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Autumn Leaves and Baby - Vilnius, Lithuania
The latest in fall fashion in Vilnius, Lithuania.
Read more about our journey around the Baltics.
@ www.uncorneredmarket.com
Proud Father in Village - West Bengal, India
A husband takes care of his baby boy in the village of Gairkata in West Bengal, India.
© www.uncorneredmarket.com
Father and Daughter - Ucchus, Peru
Taken in the village of Ucchus near Huancavelica, Peru.
Read more about microfinance at work in Huancavelica.
© www.uncorneredmarket.com
Father and Son in Chong'an - Guizhou Province, China
Fruit vendors on the road from Chong'an and its weekly market (outside of Kaili in Guizhou Province, China).
Read more about our visit to markets and villages in Guizhou Province.
© www.uncorneredmarket.com
Proud Father - Asuncion, Paraguay
Although he asked us to take his photo, it took a while to coax a smile out of him. We finally got his smile here.
Read more about our visit to Paraguay.
© www.uncorneredmarket.com
Proud Burmese Father and Daughter - Bagan, Burma
This man runs a tailor shop with his wife near the Mani Sithu market in Nyaung-U (Bagan) in Burma, Myanmar. We spoke with him as he fixed the zipper on one of our bags. He beamed with pride when his daughter stopped by the shop on her lunch break from school.
Read more about our visit to Bagan.
© www.uncorneredmarket.com
Iranian Father and Child - Esfahan, Iran
Iranian father and child in the market in Esfahan, Iran.
Father and Daughter at Dougherty's Restaurant - Scranton, Pennsylvania
Multiple generations of Dougherty's still work together at their restaurant in Scranton, Pennsylvania.
Read more about returning to Scranton, PA for the holidays.
© www.uncorneredmarket.com
Father and Son in Hats - Svaneti, Georgia
Zaur and his son share similar eyes and a love for hats.
Read about our visit to Svaneti and the rest of our visit to Georgia.
Proud Indian Father - Kerala, India
We stepped into a small courtyard off of a street in Fort Cochin and found lots of colorful life. Here, a proud father shows off his daughter.
Read more about our visit to Kerala.
Honduran Father and Daughter - Copan Ruinas, Honduras
An impromptu family portrait at the back of the central market in Copan Ruinas, Honduras.
Read more about our experiences in Honduras before the coup.
© www.uncorneredmarket.com
Father and Daughter - Pondicherry, India
Read more about India.
© www.uncorneredmarket.com
Father and Son at Ippodrom Market - Tashkent, Uzbekistan
Father and son play games to pass the time at their Ippodrom market stall in Tashkent.
Read more about our visit to Uzbekistan and tourism in Uzbekistan.
Friendly Family of Vendors - Otavalo Market, Ecuador
This father and daughters team selling fruit and vegetables at the Otavalo Saturday market were super friendly. They gave us a lesson in the root vegetables we didn't know...Read more articles about our visit to Ecuador.
© www.uncorneredmarket.com
Proud Father - Toungoo, Burma
A father lifts the hat off his baby girl to show her off to us. Taken at the train station in Toungoo, Burma (Myanmar).
© www.uncorneredmarket.com
Proud Father - Loi Krathong Festival, Bangkok
A proud father looks on as his daughter smiles for the camera. Later, he looked at me and laughed, "She's very naughty." Some things don't change across cultures. Taken at Loi Krathong Festival in Bangkok, Thailand.
Read: Loi Krathong Festival: Troubles Down the River, Lanterns in the Sky
© UncorneredMarket.com
Honduran Family at the Market - La Esperanza, Honduras
A father with his three kids at the market in La Esperanza, Honduras.
Read more about our experiences in Honduras before the coup.
© www.uncorneredmarket.com
Namaste, Grandfather and Grandson - Annapurna Circuit, Nepal
This little boy greets us with "Namaste" (Nepali for "hello" or literally "I bow to you"), puts his hands together in the traditional greeting motion. His grandfather looks on proudly, laughing at our reaction.
Taken on the way to Syange village on the second day of our Annapurna Circuit trek in Nepal.
Read more about our Annapurna Circuit trek.
© www.uncorneredmarket.com
Father Carrying Son - Tbilisi, Georgia
A family moment at the Georgian Independence Day parade in Tbilisi.
Read more about
Tbilisi and our visit to Georgia.
Uighur Grandfatherly Love - Kashgar, China
An Uighur man affectionately takes care of his grandson outside the Sunday Market in Kashgar, China.
Read more about Xinjiang cuisine and Kashgar.
© www.uncorneredmarket.com
Masai Man and Child - Lake Manyara, Tanzania
Crashing This Kid's 4th Birthday Party - Srimongal, Bangladesh
We stopped by the Nishorgo Eco-Cottage looking for information and ended up crashing this kid's 4th birthday party instead. Quite an occasion with music, singing, cake and everyone all done up.


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Vincent and Tara are making triangles with the class construction set. They have a pile of strips of different lengths. How many different triangles can they make?
Explore the triangles that can be made with seven sticks of the
same length.
Using a loop of string stretched around three of your fingers, what
different triangles can you make? Draw them and sort them into

subset: commoncrawl


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The National Theatre fourth current West End transfer, 'Untold Stories' brings together two autobiographical Alan Bennett shorts that were staged at the NT last year.
Originally intended as a warm up act to 'People', Bennett's 'proper' new play, together 'Hymn' and 'Cocktail Sticks' are actually the stronger work, two playlets that beautifully demonstrates the great Yorkshire wit's ability to evoke the past warmly without rose-tinting his signature spectacles.
'Hymn' sees Alex Jennings's elderly Bennett reflect on the role of music in his 1940s working-class childhood, while 'Cocktail Sticks' looks back on key moments in his relationship with his ageing parents, as Oxford University and then success as a playwright beckons.
Throughout, Jennings turns in far more than just a superb impersonation. As he tells anecdotes and has imaginary chats with his character's dead mum and dad, he fleshes out Bennett's trademark blazer, tie and crumpled jacket into an affectingly wry but mournful figure.
'Hymn', directed by Nadia Fall, is an elegiac half-hour in which a solitary Bennett, standing amid dustsheet-covered furniture, turns a youthful trip to Leeds Town Hall to hear an orchestra into a cheap-seat snapshot of workaday artistry caught between the trundle of tram rides.
From Bennett pausing to listen to the talented onstage quartet to recounting his awe at his dad's violin, reverie blurs with regret as his scratchy attempts to play the instrument end on a note of parental disappointment that hangs in the air until his father's death.
If 'Hymn' is about fathers and sons, Bennett's mother takes centre stage in the Nicholas Hytner-directed 'Cocktail Sticks', which expands the cast to populate her world of anxious social aspiration, inflamed by Woman's Own and the exoticism of avocado pears and salmon mousse.
Bennett, with his keen eye for everyday absurdity, mines plenty of humour from this scenario. But he also skewers his younger self's snobbish shame at his parents' attempts at self-betterment while he bangs on about his West End success.
'Cocktail Sticks' has bigger laughs than 'Hymn', but it's no less poignant. Gabrielle Lloyd and Jeff Rawle are tenderly believable as Mam and Dad, and Lloyd conveys her character's descent into dementia with unshowy power.
'Untold Stories' ends with an acknowledgement that life is often really only found when you write about it. This perfectly judged double-bill is a powerful testament to Bennett's point. Tom Wicker


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- Our iron doors are built one at a time and are custom designed specifically for you and your project.
- Any door can be made square top, round top or arched in a square top frame.
- We always produce a cad drawing for your approval.
- Once approved, production time for a custom door is approximately 8-10 weeks.
For a quote on this door please fill in the quote request form below.
" The doors are fantastic. Thanks! I am so pleased. You can see the veins in the leave designs. This door has received compliments from our framer and plasterer who see many door designs. We will enjoy it so much!" -Alison M.


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Gregg Popovich broke down what he looks for in players, and it was an inspiring life lesson
Jim Cowsert/AP
The San Antonio Spurs are enjoying an unprecedented run of success, currently cruising for a 69-win season and a 19th straight playoff appearance.
There's no single factor behind the Spurs' success, but a big part of it has been the culture they've created, which could be the best in sports. The Spurs are notorious for finding quality, worldly players who have fun on and off the court and are willing to sacrifice personal numbers for the success of the team.
On Friday, reporters asked Gregg Popovich what kinds of qualities the Spurs look for in players (and staff), and his response was long, enlightening, and, oddly, inspiring (via ESPN's Baxter Holmes):
"For us, it's easy. We're looking for character, but what the hell does that mean? We're looking for people - and I've said it many times - [who] have gotten over themselves, and you can tell that pretty quickly. You can talk to somebody for four or five minutes, and you can tell if it's about them, or if they understand that they're just a piece of the puzzle. So we look for that. A sense of humor is a huge thing with us. You've got to be able to laugh. You've got to be able to take a dig, give a dig - that sort of thing. And [you gave to] feel comfortable in your own skin that you don't have all the answers. [We want] people who are participatory. The guys in the film room can tell me what they think of how we played last night if they want to. [Former Assistant GM] Sean Marks would sit in on our coaches' meetings when we're arguing about how to play the pick-and-roll or who we're going to play or who we're going to sit.
"We need people who can handle information and not take it personally because in most of these organizations, there's a big divide. All of the sudden, the wall goes up between management and coaching and everybody is ready to blame back and forth and that's the rule rather than the exception. It just happens. But that's about people. It's about finding people who have all of those qualities. So, we do our best to look for that and when somebody comes, they figure it out pretty quick."
This is not the first time Popovich, who can be curt with the media, has opened up about building an organization the right way. He once explained the importance of open communication, and the quote was so striking that Warriors GM Bob Myers keeps the quote in his cell phone today.
Of course, building such an exemplary organization doesn't happen without some luck - the Spurs drafted a Hall of Famer in Tim Duncan, future Hall of Famers late in the draft in Manu Ginobili and Tony Parker, and had some success in signing role players as well as drafting future cornerstone Kawhi Leonard.
However, it's clear that more than talent, Popovich and the Spurs have made a system where if players act selflessly, they will benefit. They've created an enviable culture and workplace, and the qualities they demand in players are qualities that are desirable outside of sports, too.
- Travel Boom: India spends 2X of pre-pandemic level on Airbnb with Goa leading the charge
- Swiggy disburses over Rs 450 cr in loans to 8000 restaurant owners
- Hyundai Motor India says all its vehicles to come with 6 airbags
- Earthquake jolts Delhi and other parts of northern India
- World Bank pegs India's FY24 GDP growth at 6.3% as global headwinds emerge


