text:
Explore Harvard's Nieman network
Nieman Fellowships
Nieman Lab
Nieman Reports
Nieman Storyboard
The Nieman Foundation for Journalism at Harvard
Nieman Reports Homepage
Current Issue
Professors Corner
About Us
Nieman Foundation for Journalism at Harvard: Nieman Reports
Spring 2009
Voyages of Discovery Into New Media
By Melissa Ludtke, Editor
The New Front Page: The Digital Revolution
By Joel Kramer
Watchdog Analysis: Offering Context and Perspective Online
By Margaret Wolf Freivogel
Defining an Online Mission: Local Investigative Reporting
By Andrew Donohue and Scott Lewis
Crowdfunded Reporting: Readers Pay for Stories to Be Told
By Alexis Madrigal
A Digital Vision of Where Journalism and Government Will Intersect
By Bill Allison
Tracking Toxics When the Data Are Polluted
By James T. Hamilton
An Investigative Reporting Partnership: A Serendipitous Collaboration
By Walter V. Robinson
Long-Form Multimedia Journalism: Quality Is the Key Ingredient
A conversation with Brian Storm
Video News Reporting: New Lessons in New Media
By Nick Penniman
Using Social Media to Reach Young Readers
By Julia Luscher Thompson
The Web: Fertile Ground for Investigative Projects
By Maud Beelman
Using Multimedia to Tell an Investigative Story About Innocence
By Christine Young
Reliable News: Errors Aren't Part of the Equation
By Craig Silverman
21st Century Muckrakers: Investigating Medical and Health Issues
By Melissa Ludtke, Editor
Diving Into Data to Tell Untold Medical Stories
By John Carey
Investigative Reporting on Medical Science: What Does It Take to Break Through the Commercial Spin?
By John Abramson
Silenced Words: An Op-ed That Couldn't Find a Home
Excerpts from an op-ed co-authored by John Abramson, Jim Wright, and Merrill Goozner
Changing the Drumbeat of Typical Health Reporting
By Gary Schwitzer
Examining Water Supplies in Search of Pharmaceutical Drugs
By Richard T. Pienciak
A Water Trail of Antibiotics in India
Investigating the Pharmaceutical Industry on a Blog
By Ed Silverman
Digging Through Data and Discovering a Profitable Handshake
By Marcella Bombardieri and Scott Allen
Toppling the 'Big Three'—Medical Care, Behavior and Genes
By Madeline Drexler
Spreading the News
By Madeline Drexler
Blogs, Watchdog Reporting, and Scientific Malfeasance
By Alison Bass
Investigating What Harms People—As an Independent Reporter
By Loretta Tofani
Revealing How Dentists Profit By Abusing Children
By Roberta Baskin
What Happens When No One Is Watching?
By Morton Mintz
An Online Database Reveals Health Hazards
By Michael B. Pell
Probing Toxic Plastics at the Milwaukee Journal Sentinel
A Small Newspaper Tackles a Big Investigative Project
By Kevin P. Craver
The Other Side of China's Economic Miracle
By Ran An
Medical and Public Health Concerns: Off-Limits in the Russian Press
By Karl Idsvoog and Max Grubb
Words & Reflections
Afghanistan: Pictures Not Taken
By Travis Beard
Coming to a Political Beat Near You: Policy Wars Over Global Warming
By Tom Yulsman
An 'Open Notebook' Project About Climate Change
'Plunder' Explores What Happens When an Important Story Is Poorly Told
By Susan E. Reed
Curator's Corner
Change Is in the Air at Lippmann House
By Bob Giles
Nieman Notes
Choosing Risk In a Volatile Economic Environment
By Andrés Cavelier
Presidential Dogs
By Elinor J. Brecher
Email to a friend
Long-Form Multimedia Journalism: Quality Is the Key Ingredient
As a producer of social documentary projects—viewed on digital platforms—Brian Storm talks about the excitement of doing journalism in this way, at this time.
A conversation with Brian Storm
MediaStorm describes its mission as ushering in the next generation of multimedia storytelling by publishing social documentary projects incorporating photojournalism, interactivity, animation, audio and video for distribution across multiple media.
Brian Storm is the president of MediaStorm, a production studio located in Brooklyn, New York, which publishes multimedia social documentary projects at www.mediastorm.org and produces them for other news organizations. In an interview I did with Brian on December 30, 2008, he spoke about how he envisions the future of long-form, multimedia journalism from the perspective of its creation, distribution and economic viability. An edited version of our conversation follows.
Read Brian Storm's University of Missouri School of Journalism commencement speech »
Melissa Ludtke:
In a commencement speech that you gave in December to graduates of the University of Missouri School of Journalism, you let them know that you are optimistic and passionate about journalism. Can you describe where your optimism comes from at a time when we hear so much about the enormous challenges facing journalism and this despair being expressed by so many journalists?
Brian Storm:
The journalism industry is not in despair, it's simply going through a redefinition. I feel like we're living in such an epic moment, a transformational moment. Think about the big stories happening right now: climate change, new president, and an economy that is totally falling apart, and as journalists, these are big stories. It's a great journalistic moment to be in this business. The big opportunity is that the tools are so powerful that anyone can create high production value content and distribute it globally. I
Before he founded MediaStorm, Brian Storm was vice president of news, multimedia and assignment services at Corbis, a digital media agency, and director of multimedia at MSNBC.com.
don't need to own a printing press or a television station, but I can be on television through new distribution devices like Apple TV or TiVo. It's an absolutely revolutionary moment, and I feel incredibly empowered as a journalist. As a storyteller, I feel empowered to do the best work of my career right now, even though I don't have the big mainstream media infrastructure sitting underneath me that I used to have. Now I can do the kind of stories that I've always wanted to do without any limitations.
Let's talk about the other part of the equation—the passion for journalism. There is so much tension now, with journalists trying to find a way to earn a decent living using new media tools and distribution. Where do you see the passion fitting into that part of the equation?
I certainly can understand why journalists at big media companies are depressed. Their passion for journalism I don't think has changed at all. It's the business environment that is creating this chaos. Everyone is being asked to do everything and nobody is being allowed to do in-depth quality journalism.
Where do you see the passion that you bring to journalism emerging? You've talked about the difficulties and challenges that a lot of journalists are facing today. How do you see passion being imbued into this?
Storm was also interviewed in the
Spring 2010 issue of Nieman Reports
For years I've been saying it's time for us to take journalism back. To take it out of the business development role and back into the world of why we got into journalism in the first place. We have to remember back to the time when we decided, "I want to be a journalist." Why did we want to be a journalist? Did we wake up one day and say, "I want to make a pile of money?" I don't think any of us did that. That's not what drives us. We're curious and want to learn about the world. It's an incredible gift to enter into someone's life and tell their story. What makes me passionate is that I feel now, even though the fiscal environment is way out of whack, the ability to do stories at the level that I always aspire to do them is here; it's right in front of us in such a profound way right now. With the ease of distribution and the powerful new production tools, journalists can practice their craft with independence.
You touched on this, but let me explore it with you a little bit more. In many newsrooms now, reporters are being expected to use a variety of new media tools. They're being trained in sort of a helter-skelter way to tell stories across several platforms on the Web, and also for many, still in print. Having this expectation of producing this kind of quality reporting with video, audio and print on stories seems very tough for them to meet. Yet at MediaStorm, your approach is very different. Can you describe how you see multimedia storytelling working best to produce high-quality journalism?
You sneaked into your question the word "quality," so I'd have to disagree with you on that. You said newsrooms are asking reporters and journalists to do everything, but the word 'quality' doesn't come into that conversation. The phrase that comes into that conversation is "do more with less." It's not a journalistic decision; it's not a decision being driven around telling better stories. It's the decision being driven by creating stories in ways that are more economical, more fiscally responsible.
By having one person do more.
Yes. I don't know one person operating at a high level who is an independent one-man band who is telling the kind of stories that you could tell in a collaborative environment. There's just no way. In every project we do, several people collaborate to make that story happen: the designer, the producer, the executive producer, and the journalist who covered the story in the first place. What we're trying to create are universal stories that are not perishable. That's the core element of our strategy. We publish a story in 2006, and a certain amount of people see it when it comes out, and the blogosphere takes over and they promote it like crazy; it's all viral, all word of mouth. It doesn't matter if you watch this story in 2006 or 2009. It's still relevant and still a powerful story. Those are the kinds of stories that we're looking for—projects that are not perishable but will endure for years. That's a different editorial focus than a daily product, and it takes a team of experts with a variety of skills to pull it off at a high level.
Your training originally came in visual journalism, but can you talk a bit about how audio is best employed as a storytelling tool as part of visual media?
For me, audio has always been the extra element that helps make a story work. One of my favorite examples of this is a project about "The Marlboro Marine" from Iraq. His image became an absolute icon. Everyone in the world saw it; everyone perceived it as the macho, badass American. The reality is that that's exactly wrong. His life is an example of incredible posttraumatic stress disorder, which about 30 percent of our soldiers coming home are suffering from. Having [the Marine] James Blake Miller's words with the pictures allows him to tell you the reality of the situation. It gives a context, and that makes the visual images much more powerful. In this case, we did an interview with the photographer, Luis Sinco; this gives transparency to our stories. I want people to understand the kind of passion that these photographers have. The way we present this on our site, he is the backstory, but the engagement of the story and the way in which he interacts with it are compelling elements. We need to create more transparency in the way we do photojournalism so people have a better understanding of it.
"The Marlboro Marine"
- Luis Sinco
"The Marlboro Marine," by Luis Sinco, Los Angeles Times: This photojournalist's picture of Marine Lance Corporal James Blake Miller became an iconic image of the Iraq War. This story describes how Miller tries to heal the scars of war and how two lives became connected by a photograph.
Storytelling is something that humans have done since the beginning of recorded time, on cave walls, now in cyberspace. You've observed that the new media revolution that we're going through is not about some reinvention of storytelling or the journalistic creed. Ethical and accurate information will still rule. Instead, you talk about how much it is about the access people have to the powerful tools to produce and distribute the information through the interconnected global Web. Can you talk about how this ease of access is remaking the process by which news and information is being gathered and absorbed?
When everyone has access, that is disruptive and causes chaos. Access is the territory that journalists used to own and now they look at what is happening with the crowd. The crowd has access to these great digital cameras, to this incredible powerful publishing tool called the Web, and they have expanded the conversation. They have access to distribution that we, as professional journalists, have. This doesn't make me fearful; it makes me excited. That's democracy—to have more people, more input, and more access to different perspectives.
