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Bad news first. Guys—Keyboard Cat is dead. The same cat you're still splicing into videos and GIF-ing as fast as your little fingers can fly is, in all likelihood, rotting 6 feet below some nondescript, Midwestern backyard. It all happened one night in 1987; our beloved Keyboard Cat (formerly known as Fatso) raised his paw to his keyboard to sound one final, solemn note before slipping into eternal, musically-inclined kitty slumber.
But in a heartwarming video elegy to the fallen feline, Vice's Motherboard sat down with Brad O'Farrell, the disseminator of everyone's favorite Internet mascot. While it may seem like he's been in our lives forever, Keyboard Cat actually only first appeared in 2007 before gaining his over 29 million views on YouTube and the kind of web-based notoriety that little millennial boys and girls can only dream about. You even get to hear from the mildly off-putting man who's responsible for the original film itself. The entire video is strange, unsettling at times, and highly entertaining, much like the very Internet that Keyboard Cat embodied. Rest in peace, dear friend; we hardly knew ye. [Motherboard]


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0 results found in Saint Matthews
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What's it like to work here? We're asked that a lot. Target respects and values the individuality of all team members and guests—and we have lots of fun in all that we do.experience our culture

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"Do keep up. Stuffy commutes are old news (thanks to last season's Natural Cool shirt), so this season we're turning our attention to keeping chaps cool at downtime. Enter: Soft Wash Tyrwhitt Cool Shirts. Part of our heat-beating Tyrwhitt Cool range of clothing, designed to help you keep your temperature under control, these fine poplin shirts have also been washed with our top-secret wash for a pleasingly soft hand feel. And they're non-iron to boot."
Slim fit yellow and blue gingham soft washed non-iron Tyrwhitt Cool shirt
6 month quality guarantee


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Power Distributing is the premier distributor for Red Bull beverage products for Northern Illinois, Indiana & Southwest Michigan. We do more than distribute the world's number one energy drink. We build relationships with our retail customers by offering competitive programs that help maximize their profits and grow their business.
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Girls Tiara Koala U Back£16.00
Introduce kids to the fun world of swimming with the Zoggs' Kids Girls swimwear range. Designed for ages 0-6 years, we have everything covered for kids who are just starting out on their swimming adventure.
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"His numbness is in the right arm, covering the area from the thigh to the knee."
2 months ago
A Blog detailing the insanity of my medical practice and the stupidity of everyday life.
(assuming the other doctor is right-handed): his dumbness is in his right arm, covering the entire body.
That's one long arm. ;)
Awesome! and I thought I had problems with anatomy.
*rolls eyes*
Little Calf Creamery. Delicious homemade ice cream and food in Thousand Oaks!


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Everywhere I look I see Ned Beatty. Not literally Ned Beatty. What I keep seeing appears to be his doppelgänger, or his evil twin, or a Ned Beatty wannabe, or simply some paunchy, red-faced, middle-aged sonuvabitch who has either the great misfortune or great good luck to look just like Ned Beatty. I would also venture to say that if you were to casually glance over your shoulder, you too would see -- not now, wait until it's cool... okay, now. See it? There are a suspicious number of Ned Beattys wandering around this country. If one were conspiratorially- inclined, one might even think that someone is growing a secret army of the rotund little bastards. Why? To what end? Retribution on an apocalyptic scale for the lifelong mocking the real Ned Beatty endured after appearing in the sodomy scene in Deliverance? Whatever the purpose, there's ample reason to be afraid. The only reassurance we can have is the knowledge that it's not nearly as scary as a whole bunch of Warren Beattys running around.
1st Aired: 07 October 2010


