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Download the Game Design and Indie Game Marketing Freebook 07/19/17GameDev.net and CRC Press have teamed up to bring a free ebook of content curated from top titles published by CRC Press. The freebook, Practices of Game Design & Indie Game Marketing, includes chapters from The Art of Game Design: A Book of Lenses, A Practical Guide to Indie Game Marketing, and An Architectural Approach to Level Design. The GameDev.net FreeBook is relevant to game designers, developers, and those interested in learning more about the challenges in game development. We know game development can be a tough discipline and business, so we picked several chapters from CRC Press titles that we thought would be of interest to you, the GameDev.net audience, in your journey to design, develop, and market your next game. The free ebook is available through CRC Press by clicking here. The Curated Books The Art of Game Design: A Book of Lenses, Second Edition, by Jesse Schell Presents 100+ sets of questions, or different lenses, for viewing a game's design, encompassing diverse fields such as psychology, architecture, music, film, software engineering, theme park design, mathematics, anthropology, and more. Written by one of the world's top game designers, this book describes the deepest and most fundamental principles of game design, demonstrating how tactics used in board, card, and athletic games also work in video games. It provides practical instruction on creating world-class games that will be played again and again. View it here. A Practical Guide to Indie Game Marketing, by Joel Dreskin Marketing is an essential but too frequently overlooked or minimized component of the release plan for indie games. A Practical Guide to Indie Game Marketing provides you with the tools needed to build visibility and sell your indie games. With special focus on those developers with small budgets and limited staff and resources, this book is packed with tangible recommendations and techniques that you can put to use immediately. As a seasoned professional of the indie game arena, author Joel Dreskin gives you insight into practical, real-world experiences of marketing numerous successful games and also provides stories of the failures. View it here. An Architectural Approach to Level Design This is one of the first books to integrate architectural and spatial design theory with the field of level design. The book presents architectural techniques and theories for level designers to use in their own work. It connects architecture and level design in different ways that address the practical elements of how designers construct space and the experiential elements of how and why humans interact with this space. Throughout the text, readers learn skills for spatial layout, evoking emotion through gamespaces, and creating better levels through architectural theory. View it here. Learn more and download the ebook by clicking here. Did you know? GameDev.net and CRC Press also recently teamed up to bring GDNet+ Members up to a 20% discount on all CRC Press books. Learn more about this and other benefits here.
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heavycat commented on heavycat's article in Business and LawAgain, I am not a lawyer, so don't take this as legal advice. A license can be withdrawn for the same reason that permission can be withdrawn for someone to borrow your car. The property right rests with the copyright owner. A license is permission to use the property. Now, a license can't be breached by the licensor. Once permission is granted under certain conditions (and free software licenses are rather broad), those conditions must be honored by the licensor since they will likely take the form of a written contract. But absent such conditions, a copyright owner may always reserve its exclusive rights, including the option to grant or rescind license to another party.
heavycat posted an article in Business and LawFirst off, I am definitely not a lawyer. So please do not take any of this information as legal advice. However, I am a producer at Heavy Cat Studios, and I have a fair amount of experience in merchandising, licensing, intellectual property management and production. Our studio has variously developed or co-developed graphics, writing, voices, sound and animation for 31 game projects under a variety of different licensing terms, and we've had the opportunity to evaluate those projects from concept to distribution. If you do need legal advice, it really isn't as expensive to hire an intellectual property attorney as you might think. An intellectual property attorney will be able to advise you on the specifics of copyright, trademark and patent law and how those different categories of intellectual property can affect your game project. Even an hour-long consultation with a good IP attorney is worth the cost, even if you are only looking for general advice on the best way to manage development. Believe it or not, all three major categories of intellectual property can and do affect your game project, even if you haven't given them a great deal of consideration or filed any paperwork yet. Despite the (often correct) protests of many programmers, software can be patented. Software is copyrighted the moment it hits your computer's RAM or hard drive, and if you have a title for your game, it is a candidate for a trademark. It is also not just your intellectual property you have to be concerned about. Your game project must be managed so it doesn't infringe on some other company's patent, or violate another company's trademark or copyright either. Fortunately, the finer points of intellectual property law are unlikely to have any major effect on the average indie game project unless you appropriate someone else's source code or artwork without permission. Even that is completely unnecessary in a world where there are six open source alternatives available for whatever you might need. So let's talk some basics. Copyright The last major overhaul of copyright law in the United States took place in 1976. That legislation made a number of changes that affect every creative project. It also made a lot of things much easier for authors, programmers and musicians, among others. First, and most important, everything you create is copyrighted the moment it is "fixed in a tangible medium." That means if you save a file to disk, write on a pad of paper, record a sound or perform a dance routine on video, that qualifies as a "work" which is now copyrighted. You now have certain exclusive rights in that work, such as the right to make copies and the right to distribute those copies. An exclusive right is one that only you can exercise. If someone else wants to exercise those rights, you have to give them permission or they are "infringing" on your copyright. Now most people believe that a copyright must be "registered" with the government in order to be effective. That's partially true. Copyright vests the moment any copyrightable work is fixed in a tangible medium (yes, that means that grocery list you wrote on the back of a Taco Shack coupon is copyrighted). However, in order for you to file suit and recover damages, that copyright must be registered. Registering a copyright is an extraordinarily simple process. For a small fee, you file a form with the Librarian of Congress along with two copies of your work. The Library of Congress will then send you a certificate. You now have a registered copyright. If you so choose, you can now file suit and recover damages including statutory damages (essentially a 'fine') from anyone who infringes on your registered copyright. But what if it's you and three of your best buddies working on a game together? Who owns the copyrights? Well, this is where the fun begins. If you so choose, you can grant permission for another person or company to exercise your exclusive rights under copyright law. This is called a "license." In most cases when three people (Yes, girls and women make games too. Look up Roberta Williams if you don't believe me) are working on a game, they are tacitly granting permission for everyone else to make use of their work during development. But once the game is done, the ownership issue can get very murky legally. Technically if three people have contributed source code to a project, for example, there are three people with exclusive rights in portions of that work. Any one of them could prohibit distribution of their work and bring the project to a halt. They would be completely within their rights to do so. The way to avoid problems like this is to make use of one of the provisions of copyright law to assign the copyright to a single entity. Then it is that entity which owns the rights to the entire work. This is known in the industry as "securing" rights. Depending on how serious you are about your game, it might be worth your time to look into setting up a company to "own" the copyrights to your game. That can bypass a lot of the difficulty and make provision for each of the people who work on the game to own a share of the company itself instead of one game. The specifics of this are outside the scope of this article but it is something your IP attorney might be able to help you with. Under the Copyright Act of 1976, there is a category of copyright assignment called a "Work Made for Hire." This is a provision of copyright law where if an employer hires an employee or contractor to produce a copyrightable work, the employer gets the copyright once it is produced. Technically, the copyright vests in the employer instead of the employee the moment it is "fixed in a tangible medium". Work for Hire only applies to certain kinds of works, so it is important that you do your homework ahead of time. If a work doesn't qualify, calling it a Work for Hire may not secure any rights. In such a case, the copyright may "revert" to the original author (employee or contractor) and give the employer no rights. In cases where a Work for Hire isn't practical, an author can "assign" their copyright to another party. This is essentially selling the right, or transferring title to the right. Assignment of a copyright is subject to certain legal restrictions. Generally it can only be done with a written contract. It is vitally important that a group of people working on a project make provision to assign the copyrights (through either process) to some entity, whether it is a company or the manager of the project. This prevents all kinds of potential hang-ups and obstacles later, especially if that project starts earning any significant revenue. Copyright and Game Art The moment pencil touches paper (or stylus touches Wacom, or mouse clicks in Photoshop), the art is copyrighted. That copyright vests with the artist and stays with the artist unless there is an agreement between the game developer and the artist for assignment or license of those rights. Artists who are knowledgeable about copyright law often grant licenses to developers to make use of their work. This is something we offer at Heavy Cat Studios through our distribution company Palace in the Sky Productions. The least expensive option is for a developer to commission art under a commercial license. They can then make use of that art in their game project and even sell the game at retail. However, our studio retains the copyright. Some developers want full rights to their work. For those clients, we offer to assign the copyright in the works we produce for an additional fee. If you are a game developer this is something you must be cognizant of before you start commissioning artwork from any third party, especially a studio. You should prepare a written agreement (this is an excellent time to bring in an IP attorney) and make sure the artist or studio signs it before they begin work. A verbal agreement isn't enough. Your artist owns the copyright to the art they produce regardless of any agreements you made ahead of time unless those agreements are in writing and they are appropriate for the rights you want to exercise. This is crucially important. Failure to secure rights in the art for your game can sink your entire project. Once you start the process of securing your rights, also be aware that copyright law can vary depending on the part of the world you are operating in. By and large, you will need to obtain worldwide rights to any work you want to make available on the web, since national borders do not prevent a work from being transmitted from one place to the next. Copyright licenses can be divided in any way a rights holder chooses. This means they can say "you can copy my work, but not in Canada." Make sure you have rights for every territory you plan to sell your work in. International copyright law is largely governed by a treaty called the "Berne Convention." The specifics of this treaty are outside the scope of this article, but suffice to say that any country that is a signatory to this convention will have strong protection for copyright holders. You will need to secure rights in all of these territories in order to avoid running into possible problems in other countries. The easiest method, of course, is to obtain worldwide rights to any copyrighted work you need to include in your game. In most cases, art for a game qualifies under the "Works made for Hire" rules as contributions to an "audiovisual work." Again, consult with an IP attorney on the particulars. If a work doesn't qualify, you can always have your artist assign their rights in the work. Trademark A trademark is a word, icon or visual representation that uniquely identifies your company or product in the marketplace. Game art can most definitely be trademarked. The most obvious candidates for trademark protection are your game and company logos. There are two kinds of trademarks. One is often referred to as a "common law" trademark. It is used to secure protection for a mark in commerce while registration is pending. It is identified by the "TM" next to the mark. This means the word, icon or visual representation is a trademark, and that trademark