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Tom Felton & Gugu Mbatha-Raw: 'Belle' TIFF Premiere!
Tom Felton and Gugu Mbatha-Raw hit the red carpet at the premiere of their new film Belle held during the 2013 Toronto International Film Festival on Sunday afternoon (September 8) at The Elgin in Toronto, Canada.
The actors were joined by their co-stars Sam Reid, Tom Wilkinson, Emily Watson, Miranda Richardson, and Penelope Wilton.
PHOTOS: Check out the latest pics of Tom Felton
In Belle, the illegitimate, mixed-race daughter (Mbatha-Raw) of a Captain in the Royal Navy finds her unique social standing become instrumental in the campaign to end slavery in England after meeting an idealistic young vicar's son.
FYI: Gugu is wearing a Burberry dress, Christian Louboutin shoes, a Rauwolf clutch, and Melinda Maria earrings. Tom is wearing Burberry tailoring.
20+ pictures inside of Tom Felton and Gugu Mbatha-Raw at the premiere…

subset: commoncrawl


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Weather & Sailing Seminar 2016
Share your passion for meteorology at the Amateur Meteorologists' Conference
Recalling the 1976 drought: 40 years on
Summer newsletter out now!
Have you seen the climate spiral?
Widespread flooding hits mainland Europe
Welcome to theWeather Club
Dramatic roll clouds across Florida
Content © Copyright theWeatherClub 2010Registered Company No: 7341588Registered Charity No: 1137916Registered Address: 104 Oxford Road, Reading, RG1 7LL


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When: Saturday February 10th, 2018 Where: Cloudland Canyon State Park122 Cloudland Canyon Park Rd,Rising Fawn, GA 30738Driving distances:1:30 from Huntsville2 hours from Nashville2 hours from Knoxville2 hours from Atlanta2 hours from Birmingham45 minutes from ChattanoogaThis race contributes money to Cloudland Canyon State Park/Friends of Cloudland Canyon State Park so SIGN UP!
For both races you have views of the Canyon, waterfalls and two states!!! These views will blow your mind and you will forget you are running. The 50k :31.5 miles of trail 2 miles of paved road within the park. We can not reiterate how BEAUTIFUL THIS COURSE IS!!! only 3,000 ft of elevation gain for the 50k. These trails are flat to rolling hills with some short climbs. These trails are not technical by trail standards but there are some rocks and roots. You will run the following trails: West Rim Trail, Waterfalls Trail, Sitton's Gulch Trail and many more, So bring your cameras and be ready for a race like no other. Running in and around the canyon will make you forget you're in Georgia.The West Rim Trail is EXTREMELY rocky and technical. Sittons Gulch Trail is a beautiful path that follows a creek. When you run this you will feel like you are in the Pacific Northwest.Half Marathon12.5 miles of trail 2 miles of road within the park. 2,100 ft of gain and 2,100 ft of loss for entire course.
CUTOFFS:Half marathon 4.5 hours total and 2:45 hrs to sitting gulch trailhead 50k = 10 hours with cutoffs TBAAid stations:The Half Marathon will have 1 aid station.The 50k will have 4-5 aid stations. Aid stations will have normal aid station fare. This is water, coke, gatorade, pb n j, some sweets and some bready stuff. Cutoff times:4 hours for half marathon THIS IS NOT A WALKER COURSE! You must jog to meet the cutoff 10 hours for 50k We will have individual aid stationcutoffs TBA and subject to change however the RD sees fit!Anytime before the race starts, runners are welcome to drop down to the lower event, but you may not go from the half to the 50k.NO REFUNDS, TRANSFERS OR DEFERMENTS NO EXCEPTIONS!
All registrations include race, pre race fun, awesome race shirt, finishers award, post race food and beer! The after party will include food and music so bring the family.DORM BEDSYou can pay $50 to have a dorm bed at the finish line (10 second walk to the start). This is heated and in doors. For $50 total you get the bed for Friday and Saturday night. It is first come first serve. Please bring your own sheets, sleeping bag and pillows. There are showers/bathrooms as well. This is a great way to meet new runners and hang out with the trail runner community. Also its a cheap way to run the race. This is limited to 40 people. YOU MUST BOOK THIS THROUGH CHECKOUT ON ULTRA SIGN UP! GO HERE: https://ultrasignup.com/register.aspx?did=33559We have beds until we are sold out! If in doubt just pay the $50 to reserve a bed.Where to stay:Stay at Cloudland Canyon State Park! Be at the start finish.They have cabins, yurts, rv spots and we have dorm beds (read above).I It is a 2 night minimum for the race. Bring the family and hang out in one of the prettiest state parks in the south. All info is subject to change - Visit www.runbumtours.com for complete information!!


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Atlanta has always been a bustling city , but lately, you may have noticed a few more people. No, your eye aren't playing tricks on you, our city is getting more crowded. For the third year in a row, the U.S. Census Bureau found that Atlanta was the nation's most popular moving destination. Whether you're new to the area or just looking for a change of scenery, a new home from Sharp Residential is just what the doctor ordered!
- Visit us at charming LakeStone. This Woodstock community is now in its second phase of home, all of which feature open floor plans, gorgeous stone and brick exteriors, spacious decks and upgraded kitchens. With pricing from the $200,000s and a community amenities package that includes tennis courts, swimming pool, sidewalks and of course, a lake, you can't go wrong!
- If you're looking for a close-knit community, our new homes in Milton at The Highlands might be more your speed. Priced from the $400,000s, these new homes with generous yards, basements and elegant finishes are under construction and selling fast, so you won't want to miss them. Residents also enjoy access to a community pool with cabana, sidewalks and ample greenspaces.
- Desire an address close to Lake Lanier? Ashebrooke in Cumming has the homes you want! This brand new collection of homes priced from the $200,000s features six unique floor plans with three-car side-entry garages, two-story family rooms, hardwood flooring and more. A tot lot, lighted tennis courts, sidewalks and junior Olympic swimming pool make up this community's amenity package.
These communities are just a small sampling of the locations that we're currently building in. No matter where you choose, you can sleep easy knowing that your home has the Sharp Residential seal of approval.


