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The gun control industry's premise is based on the myth that if the government outlaws guns, outlaws will turn in their guns along with law-abiding citizens. Of course, outlaws do not obey gun laws, and they don't turn in their guns. Just ask any cop.
Logic and reality inform us that this mode of thinking can be tragic for a nation. Especially if gun control forces implement their toxic, anti-liberty, anti-gun laws which essentially revoke a people's God-given right to self-defense.
As it happens, we're watching play out in real-time the consequences of gun control in a virtual laboratory experiment conducted in the oil-rich but economically devastated socialist state of Venezuela. The left may want to heed a lesson Venezuelan tyrants have been teaching. Nicolás Maduro, Hugo Chavez's handpicked replacement, may be in the midst of a grand firearms miscalculation. Apparently, the socialist regime wasn't thinking ahead when it set out to confiscate Venezuelans' guns.
The Washington Times reported that in 2016, "the socialist government of Venezuela began seizing and destroying handguns, rifles and shotguns — continuing the late Hugo Chavez's effort to solve the nation's crime problem by disarming the nation." Chavez, who ruined…oh, sorry…ruled the country for 13 years, began his ban on private gun ownership in 2012. Although the BBC appeared sympathetic to the tyrant's gun-banning efforts (as a means for "reducing crime"), they reported that "Hugo Chavez's government says the ultimate aim is to disarm all civilians."
After years of government efforts to disarm the people, Maduro had an Uh-oh! moment. My enemies don't have guns but neither do my supporters. Apparently, he's not so confident the military will remain loyal to him. So, like trying to level a three-legged stool, Maduro decided he was going to re-arm his supporters. But how could he justify rearming some civilians but not others? No problem. Just manipulate the language.
The Washington Free Beacon wrote that Maduro simple gave the people he re-armed a title: "militiamen." In a speech, Maduro said, "A gun for every militiaman!" Like magic, he transformed civilian supporters into a quasi-military armed force—serving his cause, of course. And, while Maduro maintains an armed militia (and current control of most of the military), those supporting his opponent, Juan Guaidó, remain disarmed.
Maduro's supporters would have guns, but his opponents would not. Not a great circumstance for those citizens opposing the socialist regime or those who support Maduro's challenger, interim President Juan Guaidó. Guaidó was the leader of The National Assembly of Venezuela, which the Maduro regime has attempted to abolish.
After what was widely described as a "sham election," as head of The National Assembly, Guaidó declared himself president. With the state of the economy suffering from what experts predict will rise to an inflation rate of 10 million percent, despite having the largest oil reserves in the world (yes, more than Saudi Arabia), it's not hard to understand Guaidó's motivations. The U.S. is among about a dozen nations that have recognized Guaidó as the legitimate president.
According to cbsnews.com, Maduro is attempting to abolish, or at least neuter, The National Assembly, creating a competing assembly comprised exclusively of his supporters. Panampost.com reports that Maduro created a National Constituent Assembly "to impose [a] 'communal' dictatorship." It has granted itself vast authority with which it has banned The National Assembly from passing laws, and it also intends to scrap the constitution and write a new one.
It is with this usurpation of democratic rule that Maduro's socialist regime is also disarming the people—well, his opponents, anyway. You know there's a real issue when an MSNBC reporter forgets for whom he works and is bum-rushed by common sense.
As reported by freebeacon.com, Kerry Sanders said, "You have to understand, in Venezuela gun ownership is not something that's open to everybody. So, if the military have the guns, they have the power and as long as Nicolás Maduro controls the military, he controls the country."
Let me see if I have MSNBC's report right. Those who have the guns have the power. Got it! Any country is either of, by, and for the people or of, by, and for the government. We the People created the United States of America, right? That is where the ultimate power should lie. So, if only the government (military and law enforcement) has the guns, and the people are not allowed to have guns, then what happens to a country run by We the People? Doesn't it cease to exist?
You know…like the gun-controlling, anti-liberty socio-communists are currently doing to Venezuela, which used to be a thriving nation, ultimately attempting to put the finishing touches on a Cuban-style communist dictatorship. Socialism is the foundation upon which a communist dictatorship constructs its malevolent, human spirit-crushing machine upon the ashes of what had been a prosperous democratic-republican form of government.
If it happened there, it could happen here.


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Kids Program
Our school offers kids classes that specialize in the more external style of Northern Shaolin Kung Fu (the ancient art of warrior monks where many other external styles like Okinawan Karate and Shorinji Kenpo are descended from) and modern Chinese kickboxing and wrestling (Sanda). The styles not only teach athleticism, self defense, and confidence but also infuses the traditional Confucian philosophy of discipline, respect, loyalty, and filial piety in the teachings.
You do not have to be a "kid" to take the external classes in the kids program, as some parents take the classes with their kids as a form of bonding. Families that train together stays together!

subset: commoncrawl


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The U.S. Federal Communications Commission (FCC) has made a decision that may drastically change the internet as we know it.
On Thursday, the FCC voted 3-2 in favour of removing the net neutrality rules put in place in by the Barak Obama Administration in 2015.
The FCC voted along party lines with the Democrats for and the Republicans against.
Net neutrality is now dead. But what was it and why should we care?
The internet has traditionally been a place where you can find anything and everything.
Net neutrality is the concept that underpins this idea. With net neutrality, all content is treated equally and Internet Service Providers (ISPs) can't privilege or throttle data flows to certain websites.
At least for now, net neutrality is dead in the U.S. and it's not a good thing. This means that American ISPs can now control what people see and do on the internet.
ISPs such as Comcast and Verizon can block or throttle sites, or even grant "fast lanes" to sites that are willing to pay extra. Boo.
The U.S. cable companies lobbied the FCC to kill net neutrality, because with net neutrality dead they get more power and the ability to increase their revenue.
The killing of net neutrality was led by FCC Chairman Ajit Pai, a former Verizon lawyer who has quickly become one of the most hated men on the internet. Making cringey videos like this certainly hasn't helped his cause:
U.S. President Donald Trump's tiny fingerprints (remember his freakishly small hands?) are all over the death of net neutrality. Trump appointed Pai to kill the Obama-era rules because he sees it as "overregulation" and is on a mission to undo everything Obama achieved while in office.
I wonder if the first order of business will be to discriminate against "fake news" sites like CNN and The "Failin" New York Times?
Do #NetNeutraility proponents realize that continuing the rules as is effectively puts @realDonaldTrump in charge of the Internet and it's future ?
— Mark Cuban (@mcuban) November 22, 2017
So what will the death of net neutrality mean for Australians?
Finder.com's Fred Schebesta told News Corp that everyday Aussies are unlikely to be affected directly but that Aussie businesses could be hurt by the changes.
"Many Australian businesses that are operating internationally rely on hosting and other services from US providers. If the US internet service provider market shrinks because of the rule change, that's going to have a flow-on effect on those Australian businesses," he said.
Average Australians could also face price increases. For example, if U.S. cable companies decide to make streaming services such as Spotify and Netflix pay more for "fast lanes", these extra costs could trickle down to Aussie consumers.
Schebesta added that while Australia doesn't have net neutrality laws, we have strong consumer laws in place that stop ISPs from trying any funny business.
"I don't think we need net neutrality rules in Australia right now, but I do think we will need them if the US dismantles its regulations and allows ISPs to charge a premium to access the internet," he said.
Meanwhile, the battle in the U.S. is not over yet.
Major tech companies such as Google and Apple support net neutrality and there is a large and growing grassroots movement to bring the rules back. This movement is already causing ripples politically and New York Attorney General Eric Schneiderman says he'll sue the FCC in an attempt to block the demise of a free and open internet.
We're hearing that tons of Congressional voice-mail boxes are COMPLETELY FULL thanks to the overwhelming flood of phone calls for #NetNeutrality. Keep sounding the alarm. Keep calling! We need to keep the outrage going until the December 14 vote. https://t.co/xSJHbLq2Wn
— Fight for the Future (@fightfortheftr) November 22, 2017


