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2013 Tour de France
The White Jersey Hunt
Tejay van Garderen, 25 (BMC)
2 / 7
The defending champion of the Best Young Rider classification, van Garderen said that the competition is not his target, and wasn't last year. "It just came along with me being up there every day, helping Cadel, which is my focus again this year," he said. But this year's course is particularly well suited to the talented American, and with good form and improving confidence he'll be tough to unseat in his final year of eligibility for the classification.
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From Wikipedia, the free encyclopedia - View original article
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This article is lacking details, criticisms and controversies that are easy to document by citing reputable sources. Here are a few examples, all several years old. I'll get around to incorporating them into the article at some point. 188.8.131.52 (talk) 16:30, 13 December 2007 (UTC).
An interview with the then-86-year-old HFPA member Anita Weber, still an active member
Details, mostly but not all criticisms, from the documentary The Golden Globes: Hollywood's Dirty Little Secret
Review of the documentary
Does anyone else think this article needs to be expanded for balance? LA Movie Buff (talk) 06:02, 4 June 2009 (UTC)
I have removed the following text from the article because it appeared to be a bad cut-and-paste job from elsewhere (leading spaces were causing every paragraph to be rendered as preformatted text). Interested editors can look this over (copyvio?) and add back the material (with proper wiki syntax) that belongs in the article. - dcljr (talk) 23:40, 11 February 2010 (UTC)
The Hollywood Foreign Press Association is a group of working journalists who cover movies and movie stars for a variety of outlets, ranging from national newspapers to film titles to entertainment guides. (Screen International). Their publications include leading newspapers and magazines in Europe, Asia, Australasia and Latin America, ranging from Le Figaro in France, L'Espresso in Italy to Vogue in Germany as well as the China Times and the pan-Arabic magazine Kul Al Osra.
The group's annual Golden Globe Awards have enabled the non-profit organization to donate more than $10.5 million in the past fifteen years to entertainment-related charities, as well as funding scholarships and other programs for future film and television professionals. In the year 2009 the donation was more than 1.2 million dollars, the largest tally ever distributed in the organization's history. (Daily Variety)
Known worldwide for its glittering Golden Globe Awards ceremony held every January and its multi-million dollar donations to charity, the Hollywood Foreign Press Association had humble origins that stemmed solely from a group of journalists' desire to efficiently and accurately cover all aspects of the world of entertainment (Who Makes the Golden Globes Go Around?) .
The association was founded in the early 1940s by a group of Los Angeles-based foreign journalists in an attempt to gain more clout with the studios and make it easier to obtain access to stars. It now comprises 89 members from 55 different countries. All have to submit clippings of their work every year to justify their membership. (London Daily Telegraph)
The organization's first awards presentation for distinguished achievements in the film industry took place in early 1944 with an informal ceremony at 20th Century Fox. There, Jennifer Jones was awarded Best Actress honors for "The Song of Bernadette," which also won for Best Film, while Paul Lukas took home Best Actor laurels for "Watch on the Rhine." Awards were presented in the form of scrolls.
The following year members came up with the idea of presenting winners with a golden globe encircled with a strip of motion picture film, and mounted on a pedestal.
In 2012 differing philosophies among members created a schism within the organization, resulting in a split into two separate groups -- The Hollywood Foreign Correspondents Association and the Foreign Press Association of Hollywood.. The separation ended in 1955 when the journalists reunited under the collective title "The Hollywood Foreign Press Association" with firm guidelines and requirements for membership. (Who Makes the Golden Globes Go Around?)
In 1955 the Golden Globes began honoring achievements in television as well as in film. The first honorees in the Best Television Show category that year were "Dinah Shore," "Lucy & Desi," "The American Comedy" and "Davy Crockett." In 2007, The Golden Globes initiated the category "Best Animated Feature Film" and the first year nominees were "Cars," "Happy Feet" and "Monster House."
Today, the Golden Globes recognize achievements in 25 categories; 14 in motion pictures and 11 in television.
The Golden Globes evening has long been known as a giant party; a star-filled, champagne-and-cocktail-fuelled orgy of congratulations, back-patting and table-hopping where the world's leading actors, actresses and directors relish the informality of an event where there is always a feeling that anything can happen.
In previous years Jack Nicholson mooned the audience, Renee Zellweger was in the ladies room when she should have been on stage picking up her Golden Globe and Ving Rhames insisted on passing his Golden Globe on to Jack Lemmon because, he said, he was more deserving of it.
But in recent years the Globes have come to be viewed not only as a riotous night out for Hollywood's elite, but as a vital part of the film industry, second in importance only to the Oscars and having a great impact on a film's financial success. (London Daily Telegraph).
There have been whispers that votes can be bought by expensive gifts and all a studio needs to do is throw a party at which voters can mix with the stars. That may have been so in the past, but nothing could be further from the truth now. (London Daily Telegraph).
The group has had an overhaul in credibility since it infamously awarded Pia Zadora a best newcomer Globe in 1981, a prize forever tainted because it was associated with a junket to Las Vegas paid for by a producer of the film who also happened to be Zadora's husband. (Screen International January 14 2010)
Since NBC began televising the Globes in the mid 1990s the rules have tightened and members must now sign an agreement that they will not receive valuable gifts. Presents that were deemed too valuable, such as a Coach watch from Sharon Stone and a dvd player from Chris Rock, were immediately returned.
Even invitations to parties are strictly vetted, and if they are seen to be aimed at influencing Golden Globe votes, they are declined.
Each year HFPA members interview more than 400 actors, directors, writers and producers, as well as reporting from film sets and seeing more than 300 films. Members also attend film festivals in other countries in order to seek out interesting and innovative foreign language films and establish cultural bonds with directors, actors, jurors and fellow journalists around the world. Membership meetings are held monthly and the officers and directors are elected annually. A maximum of five journalists are admitted to the organization each year. All members are accredited by the Motion Picture Association of America.

subset: commoncrawl


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Plan Specification: HHF-3576
Total Square Footage: 1,800Main Level: 1,800Bedrooms: 3Baths: 2Garages: 2Width: 66 ft Depth: 60 ftFoundation: Crawl Space Foundation, Optional Concrete Slab Foundation, Optional Custom Foundation Design
© copyright by designer |
Plan: HHF-3576Clients often ask for a floor plan that can be zoned the owners near the kitchen utility area and the kids on the opposite side of the home. This plan accomplishes the task in a space saving manner that affords larger than usual room sizes. The kitchen has two pantries and a desk while the adjacent eating area sports a sloped ceiling. The living room has 12 ceilings with skylights, a brick fireplace and French door access to front and rear porches. This is an energy saving design.
Additional Images
Get Your House Plans In Minutes!NEW PDFs Now! Plan packages available. Simply place your order, electronically sign the license agreement, and receive your PDFs within minutes in your inbox!Plan Pricing Packages
Key Features
© copyright by designer First Floor Plan: Top Plan Details


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Ephedra —Dangerous Interaction | Scotch Broom —Dangerous Interaction | Green Tea —Probable Dangerous Interaction | Ginseng —Possible Dangerous Interaction | St. John's Wort —Possible Dangerous Interaction | S-Adenosylmethionine (SAMe) and Hydroxytryptophan (5-HTP) —Possible Dangerous Interactions
MAO InhibitorsMonoamine oxidase (MAO) inhibitors were the first antidepressant drugs invented. While they are quite effective, they can be dangerous if combined with the wrong foods, drugs, or supplements. The substance tyramine, found in some cheeses, beer, fermented soy products, and other foods, is particularly dangerous to combine with these medications. Stimulant drugs such as pseudoephedrine can also cause problems.
Antidepressants in this family include furazolidone (Furoxone), isocarboxazid (Marplan), phenelzine sulfate (Nardil), and tranylcypromine sulfate (Parnate) among others.
Dangerous Interaction
Because it contains the stimulant ephedrine, combining the herb ephedra with MAO inhibitors can rapidly produce a severe, dangerous interaction and must be avoided.1 In the US, it is illegal to sell products containing ephedra.
Scotch Broom
Dangerous Interaction
The herb scotch broom contains high levels of tyramine, so it should not be taken with MAO inhibitors.2
Probable Dangerous Interaction
Because it contains caffeine, green tea should not be combined with MAO inhibitors.
Possible Dangerous Interaction
According to one report, the combination of ginseng and the MAO inhibitor phenelzine caused worrisome symptoms.3 While this may have been due to caffeine contamination of the ginseng, we would recommend that you avoid ginseng–MAO inhibitor combinations at this time.
Possible Dangerous Interaction
Current thinking suggests that St. John's wort functions somewhat similarly to SSRI (selective serotonin-reuptake inhibitor) antidepressants. Since SSRIs should not be combined with MAO inhibitors, this herb probably should not be combined either.
5-Hydroxytryptophan, S-Adenosylmethionine
Possible Dangerous Interactions
Based on one case report 4 and current thinking on how they work, SAMe (S-adenosylmethionine) and 5-HTP should not be combined with MAO inhibitors.
1. Tatro D, ed. Drug interaction facts. St. Louis, MO: Facts and Comparisons, 1999: 1037.
2. Brinker F. Interactions of pharmaceutical and botanical medicines. J Naturopathic Med 1997;7:14-20.
3. Jones BD, Runikis AM. Interaction of ginseng with phenelzine. J Clin Psychopharmacol. 1987;7:201-202.
4. Iruela LM, Minguez L, Merino J, Monedero G. Toxic interaction of S-adenosylmethionine and clomipramine. Am J Psych 1993;150:522.
Last reviewed September 2014 by EBSCO CAM Review Board
Last Updated: 9/18/2014


