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Patients looking to enhance their body contours with the aid liposuction in San Francisco, have the opportunity to choose between a number of techniques (tumescent, ultrasonic, water jet or laser liposuction). A certified liposuction surgeon can help decide which method is the most convenient for the patient.
The main objectives of Liposuction are:
In San Francisco you will find experienced liposuction surgeons offering tumescent and laser liposuction. Here you can learn the basics of these fat removal techniques.
Traditional (tumescent) Liposuction vs Laser Liposuction:
Tumescent liposuction and Laser liposuction share a common ground (the removal of unwanted fat). The difference between the two lies in the technique used. The main advantages of Laser liposuction over traditional tumescent lipo are: it is safer, less invasive and the recovery times are shorter for the Patient.
Laser Liposuction is less invasive because the incisions required are smaller compared to the bigger incisions used with traditional liposuction. This means also if there are any scars are less visible, there is also less bruising and bleeding.
Lasers offer an additional advantage for the patient. The Laser beam has a tightening effect on the skin that traditional liposuction techniques do not achieve. Laser Liposuction is perfect fat removal option for targeted small areas that have a small amount of fat and that need special skin tightening and toning after the procedure.
The patient can also be awake during the whole procedure. With laser lipo there is no need to have the patient under complete anesthesia.
Tumescent vs Ultrasonic Liposuction:
The tumescent liposuction method uses a hollow tube, called a cannula, which is inserted through a small 1/2″ incision. Tumescent fluid is put into the fat to help in its removal. It contains a dilute local anesthetic which provides for pain relief both before and after surgery, as well as epinephrine, which reduces blood loss during the procedure. Fat is then broken up and suctioned out of the body.
The ultrasonic liposuction technique, or Ultrasound Assisted Liposuction (UAL), uses high frequency sound waves to break down fat cells, causing the fat to flow out. The fat combines with injected fluid to create an emulsion. The “liquefied” fat is then suctioned out using vacuum pressure. Ultrasonic liposuction is particularly useful for removing fat in difficult areas such as the back, upper abdomen and outer thighs. It is also good for treating excessively large male breasts, a condition called Gynecomastia.
These procedures may be performed with either general anesthesia or sedation.
In San Francisco, ultrasonic and tumescent liposuctions are performed as outpatient procedures and can be combined with a tummy tuck, breast augmentation, breast reduction, or breast lift.
Under most circumstances, when liposuction is an outpatient procedure, recovery is usually quick. Most people can return to work within a few days and to normal activities within about two weeks. You should expect bruising, swelling and soreness for a least a few weeks. However, every person's outcome will vary based on factors such as volume of fat cells removed and area of removal. Your doctor will discuss what results you can expect to achieve and how to best maintain your new body shape.
Limitations of Liposuction Surgery:
How long do the results of liposuction last?
Once removed, fat cells typically do not duplicate or reform. Reducing the number of fat cells in an area will produce a change in shape that is expected to be permanent. Subsequent alterations in the body contour may occur as a result of aging, large weight gain (20-30 lbs) or loss, pregnancy, and/or a variety of other circumstances which may not be related to the location of fat. The amount of fat that is contained in the fat cells that are left behind is controlled by diet and exercise; body weight may remain the same if diet and exercise levels remain unchanged. During your consultation in San Francisco, tumescent and ultrasonic liposuction expectations will be discussed in detail to help you make an informed decision.
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http://sanfranlipo.com/index.html
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The deal, lasting from the 14th to the 20th, is available across the entire Staples' stable of outlets.
Not the $99 deal that many Microsoft conference attendees have experienced in the last several months, but if you're a normal citizen, and have a Staples nearby, you can pick up a Surface RT 32GB for $349 on Sunday, July 14th, 2013. Staples' online version of an upcoming ad says it all…
It appears that the deal, lasting from the 14thto the 20th, is available across the entire Staples' stable of outlets. I've gone through and changed my "Current Store" a couple times using different zip codes and the same ad is available for each.
Jump out to the following link and head to page 6: Staples Upcoming Ad
Or, select your own location and then click the "Upcoming Ad" link to verify your page 6 is the same as mine.
UPDATE: Best Buy is also on board and offering the same deal.
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http://windowsitpro.com/microsoft-surface/staples-dropping-surface-rt-32gb-150-july-14
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What Value Does a Retained Search Offer?
Author: Carolyn Silvestri
January, 2013 Issue
Filling a key role with the right person is critical to the ongoing success of your business. It doesn’t benefit you to “fill a desk” if that person isn’t qualified or not the right fit for your organization. With current employees responsible for multiple activities, a retained search may be the best plan of action toward finding that next “star employee.”
A recruiter finds candidates that you simply cannot access on your own. They develop relationships with individuals not typically looking for jobs but interested in hearing about key opportunities that match their area of expertise and longer-term career goals. They find these individuals, contact them, influence them and direct them through the recruiting process. Companies that work with candidates sourced only through a job posting are not only missing meeting key applicants but are greatly limiting their success. Recruiters have the expertise to source candidates from all venues so you’re introduced to the top talent from across the board.
If your goal is to hire the best and the brightest, those people who are top performers and will immediately have a direct impact on your bottom line, you should consider working with a recruiter on a retained search. The right hire will maximize the opportunity to accomplish your goals.
Time. On average, it takes 90-120 days to perform a thorough recruitment for a key employee, from developing a sourcing plan, obtaining a resume pool, assessing the candidates, interviewing the candidates and selecting a candidate.
Cost. There are the direct costs of the recruitment process and there are the costs incurred from lost opportunities when key managers are pulled away from focusing on their core responsibilities. Additionally, unless you have extensive recruiting experience, you risk making bad hiring decisions and the increased potential for turnover. One hundred percent of time and effort used on the search is wasted when the wrong hire leaves or is terminated in the first 90 days. Staff morale and productivity may then decline as you begin the recruitment process over again.
Return. Hiring the best and the brightest means increased productivity and a direct impact on the bottom line.
Hiring a professional recruiter with a reputation for successful placement will ensure success in all of these areas. You’ll benefit from the expertise of the recruiter, attract only the most qualified candidates in a timely manner and allow internal staff to focus on their critical responsibilities.
Eighty percent of employee turnover is based on mistakes made during the hiring process. A recent survey reported that costs related to bad hires indicated that 65 percent of the participating U.S. hiring managers said their bad hiring decision cost their company $25,000 to $50,000. Using a qualified professional placement firm can greatly improve success.
A trained recruiting professional has the experience necessary to assess behavior and learning style, provide a skills assessment, understand a candidate’s real motivation and compare these to a company’s needs. Using these factors along with a thorough reference checking process and background check can dramatically increase the likelihood of hiring the right person.
A top performer produces 48% more than an average performer. A manager making $80K annually who isn’t a top performer is costing $38,400 per year. If you have several managers who aren’t performing at the caliber they should be, you’re losing more than $100,000 annually as opposed to a top performer who will have a significant positive financial impact on your bottom line.
Working with a recruiter provides access to a large network of contacts, one that continuously expands. This network includes qualified candidates not actively seeking a new position but wanting to be informed of outstanding opportunities. You’re introduced to experienced and professional candidates whom you may have never found on your own, and you gain maximum exposure to candidates who have the ability to be high performers. A recruiter finds your “star employee” while you continue to operate your business at its full potential.
Carolyn Silvestri is principal at The Personnel Perspective in Santa Rosa. You can reach her at (707) 576-7653 or www.personnelperspective.com .
Back to article list | Top of page
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http://www.northbaybiz.com/General_Articles/General_Articles/What_Value_Does_a_Retained_Search_Offer.php
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Cars are a huge investment in our lives. Safety of cars is an important task that shouldn't be overlooked. Latest technology provides with advanced options like transponder keys to keep your car away from burglars. Let's gather some information about these keys.
Owning a car is a dream for many of us. Once bought, its security is what concerns us the most. A car is to be kept as secure as
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http://elegantful.blogspot.com/2011/11/keep-your-car-keys-transponder-it-safe.html
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If I buy a retail version of Vista, I pay several hundred dollars for the DVD set, but really the value is in the license.
If I buy a machine with Vista on it, I theoretically get a “deal” because the computer arrives pre-installed. I have a license — I have paid for the right to use the software.
However, if my disk dies, taking with it the operating system that never actually ran particularly well AND the recovery partition that took up 10gb of the disk space that was marketed as usable space when I bought the machine, and which sat there doing nothing until the day I was desperate to access it, the same day it became inaccessible to me (dim bulbs, the engineers that thought up this recovery strategy), SUDDENLY THE MEDIA MATTERS. And it isn’t ANY installation DVD, oh no, I can’t borrow my buddy’s Vista Ultimate installation disc that he paid for, oh no. I have to have the OEM version. For another $160.00 $200.00 CAD. I swear I’ve aged 10 years in the last 3 days. And I still am not able to run the Operating system I theoretically paid for.
Have you guys out there making these licensing deals ever heard of KISS? Keep It Simple Stupid.
No, I guess not.
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http://eternallyoptimistic.com/2008/06/16/so-let-me-get-this-straight/
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Hello, this is my first time posting. Not sure if I'm following posting protocol correctly, so please correct me if I am in error.
I think I know of a blooper that may not have been seen before in TNG. I've known about it for a long time, just never thought to ask, and decided it was a perfect reason to finally join this site since I've been meaning to for a while.
Is it allowed/possible to post a screenshot, or link to a screenshot of what I have? I know I am going to read the forum rules, but I haven't the time now.
-- Ajarian73 (talk) 03:29, January 24, 2014 (UTC)
January-23-2014 10:19 EST
- You are welcome to upload screenshots as long as they comply with the file use policy and have the proper information(I am sort of interested in what you might have found that has not been found in the 25+ years since TNG has been on)- but this is not a site to collect 'bloopers' or goofs. If you just want to talk about it that's certainly fine in these forums but generally such nitpicks are not suitable article content. 31dot (talk) 02:38, January 25, 2014 (UTC)
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http://memory-alpha.wikia.com/wiki/Forum:I_may_have_found_a_new_TNG_blooper?t=20140125052841
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If you have an illness lasting 7 days or less you do not require a doctor's sickness certificate. Your employer may require you to complete a self-certification form called an SC2 which is available from the HMRC website or you can click on the link below to download the form.
If you are off work for more than seven days due to illness your employer can ask you to give them some form of medical evidence to support payment of SSP (statutory sick pay).
It is up to your employer to decide whether you are incapable of work. A medical certificate, now called 'Statement of Fitness for Work' from your doctor is strong evidence that you are sick and would normally be accepted, unless there is evidence to prove otherwise.
Statement of Fitness for Work - 'Fit Note'
The 'Fit Note' was introduced on 6 April 2010. With your employer's support, the note will help you return to work soon by providing more information about the effects of your illness or injury.
For more information see the Direct Gov website (below)
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http://www.mysurgerywebsite.co.uk/info.aspx?p=13&pr=K81003
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Syria`s Assad marks birthday as strike threat recedes
Syria`s President Bashar al-Assad marks his 48th birthday on Wednesday with the threat of US-led strikes against his regime in response to an alleged chemical weapons attack apparently receding.
Damascus: Syria`s President Bashar al-Assad marks his 48th birthday on Wednesday with the threat of US-led strikes against his regime in response to an alleged chemical weapons attack apparently receding.
A Syrian pro-regime site called on residents of the capital Damascus to demonstrate their support for Assad by joining a convoy of cars in the Mazzeh district to honour him.
Assad, a British-trained ophthalmologist who has three children, succeeded his father Hafez, who died in 2000.
He came to the position of heir unexpectedly, after his brother Bassel was killed in a car accident.
Once considered a potential reformer, who discussed the need for political and economic openness after he took office, Assad has responded with an iron fist to an uprising that began in March 2011.
More than 110,000 people have been killed in the violence that erupted after his forces cracked down on demonstrators calling for his ouster, according to the Syrian Observatory for Human Rights.
He marks his birthday as the threat of imminent US-led strikes against his regime appears to have waned. The strikes, which were intended to punish the regime for allegedly using chemical weapons on August 21, appear to be on hold as a Russian proposal that Syria hand over its chemical weapons is discussed.
Inside Syria, Assad is believed to have a firm grip on his regime, more than two years after the uprising began. "He is even more the `boss` than before, even if he can`t act without the support of the military and security apparatus," according Nikolaos van Dam, a Dutch diplomat and author of a book on Syria.
"He listens to his advisors, but he takes the decision by himself," adds an expert based in Beirut. Assad`s confidantes include his brother Maher al-Assad, a colonel who heads the division in charge of Damascus, as well as his wife Asma.
His inner circle also includes his uncle and cousin Mohammed and Rami Makhlouf, two businessmen, and Hafez Makhlouf, his security chief in Damascus.
Most of his inner circle, like Assad, hails from the Alawite minority, although his wife Asma is a Sunni Muslim.
But he also counts Druze among his closest advisors, including minister of presidential affairs Mansour Azzam and Louna al-Shibi, a former journalist.
Others close to him include Alawite Hussam Sukkar, a general and his presidential security advisor, and two senior Sunni intelligence officials -- Gen Ali Mamluk, who heads national security, and Gen Rustom Ghazaleh, head of political security.
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http://zeenews.india.com/news/world/syrias-assad-marks-birthday-as-strike-threat-recedes_875825.html
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A Maryland woman has vanished in Aruba after taking a snorkeling trip with a friend, MyFoxDC reports.
The disappearance of Robyn Gardner, 35, last week comes six years after Alabama teen Natalee Holloway vanished from the same resort town.
Police are questioning the man Gardner was with on the island, Gary Giordano of Frederick, Md., who reportedly told investigators the pair took a snorkeling trip on Aug. 2 – and that Gardner never returned to shore.
Giordano was detained as he tried to leave the island and has reportedly changed details of his story several times.
Gardner’s boyfriend of two years, Richard Forester, has pleaded for help from the public in locating his girlfriend and says he is skeptical about Giordano’s story, according to MyFoxDC.
“I want to let people know this is going on,” Forester told the station. “She’s been missing six days, and every day she’s gone raises fear that she won’t be coming back.”
Gardner, described as 5′,5″ and 120 lbs., was last seen on Tuesday, Aug. 2 at the Renaissance Aruba Resort & Casino in Oranjestad, Aruba, according to the Natalee Holloway Resource Center.
Anyone with information on Gardner’s location can contact Fred Panneflek with the Aruban authorities at 011-297-597-5201.
Similar to Holloway Case
The case has similarities to that involving Holloway, who disappeared without a trace in 2005 while she was on a school trip with her graduating class. Holloway was last seen leaving an Oranjestad bar called Carlos ‘n Charlie’s in the company of a Dutch boy, Joran van der Sloot, now 24, who is currently in jail in Peru awaiting his fate in connection with the brutal murder of Stephany Flores, a 21-year-old business student.
He is expected to plead guilty to that murder – which occurred on May 30, 2010, exactly five years to the date of Natalee’s disappearance.
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http://people.com/crime/robyn-gardner-missing-in-aruba/
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Download Full Bang Bang in Top QualityNow you can play full Bang Bang in best quality with duration 153 Min and has been aired on 2014-10-02 and MPAA rating is 39.
- Original Title : Bang Bang
- Movie title in your country : Bang Bang
- Year of movie : 2014
- Genres of movie : Action, Adventure, Thriller, Romance,
- Status of movie : Released
- Release date of movie : 2014-10-02
- Companies of movie : Fox Star Studios,
- Countries of movie : India,
- Language of movie : हिन्दी, English,
- Durationof movie : 153 Min
- Average vote of movie : 6
- Youtube ID of movie : LRARHtMzZQE
- Translation of movie : EN,DE,HU,ZH,EL,FR,
- Actors of movie :Hrithik Roshan (Rajveer Nanda), Katrina Kaif (Harleen Sahni), Danny Denzongpa (Omar), Ron Smoorenburg (Henchman)
Movie synopsis of Bang Bang :
Full Streaming Bang Bang in Best Quality with movie summary "A girl gets mixed up with a spy trying to clear his name. A chance encounter of the unassuming bank receptionist Harleen Sahni with the charming yet mysterious Rajveer Nanda, results in an on-rush of ditched planes, car chases, shoot-outs, bombing raids and general global mayhem. But as the transcontinental chase ensues with Rajveer convincing Harleen that he's the good guy, can she really trust him, and will trust matter when the bullets start flying?" in HD video. Watch full Bang Bang in High Quality by clicking the button above.
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Director : Siddharth Anand, Producer : Prashant Singh, Producer : Navmeet Singh
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Tags: london, dancing, secret agent, revenge, heist, rescue, hindi, bollywood, car chase, jewel heist, jewel thief, motorcycle chase,
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http://triplequiltstotreasure.blogspot.com.au/2015/11/bang-bang-2014.html
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U.S. consumers are expected to boost online purchases by 14 percent today (Monday) as more customers use computers and smart phones to purchase holiday bargains offered by competitive retailers.
The research group comScore predicts that e-commerce will hit $70 billion for the holiday season that ends in late December with the traditional exchange of gifts for Christmas. Researchers say a significant and fast-growing share of e-commerce is done via mobile devices. The National Retail Federation says total holiday commerce will exceed $600 billion.
Holiday shopping accounts for around one-third of annual commerce for retailers, and in some cases, a strong season is the difference between profit and loss.
The holiday shopping season traditionally starts the day after late November's patriotic and religious holiday of Thanksgiving, which is always on a Thursday. The day after has been dubbed "Black Friday" because success on that key shopping day is associated with being profitable, or "in the black."
Surging e-commerce, however, is eroding holiday sales in traditional or "bricks and mortar" stores. That is particularly true on the Monday after the Thanksgiving holiday when workers return to jobs, where they often have access to computers. So many people take time out from work to bargain hunt that the day is called "Cyber Monday." The National Retail Federation says 121 million Americans will go online to shop this Monday. Cyber Mondays have been hitting record-high sales totals for the past six years, and experts predict more than $3 billion in sales this Cyber Monday, which would be another record.