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Hi There! Is this Your First Time?
Did you know if you Register you have access to free search tools including the ability to save listings and property searches? Did you know that you can bypass the search altogether and have listings sent directly to your email address? Check out our how-to page for more info.
- Price$699,000
- Beds4
- Baths4
- SQ. Feet4,014
- Built2006
29 Percheron Ln, Hilton Head Island
Striking custom 4 bed, 4 bath former model home built for entertaining w/a great floor plan! Inviting entry leads to an open living room w/fireplace, adjacent formal dining room & magnificent cooks kitchen w/center island, stainless steel/granite, dining nook w/bay windows. Loads of quality w/many custom builtins, walk in pantry, moldings, doors & quality solid core upgrades throughout. Including 2x6 construction, paver stone driveway, privacy fence. Gracious Master suite w/sitting area+walk in closet, oversized 3 car garage w/storage room, +the best outdoor entertaining area w/fire pit & private yard. Great neighborhood w/loads of amenities!
Essential Information
- Price$699,000
- Bedrooms4
- Bathrooms4.00
- Full Baths4
- Square Footage4,014
- Year Built2006
- TypeResidential
- Sub-TypeFull Size
- Style1st Floor On Grade, Three Story
- StatusActive
- AmenitiesClubhouse, Comm Dock, Comm Pool, Gardens, Leisure Trails, Sec Gate/Guard, Stables
- ParkingGarage - 3 Car+, Under Parking
- # of Garages3 Car+
- ViewLandscape
- WaterfrontSoundOrient
- Has PoolYes
- PoolCommunity, Spa
- ExteriorHard Coat Stucco
- Exterior FeaturesBalcony, Fenced Yard, FP - Outdoor, Just Painted, Patio, Paved Drive, Back Porch, Front Porch, Irri System
- Lot Description.23, Less than 1/4 Acres
- WindowsInsulated
- RoofMetal
Community Information
- Address29 Percheron Ln
- AreaHH/Off Plantation
- SubdivisionJonesville
- CityHilton Head Island
- CountyBeaufort
- StateSC
- Zip Code29926
- Legal AddressPADDOCKS
- InteriorCarpet, Manufac/Wood, Stone, Tile
- Interior FeaturesBuilt-Ins, Book Shelves, Cable TV, Ceiling Fan(s), Many Closets, Drapes, Fireplace, Just Painted In, Security Sys, Smooth Ceilings, Wet Bar
- AppliancesDisposal, Dishwasher, Oven Self-Cleaning, Refrigerator, Range - Gas, Wine Cooler
- HeatingCentral Heat, Electric Heat, Heat Pump
- CoolingCentral, Electric, Heat Pump
- FireplaceYes
Listing Details
- Courtesy of Engel & Volkers
We do not attempt to independently verify the currency, completeness, accuracy or authenticity of the data contained herein. It may be subject to transcription and transmission errors. Accordingly, the data is provided on an "as is," "as available" basis only and may not reflect allreal estate activity in the market. © 2019 Multiple Listing Service of Hilton Head Island, Inc. All rights reserved.Certain information contained herein is derived from information which is the licensed property of, and copyrighted by,Multiple Listing Service of Hilton Head Island, Inc.


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Gallego Desportes Navy Flanel Shirtdress
The Gallego Desportes Navy Flannel Shirtdress is a great fall winter piece. Made of soft wool flannel it will keep you warm in the upcoming chilly days. Featuring 3/4 sleeves, a single breast pocket, and side pockets! Christie is 5'10" and wears the size small. Loose fit.
Virginia Gallégo and Fabien Desportes met during their studies of fashion design in Paris. In 1993, they worked together and create their first collection by mixing fabrics Made in France and ancient textiles. They believe the guideline of style is comfort, understated elegance.


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We have Multi range of products available in numerous designs. These products are highly attractive, Reliable, best in size, varieties and are supplied to clients at the affordable market price range.With the support of our self-motivated employees, our company able to provide 3d neon signage repairing in gurgaon. We