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Emily VanCamp & Michael Nyqvist star in this Indie Film about a young writer's transformation. Based on a true story. Read more
Emily VanCamp & Michael Nyqvist star in this Indie Film about a young writer's transformation. Based on a true story.
About this project
UPDATE! Exclusive DAILIES from the Film!
PLEASE NOTE: The following DAILIES have not been color-corrected, edited, or mixed in anyway, and will appear completely different in the final film. We just wanted you to be the first to see how the movie is turning out!
THE GIRL IN THE BOOK tells the story of a young writer's transformation when her past invades her present. Forced to face difficult memories and make bold decisions, she ultimately overcomes her demons, allowing her to find love and rediscover her creative voice.
ALICE is a 28 year-old assistant book editor living in a small apartment on the upper east side. She is funny and smart, but emotionally self-destructive, seeking self-esteem in men's desire. She has finally met a guy worth keeping, but is in danger of screwing it up, as always.
By day, Alice works for a notable book publisher. Like anyone climbing the ranks, she's trying to make her mark despite her frustrations with her boss. By night, in between her various dates, Alice tries to write. She has an incredibly compelling story to tell – her story. But that story was written fifteen years ago…by someone else.
MILAN is a 35 year-old aspiring writer on the eve of releasing his first novel. Represented by Alice's father, a prominent book agent, Milan becomes close to 14 year-old Alice, and during that time writes the novel that makes him a world renowned author.
Today, 15 years later, Milan and Alice's paths cross once again, forcing the two to confront events that have long gone unaddressed. Alice's work life and personal demons converge when her boss tasks her with promoting the one book she would most like to forget exists.
We've raised our entire shooting budget, earning us a green light. We start filming on June 13th in New York City. The cast and crew are all underway, the locations have been locked down, we're ready to go!
If you contribute to this project, you can count on seeing it finished!
Due to actor availability issues, we had a small window to bring this film into production. While we've raised enough money to get us through principal photography, we're still in need of $65,000 to cover all remaining expenses.
We couldn't be more excited to embark on this journey, and look forward to sharing the experience of making THE GIRL IN THE BOOK with all of you.
We've created a behind-the-scenes blog exclusively for those who support the film. The password-protected site will offer live from-set updates about the production, including script notes, behind-the-scenes stills and video, a rundown of the day's on-set drama, etc.
Our goal with this blog is to offer valuable insight into the making of a feature film from the perspective of the producers. We want you to have an opportunity to learn by example as we embark on this month-long journey into the filmmaking process.
Director Marya Cohn will be curating this limited edition coffee table book as a personal retrospective of the making of the film. This beautifully assembled collector's item will include an array of behind-the-scenes imagery, script excerpts, director notes, stills from the movie, blog entries, personal anecdotes from cast and crew, etc.
A VARIENT PRODUCTION (http://varient.com) IN ASSOCIATION WITH BUSTED BUGGY ENTERTAINMENT
GINA RESNICK (Producer) - Prior to co-founding VariEnt (http://varient.com) with Kyle Heller, Gina served as Executive Vice President of Acquisitions & Business Affairs for Columbia Tristar Pictures. Her creative and legal expertise has been instrumental in helping THE GIRL IN THE BOOK earn its green light.
KYLE HELLER (Producer) - In addition to the success he's found in the web/tech space, Kyle has successfully produced 4 films in the pasts 14 months. With strong expertise in both physical production and finance, Kyle has established himself as one of Hollywood's under-30 producers to watch.
AMANDA ROHLKE (Line Producer) - A former creative executive for TWILIGHT director Katherine Hardwicke, Amanda recently served as Line Producer on Clara Mamet's TWO-BIT WALTZ.
TREVOR FORREST (Director of Photography) - Trevor is a widely respected cinematographer in both film and commercials/music videos. He recently won the award for Best Cinematography in a Narrative Feature Film at the 2012 Tribecca Film Festival for his work on Lucy Mulloy's UNA NOCHE. Variety has referred to his work as "…gorgeously composed."
CHARLOTTE ROYER (Production Designer) - Charlotte is an award-winning designer with films that have screened worldwide, including Sundance, Tribeca, South by Southwest, and the Milan Film Festival.
Goldcrest Films & Post-Production (SKYFALL, WAR HORSE, SLUMDOG MILLIONAIRE, etc.), one of the foremost New York City-based post houses, has generously offered us their support. They will be providing significant discounts on all sound editing, mixing, off-line editing, and color timing as well as all distribution deliverables.
Risks and challenges
The bottom line is that, when you're making a film, there are always risks and challenges. The good news is we're working with true professionals. All the contracts have been signed, all the necessary permits have been obtained/filed with the city, and we've offset other risks with significant production insurance.
The other major challenge, as with any independent film, is finding the appropriate distribution partner to help us release the film. Luckily, given our extensive network of industry professionals, we already have several sales agents and distributors ready and willing to discuss the project once it's in the can.
With your support we're able to ensure that what we shoot is handled with care, as we enter the post-production process. And in exchange for your kind support, we're offering some truly exciting rewards, manufactured of the highest quality materials available and exclusive to you…
Learn about accountability on KickstarterFAQ
If you are a $10+ supporter of the film, the next step is to send us your Kickstarter confirmation email to email@example.com. We will email you back a special passcode for you to access the blog!
Pledge $10 or more
16 backers
Receive EXCLUSIVE ACCESS to the "Making of" blog - a window into the day-to-day production process!
Estimated delivery: -
Pledge $20 or more
50 backers
Receive a DIGITAL COPY of the Film (as it FIRST becomes available) + EXCLUSIVE ACCESS to the "Making of" blog.
Estimated delivery: -
Pledge $50 or more
4 backers
Receive a limited edition 27"x40" POSTER, a DIGITAL COPY of the Film + EXCLUSIVE ACCESS to the "Making of" Blog.
Estimated delivery:Ships anywhere in the world -
Pledge $75 or more
4 backers Limited (496 left of 500)
Receive ONE (1) TICKET to an Advance Screening of the Film in NYC (popcorn + drinks included). Also receive EXCLUSIVE ACCESS to the "Making of" blog, a DIGITAL COPY of the film + the POSTER.
Estimated delivery: -
Pledge $75 or more
3 backers Limited (497 left of 500)
Receive ONE (1) TICKET to an Advance Screening of the Film in LA (popcorn + drinks included). Also receive EXCLUSIVE ACCESS to the "Making of" blog, a DIGITAL COPY of the film + the POSTER.
Estimated delivery: -
Pledge $100 or more
11 backers Limited (989 left of 1000)
Receive a limited edition hardcover copy of "The Girl in the Book" COFFEE TABLE BOOK chronicling the "Making of" the film, EXCLUSIVE ACCESS to the "Making of" blog, a DIGITAL COPY of the film + the POSTER.
Estimated delivery:Ships anywhere in the world -
Pledge $175 or more
21 backers Limited (479 left of 500)
Receive an AUTOGRAPHED version of "The Girl in the Book" COFFEE TABLE BOOK, signed by Emily VanCamp, Michael Nyvquist, and Marya Cohn. Also receive EXCLUSIVE ACCESS to the "Making of" blog, a DIGITAL COPY of the film + the POSTER.
Estimated delivery:Ships anywhere in the world -
Pledge $500 or more
6 backers Limited (94 left of 100)
Receive a SPECIAL THANKS credit at the end of the FILM, in the COFFEE TABLE BOOK, and on the EXCLUSIVE "Making of" Blog. Of course, you will also receive copies of the above (including an autographed book), because after all, they will have your name on it.
Estimated delivery:Ships anywhere in the world
Funding period
- (14 days)


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I bought a deck of cards and I had some questions. Answered the same day. On other magic websites you couldn't even choose the color of the exact...Read More ->
This is my 2nd time ordering from MJM Magic & in my opinion they're the best! Shipping has been very fast & their customer care...Read More ->


