text:
I get a constant stream of requests to look at new startups or to announce something that a startup just did.
As you'd guess, I can't do it, as much as I love to chat about startups, by which I mean swapping wisdom with fellow entrepreneurs, by which I mean stoke my ego by telling strangers what to do with neither repercussion nor responsibility.
Most of the email is truly spam. But even for the legit stuff, the problem is time. The joke is:
How much time does a startup take?
All of it.
Running WP Engine takes all my time. Also I value my family time. How much time does a 3-year-old and loving wife take? All of it, as well.
Which leaves no time for "can I pick your brain for 15 minutes" or "can I get your feedback on my pitch deck" and especially "can you spread the word on your blog."
Some are incredulous that I can't afford to have a pricking of the brain for a measly little 15 minutes, but the reason has been covered by folks like Paul Graham explaining how one small meeting blows away a day's worth of productivity and Dharmesh Shah on how his inbox is overwhelmed he has no choice but to say "no" to everything.
But still, one occasionally makes it through. How do those exceptions pierce my fearsome firewall?
I was curious myself, so I inspected a variety of recent email to see which never had a chance, which could have worked but didn't, and which I actually engaged with. Here's what I found.
Anything longer than 150 words means you've assigned me a project. I'm racing gazelle-like through an inbox bristling with questions and information actually related to my Real Job, and you've thrown up a roadblock. It's not only the time it takes to read, but surely this treatise is explaining something complicated — telling a story, painting context, articulating details, etc.. In the same way it takes special energy to grok source code you didn't write, I don't have the special energy to engage.
To force the issue, the email address I publish on my "About me" page goes to a Shortmail account, which prevents messages longer than 500 characters. Still, I'll get emails complaining about how they couldn't possibly pen their missive inside this ridiculous limitation, demanding that I provide an alternate email address, all while forgetting to say anything about who they are or what they were going to tell me.
Those get marked as spam.
Plausible, Interesting Call to Action
I get 5-10 emails daily asking if I will "help spread the word" about something.
The following is an actual email I just received, and in fact prompted me to write this post. I've removed details because I have no desire to call anyone out. It's typical:
Dear Jason,
COMPANY has just completed its first startup accelerator program. I
had emailed you in August before we first started the program and I wanted
to invite you to take a look at some of these new tech-businesses in our
I would love for you to join us and would greatly appreciate if you could
share the news on your blog or Twitter.
There are two calls to action here: (A) Look at a handful of new businesses; (B) Share the news.
The call-to-action is giving me a job to do, and one thing I don't need is another job, so it has to be clear, sensible, and something that I plausibly would agree to do.
This email fails in both regards, for different reasons.
On (A), I don't know what "take a look at means." Scan overviews? Meet founders? Provide advice? Be pitched at? How many companies? Where's a link?
There's no way I can even evaluate what I'm being asked to do, and my general (asshole) attitude is that if they can't articulate why I should be interested, then I'm not interested.
The correct way to have done this is to figure out what would make me personally interested. Like, pick the company most similar to a company I've built or that I've talked about before or that I advise or have invested in (check AngelList). Then you can say something like, "Company XYZ does PDQ which is similar to ABC which I know you're deep in, so I wonder whether you'd be interested in help these guys with some strategic and tactical questions. Since you're familiar with the space, 15 minutes might go a long way."
Or: "I know you do a podcast with startup advice. I have 7 companies here I think you'd find interesting, and they all need advice! Could we schedule a podcast episode just for our accelerator group? It would take two hours, but I think it would be fun for everyone."
I'd do that in a heartbeat. It would be fun!
But instead it was "I'd like to invite you to take a look at some of these new tech-businesses."
On (B), this is the easiest one to remedy. Let's suppose I do want to spread the word on Twitter. What would I do next?
I would open my Twitter client and type…. what exactly? I have nothing to go on. I don't have a pithy, interesting grabber. I don't have their Twitter account. I don't have a link.
So effectively I'm being asked to research all of that, condense it into 140 characters (or 110 so there's room for RT) and then go tweet it. That's way too big of a job to give me when you're already asking a favor from a stranger!
This is so easy to fix. Just paste an example Tweet into the email, which I can copy/paste and then modify only if I want. Or: Add a link to an existing Tweet which I can re-tweet.
Here's more on that.
Finally, one of the best kinds of calls-to-action are specific questions. Asking for "15 minutes of advice" is almost never possible. Ask a very specific question around a metric or a financial model or how to validate a specific idea or how to price something or whether to hire a first employee or anything like that is likely to pique my interest and make it possible for me to help.
Appropriate for me
My next mental filter determines whether I'm going to mark it as spam or not, on the basis of whether the request is something that makes sense for me, specifically.
Going back to the suggestion from the previous example that I "share the news on your blog," it would be clear to any actual reader of my blog that I don't share "news" like this on my blog. Ever. I barely even announce things that I'm doing myself. Suggesting that I announce a product release or business launch on this blog means you're spamming me, so I immediately mark it as spam.
Even spreading the "news" on Twitter isn't what I normally do on Twitter. Although that's a better request because it can take just a click or two and there's very little commitment on my part.
But still, why would I personally endorse a startup or news article that I know nothing about?
If you're committed to being a stranger and not actually developing a relationship, the solution is to explain why it's in my selfish interest to do this for another stranger. Typically there's no benefit for me to promote a stranger's thingy. It's not honest and it's noise. If the only thing I am to you is a megaphone for your crap, it's spam, and I'm going to respond like an asshole and say "what's in it for me?"
There can be a reason. For example, maybe you mentioned a blog post of mine in an article of yours, and then you're wondering whether I'll also tweet about your post. I will almost always do that. Especially if you disagree with me! Because I like taking a stand on a topic but then giving voice to the opposing viewpoints.
But the better solution is to not be a stranger. When I get email from someone I recognize from blog comments or Twitter interactions, I almost always help out with advice, spreading the word, anything. Because we're engaged. We talk about stuff. We agree and disagree about things, and I know that. That's all it takes to flip me from "asshole what's-in-it-for-me" mode into "Oh hey, yeah I remember you" mode.
Unique / Interesting
Here's another email I got today:
Dear Jason,
Based on your commitment to innovation, I'd like to introduce my web startup to you.
PRODUCT is an early stage web application that enables content creators
to playfully combine multimedia from anywhere on the web through a shared,
virtual whiteboard.
We've just started a crowdfunding campaign, and already passed 10% in a
single day. You can find our video and details here:
If you share our vision, help us spreading the word. Thank you!
I can already tell this is spam, because there's nothing unique to me in this email. "Based on your commitment to innovation" is generic and clearly isn't aimed at me. In fact, I'm specifically not committed to innovation and I avoid words like that.
But also there's nothing unique or interesting in the concept. There's 1000 startups that mash up stuff online; it's OK to build the 1001st, but tell me why I should care about it. The fact that you're crowd-funding is neither interesting nor novel; maybe if you articulated why people are funding it, that would get me excited too, but whatever that is, it's not in this email, and no you can't assign me a job to watch a video to find out. I should "help us spreading the word" (can't be bothered to use correct grammar?) if I "share our vision," but what's the vision exactly?
If you can't get me excited, I'm not going to dig around to find the gold.
An easy way to get me automatically more excited is to dovetail whatever you're doing with whatever I'm doing. For example, I do an audio podcast where I help founders on the spot. If you suggest that we do that, I'm interested, because I want to do more episodes. As another example, I do the same thing in a series called the Mailbag.
Examples of doing it right
Here's some concepts I've been emailed about recently which I have indeed supported by advice or spreading the word.
- A WordPress-related startup, contacted me because of WP Engine, and indicated in the first email why it was a new idea, and why, if he were successful, we might end up wanting to do business together. He was right, so I was interested in at least chatting. The fact is it's unlikely his startup would ever be able to generate enough revenue for it to be interesting for us at WP Engine (I told him why), but it's still relevant to me and my space, and therefore I'm interested.
- A hosting-related startup, not related to WordPress, contacted me because he wanted to build "WP Engine but for XYZ," and had specific questions around it. Here's a place I could help a lot in a short amount of time, and there was a reason he was asking me.
- An accelerator, asking about lessons-learned at Capital Factory, while offering some lessons they learned in their first year.
- A startup with revenue, deciding between raising money or not raising money, and willing to do a Smart Bear Live podcast about it.
- A blogger asking to interview me on a new podcast; he admitted the viewership is small but he'll promote it on his front page for a while.
- A startup with an unusual pricing question, and willing to do a Mailbag post about it.
- A startup founder who previously had written a blog post disagreeing with one of my articles, now interested in my opinion on a specific matter.
- A blogger submitting a guest-post, which started out inadequate but was willing to iterate until it was excellent; I published it.
- A group promoting women-owned startups trying to get attention so they can help more women become founders.
As final example of doing this well, here's yet another email from today, and since I'm complementing instead berating, I won't anonymize. See, there's another way to get into this blog!
Hello Jason,
I am starting a business and I've decided to video document the steps I take along the way. Jason Fried wrote about doing something similar in his book Rework. Your feedback is more than welcome. I've decided not be paranoia about keeping my soon to be unique selling point a secret, in accordance with your advice in one of your recent blog entries.
So here's the start of the series, Youtube:
Kind regards,
Elian Krosse
Video documentation is sort of interesting. He is clearly a subscriber and is thoughtful about the advice. He's committed to transparency and taking a risk, which is intrinsically interesting. This isn't spam, it's a person trying to something genuine, with some sort of twist.
I hope I don't come off as even more of an asshole than I actually am. I really do want to hear about interesting things, and I want to help founders who are being genuine. It's just hard to cull those from the torrent of human-spam, so as a legitimate person trying to reach me, you'll have to work that much harder to stand out from the noise.
I'm pretty sure the lessons above are more or less true for anyone with a significant web presence. Hopefully these tips will help you unlock conversations with everyone you want to reach.
Let's add more dos and don'ts in the comments!