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Reviewed this week in The Current Cinema. Opening Oct. 26. (In wide release.)
A romantic drama, directed by Alejandro Monteverde, about a soccer star (Eduardo Verástegui) who meets a waitress (Tammy Blanchard) in New York. In English and Spanish. Opening Oct. 26. (Empire 25 and Union Square.)
In this romantic comedy, directed by Peter Hedges, an advice columnist and widower (Steve Carell) falls in love with his brother's girlfriend (Juliette Binoche). Co-starring Dane Cook, Emily Blunt, and Dianne Wiest. Opening Oct. 26. (In wide release.)
Reviewed below in Now Playing. Opening Oct. 26. (Angelika Film Center and Lincoln Plaza Cinemas.)
A documentary portrait of David Lynch, directed by a filmmaker called blackANDwhite. Opening Oct. 26. (IFC Center.)
Marc Levin directed this documentary, about the onetime heroin kingpin Nicky Barnes. Opening Oct. 26. (Cinema Village and Empire 25.)
A drama, directed by Steven Sawalich, about a musician who loses his hearing in the Vietnam War and becomes an activist for the disabled. Starring Ron Livingston, Melissa George, and Michael Sheen. Opening Oct. 26. (In limited release.)
A documentary about the folksinger, directed by Jim Brown. Opening Oct. 26. (IFC Center.)
Alison Eastwood (daughter of Clint) directed this drama, about a boy who bonds with the conductor of a train that killed the boy's suicidal mother. Starring Miles Heizer, Kevin Bacon, and Marcia Gay Harden. Opening Oct. 26. (Angelika Film Center and Lincoln Square.)
Darren Lynn Bousman directed this horror sequel, starring Justin Louis, Shawnee Smith, and Tobin Bell. Opening Oct. 26. (In wide release.)
Anthony Hopkins wrote, directed, and stars in this drama, about an actor and screenwriter whose characters show up in his life. Co-starring Stella Arroyave and Christian Slater. Opening Oct. 26. (Empire 25.)
Given the sound and the fury that emanated from Joy Division, the British rock band of the late nineteen-seventies, you might expect that a movie about their rise to fame and the despairing fall of their lead singer, Ian Curtis (Sam Riley), would be an unwatchable affair. But somehow Anton Corbijn's film summons zest, gloomy humor, and surprising tenderness as it recounts the tale of its hero in the North of England: his adolescence (which was steeped in David Bowie), his early marriage to a local girl named Deborah (Samantha Morton), the record contracts, and the terror of his epileptic fits. The movie refuses to mythologize Curtis; indeed, the tearing of his heart between the loyal Deborah and a beautiful Belgian fan (Alexandra Maria Lara) feels like a universal plight. Still, once Riley takes the microphone, we realize all too vividly what the fuss was about, and how the myth began. In glorious black-and-white.—Anthony Lane (Reviewed in our issue of 10/15/07.) (Film Forum.)
The new Wes Anderson film shows that his fixation on families, and on the ties that bind them, continues unabated. Three brothers, played by Adrien Brody, Jason Schwartzman, and Owen Wilson, meet up on a slow train rattling across India. They are mourning the death of their father, planning a vague pilgrimage to their mother (Anjelica Huston), who has herself moved to Asia, and trying to repair their fellowship. The movie steams with minor resentments and misunderstandings that slowly evaporate in the warm-colored, calmative surroundings of an unfamiliar land. It is easy to be exasperated by the brothers' pettiness, but Anderson is one of the few contemporary directors with the nerve to insist that the blandishments of style—in his case, stately tracking shots, sudden romantic songs, and twitchy running gags—can lend form and grace to even the most discontented lives. With a fine opening cameo from Bill Murray, which leaves you wanting more.—A.L. (10/15/07) (In wide release.)
Cate Blanchett, Geoffrey Rush, and the director Shekhar Kapur reunite for the second chapter of a planned trilogy about the life of the sixteenth-century English Queen who sacrificed personal happiness for the good of her country. The title is misleading; the movie is concerned with the bloody actions that were a prelude to England's golden age. Here, Elizabeth is the warrior queen, and the various plots of the film—her unrequited love for Walter Raleigh (Clive Owen), her country's war with the mighty Spanish Armada, and the assassination attempt by her rival and cousin, Mary Stuart (a scene-stealing Samantha Morton)—are thrown together like a shoddy patchwork. Where the earlier film's court intrigues were delivered with a sharp tongue, this poorly written installment has a soap-opera feel that dilutes any tension. Great care has been paid to the costuming, but the drama, like the over-the-top score, substitutes bombast for finesse.—Bruce Diones (In wide release.)
Reviewed this week in The Current Cinema. (In wide release.)
The Farrelly brothers' extroverted remake of Elaine May's anxious 1972 comedy, about a man who falls in love with another woman while on his honeymoon, is painfully unfunny yet oddly enjoyable. As Eddie Cantrow, the "sporting-goods schmo" who finds he has married in haste, Ben Stiller does his beleaguered-Everyman routine with energy. Malin Akerman, as the bride whose emerging foibles bring trouble, and Michelle Monaghan, as the available charmer at the resort, hold up their ends. But it's the Farrellys' revisions to the familiar tale that make the film run. Where the earlier version featured Cybill Shepherd as the irresistible shiksa goddess, Monaghan plays not a pinup but a soul mate—indeed, Akerman is the prettier of the two, and her sexual voracity turns Eddie off. But the key to the story is a new pair of characters—Eddie's father, a raunchy seventy-seven-year-old satyr, played by Jerry Stiller, and Eddie's best friend (Rob Corddry), a henpecked young husband—who, like a cartoon devil and angel on Eddie's shoulders, induce him to leap blindly into wedlock. Though the Farrelly brothers' vulgar humor has turned acrid and forced, as if to catch up with currents that passed them by, their notion of manhood and its pitfalls holds the attention.—Richard Brody (In wide release.)
Sean Penn wrote and directed this adaptation of Jon Krakauer's chastely written 1996 book about Christopher Johnson McCandless, the Emory University graduate who, at the age of twenty-two, cut all ties with his family and friends, tramped around the country, and then headed north into the wilds of Alaska, where he died, alone, in August, 1992. A single-minded asceticism drove McCandless to his fate; Penn shoots the movie, however, in a facile, commercially lyrical style—he can't stop swirling around mountaintops, as if he were selling S.U.V.s. As the young man (played by Emile Hirsch) travels about, he attracts the interest of a South Dakota wheat farmer (Vince Vaughn, playing it straight), an aging hippie (Catherine Keener), and a retired Army man living on the edge of the California desert (Hal Holbrook), all of whom ask him to put down his backpack and stay. He always leaves, and it may be hard for some of us to take his ambitions as seriously as Penn does. McCandless didn't experience enough of life for his rejection of it to carry much weight, and Penn can't see the egocentricity in a revolt that was as naïve as it was grandly self-destructive.—David Denby (10/8/07) (In wide release.)
The actress Maria de Medeiros filmed this documentary, about the conflicted relations of critics and directors, at the 2002 Cannes festival, and worked with the talent on hand. She scooped up sound bites from a flotilla of international art-house directors, including Ken Loach, Pedro Almodóvar, Elia Suleiman, David Cronenberg, Wim Wenders, and, most important, the remarkable nonagenarian Manoel de Oliveira, whose wise meditations on his own artistic methods are matched by his grateful regard for criticism that "penetrates a film and explains it to the director himself." Other filmmakers, less serene in their status, spew bile and derision at critics; in turn, many of the critics interviewed (the selection has a distinct Franco-Iberian slant) strut their privilege before the camera with a stunning lack of humility. Yet a Spanish critic recalls colleagues who defended films from censorship under Franco, and an Argentinean director grimly cites the physical dangers that filmmakers face "in countries where there's no rule of law." Though Medeiros's modest, chatty film is far from the last word on the subject, it's a terrific conversation-starter.—R.B. (BAM; Oct. 26.)
The director Jonathan Demme gets unfettered access to former President Jimmy Carter on his tour for his controversial book "Palestine: Peace Not Apartheid," which has been seen by many as a pro-Palestinian, anti-Israeli look at the Middle East crisis. The tour gives Demme a perfect opportunity to record Carter's wide-ranging observations on the American cultural landscape. There are no polemics here, and although the storm around Carter's book is given room to be heard, Demme is more concerned with showing the man's undeniable warmth and intelligence. The documentary offers a healthy, stimulating view of political opinion, but its most affecting elements are the small moments that Demme captures—a frail Carter, in the company of Secret Service agents, carrying his own bags into a hotel, or a short conversation that Carter has with a little girl whose name reminds him of his favorite poet. Carter's total immersion in his work, at the age of eighty-two, and his unflagging need to make a difference give the film an admirable power.—B.D. (Angelika Film Center and Lincoln Plaza Cinemas.)
After a murderous attack on an American compound in Riyadh, a covert team of F.B.I. agents—Jamie Foxx, Jennifer Garner, Chris Cooper, and Jason Bateman—is flown in, against the wishes of the State Department, to explore the crime. There are severe restrictions on their activities in Saudi Arabia, although, thanks to the cunning of the writer, Matthew Michael Carnahan, and the director, Peter Berg, these are quietly lifted, allowing our heroes to round off the movie in a noisy blaze of firepower. Berg shows his skill at orchestrating these brassy scenes, so much so that you almost forget the absurdities of the plot (was it wise to send a female forensic scientist to a Muslim country?) and almost forgive the hard-nosed vengefulness of the whole enterprise. Wait for the final line: it's clever and loaded, and it makes the movie seem far more poised and pensive than it actually is. With a fine performance by Ashraf Barhom as the Saudi investigator.—A.L. (10/1/07) (In wide release.)
Ryan Gosling gives a beautifully understated performance as a socially phobic man who believes that a sex doll is his girlfriend. The film takes place in a wintry Midwestern town filled with the kindest people imaginable, and the director, Craig Gillespie, uses a Capra-esque shorthand to bring to life a story in which understanding and decency are idealized to fable-like proportions. As the townfolk buy into the lead character's delusion and adopt the doll as one of their own (inviting it to parties, hiring it to do community service), the emotional directness of Nancy Oliver's screenplay gently tugs the film's charming spirits over the deeper, disturbing psychic troubles that lie beneath the surface. The result is ridiculous but effective.—B.D. (Angelika Film Center and Paris.)
The beautiful stone buildings and mahogany interiors of post-colonial Shanghai cast a heavy, voluptuous spell in Ang Lee's adaptation of Eileen Chang's story of sex and espionage in the city during the Second World War. Tang Wei, a former model and a prodigious young actress, plays a member of a political-theatre group that carries its playacting into active resistance to the Japanese occupation. Pretending to be a married sophisticate, the girl enters the circle of Mr. Yee (Tony Leung), a high-placed Chinese collaborator and nemesis of the resistance, and finds herself both attracted to and repelled by him. Lee's staging of the bruising erotic scenes is incomparably powerful, but the meetings and actions of the resistance (presumably under Communist Party discipline) are not very convincing. The movie dawdles and repeats itself unconscionably—it lacks drive and, except for the sex scenes, a tinge of wildness. Shot by Rodrigo Prieto on sets constructed in Shanghai. Wang Hui-Ling and James Schamus wrote the screenplay. In Mandarin.—D.D. (In wide release.)
In this powerful, fascinating documentary, the journalists Molly Bingham and Steve Connors present a complex overview of the Iraqi resistance against the American military presence in Iraq. Playing like a superb television news special, the film, shot in 2003-04, shows interviews with several Iraqi resistance fighters (their identities are obscured for their protection), interspersed with intimate footage of neighborhood bombings and their aftermaths. The result is an acute demonstration of how differing ideologies have converged on one goal: to show the coalition forces that they are not wanted in Iraq. While some interviewees are self-proclaimed religious jihadists who value martyrdom above all, others explain that, although they are Sunni, they have Shia relatives in their extended family and, in any case, no loyalty to Saddam Hussein's Baath Party. A large number of combatants are not religious zealots but nationalists who are attempting to overcome the shame they feel in the occupation by fighting for their dignity, their honor, their identity, and, ultimately, their country.—Shauna Lyon (Cinema Village.)
A gabby, irresistibly entertaining New York thriller. Michael Clayton (George Clooney), a law-firm fixer of dubious ethics, is dispatched to rein in the firm's chief litigator (Tom Wilkinson), a high-strung guy who has discovered a document that incriminates one of the firm's clients and has responded by going off his meds and out of his mind. Michael, it turns out, is only slightly less disgusted by the dirty business than the litigator is, and the movie catches him during a period of four frantic days in which all the strains in his life are pushing him to the breaking point. The screenwriter Tony Gilroy both wrote and directed the movie, and he keeps the tension level high—too high at times; the movie needs to breathe more. Yet the inside-the-law-firm chatter and poker-table badinage come off superbly. Clooney, looking a little haggard, gives a lovely performance as a smart man who has a few too many scruples to be a winner. With Tilda Swinton and Sydney Pollack. Cinematography by Robert Elswit.—D.D. (10/8/07) (In wide release.)
Gavin Hood's drama is centered on Douglas Freeman (Jake Gyllenhaal), a C.I.A. agent stationed in North Africa, who becomes the reluctant overseer of a clandestine interrogation. When a suspected accomplice to terrorism, Anwar El-Ibrahimi (Omar Metwally), an Egyptian-American chemical engineer, doesn't return home from South Africa, his pregnant wife, Isabella (Reese Witherspoon), sets out to find him, with the help of a senator's aide, Alan (Peter Sarsgaard), and no help at all from Corrine Whitman (Meryl Streep), the C.I.A.'s head of anti-terrorism. Meanwhile, Anwar's interrogator, Abasi Fawal (Yigal Naor), fights with Douglas over how much torture is too much. In spite of the film's melodramatic, slightly self-righteous air, some of the performances are strong, especially that of Gyllenhaal, who brings soul to a potentially stereotypical role.—S.L. (In wide release.)
The writer-director Terry George ("Hotel Rwanda") plumbs the depths of grief in this gloomy thriller, which he adapted with John Burnham Schwartz from Schwartz's novel. The perfectly happy Ethan (Joaquin Phoenix) and Grace (Jennifer Connelly) lose their ten-year-old son when Dwight (Mark Ruffalo), a divorced father, hits him with his S.U.V. and, after a moment of hesitation, drives away. In an attempt to portray the full extent of the family's mourning and to capture the full horror of the unjust tragedy, the writers, through their formulaic, humorless script, hit the same notes repeatedly, and even the talented Phoenix and Ruffalo can't elevate the proceedings.—S.L. (In wide release.)
As an eighteen-year-old Chinese village girl in 1958 who is determined to marry the new schoolteacher even though he's a city boy and supposedly out of her class, Zhang Ziyi, in a phenomenal movie début, gives an unself-consciously dazzling and lyrical performance. Her embodiment of such girlish emotions as curiosity-streaked ardor and such womanly ones as do-or-die willfulness enables her director, Zhang Yimou, to eschew melodramatic inflation while crafting a visually eloquent tribute to rural life. In the framing story, the couple's son, a city engineer, returns to the country after his father's death. His mother wants some of their male neighbors to carry the body on foot from a distant hospital so that her husband will remember the road home for eternity. As the film moves from a gray-and-white present to an enveloping golden vision of the village four decades earlier, Zhang Yimou patiently and surely creates a fable in which devotion overcomes both timeless obstacles and the political crackdowns of Mao Zedong. In Mandarin. Released in 1999.—Michael Sragow (Rubin Museum of Art; Oct. 26.)
Why do the cheesiest pop tunes make the most effective soundtrack songs? Here the culprit is Engelbert Humperdinck's "A Man Without Love," the first number in the director John Turturro's inspired and stimulating quasi-musical creation. James Gandolfini plays Nick, an ironworker who lives in Queens with his wife (Susan Sarandon) and three daughters (the quirkily cast Mary-Louise Parker, Aida Turturro, and Mandy Moore) but is in the throes of a surprising affair with the hotter-than-hot Tula (Kate Winslet, in an astoundingly lascivious and funny performance). Turturro has his actors sing along with the recorded voices, and the effect is surreal and touching—they all appear to be having the time of their lives. With matching witty, working-class choreography by Tricia Brouk.—Ken Marks (In limited release.)
Barbet Schroeder's engrossing yet appalling documentary portrait of the French attorney Jacques Vergès, who enthusiastically represented Klaus Barbie, Carlos the Jackal, and other figures of political horror, is about much more than one man's delusions. The film traces Vergès's life and work (with his vigorous participation), from the racial discrimination he faced in his youth (his mother was from Vietnam, his father from Réunion) to his first major case, the defense of the Algerian militant Djamila Bouhired, who planted a bomb in an Algiers café in 1956, killing eleven people. Saving Bouhired from the death penalty by mobilizing international sympathy, Vergès then married her and avoided politics until the mid-sixties, when he represented Palestinian terrorists and became a Maoist. Then, after dropping out of sight for a few years, he worked for the Baader-Meinhof gang and other agents of destruction. With probing interviews, intrepid legwork, and sharp editing, Schroeder exposes an underground network that hijacked the anti-colonialist movement from behind the Iron Curtain with the help of unregenerated Nazis and other anti-liberals. With regret, he locates the roots of international terrorism in the ruthless tactics of Algerian independence fighters. The story that Schroeder unfolds is not just Vergès's but also his own, that of a generation that had its humanistic sympathies manipulated and abused by radically unscrupulous people with agendas of horror. In French, German, English, Arabic, and Khmer.—R.B. (IFC Center and Lincoln Plaza Cinemas.)
The Croatian writer-director Dejan Šorak has made what the West calls black comedy and the Balkans call life. Agents of the Croatian government lure a Croat and kidnap a Serb to serve as look-alike stand-ins for a pair of vanished witnesses who could exculpate a Croatian colonel who is accused of war crimes, locking the two in a safe house so that they can invent their own backstories and rehearse their testimony. Though a few gags run like Abbott and Costello in the killing fields, the hearty performances bring the droll, twisty, and politically audacious story to life. Uniting his pair of hapless heroes through language, cuisine, culture, and intermarriage, Šorak alludes nostalgically to the former Yugoslavia—the one place where Yugoslavs couldn't live together. In Serbo-Croatian.—R.B. (Walter Reade; Oct. 26-27 and Oct. 29.)
The new film by James Gray feels like a companion piece to "The Yards," his earlier, equally dark saga of crime and domestic discord in New York. Both films star Joaquin Phoenix and Mark Wahlberg; in the first film, they played best friends, and this time they're brothers—closer in blood but painfully divided by the course of their lives. Bobby (Phoenix) runs a night club, while Joseph (Wahlberg), following in the stern footsteps of their father (Robert Duvall), is a Brooklyn cop. When Bobby is asked to help entrap a Russian drug lord, he finds himself being pulled away from the good times (this is 1988) and back into his family, to the dismay of his girlfriend, Amada (Eva Mendes). The moral motion of the film is fairly simple—the return, and redemption, of a prodigal son—but Gray steeps his tale in murky complication, and the staging of every scene, be it downbeat or frantic, is so assured that you barely notice the implausibilities. (Bobby and Joseph, for instance, hardly look like brothers.) The rain-drenched car chase, halfway through, is reason enough to see the film.—A.L. (10/22/07) (In wide release.)
THE COMEBACKS: In wide release. THINGS WE LOST IN THE FIRE: In wide release. 30 DAYS OF NIGHT: In wide release. WHY DID I GET MARRIED?: In wide release.
Titles with a dagger are reviewed above.
32 Second Ave., at 2nd St. (212-505-5181)—Special screening. Oct. 24 at 8: "Helen Hill Memorial," a program of short films by Hill. | Oct. 26-28 at 8: "Up and Out" (1998, Christian Marclay). The Oct. 26 screening will be followed by a discussion with the critic Amy Taubin and the filmmaker. | "Confessions of a Hoaxer: The World of Alan Abel." Oct. 25 at 7: "Abel Raises Cain" (2005, Jenny Abel and Jeff Hockett), introduced by the directors. | Oct. 26 at 7: "Alan Abel—Professional Media Prankster," a program of film clips, introduced by Abel. | Oct. 27 at 7: "Is There Sex After Death?" (1971, Alan Abel and Jeanne Abel), introduced by the directors. | Oct. 28 at 7: "The Faking of the President" (1974, Alan Abel and Jeanne Abel), introduced by the directors. | "Czech Currents." Oct. 25 at 8: "Restart" (2005, Julius Ševčik; in Czech). | "Essential Cinema." Oct. 27 at 4:30: "Arabic Series 0-10" (1980-81, Stan Brakhage). | Oct. 28 at 4:30: "Arabic Series 11-19" (1981, Brakhage).
30 Lafayette Ave., Brooklyn (718-636-4100)—New French films. All films are in French. Oct. 24 at 4:30, 6:50, and 9:30: "Very Well, Thank You" (2007, Emmanuelle Cuau). | Oct. 25 at 4:30, 6:50, and 9:15: "Demented" (2006, Laurent Achard). | Oct. 26 at 2, 4:30, 6:50, and 9:40: "Je T'Aime . . . Moi Non Plus: Critics and Artists" (+). The 6:50 screening will be followed by a panel discussion with the critics Dave Kehr, Dennis Lim, Melissa Anderson, and others. | Oct. 27 at 2, 4:30, 6:50, and 9:30: "Anna M." (2007, Michel Spinosa). | Oct. 28 at 2, 4:30, 6:50, and 9:15: "The Betrayal" (2006, Philippe Faucon). | "Jonathan Lethem Selects." Oct. 29 at 4:30, 6:50, and 9:15: "Ruggles of Red Gap" (1935, Leo McCarey). | "Stanwyck Redux." Oct. 30 at 4:30, 6:50, and 9:15: "The Miracle Woman" (1931, Frank Capra).
W. Houston St. west of Sixth Ave. (212-727-8110)—In revival. Oct. 24-Nov. 1 (call for showtimes): "War and Peace" (1968, Sergei Bondarchuk; in Russian).
Florence Gould Hall, 55 E. 59th St. (212-355-6160)—"Alexandre Desplat: A Visionary Composer." Oct. 30 at 12:30, 4, and 7: "Read My Lips" (2001, Jacques Audiard; in French). The 7 P.M. screening will be introduced by Desplat.
323 Sixth Ave., at W. 3rd St. (212-924-7771)—In revival. Oct. 26-28 at noon: "Monsoon Wedding" (2001, Mira Nair; in English, Hindi, Punjabi, and Urdu). | "Stranger Than Fiction," a documentary series. Oct. 30 at 7:30: "Big Rig" (2007, Doug Pray), introduced by the director.
Roy and Niuta Titus Theatres, 11 W. 53rd St. (212-708-9480)—Through Nov. 5: "Spain (Un)Censored." All films are in Spanish. Oct. 24 at 6 and Oct. 28 at 5:30: "Main Street" (1956, Juan Antonio Bardem). | Oct. 24 at 8 and Oct. 29 at 6: "The Delinquents" (1959, Carlos Saura). | Oct. 25 at 6: "Viridiana" (1961, Luis Buñuel). | Oct. 25 at 8: "The Strange Trip" (1964, Fernando Fernán Gómez). | Oct. 26-27 at 6: "Furrows" (1951, José Antonio Nieves Conde). | Oct. 26 at 8: "The Hunt" (1965, Saura). | Oct. 27 at 2: "From Pink . . . to Yellow" (1963, Manuel Summers). | Oct. 27 at 4: "The Cuenca Crime" (1979, Pilar Miró). | Oct. 28 at 2:30: "Death of a Cyclist" (1955, Bardem). | Oct. 29 at 8: "The Little Flat" (1958, Marco Ferreri). | Special screenings. Oct. 24 at 6:15 and 8:30: "Cinerama Adventure" (2002, David Strohmaier). | Oct. 25 at 6:30: Short films by Kevin Everson. | Oct. 29 at 7: "Side/Walk/Shuttle" (1991, Ernie Gehr) and "Serene Velocity" (1970, Gehr). | "Film on Film." Oct. 25 at 8:30: Short films, including "You Only Live Once: Production Takes from a Film in the Making" (1937, Fritz Lang). | Oct. 26 at 6:30: "The Language of the Silent Cinema" (1973, compiled by Vlada Petric).
35th Ave. at 36th St., Astoria (718-784-0077)—Through Nov. 11: The films of Andy Warhol. Oct. 27 at 1:30: "Vinyl" (1965) and an excerpt from "Empire" (1964). | Oct. 27 at 4: "Kitchen" (1965) and "Beauty #2" (1965). | Oct. 27 at 7: "Camp" (1965) and "The Velvet Underground and Nico" (1965). | Oct. 28 at 7: "Poor Little Rich Girl" (1965) and "I, a Man" (1967).
25 W. 52nd St. (212-621-6800)—Through Nov. 1: "DocFest07," a series of new documentaries. For complete program, visit www.paleycenter.org. Oct. 24 at 7: "To Die in Jerusalem" (2007, Hilla Medalia), followed by a Q. & A. with the filmmaker and Ambassador Dennis Ross. | Oct. 25 at 7: "Sputnik Mania" (2007, David Hoffman), followed by a Q. & A. with the director. | Oct. 26 at 7: "Larry Flynt: The Right to Be Left Alone" (2007, Joan Brooker-Marks), followed by a Q. & A. with the filmmaker, Flynt, and others. | Oct. 30 at 7: "Amazing Journey: The Story of The Who" (2007, Paul Crowder and Murray Lerner), introduced by Roger Daltrey and Pete Townshend.
150 W. 17th St. (212-620-5000)—"Cabaret Cinema." Oct. 26 at 9:30: "The Road Home" (+), introduced by the writer David N. Meyer.
58 Park Ave., at 38th St. (212-847-9779)—Through Dec. 15: "A Celebration of Danish Cinema: Nordisk Film at 100." Oct. 24 at 6:30 and Oct. 27 at 3: "Ditte, Child of Man" (1946, Bjarne Henning-Jensen; in Danish).
Symphony Space, Broadway at 95th St. (212-864-5400)—"Go Girls!" Oct. 28 at 6: "They Call Me Muslim" (2006, Diana Ferrero) and "These Girls" (2006, Tahani Rached; in Arabic).
Lincoln Center (212-875-5600)—"Recent Hong Kong Cinema." Oct. 24 at 1: "Election" (2005, Johnnie To; in Cantonese, Mandarin, and English). | Oct. 24 at 3: "Triad Election" (2006, To; in Mandarin and Cantonese). | Oct. 24 at 5: "Going Home" (2002, Peter Chan; in Cantonese). | Oct. 24 at 6:30 and Oct. 25 at 3:30: "The Postmodern Life of My Aunt" (2006, Ann Hui; in Mandarin). | Through Nov. 14: Croatian films. Except where noted, all films are in Serbo-Croatian. Oct. 26-27 at 6:30 and Oct. 29 at 1: "Two Players from the Bench" (+). The Oct. 26-27 screenings will be introduced by the director, Dejan Šorak. | Oct. 26 at 9:15: "How the War Started on My Island" (1996, Vinko Brešan). | Oct. 27 at 2: Short animated films. | Oct. 27 at 4:15 and Oct. 28 at 4:45: "A Village Performance of Hamlet" (1973, Krsto Papić), introduced by the director. | Oct. 27 at 9: "What Iva Recorded on October 21, 2003" (2005, Tomislav Radić). | Oct. 28 at 3 and 7 and Oct. 29 at 3:15: "Armin" (2007, Ognjen Sviličić; in German, English, and Serbo-Croatian). The Oct. 28 screenings will be introduced by the director. | Oct. 28 at 9: "The Melon Route" (2006, Branko Schmidt). | Oct. 30 at 2 and 6:30: "Koncert" (1954, Branko Belan). | Oct. 30 at 4 and 8:30: "Train Without a Timetable" (1959, Vejlko Bulajić).


