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ATLANTA — Ric Reitz makes movies. He helped bankroll the Matt Damon thriller "Contagion," Clint Eastwood's "Trouble With the Curve" and the Robert Downey comedy "Due Date."
Reitz, an energetic 58-year-old, doesn't hang out at the Polo Lounge, red-carpet premieres or swank offices in Century City. Instead, he works out of a former cotton mill near Martin Luther King Jr.'s boyhood home, hustling for business at Chamber of Commerce dinners and Rotary Club lunches. Recently, he was looking forward to attending a meeting of prosperous chicken farmers.
Reitz is one of Hollywood's new financiers. Just about every major movie filmed on location gets a tax incentive, and Reitz is part of an expanding web of brokers, tax attorneys, financial planners and consultants who help filmmakers exploit the patchwork of state programs to attract film and TV production.
ON LOCATION: Where the cameras roll
In his case, he takes the tax credits given to Hollywood studios for location filming and sells them to wealthy Georgians looking to shave their tax bills — doctors, pro athletes, seafood suppliers, beer distributors and the like.
"I've got a giant state of people who are potential buyers," he said. "It's the funniest people who are hiding under stones."
The trade benefits both sides. The studios get their money more quickly than if they had to wait for a tax refund from the state, and the buyers get a certificate that enables them to cut their state tax bills as much 15%.
GRAPHIC: How Hollywood sells tax credits
About $1.5 billion in film-related tax breaks, rebates and grants were paid out or approved by nearly 40 states last year, according to Times research. That's up from $2 million a decade ago, when just five states offered incentives, according to the nonprofit Tax Foundation.
Film tax credits have become so integral to the filmmaking process that they often determine not only where but if a movie gets made. Studios factor them into film budgets, and producers use the promise of credits to secure bank loans or private investment capital to hire crews and build sets.
"You just follow the money," said Ben Affleck, the actor-director who said he would shoot part of his upcoming film "Live by Night" in Georgia. "What happens is that you're faced with a situation of shooting somewhere you want to shoot, versus shooting somewhere you'd less rather shoot — and you get an extra three weeks of filming. It comes down to the fact that you have X amount of money to make your movie in a business where the margins are really thin."
The credits and incentives can cover nearly one-third of production costs. In 14 states, there is an added benefit: They can be sold, typically enabling the filmmakers to get their money months sooner than if they had to wait for refunds. States that permit the sale of tax credits, including Georgia and Louisiana, are now among the most popular for location shooting.
Tax credit brokers like Reitz, although little-known outside the industry, play a key role in greasing the skids of location shooting. Reitz and his partner sold $1 million in credits in 2009, their first year in business. Their company, Georgia Entertainment Credits, did $15 million last year, and they expect to hit $30 million in 2014.
Most referrals come from entertainment industry attorney Stephen Weizenecker, whose clients include Viacom Inc. and Comcast Corp.
"He has been a great advocate for the industry," Weizenecker said of Reitz. "He gets buyers in the door."
Not everyone is such a fan. Hollywood's trade workers — the electricians, carpenters, caterers and others who work behind the scenes — have long complained that they've lost their livelihood as states vie for film business with ever-richer incentives. The number of top-grossing films shot in California has plummeted 60% in the last 15 years, according to a Times review of public records, industry reports and box-office tracking data.
Some economists question whether these programs create long-term benefits to the local communities they are supposed to help. The sale of tax credits, meanwhile, has triggered criticism that companies and people with no connection to the film industry are benefiting from film credits.
PHOTOS: Greatest box office flops
Selling tax credits is "a particularly bad public policy because they allow purchasing corporations to shelter income from something unrelated to their activities," said Lenny Goldberg, executive director of the California Tax Reform Assn.
Most states won't say who is buying and selling tax credits, considering it to be confidential.
Illinois and Pennsylvania are exceptions, and disclosed complete lists of buyers and sellers in response to public records requests from The Times.
In Illinois, location tax credit buyers included retailers Kohl's and Macy's, ketchup maker H.J. Heinz and Bank of America. About $40 million in credits were sold last year from producers and studios including Fox and NBCUniversal.
"There's value in these programs in that some film companies, particularly smaller ones, may qualify for a tax credit but may not be able to use it," said Nicole Garrison-Sprenger of U.S. Bank, U.S. Bank, which last year bought more than $11 million in Illinois state tax credits. "Rather than let those dollars go to waste, they sell the tax credit to a third-party purchaser such as U.S. Bank. As a result, the film company has the financing that they might not otherwise have for their production."
In Pennsylvania, energy company Exelon Corp. helped underwrite the Jason Statham thriller "Safe" by buying a $4.3-million tax credit (for the discounted price of $3.7 million). Other recent buyers in Pennsylvania included Apple Inc. and Richard Mellon Scaife, heir to the vast Mellon banking fortune. Scaife bought a $1-million tax credit for the Denzel Washington film "Unstoppable" for $900,000, cutting his taxes by $100,000, records show.
Pennsylvania's maximum 30% tax credit was a chief draw for producers of the 2012 drama "Promised Land." The film's creative team — producer Chris Moore, director Gus Van Sant and actor-producer Matt Damon — chose the state in part because it allowed them to sell a 30% tax credit.
PHOTOS: Billion-dollar movie club
Moore said he spent six weeks in meetings at his Los Angeles office and Universal Studios' Focus Features unit, where accountants laid out competing offers from New York, Massachusetts, Georgia, Oregon and Pennsylvania.
"It's like the wild, wild West with so many people promising you money," said Moore, who also produced "Good Will Hunting" and "The Adjustment Bureau." "If you have a $100-million Brad Pitt movie, you just call 15 different film offices, and you're going to have the governor calling you at home saying, 'Hey, man, here's why you should do it in Iowa.'"
Georgia was appealing because its credit covered actors' salaries, but the "look" wasn't right for the story. The filmmakers considered Oregon, but the state's 20% cash rebate wasn't competitive.
New York had a stronger credit, but skilled workers were not available upstate, where the producers wanted to film. That would mean importing a crew and paying their housing and transportation costs.
Ultimately, Moore and his partners chose a town near Pittsburgh. They could hire local crews and get $3.3 million in state tax credits. The credits were transferred in May to Comcast, owner of Focus Features.
Companies and wealthy individuals typically learn about the credits from their tax attorneys, accountants or financial advisors.
Along with cutting taxes, buyers say it's also a chance to promote economic growth in their own states.
Bryan Marshall, who owns an industrial equipment distribution company in Lawrenceville, Ga., said he saved $18,000 in taxes by buying a $150,000 Georgia film tax credit.
"It was a no-brainer in my situation," Marshall said, adding: "It's been great for Georgia to get some of that California money."
FULL COVERAGE: Golden Globes nominations 2014
Reitz and partner Wilbur Fitzgerald began selling tax credits shortly after Georgia sweetened its tax incentives in 2008.
The men got to know each other working as character actors on TV shows filmed in Georgia, including "In the Heat of the Night." They saw their livelihood threatened by other states offering richer deals to Hollywood and joined a coalition of state film industry advocates campaigning for more attractive incentives.
The expertise they gained researching incentive programs turned into a business.
"We'd get phone calls from practically every studio in America asking us about the tax plan and how it would work," Reitz recalled. "We said: 'Maybe we should become consultants and get paid for this.'"
State tax incentive programs vary, but most are structured knowing that film and TV companies based in California or New York don't have significant tax liabilities in other states. So they either pay a rebate after production is wrapped or allow the credits to be sold.
In Georgia, the tax credit is up to 30% of the money spent on production in the state (20% plus a 10% bonus for promoting the state). That includes not just location filming costs, but money spent on salaries for actors and crews and any costs for building sets. On a movie with a $100-million production budget, the state tax credit could be up to $30 million.
Georgia doesn't pay a rebate, so if studios don't have a tax liability there they must sell the state tax credit to gets its benefit. That reduces the value of the credit to the studio, because it must give a slice of the credit to the buyer and pay a commission to brokers like Reitz. So in the case of a $30-million credit, a studio that decides to sell it would net about $26 million, after broker fees and other costs.
Spending an afternoon with Reitz in his Atlanta office gives an insight into how the process works.
On this day, Reitz was working to sell off a $147,000 chunk of a multimillion-dollar tax credit Viacom was getting for filming a variety of movies and TV shows in Georgia. Viacom owns the BET, MTV and Nickelodeon cable channels as well as Paramount Pictures, which shot the movies "Footloose" and "Flight" in Georgia.
He had jotted down a list of half a dozen potential buyers on a yellow notepad, including an NFL player, a Middle Eastern investor, a Florida-based retailer and an oncologist, who had been referred to him by an accountant friend.
Reitz, wearing bluejeans and resting on a leather sofa next to an antique movie light, called the doctor first.
"Let me tell you what you're going to save," Reitz said, pausing to punch some numbers into his laptop. "I can get you 88 cents on the dollar," he said moments later. "We can knock this down by $11,000."
The oncologist didn't take long to give his answer. He agreed to wire Reitz $81,699. In return, the doctor will get a tax credit voucher with a face value of $92,840, which he can apply toward his 2013 Georgia state income tax bill.
Reitz, meanwhile, will earn a commission of 2%, or $1,857, for his short phone call with the oncologist. As is often the case, he'll split the commission with another broker who worked on the deal. After the commission and other fees, Viacom will end up with $79,842 from the transaction.
"In the early days, people were very skeptical," said Fitzgerald, Reitz's partner. "Now it's an easy sell."
Big deals can be lucrative. The going rate for, say, a $20-million credit would be $17.6 million before fees. Reitz and Fitzgerald would pocket a $200,000 commission, or 1% of the credit amount, and probably share some of that with others who worked on the deal.
Such large paydays are rare, however. A few minutes after his call with the doctor, Reitz got an urgent email from Weizenecker, the entertainment industry attorney. Viacom and TV One, a cable network co-owned by Comcast, had sold off more than $6 million in film tax credits to various investors but had $325,000 remaining. Did he have any buyers?
Reitz scanned his list of buyers and quickly called Weizenecker.
"I can commit them to a contract by tomorrow," said Reitz, whose authoritative voice has led to his being cast as TV judges, policemen and lawyers. "If you can scare up another $400,000 to $500,000 from Viacom, I can sell that just as quickly."
Although tax credits have been blamed for loss of production in California, they have been a boon for Hollywood's financial consultants.
Burbank-based Entertainment Partners, a big payroll-services provider, says it has handled the transfer of more than $200 million in tax credits for 100-plus projects since 2011. Most of the buyers are Fortune 100 companies.
Entertainment Partners has doubled to more than 800 employees in the last eight years, opening offices in Georgia, Louisiana, North Carolina, Utah and Alabama. Most of the employees work in Burbank, where a team of 18 workers advises companies on how to apply for, sell or monetize their credits. The company employed just one person to do that in 2006.
"We get 2,000 to 3,000 phone calls a year from clients," said Senior Vice President Joe Chianese, who launched the tax credit department.
The team draws up budgets and summaries of each state's incentives — eight budgets for a single film is not uncommon — while keeping tabs on any legislative changes that could affect film funding.
Entertainment Partners keeps a list of 25 companies that regularly purchase credits and has three full-time brokers who handle the sales.
"It's not just a phone call and handshake. There's a lot of work and discussion involved," Chianese said. "It can take weeks, it can take days."
Chianese also makes cold calls to prospective buyers and relies on leads from his staff, many of whom worked for major accounting firms with clients searching for tax breaks.
"Eight or 10 years ago it was, 'I want a beautiful mountain, should I go to Montana or Colorado?'" said Mark Goldstein, chief executive of Entertainment Partners. "Now it's, 'I can re-create anything. Just tell me where the money is.'"
Times researcher Scott Wilson contributed to this report.
ON LOCATION: People and places behind what's onscreen
PHOTOS: On the set: movies and TV
PHOTOS: Celebrity production companies


