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Shane McCrae is the author of four books of poetry: The Animal Too Big to Kill (Persea Books, 2015), winner of the 2014 Lexi Rudnitsky/Editor's Choice Award; Forgiveness Forgiveness (Factory Hollow Press, 2014); Blood (Noemi Press, 2013); and Mule (Cleveland State University Poetry Center, 2011). He is the recipient of a Whiting Writers' Award and a National Endowment for the Arts Fellowship. He teaches at Oberlin College and lives in Oberlin, Ohio.
Cate Lycurgus, Interviews Editor: At the risk of being obvious, I'll begin with your latest collection and its title poem, "The Animal Too Big to Kill." The poem remixes the dynamics of agency and faith, speaking both as a one who has the power to refuse to participate in killing and also as a "creature that requires signs Lord from You" with the subsequent suggestion that "killing the animal too big to kill would be a sign." Can you speak to some of the animals "too big to kill" and, in absence of that sign, how the poems offer a way to live with them, tackle them, tame them, swallow them?
Shane McCrae: I was thinking, at the time, about how the body of every carnivore is a walking graveyard—which sounds dramatic, I know—and about what an animal made of all the animals I've ever eaten would look like, since traces, or traces of traces, of those animals are inside of and also constitute my body. The animal would certainly be much larger than I am, and I imagine larger than any animal that has ever lived, and I carry its ghost and possibility with me. I don't know that the poems offer ways to swallow such animals, or to tame them, or even to tackle them, but I hope the poems are examples of efforts to live with them. One cannot choose but to live with them, and one cannot write without them even if one doesn't acknowledge them—they are in the blood that feeds the brain and body and therefore in every word the brain and body make. If I say "Hello" to you, I speak the animals that made me. Hopefully, the way the poems offer to live with them is this: One lives with them by living—they are not a problem to be overcome or accommodated; they are one's own being.
CL: Hello! "Whatever you speak you owe to destruction"—I can't help remember that Celan epigraph at the beginning of Blood. I've had a similar thought regarding the trash I produce—what sort of flotilla of shopping carts would I have to pull around carrying all the waste I've made over the course of my life? Whether our consumption comes at the expense of animals, or natural resources, or other people, this "animal too big to kill" suggests that continuing to live requires some degree of predation and violence. "The death in us is bigger than the life in us," you write in Blood, which also speaks to duende and somehow honoring death to make song. If we can't choose but to live with these deaths, what are the claims our hungers make upon us? How (or) do these demands affect the forms of fracture/fissure/slash that you employ?
SM: I almost prefaced this answer with, "If I may be melodramatic for a moment," and then I remembered who I am. So: For those of us who are to at least some extent economically privileged and live in the United States, our hungers are the meek in us, inheriting us, and we need never acknowledge their implications. But I think we abdicate our responsibilities to each other when we don't acknowledge the implications of our own hungers. It is not so much that our hungers make claims upon us, but that love does, and if we are to love each other we must reckon with our hungers, because our hungers are strong enough to interfere with our love, and, indeed, to override it. Most of my work, I sometimes think, is an effort to arrive at more love, even though I suspect it doesn't often seem that way. For me, a lot of my feelings begin with or through music and the "forms of fracture/fissure/slash" you mention are mostly musical devices. Since I don't use conventional punctuation—or haven't used conventional punctuation in most of my books, at least (my new manuscript might have some periods and commas and dashes) I utilize slashes and small bursts of white space along with traditional meter (usually—my new manuscript might have some prose), line breaks, and stanza breaks to regulate my music, such as it is.
CL: An effort to arrive at more love. I can't get past the music this impulse creates—you have deep-throated hearts-to-heart. In Mule you write "you/Will recognize yourself in the singing you/Will not recognize yourself in the songs." Can you elaborate some on how you see punctuation (or the lack thereof) as regulating these songs, and how that intersects with the identity of the one who speaks them?
SM: In a way, my decision to abandon punctuation (I don't think of the slash as punctuation, although I know other people do, and I imagine it, strictly speaking, probably is punctuation) was somewhat arbitrary. Before I started writing the poems in Mule, my poems were over-punctuated, and at the end of every line I had to remind myself that I didn't need to add a comma. When I abandoned punctuation—and with it free verse and, at the time, regular use of conventional syntax—I felt like I suddenly discovered my own voice, or maybe "sound" would be a better word, and so I think more of me is in every poem I write now than had been the case ten years ago. I feel I have more freedom with regard to tone of voice and modulation when I don't use punctuation—commas are so heavy! Question marks are so heavy!—and I also both hope and believe the lack of punctuation creates more space for the reader to enter the poem. The reader has to determine, at every moment, what tone of voice the poem's speaker is using, and whether what was just said was a question, etc. Hopefully, that helps the reader maintain his or her engagement with the poem. Also, most of my poems are dramatic monologues, and I like to think the lack of punctuation signals a speaking voice. Finally, when I don't use punctuation I feel it is easier for me to utilize the rhythms of speech and the rhythms of thought, and I like to place them beside each other in poems, as parallel musics.
CL: Part of the wonder of your poems is exactly how those rhythms of speech and thought allow readers near painful or wondrous inconsistencies and know them both as true. The raw splits do open a space for readers to enter the marriage and divorce poems of Mule, or slave narratives of Blood, though these are far from the experience of many. The epigraph of the newest book is from Hebrews—Paul's ultimate call to the Hebrews for empathy. How do you see empathy as functioning in poetry, and how does your use of "we" work in that vein?
SM: Generally, I've tried to avoid "we"—in fact, I just searched through The Animal Too Big to Kill, and was, despite my efforts, surprised to discover I didn't use "we" in it even once. But I did use it a lot in Mule, and somewhat less in Blood. And I used it in ways that make me uncomfortable now, and I'm not really comfortable reading those poems anymore. I don't feel qualified to speak for anybody at all, not even myself, really—I think this discomfort has something to do with empathy. But when I was writing Mule, my use of "we" also had something to do with empathy. Mule arrived in the wake of a lot of wounded, angry, accusatory break-up poems, none of which made it into the book. And in the poems in Mule, I used "we" in an effort to empathize with my ex—I was trying to acknowledge that both of us had been in the marriage, and both of us had ended it. I was trying to acknowledge that although I felt like I was the only former participant in the relationship with valid feelings about it, my ex no doubt felt the same way. But I no longer feel comfortable assuming even that much about other people.
CL: Fascinating. And embarrassing, on my part! For me as a reader to internalize a 'we' where it does not exist is a testament to how close the spaces of the poem allow readers to come. Or maybe this stems from my own tendency toward "we," not out of any confidence that I can speak for anyone, but with the wild hope that we can be a we, more like an "are you with me, are we in this, y'all?" I guess it's a tall order. It's interesting that you don't feel comfortable with those poems and the speaker's authority, as though one must have credentials for the self-discovery so many of your poems fracture toward. Here I'm thinking of the second section of "How You are Owned":
when you at 14 for the first
time break a bone/ You when the doctor shows you
The x-ray think it looks
more real than you are
In the middle of a black void Lord you see
a broken white bone glowing
I'm interested in the way that, both within and across collections, your speakers evolve and identity complicates. Can we ever escape or re-make our identities? What role do poems play in this?
SM: Oh, gee! You shouldn't feel embarrassed at all, and I hope I didn't come across, you know, like a jerk. I've used "we" in the past and I'm sure I'll use it again, and you had no way of knowing I don't currently feel comfortable using it in poems. Now, in response to your questions: It depends on what we (see?) mean by "identity." I think we can re-make our identities in a surface way, though I don't know that we can ever escape our identities. And I think it's in the struggle to re-make ourselves toward goodness—assuming we're trying to do so—that we're our best selves; even if we can't achieve goodness, I would say we must try. That sounds a little abstract and off-topic, I know, but I just mean that in attempting to become a better person, I am attempting to re-make my identity. But I guess I would also say that almost any degree of self-consciousness compels one to try to escape one's identity, even if only in little ways—I think efforts to escape one's identity are often involuntary, whereas efforts to re-make one's identity are almost always voluntary, and escape hardly requires actual self-consciousness at all. And as for the role poems play: I don't know what it is. But I can say I think I am at my smartest and best when writing poems, and I hope poem by poem the act of writing itself is dragging me toward becoming a better person.
CL: If not re-making identity, maybe it's a sort of confession of identity:
Growing up black white trash Lord even now
I wasn't sure which
parts of whiteness I could claim
If the writing is dragging toward becoming a better person, I think they complicate what "better" means. Could one strive to be "better" than Christ? I ask because so many of these pieces incorporate or address the Lord, and double in my mind as confessional and devotional, somehow. How do use see these modes interacting?
SM: I can answer the first question in several different ways: One can of course strive to become "better" (whatever that means) than Christ—one can strive to do anything. But whether one believes it is possible for a human being to become better than Jesus depends on who and what one thinks Jesus was and is. I, personally, do not think it is possible to become better than Jesus, even though we haven't pinned "better" down yet. I guess I should pin it down, because I do believe one could become a better power-lifter, and probably even a better carpenter, than Jesus was. But I do not believe one could become a better person (unless one ranks people according to their power-lifting abilities)—and so I think I'm using "better" to mean something like "morally better" but also "kinder" but also "more loving" but also "more self-sacrificing," etc.
I think the devotional is inextricably confessional, but that is partly because I believe in a God who made and maintains the universe and every being in it, and any measure of mortal devotion to that God must necessarily confess the separation of the self from that God. But I do not think the confessional is always devotional. Now, specifically with regard to confessional poetry: As a person of color living in the United States of America, I have a complicated relationship with confessional poetry. I do not think it is possible, strictly speaking, for a person of color to be a confessional poet in America. The condition of the confessional poet assumes a fall from grace, but only whites occupy the initial position vis-à-vis grace from which the confessional poet must fall—people of color are always already (ugh—I hate that formulation) fallen. But I also love a lot of confessional poems and poets, and sometimes I wish I could write as they wrote.
CL: By that token, or maybe by my own belief, a white person could not be "unfallen," either—we're all as in need of grace or as guilty of separation as the next. And perhaps that's where other associations with the confessional, as some sort of absolution for guilt, come across as self-indulgent, or hubristic, because unlike the devotional poem, confession can exist without an object "of" and assume a certain blindness. Your poems do feel confessional, to me, but relational as well. What would you advise contemporary poets as far as writing from our moments in history? Especially given the ethics you mentioned earlier, of speaking for anyone but yourself?