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Art in the Dangerous Terrain of Religion and Politics
The sound of metallic blows resonates throughout the extensive Yogya National Museum. Anyone wanting to see if the sound emanates from clanging church bells or Buddhist prayer bells must first walk beneath an installation of bamboo canes wrapped in coconut fibres by Indian artist Valsan Koorma Kolleri through to the forecourt of the north wing: There, suspended on the wooden stilts of a traditional Javanese house, are rusty gongs automatically struck with hammers every few minutes.
On the gongs, as well as on dozens of steel struts jutting out of the ground around the wood structure, printed anecdotes and legends from various centuries relate details of Java's eventful history – of the arrival of Hindu deities, Islamic scholars and Christian missionaries, of the emergence of the holy mountain of Semeru in the east of the island, as well as the inexorable modernisation of the cultures during the colonial era.
A culture of contradictions
Rather in the manner of a comprehensive introduction to the Biennale Yogya XI / Equator # 1, the installation "Site of Gods" by Javanese artist Jompet Kuswidananto construes Indonesia as a "culture between the traditional and the modern, colonisation and independence, East and West, agricultural and industrial society, native peoples and newcomers", where a "blend of precarious values" dominates, "immature and confusing" – too diverse and rambling to form one single identity.
There are few places in Indonesia that reflect the archipelago's diverse cultural and religious past as clearly as the central Javanese city of Yogyakarta – to this day an autonomous, Muslim sultanate as famous for its mediaeval Hindi and Buddhist temples as for its status as Southeast Asia's centre for modern art. The very place to attempt an artistic rapprochement with various creeds and religions of the nation's many different cultures.
As curator Alia Swastika explains in the catalogue to the exhibition: "Although the curatorial concept initially emerged as a spontaneous reaction to the many conflicts that occur in the name of religion, we eventually extended it to include religious practices, faith and spirituality as an element of contemporary Indonesian society."
Her Indian co-curator Suman Gopinath however draws attention to the fact that the common ideals of diversity and peaceful coexistence are now under serious threat from fundamental forces – in India from the radical Hindutva, and in Indonesia from Islamists.
Aiming to demonstrate the human face of religion
But few of the works concern themselves directly with religious violence. Most of the artists explore the reciprocal influence of politics and religion, the idolisation of objects, mythological and mystical motifs in daily life as well as their own religious identity, which – primarily in the case of female artists – often appears to be very much related to the body.
"Modern art in Indonesia is not particularly radical," explains performance artist Arahmaiani. "Few artists dare to address religion – and above all Islam – in this way. They unconsciously censor themselves." Arahmaiani's provocative work has drawn the ire of Islamic fundamentalists on more than one occasion. Her installation "Stitching the Wounds" displays the word "Allah" in outsized Arabic letters in the form of brightly coloured cushions, suspended from the ceiling or scattered invitingly on the floor.
"In many countries, Arabic scripture is immediately associated with repression and an unyielding form of Islam. But for me, the word Allah is synonymous with love – I aim to demonstrate the human face of religion," she says.
Apart from Arahmaini, only two other Indonesian artists have dared to feature Islamic symbols directly in their work. In his photo essay "Ka'bah", photographer Wimo Ambala Bayang documents replicas of Muslim sanctity in the preparatory centres for Indonesian Hajj aspirants, who come here to rehearse for the climax of their life's journey. Devoid of people, the high-definition panoramic images are in sharp contrast to the typical shots from Mecca – their simplicity is suggestive of the naivety of many Indonesian Muslims as they embark upon the journey of their lives.
Business instead of piety
Javanese artist Setz Legi takes the national political theme a step further in his installation "Berhala" (Idols), which groups various symbolic objects – including a fountain, a leafless tree and the cupola of a mosque – around a cube made out of black canvas reminiscent of the Kaaba in Mecca.
Inside the cube, a hollow-eyed mass of people storms the Indonesian Ministry of Religious Affairs, which allocates a limited number of places for the Hajj pilgrimage to Mecca every year – and earns a great deal of money in the process.
On the other side, an Arab sheikh rejoices at the stack of cash that comes his way as a result of this arrangement with Indonesia. The installation also displays a text dating from pre-Islamic times, in which the controversial Indian historian Purushottam Nagesh Oak supports among other things his theory that before the appearance of Mohammed, the Kaaba in Mecca had been a Hindu shrine.
"Although Islam does not permit idolatry, the Hajj pilgrimage and the objects venerated during this ritual have long become religious idols," explains Setu Legi, co-founder of the socially critical artists' collective Taring Padi. "The organisational framework of the pilgrimage now has more to do with business than with personal faith, in a system propped up by corrupt politics."
National and religious identities in India
The theme of the Biennale was no less explosive for artists from this year's partner nation India, a country repeatedly shaken by religious conflicts. In his famous film trilogy "A Season Outside", "To Remember" and "A Night of Prophecy", Indian artist Amar Kanwar portrays in highly arresting fashion how state-sponsored and religious violence affects the daily lives and faith of ordinary people – whether it be on the heavily guarded border between India and Pakistan, or in the poor state of Gujarat, where some 800 Muslims and 250 Hindus died in religious unrest in 2002.
The photo performance series "Motherland" by Indian artist Pushpamala N. is also a radical depiction of how her country's national and religious identity are intertwined: In a cheap "bazaar studio setting", the artist herself poses as "Mother India", often on an equal footing with the goddess Durga. Sometimes she can be seen riding, smiling benevolently, on a plastic tiger – at other times a man in official uniform kneels in front of her holding his decapitated head in his hand.
In view of the limited resources that were available to artists in Yogyakarta and the inevitable dilution of content that occurs when art is produced for a globalized market, it was a shrewd decision to concentrate on a specific subject and one single partner nation.
The fact that Biennale organisers decided to go against the general North-South trend and choose a country on the same footing – in both a social and geographic sense – as well as select an explosive and pertinent subject such as religiosity, is not only evidence of their courage, but also a demonstration of great artistic foresight.
Christina Schott
© Qantara.de 2012
Editor: Lewis Gropp/Qantara.de

subset: commoncrawl


text:
A hacker extracted customer log-in credentials from a server owned by Bitdefender that hosted the cloud-based management dashboards for its small and medium-size business clients.
The antivirus firm confirmed the security breach, but said in an emailed statement that the attack affected less than 1 percent of its SMB customers, whose passwords have since been reset. Consumer and enterprise customers were not affected, the company said.
The hacker, who uses the online alias DetoxRansome, first bragged about the breach on Twitter Saturday and later messaged Bitdefender threatening to release the company's "customer base" unless he was paid US$15,000.
To prove his point, the next day he published the email addresses and passwords for two Bitdefender customer accounts and one for an account operated by the company itself.
Travis Doering and Dan McPeake claimed in a blog post that they contacted the hacker, who offered to sell the data to them.
The hacker provided a list of user names and matching passwords for over 250 Bitdefender accounts, some of which were confirmed to be active, the two wrote Wednesday.
Doering and McPeake said that they shared the information with Bitdefender
According to them, when they asked DetoxRansome how he obtained the log-in credentials, he replied that he was "sniffing" one of Bitdefender's "major servers."
Bitdefender confirmed that the attack did not exploit a zero-day vulnerability -- a vulnerability that is previously unknown.
The issue was the result of human error: During an infrastructure increase, a single server was deployed with an outdated software package that had a known flaw, enabling the extraction of information, but not a full system compromise, said Catalin Cosoi, chief security strategist at Bitdefender.
He declined to name the vulnerable package.
The issue was resolved and additional security measures have been put in place to prevent its reoccurrence, the company said in its statement. "Our investigation revealed no other server or services were impacted."


