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Paced by the sale of the only PSA 8.5 1952 Topps Mickey Mantle, Memory Lane Inc's 2010 Summer Treasures Auction came to a close in the early morning hours of Sunday, August 15. The Mantle card, consigned from a private collection, drew a final bid of $130,000. With the buyer's premium added, the card realized $154,700. In all, the auction generated $2,045,624. The second lot in the auction was a 1952 Topps unopened pack, graded PSA 8. The rare surviving example from Topps' first major baseball card set was the highest-graded example in the hobby and the $25,470 final price set a new record for any recorded sale of an unopened sports card pack. Photographer Nat Fein's personal copy of his Pulitzer Prize-winning photo entitled "The Babe Bows Out" sold for $47,924. The poignant photo of a dying Ruth shows him leaning on Bob Feller's bat as cheers rained down from a packed Yankee Stadium. Authenticated by PSA as a first generation photo, it set a new record for an unsigned sports photograph.
"We were excited about the opportunity to offer the Nat Fein photo," said Memory Lane's J.P. Cohen. "With the history behind it and the provenance of coming directly from the man who took it, it was a magnet for a lot of very advanced collectors who appreciated its significance."
Collectors of game-worn jerseys had several pieces to choose from including two once worn by pre-World War II superstars. A 1937 Carl Hubbell New York Giants jersey, graded A10 by MEARS, sold for $47,600, while a jersey from Charlie Gehringer's rookie year with the Detroit Tigers went for $28,061. Of more modern vintage was an autographed 1968 Pete Rose Reds jersey, graded A10, that sold for $28,017 and a 1980 George Brett Royals jersey from his MVP season that brought $15,815.
"There were a lot of one-of-a-kind type pieces in this auction and they attracted some of the top collectors who knew that if they didn't buy now, they might never have a chance to own a particular item," said Cohen. "These are very rare and unique pieces that will likely stay in private collections for years. For those collectors, it's not about the money. It's simply about a strong desire to own the best of the best."
High-grade Babe Ruth signed baseballs would fit into that category. Memory Lane offered one that had been in the consignor's family since it was awarded to a woman as a raffle prize in a Grange Hall drawing decades ago. Still in the original box, it sold for $15,432.
Another autographed Ruth item, also drew attention. A rare photo of The Babe and Yankees owner Col. Jacob Ruppert, sold for $6614.
A rare Christy Mathewson book, 'Won in the Ninth', signed by the Hall of Fame pitcher whose life was cut short, sold for an impressive $14,910.
Vintage sports card collectors competed for several top of the line lots including a 1915 Cracker Jack Ty Cobb, graded PSA 8.5. It is headed to a new home at a price of $39,792. Fans of modern era rookie cards went wild over a 1975 Topps Robin Yount, graded PSA 10, one of just two in existence. Opening at $2,000, the first card of the Milwaukee Brewers Hall of Fame sold for $25,791. A 1962 Topps rookie card of NFL icon Mike Ditka, graded PSA 9 despite the condition sensitivity of the set, sold for $10,919.
Other high grade cards and sets sold included: 1915 M101-5 Sporting News Babe Ruth rookie card with blank back ($22,595); 1974 Topps Mike Schmidt PSA 10 ($9788); 1956 Topps Willie Mays gray back PSA 9 ($6013); 1965 Topps Tony Perez RC mint ($6013); 1932 US Caramel Bobby Jones PSA 6 ($5612); 1974 Topps Nolan Ryan PSA 10 ($5524); T206 Barney Pelty PSA 8 horizontal ($5524) and vertical ($4150) and a 1975 Topps Fred Lynn PSA 10 ($4019).
Some unique and seldom-offered complete sets were on the block too. A 1959 Fleer Ted Williams complete set of 80 cards, 79 of which were graded PSA 9, sold for $12,753. The set is #6 on the PSA Set Registry. A 1959 Topps Home Run Derby near set (missing only one card), all graded, sold for $8798 while a 1964 Topps Coin complete set, with an average grade of 8.61, brought $7102. Two vintage basketball card sets drew strong prices. A 1961-62 Fleer set including both graded and raw cards, sold for $7597 while a 1957-58 Topps set with the same makeup, sold for $5698.
Memory Lane had several unopened vintage vending boxes in this auction. Set Registry collectors had to be intrigued by the 1971 Topps fourth series box, which has the potential of surrendering some high grade cards from a very condition-sensitive set. It sold for $7718. A 1968-69 Topps hockey vending box brought $5360 while a single unopened cello pack from the popular 1955 Topps All-American football set sold for $7016 in a PSA 7 grade.
"Even in a difficult economy with cash still somewhat tight, bidders still rise to the occasion for the best items," said Cohen.
Memory Lane has already started preparing for its next auction, scheduled to take place later this fall. Consignments will be accepted through early October at 877.606.LANE (5263) or via the company's website (http://www.MemoryLaneInc.com).


