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MOME Interview 6: Tim Hensley |
Friday, 01 September 2006 | |||||
This interview is reprinted in its entirety from MOME Vol. 6. Tim Hensley was born in 1966 in Bloomington, Indiana. Besides a familiarity with his comics, this is everything I knew about him before I spoke to him on September 2. He filled in the details: He moved to LA (where he still lives) at age 3. His father was a successful musician who had a psychedelic rock band in Indiana called Masters of Deceit. In LA he did session work for such unpromising acts as Pia Zadora and Pink Lady, but went on to become Neil Diamond's piano player — which he still is. Since there was always recording equipment and keyboards lying around, young Tim taught himself how to use a 4-track recorder, play piano and guitar, and write songs, which, with the encouragement of his dad, he proceeded to do. He even had his own band with the Hensleyesque name Victor Banana, and wrote the "soundtrack" to Daniel Clowes' graphic novel Like a Velvet Glove Cast in Iron. Tim was doubly blessed because his dad was also a comic book collector, so he read his dad's EC collection, and took a weekly trip to the local comics store where he and his dad would load up on Marvel, DC, Warren magazines, underground comix, and Heavy Metal — a fine, catholic education for a youngster with an inclination to draw. He became less interested in comics in college, but by around 1989 he'd discovered alternative comics and it was all downhill from there. Hensley's approach to comics has to be among the most distinctive of any living cartoonist — more a throwback to the eccentric individuality of cartoonists from the '20s and '30s where madcap Dadaesque dialogue merrily coexisted with an anarchic drawing style, in this case, a purposefully flat, clean-line technique with faint echoes of the Harvey children's comics circa 1960s. For those dim readers like myself who reveled in but don't quite get terms like "sandbag googleplexes," this short interview should be a revelation. —Gary Groth gary groth: Your work is so highly stylized, I'm curious as to how you arrived at it, what artists inspired you, or what you may have copied early on, and so forth. tim hensley: I don't know that I necessarily started copying different styles of artists. I kind of had my own style, and I think as I became more crushed by life, I started to rely on more of a crutch of associations — and also, just that I enjoyed reading comics and thinking about them. Like, when you end up working in a different style, you have to think differently. [Laughs.] I'm not being real articulate about it. I can't really think of any genesis of that. gg: Maybe that's why your work is so sui generis. You said that you started getting into what I guess we could call alternative comics in 1989? You discovered them, rediscovered them? th: Yeah. I think the real thing that happened was that I had a band going at the time, and Daniel Clowes did the cover for the album I had done. I had just seen Lloyd Llewellyn, and I had ended up becoming friends with him through the mail. And as a result of that, I ended up discovering all the other comics that were around then too, like Love and Rockets, American Splendor, and everything, which I was sort of aware of already. gg: What was the name of your band? th: It was Victor Banana. gg: Now, how did Dan come to do the jacket? th: Well, I just sent him a tape of it, and it paid a little, but I think he liked it too. gg: How did you come to correspond with Dan? th: Well, I had the issues of Lloyd Llewellyn and I saw his address in there, and I thought there was a correspondence between the music I was making and his drawing, so we just corresponded back and forth for a while. I can't remember exactly how I fell into doing the soundtrack for the Velvet Glove thing. It was pretty weird, because he was not finished with the story when I was writing songs for it, and I remember that he sent me this kind of top-secret letter, saying, "This is where I think the story is going." And right when he was doing the first album cover for the record I did, that was right when the first issue of Eightball came out. I remember going to the comic store and getting Eightball and being like, "Oh my God!" because it was just such a step forward from what he had done previously. gg: Did discovering, or rediscovering comics, inspire you to start doing your own more seriously at that point? th: A bit of both, I guess. A bit of neither. I was still drawing comics on the side, and I think that was another thing that was a connection with Dan, he was doing those Duplex Planet one-pagers. David Greenberger asked me, again as a songwriting assignment, he was doing these albums that were Ernest Noyes Brookings, one of the poets from Duplex Planet, with people setting his words to music. So I ended up doing those albums, and from that, I did the comics in the Duplex Planet Illustrated [No More Shaves] that Fantagraphics put out. That was the first real thing I had published. gg: I see. Now, in 1989, you were 23? What did you do immediately after college, how did you start earning a living? th: I was working temp jobs, but I was still living at home. I didn't move out of my parents' house till I was like, 29 and 7/8. And that was the main thing that helped making the records, because I was putting them out myself. So I was working these temp jobs. I remember working in a bank and putting bank statements in envelopes all day to send out. Just really boring. gg: [Laughs.] Wondering why you went to college? th: Yeah. No. Eventually I needed to move out. That happened later [laughs]. The job that I ended up getting was that I worked as a closed-captioning editor for 10 years. gg: Closed-captioning editor? In videos? th: This was for broadcast television, though I eventually ended up in the home video department. gg: What does a closed-captioning editor exactly do? th: Well, you'd go into work and get a tape — well, back then you'd get a tape — and you basically play it and play it, and sort of type along with it. And, all the tapes are striped with time code, and then you assign time codes to the captions that appear. You listen to people. When I found out I was being interviewed, the first thing I was thinking was, "Who's going to transcribe this?" [Groth laughs.] "How does it work with these interviews?" [Groth laughs.] Because it's not too far from what I was doing. gg: Tim, you could transcribe it! th: Oh, boy. Yeah, no, I mean, I'd have to put on my wrist braces and everything. [Laughs.] gg: So you literally transcribed the tapes, and then synchronized them with... th: Yeah. If you've ever watched the news, you see all kinds of weird mistakes, that's more like being a court reporter. This is stuff that's done in advance, pretty much. Sometimes the turnaround is pretty short. I remember one time Citizen Kane came in as a rush job, it was going to be on television or something. gg: Well, if it's any movie you want to rush, it's Citizen Kane. th: Yeah, yeah. It was weird. It was a cool job, because you'd get totally different things from day to day, you'd never be able to predict. You'd do a week of Blaxploitation movies then you'd be working on Strawberry Shortcake or Walker, Texas Ranger. gg: How long did you do this? th: I did that up until January of this year [2006]. gg: Really. th: Yeah. gg: Jesus. [Laughs.] And you were you drawing on the side, basically. th: Yeah. And I had started keeping a sketchbook while I was there, because in the closed captioning job, you're locked into this cubicle, not locked, actually, it's not locked, but it's a cubicle with a door. And the thing that I used to do, at the end of the day or as I was working, I would notate the time code of a particular image that I liked on what I was working on, then I would draw it. So, I was doing that for a while and ended up putting together a 'zine called Ticket Stub. I did about eight or nine issues of that. Towards the end, I got even more complicated, where I would make it into comics by choosing frames from different things. gg: So that's where Ticket Stub comes from. th: Yeah. Ticket Stub was drawn entirely on the job. [Laughs.] I would finish my assignment and have maybe an hour or two left because I was pretty fast, so I would just draw the image and write my impressions of whatever it was I had worked on that day. gg: I see. Well, Ticket Stub does seem to be the first indication of your evolving approach to comics. th: Yeah. I think in a way the experience of that job really improved my comics, because it's almost like captioning is comics but they're upside down, because you're sort of taking an image and you're putting a balloon underneath, and you have to position it. So you're constantly, over the course of 10 years, making these immediate decisions like, you find a shot change in a movie, and you have to say, OK, this person's on the left, or this person's walking through a crowd of people, how do I make sure that you can assign the words to the person. I think it intuitively made me think more about how the eye moves through an image in time and space. gg: I wanted to ask you some very specific questions about strips. One of the hallmarks of your work is a sort of randomness. th: I'm not sure what you mean. [Laughs.] gg: What I mean is that it eschews traditional linear narrative, and there's almost a Dadaesque sense to a lot of your work. Would you agree with that? th: Ah. I guess when I'm working on it, I feel it's moving in a direction, I feel it's linear. But I don't feel like it's not traditional narrative, I guess. gg: No, no. You seem deliberately to reject that. And your use of language, I think, is so idiosyncratic. I'm wondering where that came from. Let me ask you a couple of specific questions just to give you a concrete idea of what I'm talking about. For example, in the issue that this interview will be appearing in, you have a number of stories. One of them is "Iacocca High." On page two, panel four, you have the janitor say something like "We had to build oxygen from scratch with an atom smasher." th: Right, yeah. gg: So a lot of your work seems to be non sequiturs embedded in an opaque narrative. th: I guess I thought that sort of made sense. gg: I thought that line was inspired. I just have no idea where it came from. th: I think what I was trying to go for there is that the janitor is looking at Wally while he's walking into class, he has that red carpet. So he's kind of saying, "Oh, when I was a kid, we had to walk five miles to school in the snow," that kind of thing. So I was trying to carry that to more of an extreme, so that he would say, "We didn't have oxygen when I was a kid. We had to make our own." gg: [Laughs.] I see. That makes sense, though I'm not sure I immediately intuit that from context. Walter Gropius, of course, seems to be your signal character. Were you actually a fan of Gropius? th: I really was not familiar with his work at all, but I thought his name was funny — his last name [Groth laughs] because it has the word "grope" in it, of course. I think the genesis of that is, I ended up doing a page for that Talk To Her book that you guys put out by Kristine McKenna. I chose Tom Verlaine, because I knew that my wife was into his music. And I did that as an Archie kind of thing, because in the interview, it talks about how he was voted "most unknown" in high school, and frankly I thought he looked a little like Jughead. And that seemed to go well. And then, at the same time, I was asked to do the Mome story. And I thought, "Well, Mome is kind of like Fantagraphics' young adult title," so I thought, "Maybe I'll have a teenager kind of story." And since when I'd done the Tom Verlaine thing, I had just called him Verlaine, like the poet Verlaine, I thought, "Oh, another historical figure is Gropius." I did end up doing a little research on Gropius and there'll be little tidbits — like if you look at the "Iacocca" panel, the very first one, that's actually a Gropius building, a factory. It's one of his most famous buildings. The whole gist of it, the running joke in it though, is that people are always mistaking him for the actual Walter Gropius when he isn't. gg: What strikes me so forcefully about your work is how unorthodox the use of the language and the narrative is. For example, with "Thaddeus Gropius, CEO," suddenly, in the fourth panel, you're talking about engaging in "felching with awestruck camel toe," which is so incongruous with the teenage parodic aspect of it. th: To me, I thought it would be something like the teenager would want to be a rock star, and [in] a lot of that teenager kind of humor, there's always something that parents don't understand. And I thought, there couldn't be any more of a thing that parents couldn't understand. Plus, I think the main reason was that I had him receive a candy bar in one of the previous pages, so I wanted him to be biting into it as he was talking about felching. gg: Again, that makes perfect sense, I'm just not sure I would've connected the dots, as it were. I wanted to ask you what a few references meant, because I literally hadn't the slightest idea. For example, in "Meet the Dropouts," which is in the previous Mome. On page two, panel two, one of the band members is saying, "I wonder if Patsy likes me. She sat next to me in shop class and asked me why there was a thumb in the thresher." th: Yeah. gg: [Bemused laugh.] "Thumb in the thresher." What does that mean? th: Well, I thought that if they were in shop class, there'd be a lot of machinery, and there'd be an industrial accident. So I thought that basically Patsy was trying to make conversation with him, and he's trying to interpret it in whichever way. And she's saying like, "Oh, how come there's a thumb..." It's just a way to chat him up, I guess. But it seemed like something that could happen in a shop class. Somebody could lose their thumb. I don't know if there would be a thresher, I mean, I didn't look up... there are sometimes where I look things up and try to make things logical, and sometimes it just sounds right. I don't know if there would actually be a thresher in a shop class, in wood shop, or metal, or whatever. gg: Is your intent in "Walter Gropius" to do a parody of not only teen comics, but the whole aspect of celebrityhood? th: Well, to a certain degree it's autobiographical. I grew up in an entertainment industry family. The suicidal women come from my sister's suicide attempts when I was young. Some of it's that, I guess. And yeah, examining certain things in teenager comics that I think are funny. Like the very first story in there is like this Archie story, "A Share of Happening." I don't know if you're familiar with that one, it's basically Archie talking about all the different things that Archie Enterprises are responsible for, like drinking glasses and gold records. And, at the end, he wakes up, and it turns out it's a dream, but then in the final panel, underneath, it says, "No, it's not a dream, there really is a Jughead restaurant in Joliet, Illinois." That story I remember making a big impression on me when I was a kid, so I thought it would be funny