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If you listen to someone who's living is derived from "brand X's" sales (or they wish it was), you can easily recognize it. GraemeF is good example of someone who will tell you everyone else sucks, but my stuff is the best. If you take advice about gear on this forum, don't take it from someone who is affiliated with a particular brand and holds this attitude.
Honest reps of a particular brand will tell you about the shortcomings of a particular model that they sell. Extremely honest reps will even recommend another brand if they do not feel your needs are met by that brands offerings. But that would be like finding a unicorn. And this advice really only applies to someone who has already developed their style on different kites.
What the honest posters here are telling you is that going for one of the overpriced brands is not going to make you a better kiter.
My advice to is:
As you are just hitting your intermediate stages in kiting, maybe go for what the good AND friendly kiters at your local spots are using. This can make it easier for them to give you advice on how to execute tricks as they will have near identical gear. If that means paying a little more, and you can afford it, do it.
If there are lots of different makes and models of kites at your local beach, make a careful choice. Only dump lots of money into a premium brand if it helps you feel better about yourself. That is a pretty lame reason, but it can have a real psychological effect on you and possibly even improve your riding. If you feel good about having really expensive stuff, at least you are feeling good about something.
The biggest considerations for you should be:
1. Availability - GraemeF has previously stated that Core is not always available as their business model is to under-supply the market to keep prices up.
2. Suitability - If you are leaning toward wave, go with a kite with at least some wave capabilities, same for freestyle, or wakestyle.
3. Track Record/warranty - Have the previous years models had issues? or is the company known for giving riders the cold shoulder on warranty claims?

subset: commoncrawl


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George O'Neill, owner of the restaurant at 64-21 53rd Dr., watched from across the street as the fire charred everything in his store back in May 2011.
"When I tell you everything burned, not one piece of paper did we have," he said, recalling the two-day-long fire.
As the restaurant is currently undergoing a relentless rebuilding process for the building's revitalized design, O'Neill says they are preparing to open their doors at 3 p.m. on Flag Day.
"What I'd like people to do is bring in an American flag with them," he mentioned.
The restaurant will have a new catering room for large parties up to roughly 225 people, the dining room is expected to seat around 100 and the remodeled bar area will house around 100 guests.
He also says there are plans to provide rooftop seating in the future, as soon as he gets approval from the city.
But for all the changes, loyal customers and neighbors can expect the same community involvement that has characterized O'Neill's throughout it's history.
Looking toward the grand re-opening, O'Neill said the Fire Department is expected to present the flag that was burned during the fire on the flagpole out front. Hall of Fame sports celebrities like Brian Leech are also anticipated to join in the reopening celebrations and resign some of the sports memorabilia that was lost in the fire.
"A lot of athletes jersey's that were signed in here were burned from guys like Michael Jordan, my son-in-law is Brian Leech, and he'll be here," he said. "I'm hoping to get Derek Jeter here, too."
Today, O'Neill sits outside of his deeply rooted family establishment, antsy and with a childlike hysteria in his eyes as he watches the workers putting his restaurant back together, piece-by-piece. The new sign is already proudly mounted atop the front entrance.
"There was a grocery store, a refrigeration store over there," O'Neill said, pointing around the block, remembering when he first opened the doors in 1960. "There was a newspaper store over there, a bakery store over here and I just kept knocking the wall down to build O'Neill's, the restaurant."


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Nature Notes: Wildflowers in Their Glory
Only two more weeks to enjoy the wildflowers. Unlike most parts of the country where the spring and summer blooms are the brightest, most colorful, and most abundant, Long Island's best wildflower season is in the first month of fall. California and Oregon, for example, have only a few species of asters, while Long Island has many. Though those two states have their share of goldenrods, they are few and far between, whereas on Long Island you often find four or five species blooming in close proximity.
The best place to view them now, either through the windshield or while leisurely bicycling or walking, is along the edges of the woods, in grasslands and old fields, along coastal strands and, would you believe it, in salt marshes and along swamps and fresh marsh edges. Just about any roadside on the South Fork sports a few native wildflowers in bloom at this time, but you may have a hard time telling the natives from the aliens.
It's also a good time to view the colorful fall grasses. The native purple lovegrass is dominating the medians and shoulders of the Sunrise Highway and the Long Island Expressway. It's the most widespread expression of it since I started mapping the wildflowers along Long Island roads 31 years ago. Little bluestem is golden tan to purplish at this time and stands out nicely against the sea of purple occupied by the lovegrass. Incidentally, the lovegrass is the closest thing we have to western tumbleweeds. When the seeds are ripe, it doesn't take much of a wind to send the plants on their way, bouncing up and down as they move along. That could be why they had become so ubiquitous by the end of the last decade.
Right now the largest patches of the white orchid, nodding ladies' tresses, on eastern Long Island are to be seen on the sloping south shoulders of the Montauk State Parkwway that runs through Hither Woods. If you are driving, you might have to stop your car and get out to take a look. In past years, the state highway mowers would mow them just before they started to bloom, but not this year. We wonder if it has to do with the New York State Park's oversight or budgetary problems. Come to think of it, the latter reason could account for the wonderful purple lovegrass veldts, as well.
Go to any shore, ocean or bay, or even upper salt marshes for that matter, and you can't miss the dazzling yellows of the seaside goldenrod, Solidago sempervirens. It may be the most common goldenrod species in the state, given that we have a thousand miles or more of coastline. This species has as its neighbors American beachgrass and the blue-flowered beach pea, which plucks its nutrients out of the damp air that regularly sweeps over the shores and beaches, especially at night.
On the low duney strand best seen from Cranberry Hole Road in Promised Land, you will find many gray goldenrods in flower. Its stalks are never quite erect and its foliage is almost as gray as that of dusty miller. In the red cedar old fields scattered here and there look for tall goldenrod rising to four feet or more. These three aforementioned goldenrods have flowers ranged in a thyrse at the top of the stem. The blue-stemmed goldenrod found along Swamp Road and other roads in the Northwest part of East Hampton has the golden flowers scattered along the stem, halfway up to the top.
Two other goldenrods in a different genus to be found in damp places such as dune slacks and wet depressions out in the open are the slender fragrant goldenrod and the taller lance-leaved goldenrod. The flowers in these two are in a flattish array expanded laterally from the top of the stem. The slender one's leaves smell like licorice when crushed, thus the colloquial name "fragrant." Look for two silvery-whitish pearly and/or sweet everlastings. They used to be picked and sold on the streets of New York City for flower arrangements. They have a nutmeggy smell and last almost forever.
We have more than enough asters in flower now. In my mind, the prettiest of the blue-flowered ones is the New England aster, which is sometimes prolific along Dunemere Road in the Village of East Hampton proximal to the Maidstone Club Golf Course. The blue-flowered New York aster is common in brackish and fresh marsh situations, while the white wood aster is found along the shady edges of woodlands such as Old Stone Highway and Stony Hill Road in Amagansett. On Landing Lane in Springs and here and there on the wetter edges of Old Stone Highway you can find the tallish flat-topped aster, which blooms white.
In our high salt marshes, the salt marsh hay zones per se, there are two salt marsh asters, both of which are quite rare in the state but common on the South Fork. Some have whitish flowers; most have bluish flowers. A diminutive plant with violet fl owers often grows along with them and with the greenish pickleweeds. It's the salt marsh gerardia, a close cousin of the federally endangered sandplain gerardia that grows in Shadmoor State Park and a few other Montauk spots.
The white-flowered heath aster is common along the edges of Cranberry Hole Road and of Daniel's Hole Road in Wainscott. You are liable to find the grass-leaved aster growing beside it, and if you are very lucky, to see a New England blazing star, not an aster, blazing away purple-like nearby. It's a state rarity. A ground-hugging variety of the heath aster is spotty along the tops of Montauk's ocean bluffs. It makes a very nice groundcover that blooms blue at this time of year.
Along weedy hedgerows and overgrown shoulders (such as Indian Wells Highway in Amagansett), look for one of the South Fork's most common and tallest asters, and the one with the most widely spreading flower-laden branches, the panicled aster. If you look closely, you might find another white-flowering but more diminutive aster, the calico aster, growing beside it.
A tall bushy-topped plant with abundant white flowers that used to be rare, it has suddenly become quite common. It's the white snakeroot and it's peaking now along damp swales, open or shaded, such as the one on the east side of Springy Banks Road just south of Wigwam.
One of the great local places to see many different asters and many different goldenrods blooming together along with gerardias and blue-stem grasses is the East Hampton Airport. The grasslands bordering the runways are now covered with a fine blend of native fall flowers.
In my own yard I have many different asters and several goldenrods. They are not favorites of the deer and generally survive through the summer in good fashion to bloom in September and beyond. That could be a reason why our asters and goldenrods (and possibly the white snakeroot) are so common at this time of year. The deer have spared them for our enjoyment and feasted on the more bourgeois flowering plants growing in most of our gardens.
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Finally in Mulberry Town, May learns that this is the last contest before the Grand Festival! May becomes nervous and begins to doubt herself, but this is quickly put to rest when Harley shows up bragging about his five ribbons. Harley finds Team Rocket outside planning Jessie's contest strategy. Harley decides to help Jessie, but only so May won't make it to the Grand Festival. He gives her Cacturne and Banette to use. As the appeals get underway, Jessie takes an early lead, but thanks to James, Meowth, and Harley's Ariados, May and Combusken are starting to slip up. Will May be able to pass the appeals and get to the second round.