SM: Well, first let me clarify: In a theological sense, everybody has access to grace; but I meant grace in a cultural sense—in America, only whites enjoy cultural (in the broadest sense of the word) grace, and so only whites can fall from it. According to this way of thinking, the confessional in the cultural sense is available to them, and them only. As for advice—I don't know that I have any useful advice. Despite my discomfort with the pronoun "we," as you point out, I have often spoken through historical personae—and I'm not sure how to square my willingness to do so with my aversion for speaking for others. I suppose maybe I square that circle this way: When I am speaking through historical personae, there's a record that can—and hopefully will—be consulted by the reader, and by comparing the poem to the record the reader can determine what liberties I've taken. But when I'm using "we" to include people with whom I have personal relationships, there usually isn't a record, and when there isn't a record to consult I feel uncomfortable speaking for anybody but myself. Anyway, back to the advice: I still don't have any—and I think that's partly because I myself am no good at writing directly from (and I am including "about" in that "from") the present moment. But when I am writing about historical events that can be read as being indirectly "about" the present moment, I find it helps to keep in mind that the actors in those events, about whom I am writing, were human just as I am—both those behaving well and those behaving poorly—and that, had I been among them, I would have been the worst among them.
CL: This humility surfaces across all your collections. And I think some of this relates to the way the poems feel like uncensored entreaty, or lament, or discovery. For me, a poem is rarely that simple or ready-made though, so I'm curious—what is your writing process like?
SM: At the moment, I'm experiencing a crisis of confidence, and so I don't know what my writing process is like—I feel uncertain about everything having to do with my writing. But I think I remember what it was like. I feel, at least, like I'm always writing—what I think is actually happening is that I am always laying the groundwork for future poems. However, a few days ago I finished a poem I had been trying to finish on and off for about two years, and I noticed that as soon as it was done—as soon as I felt the spark I feel when I finish a poem (which is not to say, not at all, that my poems generate sparks for anyone but me, nor even to say that they consistently generate sparks for me, but I do feel a particular burst of energy when I've finished a poem)—I felt as if a very tiny, painless but irritating sliver had been removed from my mind, and I realized that sliver had been there since I finished the first draft of the poem, which seemed complete but wasn't good, two years ago. So poems—both poems to come and poems I'm working on—are always taking up space in my mind. But, despite this, I don't know how I ever manage to get a poem started, though I can certainly locate the sources for at least a few of my poems—most of the time, in fact, I feel suspended between the impossibility of starting the next poem and the necessity of writing it. That said, when I actually do write, I'm completely absorbed by what I'm doing and I feel incredibly happy, and usually I'm thinking about sound and meter, in part to distract myself from thinking too much about what I want to say, which I can always see, nevertheless, just beneath the thoughts about sound and meter, just out of reach, thank goodness.
CL: I wonder if the sliver in your mind results from the essential discovery a poem, or the act that writing poetry instigates? As Eliot describes the poet as a catalyst, present for the poem to take place, but not the art itself, I do feel changed in having received a poem and don't stop enough to offer gratitude for what poetry has done for and in me. Especially since it is probably more than whatever those poems have offered to the world. What has poetry, or the writing of it done for you? What powers do you think it has?
SM: Oh gosh. I would feel embarrassed listing the things poetry has done for me. Poetry has given me my entire life. For one thing, I would never have met my partner, Melissa, if not for poetry, nor would I have any of my children. I certainly wouldn't have my job, nor would I love to read as much as I do. And I wouldn't have my mind; I wouldn't have my self. And I'm so happy to be a part of the family I'm a part of, and to work the job I work, as the person I am. Poetry has made me perceive the world the way I perceive it. Poetry's power is both local and limitless—it happens person by person, but it often reverberates in and through each person in such a way that the people poetry happens with (it's always with, never to) become new people, and whatever they do next and forever they do as new people. Poetry is a revolutionary force, because it is a force for renewal.
CL: A power as both local and limitless—not unlike the "Think Globally, Act Locally" calling for so many environmental movements. It sounds revolutionary, but really, local is all we can do, the self all we have to go on. And I wonder about just that, how poetry in particular provides a way onward, "forever as new people." Last week I heard Jane Hirshfield speak of how poetry cuts against fundamentalism because it requires complexity, nuance, subtlety. She said that when "a person is confronted with an unchangeable outer circumstance, one thing the poem gives you is the sense that there's always, still, a changeability, a malleability of inner circumstance, which is the beginning of freedom." In light of the new poems you have in Gulf Coast, perhaps, what are your thoughts on this?
SM: The poems in Gulf Coast are from my fifth book, In the Language of My Captor, which Wesleyan will publish in February of 2017. There are several sequences in the book—and I do think the book as a whole is about freedom, or at least aimed toward freedom—from the perspective of a person living in a human zoo in the United States of America in the early part of the 20th century. He is physically a captive, but he is also in some sense free, or as free as one can be and still be in captivity—his mind is as free as it can be—because he understands both himself and his captor, his "keeper" in the poems, in ways his captor cannot. But his freedom is, of course, problematized by a great many things, and one problem with the idea of a free mind in a captive body is that the mind and its freedom are in large measure determined by the circumstances of the body. Even though the book is about freedom, it is not a book that believes freedom is possible for anybody in America at the present moment—ableism, homophobia, racism, sexism, transphobia, and the other bigotries under which we all suffer imprison us all. But the book seems to believe that freedom is becoming possible, that with each generation children are being taught more freedom.
CL: The idea that we must teach freedom is a strange one, especially in this country ostensibly founded on it. But the nation was also founded on the backs of bondage, and I wonder about this in the context of poetry as teacher. It seems freedom often requires the opposite—being un-free—either through an experience itself or capacity to imagine what it means to be constrained. In its construction, poetry is all about constraints, so—how does poetry teach freedom? How might it even teach justice? Or recast our conceptions of 'poetic' justice?
SM: My first instinct is to say "I don't know." I don't know. I don't know that poetry does teach freedom, but to confess that would seem to be to confess that I am not a part of making the coming freedom my book seems to believe in. I think my problem is that even before I begin to think of an answer, I re-formulate the question somewhat, so that it becomes "How do poems teach freedom?" And that's the wrong way to look at things. I don't think poems themselves teach the freedom necessary to any particular moment. But poems do, under the right circumstances, incline their readers toward further engagement with poetry, so that those readers then read more poems, and sometimes even write their own poems. And reading and writing teach freedom. When a person is reading most actively, his or her mind strains to push beyond the boundaries of the world it knows and understands—static knowledge is a kind of prison, and static knowledge about many things is many prisons. Similarly, the act of writing a poem is a struggle toward the momentary freedom ideal for the writing of poems—a struggle which, I believe, occasionally achieves its goal. And maybe I'm being too optimistic, and maybe I should only speak for myself, but I believe the more often a person achieves that freedom, that wide-open-mindedness, the more a person wishes others might also achieve it, whatever their routes to it might be—the act of writing helps a person to appreciate openness and freedom. But that awareness, if it can be called that, must be tempered with an awareness that the freedom of the individual, as the individual understands it, is always conditioned and limited by the unfreedom of their unfree contemporaries.
CL: Can you elaborate some on that moment of freedom for you, as you're either reading or writing? What instigates or perpetuates it? What does it look like on the page?
SM: I don't know that I ever achieve that freedom through reading—reading is a struggle toward it, and I think that struggle cannot be transcended. But very occasionally, when I'm writing or trying to write, somehow my mind becomes open enough, as I try to steer it away from thinking it knows anything at all, that I feel a little free. So I suppose what I'm talking about when I talk about freedom is receptivity, and that really is a kind of Medieval notion of what freedom is—not, as we now conceive it, the power to achieve one's will, but rather the fulfillment of one's particular nature, which folks in ye olde days thought of as being inclined toward the good. I think the beginning of this kind of freedom might very well be increased receptivity. Another way to look at it is: I am most free when I'm writing because I am a writer—when I'm writing, I am most who I am, and therefore I'm most free. I think writing can help everyone be more free, however, even folks who are not writers, insofar as it helps them to be more receptive, both to themselves and others.
CL: Since "freedom" is in part exemption from external control or regulation or restraint, it's interesting you find this in writing, so invested in form or structure, and on a broader scale language, its attempt to define or claim. In your poem "Claiming Language" you write "I want a different language Lord/not a claiming language /I want a language//like the language Lord/ our bodies use to free each other." Which poets write in that sort of language, or inspire that sort of escape from knowing? If you encountered someone with no previous experience of poetry, (or maybe an experience of poetic constraint) what one poem would you share with him or her?
SM: I feel like I'm starting a lot of my answers with "I don't know!" I'm sorry! But also: I don't know—I don't know that any poet writes in that sort of language, nor am I sure it's possible to write in that sort of language. But, even though I would love to be able to write in that way, I don't feel unhappily disadvantaged because I can't—poetry has its own consolations. As for a poem I would show a person with no experience of poetry—that's a tough one. It really depends on the person. For me, the poem that did it was "Lady Lazarus." That was the first poem I really heard. I don't think there's a universal first poem, nor do I think there's even a poem that would work for most people as their first poem. Maybe something like "We Real Cool," or "Stopping by Woods on a Snowy Evening?" I think when people first hear those poems they first think "That's pretty neat," and then they might feel inclined to read other poems. And then find the poem they need.
CL: As I found yours. Thank you so much!
Cate Lycurgus's poetry has appeared or is forthcoming in American Poetry Review, Third Coast, Gulf Coast Online, and elsewhere. A 2014 Ruth Lilly Fellowship Finalist, she has also received scholarships from Bread Loaf and Sewanee Writers' Conferences. Cate currently lives and teaches south of San Francisco, California; for more information, visit catelycurgus.com.


