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1992 Ron Jones Interview
Lukas Kendall conducted the following interview with Ron Jones in March 1992 at the Sheraton Universal Hotel.
Kendall, 17, was visiting Los Angeles for the first time, at the invitation of the Society for the Preservation of Film Music, to cover their annual film music conference and Career Achievement Award; this was his first-ever in-person interview with a composer.
Jones, 37, had been dismissed from Star Trek: The Next Generation less than a year earlier, and his emotional temperature was hotter than in the 2010 interviews conducted for this box set. He patiently waited as Kendall struggled to get his hotel room's keycard to work, and displayed plenty of personality in the ensuing discussion. Most of the interview originally appeared in Film Score Monthly #25 (September 1992).
Lukas Kendall: How did the producers' approach to scoring the series change over your four years?
Ron Jones: What I experienced was that in 1987, when we started the thing, I dealt a lot with Robert Justman, because he was primarily in charge of the music. They had two co-producers and they both shared responsibilities to oversee it, but Bob Justman was in charge. He had come from the original series, so he had a certain philosophy, very musically literate, where he saw the music as being a real exciting part of the show, and he'd always come to the dub and bring up the levels and that kind of thing.
LK: I just watched first season's "The Battle" the other day, and the volume of the music was surprising after the low mix of the current episodes.
RJ: Yeah, we went from there to the beginning of the second season, when the show sort of found itself, and then kind of branched out from there, and I felt more freedom to express. In other words, to answer your question, first season we were kind of walking in the footsteps of the original series. I watched the original series growing up, but I didn't really have it ingrained in me. But it went from that sort of "following in their footsteps" to finding itself, its own, second and third season, and the fourth season but it has gone to a more subtle approach, being what the producer is expecting and requiring of the composers now, and that's hard to do. If the story is a powerful story, it's hard to hold back and be subtle and everything.
LK: When did it sort of change over? Did [second season producer] Maurice Hurley have any opinions on the music?
RJ: I never talked to him, ever, because other producers were involved in the writing. They'd be just over the writing, another guy would be just over the special effects and sound design, and it's very much like a military organization, where everyone has their narrow responsibilities. Whatever comes across their desk they're concerned with, and whatever comes across somebody else's desk they're concerned with, and occasionally they would come together and have some kind of interaction. But basically the way that the producers could control things so well is they limited interaction you're in little rooms and they would dole information to do that and don't try to tell us how to do things. I mean, with me, it's evident as you look back at the scores that I tried to do the best thing for each show and I tried to give it everything. If I was a producer, I would probably try to do it a little differently than they did it. The way that they're doing it now is evidence that they went down a course, and I was not of that philosophy, so they got somebody else.
LK: Did you have to fight that course?
RJ: I fought every day—every day I was there was a fight. It wasn't a bitter fight the first season I actually felt I was getting ulcers going to the dub because I'd have to fight, for the score, for its place. There were times I'd say, "Take it out, that cue's wrong," and they'd say, "No, we like it, it kind of fills a void." It wasn't like I was trying to say, "This is my music, make it bigger than the screen." I would assume that your audience knows that the composer understands that it's underscore, but when it's minus underscore, when you're not even at a zero point anymore, when you're fighting for it to even get into its right zone . And then, when they have all of the tracks spread out, so that when you score the whole thing and it has a certain balance and color, and all of the sudden they start saying, "Let's take out this part, and leave that part," and all of a sudden it's like a flute part or a woodwind part that was never meant to be really heard all of a sudden sticks out, because they took the French horns and the trombones and the synthesizer three out, and it begins to change your color. It's a very unnerving process, and one that you can't just take sitting down. You have to say, "You know this will really fit the story if we maintain the colors in their proper balance, because what I was going for was ." I was always fighting for all the things, trying to explain my symbolism, what was the reason for that melody, because I didn't just do the [hums the Star Trek fanfare]. After the first season, we got over with the trauma of everyone having a new Star Trek. We felt we were big boys now, let's go out and do something unusual.
LK: I noticed when I first heard the "Best of Both Worlds" CD that there was a lot more to the music than what was dubbed into the episode. The first example I can think of is at the end of Act Two, when the Borg ship is magnified on the viewscreen, and your music just starts blasting, but on the CD it didn't come out so much.
RJ: Right, and what the audience is getting when they buy the CD is the composer's viewpoint. When you're watching the show, you're watching the producer and executive producers' viewpoint of the sound effects and everything that's important. They'll get a visual, and even though they spent thousands of dollars on that visual, if they don't like it, they'll say, "No, change it." So, everything is subject to change, even in the dub, so when you watch a show, and something jumps out at you now, and you go, "Gee, I wonder if the composer meant that," usually the composer didn't mean for that at all to happen. Composers are trained to make music in a structure, where things are in balance, and if something's out of balance, there should be a reason for it.
LK: What was it like working with the show's sound effects and the dub?
RJ: I kept trying to find [in] every show an envelope for the orchestra to speak. When I'd look at the videotape of the episode they'd give me for the show, and I'd read the script, I'd say, "Aha! This is going to have a lot of Klingon bridge sound effects, and this is going to have that," and I'd even call the sound effects people and ask what kind of equalization band, how many hertz is that room going to be in, because we kept getting destroyed by air conditioner sounds. When they dub a Star Trek, there are 128 channels, which is unbelievable. Eight tracks to maybe 16—they expanded it because they kept wanting to get more greasy control over it—is music, the rest is dialogue, and sound effects, and there's like 16 channels of bridge sounds, and air conditioner sounds for the turbolift . They'd go in and it's a different sound, going on a loop, and that thing is just cranking, and those frequencies you add a splash cymbal to an orchestra and all of a sudden the orchestra just changes color. I kept trying to the look at each show, and say, "You know what, I don't need all those bass instruments, I need mid-range." So, sometimes I'd call 14 violas and no violins and six French horns and certain percussion, something like that, and just have real thin D-50s and synthesizers up high, because I knew that the low end was going to be carried, and also because I didn't want to cover up those beautiful sound effects. I kept telling them the sound effects are more elegant than the music in this show, because you're creating a whole world. In animation, you have to create a whole world, you have this piece of paper that they put a camera on and it's supposed to be live. And so it's the same thing with that, the sound effects were very elegant, when in a 20th-century type of thing, the sound effects aren't all that important because we all accept them. But when you're on another planet, the way they walk on a surface, they have to come up with a new "how's that going to sound." The air pressure is different they play with the ring modulation, they play with all those room sounds.
LK: The show gets all the Emmys for the sound, usually.
RJ: Right. And I think two or three of them were shows that I scored, "Best of Both Worlds Part I," "Part II." So, to answer your question, yes, it's a fight, but it's not like an anguishing battle-fight, it's not a war. What it is, it's a struggle, for each voice to be in there to be heard and to be part of it. I had to tell them at the end of the first season, "Look, I've screamed, I've yelled, I've told you guys, I've insulted everybody in the room, you've either got to decide if the blankety-blank air conditioner is more important than the orchestra. If you feel that way, I'll call three instruments, and you'll save a lot of money, and it'll be just as loud, because you guys got sliders. Rather than have a 56-piece orchestra there, because you're paying for all this stuff, and I have to write all these notes. I'm breaking my butt, so decide what you like the best."
LK: So they gave in at that point?
RJ: They never gave in. They never gave in. What I'd do is sort of like lobbying Congress, you hope you get enough votes so that bill passes
LK: Then it's vetoed, and
RJ: Yeah, then it might go to committee, and you know, you might . I just had to sit on the stage and be there and argue my point, without getting in the way, because I already notched the music and made the dynamics fit. I did a lot of work myself, so the sliders didn't have to do the work. I didn't just write the music forte, then they'd slide it and you'd lose a lot. So, if that gives you a detailed answer to the question, without saying, "Yes, it was a battle," or "no," that's my answer. It was always a struggle, and I don't how Dennis [McCarthy] copes with it, because you have to cope if you want to work in it.
LK: One of the ways you got around the dub, that I could always hear, at least, was like a "synthesized ostinato," the sequencers and so forth.
RJ: Keyboard Three. And that was the guy that was like my DH in a baseball lineup. He was never in the room, he always went direct onto tape, on his own tracks, in stereo. And that guy could be written I kind of convinced them that it was like sound effects that you could bring up and down, it wasn't really important to the score, it's kind of there, and so they kind of played with that thing. To me, it's like if Bernard Herrmann was scoring now, the way he used rhythm, not just to carry the punctuation of the melody and harmony but as a psychological effect when you're in space and you're in a computer-enhanced environment, and the computer talks to you, you're dealing with digital info—the music should take on a digital format too. So that was always to me like MS/DOS or something, it was always a computer language, and there was always a lot of symbolism in what those notes were. You take those four notes, or whatever it was, and it had to do with the mystery of a planet like in "Where Silence has Lease." They're in a place where you can't figure out anything, and you never even see the bad guy until the fifth act, and then not until the end of the fifth act, and it's a guy that looks like a cat .
LK: Now, I noticed they tracked some of that music into the end of "Booby Trap."
RJ: They did, because I scored some stuff they didn't like. The music editor [Gerry Sackman] and I went upstairs and pulled out a couple of things and—aha—that worked. At the end of that show, I wrote a very unusual, big cue, it was very strange. In fact, the producer said, "That's very French" or something, and I don't know where he got the word "French" but . Anyway, when you're using that kind of ostinato thing, it was to glue the mystery together. When it made sense at the end, it made sense. Or the other thing, "Night Terrors," that was a case where you're being called by something way offstage, and it's in people's minds but it's not, and you have to have something to hang it together. You just can't hum a tune and say, "That's going to be the mystery tune," you have to come up with a little device, and it turned out that the little device was part of the song the crystal voice thing was saying to them, "one moon circles." And I hired a choir to sing that, because you can't have a cello sing the words. There were actual words spoken.
LK: That didn't come through in the episode.
RJ: No, it didn't. It was buried in there.
LK: It just sounded synthesized.
RJ: Right. We had recorded a synthesizer on pads that were the same notes, but it couldn't speak. They were always insecure about having voices on there, you know. Even with the Borg show, when you first see the Borg, on "Best of Both Worlds, Part I," that was a requiem: "Here's the end of mankind, this thing is coming!" Let's be serious, you can't just write a typical "this week's episode" show, this isn't another episode of Wagon Train, this was the end of mankind as we know it. When something cataclysmic happens, people get on their knees. No matter what they believe, they get on their knees. So I tried to take a form, like a requiem, and take everybody almost into a rarefied atmosphere. This is not just, "Well, somebody's going to blow us out of the sky, and we'll be smart and figure it out." I wanted it to be like "Goodbye," like an epitaph for humanity. Like it's over. And the metallic sampled choir in there was supposed to represent that. If you listen to the soundtrack album you can hear that, but if you watch the show, again, it's editorial control. I think it was Gene Roddenberry and Rick [Berman] who really felt insecure, because Rick would always relay to me, kind of indirectly, that they're worried about it.
LK: Was it always in the name of Gene?
RJ: Yeah, and Peter [Lauritson] would say, "I don't know if you should go that far out." But I gotta give them a real compliment, that even if they disagreed with me, they always gave me the rope to hang myself with. They didn't just say "no." And I could have been dismissed any time during the 42 episodes that I did, but they kept calling me back. They hated me, but they kept calling me back.
LK: What was the last straw, then?
RJ: I don't know, I don't want to speculate. I think you build up things over time that bug you, and somehow whatever bugged them was it because they never were clear. I think for legal purposes, because some other employees that had been let go had decided to take them to court, it was like gag thing, like nobody could say anything. It was like, "Uh—goodbye, we're calling somebody else." So I don't know, and that was right after they said, "Great score." I kicked butt on a score, this "Drumhead" show, a real bummer show
LK: I was thinking, that last one was one they probably would have liked!
