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1 Eligibility in the United States. Revelation – The Unveiling known on clapit as #Revelation3 film Open Call competition ("Contest") is open only to legal residents of the fifty (50) United States and the District of Columbia who are thirteen (13) or older at the time of entry. Employees of Clap Online Pty Ltd, Clap Online Inc. and its related companies, as well as the immediate family (spouse, parents, siblings and children) and household members of each such employee are not eligible. The Contest is subject to all federal, state and local laws and regulations and is void outside of the U.S. and where prohibited by law. Entrant (and its legal guardian if Entrant is a minor) must have proper travel documentation, such as a license, passport or Visa if Entrant must travel by airplane in the United States in time to appear and perform as scheduled or Clap Online Pty Ltd. and Clap Online Inc. shall have the sole right to disqualify the Entrant from Revelation – The Unveiling known on clapit as #Revelation3 film Open Call immediately and choose another Winner. Sponsor is not responsible for obtaining such proper travel documentation for Entrant or its legal guardian or substituting another production to appear in if Entrant cannot make it to the scheduled film shoot.
2 Sponsor and Host. Clap Online Pty Ltd. and Clap Online Inc. c/o- Wilk Auslander LLP, 1515 Broadway, New York, NY 10036. Jason DeStefano, Director/Producer The Dream Studios. 18900 Serenoa Ct. Alva, Lee County, FL. 33920
Clap Online Pty Ltd and Clap Online Inc. may hereinafter collectively, and each individually, be referred to as the "Sponsor" or "clapit."Jason DeStefano ,producer of Revelation – The Unveiling known on clapit as #Revelation3 Film, may hereinafter be referred to as the "Host."
3 Agreement to Official Rules. By clicking on Revelation – The Unveiling known on clapit as #Revelation3 on the clapit application and submitting your 20 second video audition specified in Section 5 below, you (and your legal guardian if you are a minor) indicate your full and unconditional agreement to these Official Rules and the decisions of the Sponsor, which are final and binding. You further represent and warrant that you meet the eligibility requirements. Winning a prize is contingent upon fulfilling all requirements set forth herein in a timely manner. Should you breach these Rules in any way you may be automatically disqualified from Revelation – The Unveiling known on clapit as #Revelation3 film Open Call without notice from Clap Online Pty Limited; you withdraw your right to sue Clap Online Pty Limited in any capacity because of this breach.
4 Entry and Voting Period. The Contest begins on January 4, 2020 at 12 a.m and ends on January 14, 2019 at 11:59 p.m. EST (the "Entry and Voting Period"). Entries received prior to or after the Entry and Voting Period will be disqualified.
5 How to Enter. You must download the clapit application in order to enter. The application is free to download and use from the iOS store. To enter, during the Entry and Voting Period, create a ME profile on the clapit application, and upload a video clip, up to twenty (20) seconds in length, of your audition (a "Video Clip" and these actions together, an "Entry"). Each Video Clip must be uploaded on the clapit app by "clicking" on the clapit application the open call named " Revelation – The Unveiling known on clapit as #Revelation3" in order to be eligible. If the Entrant does not "click" the film named Revelation – The Unveiling known on clapit as #Revelation3 the Entrant is automatically disqualified from Revelation – The Unveiling known on clapit as #Revelation3 film Open Call. Entrants may audition for one role only, and must do so in accordance with the character breakdowns posted on https://clapit.com. Video clips will be judged based on the criteria in Section 8, below. Limit: one (1) clapit account per person. Any Entries attempted through the use of agencies or robotic, repetitive, automatic, programmed, or similar methods will be void. Such Entries will not be acknowledged. All information submitted in connection with an Entry will be treated in accordance with these Official Rules and Sponsor's Privacy Policy, available at https://clapit.com/privacy. You may enter only once for only one role. You must provide the information requested. You may not enter more times than indicated by using multiple email addresses, identities, or devices in an attempt to circumvent the rules. You may not solicit anyone else to enter or vote more times than indicated by using multiple email addresses, identities, or devices in an attempt to circumvent the rules. If You use fraudulent methods or otherwise attempt to circumvent the rules in any way, including adding fake claps that are not from real users on the clapit application, harassing, intimidating, attacking, defaming or misleading another entrant on the clapit application, or impersonating another user or employee of the Sponsor, or encouraging anyone else to any of the foregoing, your submission will be removed from eligibility by the Sponsor, Clap Online Pty Ltd. and/or Clap Online Inc. You hereby acknowledge that Sponsor has methods to detect a violation of this Section 5 and thereby consent to the final determination of Sponsor as to a violation of this section, and waive any and all rights to object. If You become aware of a violation of this Section 5 by someone other than You as it relates to your account, You agree to notify Sponsor immediately so corrective measures can be taken. Disqualification is at the sole discretion of the Sponsor, including disqualification for unlawful multiple entries in this competition. The odds of winning depend on the number of eligible entries received.
6 A "clap" is a vote which must be made by a "real" user. Any "fake" claps detected by Clap Online Pty Limited will automatically disqualify entrants of Revelation – The Unveiling known on clapit as #Revelation3 film Open Call. Clap Online Pty Limited reserves its rights to make this determination with immediate effect by taking down your audition video immediately, and further you consent and understand that you will not be notified if any cheating is detected due to "fake claps" which are generated in any way other than by "real users" of clapit. You acknowledge that Clap Online Pty Limited is exempt from any lawsuit should Clap Online or its Founders, employees, agents or consultants decide that you have generated "fake claps" and disqualify you from this open call. In essence anyone who is cheating or that Clap Online Pty Limited determines to be cheating which Clap Online Pty Limited will decide without limitation will be automatically disqualified. Clap Online Pty Limited its founders, employees, agents or consultants do not need to specify the reason other than they have suspicion that your audition video contains or contained "fake claps" which were not generated by "real users."
7 Additional Requirements for Video Clips. Video Clips must be your own original work and must not: (a) contain any content or aspect that is not your own or for which you have not obtained appropriate and necessary rights (i.e. royalty free sound effects and/or music); (b) contain any content that could be considered deceptive, misleading, false, fraudulent, scandalous, indecent, obscene, sexually explicit, defamatory, libelous, threatening, harassing, hateful, degrading, intimidating, graphically violent or otherwise unlawful, tortious or objectionable; (c) depict, encourage, promote or induce conduct that could violate any law or give rise to criminal or civil liability, or that could be considered risky, violent, discriminatory or otherwise inappropriate; (d) contain any personally identifying information about any individual other than you; (e) depict any individual other than you; (other than the acting role for which you are auditioning) (f) contain any confidential information, or any material, non-public information about any company; or (g) contain any virus, worm, Trojan Horse, Easter Egg, time bomb, spyware or other computer code, file or program that is harmful or invasive or that may be or is intended to damage or hijack the operation of, or to monitor the use of, any website, hardware, software or network. Video Clips must not have been entered into any other contest, promotion or exhibition, or otherwise published or distributed beyond a personal network online. By entering this content, You represent and warrant that your entry is an original work of authorship, and does not violate any third party's proprietary or intellectual property rights. If your entry infringes upon the intellectual property right of another, You will be disqualified at the sole discretion of Sponsor. If the content of your entry is claimed to constitute infringement of any proprietary or intellectual proprietary rights of any third party, You shall, at your sole expense, defend or settle against such claims. You shall indemnify, defend, and hold harmless the Released Parties from and against any suit, proceeding, claims, liability, loss, damage, costs or expense, which the Released Parties may incur, suffer, or be required to pay arising out of such infringement or suspected infringement of any third party's right. Sponsor reserves the right, in its sole and absolute discretion, to refuse to accept any Entry or Video Clip or to delete or remove any Video Clip for any reason. You hereby waive any rights to object to the decision of Sponsor to remove, or not to remove, to disqualify or not to disqualify, an Entry that may violate these rules in any respect. The requirements regarding the content of your audition which constitute this Open Call are stated in the clapit promotional boxes.