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Pigeonhole: Executive excess.
Philosophy: Whack a 5.0-litre, 500 horsepower V10 engine into a conventional-looking sedan for the ultimate, disguised performance car.
Who's buying it: Very, very rich folk. And formula one drivers such as Australia's Mark Webber.
Why you'd buy it: See above. You want Ferrari/Porsche performance in a car that can take the family and its luggage. It barely gets a glance, except from those who know cars. The four exhaust pipes are a giveaway.
Why you wouldn't: It isn't docile in stop-start traffic, and it doesn't have the shattering, instant, belt-in-the-back low-speed throttle response of some of its rivals. The interior lacks storage space. The iDrive system continues to confuse, although we agree it does remove clutter from the facia. No spare it has run-flat tyres.
Standard equipment: You name it, from a head-up display in the lower section of the windscreen for speed and revs to a multitude of air bags and electronic handling and braking enhancements. Cruise control, all-round parking sensors, satellite navigation with TV tuner and voice recognition, rain-sensing wipers, xenon headlights, sunroof.
Safety: Two-stage front air bags, front and rear side air bags, curtain air bags. Extensive electronic handling and braking assistance.
Cabin: Beautifully finished, of course, with leather trim and good room for four people. Those in the back are well looked after with good space and a handy centre armrest with pockets and drink holders. Neat privacy blinds in the back windows and quarter windows. Minimal storage space in the front, though, and the optional polished metal trim doesn't look too special. Handy steering-wheel controls for cruise control, sound and hands-free phone system.
Seating: Brilliant front seats, with adjustable under-thigh support and side bolsters that grip the occupants when the ignition's turned on.
Engine: A gem once you get to the mid to top end of its range; V10 configuration relates to BMW's F1 involvement. Pity F1's going to V8s next year. It develops 373 kilowatts at 7750rpm, but top torque of 520Nm is not developed until 6100rpm. Factory says 0-100kmh in 4.7 seconds.
Transmission: The latest version of BMW's seven-speed sequential manual gearbox with automatic clutch. It can be operated either by paddles behind the steering wheel or with the gearshift lever. The faster you go the better it is (you need a race track or closed roads to really exploit it). In slow traffic it's not as smooth as a conventional automatic.
Steering: Razor sharp and beautifully weighted. Everybody else, take note.
Ride: Adjustable but even on the comfort setting it's pretty firm. Very good though, for a performance car.
Handling: As good as it gets. Adjustable stability and dynamics programs, electronically variable limited slip differential.
Fuel: Takes a decent drink when it works hard, but admirably economical when cruising with a factory figure of 10.2 litres/100 kilometres. Combined city and highway average is 14.8.
Brakes: As good as they come, with neat tricks such as undetectable touches of the brake pads on the discs to clear water when it's raining.
Build: Very good indeed. Tight body, superb interior finish.
Warranty: Two years, unlimited distance.
Security: Good, with dead-locking and alarm.
Audio: Sick of the engine's sweet song? The CD stacker and sound quality are good. Major operations from buttons on the steering wheel.
Price: Well, it costs $226,000, which puts it squarely into Porsche territory, but the performance is comparable. Value is in the eye of the buyer.
Verdict: It's either an outrageous anachronism or a competitively priced and practical performance car. Only a handful have been allocated to Australia and there's no shortage of customers. Make me rich, and put my name down.
Prices and details correct at publication.