The Consumer Technology Association says around 45 percent of shoppers plan to purchase electronic devices, particularly smart phones and televisions.
Delivering all of those gadgets, toys, clothing and other gifts is a huge task for the U.S. Postal Service, UPS, and FedEx. FedEx says it expects to deliver a record 317 million packages, and has added tens of thousands of workers to its crew of more than 300,000.
Cyber commerce is also surging in other nations. China's Alibaba sold a new record $14.3 billion associated with early November's "Singles' Day," which has seen commerce expand quickly since 2009.
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https://www.voanews.com/a/us-holiday-cyber-commerce-surges/3081248.html
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|Buena Vista Television|
Teen Win, Lose or Draw is the game show based on Pictionary and on the American series of the same name where two teams of three draw puzzles to help contestants win money.
Two teams of three players (consisting of one celebrity, and two teen contestants) played the game in a battle-of-the-sexes-manner (boys vs. girls). Unlike the adult version, contestants played for points & prizes, not money.
In the first round, one player from each team had two minutes to draw as many words as he/she can to convey to his/her partners. There were 10 words in all and each word is a clue to a puzzle. Each correct answer was worth five points, and when time was up, host Darren announced the clues the team got right and if the team can solve the puzzle using those clues, they earn a 25 point bonus. If they can't, the opposing team got a chance to solve the puzzle and steal the points. So each puzzle was worth up to 75 points.
In the second round, the drawer had 90 seconds (1 1/2 minutes) to draw up to three two word phrases. Each one was worth 15 points for a maximum total of 45 points.
Round three saw the drawer draw up to four clues to a famous person. The drawer chose a person in a blind draw and Darren revealed a card that represented what field the subject is from. After each correct clue, the team in control was asked to make a guess at the risk of a steal from the other team if they're wrong. The more clues were used, the less its worth. The first clue was worth 50 points, the second was worth 30, third 20 and forth 10.
The final round of the game was called the Speed Round. In the speed round, the drawer had 90 seconds (1 1/2 minutes) to draw as many words & phrases as he/she can. Each correct answer was worth 10 points, and the drawer can pass no more than twice. The team in the lead went first followed by the trailing team; in case of a tie, the team that started the entire game went first. After both teams played the speed round, the team with the most points won the game, and the teen contestants on the winning team each won a prize package.
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http://british-game-show.wikia.com/wiki/Teen_Win,_Lose_or_Draw
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14873612
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Israeli Occupation Forces (IOF) on Thursday morning have kidnapped at least six Palestinians from areas all over the occupied West Bank and Jerusalem.
The campaign targeted three Palestinians from Qalqilia district, northern West Bank, another from Nablus area, and two from Abu Dis, East Jerusalem.
According to the Israeli military statement, the IOF closed a blacksmith shop in Beit Liqya, southwest of Ramallah, under claims that it was used to manufacture weapons.
Meanwhile, Palestinian citizen Youssef Dar Moussa said an Israeli military patrol stormed his family home and those of his brothers in Beit Lakia and wreaked havoc on the buildings.
He added that another military patrol ravaged blacksmith shops owned by his brothers Sadam and Hakim and sealed them off with red wax.
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http://english.pnn.ps/2017/02/16/iof-kidnap-six-palestinians-from-west-bank/
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That’s how I feel right now. Blah. It’s snowing here. The weather is killing my sinuses. It’s also messing with my mood. I have some depression-type-stuff, and the yearly switch to cold weather always kind of messes with that. Plus, you know, holiday stress…just blah.
Not to worry, I’m under a doctor’s care. It’s not a crisis situation or anything, I just need to wait for my medication adjustment to kick in all the way. Really, I wouldn’t bring it up at all if I didn’t feel the need to explain why I have nothing written for today’s regularly scheduled post. I’m just off my game and I’m having a bit of writer’s block.
Not about bras and stuff, though. Believe me, you guys, there’s always plenty of stuff to write about there. I’ve actually been working on five different lingerie related posts over the past week or so. I just haven’t finished any of them. Expect a review tomorrow or Tuesday, and some fitting stuff probably by the weekend.
So about that writer’s block: Help me out! What do you want to read about for Something Else Sunday? Any deeply personal questions you’ve been dying to ask? Want my opinion on something? Anything I’ve already talked about for that you want more info on? Let me know! And I’m always happy to answer any lingerie questions to the best of my ability, too!
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https://fillinganiche.wordpress.com/2013/11/24/something-else-sunday-blah/
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Citrix Presentation Server 4.5: Administration Exam: 1Y0-259
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https://issuu.com/nancyfabian19/docs/1y0-259-certmagic
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Shallotte, North Carolina (West Brunswick High School) strongside defensive end Alfy Hill has his priorities in order. School work comes first and then his work on the football field. That's how he...
Subscribe today to read the full article and get everything Rivals has to offer.
- Member-only message boards
- Exclusive highlights and recruiting interviews
- Exclusive coverage of Rivals Camp Series
- Breaking recruiting news
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https://tennessee.rivals.com/news/vols-courting-north-carolina-defensive-end
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14873616
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Avery Monsen believes no one should ever have to combine emojis to express how they’re feeling, no matter how specific the situation. And while, I think it’s safe to say we all feel that way, he’s gone and done something about it, creating 100 new emojis you can use to describe anything from a “Bad Haircut” to a “Top Hat Full of Pornography.” Which if you ask us, pretty much accounts for all of life’s experiences.
All 100 Emojis are shoved into this awesome six-second Vine, or you can scroll down further for a little cheat sheet. And when you’re done, be sure to follow Avery on Twitter and/or Vine.
Your all-in-one reference guide:
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http://www.funnyordie.com/articles/aa1347e4e3/100-new-emojis-that-should-just-about-cover-it
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Perspectives from Spatial and Neoclassical Economics
Edited by Masahisa Fujita, Satoru Kumagai and Koji Nishikimi
Chapter 2: Regional Integration in East Asia: Perspectives of Spatial and Neoclassical Economics
Masahisa Fujita and Nobuaki Hamaguchi INTRODUCTION 2.1 Globalization has highlighted the importance of geography. Firms can choose locations more freely and internationally so as to produce and deliver more efficiently, taking into consideration locational advantages in labor cost, infrastructure quality and accessibility to major markets. The reduction of trade costs in the broad sense (Anderson and Wincoop 2004) has allowed firms to supply a much wider area of markets from a smaller number of production locations. This, in turn, has provoked a concern over widening regional income disparities because some regions seem to attract a disproportionately large share of productive employment while others are left with only a small share. In the early 1990s, concern about the future of European integration after the establishment of the European Union (EU) in 1993 encouraged some theorists to develop models of the location of economic activities; this has become known as ‘spatial economics’. A natural question of interest was, ‘Given the regional integration of the EU as a single market, what will be the spatial distribution of economic activities?’ Since then, spatial economics has reached a certain theoretical consolidation, as we can see in Fujita et al. (1999), Baldwin et al. (2003) and Henderson and Thisse (2004). This book examines the future of the economic geography of East Asia, which is also increasing its degree of integration. Casual observation identifies a complex combination of both a dispersion of industries from higher-wage regions to lower-wage ones, and a concentration in larger...
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Non-subscribers can freely search the site, view abstracts/ extracts and download selected front matter and introductory chapters for personal use.
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https://www.elgaronline.com/view/9781847209122.00009.xml
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14873618
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riga dating agencies
Moreover, it develops logical thinking, language and basic computer skills. And if you like each other, you can meet in the future and become close friends. In addition, playing computer games is a good way of entertainment. To start with, computer games have a harmful i'm dating hannah montana lyrics effect on health. Besides, you sit i'm dating hannah montana lyrics in the same place and don't move so you can gain weight. Another point to be made is that a lot of games have aggressive moments and this makes teenagers cruel and causes violent behavior. Furthermore, young people spend too much i'm dating hannah montana lyrics time on this and it can ruin relationships with people. To sum up, I would like to stress that the problem has as many strong points as weak points. As for me, I prefer to spend my free time with my parents and friends. Besides, I enjoy going i'm dating hannah montana lyrics in for sports more than playing computer games. Your family are probably the most important people in your life. But we can also say that family is a group of people consisting of a parent and children and their close relations. I think that it is better to have a big family i'm dating hannah montana lyrics because your relations always help and support you.
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14873619
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VARSI 1000 by Secto Design
The VARSI 1000 is a sleek suspension arm that can be adjusted to fit any wall, whether in a public area or a more intimate setting. This frame comes with one of seven pendants from the SECTO collection and is a good alternative for rooms where there is no option for ceiling suspension. Give your room an instant makeover with this versatile and modern lighting fixture.
Designed by Seppo Koho
L: 130-230 cm, adjustable
H: 41 cm
W: 3,5 kg
L: 8 m
Powder painted steel. Black or white finish.
Textile cable, ceiling plug and ceiling cup.
Black or white finish.
Clean with soft dry cloth. Always switch off the electricity supply before cleaning.
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http://design-tales.com/product/varsi-1000/
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14873620
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by Jacob G. Unger, MD
We had the distinct privilege of having Dr. Fu Chan Wei as our visiting professor this past week at UT Southwestern. To ensure that we could learn as much as possible from this very special visit, we set up as many learning opportunities as we could.
We started with a dinner attended by our faculty and senior residents where we had the opportunity to show Dr. Wei a bona fide Texas Steakhouse and had the chance to ask him questions in a small group setting about surgical technique of course, but also about life and differences between medicine in Taiwan versus the U.S. Over our excessively large, Texas-sized dinner, we also heard many stories about the history of Chang-Gung and its origins, including stories of Dr. Nordhoff, who also trained our chief of Craniofacial Surgery, Alex Kane.
The dinner was great, full of laughs and inquiries into Dr. Wei’s techniques for various flaps. This set the stage perfectly for the next morning.
We began the visiting professor day in earnest bright an early the next morning with multiple lectures by Dr. Wei about toe-to-thumb transfers, as well as other options for replacing lost digits with toes. The finesse of technique and incredible results obtained were eye-opening to the residents, but also quite daunting.
After impressing us with photos and video of these elegant surgeries we were able to all head down to the UTSW anatomy lab and watch and assist Dr. Wei with the dissection of the incredible flaps we had just been lectured on such as the trimmed Great-toe flap, the 2-3 Toe flap, and more standard flaps like the ALT and osteo-septo-cutaneous fibula flaps.
Dr. Wei assured all of us that now that we had learned about these intricate flaps and performed the dissections in the lab that we were ready to go out and offer them to our patients! While I’m not quite sure that we are all ready to tackle these difficult procedures and patients solo yet, we did learn a great deal and certainly now have a larger armamentarium of options to consider for the difficult situations that could necessitate these surgeries.
We then returned to the plastic surgery lecture hall to round out our fantastic day with more lectures and the opportunity to ask questions and consolidate our understanding of the cases from the lab. Dr. Wei was incredibly gracious and kind and we all felt very lucky to have had the chance to spend the day with him. We just hope he will come back soon to teach us again, and hopefully we will have some cases to show him as well!
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https://prsresidentchronicles.wordpress.com/2015/05/14/our-day-with-fu-chan-wei/
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Jack Kirby’s Silver Star
By Thom Young
Writer: Jack Kirby
Artists: Jack Kirby (pencils), Mike Royer (inks for chapters 1-4), and D. Bruce Berry (inks for chapters 5-6)
Publisher: Image Comics
I remember reading an article in an issue of The Comics Journal twenty-six years ago that reported on the news that Jack Kirby was returning to comics. He’d been working in animation for Ruby-Spears Productions after leaving Marvel near the end of 1977, but he was enticed back to comics almost four years later by a new publisher out of San Diego.
Pacific Comics gave Kirby complete control and ownership of the properties he was bringing to their company. Captain Victory and the Galactic Rangers debuted for Pacific in late 1981, followed a little over a year later by the six-issue miniseries Silver Star (which Kirby called a “Visual Novel”).
Synchronistically, I first discovered Kirby’s work just as he was leaving Marvel in 1977. I had just started buying comics six years earlier in 1971. However, in those early days of my hobby, I only read titles that had Batman in them—which meant I only bought Batman, Detective, Brave and the Bold, and Justice League of America.
My sister, though, decided to collect comics with Superman in them (probably at my urging), which meant I also got to read Superman, Action, World’s Finest, and Superboy, Starring the Legion of Super-Heroes. For some reason, my sister didn’t “collect” Superman’s Girlfriend, Lois Lane and Superman’s Pal, Jimmy Olsen.
I suspect our mom would only let us subscribe to four books each, but perhaps DC didn’t offer a subscription to Lois Lane and Jimmy Olsen. In any event, my sister’s books didn’t include Jimmy Olsen, which meant I wasn’t exposed to Kirby while he was working on his Fourth World series for DC.
Instead, it was my love of Batman that eventually brought me to Kirby even though he never worked on a comic book that featured the character. In the summer of 1977, Steve Englehart and Marshall Rogers began their run on Batman beginning in Detective #471. I was immediately taken by what I still consider the greatest Batman arc of all time.
Two months later, Englehart and Rogers produced Mister Miracle #19, and I picked up that title based solely on my admiration for their work on Detective. Up to that point I had never heard of the New Gods or Jack Kirby (I never had been much of a Marvel fan and didn’t know he had created Captain America and almost all of Marvel’s Silver Age characters).
After reading Mister Miracle #19, I sought out issues #1-18 in the back issue bins (those comics were still inexpensively priced at the time). Those back issues led me to The New Gods and The Forever People—and, finally, to the Jimmy Olsen issues that my sister had never had.
I could hardly believe this great work had originally been coming out just as I had started buying comics six years earlier, but that I had completely ignored it when (or if) I saw it on the spinner racks. Thus, it was with great excitement that I learned that Kirby was coming back to comics four years after I finally came across his work.
Unfortunately, I didn’t much care for Captain Victory and the Galactic Rangers when the title finally appeared. Those stories weren’t as exciting as The Fourth World stories, and the quality of the illustrations was noticeably lower.
I knew from reading the Fourth World material that Kirby had difficulty with dialog, but his writing in Captain Victory was horrible—at least that’s how I remember it (I haven’t actually re-read those stories in the past 26 years).
So, when Silver Star came out in late 1982 or early 1983, I didn’t hold out much hope for liking it any more than I had Captain Victory. In fact, I ended up disliking it even more—to the point of not buying the last four issues of the six-issue limited series. In 1983, I was convinced that old age had caught up to Kirby (he was 65 when he produced Silver Star).
Fortunately, Kirby then went on to prove me wrong. In fact, concurrent with his work on Captain Victory and Silver Star, he penciled Steve Gerber’s Destroyer Duck #1-5 for Eclipse Comics from 1982-83. Of course, at the time I thought the higher quality of the illustrations on Destroyer Duck was due to inker Alfredo Alcala “fixing” Kirby’s pencils.
Since then, though, I’ve seen some of Kirby’s un-inked pencils from Captain Victory, Silver Star, and Destroyer Duck—and it was obvious that Kirby was still an extremely talented illustrator, and that the poor quality of the illustrations in the Pacific Comics titles may have been the fault of his inkers.
It was with all this in my mind that I approached Image Comics’ new collection of Kirby’s Silver Star “visual novel.” I wanted to find out whether the work was really as bad as I had thought 26 years ago. Perhaps I would now have a more “mature reaction” that would reveal to me how great it was.
Unfortunately, I have to say that it’s still just as horrible as I remember it. The dialog and narration are horrendous, the nomenclature is ridiculous, and the illustrations lack depth—and many of them are crude and simplistic. However, I now have some insight into why it’s all so bad.
In preparing this review, I read a one-page “analysis” of Kirby’s dialog (published in the April 1998 issue of The Jack Kirby Collector) in which Robert L. Bryant Jr. claims that Kirby didn’t write bad dialog. Instead, Bryant says that Kirby emphasized (emboldened) verbs in his dialog, and that fans in the 1970s reacted harshly to it because Stan Lee emphasized nouns in the dialog he scripted for Kirby’s stories in the 1960s.
Even if it turned out to be true that Kirby emphasized verbs instead of nouns, Bryant’s argument seemed ludicrous. However, I then looked at several pages of the Fourth World stories. I found that most of Kirby’s emboldened words are nouns, just like Lee emphasized according to Bryant.
Instead, I discovered that the reason readers in the 1970s (and 80s) believed Kirby’s dialog was bad is because it really wasn’t good. For instance, Kirby awkwardly introduces exposition in his dialog—as when a man walks into an army M.A.S.H. hospital in the first chapter of Silver Star and asks, “Am I in the presence of Colonel Walter Hammer, M.D.?”
No one talks like that. The phrase “Am I in the presence of” is too formal for the situation—but I can see Kirby’s problem. He wanted the reader to know that Walter Hammer is not only a colonel in the army but also a medical doctor. The man couldn’t ask, “Are you Colonel Hammer?” or “Are you Dr. Hammer?” because those questions would not have provided all the information Kirby wanted to convey.
It would have been slightly bet
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http://www.comicsbulletin.com/main/sites/default/files/soapbox/11858310036311.htm
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14873622
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“Join 3,008 other followers”
Well I guess I’m obligated to say something poignant?
How about this?
I could use some BETA READERS to have a gander at the opening to my new stand-up comedy novel: Wrecking Balls.
I can trade chapter for chapter feedback. No crybabies though. And take heed: Wrecking Balls is a hard R rated gritty blitzkrieg of fuck, shit, dick, pussy and the rest of the comedy vernacular.
So no prudes either.
You should be able to figure out how to contact me if interested.
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https://jgiambrone.wordpress.com/2015/10/13/3000-followers/
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Now a presenter on Cumbria's Community Radio Station Indigo http://www.indigofm.co.uk/presenters/geoff-pegg.htm
In order to promote the book and involve a range of Umbrella poets and singer songwriters, Geoff organised Knotted Sheets at the Belgrade Theatre in 1970 with over 30 contributions from nine poets or songwriters. here is the programme along with the biographical details.