text:
Sharing your World Race story is an important part of your journey. Whether you're still out on the field or you've already returned home, we're here to provide resources that will help guide you through your speaking engagements.
Once you fill out the information below, we'll mark our calendars. After you've successfully shared your story with the school, church, small group, etc. that invited you, we will send them a Thank you note for providing the opportunity for you to speak. If you have any questions, please email us at email@example.com.

subset: commoncrawl


text:
So in just a couple of weeks, my sister will be changing careers. She will be quitting her stable job and leaving the company that she has been at forever, to become a full-time stay at home mom. And I'm sure she has a range of emotions, from mostly excitement to maybe a little bit of sadness (although, sadness is very hard to detect in our conversations, I'll be honest). But along with even good, positive change, sometimes come butterflies in the stomach, second guessing, and maybe even a little bit of fear.
Fear of the unknown.
Fear of failure.
Fear of change.
Fear that it won't work the way you thought. Maybe even fear that you won't like it. Or that "it" won't like you back.
And I know this because I am having a positive change in my life too, but I still second guess, I still doubt, and I still sometimes want to barf up chunky pieces of my last snack from the sheer nerves that suddenly overtake me when I least expect it.
But I know my sis, and I know that she is gonna make the best darn SAHM in the whole world. And I am sooooo virtually celebrating this BIG, HUMONGOUS change in her life with her, this change that could quite possibly alter the course of the whole world. (YES, I THINK REALLY BIG. THERE IS NOTHING WRONG WITH THINKING BIG.)
So I created this torte for her. I wanted to call it a pie, but in my mind, when something is put in a springform pan, it cannot be called pie. I'm a stickler like that.
It's three mousse-y, creamy layers of three of my favorite flavors--peanut butter, Nutella, and Biscoff. In an Oreo cookie crust. The end.
Except to say, nice move, sis.
Here are my notes:
-I love thick crumb crusts. I mean really thick. So I used a whole pack of Oreos. But if you don't like crust overkill, use your favorite crumb crust recipe.
-I just eyeballed the whipped cream when dividing it into thirds.
-I gave this a good overnight chill before cutting. It sliced nicely. Then I froze the remainder. And it was delicious frozen. Who knew?