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Bud Plant: Comics Retailing Pioneer
Bud Plant is one of the pioneers of the comics retail world. He was one of the first storeowners (probably the first to own a chain of stores), an early comics distributor, a publisher, and a convention organizer, all in the 1970s. But Bud is best known for his mail-order business, which he started in the late 1960s, and its Internet counterpart. He has had a long-time (all 44 shows, including this year!) presence at Comic-Con International. In this interview, Toucan talks to Bud about his many years as a retailer, publisher, and most importantly, a comics fan.
Bud Plant and Anne Hutchinson at Comic-Con International in 2011.
Toucan: How many years have you been exhibiting at Comic-Con?
Bud: Since the beginning, since 1970, in the very dark, badly lit basement of the U.S. Grant. I actually shared a table with three other guys from San Jose. We all drove down together. If you can believe it, we all had little two-foot by two-foot sections of the table.
Toucan: At that point were you dealing with old comics or had you already started gathering fanzines and things like that?
Bud: Boy, that's a tough one. It's right on the cusp of where I was switching over from doing comics to fanzines, so the date of the first one would have been 1970. I probably had a couple of fanzines that I would have brought in for the stores but very little else, maybe a few underground comics, but that was just before that changeover. By the next year I would have been deeply into fanzines and underground comics and probably doing very little on the old comics.
Toucan: So obviously all of this started for you as a kid when you were a comic book fan. Where and when did you first discover comics?
Bud: My parents had a subscription to Walt Disney's Comics & Stories, and so that could be the very first comics I read. I have two older sisters and we'd get it once a month and read the Carl Barks stories. This would have been like 1959 or 1960, right in that period. I was born in 1952 so I would have been 8 years old or something. And then somehow I got some dimes together and bought some things off the newsstand in 1961. Believe it or not, I actually bought Fantastic Four #1. Unfortunately, it went the way of most little kids comics, but [I bought] Tales to Astonish and some Superman titles. I can remember pretty much all those titles because I had very, very few. I didn't really actively collect until 1964, then I stumbled into the whole Marvel realm and got into Amazing Spider-Man starting with #13 and Fantastic Four starting with #27, right in that time period. And back then it was eight or ten titles Marvel was publishing, so for a dollar a month or $1.20 a month you could buy every Marvel comic that was coming out. So that's when I got hooked and actually became a regular collector, strictly of Marvel. Then in the next year or so, when I stumbled into some buddies who knew about fandom and the Rocket's Blast, they sort of reversed me back and said hey there is good stuff coming out from DC. Look at Adam Strange and Strange Adventures and the Atom and the Murphy Anderson stuff. So they sort of got me back into having a broader horizon than just the Marvel titles. And those are the guys that I eventually opened up the store with in 1968.
Toucan: And was that Comics & Comix?
Bud: That was called the Seven Sons Comic Shop, in San Jose. Yeah we had six partners and we fudged it and added another honorary guy to make it sound better. "Six Sons" didn't sound as good as seven. Comics & Comix didn't start until 1972.
Toucan: You were kind of a fixture at the early Phil Seuling New York Comic Art conventions, and you always had a great display of comics-oriented publications of the day, which at that point was mainly fanzines and portfolios. Do you remember the first thing that you ever purchased to sell that way?
Bud: When I think back to the early days, I usually think of like Squa Tront [an EC Comics fanzine] from Jerry Weist. Squa Tront #2 or #3, and also there was Spa Fon [another EC 'zine] from Rich Hauser, which was sort of a sister magazine to Jerry's. Those are two of the earliest that I can think of that I started selling through the mail. There weren't too many things. Coming out of San Jose there was Weirdom. Dennis Cunningham was publishing that. He was the first publisher of Richard Corben. His first appearance in fandom was in Weirdom, and that was just a few miles away. So I was picking up that. And Rudy Frankie was involved in the early fandom. He was an art teacher a little bit older than the rest of us, but he had been involved with Bill Dubay and Marty Arbunich, who were doing stuff out of San Francisco. So there were a couple other fan publications that were coming out of San Jose, too. That's sort of my beginning, where I started bringing those in and putting them in to the stores we had, and then started to list them through the mail.
Toucan: Didn't you drive across country to do Seuling's conventions?
Bud: Yeah, starting in '69, we went to Houston from California and came back. It was always a bunch of buddies and me. John Barrett was my partner in Comics & Comix from the beginning. We ran into Bob Beerbohm and he became a partner. He was from Omaha, Nebraska, at that time, but there was a little group of hardcore guys who would actually try to do all the shows, and we were part of that group. People were usually pretty surprised that we'd come in from California to Houston or to Oklahoma City or especially to New York, because very few people did that. Michelle Nolan was doing it, but very few people were driving across the country to do comic books shows back then. But that's what we did. As many shows as were happening, we usually tried to make it to most of them. Of course, there weren't a lot, maybe a half-dozen over a period of Spring to December.
Toucan: You published a fanzine in the late '60s, didn't you?
Bud: Co-published. We started with four partners and ended with three. That was Promethean. Well, it was actually a magazine with no name. We were really, really bad marketers. We said we're going to do this cool magazine with this really cool logo that Rick Griffin had drawn for us, and it's not supposed to mean anything. And we said it's published by Promethean Enterprises, and of course people had to call it something, so they called it Promethean Enterprises. The first one came out in '69 and it was a pretty thin little piece. We sent a copy to Bill Spicer, the editor and publisher of Graphic Story Magazine, and he said, "Yeah it's sort of a quick trip for a dollar." That was probably our first review. It was a combination of some above-ground stuff like Frazetta and Williamson and sketches or things that we'd picked up at shows and then also some underground stuff. The first issues had a Rick Griffin cover, and I think some Robert Crumb in it. We did five issues over the next six years. The last issue came out in '75 and it was monstrously big. It looked more like an issue of Squa Tront by then, a big fat magazine, and it had a big interview with R. Crumb which was actually, believe it or not, the first Crumb interview. He was still not really above ground at that point, just doing a lot of underground comix. I did that for a while and I did a few underground comix, too.
Toucan: Wasn't there another fanzine called Anomaly at some point, too?
Bud: Anomaly started out as a fanzine published by Jan Strnad. Jan came to me when the undergrounds were going real good and said, "I'm looking for a publisher, why don't you do this as an underground? You've got all the connections out there." So that's what I did. I can't really claim much credit for that other than I just sort of facilitated it and printed it and my address was on it, but Jan really put the thing together. And we did it as an underground comic and printed 20,000 copies.
Toucan: When you look back at your career in all this, you've been a pioneer in a lot of different areas that are very common now. You were one of the first to gather stuff like this—comix, fanzines, portfolios—to sell at conventions. You were an early comic shop owner or co-owner, you were an early distributor and a publisher, you were a mail-order pioneer all the way back in the late ''60s, and I don't know exactly when you started selling on the Internet, but I'm guessing you were probably in the forefront of that, too.
Bud: Yeah we got into that pretty early. I can't even remember when we started on that. I was able to keep taking advantage of these—I don't know—the changes as they came along, the opportunities. And I managed to get somewhat of a business education as I went through that. I was going to college from '70 to '75, but at the same time I was running the mail-order business and the comics store. So I eventually actually majored in business. But more than anything else, people like Phil Seuling were really influential on me. I met him first in '70, when I was still just barely 18 years old. He became a big mentor to me and sort of taught me, even though he wasn't really a businessman. he was just a high school teacher and a fan and a part-time dealer, an entrepreneur. He was a hip New York guy and had 15 years or something on me. So he was a big mentor to me. He taught me a lot, and fortunately back in those days everything was so seat of the pants and small you could sort of get a start without having to come up with a bunch of money or a bunch of fancy ideas and stuff. We'd just buy some things and put them on a list and put them in ads in the Rocket's Blast or Alan Light's Buyer's Guide and sell some and then buy some more.
Toucan: The second comic shop that you co-founded as you mentioned with John Barrett was in Berkeley in '72 and it was Comics & Comix. How did that get started?
Bud: What happened was John and I had been two of the partners in Seven Sons in '68 and then we sold that out to one of the guys whose mom had enough money to tempt us to sell. We went to Houston in '69—there were four of us, John and I and Jim Buser and Dick Swan—and we bought a whole bunch of comics cheap. Bought a couple tables' worth of comics from people and stuffed the car with them and drove home and said hey, we've got all these comics, let's open up another comic shop. So all of a sudden we opened up a new shop called Comic World and then San Jose had the privilege of having two shops, and eventually they had three because another guy, Bob Sidebottom, who was big in the early days of distributing underground comix, was there too. So we had three comic book shops all sort of thriving in San Jose in '69 and '70.
Toucan: And that was before the direct market?
Bud: Oh yeah. In those days we didn't really handle new comics. What we would do is run down to another distributor that would get them a week early and buy them at cover price, bring them back, and sell them for an extra nickel. I think they were 20 cents and we'd sell them for a quarter to the guys who wanted to get them earlier. We had not broken into getting comics from a distributor yet. That didn't happen until Comics & Comix in '72.
Anyway, the story on Comics & Comix is simply that John and I had sort of parted; we were friends, but we parted company. He was going off and going to be a photojournalist in college and I was also going to college, but I started my mail-order business. But I still wanted to go to the shows in the summer, so I needed somebody to fill orders while I was gone. So I enlisted John and said I'm going to be off for two weeks or so, can you fill orders for me? And so he did that, and then after two years of doing it, he said, this is a great little thing, we should be partners again. And I said I don't know if I want to be partners, I don't if it's that big a deal, but let's do this, let's open a store. And so that's really how Comics & Comix started. We said okay, John will be the guy that'll be working the store, because he just dropped out of college to do that and I wanted to keep going to school, so I was sort of the guy behind the scenes where I put up some of the money and was bringing in the fanzines and the underground comix, and that was the beginning of our partnership.
Toucan: You ended up with six or seven stores, is that correct?
Bud: Yeah we ended up with seven stores. I was involved in it from '72 to '88. Bob Beerbohm came on board really, really early, right at the beginning. He moved out from Nebraska, and then eventually Dick Swan, who's still a comic book dealer, came in, and Jim Buser and Scott Maple, and they were managers of stores and became partial partners in the store. We had a good little chain. I think we had the first chain going, extending up to Sacramento and down to San Jose and San Francisco and Palo Alto.
Toucan: You did a convention early on in '73 called Berkeley Con, probably the first Bay Area comics convention. What was the focus of that event?
Bud: Underground comix were ostensibly the focus of it. It started out as a regular convention. A couple of guys who were customers of ours and collectors started trying to put it together and then they sort of got in over their heads and talked to us—I mean, Comics & Comix in Berkeley. They asked if we could help promote the show or put on the show. So we sort of got involved, and by that time believe it or not we'd had some experience because we'd been to all these other shows. So yeah, it was called the Berkeley Comic Convention or Berkeley Underground Comix Convention. Since undergrounds were so big, we thought we'd orient it towards the undergrounds because nobody had ever done that. We invited all the local underground artists to show up, and we did an art show in the Poly Ballroom. It was sort of co-sponsored by UC Berkeley, which was really nice. They gave us the facility, anyway. It came off pretty good, but it also taught us a really valuable lesson, which was you don't get to enjoy a show very much if you're actually running the show.
But it was pretty casual. We ran into some belly dancers who were out doing stuff in the Berkeley campus and we said, "Hey, you guys should come over and be a part of the show." So all of a sudden we had belly dancers at the show. It was pretty fast and loose, but it worked out pretty good. One of the big deals that came out of that show was the Riley Collection, which is also known as the San Francisco collection of Golden Age comics. It turned up at the door, and that was one of the earliest pedigree collections. So that actually helped up finance a couple more stores.
Toucan: Comics & Comix bought the entire collection?
Bud: Originally some of the other dealers jumped in and got some of the books, which was fine. But they freaked out the people who had brought the stuff in, because all of a sudden the people realized, oh my God, we've got something here. We're talking 1973—you can imagine how cheap the prices were. So they sort of freaked out and went home and they had a whole bunch more stuff, and one of our partners from Comics & Comix got a contact for them and went over and explained the situation and treated them right and said here's the deal, and here's a price guide and we'll give you a reasonable price for these and we're not going to scalp you. And we ended up getting the balance of whatever wasn't sold when these guys walked in the door.
Toucan: How long were you with Comics & Comix?