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Huntington, TX — Mack Darnell, of Huntington, says he's been interested in converting his truck to electric for decades, but he never had time or money to do it until he recently retired.
He says high gas prices and curiosity pushed him to do it. A few years ago, he bought a $400 Chevy S-10, and took the motor, exhaust system, and gas tank out of it.
Darnell then got online instructions and ordered the parts when he had the money. "They don't really show you where the parts have to go, so you have to more or less figure out these things for yourself," he says.
Two years and $9,000 later, Darnell has an electric truck--sparking curiosity across his hometown. He says, "When I drive to the store, people ask me about it. They say, 'Is that really an electric car?' "
With 16 golf cart batteries in the back and four in the front, Darnell does not pay at the pump for his trips to town. He plugs the truck into an extension cord placed at night. He says 8-10 hours of charging gets him 30 miles. He has faced criticism from people saying the truck doesn't travel far enough, but he says,"I think it would be good for people that live close to work."
Although electric vehicles are on the market, Darnell says converting an old vehicle is more affordable: "Electric vehicles are priced out of range for ordinary working people."
The truck is his only conversion. but he is passing the idea down the family line. "My son, he lives up in South Dakota right now, he converted a bicycle into electric."
Darnell says using the truck costs $15 a month in electric bills.


text:
UCL Faculty of Brain Sciences
- Home
- About the Faculty
- Divisions & Institutes
- People
- Study
- Research
- Enterprise
- Faculty Intranet
- Videos
- School of Life and Medical Sciences
Contact details
Dean's office:
Suite 1a, Maple House, 149 Tottenham Court Road, London W1T 7NF
Drugs Live results: how different types of cannabis affect the brain
Published: Mar 4, 2015 3:31:12 PM
Diabetes and depression predict dementia risk in people with slowing minds
Published: Feb 20, 2015 4:47:05 PM
UCL and QMUL agree to establish a new institute to tackle cardiovascular disease
Published: Feb 4, 2015 5:00:00 PM
UCL Faculty of Brain Sciences
The Faculty of Brain Sciences brings together expertise at the forefront
of neurology, ophthalmology, audiology, psychology and language sciences, cognitive neuroscience and
mental health sciences.
The Faculty brings together six Institutes and Divisions, each of which excels in its own area of expertise. It is one of four faculties within UCL's School of Life and Medical Sciences.
PhD Research on Display at the Annual Faculty PGR Symposium
On 11 February 2015, the Faculty displayed a record 60 posters from our PhD students from across all six Institutes and Divisions. More...
Faculty of Brain Sciences rated top for research strength in the REF2014
UCL is the top-rated university in the UK for research strength in the new Research Excellence Framework 2014, by a measure of average research score multiplied by staff numbers submitted. More...
Meet the Researcher: Students and Staff Enjoy a Unique Opportunity to Engage
In a new initiative, piloted by the Faculty of Brain Sciences Tutor's Office, newly arrived undergraduate students had the chance to meet some of the Faculty's top researchers. More...


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Respond to Review of Lov'n It Live
by TheCritic
Review: It's hard to justify wait. Impossible to fit in a lunch schedule, waits 45min to over 1 hour. Maybe order take-out 2 hours in advance.
Posted by Lovn it raw on Friday, February 4, 2011
Sorry you feel this way. I feel that the wait is worth it. I place very great importance on good tasting, high quality food that is reasonably priced above wait time. Like you said there is a way around it. Call and order ahead of time.


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Best of Boston
BEST Dry Cleaner
2009 BEST Dry Cleaner, Affordable
North Cambridge Laundromat & Dry Cleaning
Here the owners dispense restaurant recommendations and gossip tidbits along with perfectly pressed suits and blouses at the cheapest prices we've seen. They restored not only a merlot-stained silk top for a mere $3.95, but also our faith in humanity…. read more »
2006 BEST Dry Cleaner, Neighborhood, Back Bay
Ross Cleaners
Fast and efficient, Ross starches, mends small tears, and replaces missing buttons. read more »
2006 BEST Dry Cleaner, Neighborhood, South End
Columbus Dry Cleaners
Lost your ticket? Not a problem. The clerks here know their regulars well. read more »
2006 BEST Dry Cleaner, Neighborhood, Jamaica Plain
Classic Cleaners
Jamaica Plain
We've dropped off more than 100 items, and not a clothing casualty to date. read more »