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The last-place team in the AFC North is going after two of the top defensive players from the first-place team in the AFC North.
The Browns have already contacted the agents for Ravens linebackers Dannell Ellerbe and Paul Kruger, the Cleveland Plain Dealer reports. Cleveland appears ready to make formal contract offers to the two Ravens as soon as free agency starts on Tuesday afternoon.
Kruger appears to be a strong candidate to end up in Cleveland. The Browns are in hot pursuit, and the Ravens seem to have already resigned themselves to the fact that they don't have enough salary cap space to keep him.
Ellerbe, however, still seems to have a decent chance of staying in Baltimore. Once the Ravens worked out a long-term deal with Joe Flacco, Ellerbe became their top target to keep in free agency. If they want to keep him, they may need to out-bid the Browns.


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How will the fiscal cliff talks end? Will the leaders reach a last-minute deal, saving the economy from disaster, like a script of a typical television drama?
Spoiler alert: We could already be in a recession. This is not the conventional wisdom. The common narrative goes some like talks look ugly, but in the end things will get resolved either before Jan. 1 or later in the month and the economy gets a new lease on life. See MarketWatch's fiscal-cliff page.
The recession signal is being sent from the latest U.S. current account deficit report released earlier Tuesday.
According to the data, imports are now down two months in a row having fallen 8.4% in the third quarter and 2% in the prior quarter. This is a rare event and has definitely raises the recessionary "red flag," according to Robert Brusca, chief economist at FAO Economics. When the economy weakens, imports weaken rather quickly, Brusca notes.
The last time imports declined for two quarters was in 2009, the end of a four-quarter slide in imports during the Great Recession.
Fewer imports is a sign that domestic demand is faltering. A recession is "a real risk," Brusca said.
It is definitely not a great economic environment for the austerity that is coming next year, regardless of the outcome of the fiscal-cliff negotiations.
Brusca suggest congressional Republicans and the White House make a small deal to avoid the fiscal cliff and put off major deficit reduction until the economic outlook clears up.
"Now is not the time to take easy tax breaks, like the deduction of mortgage interest, that is driving the economy," he said. "If you don't think this is a risky situation, you are just not using your head."
-- Greg Robb
Follow The Tell on Twitter @thetellblog
Follow Greg @grobb2000


