text:
This is FRESH AIR. I'm Terry Gross. Tomorrow night, the PBS series "Great Performances," features a tribute to two stars of the Yiddish theater, Boris and Bessie Thomashefsky. It was written and stars their grandson, conductor Michael Tilson Thomas, the music director of the San Francisco Symphony. The tribute features music, readings, archival film clips and photos, and Michael Tilson Thomas's personal memories of his grandmother.
In the show, Thomas conducts the New World Symphony, which he founded. The Thomashefskys were pioneers of the Yiddish theater. Boris was a producer. He built theaters and he and Bessie starred in productions of new plays and new musicals, as well as classic plays translated into Yiddish. Boris did the first Yiddish production of "Hamlet." When he died in 1933, 30,000 people gathered on the Lower East Side of Manhattan for his funeral.
Boris and Bessie each immigrated to America from the Ukraine in the 1880s. Before we talk with Michael Tilson Thomas, let's hear an archival recording of Boris Thomashefsky singing a song he did in the film "Bar Mitzvah."
BORIS THOMASHEFSKY: (Siniging in foreign language)
GROSS: So that's Boris Thomashefsky, the star of the Yiddish stage, who was the late grandfather of my guest, conductor Michael Tilson Thomas.
Michael Tilson Thomas, welcome back to FRESH AIR.
MICHAEL TILSON THOMAS: Thank you. Pleasure.
GROSS: So your grandfather sang in synagogues in the Ukraine and on the Lower East Side of Manhattan before singing on the stage. Do you think he was influenced as a singer by the cantorial tradition?
THOMAS: Very much so because in Boris's family all my great-great-grandfathers had been mostly khazns, cantors, except the ones who had become instead badchens, that's to say a kind of village entertainers, people who would get up at a chair at a wedding and sing a song which was completely appropriate to the occasion, which was expected on that occasion. And yet, it would have improvised lyrics, little outtakes that made it completely individual to that night. So there was that sacred and profane division always in the family. And Boris's father, who already had a kind of wandering spirit - as it was called - nonetheless, sent Boris to the best cantorial school in Russia in Berdichev where he became a star.
GROSS: The role of the Yiddish theater was very important for Jewish immigrants in the United States, many of whom spoke only Yiddish. And so they couldn't read the regular newspapers. A lot of the English language theater would not have literal meaning to them, because they wouldn't understand the language. So the Yiddish stage, I mean that was a really important - particularly in New York - a really important place for gathering and for doing anything cultural.
THOMAS: Well, absolutely. But, of course, there were very many Yiddish newspapers in New York and Philadelphia and Chicago and all these major cities at that time. But for the audience to go to the theater to experience a show, especially a show which was very often in my grandfather's case a kind of spectacle, gave them a sense of the importance, the sheer scale of what was achievable by an immigrant in the United States. It inspired them. Old ladies have come up to me on the street and said we were kids, we had nothing but once a week or once a month we went to the theater and we saw the red velvet curtains with the name Thomashefsky in large gold letters. And we thought if that's possible for him to do then it's possible for us to do.
GROSS: The name Thomashefsky is such a famous name in the world of theater and in the world of Yiddish theater. I grew up knowing that name. I knew that there were Thomashefskys were famous performers on the Yiddish stage but that's about all I knew. Your last name is Thomas, which is an abbreviated version of Thomashefsky. How did Thomashefsky become Thomas?
THOMAS: It really started with my father, who was trying to make his own way in life in the theater, and he simply was unable to do that. Everywhere that he went, he would mention his last name and right away, it was, oh, you're Boris Thomashefsky's son. And therefore, he didn't want that. He just wanted to be able to find his own way in life and in the theater. So he was the one who changed his name initially to Ted Thomas. And, quite frankly, he also wanted to escape from that whole crazed celebrity situation which my grandparents inspired, and I think he also wanted to protect me from that. Because there were crazed fans, is the only way of describing, there were stalker kinds of people who were pursuing my grandparents and their children and with the same kind of ardor that we're accustomed to thinking of crazy paparazzi or fans pursuing stars today.
GROSS: Were you aware of that when you were growing up? Your grandfather was dead but your grandmother lived until you were 16 or 17, and she lived nearby and I think you were pretty close to her. Did you get a sense of people stalking her? Or was it like way too late for that because she was already in her 70s?
THOMAS: Well, she had also moved out to LA. And one of the reasons for doing that outside of getting some character parts in movies she hoped for, was that she wanted to get away from the whole scene in New York - a town, as she said, with too many ghosts.
But when I really became aware of the shadow of Boris for the first time was when I went back East when I was perhaps 11 or 12 and I was going to a lot of shows, stage manager cousins of mine, because so many members of the family were still in the business in show business, not necessarily as actors on stage, but in everything having to do with the behind the scenes life. And we used to go to just one scene in every play so theater people they say oh, kid, the good scene to see, the Luntz act two finale is good. Eddie Foy's joke in the second scene of the first act is good, you know, so that kind of stuff.
But there was this one show, "My Fair Lady," and everybody was talking about it and I thought I'd like to see it. My mother said don't ask cousin Georgie to get you into that show. It's the hardest ticket to get and just don't be a monster. So, of course, when I saw him I immediately said, could we see "My Fair Lady?" We went to the theater. People were lined up around the block to hopefully get some returns and he went over to the stage door, knocked and said hey, is Izzie around? And Izzie, the company manager, came out and my cousin indicated me and said hey, Izzie, see this kid, Boris Thomashefsky's grandson. Two minutes later we were in row five right in the center of that theater.
GROSS: My guest is conductor Michael Tilson Thomas. His tribute to his grandparents, Boris and Bessie Thomashefsky, will be shown tomorrow night on the PBS series "Great Performances." We'll talk more after a break. This is FRESH AIR.
GROSS: Let's get back to our interview with conductor Michael Tilson Thomas, music director of the San Francisco Symphony. He conducts the New World Symphony in his tribute to his grandparents Boris and Bessie Thomashefsky, who were stars of the Yiddish theater, it will be shown tomorrow night on the PBS series "Great Performances."
Although your grandfather died before you were born, you got to know your grandmother, Bessie Thomashefsky, pretty well. And tell us about the kind of parts that she played in the Yiddish theater.
THOMAS: Bessie started out as a young girl, she was about five when she arrived to the United States from the Ukraine and she met Boris, kind of eloped with him when she was a young teenager and 14, 15 years old and she began finding her way in the theater, first playing kind of innocent young girl roles. But as time went on, she also discovered her enormous abilities as a comedian and she very often played trouser parts or parts involving women being disguised as men for particular political or educational, social purposes. A little bit like what the story of "Yentl" is, right?
GROSS: Mm-hmm.
THOMAS: So Bessie did a lot of plays like that, where a woman disguises herself as a man in order to gain the advantages of education or whatever that a man can have.
GROSS: What did she tell you about women's rights and the disparities facing women when she was young?
THOMAS: Well, she went from being a little girl in a village that was asked to bring in the goats and do other domestic chores to working in a tobacco factory in Baltimore and then suddenly finding herself on stage as a star pretty quickly. But she went beyond that. She wanted to know everything about the structure of the theater and she became a very effective producer and manager and someone who paid far more attention to the whole business and organization aspect of the theater than my grandfather did, who was the kind of big dreamer and partier. And that was so unusual for a woman of those days.
I have some correspondence of hers where she's writing to some people who put into an ad in some big paper that she was going to be a part of some season they were doing. And she writes to them saying that she absolutely has not agreed to do this and these are the conditions which they must immediately fulfill in order for this to happen. It's really very tough and straight talk. And there's a lot of stuff about her I didn't have room for in the show, remarkable things, like when she was arrested by Theodore Roosevelt.
This happened in this way, in New York there were blue laws at the time, meaning that performances were forbidden on Sunday. But, of course, in the Yiddish theater Sunday was a very big day because Saturday was the Sabbath. So they played on Sunday and at one point when TR was police commissioner of New York, he and some of his men raided one of the Thomashefsky's theaters. And he came in, he saw Bessie who was very young and who looked much younger than she was always, and he said look out, little girl. And she said, little girl, my ass. I'm the star here. If anybody's been taken in, it's me.
GROSS: That's so funny. So she got arrested?
THOMAS: She did. That's exactly the way she told me the story. Little...
GROSS: Like she insisted on getting arrested.
THOMAS: Yeah. She was going to be in the center of it. And I mean women's rights, feminism was a very big part of the Yiddish theater, but along with a lot of other social issues. I mean the Yiddish theater plays, even the so-called shunts, sort of low, every day plays were about issues like women's rights, like about labor, capital and labor, child labor, about degrees of religious observance, about the whole issue of assimilation, about reproductive rights of women, and also a lot about the language. Are we going to speak Yiddish? Are we going to speak English? What language at home? What language in the rest of the world? And what about the much larger issue, which is how can it be that somebody who was such a big shot in the old country became a nobody in America, and some little schlemiel from nowhere in a tiny village has suddenly in the United States become such a macher, such a big shot, and what does an immigrant pool of people do to understand where now is honor? Where is tradition?
GROSS: So I want to play now a record by your grandmother, the late Bessie Thomashefsky, singing a song. And I'm going to have you introduced it. This is actually from a DVD outtake from your show. So tell us about this song and when you think it was recorded.
THOMAS: This is a little introduction to a song called "Minka's Monologue," one of Bessie's most famous parts in which she's playing a girl from a little village who has come to United States and is on the eve of a huge adventure, a "Pygmalion"-like experiment in which she will be elevated from her lowly parlor maid status to be so lady of the house.
GROSS: OK. So this is Bessie Thomashefsky recorded approximately when?
THOMAS: 1920-something.
GROSS: Wow. OK. Here we go.
BESSIE THOMASHEFSKY: (Singing in foreign language)
GROSS: So that was the late Bessie Thomashefsky singing in Yiddish and she and Boris Thomashefsky are the late grandparents of my guest, conductor Michael Tilson Thomas and he has a show about them, which is about to be shown on public television on March 29th and the show is called "The Thomashefskys: Music and Memories of a Life in the Yiddish Theater."
So what kind of music did your grandmother introduce you to?
THOMAS: I was lucky enough to hear her deliver a lot of her biggest numbers right there in our living room since she would arrive every weekend to our house and we would put on a little show together which I could accompany her in some of her songs and she would do recitations and we did little scenes together.
So, although it was my parents fondest hope that I would become some kind of scientist or mathematician, I realized that she was already getting me into the whole theater experience right there at home.
GROSS: That's really interesting. You know, one of the things she says – one of the things you describe her having said to you when you were young: You're more like me than your parents are. They're more conventional and you have more of a – what'd she say? Like a creative spirit or something.
THOMAS: Yeah, she said: Your parents are very lovely people but terribly conventional. You're like me; you're an adventurer. You'll have to prove something.
GROSS: Did you take that to heart?
THOMAS: I paid attention to it. I didn't know quite what it meant and as I listened to her tell all these stories from her life from her childhood through her stardom, and then even her reflections on the way fashion has changed and the way she was, in her late life, a quite lonely person, I took it all in.
And what I kind of understood from her was that it had been a very interesting ride; that she really was proud of what had been accomplished. And when she saw somebody, a very successful entertainer coming up, and she could see in them something that had come from the kind of the things that they had done in the theater, she was very proud of it. She recognized them and appreciated them.
GROSS: Now, you actually sing a song in your show about your grandparents and I was surprised.
GROSS: I didn't know you sang.
THOMAS: You and me both.
GROSS: You know, it was very enjoyable and it's a song about how famous they were. Why don't you describe the song? And then we'll hear you singing it.
THOMAS: My grandparents, especially my grandfather, was a real character. A man about town - that's what Boris was. And he was hobnobbing with great people in the theater like the Cohans and people in society like Diamond Jim Brady and Feodor Chaliapin. The great opera singer was a big pal of his.
And these guys were going out on the town. They were doing all the restaurants and all the after-hours spots and they all had diamond garters and, you know, fancy duds. Lots of top hats and tortoiseshell canes and Thomashefsky particularly developed this image for the Yiddish public of his being this grand impresario, rich bon vivant.
And his friends, Jack Norworth and Nora Bayes, the composers of "Shine On, Harvest Moon," wrote this comedic song in tribute to him.
GROSS: And this is Michael Tilson Thomas performing an excerpt from his new PBS special "The Thomashefskys: Music and Memories of a Life in the Yiddish Theater."
THOMAS: A one, two, three, four. (Singing) When Caruso's on a stage, he thinks he is mighty fine. Addie Mac (ph) he thinks he is the rage. Maybe so but not on mine. You know that Georgie Cohan makes me sing. (Unintelligible) Now, my sister met an actor, a real life Yiddish actor. She saw him act and said, oy, I'm for you. Well, who do you suppose went and married my sister?
(Singing) Don't you know? Give a guess. Thomashefsky. Thomashefsky. I know if I told you...
GROSS: So being exposed to so much Yiddish song and pop and theater music, how did you end up in classical music?
THOMAS: It was my family's greatest fear that I would go into show business. But, of course, in the Yiddish theater when some music was desired they would nod to the conductor and say: Professor, (foreign language spoken). Professor, play something. I sometimes think that because the maestro was always called professor, that in their minds that was more respectable in some kind of way.
So I was allowed to pursue that. And then my life just made the turn it did and once they saw it was really happening for me they were very happy about it. And I think that the involvement, though, I've had in Yiddish music, which really begins with village music – and that's a kind of theme that our show follows, that the first music my grandparents performed absolutely sounds like klezmer music.
And then it sort of turns into klezmer mixed with operetta. And then in the United States, especially in Bessie's repertoire, it become very, very much more Americanized until finally it's kind of indistinguishable from the early numbers of Irving Berlin and George Gershwin, which sound very much like numbers that could be in the Yiddish theater.
GROSS: So when your grandmother died and you were, I don't know, 16 or 17, was there music at her funeral?
THOMAS: There wasn't much music at my grandmother's funeral. There were a few prayers and there were very few people there. And her plaque just says Bessie Thomashefsky, Yiddish theater pioneer, star, which is exactly what she wanted it to say. But of course, there's a whole repertory of songs that we played at home all the time whenever we thought about her and that I still play.
It was a very big moment, a big rite of passage, in my life the first day that I took over playing her songs instead of my father playing them. And measuring the way I was playing them against the wonderful nuances that he and my grandmother had brought to the music. I was lucky to hear my family play that music for me.
I wanted to keep in my ears exactly the way they had sung the songs and played them with all the irony and mordancy and snappy little gestures and comebacks.
GROSS: So you mentioned some advice in your show that your grandmother gave you about when you're on stage you have to remember that the people in the uppermost balcony are the people who paid the least but are enjoying it the most. And you have to, even if you're whispering, you have to make sure that those people can hear you. How has that affected you as a conductor?
THOMAS: My way of expressing what she said to me is what is it like for people beyond the sixth row? We play in such big halls sometimes in classical music and they're halls designed to be very rich which is, on the one hand, very nice, the gorgeous sound that's there, but to get the sound to be distinct is difficult. And I sometimes tell my students that playing classical music is like making an announcement in an airport. That you hear someone say: Passengers on flight 391 (unintelligible)...
THOMAS: Immediately please.
THOMAS: So you're trying to make every single moment completely distinct. Another way Bessie had of saying that, she said: Listen, when you're doing an accent, you've got to watch out for the ninth word. It's the ninth word that's dangerous. Because you're saying: I was going to the park one day and I noticed the most beautiful...
THOMAS: And suddenly, you know, around that you'll suddenly drop the accent. You'll drop it. You've got to keep the contour of it all the way going through. Same thing in music.
GROSS: That's really great.
GROSS: We're going to close with the overture from "Chantzhe in Amerika," which is one of the shows that your grandmother was in. Right?
THOMAS: "Chantzhe" was a show about a young girl who disguises herself as a man so she can go to driving school and become the chauffer of a big, classy New York family.
GROSS: Great. And your grandmother, no doubt, was that girl.
THOMAS: She was that girl and she started as a chauffer in the play and she wound up at the end being a big-time suffragette.
GROSS: So this is my guest, Michael Tilson Thomas, conducting the New World Symphony, which he founded. And this is an excerpt of his tribute to his grandparents Boris and Bessie Thomashefsky which will be shown on public television on March 29th. Michael Tilson Thomas, thank you. It's been great.
THOMAS: As always, thank you.
GROSS: Michael Tilson Thomas' tribute to his grandparents, "The Thomashefskys: Music and Memories of a Life in the Yiddish Theater," will be shown tomorrow night on the PBS series "Great Performances." DVDs will be available April 24th. Michael Tilson Thomas is the musical director of the San Francisco Symphony and the founder of the New World Symphony which he conducts in the tribute.
Copyright © 2012 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.
NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR's programming is the audio record.