THE COVENTRY ARTS UMBRELLA CLUB PRESENTS…KNOTTED SHEETS
At the Belgrade Theatre 1970 - Title taken from Geoff Pegg’s booklet of poems.
POEMS & SONGS AUTHORS
1 What I can’t Properly Understand - Terence Watson
2 Communicate - Rosalyn Dack
3 Caroline Smith - Charles Fogg
4 There Should be - Norman E. Wheatley
5 The Visit - Rosemary Bull
6 Locked In - Terence Watson
7 Summer poem V1 - Geoff Pegg
8 Dinosaur’s Lament - John Leopold
9 Twenty tons of TNT - Geoff Pegg
10 News at Ten - Geoff Pegg
11 The Tragic Roundabout - Geoff Pegg
12 Imagine a Cave - Terence Watson
13 The Battle of Trafalgar - Terence Watson
14 Two’s - Norman E. Wheatley
15 An Another Thing - Terence Watson
16 I’m Sorry - Norman E. Wheatley
17 Ice Cream Van - Norman E. Wheatley
18 Dark Red Shirt - Norman E. Wheatley
19 The Forty First shade of Green - George Desmond
20 Simplicity of a seven Day Wonder - Geoff Pegg
21 Skinhead Calypso - Norman E. Wheatley
22 Poem for the tender of the Grave of Dylan Thomas - Mark Richardson
23 Peacocks Mating Season - Warwick Castle - Rosalyn Dack
24 Mind…For Hire. - George Desmond
25 Summer Poems V - Geoff Pegg
26 Did You have a Nice Christmas - Norman E. Wheatley
27 Summer Song - Geoff Pegg
28 How Her Hair Falls - Terence Watson
29 Summer Poem III - Geoff Pegg
30 Julia - George Desmond
31 Goodbye Now - Geoff Pegg
Lynda Bellingham -
Jeffrey Holland - Director - Chistopher Honer
An apprentice draughtsman at B.O. Morris Ltd., and the current chairman of the Drama & Literary section of the Umbrella Club. Apart from individual poems being published in magazines, he has had a booklet of poems published which bears the title of today’s recital; Knotted Sheets, which is available at the door. Born in Coventry in 1950, Mr Pegg collected the material for this performance. ( additional information 2011) - Geoff was a DJ for the Walsgrave Hospital Radio in Coventry and a musician too and now a presenter on Cumbria's Community Radio Station Indigo http://www.indigofm.co.uk/presenters/geoff-pegg.htm
A qualified schoolteacher and one of the strengths behind the Umbrella Club at the present time. He serves on the committee of the west Midland’s arts Association and has his own personal style of poetry. In the Battle of Trafalgar he shows he can also produce highly effective sound poetry. This poem is one of the highlights of today’s performance.
Ex-secretary of the Coventry poetry society, Miss Dack shows that she too has a very individual style in which her words possess tremendous strength of image. Communicate is a very good example.
A writer who has a deep insight into today’s problems. His recent work (from which today’s piece is chosen) shows excellent imagery when dealing with sex, drugs, illegitimacy etc. These poems are mostly lengthy , but Mr Fogg’s skill is such that the effectiveness is always captured perfectly.
By trade a maintenance electrician, George Desmond has written literally hundreds of poems and is now a respected poet in the city.
Another schoolteacher, Miss Bull has an MA and a BA. She recently returned to the city in which she grew up. An ex member of the Coventry Poetry Society, which regrettably is now a thing of the past.
Another Coventry poetry Society member who since its breakdown has switched his attentions more seriously to the Umbrella Club as an outlet for his work. Mr. Richardson is a poet who takes care to be sure each word in his poems are to his satisfaction. The result is a very solid style of poetry.
The writer of the other song, Dinosaurs Lament. A talented songwriter and guitarist who takes personal preference to the 12-string variety. His songs are apart from anything produced by other writers and they use some excellent chord sequences.
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http://coventryartsumbrella.blogspot.com/2011/06/geoff-peggs-knotted-sheets-poetry-at.html
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14873624
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BEIJING, May 25, 2017 /PRNewswire/ -- From May 18-20th Chinese B2B e-commerce marketplace DHgate attended the China Electronics Show in Jakarta, Indonesia. During the event, DHgate provided samples of hot-selling products for evaluation and purchase; free training sessions for starting an import business; giveaways and coupons were also provided.
Hot-Selling Sample Products
During the show, DHgate provided samples of its hottest-selling products. Including the fidget spinner, currently the most popular product available. Fidget spinner sales are up 316 times more than the corresponding period last year, and 8.8 times more than that of last month. Other consumer electronics sample products were also available.
DHgate's format for the event introduces Indonesian buyers to the online-to-offline business model for sourcing quality products from overseas. Buyers physically interact with products before placing bulk orders.
Privileges and Benefits for Visitors
For visitors at the event, DHgate prepared coupons and giveaways; activities such as raffle games and giveaways were also held.
DHgate provided free training for entrepreneurs looking to start import businesses. Attendees were taught by a consultant from DHgate about product selection, mobile phone business management, local product distribution through DHgate's platform Novoshops, and other essential e-commerce skills.
Careful Preparation for the O2O Model
"DHgate has been looking forward to an opportunity like the China Electronics Show, to bring our products, and e-commerce experience and knowledge to the world. Trade shows are one of our two major O2O models, the other being the Digital Trade Center. We have gone to great lengths to prepare high quality training materials and the right sample products for this event."
--Diane Wang, Founder and CEO of DHgate
DHgate is the biggest B2B transactional cross-border e-commerce marketplace in China, offering integrated services for international logistics, cross-border payments, internet financing, and online marketing. DHgate's 1.4 million sellers offer 40 million products and serve 10 million buyers from 230 countries and regions. Import now @DHgate.com.
To view the original version on PR Newswire, visit:http://www.prnewswire.com/news-releases/dhgate-brought-insider-e-commerce-expertise-to-jakarta-300463775.html
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http://www.prnewswire.com/news-releases/dhgate-brought-insider-e-commerce-expertise-to-jakarta-300463775.html
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14873625
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Progress Against the Law:
Fan Distribution, Copyright, and the Explosive Growth of Japanese Animation
Massachusetts Institute of Technology
December 10, 2003
6.806, Fall 2003
Japanese animation has grown to be a powerhouse in the world of alternative entertainment. Its phenomenal growth is directly related to the proselytization of fans who worked to grow interest in America, despite flagging interest by Japanese copyright holders. We present an historical analysis and a legal analysis to demonstrate that, at least in one significant case spanning two decades, commerce and the arts were significantly boosted through the continual violation of copyright.
Except in “Legal Analysis of Fan Distribution and Subtitling,” citations adhere to the MLA style with footnotes. In “Legal Analysis of Fan Distribution and Subtitling,” citations adhere to the Bluebook style.
Interest in, and consumption of, Japanese animation has increased exponentially across the world in the last ten years. Total sales of anime and related character goods rose to Ľ9 trillion (US$80 billion) in 2002, up from less than a tenth of that a decade ago. Despite Japan’s flagging revenues in other markets from steel to manufacturing and heavy industry, the Wall Street Journal recently commented that “Japan has more than made up for it because of its cultural exports.” Indeed, Prime Minister Junichiro Koizumi lauded Spirited Away and anime in his 2003 opening speech to the Diet, asserting that anime is being viewed as “the savior or Japanese culture.” From all of this hype, we ask the question: how did anime, once regarded as a product produced and consumed exclusively for Japanese children, become such a powerhouse in the global media market?
The answer lies in the international pull, not push, of anime to other nations’ shores. A wave of internationals became interested in anime, manga (Japanese comics), and other cultural products as they studied or served in the military in Japan in the 1960s-1970s, right as the slogan “Japan as No. 1” began to reshape that country’s popular consciousness. Those who returned to America wanted to share anime and manga with their friends. The introduction of the VCR into the American and Japanese mass markets in 1975 made this possible: for the first time, fans could tapes shows and show others in America. Initially unable to share because of the significant Japanese-English language barrier, fans were relegated to explaining the bare basics of an anime plot as a slew of fantastic imagery and incomprehensible language bombarded audiences at the back of science-fiction conventions, or as a reader would struggle with the “backwards text and images” of manga alongside a Japanese-competent friend. “We didn’t know what the hell they were saying, but it looked really cool,” once commented Henry Jenkins of that period.
New technology and distribution networks quickly enabled fans to proliferate and spread their anime message. What followed was the birth of fan distribution—a process of releasing anime shows on a vast underground network of fans throughout the country. Following a shift in the constitution of the fandom, fansubbing, or translation and subtitling of anime videos, was added to the distribution process by 1990. After leaving college, many fans started anime companies to become the industry leaders of today.
Anime fan distribution networks—networks of Japanese animation fans who imported and distributed videos over a vast underground network in the United States during the 1970s through the early 1990s—represented proselytization commons, or spaces where media and ideas could be freely exchanged to advance a directed cause. Upon these networks many built their fortunes, and many more spread the knowledge and enthusiasm of Japanese animation to their American counterparts, all years before the widespread adoption of the Internet. This flouts theories of globalization directed by American cultural imperialism, for Americans “pulled” Japanese cultural products to America en masse without force or coercion by Japanese industry. Translation, reconstitution, and reproduction were not antagonistic to profit-making in early anime history; indeed, this fan process acted as a prerequisite good/service combination to widespread commercial exploitation. These fan processes were further believed necessary by fans, distributors, and producers alike. Quite against the restrictions of copyright, fan distribution of anime flourished throughout the 80s and early 90s to build a base for a nascent domestic industry and to contribute to the progress of the arts.
The remainder of the paper is organized as follows. In the second section, we provide a primer for readers who are unfamiliar with the terms “anime,” “manga,” “fan distribution,” and “fansub,” terms that this analysis will use heavily. In the third section, we detail the history of the anime fan phenomenon as it relates to the development of anime interest in the United States, unpacking the processes and motivations of key players in the movement between 1976 and 1993. We construct an historical argument based on original interviews and primary sources, ultimately determining that fan distribution functioned economically as a prerequisite good to licensed materials. In the fourth section, we present a legal analysis of fan distribution and fan activities, drawing from Japanese copyright law, American copyright law, and relevant copyright implementation treaties active during the period. We determine that fan distributors were left with no other recourse than to commit copyright infringement in order to satisfy their goals. In the final section, we combine these analyses to assert that a sphere of economic activity was created that existing copyright regimes would have denied, directly contributing to the rapid explosion in anime consumption and profit for all parties involved.
“Anime” is the French abbreviation for animation, a word which the Japanese adopted to describe all animation. In America, “anime” specifically refers to the Japanese product, and is used for both the singular and the plural. The first Japanese animated film was a 5-minute short called Mukuzo Imokawa the Doorman (Mukuzo Imokawa Genkanban no Maki) produced by Oten Shimokawa in 1917. Various anime were produced throughout the prewar and wartime periods, but animation remained a curious oddity until 1958, when animation studio Toei Doga released Hakujaden (The Great White Snake), the first full-length anime film. Most historians cite 1963 as the birth of the anime industry, when famed manga artist and animator Osamu Tezuka released Tetsuwan Atomu (Astro Boy in the US), solidifying the long-standing connection between anime and manga and inculcating millions of Japanese youth with the love of a super-robot who looked and acted just like a real boy.
Anime is created for three distinct venues in Japan: television, theatrical release, and direct-to-video (OVA, or Original Video Animation). The latter evolved from Mamoru Oshii’s 1983 Dallos, and through the mid 80s to mid 90s became the dominant venue for experimental or avant-garde animation. Variety in anime is both abundant and scarce: today, there are over 80 anime productions airing on TV every week. This does not count theater and OVA offerings, which would bring the number closer to 130. However, some animators, such as Hayao Miyazaki, complain that the rapid expansion of the anime industry has resulted in a dearth of creativity that is leading the industry to a dead-end.
Interest in Japanese animation in America has occurred in waves, each of which left a rising wake of anime fans who extol the virtues of the medium as an alternative to both Hollywood and any other products of American popular culture. The first wave occurred in the 1960s with Astro Boy (1963) and Speed Racer (1968). Star Blazers arrived in the United States in 1978 (originally Uchu Senkan Yamato from 1974), followed by Robotech in 1985 (based on three series from 1982 onward). Akira was a major cult hit in 1988. Finally, the 90s gave way to an exponential rise of titles and anime interest. Some of the highlights include Sailor Moon (1995), Dragonball/Dragonball Z (1995), Pokémon (1998), and Princess Mononoke (1999).
Fan distribution comprises all of the methods by which fans copied and disseminated anime to other fans between 1976-1993.
Fansub is short for fan subtitling, or fan subtitled video. Fansubs are almost exclusively subtitles of anime. Fansubs appeared in America in 1989 following the wide consumer availability of Commodore Amiga and Macintosh computers, which could overlay subtitles on top of a video stream with extra hardware. The essential hardware for fansubbing during 1989-1998 was a genlock, or generator locking device. This device enables a video machine, such as a TV, to accept two signals simultaneously. When operational, a genlock synchronizes an incoming video signal with computer output, enabling the overlay of subtitles in real-time. The results of a genlock system were then recorded on another videocassette and distributed along a vast fan network. Additionally, time-synchronized VHS and S-VHS decks might be added to the fansubbing system, resulting in near-perfect timing and accuracy of subtitles and spoken dialogue.
Fans who subtitle videos are called fansubbers; a team of fansubbers is known as a fansub group. A fansub group traditionally consists of one or more translators, editors, typesetters, timers, and first-tier distributors. Fansubbers usually add credits or identifying marks to their work, although they almost always use pseudonyms for legal reasons. Fansubbers additionally will add titles such as “NOT FOR SALE OR RENT” and “CEASE DISTRIBUTION WHEN LICENSED” to their work, indicating that their work is not licensed, that no money should change hands for the fansub, and that viewers should purchase the licensed product once it is available domestically. Many fansubbers and distributors used the SASE, or self-addressed, stamped envelope system of distribution: a system that required no monetary exchange. Instead, fans would send a self-addressed, stamped envelope with blank tapes and instructions in it; they would get the tapes back with the episodes recorded on them. Some fansubbers, however, charged a modest fee that was only supposed to cover the cost of the tape and postage.
Many fansubbers would include explanatory subtitles or supertitles about Japan, Japanese culture, or other tidbits of a subtitled anime in order to elucidate the show’s more elusive references.
As this analysis ends at 1993, it does not cover fansubs encoded in a video file and distributed over the Internet, known as digisubs. Digisubs first appeared in the late 1990s.
We present an original history of the fan movement in the United States. This history has been compiled and verified over a series of personal interviews, fan artifacts, and other primary sources. We provide appropriate citations for the few items that document portions of this period.
Japanese animation was imported into before 1975, but with varying degrees of adaptation. The first documented films that saw non-local US distribution were Magic Boy (Shōnen Sarutoki Sasuke) starting March 15, 1961, followed by Panda and the Magic Serpent (Hakujaden) on July 8, 1961 and Alacazam the Great (Saiyuki) on July 26, 1961. While American producers they had to stick fairly close to what was onscreen for the graphics, they changed much of the story to cater to perceived American children’s tastes. Fred Ladd, who did the American versions of Astro Boy (1963), Gigantor (1965), Kimba the White Lion (1965), and Speed Racer (1967), was notorious for changing names and editing plotlines. Before Astro Boy, Ladd was involved with a Belgian production doing a modernization of Pinocchio called Pinocchio in Outer Space. When NBC bought the rights to Tetsuwan Atomu in 1963, they contacted Ladd due to Atomu’s “similarities” with Ladd’s work, that is, of a Pinocchio type character and science fiction. American production companies were used to completely Americanizing foreign products, removing un-American speech as well as all but the most scant of references to the original Japanese production teams.
These shows turned out to be enormously popular with Americans, however, and there is little doubt that Ladd contributed towards the short-lived success of Japanese animation in the 1960s. By the 1970s, however, pressure to sanitize children’s television in America paralleled dramatic advances in violence and sexual content in Japanese animation, largely due to the influence of Go Nagai’s Gatchaman (1971), Mazinger Z (1973), and Cutey Honey (1973). American pressure stemmed primarily from network decisions to move cartoon shows from weekday primetime (the former home of Astro Boy and Speed Racer, alongside the classic The Flintstones and The Jetsons) to Saturday mornings, at which point a variety of parent groups pressured the networks for an increased sanitization of animated programming. “You couldn’t give away a Japanese-made series here [by the early 1970s],” Ladd points out.
A few Japanese cartoons did make it over to the US and are worth noting. Gatchaman (as Battle of the Planets, later G-Force) was brought over in 1978, the former of which was significantly sterilized, and both of which remained too unpopular to be sustained. Uchū Senkan Yamato (as Star Blazers), with minimal retooling, was more successful in 1978; its popularity, however, was confined to the East Coast, explaining the prevalence of East Coast Star Blazers fandom. Finally, Voltron made significant inroads into the children’s market in America in 1984-1986; its sanitization could be described as halfway between Star Blazers and Battle of the Planets. In all these cases, however, shows’ Japanese origins were strictly eradicated. Japanese animation interest would surface again in the next decade, but its driving force was a very different market: the micro-market created by fans.
Post-Astro Boy anime penetration spread through the United States within three months of the release of the first video cassette recorders in November 1975. By March 1976, Japanese community TV stations in the United States started running subtitled giant robot cartoons, such as Getter Robo. These stations had been running Japanese cartoons beforehand, but their previous broadcasts were aimed at very young children. Thanks to the availability of VCRs, science fiction and comics fans could record these new shows and show them to their friends.
