", although she helplessly slips into literary analysis from time to time. It is named after a line in her favorite poem, "The Glass Essay" by Anne Carson.
Rachel is lives in Albuquerque, NM with her Yorkie, Baby Sappho, where her time and energy are spent on writing the first great post-American novel.


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Mary Butler: "I Received Christ in the Shower..."
I grew up going to a Lutheran Church, and never did anything that was really wrong. I never killed anyone, and to me, that's the worst sin anyone can do. I did lie some, but then, who doesn't do that? I always thought that I was going to Heaven when I died, because that was what I had been told. I knew about Jesus, but I didn't know Him…as my own personal Savior. As far as I can remember, no one had ever told me the difference of knowing about Christ and knowing Him personally.
I was in my late 30's when I received Christ. At that time, I was married and had children. I had taken a job to help with bills after the children were in school and became friends with 2 ladies who talked to me about Jesus. We would go down the street to a book store during our lunch breaks and look at the books. I really like to read all kinds of stories. One day I found a book written by Billy Graham and the name of it intrigued me, so I bought it. We had seen this man on television at different times, and listened to him, to the beautiful music, and to his sermons. The things he said never really sunk in, but when I read his book, I understood, and I prayed the prayer in the back to receive Christ and I truly received Him. I was taking a shower when I asked Him to be my Savior, and I got clean on the inside the same time I was getting clean on the outside.
After I received Christ, I was very excited to tell other people about what had happened to me. Sometimes I was too excited and turned people off. Then I would be sad that some didn't want to hear what I wanted to tell them, and I would become quiet. I found out that not everyone wants to know Christ or isn't ready to know Him yet. So I just say a little bit to people to see if they are interested, and follow my heart. I have become very interested in reading my Bible…oh, yes, I had one before---I just didn't look at it much. I like to hear good teaching of God's Word, and listen to good Christian music. I talk to God in prayer everyday, and I pray for other people and their needs. I love the Lord.
I like the Scripture verse in 2 Corinthians 5:17 which says: "Therefore, if any person is engrafted in Christ…he is a new creature altogether…a new creation. The old, previous condition has passed away. Behold, the fresh and new has come!" And then I make this Scripture my own by saying, "I am a new creature in every way. The old things, my old ways of living, are no more. Everything about me has changed!"
Mary Butler,
Return to top of Mary Butler page


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How header bidding is shaping the programmatic landscape
Header bidding was the buzz word of 2015. While publishers were still building their waterfall strategy for the inventory, Index Exchange proposed a new model.
Index research shows that transactions on the private market places represent 35% of the advertising volumes in Canada as opposed to 8% in the US. The real dollar value of these transactions is the same. The same amount of dollars is being transacted in US and CA in private auctions. There is a small number of publishers who are responsible for the big chunk of Canadian inventory, so Canadian buyers gravitate toward 1:1 connections.
Mediative is using Index as our supply side platform, so we had the first hand approach on the header bidding technology. We decided to try it on a couple of our properties. This is a game changer and we wanted to be sure that we are taking the right approach.
What is header bidding?
Header bidding is a piece of code that is scripted to a publisher website allowing all buyers to see all impressions in parallel. This facilitates the highest bidder win. The code plugs into an API call that is opening the door to all demand systems to bid on the impression. The model can be totally open, or set up to give priority to guaranteed impressions or call specific deals first.
Why is this important for publishers?
In a waterfall ecosystem, the impression goes from one level to another and the value decreases as the impression goes lower in the funnel. Also, not everybody gets access to all inventory because of the complicated ecosystem of buying and selling and the walls that are between the selling side and the demand side.
Let's take a real example.
Let's say that an impression can be purchased first programmatically through a preferred deal. The floor for this impression will be $8. If there are no bids a this price, the impressions goes to the next level, into private auction. Here the floor is set at $6. Again there are no bids and the impression goes into CPAX, according to our waterfall set-up, for a lower floor.
If this impression is not monetized on either of those channels, it will go on open exchange for a price between $1,5/CPM and $2/CPM. The header bidding set up has given us an average of $10,9/CPM for the same impression.
We are in the world where two entities are trying to make the most out of the dollar. The publisher wants to monetize the inventory for the highest value possible and on the other hand, the trade desk, or the demand side, has the mandate to get the best impression available for the client's KPI at the lowest price possible
Many trade desk and tech companies have seen the opportunity to buy inventory on open exchange, thus waiting for the impression to go there to bid. The overall image is that the impression is not sellable, thus losing value, but the reality is that this impression is highly transactionable on open market. The impression's perceived value decreases artificially, not because it becomes less valuable, but because we are artificially lowering the value of inventory by building the waterfall model.