text:
File IGES is one from the 3D Image Files category. Its full name is IGES Format. If you are viewing this site, you are probably looking for programs that will help you support this particular file extension.
In the following part of the page you will find the list of programs that support file IGES sorted by operating systems. If our database contains information about the conversion of the file IGES, then you will definitely find them here.
When you install one of the applications from the list of programs that you found here, you should be able to open or edit the file with the IGES extension without any issue. However, if you still have problems with this, you may use the option of IGES file conversion to a different format.
We hope we helped you solve the problem with the IGES file. If you do not know where you can download the application from our list, click on the link (which is the name of the program) - you will find more information there on the location where to download the secure setup version of the required application.
There can be more reasons which determine that you are not able to open the IGES file (apart from the lack of the proper application installed).
First - the IGES file may be incorrectly associated with the application installed to support it. In this case, you need to change this association by yourself. To do this, right-click on the IGES file that you want to edit, click "Open with" and then select the program from the list that you have installed. After this operation, the problems with opening the IGES file should be solved.
Second - the file you want to open can simply be damaged. Then, the best solution is to find a new version of given file, or download it again from the same source as before (maybe for some reason in the previous session the download of the IGES file has not been completed and it cannot be opened properly).
If you have additional information about the IGES file, we will be grateful if you share it with our users. To do this, use the form here and send us your information on IGES file.