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Emerging Digital Tools to Support Reflection in Learner-Centered Portfolios
This paper is under development, so comments are welcome!
©2004, Helen C. Barrett, Ph.D.
Thought flows in terms of stories - stories about events, stories
about people, and stories about intentions and achievements.
The best teachers are the best story tellers. We learn in the form of stories.
--Frank Smith
Who we are.
Where we have come from.
Where we are going. . . and
What we care about!
Stories give life!"
-- Dana Atchley – http://www.nextexit.com/
This paper will discuss the concepts of "Electronic Portfolios as Digital Stories of Deep Learning" and "Digital Storytelling as Reflective Portfolio" by linking two dynamic processes to promote deep learning: Portfolio Development and Digital Storytelling. A major challenge today with electronic portfolios is to maintain learner intrinisic motivation to willingly engage in the portfolio process. The use of multimedia tools is one strategy that involves and engages learners; another technology that is engaging young people today is the web log or "blogs" and "wikis." But first, lets look at the issues that are turning learners off about the current approach to electronic portfolios, at least in Teacher Education.
There are some underlying philosophical issues that need to be addressed with portfolios in education. The literature suggests that portfolios can have multiple purposes (Wolf, 1999): as assessment tools to document the attainment of standards (a positivist model--the assessment portfolio); as digital stories of deep learning (a constructivist model--the learning or process portfolio); and as digital resumes to highlight competence (a showcase model-- the best works/marketing/employment portfolio). These models are often at odds, philosophically, with each other. While administrators often implement electronic portfolios for the assessment purpose, the students usually view this type of portfolio as something "done to them" rather than something they WANT to maintain as a lifelong learning tool. A portfolio that is truly a story of learning is OWNED by the learner, structured by the learner, and told in the learner's own VOICE (literally and rhetorically).
Barton and Collins (1993) stated, "the first and most significant act of portfolio preparation is the decision of the purposes for the portfolio" (p. 203). What are your purposes in creating an electronic portfolio? To support ongoing learning/professional development? To support formative and summative assessment? To support marketing and employment? These are three major purposes for electronic portfolios... and they are all different and require different types of technology tools. A learning portfolio can be supported very nicely with a web log environment ("blogs"), whereas an assessment portfolio that ties artifacts to a set of standards, with feedback or validation, is best implemented through a relational database structure. A marketing or employment portfolio only needs an authoring environment that supports formatting and hyperlinking on a web-based server.
Most commercial portfolio systems have been built to appeal to administrators' needs for assessment data and around the positivist model (a few of my teacher education buddies jokingly call it "deanware"). I am very concerned that the current crop of commercial tools are "perversions" (Lee Shulman's term) of the portfolio concept. I am concerned that in the name of assessment, we are losing a powerful tool to support deep learning. I am concerned that that we are losing the "stories" in e-portfolios in favor of the skills checklists. Portfolios should support an environment of reflection and collaboration. It is a rare system that supports those multiple needs. That is why I often advocate for three interconnected systems: an archive of student work, an assessment management system to document achievement of standards, and an authoring environment where students can construct their own electronic portfolios and reflective, digital stories of learning (see my online article with more in-depth detail about this balanced model).
There is a lot of research happening on the use of gaming technology in education, to make learning more engaging. I believe the use of technology can be a motivating factor for portfolios, especially if we can make it engaging for the learners, and give them an opportunity to express their own voice in their portfolios. I have redesigned my CD to address the use of digital storytelling for reflection and deep learning.
A major issue faced by educators is the differing perceptions about portfolios and their use in education. Some people think the primary purpose of a portfolio is for summative assessment (a culture of compliance or a checklist of skills). Others think the primary purpose of a portfolio is assessment for learning and to tell the learner's story (a culture of lifelong learning/professional development). These two purposes are often in conflict with each other. Green and Smyser (1995) identify these two contradictory purposes: formative and summative evaluation. One respondent in Anderson and DeMuelle's (1998) survey of portfolios in Teacher Education asked, "How can a portfolio truly capture the individuality of the learner and still be used as a 'high stakes' assessment?"
At the 2001 AERA conference in Seattle, Placier, Fitzgerald, and Hall (2000) reported on a study they conducted with teacher candidates at the University of Missouri-Columbia. Their paper discussed the "politics" of portfolios in teacher education and issues of using portfolios for high-stakes assessment:
The purpose of the portfolio was thus transformed from the individualistic, developmental, constructivist vision in the Design Document to a policy tool designed to address external program and state requirements... When people in power (i.e., the state, a teacher education faculty) impose a cultural tool, less powerful agents (preservice teachers) may master the tool but use it with reluctance or in subversive ways, or resist its use altogether.
The paper also covered issues of faculty disengagement, lack of professional development, assessment difficulties, and uneven implementation, but the title of the paper ("I Just Did It to Get it Done"– The Transformation of Intentions in Portfolio Assessment in Teacher Education) reveals the major issue that came out of their research: that most of the students are jumping through hoops.
"Most said they produced these portfolios just to 'get them done,' because the program required them – not because they found them personally meaningful."
The issues raised here have been repeated in many Teacher Education programs across the country, as pressures of accreditation and high stakes program assessment are creating an environment that narrows the focus of student portfolios. One example that has received a lot of attention was highlighted in an Educause Quarterly (2004). Love, McKean, and Gathercoal postulated the following levels of maturity in portfolio development, based on their experience in the Teacher Education program at California Lutheran University:
Level 1 - Scrapbook
Level 2 - Curriculum Vitae
Level 3 - Curriculum Collaboration Between Student and Faculty
Level 4 - Mentoring Leading to Mastery
Level 5 - Authentic Evidence as the Authoritative Evidence for Assessment, Evaluation, and Reporting
In my opinion, these levels of maturity are very institution-centered, representing a process of accountability and summative assessment.
There is a rich legacy in the K-12 portfolio literature and much can be learned from the literature on paper-based portfolios. As adult learners, we have much to learn from how children approach portfolios. Contrast the levels above with "Stages of Ownership of the Portfolio" [Hebert, Elizabeth (2001) The Power of Portfolios. Jossey-Bass, p.45]. Elizabeth Hebert is the principal at Crow Island School in Winnetka, Illinois. Her book is a story about the growth of portfolios in her school over the last decade. Their approach to portfolios focuses on student ownership of the portfolio:
(read from bottom to top in order of maturity)
Child-organized portfolio
Teacher-and-child-organized portfolio
Progress portfolio
Showcase portfolio or achievement portfolio
Teacher-organized portfolio or curriculum portfolio
Collection of child's work
Folder of child's work
Hebert discussed the purpose of the portfolio: "If we can begin to consider that the primary purpose for the portfolio is to provide a vehicle for each child to grow metacognitively and to demonstrate competence in telling the story of learning, the door is openfor the child to assumeownership." The contrast between these two approaches is startling. Hebert's levels are learner-centered. The perspective really showcases the differences between using the portfolio as assessment of learning (the California Lutheran model) and using portfolios as assessment for learning.
This distinction in types of assessment is elaborated by Rick Stiggins (2002) in an outstanding article about the current assessment crisis. It is important to make this distinction when considering the role of portfolios in assessment. As noted in an earlier article, the use of portfolios in high stakes assessment of learning is problematic, but the use of portfolios in formative assessment (for instruction) and assessment for learning is powerful.
The research being conducted in Britain (Black & Wiliam, 1998) on Assessment FOR Learning provides firm evidence that "formative assessment is an essential component of classroom work and that its development can raise standards of achievement" more effectively than any other strategy. Current research is adding further evidence in support of this claim and the empirical evidence is underpinned by theory from the psychology of learning and studies of learning motivation. The Assessment Reform Group provides this definition:
Assessment for Learning is the process of seeking and interpreting evidence for use by learners and their teachers to decide where the learners are in their learning, where they need to go and how best to get there.
Here are their ten research-based principles of Assessment for Learning (AFL) to guide classroom practice:
Here is a comparison of these two key assessment purposes, based on work done in Britain (see www.assessment-reform-group.org.uk):
|Assessment of Learning
|Assessment for Learning
|Checks what has been learned to date
|Checks learning to decide what to do next
|Is designed for those not directly involved in daily learning and teaching
|Is designed to assist teachers and students.
|Is presented in a formal report
|Is used in conversation about learning
|Usually gathers information into easily digestible numbers, scores and grades
|Usually detailed, specific and descriptive feedback in words (instead of numbers, scores and grades)
|Usually compares the student's learning with either other students or the 'standard' for a grade level
|Usually focused on improvement, compared with the student's 'previous best' and progress toward a standard
|Does not need to involve the student
|Needs to involve the student -- the person most able to improve learning
According to Anne Davies, "Assessment for learning is ongoing, and requires deep involvement on the part of the learner in clarifying outcomes, monitoring on-going learning, collecting evidence and presenting evidence of learning to others." She further points out, Assessment that directly supports learning has five key characteristics:
How does Assessment for Learning relate to electronic portfolios? The issues of using portfolios for high stakes assessment has already been discussed by Wilkerson and Lang (2003) and in my earlier paper. To be effectively used to support assessment for learning, electronic portfolios need to support the learner's ongoing learning. Here is my comparison of electronic portfolios used as assessment of learning with those that support assessment for learning:
|Portfolios used for Assessment of Learning
|Portfolios that support Assessment for Learning
|Purpose of portfolio prescribed by institution
|Purpose of portfolio agreed upon with learner
|Artifacts mandated by institution to determine outcomes of instruction
|Artifacts selected by learner to tell the story of their learning
|Portfolio usually developed at the end of a class, term or program - time limited
|Portfolio maintained on an ongoing basis throughout the class, term or program - time flexible
|Portfolio and/or artifacts usually "scored" based on a rubric and quantitative data is collected for external audiences
|Portfolio and artifacts reviewed with learner and used to provide feedback to improve learning
|Portfolio is usually structured around a set of outcomes, goals or standards
|Portfolio organization is determined by learner or negotiated with mentor/advisor/teacher
|Sometimes used to make high stakes decisions
|Rarely used for high stakes decisions
|Summative - what has been learned to date? (Past to present)
|Formative - what are the learning needs in the future? (Present to future)
|Requires Extrinsic motivation
|Fosters Intrinsic motivation - engages the learner
|Audience: external - little choice
|Audience: learner, family, friends - learner can choose
If we are to help learners create portfolios that truly support assessment for learning and follow the ten AFL principles, then we need to look at strategies that help the learner tell a story of their own learning... strategies that foster learner self-motivation. Ann Davies states, "Research is indicating that closing in on a goal triggers a part of the brain linked to motivation (e.g. Csikszentmihalyi, 1990; Pert, 1997; Pinker, 1997). Setting goals is a powerful way to focus students' learning."
In the early 1990s, Pearl and Leon Paulson created a metaphor for portfolios as a tool to construct meaning. They stated, "The portfolio is a laboratory where students construct meaning from their accumulated experience." (Paulson & Paulson, 1991, p.5) They also pointed out that portfolio tell a story:
A portfolio tells a story. It is the story of knowing. Knowing about things... Knowing oneself... Knowing an audience... Portfolios are students' own stories of what they know, why they believe they know it, and why others should be of the same opinion. A portfolio is opinion backed by fact... Students prove what they know with samples of their work." (Paulson & Paulson, 1991, p.2)
There are many purposes:& goals for the portfolio which determine the content: Learning/Process, Assessment, and Marketing/Showcase. Learning/Process Portfolios involve the focus on the Greek Philosophers' directive, "know thyself" which can lead to a lifetime of investigation. Self-knowledge becomes an outcome of learning. In a portfolio development study (Brown, 2002) conducted with adult learners developing portfolios to document prior learning, Judith Brown found the following outcomes: increased students' understanding of what, why, and how they learned throughout their careers, enhanced their communication and organization skills, reinforced the importance of reflection in learning. The following technology can support Learning or Process Portfolios: Web Logs ('blogs'), Reflective journals, Online discussions, and Self-report surveys.
The following diagram outlines my proposition that we need to link two dynamic processes together to support deep learning: electronic portfolios and digital storytelling.
Click here for full size version of this graphic.
|Traditional Portfolio Processes include:
• Collecting
• Selecting
• Reflecting
• Projecting
• Celebrating
|Adding Technology allows the addition and enhancement of:
• Archiving
• Linking/Thinking
• Storytelling
• Collaborating
• Publishing
The following Reflective Questions tie the Past to the Future:
The Portfolio Process could be linked to the Digital Storytelling Process. What is Digital Storytelling? In this context, learners create a 2-4 minute digital video clip that is told in first person narrative, in their own voice, illustrated by (mostly) still images, with the addition of a music sound track to add emotional tone. The Center for Digital Storytelling has identified Seven Elements of Digital Storytelling:
Why include Storytelling in Electronic Portfolios? Here are some of the compelling reasons for integrating these two processes together:
Deep Learning versus Surface Learning*
|Attributes of Deep Learning
|Attributes of Surface Learning
|Learners relate ideas to previous knowledge and experience.
|Learners treat the course as untelated bits of knowledge.
|Learners look for patterns and unrelated principles.
|Learners memorize facts and carry out procedures routinely.
|Learners check evidence and relate it to conclusions.
|Learners find difficulty in making sense of new ideas presented.
|Learners examine logic and argument cautiously and critically.
|Learners see little value or meaning in either courses or tasks.
|Learners are aware of the understanding that develops while learning.
|Learners study without reflecting on either purpose of strategy.
|Learners become interested in the course content.
|Learners feel undue pressure and worry about work.
|*Source: adapted from Entwistle, 2001, quoted in Weigel, V.B. (2001) Deep Learning for a Digital Age: Technology's Untapped Potential to Enrich Higher Education. Jossey-Bass, p.6
Congruence with Philosophy
• Create a system that is congruent with underlying learning philosophy or conceptual framework: positivism vs. constructivism; psychometrics vs. hermeneutics; portfolio as test (or skills checklist) vs. portfolio as story
Paulson and Paulson (1994) have discussed portfolios developed under two different approaches: Positivism and Constructivism. They identified these tension between the two approaches: "The two paradigms produce portfolio activities that are entirely different... The positivist approach puts a premium on the selection of items that reflect outside standards and interests... The constructivist approach puts a premium on the selection of items that reflect learning from the student's perspective."
Donald Schön (1988) discussed storytelling as a mode of reflection:
"…for storytelling is the mode of description best suited to transformation in new situations of action.... Stories are products of reflection, but we do not usually hold onto them long enough to make them objects of reflection in their own right.... When we get into the habit of recording our stories, we can look at them again, attending to the meanings we have build into them and attending, as well, to our strategies of narrative description."
Janice McDrury and Maxine Alterio (2002), two educators from "down under" have written a book called Learning through Storytelling in Higher Education in which they outline their theory of storytelling as an effective learning tool. They have linked the art of storytelling with reflective learning processes supported by the literature on both reflection and learning as well as making meaning through storytelling. The authors propose storytelling as a theory of learning within a socio-cultural framework and introduce a Storytelling Pathways Model and their Reflective Learning through Storytelling Model. Compared with Moon's (1999) Map of Learning, they outline five stages of Learning through Storytelling (p. 47):
|Map of Learning (Moon, 1999)
|Learning through Storytelling
As individuals and institutions approach the portfolio as a story of learning, it is important to consider the theoretical underpinnings of this process. McDrury and Alterio provide the theoretical support for adding storytelling into the e-portfolio process, as they lay out their theory:
...when we tell our own practice stories and listen to those of others, then work together to process them deeply and critically, we connect in ways which enrich self, relationship and practice, Through these connections we construct new knowledge and advance our understanding of the relationships we construct and are constructed by. For these reasons we end our journey convinced that storytelling can, and should, be viewed as a theory of learning. (p.175)
Another technology that has potential to make electronic portfolios more engaging is the web log or "blogs" as it is known to those who participate in them. As the Stanford Learning Technologies group has evolved the technology to support its research project on "folio thinking," researcher Helen Chen reports that they are beginning to use blog or "wiki" software to support students' reflections. David Tosh and Ben Werdmuller of The University of Edinburgh have published a paper online (PDF) entitled, "ePortfolios and weblogs: one vision for ePortfolio development."
A weblog is defined as any web page with content organised according to date. Originally, these were pages keeping track of a user's discoveries on the newlyemerging World Wide Web; later the definition expanded to encompass personal diaries, work-related progress reports and even summaries of current events on newspaper websites. (pp. 3-4)
In the context of an ePortfolio, course tutors, lecturers, clubs and societies could all have their own weblogs which users could view on their "friends" page. Students can share information they've found or ideas they have on a particular subject, as well as the more social messages which may form a compelling reason for them to use the technology to begin with.(p.4)
Since one of the main goals of a portfolio is reflection on learning, perhaps a blog is a good option, since it can be used as an online reflective journal and an environment that invites collaboration. In the elearningpost blog, graduate student Dan Saffer discussed, "Why I Blog my Postgrad Course." His remarks about what he got out of the process would make many Teacher Education faculty smile, since his insights are consistent with our goals for our teacher candidates' reflections in their portfolios:
Lately, a lot of the things I'm learning in different classes have all started to come together; they all seem to be talking about similar things or things are starting to fit into patterns. Some of this is intentional, some probably not. But I doubt I would have been able to see those patterns as clearly without the blog. There's something about putting your entire coursework together in one place that allows you to more easily make that kind of analysis.
Wikis are online documents that can be editied by anyone with access to the page. The tool could be useful for collaborative writing.
So what are the tools that best meet the needs of learners for a constructivist "portfolio as story?" There are different tools for different purposes. Developing an electronic portfolio begins first with developing a digital archive of a learner's work, from which a variety of portfolios can be created, depending on purpose and audience. Essentially, it is a content management process with reflection on learning. There are two major directions in electronic portfolio development. One path uses generic tools (GT) such as word processors, presentation software, HTML editors, multimedia authoring tools, portable document format (PDF), or other commonly used productivity tool software found on most desktop computers. The second path uses an "information technology" customized systems approaches (CS) that involve servers, programming, and databases. In the article that David Gibson and I published online, you can read about the pros and cons of each approach and the quality issues under each environment: http://electronicportfolios.org/ITFORUM66.html
I recommend establishing a system that is very open, and allows for multiple purposes, so that learners can develop a portfolio that meets THEIR goals. I have seen effective use of Userland's Manila content management software as an open environment that is very close to a GT approach in a web-based environment. While not specifically an electronic portfolio program, the software allows the accumulation of a digital archive of artifacts (called "gems" and "pictures") and allows the user to build a series of web pages (called "stories") using those documents. Learners can construct their own online portfolios using the authoring and formatting tools that are built into the software. Other software packages are PHPNuke, mySQL and Moodle.
The second type of software are tools of digital storytelling: presentation programs or video editing software. The Center for Digital Storytelling has published the "Cookbook" using Adobe Premiere as the video editing tool with Adobe Photoshop to prepare the images. Until just recently, it was the only "prosumer" digital video program created for both Macintosh and Windows platforms (Adobe has since announced that it is no longer updating the Macintosh version of Premiere). This is also the software used by the Capture Wales Digital Storytelling project. However, these digital video programs are relatively expensive and have a steep learning curve.
There are some low-end video editing tools that are low cost or free: Apple Computer's iMovie on the Macintosh platform, Microsoft's MovieMaker2 and Pinnacle Studio on the Windows XP platform. Microsoft has also created PhotoStory, an inexpensive program that is part of Windows XP Plus! Digital Media Edition to create digital videos from still images, and Apple Computer's iPhoto for Macintosh OS X can be used to create digital videos from still images.
Examples of Digital Stories created with Apple digital video tools:
Howell, D.D. & Howell, D.K. (2003) Digital Storytelling: Creating an Estory. Linworth Pub Co
Lambert, Joe (2002) Digital Storytelling: Capturing Lives Creating Community. Life on the Water Inc.
Visions Technology in Education (2003?) Digital Storytelling with PowerPoint and Digital Storytelling with iMovie
Digital Storytelling in Education
County Schools (Kentucky)
Digital Family Stories
Using today 's technology
Center for Digital Storytelling
Macintosh OS X
- Apple Computer's iMovie
- Apple Computer's iPhoto
- Felt Tip Software's Sound Studio
- Apple's QuickTime Player Pro
- Apple's Final Cut Express and Final Cut Pro
- LQGraphics software Photo to Movie and Image Surfer
Windows XP
- Microsoft's MovieMaker2
- PhotoStory part of Windows XP Plus! Digital Media Edition
- Pinnacle Studio
- Adobe Premiere
For more cross-platform software, consult the Digital Family Story website.
Anderson, R. S., and DeMuelle, L.. (1998). Portfolio use in twenty-four teacher education programs. Teacher Education Quarterly, 25(1):23-31.
Black, P., and Wiliam, D. (1998). "Inside the Black Box: Raising Standards Through Classroom Assessment." Phi Delta Kappan, October 1998. [Retrieved June 10, 2004 from: http://www.pdkintl.org/kappan/kbla9810.htm]
Green, J., and Smyser, S. (1995). Changing conceptions about teaching: The use of portfolios with pre-service teachers. Teacher Education Quarterly, 22(2):43-53.
Hebert, E. (2001) The Power of Portfolios. Jossey-Bass
Love, D., McKean, G., Gathercoal, P. (2004) "Portfolios to Webfolios and Beyond: Levels of Maturation" Educause Quarterly. Volume 27 Number 2. [Retrieved May 17, 2004 from: http://www.educause.edu/pub/eq/eqm04/eqm0423.asp?print=yes]
McDrury, J., Alterio, M. (2003) Learning through Storytelling in Higher Education. London: Kogan-Page.
Paulson, F.L. & Paulson, P. (1994) "Assessing Portfolios Using the Constructivist Paradigm" in Fogarty, R. (ed.) (1996) Student Portfolios. Palatine: IRI Skylight Training & Publishing
Placier, P., Fitzgerald, K., and Hall, P. (2000) "I Just Did It to Get it Done" – The Transformation of Intentions in Portfolio Assessment in Teacher Education. Paper presented at annual meeting of AERA, April 2001, Seattle WA. [Retrieved May 17, 2004 from: http://www.coe.missouri.edu/~sti/papers/AERA2001/portfolio.pdf]
Saffer, D. "Why I Blog my Graduate Course" eLearningPost. [Retrieved May 17, 2004 from: http://www.elearningpost.com/features/archives/002351.asp]
Schön, D. (1988). "Coaching Reflective Teaching" in P. Grimmett & G. Erickson (1988). Reflection in Teacher Education (pp. 19-29). New York: Teachers College Press.
Stiggins, R. J. (2002). "Assessment Crisis: The Absence of Assessment FOR Learning." Phi Delta Kappan, June 2002. [Retrieved July 17, 2004 from: http://www.pdkintl.org/kappan/k0206sti.htm]
Tosh, D. and Werdmuller, B. (2004) "ePortfolios and weblogs: one vision for ePortfolio development." [Retrieved June 2, 2004 from: http://www.eradc.org/papers/ePortfolio_Weblog.pdf]
Tosh, D. and Werdmuller, B. (2004) "Creation of a learning landscape: weblogging and social networking in the context of e-portfolios." [Retrieved July 16, 2004 from: http://www.eradc.org/papers/Learning_landscape.pdf]
©2004, Helen C. Barrett, Ph.D.
Modified August 9, 2004