We, as journalists, also have to elevate our game. We can't keep doing things the way we've always been doing them. We have to get better as journalists. From my perspective, this actually helps long-form in-depth journalism since the crowd is less likely to go that direction. In fact, they're taking some of the burden off of us in producing and discovering the things that waste our time. For me, the larger question is why we are wasting our time and skills covering stories that the crowd is all over. Why are we, as professional journalists, allocating our resources for such daily, perishable stories? We should be allocating them for things that are in-depth, investigative and require the kind of expertise and professionalism that we have. We need to take a deep breath and remember all the things that we used to do, then reconsider given the new landscape and decide what is going to give us the most value over time. What is the role that we need to play? I don't believe that is day-to-day, perishable content. I think we need to be more in-depth, more investigative, and more robust in what we do. I know that over time, that will actually pay off. That has proven itself time and time again for us at MediaStorm.
You've talked a lot about a new breed of journalistic entrepreneurs. What you're doing at MediaStorm is a good example of how to be entrepreneurial in the new media era. Can you describe the key ingredients an individual needs to pair their interest in journalism with an entrepreneurial business model that will provide a foundation from which they can do it?
That's the core question. How do we practice the craft and make a living? For me, the element of entrepreneurism has to be there. There used to be the separation between church and state. I'm a journalist, and I'm not going to think about page views or advertising or business models; it's not my job. My job is to tell the story. That era is coming quickly to an end. We're all well aware of this. The legacy business model needs to be completely rewritten. The way in which media companies used to make money has changed, in fact, the way in which every company used to make money has changed. It's a revolutionary moment. We need to rewrite how we communicate with each other. That's a pretty big deal, but I'm excited because in disruption there's opportunity. You have to look at the landscape, take what you care about, build on it, and then reinvent the other parts. That's why I think it's really important that the next generation of journalists have to be more entrepreneurial. I don't just mean that in a business sense; I also mean it in an outreach sense. Like how do we get our stories out there?
View a Nieman Reports photo essay by Marcus Bleasdale in the Fall 2004 issue »
How do we get the right people to get to the stories that we care about? That's entrepreneurial thinking. It's not just how do we go make money, it's also, how do we connect with the right people, how do we get involved with the right groups who can advocate for change? That's a big leap. At MediaStorm, we're focused on advocacy, not just information. We don't want to just create awareness with our stories, we want to create action.
More the need to find the right people, to find the agents of change.
Exactly. The story we've done with photographer Marcus Bleasdale is about the Congo. The people who care about what's happening there will find it, and they are already helping, and this is brand new. Ten years ago, this was impossible to do. Today, with a click of a mouse, it's off; one person can quickly spread this story, and it's not just one network. It's powerful. It's unbelievable, and it's driving awareness.
"Rape of a Nation"
- Marcus Bleasdale
"Rape of a Nation," by Marcus Bleasdale: The Democratic Republic of Congo is home to the deadliest war in the world today. An estimated 5.4 million people have died since 1998. These deaths are byproducts of a collapsed health care system and a devastated economy.
You use the phrase "surge of connectivity" to describe what you see as the greatest hope for restoring quality journalism. At MediaStorm you don't publish on any set schedule, nor do you advertise the stories you publish, at least in traditional ways. Yet many of your long-form multimedia pieces find a global audience. Talk more about how this happens, giving an example of one of your projects growing its audience.
"Intended Consequences"
- Jonathan Torgovnik
For the most recent project we published on Rwanda, I sent an e-mail out to 11,000 people who signed up to receive our newsletter. The e-mail goes out, and there's a surge in traffic. Immediately, people start clicking the link, and over the course of several days traffic continually climbs, because a lot of those 11,000 people are forwarding that e-mail to their friends. And what is more powerful than you sending me an e-mail saying, "Brian, you have to look at this project. You've got to find the time to look at this thing"? It's the most powerful word of mouth marketing that can possibly happen. Your friends are trusted sources. They're helping to screen a massive amount of information that you have access to, helping to filter in the good stuff, which again is why I really believe quality is the key. If you just push out a bunch of drivel, no one is ever going to forward it to a friend. Over time, there's no payback on that. After the e-mail surge happens, then people start blog posting it; that is another really powerful thing, because we have people from 135 countries who come to our site every month. That still just baffles me. People from all over the world come to our little Web site to watch stories, and the way they find it is e-mail, blog posts, and Tweets. Ten years ago, all of these ways for people to spread information didn't exist.
You've said your RSS feed drives 35 percent of your traffic to the Web site. And now you are saying Twitter accounts for a large amount of it, too.
Yes, Twitter went from nowhere, not even on our radar four months ago, and it is now number 11 in driving traffic to our Web site, which I just think is remarkable. Facebook is number seven.
What's number one?
Google. I think you would be hard pressed to find anybody who didn't respond to Google as their number one traffic driver.
Twitter is now number 11.
It's a remarkable thing to watch that grow. It just proved to me that people care. It's so ironic. Ten years ago, I remember sitting in a newsroom and scratching my head, saying, "How do we get people to care about AIDS in Africa? How do we reach people with this story?" I remember everyone in the newsroom saying, "The audience is apathetic; they don't care." I felt that was wrong. They do care; of course, they care. They just need to have access to this stuff.
The irony now is that the apathy we're seeing is actually inside of the newsroom. The audience is totally energized, totally connected, and totally spreading around these powerful stories. But because of the crisis that we're going through, news organizations don't have the resources to do the kind of stories that I'm describing. People are asked to do less with more and not given the time. Time is the greatest luxury in journalism. It's why we don't publish on a deadline. We publish when we feel a project is ready. All of these things connect to each other and in really interesting ways to passion. What an exciting time to be practicing journalism!
Many of the stories on MediaStorm are lengthy, some more than 20 minutes. At a time when it's said that people's attention spans are shrinking as they dash around from link to link, never stopping very long at any one site, why are you convinced that doing long-form journalism on the Web is viable as a business strategy?
The data tells me it's true. This is one of the things that used to drive me crazy when I was at MSNBC. Microsoft, its half owner, is a very data-driven, metric-centric culture. They look at numbers, so that is built into my DNA now. So that's what I do: look at our numbers on the dashboard. I can see how our publication is evolving—time spent on the site, where traffic is coming from, whose blog posts, who's spreading it for us. I have visibility in a way that is totally profound. I know so much about how our publication is and is not working, because the data are right in front of me. I think data can also be evil. A lot of people run around and say, "We need page views, we've just got to have video …." Sometimes they don't interpret the data correctly. Sometimes data can be used in a way that is not good.
For me, though, it's wonderful to have the ability to see how many people are watching our 21-minute video about a young African man's journey to get to Europe with the help of smugglers. What percentage do you think watch 21 minutes from start to end on our site? The answer is 65 percent. That is an astonishingly high completion rate on the Web. When you think about it, it goes back to quality. The only reason they're watching it is because it's just a great story. We develop the character in a way that you start to care for him, you see yourself in the character, and you're hooked. You have to know: does he make it? And then, once he makes it, you say, "Holy smokes, he's thinking about going back for real." That is what we're looking for, that universal, robust, in-depth coverage of an issue that people can relate to—immigration. A lot of people migrate; a lot of people leave their families in search of "a better life." In Kingsley's case, it's still up for discussion whether his life is better or not.
"Kingsley's Crossing"
- Olivier Jobard
"Kingsley's Crossing," by Olivier Jobard: A 23-year-old lifeguard from the impoverished town of Limbe, Cameroon, dreams of a better life in Europe. He embarks on a harrowing journey that takes him halfway across Africa, and photojournalist Jobard documents the passage.
We're going to link to your Web site and these projects you've mentioned so that people can see some of these stories themselves. Can you describe some of the common threads that you see weaving together the various stories MediaStorm.org has published?
That's a really hard question, because I often get asked to describe what MediaStorm is, and it's going to sound weird, but one of my goals is for people not to be able to describe it. When people come to the homepage, it's not really clear right away what it is. A lot of news sites look exactly the same; they all have the identical template, design and aesthetic quality. I want people to come into our site and say, "What? I don't understand." They have to explore, and that's the idea behind the promos on the homepage; touch a project and see a little piece of the story. Every story is different on our site; we don't have a specific editorial focus. There are not certain topics that we care more about than others. What I want people to do is try to start explaining the site, but then they get frustrated and say, "You should just go see it. It's really good. It's worth seeing." Those are the words I'm hopeful people will use. Those three sentences. "It's really good, and it's worth your time. Go see it." I think everyone will look at stories and take away different things from them. There is no quick slogan. We've been called "the new Life magazine," or "the Life magazine of the Internet." That is a pretty awesome description, and I appreciate that people see it that way. There is a certain element of that that is accurate in terms of our aspirations. We're trying to do stories that show life and help people better understand the complex world that we're in. It is complex. I think the way in which we approach these stories helps to make those ideas more understandable and more accessible.
22 Comments on
Long-Form Multimedia Journalism: Quality Is the Key Ingredient
Melissa Ludtke says:
May 6, 2009 at 7:38pm
Brian Storm is offering a week-long multimedia reporting workshop in New York City in June and August:
For more information about this opportunity: http://mediastorm.org/workshops/reporting.htm#Apply
Advanced Multimedia Reporting Workshop in New York City
The MediaStorm Advanced Multimedia Reporting Workshop in New York City is an intensive, hands-on educational experience in advanced multimedia storytelling. Over the course of a week, participants will work in three-person teams, reporting and editing in collaboration with a seasoned multimedia professional to produce a multimedia project for distribution across multiple platforms. Each team will produce a professional-quality, ready-for-publication multimedia story.
Jaden Allen says:
March 24, 2009 at 11:17am