subset: commoncrawl


text:
AT-A-GLANCE® and ACCO Brands and its subsidiaries respect your privacy and personal data. This policy identifies the ways in which we collect your data, what we will do with the data collected and your choices relating to our collection and use of your data.
This policy is available on all of our websites via a link on all web pages, commonly at the bottom of the screen.
We take privacy very seriously and in compiling this policy we have taken steps to ensure we have taken into account the standards and principles outlined in data collection and privacy frameworks around the world.
We also apply the principles of the U.S.-E.U. Safe Harbor framework:
• Notice (we tell you what we are collecting and when we are collecting it)
• Choice (we give you the choice to not have data collected about you)
• Onward Transfer (we explicitly state how and where we will transfer your data)
• Access and Accuracy (we will provide you with the ability to monitor the accuracy of your data)
• Security (we will keep all of your data as if it is our own - securely)
• Oversight/Enforcement (if we fail in any of these respects we will abide by any enforcement measures)
More information about the U.S. Department of Commerce Safe Harbor Program can be found at http://www.export.gov/safeharbor/
ACCO Brands is a global organization, with legal entities, business processes, management structures, and technical systems across the globe. This Privacy policy applies to all ACCO Brands owned websites and domains and the websites and domains of our wholly owned subsidiaries ("web site"), except in cases where a privacy policy or statement is available on one of the above mentioned websites that differs from this policy in which case the former will apply.
We understand your concerns about online security. We take measures designed to protect the security of the information you provide to us, including the use of Secure Socket Layer ("SSL") security technology to safeguard your shopping transactions and encrypt your payment information. When you check out, your browser will automatically be linked to our secure commerce server, encrypting all personal information before it is transmitted over the Internet. The result is a website offering the highest level of service, convenience and trustworthiness our customers have come to expect from us.
When you make a purchase, request a catalog or create an account on our website, your transactional information is transmitted to us in an industry standard encrypted format.
Using ATG's Commerce software, in conjunction with features built into popular browser software, our site provides advanced security for your online purchases.
Once you start the order process by clicking the "Checkout" button on the shopping cart page or log into "My Account", the security features are automatic and you don't need to do anything special to invoke them. Your browser looks for a digital certificate to confirm communication with our websites. Once a positive ID is made, your order continues. Your computer and our server begin communicating in secure mode, sending data back and forth in an encrypted format. At this point you may see a pop-up window, which some browsers display when you are about to receive a secure document. It's fine to click "OK" (or "Continue") to allow your order to proceed and you will begin receiving pages in an encrypted format.
After your browser has entered secure mode, we'll ask you to enter (or, if you're using Quick Checkout, to confirm) your credit card information. The encryption features of browser software are powerful and help to provide for the security of this data as it is transmitted to our server. Our site makes use of the Secure Sockets Layer (SSL) protocol and 128-bit strong encryption to provide a high level of security.
Security measures continue even after you've placed your order, as we process your order in a secure computing environment.
It is our intent to protect against the loss, misuse or alteration of information that we have collected from you. While no data storage or transmission can ever be totally secure, we use a variety of current technologies and processes for protection of your data.
The most popular web browsers use clear visual symbols to let you know whether or not they are in secure mode. The symbols are displayed either at the bottom left or bottom right of your browser window and resemble a closed lock.
Another indication that a browser is in secure mode can be found in the website address displayed by your browser. The address will begin "http://" in standard, non-secure mode and "https://" in secure mode. The "s" stands for "secure."
In the event you forget your "My Account" password, we offer an online process that verifies your identity and allows you to receive a new password.
We appreciate the trust you place in us, and we are committed to respecting your privacy and the security of your personal information. Our privacy policy, updated on March 20, 2013, describes the information we collect and how we use it.
We always welcome your questions and feedback. For privacy-related issues, please contact us at:
Consumer Affairs
4751 Hempstead Station Road
Kettering, OH 45429
937-495-4163 Fax
To ensure that we provide you with the best possible experience we will store, use and share data about you in accordance with this policy and the relevant registrations with data protection authorities.
For example, when you request information, inquire about our services, subscribe to our emails, ask for promotional or support materials, place an order, register yourself or your ACCO Brands products, enter competitions or participate in surveys, or apply for a job at ACCO Brands, we will ask you to provide personal information to complete these transactions.
We maintain the data that you provide us, along with a record of your purchases, in a secure database. To best serve you, we may combine this information with data that is publicly available and data that we receive from other reputable sources whose policies meet the Direct Marketing Association's privacy standards.
We also gather information about how visitors navigate through our websites by using clickstream data gathered with "cookies" and/or other online tools such as "pixel tags." See "Cookies" and "Pixel Tags" below for further information.
At ACCO Brands, we always want to provide you with the best possible shopping experience across all of our brands and web sites and fulfill your orders exactly as you've requested. All of the information that we gather and that you provide is aimed at improving our service to you and your experience when engaging with our brands. For example we may use your information to:
• Prevent malicious activity and provide you with a secure experience;
• Process and track your order
• Contact you about the status of an order
• Contact you regarding customer service related to your interactions with our brands and/or web sites
• Provide the services you request
• Send you ACCO Brands catalogs or promotional offers we believe will be of interest to you
• Provide ACCO Brands electronic marketing communications that are effective and optimized for you;
• Identify your product and service preferences
• Customize our communications to you and personalize our websites to you
• Facilitate your transactions with our third party marketing partners
• Provide service and support for products that you own
• Invite you to participate in competitions or surveys
• Improve our merchandise selection and customer service
• Measure performance of marketing programs
The sort of information that you provide in each case will vary and could include personal details such as your name, age, email address, street address and telephone number. In some cases you will also provide information regarding your preferences or product choices. In some cases we will ask you for a username and password that should only be known to you.
In addition to the information that you provide to us we may also collect data about you during your visit to our website or whilst you engage with one of our marketing campaigns. We collect this data using automated tools that are detailed below. These tools collect data about your behavior and your computer system. Information like your Internet address (IP Address), the pages you have looked at and the things you have done whilst on our web sites.
We may also use these tools on our eMail marketing campaigns to allow us to understand what links you click on and what content is of interest to you.
ACCO Brands may also collect data from commercial sources to enrich and verify the data that you have provided or that we have collected about you. This data will help us to ensure we have accurate records and will provide us with the ability to keep your information up to date. In some cases we may use this commercial data to work out something about you. For example we may use your IP address to calculate your approximate geographic location.
A "cookie" is a small data file transmitted from a website to your computer's hard drive. ACCO Brands will use cookies on our websites to provide you with services and features. For example we will use cookies to recognize you when you return to our web sites and provide a personalized experience, help you login to your account, and remember what items are in your shopping cart. We will also use cookies to connect your activity together across multiple visits and multiple ACCO Brands web sites. In some cases we will also use cookies to monitor your interaction with our advertising campaigns; these cookies could be delivered by a third party website but will provide us with information when you visit our web site.
Cookies are usually defined in one of two ways and ACCO Brands sites use both of them:
Session cookies do not stay on your computer after you close your browser.
Persistent cookies remain on your computer until you delete them or they expire. Most browsers automatically accept cookies by default, but you can usually refuse cookies or selectively accept cookies by adjusting the preferences in your browser.
The following browsers have online guides to cookies at the following links:
Microsoft Internet Explorer: http://www.microsoft.com/info/cookies.htm
Mozilla Firefox: http://www.mozilla.org/projects/security/pki/psm/help_21/using_priv_help.html
Please be aware that a number of features on our site require cookies to operate correctly - turning off cookies will affect your experience on our website. If you set your browser to refuse cookies or experience an issue placing your order online, please call us at 800.365.9327 to place your order.
We also use pixel tags (tiny graphic images) to tell us what parts of our websites you have visited or to measure the effectiveness of any searches you may do on our site. Pixel tags also enable us to send you email in a format you can read and let us know when you have opened an email message from us and to track if you click on the links. Some of our marketing partners will use web beacons to track your interaction with online advertising banners.
We also may contract with other companies who use cookies or other online tools such as pixel tags to measure the performance of a marketing effort on our behalf, to collect data about internet usage only, or to serve ads on our behalf across the Internet and sometimes on our websites. These companies may use information about your visits to our websites order to provide advertisements about ACCO Brands goods and services. Their data will help us improve our service to you. We prohibit these companies from using this information for their own marketing purposes or from sharing this information with anyone other than ACCO Brands.
Links provided in our emails and in some cases on 3rd party websites may include tracking embedded in the link. The tracking is accomplished through a redirection system. The redirection system allows ACCO Brands to understand how the link is being used.
Some of these links will enable ACCO brands to identify that you have personally clicked on the link and this may be attached to the personal data that we hold about you. This data is used to improve our service to you and to help us understand the performance of our marketing campaigns.
We contract with other companies to provide certain services, including credit card processing, shipping, email distribution, market research and promotions management. We provide these companies with only the information they need to perform their services. These companies are prohibited by contract from using this information for their own marketing purposes or from sharing this information with anyone other than ACCO Brands.
From time to time, we may make our mailing list (names and addresses only) and general shopping activity available to carefully screened companies whose products we believe will be of interest to you and whose privacy practices are represented as meeting the Direct Marketing Association's privacy standards. If you prefer that we do not share any of your information with these companies, please contact us.
We may also offer certain carefully chosen third party services through our site. Should you choose to accept an offer from a third party, we will pass your relevant personal information, including your name, postal address to that third party in order to facilitate the service or transaction that you request.
We may be required to disclose specific information upon governmental request, in response to a court order, or when required by law to do so. We may also share information with companies assisting in fraud protection or investigation. We do not provide information to these agencies or companies for marketing or commercial purposes.
ACCO Brands works with a number of suppliers internationally that help us to process your requests, deliver customer service and support, send our email marketing communications and provide the experience that you have come to expect from our brands. We will share your information with these suppliers in order to fulfil the service that they provide to us. They are under contract to keep your data secure and not to use it for any reason other than to fulfil the service we have requested from them.
On occasion we may provide you with the ability to communicate with selected third parties. Where this is the case we will provide you with the facility to instruct us to share your data with the selected third party. We will only ever share your data in this way if you have told us that you are willing to allow us to do so.
ACCO Brands requires that all users of our web sites and marketing campaigns allow us to share information with our subsidiaries and global legal entities. As a global organization we have systems and process in countries around the globe and therefore need to be able to process your information globally to fulfil your requests for service and deliver the experience that you have asked for. This sharing is required as a condition of you providing us with information.
Except as described in this policy we will not share your data with third parties unless it is under one of the following circumstances
(i) respond to duly authorized information requests of police and governmental authorities;
(ii) comply with any law, regulation, subpoena, or court order;
(iii) investigate and help prevent security threats, fraud or other malicious activity;
(iv) enforce/protect the rights and properties of ACCO Brands or its subsidiaries; or
(v) protect the rights or personal safety of ACCO Brands employees
There are circumstances where ACCO Brands may decide to buy, sell or reorganize business in selected countries. Under these circumstances it may be necessary to share or receive personal information with prospective or actual partners. In these cases ACCO Brands will seek to ensure that all data remains protected by a policy of this nature.
ACCO Brands wants to provide you with relevant information regarding our products and services.
You can make choices about the messages you receive from us at any time after you have received a communication from us or whilst you are subscribed to a service. This assumes that any transactional or service oriented messages are excluded from your preference as they are not intended to be for the purposes of marketing communications and rather to fulfil a service you have requested.
The communication that you receive from ACCO Brands will be in accordance with your preferences and this policy. Some of the communications you receive could include automatic data collection tools.
If you prefer not to receive catalogs or other communications from ACCO Brands or if you prefer to receive them less frequently, please contact us at the address shown at the top. If you no longer wish to receive our emails you also may contact us at the address above or unsubscribe using the link provided in each edition of the email.
If you do not want to receive mailings from other carefully screened companies, please contact us at the address above.
Please be sure to provide us your exact name and address, or the mailing label from your catalog, so that we can be sure to identify you correctly. Because mailings are planned in advance, it may take several weeks for your request to become effective. If you continue to receive unwanted communications, please contact us again and we will make every effort to correct the situation.
When you provide us your email address, we may send you emails necessary to process your order, respond to a request, or provide customer service related to an interaction with our brands or web sites. For example, after you place an order from our web sites, you will receive an email confirmation and, in most cases, an email of shipping confirmation with package tracking information. Customers with open or incomplete transactions may be contacted by customer service regarding their experience.
We may also send promotional emails about products, special offers, services or events we believe may be of interest to you. Instructions on how to unsubscribe are included in each email and your subscription can be modified at any time by logging onto "My Account" and changing your communication preferences.
Occasionally we provide links on our website to other sites we think you will enjoy. We also provide direct links to selected third party marketing partners which offer goods or services which you can purchase directly by linking through to their site. These sites operate independently of ACCO Brands' and have their own privacy and security policies which may differ from those of ACCO Brands. We strongly encourage you to review these policies at any such third party site you visit or link to. (See also: Information We Share with Others and Your Privacy Rights, above)
To update your customer information (name, address, telephone number and email address), please contact us at the address above or log onto "My Account" online. To protect your privacy, we will need to validate your identity before you update or review your information either through password verification or specific account questions.
ACCO Brands does not actively seek to gather data from Children. We do not target our products or services at children and would not expect them to be engaging with our web sites or services. We would encourage parents and guardians to provide adequate protection measures to prevent children from providing information unwillingly on the internet. If we are aware of any data that we have collected about children we will endeavor to delete it.
From time to time, we may use customer information for unanticipated uses not previously disclosed in our privacy notice. If our information practices change, we will post these changes on our website. We encourage you to review our privacy policy periodically.
In the event that ACCO Brands or substantially all of its assets are acquired or sold, customer information will be one of the transferred assets. Of course your personal information will remain subject to the privacy promises set forth in this Privacy and Security Notice.
For questions, comments or assistance, we invite you to contact us.