text:
Volk Pictor is a truly portable digital imaging device that provides a variety of imaging capabilities with interchangeable modules. This versatile hand held device is available with the option of four key imaging modules for examination: ophthalmic - posterior and anterior segment, dermatoscopic and otoscopic.
• Maximum Portability
• Simple Integration
• Improved Patient Care
Improved Patient Care
Digital still and video images created with Pictor provide accurate first diagnosis and planning for consistent follow up treatment
Simple Integration
Pictor is easily adopted into daily examination routines. Connecting to any patient database system providing standard jpeg image files enables fluent image data storage and sharing that may be used for consultation purposes. Pictor is now interfaced with multiple image analysis and EMR software solutions currently available
Maximum Portability
Lightweight and portable, Pictor is easily used inoffice or field conditions outside the office. Pictor is a proven success in rapidly expanding telemedicine applications.
Superior Versatility
Two easily interchangeable modules provide high resolution retinal (non-mydriatic) or external eye imaging. Two additional modules are available for otoscopic and dermatoscopic examination.
Retinal Module
Pictor retinal imaging enables non-mydriatic eye fundus examination with a 45º field of view. With digital still and video images, the appearance of optic disc, macula and retinal vasculature can be screened and documented for ocular lesions and anomalies.
Anterior Module
Pictor anterior imaging provides high resolution digital image data of the surface of the eye and areas directly surrounding the eye. The cobalt blue LED light allows fluorescent imaging to detect a dry eye or any cuts or rashes on the surface of the eye
Technical Specifications
Handset Technical Specifications
• Weight – 0.9 lb (400 g) • Power Supply – rechargeable Ni-MH battery Handset Features