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Fresh paint on the cement wall of an industrial warehouse space across from Handsome Coffee Roasters reveals two sides of Los Angeles' downtown Arts District. Graffiti tags cover one half of the wall; the other has just been coated with glossy red paint and towering gold letters: RISKR … with more letters to come.
On a rickety green ladder, wearing his sponsor's blue Osiris sneakers, the artist RISK dispenses another elaborate swoosh of gold paint with his spray can. Once a street tagger, RISK, born Kelly Graval, was one of five L.A. graffiti artists featured in MOCA's 2011 "Art in the Streets" show and has fans all over the world. The braid in his bib-length beard flips in the wind as he works.
Across the street, leaning against a steel-gray wall, as if it were a stoop in Brooklyn, a group of heavily tattooed men smoke cigarettes and watch the action. But it's the man standing in the shadows of the wall who has their attention.
"Hey, it's the Mayor" says one of them, pointing to a slight, fresh-faced figure in rolled-up jeans and tousled brown hair. "Seriously, the wall Mayor!"
Shying away from the attention, Daniel Lahoda walks past the men. "I don't know what I am," he says quietly. "People call me a lot of things."
Looking younger than his 35 years, Lahoda could easily be one of the neighborhood's art students. He's actually the owner of the nearby LALA Gallery, which showcases prints and original paintings by street artists.
He's also known to many as "the guy who gets the walls" for artists. Through his LA Freewalls project, Lahoda brokers deals between businesses and street artists, offering building owners new murals to cover up unwanted graffiti and securing wall canvases for artists.
The project has resulted in more than 120 new murals, mostly in downtown L.A.'s Arts District, by some of the world's leading street artists, among them Shepard Fairey, French artist JR and SEEN.
But in the tightly knit street art world, Lahoda is a deeply controversial figure. Just the mention of his name may prompt spontaneous outpourings of praise or abrupt phone disconnects.
This duality has created something of a mystique around Lahoda, who is not an artist himself, but who has carved out a niche as a renegade art entrepreneur helping to proliferate — and profit from — the uninstitutionalized, territorial and often chaotic world of street art.
Some view Lahoda as a passionate art activist helping street artists spread their messages while also supporting the business community.
"He's turned the neighborhood into a museum without walls that draws tourists from all over the world," says Estela Lopez, executive director of Central City East Assn., an advocacy group for downtown business owners. "Murals have always been here, but not of this scope. Daniel created an infrastructure to put the Arts District on the map."
Others, however, point to an LAPD crime alert seeking information about Lahoda. Easily found on the LAPD's website, the alert cites complaints about "allegations of art ordered and paid for but never delivered" and "taking art on consignment and diverting the art and money obtained for his own use."
LAPD Det. Don Hrycyk, who posted the alert, says he's received complaints from as far away as Japan, Sweden, Brazil and England regarding Lahoda's online businesses — JetSet Graffiti and Lahoda Fine Arts.
The Better Business Bureau of Los Angeles has one Lahoda-related complaint on file from the last three years; no complaints have been made about LALA Gallery, JetSet Graffiti or Lahoda Fine Arts over the last year.
"Lahoda wants to project the image of being a champion for the underdog and graffiti artists and freedom for certain kinds of art," Hrycyk says. "But we've had complaint after complaint about his business practices — and by some of the same artists that he claims to champion."
Lahoda insists the allegations against him are false. He adds that comments about him online — including a letter on a graffiti forum from L.A. artist SABER, who painted an L.A. Freewalls mural in 2010 — are from competing businesses and artists with whom he has had personal conflicts. "Graffiti politics," he says.
"It's hurt my business and been really painful," Lahoda says of the crime alert, which has been online since 2009. "I haven't been arrested or charged with any of these things. Where's my day in court? I don't want to sue the city [over the alert] — I'd rather put my money into beautifying it."
Struggling for legitimacy and ensconced in contention, Lahoda mirrors multiple aspects of the street art subculture. His is a new business model in which deals are made on the fly and visibility is a currency. But it's a pliable model and often misunderstood, not unlike the nuances of street art itself, where the lines between criminal behavior, political activism and fine art often blur.
Even Lahoda's own description of his job, which defies categorization, speaks to the growing mainstreaming and commercialization of public art.
"I'm part curator, part location scout, part producer, part art dealer," Lahoda says. "You can call me a lot of different things. You can call me a complete scoundrel — some do."
One might add agent or power broker to that list. Lahoda is a gatekeeper, not only working with established artists, but getting exposure and walls as canvases for new talent.
Murals have the power to elevate artists' profiles, which, in turn, can raise the price tag on their print sales online and in galleries. The murals Lahoda initiates don't carry his name or gallery logo, lest they be considered advertising, not art. But Lahoda's LALA Gallery represents many of the artists who paint the walls he acquires, so their exposure translates into gallery sales for him — money that at least partly goes back into creating more murals, he says.
"He's a mystery, like a noir art curator," says mural expert and blogger Ed Fuentes. "He rolled into town, a man with a past."
Lahoda grew up in Vestal, N.Y., where his mother was a nurse and his father worked for IBM. He's been interested in art since college at Goddard, where he majored in art history and anthropology.
After college, Lahoda worked as curator at a Boston gallery and at two Las Vegas-based print publishing companies. Then, in early 2008, he launched his own print publishing company, Lahoda Fine Arts, which licenses the work of street artists and sells limited print runs online. He moved to L.A. later that year, settling in the Arts District.
In December 2009, he started LA Freewalls, in part to fight the citywide ban on new murals that had been in place since 2003. He felt the more rogue "mural bombing" that was going on in the Arts District at the time — where artists painted on the run and many business owners operated in fear of their property being defaced — wasn't sustainable.
Instead, he sought to produce murals in a more organized fashion, with support from the community, though still operating outside city regulations.
"LA Freewalls stands against that code almost in a protest fashion" says Lahoda, who regularly attends City Council and city planning commission meetings to advocate for an ordinance that would lift the mural ban. "We're able to pull it off because we have widespread community support. But we're keeping it in the Arts District where people are tolerant. I wouldn't do this in Beverly Hills."
Warren Brand, of Culver City's Branded Arts, finds walls for Westside artists and says of Lahoda, "I have a lot of respect for Daniel — he's been doing it a lot longer than I have. I'm kinda the Westside street art curator, but I haven't done any in Downtown L.A. That's all Daniel."
One way Lahoda acquires walls is by going door to door, educating business owners about the merits of murals. They deter graffiti, he says, because taggers aren't likely to deface the work of artists they respect. He also points out that murals make buildings more visible and draw tenants.
Artists appreciate the public canvases; residents like the aesthetics.
Many of the walls come free and so do the artists. Lahoda handles logistics, such as contracts and equipment rentals, which most artists don't want to bother with. He also typically pays for paint and other supplies, a cost mitigated by his sponsor, the German company Montana Spray Paint, which aims to get its cans into the hands of well-known artists.
Fairey painted the first LA Freewalls mural; works by Ron English, RETNA, identical twins How and Nosm (Raoul and Davide Perre), and the Cyrcle collective followed. Lahoda opened LALA Gallery in mid-2012 to give the project a brick-and-mortar home.
Increasingly, corporations are using street art murals to brand their aesthetic, and some turn to Lahoda to find walls or artists. He organized two murals for Red Bull earlier this year on the side of San Francisco's Ian Ross Gallery, as part of its Ride + Style event.
In L.A., corporate murals most often appear on walls permitted for advertising. Lahoda comes up with a production budget so that the company can cover supplies, a location fee for the building owner (anywhere from $1,000 to $25,000 and higher) and something for himself. The artists are paid separate commissions, sometimes $5,000 or even $50,000, depending on the artists' experience and popularity.
Who owns the rights to public art and murals is an ongoing issue. One of How and Nosm's LA Freewalls murals, a collaboration with the married Dabs Myla team, was featured in a Chevrolet commercial that aired during this year's Grammys. The production company approached Lahoda for the rights to use the image on TV.
"He never even told us about it," Nosm says. "I should have been compensated, not him." (The production company eventually paid How and Nosm a licensing fee.)
"I didn't make any money off of the rights. I only made money off of brokering the deal," says Lahoda, who insists he gave the artists advance notice of the ad. "I was working in the interest of How and Nosm."
On another day, at another RISK mural, a wall roughly 6,000 square feet drips with purple and aqua paint. It's part of the artist's "Beautifully Destroyed" series, with counterparts in Miami, New York and London.
Across the street, Lahoda waits in line at a bustling coffee shop. His mirrored sunglasses and worn baseball cap are speckled with paint. He adjusts the collar of his gray sports jacket, a designer item that, more than anything, sums up his polarization of character.
"This jacket, it's reversible" Lahoda says, slipping it off, turning it inside out and repositioning the buttons before putting it back on. What was once sporty-looking is now slick and corporate. The quick transformation leaves him beaming. "I'm such a Gemini."
A helicopter roars overhead as RISK sprays geometric stencils onto the wall; a homeless woman pushes a rattling cart. The mural, now bathed in a luminescent, bluish haze, lends a distinctly playful vibe to the block.
RISK says he doesn't engage in business transactions with Lahoda — he sells his work through Corey Helford Gallery — but he's happy to paint Lahoda's walls for free.
"It's crazy that we have a city so rich in cultural art and murals and no one's painting because they're scared of the city," RISK says. "Daniel's ignoring the obstacles, he's doing it, and he's taking a lot of heat for it. He's rejuvenating the Arts District. As long as he provides walls, I'm gonna paint them."
"These murals," adds Lahoda, "they define us, they define the neighborhood."
And what defines Lahoda?
"I'd like to think I defy characterization, and that's what keeps me relevant," he says. "At the end of the day, I'm just someone who's passionate about the art."


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For security reasons, you are advised to keep your winning information confidential and private until your claim is processed and your money remitted to you in whatever manner you deem fit to claim the prize money and the toyota car your winning present.This is part of our precautionary and security measure to avoid double claiming and unwarranted abuse of this program.In other to claim your US$1,000,000.00 winning prize,which has been deposited in a designated bank by Toyota Motors Company Ltd and insured to Royal Insurance company with Insurance Number (FLS433/453L/GMSA)to make sure the winning prize US$1,000,000.00 and the Toyota car reaches you intact and complete. The toyota car shipping documents will be forwarded to you to claim ( A toyota car which is the winning present for second category winners) in any port of your choice,once your winning amount US$1,000,000.00 proceessed and transfer to you. However,you have to fill the form below,together with the name of the port where your winning present a toyota car should be ship to and send it to the online promotion manager of THE TOYOTA MOTOR CORPORATION for verification and then you will be directed to the payee bank where the sum of US$1,000,000.00 has already been deposited in your favor under your email address. FILL THE FORM BELOW; NAME:..................................... AGE:........................................ SEX:........................................ ADDRESS:(RESIDENT ADDRESSONLY)............................... YOUR OTHER EMAIL:.................................... PHONE:................................... OCCUPATION:......................... AMOUNT WON........................ COUNTRY:............................... NAME AND ADDRESS OF THE PORT FOR SHIPMENT OF YOUR WINNING CAR ...................... SHORT COMMENT ON OUR PRODUCTS ............................................. Please you are adviced to complete the form and send it immediately to our Promotion manager through email for prompt collection of your fund (CONTACT PROMOTION MANAGER) TOYOTA MOTORS FOREIGN SERVICES MANAGER NAME: Dr.Lang wang EMAIL:email@example.com WARNING !! You are to keep all the winning information away from the general public especially your ticket number and ballot number.(this is important as a case of double claiming will not be entertained) Staff of Toyota Motor Company and the Japanese International Lottery Company are not to partake in this Lottery. Accept my hearty congratulations once again! for being selected among the 20 lucky winners . Yours faithfully, MRS.LINDA XAIN (V.P FINANCE) TOYOTA MOTORS CORPORATION LTD. www.Toyota.com.cn
What Is This?This Email with the Subject "Your email was selection by machine (TOPAZ) from a database" was received in one of Scamdex's honeypot email accounts on Sun, 12 Sep 2010 08:31:49 -0700 and has been classified as a Generic Scam Email. The sender shows as "TOYOTA COMPANY CHINA BRANCH"<email@example.com>, although that address was probably spoofed. We recommend that you do not attempt to contact any persons or organizations referenced in this email, as you may expose yourself to scammers and, at the very least, you will be added to their email address lists for spam purposes.