RJ: They dug it! They dug it, they went, "Yeah [claps hands], this is great," and then the next thing you know, you're not there. I don't think it was because of a creative thing, I just think whatever I was doing got the best of them and they said, "Hey, we don't need this." But I didn't try to be an irritant, and also, really, the last two years I was doing it, I wanted to get off, I wanted to get onto something else. When you're involved in a show like that, it's just so all-consuming, you can't even have lunch with anybody, you can't do anything business-wise outside of it. Here I am working day and night on Star Trek and here I am trying to have a life, and for four years, it's like being in a tube. You're in Hollywood, but you're in a tube. People say, "Oh yeah, don't call Ron, too, he's busy with Star Trek." So not only does everyone think you're busy, and you are, but you want to get out of it. At the same time, you want to scream and say: [makes motion as if to scream but no words come out]. It's wonderful, part of me is segmented and is [in] a camp that just loves it, loves the energy, but it's a very naïve side. The more-informed, reality segment of myself says, "Please don't ever put yourself in a position where you're doing a series that long." And every time I came there, I kept telling myself, "What movie am I doing?" I'd come in there and I'd say to Peter, "Okay, what's the movie this week?" Because I refused to think of it as Star Trek. I refused to write the same licks, to write the same thing, to call the same orchestra. There was a different band for every show—I never had a Star Trek band. One thing I didn't like about the first series was that the same nine shows that were scored were used over and over, and you knew when the bad guy was coming, and when the ship is going to blow up, and it was the same licks. You could almost not have the sound on and do your own score just by humming along. Which may be part of its charm, maybe.
LK: I think it is, actually.
RJ: It's like having an Uncle Chumley that you know very well, who is going to say the same thing. But I felt that this new show had more sophisticated goals and more global concepts that they were trying to put across than the original series, which was more swashbuckling. This was a little more like a "Library of Congress Presents" version of Star Trek, it was a little more Smithsonian, so the music should be taking you to a different world. If I was in my living room watching the show, would I want to hear the same thing, or would I want to be, "Wow, let me watch this thing, it's grabbing my attention!" I used to love doing the teasers for the show, because it would just set you off in a different world. And one show that was on just tonight was the one where Riker is undercover on a planet, "First Contact." On that one, I told them that I was going to score that one as if I'm a composer on that planet, that everyone from Star Trek is an alien, which it was. So I came up with licks and different percussion things that were totally not part of the normal mode and scored everything from a different point of view. And of course the producers, they look at me like, "Oh, no, well, Ron's on one of his things again." But I came in on every show like that, like on "The Royale." On that one they all came in and said, "This show sucks, Ron. What are you going to do with it?" They didn't even care what I did with it! They just knew Ron's going to do something different. Thank God. That was the one time they said "Thank God Ron's here." And I said, "Okay, I'm actually going to score it like it's a story, like you're in the novel, and then everything outside of it will be kind of synthetic and lonely, like they're out there looking in on this thing."
LK: Yeah, as soon as the characters go through the doors to the hotel
RJ: It just bang, changes, saxophones and everything, picks up this big band thing and plays it to the hilt. Played it really corny, corny to the hilt. Which made it hip. I thought it was a neat opportunity to pull out some different stops and not have it be the same. So if I ever write my memoirs about it, I would say that each one was like a child, and this one's a different child, that's a different child, and I have lots of children. I don't have one or two children that I keep pushing out there on stage to do the same tap dance. They're all different.
LK: How do you think your music ended up developing over the four years? To me, it seemed to go from more electronic at the beginning to fully orchestral with scores like "The Best of Both Worlds."
RJ: Well, I had a full orchestra from the very beginning. In fact, the first two seasons, we had a big orchestra, and they kept tailing it down. They kept saying, "Let's get it smaller and smaller." It sounded more orchestral because I tried to write more mid-range, so when I hired the band, the band was in the center of the range, where a speaker is on TV, because that spoke well. I'd sit there at a dub and take my own notes from what was working from each show. I was like a Toyota factory, "How can we make the car better, how can we sonically punch through, since these guys are only going to be concerned about the air conditioner, where's that frequency?" So it gave you the appearance of more orchestral color as time went on because I kept finding the notches where they couldn't blank me out. But there was a big orchestra the whole first season. I tell you, the music department must have gone well into the red on the music. I'd get on the phone, and many times I cried. I got on the phone and I'd say, "I can't score this with seven violins." I'm a grown man, and I'm crying. I'm saying, I can't do this story, like Tasha's goodbye ["Skin of Evil"], here's a seven-minute scene where somebody just died that was part of the main crew, the first time they've had a main character die. I said, "I'm not going to do this to the audience. I—just—can't." I'm sitting at the piano and I get up and I'm on the phone and I just say I can't. I know we're over budget, send me the bill for the overage, and I have paid for overage, out of my own pocket, I have paid. The money is not important, the importance to me is doing the job right. I would rather die knowing it was done right than to I just can't see it screwed up.
LK: Over your four years and 42 scores, were there every any scores or cues you felt "oops" about?
RJ: I had more scores that I rejected myself, in my office, that I could probably score three or four episodes at the end of a season with. I had stacks that would never make it to the delivery person that would take them to Paramount. I did a lot of trial and error, I played with them against the picture with my computers, and I would kind of know what I was getting into and have a feel for it. There was no guesswork, because when you're on the scoring stage, you don't have time to tear it apart, it better be right.
LK: Were the producers always at the scoring stage?
RJ: There was always somebody who took the responsibility to be there, but it wasn't always a producer, it would be chain of command. The executive producer was never there—but there would always be the responsibility, perhaps of a producer or associate producer or both, and they always add their feelings, whether they liked it or not. I'd always wait and see after the music was recorded, and there was dead silence. It was a good take, and then you have to wait to hear okay, it's cool, or not, from the producers. There were a couple of shows I was scoring on my own, and we'd go to the dub, and they'd go, "Why did you do that?" And I'd say, "Well, you weren't there! I did what I had to do, I couldn't call you on the phone every five minutes."
LK: Did the producers ever try to circumvent you with some assignments? Whenever another composer filled in for an episode, it always seemed to be for you, like Jay Chattaway on "Tin Man" and "Remember Me," before he came on to the show full time, and George Romanis on "Too Short a Season."
RJ: Well, George Romanis never filled in for me, it was a favor out of an old relationship. I was taken aside very kindly and very sweetly, and it was kind of first-season paybacks and relationships prior to me that they were cashing in on, and they did that. They did that with some of the guys who did the original series, then we went on, with Dennis and me most of the time. I think what happened too was that I went to the Soviet Union. I cleared this months ahead—I said, "I know what the production schedule is." They print it out, it's wonderful, you can see where you're going to be—if we're doing every other one, which we had done for years, therefore during this particular period, I wasn't doing anything, and I had to go to the Soviet Union. I was invited to teach their composers how they score things here. It's an honor, so I said, "I'm going." Then I go, and they say, "By the way, we need you." And I'm in Latvia! Or another time I had the whole schedule free, they said, "Oh, we're running out of bucks, and we're going to track such and such a show." I have a little kid and he gets off summer break, and he gets off spring break, just like normal kids, and you can't just take off a week, he'll miss spelling and everything. So we plan our family time, and we said, "Let's go to Florida." They were going to track it. [Music editor] Gerry Sackman and everybody said, "Go, go, fine." Then I get down there, and in about mid-week I get a call: "I don't think it's going to work out, we're not going to track it we're going to have to score it." So it was sort of like there was no conspiracy, there was nothing like that, but it was just always weird. Unless you're within a five-mile calling distance what it felt like was like being a Pizza Hut guy, a pizza delivery.
LK: "Score in ten minutes or your money back!"
RJ: Yeah, right, deliver it, and it'll be piping hot, no matter if it had any inspiration or thought to it at all. That was just an awkward situation for me, as well as them in that I'm 3,000 miles away one time, and another time I was 11,000 miles away and I say, "Hey, just call somebody, call somebody and "
LK: Call Dennis!
RJ: In fact, I asked Dennis. One show I had a priority on because I had done a series for Disney, called DuckTales, and the vice president of television there says, we've got this one special for NBC, we want Ron to score it. And this guy went from hating me to liking me to hating me. So I said, "Okay, I've got to do this," so that was another time. I called Dennis myself, I said, "Dennis, before I tell them that I've got to score just this one thing, will you please cover for me?" And he covered for me [on "The Dauphin"]. So I always had this great friendship and openness between me and Dennis and everybody, so there was no big deal, but it did kind of bug them. They're working night and day on it. The composer makes royalties, he flies in, does a score, he gets to go to Florida, he gets to go this or that. They're working back here in Hollywood, and how dare he, we'll show him. That was kind of the vibe I got, is that they were trying to show me something.
So, I don't know, you think about it because I tried to do my very best. I felt like I died several times. I live near St. Jove's hospital, in Burbank, and there were many times I worked so hard, that I'd get in my car—I could barely hold the steering wheel—and I would just drive to the emergency [room], and I would get there, and they would say, "Well what's wrong with you," because you have to fill out a form, and I'd say, "I think I'm gonna die." They'd say, "What category is that?" I'd say, "Well, I think I'm going to die, I don't know how to explain it, but every system in my body is collapsing." And so, those guys, no matter how they viewed the music, they never knew the blood that was spilt and they never will. And I never want to work under a situation where I'm put under that without some understanding. They'd say, well, we'll give the composer two weeks, that way we'll have two people. Dennis or me, if we had done every episode, would have been buried up at Forest Lawn, dead, because the kind of notes you have to write, the kind of score that show demands it's not like a sitcom, you can't do play-ons and play-offs and exist. I wish them all the best, I'm really happy for them and I don't hold anything against them. I got a lot out of it and I put a lot into it. I score for me. Ultimately, I score for me. And when I'm creating those little children, I'm creating them because I like to procreate them. And that's just a vehicle, the fact that they call me to do it and pay me. I would have done it for nothing, just to be creative.
LK: Nowadays, as I understand, the producer control of the music is very tight. There is a term for the bombastic scoring that they want to avoid, "Mister Military," and it's not to be used, nor are unusual instrumentation, electronics, etc.
RJ: I think they reduce the chord selection too, you can only do it in D major, because I hear the same chords and same notes. I don't have any disrespect for the composers doing it, and anything negative I say would be interpreted as sour grapes, so I can't comment on their thing, but it's a very neutral, wallpapery type of texture, melodically, harmonically, even electronically, it's very placid. If I was in space, and I was going to astronaut camp, I'd be excited, my adrenalin glands would be out to here. I tried to assume that I'm a member of the ship, that I'm going to feel the same feelings, and you can't feel the same feelings and write neutral. If you were on the bridge and here's space, and you're gong from one planet to another and there are all these systems, how could you not be in awe? That's why, whenever there was a story like the one with the nanites ["Evolution"], and the guy created this capsule, I captured his wonder. Here's this system, and he wanted to watch this one thing happen, and Wesley was hanging with this guy, too. A lot of the wonderment of space, of what environment they were in, aside from whatever mystery the story was there are these moments. And the one with the Aldeans, too, the one where they stole the children off the Enterprise ["When the Bough Breaks"], it's the same kind of thing. I put a wonderment of not just the technical aspects, but the wonder of being where they were, of going where none have gone before. I remembered that, that was like ingrained in my mind, whenever the score was written, those words were always there for every note. It wasn't just "I'm going to submit myself to this week's regime." It was like I kept holding that like a candle burning through every score.
LK: Did they bother trying to say things to you, to instruct you?
RJ: They did, but I ignored it.
LK: So it was like "Ron, no more themes," but it was just like
RJ: They would say "Too much Ron Jones." And you know, I felt like my dick was 40 feet high! That's how I feel, because I don't want it to be that big, I'm embarrassed when it's too big, I want it to be appreciated in its proper size, like a Michelangelo, like it's the human body. But they blow everything out of proportion, so it's either nothing, you don't have a penis, or you have a giant one, but they can't ever balance it, you know? In a way, that's the way they feel about it, too. Like whose penis is going to be bigger, the producers' or mine? "Composer's not going to have a bigger penis than me this week!" I was always amazed at the load they had to carry, so if being creative takes so much more energy, they did give a lot of space. And I think they counted on their writers and the composer to set off in another world and still dream and bring that magic back.
LK: They've had the same regime and the same writers for a couple of years now, and it means they've been able to get into some character background. First season, it was like anyone could say anyone else's lines.
RJ: Right, that's true, that's true. I kept waiting for them to break out of that. They did a lot with Data. He went from this "how-are-you" Gumby character
LK: "I-want-to-be-human."
RJ: To like "Data's Day," and the one where he created a daughter ["The Offspring"]. That one touched me enormously doing that one. The part where she dies, that was really moving, and I had to be sparse. I only used four notes on that whole thing. There was no melody, no orchestration, there was just four notes going through that whole thing, but those four notes meant something, because that was part of the look, when her life was coming.
LK: Her life only got to be four notes long.
RJ: Yeah. There was a lot of symbolism in the whole thing, you should be able to hear the score and the whole story comes out the emotion, if you could cut aside the emotion, just put it on a plate, a side order of emotion, that's what the score should be. Totally. Apart from all other baloney that goes on.