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Chapter 7 - Lecture Outline
I. The Nature of Global Marketing Strategy
A. Technological advances and rapidly changing political and economic conditions are making it easier for more companies to market their products overseas as well as at home.
B. International marketing involves developing and performing marketing activities across national boundaries.
C. Many U.S. firms are finding that international markets provide tremendous opportunities for growth, although some people argue that too few firms take full advantage of these opportunities.
1. Many countries offer practical assistance and valuable research to help their domestic firms become more competitive globally.
2. Prior to the 1990s, most firms entered international markets incrementally as they gained knowledge and experience.
3. So-called Born Globals—typically small technology-based firms operating in international markets within two years of their establishment and realizing as much as 70 percent of their sales outside the domestic home market—have challenged the traditional incremental approach to internationalization.
II. Environmental Forces in International Markets
A successful international marketing strategy requires a careful environmental analysis to understand the needs and desires of foreign customers. Differences in sociocultural, economic, political, legal, and technological forces can profoundly affect marketing strategies.
A. Competitive Forces
1. In addition to considering the types of competition (i.e., brand, product, generic, and total budget competition) and types of competitive structures (i.e., monopoly, oligopoly, monopolistic competition, and pure competition), firms operating internationally also need to attend to the competitive forces in the countries they target, identify the interdependence of countries and the global competitors in those markets, and understand a new breed of customers—the global customer.
2. Each country has unique competitive aspects—often founded in the other environmental forces (i.e., socio-cultural, technological, political, legal, regulatory, and economic forces)—that are often independent of the competitors in that country.
3. While competitors drive competition, nations establish the infrastructure for the type of competition that can take place.
4. Customers today expect to be able to buy the same products with the same features in most of the world's countries.
B. Economic Forces
Global marketers need to understand the international trade system, particularly the economic stability of individual nations as well as trade barriers that may stifle marketing efforts.
1. Economic differences among nations dictate many of the adjustments that must be made in marketing abroad.
2. Marketers should consider whether a nation imposes trade restrictions.
a) An import tariff is any duty levied by a nation on goods bought outside its borders and brought in.
b) A quota is a limit on the amount of goods an importing country will accept for certain product categories in a specific time period.
c) An embargo is a government's suspension of trade in a particular product or with a given country.
d) Exchange controls are government restrictions on the amount of a particular currency that can be bought or sold.
3. Countries may limit imports to maintain a favorable balance of trade, which is the difference in value between a nation's exports and imports.
4. Knowledge about per capita income, credit, and the distribution of income provides general insights into market potential.
a) Gross domestic product (GDP) is an overall measure of a nation's economic standing; it is the market value of a nation's total output of goods and services for a given period.
b) Per capita income is gross domestic product in relation to population.
5. Opportunities for international trade are not limited to countries with the highest incomes.
C. Political Forces
1. A country's legal and regulatory infrastructure is a direct reflection of the political climate in the country.
2. While laws and regulations have direct effects on a firm's operations in a country, political forces are indirect and often not clearly known in all country markets.
3. To offset the potential political negatives that may exist in a
country or region, companies strive to maintain good relations with political
officials in the targeted countries.
4. The political climate in a country or region, political officials in a country, and political officials in charge of trade agreements have a direct effect on the legislation and regulations (or lack thereof).
D. Legal
and Regulatory Forces
1. A nation's political system, laws, regulatory bodies, special interest groups, and courts all have great impact on international marketing.
2. A government's policies toward public and private enterprise, consumers, and foreign firms influence marketing across national boundaries through tariff and nontariff barriers.
3. The prevalence of the practice of bribery illustrates the differences in national standards of ethics.
a) Because U.S. trade and corporate policy, as well as U.S. law, prohibits direct involvement in payoffs and bribes, American companies may have a hard time competing with foreign firms that engage in these practices.
b) Some U.S. businesses that refuse to make payoffs are forced to hire local consultants, public relations firms, or advertising agencies, which results in indirect payoffs.
c) However, under the Foreign Corrupt Practices Act of 1977, it is illegal for U.S. firms to attempt to make large payments or bribes to influence policy decisions of foreign governments.
d) Nevertheless, facilitating payments, or small payments to support the performance of standard tasks, are often acceptable.
E. Cultural, Social, and Ethical Forces
1. Cultural, social, and ethical differences among nations can have significant effects on marketing activities.
2. Because marketing activities are primarily social in purpose, they are influenced by beliefs and values regarding family, religion, education, health, and recreation.
3. It can be difficult to transfer marketing symbols, trademarks, logos, and even products to international markets.
4. Cultural differences may also affect marketing negotiations and decision-making behavior.
5. Buyers' perceptions of other countries can influence product adoption and use.
6. When products are introduced from one nation into another, acceptance is far more likely if there are similarities between the two cultures.
7. Differences in ethical standards can also affect marketing efforts.
F. Technological Forces
1. Advances in technology (i.e., e-mail, voice mail, fax, cellular phones, and the Internet) have made international marketing more affordable and convenient.
2. In many developing countries that lack the level of technological infrastructure found in the United States, marketers are beginning to capitalize on opportunities to "leapfrog" existing technology.
G. Ethical and Social Responsibility Forces
1. When businesspeople travel, they sometimes perceive that the cultures of other nations have different modes of operation; this implied perspective of "us" versus "them" is also common in other countries. This is the self-reference criterion (SRC), the unconscious reference to one's own cultural values, experiences, and knowledge.
a) When confronted with a situation, some businesspeople react on the basis of knowledge and experience accumulated over a lifetime, which is usually grounded in their culture of origin (and often rooted in their religious beliefs).
b) However, many businesspeople adopt the principle of "When in Rome, do as the Romans do," that is, they adapt to the cultural practices of the country they are in and use the host country's cultural practices to rationalize straying from their own ethical values when doing business internationally.
2. Cultural relativism refers to the
concept that morality varies from one culture to another and that business
practices are therefore differentially defined as right or wrong by particular
III. Regional Trade Alliances, Markets, and Agreements
Although more firms are beginning to view the world as one huge marketplace, various regional trade alliances and specific markets affect companies engaging in international marketing; some create opportunities, others impose restraints.
A. The North American Free Trade Agreement (NAFTA)
1. The North American Free Trade Agreement (NAFTA), which went into effect in 1994, effectively merged Canada, Mexico, and the United States into one market of more than 421 million consumers.
a) NAFTA will eliminate virtually all tariffs on goods produced in and traded between Canada, Mexico, and the United States to create a totally free trade area by 2009.
b) NAFTA makes it easier for U.S. businesses to invest in Mexico and Canada, provides protection for intellectual property, expands trade by requiring equal treatment of U.S. firms in both countries, and simplifies country-of-origin rules.
c) Canada's consumers are relatively affluent and represent a significant market for U.S. firms.
d) The growth of Mexico's economy represents a significant opportunity for U.S. firms and, despite some economic instability, provides an opportunity to reach other Latin American countries while strengthening NAFTA.
2. Mexico's membership in NAFTA links the United States and Canada with other Latin American countries, providing additional opportunities to integrate trade among all the nations in the Western Hemisphere.
a) The Free Trade Area of the Americas (FTAA), a free trade agreement among the 34 nations of North and South America, will progressively eliminate trade barriers and create the world's largest free trade zone, with 800 million people.
b) The Central American Dominican Republic Free Trade Agreement (CAFTA-DR)—between Cost Rica, the Dominican Republic, El Salvador, Guatemala, Honduras, Nicaragua, and the United States—has also been approved in all those countries except Cost Rica.
3. Although NAFTA has been controversial, it has become a positive factor for U.S. firms wishing to engage in international marketing.
B. The European Union (EU)
1. The European Union (EU)—which today includes Austria, Belgium, Cyprus, the Czech Republic, Denmark, Estonia, Finland, France, Hungary, Germany, Greece, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, the Netherlands, Poland, Portugal, Slovakia, Slovenia, Spain, Sweden, and the United Kingdom—was officially formed in 1958 to promote trade among its members.
2. To facilitate free trade among members, the EU is working toward the standardization of business regulations and requirements, import duties, and value-added taxes; the elimination of customs checks; and the creation of a standardized currency for use by all members. (Austria, Belgium, Finland, France, Germany, Ireland, Italy, Luxembourg, the Netherlands, Portugal, and Spain have begun using a common currency, the "euro.") These changes have not been without controversy, however.
3. As the EU nations attempt to function as one large market, consumers in the EU may become more homogeneous in their needs and wants. Marketers should be aware, however, that cultural differences among the nations may require modifications in the marketing mix for customers in each nation.
C. The Common Market of the Southern Cone (MERCOSUR)
1. The Common Market of the Southern Cone (MERCOSUR) was established in 1991 to unite Argentina, Brazil, Paraguay, and Uruguay as a free trade alliance. Venezuela joined in 2005; Bolivia, Chile, Colombia, Ecuador, and Peru have associate member status.
2. The alliance promotes the free circulation of goods, services, and production factors among member nations.
D. Asia-Pacific Economic Cooperation (APEC)
1. The Asia-Pacific Economic Cooperation (APEC),
established in 1989, promotes open trade and economic and technical cooperation
among member nations, which today include Australia, Brunei Darussalam, Canada,
Chile, China, Chinese Taipei, Indonesia, Hong Kong, Japan, Korea, Malaysia,
Mexico, New Zealand, Papua New Guinea, Peru, the Philippines, Russia,
Singapore, Thailand, the United States, and Vietnam.
2. APEC differs
from other international trade alliances in its commitment to facilitating
business and its practice of allowing the business/private sector to
participate in a wide range of alliance activities.
3. Despite economic
turmoil and a recession in Asia in recent years, companies of the APEC have
become increasingly competitive and sophisticated in global business.