protects that mark, but that is has not yet been registered. A registered trademark is one that has been filed with the United States government. It is identified by the "circle R" (R) symbol. Only a registered trademark can use the registered trademark symbol. Filing a trademark registration is a project that absolutely requires the assistance of a qualified attorney. Attempting to do this on your own without significant study and care can be both expensive and time-consuming and there is no guarantee of success. The Patent and Trademark Office can and often will reject applications with even trivial errors or omissions. Better to get help with this one. Trademark in Game Art We know a logo is often the best candidate for a trademark. However, in some cases, your character art can qualify as a trademark. The most recognizable trademarked character is Mickey Mouse. Disney Corporation is uniquely identified by the "mouse ears" motif and by the character itself, so that character can qualify for protection under both copyright and trademark law. Trademark law is written to prevent the buying public from confusing one company with another. It prevents one company from using the good will and reputation of some other company to sell its own products. This is unfair competition because the first company may not have earned such a reputation with customers who trust the trademark. Essentially using another company's trademark is tantamount to impersonating them in the marketplace. Once you have trademarked your game logo, for example, if some other developer uses a logo that is too similar to yours, you have the right to stop them because that other developer could confuse your audience and customers into thinking they are somehow affiliated with you. You might not want that, so trademark law gives you a way to stop them from inviting the public to draw the wrong conclusion. While you are securing rights, be sure to consider registering a trademark for your game's logo and for your iconic characters if you so choose. It is a valuable way to protect the quality and reputation of your product in a competitive market. Patent You probably think I'm not going to come up with a way to apply patent law to games, but you might be surprised at how easy it is to stumble into patent problems without even thinking about it. For most projects, copyright is more than enough protection. Preventing some third party from taking your game, slapping a new logo on it and selling it is the key protection in copyright law. But copyright only protects your specific expression. Patent law protects the method or process embodied in that expression. It is somewhat more abstract than copyright law. Many programmers object on a number of bases to the idea of a software patent. In some cases, there may be a consensus there is only one right way to do something in software, and if that is patented, that means any programmer who doesn't have the patent must violate someone else's rights in order to write their program, even if it is original work that doesn't infringe on the other programmer's copyright. Patent and Game Art Leaving aside for the time being the controversy over whether software should be patented, just be aware that computer games and games in general are not immune from patent law. The board game "Mouse Trap" for example, was a candidate for a patent, since the little plastic Rube-Goldberg machine that dropped the cage on the mouse was a working mechanism with a commercial application. Mouse Trap is a tremendous example of just how far intellectual property law can stretch when applied to a game project. Theroetically, that colorful plastic trap mechanism qualifies under all three major categories of intellectual property: The pieces themselves can be copyrighted as unique sculptures. The entire trap mechanism can qualify as a separate unique sculpture distinct from its pieces. The entire mechanism could qualify as a unique symbol of the company that markets the game, making it a candidate for trademark protection and, since it is a working mechanism with a commercial purpose, it could also qualify for a patent. That's a lot of rights for one game, but that level of protection could be considered appropriate given the iconic nature of the game for the Ideal Toy Company. It likely took a lot of work to get that game to work as well as it did, so it was also advisable the authors of the game do what is necessary to protect their invention. Patents can be licensed or assigned just like any other intellectual property. If you own a patent, you have a series of exclusive rights just like a copyright or trademark holder. However, a patent has a short term. It also requires the assistance of a qualified attorney to file. Patents are very technical and specific. For most game developers, patents are not going to be a major concern unless you find yourself up against a litigant who claims you violated their patent. The overwhelming majority of game software is very similar from a technical standpoint, so the likelihood of a patent claim, while possible, is still fairly remote. Free Software Any 21st century discussion of intellectual property would not be complete without covering the world of free software and open source software. Be aware that free software and open source software are not "un-copyrighted" works. Those works are still covered by and protected by copyright. In fact, the copyrights in those works are what gives their authors the legal authority to enforce licenses like the GNU General Public License. The only works that are not covered by copyright law are those that are placed in the public domain by their authors. Public domain software is free for the taking. You can do anything you want with public domain works. Publically licensed works, such as those under the GNU General Public License and its equivalents should be considered copyrighted software with a permanent license attached. That license gives you stable, permanent permission to exercise certain rights of the copyright holder under certain conditions, but that permission is contigent on you fulfilling those conditions. Remember that permission can be withdrawn as well as granted, and that if permission is withdrawn, your right to exercise the copyright holder's exclusive rights is also withdrawn. The same is true of works you might find in the Creative Commons. Very often, with a little work, you can assemble a great majority of what a game project needs from publically licensed sources and supplement the rest with commercial works. This can often reduce costs in areas where even with significant expenditures, you will not exceed the quality of what you can obtain for low cost or no cost anyway. Free Art There are a number of stock art services available. For most game purposes, these sources can be hit or miss with regard to quality or technical limitations. Art is subjective. It is evaluated on style as much as utility, and graphics that are cobbled together from numerous sources often look like they were cobbled together from numerous sources. Some kinds of art, however, can look presentable, even attractive if they are assembled from multiple sources. Many of the projects we do at Heavy Cat Studios make use of pixel art, and our Indie Game Art Store features pixel art for RPG and sidescroller-style games. Because of its style, pixel art is a bit more forgiving when it comes to looking like it all fits together. Two different styles of illustrated art, on the other hand, might not look quite as attractive. Conclusion The key to the intellectual property side of indie game development is to be aware of the details and to make sure you have your bases covered. The best example of the hazards you face if you don't do your due diligence is the Spider-Man property. For decades, the Spider-Man movie rights languished at Marvel because there were up to ten different companies with various rights to make a film. Since these licensees could not agree on how to make a movie, it just didn't happen. The reason is if one of them went off and started production, any of the others could have used their license to say "this producer is exercising the legal exclusive rights I obtained from Marvel to make this film" and thereby stop production. They were all within their rights to say no. Trust me when I tell you getting ten people to agree in Hollywood is like trying to get a unanimous vote in Congress. It ain't happening, no matter how much money you have. Ronald O. Perelman was a multi-billionaire when he owned Marvel Entertainment. He didn't make much progress on Spider-Man movies either. It took nearly 40 years for Spider-Man to escape from the rights mess. Marvel filed for bankruptcy in the late 1990s. During that case, the company managed to unravel all the licenses. That's why we got to see a Spider-Man film series starting in the early 2000s. All the copyrights and licenses reverted to Marvel after the company emerged from bankruptcy. Because they now had their exclusive rights back, they could then proceed to make their film. They exercised their right to make a "derivative work" under copyright law. If you are an indie game developer, my advice to you is very simple. Unless you want your game to be tied up in a copyright dispute for 40 years, protect and manage your rights. It will make your project that much more valuable and have a much better chance of success. Copyright (C) 2013 Palace in the Sky Productions LLC Article Update Log 16 May 2013: Initial release
heavycat replied to superman3275's topic in GDNet Lounge"How about PHP?" "It's awful. Community sucks. Toss it." "Flash?" "Crap. Bloated. Everybody hates it." "Why?" "Because it works." "What about basic HTML?" "HTML5 is better." "So the right answer is to throw out 100,000 man-years worth of working technology in favor of this new thing? What happens when HTML5 is widely used?" "We'll toss it and start over. Just like we've been doing since 1961. What, you think everything being broken all the time is by accident?" If we built buildings the same way we build software the first woodpecker to come along would destroy civilization. -- Gerald Weinberg
heavycat replied to double O seven's topic in 2D and 3D ArtIf one doesn't exist we should build it. [img]http://public.gamedev.net//public/style_emoticons/default/wink.png[/img]
heavycat replied to HeArtworkGames's topic in Writing for GamesI agree. It's ambitious. Great world to add a well-written, emotionally understandable character to.
heavycat replied to JaimeB's topic in Writing for GamesJust a suggestion from a writing standpoint: it's generally a good idea to make sure all of your main characters have different sounding names and that all those names start with a different letter. Having all four of the brothers have names with "io" as the suffix could be confusing for players who are unfamiliar with the world and the characters. [img]http://public.gamedev.net//public/style_emoticons/default/smile.png[/img]
heavycat replied to Machtl's topic in Game Design and TheoryPerhaps players could have a way to exert control over/steal any of the balls on the table at any given time? That will enforce a kind of equilibrium during gameplay and it will dilute the advantage of putting too many balls in play at once.
heavycat replied to Kasuko's topic in Game Design and TheoryKey to a first game project is to make it simple, simple, simple. Simple and finished always beats ambitious and abandoned for lack of time/money/interest. If you really want expert advice I recommend a book called "The Art of Computer Game Design" by Chris Crawford. The man is a genius on a number of levels and he explains the process of game design far better than I could ever hope to. [img]http://public.gamedev.net//public/style_emoticons/default/smile.png[/img]
heavycat replied to Anddos's topic in Graphics and GPU ProgrammingWriting it in assembler would be good experience though, and once you understand how to write a shader, it will be much easier to understand how they work. [img]http://public.gamedev.net//public/style_emoticons/default/smile.png[/img]
heavycat replied to sooner123's topic in For BeginnersWouldn't each location either contain an inventory object or implement an inventory object's interface? Maybe door() would be a method of the connection class? Probably not as big an issue now as it used to be but games can chug a bit if you get a particularly wild spin-up of objects going all at once. Make sure that room with 17 connections each implementing interfaces to 214 other objects gets de-allocated. [img]http://public.gamedev.net//public/style_emoticons/default/smile.png[/img]
heavycat replied to EngineProgrammer's topic in Graphics and GPU ProgrammingIs Direct3D a separate set of API calls still or is it just all part of the same interface to DirectX? I would think getting a polygon on the screen in DirectX would be fairly simple. I do recognize "SetGraphicsMode" as possibly a WinG call from back when keyboards were made with dinosaur bones. [img]http://public.gamedev.net//public/style_emoticons/default/biggrin.png[/img]
heavycat replied to azonicrider's topic in GDNet LoungeThere is no programming problem that can't be solved with assembler. [img]http://public.gamedev.net//public/style_emoticons/default/tongue.png[/img]
heavycat replied to kamalsiegel's topic in GDNet LoungeYou know with just a little paint and extra time those could be pretty amazing action figures. [img]http://public.gamedev.net//public/style_emoticons/default/biggrin.png[/img]
heavycat replied to l46kok's topic in Production and ManagementKeep it simple. Every feature adds exponentially to the implementation effort required, then also adds to the support costs. If in doubt, drop it. Always [u][b]ALWAYS[/b][/u] better to have simple working than complex on a whiteboard.
heavycat replied to tracegame's topic in Music and Sound FXAren't there any standardized programming libraries for sound effects and sound processing yet? Do the major operating system game libraries offer APIs for processing sound or is it all just playback and effects?


