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There are over 26 million households in the UK, of which nearly 3.8 million are classified as 'social housing'. These rented homes are owned by local authorities or non-profit housing associations and usually occupied by low-income tenants.
There is a massive waiting list for social housing, with 1.8 million households trying to find shelter in state-sponsored housing. As a result, the Government is under huge pressure to reduce waiting lists while cutting public spending on social housing.
Taxing extra rooms
One way the Government aims to curb the bill for social housing is by imposing a yearly cap on total state benefits paid to working-age households. This limit has initially been set at £26,000 and is already affecting thousands of households, particularly in high-priced London.
However, with effect from April, new restrictions introduced by the Welfare Reform Act 2012 will come into force for council tenants claiming housing benefits. While these will not affect pensioner households, they will have a profound impact on working-age households.
In what's being already called the 'bedroom tax', housing benefit will be cut from April for those tenants who have one or more spare bedrooms in their homes. One extra bedroom triggers a cut in housing benefit of a seventh (14%). Two or more spare bedrooms produce a cut of a quarter (25%).
For example, a family of two adults and two children living in a five-bedroom council house could see their housing benefit cut by 14% with effect from April. This family either have to find the money to cope with this cut or move to a four-bedroom home.
In total, it's estimated that 660,000 households will be hit by the bedroom tax. Of these, perhaps two-thirds contain one or more people with a disability, so these cuts will hit some of the most vulnerable people living in Britain today.
Furthermore, most of the pain from the bedroom tax will be concentrated in the north, Wales and Scotland, rather than southern England. This is because of the larger numbers of one-bedroom and two-bedroom council properties in London and the south east, versus larger council homes in less densely populated (and less affluent) areas of the UK.
What will be the consequences?
For a family receiving, say £100 a week in housing benefit, a 14% cut equates to a loss of £14 a week from April (£728 a year). Likewise, a 25% cut to the same benefit would mean losing £25 a week (£1,300 a year). For many council tenants, this shortfall could mean the difference between heating and eating.
Of course, this coming cut to housing benefit is intended to encourage council tenants to 'downsize' by moving from larger, under-occupied homes to smaller, more affordable social housing.
But people living in social housing (notably those that rely solely or mainly on state benefits for their income, such as the unemployed, disabled and low-paid) are not renowned for living the high life. Many struggle to make ends meet already, particularly when big bills suddenly hit the doormat.
So these cuts are sure to send many thousands more council tenants into rent arrears. With yearly rises in other working-age benefits capped at a below-inflation 1% from 2013 to 2016, the household budgets of welfare claimants will be placed under even greater pressure.
Another problem is that households faced with losing weekly benefits or a spare room could simply expand their family by having another child. While this would enable them to hang onto so-called under-occupied homes, it would raise the bill for Child Benefit and other benefits paid to families with young children.
What's more, families that do agree to move to smaller homes may find that such housing stock simply isn't available in their area. So while being physically unable to move to smaller accommodation, they must carry on paying the bedroom tax. How absurd is that?
Some bizarre examples
Already, the spare-bedroom tax is being criticised as one of the most arbitrary, subjective and ill-thought-out reforms in the history of British social welfare. Here are five ridiculous examples of those social tenants about to be hit:
1. Divorced parents sharing childcare
Divorced or separated parents sharing childcare will be hit. From April, only one parent will be allowed spare rooms. If the other keeps one or more rooms spare for overnight stays from their children, then that parent will be hit by the new bedroom tax.
2. Families with children under 16
Families with two children of the same sex both aged under 16 will also be hit, as both sons (or daughters) must share the same room. A recipe for teenage strife!
3. Families with children under ten
If both children are under ten, then they must share a room, even if they are not the same gender. In other words, under the new rules, little girls and boys living in social housing no longer deserve their own personal living space.
4. Foster carers
Families who usually or occasionally take in foster children will not be given credit for any extra rooms they set aside for children not yet arrived in their care. This seems a horribly cruel way to penalise those selflessly helping society's neediest youngsters.
5. Bereaved families
On Monday, I read of one couple whose beloved seven-year-old daughter died of brain cancer a year ago. For the past 12 months, her grieving parents have kept her room as a 'shrine', exactly as she left it.
Were they to continue to do so from April, their housing benefit would be slashed by £650 a year. In effect, having lost their daughter, they now risk losing the home in which they raised her by being 'financially evicted' to a smaller property.


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WalletMax increases cross-sell and up-sell opportunities in business and corporate banking by up to 50 percent. It automatically compares each of a bank's clients to similar companies in the same industry and finds the gaps. This gives relationship managers a rich prospect list based on actual customer behavior.
WalletMax enriches the bank's own data with BCG's proprietary database of more than 250,000 product "wallets" from more than 10 corporate banking divisions around the world. Gaps—such as products that competitors may have or that others tend to have in larger volumes—represent opportunities for the bank to pursue new or expanded business.

subset: commoncrawl


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As abortion funds, we know that the fight for reproductive rights and justice is about more than right to choose an abortion — it's about real access. On our hotlines, we hear stories every day from people who can't afford their abortions and who face various barriers to access. We hear firsthand how abortion restrictions disproportionately impact low-income people, people of color, immigrants, young people, and people from our rural Texas communities. Our clients' experiences are not typically centered around the concept of "the right to choose" but rather they're situated within larger, systemic barriers created by economic, racial, and gender inequities often perpetuated by the Texas Legislature. This is why The Lilith Fund for Reproductive Equity and Texas Equal Access Fund – TEA Fund have teamed up to coordinate the first-ever Texas Abortion Funds Advocacy Day at the Texas Legislature. We're coming to the Capitol in a united front to share client stories and unveil a comprehensive agenda that best addresses the needs of those most struggling to gain abortion access in Texas.
Over 50 abortion funds advocates (hotline volunteers, folks who drive patients to their appointments, volunteer board members, etc) are coming to the State Capitol on March 7th to encourage legislators to sign on in support of our comprehensive advocacy agenda.
Sign on to support our advocacy agenda today!
Advocacy Agenda
No one should be denied abortion access just because they cannot afford to pay. Abortion care should be covered under private and state-funded insurance programs. Every day, abortion funds in Texas hear from people who want an abortion and cannot afford it. Because of restrictions in the federal budget known as the Hyde Amendment, as well as Texas state statute and appropriations, Medicaid will not cover abortion except in extreme circumstances. Currently, 17 states cover abortion with state Medicaid funding. We call upon the state of Texas to strike the statute barring state Medicaid funding of abortion, and remove the rider on the state budget that prevents the funding of abortion. Abortion is healthcare, like any other medically necessary procedure, and should be recognized as such under all relevant health care coverage programs.
Travel expenses for abortion should be covered under state Medicaid, along with the procedure itself. Currently in Texas, if a patient needs to travel long distances for specialized care covered by Medicaid, then the travel expenses related to said care are also covered. In 2013 the state of Texas passed a law known as HB2 that closed over half of Texas's abortion clinics, forcing many residents to travel hundreds of miles to the nearest clinic. The state Medicaid program should not only cover abortion care, as it is a basic form of healthcare, but it should also include coverage for related travel expenses to ensure that all Texans, regardless of their means, are able to access a safe and legal abortion.
Texas should expand Medicaid. While the ACA has increased health care coverage, our state continues to be last in health care access. Even if the state used state Medicaid funds to cover abortion, there would be many who could not access abortion or other vital health care services for themselves and their families because of the Medicaid gap. We call on the state to expand Medicaid coverage, and to make health care of all kinds, including abortion, available to all people.
Texas State Prisons should provide funding to cover abortion procedures for inmates. The Legislature should ensure that incarcerated pregnant people have access to abortion care and resources needed to pay for their procedures.
Texas should end the "Alternatives to Abortion" program. The Legislature should stop putting taxpayer dollars towards biased programs and unregulated crisis pregnancy centers (CPC) that coerce, manipulate, and lie to Texans. Those funds would save the state money if they were invested in family planning, CPS workers, children's therapy, daycare programs, or any other of a number of cash-strapped programs that provide measurable, positive results for the state. Abortion funds hear from numerous callers on our hotlines who were forced to delay their abortion or received medically inaccurate and biased information from a CPC.
People should be guaranteed access to abortion and all other forms of healthcare (including family planning, prenatal care, postpartum care, and more) regardless of immigration status, and should not risk detention or deportation when seeking medical services of any kind. Our Legislature should take necessary steps to ensure that patients and clinic staff are able to access an abortion clinic free of harassment, violence, and obstruction. Undocumented immigrants should be able to access healthcare without fear of their status being reported to the authorities.
Ensure all people, regardless of age, have the support they need to build the families they choose. Guaranteeing equal pay, fair wages and paid sick and family leave allows people in Texas to prioritize the health and safety needs of their families and bolsters economic security. Additionally, pregnant and parenting students of all ages should have comprehensive support and respect needed in order to succeed in school and graduate.
Pregnant minors should have access to safe abortion care. Young people deserve respect and compassion. Parental involvement for abortion laws ignore the reality of homeless, neglected, or abused youth. The state should work to ensure that other trusted adults, such as grandparents, adult siblings, or medical consenters, can consent to abortions for minors, and that minors who are already parents can access confidential and affordable abortion care. However, if there is going to be a judicial bypass process, it should be one that pregnant minors can navigate timely, confidentially and without discrimination.