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Every evangelical has a story about the moment he first glimpsed his destiny. Tulsi Tanti has two. The first came with his electricity bill, back in 1995. The young engineer's fledgling textile company, Suzlon, was just starting to take off. His new line of polyester yarns was doing well, but India's shaky power grid and the rising cost of electricity offset any profits. "We were constantly innovating, but we weren't able to control the price of power," says Tanti, now 49. So he decided to generate his own. After a few years of research, he settled on wind power, buying two turbines to provide his energy needs. The initial cost was steep, but the company, headquartered in the western Indian city of Pune, was no longer buffeted by the seesawing cost of fossil fuels. Soon Tanti was preaching to fellow industrialists about the economic advantages of staying off the grid.
Epiphany No. 2: In early 2000, the inveterate traveler read a report on global warming predicting that without a radical decrease in the world's carbon emissions, some of his favorite tourist destinations, including the Maldives, would be under water by 2050. It was then that Tanti realized his fate lay far beyond the latest advances in synthetic fibers. "I had a very clear vision," he says. "If Indians start consuming power like the Americans, the world will run out of resources. Either you stop India from developing, or you find some alternate solution."
If wind was the answer to Suzlon's energy needs, asked Tanti, then why couldn't it fuel the growth of other industries? By 2001 Suzlon had sold off its textile manufacturing and plunged into the relatively new field of wind-turbine generators. Today, with factories on four continents and wind farms across Asia, Suzlon is the fourth largest wind-turbine maker in the world, with annual revenues of $850 million. With the price of oil hovering around $80 a barrel, Tanti is all the more convinced that wind is the energy of the future, and that Suzlon will help launch the industry into the mainstream. "Yes, green business is good business," says Tanti. "But it's not just about making money. It's about being responsible." Suzlon's main factory, in the southeastern city of Pondicherry, runs exclusively on wind power. Rainwater is collected to tend the lush grounds, and factory construction disturbed not a single tree.
Tanti doesn't leave his mission at the office when he goes home to his three-bedroom apartment at night. "I could have a mansion and afford to leave the lights on all day long if I wanted. But it's not about saving money anymore for me. I just want to do what I can to fix the problem." And perhaps prevent his favorite island getaway from disappearing under water.


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HGV driving tests streamlined to tackle shortage of lorry drivers
Single test with fewer elements designed to speed up process of getting more drivers on the road
The testing process for HGV licences is to be simplified in an effort to tackle the shortage of lorry drivers.
"Streamlining" of the driving test should create an additional 20,000 appointments per year, according to the Department for Transport and Driver and Vehicle Standards Agency (DVSA).
The country has been hit by a shortage of qualified HGV drivers, resulting in supply issues for businesses.
The DfT says by removing some elements of the test and simplifying the testing process it should speed up the process significantly.
Drivers will now only have to sit one test for both a rigid and articulated lorry, rather than two separate tests spaced three weeks apart.
The tests will also be shorter due to the removal of the reversing exercise and the coupling and uncoupling exercise. The DfT says this will allow examiners to carry out one additional test per day. The two exercises will still be assessed separately by a third party.
The changes also affect car drivers, who will no longer need to sit a separate car and trailer test if they wish to tow, which the DfT says will free up 30,000 testing spaces a year.
The agencies insist that the changes will not affect driver standards or safety.
Transport Secretary Grant Shapps said: "From Inverness to St Ives, HGV drivers are helping to keep the country running, and have been throughout the pandemic. The shortage of drivers is a global problem, but we've been taking action here in the UK to help industry leaders attract drivers and build a more resilient sector.
"We've already delivered 50 per cent more tests than were available before the pandemic, but today's additional measures will deliver up to 50,000 more a year, helping more and more people to kickstart their career as a well-paid HGV driver."


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1968 Plymouth Satellite Convertible Restored
1-Of-71 Big-Block Satellite Has Survived Time And A River Dunking
Sometimes all a Mopar needs is a little "freshening." That not only means changes made during a particular vehicle's production history, but also what can happen long after it rolls off the assembly line.
The freshening that Elwood Engel's styling crew gave the '68 Mopar B-Bodies upgraded the look of all mid-sized Dodge and Plymouth lines, especially Plymouth's. Gone was the creased-edge design of '66-'67, replaced with rounded lines and "Coke bottle" contours on the rear quarters.
Plymouth's mid-sized model range got an update for '68, too-not just the Road Runner coupe. The Sport Satellite hardtop, convertible, and woodgrain-sided wagon also debuted at the start of the model year, and the Road Runner hardtop came out at mid-year. Meanwhile, Belvedere was made the base B-Body series, without the previous Roman numeral designations.
That meant the Satellite series, once the top of the mid-sized line in 1966, was now smack-dab in the middle of it-but still a contender in the sales race against Chevy's Chevelle Malibu and Ford's Torino.
Joel Bourdeau's '68 Satellite convertible has some correct-for-'68 additions inside and out. "I had the hood put on because it looks good with that hood," he says of the styling change he made up front by adding the GTX/Road Runner hood. "But the bucket seats were extra (factory options) in 1968."
Those buckets-with-center-armrest front seats, and the Sport Satellite/GTX taillight/rear deck trim panel give Joel's Satellite a look like the "Silver Special" Plymouths that Ma Mopar used to bring out in the mid and late '60s. Those included metallic paint (silver or other colors taken from the big Chrysler color selection), fancier trim inside and out, plus the TorqueFlite automatic was no extra charge.
But there's more to this B-Body than just trim. It's powered by a 383, the same size engine the car was built with at St. Louis, Missouri. It also makes Joel's car another one of the less-than-100-ever-built Mopar rarities.Out of 1,771 Satellite convertibles made in 1968, it's one of only 71 built with the optional 383 big-block. (The other 1,700 drop-top '68 Satellites had either the 225-inch Slant Six or the 318-inch LA-series small-block V-8. ). The 383 now wears a four-barrel in place of the original two-barrel carburetor, under a correct-for-'68 "un-silenced" air cleaner with a "383 four-barrel" pie tin completing the look. There's plenty of other '68-correct stuff under the hood-hoses, belts, emission sticker-and that 383, says Joel, drives perfectly.
Joel found his Satellite at Auto Trader (a classic-car dealer in Sudbury, Ontario, Canada,) and he made room for it by trading a Shelby-clone Mustang convertible that he had. "I was not a Ford guy from the beginning, and I was looking to trade it," says Joel.
When looking further into this car's history, Joel found that it had been auctioned at Barrett-Jackson's Scottsdale, Arizona, collector-car auction back in 2006, then brought into Canada before he acquired it in June of that year.
Unfortunately, after Joel had owned this B-Body for a while, it took an unscheduled trip-with no one driving. "There was an incident with the steering column bushing. It fell off, and the car ran right into the middle of the Castor River." Fortunately, the Satellite was recovered with less effort than it took to retrieve space-travelling satellites from the oceans, and the car was sent away to A.S.E. Motorsports in Osgood, Ontario, to dry out and have its mechanical and electrical systems restored and/or replaced as needed.
That work was finished in the summer of 2008, and we caught up with Joel at Carlisle, where his Satellite was one of the Celebrity Picks at Chryslers at Carlisle. You could not tell that it had an adventure in the river or that it was not originally built at St. Louis with the GTX hood and rear trim.
Plymouth had a huge sales year in 1968-its biggest year of the '60s-but its convertible models didn't share in that success. The Satellite series was the biggest seller of all the mid-sized '68 Plymouths, with sedan and hardtop versions each selling more than 42,000 units. But the three convertible Plymouth B-Bodies-Satellite (1,771 built), Sport Satellite (1,523), and GTX (1,026) convertibles added up to fewer than 5,000 built and sold between them. That probably helped seal that body style's fate, as drop-top sales continued to slide in 1969 and 1970, despite the new-for-'69 Road Runner convertible. After fewer than 2,000 (total) '70 Road Runner and Satellite convertibles were built and sold, the mid-size Plymouth convertible was history.
Should you find one of these rare beauties, it's worth giving it a freshening of your own, even if it's been stored under ideal conditions. Not just the rubber parts in the fuel system and the gas tank, but also the steering column bushing (if it has a column-shift TorqueFlite). Make sure that the one in it will keep the car in Park-otherwise, replace it right away, because if you don't, your ride might need more than just the post-"swim" freshening that Joel had to give his Satellite!
Fast Facts
'68 Plymouth Satellite Convertible
Owned by: Joel Bourdeau, Ottawa, Ontario, Canada
Mopar Power
- Engine: Joel's Satellite had a two-barrel-equipped 383 installed at St. Louis when it was built. There's still a 383 under the hood, only this time it wears a four-barrel carburetor under its "unsilenced" air cleaner, which in turn wears a "383 four-barrel" pie tin.
- Transmission: Column-shifted 727 TorqueFlite, with its steering-column bushing replaced (the part that caused it to roll into the river)
- Rearend: 8 3/4 Mopar rear with Sure-Grip and 2.76:1 rear gears
- Suspension: (Front) Longitudinal torsion bars, anti-sway bar, and tubular shocks (rear) leaf springs with tubular shocks
- Brakes: Drum-and-shoe at each corner with 11-inch drums, power assisted
- Wheels and Tires: Ma Mopar's optional Chrome five-spoke road wheels shod with BFGoodrich Silvertown radials (P225/70R15 redline)
High Impact
- Body: Original '68 Plymouth B-Body convertible unibody with a GTX/Road Runner hood and the die-cast GTX/Sport Satellite trim above the rear bumper
- Paint: AA1 Silver Metallic (in basecoat/clearcoat form) sprayed on by A.S.E. Motorsports, Osgood, Ontario, Canada
- Interior: Joel had the stock Satellite front bench seat replaced with a '68-factory-option front buckets/center armrest combo, and he added a six-way adjust for the driver seat. The stock rear bench was kept, the front and rear seats now wear new vinyl, and A.S.E. Motorsports did their restoration work inside, too. Other interior features: air conditioning, a dash-mounted tach, and a "thumbwheel" AM radio/eight-track tape player.
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Cascading Water
There are numerous rivers and brooks that wind through New England offering all types of cascading waterfalls. The flow of them changes due to the seasons changing. After the snow thaws they tend to run full and fast, but in the summer or autumn months they can flow slowly allowing a silky look to them.Read More