8 Selection of Potential Winner. During the Entry and Voting Period, all eligible Video Clips will be subject to public voting by clapit users. Clapit users must vote on the clapit application. Judging criteria: talent of the actor, performance popularity and most compelling video. Each clapit account may vote only one (1) time on each video. Each Host as well as founders MJ Bulseco & PJ Bedwell as well as the official ClapitOpenCall account, is permitted to use a super clap equal to 10 claps (the "Super Clap") in recognition of super talent and ALSO a "Clap Back" which forms part of this Open Call. A "Clap Back" allows founders MJ Bulseco and/or PJ Bedwell to select one audition video from this open call to become part of the finalists and/or finalists videos reviewed by Producer/DirectorJason DeStefano which he/she will consider together with the other 10 finalist audition videos comprising of 5 females & 5 male finalists to cast in the two roles being offered being a male and female speaking role for his film " Revelation – The Unveiling known on clapit as #Revelation3 ". You agree and consent to the Super Clap and the Clap Back of any Entrant in this competition by each Host and founders MJ Bulseco & PJ Bedwell and by ClapitOpenCall and hereby waive your right to object to it, whether in past, present or future competitions. Entrants may not solicit votes by creating false accounts or encouraging others to do so, but are permitted to promote their entries via word of mouth, social media, or other means as long as it is done lawfully and in good will, with no payment or exchange offered to others. You hereby acknowledge that Sponsor has methods to detect a violation of this Section 8 and thereby consent to the final determination of Sponsor as to a violation of this section, and waive any and all rights to object. If You become aware of a violation of this Section 8 by an Entrant or someone other than You as it relates to your account, You agree to notify Sponsor immediately so corrective measures can be taken. Disqualification is at the sole discretion of the Sponsor. The five (5) female and five (5) male Entrants who receive the most eligible clapit user votes on his or her eligible Video Clip during the Entry and Voting Period and the "Clap Back" entrant will be deemed the finalists. In the event of a tie, the Host and Sponsor which includes the founders MJ Bulseco and PJ Bedwell of this contest will select the potential finalist/s based upon the judging criteria above. The Host and Sponsor will choose one (1) winner from the top five (5) most clapped female auditions and one (1) winner from the top five (5) most clapped male auditions and also the "Clap Back" winner who will be chosen by the founders MJ Bulseco and PJ Bedwell. Therefore in total there will be eleven (11) finalists for consideration for the two roles one female and one male speaking role for the film " Revelation – The Unveiling known on clapit as #Revelation3" if a "Clap Back" audition is selected by founders MJ Bulseco & PJ Bedwell.
9 Requirements of Potential Winner. Except where prohibited, each potential Winner (and their legal guardian if the Winner is a minor) must complete and return an affidavit of eligibility and liability/publicity release (the "Affidavit/Release") from the Sponsor the day of being notified by email to clapit. Winner (and their legal guardian if Winner is a minor) must provide proof of age of Entrant to Sponsor and Host.
10 Prize. The Winner for Revelation – The Unveiling known on clapit as #Revelation3 film Open Call will be required to perform in producerJason DeStefano ' film Revelation – The Unveiling known on clapit as #Revelation3. Prizes are non-transferable and non-assignable. No other substitution permitted, except that Sponsor reserves the right in its sole discretion to substitute the prize or a prize component with another prize or component of comparable or greater value. Any and all prize-related expenses, including without limitation any and all federal, state, and/or local taxes, shall be the sole responsibility of the Winner except for the economy, roundtrip airfare to enable the Winner to film the role which is the prize for this Open Call. The Winner for this open call is responsible for organizing and paying for their economy class ticket and accommodation to ensure that they are filmed for this production at the date and time specified by the Host. Should a Winner not be able to attend and adhere to the terms specified by Clap Online Pty Ltd and Clap Online Inc herein the Winner will forfeit the role, and Clap Online Pty Limited and Clap Online Inc as soon as notified of the non-attendance at its discretion will appoint another person for the role. Clap Online Pty Ltd and Clap Online Inc will reimburse the Winner in total $500 for travel costs. The sum of $500 is any travel costs including airfare and accommodation. Clap Online Pty Limited and Clap Online Inc will reimburse the winner for their travel costs up to the amount of $500 being the total sum of reimbursement within thirty (30) business days of receiving the flight receipt from the Winner. Clap Online Pty Ltd and Clap Online Inc., at their sole discretion, will provide reimbursement for travel costs for the Winner only. Should a minor win the Open Call in a competition that allows minors, the minor's legal guardian must accompany the minor and is responsible for their own airfare and/or accommodation and all costs incurred to accompany the minor. Further, if the minor decides to stay, the guardian who is accompanying the minor is responsible for both of their accommodation as Clap Online Pty Ltd will only provide one (1) person's accommodation and airfare as previously stated up to the reimbursement sum of $500. Nothing herein requires Sponsor to continue to use any Winner as ongoing now or in the future for Open Calls for any particular film, video, project, or for any other purpose, beyond one Open Call to perform in the film Revelation – The Unveiling known on clapit as #Revelation3 by producerJason DeStefano and the number of videos that they will be included as Winner of this competition is at the sole discretion of Sponsor.
11 Sponsor's Rights to Entries and Video Clips. By entering the Contest, you (and your legal guardian if you are a minor in a competition that allows minors) grant to Sponsor (and its employees acting on behalf of Sponsor), its licensees, sponsors, hosts, assignees, independent contractors, consultants and other successors-in-interest, a non-exclusive, worldwide, royalty-free, perpetual, irrevocable, fully sublicensable (through multiple tiers) and transferable license, without additional consideration to you or third parties, to: (a) reproduce, distribute, perform and display (publicly or otherwise), adapt, modify, edit, translate, make available to the public, make, sell, offer to sell, import and otherwise use and exploit (and have others exercise such rights on behalf of the Sponsor, through multiple tiers) your Entry and Video Clip in any format or media now known or hereafter developed; (b) create derivative works from and incorporate your Entry and Video Clip into other works or into Sponsor's or its designees' products or services; (c) use your Entry and Video Clip for Sponsor's advertising and promotional purposes; and (d) use your name, Video Clip, portrait, picture, voice, likeness, statements, and biographical information for Sponsor's advertising and promotional purposes, whether or not in connection with your Entry, in each case for the purpose of administering and promoting the Contest, any future promotions and/or promoting the business of Sponsor, except to the extent prohibited by applicable law. Sponsor reserves the right (but does not have the obligation) to verify at any time that all necessary rights, clearances, consents, releases and other permissions in or relating to your Entry and Video Clip have been validly obtained, and you agree to fully cooperate with Sponsor in any such verification inquiries.
12 Additional Obligations of Winner. In addition to the Video Clip(s) submitted by the Winner as part of the Contest, the Winner will, where requested by Sponsor, provide material to Sponsor (or agree to Sponsor's obtaining such material, such as through photography and/or videography) including Winner's name, profile, likeness, photo, video, image, biographical or other information or material about Winner (collectively, "Winner Information"). If Winner is a minor, the "Winner Information" shall also include Winner's guardian's name, profile, likeness, photo, image, biographical or other information about the guardian. Winner (and Winner's legal guardian if Winner is a minor) grants to Sponsor a non-exclusive, worldwide, royalty-free, perpetual, irrevocable, fully sub-licensable (through multiple tiers) and transferable license, without additional consideration to Winner or third parties, to:
1 reproduce, distribute, perform and display (publicly or otherwise), adapt, modify, edit, translate, make available to the public, make, sell, offer, import and otherwise use and exploit (and have others exercise such rights on behalf of Sponsor, through multiple tiers) the Winner Information in any format or media now known or hereafter developed;
2 create derivative works from and incorporate the Winner Information into other works or into Sponsor's or its designees' products or services; and
3 use the Winner Information for Sponsor's advertising and promotional purposes, for the purposes of administering and promoting Sponsor's business and/or the Contest or any future promotions, except to the extent prohibited by applicable law. Winner (and Winner's guardian if Winner is a minor) shall have no right of approval, no claim to further compensation, and no claim arising out of the use, alteration, distortion, or illusionary effect or use in any composite form of the Winner Information. Winner (and Winner's guardian if Winner is a minor) understands that Sponsor may refrain from using the Winner Information. Sponsor reserves the right (but does not have the obligation) to verify at any time that all necessary rights, clearances, consents, releases and other permissions in or relating to the Winner Information have been validly obtained, and Winner (and Winner's guardian) agrees to fully cooperate with Sponsor in any such verification inquiries.