text:
mohney64 needed a new logo design and created a contest on 99designs.
A winner was selected from 44 designs submitted by 15 freelance designers.
Need a logo for a website which collects golfer registration information for a large number of tournaments. Site is live, but there is no official logo... yet
AndGolf Inc.
Desired Color Scheme:
blue, green, any other colors you may see on a golf course
Desired Style:
business professional / golf professional
Accepted File Formats:
Standard Web Formats (.jpg, .gif or .png); Vector Formats (.eps, .pdf or .ai)
I want to see a professional logo which is easy, and becomes recognizable after just the first viewing. This is basically what every logo should be, but it's important to note that our services include the following:
1 - tournament registration information collection
2 - fees collection (merchant)
3 - printing services (printing on golf balls, golf tees, etc.)
Finally, it is very important that this logo can be printed on golf balls and have the logo look just like it would look on paper. In that sense, a concise logo is preferable to a longer worded logo
Lastly, the logo should be high quality for our website heading, but also have the ability to gointo lower quality (for shirt embroidery) and also for printing on golf balls.
Find out how a design contest works or learn more about our logo design services.


text:
|San Bernardino, Calif.
As a freshman (2013): Competed with the second novice eight in the five seat on six occasions…also competed one time in the seven seat with the third novice eight…sat at five with the gold medal-winning second novice eight entry at the WIRA Championships.
High School: A 2012 graduate of San Gorgonio High School in San Bernardino, Calif…a four-sport athlete for the Spartans, she played four years of baseball and softball, three years of volleyball and one season of golf…was a three-time second team all-conference selection in softball, a second team all-league choice during her lone season of golf, and a two-time honorable mention all-league selection in basketball…named the team MVP in volleyball as a senior after finishing with 137 kills, 38 digs and 50 blocks…was a four-year member of the school's Honor Roll, and the recipient of the school's Female Athlete of the Year award as a freshman.
Personal: Parents are Oscar and Fabienne…an undeclared major…was a high school teammate on both the volleyball and basketball squads with current Sacramento State rower Danielle Stout.


text:
Find The Difference Challenge 5 is a fun lost numbers game by 123bee. Analyze your power of observation by finding out the numbers which are in various forms. For each accurate click, score will get reduced. Try to find out the numbers within given duration. Good luck and have fun.
Welcome to free online hidden object games, no download. You can find the new unlimited and best secret things games on our site. At the right place for searching and finding hidden objects. Our site is updated frequently and adds the best games for fans of the lost items games. You can follow us on social media.


text:
How the Acquisition of NDS Accelerates Cisco's Video Entertainment Strategy
We are on the cusp of a whole new wave of digital entertainment experiences that will make video content much easier to find, navigate, interact with and enjoy, on any device and network. Today, Cisco took another important step towards realizing that vision by announcing its intention to acquire NDS Group Ltd. a leading provider of video software and content security solutions that enables users to intuitively view, search and navigate across digital content anytime, anywhere and on any device.
Video is transforming every aspect of our lives. Telemedicine services in New Mexico are helping patients in underserved communities to secure video consultations with expert doctors many miles away. In India, classrooms in tiny rural villages are now being taught by remote teachers using Webex video. We're even seeing technology that lets us use video to try on dozens of outfits without ever stepping into a fitting room. For thousands of business professionals around the world, attending a meeting with colleagues, customers and partners in some far flung corner of the world via TelePresence is a routine part of their day.
It's impossible to argue with the transformational power of video, but perhaps the most noticeable changes are happening right in our own homes, and on our mobile devices.
Television has been truly transformed in the past decade, from a one-way inflexible viewing experience, to a highly dynamic one, which can be time-shifted and enjoyed on an increasing array of digital video devices. But this is only the beginning of an exciting journey.
While clearly a substantial acquisition and major landmark in Cisco's history in its own right, today's acquisition is the latest in a series of milestones for Cisco's Videoscape strategy. Videoscape is Cisco's vision and platform for the creation of new visual, mobile and social video entertainment experiences through the convergence of digital TV, online content, and social media and video communications applications.
This video market transition is of critical importance to our service provider customers (a segment that provides a third of all Cisco revenues) and to our overall multi-billion dollar video business. NDS will complement and accelerate the delivery of our Videoscape platform to customers and transform how service providers and media companies deliver next-generation video experiences to subscribers worldwide.
NDS's customer portfolio will broaden Cisco's presence into new segments of the service provider market. It will expand Cisco's reach into emerging markets where NDS has a strong footprint with customers such as CCTV in China and Bharti and TataSky in India. Importantly, NDS's software platform and services capabilities will enable Cisco to deepen its partnerships with existing service provider customers globally.
The response to Videoscape from many of the world's leading service providers has been excellent. Rogers Communications and TELUS of Canada, YES of Israel, Numéricable of France, Telenor of Norway, and Korea Telecom have already selected Videoscape to deliver their next-generation video services.
With the addition of NDS, we are very confident that this momentum will only increase.
I am delighted to welcome Abe Peled, executive chairman of NDS, and his team to the Cisco family, and look forward to a prosperous and industry-transforming future together.
Editor's Note:
Cisco's acquisition of NDS is subject to regulatory review. We expect the acquisition will close in the second half of this year.
This posting contains forward-looking statements, which are subject to the safe harbor provisions of the Private Securities Litigation Reform Act of 1995, including the expected benefits of the acquisition to Cisco and its customers, the time frame during which the acquisition is expected to close, and plans regarding NDS personnel. Readers are cautioned that these forward-looking statements are only predictions and may differ materially from actual future events or results due to a variety of factors, including, among other things, obtaining regulatory approval of the acquisition, the potential impact on the business of NDS due to the uncertainty about the acquisition, the retention of employees of NDS and the ability of Cisco to successfully integrate NDS and to achieve expected benefits, business and economic conditions and growth trends in the networking industry, customer markets and various geographic regions, global economic conditions and uncertainties in the geopolitical environment and other risk factors set forth in Cisco's most recent reports on Form 10-K and 10-Q filed on September 14, 2011 and February 21, 2012, respectively. Any forward-looking statements in this posting are based on limited information currently available to Cisco, which is subject to change, and Cisco will not necessarily update the information.
In an effort to keep conversations fresh, Cisco Blogs closes comments after 60 days. Please visit the Cisco Blogs hub page for the latest content.
4 Comments
The remaining bottleneck is still in-home connectivity. It's time for fiber optics in the home….. Lets see Cisco provide USB3 connections so I can connect all my devices with USB3 over fiber optics…. 2 channel 5Gbps EMI-free connections is now both possible and available… Where's Cisco?
Video and rich media will add a big value for an company. The impact of technology on sales is huge.
Customers can be reached on so many ways true smartphone or video adds.
I haven't heard or read anything about this will be paid for. It says that it's an all-cash deal. Does this mean that the company is using $5B in cash being held offshore?