text: Alpine offers a variety of storefront rolling doors. We offer grille doors that are economical and give a complete view of the outside. When the business is closed your customers can still see through the storefront rolling doors and view your merchandise. Alpine also offers perforated slats that give a bit more security, with vision. Our storefront rolling doors are sure to meet your needs. Call or click here today and have Alpine's expert engineering team design a door that fits all your security and aesthetic needs.


text:
Digital speck counting for flour
Publish on 9/28/2018 10:09:49 AMA new way of counting speck and bran in any type of flour is paving the way for more efficient and accurate milling processes.
USA Overview of the Medical Device Market
Publish on 12/27/2017 09:12:53 AMUSA Overview of the Medical Device Market
The 7th Oman Health Exhibition & Conference set for October 9, 2017
Publish on 8/8/2017 02:08:03 PMMuscat, Oman, 01 August 2017—After a successful sixth edition in 2016, Oman's biggest exhibitions and conferences organizer Omanexpo, is preparing to hold the seventh edition of Oman Health Exhibition and Conference from 9 to 11 October 2017 at the new Oman Convention & Exhibition Centre.
PuraPharm Opens Its First-ever Nong's Chinese Medicine Clinic in Mainland China
Publish on 8/3/2017 10:08:04 AMPuraPharm Corporation Limited is a leading Hong Kong-based Chinese medicine company specialising in the research and development, production and sale of Concentrated Chinese Medicine Granules products under the "Nong's" brand.
More than 20% of Medtec China 2017 are debut suppliers; a continuous stream of branded buyers registered to the show
Publish on 7/25/2017 04:07:38 PMMedtec China 2017 will take place 20-22 September 2017 at Shanghai World EXPO Exhibition & Convention Center. This year's show will gather more than 300 exhibitors from 23 regions and countries throughout the world, of which there are 50 companies originating from both China and abroad are participating for the first time in the show.
Pharmaceutical Blister Packaging to Expand 6.5% Annually Through 2021
Publish on 7/23/2017 08:07:51 AMDemand for pharmaceutical blister packaging is forecast to expand 6.5% per year to over $4.4 billion in 2021, representing 12.9 billion units. The single dose packaging of solid oral prescription drugs will continue to account for the largest usage whether dispensed directly to patients, tested in clinical trials, distributed as physicians' samples or administered in hospitals. Blister packs are also widely employed as high visibility containers for over-the-counter (OTC) tablets, caplets, and capsules sold in quantities of 50 or fewer.
SIS Medical opens new production facility to support its international growth
Publish on 1/12/2017 10:01:50 PMSIS Medical AG has moved to its new production facility in Frauenfeld, Switzerland. From this new location, the company is capable of providing higher capacity to meet the increasing demand for balloon catheters in international markets. Following the move, significant investments will be made to strengthen its R&D department as well.
Foreign investment and increased imports to dominate Russian and ASEAN markets


text:
Made by
Anmer Social Club supports a men's Darts team & a Domino team during the winter months, and a very active Bowls club during the summer All play in local leagues in a competitive but very social environment.
The club bar is open for all Home matches
If you are interested in playing darts, dominoes or bowls at Anmer Club email
and we will contact you
Click above for more detail of our teams
Anmer Church Events
Dersingham Church Events
Quiz Nights
Music Nights
Film Nights
Food Events
Film Nights - Programme
Darts and Dominoes
Anmer bowls club.
Anmer Bowls Fixtures
Village history
Village sign
St Mary's church
Anmer Hall
Photos 1
Photos 2
Photos 3
AMYC Events
AMYC Future Events
AMYC Press Releases