text:
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OS: Win98, WinME, Windows2000, WinXP, Windows Vista Starter, Windows Vista Home Basic, Windows Vista Home Premium, Windows Vista Business, Windows Vista Enterprise, Windows Vista Ultimate

subset: commoncrawl


text:
Bulbs in the lawn
6 comments:
- Keni said...
- April 29, 2010 at 10:57 PM
- Beth K said...
Which one is your favorite? Are there some that don't grow well for you?
- April 29, 2010 at 10:58 PM
- Michael B. Gordon said...
Thanks for the list of daffodils that naturalize well. I have had mixed success over the years. It is helpful to know some reliable ones to try.
- April 30, 2010 at 8:06 AM
- Stephen Orr said...
Hi Michael. Van Engelen sells a "Naturalizing Mix" of daffodils. That has worked pretty well for me over the years. As I said, some varieties come back and others don't inexplicably. The more sun you have the better
- April 30, 2010 at 9:00 AM
- Stephen Orr said...
Beth I really love the Jonquil and Poeticus types since they are fragrant. I also like the ones with small cups. There is one called "Sinopel" with a tiny green cup that I've tried to grow several times. It never even came up once!...which is strange for a narcissus
- April 30, 2010 at 9:02 AM
- JennyAnn said...
I absolutely love frittilaria. I planted 3 last year, and was happily gifted with quite a few more than that this spring. Do they spread by rhizome? I have freckled violets that are coming up everywhere...they are certainly spreading by way of underground maze of snaking roots.
My favorite daf is the one with the blush center. So beautiful!
- May 1, 2010 at 2:51 PM


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Forecast for Manufacturing - Will Truck Prices Continue to Rise?
According to a report from KPMG, the global forecast manufacturing outlook is "growth while managing volatility".
OK - so what does that mean??
Here's an exerpt from their recent whitepaper:
Despite a generally profitable year, many leaders of global manufacturing firms face a
number of challenges. Just as the global economy looked like it was gaining momentum, the Japanese tsunami struck, unravelling many global supply chains. Since then, volatility has become a key watchword, as a wide array of macroeconomic risks – most notably the European and US debt crises – raise uncertainty over future demand and the spectre of a "double dip" recession.
Yet executives at major manufacturers – organizations polled in an Economist
Intelligence Unit survey representing firms with at least US$1 billion in revenue – are cautiously optimistic that they can realign their businesses toward top-line growth while managing the multitude of cost challenges.
It appears that KPMG's survey is indicating that there is still some optimism in the global economy that manufacturing will continue it's upward trend.
Of course, as this relates to transportation costs, the more demand that is placed on a constant supply can, and probably will, put upwards pressure on prices.
Click here to download KPMG's report, "Global Manufacturing Outlook - Growth While Managing Volatility"