to do something like that, with a character that's not famous at all, yet depicted as if he is, maybe making light of a dilemma that I was often confronted with. gg: You did a great strip for one of The Comics Journal Specials. The subject was "The Shock of Recognition." And you did a parody of hardboiled film noir. Or at least, that's my interpretation. What prompted you to go in that direction? th: I think it was mainly just the words "Shock of Recognition," it sounded like something that would be in an old — gg: Right, like Shock Corridor. th: Yeah, like Shock Corridor, or Shock SuspenseStories. When I heard "Shock of Recognition," I thought, "Oh, somebody's in an electric chair." The story sort of built from there, just looking at old Dick Tracys. gg: I was going to ask you if Dick Tracy was an inspiration, because it looked very Gouldish. th: Yeah. I love Dick Tracy. Dick Tracy is great. gg: That's one of the few influences I could actually detect. th: Oh, OK, yeah. I definitely did read a lot of that, even reading it in the newspaper when he was finishing up his run in the '70s. That, and I think the other thing I was looking at when I was trying to figure out how to draw that stuff, was some of the early Hirschfeld cartoons. I did put some of that in my sketchbook, trying to figure out how some of the characters — gg: Huh. You mean like his Drawings for the Masses? Early stuff, '30s? th: There's like a certain period of his work, and I can't be as specific as that, where he was incorporating his drawings — he was doing theater drawings, and he was doing his caricatures, but they were in an environment, usually the stage background. I guess that's my favorite period of his drawings, because he's actually really great at perspective. And you think of them being caricatures, but that particular period of his drawing, I really liked the perspective drawing. It's inspiring to me to try to put cartoon characters in an elaborate kind of environment like that. gg: Right. Right. Huh. Tell me what a traffic-school comedian is. th: Basically, they have different kinds of traffic school. [Groth laughs.] And I don't know, when you have to go to traffic school — I don't remember actually what the line is in that comic. gg: The character Mascarpone says, "I'm a simple businesswoman. It just so happens I'm a traffic-school comedian." th: You know how like sometimes people in the mob say that they reupholster furniture and stuff? I guess that was the idea of it, that she was saying that she had a respectable job, but I wanted it to seem absurd, so I was thinking of jobs, and if you look at different traffic schools, sometimes they have a comedy traffic school that you can go to where a standup comic will do it. So that seemed like the kind of job that she would have. gg: [Bemused laugh.] Huh. I think part of your genius lies in sort of ferreting out these... th: I guess they seem really clear to me. [Laughs.] I don't know. It's really funny, because I can't tell. From what I've heard, actually, a few of the people that have read the "Wally" story so far think of it as being more straightforward, almost to the point where they may be more disappointed that the language isn't as crazy. gg: When I referred to randomness, one of the things, I remember is your story in Dirty Stories Vol. 3, "Daikon." [Pronounces it Day-kin]. th: [Laughs.] That's actually [die-cone], it's a Japanese root vegetable. gg: I loved your term, "sandbag googleplexes." But I don't know how you came up with that or even what it means, exactly. th: It seems pretty logical to me. [Laughs.] Eric Reynolds asked me to do Dirty Stories, and the first thing that came to my mind was that genre that comes and goes, where it's like a girl wearing a leotard, who's seductive, and she's doing stuff. Like Barbarella, or more specifically, like, I don't know if you know Guy Peellaert & Pierre Bartier's The Adventures of Jodelle. I was looking at that specifically. The Adventures of Jodelle is based on a French singer, Sylvie Vartan. It was published by Grove Press in the '60s. Or you know Phoebe Zeitgeist? gg: Oh yeah, sure. th: Phoebe Zeitgeist is the clunky American version of that. Guy Peellaert did two girl characters, one was Jodelle, and the other was Pravda, who was sort of based on Françoise Hardy. So I decided, OK, I'm going to do something like that. It's like a pop art comics thing, where they have actual popular figures from the day in the comic, and it's sort of psychedelic. But I was basing it on the New York artist Yayoi Kusama, who's an artist who moved to New York from Japan in the '60s and did abstract art where she made these phalluses, they were made of cloth and they were stuffed. But her work had this psychotic base to it, where she'd take a rowboat, and then cover it up with bean bags that she would obsessively sew and fill. She also did these paintings that were just dots. So I guess the idea was to do a comic story to turn her into a superheroine. So the "sandbag googleplex" is like, if you look at her art, that's pretty much what they are, they're infinite varieties of these little sandbags that are supposed to be like these phalluses, but she also had this thing about cutting them, cutting penises. gg: There was a lot of penis snipping in that story. th: Yeah. That was something else though, I thought, if I'm going to do pornography, I should do something where there's a penis being snipped with scissors at the end of every page, because I thought that would be the opposite of what would be required somehow. gg: Anti-pornography. th: So I put Jimmy Carter in there, and Robin Williams, and other celebrities that I thought of. I copied the lettering from Jodelle and the general style of it. gg: It's great that you can make these arcane connections like this. th: I think if people knew that, then they read the story, it would make total sense, but if they didn't know that, maybe they would just go, "What in the world is going on?" which is also fine. If you look at the last panel too, she's got The Monkees in her rowboat, and it's George Washington crossing the Delaware. gg: I often have that reaction to your work, that there's some kind of internal logic to them, part of which is escaping me. th: Probably me, too. [Laughter.] That's why I do them, to examine that and try to figure out what it is. gg: Part of that, of course, has to be subconscious. Stuff you're not even aware of. th: Some of it. If you do enough writing, it seems like the words come to you and, like I say, if you're not the kind of person who's just inspired, if the words come to you, it's a workman thing, you just go with the law of percentages on what you get on a particular day. You know that you'll get something, but all you basically do is move it in one direction or another, and sometimes you're moving it, and sometimes you're just following it, you know? At least that's how it feels for me usually. gg: How much of your writing is calculated to the extent that you know exactly what you're aiming for, and how much of it just comes — ? th: Well, it's not like technical writing, it's not like instructions about how to operate an F-15 or something like that. gg: But a lot of writing is like that. [Laughs.] A lot of so-called "creative" writing. th: None of the writing that I do, none of it's off-the-cuff, I do tend to go over it a lot, and maybe that could be a drawback of it to a certain degree. It could have the drawback of being too clever, some of that is also a defense mechanism of having a learning disabled sister and not feeling smart. But some of it is — I don't know how to describe it, it's the same thing with the pictures. You just read it, and the things that are wrong just jump out at you. You just keep working on it until you figure out what seems correct. gg: Tell me a little about your working method: how do you sit down and plan a strip? Do you write the entire thing first? th: Yeah, I write the entire thing first. It goes back to my method when I was songwriting. I make it like an assignment. It's not like something where I wait for inspiration to arrive, I just sit there and methodically try to put it together. Once it's all written, I put it into thumbnails, and then I letter the whole thing, and then I jump around, usually, in different parts of it. Now, with Gropius, I wrote out the entire story, 53 pages, so it's already written, and I've also lettered the whole thing, and I'm just taking the pages down as I work on it, just filling in the boxes. gg: When you work on the composition of each panel, do you work directly on the board? Or do you play with it on overlays, or — ? th: Oh no, not at all. I have a real simple thumbnail of what it is I'm working on, and usually I try to... Sometimes I draw the figures in first or sometimes I plot the perspective and put the figures in after. A lot of times, there always seems like things I need to refer to, like do a Google image search of a dumpster, I had to do that the other day. Or something to root it in reality, I guess. gg: You changed from art to being an English major in college, so I assume you're something of a reader. Who are your favorite writers? th: Whoo, boy. gg: Or who are the writers you feel most of an affinity for in terms of style and language? th: Gee, I don't know. That sort of puts me on the spot, I don't know. [Groth laughs.] My favorite books, or something like that? In college, Dickinson and Poe were favorites, but nowadays I find myself reading naturalists like Theodore Dreiser, who's also from Indiana. gg: Your own writing is as far away from Theodore Dreiser as one can imagine. th: Well, I mean, to be honest, I think when you're asking about the language stuff, I think it's that my sister has a learning disability — she could also be described as borderline mentally retarded, although that's not the terminology in favor — and takes medication to stop her from hearing voices. She'll say words like "o-beast" instead of "obese" and doesn't know what World War II is. I maybe could have gone the route of becoming an autobiographical cartoonist and become a spokesperson/advocate type, but I prefer to use my affinity to simply drop people into a parallel kind of confusion that is second nature to me by now. And when you're asking about my experiences in school, I had a problem that I didn't realize at that time. My attitude towards learning, how words are put together, things that are considered irrational, was different. gg: That makes sense. I think your whole approach to language is inspired. th: It's something that I feel that the comics that I do, the language part I feel more comfortable in than I do the drawing. The drawing is a real struggle for me. I feel that the actual storytelling, the panel-to-panel type stuff, I can get OK, but the actual solving drawing problems is where I really struggle. How do you draw a curved staircase, that kind of thing. gg: Well, I have to say I think the images and the your particular use of language go together perfectly, like they do in the best cartooning, I think. th: Oh, thank you. I think there are other cartoonists who don't work from a script. The thing is, like in the Jillian story that I just turned in, if you read through it, it's kind of like a dialogue, and it was written that way, and the thing I added to it when I was drawing is all the business with the hot dog and the caviar. It wasn't something that I put in a thumbnail. I hope as I'm working on it that I can come up with these kind of sight gags that I can throw in. I'm hoping that that will make it less dry. I think other artists just start in with a piece of paper, and I'm sort of the opposite of that. gg: I like the last panel in "Testosterone," where you just see the girl's legs in the background. th: Yeah, I guess she's overdosed on pills there, I gave her a little pill bottle. gg: That's almost a Will Elder-esque touch. th: Will Elder is the king of the sight gag that's in the corner. I definitely would try to aspire to something like that, because his work is really great. gg: Do you allow yourself some room while you're drawing it to incorporate new ideas? th: Not much. It's just that I have to try to do something to keep it interesting while I'm working on it, and luckily things will happen intuitively or spontaneously. Besides the conversation the two characters are having in that story, I thought, "OK, he's going to be eating something. What would he eat? Oh, it would be a hot dog with caviar." He eats that, but there's still a bit left, so he squeezes it in frustration, and now he has caviar on his hands. Then he eats the can of caviar. Then he shakes her hand. Little things like that. gg: The whole idea that she would know 150 national anthems and that this would impress Walter is... [laughs]. th: That whole national anthem thing comes from this guy I went to high school with who collected national anthems. He was a really big sports fan, and he would write to baseball stadiums and request copies of performances. He would get all this stuff in the mail, actual 45 singles, some promotional copy of the organist at the stadium. I think as a result of that, I really learned the Canadian national anthem better than I might have, because he was always singing it. He would also tape them off the TV on a little handheld recorder. gg: Do you feel very much a part of what's going on in contemporary cartooning? th: Well, right now I'm trying to finish up a story for the next Kramers Ergot. And I love all the work that's in there, but it's funny for me to contribute, because I'm thinking, if you're familiar with the EC story "Kamen's Kalamity," where Jack Kamen, this romance cartoonist, is assigned this horror thing, and he actually has to kill people in order to learn to be able to draw horror comics. I sort of feel like that with this, like somehow that I need to change the way I draw, because I see all these qualities I admire in all that work, and yet I don't feel that's the work that I do. [Laughs.] gg: What qualities would those be, for example? th: Well, I think a lot of the people are not coming from a comics background, they're more interested in art in general, and the way that they approach drawing is a lot less belabored. Not to say that there isn't a lot of thought or work being put into it, it's just that you feel like it's more immediate when you look at it I think. The things that I do are constructed, done bit by bit, and put together. I feel like the drawing is much more important in the contemporary work I'm seeing, more than the writing. Not that that's a bad thing. gg: I always thought, in a way, you couldn't separate the writing from the drawing. Even in a way, the drawing is part of the writing, part of the narrative. th: Yeah, yeah. gg: But I think I know what you mean, that the emphasis is more on the images. th: In a sense, it makes it more pure. The way that I approach things, I don't doodle stuff. When I do thumbnails, a little bit of that comes into play, but the fact that I work from the language first and the try to make a comic out of it, makes it not as pure as it could be [laughs]. More books featuring Tim Hensley (click covers for complete product details) |