text:
Temples are one of the hottest new bands around at the minute. Endorsed by the likes of Brett Anderson who recently invited them on tour with Suede and cited by both Johnny Marr and Noel Gallagher as the best new band in Britain, it's been a memorable twelve months for a band that barely existed this time last year.
They're also possibly the most exciting thing ever to come out of Kettering, the Northamptonshire town they call home. Signed to Heavenly Records last summer on the back of a demo featuring November's debut release 'Shelter Song'. This evening, the four-piece; James Bagshaw (guitar & vocals), Tom Warmsley (bass), Adam Smith (keyboards) and Sam Toms (drums); find themselves opening for Suede at Nottingham's Rock City. Next month they'll be doing the same for The Vaccines arena tour before taking in every corner of the festival circuit including The Rolling Stones' Hyde Park extravaganza in July.
Prior to tonight's show, DiS sat down with founder members and songwriters-in-chief James Bagshaw and Tom Warmsley for a chat about the band's formation, smalltowns and the "psych" scene. Here's how the conversation went...
DiS: When did you form the band?
Tom Warmsley: The end of last summer really. That's when it all started. At first it was just a recording project between me and James. We had some ideas about what we wanted to do, and then we put four songs on You Tube. But at that time it really was nothing more than a recording project. And then we got such a positive response from the songs we put online we decided to form a band. After Adam and Sam joined, we spent a lot of time rehearsing so we could play them live. And Adam and Sam are both from Kettering as well, so they were perfect people to form a band with.
DiS: What influenced you to make music with such a distinctly classic psychedelic sound? Is that what you were listening to at the time, or was it something you'd grown up with and always intended to pursue musically?
Tom Warmsley: We started off where everybody starts from. We're big fans of pop music, The Beatles and the Stones, all that kind of stuff. Then as our tastes matured, we brought in other influences. We'd heard lots of bands do certain things in certain ways, and I guess our intention was to try and take a bit from each and create something of our own.
James Bagshaw: I think also, fans of music; which we are; tend to be fans of producers as well. People that create things sonically like Jack Nitzsche. People that everyone talks about because they deserve that acclaim for being prolific in their field. When we uploaded the songs originally it was our choice to not only make a statement with the songs, but also with the sound too. They were all done at home in my bedroom. We were searching for the right sound that the songs desired and deserved, because I think any song can be totally different depending on the way it's produced. And then it comes across in a completely different way, so I think once we achieved that sound with those four songs it gave us a thread and made us realise exactly what we want. Instead of going in with a producer who would have stamped his own sound on the songs we created a sound of our own.
DiS: Debut single 'Shelter Song' was also the first song you wrote together. Critically, the response has been phenomenal from almost every publication both in print and online. Looking back, did the success of 'Shelter Song' give you the impetus to continue writing songs in a similar vein?
James Bagshaw: I think it did in a way. We never expected the response to be so wild!
Tom Warmsley: I think in as much as we knew what we wanted to do, nothing was calculated either with regards to 'Shelter Song'. We just stumbled across a drum sound that we liked, and then I recorded some bass on it. It wasn't so much an accident but everything happened really naturally. When we played it back we were surprised how well it all worked, and from that I guess we did develop a formula in terms of what to do and what not to do in the future.
DiS: On the flipside, do you ever worry whether or not the press will turn and give you a bad review at some point?
Tom Warmsley: If people don't like it that's fine. At least they've listened to it in the first place and acknowledged it. So long as we're judged on our merits rather than being tarred with the same brush as other psychedelic bands or whatever.
DiS: You come from Kettering, which I guess has a small town mentality in many ways. Does that influence the way you write in any way?
Tom Warmsley: It's kind of the opposite in a way. If you live in a city it's easy to be inspired by everything that goes on there. At the same time, seclusion and withdrawal from somewhere can be just as inspiring in its own way. That's what led us to record lots and lots, and also gave us the opportunity to figure out what works and what doesn't.
James Bagshaw: We didn't really think that much about coming from a small town. You are more likely to be influenced when there's no one there to influence you. You're kind of out there alone. There's obviously pubs and clubs in Kettering but in terms of a scene, there isn't one. It used to have a refined scene where all the bands knew each other. Now there aren't any other bands left it gave us more of an impetus to do exactly what we wanted.
Tom Warmsley: It's literally our record collections that influenced us rather than where we had a drink on Saturday night or something.
DiS: I guess that can make it easier to develop an individual identity in a sense as there's no one else to compete with?
Tom Warmsley: Definitely, yeah. It forces you to think outside the box. Because there's not much going on you do what you want. It's hard to talk about really.
James Bagshaw: We love our town though! Let's make that clear.
Tom Warmsley: Even when we were away at University in London and Nottingham we've always had our fingers on the pulse with what's going on. It's not like we haven't heard any other music outside of our hometown.
DiS: Have you played any shows in your hometown to date?
Tom Warmsley: We played a show at the Labour Club in Northampton which is just down the road from Kettering. I think that's the only local show we've done so far.
James Bagshaw: We keep getting asked to do shows in Kettering but there really isn't anywhere to play.
Tom Warmsley: If there was we'd play there every week.
James Bagshaw: Our first show was at last year's Green Man Festival.
Tom Warmsley: That was quite strange!
DiS: Was it quite surreal that Heavenly wanted to sign you before you'd actually played live together?
Tom Warmsley: Jeff Barrett who runs the label heard 'Shelter Song' online and signed us almost immediately. They got us completely and have been really helpful, being there from the beginning and watching us grow as a band. They heard our first collection of songs and saw what we were trying to do.
James Bagshaw: They completely understand our ethos. Jeff comes from a similar background in that he's very rootsy and just listens to the music with his eyes closed. It is very surreal though because we've grown up listening to pretty much every act they've ever released.
DiS: Do you see any kind of affinity between yourselves and some of the bands they've worked with both past (Manic Street Preachers, Saint Etienne, The Rockingbirds) and present (Toy, Stealing Sheep)?
Tom Warmsley: Definitely. They've always done their own thing and that's what we're trying to do. If putting some songs up on the internet can generate interest like that it speaks volumes as to how records should be created and sold. Artists don't need to sell themselves via expensive marketing campaigns. The music always comes first.
DiS: Would you ever consider signing to another label at some stage? A major for example?
James Bagshaw: No, I don't see why we would. With Heavenly we've stumbled across something perfect really. You don't necessarily need to be on a major label these days. All that bravado cheapens your music.
Tom Warmsley: It's not that we're into slagging off major labels. I know there are some really good people that work for majors but what we have with Jeff and Heavenly is really special. Why change it?
DiS: When are you planning to release a follow-up to 'Shelter Song'? Is there a timescale as to when you see yourselves putting out an album even?
Tom Warmsley: We are looking to release a single in the next couple of months. It's a new song called 'Colours To Life'.
James Bagshaw: There are no demos of it online or anywhere, it's literally the most recent song we've written.
Tom Warmsley: We are writing all the time, so we've already got an album's worth of material but no projected timescale as to when it's likely to come out. We just want to keep on writing and see what we can do. It's also important we find the right person to work with as well. The main characteristic of our sound is that we have a huge hand in it.
DiS: Do you have a wishlist of producers you'd like to work with?
James Bagshaw: Ourselves! I think just go along as you mean to go on. As Tom said, we do like the idea of working with someone else. We never want to close doors as there could be someone out there who'd make our songs sound even better. Sometimes it takes another pair of ears to guide it over the finishing line. I'd like to think we'll always produce our own material in terms of creating the sounds and then arrange it. The way it ends up being mixed can make a difference as well to be honest.
Tom Warmsley It would be great to do something with Sonic Boom. That would be incredible.
DiS: How do you feel about being associated with the new psychedelia or "psych" scene as it's come to be known?
Tom Warmsley: I think it's great. That scene revolves heavily around live performance. There seems to be a resurgence for bands wanting to be involved with that, and I think the sounds lend themselves to it really well.
James Bagshaw: I don't see it as a negative thing. Ultimately it's just somebody's opinion. There are psychedelic elements to our sound and we love that kind of music. When I think of psychedelia I think of music that's spacey or makes a sonic impact, and I think they're both integral parts of our sound. It's meant to be aurally exciting but we have actual songs there as well.
Tom Warmsley: I think the main thing from our point of view is to not make people see us as a sixties pastiche. That's why we're always writing and trying out new ideas. It's important for us to be able to keep everything fresh.
DiS: You're supporting Suede at the moment, then off with The Vaccines next month and The Rolling Stones at Hyde Park in July. Is it daunting playing to so many people, particularly when most of them won't have heard any of your songs before?
James Bagshaw: It is daunting but also really exciting. When you write music it's designed to be played live and if you get the chance to play to more people that's great.
Tom Warmsley: The fidelity you get from playing bigger stages in bigger venues is brilliant but we all prefer smaller shows where everyone is packed in like sardines. If you could combine the two, play in a small room with a really large sound system it would be perfect.
DiS: Your music has also received glowing endorsements from the likes of Johnny Marr and Noel Gallagher, the latter citing you as "the best new band in Britain." How does that make you feel?
Tom Warmsley: Wow! I mean, it's great that they like it but there are lots of good bands around at the moment.
DiS: Which bands would you recommend?
James Bagshaw: Splashh are really good. We played with them recently. Their live sound is incredible, really washy.
Tom Warmsley: Melody's Echo Chamber, Toy, Tame Impala, Jacco Gardner, Wolf People... There is a psych scene, you're right!
DiS: You're also scheduled to play numerous festivals throughout the summer. Are there any you're particularly looking forward to?
James Bagshaw: Hop Farm. We're playing on the Friday which is the same day as My Bloody Valentine and The Horrors. We want to stay for the Saturday as well because Rodriguez is playing but we've got a gig so I don't know if we can just cancel it!
Tom Warmsley: Secret Garden Party should be fun. I don't actually know who's playing apart from us but that isn't important!
James Bagshaw: It's also quite local to us as well, just a stones throw away.
Temples can be seen at the following venues and festivals over the coming months:-
23 Manchester Night & Day (w/Drenge)
24 Middlesbrough Westgarth Social Club (w/Drenge)
25 Edinburgh Sneaky Pete's (w/Drenge)
26 Nottingham Chameleon (w/Drenge & Kagoule)
27 Hull Welly Club (w/Drenge)
29 London The Lexington
1 Margate Winter Gardens (w/The Vaccines & Toy)
2 London 02 Arena (w/The Vaccines, The Walkmen & Toy)
3 Liverpool Sound City venue TBC
4 Carlisle Sands Centre (w/The Vaccines & Toy)
5 Leeds Millennium Square (w/The Vaccines & Toy)
6 Llandudno Venue Cymru (w/The Vaccines & Toy)
16 Brighton The Great Escape venue TBC
18 Glasgow Stag & Dagger venue TBC
For further dates and information on the band, visit their official Facebook page.


