text:
The time has come for each bottle to get its due. For too long have we been treating some of our beers like flowers in the attic, aging them for years in barrel rooms or shelving them to mature in bottle conditioning crates. But would they ever see the light of day? Other than a handful of back alley handouts and the ever rare and always overly-attended Ghost Bottle Nights, most of these brews have never been available to the public. With our new bottling line expansion we can now let you guys in on the little secrets we've been brewing up, here in Brooklyn. Quarterly, we'll release one of our specialty brews that require a little more incubation and a whole lot of tender love and care. We'll only be able to make a few thousand cases of each, so seeing more than one style at a time will be rare. Bigfoot sighting rare. As such their production will be very limited, not unlike a certain fabled brew that doesn't exist. If you see any of these bottles in the wild, drink it.
(UPDATE: This party is sold out. Like the Brooklyn Koala bear it will fade into myth and infamy. Check back next quarter for a first taste of the next Brooklyn Quarterly Experiment.)
For our first release we've decided to leak the bottles early. 11am early. We're throwing a FIRST TASTE release party. Less of a party and more of a gallery. A private hour to pick up your bottles for home and sample the first bottles off the line with your fellow foamy friends. There will be a cap on how many bottles we can sell so get your ticket early. The ticket will get you early admittance to the tasting room, a beer token to enjoy at the taps, a sampling of Wild Streak, some coffee from Brooklyn Roasting Company, donuts from Dough (because 11am), and of course, a bottle of Wild Streak all your own. Click here for tickets.
But enough about us, and how much delicious liquid we're going to enjoy, let's get to our first BQE release, Wild Streak. in the words of Garrett Oliver:
There was a time when all beers were aged in wood, and yeasts ran wild and cavorted together. Modern brewing is wonderful, of course, but sometimes a little cavorting is a fine thing. Sometimes it gives you a chance to reveal your funky side. We have to admit it – we've been cavorting for years…and sorta holding out on you. We didn't want to do that, but the fact is that up until now we only had enough room to make this beer for ourselves and some close friends - we didn't have enough beer to put it out on shelves. We actually make a lot of beers like this – we call them the "Ghost Bottles", and we've enjoyed pouring them for you at tastings and dinners.
Now we're very pleased to finally give one of our "ghosts" the opportunity to materialize in your hands. Brooklyn Wild Streak starts off as a Belgian-inspired golden ale. After fermentation and a brief conditioning, we then age the beer for several months in second-use bourbon barrels, giving it a soft, round character infused with nicely balanced oak flavors. Finally we bottle the beer flat and re-ferment it with blend of priming sugar, Champagne yeast and the wild yeast strain Brettanomyces. As the two yeasts do their cavorting, the beer gains its natural carbonation. The "Brett" takes many months to do its thing during bottle aging, but once it does, Wild Streak is enlivened by a wonderfully complex earthy funk.
This beer is almost one year old when released, but it will age beautifully for many more. It's particularly great with washed rind cheeses, game meats, steaks, and a few more things we probably shouldn't mention here. You'll figure it out for yourself, and that's half the fun. So go ahead – unwind that cage, pop that cork, and reveal your Wild Streak. You know you want to.


text:
The little one is officially a toddler. I love watching every wobbly step! What I don't love is propping and chasing behind every move. She's the one learning to walk but I'm the one being kept on my toes.
Out of curiosity, I strapped on a pedometer which recorded an extra 10,000 steps per day! Okay that's a lie. I don't own a pedometer. But if I did, I'm sure it would indicate a crazy amount of mileage accumulating between by bedroom and living room each day.
I've still got serious competition goals and many pounds to shed so I gotta thank baby for the extra calorie burn. I am literally chasing the dream 🙂

subset: commoncrawl


text:
College of Medicine
College of Pharmacy
College of Nursing
College of Allied Health Sciences
entire site
news releases
UC in the news
fact sheets
dean's list
clinical trials
Aimee Dietz, PhD, a research in the UC Department of Communication Sciences and Disorders, is studying the use of assistive communication devices for patients with aphasia.
Aimee Dietz, PhD, a research in the UC Department of Communication Sciences and Disorders, is studying the use of assistive communication devices for patients with aphasia.
Publish Date:
Media Contact:
Katy Cosse
, 513-556-2635
After Stroke, When and How to Use Assistive Devices?
Difficulty in remembering and using spoken or written words, known as aphasia, can be a painful side effect of stroke. For some patients, that difficulty can last long after their stroke, causing a severe decrease in their quality of life.
With two new National Institutes of Health (NIH) awards, a researcher at UC's College of Allied Health Sciences hopes to learn how augmentative and alternative communication (AAC) devices can help these patients continue to communicate.
Assistant Professor of Communication Sciences and Disorders Aimee Dietz, PhD, says that for many post-stroke patients, aphasia does not completely erase their ability to communicate.
"Aphasia is a language disorder, meaning patients may have a hard time understanding what they read or hear and have difficulty expressing themselves when write or speak but often still have the ability to express themselves using fragmented speech," says Dietz.
AAC devices allow patients to augment their speech, ranging from a basic board with printed symbols to high-tech devices that incorporate text and photos into an interactive tool. Patents can then point to or play items on the board to help with communication.
More recently, patients and speech-language pathologists have used mobile technology as AAC devices, either through new communication apps or using tablet devices or phones, to hold text or photos. As part of her research, Dietz is studying when to introduce AAC technology into the rehabilitation process and how best to design the devices for patients.
Under a KL2 Research Training Grant awarded by UC's NIH-funded
Center for Clinical and Translational Science and Training
(CCTST), she will study neuroimaging under the mentorship of imaging research assistant professor Jennifer Vannest, PhD, and professor Scott Holland, PhD, of the Pediatric Neuroimaging Research Consortium at Cincinnati Children's Hospital Medical Center, as well as associate professor of neurology Jerzy Szaflarski, MD, PhD.
In the research portion of the grant, Dietz will examine the use of an AAC intervention in patients between 3-12 months post-stroke.
Patients in the study will be randomized to receive either standard rehabilitation or a personalized AAC intervention designed by Dietz. The intervention will teach patients how to use their AAC device during recovery—so they can learn how to compensate while working to restore their lost language skills.
Current rehabilitation practices typically do not introduce AAC devices until patients have plateaued in their language recovery, says Dietz, and she hopes to show that restoration therapy does not have to be done to the exclusion of these interventions.
"Until we have a silver bullet for aphasia, we have to find some way for these patients to communicate," she says.
She likens the use of AAC devices to the use of a wheelchair or walker for patients relearning how to walk again: "We don't tell patients, 'You have to stay in bed until you can walk.' What we are doing now is telling them, 'You can't communicate until you can talk.' "
In another study, funded by a $25,000 T1 translational science grant, Dietz will study how her personalized AAC device affects patients more than 1 year post-stroke.
For these patients, a generic AAC device can present more struggles than solutions, as they have to relearn the device's symbols and connect them to words.
Personalized devices use a patient's own photos and phrases to help them recount stories from their past or convey information about themselves. Dietz says therapists have reported that patients do better when using personalized devices or when recounting personal memories instead of current events.
"When they had their own photos and text, most patients seemed to retrieve the words better, and there were fewer communication breakdowns," she says. "By activating that memory, the device was helping them find the language to talk about it."
Her study, "High-Tech AAC Treatment of Aphasia," will look at patients who are considered to have "chronic aphasia."
By comparing personalized with non-personalized AAC devices, the study could eventually generate enough data to launch a larger study on rehabilitation with personalized AAC devices.
"All apps aren't created equal," says Dietz. "Once we learn which work best, we can get the word out to AAC vendors, app developers and speech-language pathologists to have them design interfaces using features that make a positive difference for these patients."
UC's CCTST is supported by an institutional Clinical and Translational Science Award from the National Institutes of Health.
Aimee Dietz
College of Allied Health Sciences
Communication Sciences and Disrdoers
augmentative and alternative communication devices
AAC devices
Focus on Research with Karla Washington, PhD
Researcher Gets 2 NIH Awards to Study Speech and Technology
College of Allied Health Sciences Hosts 14th Annual PRaISE Conference May 11
Focus On Veterans with Pete Scheifele, PhD
Donations Create Foundation for Growth at Allied Health
back to list
back to top
Copyright Information
University of Cincinnati
, 2019
Notice of Clery and HEOA
Notice of Non-Discrimination
Academic Health Center Public Relations & Communications
260 Stetson St., Suite D |
Cincinnati, OH 45267-0550
Communications Services
G-44 Kowalewski Hall |
Cincinnati, OH 45267-0573


text:
Great speakers.
These speakers are great, Although i feel i must point out one major flaws the tweeters have. Each tweeter has two terminals, now i dont know about you but that sounds incredibly convenient besides the fact the screws take an Allen wrench the size of a toothpick. After a hour of constant turning on one tweeter i finally got it opened and put the wires into it only to have to re screw them in again. The 2nd tweeter i couldn't even get opened, in the end the wires slipped out of the first tweeter so i ended up just jamming the wires into the tweeter and tapping them in place. In the end it took me about 2 hours just to get the tweeters finished.
Pros: Great sound Very loud Beats out any kicker speaker ive owned in the past
Cons: Tweeter terminals Didnt come with wires I will probably be deaf in a few years