It is so interesting to see the redirection of journalism. I agree with Storm that the new era of journalism is exciting, there is endless opportunities, and journalists shouldn't be negative about the new change. The quality of the material content is so crucial, I completely agree that it should be imperishable. Time should be taken to develop the material and to create a unique approach that grabs attention. As is undeniable on MediaStorm's website
the innovative utilization of photo, sound and video makes effective and lasting journalism.
J says:
March 24, 2009 at 11:13am
There will always be a need for perishable news. However, there is also a need for different approaches and genre of news reporting. Though perishable news can be assisted by the public, there will always be a need for professionals in that arena.
This approach to news reporting however cannot be universal. The public demand for quick facts rather than story and exposition will keep the perishable news approach in demand. The long form news is a more storytelling approach to the facts. Much the way Truman Capote approached news. MediaStorm looks for the story within the facts and is able to find the truth within the story.
Kelsey Osterman and Heather Boden says:
March 24, 2009 at 11:12am
As aspiring journalism students, we enjoyed reading your article. It was encouraging for us to hear someone who is so excited about where journalism is going, when many people believe that journalism is a dying practice. The online evolution of journalism may scare some people, but is actually a blessing in disguise. The capacity to reach a huge number of people worldwide is something newspapers or broadcast news could never achieve. The web has revolutionized how journalists produce news stories and how the public interacts with news and the world around them. It is so easy to connect with people from all over the globe through the sites that Storm mentioned, such as Twitter and Facebook. Thanks for this interview.
Jacob Turner says:
March 24, 2009 at 11:11am
Its really nice to see someone who doesn't believe that the journalism industry is declining. even though the industry is changing I am glad to hear someone who is optimistic about the profession and sees it as an opportunity to report on global issues.
I agree that most people are underestimating society today and their concern for real news; they care, they just have to have access. Being a college student, I have noticed that my generation in particular has a great concern for world issues, more so then some generations previous. It is good to see the advancing technology meet the augmenting concern of the public.
Meridith and Amanda says:
March 24, 2009 at 11:09am
We liked how he mentioned that journalism is just going through redefinition, and not despair. It is refreshing to hear this view in light of the many accounts of dying newspapers. It is also interesting how he mentioned the in depth approach available online. We liked how he applied this to create powerful stories on MediaStorm.
Samantha Aviles says:
March 24, 2009 at 11:09am
I really appreciated your in-depth approach toward reporting. I think that deeper looks into stories make a lasting impact and am excited at the apparent audience there is for such stories. However, I did notice your skepticism of backpack journalists and, while I do prefer the in-depth approach, I think that there is also a place for backpack journalists in the world of journalism. While some of these journalists may need to refine their techniques, I think the one-man-band approach may be the best way to tackle some stories and situations.
Overall, thank you though for the quality and enthusiasm you bring to journalism.
Josh Harney says:
March 24, 2009 at 11:08am
I would definitely commend you on that fact that you are really utilizing all types of multimedia to tell your story. Your passion for your story subjects is so apparent, and this fact alone adds so much to your final video packages, and makes them even more compelling. This is definitely where the future of Journalism is moving, and I hope that all budding journalists can see this and be ready to make the shift into this new world.
Matthew Okada & Job Ang says:
March 24, 2009 at 11:07am
I think Brian's outlook on journalism is both progressive and grounded in what he knows works. Yes, things are moving online, running all over the blogosphere and Twitter, but there are still fundamentals of journalism, such as quality, relevance, and audience connection, that Mr. Storm seems to understand well. His special on focus on quality also really stands out, because you don't need tons of subpar stories if you can just put out a few high-caliber, emotionally and intellectually stimulating ones.
Sometimes we tend to underestimate the audience's attention span. People will still watch something if it's good, interesting, and compelling, and giving them a half-baked, too-short story is a disservice. I also thought that what he said about the AUDIENCE being the energized faction, and the journalists being the apathetic one, was a very different, but true, perspective. Journalists need to care more about their stories.
katie trent says:
March 24, 2009 at 9:52am
First of all we want to thank you for your dedication to quality and your ability to recognize that true quality is not able to happen without working with a team. Journalism is at stage where one person operating at a high level who is an independent one-man band who is telling the kind of stories that you could tell in a collaborative environment. Your passion for what you do is encouraging to see as well. We appreciate how you make your stories impactful by telling it from the perspective of one person or a small group. It makes the story personal and real. Thank you again for your dedication and passion to quality journalism.
Jennifer Martin says:
March 24, 2009 at 9:46am
This is powerful information. It's great to see convicting, relevant stories with longevity that won't pass away in minutes. I wonder, though, how you make revenue; I didn't see advertisements on your website.
Staci Bell says:
March 24, 2009 at 9:45am
As a journalism student, I feel that even as we go through this "reinvention" of what journalism is, I feel that I am too being taught and pushed to do "less with more." To do audio, video, photo, along with pre/post-production all by myself.
This idea pushes away our need for each other and our need to push ourselves to be better journalists. Doing journalism is a community effort and that is evidenced by the web! If future journalists are going to be producing journalism to the effect of what Brian and his staff are doing at MediaStorm, we need to learn how to work together and to be taught how to capture and use audio/video/etc. to effectively tell stories as well.
Reyn Hiskey says:
March 24, 2009 at 9:44am
I really like his passion for his work, but it seems to get the better of him in a few cases. His work and the projects they complete at media storm are well done, thoughtful, and relevant stories. But they are large scale, world news events that are going to be relevant for a while simply because of the nature of them. I don't think that Storm wants to accept that his format is not possible for smaller news stories. And it seems like his way of avoiding the problem is letting journalists forget the smaller, more local stories and let them be handled in low quality formats by amateurs and bloggers. Overall I like his points, but I get the feeling Storm errs on the side of overzealousness in thinking that his way of doing things is the best and should be the new template for journalism as a whole.
Aaron Eddy says:
March 24, 2009 at 9:44am
I thought it is interesting how a seasoned journalist who sees what is happening in the media industry, but is still optimistic about it. The thoughts on how journalism is not dying but is just entering a new, maybe even better era, is encouraging. Comparing 'word of mouth' now to just a couple years ago is astonishing. These days we can just send an email with a link to all of our contacts at the same time, and that email may keep being forwarded until thousands of people have seen it. The world of journalism is changing, for better or worse, but this article was encouraging for me as an aspiring journalist.
Emily Agenjo says:
March 24, 2009 at 9:44am
What Storm said about the newsroom being apathetic is profound. I would agree that the audience is beginning to be responsive in a time of extreme doubt in the US, while the reporters and storytellers are beginning to doubt their worth. Journalism has been on its way to becoming obsolete and it is hopefully making a strong comeback with organizations like MediaStorm. The stories are beautifully made and inspire young journalists such as myself. Anymore in the journalism world, we cannot be able just to write or just to photograph. We must be able to do both and more. I hope to be as equipped as Brian Storm and his media team are, when I become a journalist out in the world.
Jennifer Yoo says:
March 24, 2009 at 9:44am
This was a great article. It truly summarizes the challenges that journalists are facing right now and I have to agree with Storm when he said that the journalism industry is being redefined and how it is constantly changing. I think it's sad to see that "quality" is not present as much and how journalists are just writing more stories with less quality. But overall, it's definitely encouraging to see the multimedia journalism evolve and how convergent journalism is becoming more and more familiar to us.
Jacob Frischknecht says:
March 24, 2009 at 9:42am
I am really empowered by your in-depth look at people and real life issues going on in our world. Your description of story telling is very motivating, as I hope to be able to tell stories in an effective way so that people will want to listen. Your interview has also inspired me to look more into the business aspect of journalism, as I realize that the changing face of journalism is calling not only for journalists, but businessmen as well.
Great journalism, I am very intrigued by mediastorm.
Lindsey says:
March 24, 2009 at 9:41am
I love the fact that Storm is concerned with a timeless, quality product, while still utilizing new media. It seems like so many news stories can be concerned with having all of the new media bells and whistles, but lack quality and depth. It seems like Storm has found the best of new and old journalism.
Chris says:
March 24, 2009 at 9:41am
What's interesting about Brian Storm is that he focuses on the people involved in what's going on in the world, unlike the local or national news. His web site is much more artistic and he offers more perspective to a story than a lot of other news providers.
Brittany Bury says:
March 24, 2009 at 9:40am
A question that comes to my mind after reading this is whether Storm truly believes that professional journalists will have the freedom and time to be able to focus on investigative reporting rather than day to day news stories? Also I am curious to find out what Storm would define a journalist as and whether he considers blogging as real journalism?
Nichele says:
March 24, 2009 at 9:39am
I find it incredible that so many online users are taking the time to complete viewing of the long form news story online. The numbers as high as 65 percent seem to indicate that the viewing public does care quite a bit about the issues in the world. They're just looking for quality material and stories that they can get behind.
Also, the prevalence of online social networking is simply staggering. The fact that so many people are coming to MediaStorm through networking sites like Twitter and Facebook truly shows a shift in the trend of media absorption.
reed price says:
March 24, 2009 at 7:51am
This is great information. Brian's description of the power of social networks -- of 1:1 referrals hyper-powered by digital connections -- is very powerful.
His comment about entreprenurial journalism, and his own experience with MediaStorm, makes me wonder if Brian is expecting our business models to focus more on the individual or production team, as opposed to the corporate underwriter (Paul Swider calls it "more freelance" http://www.allheadlinenews.com/articles/7014518036)
Submit a Comment
Name: *
Email: *
Comment: *
Enter the words above: *
Enter the numbers you hear: *
Switch to audio
Switch to image
Thank you for your comment. It will be published after it is approved by an editor.
Read our comments policy »
Contact Us
Nieman Foundation
Privacy Statement
© 2014 by the President and Fellows of Harvard College


