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Last week, I highlighted the need for a smart regulation framework that doesn't inhibit entrepreneurship. Today, I would like talk about liability litigation in more specificity. All businesses should be concerned about the inherent risk of bringing a new product or service to the market. However, entrepreneurship can suffer if liability litigation is pursued in ways that create too much uncertainty.
In the past few months, we have highlighted through articles and factsheets how public policy can make the path easier for entrepreneurship and innovation. With the Policy Dialogue on Entrepreneurship, we hope to emphasize not only how policies can foster entrepreneurs, but also how entrepreneurship can directly be part of the answer to so many public challenges.
Youth unemployment rates are soaring worldwide. That rate recently reached 15% in the UK, a record 25.5% in the U.S., and much higher numbers in other countries where economic growth and opportunity have long failed to keep pace with the growing number of young people entering the labor force. However, youth unemployment rates don't have to translate into catastrophe for that generation and those it sustains. The very victims of the situation might actually benefit from it if policymakers can incentivize them to follow their dreams. In the U.S. alone, four in ten young people ages 8 to 21 have or would like to start their own business someday. These two statistics spell opportunity to me.
If you have ever been around somebody trying to start or grow a business, you know that entrepreneurs don't have time for much else, especially not for going to Washington to help keep policymakers up to date on how to encourage high growth entrepreneurship in America—not hurt it.
Last week, I participated in the NASVF Annual Conference in Oklahoma City where experts discussed again how to ensure that credit crunches do not negatively impact start-up performance. The good news is that those gathering at this conference started from a common appreciation that entrepreneurship cannot be on the sidelines of economic and financial policy.
I have always liked the story of the CEO who sends two shoe salesmen to Africa. When they report back, one says "Bad news, they don't wear shoes here". The other reports excitedly "Wonderful news boss, they have no shoes".
The Doing Business 2010 report highlighted how the financial crisis has prompted governments to act in areas where regulatory reform may be more difficult and require more time. The report states that in times of recession, "the more quickly the assets of nonviable firms can be freed up, the easier it is to remobilize those assets." While the U.S. remained ranked 4th in the 2010 ease of doing business list compared to its 2009 rank, other countries have implemented several reforms that improved their ranking. How has the EU fared?
Ahead of the Senate Finance Committee's long-awaited vote on its health care bill, I thought it would be helpful to once more comment on its effect on our entrepreneurs. The status quo in healthcare undermines entrepreneurship: small businesses are paying a higher cost to offer health insurance to their employees because of the smaller size of their workforce and the lack of competition in the small group market. Some entrepreneurs are dropping this benefit entirely not because they don't want to provide insurance to their employees, but because the survival of their startups requires it. According to one estimate, 52 percent of workers in businesses with less than 50 employees were uninsured or underinsured during 2007. Even worse, many potential entrepreneurs and the talent they need to launch their ventures feel trapped in jobs that offer affordable health coverage for themselves and their families.
Not too long ago, entrepreneurship education was part of the curriculum of few university programs across the country. In 2003, the Kauffman Campuses initiative started to help seed cross-campus entrepreneurship programs at dozens of American universities, thereby allowing more young people to explore their entrepreneurial potential. Other universities have since moved in the same direction, bringing entrepreneurship education into the mainstream of learning by offering entrepreneurship courses and sponsoring extra-curricular activities, such as business plan competitions. Other institutions, like MIT, have gone even further by helping student scientists commercialize innovations.
During this past Week I have been "Globe Blogging" and have reported from the road about various Global Entrepreneurship Week (Nov. 16-22) policy events among others from around the world. Entrepreneurs, development organizations, policy leaders and entrepreneurship researchers lent their voices and experiences to some series policy dialogues. When top-level officials engaged in Global Entrepreneurship Week they sent a message to their constituents about the government's support for entrepreneurship, making young minds even more comfortable with the idea of doing good through the marketplace. Let's hope decision makers will be motivated to more urgently enact regulatory reforms and advance other polices to bolster their nation's entrepreneurial climate.
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Posts: 131
Joined 10-Nov-08
I go to my anatomy scan on Thursday, here is my 15w1d toilet shot. Let me know what you think. I want to be prepared! Thanks!
2002 2005 2009 Our family is complete!
Posts: 761
Joined 23-Jul-08
My first guess is but it could be a swollen labia, so I dont' want to give you false hope. I hope you get what you're wanting!!!
Braden Keith (11/22/06) Kinsley Brooke (5/20/09) Thanks to In-Gender!!!!! My sway attempt: http://www.in-gender.com/cs/forums/t/67893.aspx
Posts: 42
Joined 25-Jun-07
it does look like a to me!
Posts: 8,408
Joined 28-Feb-08
Posts: 4,491
Joined 8-Aug-08
Dominik 11-13-05 Damien 9-22-07 Delila 1-22-09 Daphne 4-05-11
Posts: 440
Joined 12-Nov-08
That looks boy to me....and I also go for my 20 week sono on thursday....lol
Im not sure on what your wishing for....I want a boy, but am pretty sure they are going to confirm girl....Im still praying this little one grows a winkie by Thurs...(maybe they just missed it)... I will be happy either way though. You have to let us know, and I will too.
Thanks ladies! I do hope it is a boy! I'll update as soon as I get back from the dr. Mieyonna hope it is a boy for you also!
Peace out IG!
Posts: 6,012
Joined 26-Apr-07
I thought girl.
I hope I am wrong.
"Embrace the life you have, not the life you THINK you should have."
Almighty Creator,
Hear this prayer and the wishes of my heart. You know my deep desire for a child, a little one to love and to hold, to care for, to cherish. grant that my body may conceive and give birth to a beautiful, healthy baby in Your holy image. Guide me in all my choices so that this conception, my pregnancy and my baby's birth are in line with Your will. Heavenly Father hear this prayer of my heart, mind and spirit.
Posts: 86
Joined 8-Nov-08
I thought boy as soon as i seen you ultrasound... Think Blue!!
GL on thursday
Posts: 268
Joined 11-Oct-08
Looks like a to me! Good luck. x
Posts: 1,490
Joined 1-Mar-08
Definitely looks like a boy
11, 4, June 2009 - my angel - nine months in my dreams, two days in my arms, forever in my heart, Born May 2011
Posts: 2,756
Joined 25-Nov-07
my guess is
4 boyz 2 girls!
Posts: 1,926
Joined 13-Aug-08
DEFO looks like a boy to me!!
best of luck!! all my blue dust in exchange for your pink!!XXXX
2002 2005 2007 2008 2009(27wker) and 2011 (34wker)
Mum_of_4_boys, Im sending ALL my pink dust your way....lol
We are going to try High-tech in some way....If I dont get to do IVF/PDG/MS with the next one, we will either try Tamara's extreme at home gender sway with swim up or I'll bite the bullet and try Ericcson.....Im saying this ONLY because Im not so against trying for a 5th if the Ericcson fails....lol...At least that way I'll have more time to save up my funds. Its really hard to choose, and the more research you do, you see so many numbers...I just saw a post where Ericcson gives an 80% shot for a boy....but I would most likely be that 20% to get an opposite.....yet you look at the stats for high tech with IVF/PDG/MS and you may not even get pregnant at ALL. Its a tough choice.

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Kidney Health Australia
Serving our kidney community every day!
Kidney Health Australia was first incorporated on 9 August 1968 as a non-profit organisation which has served the kidney community of Australia for over 45 years. Kidney Health Australia's mission, vision and values are at the core of how we conduct our business and form the foundation for our future direction.
To promote good kidney health through education, advocacy, research and support.
To save and improve the lives of Australians affected by kidney disease.
Our Work
Kidney Health Australia is a not for profit organization whose focus is to improve kidney health outcomes leading to substantial improvements to the quality of life for people with kidney and urinary tract diseases, their families and carers, as well as developing initiatives that reduce the incidence of kidney disease in the Australian community.
In order to meet our mission and provide services in our community, we rely on the generosity of individuals and businesses for support. Without the assistance of community-minded individuals just like you, we wouldn't be able to serve those in need each year.
Donate now. Your tax-deductible donation to Kidney Health Australia will fund support and advocacy programs for people who are doing it tough. You will help us work towards the early detection of kidney disease, so that we are able to detect more people with kidney disease early, so they can perhaps delay dialysis or transplantation.
Further reading: All about the work of Kidney Health Australia
Updated 24 September 2014


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02 October 2007
The UK is missing out on a minimum of £9 billion a year through its lack of investment in language learning.
A new report by Cardiff Business School academic Professor James Foreman-Peck found that raising British language competence to the same standard as the rest of the world would be the economic equivalent of a tax reduction on exports of at least 3 per cent.
Language skills are shown to be closely related to the export ability of both firms and economies as a whole. Underinvestment in languages leaves the UK and its businesses at a significant disadvantage.
Factors which contribute to this failure to operate efficiently include over-estimation of the economic advantages of speaking English, barriers to accessing information about foreign markets (because of lack of language skills) and the fixed costs of language investment, particularly for small businesses.
Professor Foreman-Peck said: "Language complacency has a significant negative effect on British exports. Other nations' propensity to learn English is not enough to compensate for our own underinvestment in language skills.
"Sharing a common language with trading partners has a significantly greater impact on the pattern of UK trade than the average for the rest of the world. If the UK was gaining from non-native English-speaking nations' investment in English enough to compensate for British language ignorance, we would not find this effect."
Visit the University website at: www.cardiff.ac.uk
Further Information:
Laura DaviesExternal Relations ManagerCardiff Business SchoolCardiff UniversityTel: 029 2087 5132Mobile: 07709 450830Email: email@example.com
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The First 'Jurassic World' Trailer!
Movie News By Neil Miller on November 25, 2014 | Be the First To CommentThey promised us a Thanksgiving debut, then they opened the park a few days early. This doesn't bode well for the ultimate fate of the Jurassic World theme park — an early opening of sorts is what got the original Jurassic Park into a lot of trouble — but it's great for the rest of us. Especially everyone who is clamoring to see what director Colin Trevorrow (Safety Not Guaranteed) has cooked up for the rebirth of one of the seminal franchises of the 1990s. The first trailer is here and it has everything you could want from a Jurassic Park flick: unaccompanied minors (Ty Simpkins and Nick Robinson), a dangerously innovative park owner (Bryce Dallas Howard), one guy who clearly sees that this is all going to end terribly (Chris Pratt) and a moody version of John Williams' original score. See for yourself below.