text:
MindVisit - The advanced Tossed Out Deck
Axel Hecklau eliminated the main disadvantage of the classic Tossed out Deck.
No combined sitting down of the spectators. With MindVisit you can tell every spectator individually the card he/she is thinking of.
This is a very convincing demonstration of mind reading.
Show the deck in "New Deck Order" and shuffle.
Four spectator peek at a card. Put the cards aside and start reading their minds.
- Perform MindVisit for small groups as well (no worries about people chatting)
- No Svengali principle
- No Memo-Deck
- No special audience management necessary
- Step by step revelations. Name the suit of each spectator first, then the exact value
- Use the common "dual reality" method in only 2% of your performances (for three out of the four spectators only)
- Axel Hecklau combined 8 magic techniques + some fresh ideas to create a very stunning and convincing piece of mentalism.
You get:
- the very durable deck (100% plastic) with red Phoenix back design (with kind permission of Card-Shark).
- description in great detail, 32 pages (English, Italian, German, Espagnol or French)
- Access to a MindVisit learning and practice tool for your Computer, Tablet or Smartphone and several video-tutorials
This tool gives you the possibility to practice the easy to learn and logical constructed mind reading process with virtual spectators.
"So clever from start to finish!…."
Gaetan Bloom
The process, as experienced by the audience
Spread the deck and ask a spectator to check to see if any card is missing. Since the deck is in "New Deck Order", the spectator can do the job quickly and confirm that it is a complete poker deck.
Now shuffle the deck and ask the spectator to touch the back of a card. Precisely this card (no force) is pushed slightly out of the spread and shown to the spectator. Meanwhile you turn your head away.
Once the spectator has memorized the card, it is pushed back into the fan.
Now secure the whole deck with three rubber bands and toss or pass it to three more spectators. Every spectator takes a peek into the deck and memorizes a card.
You get the deck back and put it aside immediately.
Now you ask all four persons to stand up and focus on their particular card.
First you express a vague feeling.
You ask the spectators to confirm by raising hands. Then you read one by one every suit of the thought cards.
Finally you tell each spectator individually the exact card he or she is thinking of.
Mindreading at it´s best.
Information on shipping costs / delivery time
The shipping costs are calculated according to weight of the total shipment and of course the destination country,
You will see the correct calculated shipping costs displayed in the shopping cart and the final order overview.
I ship usually 1x per week, since I'm primarily a working professional magician and not a magic dealer. So in theworst case I need 7 days before I can ship your order. I hope you understand that.
The shipments within Germany I send by registered mail (up to 2 kg) or DHL (2 kg)
I ship internationally as an enrollment letter (up to 2x2 kg - which is the fastest). If the total weight of your shipment is between 2kg and 4kg I split the order in two parts. From 4kg this no longer makes sense and I send it as a DHL package.
Unfortunately, the running times of international packages (more than 4kg) are about 14 days.
Once your shipment is in the mail, you will receive a tracking No. and a link where you can "approximately" track your shipment. Unfortunately, the German Post is not that exact and up to date as UPS.
|Weight/ Destination
|European Union
|World €
|World $
|up to 500 g
|4,76 €
|8,33 €
|7,- €
$ 10,50
|up to 1000 g
|7,14 €
|11,90 €
|10,- €
|$ 15,-
|up to 2000 g
|8,33 €
|23,80 €
|20,- €
|$ 30,-
|up to 2500 g
|9,52 €
|32,13 €*
|27,- €*
|$ 40,50*
|up to 3000 g
|9,52 €
|35,70 €*
|30,- €*
|$ 45,-*
|up to 4000 g
|9,52 €
|47,60 €*
|40,- €*
|$ 60,-*
|up to 10 kg
|9,52 €
|47,60 €
|40,- €**
|$ 60,-**
|up to 20 kg
|14,28 €
|47,60 €
|40,- €**
|$ 60,-**
|up to 31 kg
|17,85 €
|47,60 €
|40,- €**
|$ 60,-**
|Duration of the shipment
|10 days
|14 days
|20 days**
|20 days
* The order will be split into two packages.
** as DHL package delivery > 14 days
Your shipment contains of course a proper invoice and (if necessary) the correct customs declaration.


text:
"Star Wars: The Force Awakens" broke records a month before opening in cinemas, generating more than $50 million in advance ticket sales. While the hotly anticipated movie is set to be one of the biggest films of all time, there's a huge amount of work from film studios and their agencies that's needed to ensure the success of marketing campaigns and ultimately get people to the cinema. Film studios are constantly asking: what makes our audience tick and what content resonates with the people who'll ultimately buy a ticket and enjoy the film in the cinema?
In the age of social media, online buzz, word-of-mouth and reviews can help make or break a film at the box office no matter how slick a marketing campaign. The thousand or so people surveyed pre-release or leaving a cinema are no longer representative of your audience – it's just too limited. Facebook topic data changes the game.
With 1.55 billion monthly active users, Facebook is the largest source of public opinion data on Earth. With anonymised and aggregated Facebook topic data, film studios can suddenly see what people are sharing and engaging around with their networks of friends and family – at huge volumes. As Facebook is a closed community, people also interact more honestly rather than just following the herd, as is often the case on other social networks. So how can this valuable data be used by film studios?
Take, for example, the latest trailer for "Star Wars: The Force Awakens", which amassed more than 112 million views during its first 24 hours online. This trailer is arguably the most important content asset the film studio will release ahead of the opening weekend and Facebook topic data revealed that:
Using this information well in advance of the release date, the film studio can see how they are indexing to take action and update out of home and print marketing, such as posters. For example, John Boyega could be placed front and centre to resonate more with the audience. Five-second Facebook video ads can now be edited based on content that resonated most in the trailer with a defined, engaged audience. Using the self-certified gender and demographic breakdowns, the film studio can also embark on very targeted social optimisation and develop themes for social media campaigns around what people think is going to happen in the film based on the fact the trailer was considered a spoiler. Now, film studios also have a full view of whether the demographic they're purchasing their media around is the correct one and campaigns can be updated accordingly. Facebook topic data also provides invaluable insight when it comes to "global personalisation" and tailoring marketing strategies to different territories and cultures.
As Facebook topic data gives film studios the opportunity to analyse daily audience growth with the release of official assets, the impact of content releases can be measured for not only film studios' own movies but also that of their competitors. Let's look at a later stage in the lifecycle of a film. The actionable intelligence gleaned from Facebook topic data doesn't just stop once a trailer has gone live – it can be used to examine the opening weekend.
If we look at data for Spectre's opening weekend we can see the following:
Now, the film studio has the opportunity to tailor marketing campaigns to key demographics that have yet to see the movie. Although it may be too late to update print advertising and TV spots, digital outdoor and social advertising can still be optimised and spend can be shifted accordingly, let alone the insight gained to leverage for the home entertainment release. This rich, actionable data is set to transform the film industry and the possibilities are endless. Is this the future of movie tracking?
About the author: Marc Maley is CEO of FUEL Intelligence, a custom platform bringing the power of contextual data performance metrics to entertainment marketing. Previously, Marc was MD of Think Jam's innovation incubator, Labs, an integral part of the entertainment marketing agency's investment in R&D where FUEL was born.


text:
Sign up today
We've been helping students find the right postgraduate course for over a decade.
Birmingham | Edinburgh | Liverpool | Sheffield | Southampton | Bristol
The MSc Digital Marketing Management at Cardiff Metropolitan University has been designed in conjunction with the Institute of Direct and Digital Marketing (IDM) and the needs of the digital industry. It will equip you with a wide range of digital and social media marketing knowledge and techniques. The aim of the degree is to develop digital marketers who can succeed at a managerial level in today's demanding digital-marketing landscape.
Digital marketing channels have revolutionised the manner in which all businesses operate and market their business activities - as such digital marketing is a pivotal 'must do' activity. Consequently, employers from all sectors are seeking out graduates with digital marketing skills in an endeavour to capitalise on current and future digital trends. This degree has professional practice at its core with content being created and delivered by both academic staff and industry practitioners.
During your time with us, you will gain critical insights into:
The structure and content of the course will allow you to develop your skills through working on real campaigns in collaboration with relevant businesses. In addition to this there are additional opportunities to practise your digital skill by participating in the Institute of Direct and Digital Marketing (IDM) Student Marketing Competition. The competition will give you enable you to experience what it is like to work for an advertising agency by working on a campaign for a well-known industry brand with the three highest-scoring finalists will be invited to pitch their ideas to the client face to face.
Achieving all of this means our approach to teaching goes beyond merely presenting you with sets of theories and principles of marketing. Instead it extends to you being able to evaluate the usefulness of these theories and principles in practice through the use of case studies and 'live' projects. We believe this degree will give the skills and knowledge to excel at a managerial level by being equipped with the insights, education and critical understanding needed to operate in what is a dynamic and changing digital-marketing landscape.
Our MSc Digital Marketing degree is in the process of being awarded IDM accredited status - which will enable our students the opportunity to gain exemptions form the IDM Certificate in Digital Marketing.
*This programme is subject to validation for September 2018 entry and the information provided may be subject to change. All new programmes at the University must undergo validation, the purpose of which is to ensure that the proposed programme is aligned to the University's Mission and its content reflects appropriate levels of academic standards and quality.
The programme is comprised of three distinct stages, Postgraduate Certificate (PGCert) Digital Marketing, Postgraduate Diploma (PGDIP) Digital Marketing, and MSc Digital Marketing Management, with a range of compulsory taught modules (120 credits), and a non-taught element (60 credits). The MSc will be awarded on successful completion of 180 credits.
Term 1 (Certificate = Completing 60 credits):
Term 2: (Diploma = Completion of stage 1 and an additional 60 credits):
Term 3: Masters = Completion of stages 1 & 2 and:
The course is delivered with a mixture of lectures and seminars. Many of the assessments will be based on real world cases and therefore specialist guest speakers and visits to businesses will also form part of the learning journey. At Master's level, self-management and independent research and study is expected with students being directed and encouraged to deepen their understanding of particular areas of Marketing. Moodle is used as an interactive VLE but the development of a learning community is particularly prevalent at Cardiff Metropolitan with excellent student support.
Assessment on the programme is mixed and will include a variety of formats . You are assessed throughout the course on the basis of coursework, presentations and examinations. Assessments take the form of examinations (seen/unseen, open book, essays/short answers), essays, practical assessment, presentations, individual and group reports, and a dissertation, many of which are focused on real-life cases studies.
The MSc Digital Marketing Management degree has been designed for people wanting a successful and rewarding marketing career in today's digital economy. Expected career paths include:
Additionally the course is excellent preparation for continuing your study at MPhil or PhD at Cardiff Metropolitan University.
Visit the Digital Marketing Management - MSc/PgD/PgC page on the Cardiff Metropolitan University website for more details!
Cardiff Metropolitan University
Copyright 2005-2019
All rights reserved.
Unknown (change)
We use cookies to give you the best online experience. By continuing, we'll assume that you're happy to receive all cookies on this website. To read our privacy policy click hereOk
Never miss a course
Enter our scholarship competition
Get funding news, tips and advice
Hear about upcoming events
Get postgraduate loan updates
Hear about funded courses
Enter our scholarship competition
Discover international opportunities
We've been helping students find the right postgraduate course for over a decade.
We'll make sure you're the first to hear about scholarship opportunities and funding news.
Never miss a course
Enter our scholarship competition
Get funding news, tips and advice
Hear about upcoming events
We've been helping students find the right postgraduate course for over a decade.
Enter your username below to login to your account.