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Here's one for all the fans of latin music—pianist Michel Camilo is a far cry from the mellow melodies of Antonio Carlos Jobim… but that's okay. Sometimes music just has to kick ungodly amounts of ass.
Check out the above track from his album One More Once, which features a big band that was so sick… it was one of the hottest collections of New York cats and Latin all-stars I've ever heard. Seriously, listen to that track.
That's the one and only Paquito D'Rivera on the alto sax solo. The ridiculously burning alto sax solo, I should say.
Here are a few more tracks from the album:
"Why Not!"
Man, "Why Not!" is the sort of super cheesy name that only really super burning jazz musicians can get away with. I love this track, partly for the great solo from Camilo, but partly for the the shout chorus that plays after the solos (at 4:35). Check out John Faddis on the lead trumpet. Good gravy.
"Suite Sandrine, Part 3"
A slow burn that builds to an insane climax—Michel's montuno piano-playing is unlike anyone else in the business, and he can deliver a groove so hard. They do some fun things with bass trombone in here as well. Stay through to the end. What a grind this tune has!
"Not Yet"
This is the first track from the record, a groovy blues with a nice tenor solo from Ralph Bowen. I actually transcribed this solo back in college… I still remember some of his turnaround licks all these years later. Go ahead, Ralph.
Do yourself a favor and pick up the whole album. Put that sucker on and try to sit still.


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Mixed Review: Canterbury Naturals Coconut Macaroons
We bake from the box.
It seems obvious that coconut macaroons should taste first and foremost of coconut. But too often their aching sweetness obliterates any other flavors. One bad experience with a cloying macaroon has led many people to write them off entirely, and that's a shame. Macaroons done right are delicious—light, sticky, and full of tropical coconut flavor.
My go-to recipe for coconut macaroons is from Cook's Illustrated. While it's not particularly complicated, it does involve three different kinds of coconut (sweetened, unsweetened, and cream of coconut). I was curious to see how a streamlined boxed mix for macaroons would fare. Canterbury Naturals Coconut Macaroon Mix requires no other additions except hot water. In case you're wondering, the mix is all natural, and the primary ingredients are sugar, dried coconut, dried egg whites, and flour.
To prepare the macaroons, I simply combined the mix with exactly 1/4 cup plus one teaspoon of hot water and let it stand for five minutes. Then I dropped it by heaping teaspoonfuls onto a parchment-lined baking sheet. After 15 minutes in the oven, the macaroons had lacy golden edges and burnished, golden brown points. By all appearances, they were textbook-perfect.
What I liked best about these macaroons was that they weren't overly sweet. Don't get me wrong, macaroons are always pretty sugary, but these stopped far short of tooth aching.
I also loved their texture: crispy on the bottom, soft and moist in the center, with little tufts of crunchy coconut flakes on top. Unfortunately I did find the coconut flavor a little dull and muted. I missed the nutty, tropical burst of flavor that comes from homemade macaroons. This mix is incredibly quick and easy, and the results are solid, if not spectacular. I would definitely recommend it as a simple garnish for ice cream sundaes, or as part of a larger cookie smorgasbord.
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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Nokia 6121 Classic themes
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The Nokia 6121 classic, a fast and versatile smartphone in a compact design, supports quadband GSM and WCDMA 900/2100 technology. With a 2-megapixel camera and 4X- digital zoom, flash and panorama mode, taking high-quality photos is fast and easy.
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- Users are unable to easily find packages
- Users experience conflicts between repositories
- Unable to do quality testing on huge amount of repositories
- maemo.nokia.com – Is not able to hand pick packages from external repositories
Back to the external repositories problem:
We started to retrieve all source packages from all know repositories found on Gronmayer. These packages are fed to the autobuilder to see if they would build. The status page looks like this:
Our plan to reduce the number of external repositories:
- Build all source packages available in external repositories
- Show status of builds
- Try to discover missing sources (a lot of packages have no source available in the repo)
- Help developers to fix build problems
- Convince developers to move their packages into Extras
- Convince teams inside Nokia to do the same
Together with Dave Neary, I did another talk. This one was about the history of the Maemo community and the changes we went through in the last few months. The slides for this talk are also available:


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The press has revealed that Taiwanese smartphone maker HTC Corp chairwoman Cher Wang (王雪紅) has just spent NT$684 million (US$22.6 million) buying a whole floor of one of the buildings in the MeHAS City (美河市) project in New Taipei City's (新北市) Xindian District (新店) for the express use of the Sin Tiam Presbyterian Church (新店教會). The reports also say that Wang, daughter of Formosa Plastics Group founder Wang Yung-ching (王永慶), donated more than NT$2 billion to the Bread of Life Christian Church in Shilin (士林靈糧堂) in 2008 to finance the church's scheduled move next year to Taipei's Dazhi District (大直). The new premises will be able to accommodate a congregation of 5,000, making it unquestionably the most prestigious Christian church in all of Taiwan.
Cher Wang is the head of the top international brand HTC and Taiwan's richest woman. She is also a devout Christian and during the 2012 presidential election she, in condoning the so-called "1992 consensus" as a "good Christian," helped a flailing President Ma Ying-jeou (馬英九), heading for a political pratfall, turn his fortunes around and secure his second term. Her lack of political baggage or risk made her the go-to businessperson.
However, recent years have not been very kind to HTC financially. To stop the rot, Wang decided to bring in the big boys, enlisting Hollywood A-lister and Iron Man star Robert Downey Jr for the company's marketing campaign, with additional celebrity endorsements by Wang Lee-hom (王力宏) and rock group Mayday (五月天). Is throwing money at the problem really the answer? I am sure God never said so explicitly, but she has put her faith in him, and is praying that he will take it all in hand.
However, is it right for her to build such an ostentatious church here on Earth? It is really not for me to say. The anthropologist Ronald Wright has said that for televangelists to preach in such glorified settings as huge stadiums, making fortunes out of God's capital, is the preserve of corporate religion. US mythologist Joseph Campbell said that churches are places for silent contemplation and meditation, while many modern churches are built to look more like theaters, showy yet blasphemous for all that. For Campbell, churches are symbols, not places to go and see things performed. They are places in which believers can come into contact with the essential nature of their spiritual lives.
The early second-century Greek Stoic philosopher Epictetus, writing about the human tendency to believe in gods, said, "You bear God within you, poor wretch, and know it not."
In the 18th century, the German philosopher Immanuel Kant advised people to divest themselves of religious doctrines, saying that "the death of dogma is the birth of morality." How beautifully put.
Wang has seen fit to spend hundreds of millions of New Taiwan dollars on building a new and ostentatious church. Why not take a leaf from Christ's book and show some compassion for the poverty-stricken, using the money instead to providing some humanitarian aid to the poor and needy in Taiwan? Would that not make more sense than her locking herself up in her shrine, praying for glory and riches in this existence, and everlasting life in the next?
Francis Tsai is a former secretary to the president of the Kaohsiung Medical University, now retired.


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There's no doubt that the sex scandal that prompted CIA director David Petraeus's sudden resignation late last week is a big story. New details–verified or not–seem to arrive almost by the hour.
But the reason it seems to have shaken so many media figures is because Petraeus was uniquely beloved by many in the corporate media, who considered him both an accessible source and a war hero.
NBC Nightly News anchor Brian Williams called him (11/9/12) a "a man of such sterling reputation," and confided on the air to one guest that "it is impossible to be a member of the military establishment, it's impossible to be a journalist who has covered these wars going back 10 years and not know Dave Petraeus, as you and I both do–soldier, scholar, Princeton PhD."
The New York Times (11/11/12) referred to the "dazzling career" of a "soldier-scholar blazing with ambition and intellect," a "slender fitness fanatic" who was "known as a brainy ascetic."
On CBS's Face the Nation (11/11/12), David Gergen proclaimed: "I think it's a tragedy for the country. David Petraeus, a warrior scholar, I think he has been one of the finest leaders of his generation. He is an iconic figure for any number of young troops."
The reporter who broke the story also sounded pained by the whole affair. Appearing on MSNBC with Rachel Maddow (11/9/12), Andrea Mitchell began by saying:
I have to tell you. I don't take any pleasure in this…in the sense that this is really a personal tragedy. And there are families involved. People involved on all sides. And the men and women of the CIA, an agency that has many things to be proud about, many things to be proud about that, and that is under fire right now for other reasons.
CNN host Wolf Blitzer (11/9/12) sounded grave as well, calling the resignation
a very, very sad moment given his distinguished military career, his career more recently in the intelligence community, one of the most brilliant generals by all accounts we have had over the years, a Ph.D., graduate of Princeton University. Somebody who is not only a general, but a scholar who knows the stuff and by all accounts doing an excellent job over at the CIA. So it is a very sad moment not only for him and his family, but for everyone who knows him and indeed for the country right now.
In case that wasn't clear, Blitzer reiterated: "I want to just underscore how sad this is for the U.S. military, the Army, the CIA, indeed the country, that someone of this stature must end a career under these circumstances."
The thing about corporate media's love affair with Petraeus that there were never any attempts to hide it. As ABC military reporter Martha Raddatz once put it (6/23/10): "A warrior and a scholar, Petraeus is sometimes jokingly referred to as a water walker, since almost everything he touches seems to turn to gold." Or as David Ignatius of the Washington Post wrote: (12/29/10):
I've seen Petraeus give many briefings over the years, and it's a bit like watching a magician at work. Even though you've seen the trick before, and you know the patter, you still get mesmerized.
Petraeus understood how to use the media, and reporters understood that regular contact with a military commander was unusual. As CNN's Erin Burnett (11/12/12) summed up: "He made us all feel special. How quickly he would respond to e-mails. Yes."
If you think a better world is possible, support our people-powered media model today
The corporate media puts the interests of the 1% ahead of all of us. That's wrong. Our mission? To inform. To inspire. To ignite change for the common good.
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Now, there are some who regret how they covered him. Wired's Spencer Ackerman wrote a thoughtful piece (11/11/12) headlined "How I Was Drawn Into the Cult of David Petraeus." He observed that "Petraeus recognized that the spirited back-and-forth that journalists like could be a powerful weapon in his arsenal." He added:
To be clear, none of this was the old quid-pro-quo of access for positive coverage. It worked more subtly than that: The more I interacted with his staff, the more persuasive their points seemed.
So it wasn't just that Petraeus and his staff kept in touch–they could also convince you that they were right.
But the self-reflection has its limits. On CNN's Reliable Sources (11/11/12), Howard Kurtz said this to USA Today reporter Jackie Kucinich:
But that access, Jackie Kucinich, that Petraeus granted to some journalists, military journalists and others, has really produced a lifetime of favorable coverage, of positive headlines. I mean, this is a guy who had a terrific image. At least in part–I'm not saying he doesn't deserve it, I'm not saying he didn't accomplish a lot in Iraq and Afghanistan, risking his own life, but in part because he courted the press.
Kurtz's comments illustrate the limits of this criticism in corporate media: Petraeus's accessibility no doubt impacted coverage, but his record as a military commander deserved much of the praise it received.
Journalist Michael Hastings, whose book The Operators takes a critical look at the Afghan War, had a much different view. "More so than any other leading military figure, Petraeus' entire philosophy has been based on hiding the truth, on deception, on building a false image," he argued (BuzzFeed, 11/11/12).
Hastings points to Petraeus' failures in Iraq, starting with a troubled 2004 program to train Iraqi security forces. He adds:
On his final Iraq tour, during the so-called "surge," he pulled off what is perhaps the most impressive con job in recent American history. He convinced the entire Washington establishment that we won the war.
And the "success" of Petraeus' Iraq surge led to an escalation of the Afghan War based on the notion that the same could happen there. A critical assessment of Petraeus's record could also be found on Democracy Now! (11/12/12), courtesy of guest Juan Cole. But those discussions were few and far between.
A more typical media reaction might be that of Washington Post columnist Richard Cohen, who writes (11/13/12) that Petraues should be replaced as head of the CIA with… Petraeus:
But now that it has all been done, is there a better man to fill Petraeus's CIA seat than Petraeus himself? He is blackmail-proof and more than qualified for the job.