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Pulp Valentine
My love affair with Mildred Pierce.
Click here to read more from Slate's "Pulp Fiction" week.
The first house I bought did not come with a refrigerator, so friends made a gift of a 1950s-era model that they were replacing. It was plump and ivory-skinned, but it harbored a terminal disease within its lovely body and died in just two days. I put it in the garden and decorated its sides with opening lines from books that were precious to me. (I was very young.) One of those lines was: "In the spring of 1931, on a lawn in Glendale, California, a man was bracing trees."
It's not a great beginning, or a memorable one. It's not even the best opening written by its particular author, James M. Cain. (That distinction goes to The Postman Always Rings Twice [1934], which begins: "They threw me off the hay truck about noon.") It is, however, the beginning of Mildred Pierce, my favorite Cain work. Postman was Cain's first and most celebrated novel. Double Indemnity made for the more memorable movie. But Mildred Pierce is the unicorn of crime fiction, a noir novel with no murder and very little crime.
Unlike Dashiell Hammett and Raymond Chandler, his better-known and still-celebrated peers, Cain felt like "my" discovery when I started reading him in college. Vintage had just released his first six novels in snazzy paperback editions with beautiful sepia-tinted covers. I read Postman first, and I still own my original copy, but it's my Vintage edition of Mildred Pierce that disintegrated long ago. With this book's subversively skeptical view of maternal love, Cain proved that noir could be set in the most domestic, middle-class locales. He also showed that a man can write beautifully from a woman's point of view.
Mildred, a "grass widow" abandoned in the early years of the Depression, will do anything for her pre-teen children, Veda and Rae. Veda, the older one, has delusions of grandeur, which Mildred encourages: "Mildred doted on her, for her looks, her promise of talent, and her snobbery, which hinted at things superior to her own commonplace nature." Mildred, in fact, is so desperate for Veda's approval that she'll lie to get it. When Mildred takes a waitressing job so her children can continue eating, Veda is appalled. In the fight that ensues, Mildred rashly fibs that she took the gig only because she hopes to open her own restaurant—a lucrative prospect: "That did it. Even though a restaurant might not be quite the toniest thing that Veda could imagine, riches spoke to the profoundest part of her nature," Cain writes.
Yet Veda is Mildred's favorite child, which becomes obvious after the sudden death of sweet, unpretentious Rae. "There came torrential shaking sobs, as she last gave way to this thing she had been fighting off: a guilty, leaping joy that it had been the other child who was taken from her, not Veda." For my money, this is the most shocking passage that Cain ever wrote, eclipsing even the moment where Postman's scheming lovers have sex immediately after committing murder.
According to Cain's biographer Roy Hoopes, Cain got the idea for Mildred Pierce from a screenwriter friend who suggested there was "one story that never fails, the woman who uses men to gain her ends." But it was Cain who decided that Mildred's end would be her daughter's affection—not marriage or money. She allows Monty, a dissolute Pasadena playboy, to become her unofficial gigolo because Veda admires him so. And when she realizes he is her only hope of mending a breach with the now-grown Veda, Mildred ensnares Monty into matrimony.
The problem for Mildred is that Monty and Veda are expensive to maintain—especially Veda, a literal diva who has taken up opera singing. Mildred's done well for herself, evolving from mere waitress to the owner of a chain of restaurants, but overreaches by trying to give these two sycophants everything they want. So, shades of Enron, she begins cooking the books, secretly helping herself to large amounts. With her business crumbling around her, Mildred goes in search of her daughter—and finds her in bed with Monty. Mildred finally—finally—snaps.
But it wasn't at Monty that she leaped. … It was at Veda, her daughter, the girl who had done no more than what Mildred had once said was a woman's right. It was a ruthless creature seventeen years younger than herself, with fingers like steel from playing the piano, and legs like rubber from riding, swimming and all the recreations that Mildred had made possible for her.
1940's Hollywood did not dare reproduce this shocking scene when Mildred Pierce was adapted for the screen. Instead, the Joan Crawford comeback vehicle portrayed Veda as a petulant teen with a one-sided crush: She kills Monty because he truly loves Mildred. Hooray for old Hollywood, where wholesomeness is achieved by nixing adultery and adding murder. The book's ending is much cleverer than the film's—a quick-thinking Veda turns the attack to her advantage in a complicated plot twist that gave Cain fits when he was trying to construct it, so I won't spoil it here. But later, when Mildred realizes that Veda has betrayed her yet again, she says, "To hell with her!"
Although I now grimace at Cain's ugly stereotypes of Greek-Americans, he remains one of my literary heroes. He was a Baltimore Sun journalist, as I was, and a great respecter of facts in fiction; Mildred Pierce is a solid little primer on how to run a chicken-and-waffle joint. He also was willing to spar openly with his critics, something I'd never do but find vicariously thrilling.
Today, the conventional wisdom is that he never equaled his debut novel, The Postman Always Rings Twice, despite the fact that Mildred Pierce was reviewed as Cain's first "serious" work, in part because literary critic Edmund Wilson had recently named Cain a rising star in American fiction. Cain, who didn't believe in advances, sold Mildred Pierce, his fourth novel, for $5,000, a significant sum at the time. To celebrate the sale, Hoopes writes, Cain bought a snowball maker, like the one he remembered from his boyhood. The snowballs weren't much good, but the machine made divine mint juleps. This is an apt metaphor for Mildred Pierce, a book that delivers much more of a wicked kick than expected, especially if you've been raised on the saccharine pieties of the film.


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|Bali Government Tourism Office
Bali Provincial Government
Bali Mandara
Traditions and Religions
Bali is densely populate & with over 3.5 million people, almost all of the Balinese Hindu Religion. The Hindu people retain the basic values that teach them of balance and harmony of all aspects in life, which is Tri Hita Karana.
Tri Hita Karana is a guidance on how to have a harmonious relationship with surrounding nature (Pawongan), others people (Pelemahan) and with Ida Hyang Widhi Wasa/God The Almighty (Parahyangan). The commitment to maintain and manifest the fundamental values into daily living is the thing that keeps Bali unique in life dynamic.
Balinese Hindus celebrates Galungan day and Kuningan day once in every six month and celebrate the New Year with special rituals called NYEPI. The Nyepi celebration is started with the conduct of catur Brata Penyepian (four forbidden things to do during the change of Saka Year) which includes amati geni (no light), amati lelunggaan (no trip), amati lelangguan (no entertainment) and amati karya (no activity). During Nyepi, all places in Bali for 24 hours will be left in silent and free from activities, including those in airport, harbours, terminals, and roads.
Synergy of Culture, Nature and Spiritual
Bali gives high values to nature, culture and spiritual life, which are all in synergy to create harmony and peace in the island.
Balis charm is not only anchored in the beautifully crafted paddy terrace which is watered by Subak system (a system that has been implemented for many years). The island captures the heart of tourists through a selection of dance and cultural ritual festivities also in spiritual awareness that make strong foundation to live their life. Besides, the honesty of the Balinese attains great respect from the other people.
Bali is gifted with rich nature. Not mention the fertile soil, abundant water resources, or friendly but cool weather, Balis land lets grow any plants. From rice produced at stunning paddy terrace to any plants and range of colourful flowers made for rituals, such as banyan tree, coconut, plumeria, lotus, hibiscus, cempaka and other plants, its own characteristics Bali defines.
For Balinese, nature and plants are highly respected elements. In fact, they have special event to give deep salute to the plants, which is Tumpek Uduh. So many rituals you will meet in Bali are mostly to bring harmony into life, either on the sea or springs, forests, and other places.
A bounce of cultural attractions and creations from Bali have been put on stage everywhere in the world. People admire every move on Balinese dances, spirit behind the gamelan, the story of the puppet show, beautiful crafts, brilliant paintings, clothes, and other art and cultural designs.
Beyond the creativity, the deep understanding to the tradition and decency to present a masterpiece of art to the Great Creator, Ida Hyang Widhi Waca, also plays important role in cultural creations and attractions.
Spiritual activities in Bali are most dominated by Hindu rituals. Everyday in life in the island of thousands of temples, a spiritual activity takes place, especially on sacred days for Hindu people.
A spiritual event also takes place to mark each phase of life from the day of the birth, into childhood, adulthood, wedding ceremony until they are departed. One ritual process for the departed, called Ngaben, is in fact famous amongst the international community.
Attractions - The Colour of Celebration
Do not worry that you will miss interesting things in Bali. There are more to see than its amazing nature and culture, such as how Balinese live their daily life. There is always a spiritual presentation in efforts to keep the nature and the Gods creatures all in balance. Balinese celebrates life with full of joy reflecting the purity and gratitude to the life creator, Ida Hyang Widhi Wasa (God the Almighty).
To bring harmony into life, a Balinese has conducted some stages of spiritual procession since they were still in womb. They ride through the birth, maturity and mortality period with gratefulness and ceremonial procession. What an interesting event to follow through.
Bali, mostly Hindu/followers, lists a number of spiritual events, including a ritual event once on full moon or sleeping moon (tilem), great day of Galungan and Kuningan, and other sacred days. Through this event, they express gratefulness to Gods blessings on life.
Logo Rasional Branding Bali
After going to every step within a precise methodological framework, the Bali Visual Branding has taken shape, taking into consideration the values of the prior finding. Inline with the brand differentiation that underlines the natural and cultural aspect, the visual and tagline of Bali branding is dominant with a spiritual feel. This leads to the emergence of philosophical elements and meaning to support the spirit of Bali.
The logo is explained in 4 steps:
- The visual elements
- The font
- Color
- Tagline
Symmetrical triangle
The triangle is a symbol of stability and balance. It is formed out of three straight lines in which both ends meet, taking the symbols of a blazing fire (Brahma – the creator), lingga or phallus. The triangle also represents the three Gods of the universe (Trimurti – Brahma, Wisnu, and Siwa), three stages of nature (Bhur, Bwah and Swah Loka), and three stages of Life (Born, Live, and Die).
The triangle also explains the essence of the brand that is influenced by Tri Hita Karana, the basic value that will guide us to a balanced life.
Hinduism has other philosophy and meaning of the triangle shape.
The symmetrical floral motif
If the triangle is folded, the motif on each side will be identically the same. This shows how balance becomes a vital part in the design of: the harmony and peace according to the brand vision.
The floral motif is strong and dominant. This enhances the creativity of Balinese that are known for their highly skilled craftsmanship. The floral motif is used to show the closeness of Bali people to their natural surrounding, emphasizing its most strong virtue, the beauty natural landscape.
The crown on the triangle
The crown is a symbol of: accomplishment, great awareness, and nobility. It is the pinnacle of balanced living noted in the Tri Hita Karana (balance relationship with others, nature, and the creator)
The Bali typography adopts the line and curves of the traditional Balinese alphabet. The B in Bali takes shape like a 3 and the Ang alphabet (Brahma's sacred lettering). It is also consistent with the Tri Hita Karana, the triangle and the three-shaped B in Bali. A specific treatment is shown on the letter L, which rises and supports the crown. The true meaning behind it is the need to sustain a deep commitment from stakeholders to reach the highest achievement (crown).
Branding Bali uses 3 dominant colors that represent Bali: Red, Black, and White (Tri Datu). Red represents Brahma—the creator, white—Wisnu, the nurturer, and Black—Siwa, the destroyer. The collaboration of these 3 colors which represents 3 Gods (Tri Murti) will guard Bali and the life it supports to live in harmony and move forward in peace.
Tagline : Shanti, Shanti, Shanti
Shanti means "peace, if we say Shanti, we will be overflowed with a peaceful and harmonious spirit.
For Hindu people, Shanti is commonly said 3 times while adding the Om word (sacred script Ida Hyang Widhi Wasa—the one and only God) at the beginning and the end: Om Shanti, Shanti, Shanti Om which means peace be upon your heart, world, and the after life. Saying it 3 times is also consistent with the original concept that emphasizes the number 3 (Tri).
Shanti, Shanti, Shanti represents peace upon Bhuwana alit dan agung (yourself and the world) that will deliver a sacred and holy vibe that awakens a deep aura that balance and make peace to all living creatures.