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Metfilm School
Privacy Policy
Purpose of this Notice
MetFilm Ltd and MetFilm School Ltd (MetFilm) exist to bridge education and industry to inspire the next generation of smart screen creatives.
We do this through operating educational institutions, and related companies to provide training courses and work opportunities to our students and graduates. We also aim to maintain strong links with former students of the courses.
For the purposes of this policy, MetFilm Ltd is registered as company number 04790426 and as a data controller with the Information Commissioners Office, our registration number is Z1335592 and you can find our registration here: https://ico.org.uk/ESDWebPages/Entry/Z1335592.
For the purposes of this policy, MetFilm School Ltd is registered as company number 06723644 as a data controller with the Information Commissioners Office, our registration number is Z228019X and you can find our registration here: https://ico.org.uk/ESDWebPages/Entry/Z228019X.
Our Data Protection Officer can be contacted by emailing email@example.com.
Our Data Protection Policy can be found on the Policies and Key Documents page.
This notice details how MetFilm collects, stores and processes personal information about our students, prospective students, alumni, staff and other stakeholders.
MetFilm is committed to maintaining the security and integrity of the data we hold on all of our stakeholders.
Our activities are currently governed by the Data Protection Act 1998 – as of 25 May 2018 this will change to the General Data Protection Regulations.
This notice is liable to change, the most up-to-date version may be found on our websites.
If you have any questions, please get in touch with us.
The MetFilm Commitment to Our Prospective, Current, and Past Students
We aim to provide suitable services to enquiring students, current students, and alumni, we regard these services as an important and integral part of the School's long-term commitment to all its students and alumni.
An enquiring student is defined as:
- A student, or representative of a student, who has enquired either via email, phone, in person, or via other electronic means, with the school regarding a course that we offer.
- A student who has booked a course with us, but has not yet started their course with us
A current student is defined as:
- A student who is actively studying with us
An Alumni is defined as:
- A student who has completed their studies with us.
- We do not actively differentiate between our accredited and non-accredited student body once they have become an Alumni.
We commit to always ensure that our enquiring students, current students and alumni's data and privacy is treated respectfully, carefully and in accordance with all relevant legislation.
How We Obtain Your Personal Data
We receive your personal data from the following sources:
- Enquiring to us via our website, email, telephone or in person at an event
- Filling in an application form
- Making an online booking with us
- Through personal interactions and communications with alumni
- When requesting a transcript or certificate
- When booking a place at an alumni event.
- When responding to an alumni survey
- MetFilm may from time to time gather information from publicly available sources to improve the quality and accuracy of your personal details. This may include such details such as business information and career details.
- MetFilm may also from time to time use third parties to update details, for instance suppression information from the Telephone Preference Service or updates from the National Change of Address register. Where third parties provide these services to us they are only allowed to use your data in accordance with the strict instructions of the School. The third party is required to hold the data confidentially and securely and will not use your data in any other way. Your data will only be kept for as long as necessary and will then be destroyed.
Types of Data We Process
We collect various types of personal data including many of the following:
- Title, names, gender and date of birth
- Health and Medical Information
- Contact details
- Contact preferences
- Education details
- Business details
- Relationships with staff, alumni, other stakeholders
- Event attendance details
- Interactions between you and MetFilm
- Our website may log your IP address (your unique internet address) and browser type when you visit our website.
- We may use cookies. A cookie is a small amount of data that is sent to your browser from a web server and stored on your computer's hard drive. If you revisit our website, our web server may recognise the cookie and provide information about your last visit. Usually you can modify the settings of your browser to accept or reject all cookies or as an alternative to be notified when a cookie is set. Here you can view our Cookie Policy.
Our Reasons for Processing Your Data
We process your data to fulfil our stated aims of bridging education and industry to inspire the next generation of smart screen creatives.
To further these goals we may process your personal data for the following purposes:
- to properly process or administer the information, courses, products or other services you have requested or ordered.
- to add you to our mailing list, so that we can send you details of other courses, products or services provided by us or by our partners that we believe may be of interest to you.
- we may use cookies to provide a more personalised and user-friendly visit to our website and to help us track user traffic patterns. A cookie cannot read your hard disk or other cookie files.
- to update your details to ensure we have as accurate information as possible
- to understand if you are interested in different courses that we offer
- to deliver our courses to you
- to process gifts you may have made
- to register for events
- to verify your details when you enquire with us
- to retain details of communications between MetFilm and you
- school research
- improvements to the School's structure and facilities
- student activities
- arts and cultural activities
- careers support for students and graduates
How Do We Protect Your Data
We take appropriate precautions to protect Personal Data from loss, misuse, unauthorised access or disclosure, alteration or destruction. All personal data is stored in secure databases.
Our enquiry database, Salesforce, is securely hosted in the USA by Salesforce Inc. a global leader in database software, operating under a formal agreement with the School.
Our student database, 'Tribal EBS' is securely hosted in the UK by Tribal Group Plc, a UK leader in educational database management, operating under a formal agreement with the School.
The information held on these databases can only be accessed by authorised members of MetFilm.
No information is shared with third parties except for legitimate public interest collection purposes such as designated HESA returns or as required in the normal course of business to support services provided to you.
We may disclose Personal Data so far as reasonably necessary:
- with our partners as may be required in the normal course of business to provide you with the courses, products and other services that you have booked or ordered.
- within the Arts Alliance Ltd. group of companies (which includes Arts Alliance Ltd. Met Film School Ltd. MetFilm Ltd, and City Screen Ltd.) to monitor and improve the courses, products and other services you receive from us.
- to protect us or our other customers or the public and/or to minimize our exposure to breach of applicable law or regulation or the risk of civil or criminal proceedings and/or to respond to claims of violation of third party rights.
- in the context of a sale or merger of all or part of our business.
- with our staff and advisers in the ordinary course of business
We will never sell, or make any form of profit from, information we hold about you.
HESA Data Collections
The Higher Education Statistics Agency Limited (HESA) is the body responsible for collecting and disseminating information about higher education in the UK and the Designated Data Body for England.
Data about you will be supplied to HESA for the purposes set out below. All information is used in compliance with the Data Protection Act 2018, and the General Data Protection Regulation (GDPR).
Here is the full HESA Data Collection Notice.
Here is an overview of the purposes for which data is collected:
HESA collects data about the personal characteristics of students and information about their studies and qualifications. This might include sensitive details about students' personal lives used for equality and diversity monitoring.
- Purpose 1 – Named data used for public functions. Your HESA information is used by public authorities for their statutory and/or public functions including funding, regulation and policy-making purposes. Your information is provided by reference to your name, but your information will not be used to make decisions about you.
- Purpose 2 – Administrative uses. Your named data may be processed by public authorities for the detection or prosecution of fraud. These uses of your HESA information may result in decisions being made about you.
- Purpose 3 – HESA publications. HESA publishes statistics about students in higher education.
- Purpose 4 – Equal opportunity, research, journalism and other processing for statistical and research purposes.
HESA information is used for research into higher education and the student population. This research can be academic, commercial, journalistic or for personal reasons. HESA prohibits the identification of individual students by those carrying out this research and information is not shared on a named basis.
Linking Your HESA Information to Other Information
- HESA information is sometimes linked to other data sources to enable more detailed research and analysis.
Student and Leaver Surveys
- You may be asked to provide information about your experience as a student and your activities after you graduate as part of national surveys.
Your Rights
- Data protection legislation gives you rights over your personal data. These include rights to know what information is processed about you and how it is processed. These rights have to be met by HESA and any other organisation which takes decisions about how or why your information is processed.
Data transfers to other countries
- Your HESA information may be transferred to countries outside the European Union for the purposes described above.
We will from time to time communicate with you by email, post and telephone to pursue the purposes mentioned above. In particular we regularly communicate with people for the following purposes:
- to share news about courses we offer
- to share news about the School (including its services) and our alumni (including promotion of discounts and services for alumni)
- to share news about the Companies we run
- to invite you to events and reunions
- to invite you to support our fundraising activity
To manage your communication preferences or unsubscribe from them you can email email@example.com, click on a link at the bottom of any email we send you, or contact us via telephone and we will unsubscribe you.
MetFilm will retain information on enquiring students for up to 7 years. This has been determined to be a suitable period of time to ensure that where students re-enquire or reapply to the school MetFilm is able to offer suitable advice.
MetFilm will retain information on alumni for an indefinite period of time – or until asked to remove it by you. Some information, for example details about gifts and gift aid may have a statutory minimum period of retention for audit purposes. If you decide that you no longer wish to be part the alumni community please note that we still need to keep a minimal amount of personal data so that we can keep a record that you have asked us to remove you.
Your Rights
Under GDPR you have:
- the right to be informed
- the right of access
- the right of rectification
- the right to erasure
- the right to restrict processing
- the right to data portability
- the right to object
- rights in relation to automated decision-making and profiling
Should you require more information on any of these rights, please visit https://ico.org.uk/for-organisations/guide-to-the-general-data-protection-regulation-gdpr/individual-rights/ for further information.
All of these rights exist for you with MetFilm, and if for whatever reason you feel that your rights have not been upheld, then please in the first instance contact us so we can seek to resolve the issue.
Should you have any complaints about the way we are processing your data, you may also complain directly to the Information Commissioner's Office. Please see https://ico.org.uk for details on this process.
Legal Basis for Processing Your Data
MetFilm processes your personal data under various different categories.
MetFilm considers the majority of its processing to be covered by the concepts of legitimate interest where the aim of fostering a strong student and alumni network and supporting the functioning of the current School, its students and other stakeholders underpins all of its activities.
More information on our legitimate interests that we believe we use can be found here:
Read the MetFilm Legitimate Interests Statement.
MetFilm will also sometimes process your data based upon your consent, which will be clearly requested of you at the time you submit your information.
When you book a course with us, MetFilm will also process your data based upon the contract formed between us.
Contact Us
If you are concerned with any matters relating to data protection, please contact our data protection officer by email at email@example.com