Fred Patten, founder of the first anime club in the United States, described his experience in detail. Patten’s first exposure to anime occurred at the Los Angeles Science Fiction Society (LASFS). During one of the weekly Thursday meetings, Patten met up with another fan who was an early adopter of Sony’s Betamax technology. He said, “you’ve got to look at this recording I made of this Japanese science fiction animated cartoon,” and proceeded to it at one of the society’s meetings.
For about a year from 1976 through 1977, the fan brought a number of recorded Japanese giant robot cartoons with English subtitles to the science fiction club. Additionally, several other fans recorded shows off of Japanese community TV and showed them at various fan events. At the time, fans were amazed that the Japanese cartoons depicted so much more violence than cartoons in the United States. A standard plot device in the Japanese cartoons, for example, was that the hero’s father had been killed by the villain, that entire cities were blown up, and that the hero had to survive in the aftermath of a ruined world. Whether or not these cartoons showed any graphic bloodshed, it was obvious that hundreds of thousands of people were supposed to have been killed. In American cartoons of during 1976-1980, no one was ever hurt in even in the so-called action-adventure, or superhero, cartoons. Villains in American cartoons could do little more than make a few ugly faces.
In 1977, a small group of fans, Patten included, decided that they liked the Japanese cartoons so much that they should found a separate club so that they could watch them on a regular basis, instead of watching them at odd hours at a general fan party. At these fan parties, it was common for a proponent of a Japanese cartoon to propose to watch it, but he—usually he at the time—would be voted down by the majority who preferred American fare. In May 1977, these fans started the Cartoon/Fantasy Organization (C/FO), meeting regularly on the third Saturday of each month.
In November 1977, fans from the C/FO in LA started corresponding with other Japanese animation fans around the country. They found out that while they were showing Japanese cartoons in other cities, they were not always the same cartoons. Los Angeles and New York City were getting different sets of cartoons: New York was getting Cyborg 009 and Galaxy Express 999, for example, which were not being shown in Los Angeles. Consequently, the fans started trading tapes back and forth.
At that time, many LASFS members maintained pen pal relationships with other science fiction fans around the world. Most of them were in English-speaking countries, but a few of them had correspondents in Japan. As a result, C/FO members began to trade videos with Japanese fans who wanted Star Trek and Battlestar Galactica. C/FO members were interested in the Japanese science fiction cartoons that were not being shown in Los Angeles television, and it was a fortunate coincidence for the fans that both the United States and Japan used the NTSC system for broadcast, so that video tapes could be played in both countries.
Of course, the tapes that the fans received from Japan were not subtitled at all: fans had to watch them in pure Japanese. By the late 1970s, the majority of Japanese cartoons plots remained simple enough so that the average viewer could discern the plot just from watching the visuals, such as in Space Battleship Yamato (1974) and Space Battleship Yamato 2 (1978). Because there was no other alternative, fans reported that they were happy enough to watch untranslated shows. By 1979, fans and clubs, who had recently established an independent identity from the science fiction movement, began using the term anime.
C/FO was not the only anime club in existence by this time. For instance, there were very big fan clubs in Boston, in New York, and in Philadelphia. There was a mobile fan club on the East Coast that called themselves the Gamelan Embassy, after the antagonists from Space Battleship Yamato. The Gamelans were devoted to showing Japanese animation at the science fiction and comic book conventions in the New England and Mid-Atlantic regions. Starting in 1980, and would show anime programs in one of their hotel rooms at science fiction conventions. The Gamelans put out fliers throughout these conventions, reading, “if you want to see Japanese animation come up to room XYZ,” and, “we’re going to be showing it all night long.”
Throughout this period, it was considered socially acceptable to show whatever Japanese animation anybody could get on videotape without trying to get permission from the Japanese companies, because almost none of the Japanese studios had offices in America. The few that did—Toei Animation, Tokyo Movie Shinsha (TMS, now TMS Entertainment), and Tatsunoko—automatically said no because their local representatives did not have the authority to permit those uses. Furthermore, they were not going to take the trouble to ask Tokyo if a group of American teenage fans could show one of their cartoons to other fans for free. The representatives in America knew what the answer from Tokyo was going to be: absolutely not.
At this time, Patten became officially involved with these animation studios. We describe Patten’s involvement in detail, and reveal that the Japanese were unsuccessful in gaining market access because their perceived barrier-to-entry was too high.
In 1978, Toei Animation established its first regular office in North Hollywood. Toei launched its office to try to promote its animation in the west, after nearly a decade of inactivity. Toei discovered the C/FO and asked if its members could help them do some marketing research. They provided Toei merchandise for test marketing at the San Diego Comic-Con, where Patten ran the first American fan convention dealer’s table, replete with anime merchandise. Toei provided a sample of what they considered their boys’ and their girls’ TV programming. Captain Harlock dominated the boys’ material, and Candy Candy dominated the girls’. The boys’ merchandise sold very well, but almost no one was interested in the girls’ materials. Mrs. Hozumi, a Toei representative, also brought 16mm reels of the untranslated pilot episodes of a number of their TV programs of that time: the first episode of Captain Harlock, the first episode of Captain Future, the first episodes of their giant robot cartoons, and a few first episodes from their girls’ cartoons. Fans were fascinated with how different these cartoons were from American offerings. Hozumi took copious notes on everything that happened at the convention, which she sent back to Tokyo.
Back in Hollywood, Tatsunoko in 1979 told fans that, “we are aware that you American fans are having screenings of some of our cartoons without getting our permission, and we cannot really allow you to do this officially. By the way, though, we would like some of these cartoons to be shown to Hollywood executives. Could you show them your copies of these cartoons?” Japanese studios—at least Toei, TMS and Tatsunoko—were very obviously aware that fans were engaged in unauthorized distributions and screenings, but their feelings were very mixed. While they could not support the fan activity in principle, as evidenced by their unwillingness to license these rights, they knew that fans were not profiting off of their activities, and that the studios were getting free publicity out of it.
The next year, TMS provided a subtitled 35mm print of Lupin III: Castle of Cagliostro for showing at the 1980 World Science Fiction Convention in Boston, Noreascon II. Patten, in concert with convention volunteers, created survey forms for the screening. The survey forms asked questions like “How did you like this movie?” and, “Do you think that this movie would be popular with the American public?” Patten urged viewers to fill a form before they left the screening; once completed, he sent them back to TMS.
By 1982, however, the Japanese studios finally realized that they were not going to get any big sales in America. There was one exception: in an incident quite unrelated to Toei/TMS/Tatsunoko, the endearing Sea Prince and Fire Child (Japanese Syrius no Densetsu, or The Legend of Syrius, 1981) by Sanrio Communications was licensed to RCA/Columbia Pictures Home Video for an obscure—but memorable among its few American fans—direct-to-video release in 1982. The last known commercial push came from Toei Animation when it was trying to sell its first Galaxy Express 999 theatrical feature to the major American movie studios. Toei again recruited C/FO members to help send out invitations to Hollywood studio representatives for a test screening in Burbank about two blocks from the Warner Bros. studio. However, no Hollywood executives attended the screening. By the end of the year, they sold Galaxy Express 999 to Roger Corman’s New World Pictures. New World Pictures was infamous as a low-budget exploitation company. They significantly altered Galaxy Express 999, destroying its intricately woven story in place of a failure aimed at younger children. Toei was highly disappointed. They told the C/FO, “thank you for all the help you’ve given us. We’ve decided we do not want to follow this any further at the moment.” They closed their American office and returned to Japan.
For most of the 1980s there was no longer any real contact between the Japanese studios and the American fans, with a few minor exceptions. In 1987 a Japanese company called Gaga Communications, a large, Japanese theatrical and TV marketing company, had promotional responsibilities for a number of Japanese movies. In 1987 they held promotional screenings at LA comic book conventions for a number of movies and original animated videos (OAVs) that they had. The Guyver and Wicked City were among them. In addition to showing these titles to fans, they had invited a number of Hollywood studio representatives to come to the screening. Their clear intention was to surround these representatives with fans whom they hoped would be very enthusiastic, so the representatives could see how popular these were with American teenagers. Again, the effort proved fruitless.
However, in 1988 Gaga was at least successful with selling Wicked City to Streamline Pictures, the first anime specialty company, started by Carl Macek and Jerry Beck. Macek and Beck were very aware of Gaga Communications and negotiated with them regularly. We will return to a discussion of Streamline, however, later in this analysis.
One year after the Japanese backed out of the American market in 1982, an American, Frederick L. Schodt, would publish is seminal work Manga! Manga! The World of Japanese Comics, documenting for the first time in English the vitality and ubiquity of manga in Japan. By this time Schodt was no foreigner to Japanese ways: he was one of the few non-military Americans studying Japanese in the 1970s, and through a series of twists and turns, managed to strike up a friendship with Osamu Tezuka after surprising the comic author with his flawless Japanese. Dr. Tezuka had a few choice words for the foreword of Manga! Manga!, speaking on the topic of the slow acceptance of manga outside Japan:
“This is why Japanese animation—which is dubbed and doesn’t confuse the reader by ‘reading’ in one direction or another—has been able to open the door for Japanese comics overseas where printed materials have failed. Having solved the problem of language, animation, with its broad appeal, has in fact become Japan’s supreme goodwill ambassador, not just in the West but in the Middle East and Africa, in South America, in Southeast Asia, and even in China. The entry port is almost always TV. In France the children love watching Goldorak. Doraemon is a huge hit in Southeast Asia and Hong Kong. Chinese youngsters all sing the theme to Astro Boy.”
Dr. Tezuka’s words were very true from what he knew in 1983. As he would write these words, however, a very different “entry port” was emerging in the West: the networks of organized anime fandom.
After the Japanese companies backed out of the American market in 1982, there were no moral or legal forces to discourage fans from copying and distributing tapes amongst themselves. From the late 1970s the end of the 1980s, there were movements to establish national and international fan clubs with chapters in a number of cities. The Cartoon/Fantasy Organization the first of these. There was also the Earth Defense Force, which was mainly a Star Blazers (the American release of Space Battleship Yamato) club with some interest in other programs. These clubs all had chapters in a number of cities; the theory behind them was that they could promote anime a lot more efficiently, and get more anime for the chapters in different cities to watch, if they were united through a central organization.
The visual quality of tapes started deteriorating as more fans developed in America because people started making multi-generation copies of the videos. Visual quality remained high within the first year after C/FO members started getting tapes from people in Japan. By the early 1980s, however, some of the copies C/FO members reported were 15th to 20th generation copies, which were extremely poor. It became common for fans to compare video quality between their tapes. For example, one fan might bring his copy of the first Urusei Yatsura tape, somebody else would bring his copy of the same one, and they would compare them and see if one of them was of noticeably better video quality. The better quality tape would eventually be shown.
Many fans also experienced ideological conflicts as the fandom grew between the early 1980s through the early 1990s. Patten reports, for example:
“I got into some pretty bitter arguments with some fans in the early 80s [within the C/FO] that thought we should not try to promote Japanese anime, that we ought to keep it a small select group, you know—neat stuff that only we were aware of. I have always disputed it.”
In 1985, the Gamelan Assembly announced that they were dissolving because anime was now popular enough that conventions were scheduling their own official anime rooms. They had achieved their purpose, so they no longer had to do it themselves.
An overwhelming majority of fans, however, felt that the anime should expand to more segments of the American public, even if that meant a radical change in the constitution of the fandom. A few fans, for example, began to write translation booklets to accompany untranslated anime programming at clubs and conventions. A translation booklet would usually be 25-30 pages with the entire dialog for a full length movie or a batch of episodes. Translators would publish the booklet in fanzine format, which they would sell for $2 or $3 per copy to recoup their costs.
The first well-known translation booklet was of the text in Rumiko Takahashi’s Urusei Yatsura theatrical feature Only You, produced by Toren V. Smith in June 1985. Anyone who was really interested could try to read the booklet and watch the movie at the same time. There were at least three or four other writers of translation booklets: one of whom was located near the Great Lakes, a couple on the East Coast, and one David Riddeck of LA. Toren Smith eventually moved from publishing these booklets to starting up Studio Proteus, a company that went on to do professional translations for American comic book companies. Along with other anime fans, David Riddeck started up US Renditions, a brief-lived anime specialty company.
Plot synopses booklets also existed: each booklet contained up to a full page synopsis of the action in an anime film (the most common) or the episodes in a TV series. These synopses booklets were more common at some of the science fiction conventions in the mid to late 80s that had regular anime rooms, largely because of an identical practice among science fiction fandom. A couple of conventions—Balticon, for example—would publish these booklets of plot synopses, some of which were close to a hundred pages. Some fans took the booklet format even further, publishing a comprehensive guide to Space Battleship Yamato, covering its original Japanese version along with its American Star Blazers counterpart.
Translators and compilers of these books considered their work the American equivalents of roman albums and other anime specialty books that were being published in Japan. Designated the same in Japanese, roman albums are compilations of production stills and information from various anime; they are highly prized among Japanese (and American) collectors. Authors of translation and plot synopses booklets were interested in more than the $3 per book: they wanted the prestige within the anime fan community of publishing something that all of the American fans would want. This booklet practice continued for at least five years, until fansubbed and commercial anime became more readily available.
Starting around 1986, a number of fans wanted to build up a professional anime magazine presence in the US that they hoped would be something like existed in Japan. For instance, Rob Fenelin of New Jersey was part of a group that wanted to publish the American equivalent of Animage, Newtype, and other monthly professional Japanese anime magazines. Fenelin published 3 or 4 issues of Animezine from New Jersey; a couple of fans on the West Coast named Trish Ledoux and Toshi Yoshida published Animag, which ran 12 or 13 issues. Protoculture Addicts began in Montreal. Most of these magazines appeared very professionally published, and most of them contacted the Japanese studios to get professional-quality graphics along with permission to publish them. However, they were all such small scale activities that most of them could not afford to continue for more than a few issues, if they only were selling issues to the fans. Getting newsstand distribution was (and would still be) extremely difficult for a small fan group. With the exception of Protoculture Addicts, which grew very slowly over a number of years, most of these magazines only got out half a dozen to a dozen issues. It would be until Viz started up with Animerica (1992) with the Japanese mega-publisher Shogakukan behind it that a regular American anime magazine would be established. Toren Smith, David Riddeck, and others in the mid 80s wanted to do something like this, to take fan projects beyond the fan bases and turn them professional; Trish Ledoux and Toshi Yoshida ultimately did with Viz and Animerica. For the other two, publishing translation booklets turned out to be a good starting point.
Attempts by the fans to convince the 1980s video and movie industries to release Japanese animation were consistently turned down flat. The only exceptions were a small handful of B-grade movie companies that would buy Japanese cartoons with the express intent of carving them up into kiddy cartoon movies. When Roger Corman obtained the rights to Galaxy Express 999, for example, he did more than “camp it up.” In another instance, in the voice dubbing New World Pictures did for Captain Harlock, they gave Harlock a John Wayne accent.
Another tragedy of the 1980s was Celebrity Home Enter’s release of Revenge of the Ninja Warrior (1985, Japanese Kamui no Ken, better known as Dagger of Kamui), which was fortunately picked up and given a proper treatment by AnimEigo after its original license had expired. Kamui no Ken was a sort of samurai/ninja story set during the transition of the fall of the Tokugawa Shogunate and the re-establishment of Japan under the Emperor Meiji in 1868. Celebrity Home Entertainment tried to turn it into a science fiction adventure “set on a far away planet,” even though Jiro, the main character, eventually travels to America and meets Mark Twain in Virginia City, Nevada. Celebrity Home Entertainment made no attempt to be faithful to the Japanese original; they just rewrote the script however they wanted to.
Perhaps the most notorious example of rewriting, however, is the revisionist Warriors of the Wind (April 1986), based upon Hayao Miyazaki’s Nausicaä of the Valley of the Wind (1984). New World Pictures cut a half hour out of it; they cut expenses wherever possible and changed character names all over the place. Both Hayao Miyazaki and Isao Takahata were appalled. In 1992, Takahata said of the edited version:
“It is absolutely horrible! They did an enormous and aberrant censorship; they cut Hisaishi’s pieces of music, [not to mention] the changed dialogues. It was a great error of Studio Ghibli and we haven’t given broadcast rights to foreign countries since, and we’ll never again give such rights without an attentive examination of the conditions beforehand. For that matter, the international rights for Nausicaä given to the U.S.A. will be over in 2 or 3 years. All these movies are grounded strongly in Japanese culture and are not conceived with an eye towards exportation. Censoring them is worse than betraying them.”
These edits, however grievous, were no worse than most of the non-Disney animation movies that Americans would get at that time. These animations were universally of poor quality, whether it was somebody else’s adaptation of a Japanese animated feature, an animated feature that was simply made cheaply in the first place, from Fritz the Cat to the French movie Fantastic Planet. Now Fantastic Planet had a sort of intellectual appeal, using a sort avant garde, futuristic animation style merely hid the fact that it was actually a very limited animation style. In general, however, if it was animation it was for children, so producers assumed that they needed to dumb down the plot, whether the subject of mutilation was Warriors of the Wind, Starchase of the Legend of Orin, the Felix the Cat theatrical feature, or something else. Even with the editing that New World Pictures did to Warriors of the Wind, it was probably superior to a lot of these others: it was only poor in comparison with the original Japanese version.
Despite New World Pictures’s poor handling of Nausicaä, fans were inspired by Miyazaki’s original, as was increasingly obvious by fan evidence from the period following 1984. Patten recounts that, because of Nausicaä’s seminal influence, fans organized the first anime fan tour to Tokyo in summer 1986 in order to see Miyazaki’s Laputa: Castle in the Sky, as well as the landmarks that they only glimpsed in anime. Copied videos of the original Nausicaä had come over to America, which was quickly disseminated throughout the fan base. When the American anime companies started up, the first thing that all the fans wanted were Miyazaki’s movies: evidence of this is provided throughout Usenet archives, and by Patten himself. He recounts, “I know that when I worked for Streamline in the beginning of 1991, we were constantly getting letters and even a few phone calls from fans saying ‘why aren’t you getting Miyazaki movies? This is what we really want to see.’”