text:
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Last week, I had the honor of speaking to the UN Security Council about an increasingly dangerous threat facing cities and countries around the world, a threat that, more and more, is influencing everything that they and we do: climate change.
World Bank President Jim Kim was in Russia talking with G20 finance ministers about the same thing – the need to combat climate change. Every day, we're hearing growing concerns from leaders around the world about climate change and its impact.
If we needed any reminder of the immediacy and the urgency of the situation, Australia Foreign Minister Bob Carr and our good friend President Tong of Kiribati spoke by video of the security implication of climate effects on the Pacific region. Perhaps most moving of all, Minister Tony deBrum from the Marshall Islands recounted how, 35 years ago, he had come to New York as part of a Marshall Islands delegation requesting the Security Council's support for their independence. Now, when not independence but survival is at stake, he is told that this is not the Security Council's function. He pointed to their ambassador to the UN and noted that her island, part of the Marshall Islands, no longer exists. The room was silent.
It fell to us to point out the security implications of business as usual. If the world does nothing to stop climate change:
- half the global population will be living in water-scarce countries by the end of the century, compared to 28% today;
- 35% of sub-Saharan Africa's cropland will become unsuitable for cultivation, with grave consequences for food security;
- the breadbaskets of North America and the Mediterranean will see repeats of this past summer's crop-crumbling heat waves more frequently, to potentially devastating effect.
So what do we do?
First, cities. Developing countries are urbanizing fast - some will be shifting from less than 20% urban today to more than 60% in the next 30 years. The decisions they make today – about transportation infrastructure, water supply, land use rules, building codes and more – will lock in development patterns for decades to come.
They can choose to grow green with careful, integrated urban planning and support – they will need direct finance and assistance. We will need to step up our work here in support of our clients. In China, cities are seizing on low-carbon development options. We're helping Lagos develop more sustainable transportation.
We will need to change the way we produce our food, as well. The world's farmers will need to produce 70% more food by 2050 to feed a population expected to pass 9 billion people, and yet climate scientists tell us that for every 1 degree Celsius increase in average temperature around the world, crop yields will decrease by an average of 5%. We can and must farm in ways that increase productivity, build farmers' ability to cope with erratic weather, and increase carbon storage on land. We are mobilizing global alliances on climate-smart agriculture, and we have no time to lose.
We are also helping countries transition to a cleaner energy mix. We have doubled our investments in renewable energy in the last five years, and the $7.6 billion Climate Investment Funds we administer will support low-carbon, climate-resilient projects in 48 countries. But that $7.6 billion is a drop in the ocean of what is needed to support the transition to green infrastructure and energy systems. The resilient and green infrastructure gap is, after all, calculated at around $1.3 trillion a year – excluding operation and maintenance.
Stopping a 4°C warmer world from becoming reality and staying at a 2°C one still requires huge investments in adaptation – effectively the resilience of countries, cities, communities, especially the poor.
Disaster risk management – putting effort into prevention and preparedness rather than simply reacting after disasters strike – saves lives and property, and it is increasingly at the core of the Bank's work. Preserving wetlands and mangroves provides protective storm barriers. Avoiding development in vulnerable areas prevents flooding and deaths that often affect a community's poorest residents. Through the Global Facility for Disaster Reduction and Recovery, the Bank is working with client countries to mainstream disaster risk management into their development planning.
We recognize that there is much more we can do. President Kim has challenged us to take bold action. We need to get prices right, get finance flowing, and work where it matters most. Our mission, to end poverty and build shared prosperity, will be futile if we don't.
Join the Conversation
Fast action to reduce SLCPs has the potential to slow global temperature rise by up to ~0.6°C by 2050, prevent 2.4 million air pollution-related deaths per year, and avoid around 30 million tonnes of crop losses annually. Reductions of SLCPs are complementary to reductions of carbon dioxide emissions and can often be achieved simultaneously. If large-scale reductions of both SLCPs and carbon dioxide are undertaken immediately, there is a high probability of keeping the increase in global temperature to less than 1.5°C above the pre-industrial temperature for the next 30 years and below the 2°C guardrail for the next 60 to 90 years.
In addition to slowing the rate of global warming, reducing emissions of SLCPs is particularly beneficial for some of the most vulnerable and threatened regions on the planet, including the Arctic and the Himalayan-Tibetan Plateau, which are warming at more than twice the global average rate. Addressing pollutants such as black carbon, which has especially powerful warming effects in regions of ice and snow, may be the most effective means of slowing and delaying imminent climate impacts in those regions in the near term.
To scale up action on SLCPs is crucial to achieve the WB mission.