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Expert's Rating
- More efficient processors, latest and fastest 11ac Wi-Fi with increased range, Intel graphics surprise
- Small price rise over last year's models, slow hard disks in entry models
Our Verdict
Two simple changes have brought some useful benefits to this year's update of the Apple iMac line. Based on the two models we tested, the Intel Haswell chips have allowed more efficient performance, which will reward with cooler running and cheaper electric bills. And in the 21.5in model we also witness Intel integrated graphics that are finally worthy of true gameplay. With the Wi-Fi upgrade to 802.11ac, the 2013 iMac is also ready for the 'gigabit wireless' future.
This year's update to the iMac is subtle, and introduces two principal changes in technology over last year's major refit. Read on to find how useful they may prove.
Like so much computing tech in use today, the Apple iMac serves as the widely copied template for other brands' products. Look over the range of all-in-one PCs from the likes of Dell, HP and Lenovo, and we see the same essential form as the flatscreen iMac that first launched in 2004 as the iMac G5.
Today's iMac is a rather different machine to Apple's first fully flatscreen computer. It was redesigned last year with an LCD display that now tapers to almost nothing on its edge, in contrast to what now look like chunky fat sides on every older model. And instead of a single PowerPC processor in that first flatscreen we have quad-core Intel chips, optimised for efficiency as much as performance.
But the essential physical layout is still the same – a widescreen panel set in single frame, with 'chin' below a screen that's suspended on a single folded-aluminium foot. With all ports cleanly hidden behind, and free of the bluster and bolt-on fugliness of its imitators, the flat Apple iMac remains a design classic.
This year's update is subtle, and introduces two principal changes in technology over last year's major refit.
- Read about the 2014 Retina iMac release date
- Read our preview of the rest of the iMac 2014 line up here.
- Read our review of the 2014 iMac, low cost entry level consumer Mac.
- iMac versus Mac mini
Apple iMac 21.5-inch (Late 2013) review
The smallest and most affordable version of the Apple iMac features a widescreen display that measures 21.5 inches on the diagonal, a comfortable size for desktop productivity. It's pixel resolution is still 1920 x 1080, which amounts to a pixel density of around 102 ppi. So Apple hasn't taken the iMac line to Retina-class display just yet, although the pixel-per-inch count is still a little higher than most regular screens.
Read: 2014 iMac with Fusion Drive review and 2014 budget iMac review
And that panel still counts as about the finest you'll find on any desktop computer, thanks to a combination of IPS screen technology and the way the TFT matrix is bonded directly to the screen glass.
In-plane switching panel technology was popularised by Apple with first its Cinema Display monitors, then much more widely with the introduction of the iPhone 4 and the first iPad. We now almost take for granted the rich, accurate colours and viewing fidelity at all angles that is possible with this more expensive manufacturing process.
Bonding together the elements of the screen brings a huge improvement in clarity over the previous arrangement, which comprised a glossy and reflective LCD panel, itself covered with another pane of mirror-like glass. Besides the removal of an entire reflected surface, the treatment with an optical anti-reflective coating to today's iMac completes a display that can be used in daylight without excessive and distracting reflections. [See also: Which Mac should you buy?]
Two models of 21.5-inch iMac are offered ready to go. Both use 1TB hard drives – necessarily small laptop-sized 2.5in disks to squeeze inside – along with 8GB of memory. Neither storage nor memory is designed to be user replaceable, as they're locked away behind a screen that's literally glued in place.
If you think you'll ever want to expand either memory or storage in the future, you'd best do it at time of purchase. You can opt for a 1TB Fusion drive, which melds the same notebook disk to a separate 128GB solid-state drive using OS X's Core Storage technology.
Apple's hybrid Fusion Drive gives most of the benefits of faster access, with plenty of storage space too. Or you can cut straight to a purely flash-based drive, namely a 256 or 512GB SSD. For memory, there's the option of doubling to 16GB.
The other differences between models lies in the main processor, either 2.7GHz or 2.9GHz Intel Core i5 'Haswell'. And in graphics processor. The cheapest model, which at £1149 is £50 premium over last year's counterpart, uses just the integrated graphics from the main Intel chip; the dearer model has an nVidia GeForce GT 750M, one step up from that fitted to the current 15-inch MacBook Pro.
Note: A new iMac may be set to launch this summer. Read about the 2015 iMac release date here.
Apple iMac (Late 2013): Graphics performance
We tested the entry-level version of the 2013 Apple iMac 21.5in, and were pleasantly surprised by just how capable the integrated graphics proved to be. Every generation of Intel Core-series graphics has shown useful improvements, and now we have a specially groomed version dubbed Intel Iris Pro. And for the first time, Intel graphics can comfortably play games.
Using our benchmart test of Batman: Arkham City, Feral Games' OS X port of the game based on OpenGL rendering, we noted that at the game's default settings of 1600 x 900 pixels and High detail, the smallest iMac could play at a very smooth average of 55 frames per second. As important, the minimum framerate in the benchmark sequence was still 27 fps, indicating a very playable setup with no perceptible stuttering.
We edged the quality up to screen-native 1920 x 1080, and still saw an average rate of 47 fps at Medium detail, and 44 fps at High.
A challenging test is the rather more synthetic Unigine Heaven test, and here the iMac managed a still-impressive 38 fps at 1280 x 720 and Medium detail. For context, the 15-inch MacBook Pro with Retina display, and its nVidia GTX 650M, when played at a similar quality setting allowed just 35 fps.
Apple iMac (Late 2013): Processor performance
The step up to Intel's Haswell generation of processors was never about ramping up raw speed though. Instead the chip giant is gradually reducing power consumption in each revision, a crucial evolution in step with the modern world's demands for mobile computing. Consequently we weren't expecting any particular speed boost.
In the Geekbench 3 test of processor and memory speed, this 2.7GHz iMac scored 3127 points for a single core, and 10,212 points in the multi-processor test.
Meaningless in isolation, these figures can nevertheless be compared to the result of last year's 2.6 GHz Retina MacBook again, which scored slightly faster at 3254 and12,670 points respectively. It's only an Intel marketing guide anyway, but that MacBook Pro had a Core i7 part inside, not Core i5.
Power consumption is incredibly low, given the potential performance available. Absolute peak consumption with screen fully bright and processors at maximum, the 21.5-inch iMac drew 85W from the mains. Sat idle with the screen at a sensible 120 cd/m2, it consumed just 26W.
At maximum brightest, the screen could deliver 365 cd/m2, more than some people would find comfortable. Its contrast ratio as measured by a checkerboard test was 540:1, which may not sound as impressive as most published specs; but this is not unusual for an IPS display whose image quality is nonetheless amazing to behold.
In out colour fidelity test, it had just 1.77 delta E, a sign of little deviation from precise colours. The full 100 percent of sRGB gamut was covered, and 74 percent NTSC and 81 percent AdobeRGB.
The other significant upgrade to this year's iMac collection is with draft 802.11ac wireless capabilty. Using Apple's new AirPort Extreme Base Station (6th Generation) we saw real-world transfer speeds up to 700 Mb/s, the fastest 11ac performance ever measured in the IDG UK test labs.
Apple iMac 27-inch (Late 2013)
Apple's biggest iMac is about more than just that much more screen space. A bigger screen can be useful for either home or professional use; the former makes entertainment more expansive when viewed from across the room while business and professional creative people may appreciate the larger working space.
The panel is identical in construction and technology to that on the 21.5in iMac, and in our lab tests gave broadly similar results. So here we saw a slightly higher contrast ratio of 560:1, and colour gamut results of 100, 76 and 80 percent for sRGB, NTSC and AdobeRGB respectively.
The extra physical chassis size of the 27-inch iMac allows Apple to fit larger 3.5in desktop-class hard disks. This allows not only much larger capacities to be offered – up to 3TB in standard or Fusion Drive configurations – but with improved disk speeds compared to laptop drives.
Again, there are options for a purely flash-based drives of 256 or 512GB, albeit at Apple's less-than-competitive pricing; these add £160 and £400 to the baseline price.
Note that memory can be upgraded on 27-inch iMac, through a hatch on the back of the screen.
Unlike the 21.5-inch iMac, the 27-inch will always power its screen through a traditional discrete graphics processor option. These are still notebook-class mobile version, either an nVidia GeForce GT 755M for the entry model we reviewed; or 775M or even 789M for the very best that Apple now offers.
In our lab tests, the 27-inch iMac proved quite game friendly, with the kind of graphics horsepower that will also make these models good choices for creative professionals whose software can take advantage of GPGPU technology, such as Adobe Creative Suite software and Apple Final Cut Pro.
At default 1600 x 900 pixels and High detail, we saw an average of 61 fps playing the Batmark. At full-HD resolution and Medium, it managed 51 fps, while using screen-native resolution of 2560 x 1440 the iMac still allowed a very playable 42 fps, and a minimum framerate here that didn't dip below 31 fps.
The 3.2GHz Intel Core i5 processor in this model sped it to a score of 11,261 points in Geekbench 3, or 3541 points with a single core, which again demonstrates that speed is good but not the main benefit of the new Haswell chips.
We don't have power consumption numbers of older models to compare, but just 46W when idle and with the screen set to 120 cd/m2 is a usefully low figure. Until recently, a large display alone would be drawing that much power.
At peak performance with screen at full brightness – a searing 415 cd/m2 – this iMac still only needed 130W.