13 Winner's Opportunities. The Winner (and Winner's guardian if Winner is a minor) agrees not to enter into any agreement, or negotiate to enter into any agreement, with any business substantially similar to, or in competition with, Sponsor, including any social media service other than Sponsor until six months after the date the Winner is told that they won Revelation – The Unveiling known on clapit as #Revelation3 film Open Call, and then only if Winner has not received and accepted an offer to enter into an extended agreement with Sponsor. The Winner further agrees that, for a period of three (3) months from the date that he or she is declared the Winner, if any of Sponsor, its employees, agents, or representatives arrange an introduction to or meeting with any person in order to advance Winner's career, Winner will make a good faith effort to attend any such introduction or meeting and may request that clapit cover reasonable travel costs being the airfare cost only (accommodation may be at the sole discretion of Clap Online Pty Ltd. and Clap Online Inc. prior to confirming attendance) and Sponsor does not have to cover any travel costs or accommodation of Winner's guardian (whether or not Winner is a minor). If such introduction or meeting results in Winner's engagement or other agreement with any such person, then Winner (and Winner's guardian if Winner is a minor) agrees that Sponsor will receive 10% of the total dollar value to Winner of any such engagement or agreement, in accordance with industry standards, the specific terms and conditions of which will be set forth in a separate agreement. The Winner further agrees that, for a period of one (1) month from the date that he or she is declared the Winner, Winner will not enter another Clap Online Pty Ltd. and Clap Online Inc. Open Call competition. If a Winner does enter before the period of one (1) month has ended from the time the Winner won his/her Open Call Competition the Winner will be disqualified from this Open Call Competition immediately and their video audition will be taken down from the feeds of the Clapit application.
14 Release and Limitation of Liability. By participating in the Contest, you agree to release, indemnify and hold harmless Sponsor, the Host, Facebook, Instagram, Twitter, Linkedin, Pinterest, Google+, each of their respective parent, subsidiary and related companies, and each such company's respective officers, directors, employees, agents and independent contractors and consultants (collectively, the "Released Parties") from and against any claim or cause of action arising out of or related to, directly or indirectly, in whole or in part, whether known or unknown, arising now or in the future, your participation in the Contest, creation of your Entry or Video Clip, or receipt, use or misuse of any prize, including, but not limited to: (a) claims that your Entry or Video Clip violates any intellectual property, publicity or other rights; (b) claims arising from any use or other exploitation of, or failure to use or exploit, your Entry or Video Clip; (c) claims arising from any breach or alleged breach by You or anyone else of these Official Rules; (d) claims arising from unauthorized human intervention in the Contest; (e) claims arising from technical or printing errors; (f) claims arising from lost, late, postage-due, misdirected or undeliverable mail or email; (g) claims arising from errors in the administration of the Contest or the processing of Entries; (h) claims arising from injury, death or damage to persons or property; (i) claims based on defamation, infringement of intellectual property rights or on the rights of publicity or privacy; or (j) claims for false advertising in the administration of the Contest. You further agree to release, indemnify and hold harmless the Released Parties from any and all claims or causes of action arising out of or related to, directly or indirectly, in whole or in part, whether known or unknown, arising now or in the future, your participation as a Winner of the Contest, in the film, any video, print, content in any format or media produced by Sponsor, including but not limited to, (a) claims relating to the promised number of words spoken by you or promised screen time in the final cut of the distributed video, (b) claims arising from, in, under or relating to any contracts you enter into with respect to the film or video(s) produced by Sponsor and which is the subject of this Contest, and (c) claims relating to your participation in such film or video(s), whether arising during pre-production, production, on or off set, post production, distribution and/or post distribution of such film or video(s). You further agree that in any cause of action, the Released Parties' liability will be limited to the actual out-of-pocket costs associated with participating in the Contest, and in no event shall the Released Parties be liable for, and you hereby waive all rights to, punitive, incidental, or consequential damages, including reasonable attorney's fees and travel expenses. Participant further waives all rights to have damages multiplied or increased. YOU WAIVE ANY RIGHTS OR CLAIMS TO INDIRECT, SPECIAL, PUNITIVE, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER FORESEEABLE OR NOT AND WHETHER BASED ON NEGLIGENCE OR OTHERWISE. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATIONS OR EXCLUSIONS OF LIABILITY SO THE ABOVE MAY NOT APPLY TO ALL ENTRANTS. IF YOU ARE A CALIFORNIA RESIDENT, YOU WAIVE ANY AND ALL RIGHTS UNDER SECTION 1542 OF THE CIVIL CODE OF THE STATE OF CALIFORNIA, WHICH PROVIDES AS FOLLOWS: "A GENERAL RELEASE DOES NOT EXTEND TO CLAIMS WHICH THE CREDITOR DOES NOT KNOW OR SUSPECT TO EXIST IN HIS FAVOR AT THE TIME OF EXECUTING THE RELEASE, WHICH IF KNOWN BY HIM MUST HAVE MATERIALLY AFFECTED HIS SETTLEMENT WITH THE DEBTOR."
15 Disputes. To the extent permitted by applicable law, by entering the Contest, you agree that any and all disputes, claims and causes of action arising out of the Contest or any prize awarded shall be resolved individually, without resort to any form of class action, and exclusively by the appropriate federal or state court located in New York, New York. All issues and questions concerning these Official Rules, your rights and obligations, or Sponsor's rights and obligations shall be governed by the laws of the State of New York, without giving effect to any choice of law or conflict of law rules. Recipient agrees that in the event of any breach or threatened breach by You, Sponsor may obtain, in addition to any other legal remedies which may be available, such equitable relief as may be necessary to protect Sponsor against any such breach or threatened breach.
16 General Conditions. In the event that the operation, security or administration of the Contest is impaired in any way for any reason, Sponsor may, in its sole discretion, suspend, modify and/or cancel the Contest and, if feasible, select a potential Winner from among eligible, salvageable and non-suspect entries received on or before the termination date. Inclusion in such selection process shall be each Entrant's sole and exclusive remedy under such circumstances. Sponsor reserves the right in its sole discretion to disqualify any individual it finds to be tampering with the operation of the Contest or to be acting in violation of these Official Rules or in a disruptive manner. Any attempt by any person to undermine the operation of the Contest may be a violation of criminal and civil law, and, should such an attempt be made, Sponsor reserves the right to seek damages from any such person to the fullest extent permitted by law. Sponsor's delay or failure to enforce any term of these Official Rules shall not constitute a waiver of that or any other provision. In the event of a dispute as to any entry, the authorized account holder of the account used to enter will be deemed to be the Entrant. The potential Winner may be required to provide identification sufficient to show that he/she is the authorized account holder. Proof of uploading an Entry or Video Clip does not constitute proof of entry. In the event that an entry is confirmed to have been erroneously deleted, lost or destroyed, Entrant's sole remedy shall be another entry into the Contest. If any provision of these Official Rules is held to be invalid or unenforceable, such provision shall be struck, and the remaining provisions shall be enforced.