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If You're Going to Cat Francisco...
Be sure to wear some flowers in your fur. Of course, it takes a special breed to be this happy to just hang out with flowers in their fur.
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The Chinese National Stadium was the 2008 Olympic Games' most striking structure, recognised all over the world. The building's dynamic form and vast scale create a new icon for China and the city of Beijing.
The circular shape of the stadium represents 'heaven', while the adjacent square form of the National Aquatics Center (Water Cube), also design-engineered by Arup, is a reflection of the Chinese symbol for Earth.
The structural form of the stadium is popularly described as a 'bird's nest', with its pattern inspired by Chinese-style 'crazed pottery'. Seemingly random, the pattern abides by complex rules for which advanced geometry was defined.
To ensure a compact and optimum design, the seating bowl was established first, with the outer façade wrapping around it. The design ensures that all spectators are as close as possible to the action and have clear sight lines.
As Beijing is located in one of the world's most active seismic zones, Arup used advanced seismic analysis to test the stadium under various earthquake conditions and ensure that the structure can withstand major shocks.
Copenhagen Arena will provides another boost for amenities in the city.
To inspire sport's best, Arup helps to create high-performance venues.
St Francis Shangri-la Place is the tallest residential high-rise building in the Philippines.
A$95 million redevelopment of existing rectangular stadium
The new headquarters of Swatch Group Japan houses boutiques, offices and after-sales service facilities.
Multidisciplinary services for a comprehensive data centre located in Esenyurt suburb.
The spires of the Memorial evoke jets streaking upward in 'bomb burst' formation.
The circular shape of the stadium represents Heaven.
The design leaves spectators wondering which aspects of the structure are functional and which have been included for appearance alone.


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Lerners Personal Injury:
Marketing a classic brand
in a new way.
Lerners engaged Kaleidico to provide a fully integrated marketing strategy from branding and messaging to digital advertising campaign management and online lead generation and advertising. Despite its size and prestige, Lerners doesn't rely on its reputation to carry its marketing weight, but actively and aggressively approaches its marketing strategy through partnership with Kaleidico.


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Knowing your cost of production (COP) is a key business success factor as it provides a snapshot of your sheep operation's financial status. Ideally, you're optimizing revenue through a cost-effective production system. Success, however, hinges on the effective use of information provided – both on-farm and externally – in making knowledgeable management decisions.
This page offers you some useful tools developed by the CSF to help you determine your COP. It also includes links to other COP tools. The CSF tools offer you the option to anonymously provide COP information to the CSF. This information can then be used to help better represent the industry when advocating on its behalf. For example, to help determine if a program's implementation will be too costly, or to determine what level of support sheep producers require. Of course, you can use these tools without submitting any information to the CSF at all.
Additional Resources:


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Hello there everyone, our latest update coloring image which your kids can have fun with is Words From T Alphabet Coloring Page, published under Alphabet Coloring category.To get more image similar to the picture right above you, your kids can browse the following Related Images widget on the bottom of the site or just browsing by category. You may find lots of other interesting coloring picture to obtain. Have some fun!
All characters, names are trademark are belongs to their respectful copyright owners, it may not be altered or used for commercial purpose by any means.
Any infringement on trademarks and copyrights is unintentional and will be rectified upon notification.
Pages To Coloring - Kids Coloring Page - Coloring Page for Kids - Sitemap XML


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The weather is beautiful, the flowers are in bloom, we have chicks, goldfish in the pond, corn is knee-high... There is so much outside that it's difficult to focus on the stuff inside. Unfinished projects, unread books, neglected blog... but I just cannot help myself, I'd rather be witnessing nature.
These hostas ring the garden area under the enormous walnut tree on the north side of our house. Hostas are terrific and these are among my favorites. Both varieties were splits from friends' gardens and as they are of the yellow green persuasion tolerate moderate sun. We have so many that this fall I may be stopping people driving down the road to share ;-)


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Works· Prints· Direction · About
Works· Prints· Direction · About
Open edition prints are available for purchase at InPrnt, limited edition videos at Sedition
Creative / Art Direction, Design, Animation and Post-Production for commercial projects.
Works· Prints· Direction · About
Markos R. Kay is a digital artist, creative director, illustrator and lecturer with a focus in art & science.
He is best known for his video art experiment aDiatomea (2007), exhibited at Ernst Haeckel's Phyletic Museum and the generative short film The Flow (2011) which even made it into a Breaking Bad episode. His art and design practice ranges from screen-based media, to projection and print.
His work can be described as an ongoing abstraction and digitisation of the mysterious worlds of molecular biology and particle physics through a series of generative simulation experiments. These experiments explore the complexity and emergence of the invisible, and the computational paradigm of natural sciences.
As a creative director and designer specialising in 3d and Motion Graphics, he has worked over the last 10 years for commercial clients such as: Apple, Fox, Disney, Nike, Adidas, Maserati, Ford, MTV, Nvidia, BBC, Vimeo and Channel 4. He has also created moving image works and illustrations for organizations that include: Belfast City Council, European Parliament, Howard Hughes Medical institute, Bill and Melinda Gates Foundation, Simons Foundation, and Playgrounds Design Festival. As a certified university lecturer he has taught design at the LCC, Chelsea College of Art & Design and University of Greenwich.
In 2015, Markos founded multidisciplinary design consultancy and design studio Epoché.io with the aim to apply experimental approaches to branding, print-making, graphic design and animation.
Enquiries and commissions
Instagram· Facebook · Vimeo · Twitter · Linkedin ·
Creators - Vice, interview 2017, article 2017, 2012
Stash Media, 2017
Labocine, interview 2016
Visual news, 2015, 2013
Fubiz, 2015
Sciencemotionology, interview 2015
Never too curious, interview 2015
io9 2014, 2013
Computer Arts Magazine, Issue 210 2013
Creative Bloq, 2013
Motionographer, 2012
Watchthetitles, 2012
Stash Magazine, Issue 93 2012
Dataisnature, 2010
HHMI Bulletin, Winter 2015
Quanta Magazine, 2015
Super-Modified, Gestalten, 2015
Jotta Publication, Issue 1 2012
Unknown Disorder, OFFF 2012
Louisiana Art & Science Museum, USA, 2017
Spectrum Exhibition, Abu Dhabi, 2017
Bio-Art, Bordeaux, France, 2016
Urban art meets local heroes, Munich 2013
Refraction Kopparberg Unestablishment, London 2012
Wallace Space 2010 London
Phyletic Museum 2009-present Berlin
Rencontres Internationales Sciences & Cinemas, Marseilles, 2015
Art+Science in Motion, Montreal 2015
Biofiction, Vienna 2014
Mist Moving Image, UK 2014
Gates Foundation, Washington 2012-13
Screen Social, 2012 London
Biofiction, International Tour 2014-2016
Viten Film Festival, Norway 2016
InScience Dutch Science Film , Netherlands 2016
Ars Electronica: Expanded Animation (Speaker), Austria 2016
Edinburgh International Science Festival 2016
Biofiction, Austria 2014
Mist Moving Image, UK 2014
Playgrounds Festival, 2012 Amsterdam
Onedotzero, 2011 London
OFFF, 2011 Barcelona
MRK · MRKism · MRKfolio · All Rights Reserved © 2017-18