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Nixon's crooked confession
A new play and book on the downfall of Richard Nixon lay out the journalistic chess game that trapped the disgraced former president into finally admitting his wrongdoing.
THERE is a game Americans like to play and a title they like to confer. It's called Worst President of All Time. Despite the studied judgements of historians, who can often identify some ancient dullard as all-time underachiever, these days the incumbent George Bush, architect of the disastrous venture in Iraq, is guaranteed at least a mention.
But credit where it is due. The worst of Bush, according to writer and historian James Reston jnr, finds its genesis in the rationalisations of Richard Nixon, who offered this to justify his excesses: "If the president does it, that means it's not illegal."
Consider Bush at his worst, such as misrepresenting national intelligence and dragging the country into war on false pretences, and you find this Nixonian presumption of being above the law, says Reston, who is in a unique position to judge. He is the author of The Conviction of Richard Nixon, an insider's account of British broadcaster David Frost's 1977 interviews with the disgraced president. Three years after his resignation, and pardoned from prosecution by his successor Gerald Ford, Nixon agreed to a series of interviews over 12 days.
Reston, although plagued by doubts about Frost's ability to successfully confront the former president, was the Englishman's adviser on the Watergate burglary and cover-up that drove Nixon from office.
"Had Nixon rolled over Frost, who had a reputation as a softie, it would have been a terrible tragedy in American historical terms," Reston says.
The burden of holding Nixon to account weighed heavily. Of all the interviews, on foreign and domestic affairs and the mess of the Vietnam War, it was Watergate that would determine the success or failure of Frost's enterprise.
Reston feared the highly skilled Nixon would somehow be able to rehabilitate his reputation at Frost's expense. This tension anchors Reston's personal memoir, written just after the interviews, and as he returned to teaching creative writing at the University of North Carolina. And there his book lay, undisturbed and pretty much unread for almost 30 years. It has since experienced an extraordinary transformation.
After British playwright Peter Morgan approached Frost with his idea of crafting a play from the Nixon interviews, Frost referred Morgan to those who worked on the original project. Reston handed over his old memoir without hesitation, and a play and Reston's new book was born.
"I think it (Frost/Nixon) is a wonderful play, brilliant in every respect. A very theatrical story. I think (Morgan) was lucky to have found me, and lucky for me to be so generous with the manuscript," says Reston.
"Almost every writer I tell this story to, about giving this manuscript to him no strings attached, cannot believe I was so naive. I thought this was just going to be a little play in a little London theatre."
Implicit in the book is a reminder for Australians of their country's place in the world when Reston begrudges precious interview minutes lost in tedious discussion devoted to French, British "and, God forbid, Australian material".
Off-camera, Nixon spoke of little else Australian but the split-to-the-hip dress worn to the White House in 1971 by Sonia McMahon, wife of prime minister Billy McMahon. Australia was simultaneously scandalised and titillated by the dress. Nixon was left with an enduring admiration for Lady McMahon's "nice gams".
Reston is the son of the prominent American journalist and Washington correspondent James Reston, who died in 1995 and who was himself afforded a place on Nixon's famed enemies list. James jnr casually laughs off the suggestion that such history has any bearing on his place in Nixon's undoing. "People are inclined to think that's what made me such an angry young man, like George Bush doing what his father didn't do in the Iraq war, but nope, that was not in my psychology at all."
Reston is dressed comfortably rather than fashionably, in a purple skivvy and orange jumper over shapeless trousers, clothes that mould around his frame like old friends. Although he served in the army for four years, he identifies as a product of the civil rights movement and the Vietnam era of civil disobedience.
When he arrived at the University of North Carolina in 1959, the South was racially segregated. By the time he left, it was almost wholly integrated. A social revolution had erupted around him. "It made for a very exciting way to be in college." He was in the military until 1968 as an intelligence officer.
Reston says he would not have published The Conviction of Richard Nixon had Morgan not written the play at the time of the memoir, Frost was writing his own account of the interviews and had committed the rest of his crew to secrecy and the play Morgan wrote would not have been the same without Reston's work.
"I think the value of the book is that it has the dramatic lines there. The Frost book is a very wooden, a turgid chronicle of the whole thing," says Reston.
"If anybody really cares, (Frost's book) is more definitive as it were, but it has none of the tension that was within the staff.
"And of course David would never say anything but that he was brilliant from start to finish in the whole thing, and so the engine of the play, the worry about Frost blowing it, how he is doing none of his homework, and my absolute paranoia and terror that he could blow this thing, none of that is anywhere but in my book. That's why I am such a significant character in the play itself, this radical figure. The book is about real characters in conflict."
Still to come is the Hollywood account, directed by Ron Howard, due for release in June and improved, it seems, by Reston's own assessment of an oversight in the play he otherwise views as utterly brilliant.
"I felt that Peter had missed a really important line that had resonance to Vietnam and that was when Nixon said, 'I was the last casualty of Vietnam.' The arrogance and the disconnection of that line is just so extraordinary. It kind of became a throwaway line in New York, but I have high hopes for that in the film, and it's my understanding that the way that was shot in the Ron Howard movie is that after Nixon says that, the Jim Reston character says, 'Tell that to the paraplegics.' "
While Reston openly doubted Frost, and worried more deeply as the early interviews seemed to miss opportunities to press Nixon on issues such as Vietnam and abuse of power, he says Frost proved well suited to the task.
It was during those interviews that Nixon offered his personal justification that put the president above the law, and was finally reduced to acknowledging his wrongdoing.
"I think the fact (Frost) began as a comic, he had a sense of the theatrical. He understood that sometimes soft questions can elicit very interesting material," says Reston.
"In that moment where the intense withering interrogation had got Nixon to the point of cracking, he knew to back off instinctively. He switches so wonderfully to Father Confessor. He backed off to see what would come out of the wreckage.
"He is a very substantial person and he certainly had the acuity to know that he had to be prepared for this historic thing he had to do. This is about a moment in broadcast history as well. David used irony and cleverness in the Watergate show in a very effective way."
Had the task been left to the American commentators of the time, Reston says, it would have degenerated into a shouting match and, possibly, sympathy for Nixon.
Reston says that what the Frost interviews underline is the lack of a process to prosecute or obtain an honest account of their actions from a discredited president.
Crooking an index finger in front of him, like a direction-finder, he continues: "If Bush had taken a laser beam against Osama bin Laden and those mass murderers who brought our buildings down, he would have had worldwide affirmation for that. It was this shifting, this expanding from Afghanistan to Iraq. We were total victims and we turned ourselves into villains.
"So many people are asking me, and asking Peter, 'Who is going to be the David Frost for George W. Bush?' "
Ian Munro is New York correspondent.
The Conviction of Richard Nixon: the untold story of the Frost/Nixon interviews, by James Reston jnr, is published in Australia by Scribe. RRP $24.95
The Melbourne Theatre Company production of Frost/Nixon opens on May 23.
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subset: commoncrawl


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." …
However, the video has been selectively edited--either by the Boston television station or by Buzzfeed itself. Over the course of the day, Breitbart.com will be releasing additional footage that has been hidden by Obama's allies in the mainstream media and academia.
Breitbart.com Editor-in-Chief Joel Pollak and Editor-at-Large Ben Shapiro will appear on The Sean Hannity Show to discuss the tape. The full tape will be released tonight on Fox News' Hannity.
Read more: http://nation.foxnews.com/president-obama/2012/03/07/hidden-obama-harvard-tapes-hannity-tonight#ixzz1oUKPDXwN


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Throughout the coconut grove on the ground or 1st floor, most of the rooms have a beautiful sea view, some have a view of the gardens.
|32 m²
|1 - 4 persons
There's a good reason why the Club Med Kani Maldives Resort is known as Heaven on Earth. The pristine turquoise waters stretch out to the horizon, palm trees sway in the breeze, and there are so many fun ways to enjoy this idyllic scenery.
Whether it's snorkelling with colourful fish, paddling through crystal clear waters, diving*, or surfing* some of the world's finest breaks, every day will be a perfect day in the Maldives. Accommodation is also available in the 5 Trident Luxury Space Overwater Suites, for the ultimate indulgence - dive straight from your Suite into the ocean. Life doesn't get better than this!
In the heart of a magnificent island in the middle of the Indian Ocean, the bungalows are set between lush vegetation and a magnificent immaculate white sand beach with crystal clear waters.
You'll love this diver's paradise, ideal for modern-day Robinson Crusoes. Bungalows with one upper floor are dotted throughout the island and there are lots of single-storey Suites.