From 'Park' to 'World': 65 Million Years (Not Really) of 'Jurassic' Posters
Movie News By Adam Bellotto on October 15, 2014 | Be the First To CommentWhat would Jurassic Park be without that iconic poster design? It seems so simple: take a circle, slap a rectangle over the top and let a dinosaur skeleton chill in the open space that remains. But somehow, circle + rectangle + dino skeleton = instant iconicism. There's power in that odd, street sign-shaped design — so much so that every subsequent Jurassic Park film has been content to slap the logo on a solid color background and call it a day as far as poster marketing goes. (Sure, the original had all of these incredible John Alvin poster designs, but there's a reason they went unused- in the end, the minimalist tease is so much more effective). And while we've seen a hint of what Jurassic World's dinocircle would look like — back when the film was first announced, it came with a cold metal update on the original icon — that wasn't nearly its final form. Was it too simplistic? Too close to this near-identical design from a 2003 Jurassic Park-building sim game? Who knows? This new teaser poster for Jurassic World, however, just might be the finished product. Revealed to the world by director Colin Trevorrow on Twitter, it's everything one would expect from a Jurassic poster — classic shape on a sparse background, with a logo to boot: "The Park is Open." Hopefully future posters will be just as plainly informative about the park-to-be: "Tickets On Sale Now." "Visit The Snack Bar For Some Jurassic Fries." "Hey, Is That […]
Like All Good Theme Parks, 'Jurassic World' Will Have a Starbucks and a Petting Zoo
Movie News By Kate Erbland on July 14, 2014 | Be the First To CommentIf you were concerned that Jurassic World (the fictional place, not Jurassic World, the real movie) wouldn't be kitted out with the very best amenities that the theme park world has to offer, rest your pretty little heads. This place is going to be sweet, even if it's packed with murderous dinosaurs and apparently bored teens. A leaked brochure that purports to be a fun prop from Colin Trevorrow's currently in-production addition to the Jurassic Park mythos has just hit the web, and it boasts all kinds of special attractions for Jurassic World visitors, from an official soda (Jurassic World is a Coca-Cola joint, okay? there are no Pepsi products to be found here) to various "park highlights" that allow guests to enjoy the dino-goodies that have been (quite literally) cooked up for them. The brochure — which we certainly hope is real — popped up on Reddit (via MTV and Cinema Blend), and while it appears to be missing one major aspect (that would be a map), it sure looks like the real deal. Otherwise, it's just a very strange piece of marketing for FedEx. Or American Airlines. Or Samsung, Coke and Starbucks. Take a look at the brochure below:
'Jurassic World' Details Remind Us of the Worst Toy Line in 'Jurassic Park' History
Movie News By Adam Bellotto on May 29, 2014 | Be the First To CommentIt's not every day that a baseless, completely insane internet rumor is proven to be in fact 100% based and sane. But yesterday was one such day. You see, a week and a half ago, JoBlo.com unleashed a torrent of supposed Jurassic World rumors on the world, and they were met with an array of eye-rolls, tut-tuts and other typical responses that convey the words "Yeah, no way pal." But Peter Sciretta of SlashFilm had the stones to straight-up ask the movie's director, Colin Trevorrow, if the rumors are true. Surprise! They totally are. Now for a brief disclaimer. Trevorrow mentions in all this that he'd prefer if "audiences could discover this on their own," so those looking to have absolutely nothing spoiled about Jurassic World should turn away immediately. However, Trevorrow was also willing to spill the beans when asked, so it can't be too big of a deal. If he wasn't willing to go the J.J. Abrams "Yes, we all know it's Kahn but I will continue to play coy for no reason" route, we're probably in the clear here. So if you're interested, let your eyes venture below.
This Might Be the Visitor's Center Dinosaurs Will Trash in 'Jurassic World'
Movie News By Scott Beggs on March 25, 2014 | Be the First To CommentIs this the new visitor's center on Isla Nubar for Jurassic World? Potentially. These images have been floating around over the weekend, but their origin is unclear. Almost every site showing them off as genuine concept art attribute them to Nathan Schroeder, and a few even link to his site, but none of them link directly a page with the art. Plus, after clicking through his entire gallery, the images are nowhere to be found. Some posts claim the original page was taken down, but the best anyone can do is the old "I've got it on good authority" line. I have a call out to Schroeder for confirmation, but for now let's all take the images with a grain of salt. Not a trike-sized load or anything, but salt nonetheless. The reason I'm posting them up is because 1) they look more than a bit like Schroeder's regular work (on Star Trek Into Darkness, Captain America and others) and 2) if real, they represent an excellent direction for the production design.
Nick Robinson Latest Actor to Be Gnawed at By Dinosaurs in 'Jurassic World'
Casting Couch By Adam Bellotto on October 15, 2013 | Be the First To CommentLike a herd of startled brachiosaurus, casting announcements for Jurassic World continue to stampede in, and the latest actor to hitch a ride to this dinosaur train is Nick Robinson. The star of this year's The Kings of Summer and the ABC Family sitcom Melissa and Joey, Robinson will be playing the older brother of yesterday's addition, Ty Simpkins. This newest piece of news (which we've got thanks to Variety) seems to confirm that the central characters of Jurassic World might be one big happy dinosaur-bitten family. Throw Bryce Dallas Howard into the mix as a potential mom and the rumored Jake Johnson as a potential dad and things really start to take shape. Though we don't know anything for certain about the plot of Jurassic World, the (I'm assuming) family dynamic seems to tie in with the biggest story rumor so far – that the film will see a Jurassic World that's up and running and very successful, and it's during a run-of-the-mill day at the park that the dinosaurs decide to start snacking on tourists. We've still got a ways to go before Jurassic World hits theaters (the film is set for a June 12, 2015 release date), but at least we can be satisfied knowing that the film is coming together, being cast and will most definitely not be sinking back into the development hell from whence it came.
'Jurassic World' Gains a Lead in Ty Simpkins, Dinosaur Roles Remain Uncast
Casting Couch By Adam Bellotto on October 14, 2013 | Be the First To CommentThe world needs more dinosaur movies. But in order to have more dinosaur movies, we need actors to be chased around and occasionally eaten by dinosaurs. So let us all give heartfelt thanks to Ty Simpkins, the young thespian who has graciously (according to Deadline) volunteered to put himself in dinosaur-shaped harm's way in Jurassic World. Of course, the dinosaurs aren't real. And it's not particularly likely that a Jurassic World will end with its lead child actor mauled to pieces by prehistoric beasts. Also, starring in Jurassic World is likely to give Simpkins' career a generous boost, so it's not really so selfless a gesture to begin with. And for an actor who's only twelve years old, Simpkins already has a terrifyingly great filmography going. Starting off with War of the Worlds and Revolutionary Road, audiences might know him better as either the kid from the Insidious movies or the kid who snarkily back-and-forthed with Tony Stark in Iron Man 3. The latter definitely ups my anticipation of Jurassic World – Simpkins had real chemistry with Robert Downey Jr., and one can assume he'll have the same chemistry with the 40-foot reptiles trying to consume him for sustenance. Plus, this news seems to imply that Jurassic World will continue the trend of a vague family unit at the heart of a Jurassic Park film. For all we know, the not-confirmed-but-still-likely-to-star Bryce Dallas Howard might be a part of that same family unit.
For some time, the very thought of another entry into the Jurassic Park franchise has seemed like a minor joke being played upon fans. At one point, there was a notion that it would be about weaponizing dinosaurs with lasers. Or something along those lines. In recent years the project has been everything from a few little tidbits from Steven Spielberg to the actual hiring of screenwriters in the middle of last year. But that was so June 2012, they can't possibly still be working on Jurassic Park 4, can they? They are. And as of today the project has signed on a very interesting choice to direct.
Apparently 'Flight of the Navigator' Was the Beloved Movie Remake Colin Trevorrow Was Talking About
Movie News By Scott Beggs on November 28, 2012 | Comments (5)We recently found an interview with Safety Not Guaranteed director Colin Trevorrow where he proclaimed to be prepping a movie in a universe we all knew and loved while promising not to make it suck. Which was nice of him. Of course, snagging that in the middle of Episode 7 Fever 2k12 placed him squarely in the rumor bin for the new Star Wars, but he quicklydenied that possibility. Now, according to Variety, we know what he was talking about. Trevorrow and his writing partner Derek Connolly have been hired by Disney to rewrite a remake of Flight of the Navigator, and Trevorrow may eventually direct it. The original film came out in 1986 (and is one of my earliest movie memories). It told the story of a 12-year-old boy who disappears, and reappears 8 years later without having aged, and the UFO that crashed nearby definitely had something to do with it. It was a fun coming-of-age story that featured a sort of Mini Pee-Wee's Playhouse of cool alien creatures (and the ship was voiced by Pee-Wee himself), but it's the perfect kind of candidate for a remake. Even though it hit at the right time and a lot of kids fell in love with it, Navigator is now a bit dated, and the effects could certainly use a boost. Mr. Trevorrow, just don't make it suck.
UPDATED: Colin Trevorrow on Directing 'Star Wars'? – "I Promise You… I Will Make It Not Suck"
Rumors By Christopher Campbell on November 18, 2012 | Comments (3)Update: Apparently in response to our find, Trevorrow tweeted the following this evening: "To clarify, there is another film we all love that I'm currently trying not to mess up. Odds I will direct Episode VII: 3720 to 1." Also, when asked if he's officially stating that he's out of the running to direct Star Wars, he tweeted, "That is what I am saying." While we wait for an official decision on who will be directing Star Wars Episode VII, the rumors continue flowing in as to who might be up for the gig. Earlier this month, Safety Not Guaranteed helmer Colin Trevorrow was named as someone who has actually had meetings at Lucasfilm and is definitely on the list of contenders. Well, now something else has come to our attention that could be an actual confirmation that the Hollywood newcomer is following his debut with a trip to the Star Wars galaxy. Reader Lenny Crist sent us a video from way back in June of Trevorrow talking to Spencer Fornaciari of The MacGuffin podcast in which he claims his next project will involve him tackling a mythology with a substantial fanbase, part of which will likely be angry with him for landing the gig. Check out the potentially revealing interview (specifically from 21:45 to 22:24) and a transcript of what he says after the break.