a) Despite the
high volume of trade between the United States and Japan, the two nations
continue to struggle with cultural and political differences and are, in
general, at odds over how to do business with each other.
b) The People's
Republic of China represents a huge potential market opportunity with its 1.3
billion people, but there are many risks associated with doing business in
c) Pacific Rim
regions, such as South Korea, Thailand, Singapore, Taiwan, Vietnam, and Hong
Kong, have become major manufacturing and financial centers.
E. World Trade Organization (WTO)
1. The General Agreement on Tariffs and Trade (GATT) was based on negotiations among member countries to reduce worldwide tariffs and increase international trade in the wake of the Second World War.
2. GATT was the precursor to the World Trade Organization (WTO), a global entity that promotes free trade among member nations by eliminating trade barriers and educating individuals, companies, and governments about trade rules around the world.
3. Among the trade issues the WTO addresses is rules to prevent dumping, the selling of products at unfairly low prices.
IV. International Entry Modes
A. Marketers engage in international marketing activities at several levels of involvement that cover a wide spectrum.
1. Traditionally, firms have adopted one of
four modes of entering an international market, with each successive "stage" representing
different degrees of international involvement:
a) Stage
1: No regular export activities
b) Stage
2: Export via independent representatives (agents)
c) Stage
3: Establishment of one or more sales subsidiaries internationally
d) Stage
4: Establishment of international production/manufacturing facilities
2. Today a firm's international involvement covers a wide spectrum from purely domestic marketing to global marketing.
a) Domestic marketing involves marketing strategies aimed at markets within the home country; at the other extreme, global marketing entails developing marketing strategies for the entire world (or at least more than one major region of the world).
b) Many firms with an international presence start out as small companies serving local and regional domestic markets and expand to national markets before considering opportunities in foreign markets; the born global firm, is one exception to this internationalization process.
c) Limited exporting may occur even if a firm makes little or no effort to obtain foreign sales; foreign buyers may seek out the company and/or its products, or a distributor may discover the firm's products and export them.
d) The level of commitment to international marketing is a major variable in global marketing strategies.
B. Importing and Exporting
1. Importing and exporting require the least amount of effort and commitment of resources.
a) Importing is the purchase of products from a foreign source.
b) Exporting is the sale of products to foreign markets. Finding an exporting intermediary to take over most marketing functions associated with selling to other countries entails minimal effort and cost.
2. Export agents bring together buyers and sellers from different countries; they collect a commission for arranging sales.
3. Buyers from foreign companies and governments provide a direct method of exporting and eliminate the need for an intermediary.
C. Trading Companies
1. Marketers sometimes employ a trading company, which links buyers and sellers in different countries but is not involved in manufacturing and does not own assets related to manufacturing.
2. An important function of trading companies is taking title to products and performing all the activities necessary to move the products from the domestic country to a foreign country.
3. Trading companies reduce risk for firms interested in getting involved in international marketing.
D. Licensing and Franchising
1. Licensing is an alternative to direct investment requiring a licensee to pay commissions or royalties on sales or supplies used in manufacturing.
a) Exchanges of management techniques or technical assistance are primary reasons for licensing arrangements.
b) Licensing is an attractive alternative to direct investment when the political stability of a foreign country is in doubt or when resources are unavailable for direct investment.
2. Franchising is a form of licensing in which a company (the franchiser) grants a franchisee the right to market its product, using its name, logo, methods of operation, advertising, products, and other elements associated with the franchiser's business, in return for a financial commitment and an agreement to conduct business in accordance with the franchiser's standard of operations. This arrangement allows franchisers to minimize the risks of international involvement in four ways:
a) The franchiser does not have to put up a large capital investment.
b) The franchiser's revenue stream is fairly consistent because franchisees pay a fixed fee and royalties.
c) The franchiser retains control of its name and increases global penetration of its product.
d) The franchise agreements ensure a certain standard of behavior from franchisees, which protects the franchise name.
E. Contract Manufacturing
1. Contract manufacturing occurs when a company hires a foreign firm to produce a designated volume of the firm's product to specifications, and the final product carries the domestic firm's name.
2. Outsourcing is defined as the contracting of non-core operations or jobs from internal production within a business to an external entity that specializes in that operation.
a) Offshoring is defined as outsourcing a business process to a foreign country, regardless of whether the production accomplished in the foreign country is performed by a wholly owned subsidiary or a third-party subcontractor.
b) Offshore outsourcing is the practice of contracting with an organization to perform some or all business functions in a country other than the country in which the product or service will be sold.
F. Joint Ventures
1. A joint venture is a partnership between a domestic firm and a foreign firm or government.
a) Control of the joint venture may be split equally, or one partner may control decision making.
b) Joint ventures often are a political necessity because of nationalism and government restrictions on foreign ownership; they also provide legitimacy in the eyes of the host country's citizens.
c) Joint ventures are assuming greater global importance because of cost advantages and the number of inexperienced firms entering foreign markets.
2. Strategic alliances, the newest form of international business structure, are partnerships formed to create competitive advantage on a worldwide basis.
a) Strategic alliances differ from joint ventures in that the alliance partners may have been traditional rivals competing for market share in the same product class.
b) The success rate of international alliances could be higher if there were a better fit between the companies.
c) A strategic alliance should focus on a joint market opportunity from which all partners can benefit.
G. Direct Ownership
1. Once a company makes a long-term commitment to marketing in a foreign nation that has a promising political and economic environment, direct ownership of a foreign subsidiary or division is a possibility.
2. The term multinational enterprise refers to firms that have operations or subsidiaries in many countries.
1. A wholly owned foreign subsidiary may be allowed to operate independently of the parent company so that its management can have more freedom to adjust to the local environment.
V. Global Organizational
A. The pyramid in Figure 7.2 symbolizes how deeply rooted the international operations and values are in the firm, with the base of the pyramid—structure—being the most difficult to change (especially in the short term).
B. Three basic structures of international organizations exist: export departments, international divisions, and internationally integrated structures (e.g., product division structures, geographic area structures, and matrix structures).
C. Export Departments
1. For most firms, the early stages of international development are often improvised and motivated by sales opportunities in the global marketplace.
2. For most firms engaging internationally for the first time, very minimal, if any, organizational adjustments take place to accommodate the international sales of the firm.
3. Exporting, licensing, and using trading companies are preferred modes of international market entry for firms with an export department structure.
D. International Divisions
1. The international division of a firm centralizes all of the responsibility for international operations (and in many cases all international activities also become centralized in the international division).
2. Firms with international divisions can be in a relatively early stage of their international development; for such firms exporting, licensing and franchising, trading companies, contract manufacturing, and joint ventures are possible modes of international market entry.
3. In particular, firms that use an international division
structure are often organized domestically on the basis of functions or product divisions, while the
international division operates based on geography.
4. Lack of coordination between domestic and international operations is commonly the most significant flaw in the international division structure.
E. Internationally Integrated
1. Three common internationally integrated structures are the product division structure, the geographic area structure, and the matrix structure.
2. Firms with internationally integrated structures have multiple
choices for international market entry similar to international divisions, and
they are the most likely to engage in
direct ownership activities internationally.
a) The product division structure is used by the majority of multinational firms.
(1) Each division is a self-contained entity with responsibility for
its own operations, whether it is based on a country or regional basis; the worldwide
headquarters maintains the overall
responsibility for the strategic direction of the firm, while the product
division is in charge of implementation.
(2) This structure lends itself well to firms that are diversified,
often driven by their current domestic operations.
b) The geographic area structure lends itself well to firms with a low degree of diversification.
(1) It divides the world into logical geographical areas based on the firm's operations and its customers' characteristics.
(2) This structure facilitates local responsiveness but is not ideal for global cost reductions and transferring core knowledge across the firm's geographic units.
c) The global matrix structure was designed to achieve both global integration and local responsiveness.
(1) An effectively implemented global matrix structure has the benefit of being global in scope while also being nimble and responsive locally.
(2) A poorly implemented global matrix structure results in added bureaucracy and indecisiveness in leadership and implementation.
VI. The International Marketing Mix: Customization Vs. Globalization
A. Traditionally, international marketing strategies have customized marketing mixes according to cultural, regional, and national differences.
B. At the other end of the spectrum, globalization of marketing involves developing marketing strategies as though the entire world (or its major regions) were a single entity; a globalized firm markets standardized products in the same way everywhere.
C. For many years, marketers have attempted to globalize their marketing mixes as much as possible by employing standardized products, promotional campaigns, prices, and distribution channels for all markets.
1. Brand name, product characteristics, packaging, and labeling are among the easiest marketing mix variables to standardize; media allocation, retail outlets, and price may be more difficult.
2. In the end, the degree of similarity among the various environmental and market conditions determines the feasibility and degree of globalization.
D. International marketing demands some strategic planning if a firm is to incorporate sales into its overall marketing strategy.
E. Regardless of the extent to which a firm chooses to globalize its marketing strategy, extensive environmental analysis and marketing research are necessary to understand the needs and desires of the target market(s) and successfully implement the chosen marketing strategy.