text:
Bark Collars & Control
Dog Bark Collars and SpraysWhen your dog barks too much and without control, you may have to toughen up the disciplining of your pet. A dog bark collar may come in handy for this situation. You can find two types here at PetStore. One is a collar that has a rechargeable battery that will send minor shocks to your dog when it barks too much. If you can't get yourself to use one on your pet, then you can also get the spray type whose scent deters your dog from barking. Just look them up through our catalog and place your order online.
Pet Safe/Radio Sytems Corporation Lithium Battery 2 Pack$4.71
Radio Systems Corp. (Pet Safe) Alkaline Battery 6 Volt$3.75
Radio Systems Corp. (Pet Safe) Deluxe Outdoor Bark Control$59.99
Pet Safe/Radio Sytems Corporation Lithium Battery 3 Volt 2 Pack$4.71

subset: commoncrawl


text:
Best Deal in Key Largo Mini vacations 3 days 2 nights $199.0 in Key Largo
- bedrooms 1
- baths 1
- sleeps 4
- pool yes
- hot tub no
- pets allowed no
- type House
- community Calusa Campground
rates (USD)
/ week
$ 1,500 - $ 1,500 / month
vacation rental description
This Key Largo property is a paradise in a gated private community. This confortable park model includes cable TV, full kitchen, bathroom, Queen size bed in master bedroom and much more.
Outside terrace with BBQ grill and full sink. Enjoy your evenings relaxing in this comfortable outside area. Many amenities, they include beautiful boat ramp, heated pool, tennis and basketball courts, kiddy park, picnic tables and much more. The complex has a great water view and a breathtaking sunset. Many restaurants close by and delivery service is available in case you don't want to take advantage of the full kitchen.
vacation rental location
property availability
- dates with deals
- unavailable dates
Last modified on 08-26-2014 at 8:50 AM.
email owner view full calendar
Oscar 786 439-4217
house rental amenities
Key Largo, the scuba diving capital of the world, with John Pennekamp State Park and Henry Harris Park within minutes from this location beautiful sunken ships and tropical reefs. Boat rentals, jet skiing, parasailing is available. Everything from swimming with dolphins to the latest movie attractions is close-by. Key West is a scenic 95 miles south from this location. This cozy place makes a great "home base" for all your vacation plans in the Keys and South Florida.
activities and attractions in Key Largo The Florida Keys
Back country and deep sea fishing within minutes. Boat rental
vacation rental rates
Mini Vacations: 3 days 2 nights $199.00 (Holidays excluded)
Holidays Call for rates
Weekly $597.00
Monthly $1500.00
Oscar 786 439-4217
accepted payment methods
Prior to paying a reservation deposit, always verify payment instructions by calling the phone number displayed on this listing page. By contacting the owner directly and paying by an approved method - credit card, paypal, check or bank transfer - your reservation payment will be protected up to $1,000.Learn more in our Security Center
Top things to do in Key Largo
- Excellent for scuba diving
- Tour of the Everglades
- Swim with the dolphins
- Boat Rental
- Alligators Farm
Top things to do on a budget
- Key Lime Products
- Fishing
- Pennekamp Park
Oscar , owner


text:
CATEGORIES MoviesOn May 27, British film icon Christopher Lee turns 90 years old. In his long and storied career, he's delivered countless fantastic performances in everything from medieval adventures to gothic scary stories. (You may know him as Saruman, Count Dooku, the Man with the Golden Gun or even Count Dracula.) And he has no plans to slow down, as indicated by recent roles in the Oscar-winning"Hugo" and this month's "Dark Shadows" -- not to mention an upcoming return to Middle Earth with this December's "Hobbit."
Lee is not just an actor, but a decorated military man and bombastic heavy metal singer, with a crazy family lineage to boot. To celebrate the legend's 90th birthday, we present 90 reasons why Christopher Lee is awesome.
1. He's the step-cousin of "James Bond" creator Ian Fleming, and was the author's first choice to play Dr. No in the film adaptation.
2. He's in the Guinness Book of World Records as the World's Tallest Leading Actor. (He's 6'5")
3. He's the tallest movie Dracula ever.
4. He agreed to star in "The Wicker Man" for free; he considers it one of his greatest roles.
5. With the exceptions of 1995 and 2006, he has appeared in at least one movie every year since 1948.
6. He starred in nine films in both 1955 and 1970.
7. He holds the record of "actor with the most profitable movies," boasting a filmography that has raked in over $4 billion (and we're not just counting his "Star Wars" and "LOTR" work).
8. So far, he's the only movie star to be a "Star Wars" villain, a "Bond" villain and a movie monster.
9. He has a marked interest in public executions and knows the names of every official public executioner employed by England, dating all the way back to the mid-15th century.
10. He played Charles Henri Sanson, the Royal Executioner of France under King Louis XVI, in the French-British co-production "La Revolution Francaise: Les Annees Terribles."
11. In addition to starring in "Rasputin: The Mad Monk," Lee met the actual assassins of the real-life mystic when he was a small child.
12. He suffered a dislocated shoulder, injured back and bruised knees/shins while filming 1959's "The Mummy"... and used them to enhance his lurching Mummy-walk.
13. During the filming of "The Hound of Baskervilles," Lee had a real tarantula crawl on him -- despite a deadly fear of spiders.
14. He was also really attacked and bitten in the arm by the dog used for the film.
15. For his character's death scene in "Airport '77" -- getting crushed in a cargo hatch -- Lee did the stunt himself, and earned the Stuntmen's Union belt buckle.
16. At the age of 78, he did the majority of the sword-fighting work for his lightsaber duels in "Attack of the Clones."
17. After hurting his back, he had to pull out of "The Wicker Tree," the 2010 sequel to "The Wicker Man." Like a trooper, he still managed to shoot a cameo role for the film.
18. He can speak German, French, Italian and Spanish (with some Swedish, Russian and Greek to boot.)
19. He learned German by listening to Richard Wagner records.
20. He recorded the German dubbing of his part in "The Last Unicorn" for free -- because he loved the film.
21. When recording his voicework for the "The Last Unicorn," he arrived with his own copy of the book, which contained several marked passages that he did not want to see get cut from the adaptation.
22. At the beginning of his career, he dubbed foreign films into English and on many occasions would do all the voices -- including the women.
23. He was one of Bryan Singer's first choices for Magneto in the "X-Men" series.
23. He was also one of John Carpenter's first choices for Dr. Loomis in "Halloween."
24. Has played Dracula ten times.
25. The cape he wore in his first appearance as Dracula is reportedly valued at $50,000.
26. He thought all of his lines in "Dracula: Prince of Darkness" were so bad, that he just decided to play the part silent instead.
27. When he was cast in "Gremlins 2: The New Batch," one of the first things he did was apologize to director Joe Dante for starring in "The Howling II: Your Sister Is a Werewolf," the poorly-received sequel to Dante's 1980 werewolf hit.
28. During the press for "Howling II," he revealed that he took the part because he had already done movies involving Frankenstein's Monster, Dracula and the Mummy, and he needed to do a werewolf film.
29. He had his own book series: a horror anthology, featuring works from Ray Bradbury, H.P. Lovecraft and Bram Stoker.
30. He has starred in two different film versions of "Dr. Jekyll and Mr. Hyde."
31. His very first acting performance, a school production, was as a demonic Rumpelstiltskin.
32. He just happened to be next-door neighbors with another famous Frankenstein monster: Boris Karloff.
33. He has played Dr. Fu Manchu five times.
34. He doesn't consider the work he did to be known as horror; he prefers to call it "the theater of the fantastique."
35. Has played not just Sherlock Holmes (in three on-screen appearances), but also the detective's brother Mycroft ("The Private Life of Sherlock Holmes") and Sir Henry Baskerville (1959's "The Hound of Baskerville").
36. He's the only member of the "Lords of the Ring" film production to actually meet J.R.R. Tolkien.
37. He has read the "Lord of the Rings" trilogy once a year since it was published.
38. He received Tolkien's blessing to play Gandalf if there was ever a film adaptation.
39. He was always Peter Jackson's first choice for the role of Saruman, and was the first actor cast in the trilogy.
40. He helped give tips to the make-up team on how to design the monsters of Middle Earth.
41. He shot "The Fellowship of the Ring" with a broken hand.
42. He first bonded with Peter Cushing, his long-time friend and co-star, by quoting "Looney Tunes" with each other during the filming of "The Curse of Frankenstein."
43. Lee and Peter Cushing were contracted to star in 1972's "Horror Express," but the death of Cushing's wife the year before left him despondent with grief. Lee and his family helped Cushing get through the December shoot and kept him company during the Christmas season. 44. For his final collaboration with Peter Cushing in 1983's "House of the Long Shadows," they brought along fellow horror icons Vincent Price and John Carradine as co-stars.
45. To play Rochefort in Richard Lester's "Three Musketeers" series, he chose to depict the character with an eye-patch; his rendition was so influential that the '90s Disney version and last year's 3D update kept the eye-patch -- despite it never actually appearing in the original book.
46. Patrick Macnee (who was an uncredited extra) and Lee are the only surviving cast members of Laurence Olivier's Oscar-winning production of "Hamlet"; Lee played an uncredited Spear Carrier.
47. Throughout his career, he has starred as, Mephistopheles, the Grand Master of the Knights Templar, the founder of Pakistan and voiced both the Jabberwocky dragon and Death itself.
48. His movie "The City of the Dead" a.k.a. "Horror Hotel" has had clips and dialogue sampled by Iron Maiden, King Diamond, the Misfits and Rob Zombie.
49. He made an uncredited voice cameo in the 1965 version of Agatha Christie's "Ten Little Indians."
50. He served as host of "Mystery Theater," a 2009 nightly radio series that presented classic mystery shows.
51. In addition to reprising his iconic characters in video game adaptations of "Lord of the Rings" and "Bond," he also served as narrator of "The Rocky Interactive Horror Show" computer game.
52. Earned more video game cred with voice work in the "EverQuest" and "Kingdom Hearts" series.
53. He's a classically trained singer.
54. He appears as a soloist on "The Lord of the Rings: Complete Songs and Poems" box set which compiled all of the songs from Tolkien's book series.
55. In 2006, he released the solo album "Revelation," performing classics like "Little Drummer Boy," "Silent Night" and "My Way."
56. In 2010, he released "Charlemagne: By the Sword and the Cross," a symphonic metal concept album where he performs as the Roman Emperor.
57. The album featured two metal bands, a collection of guest vocalists and a 100 piece orchestra.
58. "Charlemagne" earned him the "Spirit of the Hammer" award from Metal Hammer Magazine; he had the award presented to him by Tony Iommi of Black Sabbath.
59. He's a fan of American metal band Manowar and provided narration on the re-recording of their song "Dark Avenger." (A narration originally done by Orson Welles.)
60. He suffered a permanent hand injury thanks to a drunken Errol Flynn during a sword fight in "The Dark Avenger" -- and he continued filming.
61. He recorded a video for the Earthshaker heavy metal festival in 2005, proclaiming "Heavy metal will never die."
62. He is also a fan of Italian metal band Rhapsody, and recorded an introduction to their song "Unholy Warcry."
63. Then he teamed up with them on the single "The Magic of the Wizard's Dream."
64. This video exists:
65. He has also recorded French, German and Italian versions of "Wizard's Dream."
66. He provided guest vocals on the Euro-disco single "Little Witch."
67. He received an Academy Fellowship, the BAFTA lifetime achievement award, in 2011.
68. For his contributions to the film and television industry, he received a Commander of the Order of the British Empire in 2001.
69. Then in 2009, he was honored as Knight Bachelor of the Order of the British Empire ,for his artistic and charitable efforts.
70. Additionally, he is a Commander of the Order of St. John of Jerusalem and was also named an Officier des arts et lettres by the French cultural minister.
71. Way back in 1979 -- before his "Star Wars" and "Lord of the Rings" work -- he had been rewarded with the Life Career Award from the Academy of Science Fiction, Fantasy & Horror Films.
72. Oh yeah, he's also received lifetime achievement awards from SFX Magazine, Empire Magazine, Italy's Fantafestival, Portugal's Festroia International Film Festival, the Evening Standard British Film Awards and the Seattle Film Critics Awards.
73. In 2004, he was made an honorary citizen of Casina, Italy, the home of his ancestors.
74. Those ancestors just happen to be nobility who resided in the castle Sarzano.
75. His great-grandparents were the founders of the first opera company of Australia.
76. His mother was regarded as a subject of beauty and painted and sculpted by several artists during the Edwardian era.
77. He has been happily married to Danish model Birgit "Gitte" Kroencke since 1961.
78. He was friends with billionaire industrialist Jean Paul Getty, and got to use Getty's residence at the Sutton Place estate for his honeymoon.
79. Plus, he's served as a judge for the Miss World Beauty Pageant.
80. He is such an avid golfer that he became the first actor to become a member of the Honourable Company of Edinburgh Golfers, the oldest golf club in the world.
81. You can't forget about his hosting stint in the third season of "SNL" -- with musical guest Meat Loaf!
82. He was in "Police Academy: Mission to Moscow." That is all.
83. He's on the album cover to Wings' "Band on the Run" because why not?
84. This scene:
85. He served in the Royal Air Force Volunteer Reserves during WWII.
86. Then he served as an intelligence officer in the Long Range Desert Group.
87. According to Peter Jackson, he knew the exact sound a man makes while being stabbed, and used it for "Lord of the Rings."
88. His thoughts on vampires: "There are many vampires in the world today... you only have to think of the film business."
89. His view on life: "One should try anything he can in his career, except folkdance and incest"
90. He likes to garden in his pastime.