17 Results. Sponsor will make its best efforts to post the results on the clapit app no later than fourteen (14) days after this contest ends.
18 Headings. Headings used in this Agreement are provided for convenience only and shall not be used to construe meaning or intent.
19 Severability. If any term of this Agreement is held by a court of competent jurisdiction to be invalid or unenforceable, then this Agreement, including all of the remaining terms, will remain in full force and effect as if such invalid or unenforceable term had never been included.
20 Use of Clapit Logo in Promotion of Contest Entry. As between Sponsor and You,
(a) You acknowledge Sponsor's exclusive right, title, and interest in and to the trademark rights in clapit.
(b) You agree that You shall not acquire any right of any kind in Sponsor's logos as a result of your use of it in promoting your Contest entry on social media or otherwise and that You shall not hold yourself out to be, or to speak on behalf of, an authorized representative, agent, independent contractor, ambassador, host or employee of Sponsor.
(c) You agree that You shall not: (i) use the clapit logo in any manner likely to diminish its commercial value; (ii) knowingly use any name, logo or icon likely to cause confusion with the logos; (iii) make any representation to the effect that the clapit logo is owned by You rather than by clapit; (iv) challenge either the validity or clapit's ownership of any trademark rights which incorporate the logo; or (v) attempt to register, register or own in any country: A) the clapit logo; B) any domain name incorporating in whole or in part the clapit logo or C) any name, domain name, keyword or mark confusingly similar to the clapit logo.
(d) As between Sponsor and You, You acknowledge Sponsor's exclusive right, title and interest in and to the copyright in the clapit logos, and You agree that You will not contest or assist another in contesting that copyright or clapit's ownership of it.
(e) All materials, if any, provided by Sponsor to You under this Agreement, and all proprietary rights in and to all such materials shall remain the sole and exclusive property of Sponsor, subject only to the non-exclusive rights granted to You under this Agreement.
(f) If Sponsor, in its sole discretion, determines that any materials used or distributed by You under this Agreement are unsatisfactory to clapit, either based on the quality of the materials themselves or the depiction of the clapit logo on the materials, then Sponsor shall so notify You in writing. Upon receipt of such notification, You shall have five (5) days to implement such reasonable changes, as Sponsor shall suggest, ensuring that the materials are satisfactory to Sponsor.


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Sliced potatoes are tossed with onion in seasoned flour, then fried in a bit of hot oil, covered and smothered with milk for a slow simmer. Simple, delicious comfort food.
Smothered Stewed PotatoesThis is one of my favorite potato side dishes, though I've also been known to make a pot just because I wanted some too!
It's very simple, classic country cooking - nothing particularly extraordinary about it or anything, but potatoes prepared this way are just so delicious and comforting. Simply sliced thin, then tossed with a tiny mixture of flour, salt and pepper, first cooked in a bit of hot oil and then covered in milk to low simmer until smothered down and tender. They are as at home as a side dish with that nice Sunday pot roast, as they are with your everyday chicken, or if you're like me, as a meal all on their own.
Here's how to make them. Seriously easy y'all.
First you toss the potatoes with just a bit of flour - only a teaspoon - and 1/2 cup of onion, salt and pepper; set aside for about 10 minutes. Forgot that picture. Melt 1/4 cup of fat in the bottom of a lidded pot.
I use my 6 quart cast iron, enameled Dutch oven - which by the way is a nice Better Homes & Garden product purchased at a very reasonable price from Walmart. It is probably the most used pot in my kitchen & has held up beautifully, meaning you do not have to spend a fortune on a fancy French enameled pot y'all. Just sayin'...
You can use canola or vegetable oil, butter, bacon fat or any combination.
Add the potato mixture to the hot oil and cook until heated through, stirring to coat.
Add the milk.
Bring mixture to a boil, stir, reduce to a simmer, cover and cook, stirring occasionally about 15 minutes, or until potatoes are tender.
Remove cover, taste, adjust salt and pepper, and continue cooking on simmer, uncovered, until the potatoes and gravy reach desired consistency. Serve immediately.
A great variation to this side dish is to brown chopped andouille or smoked sausage in the oil before adding in the potatoes. You can also add in some green bell pepper if you like. Add the milk and proceed as above.
You may remember a similar potato recipe we had here back in March as a featured reader post. Nell's version is layered in with smoked sausage and onion, undisturbed as they simmer in broth, another delicious version of smothered potatoes. Why not try them both!
For more of my favorite potato recipes, pop over to my Pinterest page!
If you make this or any of my recipes, I'd love to see your results! Just snap a photo and hashtag it #DeepSouthDish on social media or tag me @deepsouthdish on Instagram!
Recipe: Smothered Stewed Potatoes©From the Kitchen of Deep South Dish
Prep time: 10 min
Cook time: 30 min
Total time: 40 min
Yield: About 4 to 6 servings
- 2 pounds russet potatoes, peeled and sliced 1/4-inch thick
- 1/2 cup chopped onion
- 1 teaspoon all purpose flour
- Kosher salt and freshly cracked black pepper, to taste
- 1/4 cup bacon fat, canola oil, butter, or any combo
- 1 cup milk, water, chicken stock, or any combo
Toss the potatoes with the onion, flour and salt and pepper; set aside for about 10 minutes.
Meanwhile heat the fat in a Dutch oven or other heavy lidded pot. Add the potato mixture to the hot oil and cook until heated through, stirring to coat. Add the milk and bring to a boil, stir, reduce to a simmer, cover and cook, stirring occasionally about 15 minutes, or until potatoes are tender. Remove cover, taste, adjust salt and pepper, and continue cooking on simmer, uncovered, until the potatoes and gravy reach desired consistency. Serve immediately.
Variation: Brown chopped andouille or smoked sausage and chopped green bell pepper in the oil before adding the potatoes. Add the milk and proceed as above.
Potatoes Stroganoff: Brown 1 pound of ground beef and drain well. Add 1/4 teaspoon each garlic powder, onion powder, Cajun seasoning and 1 teaspoon dried parsley along with salt and pepper. Toss with potatoes, onions and meat; finish as above, increasing milk to 1-1/2 cups. Stir in 1/3 cup full fat sour cream last 5 minutes of cooking and a small can well drained mushroom pieces.
Source: http://deepsouthdish.com
Requires Adobe Reader - download it free!©Deep South Dish
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Potatoes au Gratin
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subset: commoncrawl


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Space, particularly inner headspace was big news in the early eighties. All those derelict inner city landscapes represented both physical and mental wastelands. The most iconic music of the era serves as a map to those empty spaces rebuilt by flickering minds in stranger, more emancipated times: World Of Echo, Unknown Pleasures, Dare, Remain In Light, Computer World. It's become a cliche to describe these records as strange documents from a lost brave new world but that's what they are. Here are some postcards from the heart of downtown.
Manhattan's Liquid Liquid the quartet of Scott Hartley Richard McGuire, Salvatore Principato and Dennis Young effortlessly melded and shaped there own, very groovy, space. Loose but tight, edgy and inviting, both dry and wet, the phrase Slip In And Out of Phenomenon, the title of this retrospective collection - and the vocal hook from their most infamous track Cavern - perfectly nails both the sound and the sensation of listening to Liquid Liquid.