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Two people to lace a single boot, two boots per model, thirty-five models: this was the problem facing Kate and Laura Mulleavy, the pair of sisters behind the Los Angeles-based fashion label Rodarte, one morning last February, less than an hour before their fall, 2009, runway show was scheduled to begin. One person steadied the boot as another laced it, crisscrossing the straps like ribbons on a ballet shoe. The sisters had collaborated on the thigh-high leather boots (which, as one blogger put it, "seemed to go all the way up to the lady business") with Nicholas Kirkwood, the twenty-nine-year-old British shoe designer known for his architectural and vertiginous footwear, and the finished look was supposed to evoke "hands wrapped in plastic in a morgue"—a grotesquerie that Laura had witnessed in a biology class.
The show was being held at the Gagosian gallery, on the far West Side of Manhattan. In a cordoned-off portion of the austere white space, Laura and Kate were coaching a makeshift team of thirty-odd volunteers: students from the Fashion Institute of Technology, several interns, and a few friends. Some were herding the models to hair and makeup stations, or sliding dresses over their asparagus-stalk bodies; most were lacing and relacing the recalcitrant boots. Kate, who is zaftig and often fretful, noticed that a group of models were still in their underwear. "Why aren't they dressed?" she asked, sighing. "Why don't they have boots on?" Nearby, Laura, unflustered, turned her attention to a rack of leather jackets, which, like the boots, had the look of bondage gear: tiers of straps that buckled at the midriff and around each arm. She started to fit one onto a model, pulling each strap tightly across the girl's torso and buckling it, then repeated the process with the smaller versions that encircled the arms. "Please don't move so much," she told the tightly encased model. "I want to seet," the girl wailed. Laura, who is maniacal about the fit of the clothing, said, "You can't sit down," and removed a pair of scissors from her pocket to trim superfluous bits of leather from the tiny belts on the sleeves. The model scowled. "I know. It sucks," Laura said. "I'm sorry."
People have a difficult time telling the Mulleavy sisters apart. Both have glossy brown hair, dark eyes, and pale skin. (Their mother is Mexican-Italian, and their father is Irish.) Laura, who is twenty-nine, is thinner, with wavier hair and sharper features. Kate, who is thirty, has larger eyes and a rounder face. Both women had on black cardigan sweaters—Kate's was the sort a frumpy older lady might wear, spangled with crystal appliqués—and black ballet flats. They do not attempt the six-inch heels they routinely send down the runway. "Are you kidding?" Kate said when I asked.
Physical differences aside, the sisters act like a single organism. They share an e-mail account, and send unsigned e-mails, making it impossible to know which one you're corresponding with. They used to share a cell phone as well. "We didn't realize it was weird," Kate said. Their conversation is a polyphonic composition of free associations, digressions, and interruptions; they often finish each other's thoughts. Autumn de Wilde, a photographer who has been documenting their shows since the first collection, is close to both sisters. "I've never had a best friend that's two people before this," she said. "Kate has many times told me a story, and Laura will say, 'Kate, you weren't there, I was,' and will continue the story."
The designers live in Pasadena, far outside the fashion industry's axes of influence (New York, Paris, Milan, London); until mid-2006, when they rented a studio in downtown Los Angeles, they designed at the kitchen table in their parents' two-bedroom bungalow. And yet, in just under five years, Kate and Laura have become the most celebrated American designers working today. Their small company, which produces only a thousand pieces a year and has no outside financial backing and minimal profits—"What profit we make goes back into research and development, and into making samples for the next season," their father, William (Perry) Mulleavy, who now acts as the C.F.O. and "business adviser," wrote in an e-mail—has become one of the most talked-about (and imitated) labels in fashion. You might say the outsider artists have become consummate insiders. The question, now, is whether their reach can extend beyond the avant-garde.
Fifteen minutes before the show was to begin, more than half the models still had to be directed to a "spraying station," where their boots were shellacked with leather paint. Two days earlier, the boots had arrived in a lighter shade of gray than the sisters had envisioned. They were sent to be re-dyed, but the paint kept rubbing off and had to be reapplied minutes before each model was launched down the runway. "I was trying to be, like, 'Maybe it will look cool the way it is,' because I knew it was going to be a total drama if we sprayed them," Shirley Kurata, a stylist and a friend of the Mulleavys', said. "But they were, like, 'No, it's not going to look good,' and they were right."
At twelve-thirty, a half hour late, the models began to glide past the audience, a crowd of fashion editors and celebrities (Anna Wintour, the editor of Vogue; Olivier Zahm, the editor of Purple Fashion; the stylist Rachel Zoe; the hipster-actresses Milla Jovovich and Kirsten Dunst). The outfits paired with the extra-long boots were uniformly short—tunic-style dresses and knit miniskirts—and came in unobtrusive shades of gray, taupe, cream, and black, occasionally inflected with electric blue, dark and sea-foam greens, bronze, or mustard. The unvarying backdrop of the garments provided a canvas on which the sisters had created assemblages of fabric. Booth Moore, the Los Angeles Times fashion critic, wrote, "With this collection, I wouldn't know whether to wear the dress or hang it on the wall."
The arts-and-crafts theme was carried through knit skirts, dresses, and sweaters, which evoked shag carpets or latch-hook wall hangings. Some of the fabrics had been "marblized"—dipped in paint to produce a swirled effect. Not everyone was a fan of the sisters' idiosyncratic methods, however. Cathy Horyn, the fashion critic for the New York Times, wrote in her review of the show, "All those scarred fabrics are essentially ornament; the underlying shapes don't change much, and they're not interesting. Indeed you wonder if they are bored or intimidated by the actual mechanics of design—cutting, setting a sleeve—and that what their clothes express isn't technical virtuosity but inarticulateness."
Most of the time, the Mulleavys' dresses hover mysteriously at the point where balanced meets busy, and beautiful meets baroque. But their recent designs, while arresting, do not perform the simple duty of most women's clothing—to make the wearer look either pretty or sexy. "The most unhappy Laura and I have ever been was when we heard that we made 'a pretty dress,' " Kate told me. "We want to make people think, and, once you decide to do that, you will have people that won't like what you're doing." Over time, their vision has grown darker, their clothing riskier, more deconstructed, punk, and gothic. Each collection has been stranger than the last, influenced by anime and horror films, and elements of S & M culture. "Rodarte is the fashion equivalent of a Basquiat," a writer for the New York Observer remarked. "People in the know really love it, but to everyone else it's inscrutable or a little bit ugly."
Although their clothing is considered ready-to-wear, the sisters use couture-like methods. They often speak of "building" a dress. To create their garments, which tend to include a multitude of textiles (and finicky ones, like tulle, organza, leather, and lace), adornments (crystals, feathers, rosettes), and techniques (draping, pleating, dyeing), the Mulleavys work with a team of three seamstresses, a pattern-maker, a dyer, a leather worker, and three knitters. One mid-length yellow chiffon dress from the 2006 fall collection took a hundred and fifty hours to complete. The edge of each of its thirty-plus pleats was beaded, by hand, with vintage Swarovski crystals. The prices reflect the painstaking labor: a multicolored draped silk tulle gown from their 2009 spring collection that was hand-dyed and decorated with crystal beading across the bodice retailed for twenty-five thousand dollars; another draped silk tulle dress from the previous season, this one white, knee-length, wrapped with twine, and spattered a bloody horror-flick red (an effect that took a month to perfect), cost nine thousand dollars.
Rodarte garments are thus worn only by those with enough money to buy them (the socialite-dermatologist Lisa Airan, the San Francisco-based couture collector Christine Suppes) or enough influence to borrow them (the actresses Cate Blanchett and Tilda Swinton). Michelle Obama wore a demure taupe linen Rodarte dress to receive Queen Rania, of Jordan, at the White House, and was photographed in a poufy orange lamé Rodarte frock at a ceremony at the Copenhagen Opera House. Natalie Portman and Reese Witherspoon wore Rodarte to the 2009 Oscars. (Portman's bubble-gum-pink Grecian-inspired strapless gown was a hit; Witherspoon's royal-blue-and-black gown, with shoulder sashes that made her look as if she were wearing a Baby Björn, was not.) Many of the designers' supporters are in the odd position of not being able to own Rodarte themselves. "I am not necessarily able to buy their clothes, because they're on the high end of the price range, and I'm a working girl," Julie Gilhart, the fashion director at Barneys, told me.
Neither Mulleavy sister has any formal fashion training. "We don't know anything about what we're doing but our instincts," Kate says. As young girls, they became interested in clothing through films like "Bringing Up Baby" and "Gone with the Wind." In high school, the sisters subscribed to Vogue and Harper's Bazaar. But at Berkeley Kate majored in art history and Laura in English literature, after leaving her pre-med track ("I was always crying," she says). "Fashion didn't seem like a reality," Laura told me. "It didn't seem like an attainable job, like something you could do." They signed up for a costume-design class together, which they both dropped. "Laura was, like, 'I'm not doing this,' and I remember I stayed a little longer," Kate said. After a disastrous presentation in which she reënvisioned "Twelfth Night" as the movie "Shampoo," Kate decided to leave the class, too. "I was, like, 'No one gets my references to blow-dryers and Shakespeare, and I am so out of here.' "
The sisters learned basic sewing techniques from their mother, Victoria, an artist who painted, did ceramics, and created mosaics. (The name Rodarte, pronounced "Rodar-tay," comes from her maiden name, Rodart; the "e" was dropped when her parents emigrated from Mexico.) "We had the kind of mom that was, like, 'I want you to stay home for a week from school because you haven't seen all the Hitchcock films,' " Kate said. Their father, a fourth-generation Californian and a botanist who identified a new species of fungus, is also detail-oriented and free-spirited. During the early years of their marriage, the Mulleavys lived in an unheated cabin in a redwood forest. The parents' "rebellious" choices liberated their daughters. "They were doing things that were outside of perceptions of normal," Kate told me. "They weren't, like, part of this mainstream life style."
After graduating, in January, 2002 (Kate stayed a semester longer, Laura left a semester early), the sisters moved back home. There they watched horror movies "literally for a year." They also began reading couture-sewing books. By mid-2004, with money saved from a cancelled graduation trip to Italy and the sale of Kate's collection of rare albums (a first pressing of the Velvet Underground's self-titled début album, Lou Reed's "Berlin," X's "Los Angeles"), they had cobbled together sixteen thousand five hundred dollars to start their line. Laura later contributed funds by waitressing at a local restaurant. I asked Kate what she did while her sister worked. "I don't know," she said. "I was just thinking about stuff, I guess." In six months, they had created seven dresses and three coats.
The long, slim dresses in this initial collection—flowing, ethereal, delicate, if somewhat precious—were modelled on the redwood trees of their childhood in Aptos, a small town near Santa Cruz. At the time, the sisters were interested in playing with texture, for which tree bark served as a metaphor; they pleated and tucked their garments like textile origami, fraying the edges with pinking shears. These methods gave their essentially classical gowns an unleashed quality. They sent a quirky, flattering note—a doll in a little armoire containing miniature paper versions of their seven dresses—to Cameron Silver, the proprietor of Decades, a vintage store in Los Angeles, asking him to view their collection. He agreed to meet with them and assess the clothes. "It could have been a Tim Gunn moment," Silver says, alluding to the "Project Runway" host and the shoddy designs he has to endure. "But I was just blown away."
Silver phoned buyers and editors in New York, and the Mulleavys made their first trip to Manhattan, where they schlepped their tiny collection around in a cardboard box. Women's Wear Daily invited the sisters to bring their pieces to the magazine's office; three days later, on February 3, 2005, their designs appeared on the cover of WWD, an auspicious (and unheard-of) début. Soon afterward, Anna Wintour turned up in Los Angeles for a viewing. "She said, 'What you're doing is very personal,' " Laura recalls. " 'You should keep it that way.' Which I think is the best advice we've ever received from anybody." Wintour has since become a tireless promoter of their work. In less than five years, Rodarte has been mentioned in Vogue dozens of times. "Vogue and some of the other magazines seem determined to keep them in front of us," Cathy Horyn wrote in the Times.
Early one Sunday evening last February, on the eve of Fashion Week in Paris, Sarah Lerfel, the co-founder of Colette—a Parisian shop that sells rare designer labels, bizarre techno-gadgets, and T-shirts with peculiar sayings ("OCD," "Art Damage," "J'Aurais Dû Faire Finance")—was leading Kate, Laura, and their publicist, Brian Phillips, on a tour of the store. The sisters were there to discuss the "pop-up" shop they would create in Colette's second-floor retail-and-gallery space.
Like Anna Wintour, Lerfel was an early adopter of the Rodarte label, beginning with the 2006 fall collection, the Mulleavys' second. "Colette was one of our first five stores," Laura noted. (Rodarte mounted its first show in the fall of 2005, with its 2006 spring collection; runway time always anticipates civilian time by half a year.) During Paris Couture Week in 2006, Rodarte displayed three confections of organza and chiffon in the windows of Colette. Karl Lagerfeld stopped by and bought a black georgette-and-satin dress with a high neck and signature Rodarte "waves" fluttering down the bodice and at the cuffs, for his muse, Lady Amanda Harlech. "I saw this hand with amazing rings on it touching a dress," recalls Kate, who, with Laura, happened to be in the store at the time. "And then I felt that hand tap me on the shoulder, and Lagerfeld said something like he thought the dresses were special, and he was going to buy one. I was in shock."
Lerfel, a gamine Frenchwoman with close-cropped hair, led the group downstairs to the shop's café. Kate pulled a crumpled piece of loose-leaf notebook paper out of a canvas tote printed with an image of Proust. "I kind of like the idea of creating a teen-age girl's bedroom," she said. "I thought we could do stuffed animals, like Teddy bears and giant rabbits, made of our knits." Her voice shook a little; she was speaking with her hand in front of her mouth. "Kate doesn't drive, so Laura drives her everywhere, and the payback is that Kate has to speak," the artist Ari Marcopoulos told me. " 'You have to talk, because I'm driving you around,' Laura will say. That's how they work together."
Kate mentioned some other ideas: several zines (small booklets of photocopied images) organized around different themes, and a set of mixtapes created by Thurston Moore, of the band Sonic Youth. The sisters are fond of collaborating with friends on various projects. These often consist of photo shoots and interviews in art-fashion journals—an esoteric universe whose members talk mainly to one another. The Colette show, which opened in October, included "art works" by several members of their posse: party hats by Autumn de Wilde, pillowcases by Miranda July, a gumball machine by the actor Jason Schwartzman.
Lerfel asked the sisters what they had in mind for the zines. "We want to do one with Ari," Kate said, referring to Marcopoulos. "We have a mutual obsession with the West. I thought the others could be based on my obsessions. One of them is the flooding of Florence in the sixties. And then one is of the Dust Bowl, and Steinbeck, and when they had all those crazy things happening in the early thirties in the United States."
Lerfel looked confused. "What?"
"The Dust Bowl."
"Spell it?' Lerfel asked.
"D-U-S-T Bowl," Phillips said slowly. "I don't know how you describe it."
"It's, like, basically the 'Grapes of Wrath,' you know, like in the Depression in the United States," Kate explained.
The group discussed several other ideas before Lerfel's expression grew serious. "What you have to know is it's coming su-pere fast, and it's something from now to work on non-stop, because we cannot have last-minute sheeping," Lerfel said, her tone parental. "I talked to you about some of these things, like, two years ago, and that's the thing which really, really scares me, because I know you're passionate, and you love everything and everything—"
"No, we are going to do it," Phillips reassured her.
"Brian, we have to do this—I'm dying," Kate said.
"We're going to do it," Phillips repeated.
"He's going to monitor us," Kate told Lerfel. "Don't worry."
The Rodarte studio is a modest L-shaped loft apartment in the former Federal Reserve Building in downtown Los Angeles, containing two drafting tables, at which Kate and Laura sit, and a small desk in one corner where Andy, their lone full-time employee, quietly makes phone calls. Between three and five unpaid interns scuttle around; mostly, they appear to be occupied with fetching coffee. With its two walls of art books arranged by color ("Laura does that," Kate said), its bathroom filled with toiletries for the occasional all-nighter, and its many stuffed animals and toys, the space has the feel of a dorm room. On the refrigerator in the galley kitchen, a note from Anna Wintour has been tacked up: "Dear Kate and Laura, Thanks for the flowers. I'm happy you are as pleased with the May issue as I am."
When I visited on Memorial Day, the Mulleavys were at work on their 2010 spring collection, which would be shown in September. Off to one side were two large bulletin boards on which the sisters had pinned a series of inspirational images photocopied from books: pictures of Degas's famous ballerina sculpture, two paintings by Robert Rauschenberg, California condors, and the atomic bomb being tested in the Nevada desert. Each collection begins with a constellation of such images, and from there a loose theme arises. The muted colors and marbled fabrics in the 2009 fall collection were intended to resemble granite, slate, marble: "the materials used in the structure of a home," the designers wrote in an e-mail. The idea arrived when the sisters drove by a cluster of dilapidated houses alongside the freeway. For their 2008 fall collection, which was inspired by Japanese horror films, the textiles were meant to look as though they were bleeding or "covering a seeping wound."
The sisters spend months either inventing their own "techniques" or, more commonly, working with artisans to alter fabric by, say, pleating, beading, or dyeing it. Only then do they move on to the designs. Kate does all the formal sketching. "I can't draw," Laura says. In a 2006 article in Vogue, Kate referred to their process as "manipulating simpler textiles into really complicated things."
For the upcoming collection, the Mulleavys had decided on a new technique. "We're going to burn everything; it's like opening Pandora's box," Kate said. They were testing scraps of fabric to see how various materials would respond. The results would offer an antidote to "high gloss, high fashion, glamour, put-together, shiny, perfect—everything too exact," as Laura put it. Kate added, "The other day, we were laughing that if we could take our clothes and bury them, and in ten years pull them out, we would actually be satisfied." (Another designer had beat them to it: in 1993, for his graduate collection at Central St. Martins, Hussein Chalayan buried silk dresses and later exhumed them.)
Both women were seated in desk chairs, with several piles of fabric samples at their feet. For the next four hours, they sorted through them. Laura recorded their verdicts in her laptop, while Kate ate a sandwich and absent-mindedly pulled at the skin on her neck.
Laura held up a scrap of beige silk. "I think this one is retarded," Kate told her. "Bor-ing."
Next, a shiny piece of terra-cotta-colored lamé. "I feel like it's a little fussy," Kate said.
Of a strip of rough brown linen with quasi-leopard-print spots: "Too eighties Mudd Club."
Laura held up a swatch of cream jersey with a raised, wavy texture that suggested sand dunes. "Desert-y," she said to herself.
So far, all the designers knew about this collection's theme was that the desert and condors would play a part; they had travelled to Death Valley earlier that spring with their friend Johnson Hartig, the designer of the label Libertine. They were searching without success for an example of a color that they called "condor red," a chalky, dusty red that would resemble the faded, rubbery skin of a condor's head and wattle.
"Ready? Because this is out of control," Kate said, waving a square of embroidered gray tulle in Laura's face. "If this were white with rust on it, it would be off the charts," she added.
Laura began typing furiously on her laptop. She was e-mailing a mill. "Ask them if we can customize," Kate told her. When a color or print or texture exists only in their imaginations, they work with a fabric mill to develop it. These transactions can be difficult. Small lots of fabric tend to be a low priority, and the mills tack on surcharges.
Laura pulled a sample of sea-foam-green polyester from a little heap near her feet.
"I hate that," Kate said sourly.
"Me, too."
"Like, why do they even make it?"
"Should we burn it?" Laura wanted to know. "Who has the lighter?" She got up and walked a few feet to the bathroom with the sea-foam-green bit in her hand. The chemical smell of burning polyester wafted through the studio. "Stinky," she said. Back in her chair, she rooted around on the floor until she found a scrap of silver lamé.
"I hate that," Kate said.
"It's awful. Let's burn it." She held it away from her body and torched it with the lighter. The edges of the fabric began to flicker and curl. As the flame seared through the material, it left a scorched lunar landscape in its wake.
"Cool," Laura said.
If there is any doubt about Vogue's hand in anointing new designers, one has only to look to the industry's prize circuit, which provides an infusion of cash and prestige at a critical moment in a fledgling career. Since 2006, the Mulleavys have been awarded approximately two hundred and ten thousand dollars in fashion-industry prizes—including twenty-five thousand dollars for the Ecco Domani Fashion Foundation Award for emerging designers, and fifty thousand dollars for being named runner-up in the 2006 CFDA/Vogue Fashion Fund competition. The year Rodarte won the Ecco Domani Award, Sally Singer, Vogue's fashion-features director, served as one of six judges. At Anna Wintour's suggestion, the Gap hired the CFDA/Vogue Fashion Fund winner, Doo-Ri Chung, and the runners-up Thakoon Panichgul and the Mulleavy sisters, to design a version of the classic white shirt.
In June, Rodarte won the Council of Fashion Designers of America award (a.k.a. "the C.F.D.A.") for Womenswear Designer of the Year, the most prestigious accolade in the fashion industry. A C.F.D.A. win raises a designer's profile, increasing the number of stores that carry the line and, possibly, the number of people who buy it. (Approximately forty-two stores currently sell Rodarte.) Winners are sometimes installed as creative directors of a fashion house, as Nicolas Ghesquiere was at Balenciaga, or Marc Jacobs at Louis Vuitton, or Stefano Pilati at Yves Saint Laurent. "The Mulleavys are ripe for a house who might be looking for a designer," Wintour told me. "A place like Schiaparelli, which is just sitting there waiting for the economy to be better—I think they'd be perfect for that."
Some would argue that there is a downside to being the pets of Vogue. For the April, 2008, issue, the sisters submitted to a four-month weight-loss program at the urging of the editors. The magazine provided a trainer and a meal-delivery service at no cost. Kate and Laura detailed the experience in journals, the contents of which were published. "I hadn't realized, though, how many vegetables I never ate," Laura wrote, "and it is rather shocking how much cauliflower we get. I will E-mail them I prefer broccoli." A media furor ensued; the cool kids were picking on the overweight nerds. An article in Radar noted, "Like the passive-aggressive frenemy she is, you see, Vogue was just worried about the husky pair."
"The point of it was that, when you're basically a workaholic, how do you take care of yourself?" Kate said, as we sat in the sisters' studio one recent midweek evening. On the kitchen counter were discarded Starbucks cups and a plastic carton of store-bought mini-cheesecakes, several of which had been eaten. Though the sisters lost fifty pounds combined, they have gained much of it back. I asked if they had continued with any part of the regimen. "I never ate breakfast in my entire life, and I know it was really messing with my mind," Laura offered, looking up from her neat rows of minuscule doodles ("They're hearts, but I'm making them look like flies"). Kate added, "Like, now I would try to eat a banana in the morning."
The Mulleavys do not see why their bodies are relevant. "It's assumed, I think, that if you're a woman designer you must be designing clothes for yourself," Kate said with a sigh. There are a number of women designers who have been the best ambassadors for their designs: Coco Chanel, Vivienne Westwood, and Miuccia Prada among them. Most days, though, Kate wears a gray T-shirt, Laura a gray sweatshirt. Their lack of personal style—what Cameron Silver calls "their goober factor"—is a source of curiosity for the fashion people around them: Is their aesthetic cultivated or in earnest?
The sisters can come off as childlike and naïve, but their actions indicate a sharp sense of how the fashion business works. In addition to having befriended powerful editors, they have sent dresses to edgy, artistic women like Cecelia Dean and Kim Gordon, and have allowed only the right sort of actress to wear their clothes—Keira Knightley, Natalie Portman, Kirsten Dunst—while refusing those who might tarnish the label's highbrow finish. "Everyone wants to wear Rodarte, but they don't want everyone to wear Rodarte," Silver said. "We know who we would like to see representing a collection," Laura said, rather cryptically, "and that world has to be very solid. So we're careful."
"They're very smart, very savvy girls—don't be put off by that naïve façade that they have," Wintour told me. "They're savvy enough that they contacted me in the beginning," Silver said. "They may project a quality that's a mysterious naïveté—not that it's a shtick for them. . . ." he trailed off. "But, at the end of the day, they really know what they're doing."
In August, when it was announced in the press that the Mulleavy sisters would be designing a fifty-five-piece collection for Target, no item of which would cost more than $79.99, fashionable young women began anticipating the arrival of the designers' down-market offerings with the avidity of fishermen awaiting a salmon run. "Start arranging your carpool now," one blogger wrote.
The collection, which does not much resemble Rodarte aesthetically or materially, arrived in stores and online late last month. (In both venues, the merchandise was almost entirely gone in a matter of hours; shortly thereafter, it began to appear on eBay, where it fetched several times the original price.) On a practical level, the items are what Kate and Laura felt "every girl should have." There's a striped sailor shirt, a denim jacket, a little black dress. On a more abstract plane, the inspiration for the collection was three of the sisters' favorite films and "the women who star in them"—Mia Farrow in "Rosemary's Baby," Faye Dunaway in "Bonnie and Clyde," and Ruth Gordon in "Harold and Maude." Nothing was to seem indigenous to a time period. "We did not want it to look vintage," Laura said. But although the collection contains several covetable pieces, too much of it—the slip dresses that recall thrift-store lingerie, the cheap mesh that channels Annie Potts's prom dress in "Pretty in Pink"—looks like resale fare reimagined: Goodwill for people who might not want to brave the wilds of Goodwill's racks. The proliferation of bows seems a stand-in for Rodarte's exquisite detailing, but without the usual mystery of these details. And, of course, the clothes do not offer the intrinsic thrill of classic Rodarte: owning a piece of wearable art.
"The cost of a garment wholesale for Target is less money than half a yard of any textile we use in our clothes—it's such a different price point, for sure," Laura told me recently. Kate added, "We definitely didn't look at this as a way to reinterpret what we do on the runway," and said that they were excited to contribute to "street fashion," which they experienced while growing up near Santa Cruz, with its skaters, surfers, punks, and Hare Krishnas, each subculture evinced by its clothes. "Rodarte becomes part of a larger world, which had so much influence on us to begin with," Kate said. Later, I asked Trish Adams, the vice-president of merchandising for Target, whether the store's customers would need to be educated about Rodarte. "At a thousand dollars, maybe someone doesn't understand Rodarte, but at eighty dollars maybe they will understand it," she told me. "They can just wear it to a party without having it be this major investment." In other words, at eighty dollars a buyer doesn't have to understand Rodarte; she can afford not to.
At Rodarte's spring, 2010, show, in mid-September, Tavi Gevinson, a thirteen-year-old fashion blogger from the Chicago suburbs, modelled prototypes from the Target collection, including a rayon camisole and a lace cardigan, both the color of support hose, and a navy-blue tulle skirt. The real models, their hair overlaid with matted black wool, their lips lined in black, their arms and necks painted with black tribal tattoos (on which forty makeup artists labored for four hours), were dressed in designs that, like their makeup, gestured heavy-handedly toward primitivism. The story, which the Mulleavys had finally arrived at shortly before the show, was about "this girl who kind of became part of a ravaged landscape, and then, for some reason, she burns alive and is reborn as a California condor."
All the clothing had been burned, stained, shredded, sandpapered, or in some way "ruined." The sisters had worked with an "ager" from the film industry. "For the purple-y fabric, after we had finished custom-designing the print with the mill in Italy, and we'd received the fabric, we had to sandpaper the entire thing," Kate later told me. "Then we had to stain it, and burn it, and treat the edges with a razor blade. And that was just one textile." Each dress, according to Laura, contained "at least nine different fabrics"—silk and linen and leather, as well as velvet, cheesecloth, crystal-encrusted cotton, sequinned lace, and a few that Kate and Laura had invented, like "wool cobweb" and "bird skin" (a kind of corrugated fake leather).
In an effort to conjure a post-apocalyptic atmosphere, fans had been rigged to disseminate a thick yellow vapor, which viewers had to wave away in order to see the clothes, and the runway had been sprinkled with a dark sand-like substance. (The grit underfoot, along with spindly six-inch black leather high heels, again created with Nicholas Kirkwood, proved to be a dangerous combination—all the models moved lugubriously, as if at a funeral procession, and one wiped out.) The first few dresses, made of gauzy, threadbare cheesecloth and wool in colors not much seen in high fashion since Cobain-era grunge (black-and-white plaid, puce, and a dull, flat tan), were twisted and gathered in an apparently random manner. There were also dresses that consisted of an explosion of fringe—macramé, crochet knit, strands that looked like those fuzzy yarn hair ribbons that Goody used to make—that brought to mind streamers at a car wash, or the beaded curtains of the seventies. But, creative as it all was, it was difficult to imagine any woman suiting up in tatters for a formal event, let alone a business function. Even for an unconventional occasion, the ragged clothes seemed too fragile for the thousands of dollars they would cost.
The sighting of Renaud Dutreil, the chairman of L.V.M.H. North America, seemed to bode something for the future of the Mulleavy sisters. (Ever since, the rumor has circulated that L.V.M.H. is looking to acquire or take a stake in the brand, as it did with Donna Karan and Marc Jacobs.) But the critics were lukewarm, with several lamenting the sisters' continued descent into the dreary basement of high-fashion goth. WWD wrote, "As remarkable as this collection was, it would be nice to see them come back into the light and bring a few more approachable looks with them." Robin Givhan, of the Washington Post, called the collection "indulgent and depressing," and said that "it did not offer women clothes—not in any meaningful way. . . . Everything else was a dazzling display of technique—put to no functional end."
But Ikram, the owner of the Chicago boutique of the same name, says that Rodarte's 2010 spring collection has been extremely well received by her customers, who, she notes, want "a beautiful dress made out of cheesecloth, with holes in it artfully arranged." As she told me, "They don't like it, they love it, and they're paying money to have that hole. You'll never have the same placement twice. That's what makes those pieces special—distressing them, giving them life, giving them history."
Kate and Laura were, as usual, unfazed by either praise or criticism. "If we failed," Kate said, two weeks later, when we met for breakfast at the Raymond, their favorite restaurant in Pasadena, "people would have focussed on just one element, like that everything is burnt. Instead, they focussed on the story. The techniques were never meant to overpower the final result. In the end, when you looked, you just understood the world." ♦