text:
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Throughout your life, you would have to organize various types of events. Your experiences in organizing numerous events would tell you that you should take different steps regarding driving different events towards success. If you have been given the responsibility in organizing an event such as a conference, it will be necessary for you to take that responsibility seriously and do everything you can in order to obtain ideal results. This will not always be an easy task. But if you know the right steps to take, you would not have to worry about much. Want some useful tips in organizing a conference? Read below to find out!
Pick an ideal venue
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text: Share: Comments Print January 19, 2015 at 11:19 AM SpaceX releases video of rocket crash-landing on ocean barge Posted by The Associated Press HAWTHORNE, Calif. — SpaceX has released dramatic footage of its booster rocket trying to land on a floating ocean barge after a launch — an unprecedented attempt that ended in a fiery explosion. The video released Friday shows the 14-story rocket hitting the football field-sized barge at an angle, lighting up the night sky off the Florida coast. Saturday's landing attempt came minutes after the Falcon 9 rocket launched a load of supplies to the International Space Station. The first stage peeled away and flew to the barge. After the loss, SpaceX founder Elon Musk tweeted: "Close, but no cigar this time." He tweeted this week that the rocket's legs and engine section were smashed. The Southern California-based company attempted the touchdown because it wants to launch reusable rockets to bring down costs. Comments | More in Business/Technology | Topics: Elon Musk, SpaceX, video


text:
Debarshi Ray authored
The UI freezes for a moment when launching Settings -> Online Accounts because g_application_register does slow I/O. After creating the GApplication's GDBusActionGroup, it queries the list of remote actions from the primary application instance over D-Bus to populate it. Fortunately, it's not necessary to fill in the GDBusActionGroup for activating a GAction. Therefore, this can be solved by directly using a GDBusActionGroup instead of going via a launcher GApplication. This does lose the platform data that the launcher GApplication would have passed when invoking the remote GAction, but hopefully that won't prove crucial. The loss of error handling doesn't matter. g_application_register was the only fallible step, and it could have only failed while querying the list of actions from the primary, something that's not needed anyway. If anything, it simplifies the code. Fallout from 556a9f30924fb4ec


text:
Advanced Search
TCEA 2017 Coverage
RobotLAB, a San Francisco-based ed tech company, has launched a new digital platform that aims to transform the learning experience by providing robot-based lessons for a wide range of subjects and age levels.
Engage! K–12 is an interactive and hands-on learning tool organized by accessible themes (such as soccer-playing robots or autonomous cars). Students and teachers can access the browser-based learning ecosystem from any device. A user-friendly interface allows teachers, even those with no programming experience, to bring their lessons to life with virtual or physical robots.
Engage! K–12 currently houses a wide variety of lessons focusing on subjects or concepts that students often struggle with. Lessons are searchable by grade level, subject, and Common Core State Standards (CCSS) or Texas Essential Knowledge and Skills (TEKS), and cover topics from coding to STEM to storytelling. Teachers can use RobotLAB's existing lessons, customize them for their classes or create their own. Each lesson leads students from idea to construction to application to results.
Every lesson is designed to spark students' curiosity and use this engagement to teach them the subject at hand. For instance, a lesson that combines coding and algebra begins with the teacher showing a video of humanoid robots playing soccer. The question "How do the robots know where to kick the ball?" leads to a discussion of using linear equations to solve the problem.
Students then use integrated tools such as drag-and-drop programming and a graphing calculator to help them manipulate virtual robots to kick the ball to the goal. They can then receive immediate feedback by watching their commands played out by physical robots. Schools have the option to add their existing robots to the online lessons or choose the budget-friendly Simulation Mode of Engage! K–12, which uses virtual robots only and allows students to learn from anywhere.
Engage! K–12 includes classroom-management features, student assessment and themed lesson plans for different grades, enabling schools to easily integrate it "out of the box" into their curricula. Engage! K–12 also includes interactive tools to enhance the learning experience in the classroom, such as a customizable polling system that allows students to share answers and teachers to instantly find out what concepts the class has and hasn't grasped. Students' responses are translated into a word cloud to stimulate class discussion and collaboration.
At the TCEA conference in Austin, Feb. 6-10, RobotLAB will use humanoid robots and its newly introduced autonomous car program to showcase curriculum for K–12 programming and coding, high school algebra and elementary school storytelling.
To experience Engage! K–12 in person, visit booth 1829 at TCEA. For more information, visit RobotLAB's website.
About the Author
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Every day schools are exposed to cyberthreats trying to gain access to personal and financial data. With the ever-changing threat landscape and the growing sophistication of targeted attacks against organizations, endpoints in educational institutions need to be protected now more than ever.
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text:
Katerina59 needed a new other design and created a contest on 99designs.
A winner was selected from 69 designs submitted by 15 freelance designers.
NISI Yachts
NISI Yachts builds luxury megayachts in the 80 to 150 foot range.
To experience our current marketing look and feel/vibe, please view:
We are looking to design a new 1 page brand advertisement.
We have a download link with the following folders available for you to view at:
Link: https://tricon.box.com/s/mqav901kunqezsmyi138
In this folder you will find 5 sub-folders:
- Creative Descriptive Document (outlines the project)
- NISI Logos file
- Past NISI ads (for reference if you want to take a look)
- Photos (to be used)
- Proposed Ad Ideas (view this first, then view the other folders)
The NISI Yachts line is the company's sexy, sleek, cool, "fashion forward" pleasure craft designed for buyers interested in innovative styling and performance combined with ease of use and ownership allowing them to live life fully around their yacht with less effort and more fun. Its ground-breaking edgy design borrows from the legendary vessels of the past but is completely steeped in today's world and sets new build and safety standards for yachts under 80 feet.
Simplicity and jet set sophistication melded into one. The goal for the imaging and the messaging of the ad is to be, and to evoke feelings of "Simplicity & Casual Opulence"
As a car: NISI would be likened to an Aston Martin. Elegant sports car look and feel, images of James Bond and Bond Girl cool without the headaches, harsh ride, blatant sex and tough in your face characteristics of a Ferrari.
Advertising Objective
1) Establish awareness of the Nisi line, especially the currently built Nisi 2400 model
2) Create the perception/image and sex appeal that Nisi is one of the most innovative sleek, very sexy, cool, "design forward" pleasure yachts ever built
3) Generate purchase intent
Target Market
Yacht buyers, many first time yacht purchasers, who live life fully and wish to enjoy the yachting experience boldly with emphasis on fun, pleasure, entertainment rather than serious sea going adventures.
These prospects would be considered yachting dilettantes versus serious yachtsmen but still want a yacht that is considered serious, competent, highly safe and noteworthy.
These buyers want great ease of use and ownership
Nisi, which means "island" in Greek, exudes sophisticated sexiness (not gowns and Champaign flutes but rather james bond and laura craft subtle sophistication), style, casual elegance, experiential, playful and fun without losing the importance of the vessel being a superfly built, innovative yacht. The yacht's edgy design is key to its successful positioning and is part of the brand's unique identity.
Nisi's design borrows from the legendary vessels of the 30s and 40s but sets new build and safety standards for yachts under 80 feet and is a very 2012 vessel.
Some prospects may identify with the legendary design influence on a new state of the art vessel, finding the retro feel very appealing with a sense of the comfort and security from elements of the past defining the future.
Primary Selling Message
The key promise the target should get from advertising is the NISI line is about a fun and entertainment with casual opulence, comfort and great style. Simplicity, sophistication and beauty in one vessel. Nisi's design is as important as is its competency, safety and performance.
Specific Response or Action Desired:
Serious consideration of purchase for NISI Yachts, semi-custom build orders. Prospect will want to source the company's website and/or a yacht broker for more details. It is likely that prospects will want specifics about the yacht's design, styling and features over performance.
Tone and Manner:
Nisi is sexy, playful, a bit naughty, edgy but sophisticated. More about lifestyle than performance, more about design than capabilities. However, the edginess and playfulness should not ignore the retro feel and "security" that this design may generate for some prospects.
Lazzara Yachts, San Lorenzo Yachts, RIVA Yachts, SunSeeker Yachts,
- All NISI ads will use the brand's name logo type. The brand will be identified with the logo and the slogan, "Come in to your world" must be used.
- The words "Casual Opulence, Legendary Style. Naval Architecture by Setzer Design" along with the little boat models must be used (see past ads (and zipfile) – this appears on all of the past ads, at the bottom)
- A website address, corporate address and telephone number will also be listed at the bottom of each ad.