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text:
Updated. It's barely 5 a.m. in the U.S., but the World Baseball Classic is kicking off in Tokyo, where the Japan team is playing China at the Tokyo Dome. It's also a big morning for Major League Baseball's Internet team: It's launching its new MLB.TV Web video player in beta for the first time.
We've been tuned into the live video using the new player for about 45 minutes, and so far, it looks good. The biggest technical change: The new player uses Adobe's (ADBE) Flash for video; the old one used Microsoft's (MSFT) Silverlight. MLB has also swapped out a large portion of its back-end.
MLB still hasn't turned on many of the new player's features -- hi-def streams, DVR, and multi-game view -- but the video quality is a big improvement already. Sharpness and smoothness, specifically, are much improved. On our few-year-old Mac mini, at least, it's much more like watching the game on a widescreen TV than the choppy old player.
We're experiencing a few kinks -- sometimes, the video twitches between very sharp and a bit blurry for a split-second. And for a few minutes, the video stream stopped working completely. But we assume these glitches will be worked out -- that's what beta testing is for.
So: No test of many of the new features yet. And we still don't know if the new player's back-end will be able to handle the Opening Day rush -- we doubt many people in the U.S., at least, are up watching this game. But so far, it looks good.
Update: MLB will be using the new player again Friday morning for the 4:30 a.m. ET World Baseball Classic game. Check it out if you're awake (and a MLB.TV subscriber).
About 50 MLB.com staffers got to work very early this morning -- before 4 a.m. -- to make sure the launch went smoothly. They tell me that they'll be using a slightly different Flash video setup tomorrow to fix the video "twitches" I noted today. And the few minutes when the video stream stopped working was a specific, one-time problem on their end that won't happen again -- they hit the equivalent of the "mute" button for video by accident.
They served up about 1,400 streams of today's game. Not nearly the traffic they'll have on opening day, but not bad for a 4:30 a.m. game.


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The Environmental Studies Initiative @ HaverfordThursday, December 11th, 2008
The science of the environment and the social and political interactions of humans and the environment have emerged as perhaps the single most pressing problem of our era. Environmental Studies is a critical area that must be incorporated into our curriculum to prepare our students to contribue meaningfully to solving environmental crises. Continue reading… (PDF)


text:
After a short hiatus, we're back with a new GQ Spring Trend Reports post. Today, Jim Moore and Michael Hainey of GQ expound on the merits of a Patterned Tie in summer-friendly lightweight cotton—a fabrication that can go casual with a jean jacket as easily as it dresses up with a cotton suit:
We pulled a few favorites below. Don't be afraid to mix these ties with patterned shirts; just follow the can't-fail rule of thumb, and vary the scale of the patterns. The best part? The lion's share of the ties shown here are in the $20 to $40 range. Browse additional options here: MORE PATTERNED TIES
[Note, ties shown in detail up top are: Robert Stewart floral & plaid; Topman galaxy print.]
Gitman | Robert Stewart | 1901 | Topman
Eton | Topman | Robert Stewart | 1901
Robert Stewart plaid | Hugo Boss | 1901 | Robert Stewart camo
Look for new GQ Spring Trend Report videos in the weeks to come—
and shop all eight of our GQ-approved trends, from cotton suits to camo, here:


text:
Excel For Windows 95 For Dummies Quick Reference
Book category: Older Excel
- Published: 1996
- Description: A quick reference guide for Excel 95
- Amazon.com link: Excel For Windows 95 For Dummies Quick Reference
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Use the link below to view the best-selling Excel books at Amazon.


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|Santa Barbara > Activities > Santa Barbara Horseback Riding > Circle Bar B Riding Stables
Circle Bar B Riding Stables
Circle Bar B Riding Stable is the oldest and finest public horseback riding stable on Santa Barbara County's South Coast. For over 70 years, guests have been enjoying this coastal mountain paradise on more than 1,000 acres.
Circle Bar B Riding Stables offer fine riding horses for riders of all ages and sizes and provide a variety of horseback riding experiences for every level of riding ability. There are daily morning and afternoon trail rides for both adults and children.
• Personalized Rides
½ Day Ride: $110 per person /
1½ Hours Sunrise &
Private Rides – Just you and a guide
For more information or schedule your reservations call now 1-805-968-3901.
Exit US Hwy 101 about 20 miles north of Santa Barbara at Refugio Road/ State Beach exit. Take Refugio Road 3.5 miles up the canyon into the mountains to the Ranch. Stable Parking is on the left side of Refugio Road.
From downtown Santa Barbara allow 35 minutes of travel via Hwy 101 North. From Santa Ynez, Solvang and Los Olivos, travel west to Hwy 101 South.