For information: this Resort does not have access for people with reduced mobility.
Throughout the coconut grove on the ground or 1st floor, most of the rooms have a beautiful sea view, some have a view of the gardens.
|32 m²
|1 - 4 persons
Ground floor accommodation right by the beach, ideal for couples. You'll appreciate the open-air shower room and the sea view from your terrace.
|42 m² - 42 m²
|1 - 3 persons
For a unique and unforgettable holiday, treat yourself to this charming Suite with its private terrace from which you can dive straight into the sea, with a magnfiicent view over the lagoon.
Access to the Suites via pontoons that form a circular shape as they jut out into the lagoon. Terrace with teak furniture and direct access to the sea.
To ensure their safety, children under 14 are not accepted in these Suites.
|70 m²
|1 - 2 persons
The largest Sports School in the world is all yours! Exceptional sports and group lessons for all levels of skill. Beginners and experienced sportsmen enjoy state-of-the-art equipment and exclusive, fun teaching from G.O®s trained in their discipline. Indulge yourself to the extreme and discover new emotions.
Resort welcoming children from age 2, with children's activities from 4 years old.
New from 1 July 2016, children aged 4 to 10 and 11 to 17 enjoy unforgettable days of games, sports and creative activities, with a dedicated G.O®.
From 4 to 7 years
The Pyjamas Club® is a group babysitting service (no specific activities). It enables parents to leave their children with a team of experienced and qualified G.O®s in a dedicated area with all the necessary comforts (beds, couches, video area, etc).
From 4 to 17 years
New since 1 July 2016, children aged 4 to 10 and 11 to 17 enjoy unforgettable days of games, sports and creative activities, with a dedicated G.O®.
Each country has its own gastronomy, with sweet, savoury or spicey specialities. Discover a host of new flavours during your stay, and let your imagination lead the way, from breakfast through to dinner. Make the most of our Open Bar and Snacks formula.
Savour the exotic names and flavours of the delicious international and traditional Asian dishes served from The Vehli's buffet. You can dine on the open-air terrace, and our team of chefs also produces a selection of low-calorie dishes daily. Tables sit 2 to 8 people and high chairs are available for infants.
This speciality restaurant has an idyllic, shady setting alongside the turquoise waters of the lagoon - an experience not to be missed! It serves breakfast and late lunch. The two evening menus to choose from include delicious lobster, at extra cost. Booking is required for the evening. Tables sit 2 to 8 people.
This original and creative restaurant specialises in finger food. It serves Asian soups, tapas, sandwiches and other featuring flavours from Asia and elsewhere. It is open all day and into the evening.
Drinks served by the glass and at the bar only: water, fruit juices and sodas, hot drinks and cocktails with and without alcohol, wines and local and international spirits.
A selection of sweet and savoury snacks.
Champagnes, VSOP and XO spirits, bottled and canned drinks are available from vending machines in some of our Resorts and/or at the Club Med Boutique. Certain super-premium brands and bottled wines are also available à la carte in some of our restaurants and bars.
Lounge on the teak terrace with a superb view of the overwater bungalows - this poolside bar is heaven on earth. Enjoy a cool, evening drink as you watch the sun go down and the starry sky emerge in paradise.
Located by the lagoon near the Kandu restaurant, drink in the magnificent view of the turquoise waters as you sip your drink, and lap up the warm breeze from the welcome shade of the coconut trees.
The Maldives in brief
- Surface area: 238 sq km
- Capital: Malé
- Official language: Divehi
- Currency: the Rufiyaa.
Make the most of your stay at Kani to discover the natural beauty and fascinating culture of the region.
Towns nearby:
- Malé is 30 km from Club Med by boat.
The lively little capital is a great contrast with the islands, where the pace of life is much slower. A very pleasant and friendly town, where you can visit the national museum, admire the Grand Friday Mosque and visit the fish market.
Vaccinations and medical treatment
It is your responsibility to check all the necessary formalities before departure.
Vaccinations recommended:
Hepatitis A and B
Mosquitos can transmit certain viral or parastic diseases, so the use of tropical mosquito repellents for the skin and clothing is recommended.
A resident nurse is on site and a doctor specialised in scuba diving is available at Club Med Kani.
For all UK citizens, a valid passport is essential when you travel abroad. A full 10-year passport is required for holidays to all countries featured on our website. The passport must be valid for at least 6 months beyond your return date with one blank visa page. Make sure your passport is valid and check with the embassy or the consulate of your destination country if you need a visa for your chosen destination prior to travel. It is vital that the name given when booking your holiday (printed on the ticket and itinerary) is exactly the same as written on your passport. Any child, however old, must have his/her own passport.
Please note Club Med cannot be held responsible for any issue with regards to passport or visas.
There's a good reason why the Club Med Kani Maldives Resort is known as Heaven on Earth. The pristine turquoise waters stretch out to the horizon, palm trees sway in the breeze, and there are so many fun ways to enjoy this idyllic scenery.
Whether it's snorkelling with colourful fish, paddling through crystal clear waters, diving*, or surfing* some of the world's finest breaks, every day will be a perfect day in the Maldives. Accommodation is also available in the 5 Trident Luxury Space Overwater Suites, for the ultimate indulgence - dive straight from your Suite into the ocean. Life doesn't get better than this!
Age : adults only
Time dedicated to relaxation.
Must be booked with your holiday reservation
3 Balinese Massages (50')
3 Refresher Facial or 3 Foot Massages (30')
2 Warm Stone Massages (50')
2 Aromatherapy Floral Foot Baths (10')
2 Aromatherapy Floral Baths (15')
2 Lavender Body Washes followed by 2 Traditional Body Scrubs (45')
1 Spa Manicure (60')
1 Spa Pedicure (75')
Age : adults only
Revitalising and regenerating treatments for body and mind, for a totally relaxing holiday.
Must be booked with your holiday reservation.
2 Balinese Massages (50')
2 Refresher Facial or 2 Foot Massages (30')
1 Warm Stone Massage (50')
1 Aromatherapy Floral Foot Bath (10')
1 Lavender Body Wash followed by 1 Traditional Body Scrub (45')
1 Aromatherapy Floral Bath (15')
Age : adults only
Our most relaxing massage, harnessing the therapeutic properties of 100% pure essential oils. Used for centuries to renew, strengthen and heal both body and mind, this traditional therapy combines stretching, long strokes, skin rolling and palm and thumb pressure techniques to relieve tension, improve blood flow, ease stress and calm the mind. It can also help to improve the circulatory, lymphatic, muscular and nervous systems.
1 Relaxing Massage with Essential Oils (50')
Age : adults only
The most blissful ride your feet will ever take you on. It's like reflexology without the 'ouch'. Based on the same therapeutic principles of its ancient ancestor, this foot massage will help to release toxins and restore your body's energy flow. And it feels like bliss at its celestial best.
1 Foot Massage based on principles similar to Reflexology (50')
Age : adults only
The healing power of touch combines with the energy of the earth in this relaxing, muscle melting massage. Smooth, warmed stones glide across your body in long, flowing strokes. The heat helps to relax the muscles and has a soothing effect on your emotions. Simultaneously, stones are placed on the body's various energy points to encourage the body's healing potential.
1 Warm Stone Massage (50')
Age : adults only
An exotic, luxurious and unforgettable celebration of indulgence.
1 Aromatherapy Floral Foot Bath (10')
1 Lavender Body Wash followed by 1 Traditional Body Scrub (45')
1 Aromatherapy Floral Bath (15')
1 Balinese Massage (50')
1 Refresher Facial or 1 Foot Massage (30')
Age : adults only
Mandara Spa's signature facial is rich in enzymes that can peel away dead skin, antioxidant vitamins to protect and treat the cells from environmental (and self-induced!) pollutants and natural oils for deep nourishment. We use only natural ingredients with no harmful preservatives or additives. There are three options for different skin types, relying on nature's life-force to restore the equilibrium and deliver a vitamin and mineral burst to your skin.
Preserve :a cleansing and rejuvenating facial for normal skin.
Renew: a fruit acid facial for treating environmentally damaged skin.
MANDARA Facial Treatment with Natural Nourishing Oils (50')
For information:
The term "massage" implies a superficial manipulation of the face or body, solely for aesthetic purposes, sometimes to ensure optimal penetration of a cosmetic product, or for comfort. The massage referred to is an external massage of the skin, with no medical or therapeutic aim. It may be done manually or with mechanical aids, exclusively by qualified, trained professionals.
☼ Full board Gourmet cuisine and all day snacks
☼ Open bar - Branded drinks throughout the day
☼ Kid's Clubs - 4 to 17 years old
☼ Evening entertainment
Amazing location. A secluded island in pristine ocean. What dreams are made of. Food was good. The w...review by ryu1974
A TripAdvisor traveller
A huge thumbs up to Barq and his ClubMed Kani crew, we had an amazing time on this breath-taking isl...review by Bohdanka V
A TripAdvisor traveller
We had the most amazing second stay at Kani. The food was amazing, a huge improvement from 5 years ...review by eulaniec
A TripAdvisor traveller
based on 3873 Reviews


text:
What Was Oprah Doing In Saratoga Yesterday?
It's true! She was spotted having dinner at the Crown Grill on Monday night. Oprah was in town to surprise two Skidmore students who attended her Academy for Girls in South Africa.
According to the Business Review, Oprah had a wedge salad with bacon and bleu cheese.
photo: Getty Images


text:
As many current Steelers restructure their contract, Mike Florio breaks down what Pittsburgh can do with their extra cap freedom. Resigning James Harrison, signing a backup QB, and spending on their draft picks top the list.This video is no longer available. Click here to watch more NBC Sports videos!
ProFootballTalk: What can Steelers do with cap space?