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Learning Goals General Subject Knowledge Understanding of historical and contemporary schools of thought in International Relations. Ability to apply IR theories to explain international policy decisions and outcomes. Ability to analyze how international institutions, norms and structures of governance affect and shape global, international, regional and domestic policy. Knowledge of contemporary global issues, including trade, development, human rights, security and the environment. Professional Skills Ability to form, work in and lead a team towards the completion of a common project. Ability to synthesize complex ideas. Written communication skills. Ability to present orally, argue and debate. Ability to understand and use the concepts and language of international economics. Ability to grasp and utilize the concepts and structure of research design. Ability to use basic tools of data generation, including archival and survey research, interviewing, case studies directed studies. Ability to produce and interpret statistical analysis of policy-relevant data. Comprehend the multi-level institutional arenas in which policy analysis takes place: multilateral, regional, national, local. Competence in the writing of policy memos and other professional writing instruments. Competence in executing policy analysis individually and collectively, through team work. Grasp the concept and practice of intercultural competence. Language Competencies Ability to understand complex communication in target language. Ability to convey complex ideas in writing in target language, particularly in field of professional expertise. Ability to convey complex ideas verbally in target language, particularly in field of professional expertise.
El Salvador Practicum: Winter in the Field Through the El Salvador Practicum, students work on community development projects during winter term.
The Middlebury Connection Middlebury students and alumni may qualify to earn a MA in International Policy and Development in only one year! Learn more...
Alumni in Southern Sudan Three International Policy alumni share their stories of working and living in Southern Sudan.