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Spring is in full bloom, and many people regard the emergence of nicer weather and new growth as a time for starting fresh with a little spring cleaning. But spring cleaning doesn't just have to mean organizing your closets or scrubbing down the patio furniture—it is also a great opportunity to apply a "fresh start" mentality to your job search or career plan.Dust off your long-term goals and ambitions. Are you taking the right steps toward making your career goals reality? Many of us tend to stick with what we know is safe and easy, especially when looking for a new job. Sometimes, however, it takes a full change in direction to put yourself back on course to achieve the goals you set for yourself. It might mean looking for work in a different role or industry. It may even mean expanding your education or relocating to a new city! In the spirit of "spring cleaning," be sure to clear out your preconceived notions about your job search and think outside the box.
Re-organize your contact book. Sure, a well-rounded network is one of the most important professional assets you can have. But having a bunch of old contacts for the sake of having a large network isn't always the best strategy. Since an effective network is one with which you keep up relationship ties (and not just email addresses in your "contact" list) take a look at who makes the most sense in your professional network, and get to work maintaining the connection! This is not to say you should delete old names and numbers of prior acquaintances, just organize your list so you can focus on building the relationships that are most important.
Refresh your professional image. Whether it's a resume renewal, cover letter overhaul, or social profile upgrade, an image update can do wonders for your confidence and enhance the way you present yourself to colleagues, employers, and potential employers. It is often easy to let an outdated professional information go unnoticed–even though it is often the first thing a company discovers about you. Consider having someone new take a look at your resume and give you feedback on how you are coming across to others. Once you've updated your resume, be sure to post it so employers can have access to your new-and-improved image!
Clear out your desk. This may seem like the simplest (and most obvious) way to apply spring cleaning to your professional life, but it is important nonetheless. Take time to organize paperwork, file important documents, delete or archive old emails, and give a whole new sense of function to your work space. Whether you are looking for a new job or looking to advance in the one you have, an organized work space can provide you with a renewed sense of inspiration, relieves stress caused by unnecessary clutter, and help you find that important document without risking an avalanche of paperwork!
Spring is a great time for renewal, especially when it comes to your career. Once you've done some cleaning, be sure to renew your job search!


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Hi all,
Do others have problems with their jaws? Mine kind of hurt - like 'whining' pain very odd,also the feeling that I can't spread them properly. (going on for a couple of days) Does anyone knows what the reason is?
Moderators: JohnV, Arron, garym
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Sound sleep eludes many people who are otherwise healthy. Yet poor quality sleep can ultimately cause physical and emotional problems, as well as strain both personal and professional interactions. Adverts are overrun with promises to aid sleep, offering a range of products from pills to pillows to sleepytime teas. However there are plenty of free and low-cost ways to get those much needed Z's.
Discover Personal Sleeping Habits
The first order of business is to keep a sleep journal. Each night's quality of sleep should be reviewed and detailed. It is also important to keep notes of food and beverage intake, including what and when. If there's a habit of falling asleep but waking up in the night, note the time and reason for waking. Those arising to use the restroom in the middle of the night could increase opportunities for sound sleep simply by limiting late-night beverages. Also make a note of things that work to help encourage sleep as well as everything that has hampered progress in the past. Tech lovers, using their mobile phone can even install a smartphone app that will help monitor sleeping cycles. There are quite a few to choose from, many of which are free.
Slow down
A-type personalities are particularly prone to sleep problems. Many state "trouble shutting down" or "wheels keep turning" as a primary cause of disrupted slumber. People who are excessively driven will need to make a concentrated effort to slow down at least one hour prior to bedtime. That means shutting off the telly, turning off the phone, putting work aside, and skipping any heart-racing reads. Consider taking a bath to help relieve stress and try using a calming scent. Lavender is especially beneficial, but only if one likes the scent. If prone to doing late-night workouts make them a morning activity, instead.
Review surroundings
In addition to changing how to prepare for sleep it is important to review and possibly revise surroundings. Some prefer music or the television going, whilst others need a quiet space. Preferred temperature and light levels also vary greatly among people. Different sleep styles can be particularly challenging for couples. For instance, a light sleeper may be consistently sleep-deprived whilst sharing a bed next to one who snores. The snoring partner will also lose sleep when the light sleeper tries to get their partner to turn over, causing frustration for both. Look at all factors of the bedroom and make the necessary changes to help get quality sleep. If that means taking the telly out then do so. Note to couples: try to find compromises that can work decently enough for both of you. However if you and your partner simply cannot find a working arrangement then sleep in separate rooms.
Cautious Consumption
Everyone knows about limiting caffeine intake. However, each body is unique, with specific foods that could hamper sleep. Some culprits that affect many include red wine and spicy cuisine. Be careful with sweets and high-carb goodies late at night, too, because such things can have quite an impact on one's blood-sugar levels. Conversely there could be specific foods that help you fall asleep and get to that much-needed REM stage. The best way to find out what works and what hurts is to faithfully maintain a sleep and food diary. When done, patterns can easily be seen and rectified, if needed.
Look at Life
Stress is not just a silent killer—it's also a key reason patients complain of poor sleep. Look at key factors that are causing angst and then find ways to neutralize them. If the issues are stresses that cannot be avoided then find healthy ways to cope. Regular exercise can help, as can stress-relieving practices such as yoga and meditation. Workers stuck in offices on a regular basis should also make it a point to get outside whenever time allows. Even brief walks or moments taken in a quiet, tranquil setting can help hit the reset button. When a number of stress-relieving techniques are adopted you should see a marked improvement in sleep as well. Deep slumber is a vital component to physical and emotional health. Find out what's working for and against you and then make the necessary changes so that your body is allowed to recharge on a nightly basis.


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I've been playing around with some IDN's and TLD's and DNS etc…. i've realised you can create IDN (punycode) subdomains to any existing domain, in addition, i've created my own TLD, and setup a DNS server that works for this purpose. If anyone would like an IDN or a custom TLD, get in touch!
From anywhere in the WWW:
Set your DNS to: 220.127.116.11 in order to take advantage of the new ком TLD. (note: this is just a bit of fun, and is not official).


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Size: 4" (102mm)Presentation Box and Stand options are available.
This glass has the option of wooden base or quality presentation box.
You could have both but the base wont fit in the presentation box ..
so you'd present it in the box but they'd be displayed with the base (if
you went for both).


text: Legal Dictionary A B C D E F G H I J L M N O P Q R S T U V W Aggravating Circumstances Aggravating circumstances are conditions that increase the seriousness of a crime. Where there are aggravating circumstances, the defendant's penalty or punishment is usually more severe. For example, an assault happens whenever a person threatens to injure another person. If a dangerous weapon is used in the threat, it becomes an "aggravated assault."


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Tim Lewis
Loan Officer
Active duty as an enlisted soldier, National Guard, and Reserves as an officer for a total of 22 years.
He has already proven himself a huge asset to the company in the time he has been here. Tim grew up in a small Nebraska town that was several miles away from stoplights and movie theaters. In his free time, Tim enjoys mountain biking, rock climbing, and back-country skiing. Even when he's supposed to relax, he can't sit still. Tim also has 2 daughters and 2 dogs whom he loves and loves to tease.
One unique thing about Tim is that his father was one of 5 marines in a company of 232 to survive service during WWII. His father was awarded 3 Purple Hearts and served in the first wave of 4 amphibious assaults. For about 25 years now, Tim has been in the mortgage industry. Although he's never considered sales a huge strength, his main reason for making this his civilian career is his unique skill at explaining facts to employees and consumers so they can make the best-informed decision possible. If you've ever had a chance to speak with him, you know he has a way with words and humor.He feels as though his experience in the military relates strongly to the mortgage industry.
"In the military, if you bring your worst out into the field, someone goes home in a black bag. Here, if you don't bring your best to work every day, then a veteran takes the hit. They miss out on a great rate or they don't get the amount of money that they need, and it's pretty comparable to asking them not to get paid that month. We don't want our employees or our customers to not get paid."
His drive is obvious in the advice he gives to everyone on the team: Embrace opportunities.
Attention Applicants
We need you to upload the following documents to us as soon as possible. Once you complete the application under my profile picture, please send me the following by using the contact form on this page:
- Signed Authorization Form (download here)
- Copy of your mortgage Note (example can be seen here). You would have received this at your last loan closing.
- Copy of your home owners insurance declarations page. You may also just email me the contact number and name for your insurance agent.
- Copy of each borrowers driver's license. If your social security number is not listed on this ID then I will need your SS card(s)
- Copy of your mortgage statement or online print out for the month. (Does not need to be the most recent, but that is preferred)
- If a FL, NM, OH or TX property a copy of your property survey (example can be seen here). You would have received this at your last loan closing.
Click the Stars to See our Reviews


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Taylor1025 necesitaba un nuevo diseño de papelería y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 46 diseños de 17 diseñadores freelance.
Volo Strategy Group, Inc.
Volo Strategy Group is a team of creatively charged individuals that help identify, shape and manage a marketer's strategic projects & initiatives
Our objective is to supplement & support existing marketing teams to ensure development of sound business strategies and proper management of that strategy through the agency relationships…ultimately optimizing creative development. We share a seat at the table beside the marketers but removed enough to offer sound perspective.
The collective team owns a wealth of client & agency experience ranging from qualitative & quantitative research design & execution, moderation & facilitation, consumer insight development, data analytics/CRM, category management and strategic planning.
VOLO in Latin means:
to mean, signify, denote.
to fly, speed, move rapidly.
to wish, want, will, ordain, be willing.
1. Marketers/Strategists including internal marketing departments and external marketing companies.
2. Creative branding & advertising agencies.
Companies involved in the following industries;
1. Logistics and Transportation
2. Beauty & Lifestyle
3. Travel & Leisure
Thanks to Catorka, one of the many incredible designers at 99Designs, VOLO Strategy Group has a new logo to use in our stationary.
What we require for our new business is the following;
Business card (2 inch x 3.5 inch or 51 mm x 89 mm)
Letterhead (8 1/2 inch x 11 inches )
Standard #10 envelope ( 4.125 inches x 9. inches)
1 PowerPoint title page
1 PowerPoint templates
Our information is as follows:
VOLO Strategy Group
Aynsley Deluce
Chief Strategist
453 Clinton Street
Toronto, ON
Canada M6G 2Z1
Tel. 416-577-9788
Fax: 647–435-1377