subset: commoncrawl


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This thread--------------------------------->nuts
He should have went for it on 4th and 1... He is just too young and inexperienced to be a coach right now. Wasn't prepared this week. Discuss......
This thread--------------------------------->nuts
This thread is so assadine that it shouldn't even be allowed !
This team was supposed to be lucky to win 3 or 4 game but he has put them in a position to win and make the playoffs. He was let down today by a very conservative game plan and a defense that was nowhere to be found.
anyone who thinks or thought we would make the play offs this season is kidding themselves..even when we won a couples..i always have said dotn get carried away...we are a builing team...with a learning head coach...
can not belive this board sometimes
this is not even worth discussing
Welcome to my world, Jet fans.
Originally Posted by KGP77
How you can still think that this is just a rebuilding team that never had a shot at the playoffs is crazy.
I'm still convinced that we will win out and take the wild card.
Yeah, and last week he was Mangenius. I'll assume you're joking and move on. There were a lot of penguins that couldn't fly today, not just Mangini. Schott struggled, the O-line got its ass kicked, Chad was under pressure all day, and they gave up big plays and turnovers. Who wins in those conditions? Nobody.Originally Posted by mbeller83
I'm assuming this thread is making a joke, but people on here don't get it and it's just stirring **** up.
Ain't that the truthOriginally Posted by JOKEJokeJokeJoke
Man...look at all the threads....
Can't any of you recognize sarcasm when you see it?
this thread is really funny for 2 reasons
if he's serious, then it's funny that he actually believes it
if he's not, it's still funny because you people are taking it seriously
He made this to rile us up.
Originally Posted by SBIIICHAMPS
NO!Originally Posted by SBIIICHAMPS
Your kidding SBIII? RIGHT??
I didn't know that..thanks!
because i listen to what the coach said...dont get to high when you win dont get to low when we lose..Originally Posted by bravesQB718
keep it in check...look at the way we lost our games and look how we won our games...come on..to get into the playoffs is a surprise if u earn it for sure..jesus would always like us to get into the playoffs...i just never expect it and not this year with a rookie coach...a q.b comming off 2 big shoulders ops..a new defense..vilma..?? what happend there..we are missing key players in key areas...
can we win 3 games on the road..we hopefully we can not play any worse than we did today...we lose one game and no play offs..which is what i expected of this team to push for it get better as the year goes on..but just not good enough this year
im a chad fan but he played bad today on 3 plays thats all that sadly cost us points wise..our team and staff all played bad though..bills played a little better without fear something we have to do if we r to win 3 games on the road..can we do it..i hope so..but no
He didnt have his team ready today.. Right?Originally Posted by bill parcells
They were ready to play...Chadwick was horrible from the beginning..HE SHOULD HAVE HAD AT LEAST 3 OR 4 MORE INTERCEPTIONS..he was horrible..period.Originally Posted by mbeller83
Ok just wondering.Originally Posted by bill parcells
sooth, you canned an innocent thread that had pics of the new stadium, but you let this garbage stay ?
wtf ?
A little hasty in your judgment, don't you think??Originally Posted by mbeller83


text:
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text:
Tallying emissions in ports and at sea
Ships are major contributors to acid rain and ground-level ozone concentrations in some regions
Emissions from oceangoing ships substantially boost acid rain on shore and may account for more than a quarter of the ground-level ozone in some coastal areas, a new study reveals.
Many commercial vessels, especially long-haul cargo ships, spend much of their time in international waters. Nevertheless, exhaust from these ships contributes to onshore pollution: Studies have shown that about 70 percent of shipping occurs within 400 kilometers of land.


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"There aren't many books left. People burned most of them to keep warm during the Darkness. And after the Darkness, there were no new books because there was no more paper.
The locusts had come.
And there were no more trees."
Rootless by Chris Howard, is set in a future where trees no longer grow. Seventeen-year-old Banyan, who's never even seen a living tree, builds metal forests for wealthy clients. In a world where manmade structures have replaced all natural beauty, things are looking pretty bleak.
We would be really, really bummed if all the trees in the world disappeared. Not just because it would kill the earth, but because no trees means no paper, and no paper means no books! Is a world without books too scary for you to imagine? Don't worry—these authors and filmmakers have helpfully done the imagining for you! Check out these books and movies about worlds where books aren't allowed or just plain don't exist.
Fahrenheit 451
In the futuristic world of Fahrenheit 451, the government has decided that all books are dangerous. Reading novels is totally illegal, which is scary enough in itself. But if you're found with books, the government sends in the firemen to burn your house down. Not just the books—your WHOLE HOUSE. Seems like it might be overkill.
Super Sad True Love Story
Love the smell of old books? Well, nobody in Super Sad True Love Story shares your feelings. Everybody is addicted to their apparats (kind of like iPhones on steroids), and books are obsolete because people think they're too smelly. Which WE think is totally ridiculous, by the way. We heart smelly books.
The government in 1984 doesn't completely outlaw reading—it just makes sure that books don't give people any pesky ideas. So they translate everything into Newspeak, a simplified version of English that gets rid of all the things authors love, like synonyms. Just thinking about it makes us (and our thesauruses) very sad.
Brave New World
The society in Brave New World is supposedly a utopia (spoiler alert: it's not). People only participate in fun, communal activities, and apparently, reading doesn't make the cut. People who read are considered "savages"—not "awesome," which is what we call them.
The Giver
Nobody in The Giver is allowed to experience emotion or think for themselves. Since reading, you know, tends to encourage those things, books are pretty much a no-go. Remember all those super intense feelings you got reading the last Harry Potter book or The Fault in Our Stars? Yeah, not cool in this dystopian society.
Soylent Green
In 2022, Robert Thorn starts to investigate the company that makes soylent green, a questionable food product. Since nobody reads anymore, the world's literature is in total disarray, and book experts, who are simply called "books," have to help him with his research. This is why it's important to organize your bookshelves, guys!
Could you survive in a world without books? Let us know in the comments! And be sure to add your favorite bookless books and movies!