The header bidding gives priority to all buyers at the same time, in the most effective (low latency) and simple way possible, bypassing platform and tech stack, thus increasing the value for publisher and reducing the cost of transaction.
Available inventory is pushed up to all demand sources at the same time. Price floor jumps. Index Marketplace Data shows that after header tag integration the average digital display prices jumps three times on open and 40% on private exchanges.
Here is a simple video on how header bidding works:
Many people will claim that low latency will generate more problems with page loads, thus increasing the rise of ad blockers. My answer to that is chose your partners wisely, and look for new ways of loading ads that will not have an impact on user experience.
The beauty of advertising is that it changes all the time, so in a fast environment like this, the only quote that comes to mind is one of Bruce Lee: "If you pour water in a cup, it becomes the cup, if you pour water in a pot, it becomes the pot. Be water, my friend".


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I often get into a state where I've started some work, done some commits etc and then realised I dont have a place to push the code to. Getting it on github has involved getting the browser out, login to github, click click click {pain}. So, here is how you can create a new repo for your login name on github.com without moving away from the shell.
curl -H "X-GitHub-OTP: XXXXX" -u 'LoginName' https://api.github.com/user/repos -d '{"name":"Repo-To-Create"}'
You need to supply your OTP pass and replace XXXX with it, and ofcourse your own LoginName and finally the Repo-To-Create. Once this call runs, curl will ask for your password and you should get the github API dump a bunch of details ( or tell you that it failed, in which case you need to check the call ).
now the usual 'git remote add github firstname.lastname@example.com:LoginName/Repo-To-Create' and you are off.


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Welcome to Ms. Keel's 3rd Grade Class
Welcome to 3rd grade parents and students!
I am so excited to welcome my new group of 3rd graders. This is my 18th year as a teacher and 2nd year at St. Cecilia's. I graduated from the University of North Florida in 1998, and taught in public school in Jacksonville, Florida for 6 years before moving to Texas. I taught in Little Elm at a Charter school before taking a position with Catapult. I have gotten to know most of the students through Catapult before taking the 3rd grade teaching position last year. I am looking forward to an excellent school year with my new class.
I have two grown daughters and two grandsons, 11 and 2 years, that are very important to me. I'm a lover of dogs, I have 2 and a grand dog. Although, Texas isn't where I was born, I have lived here for the last 12 years and I'm proud to call it home.
Please feel free to email me at or call the school with any questions or concerns that you may have. Thank you for all you do for your children.
Ms. Daynia Keel


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Author: Ann Aguirre
Publisher: Harlequin HQN, 352 pages
Expected Publication Date: August 26, 2014
*ARC received from publisher via NetGalley
From Goodreads:
Nadia Conrad has big dreams, and she's determined to make them come true—for her parents' sake as well as her own. But between maintaining her college scholarship and working at the local day care to support herself, she barely has time to think, let alone date. Then she moves into a new apartment and meets the taciturn yet irresistible guy in 1B….
Daniel Tyler has grown up too fast. Becoming a single dad at twenty turned his life upside down—and brought him heartache he can't risk again. Now, as he raises his four-year-old son while balancing a full-time construction management job and night classes, a social life is out of the question. The last thing he wants is for four noisy students to move into the apartment upstairs. But one night, Nadia's and Ty's paths cross, and soon they can't stay away from each other.
The timing is all wrong—but love happens when it happens. And you can't know what you truly need until you stand to lose it.
I really liked this New Adult novel by Ann Aguirre and here's why:
1. Realistically portrays college life with Nadia balancing work, school, and a social life. She's struggling a bit with her special education practicuum and her best friend is struggling with whether she wants to be a political science major. I appreciated the fact that these characters don't have it all figured out and that it's ok not to have it all figured out. I do wish the author had described the college a bit more, I had no idea if it was a small or big school, what the campus looked like, etc. I also liked Nadia's other roommates, Max and Angus. I'm assuming future books will focus on them.
2. Ty…he was pretty swoony, I have to say. An architecture major with a cute four year old kid. A good guy who's trying to be a good dad, I liked the fact that he wasn't all bad boy broody (not that I don't like the bad boys, but it's a refreshing change).
3. Parents. Yes, there are actually parents in a New Adult novel. Even though Nadia is far from home, she visits her parents for Thanksgiving, Skypes with them, etc.
4. Nadia and Ty's relationship. They're very open with each other about how they're feeling, the fact that they're attracted to each other, and the fact that they can't really date each other because of Sam, Ty's son. Ty is even open about his history with Sam's mom. Given that so many NA novels have the characters keeping secrets from each other, that was a welcome change.