Bud: Until 1988. I actually sold my distribution business and Comics & Comix at exactly the same time. Basically, in 1988 I was getting pretty tight financially. I had subdistributors that I was selling, for instance, DC comics to because DC didn't want more than a handful of direct distributors. So we'd have guys like Chuck Rozanski [Mile High Comics], he was a subdistributor. I had a guy up in Seattle and I had somebody else in Canada. And people weren't paying their bills too well. We could have been better at collecting, and we were getting pretty tight on money, and the business had grown tremendously. I just thought that if I could get out with my shirt on I might want to do that and go back to doing something that was more enjoyable for me than running an 80-employee company. So I sold out to Steve Geppi [Diamond]. At the same time Comics & Comix was also in financial difficulty and so I basically almost handed that company over to my financial controller, and he promised to pay me off with what Comics & Comix ended up owing me, which he did, and he took it over and ran it for another 10 years, and then some other guy took it over and ran it into the ground.
Toucan: So that's how you got out of the distribution business and the comic shop business. How did you get into the direct market distribution system?
Bud: Just slid in, like I say. In the early days it would have been Phil Seuling and me. The very beginnings of that would have been back when we were buying print runs of things like Squa Tront or ElfQuest. We were sharing ElfQuest distribution and The Comics Journal. When Gary Groth got into a little bit of difficulty, he came to me and actually wanted me to be a partner with him, and once again I said let's not do a partnership, but how about if Seuling and I split your print run for a while to help finance the magazine, and we did that. So that's how we slipped into distribution. I was the West Coast guy and Phil was the East Coast guy. And then Phil went to the comic book companies and started the whole direct market. I got into it eventually, but I was not in distribution in the very beginning. That was all Phil. I was just doing the fanzines and the underground comix.
Toucan: So essentially you become like a subdistributor for Phil for the West Coast?
Bud: Yes, that would be correct. At that point I would have had Comics & Comix, and we were buying from Phil as a subdistributor. My partners kept saying you should really get into the distribution business. At the same time a good friend of mine, Charles Abar—who's now still a distributor of supplies, plastic bags and stuff like that—was distributing in the Bay Area, but he also had a day job and his wife gave him an ultimatum: "Charles, you're not around enough; do something about all this work you're doing." So Charles came to me, because he's really a straight-shooting guy, and he said I want my customers to be taken care of and I trust you, and so he basically handed the business to me, and that's how I got to do the distribution business. All of a sudden I had all these accounts in the Bay Area to sell to. We did it out of Grass Valley at the very beginning, but then we quickly realized we needed a warehouse, and so we opened up another warehouse, and then eventually we had seven warehouses in different areas. So everything was going really fast at that point. It was in about 1983 when I got into the distribution business, and it was a big growth period from then until I sold it in '88. Even after that, the Batman movie came out, so it was pretty much perking along at full speed until '89 or '90. I think when Marvel wanted to distribute their own comics, that really destroyed most of the small distributors. So I got out nice and early and didn't get burned like that.
Toucan: You continued to publish over those years, and you published the Jack Katz epic, The First Kingdom. How did that come about?
Bud: Well that was another thing that came out of Comics & Comix. Jack was living in Berkeley, so he'd come in and visit the shop, and he was at that time a veteran comic book artist. He decided he wanted to do this First Kingdom epic, and Comics & Comix was getting involved with publishing a few comics ,and they started it and did six or seven issues. And then they were feeling like they were sort of overamped. They were trying to be a retail store and were trying to be an underground comix distributor and trying to publish, and I think they realized—they meaning we, because I was a partner—that we were trying to do too much. It was duplicating some of what I was doing, because I was also distributing underground comix and involved in publishing. So I took it over and got it out of Comic & Comix's hands and continued to publish it for another seven or eight years. It was ten years, all told, when First Kingdom came out. I had no idea the commitment I was getting into when I got into that. Jack's sole income was the First Kingdom, so I was sending him a paycheck every Friday to do the book.
Toucan: Was First Kingdom the last thing that you published?
Bud: Yeah, by that time I was pretty much out of the publishing arena. I felt like I had not been a particularly successful publisher, because I felt it was hard to do too many things, and being a distributor and trying to still be a retailer was just enough. I felt strongly that to be a publisher you've got to be able to devote a really good amount of energy into strictly publishing and promotions. I sort of said I'm going to get out of this and just stay away from publishing. I'd like to think I've been influential on a lot of publishers, because with a lot of people, I've tried to say you should publish this or you should publish that and I'll carry X number of copies if you do something. But I'd prefer to do that rather then try to do this stuff myself.
My classic story was I turned down ElfQuest. We were doing the First Kingdom at the time, and Richard Pini came to me and asked if I wanted to publish ElfQuest and I said oh, we've already got this heroic fantasy thing, we don't need another one. And it was actually a wonderful decision for both of us, because Richard and Wendy did a much better job doing it themselves and spending all their energy and time to really promote it and do it. So I think that was a good thing for them and a good thing for me.
Bud Plant's booth at Comic-Con in the early 2000s.
Toucan: After all this then, you settled down and concentrated on your mail-order business and you published an incredible catalog—so incredible that for a time being they were called just that: Bud Plant's Incredible Catalog. What was your criteria for carrying something? What were you drawn to?
Bud: Well, anything having to do with the history of comic books and comic book collections, Silver Age and Golden Age. And then my interest had gone out into the area of illustrated books, such as classic illustrators like Arthur Rackham and Edmund Dulac and people like that. I was trying to push the envelope into other directions, carrying just general art books and some popular culture stuff and that sort of thing. My criteria . . . a lot of it was what I liked, what did I think was interesting and enjoyable as a collector. And of course there were always things that I handled that I might not be a huge fan of, but the stuff I was most enthusiastic about was the stuff that I'd really made sure to bring into the business, and my collecting interests sort of dovetailed with that of a lot of what my customers wanted.
Toucan: You also have a business that specializes in old and rare books and comics. Can you tell us a little bit about that?
Bud: Well, that began in partnership with Jim Vadeboncoeur, who was another one of our old buddies from San Jose from back in the '60s. Jim had not gone into the comic book field, he had actually gotten a real job and ended up working at Hewlett-Packard, but he and I were both collecting. Jim has a complete Atlas collection, for instance. In fact, he's one of the hardcore artist identifiers; he and Hames Ware are cited all the time as experts on the old comic book artists. But anyway, Jim and I shared this passion also for illustrated books and old children's books and things like that. We were accumulating duplicates, and we said let's get together and form a partnership and do this as a part-time gig and sell some of our duplicates, and when collections come along, then we can buy them and sell them. So that's basically what we did, and Jim was putting together the catalogs and I'd write some copy and we did a few shows. We usually did San Diego, and he used to be incorporated into my booth—I surrounded him and he had one little space selling old books. In fact, back in those days nobody else really had any books like that in San Diego, so that was a unique concept. We did that for, I think, 15 years or maybe just a little longer, and then finally Jim decided to bail out. About that time I met the wonderful lady that I'm with now, Anne Hutchinson, and I convinced her to move from San Diego up to here and we said, okay, Jim is leaving, Anne is joining, and so now it's Anne and I. Anne's interest is in children's books, children's picture books, and things from the last 50, 60 years, and my interests go back from that time, back into the 1800s, so we complement each other pretty good in our material. And then of course I still collect comics so I'm always stumbling across duplicates of things and small collections. So a small part of the business is also selling old comics and pulp magazines and paperbacks and you name it. I can't seem to get my hand out of all these different areas that I have personal interest in.
Toucan: How many conventions and book shows do you do a year?
Bud: Probably on the order of 14 or 15. Some of them are just one-day shows. There's a little one-day comic book show in Sacramento that's every four months, every three months, and so I set up there, but then we do shows. We do the Emerald City show, and most of the other shows besides Comic-Con are actually antiquarian book shows in Sacramento, San Francisco, Pasadena, Houston, and Boston. Again I'm going back and I'm getting my satisfaction fulfilled on old books because I'm really a huge fan of old illustrated books. My interests go back all the way to the 1830s, 1840s. They have to be illustrated or designed. So I have to buy and sell at the show, and that way I can finance my own collection.
Toucan: You've had a presence of varying size at Comic-Con for almost its entire existence. What draws you back to the show each year?
Bud: Well it's still the number-one comic book show as far as I'm concerned. It's changed a lot and there are a lot of younger fans who probably aren't as interested in comic books. But there's still a good hardcore element of collectors who like my kind of stuff. Now I mix the whole booth up and it's new material and older material, and I think that's something that makes it successful. I started downsizing my number of booths because I think the audience changed and also I think with the Internet a lot of my material was a lot easier to find, so I just couldn't bring full-priced material and still fill ten booths full of stuff and make it successful. There are plenty of people discounting books, and too many things are easy to find the Internet a little cheaper, so we had to downsize until we finally hit a new sweet spot and said, okay, this is a reasonable size for us and a reasonable expense to continue at the show.
Toucan: The other nice thing too was we got used to kind of the Bud Plant family at your booth every year, because it was always the same people, staff-wise. Who's still with you after all these years in the Internet business?
Bud: What's really nice is we just hired back three people who had been with us for a long time, so we're actually going through a resurgence. I tried to sell the business in 2011 and actually considered closing it down and retiring into selling old books, and I just couldn't give it up. So last year was a year of change for us when we went to Internet-only and saw how that went and then started expanding a bit again and went back to doing color flyers now—we do a little mailing to people who aren't on the Internet. Anyway, the point is that I've been able to keep two of my key employees who have been with me for a decade or more, and then we've hired three more people back just in the last couple of months. Alberta was the girl who was most popular in San Diego because she always wore outrageous outfits. Alberta is back working here. A lot of people know LaDonna because she's been our purchasing person for a long, long time, so she knows all the artists and all the publishers. And then Joe is my jack of all trades here who does our emails and packs orders and does whatever needs to be done. So we'll actually have a bigger presence in San Diego this year than we did. Last year we had just Anne and me and we were really overwhelmed; it was just too much for the two of us to deal with, so this year we're going have a little bit better staff and a little bit more material.
Toucan: When you decided not to retire and sell off the business and became more of an Internet-only presence, it seems like you've gone to a more specialized product mix.
Bud: Yeah, I was leaning in that direction in my own interests for a while. We had to move away from just trying to carry modern graphic novels, because they're readily available everywhere so it doesn't make much sense to be taking space in the catalog for those. I tried to pull away from the business starting around 2008 and to spend more time doing other things, and my marketing director went off in a whole different area. He was doing more general nostalgia books and WWII things, which have always been a small part of the business but not a big part, but he went too far in that direction and moved away from the kind of material that I care for. So when I came back in and started working full-time again, we went back to our core audience, the people who have always supported us and the kind of stuff that I care about. So that's what's been going on now. I'm trying my best to find things that aren't as readily available, because that's what gets people to come to you on the Internet. Our real success has been not just the Internet but also mixing that with getting flyers and minicatalogs into people's hands, because there are still a lot of old-timers out there who do not get emails, as hard as it is to believe.
Toucan: There's been a huge growth in artist-published sketchbooks and art books in the last decade, and you seem to be in the forefront of offering those to a larger audience too. What attracts you to those kinds of books?
Bud: Well, they're just a lot of fun. They're really like going back to the old days of fanzines, back in the late '60s or early '70s. Once again, somebody who's creative can do something and print up a small number of copies and distribute it themselves. The entry level is really low for that. One of the great things about this industry is that small publishers can still walk up to Diamond and say, "Will you please put my book in your catalog?" and at least they'll try it. It's the same thing with the sketchbooks and stuff. A lot of them are so small they don't even get into a Diamond catalog, but they're perfect for somebody like me or for Stuart Ng because it's a really interesting, fun product. It's a chance for these artists to reach out to the audience, and it's a chance for the audience to get onto the ground floor on somebody who might be a big deal such as a Frank Cho or a Dave Stevens, and get some fun artwork.
Toucan: And the quality of these books is amazing.
Bud: Oh yeah, they've gotten better and better. They started out being pretty funky, little black and white, untrimmed, badly put together things. Now people are doing hardcover full-color books of their work. It's a really good chance for artists who have been professionals working in say the film industry and animation or for Wizards of the Coast or gaming or something where they're not quite as well known. It's a chance for them to do something and get their name out to a much bigger audience, instead of being a credit at the end of a movie. A lot of those guys have gotten involved in that, in sketchbooks and small books.
Bud Plant celebrates his 44th year at Comic-Con International this year. Stop by his booth and say hello!