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Shravan Sud 8, Saturday 18 Aug 2018
- Bhumanand Swami
- Brahmanand Swami - Kavi Raj
- Devanand Swami
- Gopalanand Swami - Yogi Raj
- Gunatitanand Swami
- Muktanand Swami - Mother of Sampraday
- Nishkulanand Swami - Vairagya Murti
- Nityanand Swami - Pandit
- Premanand Swami - Premsakhi
- Ramanand Swami (founder of Uddhav Sampraday)
- Shatanand Swami (Santdasji)
- Shukanand Swami (Shuk Muni) - Personal Secretary of the Lord
Brahmanand Swami - Kavi Raj
Father: Sambhudan
Mother: Laluba
Birth Place: Khann (near Abu in Rajastan)
Born: Vasant Panchami 1828
Birth Name: Ladudanji
Caste: Brahmin
Ladudanji started studying at the age of seven by Pandit Shiv Shankar Upadhyaya. His parents decided to send their son to Bhuj for further studies as Bhuj was recognised for its education. The parents were worried how to send him as he was too young to go alone. Ladudanji later went to Bhuj with a Brahmin. He completed his study at the age of 28. After some travelling in Gujarat, Ladudanji decided to find Lord Swaminarayan which he heard while on his travels. Ladudanji decided to test Lord Swaminarayan to see if He is really Lord Supreme as described in scriptures. Before Ladudanji had the chance to ask Lord Swaminarayan the questions, He started talking about the journey that Ladudanji had to Bhuj. Lord Swaminarayan also revealed his lotus feet to Ladudanji and he realised he has met the Lord Supreme himself.
Ladudanji remained at Gadhada for a while, where he met Ebhal Khatcher and his daughters. Ebhal Katcher's daughters Jeevuba, Laduba, Nanuba and Panchuba didn't want to get married. Lord Swaminarayan asked Ladudanji to persuade the girls to get married. Ladudanji relied on his intelligence to persuade them. He thought he could convince Laduba to get married but the reverse happened. Laduba told him off for having one foot in the world and one foot with Lord Swaminarayan (attachment to the world or Lord Swaminarayan). Ladudanji decided to become a saint all by the teaching of Laduba.
Therefore he was named "Shree Rang Das" because he got his rang from 'Shree' Lakshmiji (Laduba), Diksha took place in 1861. One morning Shree Rangdasji was singing devotional songs. At the end, Lord Swaminarayan touched the head of the poet and said "Oh Brahmanand you are now drowned in an intoxication of Brahmin." Hearing the word Brahmanand, Shree Rangdasji said "I like this name, Shree Rangdasji does not suit to the poems." Lord Swaminarayan approved the name and renamed Shree Rangdasji as Brahmanand Swami. Brahmanand Swami was a saint that could make Lord Swaminarayan laugh even if He was in a bad mood. He supervised the building of 3 magnificent mandirs. These were Muli, Vadtal and Junagadh.
Some time passed and in 1886 Lord Swaminarayan was ready to return to his divine abode of Akshardham. Lord Swaminarayan realised that He would not be able to leave this world if Brahmanand Swami was present. Then, Lord Swaminarayan received a letter from Gunatitananda Swami at Junagadh which requested Lord Swaminarayan to send Brahmanand Swami to solve a few problems in the construction of a mandir. Lord Swaminarayan instructed Brahmanand Swami to go and sort it out. While working on the mandir Brahmanand Swami saw Baguji Bhagat coming. Brahmanand Swami heard the news that Lord Swaminarayan has left this world, he immediately went to Gadhada where the Agni Sanskar was taking place of Lord Swaminarayan. Gopalanand Swami consoling Brahmanand Swami stated that Lord Swaminarayan would be ever present with his astral body as He is Omnipresent. Brahmanand Swami went straight to Gadhada mandir in front of Gopinathji Maharaj. Lord Swaminarayan appeared in front of Brahmanand Swami and garlanded him. Brahmanand Swami realised that Lord Swaminarayan will always reside in the Murtis of Himself.
Brahmanand Swami left this world on 10 bright half of Jyesta in 1888. He lived for 60 years, 5 months and 5 days.


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LOS ANGELES – The Los Angeles Unified School District (LAUSD) has started an advertising program on its non-school bus fleet of vehicles to bring in additional revenue. Government Fleet interviewed Gifty Beets, Project Management Administrator for the Office of the Chief Operating Officer, about how LAUSD structured the program and how it will benefit the District.
LAUSD is rolling out the advertising program on 400 vehicles out of a total of 550 non-school-bus vehicles (advertising on school buses is prohibited by law in California). These vehicles include light trucks, maintenance trucks, mail vans, freight trailers, refrigerated trailers and cargo vans, according to Beets. As for why, LAUSD is facing a large budget shortfall and has been looking for ways to bring in revenue to support programs for students and its operations in this tough fiscal environment.
"LAUSD has been seeking opportunities to keep money in the classroom and looking to other revenue sources, including various levels of sponsorships," Beets explained. "The District has decided, as a whole, to look at its assets (including, but not limited, to the white fleet) and leverage them to interested corporate partners."
To implement the program, LAUSD is working with a company called Alpha Media. Alpha Media will sell advertising space, install the advertising graphics on the vehicles, and manage the overall program. The company receives 25% of the revenue generated, according to Beets, with the rest going to the District. The contract period is initially three years but has an option for LAUSD to extend the contract for two additional years. The length of specific campaigns depends on individual advertisers who choose to participate in the program.
LAUSD is projecting initial revenue per vehicle of $2,100, which will generate more than $4,000,000 over a five-year period. The District plans to use income from this program to support the Athletic Transportation program, which has been operating under a budget cut by $650,000 per year for the last two years. Beets said participating fleet departments can also reserve a percentage from the program's proceeds to support vehicle replacement costs.
The initial advertisers participating in the program include the California Credit Union and Jennie-O (which sells turkey products). Beets said the District will receive approximately $61,000 as part of the contract with the credit union and $96,000 from the contract with Jennie-O.
Given that these vehicles are owned by LAUSD, and the District wants to project a certain image, LAUSD retains approval rights over all advertising materials. The approval process for each ad campaign involves bringing together individuals from various departments in a committee to vote. As long as 75% of the members agree, the ad program will run. The District also has a set of sponsorship guidelines, which it uses as criteria for any ads the committee reviews.
There are no up-front or ongoing costs for the program save ensuring vehicles are available to provide services in the District and travel routes that meet advertiser needs. The District stated it optimized vehicle routes in order to satisfy both requirements.
Vehicles that will feature advertising include those from LAUSD's Food Services Division, Facilities Division, and Procurement Services Division. Each division supports the use of their vehicles in the program, Beets told Government Fleet.
By Greg Basich


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♡ Share the Love ♡
LindseyHughesPublished: June 29, 2016Updated: June 30, 20164 views
Published: June 29, 2016Updated: June 30, 2016
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Reuters Staff
1 Min Read
Sept 7 (Reuters) - Sharda Motor Industries Ltd
* Says petition has been filed by co against Toyo Sharda India Pvt before NCLT Source text - bit.ly/2wbgSYH Further company coverage:
All quotes delayed a minimum of 15 minutes. See here for a complete list of exchanges and delays.
© 2018 Reuters. All Rights Reserved.


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Among the people keeping a close eye on the state and national debates over gun legislation following the Sandy Hook shooting are Connecticut residents who snatch up survival gear in preparation for everything from bad weather to the end of the world.
There are probably several thousand so-called "preppers" in Connecticut, said Adam Palmer, who organizes meetings of survivalists throughout the state. He said there are some groups with more than 300 members and estimates that 10 percent of preppers join support groups.