text:
Advocates for cancer research, including former Gov. Chris Gregoire, are considering asking Washington voters for more money this fall.
A proposed initiative to the people filed April 10 would pay for grants for cancer research, prevention and treatment by raising tobacco taxes.
The former governor said Friday that she is among its supporters but that the group has not yet decided whether to go forward and is not wedded to any particular new funding source.
Gregoire, a Democrat and breast cancer survivor, said federal budget cuts have eaten into research grants.
"We have some of the world's leading experts in our own backyard and we need to keep them and keep the research going here," she said.
Grants flowing to the state from the National Institutes of Health declined by more than $80 million last year, or about 9 percent.
Gregoire, a Lacey resident since leaving the governor's mansion in January 2013, got involved in the effort as a member of the board of Fred Hutchinson Cancer Research Center. The center is a member of the Seattle Cancer Care Alliance that also includes the Seattle Children's and University of Washington hospitals.
If the group decides to move forward this year, collects 246,372 valid voter signatures by July 3 and persuades voters to approve it Nov. 4, the initiative would raise taxes on a pack of 20 cigarettes by $1.
Taxes would also go up on other tobacco products. The state would borrow money against the new revenue.
Organizers hope it would raise more than $90 million a year over a decade.
Washington has one of the highest cigarette tax rates — sixth in the nation, according to the Campaign for Tobacco-Free Kids.
The state receives money from a 1998 settlement with tobacco companies negotiated by Gregoire when she was attorney general. Some of it is spent on scientific research. A large portion of the money once went to prevention programs that supporters credit with contributing to a decline in smoking, until state budget cuts whittled that funding to a fraction of its former size.
Jordan Schrader: 360-786-1826 jordan.schrader@ thenewstribune.com


text:
Flyers License Plates - PA
Drive For A Cause with the Flyers Charities License Plate! These limited edition plates are now available for Pennsylvania drivers. Your donation helps support local charities through Comcast-Spectacor Charities.
- Complete and sign Sections A and D in the state form for Pennsylvania.
- Submit payment via check or credit card in the amount of $50* to "Comcast-Spectacor Charities." To download a form for credit card payment, click here.
- Make a copy of your drivers license and vehicle registration.
- Mail all items to the address below.
- Receive your plate in 10-12 weeks.
*Please add $1.50 for each duplicate registration.
Submit state form, a copy of your drivers license and registration, along with your payment of $50 to:
c/o License Plates
3601 S. Broad St.
Philadelphia, PA 19148
If paying by credit card, you may also fax all items to: 215-389-9507
**Please disregard additional fees on PA applications. They will be paid through Flyers Charities.


text:
Cincinnati has always been willing to nurture culinary talent, but during this past year you, dear diner, have stepped up big to help keep that talent in town. You've parallel parked on crowded side streets to squeeze into dining rooms open for mere weeks. You've chased down regional Mexican flavors in the most inauspicious places. You've found yourself in heated pork bun debates—Kaze versus Quan Hapa (they're both darn good!). You've even given fine dining the room it needed to reinvent itself in the current economic climate. Again and again, your support has been tireless and tenacious.
Certainly you've had help. 3CDC continues to spearhead the revitalization of the urban core—one reason why this list has a distinctly downtown vibe. But where others have been willing to physically build, you've made Cincinnati a community where chefs can afford to take risks. And it's starting to pay off. Has there ever been a 15-month period in which so many dazzling new restaurants have opened? Or a year when so many chefs have dared to grout, sand, and re-tile kitchens of their own? These artists trusted that you would back their bets. And you have. Give yourself a pat on the back, people! You've made our city a dining destination. Now let's sit back and see what 2014 brings to the table.
Our Best New Restaurants list is available online exclusively for our Cincinnati Magazine Insiders. Click the link below to view the list. You'll be prompted to log in with your Insider password. Not a member yet? It takes just a minute to sign up. Click here.
Bye-bye dining sobriety and cocktail snobery. Small batch bourbon is big, craft beer is king, and gastropubs, wood-fired ovens, family-style servings, and a whole lot of exposed brick have become the new definition for fine dining.
» Go to the 2013 list
In case you didn't notice, there was a renaissance going on in Cincinnati's culinary community in 2012—and downtown took center stage.
» Go to the 2012 list
Copyright © 2014. All rights reserved.
In partnership with Marketron Interactive