subset: commoncrawl


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Sunday, November 13
Daily Farm Photo: 11/13/05
Making Progress
9 comments:
Enjoying this beautiful photo!ReplyDelete
- Anonymous11/13/2005 7:36 AM
Hee hee - now that's cute! I wonder what each is thinking. :)ReplyDelete
That's neat! Progress is good.. very good.ReplyDelete
Have a great day FG!
Good morning Farmgirl!ReplyDelete
So, what's the next step in this llama/sheep plan? Do the sheep go into the llama pen, or do you let the llamas out?
Jeez! It's that danned llama again!ReplyDelete
how do you host your pictures, so that they look so nice with frames and everything?ReplyDelete
Hi Sonia,ReplyDelete
: )
Hi Jeff,
Nobody knows what a llama is thinking. : )
Hi Heather,
Yes, progress is very good. Hopefully I'll be hugging a llama soon!
Hi Kat,
The next step in the llama/sheep plan? We're still working on that. Don't know yet. But you can be sure there will be pictures!
Hi Kevin,
Sweet dreams. : )
Hi Therese,
Welcome to the farm! Lately I have been uploading my photos right on Blogger (using the "Add Image" icon). For some reason, though, it gives you a light grey border around the photos. To make this border black like you see on my photos, you need to look at the html code for the photo. Replace just the part that says cursor:hand with this line of code:
BORDER-RIGHT: #000000 1px solid; BORDER-TOP: #000000 1px solid; MARGIN: 2px; BORDER-LEFT: #000000 1px solid; BORDER-BOTTOM: #000000 1px solid
For more help with posting photos on Blogger.com blogs, check the Blogger Help section. It has several informative links. (I tried to copy them here, but it didn't work.) : )
Hi. Thanks a lot for the help! You can see the blog at www.copenhagendaily.blogspot.comReplyDelete
It´s on danish, but you can enjoy pictures.
I love reading about you farmlife! Noticed that you like Shawn Colvin, I do too! Do you know Jonatha Brooke? Shes my favorite singer.
Hi Therese,ReplyDelete
You're very welcome. Thanks for taking the time to write. And I'll definitely check out your blog. (I think I need to learn Danish! : ) Yes, I know and like Jonatha Brooke. There are so many wonderful singer songwriters out there. What would we ever do without music? : )
December 2015 update: Hi! For some reason I can't figure out, Blogger hasn't been letting me leave comments on my own blog (!) for the last several months, so I've been unable to respond to your comments and questions. My apologies for any inconvenience! You're always welcome to email me: farmgirlfare AT gmail DOT com.
Hi! Thanks for visiting Farmgirl Fare and taking the time to write. While I'm not always able to reply to every comment, I receive and enjoy reading them all.
Your feedback is greatly appreciated, and I especially love hearing about your experiences with my recipes. Comments on older posts are always welcome!
Please note that I moderate comments, so if I'm away from the computer it may be a while before yours appears.
I try my best to answer all questions, though sometimes it takes me a few days. And sometimes, I'm sorry to say, they fall through the cracks, and for that I sincerely apologize.
I look forward to hearing from you and hope you enjoy your e-visits to our farm!


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How data and tech can help combat illegal fishing
It is estimated that IUU fishing represents up to 20% of global seafood catch. Image: Unsplash
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Short Curved Wooden Track - 4 pack
Short curved wooden train tracks compatible with Thomas the Train, Brio Wooden Train Sets and more.
Code: 50906
Manufacture: Maxim Enterprise
Qty in Basket: None
Original Price: $7.00
Sale Price: $5.99
Short Curved Wooden Train Track - Maxim Enterprise
These 4 pieces of short curved train track will allow you to make the sharp curves that you desire. Highly recommended if you are designing layouts on a train table. Each track piece is approximately 3" long, with groves on both sides which allow for sharper right hand or left hand turns. 8 short curves form a 10" circle.
These wooden track pieces are compatible with:


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Choctal: Single Origin Chocolate and Vanilla Ice Cream
As chocolate lovers, single origin chocolate bars are very desirable. The taste of the "terroir", so to speak, is distinctly noticeable. But why stop at chocolate bars? Can't we ice cream lovers have the same thing with our chocolate ice creams? Enter Choctal and their line of not only single origin chocolate ice creams, but also single origin vanilla ice cream!
To start, these are premium, creamy ice creams that are each wonderful on its own (Ruth Reichl called it "the perfect chocolate ice cream"), but I really appreciated the concept when I compare the different chocolates or vanillas back to back. For the moment, there are four flavors of chocolate and four vanillas available.
Even if I still can't decide which flavors I like best, these Choctal ice creams are my new obsession!
To find Choctal ice cream near you, use the locator on their website. Just a tip, Bristol Farms currently carries them. If it's not yet available in your area, you can also order them online, although the shipping costs quite a bit.


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The two companies revealed few details about the plan when it was announced last month. In essence, a joint venture will be set up based around selling Vestas' V112 3MW and upcoming V164 8MW to the offshore market. The deal will see MHI invest EUR 300 million - EUR 100 million up front and the remainder dependent upon the V164 hitting certain technological and financial milestones.
Ownership of the joint venture is 50:50, although MHI has an option to acquire 51% of the company, and it will be based in Aarhus, Denmark. Masafumi Wani, MHI executive senior vice president and head of power systems, will be the joint venture's chairman. Vestas CEO Anders Runevad will be vice chairman, and Jens Tommerup, current president for Vestas Asia Pacific and China, will become CEO.
The basis for the deal appears to be a combination Vestas' brains (its turbines and experience) and MHI's (financial) brawn. Speaking to Windpower Monthly about the companies respective qualities, Tommerup said: "If you look at Vestas, we were very early, if not the first, in offshore and Vestas has now installed 1.1GW offshore, so that's a tremendous amount of experience and a strong base of knowledge. Vestas being the biggest in wind has a lot of tech knowledge in offshore and very strong product, which will be the base for the venture.
"MHI is one of the biggest players for supply of equipment to the power sector. And they have a strong finances balance sheet and have a lot of interest in tech around the ball of plant for offshore project. So if we combine this, theres' a strong business case," he added.
There are more details yet to be ironed out, such as the name of the venture, the all-important milestones, where the manufacturing will take place, or even whether the names of the turbines themselves will change. This is likely to be resolved next year when the deal is formalised. More important is the future of Mitsubishi's 7MW SeaAngel turbine, which has been in development since 2011. Tommerup was unable to comment on the SeaAngel directly, but was adamant that the V164 would become the main product offering in the future.
Uncertain fate
Currently, two prototype SeaAngel's are being built, in Scotland and Japan respectively. Despite featuring the second-largest blade in the world (longer than the V164) it seems the only aspect of the turbine that will be preserved is the digital hydraulic drivetrain (DDT) system designed byMHI's Scottish subsidiary, Artemis Intelligent Power.
Asked about the future of the SeaAngel, an MHI spokesman said: "I cant say today whether the SeaAngel will or will not go into series production." Although he was adamant the DDT system would be used on the V164.
"Effectively, SeaAngel is the generic name for MHI's offshore wind," he added. "The clear plan is that the underlying DDT will be made available to the JV. Then the JV will develop a product within which the DDT is housed. I cannot say at this point whether the production DDT-based machine at the end of the decade will look like the prototype SeaAngel machines we are building now."
In terms of manufacturing, the headquarters of the joint venture will be based in Aarhus, Denmark. There is no indication of what will happen to MHI's offshore research centre in Scotland, although that may continue developing the DDT for use on the V164. Tommerup said: "What we have said is the JV should have its own value chain. Right now we are talking to clients and stakeholders and will decide what makes sense in terms of manufacturing when we get firm and unconditional orders. So there is no fixed plan on manufacturing. That depends on the market and where we get the orders."
Tommerup said the main market for the JV would be Europe, although Asia was a distant possibility. "There's definitely a desire to utilise offshore in Asia. Offshore in the US is also interesting," he said "We basically have one of the strongest players in power in Asia as a partner. In the short term, most of the bus will be in Europe. Medium to long Asia. I could see Japan moving as fast as possible." He said it was too early to say whether the JV is thinking about installing the V164 on a floating platform, as MHI is looking to do with the SeaAngel.
The joint venture has its work cut out. Vestas may have a long history in offshore, but more than 80% of offshore turbines connected to the grid in European waters in the 18 months leading up to 30 June are made by Siemens, which is also further down the developmental road on its 6MW turbine. Asked about how the JV would overhaul this deficit, Tommerup said: "We have not gone into timelines on that, but now the approval of the JV will take time. Then we will come out with details strategies and how we will position ourselves. The only thing is the intention from the partners is to become the market leaders."