text:
Promoting bands you really like but hardly anyone's heard of
Is anyone really good at this and do they have any useful tips on how to do it?
Obviously I'm aware the bottom line is that it's incredibly hard to get people out to see a band if they've no idea who they are but nonetheless I wondered if there were some ways that were better than others?
There's loads of out-of-town acts I want to put on that I know damn well won't bring much of an audience in London but I still think are well worth putting on but I don't wanna waste their time by getting 'em down and playing to no-one. Obviously I can try (and have tried in the past) putting them on with good London-based bands but even then
a) it's unfair to rely on one band to bring the bulk of the audience
b) it's disastrous if that band happen to have a bad night in terms of bringing people (as we all do sometimes).
So, any tips of things you've found worked well in the past in terms of getting other people to your gigs/getting you to a gig of a band you don't know?
a different venue. No-one wants to go to the Good Ship in Kilburn. The sound is lousy, the atmosphere lacking and passing-trade is null.
Build-up a reputation for the quality of your night as it's own entity. Sorry, that's a rubbish way of putting it, I mean host these gigs without any obvious tie-in to your own music in the name or that your own band is always on this bill. It'll take time, but if you host good nights people should show-up on the strength of the night's reputation alone.
The Good Ship...
is hardly lacking in atmosphere... though I'll grant you that passing trade is slim, but it's still tenfold what there is at somewhere like the Windmill, for example.
Of course, I've never put my own night on, so my opinion is kind of irrelevent here anyway, but he does put on some really, really great nights...
that's one of the only pubs in London I've ever been to
and it was quite an awkward atmosphere, very quiet, and lots of people perched uncomfortably on stools...The Betsey Trotwood is quite fun, it's so small that it hardly takes anything to fill it up and for your band to look really busy, and if you look down the stairs, there are old flyers from loads of established acts who played there when they were fledgling bands.
It's difficult
'cos whilst I see your point, my entire motivation for promoting was basically to be in control of what gigs the band were playing and making sure we were playing good nights.
At the time I started doing it we'd done a few gigs where we had promoters who didn't really seem to even care about music, made no effort to create anything in terms of atmosphere and put on bills which just didn't work. So my aim was always to create a night where
a) the bands playing knew they'd be on a bill that someone had put thought into
b) the people who come to see our band wouldn't have to pay six quid to see us for half an hour and then be faced with a mish-mash of bands that they had no interest in whatsoever.
Although I can see the logic in promoting gigs we're not playing (and can see how some would see it as a contradiction and assume we only do it 'cos no-one else'll give us gigs, which honestly isn't the case - I'm only promoting 2 of the 8 or 9 gigs we've got left to do this year!), the fundamental problem I have is that, as it is, I simply don't have enough time to do everything I want to do creatively in life and if I was trying to promote other gig nights as well as our own gigs (which, as a band, I feel we have a responsibility to promote even if we aren't the putting on the night ourselves) I simply would run out of time and do a half-arsed job on both, which is in no-one's interests.
At the same time it's true to say that the fact we promote and play does also affect what bands we can put on - I would be reluctant put on a 'big name' band who would fill the venue themselves 'cos that'd give the impression we were just trying to ride on their coat-tails and nick their fanbase, which absolutely isn't the case - I'm determined any success of failure we have as a band will be off our own backs and no-one elses. Furthermore the big name, high-risk bands tend to affect the atmosphere of the night in that people come to see them alone and it ruins the communal 'all bands in it together' atmosphere which is important to me.
Of course this leads us in a situation where, although I like to think Sonic_James_ Doom is right and the nights I put on are really, really great, it is difficult to attract people. Maybe the whole venture is doomed to failure but I haven't given up yet.
Which leads me back to the original question...
It sounds to me like you're
putting on bands to make a name for your band, rather than for the purpose of putting on bands.
Which is a bit wrong.
this ties in to what i was going to say
imo, the reason something like Upset The Rhythm works in getting great turn outs to travelling bands normally of no real profile (debatable, cos its sort of a different scale with culty international bands) is that, apart from maybe putting their own band (Hands On Heads) on so often (i quite like hands on heads, but im pretty sure that if it wasnt their own band they wouldnt be put on so often), they basically never put on a band that they don't completely love.
thus the UTR name is a very good draw, and them putting on a few completely unknown bands would still get a better turn out than a lot of gigs.
i think if paul needs to build up the silent night "brand", and having his own band play all the time can sort of add a gimmick, or it could make people tired of seeing the same thing
This thread has given me some interesting things to ponder, particularly in so far as that it would appear that the fact we play every one could potentially lead people to misinterpret our motivations, as Crablin has done. And although Crablin is wrong about why we're doing it, it's quite obvious to me now (and should have been before) that people might see it that way.
The thing we haven't been doing this for long and a lot of the turnouts have been good and there's only been one so far where we haven't put on bands I completely love (but this was 'cos we were putting on bands other people involved with the nights really love).
But we won't put anything on unless it's good. We get quite a few emails from management companies and labels asking us to put their bands on and I know full well that were we to do so it would immediately up the crowd and give us a much bigger audience for the nights (and, going from Crablin's assertion, a much bigger audience watching the band) but I absolutely won't do it if I don't rate the band (as often I don't).
In terms of building up the night's reputation, this is what I'm essentially trying to do. There are people who will come to the nights more often than not 'cos they know they'll like what we're putting on.
But I do think we need to vary it around a bit. Maybe it's just that we need to not always be in one venue or maybe it's that we need the band to sit out occasionally. Maybe I'm just impatient. The nights aren't going disastrously by any stretch of the imagination - it's just I want to take more risks on out-of-town bands and need to find a way I'm gonna do it well.
Your post above, and the one below
...sum up exactly my attitude to the whole thing as well, only you've actually got out there and booked stuff, and made it happen.
There really are too many promoters out there who will just stick on any old shite as long as the numbers are through the doors, and I don't want to play for promoters like that. It works putting on good nights, I'd now definitely think about going to a Silence is Awkward night, regardless of who was playing, just because it was so much fun at the last one...
Stick with it Paul, the word will spread.
That's not what I'm doing at all!
It's just that I feel, and I've no doubt many other bands feel too, that there are too many gig nights run by promoters with no interest in music and who make no attempt to create any kind of communal feel for the evening or even put on bills where fans of one band wanted to watch another band, hence leading to everyone fucking off to the bar once they'd seen the band they'd come to see and ignoring the rest of the bands for the night.
And from our point of view, I hate the idea of trying to persuade someone to part with five quid to come and see us only for them to find they've no interest in the rest of the bill.
So I just want to make sure the band are playing nights where people who come to see it will be likely enjoy the whole bill. And the best way to do that seems to me to be run our own nights.
And moreover, if someone WAS tring to put on bands to put a name for their bands they'd surely put on 'big name' bands that would attract crowds and henceforth not be starting threads asking for advice on how to get people to come and see a really great out-of-town band that no-one's heard of. Putting on obscure band I think are great isn't gonna help us make a name for the band so you're argument's easily disprovable.
i only ever put "high risk" bands on with acts that i am fairly certain will fill the venue anyway. i also try and make sure that the small band will appeal to the people coming in to see the headliners / main support.
this is what we do for bands we drag over from abroad anyway - nothing worse than a band coming all that way to play infront of 20 people. recent examples of this are Rumskib supporting Ulrich Schnauss and Heaviness supporting Six By Seven. Both over from Scandinavia with little or no fanbase at all over here, both played to nearly full rooms as a first on band.
The Windmill
is top!!!
Old Blue Last (even tho i hate shitditch)
He's not wrong you know...
I was at that Six By Seven gig, and Heaviness played to an absolutely packed Luminaire....
the lumi
is pretty top, too
this ^ x100
jaded? damn right.
you're right about the local bands - you can never tell. the two local bands we had on a bill recently brought exactly 1 person between them. the only way you can guarantee a 'high risk' band will play in front of people is to do what robin said and put them on with a 'name' band you know will bring folks... or put on someone just signed to a major label, in a venue they like, so they'll buy loads of tickets off you.
If I could find a band in that situation who I thought were ace
my life would get much easier!
theres enough bands and gigs in the world....
... why would you want to clog up the place with even more?
'cos there's not enough good bands
and the people in good bands I know tend to feel they struggle to find good places to play.
They do alright for gigs don't they?
I thought they tended to have places to play! I'm not averse to this idea and may in fact look into it...
are @ spice of life nxt thur. everyone should come. :)
We put on bands every month
who are relatively unknown in Nottingham.
I think it always helps to put on at least one attractive local support (or even headliner) with an out of town band who aren't going to bring anyone but will need to be paid expenses or whatever.
One other thing we tend to do is ask bands to sell tickets, and/or provide us names for a cheaplist.
As an incentive for bands to do this, we make it clear that the more people they bring will increase their door split at the end of the night.
We've only had one instance where a band refused to do this - they accused us of being a "Pay to Play" organisation, which is something I took great exception to bearing in mind we've never asked any artist for money so we promptly removed them from the bill.
You're nights are DiS-affiliated too aren't they?
Which I imagine at least works as a stamp of quality, so to speak.
I think I do need to think about encouraging bands to bring people more, without of course, only booking bands if (or worse because) they'll bring people.
The problem is that it's amazing difficult to judge, perhaps especially in London, who brings a crowd and who doesn't. There's fairly well-established bands that don't bring huge crowds and there's small bands that you book to give them a chance to play and they bring massloads so you can never really tell...
I know...
...totally where your coming from.
We promote gigs at the Windmill once a month a top venue and we've had some great bands down, every line up we've had i've felt 100% happy with the fact i i think they we're all top acts.
However, despite grafting/posting/flyering like a wotsit we're finding it hard to fill up the room
They are DiS-affiliated but
until we started them DiS meant sweet FA to most people in Nottingham, so although they come labelled with a trademark of quality in LDN, it's been 2 years of bloody hard work for us!
windmill is a bit hit 'n' miss
i've had several sellout gigs there and others which have had - imho - good line-ups but poor attendence. i think a lot of it is down to timing. and some victoria line closures haven't helped.
...its not been the best of times since the victoria line has shut early.
Fingers crossed tonight will go well!!
i know someone going
so that's one person!!
Nice one!
We've just double our crowd :o)
this debate...
... goes on and on, and i've been arguing with myself for over 15 years ago.
where i've arrived at is that people dont come out because theyre theyre not interested and there isnt a magic formula to crack. theyre idiots and they have poor taste.
i could write for hours, but i'm boring myself.
I think
in London, there's an awful lot of stuff going on and there must be hundred or promoters. In fact, I can think of a few promotional outfits like the one discussed where one band plays every month (usually in the middle) and the night is curated around them. I think it's fair enough and the idea of having control over the night, other bands, venue and all the externalities of a gig is noble enough.
Personally, I can imagine such a night - where one band is always playing every month - getting pretty stale quite quickly. I'm guessing at some point aren't you often playing to the same people; also, communality can also often come across a bit as cliquiness - not that I've got any idea what you're nights are like, I'm sure they're cool. But if you can keep it fresh and with a different crowd then good luck to you.
I think you've made good point
and I do much prefer playing to new crowds than peope who've seen us before as I personally get far more out of seeing how new people react to us than I do out of seeing people who already know they like us watching us another time and enjoying us another time.
But I think you're right that keeping it fresh and with a different crowd is a challenge. I wodnder if the mistake I'm making is always using the same venue (although the Good Ship is a great place and run by great people who really care about what they're doing and I'd recommend it to anyone who wants to put on nights). Maybe the challenge soon will be to find a new venue and hopefully therefore more variation in the audience every month...
There's one in Nottingham at present
Club SOS - where one band (Censored) plays every month and curates the line-up, therefore guaranteeing a large crowd, but occasionally at the expense of quality control.
speaking of which mr gourlay
you'll be hearing from us in the next couple of months, we're setting the wheels in motion for next years summer sundae fringe. i've got some meetings with coda and demontfort hall coming up to iron everything out.
I look forward to it!
Can we have Firebug again please? Ace little venue, that...
you've got a choice of two actually.......
more will be revealed.
thats how van halen used to do it.
dave lee says in his biog that they used to appear at the same place, on every third wednesday in the month for instance at a wide range of cities to build a following. that way people who know they like you always know where to catch you.
Having been to 'silent night' more than once
I wouldn't change too much if I were you.
You put on 5 acts and charge something like 5 quid, which in London is good value for money. And every time I have been it has been extremely good fun, with bands who may be different in terms of musical style and ability, but all with a shared attitude towards entertaining performances.
The fact that your own band is playing is not an issue at all, as you are not billed as the headliner with a supporting cast, but fit in perfectly with the rest of the bill. The whole point of doing these nights in the first place was to make sure your band got to play with like-minded people. Taking that away would actually remove some of the character of the night. And you are not the only one who is doing this - see The Mules weekly residency at the Big Chill House for example.
Someone mentions UTR and that they have such a good reputation, but they have been around for almost 4 years now and have put on more than 120 shows for a niche corner that no other promotor really covers consistently. Not a fair comparison.
Even the venue isn't that much of a problem. The Good Ship has only been putting on bands on frequent basis in the last 12 months, and with The Luminaire next door doing a roaring trade, more and more people will know that Kilburn isn't that difficult to get to.
Finally, putting on an out-of-town band which you think no one will have ever heard of may be a blessing in disguise. The fact that a band has never played before in London may attract people who wouldn't leave the house for the same old acts who tour London's venues on a weekly basis. People might turn up just because you have "Manchester's answer to Will Oldham" on the bill.
I just wish there were more promoters like Paul and his enthusiasm for live music ...
Thanks for this
It's cheered me up immensely!