The 'Star Wars' Rumor Mill Rolls On; Is Colin Trevorrow In the Mix for Director's Chair?
In Development By Kate Erbland on November 7, 2012 | Comments (1)The upside to all of these already-flowing Star Wars VII rumors (to wit – we're getting a new Star Wars in 2015! it will be part of a new trilogy! Matthew Vaughn could direct! Harrison Ford could come back!) is that, with Disney aiming for a summer 2015 release date, we don't have whole years of speculation to slog through. At best, we have a few months. And, in all reality, most of this chatter could prove moot – I'd personally be shocked if Disney isn't just messing with all of us and has already picked, at the very least, a director for this hugely profile project. But, until then, let's speculate! The latest piece of the Star Wars VII rumor pie comes care of Celebuzz, who are exclusively reporting that a source has informed them that Safety Not Guaranteed director Colin Trevorrow has "had early discussions with Lucasfilm about Episode VII." The outlet continues that Safety "garnered him fans at Lucasfilm, one being George Lucas." That is certainly…interesting. However, Celebuzz also reports that this Lucas/Trevorrow meet-and-greet took place months ago, though they also maintain that Trevorrow is "indeed on the list of potential names that could shepherd a new trilogy of films."
Now Colin Trevorrow and Derek Connolly Are Going to Take Their 'Safety Not Guaranteed' Styled Charms to Space
Movie News By Kate Erbland on June 20, 2012 | Be the First To CommentIf the lo-fi charms of Colin Trevorrow and Derek Connolly's Safety Not Guaranteed are set to herald in a new boom of sweet, smart, funny, and original sci-fi romances, than we're all lucky. And if Trevorrow and Connolly are going to continue in that wheelhouse forat leastone more feature, we're doubly lucky. Deadline Uranus reports that the filmmaking team (who met all the way back when they were NYU students) have set up another project with Big Beach, the producers from Safety. For the currently-titled The Ambassador, the boys will pen the script together (for Safety, Connolly is the lone screenwriter credited) for Trevorrow to direct. The film sounds like a very lovely cousin to their previous indie smash, as it again brings together, as the duo explain, "a pair of emotionally dysfunctional people forced into a situation beyond their control." Smacks of Safety, no? But Trevorrow and Connolly aren't content to remain earthbound with The Ambassador – this time, they're going to space.
Review: 'Safety Not Guaranteed' Is as Warm, Witty and Wonderful a Comedy as You Could Hope to Find
Film Festivals By Rob Hunter on June 8, 2012 | Be the First To CommentEditor's note: With Safety Not Guaranteed beginning its limited release roll-out today, we thought to share our SXSW review again. This review was originally posted on March 14, 2012, and it's much safer to read than anything you might find on Craigs List. The want ad is simple. A partner is needed to travel backward in time. It will be dangerous, it will be an adventure, and their safety will not be guaranteed. A magazine writer convinces his editor that there's a goofy human interest story in the ad and gathers together two interns for a trip north to Seattle in the hopes of meeting the ad's owner. What they discover is that not all time travel involves machines, portals or HG Wells chasing Jack the Ripper through modern day San Francisco. Sometimes all it needs are heads and hearts refusing to let go of the past. Director Colin Trevorrow's feature debut is just as likely to make you laugh out loud as it is to make you tear up in hopeful anticipation. The concept of time travel is the catalyst for a story that examines the idea of returning to an earlier time in our lives when things were better and our futures were still bright. Or at least, that's how we remember things.
'Safety Not Guaranteed' Trailer: This Is Not A Joke
Movie News By Kate Erbland on March 28, 2012 | Comments (2)Here's how it is (and how I suspect it's going to be) – we love Colin Treverrow's Safety Not Guaranteed 'round these parts, and we think you might love it, too. The film debuted at this year's Sundance Film Festival, and while I was not as effusive in my praise for it as Rob Hunter was when it played at SXSW last month, I have not been able to stop thinking about it, and do agree with Rob's assessment that it's warm, witty, and wonderful. Hell, we even threw this time travel love story into our Best Movies of SXSW 2012 list, and Hunter and I gabbed about it on Reject Radio. See? Love. Based on a true story (read: based on a want ad placed in a paper), the film follows Jake Johnson's cocky journalist who drags two interns (Aubrey Plaza and Karan Soni) into the search for a man who has placed an ad looking for someone to travel through time with him. Again. Because he's done it before – though he can't guarantee, you know, safety. What they find is Mark Duplass, a man who already more than a little off, with his time travel beliefs not doing him too many favors. But more than just the discovery of Duplass's Kenneth, the group discovers, wait for it, much more about themselves. No, really. At the heart of that is an unexpected and consistently charming romance between Plaza and Duplass that should melt even the darkest of hearts. […]
Sundance 2012 Review: 'Safety Not Guaranteed' Is a Low-Fi Charmer, With Bonus Time Travel
Film Festivals By Kate Erbland on January 25, 2012 | Be the First To CommentA man places an ad in a local paper looking for a partner to go on a journey with him – but this particular man is not looking to make a love connection, he is in need of a companion to travel through time with him. He's done it once before, but you'll have to bring to your own weapons because, as he tells it, "safety not guaranteed." From this seed of an idea, director Colin Trevorrow and screenwriter Derek Connolly have crafted Safety Not Guaranteed, a low-fi romance that benefits both from charismatic performances and the intriguing background that the time travel element provides. The film is loosely based on a true story – an ad did appear in a Seattle paper, exactly as it appears in the film, but Connolly and Trevorrow have taken their film in a different direction – stuff mentioned in the ad (payment, that it's been done before) never comes up after its first read, and no one ever says anything else about it. Instead, the film focuses on a trio of intrepid reporters (really just one mild douchebags and two interns who don't have a choice in the matter) who decide to craft a piece about the man who has placed the ad. A fluff piece, something silly. Of course, they find much more than they bargained for once their investigation commence.
Neil Miller
Scott Beggs
Rob Hunter
Kate Erbland
Christopher Campbell


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The arguments have been raging over who should put up collateral for OTC derivatives trades in the US. The CFTC has acknowledged the interest of Congress and proposes to exempt corporations from having to put up initial or variation margin for a bona fide commercial hedge for a non-cleared trade; financial end-clients and speculators will need to post collateral regardless. Meanwhile, the Federal Reserve, FDIC and other banking regulators have said that corporate end-users may be exempt from putting up collateral only if banks think that these firms pose an acceptable credit risk. These proposals are similar with some technical differences, and some categories of traders such as energy companies are difficult to classify. Either way, commercial end-clients believe that they may have escaped having to post collateral and take on increased costs, while financial end-clients are busy evaluating clearing agents for central credit counterparties (CCPs) (see Exhibit 1).
Exhibit 1:
Source: Finadium based on CFTC and FDIC hearings
Yet in the background of these conversations is the reality that costs will go up for OTC derivatives trading no matter what is decided by the CFTC, SEC or banking regulators. In 2009, corporations were 47% collateralized for their OTC derivatives trades; while full collateralization may be unlikely and would double their costs, some level of increase is certain (see Exhibit 2).
Exhibit 2:
Collateralization levels by counterparty type, 2009 (%)
Source: ISDA 2009 Derivatives Usage Survey
What has happened here is a feint; while corporations were looking at Dodd-Frank, Basel III snuck in an undercut. End-clients of OTC derivatives trades have two options for getting the needed exposure regardless of whether the trade is a commercial hedge or a speculative investment: the trade is either directly with the derivatives dealer, what is known as a bilateral trade, or the trade can be done on a CCP1. In a bilateral trade, a bank takes the risk of the position. In a non- or under-collateralized trade, this leaves the bank exposed to potential losses if the end-user counterparty goes bankrupt. Looking at the trade from a Basel III perspective, this produces a liability on the bank's balance sheet and that in turn produces a capital charge. Under earlier versions of Basel this may have been acceptable, but under Basel III these capital charges will be high and costs will be passed through to clients.
On the other hand, banks face a very low capital charge of 2% for trades facing a central credit counterparty. Compared to the capital charges for bilateral trades, this 2% is extremely attractive. It may become worthwhile for an end-user, financial or not, to conduct their OTC derivatives trading on the CCP simply to take advantage of the bank's lower capital charge for trading with that counterparty. Each end-client will make this determination based on whether they are a financial or non-financial entity, whether the trade is a commercial hedge or speculation, and what terms a bank offers.
As a result of Basel III rules, either bank fees will increase as a result of banks using their scarce capital to provide liquidity for non-cleared OTC derivatives trades, or collateral will be posted by end-users onto central credit counterparties. Non-financial end-users may also find that posting collateral for a bilateral trade may mitigate costs. An analysis of a firm's balance sheet will answer the question of which option is better given individual circumstances.
Although industry associations such as the US Chamber of Commerce have made a strong argument that posting collateral would be detrimental to the financial health of their members, we speculate that in fact posting non-cash collateral on a CCP would be less financially difficult than putting up cash either for a bilateral or CCP trade. The problem with this plan is that most companies, including insurance firms, airlines and energy concerns, do not hold large amounts of the kinds of non-cash collateral that CCPs want. End-clients will need to either raise cash, buy treasury bonds or other permitted collateral, or conduct a collateral conversion trade, also called a collateral upgrade trade. The last option is the least cash-intensive though may entail its own (controllable) costs and new operational requirements.
In a collateral conversion trade, a corporation, hedge fund or other OTC derivatives investor owns assets that have value in the market but that are not acceptable as collateral by a CCP. These assets include equities, corporate bonds, warrants and other tradable products. The investor turns to a bank that can lend out the owned assets in the securities lending or repo market and receive back treasury securities that can be pledged to the CCP. At some point in the future perhaps other collateral will also be acceptable although this is generally not the case today. With the good collateral in hand, the investor makes their trade.