text:
A make-or-break week on guns
President Barack Obama finds out this week whether he scratches out a narrow victory on gun control — or ends up with nothing at all.
Four months after the mass shooting at a Newtown, Conn., elementary school reignited the national debate over gun control, the issue is finally headed to the Senate floor. And the prospects still look bleak for those hoping for sweeping reform.
Story Continued Below
The unlikely key to the answer might be a conservative GOP senator from Pennsylvania, Pat Toomey. The former head of the Club for Growth has emerged as a last-minute possible partner on a deal. But his stamp of approval is far from certain. If a deal emerges, Republicans could delay action on it for a week.
( Also on POLITICO: Hill holds Obama's legacy in its hands)
Senate action is Obama's best chance for a deal — but even there, Democrats haven't settled on which bill to advance. The White House and most Democrats are behind a proposal that requires background checks for all gun sales, although even that is far less than what gun control advocates had hoped. Obama, though, won't get anything better in the House, and he might not get that much.
After the Newtown tragedy, Obama pledged to use the full power of his office to prevent another such rampage. He'll be in Hartford on Monday with victims of the shooting to continue his drive for congressional action on guns.
Senate Majority Leader Harry Reid (D-Nev.) is set to huddle Monday with other Democratic leaders to hash out a floor strategy. Reid will have to decide early in the week whether a bipartisan compromise on background checks is possible or whether a promised GOP filibuster will prevent the Senate from taking broad action.
Proposed bans on assault weapons and high-capacity magazines are all but guaranteed to go down to lopsided defeats. The battle is now over how tough to make a background checks bill for gun sales — which polls show the public broadly supports. Conservatives have balked at record-keeping requirements when background checks are conducted, and Democrats have had a difficult time finding a GOP ally to sign on to a deal including them.
( PHOTOS: Will these guns be banned again?)
Democratic leaders are considering advancing one of three background checks bills: a Democrat-only bill by New York Sen. Chuck Schumer — the "gold standard," as one gun control advocate put it — goes forward to almost certain defeat; an alternative proposal by Sen. Tom Coburn (R-Okla.) without Democratic backing that calls for universal checks but includes wide exemptions for record-keeping added after pressure from gun rights groups; and a bill by Sen. Joe Manchin (D-W.Va.), which calls for expanding background checks and records requirements for commercial sales but not private ones.
Reid and top Democrats will decide which version to put forward, and the outlook there is far from certain.
( PHOTOS: Politicians speak out on gun control)
Up until now, Democrats have been unable to line up a conservative Republican to back a broad background checks bill. Manchin last week began negotiating with Toomey — a longtime ally of the powerful National Rifle Association — but as of now, no deal has been reached.
Manchin has until Tuesday to reach a compromise with Toomey for his expanded but not universal background checks bill. Since those talks began in earnest last Thursday, gun control and law enforcement groups have expressed their dismay over the possibility of ceding the universal checks that they — along with Obama and Vice President Joe Biden — have called for since Newtown.
Obama, Biden and Schumer have all been in regular contact with Coburn, but their talks haven't yielded a breakthrough.


text:
Dead Times & TRTRKMMR – An Appendectomy (Aum War)
Holy fuck. How has this been out for almost a year and had barely any press? This is insane. Both of these dudes are going to be on everyone's radar pretty soon. Dead Times is currently Steven Vallot's solo thing, he also runs Aum War, did some vocals on The Body's All The Waters Of The Earth Turn To Blood and occasionally played with them live. Lee Buford (drummer for The Body) used to be involved until The Body relocated South. TRTRKMMR is a solo thing for Brad Dumville, who was the vocalist for the tragically disbanded Otesanek). So, wow, lots of awesome already bundled up in this split and they're unbelievably perfect to share some vinyl space together.
But it's something bigger than the sum of its parts. This split is unholy, pure black and twisted as fuck. A potently caustic black noise with a lots of doom & gloom, industrial & power electronics, and even some melodic synthy organ & bell sounds, like a funereal black pop à la The Mausoleums except way less golden. Tons of samples that talk about redemption & homicide & shit making this creepy as hell. Absolute chaos with plodding crumbling drums, decrepit guitars, blown out electronics, demonic vocals shrieking & creaking up from beyond the grave (with Sewer Goddess joining in on Dead Times' "Pain Arrives") everything falling apart in a gloriously fucked up way that could only mean the end of the world. They even do two collaborations, one on each side, and they're totally fucking killer.
This is truly some of the best of the genre, and all the better that both of these guys are just getting started with these new aliases. Both have new material in the works, TRTRKMMR has an upcoming debut full length on Iron Lung, and Dead Times' work will likely show up on Aum War again. Make sure you keep your eyes peeled because this is not something you want to miss out on. I'd probably be putting this on some year end list if it didn't come out last year. All the same, it's still available and I wouldn't hold off on picking up this beast.


text:
Wow, I can't believe we had this many entries, but I just want to thank each of you for taking the time to leave a comment and let me know what you would like to see covered here. I pulled one of the hot topics out of the hat and covered a holiday gift guide for men (all gifts under $20) that was requested by you. I will continue working through this extensive list and I hope you will continue visiting our site!
I want to congratulate commenter #812, Pam B., on winning this gift card. She was chosen at random and had this idea for our site:
"What a blessing a $50 Walmart card would be for holiday shopping! I would love to read more information about organizing my coupons. I have been couponing and refunding for over 30 years, but no matter what I have tried, the paper overwhelms me! There are so many coupons to sort through and file. So far, the best way for me has been to file my coupons in a recipe box divided by tabs (example: Paper Products) then into mini categories (example: Toilet Tissue/Kleenex, Paper Towels/Napkins, Plates/Cups, Wrap/Bags). But I am looking for a better way. I need to save every penny I can, but sometimes I don't even feel like bothering with my coupons anymore. They really do save me a lot of money, but there has to be a better, easier way!"
We look forward to answering these and many more questions this year. Thank you all for participating and check back each and every Tuesday for fun giveaways!
Sorry- this giveaway has ended!
Walmart wants our readers to have the best holiday season with the lowest prices so they are offering to our readers (in conjunction with my job as an Eleven Mom) the opportunity to win a $50 gift card that will be put towards your holiday shopping/grocery shopping this year.
Just think what you could do with $50 to put towards your holiday shopping? I can already picture myself loading up on goodies for all my cookie trays this year. Unfortunately, I can't win, but you can!
Please leave a comment by Tuesday (11/18) at 8PM with one topic you would like to see covered on our site/blog. Only entries that follow the guidelines will be entered and I thank you for giving me some content to cover in the new year! Good luck to each of you and may your holiday season be truly blessed!


text:
[Look for the podcast play button below.]
So glad you're back for another big dose of SEX WISDOM with my amazing guest Mikaya Heart. As you recall from last week's show, Mikaya is the author of The Ultimate Guide To Orgasm For Women; How to Become Orgasmic For A Lifetime.
You'll also remember that in introducing last week's show I said that Mikaya's book is by far the best book about women's sexuality that I have read in the past decade, if not longer. And apparently ya'll agree, at least those of you who contacted me with your comments. Mikaya is so passionate and compassionate about women's sexuality that if her name weren't already Heart, the consensus is, we'd have to rechristen her that.
But wait, you didn't miss Part 1 of our chat, did you? Well not to worry if ya did, because you can find it and all my podcasts in the Podcast Archive right here on my site. All ya gotta do is use the search function in the header; type in Podcast #297 and PRESTO! But don't forget the #sign when you do your search.
Mikaya and I discuss:
- The necessity of talking about sex;
- The power of fantasy in sex;
- The problem with disengaging our rational brain in sex;
- The spiritual dimension of orgasm;
- The shamanic sensibility of sex;
- Different kinds of orgasms;
- Sex as a metaphor for life;
- Sex and aging;
- The disappearing orgasm;
- The role of relationships;
- Love and sex.
Mikaya invites you to visit her on her site HERE! And look for her on Facebook HERE!
(Click on the book cover below for more information and to buy Mikaya's book)
Check out The Lick-A-Dee-Split Connection. That's Dr Dick's toll free podcast voicemail HOTLINE. Don't worry people; no one will personally answer the phone. Your message goes directly to voicemail.
Got a question or a comment? Wanna rant or rave? Or maybe you'd just like to talk dirty for a minute or two. Why not get it off your chest! Give Dr Dick a call at (866) 422-5680.
Look for my podcasts on iTunes. You'll find me in the podcast section, obviously, or just search for Dr Dick Sex Advice. And don't forget to subscribe. I wouldn't want you to miss even one episode.
Today's podcast is bought to you by: Hot Plus Size Lingerie.
Plus Size Lingerie
Podcast: Play in new window | Download


text:
Alisha Linam
From UA Libraries Digital Services Planning and Documentation
This page describes a former student worker. We're thankful for her contributions to the Digital Program.
Alisha Linam is currently pursuing her MLIS in the School of Library and Information Studies. She graduated from UA in May 2009 with a BA in history with a minor in women's studies. Her current goal is to become a reference librarian in an academic library. Eventually she would also like to pursue a master's degree in history with an emphasis on the Second Great Awakening and women's history. Since she has been here at Digital Services, she has worked on the Roland M. Harper photograph collection, which she has found to be fascinating.