The first theatrical distribution right that Streamline Pictures acquired was a one year license for Laputa. Streamline was constantly renting them out for college and art house screenings. At the end of the year Streamline wanted to renew the license, but Tokuma would not allow it. As with the previous decade, it was obvious that Tokuma let Streamline have Laputa in order to do some test marketing at Streamline’s expense. Tokuma, like its predecessor anime companies in the 1980s, was not interested in dealing with small companies: Tokuma wanted to make a deal with one of the big American studios, which they finally did with Disney in 1996. Whether ultimately fortuitous or not, one thing is clear: Tokuma, like all previous Japanese studios, was unwilling to invest substantially in the American market without a guaranteed payout.
In spite of the aforementioned, botched efforts, there was at least one faithful—and markedly successful—foray of anime into the commercial sector in the mid 1980s. We now discuss the motivations of Carl Macek, the producer of Robotech. In 1981, Macek ran a comic book and movie memorabilia specialty shop in Orange, California. Macek also did marketing and promotion for the movie Heavy Metal during this period, which led him to research animation that was not oriented towards the children’s market. At the same time, there was an anime club starting up in Orange: the Orange County branch of the Cartoon/Fantasy Organization. They needed a new meeting place, and Macek agreed to let them meet once a month in his shop. Many of them were regular comic book customers of his. As he also sold animation cels from American movies, he was always interested in being friendly with the fans as a good way to get extra customers in. This was what introduced him to Japanese animation: after awhile, he started importing some Japanese cels from Tatsunoko to sell in his shop.
All of this led to Macek becoming as much of a Japanese animation specialist in America as existed at that time, which developed into a connection with the Harmony Gold to help create Robotech. Harmony Gold representatives contacted Macek, informing him that they had worldwide rights outside Japan to a number of Japanese cartoon TV series. They had bought the rights mainly to sell in Europe and Latin American, dubbed into Italian, French and Spanish. They wanted to try and capitalize on their investment in America, but they were not sure how to go about it. This was the period when He-Man and the Masters of the Universe was extremely popular with its 130 episodes. All of the syndicated TV stations in America were clamoring for more, saying, “we want something like He-Man that has at least 65 episodes and probably more.” Unfortunately, most of the Japanese series at the time were too short.
Macek pointed out that Harmony Gold already had the rights to Macross, which was an association with Tatsunoko Productions and that Tatsunoko had other science fiction programs that were similar in nature and that had been done in a similar art style. Harmony Gold then asserted that if Macek took three of these and edited them together, he could make a single series out of it. This led to his association with Harmony Gold and with Robotech, which made him even more of an anime expert. He began promoting Robotech by attending a number of science fiction conventions, talking to the fans and finding out what the fans wanted. This made him aware that there was a growing cult interest in anime among the adolescent and young adult public, which was simply being ignored by the entertainment establishment. The entertainment executives at the time held the mistaken inference that if a product was a cartoon, then it must be for young kids in order to sell well; since Japanese cartoons were much too violent and mature for young kids, it would not sell well. Based on his experience with anime fandom, Macek edited Macross, Orguss, and Southern Cross into Robotech, which turned out to be a resounding commercial success.
Macek quickly gained notoriety in the fan community for the serious re-editing required of the Robotech saga, although he has asserted that the decision to combine the three series was Harmony Gold’s (ultimately, based on the market at the time). Nevertheless, we argue that Robotech was markedly more faithful to its original anime series than other commercial attempts during this period: it kept in, for example, the pivotal love triangle between Hikaru Ichijo (Rick Hunter), Lynn Minmay (Lynn Minmei), and Misa Hayase (Lisa Hayes), the first love triangle on both Japanese and American animated television. Furthermore, we note the profound connection between Robotech and Macek’s involvement with early American fandom: the creator of the next pivotal “wave” of anime fans was none other than a fan himself, who relied extensively on the fan network that developed at that time.
We return to a discussion of the Cartoon/Fantasy Organization during the height of its activity between 1985-1989. By this time, the C/FO had over three dozen chapters throughout America; it even maintained a chapter called C/FO Rising Sun near an air force base in Japan. At this point, the C/FO had established a massive official system for the distribution of untranslated tapes between its member chapters. In 1985, many of the C/FO’s videos not acquired through pen pal relationships or Japanese family members were acquired through Little Tokyo in Los Angeles, Nipponmachi in San Francisco, the Japanese district of New York, and in other places that sold Japanese import goods. These locations would have little “Mom and Pop” video stores that sold or rented original Japanese videos. In addition, some store owners would request their relatives in Japan to record Japanese TV and send it over, at which point they would put the tapes up for rent. Fans would purchase or rent these tapes, copy them, and circulate them in the anime fan community. Many of these tapes would have all of the Japanese commercials and station break parts intact between segments of anime programming. Despite the well-developed network, in the mid-1980s there emerged a societal dichotomy among the small anime fandom, where there were “haves” and there were “have-nots.” Access to anime became a matter of who you knew in order to get access: once you knew the right people, however, it was trivial to access any anime available (quality issues aside).
Out in Japan, however, another fan network was forming led by James Renault and the fans at C/FO Rising Sun. Renault first became involved with anime growing up overseas. His father was a military man: throughout the 1960s-1970s he was stationed at Tachikawa airbase, and later Misawa airbase, in northern Japan. Renault ended up being taken care of by a Japanese nanny most of the time in his youth, during which he watched a lot of Japanese television. He developed Japanese pen pals, whom he would send tapes of American programming once his family became one of the first families to have a Betamax on the airbase.
Renault recounts that, in the late 1970s, he traded tapes frequently with pen pals back in America. Even if there were tapes that he did not intend to watch, his family was able to trade them away to other military personnel, or to Japanese contacts. For example, followers of Dallas had no way of following that series while on Misawa; Renault was able to get the most recent tapes of “Who Shot JR?” to others on the base, giving them a connection to mainland U.S. that they otherwise would not have.
Renault returned to America to finish high school and college. While in America, he met people like Patten, Lori Eason, and the Hanisons in San Francisco: both were big archivists by the early 1980s. During the early 1980s, Renault watched the C/FO grow and expand. He had little to do with American fandom at this time; his main source of anime was through his pen pals in Japan, who would periodically send him interesting tapes. He would occasionally “sit down and binge watch for hours at a time,” but would not watch every day, nor would he watch every tape he had.
As it turned out, Renault had a lot of Japanese pen pals. In fact, the majority of his pen pals wound up going into the industry itself. They were considered odd by Japanese standards: they wanted to do animation, they wanted to do art, they wanted to do television, they wanted to direct, and they wanted to do movies, so they did. His pen pals included artists like Kenichi Sonoda, Monkey Punch (who was a good friend of Renault’s father, as both are avid jazz collectors), and Go Nagai. Through them, Renault met a lot of other people who studied underneath them, or otherwise were involved with them in their studios. That is how he got a lot of his anime, directly from the source.
Renault joined the military in 1986, and wound up having the great fortune of being sent back to the Misawa base at which he was raised. He resumed a lot of his old contacts and penpals, and started sending more tapes, since he was in the city and went shopping daily. He reentered organized fandom. Later that year, he met a gentleman by the name of Joshua Smith who was the president and chief operator of C/FO Rising Sun. It was basically a group of about six or seven die-hard fans who were also all military people. This group included Renault, Smith, Hillary Hutchinson, Ronald Davidson, and a few others. Hutchinson served as the primary contact with C/FO San Antonio, which had large following at the time. Davidson would later be a key player in several anime conventions throughout America.
Renault would drive from Misawa to Tokyo every weekend to shop, to drop goodies off on people in studios, to build up relationships and find out what was going on in the industry, and to follow up on things he was reading in Japanese animation magazines. For instance, he discovered a lot of production data as the original Bubblegum Crisis series was being developed. He learned how anime were put together, which he would later transcribe in his C/FO newsletter columns. That was how news of what was being developed would get back to the United States before most of the anime magazines were being published at all, in any form. As with the aforementioned translation booklets, C/FO newsletters were perhaps the most insightful publications that were being put out before the anime magazines, because fans would get the synopses of all of the latest shows, would get colorful art, and would get other information about fan gatherings, sci-fi shows, and conventions where anime was being screened.
Many of the people in the early part of the fan network who were copying and sending—outside of the few Japanese family members and Mom and Pop stores—were affiliated with the armed forces. If it came from Japan, and it wasn’t from a Japanese national, that person was probably in the military. The few nonmilitary American nationals in Japan were usually on business; with a few notable exceptions (e.g., the translator and author Fred Schodt), they did not come to Japan because of its popular culture.
Tapes sent by military personnel were never really sent via international mail: everything sent to Americans was postmarked “San Francisco, CA, APO.” Many C/FO members thought that members in the Rising Sun chapter were living in San Francisco, because they would send something back to California that would get there in one day. Instead of being sent from California, however, tapes were being put on a cargo plane leaving that day for Travis Air Force Base, at which point the tapes would be transferred to the bulk mail center.
Led by Renault, C/FO Rising Sun applied American military distribution techniques to their fan distribution operations. Smith worked in file line and Renault worked part-time in supply, so they knew how logistics were supposed to work. Renault applied much of his know-how in order to produce tapes on request, which is how he could copy over forty tapes per week without eating up all of his time. When Renault became involved with the fansubbing group Teiboku Fansubs, he applied his logistics knowledge once again to Teiboku’s distribution method. He passed that information onto other fansubbing and distribution groups, so that they would be able to process the most tapes in the least amount of time.
To confirm the accuracy and distribution of Renault’s allegations, we searched for remnants of fan materials that they may have distributed. A variety of tapes, including Dirty Pair TV Episodes 1-13, 14-26, and OVAs 1-10, were uncovered: based on Renault’s information, we were able to positively identify the source (an air force base in southern Japan with ties to C/FO Rising Sun) and approximate date (1985-1986) of the TV recordings, given that Dirty Pair TV would not air again on Japanese TV or be available on video until well after 1990. The chain of distribution would have included the anime club at University of Texas at Austin, which had direct distribution ties to C/FO Rising Sun, and of which the MIT Anime Club founder is an alumnus, and possibly C/FO San Antonio, which held formal ties to C/FO Rising Sun and purely informal ties to UT Austin’s anime club. Ultimately, these data, coupled with numerous other incidents, provide substantial evidence that C/FO’s materials saw wide distribution throughout the fan network affiliated with C/FO.
C/FO’s materials, however, remained in untranslated Japanese, which was basically the only anime available with the limited exception of anime broadcast by Japanese community television in America. Reported Renault:
“People were desperate for whatever they could get, and part of what I would do, and part of my job when I was working as the chapter director for C/FO Rising Sun was to provide synopses for all the shows we sent back. So, you had an idea of what was happening with the specific show. Even if it wasn’t a translation, it was just quick synopsis so that people knew what the storyline was when they picked it up and started watching it. It was actually very useful. Every now and again we’d be able to dupe one of our Japanese hanger-ons to actually translate an episode, but that usually took a lot of doing, usually a lot of bribery of alcohol or something a long those lines!”
Another fan described C/FO’s motivation for the mass copying of tapes. He explained that, back in the 1970s and 1980s, there were no legal ramifications because no one ever really thought about them. At that time, there was no [American] anime industry. “Every now and again, somebody would pick up a license and bring a show to America which they would dub over and change and so on. Well, we weren’t all that particularly interested in watching that particular show, but we wanted to see what the original looked like. That was our motivation. Back then, the motivation was just to get anime to the masses, and to that end, we spent a lot of money and postage!”
We note that quality was a major drawback to this distribution system. Viewers of anime in the mid-to-late 1980s had to suffer through Japanese commercials, shaky video, and the ever-present language barrier. Consequently, there was little economic advantage to watching these tapes, save the significant benefit of exposure. Interestingly, bootlegging—that is, the mass copying of anime tapes for profit—was virtually nonexistent in America at this time: there were some people that tried, but they were immediately extinguished out because there were plenty of groups like the C/FO who were more than happy to send the untranslated Japanese materials for free: all one had to do was write a letter. Bootleggers could not match the C/FO in terms of quality or price. C/FO chapters could get pretty much any show that anybody wanted, and they could get it for free: all that was necessary was postage.
Ultimately, fan distribution through C/FO’s efforts, particularly C/FO Rising Sun, upheld the mantra of “keep it free, but keep it controlled within the C/FO organization.” C/FO chapters would only send material to people who really wanted anime and would share it with other people. That was their belief from the sending end, as well as their belief when they engineered their arrangements between clubs. Show it to all of your friends in order to promote Japanese animation. Assuming that a fan had access to the network, he could access as many anime and related goods as were available.
In terms of the theorist Yochai Benkler, the physical layer (the postal system) operated as a commons for many types of media, but both U.S. law and the logical layer (the C/FO organization) restricted access to the physical layer’s contents. The logical layer (the C/FO organization) operated under control, and the content layer (anime) operated as a commons directed towards a particular cause: to get more anime to the masses. We dub the anime network that existed during the 1980s a closed proselytization commons. Like the innovation commons so espoused by Lawrence Lessig, the proselytization commons offered a world of creativity—a world of difference—to those who had access. This commons, however, existed several years before the widespread adoption of the Internet. In succeeding years, many would build their fortunes on this proselytization commons. In practice, however, the commons was closed: it did not embrace the principles of end-to-end. This proved to be its downfall, leaving the next generation to the construction of a new, open proselytization commons.
The very first known fansub was documented at C/FO Rising Sun, sent to them by the late Roy Black of C/FO Virginia in Blacksburg. Black sent C/FO Rising Sun a third-generation copy of a 4th or 5th generation copy of a Lupin III episode that someone had genlocked with a Commodore Amiga and had basically subtitled, scene by scene, so that they could translate the entire episode. It was very choppy, it was very grainy, and the video quality had been bled out of the tape. Nevertheless, it was definitely different: for the first time, a fan could watch an episode and fully understand what was going on.
The Lupin III fansub turned out to be an anomaly. The technology to fansub was extremely expensive (on the order of $4000 in 1986), and the time commitment would stretch for over one hundred hours per episode. C/FO members did not expect to see more fansubs come out in the near future after 1986, and to their credit, they never did. Nevertheless, they reported being “blown away at somebody having that level of patience. It was kind of like giving the caveman fire. It was just, now that we have it, we have to figure out how we’re going to put it to use.”
Quite unrelated to the fansubbing incident, however, C/FO began to show signs of stress by the late 1980s. In late 1988, established chapters refused to trade or communicate with one another due to a great deal of politicking: if a group had a mightier number or had something of value, they would withhold it from another group to get what they wanted. After awhile, many of the chapters fell into a prisoner’s dilemma: a “well, we’re not going to talk to those guys since they have nothing of value to us” stalemate, in the words of one fan.
There was a power struggle at the very top of the C/FO. Fred Patten had basically done everything that he could do as the leader of the C/FO: he led the group for an incredibly long time, and he was tired as would anybody be in his position. He felt that, for the organization and for anime to move to the next level, he should step down. During this time many accused Patten of disloyalty because he was concentrating on writing articles for general magazines, rather than for the perpetually behind-schedule C/FO fanzine. He reasoned, however, that if the purpose of his fan involvement was to proselytize anime and make it better known in America, it was certainly better to have it published in a popular culture magazine over a club zine where everyone already knew about anime.
Patten stepped down, but he did not have a clear line of succession set up. Furthermore, communication difficulties were compounded by the reliance on postal mail, since electronic means were still out of reach of most C/FO members. Much infighting resulted, and in that infighting a couple other people came to power that wanted to change things to fit their own image. When that happened, a lot of people balked, starting a high volume of mudslinging and name-calling.
The C/FO promised unfettered access to anime within its organization, but it was still very closed. To again access, a group had to be a member organization (excepting the UT Austin case), and the group had to go through C/FO’s central command, which originally was in Los Angeles, but later moved to San Antonio. The C/FO would bring in new charter members, but then after awhile, Central Command stopped sending tapes to those charter members on request, which caused a lot of strife. Many members complained, “well, I joined your organization, I paid the annual dues, and I’m not getting the things were promised me, so why should I pay the annual dues?”
It became a rough time for fandom because it became harder to get material from these the established groups, particularly from C/FO San Antonio, C/FO Denver (C/Food), and C/FO Sacramento. At that point, most of the chapters seceded from the C/FO, which ceased to exist as a conglomerate organization in July 1989. In 1990, it would be referred to as “the Collapsing Fan Organization” in infamy of its tortuous demise.
Right after the C/FO cratered, technology changed and fansubbing became reasonably accessible to the public. The rise of fansubbing has little relation to the C/FO’s demise: indeed we concur with Julie Davis at Animerica, who once pointed that it was really the technological innovation of the ability to make subtitled videos cheaply and easily around the end of the 1980s that permitted both the growth of fansubbing and the practicality of starting up professional anime companies. Had AnimEigo, U.S. Renditions, and others tried to start before 1986 or 87, it would have been too expensive to make subtitled video tapes. Our evidence bears this assertion out: fansubs and anime companies started at about the same time. We reveal a critical dependency, however: companies were equally dependent on the fan base as they were on the rapidly declining price of technology.
It is very difficult to determine whether the first widely available anime was a fansub or commercial release: that determination rests on the definition of “widely available.” There were a few poorly documented ventures in to the foray among fans: an unconfirmed report of Nausicaä shown subtitled at the Indianapolis Comic Book Show (August 1989), the debut of Bubblegum Crisis 6, subtitled, shown January 20, 1990, and a subtitled version of My Neighbor Totoro shown January 23, 1990, followed in the upcoming months with Project A-ko and Etranger. AnimEigo debuted a sneak preview of MADOX-01 at the 1989 WorldCon on September 1-2, but it would be until April 4, 1990 that MADOX-01 actually reached video distribution. It is known that Robert Woodhead and Roe Adams of AnimEigo subtitled Vampire Princess Miyu OVA 1 in late 1988, but this “fansub” never saw distribution, at least not until a commercial release in 1992. Furthermore, US Renditions beat AnimEigo by three months with their January 1990 releases of Gunbuster Vol. 1 and Dangaio Part 1, both professionally subtitled.