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Fifty Shades of Grey, Skater StyleIs this fifty shades of grey, it very well may be and we will double check with the paint designers. But Skater is, with this 50 feet of fulfillment (as Christian Grey says in Fifty Shades of Grey), Raising the ordinary to extraordinary. And extraordinary is the perfect word to describe this Skater beauty.
We are kind of hoping they name it Fifty Shades of Grey. Seems perfect for something that can hurt you while looking this good and giving you pleasure at the same time.
Follow along as we show a few photos of this extraordinary craft being built. We will add to the photos in the thread attached for comments and follow up.
Miami Boat Show display 2/12. As Christian says, I want to chase the dawn with you. Yes we would!!
Just out of the paint booth on 9/16/2014. What steps are there to get from this condition to the final boat show completion seen above? How the heck do you build a custom boat unlike any ever built before? Custom deck, custom interior, custom dash, custom engine covers, and on, and on .
10/9/2014 Test fitting the Mercury 1350s by using drives other than the white ones that will be used on the finished product.
12/31/2014 Still a long way to go, but at least we have the white drives.
1/15/2015 Windshield fitting among other things.
Testing the trailer for fit and function.
2/3/2015, Leaving for the Miami Boat Show
They call the book and movie versions of Fifty Shades of Grey "Mommy Porn", this grey Skater will make some of the more timid call out for their Mommy!!
Stay tuned to the post article thread for more build pictures and updates from the show and post-show information. Video of the boats final shakedown run can be seen here on the SeriousOffshore Facebook page: https://www.facebook.com/pages/Serio...m/239287417400
13 Comments
- Categories:
- Manufacturers and Dealers,
- On The Water News
fund razor - 04-22-2015, 03:02 PM
A boat this cool deserves a less emasculating write up.
fund razor - 04-25-2015, 05:47 AM
You're right.
It's not the boat that quotes some book that chicks read and knows the characters.
It's Paul.
fund razor - 04-26-2015, 06:20 AM
Whatever you tell yourself and your Red Hat friends.
You're probably right, they all read it and now are watching the movie. I'll add that to my research results......
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Lazy weekend poll ~ summer reading list, edition 9
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Lazy weekend poll ~ summer reading list, edition 9
Rabbit, rabbit, rabbit! Welcome to June, and welcome to our annual summer reading poll!
Please recommend a great book to add to our summer reading lists, and tell us what fragrance we should wear while reading it...
Rabbit, rabbit, rabbit! Welcome to June, and welcome to our annual summer reading poll! Please recommend a great book to add to our summer reading lists, and tell us what fragrance we should wear while reading it…
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Wood Blend by DAVIDOFFUnisex Edp TesterLaunched in 2017, Wood Blend was the fourth opus of the Davidoff Blend Collection. Warm and passionate, this D ...
22-06-2019 19:32
SIMPPAR 2019 ? Perfumery behind the Scenes
At first glance, SIMPPAR is a fairly local event, people mostly speak French, and most exhibitors and visitors have been a long time acquainted wit ...
22-06-2019 18:52
Frida Kahlo: Legends and Fragrances
Frida Kahlo, photographed by her father in 1932 Mexican artist Frida Kahlo can be called a legend not only because people are still attracted by t ...
22-06-2019 18:52
Cascarille Jean Laporte L?Artisan Parfumeur: One of the Firs
We all know the story that started the L?Artisan Parfumeur perfume brand. The story of the banana suit, for which Jean Laporte needed to create an ba ...
22-06-2019 18:52
Lazy weekend poll ~ summer vacation, edition 5
Tell us about a summer vacation, any summer vacation: one you took, one you plan to take, one you\'d like to take. And tell us about the perfume that ...
22-06-2019 18:52
Neither ever, nor never goodbye
Simon Nessman and Vittoria Ceretti for Bottega Veneta Illusione. ...
22-06-2019 18:52
Parfums de Marly Sedley ~ new fragrance
French niche line Parfums de Marly has launched Sedley, a new aromatic citrus fragrance for men... ...
22-06-2019 18:52
Giorgio Armani Code Femme Absolu ~ new perfume
Giorgio Armani has launched Armani Code Femme Absolu, a new flanker to 2006\'s Armani Code for women... ...
22-06-2019 18:52
Calvin Klein Women Intense ~ new perfume
Calvin Klein will launch Calvin Klein Women Eau de Parfum Intense, a new flanker to 2018\'s Calvin Klein Women... ...
22-06-2019 18:52
Carolina Herrera Bad Boy ~ new fragrance
Carolina Herrera will launch Bad Boy, the masculine counterpart to 2016\'s Good Girl... ...
21-06-2019 18:53
Friday scent of the day 6/21
Happy World Music Day, plus, happy solstice. Our community project for today: mark the solstice by wearing your favorite fragrance of summer (or wint ...
21-06-2019 18:53
Atkinsons Tulipe Noire ~ new fragrance
British niche brand Atkinsons has launched Tulipe Noire, a new edition of a 1929 fragrance... ...
21-06-2019 18:53
Wise strategic moves
Estée Lauder snapped up Le Labo and Fre?de?ric Malle in 2014, and Puig acquired Penhaligon?s and L?Artisan Parfumeur in 2015. In 2016, Este?e Lauder w ...
21-06-2019 18:53
Sugar Free
A selection of perfumes that don\'t smell sweet ...
21-06-2019 18:53
Bvlgari Man Wood Neroli
Bvlgari launches Bvlgari Man Wood Neroli in the summer of 2019 as the new Bvlgari Man edition, which comes after the successful Bvlgari Man Wood Ess ...
21-06-2019 18:53
Parfum de Gin Lord of Barbes
What if the Queen of England does not give you the title of Lord" Drink some gin and proclaim yourself as Lord. After that, two French lords, He ...
21-06-2019 18:53
Extraordinary New Creations From Strangers Parfumerie
Nowadays, perfume brands release new fragrances so frequently; novelties seem to pop up almost every week and I\'m getting the feeling it is harder a ...
21-06-2019 18:53
Calvin Klein Women Eau de Parfum Intense
For all the fans of the Calvin Klein Women fragrances, Coty shares exclusively with us the news about the latest chapter of the Calvin Klein Women c ...
21-06-2019 18:53
CALVIN KLEIN Women Eau De Parfum by CALVIN KLEIN
CALVIN KLEIN Women Eau De Parfum by CALVIN KLEINWomen EdpIn embracing the diversity of femininity, CALVIN KLEINÂ Women Eau De Parfum combines a range ...
20-06-2019 19:34
Scent Story: Le Gemme Falkar by BVLGARI
Prologue Le Gemme is Bulgariâs exclusive luxury collection of fragrances (after all, youâre not anyone without an exclusive [â¦] ...
20-06-2019 18:53
Which Would Win": Cherry Fragrances
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20-06-2019 18:53
SIMPPAR 2019 ? Lyrical Digression
Simppar 2019 was short. It lasted just a day and a half but held a bright flash of insight: Modern perfumery is not what it seems to most of us. Toda ...
20-06-2019 18:53
Rives x Ausmane: Where Tailor-Made Ready-to-Wear Suits meet
Newly arrived in the field of niche perfumery, the brand Ausmane opened a boutique in the Passage Verdeau in the 9th district of Paris last winter. R ...
20-06-2019 18:53
Gucci Flora Emerald Gardenia ~ new fragrance
Gucci has launched Flora Emerald Gardenia, a new limited edition fragrance for women. Flora Emerald Gardenia is a variation on 2012\'s Flora Gorgeous ...
20-06-2019 18:53
Louis Vuitton Les Sables Roses ~ new fragrance
Louis Vuitton has launched Les Sables Roses, a new oriental fragrance... ...
20-06-2019 18:53
Thursday scent of the day 6/20
It?s Almost-Friday, plus World Refugee Day, Brian Wilson?s birthday and Ice Cream Soda Day. What fragrance are you wearing" Looks like we\'re ex ...
20-06-2019 18:53
Bvlgari Man Wood Neroli ~ new fragrance
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20-06-2019 18:53
Papillon Perfumery Bengale Rouge ~ new fragrance
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20-06-2019 18:53
Musc Shamal
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20-06-2019 18:53
Mercedes Benz Man Blue by Mercedes Benz
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19-06-2019 19:39
Scent Story: Paris-Riviera by CHANEL
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19-06-2019 18:53
Wednesday scent of the day 6/19
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19-06-2019 18:53
Serge Lutens La Couche du Diable ~ new fragrance
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19-06-2019 18:53
Now in Stores: Impressions of Un Jardin sur la Lagune
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19-06-2019 18:53
Linden Blossom in Perfumery
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19-06-2019 18:53
Tom Ford Fleur de Portofino Acqua
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New Fragrances by Victoria's Secret: Hardcore Rose, Eau So S
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19-06-2019 18:53
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Plaid dress shirt | Online sales of the best brands: Ingram, Bagutta, Mastai Ferretti, Cit, Dino Erre, Frarica, Moschino, Carrel, Alea, Xacus, Delsiena, Ghirardelli and many others
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In the financial markets when a trader inexplicably loses $800 million it's a disaster. It is catastrophic. HP seems to have taken two $8 billion losses in its stride. Talking to an analyst here at Dell World yesterday, the reaction was: either HP get ex-Autonomy chief Mike Lynch into a US court quickly or the people at the top at HP will suffer.
But will Lynch instead turn the tables and force HP's board to wash its linen in public?
You'll remember the story - HP CEO, Meg Whitman's claims that Lynch's Autonomy cooked the books before selling Autonomy to HP. Those are effectively charges of fraud.
In response Lynch has set up a website to campaign for transparency from HP, at least to the point where HP provides publicly the evidence for its claims. Having rubbished Lynch's reputation in public, it seems only right that Whitman comes up with supporting evidence.
But Lynch's website is pathetic in most respects, there are no social dimensions to it, no sense of strategy, and even his open letter lacks real bite. This is hardly a campaign with teeth.
Here is part of his open letter:
Autonomy's finances, during its years as a public company and including the time period in question, were handled in accordance with applicable regulations and accounting practices. Autonomy's accounts were overseen by independent auditors Deloitte LLC, who have confirmed the application of all appropriate procedures including those dictated by the International Financial Reporting Standards used in the UK.
Having no details beyond the limited public information provided last week, and still with no further contact from you, I am writing today to ask you, the board of HP, for immediate and specific explanations for the allegations HP is making. HP should provide me with the interim report and any other documents which you say you have provided to the SEC and the SFO so that I can answer whatever is alleged, instead of the selective disclosure of non-material information via background discussions with the media.
In particular Lynch asks for details on the revenue acceleration charge and on the hardware/software charge. He also makes the point that the scale of write-down suggests substantial sums awry in the Autonomy accounting procedures and should be easy to characterize.
But it seems unlikely Whitman will say more, given that she also said documents have been passed to the authorities. And it looks as though Lynch has no real expertise in launching an online campaign - the website would take an hour to set up, has no social character whatsoever,and lacks the type of information that might really set the record straight and pose a threat to HP's account.
In the meantime, as I wrote shortly after HP went public, the company is in for a very tough period with its reputation management. Lynch seems determined to make it even tougher but will he be effective? There are two reputations on the line and that is what this dispute is suddenly about.
Follow me on Twitter @haydn1701