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Creating accessible menus-Part 1
James has been tweaking the accessibility of his site navigation. I'm looking forward to the sequel.
James has been tweaking the accessibility of his site navigation. I'm looking forward to the sequel.
Here's an interesting proposal to slightly amend the semantics of the
small element so it could apply to the use-case that
hgroup was trying to cover.
A great one-page intro to microformats (h-card in particular), complete with a parser that exports JSON. Bookmark this for future reference.
Jake is absolutely spot-on here. There's been a lot of excited talk about adding an
h element to HTML but it all seems to miss the question of why the currently-specced outline algorithm hasn't been implemented.
This is a common mistake in standards discussion — a mistake I've made many times before. You cannot compare the current state of things, beholden to reality, with a utopian implementation of some currently non-existent thing.
If you're proposing something almost identical to something that failed, you better know why your proposal will succeed where the other didn't.
Jake rightly points out that the first step isn't to propose a whole new element; it's to ask "Why haven't browsers implemented the outline for sectioned headings?"
(I added a small historical note in the comments pointing to the first occurrence of this proposal way back in 1991.)
Readability is back, but now it's called Mercury.
Heydon asked screen readers some questions about their everyday interactions with websites. The answers quite revealing: if you're using headings and forms correctly, you're already making life a lot easier for them.
Snook has been on a roll lately, sharing lots of great insights into front-end development. This is a particularly astute post about that perennial issue of naming things.
There is one truism that has been constant throughout my career on the web, and it's this: naming things is hard.
Trent talks about the strategies out there for naming things. He makes specific mention of Atomic Design, which as Brad is always at pains to point out, is just one way of naming things: atoms, molecules, organisms, etc.
In some situations, having that pre-made vocabulary is perfect. In other situations, I've seen it cause all sorts of problems. It all depends on the project and the people.
Personally, I like the vocabulary to emerge from the domain knowledge of the people on the project. Building a newspaper website? Use journalism-related terms. Making a website about bicycles? Use bike-related terms.
Most importantly, make the naming process a collaborative exercise, as outlined by Alla and Charlotte.
The best ARIA role is the one you don't need to use.
This is such an incredibly useful resource by Steve and Léonie: documenting how multiple screen readers handle each and every element in HTML.
It's a work in progress, but it's definitely one to remember the next time you're thinking "I wonder how screen readers treat this markup…"
Here's a classic. David Siegel—of Creating Killer Websites fame—outlines exactly why he turned his back on that 1×1 spacer .gif trick he invented.
A superb piece by Ross Penman on the importance of being true to the spirit of the web.
With all my talk about extending existing elements instead of making new ones, I was reminded of one of my favourite examples of custom elements in action: Github's extensions of the
time element.
A great presentation on web components by Marcy, with an emphasis on keeping them accessible.
Remember when I was talking about refactoring the markup for Code for America? Well, it turns out that Heydon Pickering is way ahead of me.
He talks about the viewpoint of a writer (named Victoria) who wants to be able to write in Markdown, or HTML, or a textarea, without having to add classes to everything. That's going to mean more complex CSS, but it turns out that you can do a lot of complex things in CSS without using class selectors.
There are slides.
I really hope that this is the kind of usage we'll see for web components: enhancements for the browsers that support them without a good ol' fashioned fallback for older browsers.
Funny because it's true:
The thing I regret the most is how my class addiction affected my relationship with HTML.
Alex starts with a bit of a rant about the phrase "semantic HTML", which should really just be "well-written HTML, but there then follows some excellent thoughts on the emergence of meaning and the process of standardising on vocabularies.
The definition of the cite element (and the blockquote element) has been changed for the better in HTML5 …at least in the W3C version anyway.
The semantics of the cite element are up for discussion again. Bruce, like myself, still thinks that we should be allowed to mark up names with the cite element (as per HTML 4), and also that cite elements should be allowed inside blockquotes to indicate the source of the quote.
Let's pave that cowpath.
Older »


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Feds: Design Problems, Human Error Led to Atchison Spill
Associated Press - April 12, 2017 12:02 pm
Federal investigators say mistakes by a delivery driver and an employee of a northeast Kansas distilling plant led to the mixing of incompatible chemicals, causing a noxious cloud to spread over Atchison last year.
The U.S. Chemical Safety Board said in a preliminary report issued Wednesday that design and labeling deficiencies at the loading station at MGP Ingredients also contributed to the toxic chemical release of a huge cloud of chlorine gas in October 2016. The release sent about 140 people to hospitals and caused residents in the area to stay indoors or evacuate for several hours.
The agency said the release occurred when a delivery driver mistakenly unloaded sulfuric acid into a tank that contained sodium hypochlorite, releasing thousands of gallons of the gas across the region.


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You first modelled for Bonds in 2003. Looking back at those shots, can you tell us about the experience?
It was so long ago; it's crazy how time flies.
How have you changed and developed as a model since shooting the campaign? It's changed quite a bit. I've worked around the world with incredible clients and some of the best creative people in the industry. I've had some of the most amazing opportunities, and I feel really grateful for those opportunities. It's been such a learning curve, and I feel blessed to have experienced it.
Would we still find Bonds basics in your wardrobe?
Yeah, I have a few basic white tanks [Chesty Bonds] that I've had for quite some time and the underpants – they're just really comfortable and classic.
This year Bonds celebrates its 100th birthday and the brand is bringing together the iconic faces from over the years. Can you share with us how you got involved in this momentous project?
Bonds approached me, and I thought it would be really fun because it's such an iconic brand and such a respected brand in Australia. And they always have such a great sense of energy to their campaigns.
What are your tips for looking great in underwear?
Whatever you wear, wear it with confidence. Whether it's swimwear or underwear or clothing, just feel good in your body, because when you feel good in your body you exude that confidence. If you're feeling your best, you're looking your best.
If you had to wear one thing for the rest of your life, what would it be? My long silk robe, and bare feet. It's like being naked, but you're not.
What's the best-ever fashion advice you've been given?
Invest in classic pieces that fit to your body shape.
What are your go-to fashion items?
A pair of jeans, a classic white tee, a blazer, black flats, sunglasses and a handbag.
What's the most precious item in your wardrobe?
A vintage dress that was owned by my grandma.
If we trawled through your wardrobe, how many pairs of shoes and handbags would we find? I'm not sure, but I can tell you I've given a lot away and I still have a lot. I regularly cull, because I get overwhelmed if I have too much in my closet. So I like to give stuff away a lot, like really often. I give stuff away to friends, I give stuff away to charity – it's just better to keep it more streamlined and simple.
What's next for Miranda Kerr?
I have so much going on: I'm continuing to work with the clients I have, and I have a few exciting business collaborations that will be released later this year. I'm also continuing to expand Kora Organics worldwide. There's never a dull moment, put it that way!
Do you have any plans to one day move back to Australia?
Right now, I don't really have that option because obviously I have a son, and it's not just up to me, but you never know. Never say never. But I love Australia, I'm really proud to be Australian.
What are your workout secrets?
It's more about maintaining my exercise regimen so I feel healthy and balanced, and I'm eating well. I'm pretty into health and wellbeing so I just continually try to look after myself so I look and feel my best.
If you had to choose Pilates or yoga, which would you pick?
Yoga, and it would be kundalini yoga, because it balances my mind, body and spirit. It's not about the physical shape, it's more about feeling my best, and kundalini yoga really does it for me.
What five foods would we always find in your fridge? Avocado, goats' milk, gluten-free bread, umeboshi plums – they're from Japan and really sour, like a pickled plum, but are really good for alkalising your body. Even if you just have a little bit of an umeboshi plum, it helps with digestion. I also always have eggs. Oh, and I'm going to have to say six because I always have Vegemite in my fridge.
What's the greatest thing you've learned from your son Flynn? Just to really enjoy every moment and keep the inquisitive side of your nature. And not to lose that childlike nature because that's what's so pure and incredible about children.
What about the greatest thing you've learned from your mum?
Unconditional love.
The great thing in life is… Actually being really present and in the moment. Even if you're having a hard day, just being in the moment and riding that wave – that's what life is about. It's not always about the good times; it's about embracing every moment because you can't appreciate the good without the bad.


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While The Grammys pay tribute to some of the best music released in the past year, it also serves as an opportunity to reflect.
This year's ceremony will remember the legacies of both Prince and George Michael with tribute performances during Sunday's show.
In a statement (via Rolling Stone), Academy President and CEO Neil Portnow said,
"George Michael and Prince were pop icons who showcased rare musical genius and otherworldly charisma. While each possessed a distinct style and sound, they were both adored by audiences worldwide. The passings of two such creative innovators were a huge loss for the creative community; The Recording Academy is humbled to pay homage to their tremendous legacies on the Grammy stage."
The Grammys will air this Sunday at 7 PM CST on CBS.