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Featuring presentations by
Prof. Christine Kinealy, Director, Ireland's Great Hunger Institute, Quinnipiac University
Nettie Washington Douglass, Co-founder and Chairwoman, Frederick Douglass Family Initiatives
February 23, 2018 12pm-2pm
Craig Chapel, Seminary Hall
Frederick Douglass was born into slavery in Maryland. At the age of 20, he escaped to the north, where he quickly established himself as a talented speaker and writer. In 1845, Douglass wrote his life story: Narrative of the Life of Frederick Douglass, An American Slave. Written by Himself. To avoid capture and a return to slavery, he travelled to Europe, spending much of his time in Ireland. In 1847, he returned to America, his freedom having been "purchased" by female abolitionists.
In this unique program, renowned historian Christine Kinealy will speak about Douglass's time in Ireland, and Nettie Douglass, a descendant of Frederick Douglass, will discuss the work of preserving his legacy.
Sponsored by Drew University Center on Religion, Culture and Conflict and Theological School


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Derek Larson Work from Commonwealth. "Commonwealth is an immersive installation of a dilapidated sculpture garden of projected video statuary, presenting a virtual likeness to a grand garden and questioning its function as a common space. Commonwealth is a response to Federica Bueti's article Give Me The Time in which she states "satisfaction of temporary desire […]
Archives for posts tagged 'greek'
Derek Larson
Monday, 14 May 2012
You Only Live Twice
Wednesday, 28 December 2011
You Only Live Twice at Kunsthalle New. Curated by Bea Fremderman. Featuring Sterling Crispin, Rachael Milton, Dmitri Obergfell, Mike Ruiz, Jordan Tate and Guy Michael Davis. "WHEN APPROACHING AN ART OBJECT WE BRING WITH US NOTIONS OF MATERIALISM, SCIENCE AND LOGIC. SIMULTANEOUSLY IN THAT MOMENT WE ARE PROVIDED WITH A RELEASE INTO BELIEF, ILLUSION, OR […]
Oliver Laric and Raffael Dörig
Wednesday, 21 December 2011
Oliver Laric and Raffael Dörig Work from Kopienkritik at Skulpturhalle Basel. "Kopienkritik, German artist Oliver Laric's summer solo project at the Skulpturhalle Basel, waxes upon the politics of the reproduction of images while drawing upon the Swiss museum's collection of plaster cast copies of sculptures from classical antiquity. Laric collaborated with the museum's staff to […]
Irena Knezevic
Monday, 5 December 2011
Irena Knezevic Work from Here Comes the Darkness. The video is available here. "On September 25 2008, George Bush and Barack Obama gave an emergency speech after the American stock markets crashed. Broadcasters, like CNN, had to break out of the regular TV format to accommodate for the length of the speech(the 2 extra minutes). […]
Theo Michael
Wednesday, 23 November 2011
Theo Michael Work from Scholars in Space (and Smoke from the edge of the Known). "Michael works with the idea of time like a builder and destroyer of space: while in the present we erect thoughtful monuments for posterity, the future condemns them to destruction and the void. His work, seemingly playful, uses pieces of […]
Robert Seidel
Wednesday, 19 October 2011
Robert Seidel Work from folds "The work folds for the Lindenau Museum (Altenburg, Germany) may be understood as a rapprochement with the history of the museum's collection of plaster casts. I was particularly interested in the ancient, fragmented bodies – how through the loss of limbs they became almost abstract, fragmentary sculptures and yet still disclosed […]
Sterling Crispin
Saturday, 24 September 2011
Sterling Crispin Work from his Greek New Media Shit featuring the work of Michael Manning, Mario Zoots, Sasha Kurmaz, and Ary. "A headless statue of winged Nike, black pixels swarming above her stumped neck. A collage of ancient, sand-colored busts and patterns drawn with a Sharpie. A Michelangelo's Pieta coated in blue-streaked purple sludge. These […]
Frank Eickhoff
Thursday, 11 August 2011
Frank Eickhoff Work from his oeuvre. "I am photographing constructed objects made of different materials, such as paper cuts, prints, foil, paint, metal, wood etc. On top of that I project digital generated light which is mapped in realtime on the objects and the scene. At some point the digital process and the materials visually […]
Josué Rauscher
Friday, 10 December 2010
Aristide Antonas
Sunday, 22 August 2010
Aristide Antonas Work from Crane Rooms. "Simple concrete foundations and elementary water pools are proposed to be installed in non hospitable beaches or arid hills nearby the sea. The room units form independent cells, they can be covered by tissues during the day; they provide a quality connection to the Internet. The private or public […]


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Deepam Fellow is an award to honour the volunteers who have gone an extra mile to support the cause of education at Deepam. Our earlier fellows - 2009 Deepam Fellows , 2008 Deepam Fellows
Deepam aims to honour 2 types of people through this award
- People involved in direct teaching & mentorship : Teachers are the people who have an immense opportunity to change the future of the world - by positively influencing the people who will inhabit the world in the future. The best among them will be honoured through the Deepam Fellowaward
- People involved in design & implementation of programs enabling teaching : By designing / implementing a program that enables teachers / children to meet their education goals, people who design / implementation work in tandem with teachers to make an impact on the children. The best among these people will be honoured through the Deepam Fellow award
2010 Deepam Fellow
Rajagopalan Sir - Everytime I talk to him, I come away with a light feeling. I would not have been surprised if he was on the stage at the annual day, shaking the legs with the children. Almost twice my age, he has never 'adviced' me or saye or the other 'kids' :) - he easily connected with all the volunteers and won our respect and admiration, just for this. His flair for writing , wit and energy filled emails / puzzles keeps the Deepam mailing lists alive
He is meticulous in his work, along with Vasanthi mam / Maduravalli Mam, organises a successful library program at the Deepam West Mambalam centre. He visits the centres even during weekdays to run the library program. His enthusiasm to help children read was evident in the way he helped organise the Deepam WM centre trip to the Anna Library. He also prepares 'interesting lesson plans like this ;) .
We are honoured to have RR Sir with us. He is one of our Deepam Fellow 2010
Meera - One of the earliest volunteers, Meera was active at Deepam, despite a 2 year study break in the US. She actively evangelised Deepam in the US and brought in valuable donation dollars.
When she got back, she was keen to make a difference on the ground. This keeness as evident when she encouraged the children to participate in the Google Doodle contest - I was pushed into taking her to the Uroor Kuppam on a sunday afternoon, where we met the children with the painting kits.
She also pushed us / kept hope / helped in writing an effective proposal that helped Deepam win the 2HP EdTech award.
She is our other Deepam Fellow 2010


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New Free Bunny Calendar, Pillow, Banner & Napkin Ring Patterns!
Easter fun for all the little ones!!
2nd Ear:
Skip the first stitch next to the ear, attach yarn in the next stitch with a slip stitch, ch1, wk 1sc into the same stitch as the slip stitch, wk 1sc in 7sts, 1sc in 3 along the side of the head, ch1 & turn.
empty. This allowed me to sew the tip down).
Row 21. wk 1sc in 2sts(some of these sts will be worked along the side of the head like in the photo above) ch1 & turn.
To make the 2nd ear:
Row 1. Reattach yarn skipping 1 stitch in the middle, wk 1sc in 3, ch1 & turn.
Row 2. 2sc, 1sc, 2sc, ch1 & turn.
Rows 3-8. 1sc in 5, ch1 & turn.
Row 9. working in the FLO dec1sc, 1sc in 3, ch1 & turn.
Row 10. 2sc, 1sc in 3, ch1 & turn.
Row 11. dec1sc, 1sc, dec1sc, ch1 & turn.
Row 12. dec1sc, 1sc, ch1 & turn.
Row 13. dec1sc and FO.=
After I was done making all my bunnies I noticed that they didn't lay flat...so I cut-out some plastic canvas and sewed it to the backs of each bunny.
To make the Carrots: with Orange Yarn & D Hook
Row 1. 2sc in 2nd ch from the hook, ch1& turn.
Row 1. 1sc in 2, ch1 & turn.
Row 3. 2sc in 2sts, ch1 & turn.
Row 4. 1sc in 4sts, ch1 & turn.
Row 5. repeat row 4
Row 6. 2sc, 1sc in 2, 2sc, ch1 & turn.
Row 7. 1sc in 6sts, ch1 & turn.
Row 8. repeat row 7
Row 9. 2sc, 1sc in 4, 2sc, ch1 & turn.
Row 10. 1sc in 8sts, ch1 & turn.
Row 11. repeat row 11
Row 12. 2sc, 1sc in 6, 2sc, ch1 & turn.
Row 13. 1sc in 10sts, ch1 & turn.
Row 14. dec1sc 5x, ch1 7 turn.
Row 15. dec1sc 2x, slst in the last st and FO.
With a tapestry needle add glowworm yarn to make stems. I made my carrots all different sizes...so play around with them.
Pippa the Purple Bunny Doll Pattern©
All for Only $2.99 Instant Digital Download: 1 PDF included
Kelli Darcy Devon Doll Ensemble Pattern©
"He's the Fastest Carrot in the West"
Includes clothing & they are 18 & 20" Tall. All for Only $2.99
Instant Digital Download: 1 PDF included