5. I liked the message the book sends about love and timing and that what's right for some people may not be right for everyone else.
If you like New Adult contemporary romances, you'll enjoy this one!


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  Rob Clough concludes his interview with multi-media artist Dina Kelberman.
 RC: To what degree are your strips autobiographical?
DK: Completely. 360 degrees. Well, maybe like, 340. They are totally autobiographical, but not necessarily literally, as in I may change who said what, or things may be taken to a conclusion based on my feelings about myself or someone else rather than something that literally happened. But basically it's just me talking about my life all the time. What a megalomaniac.
RC: What is your philosophy on the use of color in your strips? You seem to have a dissonant but highly expressive approach.
DK: Something I felt pretty strongly about when I first started reading comics in college was that they all looked the same. I found it really frustrating that this art form that could be ANYTHING, the way "fine art" is seen as an opportunity to do anything, was just all doing the same thing, the same way. It was the kind of thing where I felt like I wasn't finding anything that I liked, so I started making stuff for myself.
A lot of that was about color, and I think that's something that immediately attracted me to Chris Ware's work as well. He uses color in a pretty specific and well-thought-out way. I mean, he does everything that way. Color is something that's just always grabbed me, always been really important. It's just everything to me. I could just stare at some colors forever. I couldn't really tell you why.
I'm into dissonance in general in my artwork. I think literally anything can be seen as totally beautiful if you just look at it long enough and convince yourself "I think this is beautiful." Eventually, you will realize the things about it that really actually do make it beautiful to you. I think that's an amazing and wonderful thing. That's probably not everyone's experience, but it's definitely true for me. So I like to employ that in my art process. I like to sort of think of what would be beautiful, then go against that, maybe just start making marks at random, making something ugly. Then I look at it and appreciate it. It's more interesting that way to me. I prefer art that starts off seeming ugly, I guess.
RC: Your comics fall into what I would call the "immersive" camp, in that you integrate visuals and text in an unusual way. The text/lettering has a decorative and not purely functional quality, while the visuals are almost a kind of "handwriting" unto itself. What prodded this approach to making comics?
DK: I've always had a certain interest in writing in combination with art. I'm (obviously) not too concerned with plot, but I really like the way people talk, or the way prose can have a real individual voice to it in the way it's written. Recently I have realized this means I should be into poetry, which I am now trying to get into. I think my comics are basically the comic version of poems, if I can get away with saying that without sounding like a total douche.
So because of all that, and a general appreciation for hand-drawn lettering, I started concentrating on that aspect of things and just really enjoy it. I actually usually begin a comic by drawing out an arbitrary word (which can sometimes change to a different word in the middle of drawing it) and then draw the comic around it. Often I don't even consider the implications of the "start" word and the comic in conjunction until I read it at the end.
 RC: Why has comics become your primary focus as an artist?
DK: I don't know. I guess because of what I said earlier about being interested in the poetry of things as well as an interest in drawing, and also I really love producing editions of things. There is something about comics, about how anyone can make them really, you only need simple reproduction techniques, not much money, and you can make an edition of books. Other than that, I don't know what it is. There's just something about 'em.
 RC: "Found art" seems to be another area you're interested in, especially the repurposing of old objects/images in new ways. What attracts you to these objects, and how did you decide to use them in the way you have for your Regular Man series?
DK: I mean, there's the well-known attraction that many people have to found things, to start. The story that's behind them, the speculation. Often, the contextlessness of them makes them something much more fascinating and meaningful. That is definitely something I love about found objects, or garbage, or song poems, or other bizarre anonymous recordings, or whatever.
A larger reason for it though is that I try to work as impulsively as possible. It's great about drawing, you can just do it anywhere on anything, wherever you are. And it's interesting to see drawings that result from that. It communicates the sense of urgency to make something that is for me a huge part of what's moving about a lot of artwork. The art I love most is the stuff that comes from people because they just can't hold it inside, they HAVE to spill it out in absolutely whatever way is available.
The Regular Man was made in a different way than that, however. That was more like, "I like designing fake book covers, [so] I think I will." I really like making replicas of "real" things. Pulp novels, board games, advertisements, etc. I was recently complimented [in] my achievements in this field in case you were wondering.
RC: What inspired this monthly, four-page (one two-sided sheet folded over, really) series featuring a loosely connected set of strips? How many subscribers do you have?
DK: I have a pretty paltry number of subscribers, to be honest. Although I receive more and more subscriptions pretty consistently, so I imagine the number will grow to a non-embarrassing number at some point. The embarrassing number is 12.