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Changing lives through the power of prayer.
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Trademark Plastics, Inc. Case Study
Manufacturing Expert Co-Production International inks deal with Medical Device Manufacturer to Open Plant in Tijuana.
CPI soft landing services include site selection, construction management and administrative support for medical device manufacturer Trademark Plastics; multi-year deal.
SAN DIEGO: Trademark Plastics will have a new medical device manufacturing plant in Tijuana Mexico, thanks to Co-Production International (CPI).
Tijuana and the Baja area have a deep pool of highly-skilled talent. Mexico is producing more engineers per year than the U.S., many of whom are bilingual. That skilled employee pool is critical to a company like Trademark Plastics, said Enrique Esparza, CEO of Co-Production International.
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Trademark Plastics plans to open the Mexico manufacturing plant in the fourth quarter of 2015 or first quarter of 2016, according to John Taylor, Trademark Plastics Vice President of Operations.
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CPI has its U.S. office in San Diego and its Mexico office in Tijuana and Tecate, both are near the U.S. border, in the Mexican state of Baja California.
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Archive for category Gaming Culture
Harvest Moon, Stardew Valley, and Me: Part 1
Posted by Oakleaf Games in Analysis, Game Design, Gaming Culture on May 31, 2016
I haven't been writing very much in the last few months. Part of that is due to my putting time into preparing for and recovering after Unpub6, finalizing New Bedford for printing, and preparing some games for design contests. But another part is that I've been putting a lot of time into playing Stardew Valley, the recent smash hit indie video game about farming. There's something about farming that really speaks to me as a game player and a game designer, and it's probably safe to say that I wouldn't be where I am without farming games.
My history with farming games goes back to Harvest Moon on the Super Nintendo. I don't remember reading about it in Nintendo Power, but I enjoyed gardening with my grandfather and gave it a try. It was a completely new experience to me, and it was remarkably fun to simulate chores. The game was a constant balance between how to use your limited time, energy, and money, that somehow captured the feeling of country life. You want to keep playing because you see things change every day. It compresses the hope, excitement, and best aspects of changing seasons into an accessible package.
Looking back, the game was remarkably simple. For two of four seasons, there wasn't a single crop to plant or harvest. Inventory management was severely limited. There was little customization, and barely any story. But maybe the biggest flaw was that time doesn't pass after about 8 at night. You could repeatedly restore your energy at the hot spring, clear your entire farm on the first night. But the game still worked.
Harvest Moon 64 basically fixed all of those problems. [In my experience, the prevailing opinion is that HM64 was the pinnacle of the series.] I know consider it the It kept the formula that worked so well. But now you had an actual inventory (albeit a clunky one), there were more crops, more things to do, and lots of little secrets to discover. The townsfolk had their own troubles and lives, and your relationships with them invisibly influenced events, and if you just focused on your farm, you might not even notice some of them. People would seem to arrive and depart randomly.
The next several iterations veered more towards being life simulator. A Wonderful Life focused more on building relationships and growing your family over time. Farming was a very limited aspect, and the game didn't grab me (although the weather and seasonal transitions were amazing). Magical Melody turned the customization up to 11, and added people arriving or leaving based on what you shipped, with an "achievement" system to guide players with objectives while keeping a lot of the basic mechanics.
I skipped a number of the intermediate games because of lack of time and interest and poor reviews. But the latest games have really tried to be life simulators than farming games. Animal Parade had a lot of promise, but everything was locked behind friendship and scripted events, making it too mechanical. The 3DS games have have fallen victim to Minecraft, with a huge "crafting" system required to do anything. The last Harvest Moon title (Lost Valley) borrows very heavily from Minecraft. And the series has fractured with the developers now publishing under the Story of Seasons brand. Story of Seasons, like A New Beginning fail in playability. You constantly run out of energy too quickly, leaving you with nothing to do but forage for items, which you have to keep all of because you need everything for crafting.
The fracture in the series is symbolic of the fracture taking place within the game. Each one adds on more and more things that you have to do to play the game "right". You can't just own cows, you have to take them out to feed in the special place or they'll never grow. You can't just plant crops and harvest them, you need to unlock farming areas and compete for them. Mining is a wholly random process. As a result, the games seem disjointed into several game-like activities revolving around farming, without any of the joy of the original Harvest Moon games. The real goal seems to be forcing the player into specific curated events to tell a story, rather than letting the player create the story themselves, which is something I identify as the core of the Harvest Moon experience.
The original Harvest Moon took chores and made them fun. The recent games some how manage to take fun and make it a chore. The work itself used to be interesting. Now, I have to work as a player in order to do anything interesting. Farmville (and mobile gaming in general) has poisoned the whole concept, where the "game" is about filling your time between things happening. I'm still drawn to farming, but I want something that follows the original formula without all the extra baggage that the series has collected.
Enter: Stardew Valley.
Design Philosophy
Posted by Oakleaf Games in Game Design, Game Theory, Games, Gaming Culture on April 27, 2016
Three plus years into designing games, I'm starting to really find my own identity as a designer, and I'm ready to set out my design philosophy. I was initially inspired by a few posts last year by Grant Rodiek and Gil Hova, but I never quite completed writing my manifesto. I think I'm ready to try. Read the rest of this entry »
Unpub 6 Wrapup
Posted by Oakleaf Games in Events, Gaming Culture, Gaming Industry on April 13, 2016
I've recovered from my trip to UNPUB 6, so it's time to look back, talk about the fun I had, and the lessons I learned.
We got in Thursday afternoon. After a big dinner and relaxing, we went to the hotel bar, where I taught some Oh My Goods, a published by Alexander Pfister, one of my current favorite games. By the time we finished, the baseball game let out, and a big group joined us. It was mostly talking and catching up.
Friday started with the designer breakfast and panels. We decided to play some games instead, so we left the main hall and sat down to play the postcard game I've been working on for the Board Game of the Month Club from Buttonshy. After the first game, we stripped out a lot of the extra complications and made it much more streamlined. I think we might keep the extra rules and only make them available online as the expert version. Sort of a director's cut. Next I played the prototype Five Elements by Mark McGee. I missed a key rule, and once I figured it out halfway through the game. I really enjoyed it. It's got a neat hand-management and slightly spatial element. It was late, after running out for lunch, we sat down, and I taught a quick game of Dead Man's Chest, a bluffing game from Eagle-Gryphon. We also collected some prototype parts that didn't arrive until after check in. We had the option of Trucks or Dudes. #TeamTruck.
I got a few minutes to try out an 18-card hand/deck building game I'm working on late in the afternoon. It kind of fell apart, so I need to figure out if it's fixable or not. After an amazing dinner, we returned to the hall. I mostly chatted with a few other people, but got to play another postcard game prototype from Doug Levandowski. I'm pretty sure you haven't played a game like this, so it's fun to see postcard games pushing boundaries. We returned to the hotel a little after midnight. I got one more game in, Unpub the
UnPublished Card Game (so I guess it was Doug Levandowski night).
I was splitting my table with Dan Cassar for the weekend, and I started off with a 2 1/2 hour shift Saturday morning. As usual, it was a little slow at first, but it started to pick up between 11 and 11:30. I got two games of One Card Wonder in before we swapped. I ran into friends during the off shift, and we sat down for a light lunch. But honestly, I didn't accomplish much in the meantime. Mostly, I walked around and looked at what else was popular. I started my next shift at 3. Although the floor was busy, it felt a little slow to me. I only got 3 games of One Card Wonder in in the second shift. I think there were a few contributors to that. First, OCW was running a little long (45 minutes with rules and discussion), so I got fewer games than I expected. Also, it seemed that there were more longer games this year, so there weren't as many people looking for games after I finish a half hour game. And swapping out makes you lose your momentum with playtesters. Both times I swapped out, I had to leave people who would have played. If you keep playing the same game, people will tend to gather, and they'll be able to find you. And of course, One Card Wonder wasn't as flashy or well known as New Bedford was last year, so it doesn't immediately grab you when you see it. That's something I definitely plan to work on for next year.
I made my game trades Saturday evening. I took a big bag of games and came home with an even bigger bag of games. I'm not wild about every single game (some were part of a package), but I'm overall really happy with my haul. In the evening, I got to sit and play Daniel Newman's Station. It plays mostly like a worker placement game, although the economic balance made it play a bit differently. I think some minor tweaks to the action rewards will tighten it up. After a delicious dinner at Nando's Puri Puri and some excellent conversation, we returned to the hall. I watched friends play a quick game of Dancing Eggs. When that was over, we wanted something loud and goofy, but didn't have anything with us, so we made something up. Dare or Dare: Legacy. The main gist is that everyone gets some blank cards and writes down a dare (anything you'd be comfortable asking your child to do as a boundary). Then everyone gets one card at a time and either does the dare, or bluffs and makes up their own dare. (Hence Dare or Dare.) Everyone else has to guess whether they were bluffing or not. We gave out star stickers for performance, but we decided it should be more of a group judging thing. Depending on the results of the bluff and whether you get called or not, you gain a couple of points. There's no real score or objective besides having fun, which it did extremely well. Next big convention, I'll pull it out again, we'll rip up a few cards and make a few new ones. Hence the Legacy aspect.
Sunday was a little more hectic, trying to pack up and leave. Since Dan was leaving early, I let him take the whole morning shift. He had a very successful weekend with at least 40 tests by my count, and he handed out about 10 playtest kit. In the afternoon, I got 3 more tests of One Card Wonder in. The latest round of mechanic changes seems to be very positive, and accomplished everything I hoped. I just need to re-balance the new parts now, but it's a much stronger game, so I'm looking forward to wrapping that up.
Overall, I spent a lot less time playing games than I expected to. Last year was too much, this year swung the other direction, so I'm hoping to find the right balance next year. I think one challenge may have been the timing of my shifts. First thing in the morning is always slow. And it seems like mid afternoon is a good time for people to go get lunch after they've been playing games all morning. Sunday is always slower, but it also starts to really slow after 3, as people pack up and leave. I think there's still a challenge there to balance the table schedules across Unpub. One thing I'm really disappointed in is that I didn't play any Role Selection. I made some improvements since the Meta game contest, and really wanted to see how they pull the game together. There's always the next event, and hopefully I can put One Card Wonder to bed now.
Finally, here are my main takeaways from this year's UNPUB.
- Chap Stick. I've talked about water and drinks before, but one thing I'm now noticing is that even when I drink enough, I'm talking all day, and my lips get chapped. It's a problem that is easy and cheap to solve.
- Saturday is for heavier games, Sunday is for shorter games. From my unscientific survey, everyone (both designers and players) was pretty exhausted by Sunday. So get those heavier games out Saturday when people are fresher. Pick something shorter and lighter for Sunday. People will be more likely to jump into something that doesn't require as much energy. And, it makes it easier because people leave on Sunday, if you have that one last game they can play for 20 minutes.
- Table presence is so important. There are lots of games in various stages of completion, and Table Presence can mean different things to different games. Size, color, artwork, polish of components goes a long way. But it goes beyond that, too. A tablecloth can make your game look even nicer. have good signage, including Sell Sheets, previous games (if you have them) to attract attention.
- Bring something new. Yes, sometimes you have that game you've been working on for a long time, and you really just need to put in front of a bunch of people and see a lot of playtests. But a lot of people (especially the other designers) go to these events again and again, and if you show the same game, you're competing with lots of new things.
- And as a corollary, bring something to talk to publishers about. UNPUB isn't really a pitching event, but if you have a chance, take it. If nothing else, you build your relationship with them, and that's great professional development.
- Know *specifically* what you're looking for. Players asked me what kind of feedback I wanted, and I didn't have a good answer. I'm working on balance, but I didn't think about how exactly to find out about balance.
- Talk to people. Walk around. Be your own advocate. I've got a, shall we say, "subtle" style. Don't be subtle. People want to play games. Like pizza toppings or ice cream, people don't want to make the decision. So if you go up and talk to people, that gives them a reason to say yes.
Rules for non-readers
Posted by Oakleaf Games in Game Design, Gaming Culture on January 21, 2016
I've been writing a lot of rule books lately—polishing up the rules for New Bedford, writing and updating rules for submissions to the Greater than Games Metagame contest—and I thought it would be a good opportunity to talk about rulebooks. Back in June of last year, Foxtrot Games talked about the challenges of writing rulebooks. This is a perfect reminder of why it's so hard to write rules. You can't just write rules for people who read them. You also have to write rules for people who don't read them. I've also been teaching some new games lately, and so I am forced to admit that I rarely teach a new game without missing at least one important rule, so I must include myself in the latter group. Read the rest of this entry »
It's just a game
Posted by Oakleaf Games in Gaming Culture on January 6, 2016
Something new happened to me over the holidays. I got my first hate mail about New Bedford.
Sure, there had been plenty of discussion of the game and criticism of the choice in theme, but until now it had all been directed at the game. This was a direct message to me, telling me to be ashamed for my creation. I knew I needed to write about why this person was completely wrong. But this post isn't about someone else, it's about me and my relationship with boardgames. Read the rest of this entry »
Lessons Learned from the New Bedford Relaunch
Posted by Oakleaf Games in Games, Gaming Culture, Gaming Industry, New Bedford on August 28, 2015
What a wild ride. Thanks to over 2000 backers, New Bedford's second campaign earned over $100, 000, making it the third most successful Dice Hate Me Games Kickstarter, behind Compounded and its expansion. Admittedly, the campaign was a bit of a Nantucket sleigh ride, where we grabbed on at the beginning and just tried to hold on for the rest of the campaign. There were a few course corrections mid-campaign, but in the end, I'm really proud of the product we will be able to bring to the backers.
I sat down earlier this week to talk to Isaac and Stephanie on the On Board Games Crowdfunding Edition, and we talked about what it was like to relaunch and what made the campaign different. That episode should be available this weekend, here. But I wanted to spend some more time going through the details of what we learned from this second time around. In no particular order:
- Nobody knows nothing about nothing. After the first attempt, we didn't know what to expect. We still thought there was a lot of support and that the changes would help it to fund. We were taken by surprised when we woke up to discover it had funded in less than 24 hours.
- Don't rely on one silver bullet to make your project successful. Because we made so many small changes, that also means that we don't know exactly what made it work and what didn't. But it's important that whether it's your first time or your 10th time, you can't count on any single thing to get people on board. Don't overlook any avenue that can encourage backers to support you.
- Simplify Shipping. Last time, there were three pledge levels, depending on shipping, but Kickstarter added the ability to calculate shipping separately since the first campaign. This means we could set the base price to the retail cost (actually a little better). Hitting that $29 price point is big, and even with $9 US shipping, it's less than the first campaign's price.
- No really, Simplify shipping. Shipping a single copy internationally is very expensive. But shipping costs on the New Bedford campaign were fixed no matter how many copies you pledged for. This means domestic shipping, too. There were still several comments asking to reduce the international shipping, but there was also a lot of interest in international group buys. This will be a bit of an experiment, so we'll see how it works. I'm curious to see how many backers ordered multiple copies.
- Art is what people see. People want to see what they get. And the art for the relaunch is so striking. The artist, Nolan Nasser, really did a great job making it stand apart from your typical bland euro, while still capturing that feel. With the art in place, we got a much bigger reaction from the community.
- Feedback is Engagement. When we posted an early version of the cover art, some comments made us go back and reconsider the cover. We made some changes based on feedback and got an explosion of support for the updated art, sitting on top of the BGG image hotlist for a week. And we continued to listen to backers art as we go through the campaign. Many said the town board was too bland, and we added more detail to make it really outstanding. Like any feedback, you have to choose what to use, but by showing backers we were listening, they were more invested in continuing to support the project.
- People Love Custom. This wasn't something I didn't know before, but the level of enthusiasm for the custom resource tokens was more than expected. Sadly, it means that the mnemonic of disks=$1 and cubes =$2 is lost, but that's a small price to pay for awesome pieces. However, this goes both ways, because there's also a lot of enthusiasm behind custom whaleeples (whale shaped wooden tokens instead of the cardboard bits). This was something we encountered on the first campaign, and it just doesn't work with the design. But I don't think anybody is dropping their pledge or refusing to back over it, either.
- Player Count Counts. For one thing, people will ask how your game scales. Lots of people play primarily with 2, and it was important that those people knew that the two player game wasn't a hack or tacked on; it was part of the design from the start. For another, between the first and second campaigns, I really took note of how important player count is to a Kickstarter campaign. I read about a poll that showed that something like 50% of players cite the inclusion of a 5th player or solo game as the most important factor in picking a game. Not every game can support that, but it's worth considering. I'll share more about how the fifth player and solo games came about in a segment of Notes from New Bedford.
- You don't create buzz. At least, not directly. Before the first launch, we were hitting a bunch of podcasts to spread the word, and I was doing several interviews on other designers' blogs. I was worried we had used up all of that energy or good will, since we couldn't do it all again. But it didn't seem hurt the second campaign any more than it helped the first campaign. This is a bit of a surprise, since I frequently hear other designers doing the same thing on multiple podcasts ahead of a launch. I don't know exactly what this all means, but I suspect the lesson is that a media blitz needs time to develop into a buzz. From small ripples, mighty waves grow.
- Prepare for more than your Expectations. We had updates ready for all the listed stretch goals to 2x funding. By the time we realized we were going to hit the last stretch goal during GenCon, we were already in the middle of preparing (which was a lot more work for GTG than I realized), and it was too late. We appeared to go silent after hitting the last listed stretch goal, but there just wasn't time at GenCon to plan for new goals. I'm sure we probably lost a few backers who were expecting updates, and we might have lost a little momentum, so it's important to have that stuff in place, just in case.
- Make component quality clear. DHMG always goes straight to the thick cardboard and premium component quality. Never any "upgraded card stock" stretch goals. That wasn't clear on the page, and a lot of comments were asking for increases in quality. So if you're already at premium component quality, make it clear.
- People Don't Read Updates. Even people who are enthusiastic about your project like to "Set it and Forget It" after backing. We added Nantucket as an add-on around 60k, but even many friends didn't realize it until we mentioned it. So if it's not automatically included in stretch goals or pledge levels from the beginning, people might miss it. We ended up talking about it in three separate updates, and there were still people who discovered they missed it after the campaign ended. Fortunately, it looks like those backers will be able to get copies, too.
- Know when Enough is Enough. Our last stretch goal was at $80k. There were a few ideas that we could have added, but we had already made the game everything we wanted it to be. A big part of the DHMG philosophy is that you increase value by making the best game possible, not by just filling a box with stuff.
This campaign was bigger than I had expected, but was what we thought New Bedford deserved after the first campaign. I don't think you can ever do everything perfectly, but our experience relaunching helped us get a lot right. So here's a big THANK YOU to all of the backers, the GTG team, everyone who stopped by at GenCon, and really everyone who helped make this one of the most successful Dice Hate Me Games projects. This literally could not have happened without all of your help. My final piece of advice comes by way of Mark Twain:
"So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover."
The Role of a Designer
Posted by Oakleaf Games in Game Design, Gaming Culture on June 17, 2015
Today I read an article about a game announced at E3, the annual mega convention for video games. And it made me realize how little people consider the role of the designer in developing a game. A commenter complained about the decision not to add guns into the game. When someone made the good point that adding guns meant you needed to design the game for them, someone simply replied that you didn't.
Now, I understand where this last commenter was coming from. Adding guns doesn't mean you have to create an entire game where using guns is the point. But this completely misunderstands the role of a designer in the game. The designer isn't just deciding what players should be able to do. It is making sure that when the player wants to do something, the game can handle it. (And conversely, if the game can't handle it, then make sure the player doesn't do it.) The designer's role is much more than simply choosing how a player will shoot.
On the surface, many of the decisions may seem simple. Are there different guns? Do they need different ammunition? How does the player acquire a gun or ammunition? To a player the answers to these questions seem very natural, if a designer has done his or her job. But in this situation, there is so much more than just choosing to include guns. There are deeper consequences. How would guns change existing portions compared to the default? If it makes them too easy, everyone will go for the gun, except for some percentage of people who want to make it harder. So a big portion of people miss out on an experience. That also influences the rest of the game. Why should players ever avoid guns if they're going to wish they hadn't for a certain level. It breaks continuity of experience.
On the other hand, players who choose the gun route will almost certainly encounter portions that must be played in the default mode. Even if we are content as designers to force the experience towards the default, players are still going to complain that the game took away options. [See the original boss fights in Deus Ex: Human Revolution.] And even without adding content specifically intended to make use of the guns, the designer also has to decide how the game will react to guns. Perhaps we can assume that enemies already have guns in the game, so there isn't additional work to give guns to enemies. Even so, AI has to be changed to understand a possible player with a gun. That introduces an entirely new set of questions. Do enemies take cover? Do they react differently if the player has a gun? Do they assume the player has a gun, or wait to be shot at? If enemies aren't expecting them, the game will play like the scene from Indiana Jones. Funny when you aren't expecting it, but not when it happens over and over again.
Again, if the designer does his or her job, all of these decisions will be invisible to the player. Because the designer's role is shaping the entire experience, not just adding things to the game. In fact, sometimes choosing what to leave out is sometimes an even more important part of the job.