Over little more than 3 EPs in their lifetime Liquid Liquid rerouted the rythmns of the subway and the steam of the city to some imagined African nighttime future. Contemporaries were busy discoursing on the Fourth World, or re-imaging ethnography for computers. Can had come close at their most sensual but no one had sounded as direct, hotwired and funky as Liquid Liquid. In the space and depth of their sound there was room not only to move, but to get right down deep into it. Orbiting around a core configuration of drums, bass, marimba and percussion Sal Principato's voice incanted and chanted. One minute he's reading out the formulae to surface tension - see Out - or, as on Lock Groove he's a ghost having a good time stuck in an echo chamber. Either way he makes being disorientated sound like the best fun in town. As well as an intensity to the grooves that is very much of its time - you can hear the group reaching for every note and beat - Liquid Liquid were locked together by a sticky looseness - see Where's Al? - that is as head-nodding infectious now as it must have been desirously strange at the time. Cavern kicks off with what must be, by now, the world's most famous bassline. And thereby, via White Lines, Sugarhill business practice, the birth of hip-hop and sampling, hangs a tale.
Now a good twenty five years after legal meltdowns, industry shutouts and bad deals; it's the jaw dropping elasticity and funkiness of Cavern that shine through, one of the most remarkable tracks to ever be put on record. Today Liquid Liquid's legacy is everywhere. The UK's hippest club, Glasgow's Optimo is named after track 13 of this CD, a piece of music any DJ would kill to get their hands on as its skitters and twitches its way across the dancefloor. Fellow NYC residents DFA resurrected the uptight downtown funk of Liquid Liquid and contemporaries ESG in their early productions and edits, whilst today's vogue for live instruments in 'balearock' italo and electro club tracks means Liquid Liquid's way of doing things has come full circle.
So its good news right? That the party's starting all over again.


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First off, the December schedule for Saturday Zazen at the Hill Street Center is Dec. 2, Dec. 9, Dec. 16, and Dec. 23. December 9th is a day-long micro-retreat. On Dec. 23rd Tonen O'Connor from the Milwaukee Zen Center will be in attendance. That should be fun.
Thanks for all the comments and e-mails on Jesus. I'm still thinking about whether to do this or not. But I'm having fun reading A Marginal Jew by John P. Meier, a humongous study of the historical Jesus. Chewy stuff!!
OK. The other day I was at Goodwill rumaging thru the usual pile of musty old records when I came across the album pictured here, Velvet Darkness by Allan Holdsworth. Holdsworth is one of those guitarist's guitarists. Meaning he's really really good, but not very accessible to people who don't play guitar thesmelves since part of his appeal is how amazingly difficult his stuff is to play. Eddie Van Halen called Holdsworth his biggest influence. Before this I'd only ever heard one of his records, 1982's I.O.U. While the guitar playing was very impressive, the album was kinda boring. But when I spotted this one at Goodwill for 99 cents, I figured it was worth a dollar. Plus I liked the cover. Anything with the WTC on it is kind of sad to see these days. But it's a nifty picture.
I took it home and it was mildly enjoyable. So today I went on-line and looked up the album. Turns out it's a much sought-after rarity. Holdsworth himself hated it and it hasn't been reprinted since its initial release in 1976 except in an unauthorized edition in the early 90's that Holdsworth himself successfully sued to have withdrawn. Unfortunately, in spite of its rarity, it's only worth about $20 in mint condition. And mine's good for a thrift store find, but certainly not mint.
ANYWAY, the interesting thing was that the album suddenly seemed way much cooler to me as soon as I learned that it was a "secret album." That must be an almost instinctive reaction. Anything that's supposedly hidden or secret, just for that fact alone always seems a whole lot cooler. It's like all those Beatles bootlegs. I have a ton of them and they're mostly crap. The legit releases are much better. Yet dorks like me will drop a big bucks for the stupid things just because we're not supposed to hear them.
Same thing works in religious circles. Whenever some teaching is presented as esoteric, forbidden, or secret everybody wants it. And, of course, just like the Beatles bootlegs, those secret teachings are never really any better than what's out there available to everybody. Usually, like the Beatles bootlegs, they're just lousy cast-offs that were never released to the general public because they sucked.
ANYWAY I listened to the Holdsworth album again this afternoon and I kind of like it. Much better than I.O.U.


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Will Election 2008 Be Another 'Year of the Yahoo'?
By Wednesday, it will probably all be over. The pundits will be hoarse and the electorate sore and scarred. Eight whole months before the rest of the so-called democracy can actually have their say in who becomes President, Super Tuesday will set a stage that few faltering campaigns can recover from. In a contest that's seen both fields narrowed down to two questionable contenders, the votes cast this day will determine everything - momentum, money, endorsements, delegates, and perhaps most importantly, public perception. If you're Mitt Romney, alleged Conservative savior, and you loose to many of those Red State reactionaries, no amount of flip flopping will revive your reverse Reaganism. And for Hillary Clinton, it's time to put that frontrunner fallacy to the test. If Obama can keep in lockstep, their showdown may have to be solved on the convention floor. It's all part of the process. It's all part of politics.
Ahh... politics. That creator of strange bedfellows. That seducer of the honest and the well intentioned. That corrupt bastion of bad policies, faulty execution, and spin doctored excuses for both. Every couple of years it seems the representative form of our government gets the grand idea that people actually believe that their voice counts, and so they set about pandering -- sorry, CAMPAIGNING -- to bring the citizenry to the issues that the lobbyists find most important. Outrage is amplified over insignificant social dicta while truth is tempered by ideological based perspective. It's all in service of a sinister cabal in which power cannibalizes and feeds itself, a non-stop frenzy of false pride and implied dominance. In the end, the result is a malfeasant machine that manufactures its own magnitude and perpetually pleases only those who can provide its omnivorous fetid fuel.
But wait, you don't believe that one man/one vote is a lost cause? You think that a sincere and straightforward candidate can rise up out of the glad-handing quagmire that is this onerous organism and avoid the behind the scenes manipulation of his or her party's protectorate to actually serve their constituency? Well, Mr. and Mrs. America, you need a quick lesson in the realities of the Republic, and there's no better place to start than with the many movies made on the subject. Indeed, film has, over the decades, found many ways to highlight the hypocrisy and expose the evil boiling just below the surface of the scandal-plagued political process. No sour subject has avoided the cinematic vox populi, from nation altering atrocities like Watergate and the JFK assassination to the standard stratagem of dirty tricks and the always scandalizing subject of sex.
Perhaps the best example of such an anti-politico polemic is 1972's Year of the Yahoo. What? What's that you say? You've never heard of this film? Perhaps you were expecting All the President's Men? Primary Colors? The Manchurian Candidate? Well, if you took a smattering of Elia Kazan's A Face in the Crowd, mixed in a smidgen of standard exploitation, and sprinkled the entire enterprise with a heaping helping of hominy and hambone, you'd have Herschell Gordon Lewis' long lost masterpiece of down home despotism and the media's unpardonable ability to influence events. With a narrative fresh out of today's headlines and a tone as cynical as a grad student's weblog, Lewis lifts the lid off the muckraking ridiculousness that is our political process, and even provides a few toe-tapping musical PSAs along the way.
Our story begins when the incredibly liberal and virtually unbeatable Senator Burwell comes up for re-election. Angry over his left-leaning ideals, the sitting President of the United States wants Burwell defeated. He even handpicks his own rube for the job: strumming and grinning goober Hank Jackson, famous in both fields of music: country and western. Sending a triumvirate of trained pollsters and media men into the bumpkin's backwoods locale, the Corruptor in Chief hopes to help the honky-tonk hick win more than his fair share of the illiterate Appalachian vote. But the glad-handing Governor and his backside smooching sidekick think this corn pone crooner ain't got a chance in Chattanooga of success. They fail to take his candidacy seriously, and spend most of their days giggling over the lopsided poll numbers.