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The 100 Moments of TSU Athletics presented by Taco Bell® series continues by recognizing one of the premier men's tennis players in Tennessee State University history.
Lawrence Washington (2009-12) joined the TSU tennis team in 2009 after transferring from Kennesaw State. He immediately moved to the number one position on the team and remained there for three straight seasons.
Washington compiled a 10-6 record in 2011 and a 7-4 mark in 2012. Earlier this year, Washington became the first TSU men's tennis player to be named All-OVC.
On the court, Washington's senior season was highlighted by four three-set matches that could have gone either way. Washington managed to win two of those matches and he also won his last four matches in a Big Blue uniform. Washington's strong play during the last half of his senior year earned him the 2012 Tennis MVP Award from the school.
Washington also improved every year at Tennessee State from winning four matches in his first season to winning 64 percent of his matches during his senior campaign.
During his three seasons at Tennessee State, Washington won a total of 21 matches, including 10 during his junior season. That year included a victory against in-state foe Memphis.
Washington was also named the OVC Tennis Player of the Week three times over the course of his career. Two of those times happened following a two-week stand during his junior season in which he won four out of five matches against primarily conference opponents. The other time he won the award was a stretch during his senior season in which he was a perfect 4-0 in singles play and 1-0 in doubles.
Off the court, Washington excelled in the classroom, and his 3.8 GPA was the highest on the team. Washington's hard work in the classroom made him an ITA Scholar Athlete for four consecutive seasons and in 2012 he received the Academic Excellence Star Award. In May, the Canton, Mich., product earned a spot on the Arthur Ashe Sports Scholar Tennis team. Washington graduated in the spring as Summa Cum Laude with a bachelor's degree in Political Science.
Washington plans to attend Georgetown University this fall with hopes of earning a masters degree in Real Estate Finance and Development.
The 100 Moments of TSU Athletics presented by Taco Bell® highlights some of the greatest moments in honor of Tennessee State's centennial celebration. A new moment will be released each weekday for a total of 100. These moments were chosen by the TSU 100 Moments committee, which consists of alums from various departments. TSU has so many great moments, not all can be represented in these 100.
Alex Mitchell, TSU athletics media relations assistant, contributed to this story.