Already the business of collateral conversions has begun in earnest with banks offering the service for their clearing clients. OTC derivatives clearing firms can conduct this trade through their securities lending or repo departments; this option makes the best sense if an end-client conducts just a few trades a year. However, for insurance companies, energy traders or other entities with large and ongoing OTC derivatives positions, a competitively bid collateral conversion trade presents an opportunity to solve an ongoing financing problem, albeit at a cost that depends on the value of the portfolio lent. Of course, a trade with any counterparty requires the right credit, products and terms, but the conditions are right today for long-term OTC derivatives investors to enter into discussions with dealers. Along the way, the adage that new regulations will create new market winners will hold true: banks with securities lending and repo desks that facilitate collateral conversion trades for end-clients on CCPs will profit well from this service.
Whether it is obvious or not, and in spite of the lobbying in Congress and the many regulators involved, the cost to end-clients trading OTC derivatives will rise regardless of whether collateral is posted or not, and may one day be less when collateral is posted on a CCP as opposed to traded bilaterally. In the end, CCPs may be the least expensive, credit-neutral way for many OTC derivative and clients to meet their hedging or investing needs. For both financial and non-financial end-clients to minimize the impact of these new rules to their balance sheets, now is the right time to evaluate cash and non-cash collateral needs. Changes will be coming to your OTC derivatives agreements before you realize it.
About Finadium
Finadium is a research and consulting firm focused on asset servicing in financial markets. The firm assists insurance companies, asset managers, corporations and banks with understanding the market for asset services including securities lending, collateral management and OTC derivatives management. Finadium research, including our proprietary surveys and regulatory analyses, is available on a subscription basis. Finadium also conducts consulting assignments on vendor selection and evaluation, market research and product strategy. For more information, please visit our website at www.finadium.com.


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| Email | Full Article (TrendHunter.com/id/189740) |
Shelves and bookcases are undoubtedly the conventional objects intended to store reading materials. This isn't to say, however, that a concept such as the Atecton Hanging System would be any less successful.
The newfangled arrangement proposes the suspension of bound pages from steel wires that connect to thin metal fins. Oriented horizontally, these can be slipped between the leaves of paperbacks and hardcovers, potentially serving the second purpose of saving one's current page.
Spines of various printed works can be strung up this way, cascading down in ladders that dangle from the ceiling-mounted tracks. Several of these in a row begin to block what's on the other side of Matej Dubiš's Atecton Hanging System, forming an effective library, magazine rack and room divider all in one.


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The story centers around a group of friends who use the Ouija board to try to make contact with a recently deceased friend, but end up awakening a dark presence.
- Filmed in Los Angeles.
- Writers/directors Juliet Snowden and Stiles White had an interview recently where they revealed minor details for what they're aiming for with the project, saying: "We just love the idea, when Juliet was growing up, her older sister had a Ouija board, my grandparents had a Ouija board up on the shelf in the closet, so I remember one - I'm not sure if I ever played with one, I had a healthy sense of caution with it. \I love the idea it's a game, but not really a game. It's sold as a game because where else can you put it in the store? Contact spirits with something you find on the shelf at Walmart or Target?. That's where we're coming from with the story, it's not just about one board, it's any board and that's what makes it scary. The idea that the board spells out messages - as a psychological horror film, we just felt there was a lot to play with there. We pitched our ideas, we're currently writing the script right now, the process is moving quickly. Once you get into the writing of it, you're visualizing it from the get-go when you're signed on to direct." (8/31/12)
- Originally invisioned with a budgeted of $100-million, but now it's said to be at an estimated $5-million.
- The writing duo of Juliet Snowden and Stiles White (duo behind Boogeyman, Knowing, The Possession) will write and direct.
- Word is that the pic may follow some kind of low-budget, possibly hand-held/found footage-type of formula, mostly due to the fact that the studio brought Jason Blum (Paranormal Activity films) on board to produce.
- In development since 2008, at one point the project was envisioned as a big-budgeted action-adventure family film, with McG (Charlie's Angels, Terminator Salvation) directing. Apparently McG and the studio couldn't agree on a budget, so he left the project and the rights eventually went from Universal to Paramount and back to Universal, who currently still owns the rights.
- Based on the Hasbro boardgame with the same name.
A UHM staff member has not reviewed this film.


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Met Homes Mid-20th-Century Must-Haves
By Katherine Nelson
Supperleggra chair by Gio Ponti for Cassina, 1957
The subtly seductive Superleggera has elegant proportions and a featherweight feel that have endeared it to generations of design fans (India cane seat with lacquered black ashwood, $1,925; cassina.com).
Aarne glassware by Göran Hongell for iittala, 1954
A design combining delicate lines with a hefty feel earned this mouth-blown glassware the gold medal at the Milan Triennale in 1954. We think it's still fab (from $34 to $60/set of two; iittala.com).
Spider table light by Joe Colombo for Oluce, 1966
An unusually shaped, low-voltage light bulb from a company called Cornalux inspired Joe Colombo to create the Spider light. Though the bulb has long-since gone out of production, Oluce has cornered the world's remaining supply in order to put this wonderful light back into production ($790; karkula.com).
Classic Fjord flatware by Jens Quistgaard for Dansk, 1954
Dansk just reintroduced this exquisite teak and stainless 5-piece placesetting, which became instant '50s design classic on its release ($60/5 pieces; dansk.com).
Bilberry pendant light by Alvar Aalto for Artek, 1956
The Finnish architect created this light for one of his most important residential designs, the home of Louis Carré, a prominent French art dealer who represented Leger and Picasso ($290; mattermatters.com).
Plank table by Lucian R. Ercolani, 1956
In postwar Britain, the designer Lucian R. Ercolani adapted classic English country designs for modern manufacture; his unassuming elm and beech Plank table still works perfectly as a dining table or a generous desk (60" x 30" x 28", $950; conranusa.com).
Cité armchair by Jean Prouvé, 1930
Designed for a competition to furnish the halls of residence at Nancy's city university, this steel and leather chair was loved so much by its designer that he later used it in his own home ($3,775; conranusa.com).
Calyx fabric by Lucienne Day, 1951
Alongside her husband, Robin, this British artist pioneered many important postwar product designs for carpets, wallpapers, tea towels, ceramics and fabrics, such as the printed cotton/linen Calyx, arguably her most well known textile (classictextiles.com).
Bolle vases by Tapio Wirkkala for Venini, 1966
These luminous glass vases by the mid-century Finnish maestro employ the traditional incalmo technique, which combines separate masses of colored glass into one form (from $1360 to $2480; mossonline.com).
955-303 sofa by Milo Baughman for Thayer Coggin, 1960s
Thayer Coggin, the American modern design entrepreneur and manufacturer, put this best-selling piece into production after spotting it in the home of designer Milo Baughman ($3,305; thayercoggin.com).
Cord chair by Jacques Guillon, 1953
Considered to be the father of Canadian industrial design, Jacque Guillon launched this landmark maple and lacquer chair, which was out of production for more than 40 years, at the Milan Triennale in 1954 ($795; avenue-road.com/cordchair).
Miniature 9-Drawer chest by George Nelson for Herman Miller, 1952
Fascinated with Japanese design, Nelson created this chest, produced in rosewood with a metal base, to evoke a tansu, a traditional Japanese cabinet with several small drawers (10.375" w x 13" d x 43.5" h, $1,449; hivemodern.com).
Leonardo worktable by Achille Castiglioni for Zanotta, 1940
You've met the rest, now meet the best: Castiglioni's Leonardo trestle table, made with beech and white laminate, is a classic design that spawned a generation of copycats (about $3,700; unicahome.com).
Molded Plywood folding screen by Charles and Ray Eames for Herman Miller, 1946
Charles and Ray Eames developed this well-known piece during their early experiments with molded plywood; it still captivates today ($1,749; dwr.com).
F444 chair by Pierre Paulin for Artifort, 1963
Known for designing seats shaped like mushrooms, oysters, tongues and tulips, Pierre Paulin crafted the seductive F444 chair, which has just been recently put back into production, in saddle leather with a stainless steel frame ($4,462; m2lcollection.com).
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Dawn Pierce | |
Assistant professor of voice at Ithaca College / renowned vocal performer. |
Mezzo-soprano Dawn Pierce is a native of Olean, New York, and currently an assistant professor of voice at Ithaca College. Praised as both an exceptional performer and an empowering teacher, Ms. Pierce is devoted to promoting a deeper understanding of artistry and self-expression. Reviewers laud her as "vocally impressive and dramatically convincing," while students describe her teaching as "creative," "energetic," and "inspiring."
Ms. Pierce abounds with experience in a wide variety of styles and venues. On the operatic stage, she recently performed Olga in Eugene Onegin with Opera Carolina, Marthe in Faust with Lyric Opera Baltimore, Lola in Cavalleria Rusticana with Opera Tampa, and Madelon and Bersi in Andrea Chenier with Nashville Opera. In the summer of 2013 she will sing the title role in Carmen at the Southern Illinois Music Festival. Ms. Pierce is equally comfortable in musical theatre, where she portrayed Franca (The Light in the Piazza), The Grand Duchess (The Student Prince), and Anita (West Side Story). On the concert stage, she has earned rave reviews for her interpretation of the alto solos in Verdi's Requiem and Handel's Messiah. Recently, she delivered a moving performance as the featured soloist in Elgar's choral-symphonic work, The Music Makers, at Hamilton College.


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Note: The 2012, 2013, 2014, 2015 publications have not been audited.
Jump to: Publications | Grants and Consultancies | HDR completions
Craig Whiteford may be from another institution or only recently joined Deakin University.
2005 External
Kentish, B.*, Wallis, Anne, Brennan, D.*, Hartwell, D., Whiteford, C.* and Temby, I. (2005) Corella problems in Western Victoria: Chronology of the management of a native pest species, in Parkes, J.; Statham, M. and Edwards, G. (eds), 13 th Australasian Vertebrate Pest Conference : Working papers, pp. 217-223, Landcare Research, Wellington, N.Z. [E2]
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No completions found or audited.