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Our goal is to get your item to you as quickly as possible! All orders are processed for shipping at the time of completion. All in stock items typically ship within the time noted next to "Shipping:" on this products page.Save money by selecting the Free Shipping option at checkout! Other shipping methods are available if you need your item more quickly.Shipping outside the USA? Simply add your item to your shopping cart and use the "International Checkout" button at the bottom of your shopping cart page. Find more information about International Shipping by visiting our "International Checkout" Information page.
This product carries a 90-Day limited warranty from the date of purchase against manufacturer defects in material and craftsmanship, subject to normal use. Please contact our Customer Service department at 877-745-6237 for assistance with warranty questions or claims.


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South Dakota Highway Patrol Announces June Checkpoints
The South Dakota Department of Public Safety has announced a list of a dozen counties where the Highway Patrol will conduct sobriety checkpoints in June.
As usual, the general Sioux Falls area will be one spot where troopers will be paying special attention.
In addition to Lincoln County, the Patrol will hold checkpoints in Beadle, Brown, Codington, Davison, Day, Edmunds, Gregory, Hughes, Kingsbury, Lake and Yankton counties.
You have been warned. Now drive accordingly.


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Papier Wallpaper. Pine
PRICING: $72 per lineal metre /
$5 per sample. (AUD)
HORIZONTAL REPEAT: Available in panels A-B: 2x71cm wide = 142cm
$5 per sample. (AUD)
HORIZONTAL REPEAT: Available in panels A-B: 2x71cm wide = 142cm
PATTERN MATCH: Straight match
A part of the Fourth Collection.
Our beautiful wallpaper is printed locally in Australia using our unique hand-artworked designs. The smooth and matte 350gsm paper is made from 30% recycled and 70% renewable resources.
All orders are printed to your measurements. Wallpaper is available by the lineal metre or 10 metre roll. Please email firstname.lastname@example.com for a quote and lead-time estimate. Include your wall measurements (width x height) and if you would like your drops cut-to-length, sing out and we will quote accordingly. If you do not hear back within a few days please check your junk email folder.
Visit our wallpaper specifications page for in depth information on the paper that we use, as well as how to install and care for it.
We offer $20 flat rate shipping within Australia. For our international customers, please include your address and wall measurements when requesting a quote and we will include relevant shipping costs for your order quantity and location. There is no postage cost for all sample orders worldwide.
or make 4 interest-free payments of $1.25 AUD fortnightly with More info


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Everyone knows that Detroit is screwed six ways from Saturday, but that doesn't mean you can't still be shocked. For example, abandoned buildings with plants growing in them are shocking no matter what. And learning that the median home price is $7,500, according to this Chicago Tribune article, is still pretty eye-popping. To put that in perspective, it's the same amount that AIG lost every second of the day in Q4.
We're curious, can you even get a mortgage for a house like that? Could Clusterstock go there, put $1,500 down, and stretch the remaining $6,000 over the course of a 30-year loan? Cause if so, that's a pretty good time horizon for the city's eventual turnaround as a green tech mecca.
Other amusing tid-bits in the article include the various candidates for mayor and their ideas to fix the city. They include: "Bulldoze large parts of the city and turn them into windfarms", "grow your own food", and the best one: "procreate like there's no tomorrow."
*Disclosure: The author was born in Detroit and hopes to see the city turn around.


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Follow RFF News on your cell phone. Text follow rff to 40404 you will receive txt messages with RFF News
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^^^ woohoo 1 hour of silence from wills mouth, lol!
Quote from: HurricaneHowieWood on August 09, 2006, 08:58:57 PM^^^ woohoo 1 hour of silence from wills mouth, lol!I'll believe it when I hear it.
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This is how our solution will help you to implement Inbound Marketing
To use your website effectively to capture leads, you'll need to connect Content Management and CRM data. Using DirectSmile there's no need for extensive database programming to reach this goal. That's because all layouts, content and data are managed on just one system that automatically synchronizes with your CRM.
DirectSmile allows you to simply qualify each visitor of your website. You will track all activities of a lead on your site and how often he's performing a certain action and thus create his individual score. You're free to define the value of an activity and how you would like to react if a certain score is reached.
Decide which follow-up activity for which leads is triggered at which moment. Our Campaign Manager lets you set-up automated time-based sending of any media just by a few mouse-clicks. That's how you will supply any lead with the right messages to ensure he won't get lost during the decision-making period.
In many countries, universities are faced with the task of actively recruiting new students. Our university demo-website shows effective mechanisms that help to address potential students individually through the web.
A big challenge in Facebook marketing is to get leads out of Facebook and into your database. The only solution is to create a Facebook app and supply the audience with some entertainment - Then you will get access to the users' data.


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1Shade Style
2Shade Color:
Current Selections
By carefully blowing glass and allowing air bubbles to appear only in certain areas, the artisans at Hennepin Made have created beautiful, modern pendants with unique texture. It takes skill and practice to make these functional works of art.See the full Abra collection
Hennepin Made was started by long-time friends who first met at the University of Wisconsin-River Falls as instructor and student in a glassblowing course. Artists at the Minneapolis workshop draw on traditional techniques to craft hand-blown accents that blur the line between everyday object and modern art.
Details of Abra Globe Pendant
Product Details
- Dimensions: 8" diameter 7"h
- Ceiling Plate Dimensions: 5" diameter 1"h
- Bulb: included
- Recommended/Replacement: R&B T10 dimmable LED bulb (40w comparable) Shop this item
- Maximum Wattage: 60W
- Cord Detail: 8'; black plastic
- Dimmable: yes
- 3-way: no
- Installation: hardwire only; professional installation recommended
- UL/ETL Listed: yes;
- Type: primary; accent
- Considerations: dimensions may vary
- Product Origin: made in Minnesota
- Material Origin: United States and imported
- Item Number: 363594
- See all photos
Material Details
- Shade: glass
- Color: smoke
- Shade: glass
- Color: smoke
- Colors may vary depending on your monitor and printer. For color accuracy, request a swatch.
Receive unlimited items for only $99 within 100 miles of our stores or $139 anywhere else in the contiguous United States. Plus enjoy free UPS shipping on hundreds of select items. Learn more: www.roomandboard.com/delivery
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Exceptional Service, Start to Finish
We treat you the way we would like to be treated, from shopping and ordering to delivery and long-term service.
American craftsmanship
More than 90% of our products are manufactured in America using quality U.S. and imported materials. Working with family-owned companies around the country allows us to bring you the best craftsmanship and fastest delivery with the least environmental impact. It also means you get furniture with a story you'll be proud to share.
Free design services
Our Design Associates put their product expertise and passion for home design into helping you create a functional and inspiring space. Their design help is always available to you for free.
The best price every day
We work directly with our manufacturing partners to bring you the best quality at the lowest possible price, every day. Our prices are guaranteed for the calendar year so there's no need to rush—or any reason to wait—to buy what you love.
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Receive unlimited items for $99 within 100 miles of our stores or $139 anywhere else in the contiguous United States. Small home decor items ship for free via UPS.
Full-Service Delivery
Our respectful Delivery Associates take care of every detail. Furniture arrives fully assembled and is placed exactly where you want it with no packaging left behind.
Free Returns and Exchanges
We offer free return or exchange delivery service on any item you buy from us. We understand that it can take a few days to a few weeks to determine if your new furniture will work for you. We encourage you to make a return or exchange in a timely manner because damaged, worn or altered items may be refused or result in an adjustment to your refund.
Our Guarantee
We stand behind the quality of our products and the prices we charge. If you're not satisfied with your purchase or any part of your experience, just let us know. We're here to help.