Posted by NBCSports.com on February 28, 2013, 7:20 PM EDT
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text:
Site created 12/15/97.
review added: 9/25/03
The Lion King: Special Edition
Platinum Edition
- 1994 (2003) - Disney
review by Bill Hunt, editor of
The Digital Bits
Film Rating (both versions): A
Disc Ratings (Video/Extras): A/C+
Audio Ratings (Original/Enhanced): B+/A
Specs and Features
Disc One - The Film
89 mins (SE version)/88 mins (Theatrical version), G, letterboxed widescreen (1.85:1), 16x9 enhanced, THX-certified, single-sided, RSDL dual-layered (layer switch/branching pause at 10:49 in chapter 3), dual-disc keep case packaging with slipcase, audio commentary (with directors Roger Allers and Rob Minkoff and producer Don Hahn),
The Making of The Morning Report
featurette (3 mins), 3 deleted and abandoned scenes (
Bug Football
- 1 min,
Hakuna Matata
- 2 min,
Can You Feel the Love Tonight?
- 2 mins), sing-along text track, personality profile game, Disney Channel 'Circle of Stars'
Circle of Life
music video, video "making of" featurette,
Timon's Grab-a-Grub
Pumbaa's Sound Sensations
game, promo trailers (for
The Lion King 1 ½
Brother Bear
Sleeping Beauty: SE
George of the Jungle 2
Finding Nemo
Santa Clause 2
Mary Poppins: SE
and Walt Disney World), preview for Disc Two, insert booklet, DVD credits, THX-Optimizer, animated film-themed menus with sound and music, scene access (24 chapters), languages: English (DD 5.1 & "Disney Enhanced" DD 5.1) and French (DD 5.1), subtitles: English for the hearing impaired, Closed Captioned
Disc Two - Supplemental Material
Single-sided, dual-layered, 3 story featurettes (all 4x3,
Story Origins
- 5 mins,
Timeless Themes
- 4 mins,
The Story Comes to Life
- 3 mins), 7 film featurettes (all 4x3,
- 6 mins,
Production Research Trip
- 2 mins,
Art: African Influence
- 4 mins,
- 5 mins,
Storyboard Process
- 2 mins,
Production Design
- 1 min,
Computer Animation
- 4 mins), 7 character design featurettes (all 4x3,
- 1 min,
- 2 mins,
- 3 mins,
- 1 min,
Timon & Pumba
- 2 mins,
- 1 min,
The Hyenas
- 1 min), 11 film character design galleries, 5 stage featurettes (all 4x3,
Musical Origins
- 4 mins,
Screen to Stage
- 3 mins,
Musical Texture
- 3 mins,
Setting the Stage
- 2 mins,
Leaps of Fantasy
- 4 mins), stage musical publicity gallery,
Timon & Pumbaa's Virtual Safari
interactive game, 7 music featurettes (all 4x3,
Music Inspirations
- 4 mins,
Landmark Songwriting
- 3 mins,
Orchestral Color
- 4 mins,
Scoring Emotion
- 3 mins,
Music: African Influence
- 4 mins,
Audio Sequel
- 4 mins,
Full Circle
- 2 mins), Elton John's
Can You Feel the Love Tonight
Circle of Life
music video, Jimmy Cliff and Lebo M's
Hakuna Matata
music video, 6 animals featurettes (all 4x3,
- 1 min,
- 3 mins,
- 3 mins,
- 3 mins,
- 2 mins,
Disney & Animals
- 6 mins),
Leaps of Fantasy
featurette (4 mins), multi-language clip reel (4 mins),
International Release
featurette (4 mins), international soundtrack cover galleries, international large format release gallery, promo trailer for
The Lion King 1 ½
DVD Sound Design
featurette (6 mins),
Animal Kingdom Park
promo featurette (4 mins),
Animal Kingdom Lodge
promo featurette (2 mins),
Storyboard to Film
comparison featurette (4 mins), 2 early concept reels (
Timon & Pumbaa Find Simba
- 3 mins,
Simba's Presentation
- 3 mins), 1 abandoned scene (
Warthog Rhapsody
- 3 mins), early presentation reel (1 mins), 11 production design galleries, 3 effects animation galleries, animated film-themes menus with music
The Lion King
tells the story of young Simba, a lion cub who is destined to one day take his place as the king of the many animals living around Pride Rock. Simba's birth, while welcomed by nearly all the animals, is grating to Scar, who is the scheming brother of the current king, Mufasa. Scar, with the help of a pack of hyenas, plots to get both Mufasa and Simba out of the way, so that he can assume the throne. As the story progresses, Simba must overcome tragedy and his own doubts, and find the courage within himself to take his rightful place as king. Of course, no one every succeeds in life alone. In this case, Simba has a pair of loyal (and unlikely) friends to help him - a meerkat named Timon and his trusty warthog pal, Pumbaa.
The Lion King
is arguably the most successful animated feature film of all time. It is certainly one of the most profitable. The film succeeds largely because of a fluky convergence of elements that, to this day, even the creators don't fully understand. When the story was first in development at Disney, it was considered a less than desirable project to work on - pitched as
in Africa. Much of the so-called A-talent at the studio passed on it to work on
instead. But then, some interesting things began to happen. Rather than working from pre-existing material, as was the norm at Disney, the producers crafted an entirely new story - a coming of age tale set in the world of the animal kingdom. Originally, the film wasn't intended to be a musical, but Tim Rice was brought on board to write a number of songs, and Elton John came soon after to put those lyrics to music. The resulting musical numbers were so good, that they inspired the animators and producers creatively to take the project to the next level. Add to this mix the amazing cast of voice talent, and the accomplished scoring by Hans Zimmer and Lebo M., and suddenly the film began to take on an amazing life of its own.
The Lion King
went on, of course, to thrill audiences right from the very opening note and visual image.
Given the importance of this film to Disney fans, it was absolutely critical that the film look as good as it's possible to achieve on a DVD. I'm very pleased to say that the technicians at Disney have absolutely nailed the video quality. Presented in all its anamorphic widescreen glory, this film looks simply amazing. Colors are lush and vibrant, contrast is excellent with deep blacks and wonderful shadow detailing, and there's nary a spec or mark to be found anywhere. Edge-enhancement is thankfully absent and digital artifacting is also not an issue thanks to a nicely maxed-out average video bit rate (it seldom drops below 7 Mbps). You'll notice subtle film grain, which is entirely appropriate, and the picture looks quite natural overall. This film is a delight to watch on DVD - probably as good as a non-computer animated film can look on this format. You should also know that, via the miracle of DVD's seamless-branching capability, two versions of this film are available on Disc One (you might notice a slight pause when the branching happens). You can choose to watch the original theatrical version, and a minute-longer "special edition" version which appeared in IMAX theaters last Christmas. The sole difference between the two is the addition of a single musical number,
The Morning Report
, written and animated by the very same people who worked on the film originally. The new song matches the rest of the film beautifully and is, for me at least, a welcome addition to the story.
Regardless of which version of the film you choose to watch, the available audio options let you choose between the "original" Dolby Digital 5.1 mix, and a new "Disney Enhanced" Dolby Digital 5.1 mix, which has basically been sweetened to make the mix more expansive in the home theater environment. The new mix is much more active in terms of surround use and panning, with more of a push in the .LFE channel as well. There's no doubt, it sounds fantastic. But I actually preferred the original mix to a degree, if only because a number of subtle sound cues and effects I remembered from the theatrical experience have been de-emphasized in the new mix - the sounds of various animals in the opening sequence for example. Still, both of them are great examples of superior film sound on DVD. One mix is simply more "accurate", and the other is more immersive. Which you prefer will be a personal choice.
Unfortunately, the extras on this two-disc set are a mixed bag. The basic problem here is that Disney is trying to satisfy two different audiences with the same disc - the moms and kids on one hand, and animated film aficionados on the other. There was a time, not so very long ago, when Disney created two different versions of its films on DVD - one for each of those audiences. I'm thinking of the fantastic special editions of
A Bug's Life
Toy Story
Toy Story 2
. Now however, in a move to maximize profits, we get just a single edition on disc for everyone. As a result, there are extras here that film fans are going to find irritating, and extras that moms and kids aren't going to give two rips about. What's more, those of you out there who purchased
The Lion King: Masterpiece Edition
laserdisc box set are going to have to hang on to it a while longer. There are a number things on that set that did not make the transition to DVD, including the documentary on the making of the film hosted by Robert Guillaume, many of the storyboard pitches and breakdowns, some of the early concept featurettes and more.
Without delving into every single thing on these two discs (you'll find a complete listing of them all above), I'll just mention the highlights, and the pluses and minuses of each. Disc One features an excellent audio commentary with the producer and directors of this film. It's entertaining to listen to, as they talk about the origins of the story, the process of how it developed, the inspiration that the music provided to the production team and many other issues. Disc One also includes a look at the making of the new musical number for the special edition, and a trio of brief deleted or abandoned sequences from the film with introduction. They're not lengthy, but they're cool to see and the story behind the original version of
Can You Feel the Love Tonight?
is definitely amusing. Disc One also includes a number of interactive games for the kids, a sing-along subtitle track and a tons of preview trailers for other Disney DVD titles (oddly, however, nowhere on either of these two discs will you find trailers for
The Lion King
). Irritatingly, the previews run automatically when you put the disc in your player - you can skip them, but it's still irritating.