It's not long, however, before a sleazy, slick ad campaign and a constant playlist of public pandering, philosophically fascist songs has Hank labeled a wholesome homeboy by the neo-conservative race baiters within his constituency. His TV appearances, complete with some finger snappin', demographically accurate musical numbers, increase his image of earnestness and elect-ability. Indeed, it looks like Jackson will win the gerrymander, even when a rent strike divides his bluegrass bandwagon and unsettles his perfectly polished coalition. As Hank continues to tow the prejudiced party line, his hen pecker of a girlfriend sides with the agitators. It takes dozens of underhanded shenanigans, a sexual assault and a clear case of conscience -- not to mention a lonesome ballad or two -- to help Hank regain his integrity and to determine, once and for all, if it's really The Year of the Yahoo.
Indeed, Yahoo is a real rarity amongst supposed skin and sin exploitation films, especially the one's made by Mr. Blood Feast himself. Instead of some sleazy exposé in which naughtiness and nudity are the only salient selling points, what we have here is a really great movie with an incredibly well written script, a narrative that navigates the truths about government in a way most mainstream efforts would likely avoid. Existing outside the confines of an oppressive studio system, capable of saying anything and everything he wants, screenwriter Allen Kahn creates an astute, perceptive dissection of the entire cynical candidacy process. It's a plot that demonstrates how gaining elected office in the United States is not a matter of ethics or integrity but merely showmanship and selfless pandering to the public. Measuring up favorably against directorial heavyweights like Mike Nichols and Elia Kazan, Lewis' political potboiler about a podunk country singer candidate being mass marketed to his population of peons feels as new and astute now as when it was made.
Unfortunately, a hundred image consultants doing soundbite surgery at a suicidal rate would have a hard time getting the registered voter hyped about Claude King. Yes, he can carry a tune, but he can't carry a movie. His "wish I was George Jones" persona filled with 'golly-gees' and hair cream just can't seem to slink beyond the initial line reading level. He's like any other non-actor trying to put on the performance. His halting, half-baked believability leeches every available drop of drama out of his dilemma. Still, his "h-yuck yuck" yokelism works wonderfully within the movie. He comes across as a complete innocent made a meaningful man of the people. Actually, about the worst thing you can say about this production is that its low budget, non-professional cast aspects tend to show through more than usual. Funny how good writing will do that. Still, if you never thought that you'd experience high-class social consciousness and shrewd political satire in a surreal pseudo-grindhouse goof, then step right up and cast your ballot for The Year of the Yahoo. It's no more ridiculous than the arrogant stumping that's passing itself off as self-determination this Super Tuesday cycle.


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Smashing Pumpkins founder examines the transformative power of alternative media towards a total paradigm shift.
March 22, 2013
In this must see interview, Smashing Pumpkins founder and frontman Billy Corgan examines the power of the alternative media and citizen journalists, who are wielding truth as a truly transformative weapon in the age of information-warfare.
Corgan comments extensively on Alex Jones' unique position at the tip of the spear of resistance, piercing through the mainstream media's trance-like shroud which veils reality from the masses while the Wizard of Oz-like controllers operate behind the curtain to manipulate our society and steer our consciousness.
In a conversation that spanned nearly an hour during the iconic alternative rocker's surprise visit to the Infowars studio, Billy Corgan urges a more spiritual approach to the truth movement that seeks to expose the hardening global tyranny. Instead, that system could be overwhelmed and defeated if only average people would recognize their stake in waking up and connecting with the streaming continuity of humanity. It is our job to reach those people.
Without a doubt, Corgan's deep and frank conversation is of the utmost importance to everyone who values their future and wants to empower individuals around the world. If we face the challenge, we can embrace a total paradigm shift; otherwise humanity faces capture by a mesmerizing and ultimately empty illusory system where people are reduced to mere spectators.
The Emergency Election Sale is now live! Get 30% to 60% off our most popular products today!


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It's nearly midnight and Rodi Bar, a venerable old restaurant in Buenos Aires' Recoleta neighbourhood, is full, with a line stretching out the door and down the tree-lined street. Inside, bow-tied waiters, grey hair slicked back in fine Old World-style, shuffle from table to table balancing trays piled with plates of sizzling beef and bottles of wine. The crowd in the room and the din - an unremitting clamour of clanging cutlery and loud conversations in castellano, the regional Spanish dialect - is nothing unusual. For all their tango renown, what locals here really do well, and at all hours, is eat.
The cuisine is hardly revolutionary: an abundance of beef, pizzas and pastas brought over by Italian forbearers, and little more. But it's uniformly good. Ingredients are fresh; recipes are time-proven; and - failing all else - the wine is cheap and eminently drinkable. The local predilection for eating out has given rise to a dizzying profusion of small, neighbourhood restaurants in Buenos Aires - most good, some great. For the traveller, the city can be a veritable movable feast.
Just as high-end hotels have their signature scents - that trademark olfactory blend that perfumes the lobby - so does Buenos Aires: And it's the heavy aroma of seared beef. There are literally thousands of steak houses, known as parrillas, in the capital, often packed two or three to a block. With few exceptions, they do a brisk business.
Beef in Argentina is a national passion on par with fútbol. Cattle are grass-fed - grown on pasture not in feedlots - and also hormone free.
The result is a different steak altogether from the bland beef frequently on offer in North American supermarkets and restaurants.
Little surprise that Argentines consume more red meat per capita than anyone in the world, roughly 70 kilograms every year.
Along the waterfront Puerto Madero district, Buenos Aires' newest and most tourist friendly neighbourhood, at least a half-dozen steak houses offer suburb cuts for prices on par with North American equivalents.
Skip these. The same steaks, plus a dose of local colour, can be had for a portion of the cost by venturing into the city's older barrios.
Parrilla La Dorita sits on a street corner in Palermo, a working class neighbourhood slowly filling up with boutiques and sushi bars. Inside the crowded dining room, the clientele is split between young bohemians, all tight jeans and scraggly facial hair, and old couples who probably remember Evita - the famous Argentine first lady from the 1940s, not the 1990s Madonna musical about her life.
In the back of the room, two cooks in blood-stained aprons preside over a massive, wood-fired barbecue - high altar of the city's carnivorous faithful. One cook tosses on ribs, steaks, bell peppers and potatoes.
The other stirs coals glowing just beneath the grill.
La Dorita's menu lists a baffling array of cuts, from the delicate bife de lomo, a tenderloin filet, to the hands-down local favourite asado, a meaty rack of grilled short ribs. I settle on the bife de chorizo, a sirloin. In the cramped dining room, waiters come and go, wading through air hazy with grease and smoke. Finally, my turn comes. Served humbly on a worn wooden cutting board, the bife is a thing of beauty - seared with dark crosses from the heat of the grill but a punto inside, just a touch of pink.
Old timers in Buenos Aires have a habit. To every glass of red wine, they'll add a shot or two of agua con gas, soda water - a holdover from the bad-old days when Argentine plonk was virtually undrinkable and begged to be watered down.
This evening, inside the tiny wine bar and restaurant Dadá in the city's gritty commercial centre, no one is diluting anything.
Groups of young Argentines - chic, thin, with a practised, almost European, ennui - sit gathered around bottles at tables covered with brown butcher paper. To a soundtrack of American soul music, glasses are filled and refilled. The vino is not merely good; it is for the most part exceptional.
In the late 1980s, after centuries of making cheap jug wine, vintners here finally turned their attention to taming Argentina's signature grape, the notoriously tannic Malbec.
The result today is a glorious catalogue of dark, complex reds, beloved by not only Argentine drinkers but oenophiles around the globe.
In the bars and restaurants of Buenos Aires, bottles are available in cheap, splendid profusion (In fact, failure to order wine with dinner will elicit confusion, if not outright reproach, from waiters).
In most places, a few dollars buys a decent bottle; $10 an excellent one - bright, fruit-forward and an optimum complement to the ubiquitous beef.
Back inside Dadá, the old zinc bar is filling up with regulars. I spend a few more pesos than usual and spring for a bottle of Malbec reserva - the good stuff.