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{Derby Days}: Shades of Brown, Ivory + White
{Shades of Brown, Ivory + White}
{Click to Enlarge}
Invitation Suite + Derby Attire
Sooo charming!
Beautiful ideas ~ i like this a lot!
Love the derby attire, she looks amazing!! I would wear that any day!! xx
Such a beauty she is!
Gorgeous, darling!
I read somewhere a Bride describing her theme as "my love & I are getting married!" That's the greatest theme!!!
Oh! It's all so beautiful! They aren't colours I would ever think of for a wedding but now they are all I can think about!
Completely gorgeous. SO SO rich! xx
All of your posts are fabulous! Thank you for your time & talent!
Paula Parisotto
What a beautiful palette - a real vintage vibe to it but pitched to be so nice and fresh looking!
Really inspiring colour theme !
Great colors !
Perfect wedding colors. Love it!
This is so rich and gorgeous!
I have always been crazy about monochromatic schemes - always feels luxurious and put-together. Adore the pinkish brown you have in this combination. Lovely, just lovely.
Such a gorgeous color combo for fall!
Such a beautiful theme! If any of you bride-to-be's are looking for Houston wedding photography, check out Houston wedding photography
wedding by Concept Photography is an absolutely gorgeous. It's all so beautiful Perfect wedding colors.
This sounds to be a great way of getting the best wedding ideas , sounds to be a one stop store for all your wedding accessories.
What a vintage palette!Love the color!
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You got to love that pretty cool wedding invitation! Love the brown and cream theme, and the buttons are cute!
Very pretty!
WOW Beautiful Cards and awesome images. really nice wedding themes i like your post...!
Perfect!So gorgeous color combo.
I'm really finding the first set very inspirational for me. The whole antique lace look incorporated into an ensemble is what true vintage is all about . . .
This blog is just wonderful, every day. It has now moved to first place in my blog heart.
This blog is just wonderful, every day. It has now moved to first place in my blog heart.
Awesome color combination. iam really impressed on these photos. i love this blog.
Amazing pose and bridal are looking princess... Dress are so beautiful i love your dress.
Pretty impressive and useful information! Last month attended one of my best friend's wedding which was arranged at one of beautiful New York wedding venues. It was a themed wedding and we all had followed that particular theme. Had fun time there.