text:
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text:
Memory is something many people take for granted these days, me especially. People think that memory is just something humans, ponies and thousands of other creatures use to store information. I guess that's sort of true, but what nobody realizes is just how much of a gift memory is. Sure, some people think that all remembering does is dig up old wounds and bring nothing but pain, but they don't understand is that pain is what makes you human. Only through pain can we understand what friendship and love really means to us. If everything was all good and well, we would never learn to appreciate what we have. Take the others for example. Even though they made my life a living hell, I can look back and smile at the stupid shit they've put me through and learn from it. Mourning over loss, thinking about all the things you'll never share, the time you'll never spend together. Those aren't what is important. What is important is that you remember the time you shared and cherish those memories forever.
My only regret is that I took so long to remember. <- Ignore that bit. I didn't think it would be complete without it.
Go read it, it's GOOD!


text:
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text: WelcomeThe Association of Members of Independent Monitoring Boards (AMIMB) is a nationally recognized body representing those who monitor the treatment and rehabilitation of adults and young people in prison, immigration removal centres, and other secure establishments. The expertise and independence of the AMIMB are respected by the public, the government and the press, and by other public and voluntary bodies. We are routinely consulted by government and other organisations when charges are proposed to the prison system, or when problems arise. The AMIMB, through its members, provides independent, objective, concerned, evidence-based information views and proposal 30.10.14 AMIMB DRAFT CONSTITUTION 22.10.14 New Membership form 17.10.14 Sex Offender Talk 17.10.14 Risk Assessment: treatment of sexual offenders 17.10.14 Child Sexual Abusers - rehabilitation or control? AMIMB Members Only Minutes of Executive Meetings for 2012


text:
Home > EDM_PUBLICATIONS > eGEMs > Vol. 3 (2015) > Iss. 2
Volume 3, Issue 2 (2015) Evidence into Action: Improving User Interface to Improve Patient Outcomes
Federal government, policy groups and academics are hopeful health information technology (HIT) tools will be the gateway to improving patient outcomes and quality of care. Indeed, it is promising that electronic health records (EHRs) and clinical decision support tools (CDS) are rapidly be implemented in hospitals and clinics nationwide. Yet implementing EHR and CDS tools into complex health care systems and clinical workflow continues to be challenging, with poor integration of these systems into clinical workflow substantially reducing adoption and use. It is believed that thoughtful systems engineering approaches, including consideration of user experience and improvements in user interface, can greatly improve the ability of CDS tools to reach their potential to improve quality of care and patient outcomes.
Dr. Thomas McGinn, Chair of the Department of Medicine at Hofstra North Shore-LIJ School of Medicine will serve as a Guest Editor for this special issue, which will share lessons learned based on the experiences and perspectives of leaders and innovators who are developing and deploying user-friendly HIT interfaces.
The submission period is now closed. Accepted publications will be posted starting January/February 2015. For questions about the special issue, please contact firstname.lastname@example.com.
Invited Perspectives and Topics
- Proposed conceptual models, frameworks, or protocols for developing of user-friendly HIT interfaces OR that describe innovative methods for usability testing, EHR-based tools, webpages, mobile applications or databases.
- Research case studies demonstrating the impact of a tool with high adoption rates on patient outcomes OR the impact of a user interface that demonstrates improved process outcomes (adoption, satisfaction) as a result of pilot or usability testing.
- Comparative case studies demonstrating the impact of various tools and comparing implementation approaches across sites.
Please visit the eGEMs Instructions for Authors.GUEST EDITOR
- Thomas McGinn, MD, MPH
- Chair of Medicine
Hofstra North Shore-LIJ School of Medicine


text:
I Am Divergent
I am not brave, yet I push myself further
I am not selfless, yet I cannot take a life
I cannot tell a lie, yet I lie too often
I am not smart, yet I am a strategist
I am not kind, yet I protect innocent people
What does this make me?
I am only brave when I am selfless
I am only selfless when I am not as important
I am only truthful when I decide it is best
I am only cunning when the situation calls for it
I am only kind when it is the right thing to do
Am I a specific faction?
I am neither Dauntless, nor Abnegation
Nor Candor, Erudite, or Amity
My mind is not specifically set
I am only myself
I Am Divergent