text:
Resume Tips
A resume is the primary marketing tool in your job search. The challenge of effective resume writing is that you must be creative and provide organized and concise thoughts, while working in a clearly prescribed structure. Your ultimate goal is to develop a unique piece, outstanding for its personalized content and its visual appeal. Exceptional resume writing can be extremely challenging and require many revisions, but it is worth the effort – the payoff is attracting the attention of prospective employers. A truly effective resume achieves two goals:
- It presents a concise summary of your skills and accomplishments
- It clearly establishes a relationship between your experience and your career objective
Resume DOs and DON'Ts
- DO write your own resume. Your resume should be authentic and accurately reflect your goals and achievements; you are the best person to accomplish this task. Writing your resume also forces you to organize, analyze, and articulate your experience, a process that enhances your interviewing skills.
- DO find your thesaurus. Select specific, action verbs that convey your experience, results, etc., as clearly as possible. Choose nouns, adjectives and adverbs with the same outcome in mind.
- DO use industry-specific language. Develop your resume with professional jargon and industry "buzzwords" appropriate to the particular occupation you are seeking. Increasingly, employers are relying upon computer programs that scan resumes for keywords – don't let your resume be passed over for failure to include keywords that demonstrate your job-related skills.
- DO ensure that your resume is error-free. Proofread your final draft and ask at least two other people to proofread it as well. Check for improper grammar, inconsistency in language or layout, spelling or punctuation errors, poor construction of the content, typos, etc. (Don't rely solely on spell-check!)
- DON'T go wild with the design of your resume. Avoid horizontal and vertical lines, script, shading and graphics, which can bleed or blotch when copied or faxed. Pick a readable font such as Times New Roman or Helvetica (at least 10 pt) and be sure to leave enough white space at the margins. All margins should be at least 0.7".
- DON'T rigidly follow a template. Prepare a resume that makes the most sense for where you are in your career development. Avoid word processing software templates like those found on Microsoft Word, which arrange information in an order that may not make sense for you and often include very wide margins (which limits the amount of content you can include). Whatever layout you choose should allow readers to easily scan relevant information, and key information should be on the left-hand side of the page.
- DON'T ramble on. Reviewing a resume is NOT like reading a book! The average reviewer has 30 seconds to look at your resume and will typically scan sections and bullet points. Be concise, use phrases instead of sentences and avoid paragraphs. Step back and take a look at your resume while timing yourself, paying attention to what stands out and what you missed. For recent graduates, the resume should be one page. For graduate students and those with extensive work histories, the resume can go onto a second page if necessary.
- DON'T skimp when printing your resume. Use a laser printer to create a master copy of your resume and make 50 copies on high quality bond paper (preferably white, although light beige and grey are acceptable).
Resume FormatThere are various sections to an effective resume. The sections, format and arrangement you use will depend on the resume type you select, and should be uniquely tailored to your education, background, and experience. All resumes should include a heading and education section, as well as a section describing your experience.
Items to be listed in this section include:
- Full Name
- Address
- Phone Number(s)
- Email address
- Website and or ePortfolio (if applicable
Your objective or summary is the statement of purpose for your resume, creating a frame of reference for the reader. If you are creating different resumes for different companies and industries, tailor your career objective each time. Examples of Career Objectives
- An entry-level position in marketing management in the consumer products industry
- Participation in a management training program in the banking industry, leading to a career in the loan division
- Research and development in applied biology
- A position in development with a non-profit organization that makes use of my excellent research and writing skills
- An internship in marketing
In this section, list your degrees in reverse chronological order. Note that after sophomore year, high school should not be on this list. Transfer students should only list the college from which they will actually earn a degree.
- Degrees earned or anticipated
- Schools attended, including study abroad
- Areas of study pursued (majors, minors)
- Academic honors and awards
- Thesis work, if any
- GPA, especially if strong
- Relevant coursework
- Certifications you have achieved
- Co-curricular Activities
- Honors and Awards. Include name of the award, date received and any affiliated organizations. Explain the significance of the award if necessary, avoiding acronyms or abbreviations.
This section can be a combination of paid and unpaid work, listed in reverse chronological order (starting with your most recent experience first).
- Organization name and location (city/state)
- Dates of service (e.g., 2005-2007)
- Position title
- Transferable skills you demonstrated
ACTIVITIES (may be co-curricular, community service-based or both) Highlight organizations in which you are/were an active participant, offices held, and the results of your work:
- Dates of involvement (year to year is sufficient)
- Honors received
- Name of Organization
- Noteworthy achievements/activities
- Offices held
This section typically relates to language skills such as level of fluency in speaking, reading, and writing a second, third, etc. language. You may also note any unique or specialized computer skills in this area. Other special skills such as laboratory techniques are listed if they connect to your objective.
MILITARY SERVICE (if applicable) Branch of service and dates
The style or format you choose for your resume is essential to its impact. The style you choose should allow you to bring your most important accomplishments and experience to the top of your resume, and to focus the reader on those skills, experiences or achievements that connect most clearly with your career goals.
The most common resume styles are:
Chronological The most widely used format and the one most familiar to employers, this resume style is arranged in reverse chronological order, with the most recent experience listed first in each section. It is a good idea to first write your resume in a chronological format. The chronological resume is the best choice for most undergraduate students. This style organizes your information, ensuring that you cover all your pertinent experience.
- Advantages: Focuses on the positions held and emphasizes the progression of your work experience. If the experience you have is career-related and reflects the skills and experience you wish to use in your next job, this style will serve you well.
- Disadvantages: If there is not a direct correlation between your previous experience and your future goals, this format may not focus the reader on your transferable skills or potential.
This format highlights skills that best categorize your experience and correlate with the abilities necessary to work in your chosen field.
- Advantages: Emphasizes experience and skills that may be transferable to several fields rather than specific positions held. It allows you to group your most important qualifications under skill or experience headings that can link you to your career goals. This format may provide a distinct advantage to career changers and people with little or no direct experience in their field of choice.
- Disadvantages: Because your "employment history" typically appears at the bottom of this resume format and has no description, it may raise questions for the reader.
Do not list the names of your references on your resume – in fact, you do not even need to state that references are "available upon request." An employer will request references after you have reached the interview stage. Instead, prepare a reference list to bring with you to interviews. The reference list provides a listing of individuals who can attest to your qualifications for a particular position. These individuals should also be familiar with your skills and personal attributes. References should be individuals who know you professionally and know you well. They may include:
- Supervisors from internships, full-time, part-time, or volunteer work
- Professors
- Academic advisors
- Student group advisors
Your reference list should include the following information:
- Name of Reference
- Title/Position
- Organization/Employer
- Complete Work mailing address
- Work phone number
- E-mail address (if appropriate)


text:
Expired Property Listing
This property is disabled.
Beach Casita in Shell Beach
- bedrooms 2
- baths 2
- sleeps 4
- pool no
- hot tub no
- pets allowed yes
- type House
- community
- rates (USD) $ 3,200 - $ 3,800 / month
vacation rental description
Relax into the comfort and peace of this stylish Shell Beach Spanish-style casita, bordered
by breathtaking views of shoreline and rolling hills.
Walking distance to a serene stretch of cliffs overlooking the ocean and an undisturbed
cove populated by local sea lions. Easy access to nearby recreational beaches and the
spectacular Central Coast wine country.
This sunny home has been thoughtfully decorated with your comfort in mind. The beds
feature Egyptian cotton sheets and down-filled comforters.
house rental amenities
Phone; Wireless Internet; Cable TV; stereo/CD Player; full kitchen; microwave; dishwasher; refrigerator;
cooking utensils provided; linens provided; washer/dryer, gas grill (BBQ); private patio
with seating for four
activities and attractions in Shell Beach Central Coast
Hiking; biking; golf; tennis; fishing; wildlife viewing; kayaking; restaurants; cinemas;
shopping; sightseeing; swimming; boating; sailing; surfing; jet skiing; shelling; wine
vacation rental rates
Peak Season: May 25-Sep 08...$3,800/monthly
Off Season: Sep 09-May 24...$3,200/monthly
$1,000 Refundable Security Deposit (required upon reservation)
$100 Non-refundable Cleaning Fee
$100 Non-refundable Pet Deposit (small pets less than 25lbs only)
Cancellation fees may apply
Note: Until confirmed, rates are subject to change without notice.


text:
To find out more, click on a question
Images that last forever
Imagine a world without art. A world without pictures,
without photographs, without images, without statues and sculptures.
It's not so good is it? The visual arts can enrich our lives,
they can interpret and define the world around us, they can
make us stop and think.
What's so fine about fine art?
Can I make a living as an artist?
What about careers in photography?
Click on a heading for more information
Useful organisations
The Arts Council of England
The Association of Photographers
The Association of Photographers is a trade association protecting
and promoting the interests of photographers. It holds monthly
careers talks and provides free advice and information. www.aophoto.co.uk
Information is available by post if you send in an A4 SAE
British Institute for Professional
Association of Illustrators
Regional Arts Boards
Useful books
Useful magazines
Websites showing Visual arts and photography