text:
Bridgestone DriveGuard There's a puncture waiting with your name on it. Continue driving for 50 miles at up to 50 mph*. Key benefits explained For your car Designed for any passenger car with a Tyre Pressure Monitoring System (TPMS). When the indicator on your dashboard lights up, you can safely continue driving for 50 miles at up to 50 mph*. This makes Bridgestone DriveGuard the ideal companion for just about any situation on the road. Safety & convenience The innovative Bridgestone DriveGuard technology allows you to maintain control after a puncture and safely continue driving for 50 miles at up to 50 mph* until it?s safe to either repair or replace your tyre. Wet Control Bridgestone DriveGuard tyres are classified Wet Grip A in EU labelling, the highest wet grip performance with short braking distances*. Key technologies explained Innovative technology Thanks to our proprietary patented high-tech cooling fin design, Bridgestone DriveGuard tyres redistribute heat and friction after a puncture, so you can keep driving up to 50 miles* even after a complete loss of air pressure. Whatever the puncture, DriveGuard keeps you going Bridgestone DriveGuard helps protect you against all types of punctures that are waiting on the road. It doesn?t matter whether a sharp piece of glass slices the outside edge, or a pointed nail pierces the centre tread — Bridgestone DriveGuard tyres will help you continue driving for 50 miles at up to 50 mph.* * Driving distance after a puncture may vary depending on vehicle load, outside temperature, and when the TPMS is triggered. Bridgestone DriveGuard tyres are classified Wet Grip A in EU labeling. DriveGuard tyres are currently not available for vans, and are only available for cars equipped with a Tyre Pressure Monitoring System (TPMS).
- tyre type: Summer Tires
- brand: Bridgestone
- tyre size: 225/40R18 92 Y
- pattern: DRIVEGUARD XL RFT !!!


text:
Honeywell's 6460 Premium Alpha Keypad Family gives dealers the ability to differentiate from the competition and close more sales by offering value-added features and a new aesthetic style that is unmatched. The unique, symmetric plastic design and color schemes make this an ideal choice whether your customers have a light decor in their hallways, offices, stainless steel kitchens and garages or are just looking for something a little more rugged for their warehouses.
The center plug can be emblazoned with your dealer logo to help build your brand, increase your advertising exposure and serve as a referral tool. You can offer customization to the end-user as well as custom-programming the zones (e.g. Jennifer's Bedroom, Garage Door, etc.), so they know the exact nature and location of an alarm-allowing them to react quickly.
The vivid, negative-mode display and negative-etched keys give the keypad a little more of the cool factor and increase visibility in a darker area or from a distance. The four function keys are easily accessible and can be programmed for quick arming, controlling lights, opening a garage door, panic situations, health emergencies and much more. Self-adhesive labels are included.
- New symmetric design for a higher-end look
- Silver and black style is ideal for new applications like stainless steel kitchens, warehouses and garages (option in white and grey; 6460W)
- Negative-etched keys and vivid, negative-mode display for a contemporary, unique style
- Customizable plug for dealer logo
- Customizable zones to simplify end-user operation
- Four programmable function keys
- Speaker with audible beeps to indicate system status, exit/entry delay and alarm situations
- Large, 32-character display for greater visibility
- LED indicators for system (Armed and Ready to Be Armed)
Additional Info
Additional Info
|Part Number
|What's in the box
|(1) Honeywell Premium Alpha Keypad - White & Grey
Write Your Own Review
|5-9/16"H x 6-3/4"W x 1"D
|2 x 16 alpha-numeric supertwist LCD, backlit
|12VDC (power-limited)
|150mA in alarm (ARMED LED lit, LCD backlight and sounder on), reduces to 40mA when panel is operating in standby mode (backlight off)
|- (Black): Ground
+ (Red): +12 VDC (Aux. Power)
D1 (Green): "Data in" to control panel
D0 (Yellow): "Data out" from control panel
|Fully compatible with all VISTA control panels


text:
Page content
2011 Financial Results
2011 Contributors Give Foundation Strong Support
Colonial Williamsburg celebrated its thirty-fifth anniversary of a formal development program in 2011, a year marked by strength in annual, major, and planned giving support and the beginning of the "quiet phase" of Colonial Williamsburg's second comprehensive campaig
The Colonial Williamsburg Fund
The Colonial Williamsburg Fund benefited from growth in both donors and contributions in 2011. The number of contributors increased to nearly 109,000 households with donors from all 50 states. Gifts to the fund totaled $14.5 million, compared with $14.3 million in 2010. The number of friends making a contribution for the first time increased by 8% to 19,000, an encouraging affirmation of sustained appreciation for the foundation's mission.
Members of the Colonial Williamsburg Burgesses, Colonial Williamsburg Associates, and Raleigh Tavern Society contributed $5.8 million to the Colonial Williamsburg Fund and a total of $13.7 million to the foundation. Membership in these societies grew again this year with more than 300 new households choosing to join in 2011. Those who attended an annual meeting enjoyed behind-the-scenes experiences with curators, conservators, members of the Historic Trades, and interpretive staff—along with the pleasure of meeting other foundation friends from across the nation.
Major Gifts
Gift commitments increased by 25% in 2011 to $40 million from $32 million. The largest outright gift came from President's Council members and Raleigh Tavern Society Life Members Peter and Patricia Frechette of Minneapolis, Minnesota. Their $2.5 million gift endowed the Peter I. and Patricia O. Frechette Director of Teacher Development, a position currently held by Colonial Williamsburg's Tab Broyles; the gift also supports other educational outreach initiatives.
Colonial Williamsburg trustee Steven L. Miller and his wife, Sheila, of Houston, Texas, made a $1 million gift as an early indication of their support for the campaign. Trustee Forrest E. Mars Jr. of Big Horn, Wyoming, made two $500,000 gifts, one for Historic Jamestowne operations and programming and a second to reconstruct the tin shop at the James Anderson Blacksmith Shop and Public Armoury site. Senior trustee Robert S. Wilson and his wife, Marion, of Rancho Santa Fe, California, made a $1 million gift to help endow Colonial Williamsburg's California Teacher Institute.
Foundation grants included $200,000 from the Andrew W. Mellon Foundation of New York for curatorial interns; $200,000 from a private foundation for new development computer software; $150,000 from the Kern Family Foundation of Waukesha, Wisconsin, for religious programming; and a $150,000 challenge grant from the Mary Morton Parsons Foundation of Richmond, Virginia, for masonry preservation. Dominion Foundation, the philanthropic arm of Dominion Resources, Inc., made a $150,000 grant in support of African American programming.
Planned Giving
The largest estate commitment Colonial Williamsburg received came from President's Council co-chair and Raleigh Tavern Society Life Member Edward C. Lynch of Vancouver, Washington. On behalf of himself and his late wife, Virginialee (Dollie), Mr. Lynch added $5 million to their previous estate commitment. The bequest will eventually support their Raleigh Tavern planned preservation endowment and create the Ed and Dollie Lynch Citizenship Fund.
Gifts of coins, currency, medals, and other objects valued at $1.2 million, previously on long-term loan, came permanently to Colonial Williamsburg from the late Joseph R. Lasser's estate. A bequest from Phyllis Ciez of Cedar Lake, Indiana, provided $785,000. Mrs. Ciez had been a supporter for years, but her legacy, made in memory of her daughter Margaret A. Ciez, was not known before her December 2010 death.
A Summary of the Foundation's 2011 Financial Results
Consolidated Income Statement and Statement of Changes in Net Assets for the twelve months ending December 31, 2011 and 2010 (dollars in millions)
Consumer confidence in the United States was negatively affected during the 2011 peak summer travel period by pressures in the domestic and international economies and financial markets and, in particular, by the rancorous debt ceiling debate in Washington and subsequent downgrade of the United States' credit rating. This trend was exacerbated in the Williamsburg area by an extraordinarily wet summer that culminated with Hurricane Irene in late August.
During the period from July 1 through September 30, combined on-site revenues from ticket sales, hospitality, and products were $1.7 million (5%) lower than in the prior year. During the remaining nine months of the year, those on-site revenue sources increased by $1.3 million (1%) relative to the prior year. Gifts to the Colonial Williamsburg Fund increased by $200,000 (2%) to $14.5 million, reflecting strong donor support in a challenging economic environment. Total revenues for the calendar year, including budgeted endowment support, were $179 million, a decrease of $6 million, which includes a decline of $4.5 million in catalog revenues that resulted from the discontinuation of the catalog in the summer of 2010.
Expenses for 2011 were $211 million, a decrease of $1 million compared with 2010. Excluding a $5 million decline in catalog expenses, all other expenses increased by $4 million primarily as a result of increases in employee compensation and advertising expenses. The combination of increased expenditures and reduced revenues resulted in an operating deficit for 2011 of $32 million.
The market value of Colonial Williamsburg's endowment was $709 million as of December 31, 2011, a decrease of $45 million over the 2010 year-end value, after $53 million of planned endowment withdrawals were made during the year to support operations and routine capital expenditures and $8 million of endowment gifts were added. The endowment investment return was zero for the twelve months ended December 31, 2011. This compares favorably with the performance of the global equity markets, which were volatile during 2011 and produced negative investment return as reflected in the MSCI All Country World Index that produced a return of negative 6.9% for the twelve months ended December 31, 2011.
The foundation's net assets decreased by $110 million to a total of $798 million at year end, which resulted primarily from the net withdrawals from endowment noted above and an increase in projected pension liabilities as a result of actuarial adjustments that were made to reflect a significant decline in interest rates during the year.
Colonial Williamsburg monitors and reports internally on the regularly recurring, or operating, revenues and expenses resulting from routine activities in order to assess the financial performance of educational and forprofit activities. It reports in the audited financial statements all revenues and expense in accordance with generally accepted accounting principles to reflect the consolidated financial impact of all activities of the foundation and its subsidiaries. A third reporting format is required by the Internal Revenue Service on Form 990, an annual information return for The Colonial Williamsburg Foundation, the 501(c)(3) entity that is exempt from federal income taxes on most of its activities. The financial results on Form 990 represent the unconsolidated financial results of only this 501(c)(3) organization; the foundation's taxable subsidiaries—for example, Colonial Williamsburg Company—report their financial results separately on corporate income tax returns.
The operating results reported in the top half of the consolidated income statement and statement of changes in net assets shown in this annual report incorporate: ticket sales; all revenues generated by hospitality and products; unrestricted operating gifts and restricted gifts for operations spent for their intended purpose during the year; the budgeted amount of endowment support provided by our endowment spending policy; and all operating expenses of the foundation and its subsidiaries.
Below the operating deficit line in the report we include non-operating items, such as the difference between the total return produced by the endowment and the budgeted endowment support; all other gifts and grants, that is to say, pledges; restricted gifts received but not spent; gifts for endowment and capital projects, and gifts of objects; gains on sale of real estate; and the financial statement impact of changes in generally accepted accounting principles. The combination of the operating and non-operating items is reflected as the change in net assets, which is consistent with the audited financial statements.