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Website: https://students.wlu.ca/academics/exams/index.html
The university shall conduct a final examination period in each academic session for undergraduate students. Individual instructors through their academic units will determine evaluation methods for particular courses and if a final examination will be required. End of course evaluation methods may take a variety of forms, including oral presentations, take-home examinations, major assignments and proctored examinations. Individual instructors through their academic units will determine what percent of course evaluation will be based on proctored examinations and other forms of evaluation.
Examinations are randomly scheduled and students registered in evening sections may be required to write final examinations during the day. Students are strongly urged not to make any commitments (i.e., vacation) during the examination period. Students are required to be available for examinations during the examination periods of all terms in which they register. Students who register in courses from more than one academic institution are responsible for any examination conflicts generated by their actions. The university attempts, as much as possible, to keep one day a week free during the final examination period.
Students are normally not required to complete more than two final examinations in a 24 hour period. In order to receive relief under this rule, the third "offending" examination must start and finish within 24 hours of the beginning of the first examination. For example, students will not receive relief under this regulation when their examinations begin at, 9:00 am and 2:00 pm on one day, and 9:00 am on the following day. To receive relief under this regulation students must notify their dean's office at least three business days before the beginning of the first of the three problematic examinations. The university reserves the right to select which examination is to be deferred.
Final examinations take place at the end of every term. Candidates are expected to fulfill this obligation in an honest manner.
As an academic institution, the university's credibility depends upon the integrity of the examination process. With this in mind, the following are a set of rules to guide candidates:
Attendance and Identification
Examination Process
Materials and Aids
Expected Conduct and Sanctions
University Closure and the Examination Period
Normally, work such as assignments or tests, due in the last week of classes will be made known to a class at the beginning of the term. In no case, after the first half of the term, shall the assignment of such work first be made known to a class. To ensure that the workload of students is not unreasonable in the last week of classes, the university sets the following limits for the final week of regularly scheduled classes of each term:
The Challenge-for-Credit procedure is for a student who has obtained knowledge of the subject matter of a course in a manner that does not permit advanced standing credit either by transfer or validating examination. Credit can be granted only for those courses specifically designated as "Challenge-for-Credit" in the course description. Regulations that apply to Challenge-for-Credit are available from the applicable department or the Office of Enrolment Services. The course tuition fee applies.
A notation will appear on the student's transcript (refer to previous Grading System section).
Final examinations for any course cannot be deferred more than twice. Students may receive a maximum of five exam deferrals during the completion of their degree.
Students with disabilities requiring special arrangements to write examinations should contact the Accessible Learning Centre, ext. 3086, at the beginning of the term. Reference the Accessible Learning Centre and the Policy for Academic Accommodation of Undergraduate Students with Disabilities.
The university acknowledges that, due to the pluralistic nature of the university community, some students may on religious grounds require alternative times to write examinations and tests. Accordingly, a student who requires an alternative examination or test time on religious grounds should provide a written self-declaration to the secretary of the faculty petitions committee which will be kept on file. Deferred examination requests must be submitted to the faculty petitions committee with appropriate documentation. Such a request should be made within one week of the announcement of the test or examination date.
A special examination is any examination, granted by the petitions committee, other than a final or deferred examination. Application for consideration must be made to the registrar within 30 days of the date of the release of final examination results. For the appropriate procedures, refer to the Academic Petitions section of this chapter. The fee is not refundable. Students should note that if they write more than one examination in any course, the last mark obtained shall be the only one considered valid.
A validating examination is a special examination, which is required of a student requesting advanced standing in a course not beyond the 100 level. The course may have been completed at a post-secondary institution of less than university status, which in Canada or the United States is neither a member nor an affiliate of a member of the Association of Universities and Colleges of Canada or the American Association of Universities and Colleges. Such examinations must be completed within one year of the date of admission to Wilfrid Laurier University. A final examination may be used as a validating examination.
To write a validating examination, the student must make application to the Office of Enrolment Services as well as receive permission from the department concerned. A fee is charged and is not refundable. Students admitted to the Faculty of Music will be governed by the statement on Validating Examinations in the Faculty of Music chapter.
In exceptional circumstances, students may be eligible to be exempted from writing the final examination in a course. Students should apply to their instructor as soon as the relevant circumstances are known. This should be done before the examination time, after consulting the specific aegrotat policies and procedures in the particular faculty or department involved. Students are eligible to be considered for aegrotat standing only if (a) a special situation warrants it and (b) if a sufficient amount of required term work has been completed satisfactorily as determined by the faculty or department. Notification of the aegrotat grade(s) must be given to the Office of Enrolment Services - Records Department.
Academic & Related Dates 2017/2018
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Linkin Park Members Peddling Flyers to Promote Sunset Strip Music Festival Appearance
Linkin Park are a big enough band that most large avenues of promotion are available to them, but there was a time in their life when they had to hustle just to get people to shows. In August, the band will headline the Sunset Strip Music Festival in Los Angeles and they decided to test out one of their old school promotional avenues by passing out flyers for the upcoming event.
In a newly created video, co-vocalist Mike Shinoda, guitarist Brad Delson and bassist Dave "Phoenix" Farrell decided to experiment by coming up with flyers for Hybrid Theory, which was the name of the band prior to Linkin Park and also the title of their debut album, and passing them out to passers-by in hopes of getting them to attend the festival.
Shinoda says, "The idea is not to go out and pretend that we're not Linkin Park. The idea is to go down with flyers and just do what we would have done [in the beginning]."
The three Linkin Park members focused on targeting the Sunset Strip and the campus of UCLA, but they did have a few humorous minor issues along the way. Delson got off to a rough start cutting the four different flyers at the copy shop, they forgot to mention the term "all-ages" so as not to exclude anyone, and eventually the experiment became a competition between Shinoda and Delson.
Linkin Park will headline the Sunset Strip Music Festival Street Fest on Aug. 3. For more details about this year's event, check here.


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I decided to do a little performance testing on some common SSIS "Tricks" that increase speed and effectiveness of SSIS packages. I wanted to define to what extent just one simple change could make to a package.
So in this test I decided to show the difference in using a staging table vs. using the OLE DB Command in a SSIS package that uses a change data capture technique. Many people have the impression that landing data in a staging table is bad for some reason, but in almost all cases I have found that it's worth using a staging table for your changed data vs. using the OLE DB Command to update your data. Once you've landed your data in a staging table simply us a Execute SQL Task to update the destination table and truncate the staging table after the update completes.
Sounds like your doing essentially the same thing doesn't it? Well, yes and no. The end result is the same but the speed at which it gets there drastically different. I updated 74,575 rows and here is the performance difference.
00:00:11.887 with staging table
02:02:30.393 with OLE DB Command
So, 12 seconds using a staging table and a little more than 2 hours with the OLE DB Command! I couldn't believe that simple change made that much of a difference. So I ran them both again and got essentially the same result.
Here's the reason why. The OLE DB Command runs insert, update or delete statements for each row, while the Execute SQL Task does a Bulk Insert in this instance. That means every single row that goes through your package would have an insert statement run when it gets to an OLE DB Command.
So if you know you are dealing with more than just a couple hundred rows per run then I would highly suggest using a staging table vs. the OLE DB Command.


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Hi everyone, hope the holidays are finding you stress free, or with less stress than usual. In January I will be starting a Quilt Along and I would love for you all to join me. The information is posted below:
Quilt Along to start in January:Each week there is a choice of 2 blocks, one easy and one more challenging.
Friday January 4, 2013
8:30 - 9:30 PM in the chat room
We meet in the chatroom between 8:30 - 9:30 to chat and discuss the blocks we are working on, answer any questions or to help those who need some help.
Every 3rd week is a catch up week for those who may have gotten too busy to do their blocks.
Pictures will be posted each week of the members finished block and at the end of the Quilt Along a picture of the finished top
Members who are involved will vote on what blocks we work on every 3rd week for the following 2 weeks.
Nothing other than information and friendship will be exchanged..
This weekend I will be posting a list of the blocks that we will be working on. If anyone has any suggestions for a block or any questions feel free to drop me a line.
Looking forward to chatting and quilting with everyone who joins..
Rosie the Wyldwytch