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History of Transylvania County
Human history is a series of occurrences, culminating on or around certain dates, involving people and events. These occurrences do not take place in isolation but are always the result of events and precursors for other events. History is a process, a journey through time and space which is marked by clusters of memorable places, actions and personalities. Places emerge as important because of location and environment (social and natural); actions are engraved in time and memory because they derive from related events and result in life altering conditions; personalities who were responsible for and in turn are influenced by these actions in specific places, play the key rolls. Natural events which do not affect people are of little consequence for human history, at least at that specific time.
History is the study of sequencing. A random act is of less significance than acts which recur and mark patterning of behavior. Events have precursors and consequences. Persons are influenced by previous actors and their ideas and actions in turn lead to repetition or innovation. Native Americans, in this case the Estatoes, had followed the buffalo grazing routes and in time established narrow but gently graded paths. Early settlers followed these paths, particularly the Estatoe Trading Path, which linked this mountain terrain to the low lying regions.
Most of this region was claimed by the Cherokee, but as immigrant wagons moved westward, settlers reached the Blue Ridge and Davidson River. These families, who settled the upper part of the French Broad Valley, occupied tracts of 100 to 640 acres. They included those headed by Lambert Clayton, James and Benjamin Davidson, Joseph Patton, George Orr. The Hogsed and Carson families settled on the east side of the French Broad River near Dunn's Rock, the William and Matthew Wilsons and the Kings settled near the present site of Brevard. The first land grant on Cathey's Creek, four miles west of what became Brevard, was 50 acres to William Porter on October 11, 1783.
These early arrivals, some of whom were passing through and others who remained, battled mountains, mud and swamp lands. They cut trees and split logs to build cabins. Some were for temporary use, others for
Isolation is broken by communication and contact. New ideas result in innovative behavior. In the absence of mass media these invariably follow paths and roads. By the 1830s the first generation of settlers had either moved on or were deceased. The new generation consisted of true settlers, dedicated to improving the landscape and making sacrifices to achieve these goals. Roads were slow in coming due to mountainous terrain and soggy, marshy land. Early roads consisted of two tracks of planks. In 1851 the plank road from Asheville to Greenville, S.C. was extended to Hendersonville. The Piedmont Air Line Railroad stopped in Greenville. This facilitated the extension of the Western North Carolina to Asheville in the 1870s and to Hendersonville a decade later. A post office was established there and mail came to the settlement, later designated as Brevard, by horseback. The postman carried a trumpet and announced his arrival by a number of blasts. Farmers traveled to Greenville and further afield to trade vegetables, apples and chestnuts for lead, muslin and other manufactured goods. Iron for tools and utensils came the same way but were expensive and heavy to transport.
Due to the condition of roads and the cost of maintenance 150 years ago, there was more travel by canoes and flatboats on the French Broad River than on wagons and ox carts. As late as the 1860s, diaries tell of people going to church in rowboats. Where roads led across a settler's land he had to maintain the road and bridges and in return he could establish a toll booth. This resulted in an easy and steady income for stockholders endorsing such a turnpike. Horse teams could travel at most about 25 miles per day and feed bills and taverns helped maintain the roadways. Roadhouses, with a grogshop, and feeding pens required fodder and corn from local farmers. A blacksmith was frequently close by for special needs of horse shoe or wagon wheel. By the end of the 1800s the internal combustion engine changed road building and construction. Transylvania County was gradually drawn into the wider loop of long distance road transportation. By 1922 this county had only 45 miles of unpaved highway cared for by the State of North Carolina.
The first sign of commerce in western North Carolina was the water wheel: it allowed for the use of the mill and the forge. The first three forges at Mills River, Hominy Creek and Reems Creek were developed for early iron production and the Phillip Sutton Iron Works gave rise to the naming of Forge Mountain. These workers produced knives, hatches and axes, and also smaller items like chisels, augers, bolts, horseshoes and nails. This development also allowed Jacob Byler to start the production of gun powder. At this early date John Gillespie, a pioneer gunsmith, lived on Boring Creek, one of the tributaries of the East Fork of the French Broad River. Settlers all wanted or owned guns and Gillespie employed a mill powered by the fast flowing waters to clean the bores of rifle barrels. When he died in 1822, his three sons William, Mathew and Robert carried on the business and in turn taught their offspring. There were 12 gunsmiths in North Carolina and Georgia making the Gillespie rifle which lost its appeal in the 1890s as mass-produced rifles became available.
Early settler Benjamin Davidson settled at the headwaters of what became known as the Davidson River. His brother William, of King's Mountain, started a water powered saw mill. In 1792 Davidson was given permission to establish a grist mill near his saw mill. Operators of gristmills and saw mills received 50 acres in land grants plus exemption from taxes and service in the militia. Millers were not paid in cash. Their fee was one eighth of the corn ground. The Merrills of Little River maintained a tub mill which operated on fixed days of the week. On these mill days they would open a sluice and the gushing water turned the wheel. It is recalled that customers lined up with their containers to take their turn.
Settlers in the upper French Broad River, influenced by these developments, started black- smithing and repairing tools. Carrying on with these developments, George Shuford in the 1850s established the Davidson River Iron Works. Iron ore was mined on Forge Mountain close by (overlooking Mills River) and carted down Boyleston Road by teams of oxen and mules. Those involved were Charles Moore, James W. Patton and Thomas Miller. In time the mill fell into disuse but at the outbreak of the war the Confederate Government appointed Eli Patton to oversee production. The mill had a huge hammer operated by water power and was also employed by the newly established county for non-military manufacturing. Iron products were used by Confederate armies. Local transportation of iron ore represented a good income for locals. Shortly after the end of the Civil War the Iron Works closed down for the last time.
Schooling always was a priority. The emphasis was on reading, writing and arithmetic. Paper was scarce and ink was made from pokeweed berries. More economical was the ubiquitous slate. Thus developed neighborhood schools. These could meet in private homes, barns or church buildings. There were no academic standards, no qualified teachers, and a school year that depended on cattle or hog drives or farming and the harvesting of crops. Girls frequently had to assist with the care of younger siblings. These schools were variously referred to as "old fields" (actually constructed on level land which were old fields) or "blab" schools. Many an itinerant teacher visited farms and taught as much with the rod as with the word. There were teachers who dedicated themselves to teaching using whatever means were available. Others unfortunately confirmed the ignorance they were hired to dispel. Frequently the same space used for services on Sunday was used for classes the next morning. In later years church buildings made provision for school rooms on the second floor. This inevitably involved a religious basis as in the early years the Bible might be the only printed matter available. Teachers boarded or lived with farm families and many of these teachers walked to serve a number of "schools". The first known private school, Davidson River Academy, was established in the 1820s by the Davidson River Presbyterian Church. While the Presbyterians had long been served by visiting preachers the Davidson River Presbyterian Church was formally established in 1828.
Five years after Transylvania County was established children in the Toxaway district still had no school. In 1866 a dedicated frontier teacher, Henry P. Thomas, convinced the local settlers that a school was necessary. He encouraged a number of local boys to roll logs from two abandoned cabins and thus the new schoolhouse-and-church was constructed. On this same site the present Lake Toxaway Baptist Church now stands. Children are said to have walked miles, even from Whitewater and Gloucester, to attend school. As teaching aids, Thomas employed the Blue Black Speller and the Bible. The first schools were constructed at Quebec in 1879 and at Gloucester in 1900. Earlier schools existed around Estatoe Ford. A name well remembered in this area was that of Charles W. Henderson (brother of the well-known T. C. Henderson). Another person who taught at Estatoe Crossing in the period between 1890 and 1900 was Leon F. Lyday - son of Dr. Lyday the pioneer in medicine - who lived at the Lyday residence in what is now Penrose and rode his horse to school. As was the case with all the teachers of the day, he received a paltry salary in addition to frequent housing and meals.
Voters, represented by 26 subscribers living on the east side of the newly created Jackson County, sought partitioning and wanted to join Henderson County. At about the same time there was a petition circulating among residents of western Henderson county. This group was lead by A. F. England and 125 other signatories, including: A. and James Banks; E. B. and J. W. Clayton; T. C. and B. W. Galloway; L. S. Gash; Robert Hamilton; Braxton and W. S. Lankford; A. I. and Adam Lyday; Charles, John and William Patton; W. P. Poor; Jesse Owen; J. C. Owenby; John J., Edward and John Shipman; and W. M., J. L. and L. S. Siniard. There was no coordination, or even assumed contact, between these two groups due to the sparse population and geographical isolation. History books record a social and legal event on May 20, 1861. This was the first meeting of the new county court which convened in B. C. Lankford's home on Boyleston Road. Joseph P. Jordan, who had presented the bill creating the new county, specified that it be called Transylvania and that the county seat be named Brevard, honoring Colonel Ephraim Brevard, a famous Revolutionary War physician. The town was to be located on 50 acres donated by Alexander F. England, Leander S. Gash and Braxton Lankford. At the time of surveying it was simply designated as the "Town." Transylvania County was established, but commercial ventures, industrial innovations, and outstanding men and women filled with ideas and plans and adventure continued to emerge.
Industrial development picked up when steam replaced the water wheel. The major factor being the arrival of the railroad at Brevard in 1895 and in Rosman in 1896 These were in fact the only population centers in the new sparsely populated county which in 1880 had a total population of only 5,339 of whom 4,822 were white. Subsistence farming was common and the home tannery is said to have been an outgrowth of home butchering. This produced leather for shoes and softer material from various animal skins. Early on there emerged the McMinn Tannery and the Charles Patton Tannery in Brevard as well as the Ashworth Tannery in Little River.
Native forests were abundant. Two new industries requiring lumber and tannin extracts reached for the same rich resource, namely the forests. Joseph Silverstein started to tap native trees for tanning liquors. These involved the wood of the Chestnut and the bark of the Chestnut Oak. Other trees were also involved. These tannins were employed in the treatment of hides and skins. Thus the Toxaway Tanning Company was established in 1902 in a small town south of Brevard. It was called Toxaway but over the next three years the name changed to Eastatoe, French Broad, Toxaway again and finally Silverstein changed it to Rosman. The tanning company was a major local employer, offering mill housing and diverse jobs. In 1910 the Gloucester Lumber Company emerged with its spin-off the Gloucester Company Store, and in 1912 the Rosman Tanning and Extract Company. In those years people from small town Brevard went shopping in Rosman. The lumber industry came in with the bandsaw and logging started in earnest. Logging camps were established in the western forests, horse teams and local trans moved massive logs, and these small towns started to prosper. Others involved in the lumber business, influencing conditions in the new county were Luigi Caria (of the Carr Lumber Company), Gifford Pinchot and Carl A. Schenck (at George Vanderbilt's estate) and J. Frances Hayes (Brevard Tanning Company), the Blackwood Brothers and Moltz's Lumber Companies.