text:
You are not logged in.
That's the best ending we've gotten yet.
Dallbun wrote:
Much as we love to blame^H^H^H^H^H praise Ikuhara for everything weird about Utena, he apparently wasn't directly involved with the game.
Haha, well, his successors carried the torch boldly! I have no idea how much "direct involvement" Ikuni had in the series, either -- you say he chose not to direct his own show's finale, so I have to wonder -- but from what you've translated for us, this is a game worthy of the author or authors of SKU. The main plot has themes that coherently explore ideas from the show from a new perspective and using the series' own vocabulary, and even this joke ending is obviously consistent with the first season's undertones; actually, it's a lot like that old SIL thread, The Utena RP that Points Out the Obvious. In fact, the joke ending is my personal canon now. You just have to end with Utena saying to Anthy, "And let us never speak of this again."
satyreyes wrote:
I have no idea how much "direct involvement" Ikuni had in the series, either -- you say he chose not to direct his own show's finale, so I have to wonder -
As far as I'm aware, there's always a distinction between "series director" and "episode director" in TV anime. Ikuhara was the series director for the whole thing, but he wasn't the episode director for any of the episodes. (Apparently he did do storyboards for episode 1, though.)
Anyway, agreed! I think the game is a lot of fun and has lots of interesting bits, even if characters seem to pass around the idiot ball liberally in regards to the main plot. (And there clearly needed to be more communication between the scriptwriter and character designer about the whole "Chigusa looks masculine" thing. Yeesh.)
I think my personal canon is the "Perfect Ending," actually, with D-ko having been inspired by Chigusa, and resolving to return to Ohtori to show everyone how much she's grown. (...then she can come back later, hammer-duel Utena, and spend the night playing with Anthy. )
Dallbun wrote:
Sorry for derailing the thread away from more interesting stuff.
In what universe is that not "interesting stuff"?
Trench Kamen wrote:
In what universe is that not "interesting stuff"? ]
The universe where it's up against lesbian schoolgirl BDSM shower sex, of course.
Seriously though, this was definitely worth seeing. Thanks for all the awesome LP threads, Dalbun!
Is...is it possible to get an audio recording of that scene in the bathroom?
That Anthy ending amuses me so much. Though it is much more amusing if you can actually see it. I work my way to this ending once, it amused me so much, even though I had no idea what they were saying. I think I did try to record it, but couldn't figure it out.
Lucky for you guys, thanks to all the LPs I've been watching, I've heard of HyperCam and got the Anthy Ending recorded and uploaded to Youtube.
So if you can't play the game for some reason, but would like to see this ending, you can.
AHAHAHA, thank you honey! This is fantastic!
The_A_Man, THANK YOU SO MUCH FOR THE UPLOAD!!!
Anthy sounds fantastic as always~~ Even though the player's character is a girl in the game, but she sure sounds like a typical dirty old man (with a girly voice)
Nice, thanks, A_Man!
Sorry to step on your toes, but since everyone seems to be enjoying it, here's a somewhat better-quality version posted on Nico Nico Douga. If you guys are interested in Saturn game videos, Nico Nico Douga has a whole lot of them. I could post a catalogue of links.
The_A_Man's Youtube Video wrote:
What's more fun then dueling with 'squeaky' hammers and lesbian subtext?
It's not subtext if it's text.
Last edited by Dallbun (08-29-2010 11:56:22 PM)
Dallbun wrote:
If you guys are interested in Saturn game videos, Nico Nico Douga has a whole lot of them. I could post a catalogue of links.
Please do.
Okay, I posted the links in the Nico Nico Douga thread.
Thanks The_A_Man, I think I almost came.
Oh my. That was disturbing but kinda sexy. Especially if you're listening to the audio while reading the translations. I also like how D-ko was too sleepy to duel because she was up all night playing with Anthy.
Katzenklavier wrote:
With the ways things are going, I'm surprised the ending didn't turn out more like this...
Utena: (loud declaration) C'mooon! I'm here to duel you!
(She draws out her sword and boldly faces off the exhausted D-ko. However, before the victory can become complete, Anthy sneaks up behind her and crushes her brain with the Squeakinator Vibrating Blast, a squeaky hammer of unmatched power.
Anthy: Oh, Miss Utena, always so brave. Unfortunately, I've decided that I want to stay with my new master from now on.
Utena: No...Himemiya...why?
Anthy: Frankly, Miss Utena, you're the single biggest tease to my sword of Dios since I was engaged to the entirety of the girls' volleyball team. The sight of you prancing around in those skintight hot red panties is torturous enough for the millions of people who stabbed me to go, "Oh, that's just BITCHY." I keep putting little hints around here just bending over in front of a conveniently placed baseball bat, and YOU NEVER FUCKING PICK UP THE HINT. Holy Satan, you think I like sweeping your floors? The only reason I get off on that crap is because Saionji is usually running after me, spanking my way the whole time. I know you want to save my soul and redeem my life and you love me and blah blah blah but fuck, my privates are fossilizing here.
D-ko: Ah shaddup beatch and make me a grits sammich. (smashes Anthy over the head with a half-empty bottle of Miller)
Oh, I have to agree. You know it's bad when the crazy townspeople think you're being a big tease and that's just bitchy. Hey I wonder if Anthy frequently converses with the people who stabbed her. Wouldn't that be an interesting sitcom. Also, I totally ship D-ko/Anthy now for the hot lesbo sex. By the way D-ko, your closet is officially gone; so you might as well come out now.
Dallbun, now I officially you.
Thank you so much for playing the game so many times and translate it for us, even though I wasn't there to vote, I still read all four threads with great interest and I just couldn't stop.
My personal favorite ending is Anthy. Simply hilarious, I tried very very hard not to laugh out loud so that I won't wake my husband. But seeing the perfect ending let me know the plot and make me know the charactersw even better.
Now I want to write a D-ko fanfic to see what happen when she return to Ohtori.
Once again, many thanks to you, Dallbun!
I actually had to look at the pictures twice Oh D-ko kun, I liked her egostatical behavior and the part where Anthy put Squeaky hammer helmet on befuddled Utena And the part where Dko was like 'I spent all night playing with Anthy' That was so hilarious
I have no life and I like being totally anal about stuff like this. If any mods think this would be better off as its own thread, shoot me a quick PM and let me know.
Based on two pieces of information provided (possibly three!) in the second Let's Play (the one for the perfect ending), I used the date/time function provided by any installation of Windows XP to track down the timeframe of when the game takes place to the very day.
I first present the first piece of information, the calendar in the fencing club's locker room:
As can be seen, the month has 31 days, starts on a Monday and has the date of the 25th (a Thursday) circled. Taking into account that only four days are spent during the game (and I assume that the 25th is the last day, of course), we know that our cheerful yet clueless protagonist arrived at Ohtori on the 22nd of the month (a Monday).
Now, moving on to the next piece of information, the game reveals in our second playthrough that Chigusa is examining student records from 1981 to 1983. I assume this has something to do with the way Japanese upper schools keep records in comparison to the way Western schools do (or, at least, American schools; I'm basically writing what I know here, to use a trope). We learn through the conversation with our bubbleheaded heroine's (not Utena) parents that the whole incident leading to Chigusa's death took place fifteen years ago.
With a quick bit of arithmetic, we learn that She of the Slippery Mambo is attending Ohtori between the years 1996 and 1998, barring some bizarre wibbly-wobbly, timey-wimey mojo on Akio and/or Anthy's part.
Most humans I know also learn the reinforcing mnemonic (spelled right?) rhyme that "thirty days has September, April, June and November; the rest have 31 save February." Gives us seven months to work with in a year, and with three years this gives us 21 months to examine. The third possible piece of information appears to be that the season is between late spring and late summer in Ohtori. (I think, anyway. I assume that a Japanese winter in Ohtori would involve snow and changing of leaf colors.)
With that known, we can examine which months in range turn up as possible hits.
From 1996, we have January and July. In 1997, there's December. And in 1998, we have nothing that matches. This brings us down to three possible months across three years. January and December seem much too cold to wander around without warm clothing, so this leaves only July 1996 as our winner.
Now, I'm not saying that the facts of seasons turn up as I'm assuming, because I've never ever been to Japan. I also have to assume for sake of continuity that there's nothing funny about the way Akio's keeping track of time in Ohtori and Houou City. Any major change to this continuity and we throw this all out the window. I'm just presenting what I dug up today when totally bored and decided to do a bit of integrity checking.
If anybody with a greater understanding of the variables involved has a different opinion, I'd honestly welcome them onto the table, as it were.
The original manga was written beginning in 1996, and since Utena doesn't contain any obviously retro elements, nor any obviously futuristic elements (apart from conceits like the planetarium), it's reasonable to guess that the manga is set in 1996. The anime aired in '97. July 1996 seems like a perfectly reasonable date for the video game.
I don't think the other two dates are out of the question, though. Winters in and around Tokyo are quite mild -- the city is a little closer to the equator than San Francisco -- and though Tokyo usually does get snow, the first snowfall usually isn't till January, and once in a while it doesn't snow till February. Whether the students would be running around in short skirts in December or January I don't know, but then, maybe Akio likes using the dress code to fuck with people during winter.
Last edited by satyreyes (01-05-2011 06:05:21 PM)
BioKraze wrote:
From 1996, we have January and July. In 1997, there's December. And in 1998, we have nothing that matches. This brings us down to three possible months across three years. January and December seem much too cold to wander around without warm clothing, so this leaves only July 1996 as our winner.
Now, I'm not saying that the facts of seasons turn up as I'm assuming, because I've never ever been to Japan. I also have to assume for sake of continuity that there's nothing funny about the way Akio's keeping track of time in Ohtori and Houou City. Any major change to this continuity and we throw this all out the window. I'm just presenting what I dug up today when totally bored and decided to do a bit of integrity checking.
If anybody with a greater understanding of the variables involved has a different opinion, I'd honestly welcome them onto the table, as it were.
I thought that the calendar we see in the locker room was the OLD calendar, not the current one?
Raven Nightshade wrote:
I thought that the calendar we see in the locker room was the OLD calendar, not the current one?
Ouch. Looks like you're right.
(From this post)
...this calendar is pretty tasteless, huh?
The 25th is marked.
The 25th... today's date.
Chigusa-san probably did it.
Look at the date on the calendar... it's from fifteen years ago.
So it is, now that you mention it.
It's easy to miss, since the picture of the calendar quite obviously doesn't have a month or year written on it.
Anyway, thanks for the detective work, BioKraze! It's interesting. I don't suppose you'd want to do another round of deduction, with this new information...?
Aw, man, that makes things harder! So we no longer know that the first day of the current game-time month is Monday. But we still know that the 22nd, 23rd, 24th, and 25th are all school days (possibly including Saturday, which is a school day for most schools in Japan).
The calendar isn't from 1981, which had no 31-day months beginning on Mondays.
The calendar page could be March 1982. That would set the game in 1997. But in March 1997, the 23rd was a Sunday, not a school day, meaning that the game definitely doesn't take place in March 1997. So if the game is set in 1997, Chigusa is using the wrong calendar month (March) to mark off the days till the 25th, which seems kind of strange (though perhaps no stranger than using the wrong calendar year). And if Chigusa's using the wrong month, we have nothing to go on.
The calendar page could also be August 1983. That puts the game in 1998, the not-too-distant future from the anime audience's perspective. But here again, it turns out that the 23rd of the month was a Sunday in August 1998, so we still have Chigusa using the wrong calendar month.
1980 and 1984 turn out not to work either, for parallel reasons. So either the game designers didn't think through what month the game was set in and what month Chigusa's calendar would reflect, or Chigusa just ripped an arbitrary month from her calendar. I think obviously Chigusa is to blame here.
satyreyes wrote:
(possibly including Saturday, which is a school day for most schools in Japan).
FYI, that hasn't been true for a while. I believe that since 2002, no public schools have had classes on Saturday (and it might have been only two Saturdays a month for a while before that?). Of course, that's irrelevant because this game is set in the mid-90s, and Ohtori is a private school and can do what it wants.
Anyway, the calendar is messed up. March doesn't seem reasonable anyway, because that would put it very, very close to the end of the Japanese school year, and we need space for another 30 or so episodes to happen after this game.
Obviously someone just didn't do the research.
...err, I mean, obviously it's metaphorical! Quick, somebody do a lengthy analytical essay on why it's important that the month is 31 days long and starts on a Monday!
Dallbun wrote:
stuff about the date
satyreyes wrote:
more stuff about the date
You guys are gonna laugh. I had to correct my original calculations because I was doing them fifteen years ago, game-wise.
And you know what? You're right. It's totally pointless to try and figure it out. Even if the game designers did their research and got everything lined up, and the calendar made sense both "now" and "fifteen years ago," it still wouldn't apply because of the one quality of fan-wank we all typically agree on here: Ohtori is timeless. So I'm still stabbing roses in the dark because I assumed Akio wasn't diddling around with time, and he still is!
Buuut, it's fun to try and do this sort of thing, isn't it?