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dash bumper bar cover
Replacement bumper bar cover for the bumper bar of your dash stroller. This is the fabric cover only.
This product has been discontinued - once we've sold the last in the last colour, it's gone for good (we're sorry!).
Replacement bumper bars are available to buy separately.
Didn't get my order!!!!
Written by: Joanna
23. august 2014
1/5It's been three weeks now and I still have not received my order! So very disappointed with phil & teds service so far :(


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Looking for the hottest LIDS hats? LIDS is the place for the best selection in caps and gear, including LIDS hats, and hundreds of other name brands. LIDS has a huge selection of the latest styles and fashion in headwear.
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Watt's With Wattson? (Japanese: キンセツジム!テッセンの電撃バトル!! Mauville Gym! Wattson's Electric Shock Battle!) is the 40th and final episode of Pokémon: Advanced.
The time has come, once again. Ash was super psyched to have another Gym Battle. This time, it was with the elderly, yet hilarious, Wattson. The battle was short as Ash's Pikachu took out Wattson's entire team with just one hit each. Devastated, Wattson gave Ash the Dynamo Badge. Will Wattson recover from this, and what has happened to Pikachu?
Episode PlotEdit
The gang arrived to Mauville City where Ash is going to battle for his third badge. As Ash opens the door, it crashes down, but it turns into an escalator, leading them into the Gym itself. The Gym Leader has turned the power on, making him amused, even if his assistant does not. The gang crosses the water and encounter a mechanical Raikou. However, Ash orders Pikachu to use Thunderbolt and Iron Tail. The Raikou explodes, revealing to be fake.
The Gym Leader exits the room and introduces himself and his assistant. Ash demands a battle, to which the Gym Leader agrees, laughing. Team Rocket has arrived to an abandoned power plant and they'll make it as the base in Hoenn. As they enter, they quickly leave, as many Voltorb, Magnemite and Magneton were inside. Jessie and James find it impossible to fight them so they walk away, but Meowth persuades them that their boss would like to have them for electricity his devices need.
The Gym Leader reveals that he will use his Voltorb, Magnemite and Magneton against Ash. Pikachu goes first to battle, so Wattson uses Magnemite. Magnemite attacks with Swift, but Pikachu dodges. Wattson taunts Ash, as his Pokémon are resistant to Electric-type attacks. Pikachu attacks with Thunderbolt, defeating Magnemite. Wattson sends Voltorb and has Voltorb use Screech, but Pikachu uses Thunderbolt, defeating it and surprising Wattson and his friends.
Magneton uses Zap Cannon, so Pikachu counterattacks with Thunder, defeating Magneton and amazing the audience. Wattson gives Ash the Dynamo badge and goes away. Ash notices that Pikachu looks pretty bad. Wattson gives Joy the Pokémon to take care for and leaves with a suitcase. The gang arrives with Pikachu, as it seems sick. Wattson is troubled, as he lost his battle to Pikachu - by just 3 hits. He notices that an Electrike has approached him. Wattson gives it some food.
At the Center, Joy discovers that Pikachu has more electricity than normal - Ash recalls that it fought the mechanical Raikou, which must have powered Pikachu up. Pikachu recovers. Wattson's assistant arrives with a note that he abandoned his career. However, Nurse Joy thinks he might be in the abandoned power plant, so everyone has to go there to tell him the truth. Meanwhile, Wattson befriends an Electrike and it shows that it has potential to use Thunder Wave. Wattson spots a machine with Team Rocket heading to the power plant.
They capture the Pokémon and the Pokémon use electricity, but with no effort. The gang arrives to explain, though Team Rocket captures Pikachu and Electrike. Team Rocket releases a net to keep everyone from attacking while they go off. Wattson has an idea - a mechanical Raikou intercepts Team Rocket, stopping them. Brock sends Forretress and it uses Rapid Spin, with May sending Torchic to use Ember.
Pikachu uses Iron Tail, Electrike bites and Magneton tackles the cage. James sends Cacnea to use Pin Missile, while Jessie sends Seviper to use Poison Tail on the Raikou. As they attack, the machine collapses, revealing it to be fake. Pikachu and Electrike destroy the cage, setting everyone free. Seviper uses Poison Tail and Cacnea uses Pin Missile, but Pikachu dodges both attacks. Pikachu uses Thunderbolt and Quick Attack, knocking both Pokémon out.
Jessie sends her Dustox and it uses Whirlwind, moving Pikachu away. Dustox uses Psi Beam, though Electrike uses Thunder Wave, negating the attack. Pikachu uses Thunderbolt, blasting Team Rocket away. Ash praises Pikachu for saving everyone, but Pikachu shows that Electrike helped as well. Ash represents Wattson his badge, as Pikachu was very powerful when it battled Wattson's Pokémon.
Wattson refuses, as he saw Pikachu rescuing all the Pokémon, since Ash trained it very well. Ash is happy knowing that the badge he caught was just. Wattson returns to the Gym, as he needs to train Electrike. His assistant is happy as Wattson is returning to be the Gym Leader again.
- Featured Pokémon: Meditite
- The next season does not feature to identify which Pokémon it is.
- This is the last episode of Pokémon: Advanced series.
- This was the season finale of Pokémon: Advanced.
- This episode marked the final performance of Megan Hollingshead as Nurse Joy, having her pass the torch on to Bella Hudson.
- This was also Megan's final voice acting to the Pokémon anime series.
- This was the last episode to have "Who's that Pokémon?" until Pokémon Black and White.
- This was the second episode Ash had a Gym Battle as a season finale. The first one was Machoke, Machoke Man with Chuck.
- "Welcome my friends, to a place where fun never ends. Hahahahaha!" - Wattson
- "I'm so happy you're still going to be the Gym Leader and my boss." - Watt
- "No tears Watt, We're only going to have smiles from here on in. This is the place where fun never ends.(laughs)" - Wattson


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Urologic Surgical Pathology, 2nd Edition
Expert Consult - Online and Print
Completely revised with practical guidance in daily urological pathology sign-out and the latest recommended diagnostic approaches, the new edition of this comprehensive reference equips you to accurately diagnose specimens of the entire urinary tract and male reproductive system plus the adrenal glands. It begins with a look at normal anatomy and histology for each organ system...followed by discussions of the pathology of congenital anomalies, inflammations, non-neoplastic diseases and neoplasia. An emphasis on clinicopathologic and radiographic-pathologic correlations makes this a true diagnostic decision-making guide. A consistent format enables you to locate critical information quickly, and morethan 1500 high-quality illustrations most in full color make diagnosis even easier. And now, as an Expert Consult title, this reference includes access to a companion web site offering this unparalleled guidance where and when you need it!
Table of ContentsNew to This Edition
- Includes access to a companion web site offering the complete contents of the book—fully searchable—for rapid consultation from anyplace with an Internet connection.
- Features a downloadable Online Image Collection that you can use to enhance your presentations.
- Presents two brand-new chapters covering urinary cytology and fine needle aspiration to keep you up to date.
- Covers newly described entities and application of ancillary study for precise diagnosis.
- Features integration of new molecular techniques and immunohistochemical analysis for differential diagnosis.
- Equips you with the latest recommended diagnostic approaches help you make the most informed decisions.
- Provides you with a critical review of the current classifications of cancer and disease.
- Features more than 1500 high-quality illustrations-in full color—providing a complete visual perspective of the conditions encountered in pathology.
Key Features
- Presents the practice-proven experience of today's authorities to enable you to diagnose with confidence.
- Limits coverage of general mechanisms of disease and anatomy to the most relevant information needed to fully comprehend the clinical picture.
- Includes boxed lists of types and causes of diseases, differential diagnosis, characteristic features of diseases, complications, classifications, and staging that help you quickly locate the specific information you need.
Author Information
By David G. Bostwick, MD, MBA, FCAP, President and Medical Director, Bostwick Laboratories, Richmond, VA; and Liang Cheng, MD, Professor of Pathology and Urology, Director of Molecular Pathology Laboratory, Chief of Genitourinary Pathology Division, Department of Pathology and Laboratory Medicine, Indiana University School of Medicine, Indianapolis, IN
Customer Reviews
- Expert Consult
- Reference
- 1024 Pages
- Imprint: Mosby
- Next Edition ISBN:
978-1-4557-4327-8 - Copyright: 2008