text:
And orelse! Honestly: I don't know what's the problem with short-circuit logic. Everyone loves it, as it is the most intuitive way of calculating logical values. I can see no reason for providing language syntax for both alternatives as each can be emulated in the other:
value1 = fun1()
value2 = fun2()
if value1 and value2 then [something]
Will invoke both subroutines before checking. And:
if fun1() then if fun2() then [something]
Will operate in short-circuit manner. All this and/andalso [and:>] or/orelse stuff simply pisses me off. It smells Visual-Basicish
What's more: I can see no reason for not using short-circuit operators as default in erlang as they are needed only in guards, which by default __do_not_alter_data__. The only use case I can see for non-SC operators is raising exceptions in some cases, but that's sick and ugly:
[something] when X > 0 and 5/X > Y
This will fail if you pass X=zero because "and" is not SC. I wouldn't like to work with someone, who writes such code.
Disclaimer: I just began reading "Programming Erlang", so if there IS a reason for non-SC logic as default, I'll be forced to take everything back.


text:
Diamonds naturally go hand-in-hand with Gold, Silver & Platinum. This has been our business for 40 years! We provide personal one on one service to find just the right Diamond for You. Diamonds are as unique and individual as the person buying them! That's where we come in. Independent, committed, trustworthy and knowledgeable. Diamonds by Diverse sources out the perfect stone for the most discreet of buyers. We find what you want, need and what meets your budget. Helping you through the entire process from start to finish.
Suite 115, 1925 – 18th Avenue N.E.
Calgary, AB, Canada T2E 7T8
Ph : (403) 230-9321
Fax: (403) 274-3828


text:
In the December 31, 2009 issue of The Dramatic Growth of Open Access, I reported that "Wiley and Blackwell's Health and Social Care in the Community authors show a 0% compliance rate with the NIH Public Access Policy".
The evidence for this statement is based on a time frame of Jan. 1, 2005 - Dec. 30, 2008, reflecting the time frame beginning (roughly) at about the time that articles under the initial voluntary policy would have begun to be published, up until the permitted 12-month embargo period. The basis for this evidence is presented in the open data edition of the Dramatic Growth of Open Access (see the 3rd worksheet)
It has since come to my attention that there are no articles in Health and Social Care in the Community that should be available under the present mandatory NIH policy, which took effect on April 7, 2008. From this perspective, Health and Social Care in the Community and Wiley-Blackwell authors are not remiss in their obligations.
My apologies for any confusion to anyone who understandably considers the "real" NIH Public Access Policy to be, in effect, the mandated policy beginning April 7, 2008. That this question has come up underscores the importance of mandatory requirement in OA policy.
Update January 19: according to Peter Suber, "In the period since the NIH policy became mandatory, HSCC has had two submissions based on NIH funding. In the first case it deposited the manuscript in PMC within six days of receipt. The second paper was received very recently and is still in process. (Thanks to Cliff Morgan for the correction.)". As of this morning, I am not able to find any articles from this journal indexed in PubMed using the original search. This could mean nothing; it might be a glitch at PubMed, or persistent operator error, i.e. I do not wish to draw any firm conclusions until I retry the search at another time. I re-ran the Dec. 31, 2009 search yesterday evening, and once again found the result of 6 NIH-externally funded articles from 2005-2008 with no fulltext available for any of the articles.
Please note that the compliance rate reported for other journals also reflects the time frame beginning Jan. 1, 2005. To avoid further confusion, I will make adjustments to future searches of this nature.
For details about the search method I use to calculate compliance with the NIH Public Access Policy, see this DGOA post.


text:
So the weeks fly by.
We spent some time working at a mystical house on the coast. There are Khoisan shell middens close by and the wild birds in the garden all have pet names.
Then off we trundled to my favourite farm.
I had forgotten that pigs were so soulful.
So inquisitive. So hairy.
Roosters pick their way through marguerites and yarrow.
The silkies have Easter card chicks.
The cats and the dogs are as lazy as ever.
Closer to home, I found another golden orb spider - on her golden web.
And at home, even though Autumn approaches, magical flowers bloom.


text:
Italy's business lobby group, the equivalent of Britain's CBI, has urged quick government action and warned that the country risks being unable to meet its financial needs.
"The country is now in the abyss," said Emma Marcegaglia, head of Confindustria at a conference. "The situation is untenable."
Like economist and former European Commissioner Mario Monti, who is now being called the favourite candidate to lead a technocrats' government, Marcegaglia had for months been criticising Prime Minister Silvio Berlusconi for his failure to tackle the country's long-worsening debt.
She recently warned that Italy stood at the cliffs of an abyss. "Efforts will be in vain if we do not manage to restore the credibility we've lost in the eyes of the international institutions. We must do so immediately, within hours."
Her words were echoed by Pirelli Chairman Marco Tronchetti Provera, who called on parliament to act immediately to approve the economic reforms necessary to stem a tidal wave of market speculation that is pushing up Italian borrowing costs.
Italy is scheduled to auction €5 billion of government debt ("12-month bills," repayable in a year's time) on Thursday. The country's authorities have encouraged Italian banks to buy 5 billion euro of 1-year government debt, according to Robert Peston, Business editor for the BBC.
European stock markets have suffered heavy losses at the start of trading. The FTSE 100 index in London has opened 99 points lower at 5363, a 1.8 per cent drop.
The continuing rise of interest rates on Italian government bonds on Wednesday has left Italian President Giorgio Napolitano with no option but to appoint Monti as a senator-for-life, with the clear intent to bring him into parliament. Monti could lead an emergency government of technocrats to take over from Berlusconi's administration with the purpose to pass economic reforms.
However, the formation of a technical government will be opposed by Berlusconi's former closest ally, the Northern League, and centre-left parties such as Antonio Di Pietro's Italy of Values party. "Being in opposition is great, it is more entertaining," League leader Umberto Bossi said Wednesday, suggesting the League will not support a Monti government.
Angelino Alfano, the man Berlusconi has said could succeed him as People of Liberty party candidate in an election, seemed to suggest the Monti option was closer when he pointed out "Berlusconi was the prime minister who appointed Monti to the EU and countersigned his appointment as a senator-for-life."