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Of Many Things
Being from Chicago, I have a weakness, a flaw really, for casting aspersions upon the Green Bay Packers, a football team from rural Wisconsin whose quarterback is so old they may need to provide him with a walker and an oxygen tent. Some-times I don't even realize I'm doing it.
I know relatively little, however, about the game of football itself. I'm sure if I were asked to play I would throw even more interceptions than he does.
So last year when someone invited me to the Giants/Bears game at Giants Stadium inNew Jersey, I felt excited; but with no Packers to taunt—"Peter Favre could throw better than you!"—I was out of my element.
As play began, my host instructed me to keep my eyes on the center. We tend to watch the quarterback, he explained, because the action unfolds around him. But the movement of the center tells you what the play is. If he moves to the left or right, he's blocking to create a hole—it's a running play. If he stands his ground, he's defending the quarterback—it's probably a passing play.
A very small detail. But I had to admit, the more I kept my eyes on the center, the more the strategy behind the action emerged.
Not long after that game, I realized I had been taught in school a very similar lesson about the church. As in football, every theological argument, every statement of the church, every reform of practice has a play it's trying to make, a position it's trying to assert. And if you want to see where that play is headed, pay attention to how it talks about doctrine.
"Doctrine"—it's one of those terms just clear enough to make it seem like you don't need to explain it, and fuzzy enough that it can mean whatever you want it to mean. Like "the church" or "war on terror." It certainly refers to the Nicene Creed, our confession of what we believe. But it also can include, and is sometimes used interchangeably with, "the tradition," which itself can refer to the entire body of Christian thought and practice, or selections from that body.
Some approach doctrine like a sculpture, shaped in the early days of the church and then sealed into a final form that the subsequent teaching of the church explains. One's responsibility is to be faithful to that tradition, "to teach what has always been taught." We do not change; we do not develop. We clarify. To do otherwise is to mistake doctrine for still-soft clay and risk destroying the essential: We gave you Michaelangelo's "David," and you turned it into Groucho Marx.
Others look at doctrine like a play by William Shakespeare, a text whose language and story allows, even demands, a variety of interpretations. Just as the life of Jesus allowed for four Gospels, our understanding of creedal terms like "the Father," "one in being with" and "the resurrection of the dead" develops, as new generations come to them with new questions and insights. The practices and presentations of the faith that result can be as different from one another as St. Peter's approach was from St. Paul's.
Interpretation, however, does not allow room for everything. One would be hard pressed to create a satisfactory version of "Romeo and Juliet" in which, instead of killing herself, Juliet just "feels real bad" about the whole thing. Or can one imagine a Hamlet unfamiliar with angst?
So, too, theologians' ideas are limited and critiqued by the Creed itself and by the tradition (however they conceive of it). People may argue whether "truly human" allows for the possibility that Jesus was ever tempted to sin. Say he looked human but had the mind of God, and you've gone too far.
Today authorities draw the English-speaking church "back" to a more literal translation of the Latin text, while liturgists wonder what the heck is a "gibbet"? Scripture passages used to justify church teaching are deemed by others the result not of inspiration but of historical accident. And scholars continue to debate whether the Second Vatican Council represented a significant development—that is, change—in church teachings, or was in continuity with all that had come before.
In many ways, these debates come down to that one issue: change or continuity. Does the speaker believe that doctrine develops over time—or must it remain as constant as the Packers' poor chances of a playoff berth? It is a useful signal to pay attention to. Much as in football, how one begins has a lot to do with where one ends up.


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Welcome to another tax season! To make this busy time a little easier, you can download all the necessary documents right here.
We ask all of our clients to fill out and return a signed Engagement Letter, and Questionnaire. We also have an Organizer that you can fill out to help gather your tax information.
Individual Questionnaire – This is a "fill in" PDF form, but will need to be either printed to .pdf or paper to record your answers.
Fiduciary Questionnaire – Print and record your answers on paper.
Individual Organizer (Not available for Fiduciary)
If we did your return in 2014, you will receive an Organizer with your prior year information. If you need a new Organizer, please contact Carrie to have one sent to you.
If you are a new client, please download and complete the blank Organizer that pertains to your situation.
- Basic – For taxpayers without Schedule C business income or rental property.
- Business Income – For taxpayers with self-employment income. Please make sure to fill out this Organizer AND the Basic Organizer.
- Rental Income – For taxpayers with rental properties. Please make sure to fill out this Organizer AND the Basic Organizer.
- Complete – This is the complete version for taxpayers with multiple activities such as business, rental, or farm income.
If you have Adobe Acrobat see our instructions for filling out your organizer in Adobe.


text:
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Recently, as you may recall, we announced our plan to subvert the annual elections for baseball's Hall of Fame by buying votes from voters. Our idea was to make a mockery and farce of the increasingly solemn and absurd election process, and to take some power from the duly appointed custodians of the game's history and turn it over to the public.
Well, with the Baseball Writers' Association of America having released its official ballot today, we can happily announce that we have a vote. A member of the Baseball Writers' Association of America thought our plan sounded like a pretty damn good idea and sold us his/her vote, making a stand against the idea that a somewhat random subsection of the baseball press should maintain the power to confer what is, regrettably, the game's most prestigious honor. For obvious reasons, the voter will remain anonymous for now, but he/she will be filling out his/her ballot on behalf of Deadspin readers, who will be polled in binding elections. The voter will announce his/her name and motivations once his/her vote has been officially cast.
(We'll here note that we're still buying votes; we can be reached at email@example.com, or in the comments below. Confidentiality is assured.)
For now, though, we'd like to hear from you, the public: How should we proceed? What do you feel you need to cast an informed vote? What sort of voting system would best capture the will of the people? We have our own ideas, but we're curious what you think. Let us know in the comments below.
Image by Jim Cooke


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Dawnguard May Not Arrive on PS3
It's been a few weeks, and we wanted to make sure everyone knows where we're at with Dawnguard. Skyrim is a massive and dynamic game that requires a lot of resources, and things get much more complex when you're talking about sizable content like Dawnguard. We have tried a number of things, but none of them solve the issue enough to make Dawnguard good for everyone. The PS3 is a powerful system, and we're working hard to deliver the content you guys want. Dawnguard is obviously not the only DLC we've been working on either, so the issues of adding content get even more complicated. This is not a problem we're positive we can solve, but we are working together with Sony to try to bring you this content.
We wish we had a more definitive answer right now. We understand the frustration when the same content is not available on all platforms. When we have an update, we will certainly let you know. We deeply appreciate all the time and support you have given us, and we'll keep doing our best to return that.
The announcement sheds some light on the train wreck that has been the PS3-Dawnguard saga.
Wait a minute...you don't even own Skyrim?On another note, this ticks me off. A lot. Oh well, that's $15 Bethesda won't be getting from me if this doesn't come out.
As somebody who sold his Xbox 360 since he has a shared PS3 with his room-mate and was planning on buying Skyrim when Dawnguard came out.
I think they will cope bro.--Love you.
Oh well, that's $15 Bethesda won't be getting from me if this doesn't come out.
I think they will cope bro.
Love you.
It's $20.


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Physcial Sciences Division
Research Highlights
February 2014
Watching Nanoparticles Grow
New approach shows particles and ensembles follow different growth patterns, explaining a frustrating discrepancy in experimental results
As shown here, the Smoluchowski model quantitatively captures the mean growth rate and particle size distribution of a silver nanoparticle, while Ostwald ripening does not. By considering the kinetics of the average growth rate and the distribution of particle sizes, scientists can explain what they see when nanoparticle ensembles form via non-classical mechanisms. Summary (.docx) | Slide (.pptx) | Flier
Results: Individual silver nanoparticles in solutions typically grow through single atom attachment, but importantly, when they reach a certain size they can link with other particles, according to scientists at Pacific Northwest National Laboratory, the University of California, Davis, and Florida State University. This seemingly simple result has shifted a long-held scientific paradigm that did not consider kinetic models when explaining how nanoparticle ensembles formed.
Conventional methods have either 1) been limited to "post-mortem" analysis long after the growth subsided, 2) "cherry picked" the particles being examined, thereby missing the mesoscale implications, or 3) only analyzed the population average and missed the individual particle variances. Now, by considering the kinetics of the average growth rate and the distribution of particle sizes, the team explains why scientists see what they see when nanoparticle ensembles form via non-classical mechanisms.
"The team's findings shed light on previously unexplained observations of aggregative nanoparticle growth," said Dr. Louis Terminello, who leads the Chemical Imaging Initiative at PNNL, which funded much of the work. "Such understanding of mesoscale interactions provides more precision in material synthesis, bringing us closer to tailored materials for catalysis, energy storage, and other uses."
Why It Matters: Whether storing renewable energy for later use or designing longer lasting batteries for electric-powered vehicles, many of today's energy problems will not be solved with today's materials. New materials are needed. The key to avoiding time-consuming trial-and-error research is to tightly control nanoparticle growth to build the materials needed, from the bottom up. This study provides important information about nano-ensembles grown by non-classical mechanisms, including aggregation and coalescence.
Methods: Since the early 1960s, scientists have interpreted nanoparticle growth quantitatively using a model called Lifshitz-Slyozov-Wagner (LSW). This model addresses the dissolution of small crystals and deposition of the dissolved material onto larger ones-a process called Ostwald ripening. But until now, little attention has been paid to modeling the corresponding particle size distribution-a global property that often dictates important functional properties, such as catalytic activity.
"At the atomic scale, Ostwald ripening fits the observed growth. But at the mesoscale, we need to know more about particle size distribution," said Dr. Nigel Browning, Chief Science Officer for the Chemical Imaging Initiative and lead of this project.
The scientists used in situ liquid scanning transmission electron microscopy to grow and directly observe silver nanoparticle ensembles. The team found that the Smoluchowski aggregation kinetic model quantitatively matched the mean growth rate and the particle size distribution of the ensemble. The researchers also used an algorithm created by Dr. Chiwoo Park at Florida State to capture all the particles and analyze all the data, another difference from previous methods.
"Using the combined imaging and analytical approach, we can map out the complete particle size distribution, and see how one mechanism takes over from the other," said Browning.
Although the mean growth rate observed during the in situ growth experiments was consistent with the LSW model and suggested that Ostwald ripening was the dominant growth mechanism, the Smoluchowski model showed that the ensemble-scale mean growth rate is ~20% larger than for non-aggregating nanoparticles. The corresponding particle size distribution is broader and more symmetric (see figure) than that predicted by Ostwald ripening in the LSW. And, it more closely matches the experimental data. The team's results suggest that the particles must reach a certain size before they are capable of growing into bigger ensembles.
"Our results really highlight the need for the field to consider both classical and non-classical growth mechanisms when trying to understand and ultimately control the final characteristics of nanoparticles," said Dr. James Evans, a coauthor and scientist within the Environmental Molecular Sciences Laboratory.
What's Next? This study is a first step in allowing researchers to accurately predict and tune nanoparticle size distributions in lab-scale syntheses based on physical theories and empirical observations. The team will continue to answer fundamental questions about mesoscale phenomena.
Sponsors: The work was funded by the National Institutes of Health the U.S. Department of Energy Office of Basic Energy Sciences, Materials Sciences and Engineering Division; the National Science Foundation; and the Chemical Imaging Initiative under the Laboratory Directed Research and Development Program at PNNL.
User Facility: EMSL
Research Team: Taylor J. Woehl and William D. Ristenpart, University of California, Davis; Nigel D. Browning, James E. Evans, and Ilke Arslan, Pacific Northwest National Laboratory; and Chiwoo Park, Florida State University
Research Area: Chemical Imaging
Reference: Woehl TJ, C Park, JE Evans, I Arslan, WD Ristenpart, and ND Browning. 2014. "Direct Observation of Aggregative Nanoparticle Growth: Kinetic Modeling of the Size Distribution and Growth Rate." Nano Letters 14(1):373-378. DOI: 10.1021/nl4043328