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Budget- Figure out what you have to spend, and stick to it.
Expectations- Listen to her. Try to understand her expectations (her needs and wants) so you will have a feel for what to pick out.Savvy- Become savvy! Know what any given diamond should cost and what the best qualities are to wear. Knowledge is power. You will never win the race without training.
Timetable- Figure out when you want to give it to her and do not rush. Haste makes waste. Give yourself enough time to study up, shop around, and plan the perfect proposal!
The Proposal....."On the Radio"
Ron called the evening DJ at the radio station he and Sarah always listened to and enlisted his collaboration. Saturday evening, as Ron and Sarah were in the car, heading for dinner at their favorite French restaurant- Le Bernardin, 155 W 51st St, Manhattan, NYC, the DJ began playing the pre-recorded interview he'd done with Ron. On the tape, Ron is telling the DJ about his wonderful girlfriend, and the story of how they met, and everything about her...Sarah gradually realizes that story sounds familiar. Then she realizes it's Ron's voice she's hearing on the radio!
Ron continues driving, grinning from ear to ear as Sarah listens in astonishment. Finally, over the radio, Ron's voice says, "Sarah, open the glove compartment." she does, and finds a ring box. "Open it," Ron's voice commands. Inside is a beautiful diamond ring. :)
Finally, Ron's voice comes over the radio, she hears the magic words, "Sarah, will you marry me?"


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Caption This. (Bieber Alert!)Caption This. (Bieber Alert!)
I have been staring at his photo for hours and i don't really see anything wrong about it.
This week, the photo of Justin Bieber's driver's license has circled the net and has fallen prey to people's ridicule. I can't find anything funny about his forehead. I dunno, maybe I'm just blind or something.
Do you find anything unusual about this pic?
If so, caption this.
Well, whatchathink?
photo credits: getty


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The reference intervals provided by our laboratory were established in our laboratory from healthy animals, using our own equipment with specific methods and reagents. Because results are analyzer-, method- and reagent- dependent, these intervals are only valid for results from our laboratory. We have reference intervals for hematology and chemistry for dogs, cats, horses, cattle, goats and alpacas. We have blood gas and electrolyte ranges for dogs, cats, horses and cattle only. For species without established reference intervals, you should refer to general publications and textbooks as a guideline only. With many of our tests, (eg, immunology) we use the manufactures' intervals, or do not provide intervals, however, we usually provide guidelines for interpretation.
We establish reference intervals by collecting blood from at least 50 adult healthy animals. These healthy animals are obtained from a variety of sources (eg, student- or faculty-owned). Therefore, our reference intervals are only applicable for adult animals and not young animals. Results from young animals may fall outside our reference intervals because of age-dependent changes in their analytes. For example, phosphate concentrations and alkaline phosphatase activity are higher in young animals and decrease to within reference intervals at about one year of age. Foals and calves have microcytic erythrocytes until one year of age. Hematocrits are lower and lymphocyte counts are higher in puppies and kittens under four months of age. Similarly, immunoglobin concentrations are lower in animals under one year of age.
We establish reference intervals using one of 2 techniques, based on the distribution of the data:
With either technique, the resulting interval then will include 95% of normal samples. As a result, up to 5% of normal animals may have values that fall slightly outside (above or below) the reference intervals for a given test. When numerous tests are run on the same animal, the chances of obtaining one or more slightly "abnormal" results on an animal that actually is normal rises (p = 1 - 0.95n). For 12 tests, p = 0.46; for 21 tests, p = 0.66.


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Hello! :)
Iron Scrapper Week 2 is here! Iron Scrapper is a month long of fun events and challenges and the possibility of winning some really awesome prizes! Want more info? Check out our forum HERE!
I have some new goodies for you this week! Wide Open Sea is a fun kit, perfect for documenting all those beach and water fun photos! If you are participating in Iron Scrapper this kit is eligible for the WEEK 2 FRESH FRUIT challenge, which will be posted on Friday!
As usual, all new products are 20% and you can take an additional 10% off (reaching a total of 30% OFF in addition to the free alphas) by using coupon code
(*Please note that this coupon applies to Red Ivy Design FRESH FRUIT products ONLY, expires on July 16th and may not work with other promotions).
Here is a closer look:
Iron Scrapper 2015 is paying tribute to music over the decades. Week 2 is dedicated to the 60's & 70's music and I created these two coordinating mini kits. They are only $2.50 and if you purchase 4 mini kits or more from the Iron Scrapper category, you will save 50% off!
If you haven't already, there are a few more hours left to pick up last week's release - "Proud" at a discounted price + free-with-purchase alphas! (If you are participating in this year's Iron Scrapper please note that this kit is not longer eligible for the Fresh Fruit Week 2 challenge points)
Have a great day!
Alice :)


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Found 1 results in 2 milliseconds.
Meet us
14 February, 16 February, 17 February, 20 February, 22 February, 24 February
We are pleased to announce that Audencia Business School's admissions counsellors will be in Mexico this month. This is a great opportunity to meet us and get first-hand information on admission


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Things To Do
Top 4 places of interest in the town of Chakrata
With green valleys and thick timber lands of conifers, rhododendrons and oaks, Chakrata is a perfect retreat from city life. Excellent scenes pull in nature beaus, trekkers, bird watchers and wildlife enthusiasts from all around to investigate the little hill station resort. The town was before known as Jaunsar Bawar, a little village of Jaunsari tribe. Jaunsar Bawar included two areas, Jaunsar, the lower half, while the snow-clad upper locale was called Bawar. This was a favorite summer destination since the time of the British rule. Mentioned below are some of the places to visit in Chakrata.
Chirmiri Neck
Chirmiri Neck is thought to be one of the real attractions in the area, which is known for the quarters and chaos of military cantonment. There are rich green grounds and thick backwoods around this cantonment. Shifted flying creatures and butterflies are found in this district. Excellence of the encompassing territories of Swargarohini Peak and the Bandarpunch Massif can be seen from this site.
Deoban is arranged in the sloping territories of Chakrata and gives a lovely perspective of the Himalayan mountain range. This spot is arranged at a tallness of 2,200 m over the ocean level and is encompassed by dim and thick deodar backwoods. There are a few creatures and fowls in these thick backwoods, including green sponsored tit, white nabbed blackbirds and Himalayan woodpeckers. The woodland additionally comprises of deodar oak and rhododendron trees alongside various assortments of vegetation.
Tiger Falls
Tiger Falls, one of the fundamental attractions of Chakrata, can be come to by trekking. It is likewise one of the most noteworthy waterfalls in India, at a rise of 312 ft over the ocean level. This is a celebrated outing spot which is situated in the scenery of dull green woody trees. It can be come to by trekking for 5 km from Chakrata. The trekking course takes the voyagers through the thick timberlands having rhododendron and oak trees. Tiger Falls streams down from a high mountain and gathers into a little lake beneath.
Ram Tal Horticultural Garden
Ram Tal Horticultural Garden is one of the celebrated vacationer destinations in Chakrata, and has assortments of widely varied vegetation. This patio nursery likewise incorporates diverse sorts of lichen, greeneries, climbers, conifers, woody trees and plants. A percentage of the well known winged animals in this patio nursery are oriental turtle dove, dark treepie and dark headed jay. It additionally has an apple plantation and a little lake.


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Domestic engineer. Dreamer. And quite possibly certifiable.
An international bestselling author, R.E. Hargrave lives on the outskirts of Dallas, TX, where, together with her high school sweetheart, she is raising three children. She has always been an avid reader, a sometimes quilter, and now, is chasing her dream as a writer.
Along with her other hobbies, including cooking, gardening, and a love of music, Hargrave often finds inspiration in the smallest things. When in creation mode, she is fond of setting her stories—which range from the sweet to the paranormal, to the erotic and horrific, but almost always come with romance—on location in South Carolina and Texas.
Hargrave is best known for her erotic BDSM series, The Divine Trilogy. The final book in the trilogy, Surreal, was a 2015 Golden Flogger Award Finalist with BDSM Writer's Con.
You can find her on her blog: http://www.rehargrave.com
On Facebook: https://www.facebook.com/REHargrave
On Twitter: https://twitter.com/REHargrave
*Thank you to ALL the readers in the USA, Australia, and Canada who put PINK: Hot n' Sexy For a Cure on the international best seller's list. #Books4Boobies2015