text:
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text: jn8 1,989 Posted March 7 So Miami's new logos and uniforms have been met with mostly mixed reactions. Personally, I'm a fan of them, but others say they're too black heavy. I can see that, and do believe a little more color could make them even better, so that's what I've tried to do. Over the past few days, I've been doing quite a few sketches tweaking and evolving the Marlins logo, but I'm sort of stuck on where to go. I've got quite a few pages drawn out, so I guess I'll go over them page by page. There's quite a few, so be. warned, this could get kinda long. So here's page one. I broke them up into groups 1A and 1B because before I knew I'd be posting these rough drafts, I kinda just drew them wherever I felt like. 1B is a later evolution, so for now let's just pretend it's not here, okay? At the very top you can see my modified fish-M logo which, in my world, would be the primary instead of that weird baseball stitches over the script they actually use. Right off the bat I changed the colors. I knew even if I kept the logos absolutely identical I was going to make this one change. A magenta/hot pink color replaces the red-orange. For the most part, this version stays pretty close to the original. I dropped the tail of the fish so it no longer crosses in front of the M, made the blue and (now) pink lines thicker and added a black stroke separating the pink and blue, allowing them to pop more and give more of a neon sign vibe. Lower down are the Miami script and an example of the numbers with the same tweaks as the primary logo: thicker outlines to add more color. Like I said earlier, the logo/script labeled 1B came later in the process and will be discussed then. Now comes page 2 and the first "evolution" of my tweaks. I wasn't quite sold on the first tweaks I made, so I kept going. I wanted to keep the neon sign on a dark backdrop vibe going, so I was afraid to drop black or make the script blue, but I still wanted to get more color. In this version, the script (and numbers) become blue with a black in-line. The full-bodied fish is at the bottom, the same fish would be used for both this and the previous page's logo sets. This is when I got to the 1B logos. I just kinda did those at random and, to my surprise, I kinda liked them. I wanted to get a more fleshed-out version, so that's what came on page 3. Like I've said above, I REALLY wanted to keep the neon sign feel, and with these I fully embraced it, making the logos look like literal neon signs These were still pretty rough, so I wanted to clean them up better and thats what I did on page 4: Full on, literal neon sign logo and word marks. Yes, I know one of the wordmarks *technically* says "arlins." These were quick and I didn't want to make the M again because there's so many small lines, so I just did what was simplest at the time. There are also two fonts I experimented with. Font A is based of the current font+the neon sign M, font B is based off the neon scrip used for the -iami and -arlins portions of the word marks. Page 5 simply shows how the neon scrip would appear on different colored backgrounds. Right now, that's what I have. But I don't know what direction I want to go. I have three choices, Option 1, the logos on page 1, Option 2, the logos on page 2, or Option 3, the logos on pages 3/4/5. I honestly think I'd be happy with any of them, but I'd like to hear what others think before I start on final drafts and uniforms. Option 1, 2, or 3? And if 3, which number font? I'm even open to suggestions of a whole new direction all together if someone has one. 11 Quote Share this post Link to post Share on other sites