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Inspired by traditional Japanese dolls, our Happy Together Wooden Dolls have brightly colored features and clothing that makes them really stand out. Plus, every doll is hand painted, making each one unique. Designed by artist Suzy Ultman.
Part of the Happy Together Wooden Dolls (Set of 8) Collection


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National Eating Disorders Associationhttp://www.nationaleatingdisorders.orgThe NEDA is a nonprofit association dedicated to the prevention and treatment of eating disorders. Contact them at: National Eating Disorders Association 603 Stewart St. Suite 803 Seattle, WA 98101 (206) 382-3587
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ChooseMyPlate.govhttp://www.choosemyplate.govChooseMyPlate.gov provides practical information on how to follow the U.S. government's Dietary Guidelines for Americans. It includes resources and tools to help families lead healthier lives.


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Review Summary
Glass pearl drop earring.
- Euro wire ear closure
- Surgical steel post
- Approximately 1-in.
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Lauren translates the sophisticated luxury of Ralph Lauren womenswear into an affordable wardrobe for every occasion. From timeless essentials with special finishing touches to polished silhouettes with a chic, modern spirit, Lauren maintains an elegant, feminine heritage while making strong seasonal fashion statements.


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The Kingdom of God
Some promises of the new covenant have already been fulfilled (the reign of Christ on David's throne and His atonement), and some are not yet realized (the complete removal of sin). Praise God for those things already accomplished and be ...Read More
Davidic Covenant II
God would have had every right to give up on the Davidic line. Most of the kings of ancient Israel led the people into sin and persecuted those who proclaimed the law of God. But God, because of His sworn ...Read More
Davidic Covenant I
Some people think that God never intended for there to be a king over His people. But the history of redemption shows us that although God alone is the ultimate ruler, He purposes to reign over His people through the ...Read More
Mosaic Covenant II
God demands that all people worship and obey Him. But as fallen creatures, we cannot obey God, and so God became incarnate in order to fulfill the covenant on behalf of His people. Now that Christ has come, we obey ...Read More
Mosaic Covenant I
God did not wait for His people to be perfectly holy or for them to know all His law before He redeemed them from slavery in Egypt. This same pattern holds true today. While we were yet sinners, God reached ...Read More
Abrahamic Covenant II
At this point in the Abrahamic covenant, God takes it upon Himself to make sure the covenant is fulfilled. But God was making Himself responsible for this long before Abraham was born. God's children are His solely due to His ...Read More
Abrahamic Covenant I
We will never bring about the kingdom of God ourselves. We, like Abraham, are utterly dependent upon God for all of His promises to come to pass. He will bring them about with or without us. As you seek to ...Read More
Noahic Covenant
There is an unfortunate tendency for some Christians to view salvation in purely spiritual terms. But the protection of the animals in the ark shows God's love for all His creatures, and it foreshadows the renewal that will come to ...Read More
Covenant of Works II
It is in the midst of the curse from Adam's failure to keep the covenant of works that we first see the covenant of grace announced. God promised to crush the head of the serpent (Gen. 3:14–15) even though His ...Read More
Covenant of Works I
It is a sobering truth to realize that God still requires perfect obedience from us. His requirements do not change and we have no excuse for disobeying Him. Since we cannot obey God, we must trust in the perfect obedience ...Read More
Daily readings to encourage your heart and mind in the pursuit of God and his glory.Topics
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Top Definition
spidisisses is another way of saying the word spiders. It is a way of calling attention to yourself in a group setting by bringing up a word that has no relevance to anything thats going on anywhere.
yo i was talkin too this chick last night when i realized i got mad spidisisses on my gadorkle looloo.
sheep tərəfindən
14 Aprel 2005


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Pickup choose from 22 warehouse locations when you click the pickup button in your cart.
cement block. Aggregate of marble, granite, stone and natural fibers cements sculptural industrial chic seating for four. Clear non-toxic wax finish protects. Maintain bench's honed beauty and natural intonations with car wax or stone floor polish. Handmade in an eco-friendly workshop powered without consumption of fossil fuels to avoid CO2 loads. Indoor and protected outdoor use. Assembly hardware included. Sits plush with fuze bench cushion.


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Congratulations, Andrea! AACD Member Wins Award
Andrea Hegedus, certified dental technician and owner of Great Lakes Smile Design Studio of Muskegon, Mich., received a second-place award for best Digital Documentation from Candulor Swiss Dent at the 34th International Dental Show in Cologne, Germany. To earn the award, participants had the challenge of assisting a 65-year-old female patient who had been wearing dentures for the past 19 years and was experiencing discomfort.
Hegedus had a preplanned vacation during the six weeks participants had to work on the case, but she didn't take any downtime. She packed a second bag for her trip so she could bring her case materials. Her determination paid off. After sending her completed case to Germany, Hegedus received a note from Candulor that she had won second place for digital documentation.
"It was a great opportunity to compete against other highly skilled technicians," she said.
Hegedus thanks the AACD for being a part of her continued success.
"The AACD experience gave me wings of knowledge to cross the ocean and represent our country in this international competition with great pose, showing the international community our skilled profession here in the U.S.," she said. "It is so important to keep sharing our ideas and techniques."


text: Economy Work Table, open front cabinet base, 24" W x 48" L-R, 1-1/4" turn down on 4 sides, 2 steel box channels, 16/430 s/s top, cabinet, adjustable legs & undershelf, "Aero Safety Edge", fully welded, sound deadened, NSF Stainless top with 2 inch turn down. Stainless steel is used for the body, shelf, and legs. This table is enclosed with an open doorless front, and the top has no backsplash. These tables are available in a variety of configurations, sizes, and materials. 4TSO Economy models use a 16 gauge 430 stainless steel for the tops. 3TSO Delux models use a 16 gauge 304 stainless steel for the tops. 2TSO Premium models use a thicker 14 gauge, 304 stainless steel for the tops.


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I'm guessing that hole punching leads to better compression, faster file copying and improve performance on ssd with trim support?
Phoronix: Btrfs Gets New Features In Linux 3.7
Chris Mason sent in a large Btrfs file-system pull request for the Linux 3.7 kernel...
I'm guessing that hole punching leads to better compression, faster file copying and improve performance on ssd with trim support?
Hi Michael,
the see subject.
I wonder if the fsync patch will help with VM performance. Honestly the only things keeping me from using Btrfs as my main FS are 2 things:
1) I really don't understand how defragmentation works with Btrfs, with EXT4 I just forget about it, but I know that with Btrfs, because of COW, defragging will be important. And running the defrag command on the root directory will only defrag metadata not the contents (source: https://btrfs.wiki.kernel.org/index....doesn.27t_work) and running:
seems really excessiveCode:find -xdev -type f -exec btrfs fi defrag '{}' \;
2) I do run VM's sometimes and from what I've heard and seen...Btrfs TANKS with VM's cuz its a lot of small writes.
Hole punching is a (very simple) compression method; it marks certain parts of a file as "unused", so that the filesystem knows that those parts don't have to be stored.
It represents the location of a file on the physical somewhat like this:
- part 1 of the file: list of used disk sectors
- part 2 of the file: marked as unused (this is the "hole" punched into the file)
- part 3 of the file: list of used disk sectors
I'm not sure if file copying will be faster when using it (and it might depend on the software doing the copy supporting it), but theoretically it could be faster, especially if both source & destination filesystem support it.
Since you're in for a big FS test which does even include Reiser4, please don't forget ZoL (ZFS on Linux).
Any voices from users to the real performance and functionality gains? Expectations are only sorts of wrap...
I am only aware of the following:


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Rock Band Seeks Members - Final Push (Glasgow)
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Lifestyle Multifocal GP Lens Details: PLEASE NOTE: LifeStyle Multifocal GP contact lenses are custom made to meet the specific needs of your prescription. Above price is for standard All sales are final. No refunds or exchanges** IMPORTANT – HOW TO ORDER RGP LENS INSTRUCTIONS: 1. Select the quantity of lenses you would like to purchase for your left and right eyes. 2. Click "Add to Basket" and follow the process to complete your order. 3. For RGP orders we are required to have a copy of your prescription. Upon completion of your order you must send us the prescription by one of the following means:
Please note that non-sphere lenses may take up to 7 business days to process after prescription verification. LifeStyle contact lenses are an easy-to-fit daily wear gas permeable lens with a unique bi-aspheric back surface design that provides excellent patient comfort and adaptation. LifeStyle contact lenses are an ideal alternative for visually or medically demanding patients. ABOUT MULTIFOCAL GP GAS PERMEABLE LENSES: LifeStyle Company Multifocal GP Brand Gas Permeable (GP) contact lenses are easy to care for and are crafted from patented oxygen permeable material that allows your eyes to "breathe." GP contact lenses are also ideal for special eye needs as they are custom fit to the natural shape of your patients' eyes.


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Everyone should just get behind the big guy and use him like a tank.
Hey guys, got some new footage of us dealing with a pesky machine gun nest. Also, have a few other videos uploaded in the last few weeks, more skirmish footage and a couple "DIY" videos. Enjoy
Everyone should just get behind the big guy and use him like a tank.
I've been thinking about getting out and playing a game or two, but felt too old and out of shape. After seeing that big dude playing, I don't feel so bad anymore.
Nice footage. Everybody would like it. Now every body can do what they desire. Just follow doctors note and you will also enjoy the days of teenagers..
doctors excuses
Yeah... I am the big guy. Married life with kids, a desk job, cheeseburgers and a thirst for beer has taken its toll! I try to get out and play as often as I can. If you're a larger gent such as I, don't let that shy you away from getting out and having fun. And more importantly, getting some fresh air and exercise! Just take it easy and carry a more mags than everyone else
Wow, sometimes necroing can attract good attention ! I'm gonna give it a look ! I like to watch airsoft videos to get ideas for my gaming style !!
Our eldest member was 52 (he died last year, RIP to him), and the eldest currently is 42, and he's not going to give up ! The redactor of the main french airsoft magazine looks well into his 60s.
Keep playing !!


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Top Definition
The act of getting high by snorting cocaine placed on your knuckles.
Those knuckle-heads were on a white knuckle ride all night!
di chitsb
25 gennaio 2011
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When your knuckle are made white from grasping onto the bowl as you take a fierce dump.
That Chinese buffet cut me up. As soon as I got my ass home I took the white-knuckle ride.
di Carl Panzram Jr.
08 giugno 2004


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All of our package holidays from the UK are 100% protected by ATOL. All of our package holidays from the Ireland are 100% protected by the Commision for Aviation Regulation. More information can be found at www.atol.org.uk and www.aviationreg.ie respectively.
The Norton Secured Seal is the most recognized trust mark on the Internet. When you see the seal, you can be assured that you will have a safer online experience from search, to browse, to buy.
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27 January 2012
BBC Radio Kent presenter Julia George was named Shepherd Neame Kent Journalist of the Year at the Kent Media Awards lunch held at the Faversham brewery. Julia, who also won the Bishops Finger Broadcast Journalist of the Year category, was described as very talented broadcaster who has built a relationship of trust with her listeners.
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26 January 2012
As sponsors of the Turner and the Elements exhibition we would like to offer visitors a 15% discount on the standard room rate at the following hotels. So why not extend your stay and explore the area that inspired Turner nearly two centuries ago? To receive your discount phone the hotel of your choice and quote the code: TURNER15 Bell Hotel, Sandwich http://www.bellhotelsandwich.co.uk/
25 January 2012
The great day has arrived, 25th January – Burns Night! And by a happy coincidence, my granddaughter Grace's birthday - 7yrs today! Bit of good planning on my son Douglas's part there I think!
Brewer Shepherd Neame has teamed up with Jobcentre Plus to give Kent jobseekers aged between 18 and 24 the skills and experience to equip them for the world of work. The company has already helped three young people to develop a range of skills, including driving a forklift truck, at its distribution centre on the outskirts of Faversham. Now warehouse manager Tony Berllaque is set to interview a f
24 January 2012
Brewer Shepherd Neame is pressuring politicians to cut the cost of eating out by joining a campaign to reduce the level of VAT on drink, food and accommodation in pubs.