After reviewing the evidence, we conclude that the earliest release that actually saw sizeable distribution was the first two episodes of Ranma ˝, fansubbed under the Ranma Project which started at Baycon in San Jose, CA in May 1989. Although Usenet and interview sources concede that other subtitling projects existed, the Ranma Project is the first coordinated subtitling effort that successfully had its tapes distributed throughout the country, as well as shown at AnimeCon ’91 (at least over the video system). All references to previous fansubs strongly imply that they saw little, if any, distribution (which they could not have in any case until the re-establishment of a fan distribution network following the demise of the C/FO). Members of the project would buy Japanese laserdiscs and subtitle off of them, so that the result would be a clear, pristine copy. Significantly, we find additional evidence of Japanese inaction in the Ranma Project’s charter post, as well as a kernel of thought developed throughout the fansubbing movement:
“> Also, are the subtitled episodes mentioned available anywhere???
“No. This is where the problems [come] in.
“Since we do not have the official rights to do any of these, we really cannot 'sell' these on the open market. I have given a number of copies away, with my blessing to the [recipients] to copy the hell out of it, but this is a VERY grey area. I fully expect to either be told to stop by Kitty Films (which I would) or be sued the s$!t out of, which would only make potential audiences over here [very] mad […]
“The reality just may be that they just don't care, period. A well known comic book writer who's spent a lot of time in Japan (come on...you should know who this is....) said that when he met with some executives in a couple of studios and let them know the 'piracy' situation [that’s] going on here, they said they didn't care what went on over here. Was this because of the yen-dollar exchange wouldn't make it profitable for anything to be released here, or they just think of us as a bunch of [weird] Americans.”
What was even more remarkable was the speed of the Project’s subtitling and distribution: within weeks of the LDs being released, the episodes were subtitled. While the Ranma Project was active, it managed to subtitle the first two seasons of Ranma ˝, some Maison Ikkoku, and a smattering of other titles. The project lasted through January 1992.
The rise of fansubbing and the rise of the anime industry also paralleled the rise of use of the Internet, particularly Usenet (as suggested by the increasing number of Usenet references in this analysis), among anime fans. This shift also accompanied the shift in the constitution of the fandom to a large college-age base, with new college anime clubs to support their anime interest: UT Anime in 1986, Cornell Japanese Animation Society (CJAS, once CJS) in variously September 1988 or late 1989, Cal-Animage in January 1989, Purdue Animation in 1990, and the MIT Anime Club in September 1990, to mention just a few. We urge the reader to keep in mind that this period paralleled post-Cold War globalization. Russia was already destabilizing. The Cold War was starting to end. Soldiers who were stuck overseas started to come home. The telecommunications industry started to pick up. There were many world events happening all at one time, and few realized exactly what was going on in the world, let along what was going on with this: the pull of culture into a dominant America, “reverse imperialism,” in the absence of mature animated programming. Just as subtitling technology began to be readily affordable among fans, so too did frequent business trips to Japan become affordable and convenient for anime industry leaders. John O’Donnell, Robert Woodhead, and John Ledford—again to name a few—were able to go to Japan and back much more freely because the threat of an actual Soviet invasion was lifted, coupled with Japan’s much longer promotion as one of America’s active trade partners.
For the first anime fansubbers, however, these macro concerns were irrelevant: all they wanted to do was to spread anime as far and wide as it could go. These groups were usually run at the whim of the translator: the translator would usually run the group, and the shows that were subtitled were usually the ones that the translator was willing to, or liked to, watch. Otherwise, the fansub would simply not get done. To that end, that is why a lot of the earlier fans complained, “well, why did somebody do Saint Seiya, or why did somebody do this?” The answer is simply because the translator liked that show, not because the market demanded it. Indeed, the Ranma Project started on the premise that Ranma ˝ was really worth showing to fans, but that it would probably never see a commercial release.
As subtitling groups became more organized, fansubbers began to talk to one another: many of them were in college, so many of them had access to the Internet. By 1993, fansubbers (the first known reference to the videos as “fansubs” was made in March 1993) made concerted efforts to avoid the case where two different sets of subtitles would go out for one show; this cooperation provided the additional benefit of keeping tabs on other fansub groups. Anime fandom went from zero groups to about four between the foundation of the Ranma Project and AnimeCon ’91, then to eight groups in the following span of about 6 months. Numbers increased to fifteen following Anime Expo ’92, where it remained for about two years. A couple of groups folded, but then a couple of other groups took their place, and then they multiplied again, ever-increasing through the mid-90s.
In the earliest days, fansubbers served as their own distributors: they copied tapes individually to anyone who requested them. This model was quickly replaced with a tiered distribution system, however, enabling a much wider spread of fansubs. In a few cases, the fansubbing group would establish a subcommittee (usually a single person) to manage distribution. More likely, other groups allied with fansubbers, either other fan clubs, college-based fan clubs, or other groups that would then go out and distribute the fansubs to other clubs. There is documentation, for example, that the Ranma Project and others were closely affiliated with college anime clubs. Whether or not these groups were parts of official college anime club structures, they performed a service that provided college students with first-exposure to anime.
One fansubber recounts that if he could do twelve tapes a week, he would be fine. When distribution started to really ramp up, i.e., when fans started getting Internet access in increasing numbers and started becoming aware that additional titles were available, distribution demands “exploded.”
William Chow of the Vancouver Japanese Animation Society, Canada was the first big distributor. His Arctic Animation outfit was sending out copies of subtitled anime as early as November 1990, and continued to do well into the mid 1990s. Chow’s edge was his connections to fansubbing groups, which he made a lot sooner than other distribution groups. He actively went out and pursued these groups, getting them involved in a larger network of distribution. Chow gained a degree of notoriety in the fan community because of his insistence at charging for tapes instead of using the SASE (self-addressed, stamped envelope) method, placing him in the eyes of some as a bootlegger. Evidence suggests, however, that Chow and other Arctic Animation associates made little if any money off of their subtitling operations, and that they provided a highly beneficial in-between service for fansubbers and fans (that is, until Arctic itself was backlogged by over a year’s worth of requests by 1994). Chow also distributed to college anime clubs since Arctic’s first days, suggesting that he too had a hand in “first-exposures” of the new audience to anime.
The rise of clubs, industry, and fansubbing gave rise to anime conventions: gatherings where fans and newcomers alike could revel in Japanese animation and its related offerings. We consider the effects of these earliest conventions, particularly as they relate to the availability of fansubbed and licensed materials.
AnimeCon ’91 (San Jose) was well-attended by a lot of fans old and new who were interested in anime, but many of them went in expecting something that they did not get out of it. They were really excited about having an anime convention, but many of them came out none the wiser because they could not understand what they were watching: most of the screening material was raw Japanese. This is the reason why the Society for the Promotion of Japanese Animation (SPJA) wound up going the route they went in ’92. When they did Anime Expo ’92 (Los Angeles), they knew that they had to have a way for the fan to better understand what he or she was watching.
An out-of-print edition of Ä-ni-mé: The Berkeley Journal of Japanese Animation sheds light on the motivation of at least one fan, Mike Tatsugawa: the founder of Cal-Animage and the chairman for AnimeCon ’91. In Ä-ni-mé Vol. 1 Issue II, Tatsugawa’s “Editor’s Note” contains:
“Japanese animation, which used to be shown in small back rooms of science fiction/fantasy conventions now has its own convention where the fans can watch their favorite movies and videos in 16mm or 35mm. […]
“What fandom is witnessing is truly a rare sight and one that we should all stop and appreciate—the transformation of a medium. […] No longer do we have to settle for fifth generation tapes as our source of entertainment, or word-of-mouth synopses of videos. […] If Ä-ni-mé had been done two or three years earlier, we wouldn’t have even thought about asking the Japanese right holders for permission to print scripts to their movies. […] Our job several years ago was to expand the Japanese animation fandom base through any means possible Now, our task has changed. There is still a need to get more fans involved in anime, but there are more ways to do it now than at any other point in our short history. Subbing videos was great a few years ago, and in my opinion is still great today, but now we must work with the companies willing to expand into the American market […]. It’s time for animation fans to leave the cradle and start pushing harder than ever before to bring anime into the mainstream. The anime explosion is about to happen. The only question is whether we are willing to accept the results.”
The vast majority of shows at AnimeCon ’91 were licensed from Japanese licensors, but were screened without subtitles. Consider Wings of Honneamise, shown at AnimeCon ’91. Honneamise is a classic animation with many talking heads; without a thorough understanding of Japanese, viewers would be totally lost. If viewers made up the story as they went along, they could concoct a whole bunch of different translations based on the actions that happen right afterwards, and of course those interpretations would be completely wrong. To that end, reported convention executives, they discovered why subtitling was necessary at conventions: so that newcomers could better understand and get into anime.
There were subtitled exceptions at AnimeCon ’91, however: the Ranma ˝ and Maison Ikkoku fansubs, as well as the few industry releases available, were shown. Furthermore, there is evidence that Gainax brought a film print of second episode of Gunbuster, subtitled. While attendance data is unavailable, evidence again suggests that fans were rabid for the fansubbed material: a few of whom began reporting that their first “real” anime exposure was to Ranma ˝. We also note the continuing reluctance of Japanese companies to support American industry and fandom. Although Gainax made an official appearance both at AnimeCon ’91 certain previous conventions, it was an exception rather than the rule, probably owing a lot to the pro-fan orientation of its staff.
Another unfortunate incident of AnimeCon ’91 was the U.S. Manga Corps. screening of I Give My All (Japanese Minna Agechau), which was quickly pulled from American distribution in a snafu with the Japanese licensor, Sony. Fox TV news and the LA Times besieged the event in their desire to know about the new wave of “Japanese Pornography,” perpetuating the stereotype of anime as characterized by pornographic content. Incensing fans and industry alike, the incident motivated more than a few fan groups to combat this characterization by releasing more non-pornographic anime through the fansub network.
Consequently, Anime Expo ’92 expended significant effort getting permissions from Japanese and American companies to screen their materials subtitled. For untranslated Japanese materials, this also meant permissions were secured to create and screen subtitles. Harvey Jackson reports this was the case during his involvement with the execution of Anime Expo ’92, Anime America ’93 (San Francisco), and Anime Expo ’93 (Los Angeles). When Jackson ran programming for Anime America, he would go out of his way to contact all of the companies, get their permissions to screen, and explicitly ask them if the convention could actually have permission to screen it subtitled. Japanese companies began to comply more readily, and several American companies [i.e., all of them] knew they were not going to have a finished product by the time the convention rolled around, so this would be a great way to pre-sell or pre-market them. They would give the convention permission to subtitle, so long as the American companies approved the script that convention would actually use. As companies became bigger and were making their deadlines a lot better, they did not want to run the risk of a faulty script being used or become victims of the comparison bug—that is, the comparison that some fans make when they see a sub at a convention that appears to be better than the sub that a company releases. After 1993, they started cracking down, limiting conventions to the raw Japanese version if they wanted to screen anything at all.
Anime Expo ’92, however, had to subtitle all of the programming that they were going to have. Cal-Animage founder and AX Convention Chair Mike Tatsugawa, in his wisdom, realized that that English subtitling was going to be the one way to get the majority of people really interested in anime. When the convention rolled around, just about everything the convention showed was in Japanese, but it was subtitled by fans. When convention attendees discovered that local fansub groups had translated many of the convention materials, they all wanted copies. Anime Expo, of course, was not in a position to offer copies, but the various fansub groups made it known that they would be more than happy to provide copies to members of anime clubs. This prompted the overabundant formation of clubs in the San Francisco area: many people formed clubs just to get access.
To understand what kind of impact fansubbing had, for Anime Expo ’93 Kiotsukete Studios subtitled all six episodes of Tenchi Muyo!, all three at the time existing episodes of Ah! My Goddess (also Oh My Goddess!), Ranma ˝ Movie 2, two of the Gundam movies, Koko wa Greenwood, and All-Purpose Cultural Cat Girl Nuku Nuku. Many of these titles were picked up soon after Anime Expo ’93: every single showing was well-attended, and people wanted to see them professionally. Some of these titles were already in discussion, but there were other shows that no one in the industry had any interest in whatsoever that got picked up later.
Whether or not these fansubs actually prompted American companies to license these titles is a matter of hot debate. However, the plain facts are that anime companies at the time licensed titles circulating in the fansub community with far greater frequency than non-fansubbed titles. If a causation link exists, it owes either to the show’s dual popularity in Japan and predicted dual-popularity with the American public, or to existing popularity among American fandom as measured by attendance at conventions and consumption of fansubs. We conclude that it was the latter: given the universe of potential Japanese to choose to license, and the still-limited appeal of anime in the American public, early anime companies had to rely on the existing fan base, and had to grow that fan base, if they were to turn a profit. That fan base relied on the circulation of fansubs. We cite one example, then revisit this argument in the following subsection.
Consider Koko wa Greenwood (also Here is Greenwood), which was picked up by Software Sculptors in 1996. When Koko wa Greenwood was first issued, it was issued as a girls’ manga; it had no following in Japan outside of teenage girls who were following the manga, and those girls hated the more boy-oriented anime! When Kiotsukete Studios fansubbed it, they thought it was kind of quirky, yet incredibly funny. However, when Kiotsukete started distributing it, no one wanted it; they had to include it as an extra episode at the end of a tape just to get people interested in it, because they had heard so many things about it being a girls’ manga. After people started watching it, demand grew, and the property became valuable enough to license. Here is Greenwood turned out to be a lifesaver for Software Sculptors, because up to that point they really had not put out anything that was really worth having. Here is Greenwood was a pleasant 6-episode animation that everybody liked. People went out and bought it; they were no longer available from the fansubbing source because Kiotsukete, the only group to fansub Greenwood in its entirety, stopped releasing it.
Anime Expo ’93 was also the time the industry representatives started buzzing more publicly about pre-existing copies eating into profits. Many of the shows from Anime Expo ’92, for example, were starting to come out commercially, and people were starting to buy them in 1993. At that time, Jackson we started to hear the buzz from the industry that bootleggers, as they called them, were eating into their profits, and that something had to be done about it.
1600 (printing presses outside London)
Non-profit: SASE; enough money to pay for tapes
“Not for Sale or Rent.”
Complementary or Prerequisite Good
“Spread Japanese Animation”
“Make a Buck”
Cease Distribution after Licensing
Disappear if Threatened
We note here the careful distinction between fansubs and bootlegs, summarized in Table A. Fansubbers’ stated intent was to spread the awareness of Japanese animation: although they have been accused of merely “preaching to the converted” (e.g., by Carl Macek and Jerry Beck), evidence throughout this section suggests that they were successful in introducing the post-Akira generation to the diversity that the medium offered. From their earliest days, fansubbers would remove their titles from circulation once they were licensed in the United States. In all but the earliest fansubs, fansubbers would add subtitles like “Not for Sale or Rent” and “Stop Distribution When Licensed” in addition to their fansub group name; they would also encourage fansub viewers to purchase the licensed product once it was made available. William Chow’s tapes went so far as to include these warnings during character dialogue, which some fans reported as annoying.
Bootleggers, however, were only interested in making a profit at the industry’s expense. To the industry’s credit, they had every right to believe that bootleggers were eating into profits, because there were people that would go out and bootleg material—even fansubs—in order to sell them at sci-fi and anime conventions where they would market themselves as if they were an anime club. Perhaps the most famous bootleggers of the time were known by their pseudonyms S. Baldric and E. Monsoon. Kiotsukete would of course happily duplicate tapes for such bootleggers, and then the bootleggers would go in and erase the segment of the tape where it said, “Not for Sale or for Rent,” which Kiotsukete put at the beginning and end of every episode on every tape. Once Kiotsukete members started seeing bootleggers hawking their material at conventions, they became more restrictive on their distribution to other groups. By 1995, Kiotsukete set a quota on copies made, and required that people prove that they were members of anime clubs. As technology advanced, Kiotsukete developed watermarking, overlays, and commercial spots between the breaks to better identify the group and to increase the barrier that bootleggers had to cross in order to duplicate Kiotsukete’s work. Kiotsukete seems to be the only group that placed such extreme restrictions on distribution, but all known fansubbing groups upheld the basic principle of “Not for Sale or for Rent.”
Neither fansubbers nor bootleggers, however, had a license for the anime works with which they were dealing. In certain limited cases, such as Kiotsukete’s, a license was obtained for screening at an anime convention. Even then, not all fansubbed materials were licensed at the earliest conventions. As Jackson explained, fansub groups during the 1989-1993 period worked under the idea of, “we only subtitle things that we know have not been picked up. If it has been picked up, we will not touch it.” If a company does not make an announcement making known that it has acquired the rights to a show, a fansub group generally will live with, “well, they did not tell us, and we can claim ignorance on this, and until it is made publicly known, we will continue to subtitle it and distribute it.”
Recent evidence suggests that members of the Ranma Project operated along a slightly different line of thought. They liked Ranma a lot, they wanted everybody to be able to watch it, and they thought that there was no way it would ever be licensed in America given that the select few anime licensed in America were of the mecha (giant robot) genre. Consequently, they decided to subtitle and distribute as much of it as they could in order to show everyone how interesting it was. Once it became known that Viz Communications was planning on licensing Ranma ˝, they stopped everything cold. They stopped cold not only because of legal concerns, but because, in the very tight community around San Jose, everyone in the anime field knew each other. Everybody knew Trish Ledoux and Toshi Yoshida of Viz. They would have good reason to remember them, in any case, from Ledoux and Yoshida’s days at Animag. As Jackson reported no more plainly, “Because we have to go to Viz, and we have to go to functions, and they’re there, and we’re there, and it would be a lot more trouble than it’s worth. So, that’s why a lot of people were like, ‘okay, Trish Ledoux and Toshi Yoshida are our friends, so we aren’t going to do this to them to make their lives miserable.’”