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Dracula - based on Bram Stoker's novel / by Michael Theodorou
MINA MURRAY [later Mina Harker]
ARTHUR HOLMWOOD [later Lord Godalming]
Main characters are: Dracula, Van Helsing, Jonathan Harker, Arthur Holmwood, Lucy Westenra, Mina Murray, Jayne Seward and Renfield.
The other characters can be doubled as desired. A chorus of ten, half male and half female, could do it, each taking on a speaking part as well as chorus. As few as five in the chorus could do it also, if desired, making it a full-length play with from 13 to 18 parts.
Sample Pages from the script
Extract 1
Good night, Count Dracula.
Tomorrow you shall sleep as late as you will. I have to be away
till the afternoon, so sleep well and dream well.
Hacker goes out with the servant. Dracula walks over to the `window'
down centre and looks out over the audience. A wolf howls in the
distance as the lights fade.
We hear footsteps in the darkness and massive doors opening and
closing with grinding, massive echoes, cavernous sounds of footsteps
continue down a corridor, stop, and continue further into the
distance, then come closer and closer until they pass by and fade
gently away.
During the above sound sequence, the table with the meal has been
cleared and another table with books on it piled high, is placed
to the left of the stage. We are in the library. Music plays as
the lights come up, rather melodious [strings] but cold.
Harker is seated at a chair reading. The Count enters from behind
silently and stares at Hacker. The music continues through the
dialogue, gentry underscoring the words.
Good evening.
Good evening.
I trust you slept well last night,
Yes, thank you. I hope it is permissible for me to be in here.
I am glad you found your way to my library. These books have been
good friends to me and for some years past, ever since I had the
idea of going to London, they have given me many many hours of
pleasure. Through them, I have come to know your great England.
I long to go through the crowded streets of your mighty London,
to be in the midst of the whirl and rush of humanity, to share
its life, its changes, its death, and all that makes it what it
You shall, I trust, rest here with me a while, so that by our
talking I may learn the English intonation.
But, Count, you know and speak English thoroughly.
Thank you, my friend, for your flattering estimate, but I fear
I am but a little way on the road I would travel.
Indeed, you speak excellently. Your knowledge of the words and
the grammar is remarkable for one who has not visited our shores.
That is not enough for me. I wish to move and speak in your London
without being taken for a stranger. Here I am noble; I am Boyar;
the common people know me and I am master. But a stranger in a
strange land - he is no one. I have been so long master, that
I would be master still, or at least I would that none other should
be master of me .... I am sorry that I had to be away so long
today, but you will, I know, forgive one who has so many important
affairs in hand.
Of course. And I shall strive to undertake all I can in teaching
you to speak English even more correctly than you do..... But
may I use this room when I choose? Your library is full of treasures
which I would dearly love to study.
Feel free, Mr Harker. But let me advise you, my dear young friend
- nay let me warn you with all seriousness - that should you leave
your room, you will not by any chance go to sleep in any other
part of the castle. It is old and has many memories, and there
are bad dreams for those who sleep unwisely.
I shall not keep you up talking tonight. My servant will shortly
come to take you to your room, but, until then, read - peruse
- digest your fill.
Dracula departs silently, leaving Harker to his studies.
Darkness. The cavernous footsteps echo along empty halls. Strange
wordless singing voices seem to fill the darkness. Lights up on
Harker, who is asleep at the table with a book in his lap. He
stirs and wakens, listens to the strange singing female voices.
He stands and looks about him. He takes a few steps forward, looking
around, flying to discover the source of these voices, which are
sweet and tempting.
He exits and the lights come up on another part of the stage.
Harker enters, still searching for the voices which continue to
haunt him. The lights fade on one part of the stage and come up
on another. Harker follows the light and is led through many rooms
of the castle.
The lights finally go red and he is facing the audience, when
weird, heavy chords pin the voices to produce a crescendo effect
of frightening intensity. At the height of the music, three female
figures in night attire slowly appear from the back and make their
way towards Harker, slowly and sinuously. Smoke seems to follow
them as they close in on Harker, who turns and sees them.
The music changes to a romantic lush erotic sound as the three
female figures move slowly round Harker, hands extended to touch
He is young and strong. There are kisses for us all!
You are first and we shall follow.
Take him 'ere the master calls.
He is ours and we deserve him.
Take him 'ere the master calls.
We are hungry, cannot wait..
Cannot wait the master's call ...
He is late, we cannot see him...
Take him `ere the master calls ...
Take him `ere the master calls.... [They all lick their lips
in anticipation and we see blood drooling from their mouths.]
Take him 'ere the master calls.
Harker swoons and collapses to the floor. The three Vampiressesgather
round his body, ready to sink their fangs into his flesh, when
there is a blinding flash - Dracula appears in a red pin-spot
upstage. The rest of the lighting changes to soft low blue. The
three Vampiresses hiss with frustration.
DRACULA in a booming commanding voice
Did I not say I had forbidden this?! Back, I tell you, all! How
dare you touch him, any of you! How dare you cast eyes on him
when I have forbidden it? This man belongs to me! Beware how you
meddle with him or it'll be me you have to deal with!
You yourself never loved. You never love.
You never loved us, never.
Yes I have loved you all. Have you forgot?
Extract 2
Lights up on Lucy on
the other side of the stage, also looking out front
Of course I shall, Mina dear. How can I not help you in your awful
predicament? By the way, I am ever so much better now. Last night
I slept well all night; the roses are coming back already to my
cheeks, though mother says I am still sadly pale and wan. But
I must tell you of a strange dream I had; so strange that it seemed
to be real. In the dream I was afraid of something, though I don't
know what I remember, even though 1 must have been asleep, passing
rough the streets of Whitby and over the bridge. I could hear
dogs howling - the whole town seemed as if it must be full of
dogs, all howling at once.... Then I have a vague memory of something
tall and dark with red eyes ... [ Unearthly ethereal music
begins under the following speeches and continues until Mina's
scream.] ... and something very sweet and very bitter all
around me. I felt as though I were sinking into deep green water
and there was a singing in my ears as I have heard that drowning
men experience, and then everything passed away from me. My soul
seemed to go out from my body and float about in the air.
The lights change to blue. Lucy moves slowly to front centre
as if in a trance. She sits on the bench. Dracula's red light
goes. All now is blue.
MINA still stage right speaking out to the audience.
As the clouds passed, I could see the ruins of Whitby Abbey coming
into view ... the church and the churchyard became gradually visible
... there on our favourite seat, the silver light of the moon
stuck a half-reclining figure ... [The lights slowly begin
to change from blue to red.] But it seemed to me as though
something dark stood behind the seat. [Dracula comes slowly
forward to behind the bench] Something dark stood behind the
seat and bent over it. Yes, there was undoubtedly something tall
and black bending over the half-reclining figure. [Dracula
bends over Lucy and his face buries into her neck.] I called
in fright, 'Lucy, Lucy!' and something raised its head and from
where I was I could see a white face and red gleaming eyes.
By this time, the lights are at full red. Dracula looks up
from Lucy's neck directly into the audience. There is blood drooling
from his mouth. Mina screams. The music stops and there is an
immediate blackout.
Lights up around the bench area. Dr Jayne Seward is seated, recording
her voice into her phonograph. She has her hair tied back in a
tight bun arid is wearing a white lab coat with a stethoscope
around her neck.
The 5th of June 1897. DR Jayne Seward reporting again on the strange
case of Renfield. Out of all my patients he is the most interesting,
and gets more so the more I seek to understand him. He has certain
characteristics that are very highly developed: selfishness, secrecy
and purpose. His pets are of odd sorts. Just now his hobby is
catching flies and spiders. He has got several very big fellows
in a box. When a horrid blow-fly, bloated with some carrion food,
buzzed into the room, he caught it, held it exultingly for a few
moments between his finger and his thumb and, before I knew what
he was going to do, put it in his mouth and ate it.
Blackout. The lights come up on another part of the stage.
Renfield is on his knees with his hands clasped in an attitude
of reverential prayer His eyes blaze.
RENFIELD looking up into the light
I am here to do your bidding, master. I am your slave and you
will reward me, for I shall be faithful. I have worshipped you
long and from far off. Now that you are near, I await your commands.
And you will not pass me by, will you, dear master, in your distribution
of good things?
Extract 3
Open this coffin.
ARTHUR heatedly
Professor, are you in earnest or is this some monstrous joke?
If I could spare you one pang, my poor friend, God knows I would.
But this night our feet must tread in thorny paths.
This is too much.
Would it not be well to hear what I have to say?
That's fair enough, Arthur.
But this is desecration... desecration of the grave.
Lucy is dead, is it not so? Yes! Then there can be no wrong to
her. But if she is not dead ...
Good God! What do you mean? Has there been any mistake? Has she
been buried alive?
I did not say she was alive, my child; I did not think it. I go
no further than to say that she might be Undead.
Undead? Not alive? What do you mean? This is all a nightmare.
There are mysteries which men can only guess at, which age by
age they may solve only in part.
ARTHUR exploding
DR Van Helsing, you try me too far! What have I done that you
should torture me so? What did that poor sweet girl do that you
should want to cast such dishonour on her grave? Are you mad that
you speak such things, or am I mad that I listen to them? Don't
dare to think more of such a desecration. I shall not give my
consent. I have a duty to protect her grave from outrage and,
by God, I shall!
VAN HELSING gravely and sternly
My Lord Godalming, I too have a duty to do ... a duty to others,
a duty to you, a duty to the dead ... and, by God, I shall do
it! ... You were here with me yesterday. Was the body of Miss
Lucy in that coffin?
ARTHUR shouting
Yes, it was.
Then why are you afraid to look in it today?
Sudden crashing chord. The lights suddenly darken. Smoke starts
to fill the stage, eerie music, and the lights slowly change to
red. Lucy appears upstage in a white gown, her face ugly and contorted,
her eyes glowing with demonic fury. She approaches slowly and
points threateningly at the three. They back off and she pursues
them around the stage. Very loud music as Van Helsing brings out
a golden crucifix and fixes it to Lucy's forehead Smoke comes
from her forehead and she champs in fury bringing blood out in
her mouth - from a blood capsule.