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No pink party would be complete without a pretty pink treat. We got together with Liz Long from Luscious Affairs as she showed us how to dip and dunk our way to these pretty pink lamingtons. Whether your hosting a baby shower or little girls birthday, these bite-sized beauties will be the perfect addition to your pink party table.
What you need:
2 cups self-raising flour
500ml vegetable oil
500g castor sugar
600g plain flour plain
20g baking powder
1tsp salt
7 eggs
500g sour cream
20ml vanilla essence
For the pink dipping sauce:
1 packet of raspberry jelly
2 cups desicated coconut
How to:
Cream the vegetable oil and sugar
Add eggs one by one, then add sour cream
Sieve flour, baking powder and salt in a separate bowl
Add to wet mix, then add vanilla essence and stir well
Pour mixture into greased and lined lamington tin
Bake in oven for 25 – 30 mins.
Let cool completely before cutting into squares.
Dip and dunk:
In a bowl, combine raspberry sugar crystals and hot water to make the jelly, slowly adding the hot water whilst whisking into a smooth, runny liquid.
Allow the jelly to cool completely, but not set.
Put the desicated coconut in a separate bowl.
Dip the vanilla cake squares into the sauce, drain on a rack for a minute then toss through the coconut, covering all sides.
Allow to set in the fridge.
Recipe: Luscious Affairs
Photography by: My Little Tribe