text:
- ITV Report
Review into children's heart surgery ordered
- ITV Report
A Sleaford woman has heart valve surgery
Live updates
Woman needs 5000 calories a day to survive after weight loss surgery
A woman from Leeds whose weight dropped dramatically from more than 20 stone to just six after stomach surgery is now eating huge amounts of food to stay alive.
Julie Dunbar became malnourished and now needs 5000 calories a day to survive. You may find some of the images in Kate Walby's report upsetting.
- ITV Report
Leeds slimmer told to pile pounds back on to stay alive
A Leeds woman who lost 14 stone after weight loss surgery has been told to eat more than double the daily calorie intake to stay alive.Read the full story ›
- ITV Report
Review into children's heart surgery ordered
The Health Secretary has ordered a review into the decision to stop children's heart surgery at several units.Read the full story ›
Mother's worry over heart surgery treatment
Jean Johnson's 6-year-old daughter, Nikita, needs a lung and heart transplant. Her condition means that she requires long term care and since the announcement that the Children's Heart Surgery Unit in Leeds is closing, Jean fears travelling to Newcastle will have a negative impact on her health.
Family's fear over heart unit closure
The family of a 6-year-old girl who is need of a heart and lung transplant say they are very scared about the closure of the Children's Heart Surgery Unit in Leeds.
Nikita Healey is going to require long term care to manage her condition and her mother has told Calendar she is not sure she can cope with the only unit in Yorkshire closing.
For treatment in the future Nikita will have to travel several hours from her home in Huddersfield to Newcastle.
Heart unit's future to be decided
In less than 24 hours' time the future of the region's only dedicated children's heart unit will be decided.
After 18 months of uncertainty, campaigners fighting to keep the unit open at Leeds General Infirmary will find out if their efforts have paid off.
Health bosses want to cut the number of specialist centres across the country - and tomorrow they are due to announce which have survived and which will go. Lisa Adlam has more.
Life changing surgery
89 year old Edna is the first person in England to receive the new heart valve. It is inserted using keyhole surgery, which is less invasive than open heart surgery.
- ITV Report
A Sleaford woman has heart valve surgery
New heart valve replacement techniqueRead the full story ›


text:
More Pix From "What Graffiti is to New York…"
Photos by G. Various Artists.
As I told you previously, the Melrose and Fairfax curated exhibition "What Graffiti is to New York Street Art is to Los Angeles" is epic. There is so much great art to see and 15 of the hottest artists on the scene have works on display. The show runs until the end of June, 2011 at The Maximillian Gallery at the Sunset Marquis in Los Angeles. You'll see works from Alec Monopoly, Free Humanity, SmogCity, Bankrupt Slut, Gregory Siff, Homo Riot, 2wenty, Snyder, KH no. 7, Desire Obtain Cherish, Cyrcle & DD$, Bod Bod, DeeKay and Smear. You should also visit Maximillian Gallery's official website to watch a video of the street artists featured in this show collaborating a one of a kind Gibson Guitar which will be auctioned off for charity. View the video here. And now, by popular demand – more photos from "What Graffiti is to New York Street Art is to Los Angeles." Enjoy!


text:
It is not news that traditional American scholarship favors minimal audience participation and maximal stylistic restraint. Objectivity demands the absence of passion, although passionate engagement of one's topic or subject matter is deemed acceptable. In this sense, Marit J. MacArthur's "Monotony, the Churches of Poetry Reading, and Sound Studies," PMLA 131.1 (2016): 38-63 is a fine example of dual transgression. MacArthur's effort to make a case for the overwhelming fear of theatricality and embrace of sincerity associated with strictly academic poetry readings exposes a retreat from forthright confrontation with human appetites, an exposure that traditional scholars might not welcome. On the other hand, the article commits Occidental microaggression: a stereotyping in asserting "many ethnic poets, including African American poets who trace their root to the black arts movement, favor audience participation and an expressive style" (59). Many black poets and critics who are their cousins assiduously deny rootedness in the black arts movement; we have yet to find convincing evidence that Chinese American poets, for example, champion palpable audience participation. Thus, in reading MacArthur and other Occidental critics (including ourselves) , we should attend to transgressions which may be accidental.
MacArthur's main topic is the favored neutral style in the performance of poetry readings, and we do need to note who so favors the style and distance ourselves from such people. As MacArthur accurately suggests, these people embrace monotonous incantation or high church style that apes an elevated sense of religious expression. Silence or constipated emotion is truly golden. Although we (those of us who refuse to deny the innate properties of our ethnicity, including Jewish Americans) might tend to applaud MacArthur's transgressions initially, we are stopped in our tracks by the method of analysis. MacArthur uses ARLO (Adaptive Recognition with Layered Optimization) to measure the intonation or pitch patterns of audio recordings by Louise Glück, Juliana Spahr, Michael Ryan, and Natasha Trethewey. Audio recordings? Even the most sensitive instruments of technology ( and ARLO is not one of them) can't produce the kind of evidence produced by the human ear's hearing and feeling of live performance. Much to her (I hope I'm using the proper gender pronoun) credit, MacArthur does signify on the limits of digital humanities in the sonic domain. Nevertheless, the limits of the instrument used to arrive at deliciously tentative conclusions about the church context of neutral style is not sufficiently acknowledged in the article. And by the standards traditional scholarship sets for objectivity, we have to say the sample of four poets is severely wanting.
MacArthur's effort to expose the anti-humanism of academic poetry readings has, to be sure, a certain nobility. But it only deepens my common sense belief that the human ear is superior to any mechanical device in determining what is what in the performance of poetry. We still have a far way to go before we can say with certainty who are the saints in non-academic poetry readings and who are the sinners in the zones of the oppositional academy. MacArthur's article is a valuable learning moment.
Jerry W. Ward, Jr. April 22, 2016


text:
All too often made with cheap sweet-and-sour mix, Sours—whiskey, bourbon, and the rest—get a bad rap. But when a Bourbon Sour is made properly, and with the addition of an egg white, it's easy to see why the drink's such a classic.
Game plan: You'll need to make the Rich Simple Syrup before you begin.
This recipe was featured as part of our Kentucky Derby Day menu.


text:
{Stationery} Vintage Typography Notecards
10 comments :
Preciosas ♥ReplyDeleteReplies
Thank you Harmony :) Glad you think so too.Delete
Those are fun! Thanks for sharing :)ReplyDeleteReplies
Hello Cindy, aren't they fun? I'm glad you like them. I love stationery ;) and these were just in need of a photo to share. xDelete
Hi Merissa,ReplyDelete
So glad you found my blog and joined. I've always loved stationary, stamps, paper, and typography... I've enjoyed browsing your blog. You have a wonderful eye and gorgeous photography. Such a treat! I just became your new follower.
Laura from sundayview.blogspot.comReplies
Aloha Laura,Delete
Thank you so much! It means a lot to me that you paid me a visit, left me a wonderful comment, and have even followed my blog :) I am happy that we share the same love of stationery, stamps, paper, and typography. I am inspired by your work and so glad to have found you via Stampington's publication! Perhaps one day we will exchange cards, or crafts :) Sincerely xo, Merissa
Wow I love the typography note cards they are beautiful, great find Merissa as always!!ReplyDeleteReplies
Hi Kelly, aren't they great :) I'm going to send one to you. Sorry I'm so late :( xoDelete
Hi Merissa!ReplyDelete
Thank you so much for stopping by my blog. Oh my gosh, you have the cutest blog. Great photography!Replies
Hello there Mai! It was so sweet of you to pay me a visit and leaving me a lovely comment. I truly appreciate your kind words it means a lot. I follow your blog and your Instagram and I love your stuff :D so I was surprised at your visit :) Have an amazing weekend! xo, MerissaDelete
So happy you paid me a visit. Mahalo!
Pleasant words are as an honeycomb, sweet to the soul, and health to the bones.
Proverbs 16:24
say what, a Disclaimer
MERISSA CHERIE All rights reserved © Blog Milk - Powered by Blogger


text:
The Massachusetts Marine Trades Association (MMTA) announced to its statewide membership that An Act Relative to Abandoned Vessels (House Bill 4188), championed by lead sponsor State Representative Anthony J. Verga (Gloucester), has been signed into law by Governor Deval Patrick. The new law, which goes into effect on May 6, 2008, will streamline the behemoth process and reduce extraordinary expenses marinas and boatyards incur during lawful disposal of derelict vessels abandoned on their property. The change in law is critical to "clearing the decks" of unsightly derelicts that may pose environmental liabilities or attractive nuisances to trespassers. Abandoned boats are blights that generate no boatyard revenue, cost enormous time, money and effort to dispose of under prior law and occupy waterfront space that could otherwise accommodate responsible boat owners seeking boatyard services.
Thanks to the collective voice of the MMTA membership and Massachusetts Legislative Boating Caucus, founded and chaired by Representative Verga, phone call, email and letter writing campaigns launched over the past three years have secured a tremendous victory for the marine industry, public safety, environmental soundness and fundamental fairness. "The relationships that MMTA has forged with key elected officials, particularly the 50-plus members of the Boating Caucus, should renew faith in the legislative process and the desire of so many legislators to truly serve their constituencies. A common sense solution to an unfair situation was offered and Caucus members delivered favorable testimony, attended hearings and kept the bill alive without fan fair or gloss," stated Kurt Saunders, MMTA President.
Upwards of 8,000 bills are filed biannually, the vast majority of which never reach the Governor's desk. Securing passage of the Abandoned Vessel Legislation within 36 months is a testament to the dedication of the Massachusetts marine industry and its many supporters that recognize the value of an historic industry that generates nearly $2 billion annually for Commonwealth coffers.
Established in 1964, the Massachusetts Marine Trades Association (MMTA) is the statewide, representative body for over 1,200 marine trades businesses in the Commonwealth, which employ over 27,000 men and women. The mission of the Association is to further the interests of the marine trades and the boating public through the promotion of boating, participation in legislation and professional improvement programs.
Like what you read?
Want to know when we have important news, updates or interviews?
Join our newsletter today!
Send to your friends!