VAN HELSING shouting above the music
Nosferatu! Nosferatu! Keep back ... stay behind me.
Lucy staggers and is about to fall when Dracula appears upstage
in his red spot. He points to Lucy with his hand and she seems
to draw strength from his power. He draws her towards him and
there is a struggle between Van Helsing's crucifix and the Count's
extraordinary power. Finally Lucy falls into the Counts' arms
and he carries her off.
Extract 4
Vrolok der Vampyr.
We await him.
To destroy him.
Send him so that we may live.
[A whisper.] Send him so that we may live.
Blackout We are back in England again, but the peasants remain
at the edges of the stage, staring out from the background, until
the end of the play.
Lights up Centre stage, where Mina is sitting on her chair. Van
Helsing is standing behind her.
Professor, I want you to hypnotise me. He is linked to me through
my blood. I can feel him there. Do it before the dawn. Be quick,
for I feel the time is short.
ALL PEASANTS in whispers
Vrolok der Vampyr.
The peasants continue their whispered chant as Van Helsing
passes his hands in front of Mina's eyes until she is gazing fixedly
ahead. Gradually her eyes close and she sits stock still The whispering
VAN HELSING Where are you?
I do not know. Sleep has no place it can call its own.
VAN HELSING to Jonathan who is in the background
Pull up the blind.
Jonathan mimes pulling up the blind. A streak of red lights
falls across the room.
Where are you now?
I do not know. It is all strange to me.
What do you see?
I can see nothing. It is all dark.
What do you hear?
ALL PEASANTS in whispers
Vrolok der Vampyr.
I can hear voices. Strange voices.
What else?
The lapping of water. It is gurgling by, and little waves leap.
I can hear them on the outside.
Then you are on a ship?
MINA realising
Oh, yes!
What else do you hear?
Sample Pages from Production Notes
PRODUCTION NOTES + TECHNICAL CUES etc.
N.B. These notes are suggestions only. You may find them helpful to follow; or they may act as a springboard for your own ideas; or you can choose to ignore them entirely!
The writer is adamant that this version of Dracula should not be hammed but, as the original book, should be played for its value as an exercise in the sinister. It is as close as possible to an untampered rendition of the original book - though the demands of the stage have caused there to be one or two changes. DR Seward is a man in the original story but, conscious of the comparative lack of female roles, Michael Theodorou has made this character female - not perhaps very likely at this period of time historically but if you are unhappy with such a liberty, Jayne can easily be changed back to her male counterpart.
The problem for a director is that the story is so well-known and is in many versions made very melodramatic. The temptations to follow suit are great. The story and writing, even in this version, is undoubtedly 'heightened language', as it is in the original story, and therefore requires a heightened playing-style. This ought to be possible without exaggerating to the point of melodrama, which would lose its force.
Since the story is well-known, great efforts should be made to use the technical resources available in your school to bring out the atmosphere through sound and lighting. The play is very reliant on these effects and should not be undertaken by those schools who have few resources in terms of lighting and sound equipment. I daresay a pure story version could be tackled but it will be harder to make the atmosphere as frightening as it could and probably should be.
The play does not have a hidden intention such as making Dracula a sympathetic character, as a fairly recent film did. It is a simple retelling of the story and the original theme, which is the battle between good and evil.
DRACULA - The main exploration of Dracula's character is in the first quarter of the play when he acts as host to Jonathan Harker in Transylvania. Here he is revealed as courteous and charming in an old-fashioned way. His manners are the gracious ones of the nobility, steeped in pride. He is an intellectual. There is little to reveal his real self as a fiend in these pages - just one or two silky warnings. When controlling the passions of his vampiresses, we see him in his reality for the first time. Here he is powerful and demonic. He offers them a baby to suck dry and promises them their way with Harker when the latter's usefulness is over. From here on it is merely evil that we are shown through the character; the kid gloves are off. He delights in perverting beauty and innocence and he rules through fear and the exercise of his iron will.
The actor needs an accent - but not too strong since Dracula has been trying to perfect his English accent, stating that he wants to pass as an Englishman in England. Many of his speeches have a strange beauty, so that his love of words could be something the actor emphasises, lingering on some of the sounds and rolling phrases. His stance is upright and manners courteous - inclinings of the head, slight bowings, etc. But as a demon, gestures are strong and fully realised - nothing half-hearted here. Enjoy the power and allow the evil to be dwelt upon with the delight of absolute self-confidence.
VAN HELSING - The doctor should be played as a rather eccentric character. He is of course the figure of good and his sincerity must be emphasised, also his concern over the lives of Lucy and Mina. Fun could be had with mannerisms and accent, though care must be taken not to overdo this too much. The audience need to smile at him not crease up with inappropriate laughter! I feel he is a man who speaks with his hands - gesturing all the time, to help put over his ideas which he finds difficult to convey in the English language. He is Dutch and needs a fairly strong accent.
As the play progresses and he is on the scent of evil and fired up with the need to destroy it at its source, we must see this unlikely character take fire. His movements become faster and more definite, his voice also - rapping out commands. His whole aspect is that of someone for whom time must be used to its utmost - a man with a mission; a man in a hung.
JONATHAN HARKER - Just shown as a 'nice' young man at the beginning, polite and a little unsure and lost in a strange land, he is seen as sceptical of such things as crosses and curses at the outset, but a very changed man when he returns in Act Two. Now, having experienced at first hand the evil of Dracula, he is almost as determined as Van Helsing to root him out. The actor needs to emphasise his scepticism and good sense at the beginning, through embarrassment at the warnings of the villagers - little polite smiles and dismissive but still polite gestures. We need to see his growing unease and jumpiness then as he stays at the castle. Then his change of attitude and his real fear, conquered by determination and courage, in the latter part of the play. Often played as the traditional 'hero', this character is more fully realised than that rendering would show; it needs to develop. He only becomes something like heroic at the end - and then shares the heroism with a number of others.
MINA MURRAY - Jonathan's fiancee, we are not given much opportunity to see them together, so need to depend on say-so to believe in the strength of their love. Strong it certainly is for Mina to take the courageous step of going abroad to nurse him in hospital. Of the two, Mina is the stronger; she is adamant that she must be put at risk to conquer Dracula and equally adamant that should she show signs of turning to a vampire herself she must be killed. All this denotes a strong and brave character. This should be shown through her body language and speech delivery, especially in the second half. In the first half of the play she serves as a narrator to further the story often and also seems at first to be the traditional love-born girl, left at home to worry for her lost lover. Care must be taken to give these speeches sincerely, without dwelling on sighs or tears, else her character in the second half will be less believable.
LUCY WESTENRA - We are not given much time to assess Lucy as a character, since she is already in the process of changing to a vampire. She is petulant, impatient with her mother and already dearly an invalid, turning quickly from fretfulness to tears of weakness and back again. There is a kind of restlessness about her, which could express itself in an inability to be still, wringing of hands, plucking at cushions, clothes, etc. - in short, all the feverish signs of illness. Moments of her old self - one presumes - come out when her mother says Arthur should be fetched - when her love and caring for him, because of his dying father, are revealed; also when putting her trust in Van Helsing, when she is grateful and sweet. These nicer sides of her character, and her physical weakness, should be emphasised - soft, pleasant voice , languid movements - so that Lucy as a demon is much more shocking. Here her voice, facial expression and movements must be twisted and deformed, strong and horrifying.
ARTHUR HOLMWOOD - Less detail is provided about Arthur than about Jonathan. He is clearly of a high social status and could perhaps have a more pronounced upper-class inflexion than Jonathan's more standard English. We see him very much as the distraught young lover, prepared to do anything to help Lucy and almost mad with grief after her - and his father's - death. Perhaps he could be played as more impulsive than Jonathan, given to extremes in behaviour and language. He rushes out, blinded by grief; he talks in intensely sentimental terms about Lucy. His reactions to Van Helsing's preparations for the dead body of Lucy are horrified, but after he has experienced the sight of Lucy as a demon, he changes, takes a grip on himself and joins the others, equally committed and courageous. In this latter part, where he seems almost identical to Jonathan, because of their shared intent, the actor should try to retain those differences of voice and manner that he has already established, so as to keep consistency in the character.
JAYNE SEWARD - The hardest thing about playing
Jayne is to balance between the fact that she is supposed to be
foremost in her field as doctor of the mind whilst at the same
time, deferring to the superior knowledge of her old teacher,
Van Helsing. In his presence, she reverts to student-mode - unsure
of herself - whereas she is actually a very competent young woman.
The danger comes in such as the very last lines of Act 1, where
she seems to wander into melodrama: `She can't be dead. She can't
be.' 'Is it the end for her, Professor? Is it the end?' If the
character has been established as matter-of-fact, sensible, with
a forthright definite tone of speaking and definite unaffected
way of moving, then the way of saying such lines as these must
not move from that interpretation. The first line then becomes
the genuine bewilderment of a doctor who really did not predict
such an outcome, whilst the second becomes a genuine desire for
knowledge, the good pupil asking the more knowledgeable teacher
his opinion. Keep this sort of consistency throughout, and Jayne
will then be a nice contrast to the others in the final scenes.
Of course, we do see her in weaker moments, when she is disheartened
about Lucy and about Renfield. But these moments are private and
shared only with the audience; they should be the thoughts of
a strong person, momentarily brought low by tiredness and a confusing
case, never played as pathetic.
RENFIELD - The actor playing Renfield can go to town, with all the licence of being able to play someone who is mad. He mostly acts in isolation - his madness becomes more obvious still when contrasted with Jayne's movements and speech. His movements could be based on some animal, sharp watchful head movements, crouching stooping gait, and so on. His voice is that of a fanatic, drooling reverence for his 'Master' and low cunning, in turns. Work on the staring eyes and slyness of the character, which then contrasts with his attempt to pull himself out of evil in the scene with Van Helsing.
All the other characters are small roles. MRS WESTENRA, Lucy's mother, should be played with emphasis on her illness. She dies unexpectedly and there is little evidence in her speech of anything other than concern for her daughter. If she were played with obvious shortness of breath, needing to hang onto the backs of pieces of furniture for support, coughing genteelly into a lace handkerchief, or some such, her death won't come as such a surprise - which it should not.