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Hello. Thanks for dropping by for a brand new edition of DiS Does Singles. The only compendium of songs released in the last seven days that you need care about. Sorry The Guardian Guide, it's nothing personal.
This week saw the return of several of our favourite singer-songwriters. Christopher Owens reminded us why we got so excited about Girls a couple of years back, Lykke Li showed the world she needs a gargantuan hug, and Animal Collective's Avery Tare did some strange stuff with a puppet cat. Nothing illegal mind...
Most importantly, we saw witnessed a wondrous comeback from one of DiS' all-time favourites. Naturally, we handed her Single of Week without a moments hesitation. You simply don't mess about when Sharon Van Etten is in this kind of form.
Single of the Week
Sharon Van Etten
Taking Chances (Jagjaguwar)
Well, who else was it going to be? The chanteuse behind Drowned In Sound's Album of 2012, Tramp, has returned with another sublime offering of sullen angst.
'Taking Chances' carries the same withered disposition as 'Serpents' and 'Warsaw', revelling in its downcast swirl of murky guitars and pleading vocals. Throughout there's the nagging sensation that best of intentions might not be enough; everything's set to wither away at the slightest provocation. Worse still, Sharon Van Etten plans to jump ship while the choice is still hers to make.
"Why don't we go now?" implores Brooklyn's ever-morose virtuoso. "No need to think on our own now about it."
From a quick glance at its dim veneer, 'Taking Chances' is very much business as usual for the former Beirut and The National collaborator. Added production gloss aside, no one who's followed Van Etten since Because I Was In Love will be startled by the progression from her folk-inflected roots. There's still a smidge of that outlook left in the way Are We There's lead single transitions from Omnichord verses to its reverb-laden chorus with a minimum of fuss. Percussion is used as a threadbare backbone - propping up fragile emotions with sparse outbursts of snare and bass.
Delve into the story of Van Etten's fourth album, and you'll find it's her most personal record yet. Driven by self-professed 'insecurities' to write on entirely her own terms, the LP's supporting cast is significantly more low key this time around. Members of Efterklang, Lower Dens and Torres have replaced indie-rock royalty, allowing Sharon to dictate the way songs should slink around her perennial thirst for despair.
If ever Van Etten's songwriting prowess was in doubt, 'Taking Chances' is a stonking riposte to such nonsense. She's here to stay, and sounding better than ever.
Best of the rest
Christopher Owens
It Comes Back To You (Turnstile Music)
No one does homespun Americana like Christopher Owens. As the 21st century's Alex Chilton, he can fuse gospel theatrics and a righteous guitar solo into the kind of sermon you'd actually want to sit through.
'It Comes Back To You' ditches the cavalcade of flute that was daubed across last year's Lysandre and reverts back to Father, Son, Holy Ghost territory. It's a wonderfully lackadaisical ode to love that made our belly go skewiff upon hearing it. Just like when 'Thirteen' first crackled through our stereo all those years ago.
Lykke Li
Love Me Like I'm Not Made Of Stone
(LL Recordings/ Atlantic Records)
There's no way to be absolutely sure about this, but Lykke Li seems to have had a thoroughly miserable time making her third album, I Never Learn. From immersing ourselves in 'Love Me Like I'm Not Made Of Stone', we have surmised some clues that all may not be so well with the Swedish artiste. Here are the results of our detailed investigation:
1) The song is called 'Love Me Like I'm Not Made Of Stone'. Most things made of stone are tough, inanimate and tend to get shat on by birds. These are not positive connotations.
2) Its video features no singing or dancing - not even a cheeky handclap. Either Lykke Li couldn't be bothered with promoting her new record or she wanted to make an artistic statement, by pretending to be a stone.
3) There are a lot of shadows too. Unless the clip cuts away before a surprise party starts, it's likely that this darkness represents the emotional chasm caused by a recent break-up.
4) When you read the track's lyrics all in one go, you feel pretty teary afterwards.
5) In a press release that describes the making I Never Learn, Lykke Li comments, "It was a horrible time."
We're sure you'll all agree this amounts to some pretty fearsome detective work. Scotland Yard, you know where to find us.
Modern Baseball
Your Graduation (Run For Cover Records)
Modern Baseball are a super-rad band from Philadelphia who specialise in teenage tales of cheap beer and chronic self-loathing. Their album You're Gonna Miss It All is the most fun we've had since the Lego movie, even if it does riff off pop-punk stalwarts like Green Day and Blink-182. Don't let that put you off, frontman Brendan Lukens' is (slightly) less juvenile than Mark Hoppus or Billie Joe Armstrong, and has an endearing stream of consciousness approach to songwriting.
'Your Graduation' is basically about meeting your ex at a party and wallowing in the onrush of woe this brings on. "It's been three whole years of me thinking about you every day. Sometimes for hours, sometimes in passing," drawls Lukens at the songs opening. As you can imagine, everything turns out just fine...
Arctic Monkeys
Arabella (Domino Records)
Look we don't know whether Alex Turner is the rock 'n' roll messiah that Great Britain wants/deserves. What's clear though is that he writes much better songs than he does awards ceremony acceptance speeches. 'Arabella' is another stonking offering from last year's AM that contains the words "interstellar 'gaitor skin boots." If the most popular band in the land know how to pen a tongue twister like that, they can spout as much nonsense as they want on primetime ITV1.
Ramona Lisa
Backwards and Upwards (Pannonica Records)
Hmm. After the meandering 'Arcadia' left us trepid towards the prospect of a Caroline Polachek solo album, 'Backwards and Upwards' does little to allay our fears. Its lithe bass and weird synth swoons never interlock in a toe-tapping manner, and anyone who doesn't guffaw after hearing "Oh the driver is fine but the passenger is carsick" sung in falsetto needs their funny bone fixed. This may be the weirdest sex jam we've ever encountered, and that's having listened to R Kelly's Black Panties.
Avey Tare's Slasher Flicks
Little Fang (Domino Records)
Who cares about the music? There's a cat puppet involved.
Rock Bottom
Enrique Iglesias
I'm A Freak (Republic Records)
Despite sitting through Crystal Palace vs Southampton FC last weekend, 'I'm A Freak' is quite easily the worst thing we've seen in the past seven days. It's 'Blurred Lines' minus the bits Pharrell nicked from Marvin Gaye's 'Got To Give It Up', and the casual sexism amped to 11. Honestly, if Enrique Iglesias singing into a model's arsehole is the best way to sell a pop song in 2014 then someone needs a special day to show these arseholes up.
What? It's been going for 106 years. For fucks sake.
Also released this week
A Plastic Rose - Someones Daughter (self-released) Broods - Never Gonna Change (Polydor Ltd) Cash+David - Funn (self-released) Chlöe Howl - Rumour (Sony Music) Chvrches - Recover EP (Virgin Records) Dexters - Recover (Acid Jazz Records) Fat White Family - Touch The Leather (Hate Hate Hate) Flights of Helios - Factory (Bandcamp) James Arthur - Get Down (Sony Music) Kidnap Kid - Stronger (Black Butter Records) Kylie Minogue - Into The Blue (Parlophone Records) Lapland - Where Did It Go? (The Lights Label) Morrissey and Marshall - I've Got a Plan (Independent Records Limited) Owlle - Don't Lose It (Epic France) Py - Swimming Slow (MTDL_RCRDS) Roddy Hart & the Lonesome - Bright Light Fever/High Hopes (Middle of Nowhere Recordings) Sofie Winterson - Said and Done (Magnetron Music) Sin Cos Tan - Destroyer EP (My Favorite Robot) The Crookes - Play Dumb (Fierce Panda) The Melodic - On My Way (Anti Records) WOAHNOWS - Watching Accidents (Big Scary Monsters)


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Automated & Manual Accessibility Testing
Accessibility testing should involve a combination of automated tests and manual evaluations in order to assess the technical and functional accessibility of a website. For example, while automated tests can identify if there is an accessibility violation at a technical level (e.g., missing alternate text for images), such automated tests cannot accurately assess the quality of the alternate text when such information is included. Evaluating a website for accessibility requires attention to both automated and manual accessibility tests in order to ensure all individuals have the opportunity to engage with the information.
Automated Testing
Automated tests may include the use of site-wide accessibility tools or web browser testing tools to evaluate the technical accessibility issues of a website or web-application. Automated testing should be performed during the development process and outstanding issues should be resolved prior to manual testing.
Accessibility Monitoring
Automated accessibility monitoring provides large-scale assessments by scanning and reporting on potential accessibility issues of a website. Although scanning tools are limited in the types of accessibility issues they can evaluate, such tools can identify problematic areas of a website that may warrant further attention. The CCC Technology Center has acquired a license for Pope Tech Website Scanning Tool to assist colleges in monitoring and evaluating public-facing websites for accessibility issues.
Manual Testing
Manual testing evaluates a website/web-application using a combination of keyboard-only interactions, assistive computer technologies, and web browser plug-ins to ascertain the functional accessibility of the site. While it is not feasible to manually test every single page of large website, focusing where manual tests are applied can streamline the evaluation process. For example, manual accessibility testing could be performed on the following main types of pages:
- Site templates
- Representational content pages
- Interactive forms
- Dynamic content pages
- Dialog modals and alerts
- Key entry and exit pages (including account login and recovery pages)
- Help and assistance pages
Another idea is to use website analytics to identify the pages that receive the most visits and traffic and prioritize that content for manual accessibility testing. This can aid in remediating the pages that site visitors use most often.
Common Content Issues
The following items should be checked manually to ensure the content is accessible to all visitors:
- Identify the presence of page titles. Page titles should be unique as appropriate to the page content and/or task.
- A "Skip Navigation" solution is present for pages with repeated navigational elements.
- Web pages are organized using appropriate HTML5 and WAI-ARIA elements (e.g., role="main", role="contentinfo", etc.). Not required, but a best practice.
- Identify the use of headings. Headings should be sequential, starting with h1.
- Information is marked using appropriate semantic structure (headings, lists, paragraphs, tables, etc.). Data tables contain appropriate row and column structural markup.
- Form input fields have an explicit label. Instructions and/or input details are programmatically associated with the respective form field.
- Alternate text is provided for all images. Alternate text describes the content and/or purpose of the image.
- Hyperlinks offer descriptive link text or are associated with descriptive link text.
- Videos have captions.
- Text and images (except logos) meet color contrast requirements of 4.5:1 (foreground/background).
- Page content is still perceivable when Windows High Contrast Mode is enabled.
Common Interaction Issues
The following items should be checked manually to ensure interactive aspects of the site are accessible to all visitors:
- The page can be zoomed to 200% with no loss of functionality. Content and interactive elements must not be obscured.
- All form elements, buttons, hyperlinks, and menus can be navigated in sequential order using the keyboard (e.g., tab-key).
- Browser focus is visible when navigating interactive elements. If browser focus is controlled by CSS, then focus is visible and distinguishable (still must meet color contrast requirements).
- Modal dialog windows can be dismissed using the Esc key.
- Modal dialog windows receive focus to the first form input (if present) or a cancel/confirm button when opened.
- Modal dialog windows will trap keyboard navigation.
- Any video player controls (e.g., play/pause, volume, etc.) can be operable from the keyboard and are functional with screen-readers.
- Any time-out interactions allow at least 60 seconds for the user to modify or extend the interaction time period using a simple keypress.
- Dynamic elements and informational alerts communicate updates to screen-reader applications (e.g., via aria-live region).
- If a form contains input validation, the errors are identified and focus is directed back to the invalid input field.