text: Jersey Developer Strikes Chord with Downsizing One-PercentersWoodmont Properties has sold 61 of 68 homes at Saddle River Grand.By John Caulfield Photos: Woodmont Properties Saddle River Grand, a gated community with 68 manor homes, is nearly sold out after being on the market since late 2011. It has been particularly successful at drawing affluent home buyers looking to downsize and simplify their lifestyles, but also wanting a customized product and amenities.What are affluent homeowners who are downsizing from homes valued at $2 million to $5 million looking for?One answer can be found at Saddle River Grand, a 23-acre community of 68 attached manor homes in Saddle River, N.J. Since breaking ground and opening its sales office in late 2011, Woodmont Properties, this project's builder/developer, has sold 61 of these homes, priced from $1.2 million to $1.8 million.This self-contained gated community features five house styles ranging in size from 3,800 square feet to 4,600 square feet excluding basements that can add another 1,000 to 2,500 square feet of living space. This community's attractions include Saddle River's property tax rates, which are the second lowest in Bergen County, one of New Jersey's richest. In addition, this community offers attached housing in a market where multifamily—at least at the higher end of the price spectrum—is virtually nonexistent.Saddle River Grand was in the making for 11 years, a bit longer than most residential projects in New Jersey. A lengthy approval process ate up more than eight of those years. "We were dealing with two townships that haven't seen a tremendous amount of development lately," says Eric Witmondt, Woodmont Properties' CEO, who spoke with Builder on Monday with Lewis Slotnick, Woodmont's president. Woodmont Properties also put this project on ice for 18 months to wait for business conditions to improve.Most of Saddle River Grand's buyers so far have been local: Slotnick estimates that 95% live in the same county, and between two-thirds and three-quarters are from neighboring towns. Before it started Saddle River Grand, Woodmont had another project in nearby Montvale, N.J., called Enclave, which it built "during the depths of the recession," says Witmondt. Enclave has a similar customer base, and it allowed the developer to observe what these buyers were looking for and to tweak its products and services for Saddle River Grand.What it saw was a move-down buyer who still demands the same services and amenities, and who doesn't want to sacrifice quality or attention to detail. So Woodmont opened Saddle River Grand with two options coordinators and four superintendents on site. "Even though this could be considered tract housing, we're treating it like a custom job because these buyers are affluent, demanding, and understand the difference between Sub-Zero, Wolf, and Viking," says Witmondt, referring to three premium appliance brands. "But they also want a simpler lifestyle. The key for us has been to make sure we are communicating and executing exceptionally." Supporting Saddle River Grand are a clubhouse with exercise and yoga rooms, a pool and barbecue area, a mailroom, and a full-time concierge. Witmondt notes as well the front entrance that has a "virtual doorman," which can be programmed to allow contractors into the community when homeowners who are having home-improvement work done are away. (Maintenance charges average $465 per month, says Slotnick.)Originally, Woodmont Properties expected this project would take four years to complete; now, it's projecting a two-year build out because sales have been so brisk. The company is currently looking at 10 to 15 New Jersey markets with similar demographics where Saddle River Grand's sales velocity might be replicated.John Caulfield is senior editor for Builder magazine. Advertisement Keywords: SubjectSales Attached Development Move Down Local Markets Amenities PersonEric Witmondt Lewis SlotnickOrganizationWoodmont Properties Sub-Zero Viking View more keywords SubjectSales Attached Development Move Down Local Markets Amenities MaintenanceStateNEW JERSEYPersonEric Witmondt Lewis SlotnickOrganizationWoodmont Properties Sub-Zero Viking WolfSection / SubsectionWEB ONLYBylineJohn Caulfield View fewer keywords More from BUILDERAmenitiesHorton's Emerald Projects Court...Attached DevelopmentSound SurroundLocal MarketsJacksonville Market Slowing as...MaintenanceManhattan Collection by Imagine...Move DownBuilders Ask Localities, HOAs to Reconsider Age RestrictionsSalesPending Home Sales Rise 3.3% In July to 11-Month High PointSub-ZeroMerit Award, Kitchen Remodeling...VikingHaig Point WaterfrontWolf8 Product Call-Outs from the 2014...NEW JERSEYVineland, NJ - May 2014 - New Home Closings Numbers Suggest Market Decline is SlowingJohn CaulfieldGaining Ground With Land StrategiesWEB ONLYDesign Details: Kitchen Seating Join the DiscussionPlease read our Content Guidelines before posting.


text:
A University of Maine Symphonic Band concert at 7:30 p.m., Thursday, Dec. 6 at the Collins Center for the Arts will feature an electric guitar solo, an atypical mix of instrumentation.
The addition of electric guitar to a wind and percussion ensemble is a result of collaboration by UMaine senior music education major and electric guitar player Blake Ford and Symphonic Band Director Chris White. After Ford expressed interest in performing music written for an electric guitar solo in a wind band, he and White found a piece, "Chaos Theory 3.0 Concerto for Electric Guitar and Wind Orchestra," by composer, sound designer and guitarist Jim Bonney.
"In this piece, I wanted to fuse progressive hard rock intensity with classical sophistication," Bonney says about Chaos. "Because of its variety of tonal color and wide dynamic range, I believe the electric guitar has a role in contemporary concert music."
White says including the piece in the Dec. 6 concert exposes a large number of guitar players in the School of Performing Arts to the wind band medium and wind band players to guitarists.
The Symphonic Band is an auditioned group of 45 of the best wind and percussion musicians at UMaine. Along with Chaos Theory 3.0, the concert will include works by Clifton Williams, R. Vaughan Williams, Dana Wilson, Johan Halvorsen, Frank Ticheli and R. B. Hall.
Tickets are $12 or free with a student MaineCard, they can be purchased at the Collins Center for the Arts box office.
Contact: George Manlove, 207.581.3756


text:
Mandan Police say the man found dead in his home Monday died of multiple gun shot wounds.
Police are asking the public to look for items including guns and clothing that may have been dumped near the scene.
Macy Egeland reports.
28-year-old Alex Lansdon was found shot to death Monday around 10pm.
Police now say Lansdon was last seen alive Sunday night.
"We were able to establish we know the victim was alive at 11 pm on Sunday evening because we located him on video at a public place in Mandan," says Deputy Chief Paul Leingang.
Three guns are missing from the home--including an AR-15 and two handguns.
Police believe they could have been dropped near the scene of the crime.
"Everything's a possibility and we just don't want the public to overlook anything that could have been discarded along the curb or in their yard or their trash and the clothing could be discarded individually it could be in a pile in a bag," says Leingang.
Leingang says they don't have a suspect and no arrests have been made in the case.
He says he believes the public is not at risk--but says he can't rule anything out at this point.
"From our perspective it doesn't appear to be random but at the same time everybody needs to make sure their safe and use the common sense things," says Leingang.
Police have interviewed at least twenty people. Evidence collected at the scene has been sent to the State Crime Lab for further investigation.
In Mandan for KX News, I'm Macy Egeland.
Leingang says the AR-15 had been reported stolen last summer.
He says Lansdon got it back--but that it's missing again following the homicide.
Evangelist Franklin Graham prayed on a sidewalk outside the Pentagon Thursday after his invitation to a prayer service inside was withdrawn because of comments that insulted people of other religions. More>>


text:
From black box theatres downtown, to upscale houses uptown, to operas all around the country, scenic designer Allen Moyer has a full dance card as he jumps back and forth between the worlds of opera and theatre, from abstract to realism. Anyone who saw the recent revival of Twelve Angry Men knows that Moyer is a master of details. Likewise, his work on the Opera Theatre of St. Louis' 2004 production of Nixon in China was the stuff of design legend. He also designs for the Houston Opera, Glimmerglass Theatre, and the Santa Fe Opera. ED's Mark A. Newman chats with Moyer about his work and his unusual road to the stage via biochemistry, and his thoughts on what's right — and wrong — with higher education.
ED: What is your design approach when you're dealing with an opera in repertory?
Allen Moyer: I'm usually not that concerned when I'm designing a show that it's going to be in rep with other shows. At a certain point that becomes a concern. There's a sense that you have that prevents your mind from going certain ways. When you're approaching it you can't plan on a poured concrete floor, but I wouldn't think in those terms anyway. In the back of your head you know what the limitations will be. But I don't think about them or feel oppressed. You get to a certain point where the designers present all at the same time and then you evaluate all of them at once and that is usually the point where the technical director takes over and figures out how they can all work together.
Certain places have very little backstage space. That becomes an exercise in what you can include. The TD has a back wall you want to use, but it is in our best interest to leave it on stage for the whole season, but I need it to be 2' narrower so it can work with the other three productions. Then you weigh the decisions: is it essential to be the size I wanted or would it be a better piece if I adjusted it? Those are the kinds of things you start to work out.
I don't think about it. That's when people come to you and ask you for adjustments. If I make that piece like that, those other two shows can't do what they want to do. It's not fair to be inflexible.
ED: The set for Twelve Angry Men looked like a typical government building. Is there a different set of challenges for you when you have to design something to be so realistic as opposed to something more abstract like Nixon in China?
AM: It's a totally different mindset. At times my career seems a little schizophrenic because I do all these operas. The opera and theatre worlds are very, very separate. People who work in opera tend to go to the theatre and they know what's going on in the theatre. People who do theatre — in my experience — never go to the opera, so it's a total one-way street and it's too bad for designers because it's terrible to deprive yourself of going to the opera. Opera can be a more abstract and sometimes more exciting design, because you're not tied down to worrying about doors and windows.
In theatre, I have a reputation for doing wonderful, almost naturalistic interiors, things like Lobby Hero and This is Our Youth, which are real spaces and I enjoy doing those. I feel very strongly in designing these sets, because I don't make up spaces; I base them on real architecture. If it's going to be done onstage, it's best to make them as real as possible. Twelve Angry Men was based on a real tour I took of those spaces. I was able to do something based on the real space, and I just wanted to de-romanticize it because I felt the movie was very romantic and in reality it did not look like that. When I saw the real space, I was struck by the fact they were in such disrepair and so depressing. I thought to myself, "Is this how little we think about this process?" And it worked nicely for the play. When the men enter the room, that's their frame of mind; they care more about a baseball game than the process. All you want to do when you come in is get the hell out and that doesn't encourage exciting conversation about the trial you witnessed for a week. That's how little we value real conversation about the judicial process.
ED: What was your educational background, and how did you get into designing for the theatre?
AM: I started out at a liberal arts college in Pennsylvania called Albright College, and I was studying biochemistry. I changed my major after my first year, I was studying mostly dramatic literature classes and I was totally immersed in that. I wanted to study theatre more seriously but, at that time, I wasn't sure if I wanted to direct or design. I transferred to Penn State because some friends of mine did that, and they had a good theatre program. I had three years off in between and went back to Albright and designed their shows. After doing that I went to NYU and got an MFA.
ED: Was your education, in your view, adequate?
AM: People who study anything would say that college barely scratches the surface. I felt like I was well prepared partially based on mistakes I thought I had made. I thought I was disadvantaged because I started out studying science for two years, and others working on BFAs had been doing it for four years. But the things I thought were mistakes ended up giving me an advantage over my peers. In those two years at Albright, reading plays prepared me to deal with the material in a way that theatre programs don't spend enough time on. There's a way of reading plays and discussing them that many theatre programs just scratch the surface on. It was a real advantage looking back.
One of the things I'm proudest of is that I have good relationships with playwrights, and I can talk about their plays in a way they can relate to. The person at Albright who taught in the English department also directed the plays so she taught from the standpoint of a non-academic approach. It was all in terms of how you use that information to actually do a show. That's where I was really lucky, because some people go through dramatic literature programs but they're dealing with purely academic people and it doesn't translate to how you can use that to make a production. It teaches you how to write a beautiful thesis on it, but it doesn't set you up for a professional life. I always feel that was lucky because I had that. I can really talk about a play, and I can participate in a way that a lot people are not able to. I'm very comfortable talking with a playwright — talking about what their play is about. People I work with like getting that from me, but some can be intimidated because they don't want to share that responsibility.
As far as general education, I feel like I was prepared as well as possible for this career. There's only so much you can do. It's basically like having classes about riding a bike. You're going to fall down a couple of times. Eventually when you're riding a bike, you remember.
ED: It's more about doing than being told how to do it.
AM: Absolutely. At first you might say, "that didn't prepare me at all." In a class situation, how do you train people to be collaborative? The only way to do it is to actually do it. It's all about the practical experience. NYU was good for me because all of my teachers were working professionals. Through them, I learned a lot about all that kind of stuff and simple things like scheduling your time and the pace of life. So it wasn't a mystery to me when I got out of school and was working like a dog every day.
At NYU, a teacher would be working out of town for three weeks and we wouldn't have class, then once he's back we would have class four times that week. That was wonderful for me because that let me know there was nothing routine or regular about what the career or life is going to be like and gave me a lot of insight. A lot of schools are primarily staffed with academics; their practical experience may have been working as an assistant for two years, then they decide to teach and design a show at the college every year. It's harder for those students to have a sense of what they'll be facing. NYU and Yale and many others have working professionals doing things all over the world and that makes a big difference.
A lot of colleges and universities have blanket requirements that all instructors should have a PhD or be working toward a PhD. I don't think someone working toward a PhD in theatre should be teaching design. People who work in the theatre don't have PhDs. A lot of universities have requirements about publishing, but if you're a set designer you don't publish anything. You work and design a play. There are a lot of rigorous rules universities have if you're going to teach. They are shooting themselves in the foot: trying to shoehorn a theatre program that purports to be a professional program into that framework is somewhat ludicrous. It's a never-ending circle. Do we really need so many people teaching theatre to teach people to teach theatre?