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Check-in starts at 6:15pm. Once you're checked in and branded, the trouble begins (guns start blazing at 6:40pm). Witness the good guys and the bad guys as they shoot it out on Main Street. After the smoke clears, wagons will take you on a scenic ride to the Meadow Muffin Dinner Theatre. Prepare to feast on your choice of Seasoned beef tri-tip or BBQ chicken with baked potato salad, BBQ baked beans, corn-on-the-cob, garlic sourdough bread, huckleberry ice cream and lemonade. We are proud to say that our food is unique to Mountain River Ranch and as good as it gets! With your belly full, it's show time! We'll laugh, dance and sing until we have you doing the same!
Date: Aug 31, 2019


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Arranged by Subject
The index is made up of six general sections corresponding to the general classifications under which particular papers appear in this volume: The Accounting Profession, Accounting Principles and Problems, Auditing Procedures
and Problems, Tax Considerations, Management Advisory Services and Small Business Services.
To find a paper on a particular subject, the reader should first decide the general area of his interest and then examine the list of subtitles. Under the subtitles, papers have been listed in chronological order by year, and within any particular year alphabetically by author.
Because part 6, "Small Business Services," appears for the first time in the current volume, the list of topics is quite limited. However, a great many papers included in this series over the past twenty years have been relevant to the problems and procedures of small business. The interested reader should therefore investigate the subtitles of the other sections.
Papers included in volumes for 1955 through 1964 may be located in the index of the 1970 volume.
Section 1 — The Accounting Profession
Subject Author Volume Page
Business and Economics
Accounting-The Language of Business Maurice S. Newman 1965 28
and Finance
The Forces of Change John W. Queenan 1968 5
Education and Experience Requirements Elmer G. Beamer 1969 18
for Certified Public Accountants Should Continuing Education Be a Elmer G. Beamer 1970 34
Professional Requirement?
Continuing Education-A Professional Elmer G. Beamer 1971 8


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Maldon Sea Salt
Easy, hassle-free returns online and in-store for eligible items.Learn More
Earn 5% Back in rewards4 plus free standard shipping3every day when you shop with your Williams Sonoma credit card at Williams Sonoma.Apply Now Learn More
- Summary
You can taste the difference between common table salt and this superb natural sea salt. Founded in 1882, England's Maldon Salt Crystal Company still draws salt from seawater using traditional long-handled rakes, processing it with no artificial additives for flavor that's pure and clean.
- Premium all-natural sea salt has a clean taste with no bitterness.
- The purity of the water's trace elements makes this salt more flavorful, so you can use less.
- Soft, flaky, pyramid-shaped crystals dissolve easily.
- Use it in cooking or simply sprinkle or crush over food.
- 8.5 oz.
- Made in England.
- Ingredients
- Sea salt.
- Shipping
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UPS can deliver most in-stock items within 3–5 business days. UPS is unable to deliver to P.O. boxes.
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Orders received by 9:00 p.m. ET Monday through Thursday will arrive the next business day; orders placed Friday through Sunday will arrive on the following Tuesday.
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At Williams Sonoma, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction are our priority. Upon receipt, please inspect your purchase and notify us of any damage; we will arrange for a prompt replacement.
If within 30 days, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value. An original receipt or gift receipt is required for all returns and exchanges. Returns with a gift receipt will be refunded in the form of a Merchandise Credit for the amount indicated on the gift receipt. Returns with original receipt will be refunded in the original form of payment, cash and check refunds over $100 will be issued as a company check (may take 14 business days from time of request).
For all cutlery returns (knife sets, single knives, cutting boards, knife sharpeners and knife storage), please contact us at 888.922.4108 to initiate the return.
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Rated 1 out of 5 by BJL1000 from Salt in the wound Go to the store to buy the product. Never got it thru the mail.Date published: 2015-11-19Rated 5 out of 5 by JJWalton from Great finishing salt This salt has great taste and melts easily due to the flaked consistency. Would highly recommend.Date published: 2015-02-14Rated 5 out of 5 by chambeau from The best finishing Salt A wonderful finish to a great dish! This salt has a nice texture and it is not overly salty in taste! A must for every chef!Date published: 2014-09-20Rated 5 out of 5 by JimMAY from Magnifique Maldon Salt brings all your recipes to an unbelievable flavor. Don't be fooled no two salts are just alike. Have been using this product everyday for 2 years can't do without. Love it so much we purchased the Olive Wood Salt Keeper for storage which is very nice.Date published: 2013-07-15Rated 5 out of 5 by camb908 from Love This Salt I bought this salt for use in a specific dessert, and it did not disappoint. I will definitely be using this in other recipes.Date published: 2013-05-22Rated 5 out of 5 by jenright from A Luxury Salt I have to concur with all the other reviews. This salt is very special, and I especially like how it "perks up" things like boiled new potatoes, green beans and popcorn. Can't wait to try it on sweetcorn this summer.Date published: 2013-05-13Rated 5 out of 5 by Wittgirl1 from Exquisite sea salt! Absolutely by far the best salt I have ever tasted. My kids would replace table salt with this if I would let them. I use it for both savory cooking and baking.Date published: 2013-03-05Rated 5 out of 5 by kittyb from Brilliant Sea Salt Wow! This sea salt is amazing! I have tried others, but found they were too tangy, strange taste. This has become my go to salt.. I have used on many things and it doesn't change the flavor, it enhances it. So much better than regular salt. It seems to melt with just the right amount of flavor.Date published: 2012-07-22


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CAMBRIDGE, Mass. – UMBC seniors Andrew Smith (Chadds Ford, Pa./Garnet Valley) and Shioma Obemeata (New Rochelle, N.Y./Iona Prep/St. Francis) have swept the America East men's track and field weekly awards, the conference office announced on Tuesday afternoon. The awards are the first of the outdoor season for both athletes.
The Retriever men's team is once again ranked in the top-ten in the Mid-Atlantic Region, receiving the No. 10 spot, as the United States Track & Field and Cross Country Coaches Association (USTFCCCA) released its Week Three poll on Tuesday.
After a record-breaking indoor season in which he advanced to the NCAA Championships, Smith has put together a stellar outdoor season as well. The senior garners his first America East Male Track Athlete of the Week honor during the spring season after resetting his own school record in the 800m run at the Larry Ellis Invitational at Princeton. Smith broke the record a week earlier at the Mason Spring Invitational with a time of 1:50.05, but lowered it even further this past weekend down to 1:49.64 while finishing in sixth-place.
Smith leads the conference by over a second during the outdoor season and also ranks 46th in the nation. During the indoor season, the Retriever senior broke the school record in the 800m three times, successfully defended his America East championship in the event, and then became just the sixth athlete in UMBC history to reach the NCAA Championships.
Obemeata receives his first conference Male Field Athlete of the Week award after winning the triple jump at the Morgan State Legacy Meet with a career-best leap. In his first attempt of the finals, Obemeata recorded a jump of 14.90m (48'10.75") to take the top spot in the competition and move up to second in the UMBC record book. In addition, the leap qualifies the senior for the IC4A Championships and ranks second overall in the America East, but the best during the outdoor season.
Obemeata also competed in the high jump event at Morgan State, finishing in fifth.
The UMBC track and field team has claimed at least one weekly conference award in four of the five competition weeks during the 2014 outdoor season for a total of eight honors.
The Retrievers will now send athletes to the prestigious Penn Relays in Philadelphia which will begin on Thursday, April 24 at Franklin Field.