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Maximum Movie Review
Director: Kabeer Kaushik
Producer(s): Vainteya Films
Writer(s): Kabeer Kaushik
Cast: Sonu Sood, Naseeruddin Shah, Vinay Pathak, Amit Sadh, Mohan Agashe, Neha Dhupia, Swanand Kirkire, Rajendra Gupta
Music: Amjad Nadeem, Devi Shri Prasad
Rating: * * *
Plot: Encounter specialist Pratap Pandit (Sonu Sood) has climbed the ladder of success much quicker than his senior counterpart Arun Inamdar (Naseeruddin Shah). This has ignited a fire of jealousy inside Inamdar who starts using unfair tactics, including the misuse of people in power, to bring Pandit's successful world crashing down. Who will bite the dust in the end? It is said that the film is based on a true story of encounter cop Pradeep Sharma.
Review: Director Kabeer Kaushik made a successful debut with his well written, engaging cop drama Sehar (2005). Maximum, his second venture also does justice to the same genre. But unlike his debut flick, this one turns out to be only for the admirers of the serious cinema courtesy a slow narrative and a lack of commercial value.
Kaushik has given a lot of onus on realism with respect to the conversation between the characters and live locations. Deliberately the sub plots are kept incomplete on few occasions without proper focus in the narrative. This works well in presenting a real-to-life picture but it will surely put-off the entertainment-hungry crowd. Naseeruddin Shah's entry surely adds more life to the proceedings.
Thankfully, the rivalry between the two cops isn't highlighted with this use of those clichéd dialogues where one character tries to rubbish off the other. Instead, it is nicely woven in the narrative. The proceedings are interrupted due to the forced item number 'Aa Ante Amlapuram'. But the interval point nicely takes the story forward.
The post-interval portion has a good number of interesting incidents but after a point of time, the narrative becomes dreary. A number of scenes having some unnecessary dry discussions between few characters are largely responsible for this. But lastly, the way the final twist is presented is deceiving even though it doesn't appear surprising. This leads on to a climax which, although not impressive, is quite descent. But one has to say that the plot could have used better in creating more thrill and drama.
Due to the nature of the subject, there isn't any scope for songs. 'Aa Ante Amlapuram' is the only track that is actually used from the album. But it would have been better if the original south Indian song had been retained as the lyrics of the Hindi version appear juvenile. Krishna Ramanan's camerawork suits the nature of the flick. The live location scenes, mostly involving local trains, are well shot. A particular background tune (Daniel B George) which appears throughout the film adds good effect to the narrative. The editing (Lionel Fernandes) is simple.
With this performance, Sonu Sood yet again proves his acting prowess. He lives the character of a tough cop perfectly with proper dialogue delivery and portrayal of different emotions. Naseeruddin Shah gives an honest performance. Although his fans would expect him to be more expressive but the nature of his character was such that he had to speak more through the eyes and expressions. Vinay Pathak gives an earnest performance as a north Indian politician.
Amit Sadh, in the role of a journalist, surprises with a mature act. He deserves more films. Neha Dhupia does well but her character doesn't have much to do except mouth those age-old lines expected from a middle class Indian housewife. Mohan Agashe leaves a mark while Arya Babbar is strictly okay. Lyricist Swanand Kirkire makes his acting debut and surprisingly does well! The supporting cast including Rajendra Gupta, Murli Sharma, Ujjwal Chopra are likable.
Overall, Maximum is an interesting cop drama but the treatment makes it watchable only for a niche section of the audience. This fact coupled with a very low publicity makes sure it has no chance at the box-office.
Maximum (Hindi Movie) Box-Office Prediction
Director: Kabeer Kaushik
Producer(s): Vainteya Films
Writer(s): Kabeer Kaushik
Cast: Sonu Sood, Naseeruddin Shah, Vinay Pathak, Amit Sadh, Mohan Agashe, Neha Dhupia, Swanand Kirkire, Rajendra Gupta
Music: Amjad Nadeem, Devi Shri Prasad
Star Value: Maximum is blessed by some quality performers like Naseeruddin Shah, Sonu Sood and Vinay Pathak. However, there is no star value as these actors don't have the capacity to draw audiences to theatres.
Hype: There is just no hype for the movie as promos have not managed to impress that much. The way they have been crafted might be the reason for it not making heads turn. The makers have failed to promote and market the movie properly.
Music: The scope for music isn't much in such films. The item number 'Aa Ante Amlapuram' is somewhat known but it has not impressed the audience.
Maximum will get a low opening at the box-office. Even if the film manages to impress a lot initially, it won't have much effect on its performance. With Rohit Shetty's Bol Bachchan releasing next Friday, it looks like Kabeer Kaushik's cop drama might be a one-week wonder.
The Amazing Spider-Man Box-Office Prediction (India)
Star Value: Andrew Garfield and Emma Stone aren't considered stars in India. However, it's the character of Spider-Man that is the real star capable of pulling audience to the theatres. And due to Irrfan Khan's presence, there is an added interest in the movie in India.
Hype: The first promo of the film created tremendous hype for the film when it released. From then, the excitement for the movie has just increased. Irrfan's presence has also helped in creating the hype.
Music: Being a Hollywood film and that too of a superhero genre, there is no scope for music. But anyways, such films don't need music for becoming popular.
Considering the box-office scenario of Hollywood films in India, The Amazing Spiderman will surely get a very good opening. Dubbed in Hindi and some regional languages, this is the first Hollywood film to open with over 1000 screens across India. If the movie generates positive response initially, the decision will turn out to be a killer. However, its collections might drop after a week when Rohit Shetty's comic caper Bol Bachchan releases.
Will Jindal become next Kasab?
As expected, Pakistan has denied terrorist Abu Jindal, who was captured by India from Saudi Arabia for masterminding the 26/11 attacks, to be a national of their country and have even rubbished off all the proofs that India has against him. BJP leader Yashwant Sinha rightly said that even if you feed proofs in Pakistan's mouth, still they will not accept it.
What is more surprising is the way Pakistan keeps on denying all terror evidences that India provides against their countrymen while our government fails to do much. For a long time, they even denied Ajmal Kasab being from Pakistan. As this is been happening since years, can't we resort to some stricter methods while dealing with Pakistan when it comes to terrorism? But all we get is some spineless statements, mostly from our Prime Minister Manmohan Singh, who has become a master in it over the years.
But the bigger question is – Even if Jindal is proven guilty, will he ever be punished? His dear friend and co-terrorist Kasab was seen carrying out terrorist activities by everyone and was even proved guilty but instead of punishing him ASAP, we have been showering crores of rupees (from the taxpayers' pockets) on him as if he is India's special guest.
Last year the US entered Pakistan by hook or by crook and killed the person who attacked their country – Osama Bin Laden. On the other hand, we have not been able to do any harm to Kasab despite him being in our custody! Looking at our governments indifference and, I dare to say, pro-terror attitude, I won't be surprised if Jindal becomes India's yet another special guest after Kasab, even if it indirectly means mocking the 26/11 victims and the people of India!
(This post is against terrorists from Pakistan and the government of that country. I have respect for the common people of Pakistan, some of whom are also my internet friends.)
Mantralaya Fire: How prepared are we for emergencies?
Apart from the inability of the fire department to combat the Mantralaya fire, we have also been criticizing the authorities for not training their staff to cope with the emergency. But the big question is – Have we – professionals working in various sectors – ever received any training in our organizations to deal with such emergencies? In other words – How many organizations regularly train their staff for such disasters?
After the shamefully tragic incident of the fire, I recalled in the offices I have worked so far, I have never been trained for such a thing. In fact, I can't even recall anyone even mentioning an emergency like a fire breakout. I even asked some of my friends (mostly working in private sectors) whether they have received any such training. Strangely, all answered in the negative except a friend who works in a bank.
(Article continued after picture.)
It seems we don't consider it important since incidents like a fire rarely occur. This is quite understandable as we are only concerned about finishing our tasks before deadlines. But one should remember that at the end of the day, staying alive is the most important thing.
In a city like Mumbai, hundreds of commercial complexes are crammed with thousands of offices. A thought of a serious fire breaking out in these complexes sounds scary considering thousands of untrained staff having no idea how to cope up!
It's high time we consider the Mantralaya fire as a wake-up call and start mock drills. Let's not wait for more fires to erupt!
Gangs Of Wasseypur Review
Director: Anurag Kashyap
Producer(s): Viacom 18 Motion Pictures
Writer(s): Zeishan Quadri, Sachin Ladia and Anurag Kashyap
Cast: Manoj Bajpayee, Piyush Mishra, Richa Chadda, Reema Sen, Jaideep Ahlawat, Piyush Mishra, Nawazuddin Siddiqui, Huma Qureshi
Music: Sneha Khanwalkar
Rating: * * ½
Plot: Set in the lawless land of Wasseypur in Dhanbad, the film narrates the tale of Sardar Khan (Manoj Bajpayee) who is hell-bent to avenge his father Shahid Khan's (Jaideep Ahlawat) death. Shahid was killed by Ramadhir Singh (Tigmanshu Dhulia) in a battle to lead the coal mafia.
Review: Anurag Kashyap started the genre of unconventionally dark films in Bollywood. Irrespective of whether his films score at the box office, he has always been adamant in sticking to the genre. His latest offering Gangs Of Wasseypur follows the legacy of typical Kashyap films. Its promos triggered high expectations. But thanks to the off-track writing and the filmmaker's desperate attempt to showcase his unusual style, the final product turns out to be an average fair with few wonderfully conceived moments and great performances.
The director and the writer should be lauded though for some creatively intelligent scenes in the first half. The idea of jumping to the flashback after the initial encounter works very well. A good foundation is laid by the way the story and the warring saga between Sardar Khan and Ramadhir Singh are built up. Some historical events are also smartly woven in the tale. Manoj Bajpayee's entry adds fuel to the proceedings for it gives rise to a good number of thrilling as well as dark humorous moments. Despite some dullness, the first half provides descent satisfaction.
The post-interval portion maintains stability but soon loses focus. A number of sub-plots and too many characters create complication as well as confusion since they have nothing or very little to do with the main story. In addition, Kashyap's over-indulgence of his unconventional style further hampers the narration. Obviously, this makes the film painfully lengthy. Although the climax creates some excitement for the second part of the movie, it is not entirely convincing.
But it is difficult to understand why a simple revenge saga needs to be told in five hours (this movie plus it's sequel)? Considering that the second half of GOW Part 1 has hardly any story to tell, it looks like an adamant decision.
It is necessary to mention that the film is not for the fainthearted. The violence and gore presented is rarely seen before in an Indian film. This can be disturbing and depressing for many, especially since it is used unnecessarily at times.
Sneha Khanwalkar's music fits the nature of the film perfectly although there was no need for these many songs. 'Keh Ke Loonga' and 'Womaniya' are the tracks that go well with the narration and bring a smile. Cinematography (Rajeev Ravi) is flawless except in few portions where the hand-held camera gives a documentary-like feel. Editing (Shweta Venkat Matthew) should have been tighter. The witty dialogues and the background score deserve special mention for they keep you engrossed when the script is going haywire.
It can be said that Gangs Of Wasseypur is Manoj Bajpayee's return to the big league. He brilliantly carries the film on his shoulders as he plays an unusual character in an applaud-worthy manner. Easily one of his best acts till date! But it is Tigmanshu Dhulia who turns out to be the surprise element. The filmmaker, who is making his acting debut, gives a thoroughly mature performance as Ramadhir Singh. He should surely continue acting! Richa Chadda's amazing act will prove to be a turning point in her career.
Piyush Mishra portrays his flawless acting skills. Reemma Sen showcases the oomph that was necessary and provides a descent act. With a realistically mature performance, Nawazuddin Siddiqui once again proves he is one of the finest young character actors currently. Due to his powerful act, Jaideep Ahlawat is remembered despite the small length of his character. The rest of the supporting actors (Mukesh Chhabra, Rajkumar Yadav, Jameel Khan, Vipin Sharma, Zeishan Quadri and many more!) play their parts with perfection.
Overall, despite being high on performance, Gangs Of Wasseypur suffers from over-indulgence. At the box-office, the film has a chance at the urban metros mostly.
Wanna get noticed? Start abusing!
Music is something which is considered sacred or divine, especially in the context of Indian culture. Judging by the kind of effect music has on our minds, it can be said that listening to music is a spiritual activity. Needless to say that due to this, like all art forms, music should also be respected. So, when this sacred art form is reduced to a medium of hurling abuses, it becomes disturbing. Very disturbing!
Although songs like 'Ishq Kameena' (Shakti – The Power) erupted long time back, there wasn't really a threat of such songs becoming a fad. Even the abuses used in it weren't eyebrow-raising.
But the recent development in the abusive genre of songs has left me wondering as to where the hell are we heading! Last year, there came 'D K Bose' where the lyricist smartly got away saying that it is just a name! But even a half-intelligent individual can easily guess from the way the name is repeated that the intention was to repeat a foul word again and again. But still, I thought such instances won't happen regularly.
However, just a couple of days back, a friend of mine gave me a link of the 'Hunter' song from Gangs Of Wasseypur. The high level of double meaning behind the lyrics raised a doubt in my mind as to how our so-called Censor Board allowed the song to pass! But there was more shock in store.
I had barely finished thinking about the 'Hunter' song when the makers of the movie Jeena Hai Toh Thok Daal released the promotional song of their movie called… hold your breath… 'Mooh Mein Le'!!! Not just that; the lyrics of the whole song are violently sexist! Now, I started wondering whether there is any Censor Board?
Unable to react much after listening to it, the only question that popped in my mind was how further low these filmmakers can stoop to get their film noticed by polluting music with foul language! Is there any level left? Well, your response and reaction to it will determine that. If the audience continues to welcome such songs like they welcomed 'D K Bose', be ready for further pollution of music!
Listen to the songs 'Mooh Mein Le' and 'Hunter':
Teri Meri Kahaani Box-Office Prediction
Director: Kunal Kohli
Producer(s): Kunal Kohli Productions, Eros International
Writer(s): Kunal Kohli (Story, Screenplay and Dialogues) and Robin Bhatt (Screenplay)
Cast: Shahid Kapoor, Priyanka Chopra, Neha Sharma, Prachi Desai
Music: Sajid-Wajid
Release Date: June 22, 2012
Star Value: Despite acting in some successful films and being a young heartthrob, Shahid Kapoor's star power has somewhat decreased due to the failure of his last few films. Priyanka Chopra on the other hand is one of the most successful and admired young actresses currently. Since both young actors are cast opposite each other after their alleged real-life break-up, the star value of Teri Meri Kahaani is high.
Hype: The promos of the movie have garnered just an average response. And despite a large number of promotional activities, the hype is not as high as expected. This is very surprising for a Shahid-Priyanka starrer.
Music: Although the film has some decent numbers like 'Mukhtasar' and 'Humse Pyar Kar Le Tu', the music of the movie hasn't become that famous.
Teri Meri Kahaani will get an average opening, which is surely below expectations. It is very important for the movie to get a very positive initial response if it has to be a winner at the box-office. If it doesn't, no need to mention its fate. It will also face a firm opposition from Gangs Of Wasseypur, which has managed some pre-release excitement.
Gangs Of Wasseypur Box-Office Prediction
Director: Anurag Kashyap
Producer(s): Viacom 18 Motion Pictures
Writer(s): Zeishan Quadri, Sachin Ladia and Anurag Kashyap
Cast: Manoj Bajpayee, Nawazuddin Siddiqui, Piyush Mishra, Reema Sen, Jaideep Ahlawat, Richa Chadda
Music: Sneha Khanwalkar
Release Date: June 22, 2012
Star Value: Although Manoj Bajpayee is remarkable performer, he isn't the kind of a star who could pull audience to theatrse. Considering the rest of the cast, we can say the star value for Gangs Of Wasseypur is low.
Hype: The quirky promo with witty humour has been appreciated by the audience. The makers have done well in promotions and marketing. This has created good hype for the movie.
Music: Unusually rebellious songs like 'Jiya Tu', 'Womaniya' and 'Hunter' have managed to impress and have helped in publicizing the film.
Gangs Of Wasseypur will surely get a descent to good opening. If the film manages to impress initially, it will once again bring Manoj Bajpayee in the big league. It has a chance at metros as well as small centers. It will face some opposition from Teri Meri Kahaani but that won't bother the producers much as there is not much hype for the Shahid Kapoor and Priyanka Chopra starrer.
An institute running since 4500 years?
Over the last few years, it is noticeable how education has become a shoddy business in India. With these coaching classes and the so-called international schools charging a bomb, it has become clear that the primary motto of these institutes is only money! This is proved further when one notices the business-like manner in which they function as well as behave.
Naturally, to make huge bucks, these institutes do everything to attract consumers by making huge claims in their advertisements. But one coaching class ad which I came across today jerked me out of my chair. In the ad, (on the front page of a leading daily) the institute has actually made fun of itself by a claim which cannot be described in words. What else would you say when they claim to have '4500 years of teaching experience'?
Yes, you read it right (see picture below). In the rat race to acquire maximum number of students, are they trying to prove that they are running these classes ever since humans came into existence?
As I have never seen such a thing before, I decided to call them up. Here's the audio recording of my chat with them: -
And this is the transcription of my chat:-
Me: Today I saw your ad in a newspaper where you have claimed to have more than 4500 years of teaching experience. How is this possible?
Executive: This is possible because there are more than 200 teachers in our institute for the commerce stream. If we total up their teaching experience, it goes up to 45000 (!!!).
(The executive went far ahead than the ad by mistakenly mentioning 45000 instead of 4500.)
Me: But if you mention in this way without any explanation, one might feel your institute is running since the era of Mahabharata.
Executive: Do you have any other query?
Me: No. My query was only about your ad as it has becoming a laughing stock.
Executive: We are just paid for our work. (Said something that sounded like this.)
While all this sounds very funny, it's sad to see the difference between education institutes and publicity-hungry film stars reducing.