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Monday, June 11, 2012
Winslow Homer, Thomas Moran, Wayne Thiebaud, Philip Guston - Graphic Masters: Highlights from the Smithsonian American Art Museum
"Graphic Masters: Highlights from the Smithsonian American Art Museum," a traveling exhibition opened Sept. 13, 2003 at the Heckscher Museum of Art in Huntington, N.Y. It celebrated the extraordinary variety and accomplishment of American artists' works on paper. These 75 exceptional watercolors, pastels, and drawings from the 1860s through the 1990s revealed the central importance of works on paper for American artists, both as studies for creations in other media and as finished works of art.
Artists included in this exhibition ranged from 19th-century masters such as Winslow Homer, John La Farge and Thomas Moran to modern virtuosos of color such as William H. Johnson and Stuart Davis to contemporary artists Wayne Thiebaud, Jennifer Bartlett and April Gornik.
A variety of materials and techniques were featured in the exhibition. "Graphic Masters" includes bold designs for stage settings, book illustrations, studies for paintings and spontaneous creations that reveal the artist's thought processes and working methods. The medium of drawing often reveals greater experimentation than an artist's more formal work, since it is considered a freer and more intimate form of expression. Pastels allow artists to draw directly in color, blurring traditional distinctions between drawing and painting. Watercolor has been a favorite medium for capturing the light and color of nature. Even as works on paper became larger and more finished, competing in scale with easel paintings, they retain a sense of the artist' s hand, the immediacy of a thought made visible.
Thomas Wilmer Dewing's meticulous portrait "Walt Whitman" (1875), on view in the exhibition, gives a sense of the famous poet's likeness and his character. Dewing began this drawing with faint pencil lines, and proceeded to model the features with delicate, cross-hatched chalk lines, which he then smoothed and smudged so that the individual lines seem to disappear. Highlights of white chalk throughout the face enliven the image. When this drawing was exhibited in Boston in 1875, critics singled it out for its excellent technique.
Thomas Moran, well known for his sweeping landscapes of the American West, accompanied a survey party to Yellowstone in 1872. The survey group traveled on horseback, and Moran often only had time to capture his impressions of a site in a black-and-white sketch. When they returned to Thomascamp, he would add a small amount of color to his sketches.
The highly finished and detailed watercolor "Above Tower Falls, Yellowstone" (1872) was probably created back in Moran's studio, based on his numerous field sketches. Shin-Au-Av-Tu-Weap (God Land), Cañon of the Colorado. Utah Territory" (about 1873) was completed in Moran's studio, also using his sketches of the scene and photographs.
Despite its modest size, John La Farge's "Water Lily in Sunlight" (about 1883) takes advantage of the fluidity of the watercolor medium to suggest, rather than describe, the subtleties of nature. The artful asymmetry of the composition recalls Japanese design, as does the bird's-eye perspective on the subject.
In the watercolor "Bear Hunting, Prospect Rock" (1892), Winslow Homer presents man as an essential part of nature, neither overwhelmed by its grandeur, nor fully in control of the wilderness. Homer began painting Adirondack subjects in 1870 and returned to them intermittently over four decades. The figures in this work are modeled on guides from the North Woods Club where Homer spent much of his time. Prospect Rock, located less than a quarter of a mile away from the clubhouse and reached by a graded trail, was one of Homer's favorite spots to paint.
Marguerite Zorach developed her modernist style while studying in Europe. She painted a watercolor and pencil portrait of fellow artist Zoltan Hecht in 1913, a year after she returned to the United States from Paris. Her interest in the expressive qualities of colors, rather than in accurate description, is clearly indicated by the red-orange eyebrows, bright green eyes and yellowish outline of her sitter's face and hands.
"Landscape (Paysage Fauve)" (1913) is one of Man Ray's most abstract early compositions. In this watercolor, he abandoned direct observation of nature in favor of a more spontaneous, imaginative rendition using simplified forms and bright colors. In the title, "fauve" (French for wild beast) refers to a group of early 20th-century artists who used bright, non-descriptive colors in their art.
John Marin also was interested in conveying the sense of a place rather than a specific, recognizable site. He visited Maine almost every year from 1914 until his death in 1951, painting seascapes of its rugged coast. In his watercolor "The Sea, Maine" (1921), calligraphic lines suggest movement and energy rather than superficial appearances. A master of the watercolor technique, Marin varied his application of color from thin, transparent washes to dense, opaque strokes.
William H. Johnson painted African Americans in the rich variety of their lives, from Harlem to the rural South. Striking color relationships and strong rhythmic patterns reveal his sophisticated approach. In his charmingly naive gouache composition "Going Out" (about 1939), Johnson depicts a mother and daughter dressed to the nines and ready for a night on the town. Johnson's use of brilliant colors and bold stripes in "Lunchtime Rest" (about 1940), recalls the multi-stripe designs of West African textiles and the African American tradition of freehand quilt-work.
Stuart Davis' gouache "Impression of the New York World's Fair" (1939) records an important mural that no longer exists. The mural was created for the Communications Building of the 1939 World's Fair in Flushing, N.Y. The fair provided a much-needed vision of hope and prosperity to counteract the dislocation and confusion of the Depression. Davis' bold, bright colors and highly abstracted forms conveyed that exuberance and confidence in the future.
Philip Guston's ink drawing "Hovering" (1976), juxtaposes comic, grotesque and serious elements as a means of exploring questions that have no simple answers. The large, bulbous head is Guston, the artist, while the faceless, vertical head at his side is his wife, Musa, literally his muse. The clock with numbers refers to the passage of time, while the watch face without numbers suggests immortality.
William T. Wiley's humorous and quirky parody in watercolor of a map of the United States, "Portrait of Radon" (1982), refers to darker meanings beneath its cartoon-like surface. Wiley grew up in Richland, Wash., site of the U.S. government's Hanford Atomic Works, a plutonium production plant. This plant's legacy was a massive amount of radioactive waste that contaminated the surrounding area. The dark, diagonal line stretching from New York to Los Angeles represents a virtual highway—12 lanes wide and 1 foot deep—constructed of radioactive tailings from the country's nuclear power plants. Wiley's verbal pun on the title in the lower left, "poor trait of radon," reinforces the irony of drawing a portrait of something invisible.
Wayne Thiebaud is attracted to specific foods by their formal beauty and by the care with which the chef has prepared and presented the item. In "Neapolitan Meringue" (1986–1999), a pastel over lithograph, Thiebaud relishes how the meringue topping simultaneously glows and reflects light, suggesting the softness of a snowbank and the rich sensuality of white paint.
To accompany the exhibition, the Smithsonian American Art Museum published a lavishly illustrated souvenir book, "Graphic Masters: Highlights from the Smithsonian American Art Museum," written by Joann Moser, senior curator of graphic arts at the Smithsonian American Art Museum. The book features 52 color illustrations and brief discussions of the individual artworks in the exhibition.