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CAUMONT, PIERRE DE, priest, missionary, canon; b. c. 1641 in France; d. 1694 at Quebec.
The Abbé Caumont arrived from France 16 May 1669. Nothing is known about his previous history. His first mission that we know of was at Boucherville, where we find him in 1670; in that same year he built a chapel there. From there he carried his ministry to Longueuil, Varennes, and other localities. In 1683 Boucherville had 200 inhabitants the missionary lived in the home of the seigneur Pierre Boucher*. From 1678 to 1680 M. de Caumont stayed at the seminary of Quebec because of an eye complaint which did not however prevent him from carrying on his ministry at the Côte de Beaupré and at Cap-Saint-Ignace. In 1684, upon the foundation of the chapter, he became one of the first canons of Quebec, and shortly afterwards, in 1685, he retired and took up residence in the seminary. According to a list for the year 1692 he was a member of the community of the seminary. He died 16 Feb. 1694 and was buried in the seminary chapel.
ASQ, Lettres, S, 66, M, 15; mss, C, II (1674–86) [Livres de comptes, II]; Séminaire, II, 41.
© 1966–2023 University of Toronto/Université Laval
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Cite This Article
Honorius Provost, "CAUMONT, PIERRE DE," in Dictionary of Canadian Biography, vol. 1, University of Toronto/Université Laval, 2003–, accessed October 3, 2023, http://www.biographi.ca/en/bio/caumont_pierre_de_1E.html.
The citation above shows the format for footnotes and endnotes according to the Chicago manual of style (16th edition). Information to be used in other citation formats:
|Author of Article:
|Honorius Provost
|Title of Article:
|Publication Name:
|Dictionary of Canadian Biography, vol. 1
|University of Toronto/Université Laval
|Year of publication:
|Year of revision:
|Access Date:
|October 3, 2023


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After my first repair job with sugru, I remembered that I had this letter opener that was in need of repair. My wife had given it to me after she got sick of seeing me open letters with our kitchen knives. It's a great looking letter opener, and the tape I had on it was not doing it justice.
I still had a package of black sugru, so I cut it open and fashioned a ring around the cracked part of the handle. I tried to get it smooth, as this repair was a lot more cosmetic than the last one. (And no, I didn't have any white sugru!)
Note that it's really hard to get sugru smooth. This is better than my previous attempt, but I can still see my finger prints in the sugru. Maybe I need to wear some rubber gloves.
My main complaints about sugru? I wish it were easier to get, and that it lasted longer. I've still got a bunch of packets and now I'm starting to feel pressured to use them before they expire. It would be great if the local hardware store carried sugru so I could just go pick up a packet when I need one… of course they'd still have to deal with the expiration problem, which is something most things in the hardware store (besides the candy!) probably don't have an issue with. I still think it's doable, as sugru is pretty darn cheap, so even if it cost double what it does online, it'd be a good deal.
Besides the availability and expiration issue, sugru is pretty darn cool. :)


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Efficiency Maine incentives increased!
Efficiency Maine's Home Energy Savings Program is offering increased incentives – up to $2600! – to homeowners who work with registered contractors like Evergreen Home Performance to undertake eligible improvements.
"Air-sealing and insulation are typically the most cost-effective improvements," says Evergreen President Richard Burbank. "And since they make homes cooler in the summer, you don't have to wait till next winter to see their impact."
Evergreen offers a FREE energy consult, including infrared analysis, to help identify your home's efficiency challenges. "Each house is unique," says Burbank, "so our energy advisors and production staff are really trained to be detectives, tracking down the biggest problems and installing solutions that make the biggest long-term difference."
Contact Evergreen at 594-2244 to learn more and to schedule your FREE energy consult.


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I love to make sweet little bites for our Christmas party every year, those tiny little morsels that guests can grab and I don't have to worry about slicing up portions and serving them formally. One guaranteed way to satisfy guests' sweet tooth is with a little fudge, and this is my white chocolate mint version. It's less sweet than most fudge recipes and tastes more like cheesecake.
The addition of mint extract gives it a wintery flavor but you can edit it out if you prefer pure chocolate. It's incredibly easy to make and it's one of my favorite treats to serve guests during the holidays!
To make this white chocolate mint fudge, here's what you'll need:
3 bags 11 oz. white chocolate chips
1 14 oz. can sweetened condensed milk
6 oz. lowfat cream cheese
1/3 cup sugar
1/2 tsp peppermint extract
nonstick spray
green icing (optional)
8 x 8" glass dish or metal pan
Pour 2 ½ bags of white chocolate chips into double boiler and save ½ bag of chocolate chips for later (or your next batch!). I don't own a double boiler so I construct what I label a redneck version of a double boiler which is just a temperature tolerant glass bowl sitting on top of one of my pots filled with 2 cups of water. It works great!
Turn on your burner to bring water to a low boil then reduce to low heat. Add 1 can of sweetened condensed milk.
As the white chocolate and condensed milk starts to melt, continually stir it with a fork so it blends then add the cream cheese, sugar, and peppermint extract.
Continue to stir for 8 to 10 minutes until mixture is fully melted and resembles thick frosting. Pour the melted mixture into a dish or pan coated with nonstick spray (8 x 8" recommended but I used a 6 x 9" this time) and allow it to cool for 6 hours or overnight.
Once the fudge has cooled and solidified, use a knife to separate the fudge on four sides from the pan or dish and place on a cutting board on wax paper. Cut the white chocolate fudge into 1" squares.
You can leave the white chocolate fudge plain for a simple and elegant presentation.
I like to add some green icing for the season applied with a tip and a decorating bag – it also clues guests in that these have a mint flavor.
If you're not a fan of mint, no worries! It's equally as good if you skip the peppermint extract and prepare the recipe the same way. Instead, drizzle the white chocolate fudge with melted dark chocolate – beautiful and delicious!
They're wonderful little nibbles to serve at a party or to give as gifts, especially this time of year. I guarantee you'll be making many batches!
Download the handy printable version of the recipe here.
*Recipe note: a few people have had problems with the fudge setting. I've made it many times and haven't had any problems, just make sure your proportions are correct. 2 ½ bags (or you can use 3 full bags) of white chocolate chips (5 ½ to 6 cups); 1 14 oz. can of sweetened condensed milk and no more than 6 ounces of cream cheese, plus sugar and peppermint extract.
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Temp Part Time Customer Service Agent
Get on the fast track to a more rewarding career with Enterprise Holdings (Enterprise Rent-A-Car, National Car Rental, Alamo Rent A Car) - teams that are committed to quality, innovation, customer satisfaction and employee development.
We are a multi-billion dollar industry leader that is rapidly expanding and growing. At Enterprise Holdings, exciting careers and opportunities are made possible, because how far you go is really up to you. It's a fast-paced, people oriented business that offers incredible earning potential and performance-based promotions.
Our philosophy is to take care of our customers and employees first. We know if we do this, success will follow - for both our company and our employees.
The Customer Service Agent provides superior, friendly, and efficient customer service at time of rental and return using the company approved sales and service techniques. Facilitates rental process; verification and documentation of all necessary driver information to provide for an efficient and timely rental and return experience. Pleasantly handles and resolves customer questions, comments, and complaints while working face-to-face in city/market locations. Performs all responsibilities with a focus on the wants and needs of our customers and in accordance with our Quality Standards.
This is a TEMPOARARY part-time position located at 600 Rental Drive, Kenner, LA. 70062
The starting pay rate for this position is $16.00/hour with a $2.00 shift differential for Saturday and Sunday (pays $16.00/hour Monday-Friday, and $18.00/hour on Saturday and Sunday). This position also offers bonus opportunities.
Schedules will require working evenings, rotating weekends, and some holidays from 3:00pm - 11:00pm.
***Temporary employment to last no longer than 90 days.***
- Make eye contact and greets all customers; identify and attend to customer by name, verify rental agreement and reservation, thank each customer at the conclusion of their transaction.
- Answer customer questions and provide assistance based on each customer's needs and requests, by brand. In some locations, which offer both brands, this job responsibility requires keen understanding of the differences between products and services offered by both.
- Ensure a pleasant, smooth and efficient handling of the rental for each customer by assisting in the exchange and return vehicle processes; review rental parameters with all customers to ensure a complete understanding of rates and service charges, verify return date and time on the rental agreement is accurate and reviews all charges at the time of vehicle return.
- Prepare Rental Agreement Folder with all required information. Offer all customers assistance with directions, maps, local area information and appropriate service information.
- Answer telephone in a friendly, helpful and prompt manner.
- Work on behalf of the customer and the company to resolve issues in a fair and equitable manner to ensure continued customer loyalty.
- Maintain appearance of rental counters and customer areas to present a neat, orderly and safe condition; ensure counter is stocked with appropriate supplies to provide smooth and effective counter service.
- Assist customers within the queue to minimize any wait time and provide the most efficient service possible.
Equal Opportunity Employer/Disability/Veterans
- Must be at least 18 years of age.
- High School Diploma or G.E.D. required.
- Must have a valid driver's license with no more than 2 moving violations and/or at-fault accidents within the past 3 years. No drug or alcohol related convictions on driving record within the past 5 years (DUI/DWI).
- Must be authorized to work in the United States and not require work authorization sponsorship by our company for this position now or in the future.
- Must be able to work the following shift/schedule:
- 3:00pm - 11:00pm (5 days per week with alternatining weekends off).
This is a TEMPORARY part-time position located at 600 Rental Drive, Kenner, LA. 70062
The starting pay rate for this position is $16.00/hour with bonus opportunities.
***Temporary employment to last no longer than 90 days.***