In the glass, it's dark, dense, conspiratorial - a Buenos Aires night bottled. Between sips, I take in the tableau: young couples tucked into dim corners; the black and white tiles on the floor - chipped and worn from a century or so of abuse; slim, dark-haired waitresses uncorking bottles with a deft twist of the wrist.
After a very good glass, and then maybe one or two more, I make my way outside to a lane of handsome old buildings with wrought-iron balconies. The din from Dadá carries part-way down the street, then fades into the warm night.
And for the final course, something unexpected: silver teapots and white-gloved waiters; sponge cake and butter tarts; delicate porcelain cups refreshed with practised grace.
In defiance of geography and history, the British tradition of formal afternoon tea is replayed thousands of times a day in Buenos Aires, the vestige of an unusually deep Anglo fetish.
A few thousand enterprising Brits settled in Argentina in the mid 1800s, lured by dreams of striking it rich in the booming railroad industry.
They introduced the continent to soccer, founded an English newspaper in Buenos Aires that still exists and even opened a Harrods in the heart of downtown.
They also drank tea, a custom locals - eager to Europify their humble back-water - embraced. By the 20th century, large and lavishly furnished tea houses, modelled after London salons, were fixtures in the Argentine capital. Though the 1982 Falklands War with the U.K. put a temporary damper on tea drinking, salons remain vital today. And perhaps none is more storied than the one inside the Alvear Palace, the 1930s belle époque tower housing perhaps the city's ritziest hotel.
Under crystal chandeliers, in a room decked out with Louis XV-style furniture, Buenos Aires' elite indulge their inner anglophiles. All the Victorian trappings, real and imagined, are here. Harpist playing softly in the corner? Check. Heavy silver polished to a high sheen? Check. Scones, jam and petite, crustless sandwiches? Check.
Clientele these days is mixed: young socialites who text between sips; businessmen in expensive loafers; tourists sneaking shots on camera phones. But mainly this is the domain of the señoras: Buenos Aires' glamorous, silver-haired ladies of leisure. Today a large group is gathered around a table. They wear furs that would trigger protests in North America and jewels that evoke all the glory of Buenos Aires' halcyon days.
I work my way through sandwiches of creamed trout, through homemade crumpets, cheese puffs, mousses and tarts, sipping daintily all the while. But when the waitress rolls around a big silver trolley lined with pineapple sponge cakes and strawberry cheese-cakes, I draw the line.
After a week in Buenos Aires, I'm stuffed.


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Mercer, the global benefits administrator, announced Monday that it has launched an online retirement planning website called My Retirement Workshop designed to help 401(k) participants "fix" their retirement plans.
The workshop, which Mercer set up for employees whose 401(k) plans it administers, addresses key findings from the 2011 Mercer Workplace Survey, which Mercer says revealed that employees were feeling more personally accountable for their own retirement.
Dave Tolve, retirement business leader for Mercer's U.S. Outsourcing business, said in a statement that "Typically, we've found that a pessimistic economic outlook among 401(k) participants leads them to ignore and often retreat from retirement planning." However, Mercer's most recent survey results revealed "the opposite," he said.
"Employees seemed to be more motivated to make positive changes and take on more personal responsibility for their future financial security. My Retirement Workshop was designed to respond to this shift in attitude with helpful, action-oriented content that will give participants the tools to continuously improve their chances of a successful retirement."
Mercer says the online workshop consists of four main features:
- A brief self-assessment tool that provides personalized feedback and a recommended action plan
- A selection of hands-on projects that address common retirement planning challenges
- A toolbox of helpful calculators, worksheets and widgets
- An opportunity to "learn from the pros" by watching videos, listening to podcasts and/or reading articles. The site also allows visitors to interact with peers through discussion boards and quick polls and to share the site through various social media websites.


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House Pressure Washing Shepard MI
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Pressure washing your home is a viable cleaning method when done correctly. Many homeowners prefer to follow the manufacturer's instructions to the letter, and we respect that. Some siding manufacturers void their warranty when their product is pressure washed. This is when we recommend low pressure soft washing instead. This method perfectly cleans siding and other surfaces without the use of highly pressurized water if done by a professional such as those at Central Surface Cleaning of Shepard MI.
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This is a process that is extremely easy on your siding and all of your landscaping as well. We spray a biodegradable cleaning solution on your siding, paying special attention to areas with a lot of grime, algae, or mildew. We may need to coat the solution more than once if there are stubborn dirty spots. Then we use a regular water rinse with low pressure but high gallons per minute. The low pressurized water is gentle enough to spray it on your hand without injury to give you a idea of the low pressure system we use, I could actually spray it on my face!
Low Or High Pressure house washing get the job done!
The results we see in Shepard MI with low pressure soft washing or pressure washing are pretty magnificent. The grime and algae practically melt off of the siding after the first application of the biodegradable cleaning solution. Our cleaner does more than simply remove the surface grime and algae; it kills it so it doesn't return in just a few weeks.
High pressure house washing is a safe process if done correctly
Highly pressurized water is very dangerous and can cause lots of damage if not done by a professional such as the professionals at Central Surface Cleaning of Shepard MI, but it is, after all, just forceful water. It doesn't kill the algae or mildew at the source. It just removes the visible layer and gives the appearance of a full clean. Leaving the roots to grow back quickly We use the correct cleaning solutions that kill the mildew and algae at it roots! You will not see the reappearance of mildew and algae for years to come.
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Call Central Surface Cleaning at (989) 607-1373 Shepard MI


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FIM MotoGP - Podium Conference Red Bull Indy
MODERATOR: I think the riders are almost with us, ladies and gentlemen. In second place here riding the factory Yamaha, Jorge Lorenzo, of course, retains his lead in the World Championship.
The race winner here this afternoon, his second win at Indianapolis, his second win of the season is Dani Pedrosa, and yet another podium finish for Andrea Dovizioso. (Applause)OK, obviously we'll start with the race winner. It's been a good weekend all the way around for you, Dani, hasn't it? Practice went well, obviously the record lap in qualifying and then the race itself.
DANI PEDROSA: Yes. It was a good weekend, I think. The bike was working well. We were spinning all the practice, but we had a good feeling. So, yeah, today for the race I was quite confident, but at the beginning I try to stay focused. The pace was very high. Everybody was running a high pace. Early in the race I started to open a gap, but anyway, I knew the race was long, so I tried to stay focused. It was the middle of the race, I make mistake in Turn 2, the gears get back into neutral. So when I shift again to first, the bike kick, had a good kick on me and, yeah, I almost lost control, but I kept the bike on the track. I lost one second that lap. I could get back on my rhythm and get back on the lead with good pace.
So it was the end, it was more easy because I think Jorge with the soft rear, he had more problems. So I could get more easily my pace. Yeah, the bike was working well. I have to thank to all my team. Yeah, you never know before these races, but today we did a good race.
MODERATOR: I suppose one of the problems was that Ben Spies obviously made a very good start and then, of course, the engine did blow. I suspect you were slightly worried if there was any oil on the track down at Turn 1.
PEDROSA: Yes, Spies got by me very easy in Turn 2. I was couple laps behind him; he was doing late braking. But he make a mistake before the main straight, so I had to go there. Some laps after, yeah, I see the flags, but everything happened behind me, so I didn't understand really what was going on. So I didn't know how bad was the situation. And for a couple laps I was a little scared there, but then I see everything was fine. So I could get back on my rhythm.
MODERATOR: Second win of the season, the consistency has been there throughout the season. You said you've got to win more races, you've got to beat Jorge. You've done that today. Eighteen points now between you and Jorge and the championship.
PEDROSA: Yes, today we recover five points, but surely it's going to take to stay there every weekend. This weekend for Jorge wasn't easy with the bike or the tires and still able to be second. So we have a tough competitor and sure 'til the end it will be a very tight fight. But I hope I can continue in the same way until the end and have good luck.