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Crap. Can't believe the Oscars are going to be on in less than 10 hours. Fortunately, I've now seen all the Best Picture nominees and almost all of the films in the major categories. So without further ado, here's who I think will win and who I think should win. By the way, I have not been following the buzz and betting odds.
Best Picture:
Nominees: American Sniper, Birdman, Boyhood, The Grand Budapest Hotel, The Imitation Game, Selma, The Theory of Everything, Whiplash
Prediction: Birdman
Should win: Boyhood
Best Actor:
Nominees: Steve Carell (Foxcatcher), Bradley Cooper (American Sniper), Benedict Cumberbatch (The Imitation Game), Michael Keaton (Birdman), Eddie Redmayne (The Theory of Everything)
Prediction: Michael Keaton (Birdman)
Should win: Eddie Redmayne (The Theory of Everything)
Best Actress:
Nominees: Marion Cottilard (Two Days, One Night), Felicity Jones (The Theory of Everything), Julianne Moore (Still Alice), Rosamund Pike (Gone Girl), Reese Witherspoon (Wild)
Prediction: Julianne Moore (Still Alice)
Should win: Julianne Moore (Still Alice)
Best Supporting Actor
Nominees: Robert Duvall (The Judge), Ethan Hawke (Boyhood), Edward Norton (Birdman), Mark Ruffalo (Foxcatcher), JK Simmons (Whiplash)
Prediction: JK Simmons (Whiplash)
Should win: JK Simmons (Whiplash)
Best Supporting Actress
Nominees: Patricia Arquette (Boyhood), Laura Dern (Wild), Kiera Knightley (The Imitation Game), Emma Stone (Birdman), Meryl Streep (Into the Woods)
Prediction: Patricia Arquette (Boyhood)
Should win: Patricia Arquette (Boyhood)
Best Director
Nominees: Alejandro G. Iñárritu (Birdman), Richard Linklater (Boyhood), Bennett Miller (Foxcatcher), Wes Anderson (The Grand Budapest Hotel), Morten Tyldum (The Imitation Game)
Prediction: Alejandro G. Iñárritu (Birdman)
Should win: Richard Linklater (Boyhood)
Best Original Screenplay
Nominees: Birdman, Boyhood, Foxcatcher, Grand Budapest Hotel, Nightcrawler
Prediction: Birdman
Should win: Boyhood
Best Adapted Screenplay
Nominees: American Sniper, The Imitation Game, Inherent Vice, The Theory of Everything, Whiplash
Prediction: Whiplash
Should win: The Imitation Game
Best Animated Feature
Nominees: Big Hero 6, The Boxtrolls, How to Train Your Dragon 2, Song of the Sea, The Tale of Princess Kaguya
Prediction: Big Hero 6
Should win: Big Hero 6
Nominees: Birdman, The Grand Budapest Hotel, Ida Mr Turner, Unbroken
Prediction: The Grand Budapest Hotel
Should win: The Grand Budapest Hotel
Costume Design
Nominees: The Grand Budapest Hotel, Inherent Vice, Into the Woods, Maleficent, Mr Turner
Prediction: Into the Woods
Should win: Maleficent
Documentary Feature
Nominees: CitizenFour, Finding Vivian Maier, Last Days in Vietnam, The Salt of the Earth, Virunga
Prediction: CitizenFour
Should win: Finding Vivian Maier
Documentary Short
Nominees: Crisis Hotline: Veterans Press 1, Joanna, Our Curse, The Reaper, White Earth
Prediction: White Earth
Should win: No idea
Nominees: American Sniper, Boyhood, The Grand Budapest Hotel, The Imitation Game, Whiplash
Prediction: The Grand Budapest Hotel
Should win: Boyhood
Foreign Language Film
Nominees: Ida, Leviathan, Tangerines, Timbuktu, Wild Tales
Prediction: Leviathan
Should win: No idea
Makeup and Hair
Nominees: Foxcatcher, The Grand Budapest Hotel, Guardians of the Galaxy
Prediction: The Grand Budapest Hotel
Should win: Guardians of the Galaxy
Best Original Score
Nominees: The Grand Budapest Hotel, The Imitation Game, Interstellar, Mr Turner, The Theory of Everything
Prediction: The Grand Budapest Hotel
Should win: The Theory of Everything
Best Original Song
Nominees: Everything is Awesome (The Lego Movie), Glory (Selma), Grateful (Beyond the Lights), I'm Not Gonna MIss You (Glen Campbell…I'll Be Me), Lost Stars (Begin Again)
Prediction: Glory (Sela)
Should win: Everything is Awesome (The Lego Movie)
Production Design
Nominees: The Grand Budapest Hotel, The Imitation Game, Interstellar, Into the Woods, Mr Turner
Prediction: The Grand Budapest Hotel
Should win: Interstellar
Sound Editing
Nominees: America Sniper, Birdman, The Hobbit: The Battle of the Five Armies, Interstellar, Unbroken
Prediction: American Sniper
Should win: Interstellar
Sound Mixing
Nominees: American Sniper, Birdman, Interstellar, Unbroken, Whiplash
Prediction: Whiplash
Should win: Whiplash
Visual Effects
Nominees: Captain America: The Winter Soldier, Dawn of the Planet of the Apes, Guardians of the Galaxy, Interstellar, X-Men: Days of Future Past
Prediction: Interstellar
Should win: Dawn of the Planet of the Apes
Short Film (Animated)
Nominees: The Bigger Picture, The Dam Keeper, Feast, Me and My Moulton, A Single Life
Prediction: The Dam Keeper
Should win: No idea
Short Film (Live Action)
Nominees: Aya, Boogaloo and Graham, Butter Lamp, Parvaneh, The Phone Call
Prediction: Aya
Should win: No idea


text:
Originally published by Jane when she was 11 years old.
What I like most about apple crumble is of course the taste of fresh heated apples with good sauce on it that has cinnamon in it, (there's more stuff in the sauce though) and how the taste is sugary. I save the crust for last because I love the crunchy part of crusts!!! Apple crumble is my favourite dessert.
My mom makes it from scratch. She went on a site, printed the paper and followed the directions. But now if were having a party or people coming over, that's when we mostly do it. We also buy it from the store when we don't have time to make it.
My mother comes from Chile but moved in Canada in 1975 when she was 5 years old. There are good desserts from Chile that my grandmother does,but with my mom, we like to make recipes from Quebec like the apple crumbles (but we can still make those recipes my grandmother does). Of course there are good, and tasty apples in Chile and my grandmother makes an apple dessert that is called Kuchen de manzana. It is like an apple strudel or a typical dessert from Chile is called Brazo de reina that is a cake with a kind of caramel in it. But my favourite is the apple crumble (or apple pies) Maybe someday I'll share the recipe of Brazo de reina from my grandmother, and of course I will have to translate it in English with the help of my mom so you can taste this excellent dessert!!
I like to eat apple crumble at any time of the year (almost all the time) but mostly when it's a supper. I'm lucky, because each time we have apple crumbles, the rest of my family don't eat too much and there is more for ME. We can also save some for other days.
How to make an Apple Crumble
Ingredients: (you will need a measuring cup and spoons)
– ¾ cups of flour
– 1 cup of oatmeal
– ¼ tea spoons of nutmeg
– ½ cup of brown sugar
-1/2 cup of margarine
-1/2 tea spoon of cinnamon
7 apples (with no skin)
1/3 cups of brown sugar
1 table spoon of lemon juice
1. Before starting this recipe, warm up your oven to 375˚F. Cut all the apples in small pieces and mix it up with the brown sugar, and the lemon juice. (From the Garniture)
2. Place in a baking dish lightly greased.
3. In a bowl, mix together all other ingredients except margarine. Undo margarine to make it creamy and stir into the dry ingredients.
4. Spread this mixture over apples
5. Bake at 375˚F for about 30 minutes.
And There You Go Everyone! An Apple Crumble!