The strong connections between fandom and industry can also be seen in the case of Kiotsukete Studios, most of whom staffed the programming crews of major conventions at the time. Japanese companies knew that it was basically convention in-house people who were getting permission to prepare subtitles. With no exceptions, if it was something that an American company owned, Kiotsukete would not distribute it. “Distribution” in Kiotsukete’s case consisted of two men with four professional series S-Deck VCRs making copies for everybody, but they were doing it on their own time. Once it became known that an American company had licensed a show, they completely stopped distribution of that title.
Whereas fansubbers always stopped sharing after a title was licensed, distributors acted inconsistently. Certain histories have lumped fansubbers and distributors together as “tape-traders,” a term that simplifies the complexities of the period. Unlike fansubbers, distributors may have continued distributing tapes. (Contrary to popular belief, however, William Chow seems to have followed the “cease-after-license” protocol.) Furthermore, other groups would use Kiotsukete and other fansubbed tapes as trade bait, which continued the propagation of material. One anime club member, for example, attested that he had to “amass a large enough collection [of anime material] copied from the club library in order to have enough interesting stuff to trade with others.” In spite of these significant overuses, it is important to draw the distinction between fansubbers and distributors with respect to the propagation of tapes.
Fansubs might also be shown at anime clubs after they had been licensed. Another member of Kiotsukete, who was also an officer at a local fan club in 1993, reported that there were “a lot of times [when] we would subtitle a show just because we wanted to screen it for our clubs, and to that end, there were a lot of times when we did that, but we did not distribute it.” When they knew that Ah! My Goddess was going to take at least another year to come out, but they had already started our local groups on Ah! My Goddess, they subtitled episodes 5 and 6 and screened them to their members. They even let companies know that they were going to screen it “for them.”
Companies were definitely not happy about these incidents, but the member pointed out that the motivation was to get more people interested in the animation itself. No fansubber made a profit off of his or her work. There were some people who obtained jobs in the domestic industry because of the work that they did, but that is more a testament to the quality of their work. For some, fansubbing was their only way of showing the industry that they had the ability to work.
Most fansubbers, however, fansubbed because they loved it. The member concluded, “I did it because I wanted to see more anime [everywhere]. I wanted to see more people enjoy Japanese animation, and to that end, that was my goal, and I think that I have been pretty successful with it.”
In this subsection we consider the development of four major American importers: A.D. Vision (now ADV Films), AnimEigo, Streamline Pictures, and Pioneer LDC. As the reader shall see, in all four cases the fan culture played a pivotal role in each company’s formation and initial operation, although the circumstances are unique to each company.
John Ledford and Matt Greenfield met while both were working for businesses that rented and sold anime laserdiscs. John Ledford and Matt Greenfield also ran a Houston-based animation club in 1992, during which—through the fan network—they met up with several others who were doing comics and manga work in Japan, including Toren Smith. These artists pointed out that there was nothing forbidding Ledford and Greenfield from going to Japan, licensing titles, and bringing them back to America. Realizing that both Ledford and Greenfield had identical visions for anime in America, they chose to do just that. John Ledford had some savings, and Greenfield had been going to film school. They decided to form A.D. Vision, after which they went to Japan, talked to studio representatives, and convinced them to license A.D. Vision’s first anime, Battle Angel.
After subtitling Battle Angel, Greenfield and Ledford staged their first preorder at Anime America in 1993. They made the announcement on Friday, June 26, and on Saturday they opened up their booth table to a horde of excited anime fans. A.D. Vision continued to release a number of successful titles; most recently, Ledford was twice named as one of “The 100 Most Powerful People in Genre Entertainment.” Significantly, though, A.D. Vision got its start in the fan network, and depended upon it for its initial sales. Indeed, ADV followed Streamline’s model of releasing English dubs after it noticed that Streamline’s per-title sales far outstripped ADV’s subtitled releases. Without the fan network, however, ADV would have had no market base whatsoever.
The history of AnimEigo is fairly well-documented, so we do not recount it in its entirety here. Although CEO Robert Woodhead is not a fan per se, the history of the company is very connected with organized fandom. Co-founder Roe Adams was a huge anime fan; he was seen regularly during the early years of the Cornell Japanese Animation Society in 1988. Significantly, the first post by AnimEigo on Usenet claims that “AnimEigo is a cooperative venture of Anime fans.” Without the fan network and exposure to existing, unreleased Japanese animation, it is unlikely that AnimEigo would have started.
In 1986, while Carl Macek was producing Robotech the Movie, he got together with Jerry Beck. Beck—quite well-regarded in the American animation field—was also an anime fan; he ran the New York chapter of the Cartoon/Fantasy Organization during the early 1980s before he moved out to Los Angeles. Both Macek and Beck were aware of this potential market on a very personal level. If no one was taking advantage of it, they reasoned, they decided that they might as well. They started Streamline pictures in 1988 with their release of Akira (1989), followed by a slew of titles that typified anime available in the early 1990s.
Fred Patten knew Macek from the early 1980s, when Patten was one of the fans who attended anime screenings at Macek’s shop. Patten would later interview Macek for articles for some of the American fanzines Amazing Heroes and Comics Journal. They were reasonably close acquaintances at that time, so when Macek and Beck started up Streamline Pictures, Patten offered his services and advice, since Patten was in favor of anything that would promote anime in America. Macek and Beck would regularly ask Patten about what the most popular titles with fans were, and what the main studios of those titles were, so that they could decide whether or not they wanted to try and license those titles. After Patten lost his job as a technical librarian for Hughes Aircraft Company, Mack and Beck invited him to join Streamline Pictures; like so many others, in 1990 Patten turned his hobby into a profession. Patten was aware of Streamline’s activities on a very personal basis; he was also aware of the other anime companies starting up at the time.
Streamline was the center of attention in the “dub-versus-sub” debate among fans: a heated multi-year argument over whether anime videos should be dubbed or subtitled. Many of the early fans in the days of the first licensed videos, that is, 1989-1993 (indeed, arguments continued through 1999), felt that videos should be subtitled. Subtitling was much cheaper than dubbing the videos, and the videos tended to have higher translation quality because the voice talent doing the subbing was generally not that good. Streamline Pictures, however, made a point of only dubbing. As Macek and Beck contended, most of the general public would not take the trouble to read subtitled videos. They argued that the public wanted to hear spoken dialogue even if the voice quality was not very high.
Neither Patten nor we agree with the second point, but Macek and Beck were absolutely correct on the first. Due to the long history of high-quality and abundant English-language programming in the United States, the American public remains reluctant to go to the trouble of watching a subtitled video or movie. If the goal of an anime company was to publicize or promote anime to the public, then dubbing was a necessity; and as Macek stated, “The whole goal of Streamline was to bring anime to a broad audience.” By 1993, Streamline’s tapes were selling so much better than other companies’ that the other companies—ADV and US Manga Corps. in particular—realized that if their main goal was to make money, then they needed to go to the expense of dubbing rather than subtitling everything.
Dubbing turned out to be less of a concern in the long run than maintaining the fidelity of the story in the original animation. Once dubbing was decoupled from the hack-and-slash methods of anime importation in the 1980s, fan furor slowly receded and sales rapidly picked up. One of Patten’s main duties at Streamline Pictures was to verify the accuracy of the materials that Streamline got when they licensed a title, because one of the things that Streamline tried to emphasize was that they were doing faithful translations of the original Japanese. These materials included the negatives, sound effects, and raw translations of Japanese scripts that Patten and others would then rewrite into smooth English: they would adjust the language to match mouth movements and other audiovisual cues. The Japanese industry was so used to the Americans completely rewriting everything, however, that they tended to send over very sloppy translations. For instance, instead of naming the characters, they would call them Man A, Man B, and Man C. Worse yet, they would just give the characters American names like Charlie and Joe, so that American producers could rename them as Pete, Bob, or whatever struck their fancy. One of Patten’s many jobs, then, was to research and reinstate original character names.
As we have seen, Streamline Pictures was intimately connected with the fandom. While Streamline purported to want to attract a broad audience, it also attempted to remain faithful to the original Japanese stories. This idea was deeply rooted in the fandom, and led to Streamline’s early success.
Pioneer Animation was the first Japanese company to enter the American anime industry, announced on April 21, 1993. A branch of the much larger LaserDisc Corporation of America, in turn owned by Pioneer Corporation of Japan, Pioneer’s first projects were Tenchi Muyo! and Moldiver. Both of these titles were released on laserdisc and VHS. Before releasing these, however, they made themselves highly visible at Anime Expo ’93 to show off their wares; they have continued to go to Anime Expo ever since.
It remains unclear that the presence and success of Tenchi Muyo! fansubs motivated Pioneer to enter the market. It is clear, however, that they saw enough profit in the field to justify entering in 1993, thanks in part to the fan base. Pioneer’s Tenchi Muyo! OVA releases became standards in the industry, and with Pioneer’s commitment to high-quality anime on Laserdisc, their releases quickly landed on the “must see” lists of most fans. In his second letter to anime fans, David Wallace, Marketing Manager at Pioneer, wrote: “Is Pioneer creating this product for the fans or for a larger audience? / We are trying to reach the broadest audience for this product. Maybe we are trying too much, but, we think we can succeed and satisfy the [anime fans (lit. hotaku(sic))] and also reach a more general audience.” We conclude that, like Streamline Pictures, Pioneer entered the American anime industry with intent to grow the market, but also with a reliance on the existing fan base and its established preferences.
As the earliest evidence from the Ranma Project suggests, many Japanese companies were aware of fan subtitling, just as some had been aware of fan distribution in 1978. They were not aware, however, of the extent that fan distribution played in developing a sustainable, growing interest in anime consumption. Part of this was rational ignorance: Japanese companies really did not care much about this market, as confirmed throughout interviews during this study. The American market meant almost nothing to them up through 1993. This is no longer true in 2003, because there is a tremendous amount of money to be made in America now. During 1976-1993, however, Japanese companies did not think that they would be able to sell much to America in terms of entertainment goods. America was always the place that everybody wanted to enter, but the Japanese were continually denied by the Hollywood entertainment establishments like Warner Bros. and Disney. In almost all cases, Japanese companies were either ignored (Warner Bros. failure to attend screenings between 1978-1982), refused (“well, we’re selling cartoons, and we’ve always been told by the Disney people that our shows will never sell in America”), or in one case, plagiarized (the infamous Kimba/Simba case, the details of which are not appropriate for this study).
Up through 1993, the buck stopped in Japan both literally and metaphorically. Properties might go to Taiwan or the Philippines; if it went to China, it was more often than not on a “pirate ship” (or tape dungeon). The Japanese never expected, however, that anime would become popular in America. AnimEigo’s first licensor, for example, was shocked when AnimEigo wrote them a check for additional royalties: they did not expect additional royalties! Kenichi Sonoda was equally surprised when Renault told him in the late 1980s that he had a friend in America who knew Bubblegum Crisis “and really thinks it is one of the greatest shows he has ever seen.” Isao Takahata’s reaction was mentioned previously. Go Nagai, the boundary-pushing artist behind Cutey Honey, was amazed when he received tapes of the 1994 MTV special on his work before he came out to Anime America ’94. He did not realize the following that Mach a Go Go Go had in America: it had a bit of a following in Japan, but not to the degree that it had here as a cult classic. Even Monkey Punch (Lupin III) is still thrilled when older anime fans, people closer to his age, come up to him to talk to him about the original TV series: it amazes him that people were able to get access to those shows, considering that they were not aimed at the American market in any way, shape, or form. Without the fan network, and specifically without fan distribution, none of this could have ever happened.
Fan distribution began as early as technology enabled it in 1976. Anime fandom grew out of science-fiction fandom, but quickly evolved a character of its own. The Japanese were unsuccessful in entering the American market on their terms, so they abandoned it, turning a blind eye to it for a full decade. The fandom grew throughout the 1980s, until it became a powerhouse for underground distribution in the absence of copyright regulation. The few attempts at promoting anime in the 1980s to the mainstream grew directly out of this fandom. While unsuccessful in establishing a permanent trend, these attempts brought with them a small wake of new anime fans who quickly integrated into the fan network. The fan network, which ran on massively distributed, untranslated anime, became a closed proselytization commons that catalyzed interest in unadulterated anime in the late 1980s.
Fansubbing and domestic industry essentially began at the same time with the advance of technology. Both grew out of the fanatical desire to proselytize anime, although the latter saw neglected profits in anime’s commercialization, based off of experience in the fan distribution network. While much harder to justify, the earliest fansubbing too served a commercial benefit in exposing a new generation of fans to new anime, especially anime that did not fit the boys’/mecha mold. The distribution network under fansubbing became an open proselytization commons, and with it came a strong desire to support the nascent anime industry based on an economically undiscounted future. Without fan distribution, the fan network, and thus the anime explosion, would not have taken off as it did in the 1990s.
Our analysis turns to the legal implications of the fan distribution network between 1976-1993. We will draw from American copyright law circa 1976-1993, Japanese copyright law circa 1976-1993, and relevant international treaties, i.e., the Universal Copyright Convention as amended in 1971 and the Berne Convention as amended in 1971, to which the United States acceded in 1989. The reader may strongly suspect that fan distribution was illegal according to these laws. We conclude that it was, and show specifically what sections these practices violate. We further exhaust possible avenues for exceptions and fair us, showing that fans were left with no recourse but to commit copyright infringement on a wide scale. If the outcome of this fan distribution was desirable in the long run, therefore, the law did not sanction it at any point.
First and foremost, there is no such thing as universal copyright for a work of authorship. As copyright is an intangible property law created entirely by the law, extension of copyright depends on laws that govern individual countries. Because our concern is copyright extension and enforcement in the United States, this analysis focuses on the laws and regulations of the United States in regard to animations as audiovisual works.
In the United States, copyright subsists “in original works of authorship fixed in any tangible medium of expression,” including “motion pictures and other audiovisual works,” 17 U.S.C. § 102 (2003). Works—particularly anime—are subject to protection if “on the date of first publication, one or more of the authors is a national or domiciliary of the United States, or is a national, domiciliary, or sovereign authority of a treaty party, […] or the work is first published in the United States or in a foreign nation that, on the date of first publication, is a treaty party,” 17 U.S.C. § 104(b) (2003).
The fulfillment of 17 U.S.C. § 104(b), for our purposes, rests on two international treaties: the Universal Copyright Convention (hereafter “UCC”) and the Berne Convention for the Protection of Literary and Artistic Works (hereafter “Berne”). The United States acceded to the former in 1952, and to the latter in 1989. Japan acceded to UCC on April 28, 1956, and to Berne on July 15, 1899; therefore, these treaties both circumscribe the copyrights of Japanese nationals outside of Japan. According to the UCC, “Published works of nationals of any Contracting State and works first published in that State shall enjoy in each other Contracting State the same protection as that other State accords to works of its nationals first published in its own territory, as well as the protection specially granted by this Convention,” Universal Copyright Convention, July 24, 1971, art. II(1). Berne states, “Authors shall enjoy, in respect of works for which they are protected under this Convention, in countries of the Union other than the country of origin, the rights which their respective laws do now or may hereafter grant to their nationals, as well as the rights specially granted by this Convention,” Berne Convention for the Protection of Literary and Artistic Works, July 24, 1971, art. V(1).
Essentially, under the UCC, works of authorship that are granted copyright in Japan are also granted copyright in the United States. In the case of Berne, copyright is upheld among all States in the Berne Union. However, neither the UCC nor Berne are self-executing in the United States, meaning the provisions of UCC and Berne do not apply automatically, see 17 U.S.C. § 104(c) (2003). Instead, 17 U.S.C. § 104 provides the same requirements for copyrighted works as UCC and Berne. The effect is transparent, except in cases where Berne is amended by its treaty parties without the consent of the United States (which has not happened since adherence in 1989). Both UCC and Berne contain language relating to exceptional cases for translations of copyrighted works, which we will revisit in a subsequent subsection. For practical purposes, however, the effects of UCC and Berne place rights conferred upon anime as the exclusive province of US law.
Japanese copyright law differs in certain respects from American copyright law. In “Purpose,” the Japanese Copyright Law (hereafter JCL) describes itself as:
“The purpose of this Law is, by providing for the rights of authors and the rights neighboring thereon with respect to works as well as performances, phonograms, broadcasts and wire diffusions, to secure the protection of the rights of authors, etc., having regard to a just and fair exploitation of these cultural products, and thereby to contribute to the development of culture.”
We consider the implications of Japanese copyright law in this subsection.
Japanese law qualifies “works,” including “cinematographic works,” as valid for protection, JCL 2 § 1 art. 10. Cinematographic works are eligible for copyright for seventy years, JCL 2 § 4 art. 54. Works must be authored by Japanese nationals, or must be first published in Japan, JCL 1 § 2 art. 6. Two classes of protection exist in Japanese law: moral rights, and copyrights.
Moral rights are inalienable, and are conferred upon the original authors of a cinematographic work “attributed to those who, by taking charge of producing, directing, filming, art direction, etc., have contributed to the creation of that work as a whole, excluding authors of novels, scenarios, music or other works adapted or reproduced in that work,” JCL 2 § 2 art. 16. This definition of cinematographic authorship only holds if Article 15 does not apply, i.e., the work is not a work for hire.