text:
"We simply attempt to be fearful when others are greedy and to be greedy only when others are fearful." -- Warren Buffett
Of all the Oracle of Omaha's orations, this one holds a special place in Foolish investors' hearts. When looking to bag a bargain, a panicked sell-off by jittery investors offers you a great chance to snap up stocks on the cheap.
In the short term, professional traders' pessimism can become a self-fulfilling prophecy. Desperate institutions lower their asking prices to get rid of a stock, prompting buyers' bid prices to fall in tandem, creating the very price decline that both sides feared in the first place -- until the selling stops.
Until it does, savvy investors can "get greedy," snapping up bargains from these fearful sellers. (Assuming they really are bargains.) In today's column, we'll see which stocks Wall Street's motivated sellers are most frantic to unload. Once we've compiled this shopping list of potential picks, we'll check them against the collective intelligence of Motley Fool CAPS.
Today's contenders include:
Recent Price
CAPS Rating (out of 5):
Cogo Group
Virtusa Corp
Companies are selected from the "Institutional Ownership Down Last Month" list published on MSN Money on the Saturday following close of trading last week. Recent price provided by Yahoo! Finance. CAPS ratings from Motley Fool CAPS.
So there you have it, folks. Five stocks that Wall Street hates. Five stocks that Main Street loves. The disconnect in perception couldn't be more striking, but the professionals have good reason to fear each of the five: Each of Anadigics, Cogo, Virtusa, and NVIDIA has issued earnings warnings, and while Russia's Mechel seems to be doing fine on the surface, its very existence may be at risk, now that it's turned out to be on Putin's bad side.
With so much uncertainty in the air, investors may find it safest to go with the one stock of the five that bears the official Motley Fool Seal of Approval -- David Gardner's recommendation for Stock Advisor. Here's what CAPS members have to say about NVIDIA.
The bull case for NVIDIA
- All-Star tely1 gets right to the point: "Best product in the GPU market. [Advanced Micro Devices
(NYSE:AMD)] finally made the 4870 to compete with them but it only competes cause of price. I say bet on both, everyone wants their computers graphics to be nice. This will lead to both company making profit."
- So how much of a threat is AMD? According to Sisyphos, not much: "As a gamer I also know that Nvidia cards are currently technologically the better ones. As such, I presume that ATI will be stretched to get to par technologically with their current profit levels and I see Nvidia to get a sustainable lead in this market." Sisyphos adds: "Nvidia is also working on mobile graphic chips. ... 10 years from now, mobile devices will definitely have extensive graphical elements to them and that market (counted in pieces) is massive (total of over 3 billion mobile phone subscriptions globally, with around 1 billion mobile handsets sold annually)."
- In the opinion of CAPS All-Star Perkeo, this all adds up to: "a great value/growth opportunity."
Let's run a few numbers and see if that's so. Right now, NVIDIA sells for just 8.4 times its trailing-12-month profits, and 8.5 times trailing free cash flow. Yet once it gets over the hump of reduced short-term earnings guidance, most analysts expect the company to proceed to post five years' worth of 15% earnings growth.
So in a nutshell, what we have here is the leader in graphics chips, selling for a 0.56 PEG based on short-term earnings jitters. Forgive the hyperbole, but that price is just insane. My advice: Take advantage of Mr. Market before he wises up.
(Or not)
Prefer to swim with the tide rather than against it? All voices are welcome at Motley Fool CAPS -- if you think the Street's right on this one, and NVIDIA has further to fall, come on over to CAPS and tell us why.
Fool contributor Rich Smith does not own shares of any company named above. NVIDIA is a Motley Fool Stock Advisor recommendation. You can find Rich on CAPS, publicly pontificating under the handle TMFDitty, where he's currently ranked No. 667 out of more than 110,000 players. The Fool has a disclosure policy.


text:
LCCS Board of Trustees
Founding Members - Founding Members are individuals whom the Board feels
exemplify the mission and spirit of the founders of the school.
Shelley Skinner, Board President.
Shelley Skinner is the Executive Director of Better Education for the Better Education Institute (BEI). Prior to this, Shelley was the Deputy Director for Better Education for Kids (B4K) focusing on grassroots organizing and operations. Before getting involved in education advocacy, Shelley worked as a producer and international distributor of high quality children's programming, most notably Thomas The Tank Engine.
As she had her own two children, and put down roots in Jersey City, NJ, she became aware of an overall lack of vision and leadership in many areas of government, but specifically in education. Shelley watched many young families struggle as hers does with the issue of teacher quality and limited school choices, the combination of which drive young families from urban centers.
In 2007, Shelley was named Jersey City Woman of Action for her work in education advocacy. In 2009 Shelley, Shelley ran a successful city Council election campaign where her candidate won 63% of the vote. Before joining B4K, Shelley served as the Director of Development and Community Relations for Learning Community Charter School.
Shelley was a member of Governor Christie's Education Transition Team and currently serves as the Advocacy Chair on the board of The New Jersey Charter Public Schools Association. Shelley is a graduate of Pitzer College, and a native of Chicago, Il.
LCCS Board Trustee Since: 2010
Parent Members - Members are parents/legal guardians (of pupils enrolled in the
school at the time of appointment) who have been elected by the
parent/guardian(s) to serve as voting Trustees.
Tammy Walters, Board Trustee
Tammy has over 25 years experience in digital media production in television, content development, interactive e-books and app development. Walters has cofounded successful companies, managed production divisions and run large production pipelines in various digital studios. Throughout her career she has leveraged her passion for technology and love of content to convey brand messages that enrich and entertain children of all ages.
Tammy has worked extensively with such notables as Barnes & Noble, Disney, Sesame Street, Cartoon Network and Nickelodeon. Tammy has been an LCCS class parent and volunteers on various committees and is new to the Board this year. She is a graduate of the Atlanta College of Art. She and her partner, Allyson are the parents of Beckett, an LCCS student.
LCCS Board Trustee Since: 2013
Mace Bell, Board Trustee
Mace has been an architect for over 25 years. He is currently employed in Strategic Planning and Project Management at Express Script in Franklin Lakes, NJ. He is a graduate of The Cooper Union, Chanin School of Architecture in New York, NY. Mace enjoys coaching his son's soccer team and has been an integral part of the growth of the Jersey City Soccer Association. Mace and his wife Isabel are the parents of 4 children -- Nina, 2007 LCCS graduate; Madeleine, 2011 LCCS graduate; as well as two current LCCS students
Brian Uy, Board Trustee
Brian Uy is the Co-Chief Operating Officer for Global Technology at Morgan Stanley. He has worked with Morgan Stanley since 1992. Brian holds a B.S. in Economics from the Wharton School at the University of Pennsylvania. In addition to serving on the LCCS Board, Brian serves as Chair of the Board of Trustees at the York Street Project, a center for homeless and economically disadvantaged women and children that works to provide them with food, shelter, education, child care, counseling and advocacy. He lives in Jersey City with his wife, Doriot, and three daughters, all of whom attend LCCS.
LCCS Board Member Since: 2014
Bertram C. Okpokwasili has three children who attend LCCS. His law practice focuses on small businesses, business formation, trademarks and copyrights, contract issues, and criminal defense matters. He is a former adjunct professor at Rutgers Law School and currently is a baseball coach in the Roberto Clemente Little League and a football coach Jersey City Flag Football league. He is a graduate of Tufts University and Rutgers School of Law.
He has served on the boards of the Rutgers Newark Law School Alumni Association, and the Solo and Small Firm Section of the New Jersey State Bar Association. He is also a former trustee of the Jersey City Board of Education, where he supported policies to advance student achievement, increase high school graduation rates, and celebrate the hard-working teachers in Jersey City.
Angela Bennett-Glock and her husband Neal have lived in Jersey City since 2005 and love raising their two boys in this community. From Los Angeles, Angela was raised by a special education teacher and developed a passion for advocating for all types of thinkers and students at a young age.
Angela has worked for education organizations for the last 15 years and is currently, the Vice President of Marketing and Business Development for a philanthropy-funded, not-for-profit that is dedicated to helping teachers and coaches improve their instructional practices and integrate literacy skills across all disciplines. Angela also serves as a Board member for Jersey City Soccer Association, the largest youth sports program in Jersey City.
Community Members - Members/residents of the "surrounding school
community" appointed by the Board to serve as voting Trustees.
Colin Dunn
Colin Dunn is Vice President Finance and Corporate Secretary of Bel Fuse Inc., a worldwide electronics components manufacturer located in Jersey City since 1949. He has worked with Bel in Jersey City since 1991. Colin started his international career at Weyerhauser Company in 1972 as a Management Accountant. During the first six years of his career at Weyerhauser, he held financial management positions in the Philippines, Indonesia and Hong Kong. Colin received an MBA from Yale University, School of Management, in 1980 and received his Accounting Certificate from the Gordon Institute of Technology, Deakin University Australia in 1969. He is a CPA and Fellow of the Australian Society of Accountants.
LCCS Board Member Since: 2014
Sangeeta Ranade
Sangeeta Ranade is the Director of Client Solutions with EnergySavvy, a cloud based software company transforming the way energy efficiency is delivered and quantified. She leads business development for the Mid-Atlantic Region.
Sangeeta also served as an elected Trustee to the Jersey City Board of Education from 2012-2015. Jersey City is the second largest school district in the State of New Jersey with 28,000 students and a budget of over $650,000,000. In 2014 she served as President of the Board of Education.
Prior to EnergySavvy, Sangeeta spent over 15 years as a strategy consultant to the energy and public sectors. She also worked in industry to optimize energy usage with the retail and real estate industries.
Sangeeta holds an MBA and MS in Environmental Management from the Ross School of Business at the University of Michigan and a BS in environmental engineering from Northwestern University. She resides in Jersey City, NJ.
Teacher Member - The teacher members are full-time teaching staff of the school, elected by the full-time faculty and approved by the Board.
Monya McCarty


text:
if you're in the edmonton area, just wanted to remind you that claudia is having her EP release party for Shine and hello, hello tonight … come join the fun!!
sometimes the "momager" has got to make a shameless plug!! you can listen to a mashup of her new EPs here ...
hope to see you this evening!!