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Membership Dues - Megamenu block
CoSN works on a national-level to help K-12 district-level technology leaders build and sustain data-rich cultures within their districts. We provide district technology leaders with tools and resources to help districts implement and sustain data usage while providing a national forum on how data can be used for personalized learning.
As the Data Quality Campaign says, Data is Power. CoSN helps schools and districts move beyond data collection in response to accountability mandates and focuses on the opportunities to use data to inform instructional practice and personalize learning. Using data for decision-making is a key component to personalizing learning and developing instructional strategies.
In the current era of accountability, educators are increasingly called upon to make classroom-level data available and usable. As part of the Closing the Gap: Turning Data into Action initiative, CoSN, AASA, and Gartner, Inc. developed resources to help school systems select and utilize student information systems (SIS) and learning management systems (LMS).
Fairfax County Public Schools' 11-year commitment to creating a data-driven environment is reaping benefits. Now teachers, parents, and students can easily access performance data that helps facilitate key discussions about each student's academic achievements.
In the Katy, Texas school district, teachers are proactively using data in more efficient and effective ways through the use of a new integrated SIS. School districts can learn from Katy's essential steps to successfully deploy their own solution selection and implementation project.
With an SIS in place since 2008, the Henry County Schools had little trouble collecting data, but moved to meet the challenge of getting information into the hands of teachers. A partnership between IT and school leaders is making this vision of using data in the classroom a reality.