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+44 (0) 1371 811544
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Our systems are built to last and to be flexible for the future
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Our people possess a unique combination of engineering expertise and deep sector knowledge with an adaptive down-to-earth style. Because of this, we never over-engineer systems, even when designing the most cutting edge packing technology. From concept to installation, sourcing spare parts to upgrading legacy systems, maintenance to impartial technical advice, we will always help.
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text: Discover the unique collections of Appalachian State University. Located on the 4th floor of Belk Library and Information Commons, Special Collections is home to books, manuscripts, and artifacts about the Appalachian region, the University's history, stock car racing, and British history, as well as many other topics. To learn more about our collections, visit About Special Collections.


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There are 2 item(s) tagged with the keyword "occupational health & safety".
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The decision to open an occupational or medical on-site health clinic in a given country is a multifaceted one. There are regulatory, external and internal issues to consider, and questions and answers will differ by company and by location.
Integrating employee health and workplace safety can have a positive impact on corporate performance because of the strong association between lifestyle risks and medical conditions with absence and workplace safety. Unfortunately, it is difficult to realize the benefits of integration when employee safety, occupational health and absence are managed by separate departments and involve multiple vendor partners.
Some companies have made significant progress toward integrating occupational health and safety programs. One example is featured in this post.
Displaying: 1 - 2 of 2


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The jury's out on which is the best quality of this indoor/outdoor rug: its aesthetic or functional design. As for the former, its patterning is sure to make its own impression while at the same time fitting seamlessly into a variety of design schemes. With hues more muted than those of the multicolored, traditional Mexican rugs that inspired it, the Toluca is an eye-catching piece, but one that doesn't overwhelm.
Structurally though, this rug is made of the miracle fabric, polypropylene, which resists stains, dirt, mildew, and mold. It is the picture of durability and will remain in tip-top shape with routine vacuuming and the occasional shake outdoors. So, beauty or practicality, which is more appealing? Who cares! With this rug, there's no choice between the two!
Indoor/outdoor rugs are ideal for high-traffic areas and can be scrubbed, bleached and hosed as frequently as needed. They've also been UV treated to gear them explicitly for outdoor use, so they hold up just as well on the patio as they do in the playroom. Air dry. Do not machine wash or tumble dry.
A non-slip rug pad is suggested for your safety and is available in your choice of size below.
This rug was handcrafted by skilled artisans in a fair-labor, fair-trade workshop in India or China.
Note: sizes 2' x 3', 2.5' x 8' and 3' x 5' are unavailable until late April.
Would you like us to help you find a similar item? Talk with our Design Consultants toll-free at1-800-927-5164.
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I need to know what I need to improve on. Because I Can't see many mistakes. But I dont see why I dont get much.. Responce to what I draw. So I need your help.
This is the draw
Be honest in what you think!
Also If you give me feedback then I will comment and rate one of your draws as well ^^
I think you should practice drawing hands and using some darker shadows. :3
Thank you. I will try that.
Gimmi a ref and i can try
Like this... http://img695.imageshack.us/img695/5308 … sample.jpg
The shading is awesome
Haha that is awesome. I can do it. It maynot be perfect but i can ;P And it will be flagged XD but i dont really care about that. It will take a while to do it though. maybe about a week. Because im working on another fan art drawing XDDD But Ill get it dont as soon as i can okies?
Bumpu desu
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Improving Javascript XML Node Finding Performance by 2000%
In my work, I'm parsing web services all of the time. Most of the time, they're XML, which does not make the best use of bandwidth/CPU time (compared to JSON), however, if it's all that you're given then you can certainly get by. I've been looking into ways to speed up the XML document traversal in with jQuery after the current best practice method was removed.
The basic way to find certain nodes in an XML web service is to use the .find() method. This is used heavily by the SPServices jQuery helper (which is, in general, a great library).
$(xData.responseXML).find("[nodeName='z:row']").each(function() { // Do stuff });
That's absolutely fine – it's going to find the attribute nodeName with a value of z:row. However, since jQuery 1.7, this method does not work. I raised this regression in the jQuery bug tracker and was encouraged to find a solution; another selector that worked in all browsers. Unfortunately, at the time I couldn't come up with anything better than this:
$(xData.responseXML).find("z\\:row, row").each(function() { // Do stuff });
The "z\\:row" selector works in IE and Firefox, and the "row" selector works in Chrome and Safari (I'm unable to test in Opera here, sorry). This was flagged as the solution to the problem and they wouldn't be making any fixes to the jQuery core.
After a few weeks of using this method, I noticed that the site had been slowing down, especially in IE, and I thought this new selector was the cause. So, I looked into the performance numbers using jsPerf and I raised a bug too. My first test was to see what the current solution was doing, and whether jQuery 1.7 had made things worse.
Test case: http://jsperf.com/node-vs-double-select/4
So, performance in Chrome is identical for each of the selectors (and it's the same in Firefox and Safari) but IE drops nearly half of its operations because it has to perform that second selector.
It's still not very high performance though, and so I looked for other solutions.
Dmethvin suggested:
Did you try the custom plugin in the ticket? If you're having performance issues that should be much faster.
The plugin he's referring to is this:
jQuery.fn.filterNode = function(name){ return this.filter(function(){ return this.nodeName === name; }); });
This filters content by their nodeName and compares it against the name that you gave it. The issue with this is that .filter() does not traverse down the tree, staying at the level of the set of objects that it was given. Therefore, a quick solution was this:
$(xData.responseXML).children().children().children().children().children().children().children().filterNode('z:row').each(function() { // Do stuff });
jsPerf Test: http://jsperf.com/node-vs-double-select/1
Wow, that's about 50 times faster. Even IE beats Chrome when doing this operation. The simple reason is that it's got a smaller set of objects to go through and it's comparing a single attribute rather than parsing the text of the XML to try and find the namespaced element.
Still, I wasn't satisfied as in order to achieve that performance, I had to know how deep I was going to be going in order to retrieve the set. So, back to the bug and another suggestion by dmethvin:
If you're going that deep, use a filter function passed to .find(). How does that fare?
After a few attempts, a colleague of mine came up with this beauty:
$.fn.filterNode = function(name) { return this.find('*').filter(function() { return this.nodeName === name; }); };
jsPerf test: http://jsperf.com/node-vs-double-select/3
Using .find('*').filter() increased performance to 200x faster than the original .find('z:row') selector
I mean, wow, that's incredible. On the graph, those tiny little bits of colour are the original selectors, and those only 20% of the way up are the previous massive performance increase by using filter. It should also be noted that IE8 performance using this selector increased in jQuery 1.7 in comparison to when using jQuery 1.6.
Side-note: IE10's javascript performance is almost equal to that of Google Chrome. In comparison, IE9 (not shown) is about half of that.
The reason for this massive increase is that it's backed by native selectors. A .find('*') will translate into element.querySelectorAll('*') which is very fast when compared to doing 8 .children() calls.
Dealing with large amounts of data from web services needs to be fast. Using a simple .find() on the node name no-longer works and alternatives have been investigated. The fastest method, using a short one-line plug-in, improves performance by up to 2000% compared to the old methodology.
I'll be notifying the SPServices group of this post, and hopefully they can improve the performance of their library.


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Retail Sales Systems
Every month, thousands of businesses use Capterra to find the right POS software. Payment terminals, touch screens, and a variety of other hardware and software options are used to enable the transaction. There can be hundreds of POS features that can streamline your operations and make your restaurant more efficient. Using just a smartphone and Square's free card reader, you can access Square's free, mobile-friendly POS to process payments, track sales and inventory, and monitor your entire business.
Mobile point of sale (mPOS) solutions have made such a huge impact in the industry that in 2014 a majority of UK retailers (53%) rated mPOS as the most important in-store technology for consumers mPOS systems are also gaining market share. But since the old-fashioned cash register first paired up with computers in the 1970s, POS has transformed into a powerful hub for financial, sales, promotional, and operational processes.
POS software records each sale when it happens, so your inventory records are always up-to-date. Today, however, the restaurant point of sale is often referred to as the restaurant point of service, given that restaurant POS is no longer just about processing sales. In fact, research shows that more than half (52 percent) of retailers are arming store associates with mobile technologyand another 26 percent plan to do the same.
[ic_bing_related keyword="pos systems"]