text:
order by popularity | order by alphabet
My BrotherWounded Lovers SonAfrican AndroidBeautifulblackbutterflyIn Love Forever72 KilosMy Kinda GirlLiquid SunshineKpafucaFemiliariseSunshineshapedbulletholesAutumn MoonLong Distance LoveNeptuneSadness IsDon't ForgetGod's GloryStabilahWet QuestionsHello HeavenlyNew Brighter DayPimpin'All PraisesTeardrops Will FallAfrosurrealismfortheladiesPhasedColorful WorldI'm KnownBlue Is The MindPleasure Is Kisses WithinNever Gonna Let You GoMillion Miles From HomeMan With The ScarIf You KnowFunk'n'circumstanceFunderlying UndermentalsFrinigro InterstellarFree Your SoulDear Mr CooperCubic Space DivisionAfrican Space CraftProdigal FunkRhythm Is LoveGuitar In The RiverAll Along The Watchtower (acoustic)FunctionalBeautiful EmilieWhere's LifeWalkin' Naked Thru A Blubell FieldThe Wisdom Behind The Smile (ca$h)The Waxing And The WaningThe Invisible LadderSplashSpeechRun Away (slavery Days Are Over)A Curious Kind Of Subconscinous
Related Information for Keziah Jones Keziah Jones (born Olufemi Sanyaolu on January 10, 1968 in Lagos, Nigeria) is a Nigerian singer-songwriter and guitarist. He describes his musical style as "Blufunk", which is a fusion between raw blues elements and hard, edgy funk rhythms. Also his Nigerian roots and soul music can be considered a major influence on his sound.He is known for his distinctive style of guitarplaying, above all his percussive right-hand technique which is similar to bass player's slapping technique... read more


text:
Buffalo Shrimp Dip (inspired by Skinnytaste) has been on my radar for a few weeks now. So when we got an invitation to visit friends, this dip came to mind.
My version didn't turn out anything like the picture despite trying to improve my skills in the kitchen. This Buffalo Shrimp did nothing to boost my confidence. But, since I went through the trouble of making it I figure I'd share it anyway. Lest people think I'm perfect. ha.
It's possible, according to the dip creator, eliminating yogurt from the ingredients would improve its consistency. Next time.


text:
There is some degree of truth to this, insofar most interracial or interracist sexual violence in this country is black male-on-white female. Government statistics are pretty grim, with black-on-white rape outnumbering white-on-black rape by a zillion to one.
But, there is a fundamental flaw and a repressed denial in the White Right interpretation. The fact is most sexual encounters between black and white are consensual, with white women as enthusiastic partners. White women seek out black men no less than black men seek out white women. Of course, this doesn't apply to all white women nor even to the majority of them, but their numbers are growing, and among younger white girls, it's very possible that their IDEAL beau is someone like Will Smith, Obama, or some other black celebrity.
Given this reality, one could argue that the REAL victims of black-white sex are white males, not white females. The real problem is not black males raping white women but increasing numbers of white women abandoning white men and going off with black men. And the taboo against such union is all but gone. Indeed, the new taboo is criticizing miscegenation–especially involving blacks–as detrimental to white civilization. A white celebrity going with a black guy can proudly declare her love for the Negro, but no famous white person would dare say white people should sexually stick together. He or she would be castigated, stigmatized, and tarred-and-feathered by the leftist Jewish and liberal Wasp-controlled media.
There had once been laws against miscegenation. Even after such laws were repealed, there had still been an unspoken taboo against white women going with black men; respectable, popular, cool, or good white girls just didn't do that.
But, this taboo grew weaker and weaker as sports became more dominated by blacks. Given that sports is America's National Pastime, those commanding the field became the new archetype of masculinity.
In the beginning of the movie PATTON, the eponymous general says "Americans love a winner and will not tolerate a loser." He says Americans admire the toughest boxer, fastest runner, etc. Well, in the battlefield of sports–which Americas are obsessed with–, blacks were the winners and whites were the losers. Over time, white women couldn't fail to notice that blacks were the hometown heroes to cheer for while white boys were the benchwarmers. Of course, whites owned many of the sports franchises, but many of these whites actually happened to be liberal Jews pushing a miscegenist agenda.
And in the realm of popular culture, black males seem to sing and dance better and have more commanding voices.
Even so, one could argue that white women were overwhelmingly sticking with their men until the late 80s and early 90s when two crucial things happened: the rise of hip-hop and the movie "Jungle Fever". Prior to the rise of hip-hop, black musical acts, though soulful and talented, had less appeal to young white people. Pre-rap black music wasn't necessarily for young people but for all black people who wanted to boogie and dance. Therefore, most white kids stuck to white rock whose appeal was more brazenly youth-oriented and rebellious. But, hip-hop and rap changed all that. This was the music of black youth rebellion. It was nasty, vicious, badass, cool, hip, raunchy, and sexual. It had the assaultive rage of punk, the raunchy excess of heavy metal, and thuggish sneer of gangster movies. Hip hop caught on like a wild fire among young white people in the late 80s and 90s, becoming THE mainstream music among the majority of white kids.
Just as important was the movie JUNGLE FEVER by Spike Lee. Though we like to accuse Jewish Hollywood of promoting miscegenation, this wasn't really the case prior to Lee's movie. Sure, there had been interracist films such as GUESS WHO'S COMING TO DINNER, but Hollywood in general maintained racial divisions.
Indeed, one of the biggest cultural phenomenon of the 70s and 80s was the Rocky movies where the Italian Stallion beat up black guys and won the devotion of the lovely Adriane. Hollywood, either out of fear of white backlash or market conformism, preferred not to touch the theme of interracism. And when it had, it was in cheap blaxploitation B-films that existed under the radar or in overly stuffy respectable movies like GUESS WHO'S COMING TO DINNER, which was not a jungle fever movie at all but one that argued that white-black marriage is wonderful because a black guy is just a white guy with black skin. Sidney Poitier is unbelievably poised and dignified in that movie. GUESS totally ignored the darker and primal emotions at the base of black(male)/white(female) relationships.
Spike Lee didn't ignore that reality but spilled the beans with jiveass boldness–though it must be said even Lee played it somewhat safe, presenting a scenario of a black male/Italian-American female sexual relationship than the more taboo-busting black male/blonde white female sexual relationship. There is a sense among both white and blacks that blue-eyed blonde women are the epitome of white beauty and purity, and therefore the greatest violation of whiteness is for a non-white male–especially black–to ravage the sacred hole of the blonde goddess that should be reserved only for the noble and proud 'Aryan' sexual spear. A dark-haired Spanish woman going with a Negro is less troubling to most white males than a blonde blue-eyed woman going with a Negro. Anyway, Spike Lee's movie shattered taboos when it came to the issue of the true nature of black/white sexual relationships. His movie demonstrated that black/white lust was not color-blind but all about color or race. Black men are attracted to white women because white women are generally more feminine than black women, and white women are attracted to black men because black men are generally more masculine than white men.
Except for free thinkers like Steve Sailer, most white males have been afraid to address this issue in an honest way. It is too hurtful to their pride. So, they spin the narrative where all black males are brutes out to rape white women. It presents white women as helpless, duped, or naive victims of black sexual criminality or doomed consensual relationships because black men will almost always turn out to be abusive and sadistic.
So, David Duke has given us many stories about how an innocent white girl went with a black guy, only to be beaten and murdered in the most savage way imaginable. The suggestion is that the ONLY reason why white women would ever go with black men is because of Political Correctness or Jewish control of popular culture. Supposedly, PC fills white girls with racial guilt and self-doubt; therefore, they seek out non-white men to give birth to non-white babies, thus committing racial suicide in order to wash away the sin of white guilt. Or, Jewish controlled Hollywood and music industry brainwashes white women to go gaga over black dudes.
Though there is some truth to both assertions, it ignores a fundamental fact. The main reason for black male/white female sexual attraction is NATURAL and EVOLUTIONARY. Darwinism can be used to justify both racial unity AND miscegenation. Even if liberal Jews didn't control the media and even if PC didn't rule the land, there would be much natural attraction between black men and white women. Why? Because males naturally desire the prettier females–and white women are generally prettier than black women–and females naturally desire the more masculine males. Look at the natural world of animals, and males of any species are always fighting over three things: food, territory, and females. It's all about 'land and pussy'. And females ALWAYS go with the stronger males who triumph over other males. In the modern world, the competition among males take place in the sporting field and in popular culture. Black rappers have proven themselves tougher, meaner, and more badass than white rockers. Black movie stars have proven themselves more charismatic and commanding than guys like Tom Cruise or Bruce Willis. In politics, Obama defeated John McCain–and would have defeated others as well. In the Democratic Primaries, Obama defeated Hillary Clinton because he was, in the terms of the natural consciousness, the male buck while she was the female who should be humped by the top male. Obama first easily destroyed the white liberal pussyboy John Edwards. When it came down to Hillary and Obama, most liberals chose the charismatic male over the duck-like female. Though liberals take pride in their rationalism, enlighten values, and intellectualism, the real reason for their attraction to Obama was animalistic and instinctual. The herd submitted to the guy who seemed to have more leadership charisma as the alpha male. Of course, Obama came across as intelligent too. The animal side of us worships the strong guy, the modern side of us admires the smart guy. People look up to superstar football players and superstar computer geeks–like the boys at Google or Jewgle. If the problem of most black politicians was they were all tough noise and not enough brains, Obama carefully mixed black charisma with the geek chic he picked up from places like Harvard. He mixed black charismatics and Jew-esque intellectics. Jews, we all know by now, have destroyed the white gentile males in the arena of brainpower. Blacks have destroyed the white gentile males in the arena of muscle and musical power. So, it was clever on the part of Obama and his Jewish supporters to create the image of the new messiah based on the merging of badass black and radical Jewish characteristics.
To be sure, evolutionary impulses can be contradictory. There are plenty of white women loyal to white men, and this devotion could be explained in terms of evolutionary instinct too: a kind of herd or tribal mentality to the survive as a group. But, another kind of evolutionary instinct seeks to pass down the genes of the toughest and most virile males.
Suppose there is a deer herd dominated by a certain male. The females in the herd are bound to the toughest male and sexually give themselves to him. But, suppose another male appears, fights the leader of the herd, and defeats him. The female deer will NOT remain loyal to the defeated male who had once been their sexual master. They will give themselves to the new master. So, to a certain extent, the rising tide of black male/white female unions is a part of process rooted in evolution. When blacks were non-existent, invisible, or marginalized in white society, white women admired and were attached to the apparent superiority of white men. But, when blacks gained greater freedom in a modern democracy committed to EQUALITY FOR ALL REGARLESS OF RACE, CREED, OR COLOR, they began to demonstrate that they can defeat the white men in spheres that most arouse the sexual passions of women–sports, music, performance, and etc. Thus, the sexual migration of white females to black males is not only something engineered and approved by Organized Jewry but the product of evolutionary impulses. If whites were a sizable minority in Japan, much the same would happen. Many Japanese women would likely and NATURALLY prefer the taller and beefier white males to the short and scrawny Japanese males. Indeed, though there is no Jewish control of the media in Japan, a lot of Japanese women fantasize about white males and black males. Why? Women prefer the more masculine male.
Of course, humans are more than animals. Most women will not simply prefer a mindless brute over a weaker guy. Women also look for qualities such as decency, sensitivity, intelligence, knowledge, judiciousness, integrity, etc. After all, even most white women who sow their wild oatesses by jumping into bed with black men will eventually marry a more stable white guy as marriage is NOT ONLY about sex. Madonna may have f***ed the entire NBA, but she settled down with a white guy. Even so, at least 1/3 of sexuality is still animal, brutish, and elemental.
So, we need to ask again, who is the real victim in this sexual equation? White males or white females? If white females are indeed the primary victims of black male sexuality, how come far many more white males are opposed to interracism than white females are? Though there is legitimate and sincere white male anger at black criminal acts against white females, the GREATER anxiety and anguish is over that many white women have WILLINGLY thrown themselves at black males. Just look at all the white girls who will stand in long lines just to bed down with a rap star, basketball player, or Tiger Woods. Just look at all the white women who wet their pants over Barack Obama. Indeed, black women are less impressed with Barack as the black men they know in their lives are many times more 'charismatic' and badass. White girls, in contrast, perceive and measure Barack in comparison to the white males in their lives, and Barack somehow comes across as more masculine, cool, self-assured, and etc.
Indeed, white male anger over black/white sexual unions is seen by white females not as a sign of toughness or manhood but of insecurity, frustration, fear, and resentment.
Though the white right talks endlessly about the danger posed to white women by black thugs, the greater fear is that many white women might be perfectly happy or happier with black males than with white males. Stories of black male assault on white women are, perversely enough, kind of reassuring to the white right as confirmations of black-as-brutal-beast. Also, white rightists may take some pleasure in the idea of a white woman getting her comeuppance by betraying the males of her own kind–since the skanky white whore willingly chose a black guy, good for her if she got beaten to a pulp by the 'black ape'.
But, when white women find happiness, pleasure, and stability in relationships with black men, it is truly threatening to the racial position of the white right. They have less of a rationale to argue against miscegenation. This is the REAL danger and threat of interracism.
It is, indeed, the PSYCHO-SEXUAL RAPE of the white MALE. When a black male struts his stuff and the white female willingly chooses him over the white guy, the white male has been pussified and left high and dry. He has been betrayed and abandoned. They can either sulk in impotent white right rage or celebrate the black male/white female union as the way it should be for both natural and historical reasons. Natural, because the sexier and tougher black males should get the top females by the rules of the jungle. Historical, because the ideology of liberal white guilt says that since white males had conquered and exploited the peoples-of-color, it is now time for the reverse to happen. Thus, pussyboy Ken Burns has become the posterboy of a good darling liberal white boy who defers to black superiority in athleticism, sexuality, and creativity–JAZZ and UNFORGIVABLE BLACKNESS.