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from The American Heritage® Dictionary of the English Language, 4th Edition
- n. Either of two African starlings (Buphagus africanus or B. erythrorhyncus) that feed on the ticks found on the hides of large wild or domestic animals. Also called tickbird.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. Either of two species of passerine bird in the genus Buphagus, in the monotypic family Buphagidae, endemic to sub-Saharan African savannah.
from the GNU version of the Collaborative International Dictionary of English
- n. An African bird of the genus Buphaga; the beefeater.
from The Century Dictionary and Cyclopedia
- n. An African bird of the genus Buphaga, or family Buphagidæ: so called from its habit of alighting on cattle to peck for food. See cut under Buphaga.
- n. It is somewhat smaller than a robin, of a grayish-brown color, with dark wings and a yellow bill. This bird is found in northern and eastern Africa. A second species, the red-billed oxpecker, B. erythrorhyncha, inhabits central Africa. See Buphaga, with cut.
from Wiktionary, Creative Commons Attribution/Share-Alike License
* In Zambia, in 1987, a dead buffalo with a dead oxpecker lying next to it.
Oberem also works for a dip manufacturer, AfriVet, which has an oxpecker as its logo and sells dips that birds can safely ingest.
Operation Oxpecker: Red-Billed Oxpeckers Rediscovered By Cowherds As Natural Debugger, Replacement For Toxic Pesticide Cattle Dips
An oxpecker can eat 13,000 of them in a day, and the meals are everywhere – on antelope, horses, cattle, buffalo, rhino, lion, elephant and leopard.
Operation Oxpecker: Red-Billed Oxpeckers Rediscovered By Cowherds As Natural Debugger, Replacement For Toxic Pesticide Cattle Dips
Mystery bird: yellow-billed oxpecker, Buphagus africanus
High doses of common painkillers increase stroke risk, warn researchers
This smart picture book about animal symbiosis features five illustrations on its opening spread, each paired up with a question such as "Why does a giraffe let an oxpecker climb into its ear?" or "Why does a plover stroll into a crocodile's mouth?"
Is an oxpecker a parasite or a helpful scavenger - your basic feathered cleaner wrasse?
He has spotted fresh buffalo spoor followed by a flock of alarmed oxpecker birds taking flight.
As it fed, four red billed oxpecker birds joined in picking at the tics in its skin.
As the giraffe stood up and shook off the water it drenched the yellow-billed oxpecker that had been removing ticks from its back.
Telegraph.co.uk - Telegraph online, Daily Telegraph and Sunday Telegraph
National Geographic-esque photographs in this TIME publication - oxpecker birds riding atop a warthog, a profile of a lion and an antelope in close embrace on the Serengeti, a baby beluga blowing water rings, and, my favorite, a clutch of Japanese snow monkeys lounging like old men in a hot springs.