In 1915 the Silversteins had decided to move to Brevard. They oversaw the establishment of the Transylvania Tanning Company and the following year the construction of Silvermont which they occupied in 1917. In that year Joseph Silverstein also changed the family name to Silversteen.
Before the Civil War Robert Poor built a home later called the Red House. It housed the first Post Office and was the first hotel in town operated by William Moore. In 1895 Fitch and Sarah Taylor opened the Epworth School, a small school for girls. They moved into the Red House and eight years later it became the Brevard Institute (a high school) which was taken over by the Women's Home Mission Society who also acquired adjacent land which now houses Brevard College. In 1933 two older Methodist Episcopal Church related institutions (Rutherford College established in 1853 and Weaver College established in 1854) were merged with Brevard Institute. On September 17, 1934 Brevard College, under its first president, Dr. Eugene Coltrane, opened it doors to 385 students.
Since the early days of settlement, the sylvan beauty, calm lakes, gushing waterfalls and temperate weather had attracted visitors from the south and north. They came as tourists, seasonal residents and people set on recreation. Around the turn of the century these included Henry Ford, Harvey Firestone, Thomas Edison, R. J. Reynolds and others. Brevard attracted a growing number of tourists leading to the construction of the Franklin Hotel, the Athelwold, McMinn House, Henning Inn, the Hotel Brevard and in time about thirty hotels, inns, and boarding houses. At the same time Lake Toxaway emerged as a site for a luxury resort. In 1902 J. Frances Hayes established a company which blocked the Toxaway River thereby creating the first artificial lake in the Appalachians. They built the Toxaway Inn which fronted on the new lake and advertised accommodations in the "Switzerland of America". The summer of 1916 was wet, very wet. Rivers and creeks flooded their banks causing a great deal of damage. Toxaway Dam was filled to capacity. On the night of August 13, 1916 the dam gave way and masses of water flooded into South Carolina. In 1946 the ghost resort was raised to salvage lumber for resale.
If the beauty and serenity of these mountains attracted settlers and tourists, they also were a prime choice for summer camps. Such summer camps have been present for most of the past century. These include camps for girls, camps for boys and for both genders. Some were designated for specific groups such as Girl Scouts, Jewish Girls, and others. The oldest camps for which we have documentation were Camp French Broad for Boys which began in 1913, Camp Sapphire for Boys in 1914, and Camp Keystone for Girls in 1916. Through the years children and young people have looked forward to camp and in 1989 there were 20 active camps. The number has slightly decreased in recent years, but the quality and enthusiasm is the same.
One such summer camp was established by a young music professor at Davidson College in 1936. His name was James Christian Pfohl. In 1946 the Brevard Music Festival, supported by prominent Brevard residents, was initiated. The Brevard Music Center is located on 200 acres of beautiful grounds and comprises 140 buildings of various sizes and uses. The auditorium's capacity was enlarged to 1,647 in 1973. A full-time staff operates all year on the grounds and increases as a professional staff gathers for the six-week summer Festival. Outstanding performers participate and gifted students are attracted from around the world. A number of deserving students receive scholarships. Audiences gather from throughout the southeastern states.
As the presence and influence of Native Americans faded there emerged a new presence, namely the African Americans. The first who came were slaves. The latter are frequently referred to as indentured laborers but that connotation implies a contractual agreement binding one person to work for another for a given time. In this case the "contract" was between slave seller and slave buyer, not the slaves themselves, with no time limitation. In 1862 there were 447 slaves and three free Negroes in the new county. Slave owners lived in Estatoe Town, Gloucester, Cathey's Creek, East Fork, Brevard, Davidson River, Little River and Cedar Mountain. President Lincoln's Emancipation Proclamation took effect in North Carolina (a "state in rebellion") two years after the establishment of Transylvania County. Gradually those freed and other free Negroes had to acquire land where they could establish homes, develop gardens and earn an income.
On the streets and in stores segregation was subtle, but it was quite dominant as regards the attendance of institutions of learning. The best known school was Rosenwald (named for the philanthropist Julius Rosenwald) which opened its door in 1920 as an expansion of the Brevard #2 Colored School. Through the years poverty influenced the operation and supplies of the school, though there was empathy and support from whites. In 1941 the school mysteriously burned to the ground. Children attended classes in three churches, but those of high school grades had to be transported to Hendersonville. For lower grades this lasted through the fall of 1948 when a new $61,000 school was occupied. High school children were bused to Hendersonville until 1963.
All these years separate cemeteries existed for African Americans. Cathey's Creek and Cooper's were the oldest Negro cemeteries, both dating back to 1862.
The early history of African Americans evolved around the church, school and personalities associated with these. At the turn of the century business undertakings emerged, none as important as those created by James P. "Jim" Aiken. A grocery store established by Jeffries F. W. "Jip" Mills operated on Mills Avenue for almost 40 years. Brevard streets still echo the bell ringing on Jim Aiken's fire truck, women bustling around the Mary C. Jenkins Community Center, the sonorous choirs of Bethel and Bethel "A" Baptist churches, the lilting voice and laughter of Loretta M. Aiken better known as Jackie "Moms Mabley" and the dedicated voice of the "steel-willed angel" Selena Hall Robinson.
The high mountain peaks and rich filtering forest have always produced cool clear water. These waters flowed eastward down the French Broad River and the Davidson River. During the 1920s a young German immigrant named Hans Straus, living in New York, changed his name to "Harry" Hans Straus and embarked on establishing a rich array of business ventures. The most important was the Champagne Paper Corporation in 1930. At this date the depression was affecting almost every household in North Carolina. More than 100,000 were unemployed and the same number scrambled for part-time jobs. In 1932 one sixth of all workers were on relief. Conditions were even more depressing in rural Transylvania County. It was said that a "Deep and lasting depression had settled over the coves;" a local lawyer explained that "We were laid out: the undertaker had been called." Harry Straus was experimenting with flax and fiber and searching for the best location to establish a paper mill. He settled on the dependable pure water of the Davidson River and in the late thirties started construction of the plant for the Ecusta Paper Corporation.
On August 6, 1939 the first trial sample of cigarette paper was produced. Local people were employed wherever possible. The income rejuvenated the town and the local citizenry. In 1939 there were approximately 1,330 industrial workers earning a total of $1,081,457. The children could go to school, dress decently and buy books; the homemakers could plan ahead to purchase necessities; workers could repair their old vehicles or afford the "bus" service. "The Echo" was established to bind and inform members of the working community and it produced "a family". The plant had a nurse on duty and Dr. Charles Newland made daily visits. Based on the belief that productivity increases when people "who work together also play together," a rich array of activities from sport teams, and dances to bands and musical education emerged. Central to these activities were the lovable "Old Buzzard" Fritz Merrill and "Mr. Music" John Eversman. Harry Straus had purchased an adjacent camp which was soon converted to sporting facilities and the location for the annual picnic. It started out as catering to about 300 workers and their families and in time grew to become the Fourth of July event of the year for the public.
Following the attack on Pearl Harbor many workers were drafted or joined the forces. Straus stressed that these persons were considered to be on leaves of absence. Their jobs were secure, their families continued to be covered for medical needs, and when these workers were de-commissioned they would be entitled to continuous service toward securities and bonus. For those who remained here, the "Victory Gardens" gained central attention. Most of the Ecusta workers received encouragement and support in this regard. In addition to 95 workers tending 50 acres adjacent to the plant, it was estimated that another 1000 gardens were maintained at the homes of employees. In fact, the local paper estimated that in 1943 there were 2,597 Victory Gardens in the county.
In time the plant was taken over by Olin Industries who soon merged with the Mathieson Chemical Corporation. There also was an agreement between Olin Industries Inc. and E.I. du Pont de Nemours & Company regarding the production of cellophane. The DuPont plant opened in 1957 on 440 acres in the middle of Buck Forest - a 10,000 acre state forest - to produce silicon. In its heyday the X-ray film plant in Transylvania County employed more than 2,000 people. It was sold in 1997 as demands for its products declined. The AGFA plant which attempted to carry on the business faltered due to a declining market. When Olin turned its interests northward, Ecusta became a step-child. The plant was briefly rejuvenated by P. H. Glatfelter but in the absence of modernization it too ran out of support from locals and interest for outsiders.
In the meantime, the county had attracted another industry, namely American Thread, which built their Sylvan Plant in 1964. At the time it was the first all-electrical spinning plant in the world. It was fully air conditioned and employed devices of waste disposal that assured clean floors and pure air at all times. In 1991 Coats & Clark, Inc. Joined with American Thread to become Coats American. The company employed 302 workers.
The beginning of the new millenium came with disastrous developments for Transylvania County. Within the span of one year all three the major industries closed. In August 2002 RFS Ecusta ceased production (laying off 600 employees), followed in the same month by AGFA (laying off 270 workers), and finally Coats American on September 30, 2003 (laying off its 228 employees). It should be kept in mind that laid off workers represented families, school children and taxpayers. Many of these people were forced to take early retirement or relocated elsewhere to find employment. The county was reeling!
The rich collage of our ethnic and cultural mosaic continues to change. Over the past decade there has been a slow but steady influx of Latinos, mostly from Mexico, Colombia and Central America. Currently they number about one thousand. Their presence can be seen in landscaping, construction, restaurant work, housekeeping, agriculture, and the hotel industry. They have inspired the interest of non-Latinos in their language, music, dance and food.
As you enjoy the richness of our natural environment, the forests, mountains, and waterfalls and as you participate in the diversity of rural and urban development, look back! Look back in appreciation at the early settlers, those who developed the county, the roads, the farms, and the towns. Turn your kaleidoscope as it shows nature's beauty, the colors, the cultural richness, the ethnic diversity. This is our home and we are thankful and proud.
By Brian du Toit - Transylvania Sesquicentennial Steering Committe
Historical photos are courtesy of the Rowell Bosse North Carolina room, Transylvania County Library