Disc Two is where the majority of the extras are located, and you can choose to view them in one of two ways. You can "journey" through various topics, including Story, Film, Stage, Music, etc, or you can "journey" through the same material organized by continent; Asia, Africa, North America, etc. Each different path consists basically of a host of short featurettes. By "journey", I mean to say that you can play all of the featurettes in that path together, or you can view them one at a time. It's all a bit more complicated than these menus really needed to be, and it makes you think there's a lot more substance to the material here than there really is. Part of the problem here is that none of these featurettes goes into any kind of depth on the subject they cover. The longest of them is 6 or 7 minutes, but most clock in at well under 2 minutes - barely enough time to even address the subject, much less tell you anything interesting about it. They're more like EPK pieces. We're treated to new interviews with many of the behind-the-scenes production team members, including Tim Rice and Elton John, but completely missing from this DVD are the reflections of the voice cast. Nowhere to be found are the thoughts of Matthew Broderick, Jonathan Taylor Thomas, James Earl Jones, Jeremy Irons, Moira Kelly, Ernie Sabella, Nathan Lane, Robert Guillaume, Rowan Atkinson, Madge Sinclair, Whoopi Goldberg, Cheech Marin, Jim Cummings and others. It's a rather surprising omission, and I can only assume this was a financial decision, because there doesn't seem to be any other reason for it. We're also given new interviews with a number of Disney studio executives, talking about the phenomenon that
The Lion King
became, but frankly I just don't care much what Michael Eisner has to say. No offense, Michael.
This unfortunately leads to the second disc's other major weakness. Rather than crafting a comprehensive look at the making of
The Lion King
as an animated film, much of the space on Disc Two is devoted to looking at
The Lion King
phenomenon. So we get to see how the animated film inspired a pair of soundtrack CDs, and then how the soundtrack CDs in turn inspired the creation of a Broadway musical. We learn about the Broadway musical, and how that in turn inspired the creation of the new musical number for the re-release of the film into IMAX theaters and on DVD. Fine and good, right? Sure... if you care about the soundtrack CDs and the Broadway musical. But as a fan of the animated film
The Lion King
, all I wanted to learn about was the making of the animated film
The Lion King
. While you get some of that here, particularly in a plethora of production and character design galleries, you don't get nearly enough. And I do have to say that while I'm sure the creators of this DVD were inspired by the whole "circle of life" idea when they decided to look at how the film begat the CDs, begat the musical, begat the new song in the film... it's rather easy to see it as a pretty shameless way to cross-promote those other things on this DVD. I was willing to give the disc the benefit of the doubt, until I found promotional "travelogue" featurettes for Disney's Animal Kingdom Park and Animal Kingdom Lodge in the Orlando section of the North America path on Disc Two. I mean... come on. Seriously.
Disc Two also includes another interactive game for the kids - a particularly cool "virtual safari" in which you can navigate around a Jungle Cruise or Indiana Jones-like theme park ride with Timon and Pumbaa as your guides. There are lots of different twists and turns you can take, lots of scary and funny stuff pops out at you, and all of the audio is a nicely immersive Dolby Digital 5.1. Kids will love it. But as someone who approaches DVD through an interest in film, interactive games don't particularly do anything for me.
So that's
The Lion King
on DVD. Thankfully, the film looks and sounds truly amazing, which is really the whole point of a DVD anyway. The family crowd and casual fans will, of course, be blown away by the sheer volume of content here, as well as the interactive games and other features. But I'm sorry to say that this just isn't the DVD special edition that most serious Disney animated aficionados would have hoped for. Remember those first Disney special editions that blew everyone away, and that raised the bar in terms of thoughtful and thorough content? Well that approach to special edition treatment seems to have abandoned by Disney, an apparent victim of the very success of the format we all love so much. Let me tell you... about five minutes into the "virtual safari," I sure missed it.
Bill Hunt
[email protected]
Site designed for 800 x 600 resolution, using 16M colors and .gif 89a animation.
© 1997-2015 The Digital Bits, Inc., All Rights Reserved.
[email protected]


text:
By Sharon Jayson, USA TODAY
Most Americans are likely to get married at some point in their lives, according to new federal data that show the probability of being married by age 40 is over 80%.
For men, the likelihood of a first marriage by 40 is 81%; for women, it's 86%.
SOONER VS. LATER: Is there an ideal age for marriage?
Based on interviews with a national survey sample of 12,571 men and women about their marriage history, as well as a statistical probability analysis, the data show women tend to marry at younger ages than men. But by age 40, those chances are the same for men and women, the data show.
Although most men and women between ages 35 and 44 have married for the first time by 35, lower percentages of men have married than women. The survey found that 17% of women had not married for the first time by age 35, while 25% of men had not.
The report on first marriage in the USA by the National Center for Health Statistics also found:
•The probability of first marriage by age 30 is 74% for women and 61% for men.
•At age 25, women have a 50-50 chance of being married for the first time; men have a 50-50 chance of being married by age 27.
•Among those ages 25—44, 71% of men and 79% of women have ever been married.
The report, based on data from the National Survey of Family Growth, conducted in 2002 among ages 15-44, also includes socio-economic, racial and ethnic breakdowns. Overall, being poor is associated with greater proportions of men and women not marrying by age 35.
Regarding race and ethnicity for ages 25—44, the survey found lower percentages of black men and women who have ever been married compared with the same ages who are white or Hispanic. For women in that age group, whites have the highest percentage of ever being married (84%) while the lowest percentage is among blacks (56%).
Hispanic women have a higher probability of marriage by age 18 (10%) than white women (6%) or black women (3%).
Guidelines: You share in the USA TODAY community, so please keep your comments smart and civil. Don't attack other readers personally, and keep your language decent. Use the "Report Abuse" button to make a difference. Read more.


text:
These weapons do piercing damage.
"The rapier is a light, thrusting sword popular among nobles and swashbucklers. Often associated...Rapier
"The scythe is a farming implement used for the harvesting of crops, but its wicked, curved blade...Scythe
" Shuriken Type: Exotic Weight: 0.0 pound(s) Dmg Type: Piercing Size: Tiny Critical: 20/x2...Shuriken
"Another of history's most basic weapons, the spear is nevertheless a formidable weapon. Little...Spear
"One of the first types of sword to come into existence, the short sword is a double-edged weapon...Shortsword
"The heavy crossbow is the largest hand-held launcher of its type, and is favored by militia...Crossbow, heavy
"The longbow is a refinement of the shortbow, designed to increase the range and power of an...Longbow
Pages in category "Piercing weapons"
The following 18 pages are in this category, out of 18 total.


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Product Information
Product Detail
- Multicolor Polyester Striped Print Single Bed AC
- Quilt
- Size: 233X147 CM
- Colour: Multicolor
- Material: Polyester
- Print: Striped
- Product Weight: 1200 Gms (Approx)
- Package Content: 1 AC Quilt
Delivery Time
- Delivery in 5 working days for domestic orders and 10 working days for international orders.
Please Note
- The item being handmade, the fine design, pattern and color tone of the product may vary slightly from that shown in the image. However, there would not be any compromise in quality.
- Wash Care : Dryclean only
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text:
72"x 30" 18G S/s Work Table Cabinet Base w/ Open Front
BK Resources | Model: BKDC-3072
BK Resources BKDC-3072 Specifications
Low Price Guarantee On All BK Resources Products!
This Work Table with Cabinet Base could prove useful to your food service business. It's convenient to own; you can prep on its stainless steel surface and place small kitchen appliances, pots, or prep tools in it's enclosed storage under area. The open front allows easy clean up and retrieval of items. It's durable enough to take continuous use, and it has 6" sturdy stainless steel adjustable legs for keeping it steady while in use. It's made of 18 gauge stainless steel, and could improve efficiency for back-of-house storage and organization.
Manufacturer Information
163 lbs.
72 in.
30 in.
34.75 in.
Shipping Information
Your order will be shipped from
Customer Pick Up
(Not Available for pickup)
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120WestPhoto Photographer
PbswoodModel Female Vancouver, Washington, US
My Website: http://www.masterwaxing.comMy MM URL: http://www.modelmayhem.com/Pbswood
Mayhem # 1935512
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ACCO Brands (NYSE:ABD)
Q2 2011 Earnings Call
July 27, 2011 8:30 am ET
Bob Keller - Executive Chairman, Chief Executive Officer and Chairman of Executive Committee
Neal Fenwick - Chief Financial Officer and Executive Vice President
Jennifer Rice - IR
Dan Mazer - Harvest Capital
William Chappell - SunTrust Robinson Humphrey, Inc.
Arnold Ursaner - CJS Securities, Inc.
Unknown Analyst -
Reza Vahabzadeh - Lehman Brothers
Good day, ladies and gentlemen, and welcome to the Second Quarter 2011 ACCO Brands Corporation Earnings Conference Call. My name is Stacy, and I'll be your conference moderator for today. [Operator Instructions] As a reminder, this conference is being recorded for replay purposes. I would now like to turn the presentation over to your host for today to Ms. Jennifer Rice, Vice President, Investor Relations. Please proceed.
Jennifer Rice
Good morning, and welcome to our Second Quarter 2011 Conference Call. Speaking on the call today are Bob Keller, Chairman and Chief Executive Officer of ACCO Brands Corporation; and Neal Fenwick, Executive Vice President and Chief Financial Officer.
Slides that accompany this call have been posted to the Investor Relations section of accobrands.com. E-slides provide detailed information to supplement this call. When speaking to earnings per share, we are using a normalized effective tax rate of 30%.
During the call, we may make forward-looking statements and based on certain risk factors, our actual results could differ materially. Please refer to our press release and SEC filings for an explanation of those factors. Following our prepared remarks, we will hold a Q&A session. Now it is my pleasure to turn the call over to Mr. Keller.
Bob Keller
Thank you, Jennifer, and good morning, everyone. Earlier today, we released our second quarter financial results, and I continue to be pleased with our progress. In what remains a difficult operating environment, we grew our top line by 8% and expanded our operating income margin 110 basis points.
We returned our European operations to profitability, and we ended the quarter with $93 million in cash. Including the costs related to the rationalization of our European business, earnings from continuing operations were $0.15 per share.