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Recent Posts
Sign Yourself to a DIY Musician Record Deal: How to Build a Business Around Your MusicApril 10, 2016
Time Management for Musicians: How to Make More TimeMarch 8, 2016
Hi I'm Chris, from the Watch Me Explode team. We help indie musicians take consistent steps toward succeeding in their music careers! Take a look around and let us know what you think. Thanks for stopping by! -Chris


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1 - 15
of about
Intro to the Violin
By: Justin Robins |
The violin has been around in various guises for hundreds of years. Exponents of the instrument have contributed to musical genres as diverse as classical, jazz, country, and even pop. The instrument itself is simple; a hollow four-stringed instrument with a long, slender neck.
read more
Lessons For Violin
By: Hailey Alton |
According to the specialized vernacular of all things violin, you take lessons for violin with your tutor, you take classes with your conductor, and you study under your master. The three different kinds of instruction complement and reinforce one another, and they combine to prepare you and build your confidence for your greatest performances. Each kind of instruction has its place in your violin curriculum, and each has its own pattern and sequence derived from the requirements of violin mastery.
read more
Violin Repair FAQ's
By: Hailey Alton |
If you properly care for and maintain your violin, it never should need repair. Your teacher will show you how to change strings when they break or wear out, and she will probably show you how to replace the hair on your bow, too. If you keep your violin in its case and keep the case stored away from moisture and extreme temperature changes, your instrument should sound terrific as your grandchildren learn to play it.
read more
Lessons in Violin
By: Hailey Alton |
You have decided to take lessons in violin. What do I need to do next? How to I find a teacher? Will my instructor be able to teach me the style of music I want to learn? With the information provided in this article you will be able to pursue your lessons in violin with confidence.
read more
Violin Lessons - Perspectives For Learning Violin
By: Herbert Raymer |
As a beginner to violin lessons, there are certain perspectives needed in order to become a very good violin player. These perspectives can accelerate the gap between beginner and advanced.
read more
Violin - Types And Makes Of Violins
By: William Barker |
Should you or a member of the family is considering jumping into the wonderful and rewarding realm of the violinist there are the main things that you ought to know beforehand.
read more
Violin Classes - FAQ
By: Hailey Alton |
Violin classes serve at least three vital purposes: (1) They build your comfort, confidence, and proficiency with playing in an ensemble; they especially help you learn how to cope with stage fright, teaching you to redirect your nervousness into useful energy, and reminding you your nervousness is a healthy sign that you care about your performance. (2) They initiate you into the competitive element in violin play, emphasizing the importance of skillfully playing your part for the sake of the group's performance, simultaneously showing you how to compete for and perform leading parts and solos. And (3) violin classes emphasize the importance of rhythm.
read more
Learning to Play Violin
By: Hailey Alton |
Remembering the early days of their learning to play violin, professional violinists easily recall all the wrong reasons they started learning to make music from the fickle four-stringed box. Discover the top three reasons for not learning to play and how those reasons transformed into a love of the instrument.
read more
Violin Bowing Basics
By: Hailey Alton |
Even if you are left-handed, you probably will learn to play your violin as if you were right-handed. In fact, some lefties claim they have an advantage, because their left-hand dexterity makes fingering and vibrato easier and more precise. By the time you become a master violinist, you will become ambidextrous, and at the peak of your performances, both hands will move almost automatically, driven by memory and habit.
read more
Violin Master Pro! ViolinMasterPro User Review
By: John Thomas |
I show you one user review of violinmasterpro. You decide if it's worth your time or not. I did research and find out the facts for you.
read more
Online Violin Lessons - Do Online Violin Lessons Mean the Death of Violin Teachers?
By: Jason Rodak |
With the emergence of online violin lessons are the jobs of violin teachers in danger? Do you even care if you can learn how to master the violin for the price of one traditional lesson?
read more
The Haunting of the Violin
By: Justin Robins |
The violin is an instrument of deep emotion, and a haunting melody heard on a violin stays with you forever. There has been much research done on how music affects our emotions, and violins, able to "sing" in the same range as humans, can lift us up and make us dance, or help us purge our grief. Truly, as Shakespeare said, a good instrument well played can "hale souls out of men's bodies."
read more
Your Violin Teacher Should Inspire You
By: Hailey Alton |
Although you may not always see and feel the bond, your violin teacher always will serve as your strongest ally in the battle for mastery of the unruly four-stringed beast from which you strive to make music. Violin history and tradition demand that you respect your "master" and submit to each and every one of his or her commands; your steady progress will prove the wisdom in tradition and history. But your violin teacher's mastery of her own instrument and her patient, relentless insistence on your perfection ought to inspire your reverence.
read more
Violin Master Pro My Expert Review
By: Eric B Hill |
violin master pro a violin video lessons program created by Eric Lewis a violinist with more than 40 years of experience who was also once a member of the Manhattan string quartet. These lessons are aimed at people from all ages and skill levels it doesn't matter even if you've been playing for years or have never held a bow before you will find something of value in these lessons. I myself have been playing for years and still managed to learn some new things.
read more
Tips For Learning Violin
By: Mae Donahue Riley |
The violin is a beautiful instrument that can create beautiful music when you learn how to play it properly. If you want to learn how to play the violin, remember that it is easy as long as you know the right tips.
read more
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text:
OTTAWA (Reuters) - The Canadian economy has significant problems but is in a position of strength compared to other nations that have been hit even harder, Prime Minister Stephen Harper said on Monday.
"The government has taken ... important actions ahead of the crisis that have put Canada in a relatively strong position," he told Parliament after opposition legislators accused him of bungling Ottawa's response to the crisis.
"Admittedly, there are significant difficulties, but the opposition does not help those things by simply repeating bad economic news without having anything to offer," he said.
Reporting by David Ljunggren; Editing by Frank McGurty


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Talented RB Isn't The Sharpest Tool
For my money Le'Veon Bell is the best running back in the NFL.
The former Michigan State Spartan possesses the ideal combination of speed, power, elusiveness, change of direction skills, pass-catching ability and he's an accomplished pass blocker. Teams have no choice but to commit resources to stop him, which in turn opens up other options for Steelers QB Ben Roethlisberger and offensive coordinator Todd Haley.
There are times when Bell seems unstoppable.
The one most likely to stop Bell is Bell himself.
His inflated ego may soon dwarf that of Donald Trump and the sound bites he's shelling out may help to thwart Bell and the Pittsburgh offense in 2016.
During a recent interview with the Pittsburgh Tribune Bell shared his thoughts on the alleged dirty play of the Cincinnati Bengals.
"I don't think it was just (Burfict); it was like the whole team was really out there trying to like twist my ankles and do little dirty stuff in between the piles."
Now imagine what those piles are going to be like this season for Bell and what opponents might do to get him off his game?
Bell, then opined on the dirty play of the rest of the AFC North.
"Umm, a couple, but obviously a lot of teams in our division really play that same way, so obviously I know that — I just was kind of ignorant to that at first because I didn't think people played like that."
The rest of the division thanks you for the bulletin board material.
But this comes as no surprise really.
Ignorance seems to follow Bell.
Remember these words of wisdom after Bell was pulled over by police along with passenger LaGarrette Blount when the pair of RB's tried to pull off their best impersonation of Cheech and Chong?
"I didn't know that you could get a DUI for being high. I smoked two hours ago. I am not high anymore. I am perfectly fine. Why would I be getting high if I had to get on a plane to make it to my game?"
You can't even make this stuff up.
Now that Bell has served his suspension and recovered from multiple injuries, he's committed to taking his game to a new level (you only need to check him out on Twitter if you need to be reminded).
Oh, and a possible collaboration with the Wizard of Weed – Snoop Dogg.
y'all can hate all y'all want, I gotta get this track done with @SnoopDogg now#OnAMissionhttps://t.co/AVxGjbwKek
— Le'Veon Bell (@L_Bell26) May 5, 2016
I can already hear the excuses when he flunks the pee test…
"It was secondhand smoke from my Dogg!"
And lastly, if you need any more fuel to root against Bell, let me remind you of this Tweet after the Steelers tailback learned of Eric Weddle's signing with the Ravens.
he signed with the Ravens right? oh man, it's way too late! https://t.co/SLuYnqaNwq
— Le'Veon Bell (@L_Bell26) March 15, 2016
Maybe Bell should be reminded that his team has dropped three straight to the Ravens and 5 of the 7 games since he's been in Pittsburgh.
Bell is a lot of things but "smart" apparently isn't one of them.
Hopefully ignorance isn't bliss for this Dumb Bell.
And if he does get in his own way, great!