text:
I've got two questions for you.
Electric current is the flow of electrons across a conductor.Why has it always got to do with electrons and not with protons? (I know neutrons are not eligible for electricity as they carry no charge.)
Sometimes my computer starts properly after I disconnect all the cables and press and hold the power button for a few seconds and then re-connect all the cables (same thing with my modem). What's going on? I've heard that some amount of left over current get's drained. But where do they go? How did that excess current get accumulated in the first place?


text:
I've been impressed by the professionalism that the team at Web Drive have shown in configuring a suitable hosting platform for our business. They took considerable effort in understanding our particular needs and how this could be addressed.
Neil Gibb, 1-Day
"With can-do engineers, proactive round-the-clock support, and commodity and custom solutions, Web Drive is selling peace of mind. We'll have some of that, thanks."
Matt Cooney, Image Centre
"Web Drive was able to provide the server capacity, performance and most importantly, the required reliability practically immediately."
Kevin Fenaughty, GNS Science
"We were able to cope with increased demand thanks to the flexibility of Web Drive's resources and service."
Lester Binns, Orbus Business Solutions
Web Drive's greatest point of distinction is with their responsiveness. Requests, sometimes very extraordinary request, are dealt with efficiently and they take everything in their stride.
Shawn Hamman, Yellow Pages
Web Drive have been instrumental in keeping the NBR site available to over 80,000 regular readers, we couldn't have done it without you.
Hayden Judd, Sparks Interactive
Web Drive are more like team members than suppliers, they worked with us as well as for us. They learned about our systems even before we joined them
Fraser Kennedy, Careers New Zealand


text:
Gritty Boi Ft Veli Sosa - 10,000 [Label Submitted]
"10,000" Gritty Boi Ft Veli Sosa
Labels: Gritty Boi Ent | Duct Tape Ent
Dir By: Deno Terrorteno
Prod By: Tek Support Productions
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.


text:
Heritage Park Real Estate
Heritage Park is an active adult community for residents 55 and older designed for resort living. The 25,000 square foot clubhouse is the centerpiece of this community, which offers a large ballroom, library, pool table, gardens, theatre, pub, indoor and outdoor pools, spas, and fitness center. Residents also enjoy tennis and basketball courts, bocce ball, indoor and outdoor swimming pools, as well as a wide variety of available clubs and classes. Golfers enjoy the local Teal Bend course, located just minutes away.
Great care was taken in the design of the tree lined promenades that link the neighborhood villages that are ideal for walking or biking. An active homeowners association fosters and ensures the beauty, safety, and stability of the community.
Interstate 5 and the Sacramento International Airport are easily accessible while Downtown Sacramento and all its urban amenities are just 15 minutes away.
Search for Homes in Heritage ParkView all Heritage Park listings
Real Estate
Commute to Work
No properties currently
No properties currently
No properties currently


text:
Brad Pitt at the World War Z Russia Premiere | Pictures
Brad Pitt held onto Zahara and Shiloh's hands as they visited the Moscow Kremlin in Russia today. He's overseas promoting World War Z and continued his press tour at the Moscow International Film Festival in Russia on Thursday. Brad posed with Soviet filmmaker Nikita Mikhalkov and stopped to snap photos with fans as he made his way down the red carpet. Brad's been on the go since premiering the film in NYC with his family earlier this week. He also made time to shoot a hilarious video with Jimmy Fallon — we suggest you watch their yodel-off if you haven't already.
In addition to his work travels, Brad has been speaking out about affairs that are closer to home. He gushed about fiancée Angelina Jolie in a recent interview, telling reporters that she is as "sexy as ever" following her recent double mastectomy. Brad was also among the many stars to share his sadness over the death of actor James Gandolfini, saying, "I am fortunate to have sat across the table from him and am gutted by this loss. I wish his family strength and some semblance of peace."


text:
Did Gaddafi die at the hands of a French secret agent?
Issued on: Modified:
A year after his death, fresh leads suggest the former Libyan leader could have been killed by a French secret agent. Corriere della Sera and The Daily Telegraph suggest that Nicolas Sarkozy's government were eager to silence the colonel. We also take a look at the former UMP minister who compared France's last president to the messiah himself.