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Debra Osnowitz, Ph.D.
Assistant Professor
Department of Sociology
Clark University
Worcester, MA 01610-1477
Office: Jefferson 409
Phone: (508) 793-7230
Email: email@example.com
Ms. Osnowitz received an A.B. in English from Brown University, an M.A.T. in English and Education from Brown University, an M.A. in Sociology and Women's Studies from Brandeis University and a Ph.D. in Sociology from Brandeis University in 2005. Ms. Osnowitz has been at Clark since 2010.
Current Research and Teaching
Ms. Osnowitz's primary interests are in the fields of social theory, culture, work, occupations and professions, and organizations.
Selected Publications
Ms. Osnowitz's articles appear in Qualitative Sociology, 2007; Work and Occupations, 2006; Gender and Society, 2005; and Sloan Work-Family Encyclopedia (an online, refereed publication), Sloan Foundation Research Network.
2010, Freelancing Expertise: Contract Professionals in the New Economy, Cornell University Press.


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This article is more than 1 year old
NoSQL's CAP theorem busters: We don't drop ACID
'We are not relational fans here'
CAP theorem* holds no fear for six engineers building FoundationDB, the industry's latest NoSQL candidate. The difference? It adheres to the principles of ACID** found in relational, which previous NoSQLers have tried to replace.
"A lot of people developing NoSQL systems have been discouraged by the CAP theorem and used that as an excuse for not solving some of the hard problems," FoundationDB co-founder and MIT computer science graduate Dave Rosenthal told The Reg. Rosenthal started FoundationDB in 2009 with Nick Lavezzo and and Dave Scherer.
"It's a heck of lot easier to build a database without transaction integrity than with it. If I was staring down the barrel of building a really big database I would use CAP theorem as an excuse not to do that," he says.
Rosenthal's team is mid-way though what he calls a "soft" alpha, with a beta due in early 2013. Early interest has been substantial, surging to the top of Hacker News during the summer. "We got a lot of questions and requests for the software. We've been scrambling to keep up with that." Rosenthal told us.
Also, Rosenthal reckons, FoundationDB's seeing search traffic on the start-up's site reflect the fact people are looking for "ACID NoSQL" or "ACID key value store."
"The issue for devs is pretty simple: NoSQL helps solve scaling problems, but throws another monkey on your back - writing code without the guarantees of transactions... If you can solve both problems, it's a real win," he told us.
'We started reading the fine print on the [NoSQL] databases and none provide transactional integrity' - FoundationDB co-founder Dave Rosenthal
The problem comes back to CAP theorem, articulated by University of California Berkeley professor Eric Brewer, which states it's impossible for distributed computer system to simultaneously achieve consistency for data on all nodes, to provide availability of either data or a request regardless of a failure in the system, and partition tolerance – the ability to continue working should a part of the system break down.
It's the consistency part that puts the "C" in ACID – atomicity, consistency, isolation and durability. ACID is is a fundamental principle of relational databases that has helped make them a multi-billion-dollar mainstay of computing.
CAP theorem clearly poses a theoretical problem for cloud computing, where services are being founded on massively distributed servers for their compute and storage.
Hence, we've seen a proliferation of NoSQL for use in large, distributed data centres that have jettisoned ACID to achieve scale - column store Cassandra from Facebook and Google's BigTable, document stores MongoDB, and CouchDB.
But recently there's been a dawning recognition among NoSQL practitioners and those working in Big Data that the fast-iterating data they process needs to be demonstrably reliable, too. The result has been NoSQL databases adding more relational functionality to their software.
Indicative of the growing interest is Spanner from Google, the poster child of web-scale and distribute computing that helped popularise Big Data with MapReduce. Spanner is Google technology that can dictate where data is stored in a distributed cluster - and then time-stamps it so an application knows which version is current.
FoundationDB is Rosenthal's second tech venture – he was employee-number-one at web-analytics company Visual Sciences that was sold for $60m to WebSideStory. It's now part of Adobe's online marketing and web analytics unit Omniture.
Rosenthal said he believes FoundationDB is the next generation of the database market. He says he decided to apply himself, and hire a team, dedicated to solving an obvious problem.
Read the fine print
"Several years ago we looked at the market – the NoSQL database market," he says. "The attributes are attractive - we are not relational fans here, we are more software engineers than DBAs, so that resonated with us. Also the price, and scale, to deploy on the cloud resonated with us.
"But then we started reading the fine print on the databases and none provide transactional integrity.
"Of course we read about the CAP theorem like everybody else did. But what the CAP theorem says isn't as strong as what some people make it out to be... CAP theorem sounded scary and scared people building NoSQL databases off doing ACID transactions. So we said: 'What if we throw out all the features and just try to make a fundamental data structure like a key-value store that's scalable and has true ACID transactions?'."
"We all come from a theoretical comp sci background - not the traditional start-up hack-it-together mindset. We have an East Coast computer scientists' mindset and we realised what the world needed was just not another website; the world needed a solution to solve this problem. We feel too much of smart people's time is spent trying to half-solve this problem in their own databases, database centres and their companies. We looked at the problem and decided it can be solved."
So what is Rosenthal and his team proposing?


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'The Google+ Song' Explains (and Parodies) the New Social Network [VIDEO]
If you're not on Google+ yet, you probably know it's a social network but not much more. What are these circles everyone's talking about? How about hangouts? And isn't this the same thing as Google Buzz? Though this LOL-inducing Google+ song from Break (sung to the tune of Queen's 'Another One Bites the Dust') might not answer all your burning questions about the new social service, it'll definitely get stuck in your head.
[Break via LaughingSquid]


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Barstool Local Smokeshow of the Day - Meghan
[nggallery id=1971]
Introducing Meghan from UNH. Love me some Wildcat action. Ending the smokeshow week on a high note. Time to reload for next week.
Springfield tonight! Trenton Tomorrow! Hartford on Saturday!
Any CT girls still need tickets? Send girls to firstname.lastname@example.com
Trenton FOAM – April 5th – TICKETS ON SALE HERE
Hartford Blackout – Webster Theater – April 6th – BUY TICKETS
ESU – April 18th (tix on sale now)
Marist – April 20th (Tix on Sale)
DUNK CITY/FGCU – April 12 (tix on sale wed) JOIN THE FACEBOOK GROUP
TAMPA FOAM – 4/13 – Tickets on sale NOW – (Tickets now on Sale)
Charlotte Blackout – 4/26 – Tickets on Sale HERE
Coastal Carolina FOAM – 4/27 – Tickets on Sale HERE


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Marine mammals such as whales, dolphins, and seals have an amazing ability to hold their breaths—sometimes for up to two hours—while they dive deep to search for food and evade predators. In the cold, dark waters hundreds of meters below the surface, animals rely heavily on sound to navigate, avoid danger, and locate prey.
Because these deep ocean divers spend much of their time out of sight, scientists in the field of "bioacoustics" are using their ears to study and track the animals in some creative ways.
In the late 1990's, researchers at the Woods Hole Oceanographic Institution (WHOI) invented the D-Tag—a radio device that can be attached by suction cups to a whale's back. Using a tiny underwater microphone, the tag records sounds that the whale makes and hears underwater. It also records depth, water temperature, and other information, providing a travel log of the animal's movements. Each tag records for several hours before floating to the surface where researchers retrieve it and download the data.
Around the same time the D-Tag was being tested, scientists with the Bioacoustics Research Program at Cornell University started using gadgets known as "pop-ups." These larger instruments float near the seafloor like underwater ears, recording all nearby sound for months at a time before they are collected.
Both tools help researchers investigate the effects of underwater noise, such as ship engines, sonar, and other racket caused by humans. Not all marine animals react the same way. Some seem to ignore the clamor. Others change course or alter their mating calls. Scientists suspect that increased noise levels and sudden sounds can also confuse or startle marine mammals, possibly leading to injuries and strandings.
The North Atlantic right whale (Eubalaena glacialis), which was hunted nearly to extinction in the mid-1600's, is among the animals scientists have been eavesdropping on. Even though they haven't been hunted since 1951, fewer than 400 right whales survived in 2006. And they remain extremely vulnerable to ship collisions and fishing gear entanglement.
To help prevent collisions, researchers from WHOI and Cornell installed a network of listening buoys in busy shipping areas off the coast of Massachusetts, where many of the whales spend time. The buoys record and transmit any sounds that are similar to right whale calls to a lab at Cornell where researchers carefully check them. If a right whale call is confirmed, nearby ships are alerted to slow down and watch for whales. With their numbers so low, saving even a few whales from collisions could be critically important in the species' survival.