text:
Join over 80,000 others who are connecting with their cousins and common researchers!
FamilyTreeCircles is easy and free.
I have many branches that i'm looking at but have come to a dead end for the McKnight's from Ireland may be spelt Mckight or other variations. Harris from Richards Castle England. Wilson from Orange Australia. Any help much appreciated


text:
This is a senior living community. A minimum age requirement of 55 or 62 will apply. Not all renters will qualify. Please contact the property for details.
Contact for details
Choose from a variety of one and two bedroom homes featuring spacious floor plans, fully equipped kitchens with dishwasher and disposal, wall to wall carpeting, cable TV and high-speed Internet access, and an emergency call system. Monthly rent includes heat, hot water, and air conditioning. Museum Park offers community activities, a computer learning center, fitness center, and convenient location next to Springfield Library and several museums.
Our lease terms are: 12 months (Please note that lease terms may vary, are subject to change without notice, and are based on availability. Inquire with property staff for complete details).
Call for Policy. Call for service animal policy.
114 units
Don't have a Rent.com account? Create one.
Creating an account allows you to acccess your saved and contacted properties on any device. Already have an account?
Log In
We are experiencing technical difficulties at the moment. Please try again later.


text:
YoYoGames hits 100,000 user landmark
The YoYoGames.com development community has attracted its 100,000th visitor within ten months.
The site gives away a free Lite version of the popular Game Maker software and gives a space for users to share their creations with the community at large.
"We're very excited about this landmark" said Sandy Duncan, CEO of the UK-based startup.
"Registered users may represent less than ten per cent of our traffic, but they're very special to us. These are the guys making games and generating the content that makes YoYo what it is. We believe we're now the biggest casual games developer community anywhere in the world, and that's pretty amazing."


text:
Saturday afternoon, back in Brunei, and desperately craving something somehow 'cleansing' to eat after my bout of illness in Thailand. I eat Asian food all the time here, but at this point I just wanted something somehow different, although I couldn't quite decide what that was. My forum-friends came to the rescue of course, with Megan happening to post this fresh and delicious salad recipe from Bon Appétit which I just had to make straight away.
Shaved Asparagus with Parmesan Vinaigrette
Bon Appétit | May 2011
yield: Makes 4 servings
Shaving asparagus with a vegetable peeler transforms the texture of a raw stalk into silky strips. This revelatory technique works well with all kinds of vegetables, from carrots to zucchini.
• 12 large asparagus spears (about 1 pound), trimmed and peeled
• 1/4 cup finely grated Parmesan plus a piece for shaving
• 1 1/2 tablespoons fresh lemon juice
• 1/4 cup extra-virgin olive oil
• Kosher salt and freshly ground black pepper
Working with 1 asparagus spear at a time, use a vegetable peeler to shave spears into long, thin shavings. Transfer to a medium bowl (the tips will snap off as spears get thinner; add to bowl). Combine grated Parmesan and lemon juice in a small bowl and slowly whisk in oil until well blended. Season vinaigrette generously with salt and pepper. Drizzle vinaigrette over shaved asparagus and toss to coat. Divide asparagus salad among plates. Use peeler to shave more Parmesan over salad.
I could only find one decent package of (baby) asparagus - annoying because usually there's plenty around. However, this produced enough for 2 portions despite being rather a hassle to 'shave' - but worth every second of that hassle I assure you.
I didn't worry too much about the quantities for the dressing, as they had to be dictated by the fact that I only had a walnut-sized piece of parmesan left in the fridge (we use it so rarely I had completely forgotten we were nearly out). The dressing was fresh, astringent and lemony, very lemony, but as a lemon-fiend that suits me fine. Others might want to add the juice judiciously and taste as they go along. I ended up with half the dressing left over, but stirred it into some shredded cabbage the following evening and enjoyed it again. I think it would work with any veg.
We served this asparagus saled with a simply-roasted chicken (rubbed with lemon juice and olive-oil, then sprinkled generously with ground pepper) and some roasted cherry tomatoes and baby corn. Rob also had cous cous, but I fancied a carb-free meal. It was simple and delicious; simply delicious in fact. Definitely a 'keeper'.
Thanks Megan!
Monday, 6 June 2011
Shaved Asparagus Salad with Lemon Parmesan Vinaigrette
2 comments:
- Foodiva said...
Kate, I saw a similar recipe at Smitten Kitchen blog a few weeks ago. Tried reproducing it but the asparagus we get here are so skinny, they're almost impossible to shave into lovely ribbons! You did a good job, though.
- 7 June 2011 at 13:44
- Norm said...
I agree Foodiva - it was hard work! I had to rest each stem of asparagus on the wooden handle of a knife, and then shave it... quite tedious! Do we ever get the bigger asparagus stalks here? I'm not sure I've ever seen them (that's pretty much all we get in the UK, you don't often see the baby stuff).
I LOVE Smitten Kitchen too! Deb is so funny. Can't wait for her book to come out.
- 7 June 2011 at 13:51
Subscribe to: Post Comments (Atom)


text:
Horoscope for December 1, 2011
Both your ingenuity and cleverness will be among the major qualities that will contribute to your success in the year ahead. Don't be reluctant to try your hand at as many new things as you like.
SAGITTARIUS (Nov. 23-Dec. 21) -- You're starting a new cycle, which will continue for some time and could be remarkably profitable if you play your cards right. It's a spotty trend, so be able to recognize your good days.
CAPRICORN (Dec. 22-Jan. 19) -- This is likely to be a favorable day for you where new adventures or enterprises are concerned. It'll be especially so for anything that you'll have a hand in bringing about.
AQUARIUS (Jan. 20-Feb. 19) -- Something that was financially fortunate for you previously could be so again. Whatever you do, don't change anything that worked well the first time.
PISCES (Feb. 20-March 20) -- A couple of friends could play more prominent roles in your affairs than they have done in the past. It's one of those times when each party could be lucky for the other.
ARIES (March 21-April 19) -- One of your greatest assets is your ability to derive benefits or advantages from shifting circumstances. Be as supple as a reed in the wind.
TAURUS (April 20-May 20) -- If at all possible, devote some time to an exciting, fresh interest that has captured your fancy. This new pastime could have greater ramifications for your life than you think.
GEMINI (May 21-June 20) -- Couple your will to win with your imagination, and visualize the type of results you hope to achieve, along with some changes you would like to make. They're all doable.
CANCER (June 21-July 22) -- Your ability to absorb and catalog all types of new information is better than usual at this time. Strive to utilize this wonderful gift to your best advantage.
LEO (July 23-Aug. 22) -- Chances are you'll be luckier than usual, but not necessarily in ways of your choosing. Even though benefits will be influenced by what you can't control, you'll like what occurs.
VIRGO (Aug. 23-Sept. 22) -- Team up with others, because fortuitous developments can be generated through partnerships, especially those springing from a social involvement.
LIBRA (Sept. 23-Oct. 23) -- An adverse situation that you've been working hard at changing for the better is likely to take that turn at last. Instead of producing negatives, it could bring you something very nice.
SCORPIO (Oct. 24-Nov. 22) -- A friend of yours is likely to be the purveyor of some good news, but neither you nor your pal will be aware of this until you talk. It could be a big surprise to both of you when you do.
Trying to patch up a broken romance? The Astro-Graph Matchmaker can help you understand what to do to make the relationship work. Send for your Matchmaker set by mailing $3 to Astro-Graph, P.O. Box 167, Wickliffe, OH 44092-0167.
** ** **
COPYRIGHT 2011 United Feature Syndicate, Inc.