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Indonesia and Islamic terrorism
Indonesia and Islamic Terrorism
By Lee Jay Walker – THE SEOUL TIMES
Tokyo Correspondent
|An Islamic school in Indonesia
The government of Indonesia faces many internal problems because of the geographical reality of this nation and ethnic and religious tension does engulf Indonesia from time to time. However, what is worrying is the possible collusion between radical Sunni Islamists and the security services of Indonesia. Therefore, is collusion happening in places like Sulawesi and West Papua (Irian Jaya) or is it a long-term goal of containing Christians and ethnic minorities?
If we turn the clock back to 2001 and focus on events in that year, then it is clear that either collusion was happening or events happened because it was a direct policy of the government of Indonesia?
This applies to Laskar Jihad because this brutal Sunni Islamic terrorist organization sent even more fighters to central Sulawesi in order to persecute Christians. Laskar Jihad, like other past or current Islamic terrorist organizations, is brutal, barbaric, and cowardly.
Laskar Jihad, just like other radical Sunni Islamic terrorist organizations, believe that it is their Koran-Hadith inspired duty to kill innocents and to install fear. Therefore, the region of Sulawesi was a paradise for them to cause mayhem and to create a major gulf between both communities. Given this, events spiralled out of control and inter-religious clashes erupted because these outsiders to Sulawesi desired to kill in the name of Islam.
However, much more disturbing is the role of the government of Indonesia or elements within the security services and military. After all, Laskar Jihad was given a free reign to enter the region and this radical Sunni Islamic terrorist network was not removed from this delicate region. Therefore, surely collusion was taking place, if so, then how can religious or ethnic minorities feel secure in Indonesia?
After all, it is noticeable that in Sulawesi and West Papua that Islamists and the government of Indonesia do have vested interests which overlap. Also the situation in East Timor in the past mirrored covert operations based on systematic terror and fear.
Yet East Timor belonged to the "old world" of nationalism and preserving the nation state of Indonesia. However, just like the Palestinian situation, it became clear that Islamic terrorism and militant organizations were on the rise. The secular nature of Palestinian resistance now lies in tatters because Hamas and others now have a clear Islamic agenda, therefore, Sulawesi and West Papua are seeing a "new world" whereby Islamists have an ideological motive in spreading hate and dhimmitude.
Zachary Abuza, the author of Militant Islam in Southeast Asia, Crucible of Terror, states "The government never prevented the Laskar Jihad militia from coming, nor did it try to expel them. Muslim paramilitaries were reportedly armed with machine guns (including M-16s) and rocket-propelled grenades, forcing thousands of Christians to flee."
This raises serious issues because it appears that the government of Indonesia and various radical Islamic organizations do share a common ground. Of course, many Indonesian political leaders do not share the same theme but important elites within powerful institutions do share similar concerns, albeit from different perspectives.
Zachary Abuza comments that "First, Jafar Umar Thalib and the Laskar Jihad have considerable political support. Vice President Hamzah Haz has been a staunch defender of the organization and helped get Thalib acquitted in January 2003." Zachary Abuza also states that "…while the military has at times had to employ force against the Laskar Jihad, the reality is that the two organizations have the same goal in preventing secessionist movements from succeeding, as happened with East Timor."
However, the Indonesian government will clampdown when vested interests are threatened and this applies to Islamic terrorist attacks in Bali or against hotels, and other economic based attacks. Also, it appears that the government will take action against international Islamic jihadists rather than home-grown Islamists.
Once more, Zachary Abuza comments that "Until the Bali bombing, Indonesia took few constructive measures in the war on terrorism. The Singaporean, Malaysian, Philippine, and U.S. governments all expressed utter frustration with the Indonesian government, and despite many appeals, the Indonesians did not arrest any Indonesian suspects wanted abroad."
Therefore, just like the government of Pakistan which manipulated radical Sunni Islamists to cause mayhem in Afghanistan and Kashmir; the government of Indonesia had similar vested interests when it applied to domestic issues.
However, the Pakistan government can no longer control elements within Pakistan because Islamists have been emboldened and they desire to enforce Islamic Sharia law and dhimmitude throughout the nation. Indonesia does not face this problem because the centre is much stronger but it is a dangerous game to play and it is clear that religious minorities and secularists in Indonesia are worried about this.
Also, Islamists will have ample opportunities to stir mayhem because various parts of Indonesia remain tense and another major incident could easily ignite tensions. The people of West Papua may also witness Islamization because of increasing Muslim migration and Islamic organizations which have a shared agenda with the government of Indonesia.
In an article published by Asia News in 2006 it stated that "Islamic extremist groups are entering West Papuan territory, with the consent of elements of the Indonesian army, to set up bases there." Therefore, this part of Indonesia faces severe problems and Islamic radicals and government agencies have similar objectives. Given this, many Papuans are worried about religious persecution and state-sanctioned persecution.
Therefore, Christian areas of Indonesia face a frontal attack against them and this applies to Javanization, Islamization, direct government policies, and the threat of Islamic terrorism in sensitive parts of Indonesia is always possible.
This policy does not apply to the whole of Indonesia and it must be mentioned that this nation is very complex because Christians have much greater freedom in Indonesia than in the majority of mainly Muslim nations. Yet for Christians in sensitive areas of national interest or in areas of distinct divisions, then the situation is very different.
Despite this, it is clear that the implementation of Islamic Sharia law is a worry for all religious minorities, moderate Muslims and secularists. Therefore, radical Islamic organizations must not be given a free reign because if this happens, then the only victory will be for the dark forces of humanity and this means radical Sunni Islam and the implementation of Sharia Islamic law.
It is now vital that pressure is put on all nations which are colluding with radical Islamic terrorist organizations or with radical Islamic educational institutions because this is where the brainwashing begins. Therefore, more pressure must be put on Indonesia to clampdown against radical Islamic institutions and to stop the manipulation of these networks when it comes to secessionist problems within Indonesia.