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Former BenGal cheerleader Sarah Jones was back in Covington's Federal Courthouse on Wednesday and cross-examined in her defamation lawsuit against TheDirty.com.
Jones is suing the gossip site and the owner, Hooman Abedi Karamian ('Nik Richie'), claiming statements posted on the site about her in 2009 were false and harmful to her reputation. Among the statements made on the site was that Jones had a sexually transmitted disease.
Jones says the statements have been very devastating, leaving her extremely depressed.
The posts on the website were made in 2009, before Jones plead guilty in 2012 to having sex with a teenage student while she was a teacher at Dixie Heights High School.
Nik Ritchie says his TheDirty.com website gets more than 1000 submissions a day, and he says its "not my job to fact check the site."
Richie testified that Jones's appearances on national television and at community events made her a public figure. Public figures trying prove defamation have a higher burden than those who aren't in the public eye.
On Tuesday, jurors heard new details from a text message exchange between Jones and the student. Jones texted him that it was 'love at first sight' when he walked into her classroom for freshman English and that she knew they would be together one day.
Attorneys for the website say her relationship with the teen proves she's sexually immoral, and she's to blame for her tarnished reputation.
On Thursday, the court will see a video of Ritchie's appearance on the Dr. Phil Show, where he gave his person view on reality blogging. The case is also expected to conclude and will go to the jury.
Copyright 2013 WXIX. All rights reserved. The Associated Press contributed to this report.


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EffectThe magician can take five coins as only one coin. The public never think that coins are joined. You will be able to realize many coin tricks with this gimmick.
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text: Processing. Please wait. Brand: Goodman Save Listing| Email Listing | Share Product Name: 4 to 5 Ton Goodman, 24.5" Wide, Multi-Speed Modular Blower MBR2000AA-1 Item#: MBR2000AA-1 Reg Price: $412.50 Your Price: $337.00 Choose QTY: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Product Details Manuals Video Warranty Shipping Info Returns / Policy Ask A Question Product Details - MBR2000AA-1 Description Complete your cooling and heating split system with the Goodman MBR2000AA-1 air handler from the MBR family. The multi-speed unit delivers an airflow of 2000 CFM when models with higher output are also available. The direct drive PSC blower motor ensures effective air circulation. The installation in either horizontal or vertical configurations enabled by a multi-position feature. In pair with the proper outdoor unit this Goodman air handler provides a quiet and also economical operation for years to come. Due to a modular nature of the model it is easily integrated in any system. The air handler is intended for the use with mainly CAPF/CHPF cased evaporator coils. For longevity and durability of operation the cabinet of the unit is made of galvanized steel. The MBR line of air handlers have a blower section that can be used as an electric furnace. With the relevant electric heat kit, this model is easily turned into an electric heater. For cabinet condensation reduction the entire blower case is covered with foil-faced insulation. Moreover the unit is 21" deep for easy attic access and maintenance. Upgrade your air conditioning system and add the Goodman MBR2000AA-1 modular air handler to improve the overall performance. Features Direct drive, multi-speed PSC blower motor Cooling or heat pump applications: upflow, downflow, and horizontal Blower section usable as an electric furnace Control board includes a fan delay in the cooling mode and is isolated from the air stream Intended for use with CAPF/CHPF cased evaporator coils CAPF/CHPF coils are equipped with a check flowrater AHRI certified; ETL listed Painted, galvanized steel cabinet Horizontal or vertical configuration capabilities 21" depth for easier attic access Foil-faced insulation is glued in place and covers the entire blower case to reduce operating sound and cabinet condensation Galvanized, leather grain-embossed finish 3 kW – 21 kW electric heat kits available Cabinet air leakage less than 2% at 1.0 inch H?0 when tested in accordance with ASHRE standard 193 Cabinet air leakage less than 1.4% at 0.5 inch H?0 when tested in accordance with ASHRE standard 193 Specification Configuration Downflow / Horizontal / Upflow Blower Cooling Capacity 4 / 5 Tons CFM (Low/High) (1520/2160) CFM Electric Heat Capabilities (Optional) 10 / 15 / 20 / 3 / 5 / 8 Kilowatts Blower Type Multi-Speed Maximum Overcurrent Protection (Breaker) 15 Amps Fuel Type Electricity Blower Motor Horse Power 1/2 HP Supply Air Opening Size 23.5 x 11.25 Inches Product Weight 94 lbs Width 24 1/2 Inches Depth 21 Inches Height 30 Inches Voltage 208 / 230 Volts Voltage Phase 1 Limited Warranty 10 Years Your Phone Number : Your Email : What is your message about : - Select One - Sales Questions General Support Technical Support Webmaster What Is The Status Of Your Project? : - Select One - Ready To Buy Planning/Budgeting Just Curious/Not Buying Anytime Soon Type your name and message here : Verification Code : 2 + 4 Send Shop for Goodman and browse manuals and details of MBR2000AA-1 Air Conditioner Repair Joplin, MO AC Services Concord, CA HVAC Installation Westerville, OH AC Services Eugene, OR Heating Contractors Casa Grande, AZ Professional Electrician Little Rock, AR Top Add To Cart $337.00 Watch This Item Your Phone Number: Your Email: Message here: Make an offer Quantity you would like to buy: 1 2 3 4 5 6 7 8 9 10 How much would you like to pay for each unit: Type your Message: Shipping Address: URL of the website where you saw cheaper price Or better deal: Your email address: Your phone number: E-mail a friend about this item Your friend email: Your Email: Message here: Email For Price Your Phone Number: Your Email: Shipping Zip Code: How soon do you need this product?: Immidiately Within a week Within couple of months Just looking for price Message here:


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I had strange, dual memories of Hitchcock's SECRET AGENT, the third film in what we may call his classic thriller sextet. I remembered it as both good and not good. Watching it again with analysis in mind, I saw it as largely good, with a not-so-good ending. It's probably the most neglected of the sextet, along with maybe YOUNG AND INNOCENT, which can probably be blamed on John Gielgud's performance.
To read most modern accounts, Gielgud makes an unsuitable hero, an unsuitable Hitchcock hero, and an unsuitable spy. Most people writing about the film would rather see anyone else in the role. Franklin D. Roosevelt. Not an actor, not British, and kind of busy at the time, but still likely to be better than Gielgud. Chubby Checker. He was only five in 1936, but still had more sex appeal than Gielgud. Robinson Crusoe. Fictional, but that could be an advantage: by training the camera on an absent, nonexistent leading man, and tracking and panning with that absence's "movements", Hitch could have allowed us to imagine our own ideal Hitchcock hero. We could have imagined Cary Grant. But we can't do that with John Gielgud standing in the way.
But actually, I like Gielgud. It's true, he doesn't do sexy. He's a bit of a dry stick. It's hard to imagine Madeleine Carroll having any interaction with him, physically, except maybe to use him as a back-scratcher. We can note that Gielgud came into his own as a film actor when he was off an age to be cast in roles which didn't involve romance. It's not because Gielgud was gay — Hitchcock successfully worked with leading men of varying sexuality. It's because Gielgud was Gielgud.
Nevertheless, I accept Gielgud as Ashenden, Somerset Maugham's secret agent with a touch of Hamlet. For most of the story he's standoffish to his leading lady, and nobody stands off like Sir John. In one scene he intercepts a flirtatious phone call, intended for Madeleine, from Robert Young, and the frisson of naughtiness as Young blows him a kiss is delicious. And he convincingly portrays Ashenden's moral anxiety at the things he's required to do for national security.
Young love.
This is the first of Hitchcock's espionage/terror thrillers to have a professional spy as protagonist (and a period setting in WWI), although it's important that Ashenden, real name Brody, is a novelist recruited for national security work at the film's opening, rather than a trained expert. Still, for all his Hamlet dithering, he's not as reluctant a hero as Hannay in THE 39 STEPS: duty calls, and he promptly answers, without having to be forced by circumstance.
Joining Ashenden is the General, played by Peter Lorre, a bald Mexican who isn't bald, isn't Mexican and isn't a general. We first meet him molesting a maid, played by Rene Ray, future baroness and sci-fi author, and star of THE PASSING OF THE THIRD FLOOR BACK, which Alma co-scripted. I guess this is meant to be amusing, but Ray is such an attractive character in PASSING, I felt rather protective towards her. Lorre, by now in the grip of morphine addiction, was apparently quite a handful on set, but I can't see his erratic, eccentric performance as anything other than deliberate. The General is fascinating because he's a comedy relief character who's also a cold-blooded killer. Absurd, stupid, childish, and deadly. A useful, disposable person to aim at an opponent.
Hitchcock shamelessly exploits the idea of secrecy in counter-espionage to throw in plot twists at every turn. When we first meet Brody he's dead, and then we learn the death is a fake to allow Gielgud to travel unsuspected under a new identity. Arriving in Switzerland (the Hitchcocks' favourite holiday destination again) he finds his wife already in the hotel — a wife he doesn't have as Brody, but apparently does as Ashenden. Mrs Ashenden (Carroll) is in the bath, while entertaining a strange man, Robert Young, in her rooms.
This seems not only indiscreet for somebody pretending to be married, but unprofessional for a spy. But Carroll's character is quickly established as something of an adventuress, in it for the thrills. Gielgud's angular, horsey face puckers with distaste. Lorre arrives and is outraged that Gielgud has been supplied with a concubine while he is expected to fend for himself. In one of several funny bits of business allowed Lorre, he furiously rips up a roll of toilet paper (hanging above the bath — an odd bit of art direction). Gielgud complained that Hitch was too fond of dirty jokes — you can imagine his pleasure at showing T.P. in a movie, even if he couldn't show a toilet.
The first set-piece occurs soon after: informed by coded telegram from spymaster "R" (a precursor of James Bond's "M" — British secret service bosses really did use single-letter code-names) that the local church organist knows the identity of the man they are after (MacGuffin: unspecified defense secrets), Gielgud and Lorre go to church. The General pauses outside by a big crucifix, apparently about to cross himself, then, seemingly unable to remember the correct movements, he just gives it a little wave and goes in.
The organist fails to acknowledge the candles Gielgud lights as a signal, instead playing a single, sustained note on his instrument. This should alert the secret agents to what's happened, but as Comrade K reminds me, nightmare-logic reigns in Hitchcock's world. Eventually approaching their contact, they find him strangled. Somebody approaches — they hide in the belfry (why do they go all the way up? They're more hidden on the stairs) and are deafened by the bells, rung to alert the village. Very good sound-work here, with a track in to extreme close-up as Gielgud yells in Lorre's ear, "We'll have to stay here for hours." And that's it: the police will be called, the body will be taken away, but we have to accept that nobody will think to search the belfry, and Gielgud and Lorre will eventually be able to sneak out — purely because Gielgud has told us so.
Hours later, we rejoin our anti-heroes, with Lorre whining that he's "still blind in one ear" from all that enforced campanology. Joining Madeleine Carroll in the casino, they are able to identify lovely old Percy Marmont (Joan Barry's suitor in RICH AND STRANGE) as the organist's strangler, due to his missing button. Plans are laid to lure him up an alp and do him in.
My favourite bit. Charles Barr, in English Hitchcock, is pretty down on this film, regarding it as the weak sister of the sextet, and he finds the alpine homicide rather strained, but I love it. It could be the most oneiric moment in any of the six thrillers. As Percy is pushed to his death, providing the punchline to the ancient joke, "How do you make a Swiss roll?", and Gielgud watches from afar by telescope, having ruled himself out of the assassination game (but he's still just as guilty because he doesn't act decisively to stop Lorre), back at the hotel, Percy's pooch somehow knows what's up, and lets out a keening yodel, a long declining note which coincides with the passage of a great wad of cotton-wool cloud across the miniature alp-scape standing in for a Swiss long-shot, and Percy's wife somehow knows that the dog's howl signifies her husband's death, and Madeleine Carroll knows she knows…
Afterwards, Gielgud and Carroll are depressed, even more so when they learn (by telegram from "R", who somehow knows) that they've set up THE WRONG MAN. Gielgud actually says, "The wrong man," which ought to be a gift to documentarists. One of Hitch's most baroque subjective effects shows the incriminating button, a transparent phantasm of guilt, miraculously expanded to the size of an individual chicken pie, spinning around inside a roulette wheel at the casino.
Just as Gielgud renounces the spy biz and falls limply into Madeleine's arms, the game is once more afoot as Lorre's girlfriend produces a fresh lead — a chocolate factory with a sideline in espionage. The duo (fireball Lorre and tree-limb Gielgud) investigate, leading to a sequence where Hitch errs by making Lorre the POV character, diffusing the subjective power of the film slightly, and then we're rushing to the climax as Robert Young is unmasked as the enemy agent (well, he IS the only other character) and the plot hurries everybody onto a train bound for Turkey by way of Bulgaria.
Face to face with his opposite number, our undercover Hamlet is once more unable to bring himself to act: killing one man may save thousands in the war, but can it be justified? Unfortunately, Hitch cuts this Gordian knot with a virtual deus ex machina (though he's set up the bombing raid with a scene of "R" in the Turkish baths, prefiguring similar stuff in THE LIFE AND DEATH OF COLONEL BLIMP). As the model train is blow to blazes by English bombs, Hitch edits in rapid, aggressive Russian fashion. Originally the scene was supposed to include tinted red flames (anticipating the single frame of crimson at the close of SPELLBOUND) and images of a torn-sprocketed film strip flapping loose, animated by experimental filmmaker Len Lye, but all this was cut out minutes before the press show, after the projectionist threatened to punch Hitch on the nose.
I love everything about the film, including dear, rigid Sir John, but the climax proves a damp squib. As everyone lolls around in the train wreck, variously injured, it looks like Young and Gielgud might try to kill each other. Then Lorre staggers up, sits down by Young, carelessly laying his gun down. Young grabs the pistol and plugs Lorre, before expiring himself.
It seems weak. Clearly Young has to die, and clearly Hitch was reluctant to make his hero a killer — the lighter British thrillers rarely allow their protagonists to get blood on their hands. The murderous Lorre, though an agent of British interests, must also be sacrificed, like a weapon to be discarded after a fight. But the solution seems lazy, and in fact bloodying Gielgud's conscience would provide a stronger ending. He needs to get off the damn fence.
"Made it, ma — top of the world!"
The sappy conclusion seems to spoil the film for many, but we shouldn't overlook the skill and zestfulness of most of the action, which shows Hitch's increased confidence after the massive success of THE 39 STEPS. And one thing is established here which will be a constant in Hitchcock's later espionage films: spying is a dirty, corrupting business. From the cold-blooded realpolitik of NORTH BY NORTHWEST, where Leo G Carroll is happy to accept Cary Grant as a sacrificial lamb, to the grim murders of TORN CURTAIN and TOPAZ, democracy is protected at a terrible moral cost to those who do the protecting.


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In celebration of finishing the manuscript, Marianne and I have both recently launched blogs where we'll be talking about the book (as information becomes available) and various other writing-related topics. Hers is at mariannekirby.com, and mine, regrettably, is at kateharding.info. (I still do not own kateharding.com, though I've sent an e-mail begging the current owner to sell it to me.) We'll also be launching kateandmarianne.com one of these days, if you only want to add one new blog to your reader, but we're not sure yet when that will be.
All I've got up on the ol' dot info right now are two ancient, recycled posts and a rambler I just finished, but I'm hoping to add to it at least a couple of times a week. Since we folded The Bibliophilistines, I've been itching to get back into booky blogging of some sort, and if it's actually a promotional tool for our book, the "I have no time" excuse is somewhat less tempting.


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A Message From Pastor
Here at Tecumseh Assembly of God, we are a community of believers going through life together. Rejoicing in each other triumphs and lifting each other up when life comes crashing down. We care about our community, love God, and look to His Word for direction. We believe the Bible is a guidebook showing us how to live fulfilled lives and strive to teach all of its truths. We are a place where you will be challenged to live a life dedicated to God, where you can meet with God, allow Him to work in and through you, and to change you from the inside out.
Our vision and purpose is to Worship, Reach, Equip, and Serve!
In our services, we seek to connect to a contemporary culture but are grounded in the truths of God's Word that do not change. We hope you can join us this week, and worship with us as we go through life together.
Our Service times
Sunday Morning Worship at 10:00 am
Wednesday Night at 7:00 pm
We have great programs for kids of all ages. For more information visit our ministries page.
1st Sundays of the month are family services with only nursery care available.
Mailing address:
Tecumseh Assembly of God
P.O. Box 176
Tecumseh, MI 49286
Physical address:
Tecumseh Assembly of God
1080 E Chicago Blvd.
Tecumseh, MI 49286
We are located at the south-west Corner of Chicago Blvd. (M-50) and Rogers Hwy with our entrance off of Rogers.
(517) 423-5607
We'd love to hear from you. Send us an email with your comments and thoughts.
|Randy Bomey
|General Information


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Featured Content
Mission Statement
The mission of the Business Manager's Office is to provide and maintain quality services for Contracting, Real Estate, Faculty and Staff Housing, Faculty and Staff Moving, and the Capital Business Docket for the University in accordance with Board of Regents, State of Iowa procedures and guidelines.
The Business Manager's main function is to provide contract negotiation, real estate services (purchases, sales, leases), review and signature on behalf of all University units entering into formal agreements with outside agencies/providers of goods and services (e.g., affiliation agreements, software licenses/agreements, entertainment contracts).
Quick Links
Contracting Officer
Real Estate Management


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The Red Sea goes GREEN. Find out what you can do to help preserve this unique area.