All other characters are fairly obvious. The VAMPIRESSES must be genuinely menacing - lots of sibilant sounds and sinuous movements. Play MR and MRS BILDER as exaggerated country yokels. We need the laughs at this point of the play and the lines themselves aren't that funny. It must be the couple's mannerisms that bring the laughs. Much noddings, mugging at each other, wheezes of laughter, smug echoings of each other's lines and so on, emphasised by the impatient bewilderment of the Reporter.
The parts could be split amongst a small chorus of five - three girls and two boys - or a larger number, up to ten.
The writer outlines the set as follows, presumably following his own experience of directing it: The background of the set is three Gothic arches with black curtains behind. A round table with heavy patterned Victorian tablecloth down to the floor is UR. On the table is a large candlestick, golden goblet and golden plate with cutlery. On the wall R is a woodcut. UL there is another round table with old books piled up on top of it. On the wall a golden mirror. DC there is a simple wooden bench which will double [and treble] as different locations, both interior and exterior. A chaise longue will be required in later scenes which should have silent castors and be pushed on through the arches. A large box [coffin] will also be required. It will need to take the size of the actor playing Dracula.
A couple of period chairs will be required plus a wooden armchair which should look older. Nothing more is required except good props, stylish costumes and dean lighting with as little spill as possible and a good sound system.'
The above is for a simultaneous setting, where different locations can be identified through lighting. A fairly big playing area would be necessary for the above idea and, as he says himself, 'dean lighting with no spill.'
It might help you to make decisions for your own stage, if I list the scenes that are required.
In Act One:
- A village street outside the train station
- Inside the Krone Hotel, Transylvania
- The inside of a horse-pulled carriage
- In the mountains, near to Dracula's castle
- The dining-room in the castle
- The library in the castle
- Another part of the castle
- The library again
- A variety of single speakers narrating thoughts: Mina, Lucy, Jayne, Renfield in his prison cell, a Captain on the deck of his ship.
- Lucy's room - interspersed with Renfield in his cell
- Arthur's house
- Lucy's room
- Mr and Mrs Bilder at the Zoo.
- Renfield's cell
- Lucy's room
In Act Two:
- After Lucy's funeral - coffin on table
- Renfield's cell
- Outside Dracula's dwelling in England [Carfax Hall.]
- Inside Carfax Hall
- Renfield's cell
- Neutral place - short scene with Jonathan and Mina
- Some village near Dracula's castle in Transylvania
- The same neutral space as above - Mina's house?
- On the way to Dracula's Castle
- Dracula's castle - the resting-place of his coffin
With so many locations, a set such as the writer suggests would make good sense. No location needs to be fully realised - most relying on a single chair, table or similar - but the whole stage should have a brooding Gothic feel, hence the suggestion of Gothic arches in the background. The black curtains he suggests behind the arches, allow for entrances and special effects coming from the whole back area of the stage.
Then have specific areas for certain key scenes. For instance, Renfield's cell would need to be somewhere easy to isolate, perhaps in a downstage corner, or on a raised platform to the front side of the stage [in the auditorium].
The back part of the stage needs to be raised, since Dracula often appears brooding above the action, just his face spotlit. I would have a further raised block to one side at the back of the raised area for Dracula to stand on, his face alone to be picked up by a red spot. This would give the effect of his face floating in space. These two spotlights would be used at different times, the back one when Dracula observes from afar, as it were, the lower one for those moments when he is seen just before entering a scene.
If your stage is big enough, you could have different areas as he suggests, or, if your stage is smaller, since so little furniture is required, a single table could be set permanently, towards the back centre - and different coverings and props could be added to it as required. If the suggested chaise longue were set most of the time nearer the front, towards one side of the stage and a bench as suggested towards the other side, you have the makings of a setup which could be used for a number of different scenes, especially if the raised area was of a height to double as seating where necessary - though if this were so, you would need access to it via a step up along the whole length.
Whatever the setting you finish with, leave lots of neutral space around the front and the centre for 'anywhere' locations.
The subject matter of course lends itself to imaginative touches. Within the confines of the play's requirements, use your imaginations and come up with colours and atmospherics that lend themselves to Gothic horror.
For the purpose of the lighting cues, I have assumed a set with a raised area as discussed above, a table set in the centre of the raised area and left there permanently, though requiring different settings on it at times. A bench set permanently in one downstage comer. I am assuming the front centre of the raised area can double as seating for, for instance, the coach. At the back , to one side, there is a raised block for Dracula's face to be spotlit high up, as discussed above. Renfield's cell, I have assumed to be built out adjoining the stage but thrust into the audience, with access to it from a corner of the stage.
Furniture such as the chaise longue will be set in the other front corner of the stage from the bench.
If the lighting is specific and with as little spill as possible, the flow of the play will be considerably improved, since the few changes can happen whilst a scene is going on elsewhere. Not to worry, though, if this isn't possible. Actual furniture moving changes are few.
Each area is going to need separate lighting. I shall call these variously:
1. Dracula's castle, which will cover most of the stage, including all the raised back of the stage. This should be moody, eerie - the lights perhaps uneven and shadowy rather than a smooth blanket of light; pockets of light and shade. More concentrated light on the table area.
It will be necessary to separate the forestage and raised backstage areas of this whole area at times. If possible, a red wash should also be able to cover most of the area when indicated.
2. Interior scenes a. This will be just the forestage in front of the raised area Bright and warm - straw, pinks, yellows. Concentration of light around the chaise-longue set to one side of the stage [opposite side to bench.]
3. Interior scenes b. These scenes require the table to be lit on the raised area and some of the surrounding area, but not so far back as to take in the Gothic arches at the rear of the stage. The scenes need to be bright, but starker - more white and lightblue light.
4. Renfield's cell - perhaps separate area in auditorium, accessed from corner of stage. Orangey-yellow light, perhaps crossed with bars from gobo, to suggest a cell.
5. Medium area of light including the bench which is on one side of the stage, towards the front. Bright, daylight.


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great and easy recipe...ive made this several times now with no fruit just beer. so far with Becks,Carlsberg Export,Keo,Spitfire and most recent Newcastle Brown Ale, amazing!
Recipe taken from Channel 4's River Cottage: Three Go Mad Christmas special
Rate this recipe:- 20 mins
- 1 hr 30 mins
- 1 loaf
- 350g white self raising flour, plus extra to dust
- 150g wholemeal self-raising flour
- 2tsp salt
- 1tbsp caster sugar
- 2 handfuls raisins and/or sultanas
- 1 handful walnuts, roughly chopped
- 500ml beer or lager
- butter to grease
Preheat an oven to 180C
Sieve the flour into a mixing bowl and add the salt and sugar. Stir in the raisins/sultanas and the walnuts until well combined. Open the beer and pour into the bowl, mixing as you pour until all the beer has mixed into the flour.
Grease the sides and base of a 2lb (900g) loaf tin. Dust in flour and shake out any excess.
Pour the batter into the loaf tin (the batter will be alarmingly loose, this is correct!) and transfer to the preheated oven. Bake for 1 and a half hours or until a skewer inserted into the middle of the loaf comes out clean and the bottom of the loaf sounds hollow when tapped.
Once cooked remove from the tin and transfer to a wire rack for cooling. This can be eaten warm or cold and will last a couple of days in a sealed container. Ideal to eat with cheese.
great recipe but is it possible to replace the beer with something else e.g. yeast or something? also would stem ginger work with this?
I love this recipe, so easy and tastes amazing. After my first attempt I made a few small changes by using 175g of Fruit, 75g of walnuts, and lowering the salt content to 1 1/4 tsps.
As you recommended that it goes well with cheese, I decided as I like cream cheese I would try it with some Philadelphia, by accident I picked up 'Grilled Pepper Philadelphia Light' it is amazing, please try it with this, I cannot recommend it highly enough.
As I type this a fresh loaf is baking in the oven for my husband to take to the Fire Station tonight as a treat for the boys during their nightshift. :-)
I made this for the first time last night and it came out really well. Followed the recipe to the letter apart from using all white flour as I didn't have any wholemeal.I always use an oven thermometer too which really helps with general baking.Next time I'm going to tweek the recipe to include chives as I think that might go quite nicely with goats cheese.
Made this loaf in a great hurry this morning, without nuts & sultanas , added water to make up extra liquid as bottle of beer I opened was not 500ml . It worked a treat and really impressed our nephew the bread maker in the family.
( and me too !) Ideal receipt for whoops haven't got enough bread or time and I'm making brunch for 13 today.
I made this loaf, and just used white sr flour, and was really impressed at how easy it was, im thinking of trying it just plain and if it works think my bread maker might be going to the back of a cupboard
I would like to try this but I don't like beer - any ideas of what liquid I can use instead, beside water?
...just baked this little beauty, but used Country Grain bread Flour instead of Wholemeal SR as we couldn't find any! Cooked for 1 hr 50 mins, but still a bit stodgy in the middle, poss oven problems or was it the alternative flour?
I made this tonight in about 10 minutes and it was soooooooooooooooo easy.
I love baking but I only ever make cupcakes on a basic 4, 4, 4, 2 recipe... I have NEVER made bread or dough before so when I saw this episode I thought I would give it a try.
I didn't have any brown or wholemeal flour so I used 500gm of White SR flour.
Neither me or my husband drink so we didn't have aany posh beers or bitters but we had some small bottles of Becks Vier in ready for Christmas Guests.
I followed these instructions rather than the slight differences Hugh said on the show.
It was a great sucess!!!
It is quite a dence loaf but fresh with a little butter on it was delcious... and I can imagine in a few days when it is less fresh it will still make amazing toast! I also think I may have had mine too close to the tp of the oven as I took it out about 10 minutes early and the edges had already caught.