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A Compact, Stylish Interchangeable Lens Camera with 5-axis Image Stabilisation for Everyday Use.
The OM-D E-M10 Mark II is the only entry class interchangeable lens camera with 5-axis image stabilisation. With this camera, anyone can take beautiful interchangeable lens quality photos anywhere. Designed with an emphasis on operability and premium finish, the compact design of the metal body provides outstanding portability and stylishness beyond its class. It is an interchangeable lens camera that can be used anytime, anywhere, every day of the week.
The only entry-class interchangeable lens camera with 5-axis image stabilisation.
The E-M10 Mark II is the only entry class interchangeable lens camera with 5-axis image stabilisation.* With this camera, anyone can take beautiful, virtually blur-free images.
As of August 2015 (According to Olympus research)
Easy-to-use, stylish, compact design
The stylish, compact design of the metal body focuses on ease of use and premium finish, providing sophistication beyond its class.
High-speed performance for capturing the best expressions
Touch AF Shutter, popular for its speed and ease of use, accurately captures the expressions of fast-moving subjects.
Large, easy-to-see electronic viewfinder
The model is equipped with a large, easy-to-see electronic viewfinder with 100% field of view. You can shoot while confirming what the finished photo will look like.
Creative photo functions
The E-M10 Mark II is packed with functions for capturing creative photos. Capture the rich personality hidden in normal, everyday scenes.
More Features
Easy connection to a smartphone to share images
The built-in flash lets you capture beautiful shots even in dark places
iAUTO makes high-quality photos possible simply by pressing the shutter button
Silent Mode lets you capture photos without making a sound
Clips lets you combine multiple short movies into a single video
4K Time Lapse movie
High-speed Movie captures split-second movement for slow-motion playback
Focus Bracketing continuously shoots at different focal positions
Flip-up monitor lets you shoot at the angle you like
S-OVF (Simulated OVF) is convenient when shooting in backlit locations
Product Type
Micro Four Thirds interchangeable lens system camera
SD Memory Card (SDHC, SDXC, UHS-I/II compatible, Eye-Fi Card compatible* ) *Not compatible with Endless Memory.
Sensor size
17.3mm (H) x 13.0mm (V)
Lens mount
Micro Four Thirds Mount
Product type
4/3 Live MOS Sensor
Number of pixels / aspect ratio
Number of effective pixels: Approx. 16.1 million pixels Total number of pixels: Approx. 17.2 million pixels Aspect ratio: 1.33 (4:3)
Dust reduction
Supersonic Wave Filter (image sensor dust reduction system)
Recording format
DCF, DPOF compatible / Exif, PRINT Image Matching III, MPO compatible
File format
RAW (12-bit lossless compression), JPEG, RAW+JPEG, MPO(3D still)
Recording image size
RAW: 4608 x 3456 pixels
JPEG: 4608 x 3456 pixels - 640 x 480 pixels
Built-in 5-axis* sensor-shift image stabilization for movie and still photos
*compensates for yaw/pitch/roll/vertical shift/horizontal shift
Live View image stabilization
Activation by half-press?or?enlarging view
Focal length setting
Lens IS priority
Stabilization performance
4.0 EV steps*
*Based on CIPA measurement conditions.
When using M.Zuiko Digital ED 14-42mm F3.5-6.3 EZ (focal length =42mm (35mm equivalent with 84mm))
Available manual focal length setting
Input focal length: 8, 9, 10, 12, 15,16, 17.5,18, 24, 25, 28, 30, 35, 40, 42.5, 48, 50, 55, 65, 70, 75, 80, 85, 90, 100, 105, 120, 135, 150, 180, 200, 210, 250, 300, 350, 400, 500, 600, 800, 1000
Finder type
Eye-level OLED viewfinder, approx. 2.36M-dot
Field of view / Viewfinder magnification
Approx. 100% / Approx. 1.08x*1 - 1.23x*2 (-1m-1, 50mm lens, Infinity) *1: at Finder Style 1, 2 (aspect 4:3) *2: at Finder Style 3 (aspect 4:3)
Eye point / Diopter adjustment range
Approx. 19.2mm (-1m-1, Distance from rear lens surface) / -4 ~ +2m-1
Live View preview with depth of field preview lock
Display Grid
Off, normal grid, golden grid, scale, diagonal, movie grid
Level Gauge
2-axis (horizontal/vertical) level gauge
Finder Style
3 styles
Brightness / color temperature control
Adaptive brightness technology, ±2 level manual control /±3 level manual control
S-OVF (Simulated OVF)
Expands the Live View dynamic range.
*Available in the EVF when in P, A, S and M modes. Art filter, WB and exposure are not reflected in EVF.
Interchangeable with separately available EP-16 eyecup
Live View
Approx. 100% field of view,
exposure compensation preview, WB adjustment preview,
gradation preview, face detection preview (up to 8 faces),
grid line, magnification display (x3/x5/x7/x10/x14),
Display modes: Standard, Histogram, Highlight & Shadow, Level Gauge, Off (Image Only)
Preview with depth of field preview lock
Monitor type
3.0-inch tilting monitor*
*Approx.1040k dots (3:2), electrostatic capacitance touch panel
Touch control
Shutter release, magnification, AF area selection, AF area size adjustment, frame forward/backward, magnified playback, Live Guide, Super Control Panel, Art Filter selection, scene mode selection, Wi-Fi connection,
Tilting capability
Upward tilting angle: up to 85 degrees
Downward tilting angle: up to 45 degrees
Brightness / color temperature control
±7 levels / ±7 levels
Color Tone Selection
Vivid / Natural
AF system
High-speed imager AF
Focus mode
Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF) / S-AF + MF / AF tracking (C-AF + TR)
Full-time AF
Magnified frame AF
Selectable from over 800 AF points
Selectable magnification: x3, x5, x7, x10(Default), x14
Super Spot AF*
*Available only when a Micro Four Thirds lens is attached
Face detection AF / Eye detection AF
Eye Detection AF mode: off / nearer-eye priority / right-eye priority / left-eye priority
Focusing point / Focusing point selection?mode
81-area multiple AF
All target, group target area (9-area), single target(normal), single target(small)
AF targeting pad
With *Activate/deactivate with double tap on rear monitor
AF illuminator
Manual focus assist
Focus ring rotation activates Live View image magnification and/or focus peaking when in S-AF+MF or MF mode
Peaking function
Activate with Fn button or focus ring
Change peaking settings using the Info button
color selection: white, black, red, yellow
Intensity selection: high, normal, low
Back light effect: on, off
Metering system
(TTL Image sensor metering)
Digital ESP metering (324-area multi pattern metering), centre-weighted average metering, spot metering, spot metering with highlight control, spot metering with shadow control
Metering range
EV -2 - 20 (using 17mm f2.8, ISO 100)
Exposure mode
i Auto, P: Program AE (Program shift can be performed), A: Aperture priority AE,
S: Shutter priority AE, M: Manual, Bulb, Time, Scene select AE, Art Filter,
Underwater wide / macro* , My Set 1-4
*Selectable from menu as a function on Fn button
*My set can be set to mode dial function
Scene select AE
Portrait, e-Portrait, Landscape, Landscape + Portrait, Sport, Hand-held Starlight*1, Night scene, Night + Portrait, Children, High Key, Low Key, DIS mode, Macro, Nature Macro, Candle, Sunset, Documents, Panorama, Fireworks, Beach & Snow, Fisheye Conv., Wide Conv., Macro Conv.,Panning, 3D*2, *1 8 images automatically shot and combined into a single image composite *2 For 3D lens(H-FT012 by Panasonic) only, still photo only
ISO sensitivity
AUTO ISO: LOW(approx. 100) ?25600 (customizable, Defalut:LOW-1600) Manual ISO: LOW(approx.100), 200 - 25600, 1/3 or 1 EV steps selectable
Exposure compensation
Still photo ±5 EV, movie ±3 EV, with selectable EV adjustment steps (1/3, 1/2, 1)
*HDR shooting, monitor and EVF displays only up to ±3 EV.
AE lock
Locks with a half-press of the shutter button (can be set to Fn button as well)
Shutter type
Focal-plane shutter / 1/4000 - 60 sec., with selectable EV adjustment steps (1/3, 1/2, 1) Bulb/Time: selectable exposure time (1/2/4/8/15/20/25/30 min.), with 8-min. default setting
Flash intensity control?method
TTL Auto, Auto*, Manual, Super FP*(FP-TTL AUTO, FP-MANUAL)
*Available on the external flash
Built-in flash
TTL Flash, GN=5.8 (ISO100?m) / GN= 8.2 (ISO200?m)
Bundled standard flash
Flash mode
Flash Auto, Redeye, Fill-in, Flash Off, Red-eye Slow sync.(1st curtain), Slow sync.(1st curtain), Slow sync.(2nd curtain), Manual?1/1?FULL??1/64
synchronization speed
1/250 sec.
FL-LM3: 1/250 sec, FL-50R: 1/180sec., Others:1/200sec., Super FP:1/125-1/4000sec., RC mode:1/160sec.
Flash intensity control
Up to ±3 EV in 0.3, 0.5, 1 EV steps selectable
Compatible external flash
Compatible external flash
Control method
Triggered and controlled by thebuilt-in flash
(Olympus Wireless RC Flash system compatible)
External Flash intensity type
TTL Auto, Auto, Manual, FP-TTL-AUTO, FP-MANUAL
4 channels
4 groups: 3 external flash + 1 commander flash*
*Built-in flash, FL-600R, FL-LM3
Sequential shooting maximum?speed
"[Sequential shooting H mode]?approx 8.5 fps
*Focus and exposure are fixed at the values for the first shot.
[Sequential shooting L mode]?approx 4.0 fps
*When using the M.ZUIKO DIGITAL ED 14?42mm f/3.5-5.6 EZ
Max. recordable pictures
on sequential shooting *
[RAW] Max. ∞ frames (in 4.0 seq. shooting L) Max. 22 frames (in 8.5 seq. shooting H)
[JPEG] Max. ∞ frames (in 4.0 seq. shooting L) Max. 36 frames (in 8.5 seq. shooting H)
*When using the M.Zuiko Digital ED 12-40mm f2.8 Pro
*With TOSHIBA SDHC UHS-II R260?W240?EXCERIA™ PRO
Operation time: 12 sec., 2 sec., custom (Wai? time: 1-30sec., Shot interval: 0.5/1/2/3sec., Number of shots: 1-10, Every time AF: ON/OFF)
Exposure bracketing
2, 3 or 5 frames in 0.3/0.7/1.0EV steps selectable, 7 frames in 0.3/0.7EV steps selectable
*AE-BKT can be programmed to the Fn-button.
ISO bracketing
3 frames in 0.3/0.7/1.0EV steps selectable
White balance bracketing
3 frames in 2, 4, 6 steps selectable in each A-B/G-M axis.
Flash bracketing
3 frames in 0.3/0.7/1.0EV step selectable
Art Filter bracketing
i-Enhance, Vivid, Natural, Muted, Portrait, Monotone, Custom, Art Filters selectable
Focus bracketing
3 to 999 shots, focus steps adjustable from 1 to 10 (compatible with Micro Four Thirds lenses)
HDR(Auto composite)
HDR1, HDR2 (painting-like)
?ISO sensitivity is fixed at 200, and maximum shutter speed setting is 1 sec.
?Exposure compensation can be performed.


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Treetop coffee table makeover
I've said it before and I'll say it again: There is no need to buy new furniture when you can makeover your old furniture — or a secondhand piece — into something special.
Case in point: I had this coffee table in my garage for years and never quite knew what to do with it. It's a basic oak, oval table that's been sold for 25 years and let's face it, it is U-G-L-Y!
But with a little tape and paint, I've managed to make it in to something distinctive that I'm not ashamed to have in my living room.
I even replaced the original base with an inexpensive Ikea wood stool, so now it's truly unique.
– Elmer's wood glue
– Sandpaper
– Coffee table that needs some lovin'
– White Krylon Indoor/Outdoor spray paint
– Blue painter's tape in 3/4-inch to 1-inch width
– Cloth rags
– X-Acto blade craft knife
– Minwax Polycrylic Protective Finish
– Ikea "Benjamin" stool (if you're going to replace your base)
1. If you are replacing the base, remove the table top from the legs and base. This can be easily done with a screwdriver.
2. Wipe down the table with soap and water, then sand it lightly. This will create a terrific surface for your paint.
3. Wipe the table with a cloth rag to remove the wood dust.
4. If you are replacing the base, sand the top of the stool. This will help the two pieces adhere together once they're glued.
5. Using a generous amount of Elmer's Wood Glue, place the table top on the stool. Allow this to dry for a few hours.
6. After your table is glued together, use the tape to create a tree trunk design on your table top. It may be easiest to start from the center of one edge.
[media-credit name="Auxy Espinoza" align="aligncenter" width="236″][/media-credit]
7. Continue making branches in different directions, just like you would see on a real tree.
8. With your craft knife, cut the ends of the tape branches to a point.
[media-credit name="Auxy Espinoza" align="aligncenter" width="251″][/media-credit]
9. Use the smaller "tree" pieces that you remove from the design to create smaller branches. But don't stress! You can always move the tape or add and subtract branches until you're happy with your tree.
10. When you're done taping, spray paint your table with light coats, waiting at least 10 minutes between coats.
11. Remove the tape.
[media-credit name="Auxy Espinoza" align="aligncenter" width="237″][/media-credit]
12. Optional: To give your table top extra protection, try coating the entire table with Minwax Polycrylic Protective Finish. I use it on everything.
For this and more than 100 other projects, check out my book, "The Big-Ass Book of Home Decor" (Stewart, Tabori & Chang, 2010).