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Everyartist L3C ("Everyartist") is registered as a Limited Liability Company under the laws of the State of Wyoming in the United States. Everyartist owns and operates Everyartist.me, a website that provides commercial services via the Internet, as well as the Everyartist App, a mobile application that facilitates interaction with Everyartist.me (collectively, the "Website").
Everyartist provides its services to you (the "User") subject to the following Terms and Conditions of Use (the "Terms"). Any User who interacts with the Website through the use of crawlers, robots, browsers, data mining or extraction tools, or other functionality, whether such functionality is installed or placed by such User or a third party, is considered to be using the Site. If at any time any User does not accept the applicable Terms, such User must immediately stop using the Site.
The Terms may be updated and/or revised from time to time by Everyartist without notice to the User, and such Terms become effective when posted. It is the User's responsibility to regularly review the Terms to stay informed of any changes or revisions.
Part A: Applicable to All Users
The following provisions shall apply to all Users, including without limitation all those who register with the Website to coordinate the creation and submission of artwork to the Website (an "Event Leader"), each child whose artwork is submitted (an "Artist"), each parent or legal guardian of an Artist (a "Parent"), and all other visitors to the Website:
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Prohibited uses of the Website include without limitation the following:
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If a User elects to send Everyartist a counter notice after having been notified of a copyright claim submitted to Everyartist in accordance with the above, the User must submit a written communication to Everyartist's designated agent, as set forth in 17 U.S.C. Section 512(g)(3):
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Everyartist L3C
Attn: Nathan Adams
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Phone: 307-413-6176
Email: email@example.com
Everyartist may remove artwork, lesson plans, or any other material from the Website at any time without notice, and Everyartist will terminate User privileges in appropriate circumstances, including without limitation by terminating the User privileges of Users who are the subject of repeated copyright claims.
A-9. Artist Statements
Everyartist may enable its Artists, through Parents or Event Leaders, to submit an Artist statement for each piece of artwork submitted. Everyartist is not responsible for the content of Artist Statements, and Everyartist makes no warranties, express or implied, concerning such Artist Statements. In order for an Artist Statement to be submitted, an authorized User (Parent or Event Leader) must login and submit the Artist Statement on behalf of the Artist.
The Parent or Event Leader is solely responsible for all Artist Statement content approved for posting on the Website. Event Leaders and Parent shall ensure the Artist statement does not reveal personally identifiable information about the Artist, especially last names and contact information. Everyartist is neither liable nor responsible for any damages, direct or indirect, arising from any Artist Statement content posted to the Website.
Everyartist may remove any Artist Statement(s) from the Website at any time and in its sole discretion. Everyartist may permanently disable the Artist Statement feature for an Artist at any time and in its sole discretion.
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Everyartist may enable its Website Users to leave comments for the Artists or Event Leaders in furtherance of its mission to celebrate and encourage creativity. Everyartist is not responsible for the content of comments submitted by Users, and Everyartist makes no warranties, express or implied, that every comment will be to the liking of other Users.
Everyartist may remove any comment(s) in its sole discretion and may permanently disable this feature at any time and in its sole discretion.
A-11. Ordering Custom Merchandise
Everyartist may offer Users a service to inscribe children's artwork on custom merchandise such as t-shirts, coffee mugs, and other items. When a User orders custom merchandise, the User may be asked to certify that the User is a Parent of the Artist associated with the artwork or that the User has Parental permission to order merchandise depicting that Artist's artwork. Everyartist relies on that certification, and presumes that the Parent has granted such permission.
Users shall not misrepresent themselves as a Parent or claim to have obtained Parental permission when the User has not done so. If a User misrepresents his or herself as a Parent or one with Parental permission, that User may be prohibited from further use of the Website and may also be subject to criminal prosecution as well as civil liability.
A-12. Sharing
Users may share the artwork on third party social media websites using functionality built into the Website. When a User shares artwork, the User may be asked to certify that the User is a Parent of the Artist associated with the artwork or that the User has Parental permission to share the Artist's artwork. Everyartist relies on that certification, and presumes that the Parent has granted such permission. Parent bears all risk associated with the sharing of artwork on third party social media websites.
Users shall not misrepresent themselves as a Parent or claim to have obtained Parental permission when the User has not done so. If a User misrepresents his or herself as a Parent or one with Parental permission, that User may be prohibited from further use of the Website and may also be subject to criminal prosecution as well as civil liability.
Part B: Applicable to Event Leaders
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To register as an Event Leader with Everyartist, an Event Leader must be 18 years or older. Event Leaders that register and login to use the Website acknowledge and agree that they have received all necessary permissions to take such action, including without limitation the permission of school and school district administrators, organizations on whose behalf they are acting in taking the role of Event Leader, and parents or legal guardians of Artists.
The Event Leader agrees that the information provided to Everyartist upon registration and at all times thereafter will be true, accurate, current and complete. The Event Leader also agrees to ensure that all information provided to Everyartist is kept accurate and up to date at all times, including without limitation, the Event Leader's email address.
B-2. Event Leader Account, Password and Security
The Event Leader receives a username and password in order to access an Event Leader home page, where the Event Leader may submit artwork to Everyartist. The Event Leader shall maintain the confidentiality of the password and the account, and shall ensure that any associated email account is only accessible to the Event Leader. The Event Leader is solely responsible and liable for all activity that occurs by way of that password-protected account. The Event Leader expressly agrees to (a) immediately notify Everyartist of any breach of security relating to such account or to the personally identifiable information of any Artist, and (b) ensure that the Event Leader properly logs out of the account at the end of each session. Everyartist is not liable for any direct or indirect loss or damage resulting from the Event Leader's failure to comply with this Section.
B-3. Content Submitted by Event Leaders
The Event Leader shall obtain any necessary approvals before showcasing the artwork of any Artist on the Website. For all artwork posted to the Website, the Event Leader shall be able to verify that the Parent has given consent for the Event Leader to post limited personal information of an Artist, as set forth in the Privacy Policy. Under no circumstances will Everyartist be liable for the Event Leader's failure to obtain the necessary permissions.
The Event Leader shall verify the quality and substance of each external link that he or she posts. Everyartist will not be held responsible for any links created by an Event Leader registered with Everyartist.
B-4. Uploading Artwork to the Website:
B-5. Security
Each Artist within the Event Leader-created roster is assigned a security key. This security key is required for the Artist's Parent to officially register with the Website as the Parent. It is the Event Leader's responsibility to only share the security key with the Parent of the Artist.
B-6. Submission of Lesson Plans
Everyartist may enable its Event Leaders, to submit lesson plans. Everyartist is not responsible for the content of lesson plans, and Everyartist makes no warranties, express or implied, concerning such lesson plans.
The Event Leader is solely responsible for all lesson plan content posted on the Website. Event Leaders shall not submit lesson plans that contain copyrighted materials or trademarks owned by others, including material that could infringe on the intellectual property rights of third parties. Everyartist is neither liable nor responsible for any damages, direct or indirect, arising from any lesson plan content posted to the Website.
Everyartist may remove any lesson plan from the Website at any time and in its sole discretion. Everyartist may permanently disable the lesson plan feature for an Event Leader at any time and in its sole discretion.
B-7. Licensing of Lesson Plans
Event Leaders retain ownership of their lesson plans. However, by submitting a lesson plan, the Event Leader grants to Everyartist on behalf of themselves and any sponsoring organization that has rights to lesson plan the irrevocable, royalty-free, assignable, sub-licensable right and license to use, re-use, copy, publish, republish in whole or part, edit, add to, modify, and rearrange submitted lesson plans on or in connection with any other media throughout the world, including without limitation the Website.
B-8. Student Event Leader
If approved in writing by Everyartist, certain sponsoring organizations may designate a 16 or 17 year old student to act as an Event Leader ("Student Event Leader"). All requirements (other than the minimum age requirement) pertaining to Event Leaders are equally applicable to Student Event Leaders. The Student Event Leader shall work under the supervision of the sponsoring organization to ensure that compliance with the requirements pertaining to Event Leaders are met. Everyartist is not responsible for the Student Event Leader's failure to comply with the requirements set forth herein. The sponsoring organization bears the risk associated with the designation of a Student Event Leader, including without limitation the risk associated with the Student Event Leader's failure to comply with the requirements set forth herein.
Part C: Applicable to Parents
In addition to the provisions of Part A of these Terms, the following provisions shall apply to Parents:
C-1. Registration
The Parent covenants and agrees that the information provided upon registration and at all times thereafter will be true, accurate, current and complete. The Parent also agrees to ensure that this information is kept accurate and up to date at all times. In addition, by completing registration, Parent authorizes Event Leaders to submit artwork and perform related activities on Everyartist on behalf of the Artist.
C-2. Parent Account, Password and Security
Upon registration, the Parent creates an account and designates an email account for correspondence with Everyartist. The Parent shall take precaution to ensure that this account and email address are only accessible by Parent. The Parent is solely responsible for all activities that occur using their account. The Parent expressly agrees to (a) immediately notify Everyartist of any breach of security relating to such account or to any child's personally identifiable information, and (b) ensure that the Parent properly logs out from the account at the end of each session. Everyartist is not liable for any direct or indirect loss or damage resulting from the Parent's failure to comply with this section.
C-3. Viewing and Accessing Artwork
The Parent may request that any or all of their child's artwork be removed from the Website at any time. Everyartist will remove any artwork of the Parent's child within 14 days after receiving the Parent's written request for removal. However, Everyartist reserves the right to continue to display the child's artwork in any materials that Everyartist had prepared before the request was received.
C-4. Licensing Artwork
Artist retains ownership of artwork. By registering as a Parent of an Artist, the Parent, on behalf of both the Parent and the Artist, grants Everyartist a perpetual, irrevocable, royalty-free, assignable, sub-licensable right and license to use, re-use, copy, publish, republish in whole or part, edit, and add to the Artist's artwork solely in connection with:
Everyartist L3C ("Everyartist") respects User (as defined in the Terms and Conditions) concerns about privacy and values its relationship with Users. This Privacy Policy ("Policy") describes the types of information Everyartist collects through its mobile Applications, web sites, and their respective interactive features, applications, widgets, blogs and contents whether accessed via computer, mobile device or other technology (collectively, the "Website"). The Policy describes how that information may be used and/or with whom it may be shared.
By using the Website you are acknowledging that you understand and agree to the terms of this Policy.
1. Information Provided to Everyartist
The information Users provide to Everyartist through the Website is used to provide the services that the User requests and to process and complete any related transactions, to request feedback and to otherwise contact you about your account or your use of the Services, to personalize and improve the Services and users' experiences, to deliver content that matches user profiles or interests, to monitor and analyze Services usage and trends and otherwise measure the effectiveness of the Services, and to detect and prevent fraud.
The information Users provide to Everyartist is solely for Everartist's internal business use. We do not sell or distribute this information to anyone. The data in Everyartist's databases is protected against unauthorized access through state-of-the-art security procedures and software.
Everyartist may disclose personal information if it believes, in good faith, that such disclosure is necessary to comply with a legal obligation, to enforce or apply the Terms and Conditions of Use, or to protect the property, rights, safety, or security of Everyartist, its Users or others.
Everyartist may share non-personal information, such as aggregate statistics about visitors, traffic patterns, User demographics, electronic postcard usage and related site information with third parties, but these statistics do not include any personally identifiable information.
2. Information Provided By Event Leaders
Any Event Leader (as defined in the Terms and Conditions) is required to register on the Website. The information provided during the registration process is to create a collection of artwork relating to an event on the Website, which may list the Event Leader name, the name of the Event Leader's associated organization (if any), and the location of the event. Because this limited personal information about Event Leaders may be publicly accessible to all Users of the Website, such information could be collected, used, and disclosed by others. Everyartist does not display Event Leader email addresses on the Website.
3. Information Provided By Parents
Any Parent (as defined in the Terms and Conditions) whose child's artwork is displayed on Everyartist is required to register on the Website. The information provided during registration is used to communicate with the Parent and to create a collection of artwork associated with the Parent's Artist(s). Because the information the Parent types in the first name field textbox when registering is posted on the Website and is publicly accessible to all users of the Website, that information could be collected, used, and disclosed by others. Everyartist does not display Parent last names, email addresses, or physical addresses on the Website.
4. Personally Identifiable Information About Artists
Everyartist protects the identity of the Artists showcasing their work on the Website. Artists will be identified only by general information such as their first name, their last initial, their Event Leader, the place where the event was held that led to the submission of the artwork, and/or the city in which the Artist lives. Everyartist does not collect any more information from minors than is absolutely necessary.
Anyone submitting artwork to the Website is directed to only type the first name of the Artist into the first name field when submitting artwork. Event Leaders and Parents are to remove, erase or cover any appearance of the Artist's last name on the artwork and/or digital images of artwork itself before submitting it to the Website.
5. Information Posted Publicly by Users on Everyartist
Users should be aware that the information that they post is accessible to other Users of the Website and could be collected, used, and disclosed by others. Everyartist forbids Users from posting personally identifiable information about any minor in a comment or otherwise. However, Everyartist is not responsible for the collection, use, or disclosure of any information provided by Website Users.
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Everyartist provides Users with the opportunity to opt-out of receiving any future communications from Everyartist at any time. If a User wants to remove their information from the Website and not receive future communications, please contact Everyartist at email@example.com
7. Additional Information
Users can obtain more information about Everyartist's privacy policy by contacting firstname.lastname@example.com or by sending mail to:
Everyartist L3C
Attn: Customer Service
P.O. Box 11989
Jackson, WY 83002
Do I need to upload all of my artwork at once?
No. You can log back in with your password and add (or delete) images from your gallery at any time.
Do I have to upload my images on the specific event day?
No, you don't. We'll keep the gallery available so you can upload the images after the event.
Do I have to do my uploading from school?
No. You can upload from any device (computer, tablet or smartphone) with an Internet connection. We recommend uploading from places with a strong connection so the uploading process goes faster.
What format do my images need to be in?
Our website accepts JPGs (most digital photos are formatted this way) or PNG files. Each image can be up to 5MB (megabytes).
Will my gallery be publicly viewable?
Yes. All images in all galleries on the site are publicly viewable. If you don't want a specific picture to be seen in public, we recommend you omit uploading it.
How do I find my gallery and uploaded artwork?
Galleries are searchable by gallery name so pick a name that makes finding your gallery easy for yourself and others. Unfortunately, we cannot search by individual artist names at this time.
Will each kid be able to find their own artwork?
Yes, it will be presented in galleries. However, we will not be able to append artist names to individual pieces of work, so if you want your kids to see their names on the art, they will have to write their names on the pieces themselves in a way that's large enough to be seen in the photographs of the artwork you upload.
What if I try to log back in and forget my password?
Don't worry, there's a password retrieval function on the site.
What if I find objectionable images on the site?
Please notify us at firstname.lastname@example.com and we'll investigate the matter promptly.
What will you do with the artwork I upload?
The artwork will be presented on this gallery and may be used in future marketing and promotional materials designed to help promote Everyartist and our mission to Spark Creativity. You can read our Terms of Service and Privacy Policy for more details.