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Shanna Moakler Shows Off Post-Lipo Bikini Bod
Sporting a teeny bikini, Shanna Moakler made her triumphant return in front of the camera, showing off the results of a recent liposuction procedure which she tells ET was painless and scar-free.
Three weeks ago, the reality star and former beauty queen paid a visit to Beverly Hills plastic surgeon Dr. Aaron Rollins, founder of Elite Body Sculpture, who performed the airbrush laser lipo procedure without needles or stiches.
Pics: Five Talked-About Plastic Surgery Transformations
"I've had three kids and so, I don't know, I just was in a place in my life where I felt like I wanted to do some stuff," the 38-year-old mom explained of her desire to have her chin, arms and tummy tightened.
Citing a C-section for all of her kids' births, Moakler told ET that getting rid of those last few pounds in her midsection with diet and exercise was next to impossible.
Video: Marilyn Monroe's Secret Cosmetic Surgeries
"Something that I want people to know is it wasn't just something like a shortcut or an easy way out for me. I work out really hard. I work out 1-2 hours a day and I do cardio yoga and the Tracy Anderson program so it wasn't just something I took lightly."
The Meet the Barkers star added, "I have a C-scar-- it's a bikini cut-- and I kind of just had a pooch that was over it that I couldn't get it back to where I wanted it and I think this worked like a charm."
Click the video to see Moakler's new body in action!


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Taupe Tube Bonnet
This tube bonnet keeps your hijab in place and is also great for wearing under all types of hijab, including square and wrap hijabs. They can also be mixed and matched with your shawls to create your favourite layered look! A must have item for your hijab!
Size: 24cm x 27cm
Fabric Description:
• Jersey / Cotton
• Machine or handwash
Visibility: Opaque
While we try our best to ensure product colours shown are a true depiction of the actual product colours, we do not guarantee a true colour match.
Your order will be shipped within two business days, unless otherwise specified. Please note that we are able to provide tracking numbers for the following shipping methods ONLY:
Expedited US Business
XPresspost USA
Xpresspost International
Xpresspost Expedited Parcel
We strongly recommend using one of the above shipping methods for your peace of mind, security and speedy delivery. Delivery times for shipments without a tracking number to international destinations (other than Canada) can be as long as 1-3 months (especially for some Middle Eastern and African countries). When an order shipped internationally reaches the destination country, the package may be subject to Customs clearance procedures which can cause delays beyond original delivery estimates. These delays are normal and beyond our control. If in doubt, or for additional information, please email us at [email protected].


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After installing Drupal 8, you may be ready to run and create your new website. However you may want to take a quick look at the different content types you will be working with. Websites can use a variety of different content types such as informational pages, polls, blog posts, news articles etc… Knowing the right one to use will help you build a better web presence for you or your client.
Below is a list of the different content types found in Drupal 8. After each description is a link to a tutorial on adding this content type to your site.
The Article content type is one of the default content types, along with Basic Page. This content type is usually used for information that is updated on a regular basis like blog posts, for example. Articles are sorted from the most recent to least recent by default on index pages, however you can certainly change this behavior with the help of modules.
Adding new Articles in Drupal 8
Basic Page
The Basic Page is typically used for content that is static, or rarely changes. An example commonly found on websites is an About Us page. These types of pages are normally, though not required, linked to navigation bars of your website.
How to create a Basic Page in Drupal 8
What is the difference between an Article and a Basic Page?
The main difference between the two content types is the expected longevity of the content. A Basic Page consists of more permanent content such as the information found on an About page. This will contain information such as a mission statement and possibly physical address. An Article is normally used for more temporary information such as breaking news, or blog posts.
Book Page
Book pages are designed to be part of a collective group of related pages that are enabled by the Book module, which is part of the core module collection. These can take the form of things such as guides or multi-page documents.
How to add Book Pages in Drupal 8 – Coming soon!
Drupal gives you the ability to create your own custom content types. Custom types are specifically for you to organize your data in a way that benefits and makes sense to you. Often they are used to sub-divide other content types such as Articles or Basic Pages. For example, you may want to have a 'Breaking Story' as a custom type for specific Articles.
How to create a custom content type in Drupal 8
Forum Topic
This type of content type is specifically for forum discussions where people can reply to the content by using comments.
Create Forum topics in Drupal 8 – Coming soon!
Most of us have participated in a Poll before. This is where there is a question with various selectable answers. The data from these answers are kept in a running tally and presented to the viewers.
How to create a Poll in Drupal 8 – Coming soon!


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Fulfilling Dreams is like a fine delicacy that is desired by many, but enjoyed by few. Here you will find the perfect combination of your dreams & our passion coming together to make your design dreams come true. Whether our furniture becomes the centrepiece of your freshly designed room or a perfect accent to existing decor, we deliver furniture for your individual needs.
A frame that can last for 40 Years!
The wood used in the base frame is stronger and more flexible than traditional solid wood. It's body is made with varying thickness of teak ply for added durability.
- Frame : Teakwood & Plywood (18mm Commercial Plywood)
- Bed Size : Queen - 62X76, King - 72X76, King Plus - 74X79, King Pro - 74X82 Inches
- Headboard Height - 54 Inches
- Fabric : Suede 350 GSM (Brand - Sarom "Velvet Collection")
- Foam : Sleepwell 40 Density
- Ply Thickness : 18mm Top, 12mm Down with Supports.
- Seating : 18 Inches Height, with 3 Inches Legs for cleaning purpose. (Can be customize to 15 inches without cleaning space.)
- Without Storage Type - Without storage with a smooth deco paint on it. (Can be customised using the white laminate (Mica) instead of deco paint on extra cost.
- Storage Type - Normal storage with a smooth deco paint on it. (Can be customised using the white laminate (Mica) instead of deco paint on extra cost.
- Maintenance - Resistant to stains and spillage due to its microfiber. Can be cleaned with a swipe. Suggested dry cleaning every 2-3 years to retain original luster and sheen.
- Customization "if required" - Can be customize into storage or hydraulic storage on additional cost. Contact customer service for more details.
Note : Color, Fabric, Storage type, Mattress Size can be customize on a special request. Please connect over the chat or call with our customer service representative.
Disclaimers: Package contains Bed only. Accessories shown in the image are only for representation and are not part of the product.
Upholstered Beds are covered in light padding and fabric which gives a textural appeal; they could be made with velvet, leatherette, suede or simple fabric upholstery and typically have tufted or straight streamlined headboards.
Furniture bought on Nicemaple.com comes with a 5 Year Warranty against any manufacturing defects. So go ahead and buy with confidence.
Eligibility: This Warranty is non-transferable, and in order to be eligible for it, you must present a valid invoice for the Product when requested by us or our representative (s). Any alterations or modifications made to the products after purchase are not recommended and will void the entire warranty.
The warranty will not apply where: (a) The alleged defect in the Product is within acceptable industry variances such as movement of up to 4% in some fabrics; (b) The Product has been used for purposes other than those for which it was designed; (c) The customer failed to clean, use, and maintain the Product properly; (d) The product has been subjected to abnormal conditions such as the environment, temperature, water, fire, humidity, pressure, stress, or something similar; (e) The flaw was caused by abuse, misuse, neglect, or an accident; or (f) The flaw was caused by chemical damage.
The warranty does not extend to: (a) Damage or defects caused by normal wear and tear; (b) Damage or defects caused by after treatments; or (c) Minor variations in colour.
NOTE: There may be minor variations in fabric colour and wood finish between the images shown here and the actual product. This is due to differences in screen calibrations and resolutions between displays. It is acceptable to have a slight mismatch in dimensions of up to 12mm in upholstered products and up to 6mm in non-upholstered products.
We offer you many types of customization which also includes the Color & Fabric.
- You may select the color & fabric from the mentioned codes and add the code while placing an order on cart page under "SPECIAL SELLER INSTRUCTIONS"
- You may select the color & fabric from the mentioned codes and share it with our customer services representative post placing an order with your order id.
Click for SUEDE FABRIC & Click for LEATHERETTE FABRIC
In case of any query, feel free to reach our customer service over CHAT OR CALL.
Unipro Upholstered Without Storage Bed in Suede
Cancelling an Order or Part of an Order
Time Frame
If you change your mind after placing an order, you can cancel the order (or part of the order) within 24 hours of the order confirmation, Order cannot be cancelled after 24 hours as we process the order for customisation or dispatch to meet the delivery timelines after 24 hours.
Cancellation Fee
A cancellation fee of 2.5% will be applied on the amount paid by you while processing the refund. Any cashback earned on the order prior to the cancellation will be deducted from Nice Maple credits. If the same cashback has been used completely or partially to place another order, the cashback amount will be deducted from the refund amount of the cancelled product.
Returning an Item
Time Frame
You can return an Item within 48 Hours of the item being delivered to you only in case the item delivered is damaged or defective. Return requests are not accepted after 48 Hours from the date of delivery.
What's Eligible For Return?
In the unlikely event that the order delivered is in damaged condition, you can return the damaged or defective item unused and in the same condition as you received it, in its original packaging, along with the invoice and get the refund within 48 hours of being delivered.
Any Item that shows signs of Alteration or Re-size or Damage by the customer will not be accepted for Return.
Return requests raised within 28 Hours will be accepted under the following reasons:
Damaged - If the item delivered to you is in a damaged condition i.e. the packaging of the item is tampered with and not sealed.
Defective - If the item delivered to you is defective. A defect is the unfortunate result of a flaw in manufacturing e.g. engraving is not complete on both sides of the coin or details missing on the packaging or if the item delivered to you is different (in dimension, shape or colour) from the item image on our website.