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THE GROUP � Canadian troubadours, The Abrams Brothers
WHY THEY�RE HOT � Burning up the alternative music charts, the trio blends bluegrass, Americana and root music.
*Brother, John Abrams (vocals, guitar, mandolin, keyboard, percussion)
*Brother, James Abrams (vocals, violin)
*Cousin, Elijah Abrams (bass).
THEIR MUSIC � Merges the sounds of Bob Dylan and Arlo Guthrie with their own homespun sound.
THEIR INSPIRATIONS � The Louvin Brothers, Tony Rice, The Beach Boys and Neil Young.
PRETTY COOL � �The Abrams Brothers are way too young to be playing that good. I know I will be hearing from them for a long time to come,� Arlo Guthrie, folk music legend.
IT�S IN THEIR BLOOD � Born into a four generation touring bluegrass family, John and James have been on stage in the family business since they were 7 and 10.
*To Lincolnton on Feb. 16, James Warren Citizens Center, 115 W. Main St., Lincolnton, presented by the Lincoln County Concert Association.
*To Gastonia, Feb. 22, First Presbyterian Church, 1621 E. Garrison Blvd., Gastonia, presented by the Gaston Concert Association.
The group is touring in support of its new album �Northern Redemption.� This is the first studio album of original material for the band,
*Tickets for the Lincolnton concert are $20 for adults and seniors and $5 for children and students.
*Tickets for the Gastonia performance are $45 for adults; and $15 for high school students attending along and college students. Children in grades K-12 are admitted free with an adult. Entitles ticket holder to admission to remaining concerts of Iredell, Stanley County, Lincoln County and Sumter-Shaw concert associations, and the Randolph Community Concert Association. For tickets or more information, call Carolyn Spencer, 704-867-7166.


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Loyola at a Glance
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Center for Music and Arts Entrepreneurship at Loyola marks opening with seminar on artists' health care and wellness
October 17, 2008
As its first event, the Center for Music and Arts Entrepreneurship at Loyola University New Orleans will present "Health Care, Wellness and the Artist," a seminar that focuses on health care options and wellness issues for artists.
The seminar takes place in two sessions on Saturday, Oct. 18, beginning at 1 p.m., for the first session, and 2:50 p.m., for the second session, in Nunemaker Auditorium, located in Monroe Hall, on Loyola's main campus. Admission is free and open to the public.
Speakers Jim Brown, managing director of the Health Insurance Resource Center with the Artists' Fund, Randall Dick of Health and Safety Sports Consultants, LLC and the American College of Sports Medicine, and Adrian Hutber, Ph.D., vice president of the American College of Sports Medicine's Exercise is Medicine program, will present at the seminar.
Brown will discuss specific health care plans and opportunities for artists, both locally and nationally, during the first session at 1 p.m.
Brown's organization, the Artists' Health Insurance Resource Center, has been the central resource for artists nationwide in finding affordable health insurance. It also assists individuals in finding access to affordable health care and paying medical bills, and serves as an advocacy group in changing the health care system in the U.S. Entertainment professionals may receive telephone or in-person counseling at the AHIRC offices to learn about ways to obtain appropriate health insurance and health care.
Dick and Hutber will speak about wellness issues, exercise as medicine, and mutual applications of research and training techniques between the sports medicine and performing arts communities during a second session at 2:50 p.m.
Formally with the NCAA Injury Surveillance System, Dick has an extensive background in sports injury research and data collection.
Hutber's organization, Exercise is Medicine,™ focuses on encouraging primary care physicians to include exercise when designing patient treatment plans. The program is committed to the belief that exercise and physical activity assist in the prevention and treatment of diseases, and both should be assessed as part of medical care.
For more information about the CFMAE or the "Health Care, Wellness and the Artist," contact Kevin Coogan with the CFMAE at firstname.lastname@example.com or call (504) 865-3977. Additional information can also be found on the CFMAE website at http://www.cfmae.org.
For the latest updates about Loyola University New Orleans, follow us on Twitter @LoyolaNOLANews or become a fan on Facebook at www.facebook.com/loyno.
Loyola at a Glance is written and distributed for the faculty, staff, students and friends of Loyola University New Orleans. It is published by the Office of Public Affairs, Greenville Hall, Box 909, 7214 St. Charles Avenue, New Orleans, LA 70118. (504) 861-5888.
Information to be included in Loyola at a Glance must be received 2-3 weeks in advance of the publication date. Send us your news here.


text:
MULTI-TECH SYSTEMS 8 - Port V.34 Fax Server, MULTI-TECH SYSTEMS FF830.
* We have limited quantity of FF830 in stock. Our inventory changes constantly and quantities listed are based on available stock. This item comes with our 100% Money-Back Guarantee.
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Our department needed two discontinued drive modules for our servers. Code Micro delivered on time. ...
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text:
Show Your Stars and Stripes with Spirit this Labor Day
19 Aug
What better way to say goodbye to summer than to throw a Labor Day party? Our graphic designer Amy pulled out her stars and stripes to wish her brother farewell as he left for the Naval Academy. With a make-shift photo booth (see picture above) and our Patriotic Stars Invitation, anyone can entertain with the spirit of the USA! Add a patriotic personal touch with a set of custom Red, White and Blue Caspari napkins ($48 per 100).
For added decor, Amy took mason jars filled with sand and placed candles in some and flags in others. This special touch lit up the summer night, as some were hung on trees with wires and others served as centerpieces. For added sparkle, she made the glitter USA letters by hand and displayed them in frames with scrap paper. These touches would be also be perfect for Fourth of July Parties. Our new party supplies section make it easy to design your own themes – all with personalization from TheStationeryStudio.com.


text:
The Dinosaurs
Bantam Books, 1981 - Nature - 150 pages
The text and numerous artistic illustrations reconstruct the world in which the dinosaurs lived and portray how they behaved in the situations they encountered.
From inside the book
10 pages matching million years ago in this book
Where's the rest of this book?
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adult Age of Reptiles animals ankylosaur Apatosaurus Archaeopteryx archosaurs beak beetles began birds bite body bones Brachiosaurus camarasaur carcass carnosaur centrosaurs ceratopsian ceratopsian ornithischian herbivore claws coelurosaur continents creatures crocodilian cycad deinonychus dino dinosaurs dry floodplain Dryosaurus earth eggs eyes Family female floodplains forage Genus ground hadrosaur hadrosaur ornithischian herbivore hatchling head herd hind legs horns Iguanodon insects jaws Kentrosaurus kicked kind lake land lizards lowland male mammals marsh mating megalosaur Mesozoic million years ago Montana mouth moved nest numbers ornithopod Othnielia pack predator prey Protoceratops pterosaurs quetzalcoatlus rock saurischian sauropod sauropod saurischian herbivore saurs scavenger season skull slowly species spikes Spinosaur stegosaur suborder tail talons teeth Tenontosaurus thecodont tion tons Upper Cretaceous tons Upper Jurassic tree Triceratops Tyrannosaurus Upper Cretaceous Alberta Upper Cretaceous Mongolia Upper Triassic vegetation velociraptor walked wet floodplain wind wings young sauropod


text:
Ancestry.co.uk has made its entire 1911 Census FREE* for a limited time. That gives you the chance to discover your family's stories during one of the most fascinating periods in British history.
1911 came right at the end of the old 'upstairs-downstairs' class
system, just before World War I. This was the year the Titanic was
built, and the height of the campaign for women's voting rights.
Simply type in an ancestor's name to find out what they were doing at
this crucial time. Make sure you view the original record, and see if
you can spot any servants, soldiers or suffragettes in your family.
*The England & Wales 1911 Census will be available to search for free from 00:00 BST on 24th July 2013 until 23:59 BST on 14th October 2013. To view these records you will need to register for free with Ancestry.co.uk with your name and email address.
Search now!


text:
In the eighth grade I was voted "Person Most Likely to Succeed Elvis". In part this great honour was given because I had all the girls' (moms) swooning with "Can't Help Falling In Love" at the year-end concert in the gym at my small farming community elementary school.
In part it was the sideburns. They weren't really sideburns, I just had really shaggy seventies-kid hair and the kids in my class hated me (because their moms loved me). To retaliate and establish my coolness for all time I tormented the foreign kid about his unholy relationship with his sister until he was driven insane and attacked me. It was completely unfair of me, and I deserved the shots he got in on me before the teachers broke it up. I just needed someone else to be weirder than I was for the little redneck kids' amusement; I wanted to be a big fish, even if it was in the world's smallest pond.
Anyway, in my own head for a while I was all about the King, his music, his movies, biopics, fictionalizations of his life. I've seen "Heartbreak Hotel". Twice. And right now what stands out for me is the scene in "Great Balls of Fire" in which a newly-enlisted Elvis stops by Sun Records where Jerry Lee Lewis is recording hits and he says: "Take it all."
While I'm on vacation this week please don't let Jerry Lee take it all. He is the foreign kid.
I'll be back, with a leather jacket and a tousled look.


text:
Hi Michael, i am a good 4.5 - 5.0.
I am in Verdun.
Let me know if you want to play some tennis.
Hi Micheal,
I was wondering if you want to play some time at jean-meannce
Let me know
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Have a look at our introduction page which will help you navigate the massive network which now has over 39,300 members and 600 local tennis groups.
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