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Forms Jobs
Sign up for Citizen Notification System (new window)
Updated Notification System Allows Cellphone Users to Opt-In
The city has updated its notification system to allow citizens to receive emergency and non-emergency notifications for their landlines or by text, email or voice on their cellphone, provided they sign up to receive notifications.
The city's previous notification system, sometimes referred to as a "reverse 911" system, could only reach citizens with landline telephones, said Julia Conley, the information technology division manager for the Winston-Salem Police Department.
"Emergency notifications provide an important means of alerting citizens of missing persons, criminal activity or hazardous conditions, such as flooding, fires, a chemical spill or a water main break in their neighborhoods," Conley said. "As more and more citizens give up their landlines, finding a way to reach people who only have cellphones has become an important public safety issue. The new system gives us that ability and more – but we need our citizens to register."
The new system sends out notifications not only by phone, but by email and text, if so desired. It also gives citizens the option to receive notifications about special meetings, and about notices and news, such as reminders when garbage collection is postponed by a holiday or disrupted by a winter storm.
Citizens can sign up using the link at the bottom of this page. The system requires that users provide their address, because notifications are sent out based on where people live. Citizens can register up to four phone numbers, each with an option to receive text alerts at that number. They can also enter a primary and an optional secondary email.
A map on the sign-up page pinpoints the address entered in the system, so that citizens can verify that the system has their correct location. Once the information is entered, a verification email is sent to the primary email account, with a link to activate the account.
Citizens can update their information and adjust their notifications at any time by logging back into the system with a password that they set up as part of the process.
"We have structured this so citizens have control over their information and how it is used," Conley said. "We urge everyone in Winston-Salem to sign up for the Citizen Notification System."
Register now for the alert system!
Receive E-Mail Notification When New Information is Posted on this PageAs a member, enjoy the benefits of MyCityofWS, including your choice of newsletters, and notifications about events and site updates. Login and Manage Your Subscriptions Now.


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Booze Review: Kahlúa
College students sure love their coffee and alcohol. While the former is generally consumed in the a.m. and the latter in the p.m., the line between the two has been blurred as students chug dark roast to get through an all-nighter and darty it up on the weekends. With Kahlúa, a coffee-flavored liqueur, you get the best of both worlds.
Grade: B
Smells Like:
A coffee shop that doubles as a liquor store. Why are we not funding this?!
Tastes Like:
Your usual order at Starbucks mixed with your usual order at the bars.
Typical Drinkers:
– People with both a caffeine and alcohol problem.
– Baristas who regret majoring in art history.
– A solid 20% of the people in any given 8 a.m. lecture, including the professor.
– Those who don't like the Irish and thus refuse to drink Bailey's.
User Comments:
– "Crap, I'm out of creamer. I guess this Kahlúa will have to do."
– "Yeah, I'd like a venti caramel frap but leave a little room for, uh, stuff…"
– "All I'm saying is that they never specified a.m. or p.m. when they said it's 5 o'clock somewhere."
– "People get an espresso shot in their drinks all the time so I don't see why I can't put a shot of this in mine."
Best Described as a Drink Superior To:
Dealing with everyone's bullshit while sober in the morning.
Are People Going to Know That I'm Drinking Alcohol If I Mix This In My Coffee?:
It smells almost identical to a creamer, but it'll probably be pretty obvious that you've been drinking when you're slurring "good morning" to everyone.
How Much Kahlúa Should I Put In My Drink?:
About ½ to 2 ounces of Kahlúa for every 8 ounces, depending on the kind of day ahead of you.
We Mixed it With:
Our coffee in the morning and vodka and cream at night to make a White Russian.