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Dear Future Homeowner,
My name is Kevin Wildman and I want to thank you for taking the time to visit my website. I guarantee you'll find plenty of helpful information to assist you in purchasing your new home or refinancing your current Grand Rapids home loan. I am a Grand Rapids mortgage consultant, serving all of Grand Rapids, and the surrounding communities.
Purchasing a home is most likely the largest financial transaction of your life. Unfortunately, most people enter into this transaction blindly and make mistakes that may cost them tens of thousands of dollars over the lifetime of their loan.
Although sharing these secrets may not make me popular with the other Michigan mortgage lenders, I am more concerned that you have all the information you need to make an informed decision when shopping for a mortgage. So, I have created a free guide that contains extremely valuable information designed to help you avoid costly mistakes when navigating the mortgage loan process.
To receive this free guide and other home buying tips, simply fill out the fields below and I will send you your first insider secret by email immediately.
Grand Rapids Home Loans
If you're planning to buy your next home, your first home, that dream home, a condo, vacation home, investment property or looking for Grand Rapids home loans, you will find that this site is a complete resource full of insider secrets that will allow you to choose the Grand Rapids mortgage program best suited to your financial needs.
Grand Rapids Mortgages
I make it fast and easy for all kinds of people-including first-time homebuyers, small business owners, and homebuyers with perfect or less-than-perfect credit to get the Grand Rapids home loan you need for the home you want.
Grand Rapids Real Estate
Make sure you register to receive my Free Homebuying Guide and Insider Mortgage Reports, browse my Resources section, fill-out a FREE No-Obligation Secure Online Loan Application, or call me in my office at 616-481-2232. I am here to help you with all your Grand Rapids home loan needs.
Got a Quick Real Estate or Mortgage Question?
Click the "Ask A Question" button below to send us a message by email or feel free to call my office at 616-481-2232.
Before you leave, make sure you review the Grand Rapids Home Loan Buying Resources, Insider Reports and Grand Rapids Mortgage Calculators. All are designed to help guide you through the home buying process so you avoid making costly mistakes.
Grand Rapids Real Estate Reports:
Below, I have included an example of one of our FREE reports that can help you understand credit scores:
To have the best chance of improving your credit score you will need to have a good understanding of how it is calculated as that will help you to decide on the actions you need to take.
A credit score is a numerical calculation based on a number of factors that helps Grand Rapids mortgage lenders decide whether you are a risk to lend money to for your Grand Rapids home loan.
The numbers generally range from 300 to 850 and allow lenders to see how well you are at paying off your debts.
The higher this number is the more likely you are to get credit for your mortgage loan and you will also usually get it at lower interest rates because of the fact that you will be regarded as a lower risk for repayment.
If your score falls below 600 you will probably have trouble getting credit for Grand Rapids real estate and if you do you will be expected to pay higher mortgage rates due to the risk involved.
Scores over 720 are regarded as excellent and you can expect to get good Grand Rapids loan rates.
This is just a guideline as some mortgage lenders place more importance on credit scores than others and while you might have difficulty getting credit with one lending institution that is not to say you will have difficulty with all of them.
Often you can discuss your situation with the Grand Rapids lender even when you have a low score and still get them to finance you at reasonable rates.
Sometimes they will look at your whole credit history and take that into account rather than just the current poor score.
Your credit score comes from the calculations that are determined by the credit bureaus and are based on mathematical data that is arrived at from your credit report information that is supplied to the bureaus from people who have lent you money and from people you owe payment of bills to.
Whichever Grand Rapids mortgage broker you decide to work with, you should be able to receive a copy of your credit report from them to review and check for any errors.
You have the right, under the Fair Credit Reporting Act, to dispute the completeness and accuracy of information in your credit file.If you have had credit problems, be prepared to discuss them honestly with your Grand Rapids mortgage professional and come to your application meeting with any necessary written explanations.
Responsible Grand Rapids mortgage professionals know there can be legitimate reasons for credit problems, such as unemployment, illness or other financial difficulties.
They should be there to help you get your home loan.
For a free no-obligation consultation regarding your credit or any other mortgage or real estate questions, please don't hesitate to call me at 616-481-2232.
We service clients statewide, including every city and town in Michigan. Grand Rapids Real Estate |Grand Rapids Home Loan | Grand Rapids Home Loans | Grand Rapids Mortgage


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The Rev. Jonathan Bull from the Metropolitan Synod of New York (left) and the Rev. Rosalind Brathwaite of First Lutheran Church, Belafonte, Ohio, wait in line to pick up their voting member registration materials. They are among the 1,045 voting members from 65 synods and 10,396 congregations serving on behalf of the 4,633,887 baptized members of the Evangelical Lutheran Church in America.
18-year-old Madeline Barnicle of Eagan, Minn., is one of the hundreds of ELCA Lutherans who have come to volunteer at the 2009 Churchwide Assembly. Just as in local congregations, volunteers assist in countless different ways joyfully bringing their time and talent in service to their church.
The assembly gathered together as community Monday afternoon to worship together. Presiding Bishop Mark S. Hanson led the Spirit-filled event. Treasurer Christina Jackson-Skelton and Vice-President Carlos Peña look on as Bishop Hanson reads from the liturgy.
Treasurer Christina Jackson-Skelton and Sectretary David Swartling distribute Holy Communion to worshipers. With the presiding bishop and the vice-president, they are the officers of the Evangelical Lutheran Church in America.
Presiding Bishop Mark S. Hanson officially opens the 2009 ELCA Churchwide Assembly as Secretary David Swartling looks on. The churchwide assembly, the chief legislative authority of the ELCA, is meeting August 17-23 at the Minneapolis Convention Center.
2009assemblybishopbishop hansonchurchchurchwideconventioncwacwa09elcaevangelicallutheranmark s hansonminneapolisminnesotanationalplenary 1plenary1presiding bishoppresiding bishop mark s hanson
Larry Christensen, Southeastern Iowa Synod, waits while David Laden, Saint Paul Area Synod, speaks in favor of an amendment. First and foremost a legislative business meeting, churchwide assemblies abide by Robert's Rules of Order.
2009assemblychurchchurchwideconventioncwacwa09elcaevangelicallutheranminneapolisminnesotanationalplenary 1plenary1
1,045 voting members of the ELCA will spend the week listening to and discussing a number of topics. While Lutherans may not be "of one mind," says Presiding Bishop Mark S. Hanson, they can still be "united in faith and in our shared mission together."
2009assemblychurchchurchwidechurchwide assembly voting membersconventioncwacwa09elcaevangelicallutheranminneapolisminnesotanationalplenary 1plenary1voting members
"In the name of the Father, and of the + Son, and of the Holy Spirit." These words begin the orders for Confession and Forgiveness in Evangelical Lutheran Worship. Worshipers mark one another with the sign of the cross as a remembrance of their Baptism. This, and other sacramental practices, enrich the worship experience for assembly goers.
In her part of the Lutheran Malaria Initiative (LMI) report, ELCA Foundation president Cynthia Halvorson demonstrated the reality of overflowing abundance in the ELCA, not a glass half empty, or even half full. Lutheran Malaria Initiative coordinator Andrea DeGroot-Nesdahl assisted with the lesson. The LMI, with a fund-raising goal of $75 million, was overwhelmingly endorsed by the assembly. It will create a shared effort in concert with the Lutheran Church—Missouri Synod, Lutheran World Relief, and the United Nations Foundation.
The Rev. Dr. Sarah Heaner Lancaster, Bishop Gregory Palmer (President, Council of Bishops, United Methodist Church), and Bishop Sallya Dyck (UMC) exuberantly express their joy at the results of the vote that brought the ELCA into a full communion agreement with the United Methodist Church. Bishop Palmer said of the action, "God has brought both our churches to a broad place where Jesus Christ calls us ... to all be one [and] to go out for the sake of the world."
Spanning generations, Phyllis Score (seated) from Atonement Lutheran Church in Bloomington, Minnesota, and Mara Bakken from Madison, Wisconsin, are the oldest and youngest voting members at the 2009 Churchwide Assembly. While Phyllis and Mara represent the rich diversity that come to be voting members at assemblies, more important they represent our oneness as Lutherans and our oneness in the Body of Christ.
During Tuesday morning's plenary session, Presiding Bishop Mark S. Hanson asked the each in the assembly to look at their hands. He asked them to consider what in the last three weeks has God been doing through their hands. Recently, the ELCA adopted a new tagline: "God's work. Our hands." As Lutherans we understand that through our Baptism, we are called to do God's work, whether through public ministry, teaching our children, building our homes, tilling our soil, or serving as voting members at a churchwide assembly. As the voting members considered Bishop Hanson's words, many came to a deeper understanding of how God is working through their hands.
Assembly participants are nourished by the diversity and quality of worship at the assembly. During one worship service, Tony Award-winning Roosevelt Andre Credit filled the hall with songs of joy and praise. Beyond his incredible vocal talents, Credit is noted for his community involvement and philanthropic activities. In fact, Credit was a featured performer at the 2009 Presidential Inaugural Ball in Washington, D.C.
Old friendships renewed. New friendships made. It doesn't take too long before voting members spot someone in a crowd they met years ago and spend a few minutes catching up or begin a meal seated with a stranger and by coffee and desert are new friends. There is a sense of community that permeates an assembly, a sense that our shared love of Christ and commitment to our church is stronger than any of our differences. When we share the peace of Christ with one another during worship, we are fulfilling Jesus' request of us (Matthew 5:24) and reconciling ourselves to one another.
Prior to calling for the vote on ministry policies, those who were on stage came together for prayer. From left, the Rev. Kaari Reierson, the Rev. Stanley Olson, the Rev Dr. Wyvetta Bullock, Presiding Bishop S. Hanson, and Sectretary David D. Swartling.
2009assemblychurchchurchwideconventioncwacwa09elcaevangelicallutheranminneapolisminnesotanationalplenary 9plenary9
As the result of the vote on ministry policies was announced, many in the hall reacted with strong emotions. The vote opens the public ministry of the church to gay and lesbian pastors and other professional workers living in committed same-sex relationships.
On Friday evening, Peter Mayer, lead guitarist for the Jimmy Buffet and the Coral Reefers Band, gave a benefit concert for the HIV and AIDS Strategy and the Lutheran Malaria Initiative. A son of missionaries, Mayer is a life-long Lutheran and currently is a member of an ELCA congregation.
2009assemblybenefit concertchurchchurchwideconventioncwacwa09elcaevangelicallutheranminneapolisminnesotanationalpeterpeter mayer
On Saturday, the assembly walked across the street from the Minneapolis Convention Center to worship at Central Lutheran Church. The Rev. Sylvia De La Garza, St. John Lutheran Church, San Juan, Texas, presided and the Rev. Linda O. Norman, chief financial officer, Development Services and ELCA Foundation, was the preacher. Central's steeple was torn in half by a tornado that that also touched down on the roof of the convention center on Wednesday afternoon.
With his wife Diane looking on, Carlos Peña smiles on stage after being re-elected as Vice-President of the Evangelical Lutheran Church in America. Voting members at the 2009 Churchwide Assembly returned to office its incumbent vice present, Carlos Peña of Galveston, Texas. Responding to his re-election, Peña said, "I've been incredibly blessed. This is a call from God. Thank you. I'm going to need your prayers."
On Sunday morning, those having attended the 2009 ELCA Churchwide Assembly, worshiped together for one last time. Presiding Bishop Mark S. Hanson presided and Bishop Allan C. Bjornberg of the Rocky Mountain Synod preached.
2009assemblychurchchurchwideconventioncwacwa09elcaevangelicallutheranminneapolisminnesotanationalclosing worship