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What people need to know is that Internet marketing is more about marketing than about the Internet.
Prior to joining Converseon, Mike worked for IBM for 30 years, rising to the level of Distinguished Engineer. Mike has more than 20 years' experience in search technology, led the IBM product team that developed the first commercial linguistic search engine in 1989, and has been granted 11 patents in search and retrieval technology. He led the integration of ibm.com's site search technologies and served as product manager for IBM's search and text analytics products.
Newspapers and magazines—and later radio and TV—created a new way to communicate. They were considered to be cool new technology when each of them came along. And while some people used mass media to inform and entertain people, others realized we had stumbled on the greatest way to sell things ever invented. They discovered that media can drive demand for products. Those people were the first marketers. What they invented was advertising.
Marketers discovered that advertising can deliver the message for your brand to your target market. In fact, mass communications is what begat the need to have brand names at all.
Let's face it. Your customers don't need a name for what your salesperson is pressing into their palms. But without a brand name in your newspaper ad, your customers won't know what to ask for at the store. Or have any way to connect the ad with what they now want to buy. The invention of advertising requires that products have brand names.
Now when all this advertising stuff began, no one knew what they were doing—that's true at the start of just about anything. Whenever the world changes, there are no recipes for success, at least at first. They were experimenting like crazy because printing presses caused the invention of marketing—a big change. Any new world order forces experimentation, and the bigger the change, the more massive the scale of the experimentation.
And you won't live to see a more massive change in technology than what marketing is facing now. The world is changing and the old ways are not working the way they once did. When you're born into a time of change, you don't get to coast along.
Now, in the face of such changes in the past, marketers always knew what to do. When radio made newspapers less important, we bought ads on the radio. When TV pushed radio farther back in the line, we flocked to TV ads. So, now digital media is the next big thing. We'll just buy ads there, right?
Maybe, but advertising was also uniquely suited to traditional media. Why? Because advertising is designed to accompany media. Advertising is the commercial break within the show. It's the print ad next to the story. It's the radio announcer between songs. Advertising is designed to go along with the media that actually attracts the audience.
While there are advertising opportunities online, there are many kinds of marketing that don't depend on advertising, because it is more likely that online behavior consists of active choosing of what to do next, rather than the passive viewing, listening, or reading of traditional advertising, where it is relatively easy to predict what most people will see next. TV viewers are likely to keep watching the show that is on. Radio listeners are likely to listen to the next song. Magazine readers are likely to turn to the next page. In contrast, it is a lot harder to know what someone who comes to your website is likely to do next—you probably have 100 different links on that page.
So, not only is traditional media usage on the wane, but advertising is a form that was designed for traditional media, and might not translate as well to the new digital forms.
Advertising has traditionally been about interrupting people to blare your message when they wanted to be doing something else. Digital media can change that model. Instead of showing a zillion car commercials in the hopes that customers remember your brand when they actually want to buy a car, what would it be worth to be able to talk to customers at that moment of readiness? To know exactly when your customers want to hear everything about your car?
Another way of describing this shift is "push" (interruption by the marketer) vs. "pull" (permission from the customer). Permission can happen one time (when your customer searches for your product's information) or continuously (when they follow you on Twitter or subscribe to your email newsletter). The antidote to unwanted advertising is to get permission from your customer to contact them with your message.
And why would customers grant you such permission? With advertising, we bribe customers into experiencing our messages with free information or entertainment. They endure the ads to get what they want. But what if our message is what they want?
Customers do sometimes want to hear from us. Sometimes we have a solution to their problem and they will happily listen to our message.
That's the difference between "push" and "pull"—content marketing turns advertising on its ear. Instead of using interruptive advertising to reach people when they are trying to do something else, content marketing is pulled closer by the customer—because the marketing message helps people reach their goal. Getting your message is what they want to do—you're not interrupting them.
Search is the best example here—searchers happily wade through dozens of marketing messages each day because they are trying to learn more on the way to a purchase decision for something they want to buy. But your message can be shared on social media, through email, and through old fashioned word of mouth, when it is a message that might help someone else.
So, the real challenge of content marketing is not the mastery of a new way of interrupting people. It's a lot harder than that. How do you get people to actually want to listen to you? Why should anyone choose to hear what you have to say? When you figure that out, you will know why people should grant you permission.
Human rating panels have been around for a long time—some believe that Microsoft has been using them in Bing and its previous search engines for a decade. Google joined the game in 2012—and in a big way. Google introduced its Panda change to its search algorithm and it quickly became a telling factor in the search rankings.
Each search engine uses a quality score imposed on sites by human raters that decide whether the site would be worth visiting again, for example. Dozens of human raters might visit the same site and Google averages their answers. High quality sites get boosted in the rankings, with lower-ranking sites, well, not so much.
Now, this wouldn't be terribly interesting if that is all there were to it. For even Google, with its vast resources, can't afford to pay human raters to visit all the sites that reside on the web–not when they need many raters to judge each site and when those sites change regularly and need to be re-rated. No, they needed something a lot cheaper than that approach.
Enter machine learning, a technology that looks for patterns in data. Instead of Google having to use human beings to rate every site, they instead rated a small number of sites and then applied those ratings to all the unrated sites that were similar to the rated sites. So, if your site wasn't rated, but it has the same characteristics as sites that are low in quality, your site will be treated as low in quality.
You probably want to know which patterns the search engines use to detect low quality, so that you can avoid them, but no one is saying. In fact, the very way that the algorithm works makes it a difficult question to answer. Machine learning algorithms are trained with some of the human data that the search engines collected, and then tested on the rest of the data. So the algorithm keeps trying to find more and more patterns until it can actually predict the answers that the human beings gave. At that point, the algorithm is unleashed on content that has not been rated, assuming that the training it received against known answers will now allow it to predict the quality level of sites that have not been rated.
Does this mean that human rating algorithms never downgrade a site unfairly? Hardly. All of this technology is imperfect, although search engines are constantly tinkering with the training data and algorithms.
In the past, only big companies had to worry about a media exposé, because no one cared about the bad behavior of small companies. But now every company can be held up and be made accountable. It costs nothing for one of your customers (or competitors) to write a blog entry or otherwise cause a ruckus. You might as well take a hard look at yourself and decide where your ethics need an overhaul. Then you can air your own dirty laundry with an apology and a commitment to fixing the problem. That's what "getting real" means in marketing today.
And don't assume that getting real is about only the big, Enron-style, horrible behavior. Being authentic is not just about preventing enormous lapses of ethics. Despite what the anti-consumerists say, the great majority of business people are not evil and they have high moral standards. We just need to raise the bar.
We need to realize our customers want authenticity in every interaction, big and small. They want us to tell the truth even when we could get away with covering it up. Because that is what really builds trust. That's what long-term relationships are built on.
So shut off the hype machine. Your customers want facts. They want you to be authentic. They want to be able to trust you. Setting that authentic tone and providing the information your customers really want to know—that's the quickest way to "get real."
If you've always prided yourself on having that "just right" turn of phrase, don't worry. Being authentic means that you need to avoid the bombastic, overblown hype of typical marketing copy, but it doesn't force you to market sushi as "cold, dead fish." You can put your best foot forward in clear language.
Content marketing works because it attracts customers to spend time with your message. So, as you might expect, bombastic hype isn't terribly attractive—it is mainly designed to get attention by "breaking through the clutter." But content marketing that is designed to answer the precise question of your customer is inherently attractive to that customer—it isn't clutter.
And content marketing is designed to raise trust—to get your customers to become more likely to be from you. Hype and tricky claims do precisely the opposite.
Today's customer just doesn't suffer fools gladly anymore. So don't act like a fool. Get real.
The irony is that publishers are under attack from these very marketers who are learning to play the publishers' own game.
My friend Paul Gillin has a blog called Newspaper Death Watch that chronicles the slow decline of an entire publishing industry. Lots of attempts have been made to resuscitate the business, everything from free newspaper websites to subscription websites to hyperlocal news and more, but the steady exodus of readers continues as online news is not only cheaper in many cases, but it is more personalized and more convenient.
But it isn't just newspapers.
When is the last time you bought an encyclopedia? Wikipedia has crushed them all. Do you still have a phone book in your house or do you Google every number you need? But you knew this already. Everyone knows that some parts of the publishing business are dying because the Internet gives content away. But I don't think everyone understands what is looming.
Home Depot has uploaded hundreds of videos to help you make repairs around your house. Everything from how to install a storm door to choosing the right color of paint. They've received tens of millions of views. Why does Home Depot do this? Because the hope is that if you know how to do it yourself that you will troop down to Home Depot to buy the tools and supplies needed.
You know what this used to be called? A fix-it book.
Kraft has a smartphone app called iFood Assistant. It lets you put in some ingredients and shows you possible recipes. It lets you search for dishes and get a list of ingredients to buy. You can be standing in the grocery store and it can help you plan dinner. Expect them to start personalizing the recipes based on your family's diet–they already have a function that helps you find low-priced meals. A free version of iFood Assistant makes sure to recommend Kraft products as part of the recipe, but there is also a paid version of the app replete with coupons. That will set you back a whole buck. Does this move more Kraft product? They sure think so.
You know what this used to be called? A cookbook.
Scotts, the lawn care folks, offers a free newsletter that is personalized to your own location and grass type. You tell it your postal code and the kind of grass you have, and then every few weeks Scotts tells you there are grubs in your area, or a drought, and what you should do about it—including which Scotts products to buy.
You know what this used to be called? A gardening book.
Johnson & Johnson has an interesting program called BabyCenter that sends information to parents about their impending baby. All you need to do is to provide your due date and you'll get lots of information about how your baby is developing in the fifth month of pregnancy, what things that you should be doing for the baby's health, and what preparations you should make. And after the baby is born, you continue to get developmental information about your child as she grows. Yes, there are coupons for baby shampoo, but there is a wealth of really useful information that comes along, too.
You know what this used to be called? Parents Magazine.