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Djokovic wrapped it up at 1:37 a.m. local time on Monday, becoming the fifth man since the Open Era began in 1968 to win three straight Grand Slam finals.
The 24-year-old Djokovic tore off his shirt in celebration after the riveting final. He went to his support camp and repeatedly thumped the side of the arena in front of them in delight and relief.
Nadal leaned on the net, while Djokovic sat on his haunches before the trophy presentation. Eventually, an official brought them chairs and a bottle of water each.
"We made history tonight and unfortunately there couldn't be two winners," Djokovic said.
Djokovic maintained his mastery of Nadal, who has lost seven straight finals against the Serb since March last year.
The Spainiard became the first man in the Open Era to lose three straight major finals. He lost in four sets to Djokovic at last year's Wimbledon and U.S. Open.
Having reduced Roger Federer to tears when he won the title over five sets in 2009, Nadal maintained his composure during the on-court speeches -- and even managed a joke.
"Good morning, everybody," Nadal said, earning laughs and loud applause from the crowd. "Congratulations to Novak and his team. They deserve it. They are doing something fantastic, so congratulations."
After coming back from 5-3 down to win the fourth-set tiebreaker, Nadal was up a break at 4-2 in the fifth set against Djokovic, who seemed to be tiring.
But the No. 1-ranked Djokovic, who needed almost five hours to win his semifinal against Andy Murray, somehow responded. He broke for a 6-5 lead and saved a break point before finally claiming the win.
The previous longest major singles final was Mats Wilander's win over Ivan Lendl at the U.S. Open in 1988, which lasted 4 hours, 54 minutes.
The longest Australian Open final also involved Wilander in 1988, when the Swede beat Pat Cash. Sunday's match was also the longest in the tournament's history.
A tense, error-strewn opening set offered no indication of the high drama to follow. In hot, humid conditions, both players struggled for consistency.
After an exchange of breaks, Nadal took it after 80 minutes -- two minutes short of the entire women's final the previous day.
Nadal had only lost one match of his previous 134 in Grand Slams after winning the first set, but he found his serve coming under increasing pressure as the match wore on.
As if to demonstrate the pervading tension of the occasion, Djokovic double-faulted at break point down while serving for the second set at 5-3 before Nadal returned the favor by double-faulting in the next game to give the Serb the second set.
By the time Djokovic took a 3-1 lead in the third set, Nadal's shoulders were visibly slumping and he was talking to himself more often, unable to stop his opponent from peppering the baseline with his returns to take control of the points.
At 5-2, his uncle and coach Toni Nadal moved to the front row of the players' box to try to get some positive messages to his nephew.
It didn't work. Nadal lost his serve again -- at love.
But in the fourth set, Nadal dug in, drawing on his renowned fighting spirit, and the match really came alive when he recovered from 0-40 down in the eighth game with two spectacular winners, two unreturnable serves and an ace.
Then came a rain shower and a brief delay for the roof to close, robbing Nadal of his momentum.
He regained it the tiebreaker, though, reeling off four straight points from 5-3 down, taking the match into a decider when Djokovic's forehand dropped wide.
The tennis, almost unbelievably, seemed to improve in the fifth set as the match ticked past five hours.
At 4-4, Djokovic looped a backhand long after a 31-shot rally -- the longest of the match -- and then collapsed with his arms and legs spread wide.
He struggled to pick himself and his racket up, but he broke two games later when Nadal, finally showing signs of fatigue, netted a backhand.
Still, Nadal wasn't quite done. Djokovic had to save a break point with a cross-court backhand, crossing himself as he limped back to the baseline, before finally claiming victory with his 57th winner of the match.
Copyright 2012 by The Associated Press


text: > > What's got me and the IT guys stumped is that while the compute nodes > > boot via PXE from the head node without trouble on the NetGear, they > > barf with the SMC. To be specific, after the initial boot with a > > minimal Linux kernel, there is a "fatal error" with "timeout waiting > > for getfile" when the compute node attempts to download the > > provisioning image from head. However, when they were running Rocks > > before I arrived, the cluster worked fine with the SMC switch. > > Switches sometimes have broadcast storm suppression turned on, or worse, > sometimes they have spanning tree turned on. You want the switch to be > as dumb as you can possibly make it for most linux clusters. Fast, but > dumb. As some have already commented, I'm assuming you have tested each service (DHCP, tftp, etc.). My bet is on "spanning tree", as mentioned above. Watch the Ethernet lights on the node when booting and see if the port comes alive/stable before you get the timeout. I've seen this in spades if "spanning tree portfast" isn't set on Cisco switches-- just takes too long to negotiate the GbE interface. --- Cris -- Cristopher J. Rhea Mayo Clinic - Research Computing Facility 200 First St SW, Rochester, MN 55905 crhea at Mayo.EDU (507) 284-0587


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Vinayak Damodar Savarkar, byname Vir or Veer, (born May 28, 1883, Bhagur, India—died Feb. 26, 1966, Bombay [now Mumbai]), Hindu and Indian nationalist and leading figure in the Hindu Mahasabha ("Great Society of Hindus"), a Hindu nationalist organization and political party.
While a student of law in London (1906–10), Savarkar helped to instruct a group of Indian revolutionaries in methods of sabotage and assassination that associates of his had apparently learned from expatriate Russian revolutionaries in Paris. During this period he wrote The Indian War of Independence, 1857 (1909), in which he took the view that the Indian Mutiny of 1857 was the first expression of Indian mass rebellion against British colonial rule.
In March 1910 Savarkar was arrested on various charges relating to subversion and incitement to war and was sent to India for trial and convicted. In a second trial he was convicted of his alleged complicity in the assassination of a British district magistrate in India, and, after sentencing, he was transported to the Andaman Islands for detention "for life." He was brought back to India in 1921 and released from detention in 1924. While imprisoned he wrote Hinditva: Who Is a Hindu? (1923), coining the term Hindutva ("Hinduness"), which sought to define Indian culture as a manifestation of Hindu values; this concept grew to become a major tenet of Hindu nationalist ideology.
Savarkar resided in Ratnagiri until 1937, when he joined the Hindu Mahasabha, which militantly defended the Hindus' claims of religious and cultural supremacy over Indian Muslims. He served as president of the Mahasabha for seven years. In 1943 he retired to Bombay. When Mohandas K. Gandhi was assassinated in 1948 by a former member of the Mahasabha, Savarkar was implicated, but he was acquitted in his subsequent trial because of insufficient evidence.


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9th Anniversary
LOTRO's 9th Anniversary is approaching quickly and we want you to be a part of our celebration! We would like extend a gift as our way of saying thank you for joining us on our journey over the last nine years! During the Anniversary Festival, which runs from April 22nd through May 8th, all players will be eligible to receive gifts based on your account status* as of 11:59pm EDT on April 20th, 2016. Gifts will range from set of fireworks for all, to more exclusive items for our most steadfast premium and VIP players.
Not a Premium or VIP player? Upgrade before April 20th to receive more anniversary gifts!
What will I receive?
Rewards will be granted based on your account status* as of 11:59 AM EST on April 20th.
All Players
During the Anniversary Festival, all active players will be eligible to receive fireworks. You can carry these fireworks with you as a memento of our 9th celebration.
Premium and VIP Players
Our Premium and VIP players will also be eligible to receive additional gifts for the highest year their account has been active.
1 Year
Accounts created on April 30th, 2015 or earlier
A New Adventurer
You will receive:
- A 1-year character portrait frame
- Anniversary Fireworks
2 Year
Accounts created on April 30th, 2014 or earlier
A Welcome Ally
You will receive:
- A 2-year character portrait frame
- 3x Tomes of Continuing Swiftness (60 min duration)
- 1 +5% Attack Damage (90 min)
- 10 Battle Potion of Restoration
3 Year
Accounts created on April 30th, 2013 or earlier
A Seasoned Player
You will receive:
- A 3-year character portrait frame
- 3 Loot box keys
4 Year
Accounts created on April 30th, 2012 or earlier
A Stalwart Adventurer
You will receive:
- A 4-year character portrait frame
- Azure Festival Clothing
5 Year
Accounts created on April 30th, 2011 or earlier
Amongst the first to brave the depths of Moria
You will receive:
- A 5-year character portrait frame
- Festive Azure Steed
6 Year
Accounts created on April 30th, 2010 or earlier
The first to answer the call to arms, you have roots in LOTRO
that run as deep as the mallorn trees of Lothlórien.
You will receive:
- A 6- year character portrait frame
- Festive Azure War-Steed Appearance Set
7 Year
Accounts created on April 30th, 2009 or earlier
Legends in their own time. Ancient forests and men of old sing songs of your acts of valor.
You will receive:
- A 7- year character portrait frame
- A Shield-Cloak
- 1 Loot box Key
Your Monster Play character will receive:
- The "Dancing" Emote
- 5% Attack Damage x5
8 Year
Accounts created on June 30th, 2008 or earlier
Songs of your deeds have traveled far and wide. Rohan, and now Gondor know your name!
You will receive:
- A 8- year character portrait frame
- A Hooded Cloak
- Fireworks
Your Monster Play character will receive:
- Creep Inspired Fireworks!
- 5% Attack Damage x5
9 Year
Accounts created on June 30th, 2007 or earlier
You will receive:
- A 9- year character portrait frame
- White Tree Fireworks
- Palantir: Blue Orb Emote
Your Monster Play character will receive:
- A 9- year character portrait frame
- Aberrant Crackler Fireworks!
Reaver - Haradrim Sword Appearance
Defiler - Half-orc Staff Appearance
Weaver - Vile Spinner Appearance
Blackarrow - Skirmisher Shortbow Appearance
Warleader - Haradrim Sword Appearance
Stalker - Savage Mordor Warg Appearance
When will the gifts be granted?
The gifts will be granted to your account at the beginning of our anniversary celebration in-game on April 22th, 2016. These will be based on the status of your account* as of 11:59PM EST on April 20th.
Can I upgrade to premium or VIP to become eligible for gifts?
Absolutely! There's still plenty of time to upgrade. Simply become a VIP or make your first point purchase in the LOTRO Store to earn Premium status before 11:59PM EST on April 20th to earn additional anniversary gifts. Click here to learn more about the benefits of becoming a VIP.
I have multiple LOTRO accounts on my master account. What happens to me?
Each individual eligible account will have the appropriate gifts applied to it.
I have an old account but I haven't been playing on it.
Will I still receive gifts from when the account was created?
Absolutely. All eligible accounts will receive their respective gifts even if the accounts have been inactive.
Do I have to log in to the game during the festival to receive my gifts?
No. Even if you are unable to log in during the anniversary festival, you will still receive your gifts upon your next login. We think you'll want to join us for the festival though – it's going to be quite a party!
How do I receive my gifts?
Your gifts will appear automatically in your inventory upon login, provided there are enough open spaces available. If you did not have enough spaces, the remaining gifts will appear upon the next login when enough spaces are open. Eligible players will have their new portrait frame automatically applied to your characters upon login.
*Account Status refers to the billing state of the account as of 11:59pm EST on April 20th, 2016. An account may reflect a billing state of VIP, Premium, Free Player or Suspended Account Status. Rewards will be distributed based on the original creation date of the account (the date the account was first created) as well as the billing state of the account (VIP, Premium or Free Player) at the time of account review at 11:59pm EST on April 20th, 2016. Account must be in good standing to receive rewards. Rewards have no cash value . You may see all of the individual Subscriptions on a single master Account by logging into https://myaccount.turbine.com/. Turbine, Inc.'s decisions are final and binding on all matters relating to the Anniversary Rewards Program. Turbine, Inc. is not responsible for lost, interrupted or unavailable network, server, Internet Service Provider (ISP), or other connections, availability or accessibility or miscommunications or failed computer, satellite, telephone or cable transmissions, lines, or technical failure or jumbled, scrambled, delayed, or misdirected transmissions or computer hardware or software malfunctions, failures or difficulties, or other errors or difficulties of any kind whether human, mechanical, electronic, computer, network, typographical, printing or otherwise relating to or in connection with the Anniversary Rewards Program, including, without limitation, errors or difficulties which may occur in connection with the upgrade of accounts.