text:
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One of the top challenges facing Barack Obama's Justice Department will be striking a balance between fighting terrorism and protecting individual civil liberties, says a recent memo from the department's inspector general.
That responsibility likely will fall on Attorney General-designate Eric Holder, whose appointment was announced by President-elect Obama on Monday. At a news conference in Chicago, Holder said the two priorities were not mutually exclusive.
"It is incumbent upon those of us who lead the department to ensure not only that the nation is safe but also that our laws and traditions are respected," said Holder, a deputy attorney general during Bill Clinton's presidency.
"There is not a tension between those two. We can and we must ensure that the American people remain secure and that the great constitutional guarantees that define us as a nation are truly valued."
The Justice Department's Inspector General Glenn Fine listed "the continuing challenge of balancing aggressive pursuit of [the department's] counterterrorism responsibilities with the protection of individual civil rights and civil liberties" among the top 10 critical issues in 2009.
Under President George W. Bush, the Justice Department – along with the FBI and the CIA – sidestepped long-standing civil rights laws in their zeal to pursue radical Islamic terrorists. The Bush administration used the 9/11 attacks and the possibility that terrorists would strike the U.S. again to get Congress to support the administration's policies.
In December 2005, the New York Times revealed that immediately after 9/11 Bush authorized the National Security Agency to eavesdrop on Americans' phone calls and e-mails without a court order.
Bush said the program was aimed specifically at intercepting telephone calls from al-Qaeda associates outside the U.S., although other evidence indicates that the calls of innocent citizens were eavesdropped on.
According to Fine's memo dated Nov. 14, the so-called "terrorist surveillance program" is just one example of how the Justice Department, in close coordination with the White House, may have violated the Constitution.
In the memo, Fine also confirmed that his office has been investigating the Justice Departmen's association with the program.
"The [Office of Inspector General] is reviewing the department's involvement with the National Security Agency program known as the 'terrorist surveillance program,'" the memo said. "This ongoing review is examining the department's controls and use of information related to the program and the department's compliance with legal requirements governing the program."
FBI Abuse of Powers
Other Justice programs are also under scrutiny, including the FBI's abuse of "exigent letters," a tactic the agency is supposed to use to obtain information from individuals and businesses only under emergency circumstances.
Fine said his office is close to completing an investigation into the matter to determine "who was responsible for the use of exigent letters and other improper requests for telephone records."
Thus far, Fine has determined that the FBI cited false or unjustified reasons to support its use of more than 700 "exigent letters" in obtaining telephone billing records from three communication service providers.
"In many cases there was no exigency at all," Fine's memo said. "We concluded that these exigent letters circumvented the requirements of the Electronic Communications Privacy Act and violated Attorney General Guidelines and internal FBI policy."
The FBI stopped using "exigent letters" after Fine issued a 200-page report in March 2007 on the FBI's abuse of these national security letters. But his office jas continued to investigate.
The next Attorney General also may have to overhaul the FBI's terrorist watch list. Fine said an examination of the program uncovered that the FBI failed to remove names of people who weren't under suspicion.
"Our audit found that FBI case agents did not always update watch-list records when new information became known and that the FBI did not always remove watch-list records when it was appropriate to do so," Fine said
However, perhaps the most daunting challenge Holder will face is restoring confidence in the Justice Department after a series of scandals under former Attorney General Alberto Gonzales, including the firing of nine U.S. Attorneys in 2006 for partisan political reasons.
"An ongoing challenge is the need to restore public confidence in the integrity of department operations in light of concerns about politicized hiring in the department," Fine said.
"The immediate challenge for the Attorney General and the department's leadership is to ensure that the serious problems and misconduct we found regarding politicized hiring for career positions and the dismissal of U.S. Attorneys do not recur," Fine said.
"The department's removal of the U.S. Attorneys and the controversy it created severely damaged the credibility of the department and raised doubts about the integrity of department prosecutive decisions."
Hope for Holder
David Iglesias, the former U.S. Attorney for New Mexico who was one of the nine federal prosecutors fired, said in an interview that Holder has already surpassed Gonzales because he was a prosecutor and that alone will buy him credibility with U.S. Attorneys.
"It buys a lot of credibility that the Attorney General has stood in the shoes of lots of career federal prosecutors and career U.S. Attorneys." Iglesias said. "Gonzales had never been a prosecutor. …
"To have someone leading the premier law enforcement agency in the U.S. who has never prosecuted cases I think really set them up for failure. Gonzales [and some of his subordinates] never really understood that U.S. Attorneys have to be independent."
Patrick Leahy, chairman of the Senate Judiciary Committee, said Holder's experience would help repair the department's image.
"Rebuilding morale and public confidence in the Justice Department continues to be a top priority, and Eric Holder's extensive experience and knowledge of the department will serve him well as he faces many challenges as Attorney General," Leahy said.
"After the scandals that have undermined the public's trust in the Justice Department and that have damaged the morale of its dedicated professionals, it would be especially fitting to bring in a leader who is widely admired by the staff and especially by the professionals of the U.S. Attorneys' offices across the nation."
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Rock the Caftan
February 21, 2015 § 11 Comments
Caftans, long, loose-fitting tunics with origins in ancient Persia, have been gaining momentum as an alternative to more structured formal dress. With any luck, there will be some caftans among the goddess gowns at tomorrow's Academy Awards ceremony.
They say Tsarina Alexandra was the first westerner to make a fashion statement in a caftan, when she dressed as a seventeenth-century Tsarina for a costume ball in 1903. Paul Poiret also advanced the caftan cause, but it was not until the 1950s that the garment really began to influence western fashion. Here's a look at caftan patterns from the 1950s to now.
In the mid-1950s, Christian Dior and Cristóbal Balenciaga's experiments with silhouette were partly inspired by eastern traditional dress. Dior's Fall 1955 couture collection (Y line) included caftan-inspired ensembles—coats with high, side-front slits that reveal a slim dress underneath:
You can see echoes of the Dior caftan look in contemporary sewing patterns like McCall's 3525 and 3532, both from late 1955:
McCall's 3532, called a "slim caftan-and-dress ensemble," was featured on the cover of McCall's news leaflet and in the company's "Make the Clothes that Make the Woman" advertising campaign. According to the ad, the design is ideal for the season's "Oriental" fabrics, such as silk twill and raw silk tussah:
A Vogue version of the Dior caftan ensemble, Vogue 8759, is available as a reproduction from EvaDress.
Caftans became popular in the 1960s in tandem with the increasing interest in eastern cultures. The Madame Grès version at the top of this post is cut on the bias, producing geometric seaming detail. The caption reads, "Coup of bias-work by Grès—because this piecing-together of bias angles is sinuous, stark, ravishingly Moroccan."
This dress from Jean Patou by Michel Goma, Vogue 1699, has what the envelope calls a "caftan neckline." The model is Beate Schulz:
This circa 1968 Vogue caftan pattern has optional flexible trim:
Other patterns from the late 1960s and early 1970s also reference eastern dress. From 1967, McCall's 9026 is labelled as an abba in two lengths. Abba is an alternate spelling of aba, commonly abaya: a traditional Arab garment, long, loose-fitting, sleeveless, and made from a single rectangle of fabric. (Today, caftans often function as abayat.) The model is Veronica Hamel:
Burnoose patterns were marketed as resort wear. A pompom-trimmed version of McCall's 2377 was photographed for the cover of McCall's Summer 1970 catalogue:
Marola Witt models Simplicity's burnoose in the July 1967 issue of Simplicity Fashion News (thanks to Mary of PatternGate for the reference). The text promotes the design's 'Arabian' exoticism: "be exotic in a JIFFY: … the burnoose, born in Arabia, brought up to date here":
This Halston caftan pattern from McCall's also includes a top and pants (you can buy yourself a copy from the shop):
This flowing Dior caftan, modelled by Billie Blair, has lots of neckline detail, full-length sleeve openings, and pockets:
Vogue 1515 by Nina Ricci is a caftan that's open in front and attached at the neckline to a handkerchief-hemmed underdress:
It's harder to find post-1970s designer caftan patterns. This wide-sleeved, Oscar de la Renta caftan is trimmed with contrast bands. When worn, the side seams swing forward to raise the hemline in front:
From Issey Miyake, Vogue 2315 is a caftan-inspired summer dress:
Caftan patterns started making a comeback (of sorts) in 2009. Simplicity 2584, a caftan-inspired tunic by Cynthia Rowley, is out of print but still in demand:
Ralph Rucci's floor-length caftan, Vogue 1181 (now out of print), has an abaya silhouette and interesting construction details—overarm darts, shaped lower sections, and a hook and eye above the low neckline:
The design is from Chado Ralph Rucci Resort 2009:
Matthew Williamson's short caftan, available as a free pattern from the Guardian, is also a 2009 design:
And Heather Lou's printed chiffon caftan is a Fashion Star pattern by Nikki Poulos, McCall's 6552 (now out of print):
Would you sew a caftan?
Year of the Horse: Vintage Equestrian Patterns
January 31, 2014 § 6 Comments
Happy Chinese new year! In honour of the Year of the Horse, here's a selection of equestrian sewing patterns from the 1920s to the 1990s.
Like tennis wear, modern equestrian wear begins in the 1920s. Before the First World War, women generally rode sidesaddle; equestriennes wore fashionably voluminous riding skirts designed to fall flatteringly on horseback, with breeches underneath. In addition to 19th-century Harper's Bazaar patterns for riding habits, the Commercial Pattern Archive's "Riding" category reveals a 1909 pattern for ladies' riding breeches (Butterick 3313), and two divided equestrian skirts from the early teens (Butterick 5792 and Pictorial Review 5003).
By 1920 the major American pattern companies were producing commercial patterns for women's jodhpurs—often called riding breeches. As the illustration at the top of this post shows, some women continued to ride sidesaddle, even into the 1930s, but I haven't found any modern patterns for sidesaddle riding habits.
Butterick 2255, circa 1920, is a pattern for a riding coat and breeches worthy of Lady Mary. The envelope specifies that the design is for cross saddle riding:
This 1920 McCall pattern for riding breeches shows the pattern diagram and instructions on the envelope (click to enlarge):
I have this 1923 jodhpurs pattern in my collection—for when I learn to ride, of course:
This McCall's illustration of a riding coat and breeches is from the same year, but it shows a different breeches pattern, as well as a more streamlined riding coat than a few years previous:
For more on 1920s equestrian wear see Unsung Sewing Patterns' posts on Butterick 4147, a pair of riding knickers, and Pictorial Review 1435 and 1438, a riding jacket and breeches.
Jodhpurs were not just for equestrian sports: they were the "trousers of adventure," worn for activities like driving, hiking and camping, safaris, and aviation. This early '30s illustration from Pictorial Review shows the latest sports styles, including beach pajamas and clothes for tennis and golf. The riding habit includes a sleeveless jacket or waistcoat (click to enlarge):
Butterick 5647 is a pattern for cuffed, fall-front jodhpurs with notched back waist and side and back pockets. Nabby at This Old Life made these for her vintage aviatrix costume (click image for post):
McCall 9412, from September 1937, looks to be a rare early pattern for western-style riding pants, with reinforced seat and inner leg. I'd love to see a better-quality image; this one was found in a lot on eBay:
Also from the late 1930s, Pictorial Review 9337 is a pattern for a tailored shirt and sleek pair of riding trousers:
Apart from children's equestrian patterns, I couldn't find any patterns from the major pattern companies that were specifically for riding until the 1970s, when western-style riding wear was in fashion. McCall's 4870 includes riding pants and a shirt-jacket with contrast, embroidered yoke and cuffs. The model is Angeleen Gagliano, who was a horsewoman in real life:
This Butterick pattern by Jane Tise shows the vogue for western shirts:
Vogue even had a his-and-hers western shirt pattern, Vogue 8973/8976 (the '70s-averse are advised not to click the links).
The influence of the western shirt is evident in this Halston dress with scalloped yoke:
Many of you will remember the 1980s jodhpurs trend, when you could dress for English-style riding far from any stable. Exhibit A is New Look 6013:
There were also faux jodhpurs—pleated, tapered pants like those in Burda 5332 or McCall's 2077.
Gianni Versace and Claude Montana both showed jodhpurs in the '80s, but unfortunately Vogue Patterns doesn't seem to have released any patterns for them. Just for fun, here's a Lord Snowdon photo of aristocrat Angela Rawlinson in a jacket and tweed jodhpurs by John McIntyre:
Little Vogue 7876, with its young model leaning on a stone balustrade, is interesting for showing the social ambition associated with horseback riding. The jodhpurs are a little loose for actual riding (the similarly styled Vogue 7842 also has a looser fit):
With the advent of stretch fabrics, riding pants no longer needed lots of room in the upper leg. These jodhpurs by Calvin Klein have a sleeker fit that's more in line with late 20th-century equestrian wear. They come with detachable stirrups, and may be made in synthetic suede:
McCall's 6737's riding pants are for stretch fabrics, reinforced with leather or ultrasuede in the seat and inner leg. The pattern also marks a return to the waistcoat:
Vogue 1655 by DKNY brings us full circle: the riding-style jacket was photographed in traditional scarlet at a country estate:
For more on the history of women's equestrian wear see Mackay-Smith, Druesedow, and Ryder's Man and the Horse: An Illustrated History of Equestrian Apparel (Simon and Schuster, 1984), which was published to accompany the Polo/Ralph Lauren-sponsored Costume Institute exhibit held from December, 1984 to September, 1985.
If you'd like to sew your own sidesaddle riding habit, reproductions of early French magazine patterns for costumes d'amazone (women's riding habits) are available from eBay shop Au fil du temps. For a modern equestrian look, Folkwear's Equestriennes pattern, Folkwear 506, includes a riding jacket, waistcoat, and jodhpurs based on garments in the collection of the Costume Institute.
Special thanks to Naomi for acting as my in-house equestrianism consultant.
Vintage Bridal Patterns
June 12, 2013 § 6 Comments
Vintage bridal patterns offer a unique alternative to modern bridal designs. Even if you're already married, they provide a glimpse into past bridal fashions' sometimes exotic vintage details—making them tempting even for those not in need of a wedding dress. (Can we expect Debi Fry to make her 1940 bridal pattern, McCall 4004?)
Now that wedding season is in full swing, here's a selection of vintage bridal patterns, from the Twenties to the Eighties.
In the Twenties and Thirties, bridal patterns usually did double duty as patterns for formal dresses. This 1920s Peerless Patterns sign features a wedding illustration promoting a number of patterns:
This fantastic bridal or evening dress is short, in keeping with the current fashion, and may have one or two extended side panels that give the effect of a train:
Thirties bridal patterns have the same glamour we associate with the decade's evening wear. This pattern for a bridal gown or dinner dress dates to circa June 1934:
A reproduction version of this pattern for a bridal gown or afternoon dress is available from the Vintage Pattern Lending Library:
A copy of McCall 8331 recently seen on eBay was accompanied by this wedding portrait, which shows the dress made up:
In the Forties the bride begins to take centre stage on pattern envelopes, although evening and bridesmaid versions are still included. This bridal or evening dress was reissued in the Vintage Vogue line as Vogue 2384:
This strong-shouldered, postwar design has a sweetheart neckline and waist piping detail. The pattern also includes a bridesmaid's dress with short, shirred sleeves (click image for the technical drawings):
By the 1950s the bride, in her full-skirted glory, dominates the pattern envelope. This Jacques Fath design for a bride's or bridesmaid's dress has a bustled back and tiny shawl collar. The bridesmaid's version simply lacks a train:
John Cavanagh was known for his connection to the English court. He licensed several bridal patterns with Vogue, and designed the Duchess of Kent's wedding dress in 1961. (See my earlier post here.) This short-sleeved Cavanagh design has a simulated train; the smaller figures show bridesmaid's and evening versions:
Also by John Cavanagh, this 1960s bridal design with a cathedral-length Watteau train was modelled by Jean Shrimpton:
No bridal pattern survey could be complete without this Halston pattern for bridal headpieces:
From the early 1970s, this Pierre Cardin bridal gown, shown in a silk knit, has an optional overskirt with handkerchief train:
Although it isn't for everyone, Yves Saint Laurent's couture bridal design for a gathered, bias dress, filmy coat, and five-yard veil distinguishes itself by showing the bride as wayward Vestal virgin (see Paco Peralta's post here):
Released in 1980, this opulent Dior design for a bell-skirted bridal gown, complete with bias necktie, cummerbund, and bow-embellished headpiece, is drawn from the Christian Dior Haute Couture collection for Fall 1979 (read Dustin's post here):
Perfect for steampunk weddings, Vogue 2180 by Bellville Sassoon has an elaborate bustle that gives it a neo-Victorian flair:
For more on the history of bridal fashion, see the V&A Weddings page and Edwina Ehrman's The Wedding Dress: 300 Years of Bridal Fashions (V&A, 2011).
October 26, 2012 § 4 Comments
Southern beauty queen and model Angeleen (1950-2009) is a familiar face to vintage pattern aficionados. Born Angelina Marie Gagliano, she was also a keen equestrian—she is the model in Chris von Wangenheim's circa 1975 series Untitled (Woman with horse). (It's her horse. See prints at Christie's and Staley-Wise Gallery.) Her son, Jason Storch, has posted a short bio here.
Angeleen did a lot of work for Simplicity, McCall's, and especially Vogue Patterns in the mid-1970s. Here she is on the cover of a Very Easy Vogue catalogue:
Angeleen can be seen on some of the earliest Vogue patterns from Sonia Rykiel, Chloé, and Calvin Klein:
Here she models Halston's spiral-cut dress for McCall's (see Dustin's recent post on this pattern here):
My personal favourite patterns featuring Angeleen are the ones for '70s evening wear, like these designs from Balmain and Lanvin:
See youthquaker's blog and facebook for more photos of Angeleen from British Vogue. Thanks to Jason Storch for his assistance.
Caped Crusaders: Vintage Cape Patterns
September 25, 2012 § 7 Comments
The cape trend of the last two years shows no sign of abating. (Read a Fashionising post about the trend here.) In terms of sewing patterns, Donna Karan's V2924 was ahead of the trend (see Erica B's version here) and this fall we have V1322 by DKNY. Paco Peralta has several cape designs available including the sculptural Funghi. In vintage reissues, Butterick has re-released some vintage cape patterns in their Retro line: B6329 (from 1935) and B6411 (a reissue of Butterick 4570 from 1948).
I often find myself reaching for the vintage version of a current trend, and I'll have a cape project to share with you soon. While looking for the right pattern, I was struck by the variety of cape designs over the decades. Here's a selection of vintage cape patterns from the Twenties to the Eighties.
Two 1920s patterns in my collection have capes with interesting details. This mid-Twenties pattern for a dress by Renée also includes a cape with button/strap closure:
And I still love the pointed yoke of this Miler Soeurs cape (see my grey version here):
The Thirties were a good decade for capes. This 1936 copy of McCall Style News shows a matching cape and dress ensemble:
Sewing bloggers' 1930s capes show how contemporary these vintage outerwear styles can look today. Debi's mid-Thirties cape pattern has a similar look to the ensemble illustrated above, but with a false front creating the illusion of a matching jacket. Click the image to see her finished version:
Puu's late '30s cape has a high-collared yoke, arm slits, and rounded, gathered shoulders (click the image for her construction post and see the finished version here):
The fashion for capes continued into the Forties. The decade's strong-shouldered silhouette is visible in these two cape patterns from my collection. The first, from the early '40s, has a pronounced, boxy shape and optional broad stand-up collar:
The second cape shades into New Look sleekness, with a narrower collar and lower hemline:
In the Fifties, capes showed a de-emphasis on the shoulders and a fullness that carries over to the early '60s. Vogue 1089 by Robert Piguet is actually from 1949; I thought it might really be a capelet, but the envelope description calls it a "flared cape with diagonal double-breasted closing below soft shaped collar":
Here's an illustration of the Piguet ensemble by Bernard Blossac:
This mid-Fifties cape by Jacques Fath has big, buttoned cuffs at the arm vents. The shaped collar is part of the suit underneath:
The Sixties were another good decade for capes. On this Vogue Pattern Book cover, Wilhelmina Cooper exemplifies the "thoroughbred look" of Fall 1963 in a tailored yellow cape:
This elegant cape by Nina Ricci has a wide shawl collar and is shaped by released inverted darts. The model is Maggie Eckhardt:
Astrid Heeren models this fabulous mod cape by Pierre Cardin:
This late '60s design by Pucci is modelled by Birgitta af Klercker and was photographed in Rome at La Cisterna:
As the Seventies progressed, capes generally kept their collars, but gained a new fluidity. This mid-Seventies Halston "poncho-cape" has a collar and button front, but is reversible:
This late '70s Chloé design by Karl Lagerfeld, featuring Jerry Hall, includes a three-quarter length, circular cape with pointed bias collar. The cape gets its strong shoulders from an inside button and tab at each shoulder:
In the Eighties, fluidity gained the upper hand, as seen in these full, collarless, and unstructured capes by Yves Saint Laurent:
Would you wear a vintage cape, or do you prefer the cape's more recent incarnations?
Mad Men Era 7: Millinery
June 4, 2012 § 4 Comments
This week, four milliners who licensed their designs with Vogue in the early Sixties: Sally Victor, John Frederics, Guy Laroche, and Halston.
Sally Victor
Sally Victor (1905-1977) was one of the United States' most prominent and successful milliners. She began her career as a department store buyer in the 1920s; after her marriage to the milliner 'Serge' (Sergiu Victor) she turned to designing hats, first for her husband's salon and, from 1934, at her own custom millinery studio. Victor was known for her wearable yet sophisticated designs showing a diversity of influences.
Vogue 9992 is a pillbox hat with a large bow on the right-hand side:
John Frederics
John-Frederics was founded in 1929 by partners John P. Harberger (1902-1993) and Frederick Hirst (1906-1964). The duo designed hats for Hollywood productions including Gone With the Wind (1939), in which Vivien Leigh wore their straw hat. The label has a confusing history because of the partners' subsequent name-changes: John P. Harberger changed his name twice, first to John Frederics and later, after the partnership dissolved in 1948, to John P. John; he designed solo as Mr. John, and Frederick Hirst as Mr. Fred. (Vogue also had Mr. John patterns in the 1950s.) It was Hirst who continued the John-Frederics label into the early 1960s.
Vogue 5384 is a simple but dramatic toque with fold-over detail and jewel embellishment:
Guy Laroche
Guy Laroche (featured in my previous Mad Men era post) started out as a millinery designer. I have seen one hat pattern by Laroche: Vogue 5336, described on the envelope back as a 'profile toque' trimmed with knot-tied ends. Version B has contrast trim:
Vogue 5336 was featured in the August/September 1961 issue of Vogue Pattern Book (second from the left):
Born Roy Halston Frowick, Halston (1932-1990) also started out as a millinery designer. In 1957 he opened his own hat shop in Chicago; by 1959 he had relocated to New York to design hats for Bergdorf Goodman. He achieved fame as a milliner when Jacqueline Kennedy wore his pillbox hat to John F. Kennedy's 1961 presidential inauguration. Vogue's hat patterns refer to him as Halston of Bergdorf Goodman.
Vogue 7082 is a set of flower-like bridal headpieces made of soft fabric 'petals':
Vogue 7082 was promoted with the wedding dress pattern Vogue 1745 (see pattern images here). The bridal headpieces are similar to this green one, pictured in Vogue magazine in April 1963:
This group of milliners, old and new, seem to reflect the fortunes of millinery in the twentieth century. By the Sixties, Sally Victor and John-Frederics were established labels run by senior designers nearing the ends of their careers, while the younger designers, Guy Laroche and Halston, were to leave millinery to focus on fashion design.
Next: McCall's New York Designers: Bill Blass, Geoffrey Beene, and Anne Klein.
I Heart Disco
August 22, 2011 § 4 Comments
This week, some favourite disco patterns!
The term 'disco' is a little nebulous. Disco music was popular from the mid-1970s to about 1980. Its huge popularity led to an anti-disco backlash that's come to be symbolized by Disco Demolition Night, a.k.a. the 'Disco Riots,' which took place in the summer of 1979 (see Jo Meek, "Earth, Wind and Pyre," and Joe Lapointe, "The Night Disco Went Up in Smoke"). Studio 54, the famous New York City nightclub that effectively stands for disco hedonism today, was open from 1977 until 1986. In this slideshow, you can see Andy Warhol partying at the club with Bianca Jagger, Liza Minelli, and Halston, as well as Diana Ross, Deborah Harry, and even a young Tom Ford.
For the purposes of this post, I'm going by my personal definition of disco style: glam evening wear that's more party girl than society doyenne, all from the mid-'70s to the early '80s. As I edited down my initial list I found the best designs shared elements like fluid draping and halter necks or one-shouldered bodices. Also, of the seven patterns, three are jumpsuits or give the impression of being a jumpsuit. Here's my disco patterns best-of, ordered chronologically:
1. Vogue 2870 – Lanvin, 1973. Modelled by Karen Bjornson. Bjornson, who is virtually ubiquitous on later '70s Vogue Patterns, was Halston's house model. The (fantastic) photo makes the design look like a jumpsuit, but the pattern is actually for evening separates: palazzo pants with no side seams and a halter top with a wide midriff band that gives a cummerbund effect.
2. Vogue 2014 – Givenchy, 1978. Modelled by the young Gia Carangi, the late, queer supermodel who was brought back to the spotlight by the HBO movie Gia starring Angelina Jolie. This gorgeous evening dress has a crisscrossed halter neck and calls for an eighteen-inch tassel down the back. I have this one in my collection and plan to make it sometime in a silk or viscose jersey, but I think I need to learn to make tassels first.
3. Vogue 2173 – Chloé, 1979. No disco collection could be complete without this design by Karl Lagerfeld for Chloé. The one-shouldered evening dress comes with a reversible contrast shawl. I don't know why, but to me this is the perfect late seventies-early eighties colour combination.
4. Vogue 2307 – Givenchy, 1979. Modelled by Tara Shannon. Another beautifully fluid Givenchy design, with the asymmetrical, one-shouldered bodice balanced by draping at the opposite hip. This is another one in my collection; I have a length of deep purple chiffon (originally used in a Hallowe'en costume) that's just enough to make the cocktail version, but I haven't yet found the occasion where I could get away with that much purple chiffon.
5. Vogue 2313 – Yves Saint Laurent, 1979. Modelled by Tara Shannon. A fabulous opera coat and evening dress ensemble with tie-halter and bow bodice. I love the sorbet colours, graphics and over-the-top drama of this pattern.
6. Vogue 2375 – Gianni Versace, 1980. Not a true jumpsuit as I thought (thanks, Dustin!) but a halter neck top and pants with tapered legs, side draping and matching jacket. Check out the illustration's matching sandals and tone-on-tone, contrast satin cummerbund.
7. Vogue 1014 – Yves Saint Laurent, circa 1982. My notes say this is a top and pleated harem pants but, as the photo shows, it definitely has a jumpsuit effect when made in a single fabric and worn with the top tucked in. It's interesting to see cuffed and pleated harem pants in the wake of the recent draped harem pants trend. Are we having a disco moment?