Virtually all of our businesses and geographies performed at or above our expectations. Our teams in Australia, Asia-Pacific, Canada and Latin America all delivered strong results. Our Kensington Computer Products business was substantially ahead of plan, in large measure because of robust sales of iPad and iPhone accessories and the continued success of the new ClickSafe computer security line.
In the United States, we held our own in a difficult business environment. Our Print Finishing Solutions business, a focus area we targeted for improvement, achieved breakeven status in the quarter, and we're expecting it to both grow the top line and become profitable in the second half of the year.
In Europe, our account transition plan and our SKU rationalization are both tracking to our internal expectations. On the product side, the Swingline Stack and Shred Auto Feed Shredder, which we introduced at the beginning of the year, continues to perform particularly well for us globally.
During the quarter, we announced that we had sold the GBC Australia operations to our longtime distribution partner, Neopost. While we weren't seeking a purchaser, Neopost made an attractive offer, and they will become the exclusive distributor of print finishing products for the direct channel in Australia and New Zealand. The sale added significantly to our cash reserves and it had no effect on our 2 larger operations in the region, ACCO Australia and our joint venture interest in Pelikan Artline.
In closing, while we're pleased with our second quarter results, we remain cautious about the external operating environment. We continue to believe that we'll grow our business in line with our previous outlook, sales up 2% to 4% excluding currency. But based on our year-to-date performance, we now believe that we'll be at the high end of our earnings range, growing EPS around 30% and generating $100 million to $110 million in free cash flow by year end.
Overall, I believe we are well positioned to deliver on our commitments for the year. With that, I'll turn the call over to Neil for a more detailed review of the numbers. Neil?
Neal Fenwick
Thank you, Paul. Our second quarter performance is recapped on Slide 4. Reported sales increased 8% with a 6% benefit from foreign exchange. Pricing was favorable 2%, underlying volume was flat. EBITDA was $42.2 million and included $3.7 million of benefit from foreign exchange translation. EPS from continuing operations was $0.15, using a 30% tax rate versus a comparable $0.08 in the prior year.
Our gross profit margin increased 100 basis points to 32%. The increase was mainly due to the reductions in freight and distribution costs. SG&A expense was down 20 basis points, primarily due to reductions in Europe. In all, operating income increased 22% and margin expanded 110 basis points to 9.3%.
For the 6 months, sales increased 4% driven by foreign exchange. Volume was down 2% for the 6 months due to the Q1 impact from the year-end buy forward and inventory reductions by certain customers. Pricing for the 6 months period was favorable 2%.
As shown on Slide 5, gross margin increased 40 basis points for the 6-month period to 31%. Cost savings accounted for 50 basis points of the improvement, but were partially offset by material cost increases, which were not fully offset by our price increases.
SG&A was up 8% for the 6 months, including $4.7 million impact from foreign exchange. As a percentage to sales, SG&A increased 80 basis points to 23.5% of sales, primarily due to $4.3 million or 70 basis points of reorganization costs in Europe and $3.7 million of higher incentive compensation costs. These were partially offset by savings, mainly in Europe.
EBITDA for the 6 month period declined 3% to $66.3 million. Excluding the $4.3 million of reorganization costs in Europe, EBITDA was up 3%. EBITDA included $5.3 million benefit from foreign exchange during the 6-month period. EPS from continuing operations was $0.09 using a normalized tax rate of 30% and even with the comparable period.
Now I will provide an overview of our segment performance for the quarter. During the second quarter, reported sales for the Americas increased 3%, with foreign exchange pricing and volume all positive factors.
Customer purchases were back in line with point of sale after certain customers had ordered below POS in Q1 in order to prove their own inventory turns. Operating margins in the Americas were down slightly, 20 basis points to 8.3% due to product material cost increases and continued investment in new planograms and accelerated go-to-market spending to drive demand and improve market share for durable products.
In our International segment, sales from continuing operations increased 14% driven by foreign exchange translation and pricing. Underlying volumes declined 4%, largely due to reduced demand in the U.K. We are also experiencing a small volume decline associated with the transition of certain of our smaller and non-profitable accounts to wholesalers. In the International segment, profit increased 84% and operating margin expanded a strong 320 basis points to 8.5% as our European region returned to profitability.
We incurred approximately $400,000 of additional charges associated with the rationalization of our European business, which was less than the $2 million we guided to, as many employees agreed to continue to work during their notice period. We have realized $600,000 of savings and expect a further $3 million of savings in the second half, hoping to offset the $4.3 million expenses incurred, making the initiative near breakeven for the year. By next year, savings should grow to $6.5 million annually.
Finally, Computer Products had a very strong quarter with sales up 16% and volume up 8%. We saw strong demand for our new products that accessorize iPads and iPhones. Computer Products' operating profit increased 22% in the quarter, and margin expanded 150 points to 26.9%. The improvement was driven by volume leverage and lower promotional activities.
Turning to cash flow, which is detailed on Slide 6. We ended the quarter with a very healthy cash balance of $93 million and continue to have no borrowings on our ABL facility. We received $54 million of cash proceeds in the quarter from the sale of our Australian GBC - Fordigraph business and generated $32 million of cash from operations. We used $11 million of cash to repurchase our senior subordinated notes when the price fell to par, and therefore improved our leverage profile.
Our working capital balances remain a little high, in part due to foreign exchange and in part due to higher accounts receivable and inventory balances, mainly in Europe. Versus a year ago, foreign exchange added $23 million to receivable balances and $14 million to inventory. We continue to expect to generate $100 million to $110 million in free cash flow this year, including announced sale proceeds and should end the year with over $3 per share in cash.
In terms of our 2011 outlook, adjusting for the sale of GBC - Fordigraph business, we are reiterating our expectation for sales to grow 2% to 4% before foreign exchange. As Bob mentioned, due to the benefits of foreign exchange realized in the first half, we are now guiding to the high end of our EPS growth range of 20% to 30%. The second half should benefit from the initiatives underway to improve our profitability in Europe.
That concludes our prepared remarks. At this point, Bob and I will be happy to take your questions. Operator?
Question-and-Answer Session
[Operator Instructions] Your first question comes from the line of Bill Chappell with SunTrust.
William Chappell - SunTrust Robinson Humphrey, Inc.
I guess a couple questions just kind of on the outlook for the back half. I think by now you would have a pretty good outlook on how the European restructuring's gone and also kind of some of the competition in the shredder business and reactions there. Can you maybe give us some updates in terms of, I know for Europe you had expected to lose some revenue during the transition, but would have a better idea and also see some more pricing pressure on the shredder business; maybe you can give us an update there?
Bob Keller
Yes. I think we're pleased with the progress that we've made in Europe. We've returned that business to profitability, both sales volume on the transition accounts to date is consistent with our expectations. We're making progress again consistent with our expectations on the SKU rationalization. We're cautious about sales in the back half. We think consumer confidence kind of goes up and down, and the economic environment both here in the States and in Europe is still pretty volatile. And we think our customers have a focus on inventory management as a response to the concerns that they have. We've got a lot of customers that are focused on their working capital. And so, we're pleased with the things that we can control, and we're on track in Europe in terms of our expectations. So I don't think anything has changed relative to our perspective about the second half other than that we remain cautious about top line. On the shredder situation, our competitor, who had a delivery problem is now delivering product. We expect that to continue to be a very competitive marketplace. We've got business, and they have business that is up for grabs in the second half and we will compete fiercely on that. But kind of net-net, we're pleased with where we are from a pricing perspective.
William Chappell - SunTrust Robinson Humphrey, Inc.
And I guess kind of following up on that in terms of looking at market share gains, can you maybe give us an update on how the bake-offs have gone year-to-date? And what you see kind of going into 2012 in terms of new business?
Bob Keller
Yes, we're again pleased with the progress that we've made in terms of market share. We have a couple of opportunities in the back half of the year that are very large opportunities that we're focused on that would be -- have a meaningful impact in 2012. And we think we're positioned where we need to be positioned in order to compete effectively for those. So when we look at the industry as a whole, we think volumes are probably down slightly in our traditional channels. And the fact that we're flat to marginally up would say that we've been successful in taking share.
William Chappell - SunTrust Robinson Humphrey, Inc.
And then I guess...
Bob Keller
Don't think the market's growing.
William Chappell - SunTrust Robinson Humphrey, Inc.
Just trying to that into perspective for kind of the 0.4% volume growth in North America this quarter. Does that mean some of the stuff you won last year is more back-end weighted?
Neal Fenwick
I think it is a combination of the fact that it's partially back-end loaded and partially that volumes as a whole in some of the traditional channels are down.
William Chappell - SunTrust Robinson Humphrey, Inc.
Okay. And then just finally, kind of your initial read on back-to-school. I know it's early, and I know it's not as big of a focus. But kind of what you see in both the U.S. and internationally?
Neal Fenwick
It looks an awful lot like last year so far. I think it's going to be a very competitive marketplace. I think the traditional office products superstores are going to compete aggressively. I think they had a pretty good year last year, and the load-ins have been consistent with last year.
Your next question comes from the line of Arnie Ursaner with CJS Securities.
Arnold Ursaner - CJS Securities, Inc.
Quick question first. The math, if you had a deferral, if you will, or a timing issue on about $1.6 million of expenses for Europe, am I correct that's about a $0.02 benefit in the quarter, about $0.015 to $0.02 benefit in the quarter?
Neal Fenwick
The way to understand that, Arnie, is that we incurred exactly what we expected in Europe. For Europe, what you have is a situation where when you going into a big severance, you're unsure how people will respond. And so we have to assume the worst case, which is that we will pay maximum severance for people's notice period. We were successful this year in getting people to work. So effectively, if we had gone through our original plan, we would have incurred more severance costs and we would have a lot more savings in this quarter in terms of how we would have displayed it. By having people work, we effectively incurred less severance cost and incurred -- and received less savings.