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The Wahl-Abo has been specially designed for guests who want to create their own subscription. The vouchers are redeemable at various dates as well as on a single evening with family and friends.
Your Benefits:
>> You save up to 30% of the usual ticket price
>> Full flexibility while selecting dates and number of redeemable vouchers. It is also possible for subscribers to redeem their subscription vouchers online. Tickets in higher categories are available for an additional charge.
>> You receive your tickets either by mail, print@home or new: as an electronic ticket directly to your mobile phone.
>> Free transport within the entire area of Hamburg's public transportation services (HVV) for the visit of your performance
>> Free of charge mailing of our publications if requested by you
All voucher subscriptions are also available online (except for WahlAbo Kombi).
A general view of our repertoire at the SchauSpielHaus: Eight vouchers valid for performances given on Sunday to Thursday (WahlAbo SchauSpielHaus) respectively on every single day of the week (WahlAbo SchauSpielHaus+). Guest performances and special events are exempted. Tickets for premieres are available at an additional charge.
Valid from Sunday to Saturday
Category A 295 €
Category B 240 €
Category C 180 €
Category D 110 €
Valid from Sunday to Thursday
Category A 225 €
Category B 170 €
Category C 130 €
Category D 85 €
You save up to 25% of single ticket prices.
Four vouchers valid for the SchauSpielHaus and four valid for the Malersaal respectively another of our venues (max. two tickets per performance)*
Category A 200 €
Category B 172 €
Category C 146 €
Category D 112 €
You save up to 30% of single ticket prices.
Eight vouchers at a fixed price of 52 € for performances at the Junges SchauSpielHaus.*
Designed specifically for school and higher education students, trainees up to the age of 30 years old as well as participants in voluntary services (BFD, FSJ, FÖJ): eight vouchers at a fixed price of 56 €. These vouchers are valid for all our venues (at the SchauSpielHaus starting from Category B).*
For beneficiaries claiming unemployment benefits under the SGB II rules: eight vouchers at a fixed price of 56 €. These vouchers are valid for all our venues (at the SchauSpielHaus starting from category B).*
* Except for premieres and specials


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Reviewed By Mark K (Brewer, ME) Reviewed for a 1999 Jeep Wrangler —9/8/2015 11:48 AM
I was amazed at the quality of my pacesetter header.the ceramic coating was nicely done. I'm very pleased with my purchase. The only thing that I would improve would be the bolts that join header to pipe.they are a bit Short Witch made for an interesting event.


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by Danis Tanović
Two filmmakers return from a research trip to Pakistan, troubled by inconsistencies in the story they are writing. They ask their subject, Ayan – a young Pakistani salesman – to tell his story to their financiers' lawyer, on the record. If his story is true, and he can prove it's true, they can make the film. If not, the huge corporation whose methods they are attacking, could destroy them. Ayan's story begins with his marriage to the beautiful Zainab. Seeing him struggle to sell unbranded local pharmaceuticals, she persuades him to try for a job with a prestigious multinational – Lasta Foods, known for their infant formulas. To his amazement, and despite his lack of a college diploma, he's hired. It's a dream come true for a common local boy without a college degree. Ayan takes Lasta's fighting tiger attitude training to heart and his "growl" gets stronger everyday. He uses all his skills – and incentives – to persuade doctors and other health professionals to recommend his products. Soon he's the star salesman and life is good. A son is born and soon another child is on the way. Faiz, one of Ayan's new doctor friends, goes off to Karachi to study public health issues. When he returns, a couple of years later, he's a changed man. He hauls Ayan into a children's emergency room. Babies are dying and the doctor says it's all Ayan's fault. Faiz reveals a startling truth: Most of his patients don't have access to clean water. They mix infant formula in filthy water and give it to their babies, who get diarrhoea. Or because it's so expensive they dilute it and malnutrition follows. Breastfeeding would pass on natural immunities but mothers are persuaded to use formula instead. These babies are dying because of Ayan's work. Devastated, Ayan visits a slum area and sees unsafe water being used everywhere. He is a father himself; he must stop these babies from dying. He is shocked that his Lasta supervisor is aware of everything, but simply blames the government for not solving the water problem. He mocks Ayan for complicating his good life for nothing. Ayan quits his job and vows to divulge the scandal behind the corporation's infant milk formula. With the help of his legalese-friendly father, Ayan gives notice to his former employers, telling them to stop marketing breastmilk substitutes in Pakistan and presenting evidence of how he was authorised by them to breach their own rules. It's David versus Goliath but this underdog will barely get the chance to fight. The other salesmen in the town hear he is threatening their livelihoods and go after him. Two men come to Faiz's home in the middle of the night and warn him that no-one on Ayan's side will be spared. Alone and desperate, Ayan fears his desire to do the right thing has brought his family to ruin. Then the head of a local action group shows him evidence that people in the west have, for years, been protesting over infant deaths in the third world. He realises he must take a stand. A western TV crew make a documentary about his story and take him to Germany to promote it. He's promised he will return to Pakistan as a hero, but on the night of transmission, his former employers reveal a dark secret and suddenly it seems Ayan's story must go untold. Shaken by the true complexities of Ayan's experiences, the filmmakers realise they must tell the whole story, warts and all. But they too will soon discover the real power of a multinational corporation. Can the truth ever be told?
His previous feature, AN EPISODE IN THE LIFE OF AN IRON PICKER, won two Silver Bears
at the 2013 Berlin Film Festival, the Grand Jury Prize and Best Actor for Nazif Mujic, who made
his debut re-enacting his own story in the film.
Tanovic´'s 2001 debut feature NO MAN'S LAND won the Oscar and Golden Globe for Best Foreign
Language Film. Set in the midst of the Bosnian war in 1993, NO MAN'S LAND also won
Best Script prizes at the Cannes Film Festival and European Film Awards. The film received
over 40 international awards, making it one of the most awarded first feature films in history.
Tanovic´ has made two other films about war and its consequences. CIRKUS COLUMBIA is set
in the period just before the conflict reaches his native Bosnia & Herzegovina, and the Englishlanguage
TRIAGE, starring Colin Farrell, dealt with post-war trauma.
Tanovic´ was born in 1969 in Zenica, Bosnia & Herzegovina, and raised in Sarajevo where he
studied film directing at Academy of Perfoming Arts Sarajevo. When Sarajevo fell under siege,
he spent two years on the frontline filming for the army. The material that Tanovic´ and his colleagues
produced on these dangerous missions has been seen in many films and news reports
about the Bosnian war. In 1994, Tanovic´ emigrated to Belgium to continue his film studies at
INSAS film school and he began making shorts and documentaries.
In 2005, Tanovic´ made the French-language feature HELL (L´ENFER), from a script co-written
by the late Krzysztof Kieslowski. The film starred many of France's finest actors, including Emmanuelle
Beart, Guillaume Canet, Jacques Gamblin, Carole Bouquet and Jean Rochefort.
Emraan Hashmi - Ayan
Geetanjali - Zainab
Danny Huston - Alex
Khalid Abdalla -Nadeem
Adil Hussain - Bilal
Satyadeep Misra - Faiz
Maryam D'Abo - Maggie
Heino Ferch - Michael
Sam Reid - Frank
Vinod Nagpal - Mustafa
Supriya Pathak - Ayan's Mother
Director Danis Tanović
Screenplay Danis Tanović, Andy Paterson
Music Composer Pritam
Director of Photography Erol Zubcevic
Editor Prerna Saigal
Sound Designer Anthony B. J. Ruban
Costume Designer Niharika Khan
Production Designer Rachna Rastogi, K.K. Murlidharan
Casting Seher Latif, CSA
Line Producer Vishal Bajaj
Make Up Serina Tixeira
Format: DCP / 2.35:1 / Color / Dolby 5.1
Length: 90 min.
Original Language: English, Urdu


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