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Last Updated September 29, 2016
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Website traffic volume and patterns, such as the number of visitors to a given website or page on a daily basis is typically referred to as Tracking Data. This type of indirectly collected information is gathered through various means, such as an IP address, which is a number that is automatically assigned to your computer whenever you are surfing the Web. Web servers, the computers that "serve up" Web pages, automatically identify your computer by its IP address. When you visit any of our websites, our servers log your computer's IP address.
To obtain these Tracking Data, we use third party analytics providers, including, but not limited to Google Analytics, a web analytics service provided by Google, Inc. (collectively "Third Party Analytics Providers"). The Third Party Analytics Providers use "cookies," which are text files placed on your computer, to help us analyze how users use our websites. The information generated by the cookie about your use of our websites, including your IP address, will be transmitted to and stored by Third Party Analytics Providers' servers. On our behalf, the Third Party Analytics Providers will use this information for the purpose of evaluating your use of our websites, compiling reports on website activity, and providing other services relating to website activity. The Third Party Analytics Providers will not associate your IP address with any other data held by them.
You can prevent Google Analytics' collection and use of data (cookies and IP address) by downloading and installing the browser plug-in available here. Gallup uses IP anonymization, which truncates/anonymizes the last octet of the IP address for Member States of the European Union as well as for other parties to the Agreement on the European Economic Area. Only in exceptional cases is the full IP address sent to and shortened by Google servers in the USA.
Further information can be found in the Google Analytics Terms of Service & Privacy.
Only our designated administrators can access the information gathered by Google Analytics, and the information is used only for administrative and planning purposes to meet the needs of our users, such as to improve the content of the site and to customize the content and/or layout of the site for individuals or groups of users.
1.2. Cookies
Other types of indirectly collected information are stored in "cookies." Cookies are small files of electronic information that a website can transfer to a visitor's hard drive to help that visitor while on the site. Some of our websites use cookies simply to store a user code so that the user does not have to re-enter their information when re-joining the site. The use of cookies is standard on the Internet. Although most Web browsers automatically accept cookies, the decision of whether to accept or not is yours. You may adjust your browser settings to prevent the reception of cookies, or to provide notification whenever a cookie is sent to you. You may refuse the use of cookies by selecting the appropriate settings on your browser. However, please note that if you do this, you may not be able to access the full functionality of our Websites. Cookies placed by Gallup will expire when the user terminates the website session or after a reasonable period of inactivity.
1.3. Third-Party Cookies
We may use third-party advertising companies to serve ads on our behalf. These companies may use cookies and action tags to measure advertising effectiveness. You can still decide whether you want to accept these cookies. You may adjust your browser settings to prevent the reception of third-party cookies, or to provide notification whenever such third-party cookies are sent to you.
2. Information Collected Directly
We also collect Personal Information and other information that users voluntarily provide. It is entirely your decision to provide the requested information.
We keep all information directly collected confidential, and will only use the information for the particular purpose stated at the point of collection. We will seek your specific permission for any additional use. You may choose to have this information removed at any time. We will never barter, trade, or sell access to your information without your specific consent.
2.1. User Account Data
When setting up an account on one of our Websites ("User Account"), you may be asked to provide personal information including, but not limited to, your name, e-mail address, and your phone number. If you choose to purchase any products, services, access codes or other items for sale by us, you will be asked to provide payment details and your full address for billing purposes.
As a customer/user, we may obtain personal information about you when you register to use one of our websites or services/products or when you provide feedback about our products or services. As a customer/user, we will use your personal information, unless otherwise prohibited by law, for the following purposes:
- To provide you with the products and services you request.
- To communicate with you about your account or transactions with us and send you information about features on our sites or changes to our policies
- To provide support including, but not limited to, product updates, product patches and fixes and other similar communications
- To notify you about new product releases and service developments, and to advertise our products and services in accordance with this Policy.
Any User Account data will only be stored until you decide to terminate your User Account (see clause III.1. below). In case we are obliged to further store your Personal Information due to statutory retention requirements, your Personal Information will be barred for further use by us and only be stored until such retention periods expire.
2.2. Other Personal Information Provided Directly
Personal Information provided by you on our Websites, e.g. via contact forms, or via telephone will be stored in our service database and retained for the period necessary to fulfill the business need, unless a longer retention period is required by law.
Many of our websites offer users the opportunity to participate in surveys or assessments via the internet. We will provide information about the purpose and process for each survey or assessment as part of the applicable survey or assessment.
1. Access to your Survey or Assessment Results from Another User Account
Another online user may purchase an access code to a Gallup survey or assessment for you. Please note that when participating in a survey or assessment, your results will also be accessible to the online user who purchased the Gallup access code. The data accessible to that account holder may include your name and your results, but will not include your specific answers to individual questions within the survey or assessment. In addition, the account holder cannot modify, alter, or delete any of your results or User Account data.
After completion of the survey or assessment, you will at all times have the opportunity to change the settings for sharing your results with other account holders and opt-out from sharing your results.
2. Sharing your Survey Results with other people
After completion of the survey or assessment, you may have the opportunity share your survey or assessment results via e-mail, or social networks. Please note that only your name and results will be displayed. By sharing your information from your User Account with any social media service, you are authorizing us to share information we collect from and about you with the social media service provider, other users, and your network of contacts on the social media service, and you understand that the social media service's use of the shared information will be governed by the social media service's privacy policy. If you do not want your personal information shared in this way, please do not connect your Gallup information to a social media service provider.
1. Correcting and Changing User Information and Preferences; Deletion of User Accounts
If you have given your consent to receiving e-mail communications from us but wish to discontinue this service, you may request to do so at any time by contacting us. In addition, as a registered user, you can change your settings within your User Account under "MY ACCOUNT" by updating your "Contact Me" settings.
You also have the option at all times to have your User Account deleted for any of our websites or to request a revision of your user information at any time. To do so, please contact us.
2. Information Security
Our employees understand the need for user privacy, and we maintain reasonable and appropriate security procedures to protect your information from loss, misuse and unauthorized access, disclosure, alteration and destruction, taking into due account the risks involved in the processing and the nature of the Personal Information. Gallup has appointed a Privacy Policy Administrator to monitor privacy practices. Access to user data is strictly limited to specific individuals who are trained to respect user privacy. The access given to these employees is restricted to their need for such information for business purposes. A log of those who accessed the data is maintained and monitored to prevent security breaches.
3. Third-Party Information Sharing
We may share Personal Information with vendors or agents working on our behalf for the purposes described in this Privacy Policy. For example, we may hire companies to assist with protecting and securing our systems or services. Any vendor or agent that we retain must comply with our data privacy and security requirements and are not allowed to use personal data they receive from us for any other purpose. Like Gallup, they will never barter, trade, or sell access to your information. Gallup remains responsible and liable under the Privacy Shield Principles if third-party agents that Gallup engages to process the personal data on Gallup's behalf do so in a manner inconsistent with the Principles, unless Gallup proves that Gallup is not responsible for the event giving rise to the damage.
4. Children and Privacy
We encourage parents and guardians to spend time with their children online and to be fully familiar with the sites visited by their children. Our sites do not contain content that is generally considered unsuitable for children.
5. Links to Other Sites
Our websites may contain links to sites owned and/or operated by other organizations, and the privacy policies of those sites may differ from ours. These sites may collect data and make use of it in ways that we does not. We encourage you to review the privacy policies posted on all third-party sites.
6. Location of Data Collection and Processing
In personally accessing our websites, you may be submitting Personal Information and survey or assessment results that we will use for business purposes that are consistent with this Privacy Statement. As a worldwide organization, Gallup collects information that may be processed internationally throughout Gallup offices worldwide. Your information may be processed in the United States or any other country in which Gallup, its affiliates, subsidiaries, or service providers maintain facilities.
7. Compliance and Cooperation with Regulatory Authorities
We take steps to ensure that the data we collect under this Privacy Statement is processed according to the provisions of this statement and the requirements of applicable laws wherever the data is located. Gallup complies with the EU-US Privacy Shield Framework as set forth by the U.S. Department of Commerce regarding the collection, use and retention of Personal Information transferred from the European Union to the United States. Gallup has certified to the Principles of Notice; Choice; Accountability for Onward Transfer; Security; Data Integrity and Purpose Limitations; Access; and Recourse, Enforcement and Liability. If there is any conflict between the policies in this Privacy Statement and the Privacy Shield Principles, the Privacy Shield Principles shall govern.
To learn more about the Privacy Shield program, and to view our certification, please visit https://www.privacyshield.gov/list.
Gallup is subject to the investigatory and enforcement powers of the Federal Trade Commission.
Gallup continues to adhere to the underlying European privacy principles of the U.S. - Swiss Safe Harbor for the processing of Personal Information received from Switzerland. To learn more about the Safe Harbor program, and to view our certification, please visit https://safeharbor.export.gov/swisslist.aspx.
8. Access, Correction and Options for limiting Use of your Personal Information
You have the right to access the Personal Information that we hold about you and to correct, update, amend, suppress, delete or otherwise modify any Personal Information where it is inaccurate, or has been processed in violation of the EU-US Privacy Shield Principles unless we have to keep the information for legitimate business or legal purposes. When updating your personal information, we may ask you to verify your identity before we can act upon your request.
You may object to the use or processing of your Personal Information or withdraw consent to use your Personal Information at any time.
We may reject requests that are unreasonably repetitive, require disproportionate technical effort (for example, developing a new system or fundamentally changing an existing practice), risk the privacy of others, or would be extremely impractical (for instance, requests concerning information residing on backup systems).
We will respond to access requests within a reasonable time period in a reasonable manner and readily intelligible form. We may charge a fee that is not excessive to cover the costs of providing access. We may set a reasonable limit on the number of times within a given period in which access requests from a particular individual will be met.
We will obtain your consent before sharing your Personal Information with any third party that is not acting as an agent or vendor to perform tasks on our behalf or to use the information for a purpose materially different from the purpose for which it was initially collected or subsequently authorized by you. An exception to this will be where we are required to respond to lawful requests by public authorities, including to meet national security or law enforcement requirements.
For sensitive information (e.g., social security numbers or other national identifiers, medical information, information related to ethnic or racial origin, political opinions, religious or philosophical beliefs, trade union membership, criminal background, or sexual orientation), we will obtain your affirmative express consent (opt in) if such information is to be (i) disclosed to a third party or (ii) used for a purpose other than those for which it was originally collected or subsequently authorized by you through the exercise of opt-in choice. We are not required to obtain affirmative express consent (opt-in) with respect to sensitive information where the processing is (a) in the vital interests of the data subject or another person; (b) necessary for the establishment of legal claims or defenses; (c) required to provide medical care or diagnosis; (d) necessary to carry out our obligations in the field of employment law; or (e) related to information that is manifestly made public by the individual.
9. Dispute Resolution
If you have any complaints regarding our compliance with this Policy or a Privacy Shield related or general privacy related complaint, you should first contact us. We will investigate and attempt to resolve complaints and disputes regarding use and disclosure of Personal Information in accordance with this Policy.
If you have an unresolved privacy or data use concern that we have not addressed satisfactorily, please contact our U.S. based third party dispute resolution provider (free of charge) at https://www.jamsadr.com/eu-us-privacy-shield.
With respect to human resources data, we will cooperate and comply with the EU DPA's with respect to human resources data transferred from the EU in the context of the employment relationship. If you do not receive timely acknowledgement of your complaint from us, or if we have not addressed your complaint to your satisfaction, you may contact the EU DPA's for more information or to file a complaint. The services of the EU DPA's are provided at no cost to you.
Under certain conditions, more fully described on the Privacy Shield website, you have the possibility to invoke binding arbitration when other dispute resolution procedures have been exhausted.
10. Policy Updates
This Privacy Statement is our promise to its websites users and Users with a registered User Account. Additional information that is particular to specific sites may exist, and updates to this policy may be posted. For these reasons, we suggest that users who may have specific concerns about the information being gathered and use of that information regularly view the Privacy Statement on each site. We reserve the right to change the policy on use of information collected at any time.
11. Additional Questions or Comments
If you have any inquiries, complaints, access requests and any other questions arising under Privacy Shield or comments regarding this Privacy Policy, please contact us. We will respond to you within 45 days of receiving a complaint.