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DIY paper snowman (via craftsunleashed)
Winter is the time of snow, amazing sparkling snowflakes that are not like any other, funny snowmen made by kids and snowballs that we all like to play. Here are some cool DIY ideas to decorate your home with snowflakes, snowballs and snowmen and to highlight the winter atmosphere, charming, icy and cool! Felt ornaments are amazing and simple to make, you can make all these snow crafts of felt – they are cozy. Cardboard and paper are also amazing materials for making funny pieces. White clay and marshmallow, snowflakes garlands and towels, felt coasters – choose your idea and start creating!
Felt snowman ornament (via justeverydayme)
Mini snowman ornament (via justcraftyenough)
Finger puppets (via rustsunshine)
Embroidery snowman (via pleasenotepaper)
DIY skeleton snowman (via cremedelagems)
Marshmallow snowman (via cutefoodforkids)
DIY colorful snowflake (via sweetspotcards)
DIY snowflake ornament (via cherishedbliss)
Snowflakes garland (via )
DIY felt snowflakes (via whatnomints)
Snowflakes coasters (via billiemonster)
Felt snowballs (via rustsunshine)
No melt snowballs (via )
Snowflake gift ornaments (via justcraftyenough)
Salt dough ornaments (via scissorsandspoons)
Snowflakes paper garland (via artsyants)
Quilled snowflake patterns (via allthingspaper)
Icy snowball ornaments (via valleyandcolifestyle)


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(10-16-2016, 07:12 PM)SkullCandyy Wrote: I work on this website for anime merch, with another person <3
(10-14-2016, 11:48 AM)Omoi Wrote: http://www.karma.moe/?m=1
I have a few others.
Oh yeah and I also run this with Omoi ^^
thats a smart branding idea.
iiiiclothing.com has a similar market might be smart for you guys to collab with them


text: DESCRIPTION: In the first installment of the Bond Franchise comes Dr. No, an espionage thriller based on Ian Fleming's best-selling book series. Follow 007 (Sean Connery) to Jamaica where he has a license to kill. It's at Laughing Waters Beach in Ocho Rios, Jamaica where Bond meets up with the gorgeous Honey Ryder (Ursula Andress). With its fern-clad cliffs and cascading waterfalls, the beach is a popular spot for its striking natural beauty. Scroll down to see more film locations identifed from Dr. No.


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You can own your own Towne Post Network Inc. franchise and publish a magazine for your community! Fill out the short survey below to see if you and your community is a good fit. For direct inquiries, contact Tom Britt at (317) 496-3599 or email firstname.lastname@example.com.
- Work from home
- Focus on sales and networking
- Cloud-based back office and franchise support
- Own your own business
This franchise is not being offered to residents of the following states at this time:
Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, Georgia, Hawaii, Idaho, Illinois, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin and Wyoming.
This offer is not directed to any person in the states listed above by or on behalf of the franchisor or anyone acting with the franchisor's knowledge. No franchises can be sold in the states listed above until the offering is registered and declared effective by the appropriate regulatory or governing authority, and the franchise disclosure documents have been delivered to the prospect franchisee prior to the sale within the required time frame.


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Timeless Wealth Ideas
It's All About the Price You Pay… a Timeless Lesson on Buying Investments
Teach Your Children to Be Millionaires by the Time They're 40 Years Old
The Biggest Lie: "It Takes Money to Make Money"
Why We Prefer Investing to Speculating
Is That a Legitimate Shot at a 200% Gain? Or Just a Headache?
How to Be Dramatically More Productive, Successful, and Wealthy
How to Become Friends with Your Heroes
Why College Is a Waste of Time and Money
The 5 Keys to Finding the "Perfect" Investment
Poor Henry: One Man's Devastating Loss… and How to Avoid It Yourself
What's the Point of Investing?
The "Three-Bucket System" for Managing Money
Seven Secrets from the Smartest Businessman I Know
Never Retire
If You're So Rich, Why Do You Still Work?
How to Get a Raise at Work
Asset Allocation


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Having been a project manager and a product manager for a large enterprise firm I considered that what I didn't know about talking to users, gathering and prioritizing requirements and driving the development path of your product wasn't worth knowing
Well, I'm learning 2 new things at the as I step into the sell side of the tech industry. If you are a product manager in a large company you might want to consider how these fit into your day to day life. They are;
- The difference between what you think your customers want and what they actually want
- Adapt to your surroundings to make yourself successful
What you think your customers want vs. What they are asking for?
It's fairly easy when you are experienced to assume that many of your users/customers are the same and therefore if one or two of your largest customers wants a particular feature that the smallest 100 customers will also want it. The challenge in breaking this assumption is two-fold, firstly you can't necessarily go out and speak to all of your customer (unless you only have about 5-10 customers and then this might be possible). Secondly requirements are complex and companies that from the outside may appear the same have lots and lots of complexity that is worth understanding.
Working for a particular customer of mine I have been working with an independent research company to conduct customer focus groups. The objective of which is to understand existing customer needs and perceptions to be able to provide product development material to existing customers and prospects to support retention, improved penetration and acquisition.
The independent research firms are conducting Mini-Focus Groups that last 2 hours and are conducted in a viewing facility. Each groups is ideally 4 people and the participants are very knowledgable in the product area being discussed, typically they might be the IT specialist, senior buyer or service manager – but they would have a very good working knowledge of the day to day user needs within their firms.
Observing these sessions in the viewing facility was an interesting exercises, I found ;
- It either validated my understanding of what was required – about 70% of the discussion.
- Dispelled pre-conceived ideas (such as all customers of size X will be broadly the same) – about 10% of the discussion
- The conversation went in new and undiscovered territory – about 20% of the discussion.
So having attended one of these sessions today, I'm really intrigued to see the next session and the overall write up. Of course I took copious notes – but did I write down what I heard vs. what I though was said … we'll see.
In the end we are hoping these sessions prove invaluable on getting that golden customer feedback to help you develop the killer features to make your product unique in the marketplace.
Adapt to your surroundings to make yourself successful
The second lesson I've started to learn is collaboration often starts with checking your experience at the door. I'm working on a new development idea for another customer and they have a bunch of really talented designers, coders, infrastructure folks. They are used to using an Agile methodology to develop products from a short set of ideas / concepts.
Agile and sprint based delivery is new to me, but let's roll with it.
I suspect this part of the blog entry is a bit premature because having written the first set of requirements and not yet conducted the team kick-off or first sprint the 'make yourself successful' tag may have to change on a future edit.
Until then .. bring it on..


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-Fits ALL Twincam KA24DE Engines, 91-98 240SX
-Powersteering pump bracket modifications necessary
Available with a MVS or MVR wastegate flange, this T3 turbo manifold is for the more extreme setup looking for the potential limit of the vehicles engine. The DOC KA Topmount turbo manifold can still be used for "streetable" vehicles, but is solely designed to make maximum horsepower and allow you to fit much larger frame turbo's then our traditional bottom-mount T25 manifold. D.O.C. still applies our elaborate porting process to complement maximum flow within ALL of our manifolds.X


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Starting a business is exciting. With the necessary grit, knowledge and planning, there is a good chance that you will succeed. However, a guarantee is never given. That's why we've put together five tips that will bring business owners one step closer to launching a successful business.
1. First, you should schedule a consultation with an accountant, a lawyer, and an insurance agent. An accountant can help you understand taxes, bookkeeping, and other financial concerns. A lawyer will help you understand limiting your liability, business partner relationships (if applicable), and what contracts you might need with customers or vendors. An insurance agent will ensure that you have the right policies in place for your business. Making sure that the business is set up properly from the beginning might seem expensive initially, but it's much easier (and cheaper!) than having to fix a mistake later on.
2. In order to build the legal foundation of your business, be sure to register your business with all the necessary federal, state and local government agencies. Don't try to cut corners. Find out what licenses you need for your type of business and the location. Consult a local business attorney to make sure you get all of your licenses in a timely manner. Dealing with local government can be cumbersome, so it's beneficial to have an expert in your corner.
3. Now that you've established a solid foundation, you should polish your elevator pitch. Weather you meet a potential customer or an investor, you should be able to connect with people quickly and pitch your business. Your pitch can include your mission, services and special offers.
4. Here is an important point: If you are a startup that has expensive furniture in your office, something is going wrong. It often takes a while until you start making profits. That means, you might have to compromise your lifestyle for a little while and manage your cash flow effectively.
5. Finally, business owners don't have to know everything. Be smart about who you bring on as a partner or employee. You should find people who complement your skills and bring something unique to the table. Having different skill sets has three benefits. One, there is less potential for conflict about responsibilities. Two, chances are lower that partners try to compete against each other. Three, by having different perspectives, you will have a well-rounded business strategy.
Read more: 10 Important Components of a Business Partnership Agreement