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I don't know what it was about May, but it seemed to drag on and on and on. In my mind, it's been May FOR.EV.ER. This has not been helped by far too many dreary rainy days. Bring on the sunshine, June. In the meantime, here's what I've been into this past month.
On My Nightstand:
Apparently this was the month of Sci-Fi. I re-read Isaac Asimov's I, Robot, which I love for somehow managing to be both intriguing and mindless. Perfect. Then I moved on to Orson Scott Card's Ender's Game. It was my first time reading it and wow, intense. Completely absorbing and fascinating. Five stars, all that good stuff.
Now I'm moving onto something a little more standard for me, Ami McKay's The Virgin Cure. I've loved her since reading The Birth House front-to-back without putting it down, so I have high hopes for this one as well.
On the screen:
I finally heard enough about Call the Midwife to convince me that I Had To Watch It. And it's true, I did. I fell head-over-heels in love with the show after only one episode. I adore it for being both tender and raw, sweet and witty, hopeful and realistic. Beautiful. I watched the season finale of season two last night; I'm not sure what to do with myself now. Probably watch it again, because yes, of course.
In My Kitchen:
Our Friday nights have for many months now consisted of a mad dash through dinner, a frantic "we're going to be late again" drive through the city, a lively discussion with our small group (the last remaining piece of our now-dissolved church plant), and finally a relaxing London Fog latte from a fun little coffee shop before heading back home to do the whole bedtime routine. As much as we loved our Bible study, it was the London Fogs that we really waited for each week. (Just kidding.) (Mostly.)
Now our friends have moved and Friday night Bible study is no more. Which means that Friday night London Fogs are no more. The horror!
(That's right, Paul and Julie, I'm talking about you. You see what you've done? Honestly, guys, I don't know where your priorities are.)
So when it's Friday night and you and your husband are both craving London Fogs and driving to that cute little cafe seems a bit excessive just to indulge in a latte, you do what you have to: comb teh Internetz for an acceptable homemade replacement.
Guys. I FOUND ONE.
Which means that every day this week, I have been making myself a London Fog (also known as an Earl Grey Latte) using this recipe, which I love for its all-inclusiveness. The recipe for the vanilla syrup, instructions for an easy microwaved foamed milk, and of course directions for the latte itself are all right there on one page. Easy-peasy; I love it.
It took me a few tries to get the milk to really foam up nicely, but I've now perfected it. I heat the milk in the jar for one minute, put the lid on and shake it like mad, then take off the lid and pop it back in the microwave for another 45 seconds. Warm foamy delicious milk, every time.
In My Ears:
The boy received a shiny red ukulele from one of his many aunties this month, so that's been in my ears. Fortunately, it is actually quite pleasant to listen to. So thank you, Auntie Katie, for choosing a ukulele and not, say, a recorder. My ears are grateful.
What I'm Looking Forward to in June:
We're taking the kids on a much-anticipated trip to Mt. St. Helens this weekend. (Talk about starting the month off with a bang...okay, okay, that was bad.) The boys have a slightly morbid obsession with this volcano, including watching documentaries to go along with the library books they've read on the subject.
As if the mountain alone wasn't enough, we get to meet up with our friends who moved to Oregon last month! The kids are excited about seeing their little friend again, and the husband and I are looking forward to catching up with our former pastor and his wife.
I'm also excited about the prospect of sunshine this month! Rain, rain, go away...
Finally, huge changes are coming as the husband (finally! finally!) graduates, taking his shiny new Electrical Engineering degree with him to his new job! I feel like I can let out the breath I didn't realize I've been holding. He has a job. We're going to have a steady income for the first time in...many years. *sigh of relief* Of course, all of that money will be going straight to paying off those student loans as fast as we can manage it, but still. Steady income. A job!
Well, friends, that is What I've Been Into this past month. What about you?


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Hot Topics in Networks (HotNets) workshops.
The Workshop on Hot Topics in Networks (HotNets) was created in 2002 to discuss early-stage, creative networking research and to debate positions that reflect on the research direction and needs of the broad networking community. Architecture, high-level design work, and positions that may shape long-term research direction are especially welcome. HotNets is structured to work in synergy with conferences such as SIGCOMM by providing a venue in which innovative work may receive feedback to help it mature into conference papers or otherwise have a long-term impact on the community. To fulfill these goals HotNets calls for short position papers that argue a thoughtful point-of-view rather than full-length conference papers, and maintains a broad and diverse scope.
Submission to the workshop is open and encouraged across a wide-ranging set of topics, including at least security, distributed systems, sensor networks, middleware, economics, and management, as well as more traditional core networking topics. Attendance is limited to around 60 participants, drawn mainly from the author pool, to help promote a welcoming atmosphere for discussions. In previous years, HotNets has received over 100 submissions and selected one in four of these for presentation at the workshop.
The proceedings of the following past HotNets workshops are available online:


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Give your decor a boost with these fresh decorating ideas. You'll love these ideas to try in 2014! I hope you find these ideas useful and inspiring to you ...... Enjoy it !!!!
What's better than one rug? Two! Layer a smaller rug on top of a larger one to add dimension to a room. In this living room, the smaller rug defines the seating group. This trick works well if you have your eye on a rug that's a little pricey. If you start with a simple, solid base rug, you can buy a smaller, less expensive rug to add the pattern you crave.
Bedding sets are easy because everything is already pulled together for you. But the overall look can sometimes lack a little pizzazz. Swap out one or two items in your bedding set for something new, such as bright blue shams that pick up on the stripe in your duvet.
For a less permanent take on a pop of color, look to pillows, which can be purchased (or made) for a song and are easy to switch out. Buy a few basic pillow forms, then buy or make new pillow covers when the itch for a new look strikes.
Bring geology into your decor. Include real geodes and agates in a vignette. Or take the less literal route and use fabric or pillows bearing geode and agate patterns.
Not just for art, this soft and gauzy technique makes a splash on everything from fabric to tableware. Try watercolor patterns that include deep colors for a strong presence.
With a light construction and a reach to lofty heights, an etagere draws a commanding presence without taking up much visual space. These towers of shelves are ideal for living rooms, bathrooms, and dining rooms and provide plenty of storage and display space.
Lauded for its warmth and sheen, gold is a must-have metal in decor. It brings both richness and coziness to a space. Try a burnished finish for a subtle look.
One unique chair paired with a desk or a sofa can make a room sing. Look for a chair that has a standout frame or eye-catching upholstery. Select a chair that will mesh with the scale and style of the rest of the furniture. This wishbone chair is the right fit for the desk but would look diminutive next to a large sofa.
Combine utilitarian and rough-hewn for an of-the-moment look. Both industrial and rustic decor imbue a utilitarian feel. Industrial style takes its inspiration from machinery, and rustic elements are drawn from rural settings. Get the look by using metals and woods with worn finishes, clean-lined furnishings, and plenty of chic gray.
Switch subjects and take a decorating cue from geography. Frame maps for wall art or decoupage pages from old atlases on a variety of surfaces. Globes also make world-class additions to displays and vignettes.
Think of your home as the museum of your life. Instead of stashing mementos in boxes, find ways to use them in your decorating. Frame memorable ephemera, put vacation souvenirs on display, and include favorite family pictures throughout the house.
For chairs that aren't pushed up against a wall or tucked into a corner, consider an unexpected treatment for the chair backs. In instances where the backs of chairs are highly visible, such as dining room chairs or armchairs that "float" in a room, a different fabric or a contrasting color adds flair.
Wallpaper is a decorating tool that is back and better than ever. Fresh colors, patterns, and textures bring wallpaper back into the spotlight as a sophisticated option for walls. For a small change, consider wallpapering just one wall in a room or the back of a bookshelf.
If you're springing for new floors, consider laying the planks on a diagonal for an unexpected twist.


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Each "Cross Creations" kit comes with an 8" H decorative metal cross (to hang or use on flat surface) and occasion-specific magnets to apply to the cross in any manner that suits the customer's wishes. Make a special event even more memorable with this keepsake treasure. Originally priced at 19.95
Material: Metal Size: 8" H
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