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This document was rescinded in December 2019 as part of EEOC's effort to provide guidance and information that is current, accurate, and clear.
EEOC Office of Legal Counsel staff members wrote the following informal discussion letter in response to an inquiry from a member of the public. This letter is intended to provide an informal discussion of the noted issue and does not constitute an official opinion of the Commission.
ADA: Definition of Disability - In General
July 19, 2000
Dear :
This responds to your June 27, 2000, letter concerning the Americans with Disabilities Act of 1990 (ADA).
You ask whether an employee's suggested or required referral to an Employee Assistance Program (EAP) creates the perception of a disability covered by the ADA. You also ask whether an employer may give an employee who has experienced conduct or performance problems the option of following the recommendations, including treatment, of a required referral to an EAP in lieu of discipline such as probation or termination.
As you know, the ADA prohibits employers from discriminating against a qualified individual with a disability on the basis of disability. A "qualified individual with a disability" is an individual with a disability who, with or without reasonable accommodation, can perform the essential functions of the position the individual holds or desires. A "disability" is a physical or mental impairment that substantially limits a major life activity, a record of such an impairment, or being regarded as having such an impairment. A person is regarded as having a substantially limiting impairment if she or he has an impairment that is not in fact substantially limiting but is treated as such by the employer, has an impairment that is substantially limiting only as a result of others' attitudes, or has no impairment but is treated by the employer as having a substantially limiting one.
Whether an employer regards a person as having a substantially limiting impairment depends on the facts and circumstances of the particular situation. It is unlikely that a mere referral to an EAP, by itself, would be sufficient to establish that an employer treated an individual as having a substantially limiting impairment. Simply referring someone to an EAP probably would not constitute regarding the person as having a substantially limiting impairment if the employer routinely referred people to EAP for reasons unrelated to impairments (such as grief or marriage counseling). See Gazaway v. Makita U.S.A., Inc., 11 F. Supp. 1281 (D. Kan. 1998), aff'd, 182 F.3d 931 (10th Cir. 1999) (supervisor's suggestion that employee seek EAP counseling after employee was involved in fatal traffic accident insufficient to establish employer regarded individual as having substantially limiting impairment).
On the other hand, a referral to an EAP in combination with other relevant evidence could raise an inference that the employer regarded the person as having a substantially limiting impairment. See Holihan v. Lucky Stores, Inc., 87 F.3d 362 (9th Cir. 1996), cert. denied, 520 U.S. 1162 (1997) (reasonable jury could infer that employee was regarded as having a
substantially limiting impairment where employer held two meetings to discuss employee's behavior, asked employee if he was having any problems, strongly encouraged employee to seek counseling through EAP, and received several doctors' reports diagnosing employee's depression, anxiety, and stress).
An employer may hold an individual with a disability to the same legitimate conduct and performance standards to which it holds all other employees. Thus, although it may do so, an employer does not have to offer a "firm choice" or a "last chance agreement" to an employee who performs poorly or who has engaged in misconduct because of a disability. ("Firm choice" or "last chance agreements" involve excusing past performance or conduct problems resulting from disability in exchange for an employee's receiving treatment). See EEOC Enforcement Guidance on Reasonable Accommodation and Undue Hardship (March 1, 1999) at n. 95 (employer may, but does not have to, offer firm choice or last chance agreement to employee who performs poorly or engages in misconduct because of alcoholism).
The employer, however, may not treat an individual with a disability less favorably than it treats similarly situated individuals without disabilities. Thus, the employer may not discipline an individual with a disability for conduct or performance problems if it does not impose similar discipline on other employees with similar problems. Likewise, the employer may not force the individual with a disability to choose between treatment or EAP participation and discipline in situations where other employees would not be disciplined.
This has been an informal discussion of the issues you raised and does not constitute an official opinion of the Equal Employment Opportunity Commission. Further, our silence on other statements or analyses that may have been presented in your letter should not be construed as agreement with those matters.
Christopher J. Kuczynski
Assistant Legal Counsel
ADA Policy Division
This page was last modified on December 18, 2019.
Return to Home Page


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Military, Public Service
By Staff Writer | April 1, 2010
Send Feedback
April 7–10: Aircraft Electronics Association Convention, Orlando, Fla. Contact AEA, phone 1-816-347-8400 or visit www.aea.net
April 14–17: Army Aviation Association of America (Quad-A) Annual Convention, Fort Worth, Texas. Contact Quad-A, phone 1-203-268-2450 or visit www.quad-a.org
April 21–22: Search and Rescue 2010, Aberdeen, Scotland. Contact Shepherd Group, phone +44 0 1753 727015 or visit www.shepherd.co.uk/events/44/search-and-rescue-2010/
May 3–6: 2010 Offshore Technology Conference, Houston, Texas. Contact Offshore Technology Conference, phone 1-972-952-9494 or visit www.otcnet.org/2010/
May 4–6: European Business Aviation Association and NBAA's EBACE 2010, Geneva, Switzerland. Contact EBAA, phone +32 2 766 0073 or visit www.ebaa.org
May 11–13: American Helicopter Society International 66th Annual Forum and Technology Display, Phoenix, Ariz. Contact AHS Intl, phone 1-703-684-6777 or visit www.vtol.org
May 11–13: 55th Annual Corporate Aviation Safety Seminar (CASS), Tucson, Ariz. Contact Flight Safety Foundation, phone 1-703-739-6700 or visit www.flightsafety.org
May 20–22: Intl Helicopter Industry Exhibition, Moscow, Russia. Contact HeliRussia, +7 495 958 9490 or visit www.helirussia.ru
May 25–27: Helitech Brasil, Sao Paulo, Brazil. Contact Reed Exhibitions Ltd., phone +44 (0) 20 8271 2155 or visit www.helitechevents.com/brasil/
May 25–27: Heli-Pacific, Queensland, Australia. Contact Shepherd Group, phone +44 0 1753 727015 or visit www.shepherd.co.uk/events/40/heli-pacific-2010/
July 19–25: Farnborough Intl Airshow 2010, Farnborough, England. Contact FIA, phone +44 0 1252 532800 or visit www.farnborough.com
July 14–17: Airborne Law Enforcement Association (ALEA) Annual Conference, Tucson, Ariz. Contact ALEA, phone 1-301-631-2406 or visit www.alea.org
Aug. 21–23: National Guard Association of the United States (NGAUS) 132nd General Conference, Austin, Texas. Contact NGAUS, phone 1-202-789-0031 or visit www.ngaus.org
Sept. 7–9: 36th European Rotorcraft Forum 2010, Paris, France. Contact ERF, phone +33 15 664 1235 or visit www.erf2010.org
Oct. 5–10: Helitech Europe 2010, Estoril, Portugal. Contact Reed Exhibitions, phone +44 0 208 271 2155 or visit www.helitecheurope.com
Oct. 5–10: FAI 104th General Conference, Dublin, Ireland. Contact FAI, phone +4121 345 1070 or visit www.fai.org
Oct. 11–13: AAMS Air Medical Transport Conference (AMTC), Fort Lauderdale, Fla. Contact Association of Air Medical Services,, phone 1-703-836-8732 or visit www.aams.org
Oct. 19–21: National Business Aviation Association (NBAA) 63rd Annual Meeting & Convention, Atlanta, Ga. Contact NBAA, phone 1-202-783-9000 or visit www.nbaa.org
Oct. 25–27: Association of the U.S. Army (AUSA) Annual Meeting, Washington, D.C. Contact AUSA, phone 1-703-841-4300, toll free 1-800-336-4570 or visit www.ausa.org
Nov. 1–3: AHS International Meeting on Advanced Rotorcraft Technology and Safety Operations (Heli Japan), Ohmiya, Japan. Contact AHS Intl, 1-703-684-6777 or visit www.vtol.org


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Christian Yelich kept coming up to bat in big situations. And the young leadoff hitter kept coming through for the Miami Marlins.
Yelich set career highs with four hits and four RBIs, including the go-ahead two-run single in the seventh inning, as the Marlins beat the Texas Rangers 8-5 on Tuesday night for their record-tying 13th consecutive interleague victory.
"Oh really, that's awesome, I guess," Yelich said about the streak, after first asking what it was. "I guess we just like playing (AL teams) and play well against them."
The latest news from around North Texas.
The 13-game interleague winning streak matched the major league record shared by the New York Yankees and Tampa Bay Rays, who both reached that mark in 2004. The Marlins, 8-0 vs. American League teams this season, wrap up their quick two-game set in Texas on Wednesday.
"It's one of those baseball things you probably can't figure out," Marlins manager Mike Redmond said. "I'm sure there's probably somebody a lot smarter than me that can figure it out, but we just go out there and try to win a ball game."
Yelich's single in the seventh inning sent home two unearned runs and put the Marlins ahead to stay, after the Rangers had taken the lead with a four-run sixth.
There was also his tiebreaking two-run double in the fourth and the hustling double in the sixth when he scored on Casey McGehee's two-out hit.
"That was a great play, a big momentum-builder for us," Redmond said. "Anytime you can press the issue with base runners, you put pressure on them and it fires the guys up."
Bryan Morris (5-0), the third Marlins pitcher, struck out two in 1 1-3 scoreless innings. Steve Cishek worked a perfect ninth with two strikeouts for his 15th save in 16 chances.
Texas right-hander Jason Frasor (1-1) was responsible for the two unearned runs while facing four batters.
Miami took advantage of second baseman Rougned Odor's fielding error on a potential double play in the seventh when Yelich's two-out single made it 6-5.
"In the end, we didn't play the defense we were capable of playing. That hurt us," manager Ron Washington said. "We fought hard to get back into that game but we shot ourselves in the foot."
Garrett Jones drove in two runs for the Marlins, including his RBI double in the eighth right after the Rangers committed two errors on one play, when Giancarlo Stanton went from first to third on a ball hit to left and then scored on the miscues.
Texas went ahead 5-4 after their sixth-inning outburst capped off when Brad Snyder, called up from Triple-A Round Rock earlier Tuesday, scored from second base when Odor beat out a slow chopper for an infield single.
Marlins starter Tom Koehler struck out seven through five innings, but the right-hander then allowed the first four batters to reach in the sixth, including a bases-loaded walk to Snyder, before Robinson Chirinos had his second sacrifice fly of the game.
Yelich doubled off the base of the wall in center field for a 3-1 lead in the fourth off Colby Lewis, after Justin Bour had a single and Jeff Mathis drew a walk to start the inning.
Mathis might have been out at the plate if shortstop Elvis Andrus' relay throw hadn't been cut off near the mound by Snyder, who was playing first base in the major leagues for the first time. An outfielder before playing his last two Triple-A games at first base, Snyder came up when Mitch Moreland (left ankle) was put on the 15-day disabled list.
NOTES: The Rangers are 15-19 at home, including 2-6 on this homestand after coming off their longest trip of the season with a 7-4 record. ... Miami had 14 hits and left 13 runners on base. ... Texas has a majors-high 13 players on the DL. ... Rangers 3B Adrian Beltre had multiple hits for the seventh time in eight games.