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Coffee Common: Joining Forces for a Better Cup
What happens you take different single-origin coffees from eight coffee roasters, turn them over to nearly 40 baristas from around the world—who can then brew each about a half-dozen different ways—and unleash the whole kit and caboodle on the TED2011 conference in Long Beach, CA?
What you get is Coffee Common: A radical new way for quality-obsessed coffee people everywhere to bridge the gaps between them and create a space that's all about the coffee.
"For 360 days a year, we're competitors; this week, we're Coffee Common," said Intelligentsia Coffee & Tea's Stephen Morrissey, one of the collaborative project's organizers (along with Intelli colleague Kyle Glanville; Brent Fortune, owner of Portland, Oregon's Crema Coffee + Bakery; Tim Williams of London's Square Mile Coffee Roasters; and Peter Guiliano, Counter Culture Coffee co-owner and current president of the Specialty Coffee Association of America). What Morrissey meant is that among a large section of the specialty coffee industry, there's actually a prevailing sense of brother- and sisterhood underneath all the fret about profit margins and making rent: Many of us believe that just as a rising tide floats all boats, raising consumer awareness and interest in painstakingly hand-crafted coffee helps all of us toward higher quality, increased sustainability, and, let's face it, sheer deliciousness in our morning cups.
That's where Coffee Common comes in: Inspired and driven by Alex Bogusky's FearLess Revolution philosophies, the collective represents the idea that coffee is a deep-seated and unifying part of our culture. It brings us together—at the kitchen table in the morning, in a cafe in the evening, or lingering over after-dinner conversation at a restaurant. If the coffee can do that, shouldn't the people behind the coffee do the same thing?
The Common helps us share ideas, celebrate flavor, and create open conversations about the quickly changing face of the global coffee community. And there was no better place to unveil this project than the brainy sharefest that is TED2011.
Over the course of the conference's five days, a hand-selected crew of baristas from around the world—including national champions from Norway, Canada, Guatemala, Australia, and the U.S., as well as two World Barista Champions—represented a constantly rotating menu of coffees from roasters both stateside and in the U.K.
TED attendees, therefore, could grab a macchiato made from Ritual Roasters' sweet, silky Colombian La Orquídea in the morning and a French press of a rich and black-curranty Kenyan Mamuto from Terroir between sessions—complete with a story about the many, many hands that helped that coffee get there.
The best part? Many folks actually surprised themselves by wanting to hear the stories, and ended up joining the fun. "So let's see," said a conference attendee as he approached one of Common's six espresso bars. "I had a Rwandan espresso this morning, and it was really bright and interesting. What's on tap now?"
But this really is (we hope) just the beginning. The Common aims to reconvene at other events, make more face-to-face connections, start more conversations, and spread more good will and good beans around the world. Where? When? We don't know exactly, but one day you might look up into the sky and see a kind of jittery Bat signal, and you'll know the Common will be out to get you pumped about coffee.
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Words: Pat Bridges
While the US Snowboard Team trained for the 2010 Olympics in a halfpipe 500 yards away, the real action was going down in the Windells Snowboard Camp dude tube. Having a gold medal is cool and all but having a pro model is the epitome of pro snowboarding greatness. This means winning an America's Next Top Pro Pro Model title puts a rider amongst the greatest of the greatest!
Big air was the name of the game for the fourth ANTPM 2010 event and pipe jocks battled it out alongside film pros and rail riders for the title of Biggest Halfpipe Air. To look at the start sheet one would assume that Andy Finch, Steve Fisher and Louie Vito had this one in the bag, but as we came to find out in the previous three events, anything can happen at ANTPM.
This unlikeliest of contest crushers chucked a mighty double-overhead frontside mute to once again climb the America's Next Top Pro Model podium to its highest spot!
One by one the assembled icons dropped into the perfect 18 foot pipe in hopes of reaching the sky. TJ Schneider opted for an air-to-fakie and broke the head high barrier. Eddie Wall and Eero Ettala sent formidable frontsides while Andy Finch's mighty methods skirted the double-digit mark. Pat Moore showed the most focus of the field but a nagging knee injury kept him from achieving awe inspiring airtime. Less height was had by the likes of Derek Dennison, Chris Bradshaw, MFM, Scotty Arnold, Jesse Burtner, Sean Genovese, Keegan Valaika, Bryan Fox and Austin Smith, but what they lacked in amplitude they more than made up for in style.
Three riders found themselves soaring above the rest. After careful study of the official video the tally became clear. Despite being the shortest competitor at ANTPM Louie Vito threw the third highest air. Steve Fisher earned a solid second place and his first ANTPM podium with a 12-foot high frontside. Once again, the unlikely crusher of all things snow and pro model was the Finnish flurry Lauri Heiskari. This unlikeliest of contest crushers chucked a mighty double-overhead frontside mute to once again climb the America's Next Top Pro Model podium to its highest spot!
America's Next Top Pro Model Biggest Air Results:
1. Lauri Heiskari – DC XFB Pro Lauri Heiskari
2. Steve Fisher – Sims Steve Fisher Pro Model
3. Louie Vito – Omatic Celebrity Series
America's Next Top Pro Model is made possible with support from Matador, The House, Windells Snowboard Camp and Timberline Resort. Stay tuned for more up-to-the minute ANTPM action at snowboardermag.com .