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Notes: Punches are first practiced from a semi-passive stance;
later from a general ready stance. Practitioner should understand
principles of attacks and proper way to make a fist.
Note: Kicks should be taught first from the passive stance,
later from other stances.
Combinations Using Learned Attacks
General Note: Emphasize recoiling in all attacks (especially straight punches and regular kicks).
Reaction Games / Fighting Games
Note: One can start with the "zombie" game, hands are straight.
Circular Strikes Hooks (Roundhouses) & Uppercuts
Series of Attacks – to the front, side and rear; with different targets, heights and angles
Fighting Skills (defend -- attack -- defend)
Responding to Opponent's Response
Spinning Attacks, Strikes and Kicks
Takedowns - Cavalier Leverage on the Wrist Joint
Overcoming Disorientation Caused by an Attack (groggy)
Problem: Defender suffering pain and/or concussion resulting in inability to breath or function, the defender's tendency is to remain in standup fighting.
Solution: Fall sideways, softly to the ground, with legs toward the opponent, counterattack.
Advantage: Taking the initiative recuperates; improving position.
Disadvantage: against more than one attacker; problematic terrain
Rhythm and Pacing - as an Attacker, as a Defender - Including Fighting Drills
Attack, Defend, Attack (Part 1)
Person A -- attacks;
Person B -- defends, moves to dead side and counters.
Person A reacts with defenses and counters as needed;
|Person A Executes →
|Front kick
|Roundhouse kick
|Side kick
|Right punch
|Person B Executes →
|Outside defense to either side & counter
|Defense with forearm(s) & counter
|Stop kick
|Inside defense & counter
|Person A Executes →
|Inside defense & counter
|Hand defense & counter
|Scooping defense & counter
|Defend & counter
Note: Person A should not use his first attack as a fake.
Attack, Defend, Attack (Part 2) - Opponent reaches Dead Side:
Person A -- attacks;
Person B -- defends; moves to dead side and counterattacks.
Person A reacts as follows:
Note: Kick backwards can be regular or defensive, with or without a spin. Objective is to keep the distance from Person B, who is attempting to counterattack.
Attack, Defend, Attack (Part 3)
Note: Person A - initiates an attack (at first a known one and later an unknown one). This training simulates one segment of a fight. Free practice should be permitted only after the student has practiced and obtained proficiency in all of the preceding exercises and principles.
Close Range Techniques / In-Fighting
Defender's objective -- deal with an in-fight situation:
P1 Training
Beginner level
55 Videos
60 Techniques
90 mins
P2 Training
Beginner level
33 Videos
60 Techniques
90 mins
P3 Training
Beginner level
34 Videos
65 Techniques
90 mins
P4 Training
34 Videos
60 Techniques
90 mins
P5 Training
29 Videos
60 Techniques
90 mins
G1 Training
29 Videos
65 Techniques
90 mins
G2 Training
31 Videos
70 Techniques
90 mins
G3 Training
16 Videos
55 Techniques
90 mins
G4 Training
16 Videos
50 Techniques
90 mins
G5 Training
17 Videos
35 Techniques
90 mins
Armed Attacks
All Levels
30 Videos
150 Techniques
120 mins
Ground Fighting
All Levels
27 Videos
90 Techniques
60 mins
Counter Attacks
All Levels
39 Videos
110 Techniques
90 mins
All Levels
50 Videos
150 Techniques
120 mins
All Levels
35 Videos
90 Techniques
90 mins


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The best plugins/themes/hacks for a CITY OR TOURISM GUIDE with BuddyPress?
Hello! I work in user experience design, and I'm considering buddypress for some projects, but I don't have experience with the versatility of its plugins. So, I pose you some questions about which plugins do you recommend for a specific scenario:
Say we have a new project, to create a buddypress site for a social city guide:
– Users should upload multimedia content to admin-created group albums, and rate each other's photos,videos, etc.
– There should be an admin review section with subsections for topics such as restaurants, stores, etc.
– Members should be able to post member reviews (maybe a personal blog) for places in the city.
– BlogPosts should be made in the user front, not in wordpress backend. However, (unlick Quickpress)blogposts in the front end should include pictures, not just text. Same with comments and replies to posts.
– An interactive map would be great!. But for this project, located in countries where most addresses are not included in current google maps, so, which maps could have content updated by users?
– I plan on using the Achievements plugin to create social rewards for actions in the guide and in the city, any advice?
Alright. If you have any comments regarding this scenario, and comments about plugins, extensions, and your experience with city guides, everything will be very appreciated! Thanks!
- The topic 'The best plugins/themes/hacks for a CITY OR TOURISM GUIDE with BuddyPress?' is closed to new replies.


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Our Scandinavian heritage speaks for purity, simplicity, and grace; high-quality that is sustainable. The mix between the founders' eclectic style and the Scandinavian legacy results in the avant-garde momentum which we call Scandinavian Beauty.
Welcome to discover the world of Lernberger Stafsing.
Lernberger Stafsing offers a comprehensive range of unique and professional hair products suitable for all hair types. Our assortment of haircare ranges from high-performing styling products to targeted treatments that nourish, strengthen, and protect your hair and scalp. All ingredients are carefully selected to ensure the best results without compromising on quality and sustainability.
Lernberger Stafsing offers result-orientated skincare products that are scientifically proven to deliver visible and long-lasting results. Our skincare assortment consists of high-quality and multifunctional products that are suitable for all ages, skin types and genders. The products are formulated with a combination of unique and powerful ingredients including acids, botanical extracts and organic oils. It is advanced skincare made simple – we call it Scandinavian Beauty.
Lernberger Stafsing offers a range of grooming products for the trend-conscious man. Our men's assortment aims to provide a complete portfolio of high-end products that give professional results without being time-consuming or complicated. All products envelop your hair, skin, and beard in our iconic masculine fragrance. Created by Men – Exclusively for Men.
Your bag is currently empty.
"This coming season – it's all about the voluminous lived-in wave". Create volume just as featured in Vogue Scandinavia.
To offer you a better experience, this site uses profiling cookies, even from third parties. By continuing to browse our site you accept our privacy policy.
This may be a good place to introduce yourself and your site or include some credits.