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I get the following error if I give a key that is greater than 64 hex caracters (64*4=256 bits).
According to this official document, blowfish is able to support key from 32 to 448 bits.
Variable key length: 32 bits to 448 bits
Is it possible to bypass this limitation? What's wrong?
The actual key size is big enough, but I would like to have the most security as possible.


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39th Annual Turkey Run as Exciting and Mind Boggling as Ever
We have been covering the Annual Daytona Beach Turkey run, off and on, for some 25 years and the 39th edition was as exciting and mind boggling as the first Turkey Run we attended. 4700 show cars, 1500 cars in the car corral. 3000 plus swap meet spaces, and a food midway that features, among other things, deep fried Oreo cookies, giant turkey legs, alligator bites, and great burgers. And all of this takes place in the infield of the infamous Daytona International Speedway.
With such a vast area of cars in the show field we saw a bit of everything, but one thing that caught our attention was, what appeared to be, an increase in the T Bucket ranks. Tall T's, Channeled T's, and a number of 60's styled T's were scattered about the show grounds.
Both the national parts vendors and the swap meet spots were busy and we noticed a lot of new and used parts be carried off or being taken to the parking areas by the available "parts carriers".
Throw in all of the sanctioned and "non-sanctioned" evening activities and this event is always four days of great fun.
For more information: www.turkeyrun.com


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Metal Gear Solid: The Legacy Collection won't come to Xbox 360 due to MGS4
Metal Gear Solid: The Legacy Collection isn't being released for Xbox 360 because one of the contents, Metal Gear Solid 4, isn't available for the system.
Mgs4 headlines
Metal Gear Solid 4 25th Anniversary Edition pops up on European retail listings
Metal Gear Solid 4 25th Anniversary Edition has shown up via online retail shops Zavvi and ShopTo, with both stating the title is set for a November 30 release. The packshot, posted below, was shown along with pricing ranging from £37.45 to £15.85 reduced from £19.99, respectively. A budget release was made available in Japan […]
Full install support coming to budget version of MGS4
Konami has confirmed the Trophy support patch for Metal Gear Solid 4 will be available next month as part of the Metal Gear 25th Anniversary celebrations. if that weren't enough for you, the game is also getting a full install option with the new budget-priced version. No more data installs at the beginning of each […]
Kojima shows MGS4 on PSP2 in Tokyo
Earlier this morning, Metal Gear Solid creator Hideo Kojima appeared at Sony's unveiling of its NGP system to show off a demo of Metal Gear Solid 4 running on the hardware. The demo is a cut-scene in the opening section of Guns of the Patriots, where Old Snake is introduced to the Mk. II via […]
Japanese retailer lists and details PS3 Castlevania, MGS4 bundle [Update]
A Japanese retailer's outed a special new PS3 hardware bundle that'll feature Castlevania: Lords of Shadow and another title from the collaborator of the former: Metal Gear Solid 4.
Best Buy PS3 bundle includes MGS4 and Killzone 2
Next Sunday, Best Buy will stock shelves with a lovely PS3 bundle that includes Metal Gear Solid 4 and Killzone 2. It's the 80Gb model, and you get all three for $400. Basically, that's getting both games free because that particular SKU retails for $399.99. More over on Kotaku.
Metal Gear Solid 4 joins PS3 Greatest Hits collection
Konami announced today that Metal Gear Solid 4: Guns of the Patriots has joined the PS3 Greatest Hits Collection. On June 16, the game will be made available at retail for the new price of $29.99. Press release is after the break.
Konami reports record fiscal year thanks to MGS, Pro Evolution Soccer
Konami has posted record sales figures for fiscal year ending March 31, 2009, with total sales reaching $3.24 billion which is a y-o-y increase of 4.2 percent. Net income fell 40.7 percent ($114m) over last year, but revenue in the Digital Entertainment division increased 4.9 percent to $1.96 billion. Worldwide, Metal Gear Solid 4 stood […]
Aaron Greenberg says E3 reports are "completely uninformed"
Microsoft's Aaron Greenberg has called earlier reports stemming from GameFork's Twitter post regarding the 360's E3 showing "completely uninformed". "I can confirm that this post is completely uninformed and does not even come close to matching our news for E3," Greenberg told Eurogamer. "You can't believe everything you read, but it is fun to see […]
Metal Gear Solid Touch now available for iPhone and iPod
The full version of Metal Gear Solid Touch is now available on the Apple App Store. Set in the world of MGS4, the extra part of the game introduces eight additional gameplay levels to the original release. The story unfolds in five chapters over 20 stages, and the characters featured in the latter eight stages […]
Jaffe: MGS4 devs had "a whole hell of a lot of tenacity and vision"
During an interview with The Academy of Interactive Arts & Sciences, God of War's David Jaffe said the game he was "most jealous" of was Konami's Metal Gear Solid 4 and that the dev team must have had real "tenacity and vision" to make a game of that quality. writes Joystiq. "To make a game […]
Sony expects Killzone 2 to fare better than MGS4
According to this V for Videogames piece, a Sony rep has said the company expects Killzone 2 sales to be as good, if not better than Metal Gear Solid 4. "It would be a lie to say Sony has not invested heavily in Killzone 2 and each individual at Guerilla games has worked even harder […]
MGS4 demo released in Europe
Following the release of a Metal Gear Solid 4 demo in Japan today, the free test is now available for download on the European PSN. The demo's there now on the UK PS Store, and we're reliably informed by VG247 reader Syrok that it's available in Holland as well. The download will afford you a […]
Report: MGS4 on 360 quote retracted from Japanese story
According to this Gamecyte report, MorningStar has replaced a TGS quote attributed to a Konami rep saying the firm was looking at porting MGS4 to 360. The story says that the amended piece "now quotes a different Konami representative and mentions entirely different game series (Winning Eleven 2009 and Castlevania) to back up their thesis […]
UK journos un-shocked by MGS4 plans for 360
Speaking to Techradar, Future mag editors Jon Hicks and Dan Dawkins have expressed little shock at potential Konami plans to being MGS4 to 360. "After the massive success of GTA IV on Xbox 360, and the recent announcement of previously Playstation exclusives Final Fantasy and Tekken 6 coming to the platform, it'd be no surprise […]
Konami "actively looking" at MGS4 on 360
Japanese investment research firm MorningStar has published a paper from TGS quoting a Konami rep saying the firm is looking at moving MGS4 to 360. We did actually tell you about this in July, but there we are. "We're actively looking into a release for the Xbox 360," the spokesperson apparently said. Obviously, this sort […]
Payton confirmed for MS Halo team
Ex-Metal Gear 4 associate producer Ryan Payton – and all his hats – has been confirmed as a hire to the internal Microsoft Halo team by Phil Spencer, Edge reports. Spencer's also confirmed that Corrine Yu, formerly of Gearbox Software, and her husband, former id artist Kenneth Scott are definitely on the crew. The exec […]
Rumour: Payton working on Jackson Halo game
Both Kotaku and Shacknews are rumouring that MGS4 producer Ryan Payton has been signed as creative director on Halo Chronicles, the Peter Jackson-developed Halo title. Payton recently left Kojima Productions to return to the US, citing family issues. Hit the links for more.
Payton: MGS4 plot conclusion was "nothing short of a miracle"
MGS4 assistant producer Ryan Payton's spilled a pretty big can of beans in this 1UP interview, saying that the MGS trilogy on PS2 was never meant to be continued. "The stories of MGS2 and MGS3 were truly written without any backup measures if the series continued, leaving dozens of confusing and unexplained plot elements in […]
Kojima: "Creativity of video games is now on the verge of crisis"
Speaking on Konami's Japanese site, Hideo Kojima has said that big business is knocking this shit out of creative games development. Which is probably a bit of a shame. "The creativity of video games is now on the verge of crisis," he said. "Massive advertising campaigns are executed for games before their entertainment values are […]
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Mgs4 latest
Metal Gear Solid: The Legacy Collection won't come to Xbox 360 due to MGS4
Metal Gear Solid 4 25th Anniversary Edition pops up on European retail listings
Japanese retailer lists and details PS3 Castlevania, MGS4 bundle [Update]
Konami reports record fiscal year thanks to MGS, Pro Evolution Soccer
Jaffe: MGS4 devs had "a whole hell of a lot of tenacity and vision"
Payton: MGS4 plot conclusion was "nothing short of a miracle"
Kojima: "Creativity of video games is now on the verge of crisis"
Kojima on MGS4 dev: Sony gave us a lot of advantage with pre-release PS3 hardware