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Do you guys ever wish you were an old French dude in a cafe, getting blitzed out of his mind and then creating, like, ground-breaking art and short stories and shit? Ok, maybe that's just me. But apparently the way to do this is to drink absinthe, otherwise known as the green muse.
Not only does absinthe make you a creative genius, but it's also shrouded in mystery and danger, having been banned until fairly recently. (How do I know all this? Let's just say that Netflix Watch It Now has a limited selection, and when you're bored, a documentary on absinthe sounds positively badass.) So I had to try it.
Unfortunately, turns out that absinthe tastes like butt. More specifically, it tastes like black licorice butt. I'm not being racist– I mean the black licorice as opposed to the red licorice. In any case, I'm stuck with almost a full bottle of absinthe because of Netflix Watch It Now and my desire to be just like Van Gogh, minus the ear chopping off part.
Enter the dandy lion.
AHA! thought I. Now I can get rid of this stuff in a cocktail, because stuff never tastes as bad in a cocktail. Take my beloved Tom Collins, for example. Gin by itself tastes like pinecone juice. But in a Tom Collins, it's lovely.
I attempted this cocktail once before, but had a flaccid cucumber incident. Well, really, liquified cucumber. (Got that mental image? You're welcome.) This time, though, I was armed with a properly turgid cucumber, thank you very much.
And also, I acquired a muddler. Aren't you guys proud of me? I didn't have to use the blunt end of my absinthe spoon to muddle this! I am obviously thrilled:
At this point I was getting all excited and could almost feel the green muse creeping up on me to make me a paragon of literary prowess.
And then I took a drink.
And, despite there only being half an ounce of absinthe in the whole cocktail, it still tasted like black licorice butt. I drank half of it anyway, because, hell, I took the effort to muddle it and everything, but the green muse apparently needs a little more incentive to show up, and I ended up only slightly fuzzy-brained and tummy-upsetted.
At least I didn't chop my ear off or anything.


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|Vlad Drăculea III
When I tell friends or new acquaintances that my grandparents hailed from Transylvania, the Dracula jokes start flying ("Well, I guess I'll watch my neck" or "Good Bloodlines," and so on).
For those who don't know how the Dracula legend got started, I thought I'd give you a thumbnail sketch. The real Dracula (upon whom it is believed that Bram Stoker derived at least the moniker for his novel's main character) was a fearsome leader who literally made people's blood run--and whose name alone made the blood run cold. He became "Prince of Wallachia," so a bit about that centuries' old principality is in order.
|Wallachia (in yellow) around 1390.
Note "Kingdom of Hungary" to the north. Ottoman Empire directly south.
Wallachia was originally founded in about 1290, but taken over by the Ottoman Empire in the early 15th century. Wallachia was just south of present day Romania.
Vlad Drăculea III (sometimes spelled Drakulye, meaning "son of the dragon") was born in 1431 in Sighişoara (SIG ee SHWOR uh), called Schässburg by the Germans. It is one of the seven walled cities in Transylvania that give the area its German name, Siebenbürgen (seven fortresses).
In 1436 Vlad III's dad, Vlad II, was made ruler of Wallachia, but was ousted just six years later in 1442 by rivals with Hungarian backing. Vlad II persuaded the Ottoman Empire to support him in getting back his throne, but they agreed only on the condition he give them two sons, including Vlad II, as hostages to ensure he would stay loyal. Vlad II was imprisoned, beaten, and whipped, and God knows what else by the Ottomans, ensuring his enduring hatred of them.
Vlad, the dad, was killed in 1447, and in 1456, Vlad, the lad (now age 25), reconquered his native land of Wallachia, which he found in economic ruin. He created laws to renew trade, help merchants and peasants, and imposed harsh punishments for thieves and robbers (the adjective "Draconian" might be used, but "Vladian" seems more appropriate).
My ancestors had not yet arrived in Transylvania when Vlad was ruler, and a good thing too. Because Vlad thought the Transylvanian Germans had helped to bring about Wallachia's ruin, he raided their cities and impaled several Saxons in Kronstadt.
Impaling is what Vlad became most famous for, and his adorable nickname became Vlad Tepeş (TSEP-esh), meaning "Vlad, the Impaler."
|Vlad "The Impaler"
His sculpture near the town center of
Sighisoara, Romania, his birthplace.
Western Europeans thought Vlad was a
monster, but in Eastern Europe he was
admired for fighting off the Turks.
He was superb at psychological warfare, once staking 20,000 people of all ages around his home town to freak out invading Ottoman forces. It worked. They turned back. A woodcut from the era shows Vlad dining while surrounded by his impaled victims. I want this to be a family friendly site, so this post won't get into the grisly details. If you want to learn more, click on one of the links.
Needless to say, the real "Dracula" was a far more fearsome creature than the one Bram Stoker devised, and I'm just glad my forebears waited a couple of centuries before emigrating from Germany to Transylvania. Part of the fun of genealogy is imagining what our ancestors' lives were like. I wouldn't want to imagine them living under the rule of Vlad Tepeş.


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Hepatitis B Linked to More HIV+ Deaths than Hepatitis C, Risk High for People with AIDS
- Details
- Category: HIV/HBV Coinfection
- Published on Friday, 15 June 2012 00:00
- Written by Liz Highleyman
HIV positive men who are coinfected with hepatitis B virus (HBV) are more likely to die than those with hepatitis C virus (HCV) coinfection, according to research published in the April 20, 2012, advance online edition of Clinical Infectious Diseases. A related study, however, found that liver-related mortality was quite high for HIV/HCV coinfected people with a diagnosis of AIDS.
Since the advent of effective antiretroviral therapy, liver disease has become a leading cause of death among people with HIV. Over years or decades, chronic hepatitis B or C can progress to severe liver disease including cirrhosis, hepatocellular carcinoma, and end-stage liver failure; evidence indicates that progression may happen faster in HIV positive people.
Oluwaseun Falade-Nwuliaand Chloe Thio from Johns Hopkins University and colleagues compared rates of liver-related mortality among participants in the Multicenter AIDS Cohort Study (MACS) -- an ongoing prospective study of the natural history and HIV treatment outcomes of gay and bisexual men in U.S. cities -- who had chronic hepatitis B or C.
The analysis included 680 men, 69% of whom were HIV positive. 337 men had chronic hepatitis B, including 229 with HIV/HBV coinfected; 343 had chronic hepatitis C, including 243 with HIV/HCV coinfection. About 75% were white and the median age was 35 years.
Participants were prospectively followed until death, their last follow-up visit, or March 30, 2010 (whichever came first), for a median of about 7 years. The researchers obtained causes of death from death certificates and compared rates of liver-related and all-cause mortality in the hepatitis B and C patients after adjusting for potential confounding factors.
- There were a total of 293 deaths from all causes during 6728 person-years (PY) of follow-up, for a rate of 43.5 deaths per 1000 PY:
- 51 deaths were due to liver-related causes, a rate of 7.6 per 1000 PY.
- All-cause mortality rates were similar between participants with chronic hepatitis B and chronic hepatitis C.
- Liver-related mortality, however, was significantly higher among those with chronic hepatitis B (9.6 vs 5.0 per 1000 PY, respectively).
- 46 liver-related deaths -- or 90.2% -- occurred in people with HIV.
- Among coinfected people, the liver-related mortality rate remained significantly higher for those with HIV/HBV compared with HIV/HCV in an adjusted analysis (IRR 2.2, or about twice as high).
- Among people with HIV, having a CD4 T-cell count < 200 cells/mm3 was associated with a 16.2-fold increased risk of liver-related death compared with counts > 350 cells/mm3.
Based on these findings, the researchers concluded, "Chronic hepatitis B carries a higher risk of death from liver disease than does chronic hepatitis C especially in HIV-infected men with greater immunosuppression."
These results, they added, underscore the need for expanded HBV screening, hepatitis B vaccination, and treatment of HIV/HBV coinfected patients with drugs that are active against both viruses.
HIV/HCV Mortality
In a related study described in the April 24, 2012, advance edition of Clinical Infectious Diseases, Andrea Branch from Mt. Sinai School of Medicine and colleagues retrospectively analyzed deaths among participants in the Longitudinal Studies of the Ocular Complications of AIDS. The researchers tested stored plasma samples from 2025 patients with CDC-defined AIDS for HCV RNA and antibodies.
- 337 patients, or 17%, had detectable HCV RNA (indicating chronic infection); 91, or 4%, had HCV antibodies and no HCV RNA (indicating cleared infection); and the rest had no HCV markers.
- Median CD4 counts were 200 cells/mm3 in the chronic HCV group, 193 cells/mm3 in the cleared HCV group, and 175 cells/mm3 in the no HCV group.
- A total of 558 deaths occurred during the study period.
- Over a median follow-up period of about 6 years, patients with chronic hepatitis C had a 50% higher risk of death compared to those with no HCV markers (relative risk 1.5 after adjusting for known risk factors.
- Mortality was not significantly increased, however, when looking only at patients with cleared HCV infection (relative risk 0.9).
- 20.4% of deaths among patients with chronic hepatitis C were liver-related, compared with 3.8% of deaths among people without HCV.
"Chronic HCV infection is independently associated with a 50% increase in mortality among patients with a diagnosis of AIDS, despite competing risks," the researchers concluded. "Effective HCV treatment may benefit HIV/HCV co-infected patients with AIDS."
O Falade-Nwulia, EC Seaberg, CR Rinaldo, CL Thio, et al. Comparative Risk of Liver-Related Mortality from Chronic Hepatitis B Versus Chronic Hepatitis C Virus Infection. Clinical Infectious Diseases. April 20, 2012 (Epub ahead of print).
AD Branch, ML Van Natta, ML Vachon, et al (for the Studies of the Ocular Complications of AIDS Research Group). Mortality in HCV-infected Patients with a Diagnosis of AIDS in the Era of Combination Anti-retroviral Therapy. Clinical Infectious Diseases. April 24, 2012 (Epub ahead of print).