text:
1Run commitmentOne of the themes of training camp: a promise to run the ball better and run it more. Last season Tony Romo had the 10th-most pass attempts in NFL history, including 91 in two games against the Giants. How strong is the Cowboys' commitment to the run, even if it's not working?2Turnover marginPreventing them and getting them. Last year, the Cowboys forced only 16, the fewest in team history. It's the reason they changed defensive coordinators. And they gave it away 29 times as Tony Romo matched his career high for interceptions with 19. The minus-13 turnover margin was fifth-worst in the NFL.3Tight end useThe Cowboys invested in tight ends, drafting one in the second round (Gavin Escobar) and keeping another (Andre Smith) to add to what they had in Jason Witten and James Hanna. They can all catch the ball. Only Witten and Smith have reputations as blockers.4Special teams playIt was not easy to watch in preseason, was it? Muffs. Blocks. Misses. Big returns allowed. Unnecessary roughness. The Cowboys said everything would be fine once they cut down to who would be playing special teams in the regular season. The regular season is here.5Ware's record chaseDeMarcus Ware is three sacks away from tying the team record of 114 held by Harvey Martin. For the first time, Ware will go for sacks as a defensive end. He's up against veteran left tackle Will Beatty, but the Cowboys might also flip Ware to the other side against rookie Justin Pugh.
For Dallas Cowboys, its still Jerrys World
NFL's new dress code is a bad fit for some players
NFL Insider: Charean Williams' five cents
NFL Insider: Who's hot, who's not and more
Cowboys scrambling to cover DL after putting Bass on injured reserve
Injuries, depth will determine Cowboys fate
Have more to add? News tip? Tell us


text:
Yunel Escobar was a really good player. Then he was a not-so-good player. Then he was good again. Now he's bad again. And now, it seems he might be a bad guy, too.↵
Or at the very least, a guy with really poor judgment. Because there are some things you just shouldn't do if you're a big-time professional athlete, and this is definitely one of them. A suspension might be in the offing. But considering how poorly he's played this season, the Blue Jays might be better off without Escobar.
p.s. Oh, and remember when we all thought the Braves were foolish for trading him?↵


text:
What Went Right? What Went Wrong? Panthers Game
Here is week two of the contest.
Give us your analysis of:
What went right?
What went wrong?
What was unexpected?
Winners announced in the Contests section of the site under "Weekly Analysis".
Re: What Went Right? What Went Wrong? Pathers
What went right?
We Won
Re: What Went Right? What Went Wrong? Pathers
Wrong: Red Zone penalties and too conservative on third down.
Blocked field goal is unacceptable.
Other than that... NOTHING.
09-17-2006, 05:55 PM #4Coordinator
- Join Date
- Dec 1969
- Posts
- 828
Re: What Went Right? What Went Wrong? Pathers
What went right?
- Gamble throwing away the game.
- Fake field goal.
- 2nd half defense.
- Harris on the Blitz.
- Williamson in second half.
What went wrong?
- 3rd down conversions. Only 2 or three for the game.
- WRs can't hold on to catches.
- Blocking schemes. Mewelde vs Peppers?!!
- Special teams. They STUNK on Kick and Punt returns (when we were returning).
What was unexpected?
- Decent/good kickoff and punt return coverage (when Car was returning)
- Amount of pressure on Brad. That was off the hook.
- Chris Gamble giving us the game.
Halo 4. Start another fight.
Re: What Went Right? What Went Wrong? Pathers
What went right: We kept a balance attack on the ground and in the air.. We played hard even when we were down, and continued to play hard until they had the win..
What went wrong: To many stupid penalties.. Those could have easily have been game losing decisions for the Vikes if Carolina would have capitalized on them..
What was unexpected: Our FG Kicker throwing a 16 yd TD pass to a backup TE to tie the game.. Anytime you can pull that off, it means things are going in your favor.. Also, after how solid our defense played last week against the Skins, they had way to many stupid penalties this week..
Like I said before, it was an ugly win, but it was a win.. We are 2-0.. Good job boys..
Re: What Went Right? What Went Wrong? Pathers
What went right:
We won
What went wrong:
Panthers lost
I win!
09-17-2006, 06:18 PM #7Prophet Guest
Re: What Went Right? What Went Wrong? Pathers
BJ is an ironman.
BJ gets owned by Peppers to the tune of 3 sacks plus 2 others and tosses an INT with no TDs.
Sound like winning QB stats?
A former QB would have cowered in the corner.
BJ held strong and continued to lead the team down the field including a pass to Troy Williamson while he was getting pulled backwards by, guess who, Peppers, for a completion which set-up the nice run by Chester Taylor to secure the chip-shot FG by Longwell.
The special teams had me the most worried going into the regular season, but pulled through again.
What the hell was Fox thinking?
The Vikings were behind by 7 with the clock running down and the Vikings lined up for a field goal.
I was thinking WTF are they doing?
They will still need a TD to win the game, go for the TD.
The fake was the only option, surprised that Fox didn't call for increased protection on that call.
Then again, Fox had his head up his jiggly butt tonight since he gave the thumbs up to the bone-headed play of Gamble...the turning point of the game.
O-line was owned.
The bright spot was Chester Taylor, he was making reads that a Vikings fan hasn't seen in some time.
Taylor was making the cuts and taking what the Panthers' D gave him.
He did well.
09-17-2006, 06:30 PM #8Waterboy
- Join Date
- Sep 2006
- Posts
- 1
Re: What Went Right? What Went Wrong? Pathers
The vikes make the clutch play's (AGAIN!!!!!)at the end. What happened to our offensive line? 5 SACKS that's what whent wrong. I went to the game Monday night and went down to the field, their uniforms are even better then the pics and T.V show.
Re: What Went Right? What Went Wrong? Pathers
The only thing that matters is the W.
A win is a win, this isnt tice and his bone head "mental" win games any longer.You republican whore!
09-17-2006, 07:14 PM #10Asst. Coach
- Join Date
- Dec 1969
- Posts
- 525
Re: What Went Right? What Went Wrong? Pathers
What went right: Chester showing us hope for the future and BJ not letting himself get down and throw the game away
What went wrong: We played hard, but we have to show that the O can do more than this, Carolina gave us the game more than we won.
What was unexpected: It has to be the TD throw by Longwell... that will be one of the highlights for this whole year I bet.
They will be replaying that after we win the Superbowl and saying that the Vikes did what it took all along to win games.. Nuff said
Similar Threads
What's Wrong with Rex - New twist on old board gameBy josdin00 in forum General NFL DiscussionReplies: 4Last Post: 08-23-2007, 11:47 AM
Lions Game: What went Right, Wrong, and Unexpected?By Webby in forum Vikings Fan ForumReplies: 19Last Post: 10-09-2006, 11:59 AM
Bills Game: What went right, wrong, and was unexpected?By Webby in forum Vikings Fan ForumReplies: 11Last Post: 10-01-2006, 04:29 PM
What Went Right? What Went Wrong: Skins Game.By Webby in forum Vikings Fan ForumReplies: 84Last Post: 09-15-2006, 04:09 AM
game vs panthersBy vikesrad in forum Vikings Fan ForumReplies: 1Last Post: 09-14-2006, 08:28 PM