Why are these smart marketers doing what publishers once did? Because they know that marketers must act like publishers to succeed online. They can't interrupt people with ads the way they used to, because ads don't work online unless they are laser focused on what people are doing (such as search ads). Mostly, people are looking to solve their problems and if you solve them, you can sell them something. Kraft evidently believes that spending money on content and apps to solve the problem "What's for dinner tonight?" is money better spent than on a few more TV commercials for macaroni and cheese.
These are all consumer examples, which everyone can understand, but B2B companies often have even more to work with here. IBM's Smarter Planet is a huge content marketing initiative because it plays on solving problems–big problems–and marks IBM as an expert you need to engage to solve those problems. Most B2B companies are already loaded with case studies and other deep content to use here, and they have the experts to match.
If you create content that people really want to spend time with, suddenly you've got the marketing approach that everyone is looking for.
Today's typical digital shopper behavior is not to head to a favorite online store—shoppers go instead to their favorite search engine and let fly. The most relevant sites, as judged by the search engine, are where they go next. Sure, sometimes shoppers go directly to eBay or Amazon, but there are far fewer brand-loyal shoppers online than in the old world of physical proximity.
If customers have any loyalty, it might be to their search engine ("I always use Google") because it saves them time. So the best test of relevance is whether your site helps customers do what they want to do at the moment they want to do it. Is it easy to find your site with a search? Easy for customers to find what they want on your site? Do you provide all the information needed?
And relevance continues to be important after the customer visits your store. At any moment the customer might decide that your store is no longer relevant enough—a few clicks of the mouse can bring up another one. Economists like to talk about "switching costs" (the drawbacks of changing to patronizing a new business). Those living in small towns served only by Walmart had very high switching costs. They might have been forced to pay more to shop elsewhere and also suffer from less selection—perhaps having to drive further as well. But on the web, switching costs are extremely low.
Think about it. Few shoppers leave their half-full carts in the aisles of physical stores, but some websites find as many as half of their shopping carts are abandoned. The reason is low switching costs. It takes just a few minutes for a shopper to find a desired item at a rival Web site, while driving to another physical store takes considerably longer (and so is not worth the time).
In such a world, brand loyalty is a thing of the past for many customers. Not for the majority of customers—yet. Brands continue to be strong in many areas; even Internet denizens respect brands such as Google and Amazon. And strong brands built offline have power that will last for years to come. But, as with old media habits, brand loyalty is becoming less strong than it once was, especially in countries with high Internet usage and especially with younger customers.
Brand loyalty is gradually being replaced by relevance. Obviously, your offering must be promising and you must deliver on your promises. Your prices must be competitive. You must reliably provide your product or service. If your claims are hollow, then it's impossible for you to seem relevant for very long.
Relevance is at the top of your customers' list. They want what they want when they want it. They increasingly expect you not to waste their time. You can't keep finding more and more ways to interrupt people with irrelevant offers for products they don't want to buy now. If your customers don't want to receive your message, you can bombard them and still get no response.
So how do you make your interactive marketing the most relevant choice for your customers? You must adopt search marketing and website personalization approaches—relevant content is winning content. Instead of blanketing everyone with your 30-second TV spot, relevance-based marketing isolates the people most interested in what you are selling today.
There was a time when there weren't any easy ways to find out what your customers were interested in. But now your customers are talking to each other on blogs, Twitter, message boards and many other social media venues. Do you know how to listen to what they are saying? Can you tell whether they have positive or negative comments?
One reason to use social media listening as part of your content research is that it is inexpensive. It might seem like a cacophony of social conversation out there, but with the right text analytics and machine learning technology, computers can provide nearly the accuracy of human beings nowadays. The right technology used well can deliver insights you can't get any other way—and do it much cheaper than traditional focus groups and surveys of old-time market research. And cheap is important when you are starting something new—the less money required, the more you can get done without asking permission
But social media listening is appealing for reasons other than cost. Traditional market research works. Whether it is a focus group or a survey, market research gets answers to your questions. But, in a sense, that's the problem. Traditional market research gets answers only when you know which questions to ask. If you ask the wrong questions, you don't get all the answers. Maybe you'll fail to ask the most important question of them all.
That's where social media listening can come in.
It's unprompted. No one asks a question. You just eavesdrop on your customers and they tell you what is on their mind. If you do enough listening, you'll undoubtedly uncover all the issues out there. You don't need to worry about whether you've asked all the right questions. In fact, some of the most important content needs out there are in areas you might never have thought of.
Some people might object that the people using social media aren't completely representative of your whole market. That's true. But it is also true that the people willing to sit through a two-hour focus group for a $200 gift certificate aren't completely representative of your entire market. Some data is usually better than no data, which is what we might have if we need to justify more expensive content research techniques.
The best listening tools use text analytics and machine learning technology to identify relevant content—it knows the difference between brown patches on your skin and brown patches on your lawn, which matter a lot depending on which remedy you sell. They also use a technique called sentiment analysis, to tell you whether conversation is positive or negative. Often, negative conversation helps identify problems, which is where your content marketing can come to the rescue. Happy subjects don't pose the same pain points that cause people to buy.
Once your content marketing program starts to prove itself, you can invest in fancy listening tools, but free tools such as Hootsuite, can get you started. Start listening and learn what problems and issues people are talking about. That can spur your best content marketing topics.
Perhaps you buy the idea that differentiation makes sense for big companies whose products must appeal to different market segments than their competitors, but small businesses must differentiate, too. This presents some big challenges, because small local businesses have always based their differentiation around their location. If you own a retail store or a local service business, your marketing has probably been lame, but you've never had to pay for that before. With content marketing, you must differentiate or die. Let me explain.
Recently, someone came to me not understanding this concept. He has a successful store that sells eyeglasses and other vision aids. And he wants to sell online. Great idea, except what does he have to offer?
When I asked him this question, he quickly rattled off his time-worn pitch. "We have great selection, great service, and low prices." Well, OK. So, I asked him a few more questions:
Problems for our heroes.
To compete on the Internet, you need to have something special. That hoary marketing pitch (selection, service, prices) worked just fine when you were competing against a couple of places a few miles from you. I bet you could beat them in all of those areas if you knew what you were doing.
But you can't compete on price with mail-order contact lens shops. Or on selection either. And who is doing any service?
What should they do instead? They must find a way to differentiate, which usually involves specializing. It forced them to think about what they do well that is unusual:
Now, this company is still a long way from being a content marketing powerhouse. It is not simple for them to sell online. Frames are one thing, but contact lenses and eyeglass lenses require explanations for customers for getting exact measurements that aren't always on the prescription. And they have to ship things and manage returns and…it isn't a breeze.
But expecting to sell whatever they have in the store with nothing but a catalog is even more unrealistic. By thinking through the first steps of differentiation, at least they have a fighting chance. It at least gives them a couple of areas to start to create content for. Isn't it easier to write about the vision challenges of the mentally challenged or of athletes than blabbering on endlessly about their great customer service? You can at least imagine some search keywords and some topics they might be able to dominate.
Now, understand that their walk-in store can continue to sell eyewear to whomever walks in the door. They don't have to turn anyone away. But their content marketing online can focus on niche categories that help them to stand out in a sea of "best selection, lower prices" blather.
You need to approach differentiating your business so that you can create content that people find you for—your differentiation should not be easily copied.
Marketers are the new publishers—which is bad news for publishers, because marketers are giving it away. It's bad, unless the publishers figure out what their new market really is, which is not selling information but getting paid for producing information. Instead of going out of business, a computer magazine might want to ally with Best Buy. Instead of closing its doors, a home finance publisher might want to take its book content and talk to Charles Schwab. You think it was a fluke that Google bought Zagat? It's only just begun.
And for you marketers that don't think you need to ally with a publisher? Or can't afford to acquire one? What does it mean for you? It's good news for you, too. You can scoop up the writers and other content providers that once worked for publishing companies at pennies on the dollar. As each pillar of the publishing world starts to fall, lots of people who once had steady jobs are now available. They don't know that they should become marketers, but you know what they should be doing and you can hire them.
There are countless examples of marketers taking credible, objective information of things we once bought and giving it away to further their marketing. But to me, one of the hidden stories on how publishers might need to become the new marketers. As publishing's traditional sources of revenue for printed materials–advertising and subscriptions–both dry up as content goes online, publishers need a new source of revenue.
Instead of thinking of themselves as the creators of credible information that they sell advertising next to, should publishers be selling that information directly to the advertisers to use as their content marketing? If marketers now need credible information to do their selling, and they don't always know how to do it, why not call upon publishers who live for catchy topics and helpful information? What's more, there are well-worn processes of publishing ranging from editorial calendars to plagiarism detection that marketers now need to understand.
If publishers are finding their traditional businesses under pressure, it's in part because advertising doesn't solve their clients' problems as they once did. Advertising is no longer in the same demand by marketers but credible content never goes out of style. If publishers don't change their model to solve marketers' current problems, marketers will begin hiring away the people that work for publishers, rather than sending their money to the publishers themselves.
If marketers must become publishers, then publishers need to become marketers–or they are destined to be hired by the marketers.
Know that most content marketing campaigns live or die based on search promotion. Over the life of your content, the vast majority of people who see it will come from search, so don't overlook this key promotional technique for your content marketing.


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As laboratory director for the Basking Ridge facility I ensure the accuracy of testing performed on-site through daily reviews of quality control results, patient results, and equipment performance.
My colleagues and I at Memorial Sloan Kettering Basking Ridge offer comprehensive care including chemotherapy, radiation, imaging studies, and a growing number of surgical sub-specialties, ensuring that patients treated close to home in New Jersey receive state-of-the-art, coordinated care equal to that offered at the Center's main campus.
The Basking Ridge staff, which includes a dietitian and a social worker, carefully assesses the psychological, nutritional, and social needs of each of our patients. Patients requiring complex inpatient therapies such as stem cell transplantation can receive some of their treatment and care close to home at Memorial Sloan Kettering Basking Ridge. We help facilitate a smooth transition between the inpatient and outpatient settings.
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