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text:
Things I'm Seeing Without You
NOOK Book(eBook)
Available on Compatible NOOK Devices and the free NOOK Apps.
"Required reading." --John Corey Whaley, winner of the Printz Award
Seventeen-year-old Tess Fowler has dropped out of high school, tossed her laptop in a freezing lake, then jumped in after it fully clothed. Why? Because Jonah was the boy she knew only through texts and emails but understood to his very core. Jonah was the only boy she'd told she loved and the only boy to say it back. And Jonah was the boy whose suicide she never saw coming.
Jonah's death has sent Tess pinwheeling into grief and confusion. But even though he's gone, Tess still writes to him. She wants answers to the yawning chasm of questions that's become her life. At the same time, she's trying to find solace in her father's alternative funeral business. Who knew that arranging last rites for prized pets could be so life-affirming? But love, loss, and life are so much more complicated than Tess ever thought . . . especially after she receives a message that turns her already inside-out world totally upside down.
As funny as it is heartbreaking and completely unputdownable, Things I'm Seeing Without You shows us what it means to love someone, to lose someone, to wade through the beautiful/strange agony of the aftermath, and somehow love again.
"Sometimes hilarious, always affecting." --VOYA
"Nails the messiness of grief." --SLJ
"Compelling . . . a draw for fans of Nicola Yoon." --BCCB
Product Details
|Penguin Young Readers Group
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|Penguin Group
|NOOK Book
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|Age Range:
|14 - 17 Years
About the Author
Read an Excerpt
The morning after I dropped out of high school, I woke up before dawn in my father's empty house thinking about the slow death of the universe. It smelled like Old Spice and middle-aged sadness in the guest room, and this was probably at least part of the reason for my thoughts of total cosmic annihilation. The other part I blame on physics. The class I mean. Not the branch of science. It was one of the last subjects I tried to study before I made the decision to liberate myself from Quaker school, driving five hours through Iowa farm country to make my daring escape.
I did the drive without stopping, listening to religious radio fade in and out of classic rock, which sounded something like this: "Our God is an awesome Godddddd and . . . Ooooh that smell. Can't you smell that smell? The smell of death surrounds you!" All I could smell was fertilizer. And as the empty fields and pinwheeling wind turbines passed by my window, I tried not to think too hard about how I had let things get to this point. And I tried even harder not to think of the improbable person I had come to love, who would no longer be in my life.
But back to the universe for a moment.
There seems to be no real consensus about how it's all going to end, and that's what had me worried in the predawn hours. If the worst is going to happen, as it always does, I'd at least like to know some details. But current theories are too varied to be of any real help.
Some people think the Big Bang is just going to happen in reverse. Like: BANG! Everything to nothing! Deal with it fools! Other people think that outer space is just going to go dark and cold, stars blinking out like candles on an interstellar birthday cake. And still others think that time itself will come to an end like an old man's watch that someone forgot to wind.
If forced to choose, I'd probably go with the last option. Not because it sounds like a barrel of laughs. But if it's all going to freeze like the last frame of an eighties movie, I think I could deal with it as long as I get to pick the right moment.
For example, I could be jumping off a cliff, locked in flight like a majestic Pegasus. Or I could be mid-hiccup, frozen in a deranged bodily spasm for all of time. Or maybe I could just round up all the people I've disappointed in the last few months and issue one giant apology before it all goes still. I could shout it through a megaphone. I AM TESS FOWLER AND I HAVE MADE TERRIBLE MISTAKES! MY BAD! PLEASE ENJOY THE VOID!
And I guess if someone twisted my arm I might also opt for an eternal orgasm.
The Long Bang, if you will.
But the key here is that I want the power. I want to know when it's going to happen, and I want the ability to choose my last act when the time comes. Because, lately, I've been feeling like I don't have much control at all.
Dropping out of high school, as it turns out, is only mildly empowering. It is remarkably easy, though. All you have to do is wake up one morning and realize that you are failing the shit out of all of your classes, you have alienated most of the people who were once your friends, and you haven't really felt like a functioning human being for well over a month.
At which point, I recommend stealing the last emergency joint from your roommate's Mickey Mouse Band-Aid tin, walking to the two-lane highway that frames the entrance to Forever Friends Quaker Academy, and puffing away while saying good-bye to a place that almost felt like home for a while. Then I suggest you get in your Ford Festiva and blow town like a fugitive.
I neglected to wake my roommate, Emma, before I took off. She had snuck her boyfriend in again, and they were locked in a pornographic pretzel hold that defied the imagination. Seriously, they were like conjoined staircases in an Escher drawing, only naked and with more body hair.
So, instead of saying good-bye, I left her the twenty-five bucks I owed her, along with the rest of my orange ginger body mist, which she was always stealing anyway. Then I walked out and closed that door forever.
It sounds harsh but we never really had an honest conversation in our seven months together. Or even a fight. True, I was with her that time she didn't get her period and we watched clips of Teen Mom on YouTube and cried. But we weren't best friends. I'll never be her maid of honor, giving a tearful speech at her destination wedding. And I probably won't be giving her a kidney. At least not my favorite one.
But, for the last few months we slept two feet apart in a room the size of a prison cell. We shared a shower caddy. We held each other's hair when we got too drunk on Malibu and our barf smelled like suntan lotion. There's an intimacy in that.
I also declined to notify Elaine at Health Services, which I imagine will come to bite me squarely on the ass sooner or later. Elaine is the woman who has been talking to me about my "grieving process" for the last month or so. She is nice enough, I suppose, and she gives warm hugs. But when I see the pictures of her dog dressed in Halloween costumes, I am sad for her. It's like all the problems of girls like me have zapped her ability to have a real life. Now all she can do is worry and walk her spaniel.
Ultimately, though, I just couldn't deal with another one of her phone calls, where she asks such painfully earnest questions while not-so-secretly trying to ascertain whether or not I am going to off myself at her school. Well, I'm gone now, Elaine, so you don't need to worry about that anymore. I give you permission to be relieved. Have an extra drink at the staff happy hour this week. You deserve it.
I suppose it's worth mentioning here that I am squatting in my father's home at present, with no immediate plans to leave it. The house is a sagging two-bedroom in Minneapolis where he's lived since his marriage to my mother unraveled like a bad sweater. And I am back living in it for two reasons that I can discern.
The first is that it is only a morning's drive away from my hippie school in Iowa, and that seemed like a good amount of time to be in a car with myself. The second is that my mother is currently on an extended retreat in India with her new boyfriend, Lars, practicing something called Ashtanga Yoga, which I take great delight in not picturing. So, I journeyed to Dad's bachelor rental, where he runs a funeral-planning business out of my former bedroom.
Yes, you read that correctly.
For the last few years, my father has been trying to find exciting new angles in the Death business. He has been doing this despite any real training and a steady lack of encouragement from nearly everyone he knows.
There are still piles of unfinished coffins in the garage from his first attempt at "artisanal caskets." And now that he's trying to work as a funeral planner, there are pamphlets all over my old bedroom that say "Plan for the Party of Your Life!" (Which really means your DEATH. Surprise!)
This is not new behavior from him, unfortunately, and it's very much part of the reason we don't talk too often anymore. If I had to be more specific, I would say that most of the reason we don't talk is the fact that he drained a college fund in my name to cover costs for another of his "ventures." That one was a mobile spa unit he could drive to the homes of the elderly to perform hot stone massages on their seminude bodies in their driveways. Sweet idea, Dad. How did that fail to take off?
He was, of course, going to pay the money "right back!" But somehow he just ended up borrowing more from my mom . . . without asking her. Yet, despite all this, I called him last night in a moment of weakness. Or desperation. Or maybe just to give him fair warning about my ruined life.
Anyway, when I got through, I caught him on a beach in Nantucket, where I immediately heard what sounded like fireworks launching into the night sky.
"Duncan Fowler!" he shouted over a prolonged screech.
"Hello? This is DUNCAN!"
The screech came to an end.
"Tess," he said. "What's wrong?"
I couldn't blame him for asking. The only time he ever got a call from me was when something was going horribly.
"Nothing," I lied. "Nothing is going horribly."
A deafening explosion stepped on my line.
"What?" he said.
"NOTHING IS WRONG!" I said. "EVERYTHING IS PERFECT!"
"Dad," I said. "What the hell is going on? It sounds like an air raid over there."
"I'll be honest." He sighed. "You haven't caught me at the best time, kid."
I couldn't remember a time when I had.
"I just have to tell you one thing," I said. "I'll be quick."
I took a breath and made sure another boom wasn't coming.
"I'm quitting," I said.
I didn't wait for him to respond.
"I gave up. On school. I'm quitting and coming home, probably forever. I hope that's cool with you."
I expected a gasp. Or at very least a sigh. All I got was another crackle in the air.
"I'm sorry," he said. "I lost you for a minute. Did you say something?"
I closed my eyes and mouthed a few f-bombs.
"Forgive me, Tess," he said. "The ceremony isn't going so great here. The rockets just went off ahead of schedule and people are kind of freaking."
"Wait a minute. Rockets? What are you talking about?"
"They were supposed to go off at twelve, but it's only eleven thirty. I'm not sure why that's such a big deal, but apparently Zebulon was born just after midnight. . . ."
"Who is Zebulon?" I asked.
I both did and did not want to know.
"A Borzoi!" he said. "Beautiful dog. At least, he was. He's been through a cremulator now, poor guy. He belonged to a famous science fiction writer. Thus, the rockets. And the name Zebulon, I guess. He's being launched as we speak. It's really quite—"
Another staccato of bursts.
"Hold on. You're doing dog funerals now?"
"Well," he said, "this is technically a life celebration, but yeah. It's sort of an untapped market. Anyway, I'm kind of busy. And it's almost exam time for you, right? What do they have you doing at that school, birthing a calf?"
For a moment, I considered telling him the truth. I considered telling him that I was no longer learning things at the expensive private high school where my mom had sent me to "self-actualize," and "build community." I considered telling him I was, instead, at his house in Minneapolis, eating out of his sad bachelor fridge and getting ready to sleep in my old room—which now looked like a cross between a home accountant's office and a prostitute's garret—but then I heard some shouts from a faraway crowd.
"Oh crap," he said. "Not good. The smoke is blowing back toward the beach. I need to move the old people. We'll talk about this later, okay, Tessie?"
And then, just like that, he was gone.
So, I closed my eyes and lay back on the bed.
It was and still is a single mattress bought for a smaller me. A smaller me who peed the bed well into her sixth year and was afraid of the dark until fifteen when she discovered Xanax and droning guitars. I hadn't slept on it in almost a year until last night. Now the springs are shot and the mattress dips in the middle like a hammock. But, still, I tried to find sleep in the office of death.
It was too quiet, though. I had been conditioned by Quaker school, and now I needed the sound of shouts echoing down the residence hall, and the rustles and shuffles of Emma and her boyfriend trying to have considerate sex across the room when they thought I was sleeping. I needed the sounds of other people, whatever those might be. Reminders that I wasn't completely alone.
So my attempt at shut-eye didn't last too long. And instead of making some tea, or meditating, I got up and I sent a long message to the Facebook account of a person who no longer exists.
The vacant person's name is Jonah.
His account is vacant because he's not alive anymore.
Still, despite his un-aliveness, I sent my message to him. I told him about trying to go to bed in a room full of eerily upbeat death brochures. I told him about a new iPhone app that identified constellations when you point it at the night sky. I told him I missed his late night texts, his rambling e-mails, and the sound of his laughter on my voice mail. And I told him that I was home, but it didn't feel like home anymore.
I also told him that everything happening to me was entirely his fault.
That if I hadn't known him, hadn't fallen for him against my better judgment, none of this would be occurring. I wouldn't be wearing the same clothes I wore yesterday. I wouldn't be lying on my sagging mattress from sixth grade, unable to move. I wouldn't be a high school dropout. And I wouldn't be barely holding in the full-body heartache that threatened to swallow me whole whenever I looked at his profile picture.
Then I waited two hours for a response that I knew would never come.
Which finally leads me to everything that happened this morning, and the story I intended to tell in the first place before I began talking about other doomed things like the universe and Zebulon the rocket dog.
So, I'd like to give this another try, if you don't mind. My English teacher, Mr. Barthold, once told me that I need to "trust the process," when crafting a piece of writing, and that "the essential truth is a slippery thing."
Duly noted, Mr. B. Even though you are an embittered man clinging to a single published novel like a participation trophy, you sounded genuine when you said this. So I shall heed your advice and trust the process. Okay?
Here goes.
Customer Reviews
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Most Helpful Customer Reviews
Peter Bognanni has struck the perfect balance between levity and serious subject matter in THINGS I'M SEEING WITHOUT YOU. It is equal parts entertaining and deeply moving, and I would highly recommend this book to fans of Adam Silvera and Krystal Sutherland. As Tess Fowler is grieving the sudden and unexpected death of her boyfriend, she finds out that he isn't exactly who she always thought he was, and what she learns takes her on an unexpected journey toward figuring out the person she wants to become. Along the way, readers get to watch her not only coping with her own grief, but trying to help others cope with theirs as well. Bognanni certainly pulls no punches in this novel, and there are definitely moments where the reader will truly feel Tess's grief alongside her. At the same time, there are these wonderful moments of laughter and levity throughout that really make the book a pleasure to read. Tess is such a witty and original character. Bognanni has given her some truly wonderful, laugh-out-loud one liners, and those help diffuse some of the tension from the more serious and important topics discussed without glossing over them. Tess felt like a real person, not just a book character, and I really appreciated the life that Bognanni breathed into her. Tess's journey through her grief takes her in some very unexpected directions. And while that did make the plot feel a little disjointed at times, I do feel like it also added a sense of realness to the story as well. It made the plot seem like an analogy for the way people don't just move through the grieving process linearly. We move in any direction we're able, trying to figure out who we are after our lives are touched by tragedy. THINGS I'M SEEING WITHOUT YOU is heart-wrenching, funny, and deeply moving story. I can't wait to see more from this author in the future. *I received a copy of this book in exchange for an honest review.*
3.5 stars I tend to stay away from angsty books, but I was sucked in by the pretty cover and the comparison to ATBP. I liked Tess well enough. She has an interesting inner monologue and it took me some time to settle into her head space. I did enjoy the interactions between Tess and her father. The funerals are an effective way for Tess to examine what she's going through. Plot wise, there are things happening, but not really any momentum. At times it felt like the relationship with Jonah was sort of blown out of proportion. I'm not trying to discount her feelings, but I didn't always see that Jonah was her boyfriend when it felt so casual. I did struggle with this book in the beginning. For the first 50+ pages I wondered if the weird {and maybe sort of cringy} feeling I had was because a male author was writing a female teenager. But then Something Happens — it is referenced in the synopsis about Tess getting a message — and it was that occurrence that turned it around for me. I quickly became invested in the outcome. And yes, I know I'm being vague and that this review doesn't make a lot of sense. I've typed and deleted several things over and over again. Overall, it grabbed me in a way I wasn't expecting and I really enjoyed the journey. **Huge thanks to Dial Books for providing the arc free of charge**


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