I will absolutely be making some on Boxing day (whn the shops are closed) to go with my leftover Gammon Broth.
please can you make a file up from your great racipes
- Simple White Loaf By: Every Day
- Truffles By: Three Go Mad
- Nettle soup with pignuts and goats curd toast By: Three Go Mad
- Hugh's kedgeree By: Three Go Mad
- Lee Mack and Robert Webb's smoked pollock kedgeree By: Three Go Mad
- Creamed spinach and ham pancakes with bechamel By: Three Go Mad
- Classic Soda Bread By: Every Day
- Christmas Ginger Biscuits By: Three Go Mad
- Bashed new potatoes By: Three Go Mad
- Somerset style Chicken Wings (N) By Jean-Paul De Ronne By: somersetchef
- Feijoa Loaf By: NZ DIVA
- Apple, Guinness & Cheese Soda Bread By: Every Day
- Salt baked sea bass with fennel salsa By: Three Go Mad
- Potato and fennel bake By: Three Go Mad
- Onion and anchovy pissaladiere By: Three Go Mad
- Amish soft crust By: cristal666
- Spiced banana loaf cake with chocolate chunks By: Three Go Mad
- My Grannies Yorkshire spice loaf By: Julie D
- Hot buttered vodka By: Three Go Mad
- Hugh's inky cuttlefish stew By: Three Go Mad
- Chicken kiev with wild garlic butter By: Three Go Mad
- Ham Hock Soup with Parsnip and Thyme Bread By: Winter's on the way
- Gooseberry and Elderflower Fridge Jam By: River Cottage Fruit Every Day!
- Goats' cheese baked cheesecake with boozy cherries By: Three Go Mad
- Wild mushroom croquette with fried oak moss By: Three Go Mad


text:
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Chicago—January 30, 2006—According to a recent Cars.com survey conducted to gauge the potential impact of General Motors' vehicle price cuts, more than 60 percent of car buyers say they believe the program will successfully entice consumers to purchase GM vehicles.
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More than 33 percent of consumers surveyed said they will buy a car from a domestic manufacturer in 2006. Of that 33 percent, 31 percent say they will choose a GM car as a result of the price cuts and 60 percent said they will wait to see how deep the cuts are and what kind of response the plan will elicit from GM's competitors.
According to the survey, 24 percent of buyers are planning to buy a foreign car in 2006. GM's price-cut program is expected to have little impact on those consumers; just 12 percent of those buyers said they will consider buying a GM car as a result of the price-cut program. More than 44 percent of foreign-car buyers said they will buy the car they want regardless of any type of price-cut incentives.
The largest potential impact of GM's program is on consumers who have not decided whether they will buy a foreign or domestic car in 2006. Forty-three percent of consumers say they are undecided about the type of vehicle they will buy. More than 46 percent of the undecided segment say GM's price cuts will have an impact on their decision, with another 41 percent saying they will wait to see specifics on the cuts.
Incentive programs clearly have become a major part of the car-buying process. More than 85 percent of consumers say incentives have an impact on their buying decisions, with cash-back incentives being the most popular.
The Cars.com incentive survey was conducted online by Impulse Research Corp. using a random sample of 1,542 U.S. residents who plan to purchase a vehicle in 2006.
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ELLE DECOR Goes to Charleston
By Chris Dixon
Linchpins of this movement are former Brooklynites Gustavo Serrano, a onetime editor at Stuff magazine, and his wife, Andrea, who recently opened sneaker boutique Suite Sole. Gustavo has also taken the lead in organizing Kulture Klash, a biannual event of art exhibitions, fashion shows, and concerts showcasing local talent. Theres a lot of flavor in Charleston, he says. Its not the same vibe as Miami or New York, but people have their own cool things going on.
Among the Serranos Upper King retail neighbors is Lulan Artisans, a clothing, fabric, and home-furnishings showroom with a specialty in Vietnamese products. Seven years ago my husband, Jonathan, and I told our friends that we were moving to Charleston, and the reply was Why the hell are you doing that? says Lulans owner, San Francisco transplant and ex-Hanoi resident Eve Blossom. Now when I tell people in San Francisco where we live, they say, My gosh, I was just there or My friends recently moved there from L.A. West Coasters have taken notice. Also on Upper King is Lesesne, a home boutique owned by architect Van Dalens wife, Bryte, a former regional coordinator for the French linen company Yves Delorme, and her mother, Barbara Lesesne; the shop does a brisk business in linens, handmade stationery, and Van Dalens modern furniture designs.
South of Calhoun, King Street is packed with popular destinations like the flagship boutique of celebrity handbag and shoe designer Mary Norton, along with chain stores such as Urban Outfitters, whose majestic Charleston location is well worth a visitit occupies the 1918 Garden Theater, a landmark silent-movie cinema and vaudeville house. But if your shopping tastes lean more toward museum-quality antiques, around Kings intersection with Broad Street are top venues like Geo. C. Birlant & Co. In business since the 1920s, it is home to an exquisite array of aristocratic English furnishings dating from the 18th and 19th centuries.
As befits a city that takes pride in gracious living, from spring garden tours to refined hotels like the stately Wentworth Mansion, Charlestons relationship with food is intense. Armchair gourmands abound, vigorously debating the merits of everything from variations in barbecue sauces to the proper consistency of creamy grits. Everyone cheered back in 2006 when the late epicure R. W. Apple Jr. wrote in The New York Times that Charleston rivaled New Orleans on the restaurant front. Three years later, the burners are still hot. As Eric Cohler says, You cant get a bad meal here, even if you tried.


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Rudolph is stamped from a Stampin Up! set...and I used some Crystal Effects on his nose to give it some dimension. I used sticky strip along the outside of the tin to adhere the ribbon.
In Craft Fair news...they are predicting SNOW this Saturday.
SNOW PEOPLE. Seriously? It's October.
Yes, I am a snowboarder...but I prefer my snow up in the mountains, not down here...and DEFINITELY not in October...when I have an OUTSIDE booth at a Craft Fair!! Please send warm thoughts my way...I could use 'em!


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Notation basée sur
9 Avis
4,0 sur mai 23, 2014
Not much negative I can say about this beautiful B&B. The staff was super friendly. The location was out of this world. Right next to the Westin practically beach front. The room was great with a very comfy bed. Restaurants Bars and clubs 2 blocks tops. Only Con was that during our 3 night stay our sheets were not change once. New towels were supplied & tp refilled and I'm sure if I would have asked there would have been no problem but they weren't changed automatically.
4,0 sur avril 09, 2014
We arrived in Fort Lauderdale with no accomodation booked. Lou at reception was very helpful in finding us a suitable suite. We were very impressed with the value and cleanliness of the unit. The open area with two pools was quite beautiful, so we ate all meals outside. We are already considering a return next winter.
3,6 sur février 11, 2014
We checked in late, and they had all of the bases covered. The staff was really helpful and pleasant and accommodated our every need. The room we had was basic, but I was concerned based on a few negative reviews from others in the past that it may not be nice, even at the budget price. It was everything we needed, clean, cool and quiet..and it had a nice large shower in it. We chose the place because it seemed like a great place, centrally located and a really good price for the proximity to the beach. Nice pool, great landscaping, helpful staff, decent rooms and a good price. I would do it again if I were in the area. Lou and his staff were pleasant and helpful...
4,0 sur novembre 29, 2012
La Casa Del Mar is a very beautiful, clean and marvelous location. The staff are so friendly. We had our best time there. Fort Lauderdale is a good place relaxing. The location is away appr. 3 minutes from the beach by feed.
3,2 sur avril 11, 2011
Great location, clean but very worn room. Rate was a little high for the quality of the room but the location was excellent. Clean and safe with a very friendly and helpful staff. Nice pool and outdoor areas. This is not a B&B, though. Breakfast was packaged muffins or granola bar from a self-serve counter with no place to sit down and eat it. Set your expectations accordingly and enjoy this rough diamond.
3,0 sur mars 28, 2011
My husband and I never stayed in a bed and breakfast before but this was a great first experience. The service at the front desk was warm and welcoming. The grounds and pool were nice, however we spent more time at the beach considering it was only one block away. I believe we stayed in one of the smaller rooms which was not as updated as I imagined, but it was clean and perfect for the weekend. The rooftop area was a nice, unexpected touch and was cool to hang out there at night with the fire pit table. Do not recommend the breakfast there. Prepackaged muffins and bagels with coffee and juice in a small, narrow kitchen was not too appetizing for us. Otherwise for the most part, we enjoyed our stay at La Casa del Mar. Although we prefer hotels, we were on a budget and this B&B was perfect as far as location which was close to the beach and the strip of shops and restaurants (10 min walk) for a nice and relaxing weekend getaway.
2,8 sur mars 02, 2011
We stayed at La Casa Del Mar at the end of February in 2011. The front desk people were very friendly and we were given a key to our room. It was decorated very nicely and clean enough. The ceiling had pretty extensive water damage though with the paint hanging down off of it and the bathroom had some damage. The front desk recommended a nice restaurant to eat at that was just around the corner called Casablanca Cafe. It had VERY good food and the atmosphere was wonderful. The Casa Del Mar was within walking distance of the beach, shopping, plenty of bars, and restaurants. If you don't feel like walking their a plenty of rickshaws around to hop in. In the morning we got up and headed for the complimentary breakfast. This was probably the most disappointing of everything. Breakfast was pre-packaged muffins, pre-packaged plain bagels, apples, orange juice, and coffee. We usually stay at bed and breakfasts because they are unique and we get a nice meal in the morning. This breakfast did not even compare with staying at a Holiday Inn express and was twice the cost. Overall I would not stay here again nor recommend it to any of my friends. If you can get a good deal though it is fairly inexpensive for the area.
4,2 sur février 22, 2011
My stay at La Casa Del Mar exceeded my expectations. The service was fabulous and the attentive staff assisted us at every turn in making our stay in Florida enjoyable. The gardens were even more beautiful in person than they are on the website. I would absolutely return!
3,6 sur mai 30, 2008
La Casa Del Mar provided a great getaway for a short weekend just steps away from the beach. The atmosphere was great and the people could not have made the stay any better--fabulous people! The pool and and other outdoor accommodations were outstanding. Plan to get the bulk of breakfast elsewhere as the breakfast fare is high-carb, pre-packaged food. Great value in a clean, safe and friendly atmosphere.


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