I started The Regular Man in an effort to force myself to make work more regularly. I tend to get caught up in a multitude of projects and never draw lately, so this is my way of making myself do something at least once a month. It's also nice to accumulate a body of work that's not just random comics, but something with a bit longer narrative that has to be sustained. In summary: it's my exercise program.
 RC: Given that color is such an important part of your approach in Important Comics and The Regular Man, how do you approach doing a black-and-white comic for the Baltimore City Paper?
DK: OH man, that was hard at first. It's sort of still hard. My work is pretty all over the place, and the City Paper is maybe even MORE all over the place because I've had to struggle with trying to figure out how to work in grayscale. In a way it's been it's own fun experimentation process. But sometimes I just look at that stuff all together and think "this looks absurd." I want to put out a book of that work soon, and I've been contemplating how to break it down. The entire first year I had a very formulaic approach; the comics are all structured the same way. Then the second year I started working more how my color comics are, which is utterly different, and they are their own crazy experiment. At first I tried to treat it like my color work, using different shades of gray in place of color. However, when reproduced, it just doesn't work the same way at all. So I've gradually been moving closer and closer to just using black. I also started messing around with using a brush and ink occasionally, just to give myself something different to play with. I still have no idea what I'm doing in black and white, it's just like a totally alien world to me.
From Aperiodic Comics (2010)
RC: Do you consider yourself to be an artist that writes, a writer that draws, or neither?
DK: I consider myself an artist who can't settle on any one medium but mostly draws comics.
RC: To what degree is comics a way of exploring your own contradictions?
DK: Oh yeah, that's basically what it's all about for me. So many comics are just conversations between me and myself. Me telling me what a moron I am. Me telling me that I'm right. I have been described as "diplomatic to a fault," which basically means I guess that I have a hard time coming down on either side of any issue because I feel like I can see where everyone's coming from. Also, I am unbelievably, decisively opinionated. I think most people are pretty much made up of contradictions, and I like to see that in someone's work and relate to it. Everyone's an impossible person.
RC: Speaking of contradictions, you seem to have a love-hate relationship with the Internet. Is this a further manifestation of misanthropy vs. social connection, or something else?
DK: Oh yeah, definitely. I mean, I live in this bubble, and it's for good reason, and the Internet makes it so easy to do that and still have so much information coming in and going out. But it is absolutely not the same as interacting with people and the world in real life, and all the unnameable things that make it different are the things that are most important to being a happy person, I think. But the Internet is so addictive. And it's so fun. And there is a lot of interacting with people that is particular to the Internet, and there are realms that only exist on the Internet, and I'm fascinated with that. But it's something that needs to be kept in check. And I'm bad at keeping things in check.
RC: To what degree (if any) has Dada been an influence on your career as an artist? In particular, do you draw any inspiration from Marcel Duchamp?
DK: I have a lot of respect for that work, but to be honest my knowledge of art history is pretty embarrassing. I remember being young and seeing the pipe painting and being pretty impressed with that, and maybe it had more of an effect on me then than I can remember now. It probably did. But I never really went through a period of like, researching Dada. I have been more personally influenced by the work of Claes Oldenberg, Ed Ruscha and Jessica Stockholder, all of which I think have similar things going on and are also related to Dada. Oldenberg and Ruscha really blew my mind when I was a teenager. And Stockholder blows my mind forever, she's the ultimate. There's some kind of simple honesty to the objects and how they work together.
From Aperiodic Comics (2010)
RC: What inspired the weekly podcast interpreting your City Paper strip?
DK: The podcast was basically an idea I had when I was drunk that I thought was hilarious. My friend Brian has this incredibly dry sense of humor and he's just really soft-spoken and basically is exactly the opposite of me, and I thought he would do a great job at describing my comics. It's also a real experiment in the whole thing of people interpreting them in their own ways. Often, Brian will come up with things that I never would have thought of, and that's great. Also, it's hilarious to me because it seems like it's basically just immediately become a huge pain in his ass that he has to do every week for no reason and that cracks me up.
RC: You obviously have a strong community of artists in Baltimore that you feel some connection to. Do you feel connected to the larger community of cartoonists? Do you feel like a part of the community or an outsider at shows like MoCCA or SPX?
DK: Oh man, a complete outsider. Although that is actually changing. I started working at our local awesome comics shop, Atomic Books, about a year ago, and that's really helped me meet people and just know more about what's going on so that I don't feel like such an alien moron. I still kind of feel like one, though.
Tags: alt-weekly strips, dina kelberman