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It was a beautiful day here in the Auvergne. The grandchildren of my neighbor Claudine were playing outside for hours, busily pushing a child's wheelbarrow around and sometimes, kicking a ball to each other.
Posted by Katia at 3:32 AM
Labels: Auvergne, France, Summer 2010
Lets Book Hotel - Book now and pay at hotel


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Some pretty chilling video of a sinkhole in Baltimore last week that took a street.
It happened in two parts. Wait until 1:15 mark for the big finish. First the cars are there and then they're not.
Also today on Trending Now, This Week in Unecessary Censorship with Jimmy Kimmel, Seth Meyers introduces distinguished guests in the Late Night audience, comedian Carmen Lynch appears on the Late Show with David Letterman and Kevin Spacey talks to Jimmy Fallon on the Tonight Show about some life hacks he had early in his career thanks to a great Johnny Carson impression.


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Wolfenstein: The New Order review – Silly in the best possible way
- Written by Petrus-Iulian "Devon" Fatu
- Published in Shooter reviews
Where the storyline is concerned, Wolfenstein: The New Order is without a doubt a character-driven piece. Almost every main character is memorable, interesting and strong. From the sarcastic, foul mouthed Scottish World War II pilot who is later a member of the resistance with you, the slightly mad genius Tekla (my favourite) who spends her days in an empty room with wall to wall scribblings, trying to mathematically predict the fate of the world, to the gentle giant Max Haas who will remind fans of a certain historical fantasy TV show of a certain character who also only ever says his own name. There are many more but I don't wish to spoil the pleasure of discovering them for yourself.
Unfortunately, of all characters the one who seems the most bland and one-note is the main man himself, B.J. Blazkowicz. He is by no means without a personality, but one can only listen to ravaged internal monologues about the horrors of war for so long without getting a little tired.
The storyline itself isn't terribly innovative, though it is competently done, and serves more as a backdrop for the characters to shine and an excuse to showcase crazy Nazi diesel-punk technology, alternative timelines and moon-bases. The New Order's world looks like the love child of Red Alert and Iron Skies.


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Frutarom (Haifa, Israel) has reported full-year sales of about $244 million (2004: $196.8 million). Full-year operating profit reached nearly $34 million (2004: $22 million). Commenting on the results, Frutarom head Ori Yehudai stated that the company seeks to cross the half billion dollar mark in 2008.
Frutarom Full-Year 05
January 2, 2009
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August 3rd, 2007, 05:07 PM #1
Auto Logout After Visiting SynergyAnalytics
- Join Date
- January 18th, 2005
- Posts
- 2,511
Until yesterday, you could go back and forth between the main site and SynergyAnalytics without being logged out as long as it was within 4 hours of your original login. Now once you are in SynergyAnalytics, if you click on the Linksynergy link to go back to the main site, you have to log in again.
Ranae, is this a new bug or was there an intentional change made?
August 3rd, 2007, 06:02 PM #2
Hi Snowman,
I have not see any alerts on Synergy Analytics. There is scheduled maintenance set for Sunday. I have notified our tech team. I was able to replicate this with a test account.
August 3rd, 2007, 10:00 PM #3
- Join Date
- January 18th, 2005
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This has been fixed.
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Contact Info / Websites
All 58 movie Reviews
android 18 opens wide
Rated 1.5 / 5 stars
It's a good start. But too short imho.
"Our Contents" - An animated metaphor
Rated 4 / 5 stars
My compliments, it's a good movie. Somehow it still feels as if you're point is not fully getting brought to life. If our sins (hunger, camps, mass-murder) are inside ourselves just as a gun could be inside a box, why can't we take them out so easily? I think you could work on that part a bit more.
That's a good point, actually. I might make a sequel to include something along those lines!
how it will end.
Rated 5 / 5 stars
Truly a masterpiece.
The voicing and animations are great. Very funny and yet not in a stupid way.
Also the end scene with the whales walking out of the water and the thought behind that is very cool and original.
Keep up the good work!
Fred Joins The Army
Rated 3 / 5 stars
Liked it too..
Indeed no fucked up stickflash with no sense at all.
Making fun of the army is always good :)
Bob's Mafia Ep. 1
Rated 3 / 5 stars
Not bad, in fact I like it.
I can see you're going to make a nice serie there. The music was my number one feature of it. The voices were less cool, but i've heard a lot worse.
But.. I think you should change that screen-switch thing in the beginning when everything flows to another screen, it looks kinda cheap.
So keep up the good work. Adios.
splat and scribble 2
Rated 3 / 5 stars
That music was horror
Really... The movie was quite ok. But that music was reeeeeeeaaallly fucked up. But according to your other "splat and scribble", you seem to like musicians who can't sing.
For both of the Splat and Scribbles the music has been suggested to me my people online.
(I'm really bad at choosing music, so I just get other people to do it for me)
Venture Assert
Rated 2 / 5 stars
Didn't really excite me
It wasn't really funny. Sometimes I couldn't even hear what the fuck they were saying. There were some jokes quite funny. But all in all it didn't make sense.
coffee break
Rated 4.5 / 5 stars
Aaaaaaaaight, ma man...
This is the shit. Thanks.
Keep that good work up. The voice was fucking stylish and the freak mouth was also damn good.
The AMC Movie 2
Rated 2 / 5 stars
Did not get excited.
I didn't think it was funny actually. Sorry 'bout that.
Survival Guide for Fishes
Rated 2.5 / 5 stars
Not that bad..
The intro was fucked up. But the rest of the flash was quite good, so don't blam..
yeh, i admit the intro is a bit akward, but its nice to hear that at least someone liked this!


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How do I get to CameraPro's Arthur St Store in Newstead?
Our new CameraPro HQ and Flagship store is located at 232 Arthur Street, Newstead 4006.
There are a variety of travel options for getting to our Arthur Street store:
City Cat
Anywhere along the River (St Lucia to Hamilton) - Catch the Brisbane CityCat to Teneriffe Wharf.
The Blue City Glider 60 and 199 buses both run within 8 mins walk of CameraPro, stopping at the Teneriffe Ferry terminal.
Other buses also service this area from Brisbane CBD and other suburbs.
Depending on where you wish to travel from please consult Translink.
On Foot or Bicycle
CameraPro is 15-20 mins walk from the CBD or a short bicycle ride from pretty much anywhere in the city or inner suburbs.
Driving & Parking
CameraPro Arthur St has five dedicated customer parking bays right outside the showroom.
If these are not free try the following:
- There is free two hour undercover parking at Gasworks, Newstead.
- Arthur St has 4-hour and 9-hour metre parking between Commercial Rd and Chester St. These are more likely to be available after 10:30am.
- Arthur St between Chester and James Streets has metered parking is also available.
- Harcourt St (next parallel to Arthur St south side) has all day free parking on Arthur St side and 2p parking on other side between Commercial Rd and James St.
- Kent St (next parallel after Harcourt on south side) has all day free parking on Arthur St side and 2p parking on other side between Commercial Rd and James St.
- On weekends there are many parking bays available in close proximity to CameraPro.
General Note: Arthur St is in the Central Parking Zone, which begins at Kent St, in which parking is 2 hours free (2p) unless otherwise marked.