text: Building a strong profile on LinkedIn, the social network for professionals, has taken on greater importance as the economy slips deeper into a recession. What information you decide to include, or exclude, could affect future job opportunities as well as your overall identity on the public internet.\n\nMore Social Networking coverage on CIO.com\nFacebook Etiquette: Five Dos and Don'ts\n\nLinkedIn Tips: How Many Connections Is Too Many?\n\nLinkedIn vs. Facebook: Is the "Boring" Underdog Poised to Beat Its Flashy Competitor?\n\n\nAlthough LinkedIn doesn't pose the same reputation perils presented by Facebook \u2014 such as being tagged in photo albums or being victimized by random comments left on your profile \u2014 the pitfalls of a poorly constructed LinkedIn profile, or employing bad LinkedIn etiquette, can alienate your contacts (known as "connections"). It can also turn away potential employers interested in hiring you.\n\n\n\nWe caught up with Kirsten Dixson, a reputation management and online identity expert, who helped us with our Five Dos and Don'ts for maintaining proper Facebook etiquette to get her tips on proper LinkedIn etiquette.\n1. Profile Picture\n\nSaying your LinkedIn profile picture should appear "professional" states the obvious. But more specifically, Dixson says paying a professional photographer to give you a few headshots to choose from is worth the modest investment because your picture is one the first things people will notice on your LinkedIn page.\n\n\n\n\nDo some research online to find a photographer near you. You should be able to hire one, Dixson estimates, for $200-250 who can get the job done well. Remember: this is a modest investment when you consider how many professional contacts \u2014 some of whom you know, some of whom you don't \u2014 will view your LinkedIn profile.\n\n\n\nIf you don't get a professional photograher, you want to keep a fairly neutral background with very good lighting. Dixson says people do use Photoshop to eliminate wrinkles or unflattering features, but be careful: future employers will want to meet you in person for an interview and that picture will set their expectations for what you look like. While this is not supposed to matter, we all know it does.\n\n\nLastly, on the issue of timeliness, it can be tempting to leave pictures up of your younger and perhaps better-looking self. Dixson says while you don't need to update your picture every year, it should still match up pretty well with your current appearance.\n\n\n"If people are going to meet you and be suprised by the difference, it's time to get a new one," she says.\n\n2. Summary \n\nWhen you read a newspaper or check out articles on a website, many good stories don't get read without a good headline. As such, Dixson recommends that you be very concise, engaging and specific in the summary field of your LinkedIn page. If the summary doesn't draw people in, all the great gigs you've had over the years (listed in the "experience" section below it) might not receive any attention.\n\n\n"You really want to express your personal brand in the LinkedIn summary," Dixson says. "You want to show who you are, what you do, and why it's unique."\n\n3. Filling out your bio \nOne of the finer things about LinkedIn, at least from a recruiting standpoint, is that it not only encourages honesty in your resume, it essentially requires it, since your profile is viewed by your bosses, colleagues and customers. \n\n\nDixson says the normal resume rules apply \u2014 accentuate your strengths and highlights, while providing context around your job responsibilities.\n\nBut the one main difference between a regular resume and a LinkedIn profile is that you'll have a wider range of people viewing the latter. As such, you will have to be slightly more pragmatic in hitting points that you think might satisfy a few different sectors of your industry that interest you.\n\n\n\nA couple other quick tips for your profile and bio:\nGet the LinkedIn URL you want. Most LinkedIn profiles URLs will have be a slash and then your name (\/your name) at the end of them. Names can be common, so try to get yours first.Make sure your LinkedIn profile is public (go to account settings to check). If you want to tap all the capabilities of LinkedIn, and be able to have people search for you and examine your career experience, you need a public profile.Remember that you don't matter on the Web if Google doesn't see you. Try to include keywords in your profile that you think people might search for regarding your field.4. Your LinkedIn Connection List \nThere are two main factions who argue the merits of how one chooses connections on LinkedIn. One is LinkedIn itself. As CIO highlighted in a past article, LinkedIn firmly believes you should know your contacts before deciding to add them as a connection. They say they have designed the service with that philosophy in mind. Connections, they argue, are a reflection of you professionally. If you don't know who they are, it can reflect poorly on you when people peruse your connection list.\n\n\nOn the other end of the spectrum are the LinkedIn Open Networkers, known as LIONs. A LION generally will add most people as a connection (whether they know them or not). Many LIONs build huge connection lists (thousands), and see value from doing this. According to the LION entry on wikipedia, they also adamantly discourage the use of the "I don't know" button. "I don't know" was designed by LinkedIn to discourage random, unknown connections. If it's hit five times, a person can be blocked from LinkedIn or face consequences that prohibit their use of the service.\n\n\nDixson recommends taking somewhat of a middle ground between the two camps and work up a strategy you think makes sense for you and your profession. The key, she says, is having a consistent set of guidelines for adding connections.\n\n\nBut it will always be a murky issue, Dixson says. Perhaps, for instance, your criteria for adding a connection is that you know someone or have at least conducted business with them in the past. Well, what if, after you give a talk at a trade show or conference, a member of the audience writes and asks to connect with you on LinkedIn?\n\n\nDixson says it is fine to decline a connection, but that if such a case arises, it's good form to explain why. For example, you might respond this way: "Thank you for reaching out. I'm glad you enjoyed my talk at the trade show. While I'm happy you contacted me, I don't add connections until I've done business with a person directly. As such, feel free to e-mail me in the future and we can see what opportunities might come up in the future."\n\n\nIf you are the one sending a connection, be sure to not use the canned invitation of "I'd like to add you as a connection" when sending the invite, especially if you feel you don't know the person incredibly well or that their memory might need some prodding. At the very least, even if they decline it, they'll be less likely to hit the dreaded "I don't know" button.\n\n\nFinally, make your connection list public, Dixson says. If you don't, you are essentially defeating the purpose of LinkedIn. It's a social network, and there isn't anything more inherently unsocial than not allowing your contacts to connect with one another. The only exception would be is if you feel showing your connections would undermine your company's competitive advantage.\n5. Recommend and Getting Recommended \n\nThe recommendations feature on LinkedIn can be a powerful way to show that your work has been endorsed by influential people. With this in mind, Dixson recommends a "360 degree strategy" that shows the various ways in which you do your job and the people you serve.\n\n\n\n"You want managers, peers and clients to recommend you," Dixson says. "These should be people who know you well and who can really speak to your competencies as they're relevant to what you're positioning yourself for."\n\n\nThough it's nice to be recommended, Dixson says it's vital to build up your own social capital by recommending others, a key to good LinkedIn Etiquette (and social networks in general): what goes around comes around. If you go and write a good recommendation for a colleague, odds are someone will do the same for you in the future.


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The Battle of Culloden: David Morier, 1746
"Mr. Arthur Lee mentioned some Scotch who had taken possession of a barren part of America, and wondered why they would choose it. Johnson: 'Why, Sir, all barrenness is comparative. The *Scotch* would not know it to be barren.'"
"Your country consists of two things, stone and water. There is, indeed, a little earth above the stone in some places, but a very little; and the stone is always appearing. It is like a man in rags; the naked skin is still peeping out."
"What enemy would invade Scotland, where there is nothing to be got?"
"Knowledge was divided among the Scots, like bread in a besieged town, to every man a mouthful, to no man a bellyful."
"Asked by a Scot what Johnson thought of Scotland: 'That it is a very vile country, to be sure, Sir' 'Well, Sir! (replies the Scot, somewhat mortified), God made it.' Johnson: 'Certainly he did; but we must always remember that he made it for Scotchmen.'"
From James Boswell: The Life of Samuel Johnson, 1791
Heriot's Hospital, Edinburgh: Joseph William Mallord Turner, c. 1819 (National Gallery of Scotland, Edinburgh)
Serpentine heath, Virda Field. Serpentine heath, a sedge-rich heath growing on basic serpentine rocks, on the southern slopes of Virda Field, looking towards the islands of Balta and Huney: photo by Mike Pennington, 21 June 2003
The Flow country in Sutherland. A very small part of the 4000 sq km blanket bog in Sutherland and Caithness taken from near the top of Maovally. The drizzle encourages the feeling of total saturation! The lochans seems to follow the line of the watershed. The ridges seem to be bog "stretch marks" as it flows down the slope in the foreground to Glen Cassley and in the background to Loch Shin: photo by Graeme Smith, 5 September 2008
Heather Moorland, Meall Reamhar. Photo taken near the southwestern top of Meall Reamhar where the heather is 'thinner' and there are occasional outcrops of exposed rock: photo by Robert Bone, 23 April 2007
Glacial Erratics. A number of erratic rocks are scattered here by Allt a' Bhealaich Dhuibh: photo by OLU, 17 October 2006
Glacial Erratics. Glacial erratics photographed at evening across Gorm Loch Mor: photo by AlastairG, 22 March 2005
Stream on Ben Killilan by Creag Mhor. Looking toward Loch Carron in the distance: photo by Paul Farr, 16 December 2005
Coast of Lunna Ness south of Neegirth, near to Hamnavoe, Shetland Islands. The large stones on the hill, just in the adjoining square, are named Stofast: photo by Mike Pennington, 30 April 2010
Inhabitants of St. Kildans sitting on the village street: photographer unknown, 1886 (National Trust of Scotland)
Northwest Highlands of Scotland, empty land in the northern part: photo by Manfred Heyde, 1995


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You've probably noticed that Subaru is going big this year with wagons, sedans and even shooting brakes at the LA Auto Show and Tokyo Motor Show. Next, they're about to go big in the literal sense with a large SUV concept with seven seats. Meet the Crossover 7 Concept.
We had heard that Subaru might be bringing a replacement for the soon-to-be-dead-and-missed-by-no-one Tribeca SUV at the Tokyo show, and this appears to be it. According to Zercustoms, it comes in at about 188 inches long, 70 inches wide, and 67 inches tall, which puts it more or less in line with the Subaru Outback. The big difference is that it has seating for seven people, while the Outback only offers seats for five.
No real details have been released on this yet except to say that it appears headed to production. Subaru's press materials say it's a "seven-seat SUV designed to combine the rigors of urban family use with true off-road driving capability."
It looks better than the Tribeca did at any rate, but that's not hard to do.