Arnold Ursaner - CJS Securities, Inc.
Okay. And Bob, all during the course of the quarter, your stock was, at various times, under a lot of pressure. Based on comments some of your customers made, the big box retailers, can you just remind us again of the sales mix for ACCO Brands between the big box retailers and what people seem to not include in thinking about your company, the wholesalers and the independents where trends appear to be pretty different than the big box retailers. Can you freshen that up for us a little, please?
Bob Keller
Sure. The big box retailers represent 30% of our business. And so the majority of our business is to the wholesale and the independent dealer channel, and we had a couple of the wholesalers, the U.S. wholesalers announced this week and their office product sales were up 4%, and they service both the independent dealer channel and the superstore channel. And so just looking at the numbers, it's pretty obvious that the independents are growing at high single digits or even potentially a little bit higher than that.
Arnold Ursaner - CJS Securities, Inc.
And another issue that comes up frequently is the other channels of distribution, Internet and others. Just remind us the exposure you have there, if you can?
Bob Keller
I think that's just, it's a growing channel. It's small and getting bigger. A year ago, we had 750 SKUs at Amazon, we've got 3,500 SKUs listed at Amazon today. That business is growing exponentially. The mass channel, as a whole, we're pleased with, specifically with Wal-Mart where we continue to grow that business aggressively. And so the superstore channel is clearly facing some challenges. And I think there probably has been some share shift in the small and mid-sized customer. I think one of the things that we've done pretty effectively over the last 2.5 years is broaden our coverage of alternate channels, the mass channel, the e-commerce channel. And we've done a better job of supporting our wholesalers and independent dealers than we had been doing previously. And so I think that's reflected in our numbers.
Arnold Ursaner - CJS Securities, Inc.
And my final question is, are you putting in place or are you attempting to put in place sufficient price relief to offset your higher costs? And what are you seeing as customer response in trying to make your margins whole or getting the costs recovered?
Bob Keller
We're pleased with the progress that we've made on pricing. I think one of the things that's not obvious, we report that 2% of our growth is specific to pricing is that, that's a net number on a global basis. And it reflects the offset of the price decreases that we had in Australia, which is a very large market for us, which the currency has gone, not crazy, but it's been pretty volatile there. I think they're trading at over $1.09 as of the end of business yesterday. So we think that the price increases that we put out were fair and equitable and consistent with the data. And we're comfortable with the response that we've gotten.
Your next question comes from the line of Reza Vahabzadeh with Barclays Capital.
Reza Vahabzadeh - Lehman Brothers
On the cost side of the equation, do you see input cost pressures accelerating into second half? Or are they peaking, stabilizing or are they decelerating?
Neal Fenwick
It's an interesting question, and it's a very mixed bag that we've seen as a response. I mean clearly in our second quarter, we incurred more raw material cost increases than we had in the first quarter. And you saw that be a negative drag on our margins. We did raise our own prices starting in July to try and offset some of that continued erosion that is obviously going to get worse as we go into the third quarter. From a headline point of view, we've seen some of the extreme commodity cost increases come back down, but they're still significantly above where they were last year. And we never actually paid and never passed on to our customers those extreme cost increases. We are seeing more cost increases generally come through, particularly on things like paper and packaging now.
Reza Vahabzadeh - Lehman Brothers
Got it. And would you say that the price increases that were implemented in the first half and to the extent you can tell here in the third quarter, are they generally matched with the competitors?
Bob Keller
I think you have to or you lose share. And so we think the combination of our service levels, our product innovation and pricing, we think we're pretty competitive at this point.
Reza Vahabzadeh - Lehman Brothers
Got it. And then as far as sales by channel, I think you just alluded to better sales in the wholesale channel than maybe your traditional big box channel. Has that different sales trend, has that been really consistent in the first half? And would you expect more of the same in second half or is it too hard to tell?
Bob Keller
It's a very, very competitive industry. I think the traditional office products superstores are adding focus to the small business and mid-sized marketplace. I think they've commented on that in their earnings call, and so I think that will become a more competitive market than it's been maybe in the last 12 months. But I just, I think it's a competitive space, and we've got a lot of people going after the same customers.
Reza Vahabzadeh - Lehman Brothers
Right. You had commented that your -- some of your customers are very focused on inventory management. Does that mean that inventories are in decent shape or are they being brought down? Any comments on where you think inventories are at customers?
Bob Keller
Yes, the -- I think inventories are lower than they have traditionally been. And I think our customers are going to push to take them even lower in the back half. So in the first quarter, we saw that our sell in was significantly below their point-of-sale numbers. We thought about $14 million less in Q1. In Q2, we think our sell in and their point-of-sale was roughly the same, pretty close to a one-to-one relationship. Our expectation in Q3 is that our customers will buy below their point-of-sale, and that's just from the meetings that we've had with customers about what their inventory plans are. I mean, they're going to try to push the edge of the envelope. And I think in Q4, it's not clear what people are going to do relative to buy forwards. Based on the trajectory of raw material increases, our expectation is that we will have a January price increase. And traditionally, people have bought forward in advance of that. It's not obvious to us that, that will necessarily happen this year. So we're cautious about the top line. We think we have expenses under control. We think we've got an ability to manage SG&A in reaction to gross margin. And so we're comfortable about our ability to deliver on our profitability in the back half of the year. But we'll have to be responsive to what the top line demand is. Underneath all of that though, the demand for our products has been pretty consistent when you look at point-of-sale on a 6-month basis. We feel good about the demand for our products across all of our channels.
[Operator Instructions] Your next question comes from the line of Arun Seshadri with Credit Suisse.
Unknown Analyst -
This is Felix Way [ph] in for Arun. I just wanted to get a sense of how FX is factored into your guidance?
Neal Fenwick
In terms of our guidance from a sales point of view, we've always given sales guidance that excluded the impact of FX. Obviously, we do assume it in terms of our EPS guidance. And so from our point of view, I think some of the more extremely favorable FX numbers that exist today, we're not assuming continue through the end of the year. And it's a very volatile issue that if I could predict currencies, I probably wouldn't be doing this job.
Unknown Analyst -
Great. And then I also wanted to focus on cash tax guidance for a second. I noticed that it looks like $5 million from the 1Q slide. Can you talk about what's driving that?
Bob Keller
Yes, that's really driven by FX. If last time I put the real number down, I would have put more like $22 million, and I just rounded it down. And this time, it's about $24 million, and I've just rounded it up.
Your next question comes from the line of Dan Mazer with Harvest Capital.
Dan Mazer - Harvest Capital
Can you remind me on just what the restatement, what the base EPS of 2010 that you're basing your 20% to 30% guidance, EPS growth guidance?
Jennifer Rice
Dan Mazer - Harvest Capital
Okay, $0.47. Okay, great. So the -- so I think that implies $0.60, probably, or $0.61 is at the high end. And I think you came in better than a lot of analysts this quarter. Is there – in just going through the models in the back half, is there anything that kind of stands out on just -- is this just being kind of conservative on sales and there's going to be lots of the big FX translation? Or just -- maybe just kind of in the context of the back half coming down in your models?
Bob Keller
Sure. Yes, I think what you should read into it was we had a very strong Q2, and that puts less pressure on the back half of this year. I think most of the models had kind of a hockey stick, and there's less pressure on the back half. And we don't think it helps anybody for us to get ahead of our SKUs. We just think it's a challenging environment out there and a volatile environment. And our expectation is we're going to deliver regardless of what the external environment is so.
And at this time, I'd like to turn the call back over to Robert Keller, Chairman and CEO for closing remarks.
Bob Keller
Thanks, everybody, for joining us this morning. We're obviously very pleased with the quarter. We think we continue to manage the business effectively in a very challenging operating environment and expect to continue to do that in the second half of the year and look forward to talking to you at the end of next quarter. Thanks.
We thank you for your participation in today's conference. This does conclude your presentation. You may now disconnect, and have a great day.
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text:
The newly established Bank Reform Party will contest the federal election on a platform of promoting greater competition in the sector and boosting consumer protection.
The party has been set up by former Bankwest media manager Adrian Bradley, who has been embroiled in legal disputes with the bank since its takeover by Commonwealth Bank of Australia in 2008.
The Bank Reform Party has been registered with the Australian Electoral Commission and plans to run Senate candidates in NSW, Victoria, Queensland, Western Australia and South Australia.
As well as campaigning for more competition in banking, it will argue for better competition and regulation in the supermarket and fuel sectors, a fairer legal system and greater protection from "corporate bullies".
"We need more competition and the regulators to have more teeth to protect consumers and small business," Mr Bradley said on Sunday. "Taxpayers underwrote the loss of competition, which handed the banks unprecedented market dominance and massive profits, via the government guarantee, but the banks have rewarded us by gouging while they bleat about the cost of funds."
Mr Bradley was critical of "illusory" multi-brand bank strategies, such as Commonwealth Bank's ownership of Bankwest and Westpac's ownership of St George.
The big four banks control almost 90 per cent of the mortgage market.
Shadow treasurer Joe Hockey has pledged to hold a wide-ranging inquiry into the financial system if the Coalition wins government.
Mr Bradley said his party's platform went further than the Coalition's, because it had already determined that competition had failed.
"Competition has failed and there is cartel behaviour," he said.
"The ALP and Coalition are out of step with the Australian community on the need to fix these key areas of our economy and do the right thing by mortgage holders, mums and dads, first-home buyers, small businesses and farmers."
Before falling out with Bankwest, Mr Bradley worked as a journalist for 17 years at News Ltd and the ABC, and later in media advisory roles for the NSW public service and Telstra.
The party also wants to work towards a more "human" Tax Office.
"The ATO is nearly as bad as the banks when it comes to monstering small businesses and hitting them with punitive interest charges if they fall behind," Mr Bradley said.
The Australian Financial Review