MODERATOR: Next round in Brno, very quick flight back and then immediately back into the action. Circuit I would imagine you would like, Brno. I think most riders like the circuit at the Czech Republic.
PEDROSA: Yes, Brno is a good layout, it has good corners. It's wide, you can carry a lot of speed into the corners. In the last years, we did improve our bike there and we hope to have a good bike again and good luck.
MODERATOR: Dani, congratulations, second time you've won Indianapolis, second of the season. Come to Jorge Lorenzo, it's been a tough weekend for you and Yamaha, you've worked very hard to get the bike right. I think the way you went across the line, you were not too unhappy in second place. It was 20 very important points.
JORGE LORENZO: Yeah, yeah. Sometimes being second is better than a victory in some circumstances. So today was like that. From the beginning, we have plenty of problems here to be competitive. Finally in the qualifying we improve so much the bike, and I started the race very confident trying to make a good start. I didn't, I was passed by Ben and Andrea. It was very difficult to pass Andrea. I take a little risk. And then after, I could follow quite a bit Ben and Dani with the soft tire I choose. But from the middle of the race was impossible to keep the same pace. I had to take so many risks, and sometimes it is better to slow down and not to crash. Then I have a little problem with one slow rider, I think it was Steve Rapp. So was really difficult to pass him because he was riding like he was defending the first position. (Laughter)
So every time I try to pass him, I see me touching him and crashing, so I prefer to wait a little bit more. And to pass him I take a little risk in this corner.
I think the blue flag wasn't in any corner, so it's unbelievable. We have to solve this because it's very bad for the riders who are fighting for the podium, no?
Anyway, good position, we are leading the championship still, and we come to Brno, which is a track much easier for us than this one.
MODERATOR: Obviously you chose the softer option rear tire for the race.
LORENZO: Was risky, was risky knowing that only Toni Elias was choosing the same tire as me. So sometimes you check all the riders' decision, no, but this time I knew with the soft one, especially at the beginning of the race I have some advantage. So I take a little risk but finally was OK.
MODERATOR: Eighteen points now between you and Dani. It's a bit like the old days, isn't it? You're fighting again but this time for the MotoGP World Championship.
LORENZO: Yeah, again like in 2010 it seems it's going to be a fight between me and him. Anyway, I will not discount Casey because he is strong and he can win several wins consecutive. So it's going to be hard; it's going to be hard for us. We need to improve a little in the bike because the bike is improving a lot during the season. So we see after the Brno race if we have a little improvement in the bike in the test.
MODERATOR: Jorge, congratulations, second place for the championship leader.
We come on to Andrea Dovizioso, of course riding that Monster Energy Tech 3 Yamaha. You're on the podium again, Andrea. It's becoming a habit, isn't it? You're on the podium so often now.
ANDREA DOVIZIOSO: Yeah, the fifth podium is real important, especially in Indianapolis. I didn't expect to be quite strong in this track, and my feeling with the team become always better also with the bike. So we had a good pace. Unfortunately in the race I couldn't push like I thought. Looks like the grip was a little bit less for everybody, and at the beginning the first riders push a lot and I couldn't follow. And after Ben broke the engine and I made off the main straight with the fog, the smoke, I couldn't see nothing. And I couldn't see where Ben was. It was so dangerous for me and Casey and Bautista. Also, when the smoke went gone, I had all the oil in my visor, so I couldn't know if I had the oil in the tires. So I made 43, I don't know, 43.5, and lose too much time.
At that point, I have to recover my rhythm. And after that, I can be riding 39, it was my pace. So I can't be happy about my inconsistency, but anyway, third position for us is real important, especially in this track.
MODERATOR: What about the battle with Casey Stoner? It was a brave, brave performance, wasn't it, by him?
DOVIZIOSO: Yeah, Casey made a really amazing race. He couldn't push and his position on the bike, it was really bad. So, I mean, I like to fight with Casey because Casey is Casey, but his situation, it wasn't hundred percent. And I wait until at the end because I knew he couldn't keep that energy until at the end. And I can beat him. Anyway, another podium for us is real important.
MODERATOR: Thank you very much, Andrea. As you say, another podium finish.
That's enough from me, ladies and gentlemen. If you have any questions, please put your hands up.
Q: Dani, do you think that you're riding at your best? This is the best of your career?
PEDROSA: Well, I don't know, really. But I know I'm doing all I know to be fast. So, yeah, I try every weekend. It's not always easy, but, sure, I hope I can continue like this until the end of the year and keep strong. It's the case because if you look at the points in the, I think in the last four races, Jorge and I, I did one point more than him, so it's going to take, sure, a lot of effort 'til the end. And I have to keep focused all the way.
MODERATOR: Anybody else?
Q: I want to go back, Jorge, again to the tire choice. Your crew chief, Ramon, speaking on Spanish TV, said you made the choice because you felt much more comfortable with the tire. Could you explain what was good about the soft tire that only you and Toni Elias used among the factory bikes?
LORENZO: I just try the soft one was a waste tire, wasn't a new one. So I just see I have very good edge grip and I could keep the pace quite a bit. The only problem was that we didn't make a simulation of race, no; only maybe 10 continuous laps or 12. So finally I have to choose one. We spend maybe half an hour trying to think which was the best. And finally we choose this because it was a special tire like in Germany with more harder, I don't know, compound to avoid the overheating. For us, the hard one with this special tire is not the best for my riding. And, for sure, my riding -- my smooth riding helps a little bit to save the tire, but obviously in the ride was completely destroyed at the end of the race. For this, my pace was always slow. That was my final decision.


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LA ACM SIGGRAPH: The Digital Artists of Jurassic Park
November 13, 2013 @ 2:30 am - 5:30 am
The People Behind the Dinosaurs
How did the digital dinosaurs of "Jurassic Park" make their way into the ground-breaking movie in 1993? On the 20-year anniversary of the film, the digital artists who created the critters will come together in a panel that's sure to be memorable.
The LA ACM SIGGRAPH chapter will be screening a documentary on Steve "Spaz" Williams, entitled "The Wizard of Awe," and having a panel discussion with the guest speakers about the seminal animation they created for "Jurassic Park" and how they changed the visual effects industry. The guests speakers are innovators who created the stunning effects of many iconic films, and influenced many visual effects artistsworking today.
From the creation of the creatures, innovations in computer programming and the teamwork involved in the production, attendees will get a glimpse into the world of "Jurassic Park."
LA ACM SIGGRAPH members: Note the slight change to the usual schedule.
6:30-7:15 Social Hour
6:30-6:50 Members only
6:50-7:15 Members and guests
7:15-8:00 Screening of "The Wizard of Awe"
8:00-9:30 Panel Discussion "The Digital Artists of Jurassic Park"
Presenters: Lauren Millar, Steve Williams, Mark A Z Dippe, Stefen Fangmeier, Randal Dutra
Venue: Barnsdall Art Park, Gallery Theatre
Registration: All LA ACM SIGGRAPH will be admitted free of charge. Non-members of LA ACM SIGGRAPH are admitted for $20.00. Join the LA ACM SIGGRAPH chapter online now to gain free admission (membership dues are $40 per year). New LA ACM SIGGRAPH members who sign up on-site and pay the $40 membership fee do not have to pay the $20 admission fee. The chapter accepts checks, cash, or credit cards (Mastercard or Visa only).
The crew of "Jurassic Park" are invited as our guests.
For more information, visit the LA ACM SIGGRAPH Jurassic Park Event Page.
Special thanks to Lauren Millar, Fusion CI Studios, Barnsdall Park, Sheri Ki Sun Burnham, Mike Amron, the LA ACM SIGGRAPH Executive Council, and all the volunteers.