Copyright in a cinematographic work belongs to “the maker of that work, provided that the authors of the work have undertaken to participate in the making thereof,” JCL 2 § 3(4) art. 29(1). “Makers of cinematographic works” refers to “those who take the initiative in, and the responsibility for, the making of a cinematographic work,” JCL 1 § 1 art. 2(1)(x). Because neighboring rights in Japanese copyright law provide particular rights to broadcasters, broadcasters frequently invest in the work to become “makers.” In practice, this means that the copyright holders include companies that finance the anime production, companies that broadcast the anime production (frequently one and the same), and anime production companies that take charge of authorship of the work, i.e., the production company where the producer, director, and sub-directors work. Subcontracting occurs frequently in the anime industry; indeed, it is rare for a large project to not have multiple studios working on it at the same time. However, if a production company subcontracts some work out to another production company, then that other production company rarely owns joint copyright in the work.
Because Japanese domestic rights are incidental to our study, we only briefly list them. JCL 2 § 2 arts. 18-20 cover the three moral rights: “making the work public,” “determining the indication of the author’s name,” and “preserving the integrity.” The eleven major rights under copyrights, JCL 2 § 3 arts. 21-28, cover the rights of reproduction, of performance, of presentation, “of public transmission, etc.,” of recitation, of exhibition, of distribution, of transfer of ownership, lending, “of translation, adaptation, etc.,” and “of the original author in exploitation of a derivative work.” The last right is particularly curious: the copyrights (though not the moral rights) of an author extend to derivative works made with his or her original work, JCL 2 § 3(3) art. 28.
Neighboring rights exist in Japanese copyright law: these rights are granted to those whom the law recognizes as playing roles in the communication of works to the public, even though they usually do not create works. Broadcasters have neighboring rights as relates to anime: in particular, rights of fixation, of photographing, of reproduction, “of making available,” of retransmission, and “of communication to the public by enlarging devices,” JCL 4 § 4 arts. 98-100. That these rights overlap with the rights of authors explains much about the co-ownership of anime titles.
Unlike American copyright law, Japanese copyright law contains no general fair use provision. Indeed, many have argued that the moral rights of authors in Japanese copyright law form the exact opposite of the fair use rights of the public in American copyright law. Japanese law does, however, contain a laundry list of limitations on copyright: most notably, it permits reproduction for personal, family, or “limited circle” use (called “private use”), quotations (including pictorial quotations), performances for non-profit functions, and translations for certain classes of works. These limitations are largely outside of the scope of this study: we only apply the law as directly relates to uses in the United States. Indeed, we are obliged to, because United States law prevails in all cases where the United States has original jurisdiction, because UCC only specifies that Japanese works receive US copyright protection, and because the Berne Convention Implementation Act of 1988 states that US obligations under the Berne Convention are wholly satisfied by existing levels of domestic protection, Pub. L. No. 100-568, 102 Stat. 2853 § 2. Had we explained the legality of the following uses wholly in terms of Japanese copyright law, we would have concluded very different results. We will, however, attempt to apply Japanese copyright law as it applied to recordings that were extracted from Japan and sent to America.
International rights in anime are simpler to describe. Japanese animation holders retain all rights under United States copyright law according to U.S.C. Title 17 Section 104. Their rights are enumerated in U.S.C. Title 17 Section 106, “Exclusive rights in copyrighted works,” and are limited by subsequent sections 107-122. In particular, fair uses, if established, do not constitute copyright infringement according to 17 U.S.C. § 107 (2003).
The first potential infringement raised in 1976 was the practice of time-shifting recordings from Japanese community television in the United States. For this analysis we assume that the Japanese community TV stations secured licenses from Japan for broadcast of this material. There are no known court cases between Japanese license holders and American community television stations. Although we recognize that absence of evidence does not preclude evidence of absence, there is no good reason to believe that these television stations showed unlicensed materials: they were visible enough in America among broadcasters that, if companies like Toei wanted to sue the stations while they had a presence in the United States, they could have easily.
Sony v. Universal, 464 U.S. 417 (1983) clearly dealt with the subject matter of time-shifting, or recording for home use, of broadcast works. In it, the Supreme Court ruled that time-shifting was a fair use, that the practice carried no likelihood of non-minimal harm to the potential market (as demonstrated by plaintiff copyright holders), and that the sale of home video tape recorders to the general public did not constitute contributory infringement because of the significant potential for non-infringing uses. We concur in affirming the fair use of time-shifting American broadcast anime for private, home use: this fan practice does not constitute copyright infringement.
Lending videotapes to others is analogous to lending books. According to the first sale doctrine, the materials in which copyrighted works are fixed are treated as property, and can be bought, sold, leased, and rented without the permission of the copyright holder. This doctrine is embodied in 17 U.S.C. § 202 (2003), “ownership of a copyright, or of any of the exclusive rights under a copyright, is distinct from ownership of any material object in which the work is embodied.” Private lending to friends and family has long been held a fair use; in any case, Section 106(3) does not apply because it specifies an exclusive right “to distribute copies or phonorecords of the copyrighted work to the public” (emphasis added). We hold that private sharing among friends, as fans did in the early days, does not constitute infringement.
Showing an anime at a club, whether recorded from American television or not, constitutes a public performance of a copyrighted work, 17 U.S.C. § 106(3). The most significant exemption in statute is 17 U.S.C. § 110(1), which states that, notwithstanding § 106, “performance or display of a work by instructors or pupils in the course of face-to-face teaching activities of a nonprofit educational institution” is not an infringement of copyright. We have shown, however, that college-based anime clubs did not start en masse until the late 1980s at the earliest. Even then, college-based anime clubs would probably not qualify under the strict language of “face-to-face teaching activities” in Section 110. Furthermore, anime clubs from the late 1970s knew that they were in violation of the copyright owner’s rights: Toei, TMS, and Tatsunoko confronted them as early as 1978, and refused to authorize their screenings. We conclude that showings at early anime clubs were in violation of copyright.
Private distribution, we have argued, is not an infringement of copyright. However, systematic reproduction and distribution of complete tapes on the scale that was being practiced in the late 1970s far overstepped the bounds of a fair use defense. Evidence shows that there was little or no economic value to the tapes at this time. Nevertheless, fair use does not rest solely on the determination of economic value or harm. The level of distribution seen throughout the C/FO by the early 1980s began to take on the character of a multi-branch library system, but evidence does not suggest that it became a full-fledged, coordinated library system until well into the 1980s. Consequently, it would not fall under “Limitations on exclusive rights: Reproduction by libraries and archives,” 17 U.S.C. § 108. We conclude, therefore, that reproduction dissemination of anime across the country was illegal.
Interestingly enough, the pen pal relationships that C/FO members struck up in the early 1980s became significant sources of untranslated anime. In principle, a Japanese pen pal would be exercising his legal right to “reproduce by himself a work forming the subject matter of copyright […] for the purpose of his personal use, family use or other similar uses within a limited circle (hereinafter referred to as ‘private use’),” JCL 2 § 3(5) art. 30. This would form a cornerstone of a similar argument that dōjinshi, or Japanese fan comic, authors would use in intervening years to justify their practice of selling fan-comics that bore uncanny resemblances to professional characters. In the American anime fan case, it forms a plausible argument: exportation is permitted in the country of origin, so should not importation be permitted as well?
American copyright law is silent on the topic of exports out of foreign countries, most likely because such a law would be unenforceable outside of US jurisdiction. 17 U.S.C. §§ 601-603, however, have much to say on the subject of importation: most of it is unlawful. Indeed:
“importation into the United States, without the authority of the owner of copyright under this title, of copies or phonorecords of a work that have been acquired outside the United States is an infringement of the exclusive right to distribute copies or phonorecords under section 106, actionable under section 501,” 17 U.S.C. § 602(a).
Even though export from Japan may be lawful, import is unlawful without permission of the copyright holder: that is a right granted to Japanese animation copyright holders and domestic copyright holders alike.
There are, however, three inclusive exceptions to 17 U.S.C. § 602(a). Exception (a)(1) did not apply in this case, although we will revisit it in a later section. We consider exceptions (a)(2) and (a)(3):
(2) importation, for the private use of the importer and not for distribution, by any person with respect to no more than one copy or phonorecord of any one work at any one time, or by any person arriving from outside the United States with respect to copies or phonorecords forming part of such person's personal baggage; or
(3) importation by or for an organization operated for scholarly, educational, or religious purposes and not for private gain, with respect to no more than one copy of an audiovisual work solely for its archival purposes, and no more than five copies or phonorecords of any other work for its library lending or archival purposes, unless the importation of such copies or phonorecords is part of an activity consisting of systematic reproduction or distribution, engaged in by such organization in violation of the provisions of section 108(g)(2).
Subsection (a)(2) almost legalizes the importation, except for a significant catch: importation must be for the private use of the importer, and not for distribution. Even though one could argue that C/FO’s systematic library processes were not in full swing by the earliest days of the 1980s, it is clear that fans would distribute these tapes, at least privately, among one another. Subsection (a)(2)’s use of “distribution” does not qualify itself with “public distribution,” as does 17 U.S.C. § 106(3). We also know that the first major fan trip to Japan occurred in 1986, invalidating the latter provision of subsection (a)(2). Fan “binge buying” on a Tokyo run became more common for wealthy fans in the 1990s, but not in the early 1980s. Consequently, the subsection cannot apply. Subsection (a)(3) likewise cannot apply because records indicate that only one or two copies of a work would be sent back to America, at which point the copies would be used for more than “solely” archival or lending purposes. In any case, fans’ processes were thoroughly systematic enough in our opinion—as seen by the uniform degradation in tape quality and the common cultural reference to “comparing the quality of tapes”—to disqualify them according to the latter half of subsection (a)(3).
We conclude, therefore, that the process of disseminating anime through Japanese pen pals was unlawful in the United States.
The doctrine of first sale has some bearing in this regard. If a title is legally imported into the United States, as we reflexively assume for legitimate titles brought over by Japanese small-business owners in America, then it follows that these store owners are allowed to rent these tapes out just as American chains can. This is only true if these titles entered America with the authorization of the copyright holders (unlikely), or if these titles entered the United States via the importer’s personal baggage (very likely). The practice was common enough to be included in American law, and reports from the period indicate that baggage-importation was a widespread practice among import media vendors.
Importing time-shifted copies of broadcasts, however, is a very different case. First and foremost, creating time-shifted copies of broadcasts with intent to profit violates the broadcaster’s neighbor right of reproduction, JCL 4 § 4 art. 98, and may violate the copyright owner’s right of reproduction, JCL 2 § 3(3) art. 21. The limitation for “private use,” JCL 2 § 3(5) art. 30, would clearly not apply because the use is not of a private nature, even though the work is copied for a family member. Japanese copyright limitation law notwithstanding in the United States, a similar provision applies according to the subsequent subsection of the importation statute: “In a case where the making of the copies or phonorecords would have constituted an infringement of copyright if this title had been applicable, their importation is prohibited,” 17 U.S.C. § 602(b) (2003). Such a reproduction would violate the exclusive rights of reproduction and distribution embodied in Section 106; since these copies actually were created under such circumstances, they are illegal.
In any case, copying and distributing these works on a systematic basis, as fans did, would also constitute a violation of the rights of reproduction and distribution granted in the United States, 17 U.S.C. § 106. Renting videos from Mom and Pop stores to disseminate in the fan community was illegal.
We now consider the cases in the mid-to-late 1980s, when Japanese animation was being disseminated at a much more rapid pace throughout the fan community.
We note here an interesting provision of this case: US military personnel performed a major role in the reproduction and distribution effort. Section 602(a)(1) specifies an exemption, which states:
“[This subsection does not apply to—] importation of copies or phonorecords under the authority or for the use of the Government of the United States or of any State or political subdivision of a State, but not including copies or phonorecords for use in schools, or copies of any audiovisual work imported for purposes other than archival use.”
Upon review of the evidence, we conclude that the US military personnel in question were not acting in an official capacity on behalf of the government. Although a case could be made for them making significant use of military resources, particularly the mail system (as opposed to airmail through the Japanese mail system), the consumables on base (evidence of tapes used that were only sold on base), and the military education they received, it is also clear that they operated during their off-duty hours and that they paid for all of their material resources without assistance from the government. They were self-directed, not under the authority of a commanding officer. We note the irony here that US military personnel, who were still functioning in some official capacity by virtue of being on base in Japan, aided and abetted the reverse imperialism of anime. Nevertheless, they were not acting in an official capacity. Importation according to Section 602(a) occurred, and it was probably unlawful.
However, there are extenuating circumstances in this scenario. We consider the case where Japanese videotapes and laserdiscs were copied and sent to America. If these commercially-released products were copied on Japanese territory, one could evoke a “private use” argument in favor of reproduction. As with the Mom and Pop store case, once these copied tapes entered US soil on the military base, they would be infringing as per 17 U.S.C. § 602(a). Likewise, if an anime broadcast was recorded on Japanese territory and brought onto the military base, the recording would infringe the same clause.
If these commercially-released products were copied on US territory, they would clearly infringe the exclusive right of reproduction in 17 U.S.C. § 106(1), but would pass the importation test. The case of an anime broadcast intercepted and recorded on US military property is much less clear. Let us assume that, like the commercially-released product, the broadcast recording is created without violating 17 U.S.C. § 602(a) for the only following reason: there is no willful traversal of a country’s borders with a television show fixed in a tangible medium.
The latter two scenarios do not take into consideration the fact that C/FO Rising Sun was clearly part of a nonprofit library operation, however. Assuming that C/FO qualified as a nonprofit, educational and publicly-accessible (that is, accessible with a uniform membership fee) library, we apply the tests of “Limitations on exclusive rights: Reproduction by libraries and archives,” 17 U.S.C. § 108.
Unfortunately, C/FO could not qualify for an exemption under 17 U.S.C. § 108: it fails on many counts. For example, it is clear that C/FO Rising Sun made far more than one copy of each work that they tried to obtain and distribute, 17 U.S.C. § 108(a). After exhausting all of our possible scenarios that might have justified anime recording in the eyes of the law, we conclude that C/FO Rising Sun’s recordings were illegal.
That they were illegal may have been obvious from the start, but additional evidence suggests that they, like all other importers of infringing goods, could have been caught quite easily by the U.S. Customs Service. Customs checks all mail—including APO mail—entering the United States. Sections 602 and 603 state:
“In either case, the Secretary of the Treasury is authorized to prescribe, by regulation, a procedure under which any person claiming an interest in the copyright in a particular work may, upon payment of a specified fee, be entitled to notification by the Customs Service of the importation of articles that appear to be copies or phonorecords of the work.” 17 U.S.C. § 602(b)
“Articles imported in violation of the importation prohibitions of this title are subject to seizure and forfeiture in the same manner as property imported in violation of the customs revenue laws. Forfeited articles shall be destroyed as directed by the Secretary of the Treasury or the court, as the case may be.” 17 U.S.C. § 603(c)
Evidence again, however, suggests that anime companies systematically ignored the infringements that were occurring as anime continued to be imported illegally into the United States. In addition to comments from Japanese companies up through the early 1990s, U.S. Customs had no records on file of anime companies that tried to get notification of potentially infringing materials.
Translation is a quintessential example of a derivative work, and derivative works fall under the domain of copyright protection, 17 U.S.C. § 103. Curiously, both UCC and Berne offer specific guidelines for obtaining non-exclusive licenses to prepare translations when an authorized translation does not exist in a target language. The steps required to obtain such a license are extremely draconian, with a minimum three-year period after publication before an application for such a license would be honored.
The translation exception is moot, though: both treaties specify that the right to a translation license must be established by domestic law; Title 17 of the United States Code has never contained such a provision. Consequently, translations are unlawfully prepared derivative works. Because translations are wholly based on their original works, no copyrights can subsist in them.
Fansubbing during 1989-1993 was the combination of translation, typesetting, and reproduction onto a videotape, followed by an initial round of distribution. As we have seen, translation, reproduction, and distribution are illegal.
During 1989-1993, fans quickly distinguished between two periods for an anime product: the period before a title was domestically licensed, and the period after. From a legal standpoint, fansubs during both periods are illegal. However, a fansub during the latter violates a domestic copyright of a domestic licensee, rather than a domestic copyright of an overseas owner. It is meaningless to say that a work is “not copyrighted” in the United States before it is licensed, just as it is meaningless to say that a work enjoys “copyright throughout the world.” Rather, adherence to international treaties guarantees that US copyright in a Japanese animation exists in the United States from the moment of publication. The commercial exploitation of a work does not begin, however, until the Japanese license holder licenses one or more rights to a company that will exploit the American market.
Japanese companies did not license these rights en masse for over a decade (indeed, for four decades) until fans created their own market through systematic violation of Japan’s unexploited copyrights. This risk-taking on the part of fans is very telling.
We are not attempting to construct an argument against the whole of international copyright law in this analysis. Copyrights, and international recognition of copyrights, are invaluable in numerous cases. International copyright recognition has been instrumental to anime’s commercial success for Japan as well as America: every time that this study uses “license,” it signals a transfer of exclusive rights between two countries, along with continual transfers of capital and value. As one American executive in the field said, “the most effective argument starts ‘Pay to the Order Of.’” Without international copyrights, the anime market could not have been grown and been capitalized upon as it has today.
But as valuable as copyrights have been in the commercialization of anime, they also proved an insurmountable barrier to entry. As important as copyrights have been to growth of the present-day anime system, they equally hindered its creation. Without the very real risk that fans took in their love for the medium, anime would not be nearly as popular and profitable as it is today.
Fan distribution and fan subtitling as practiced during 1976-1993, in virtually all of their permutations, were illegal according to copyright law. U.S. copyright law, by design or accident, presented systematic barriers to entry for both fans and industry alike. In violating the copyright law, fans took substantial risks; these risks were mitigated by apathy and indifference on the part of the Japanese, not investment, encouragement, or legal support.
Japanese animation is now in the mainstream in the United States: Spirited Away won an Academy Award, the Anime Network is taking off in numerous markets, and Cartoon Network continues to push its boundaries with newer and avant-garde shows. In some mainstream stores like Suncoast, anime DVD sales comprise more than 25% of their total revenue.
It is hard to imagine how far the medium’s acceptance has come in ten years. For that, we have much to thank organized fandom. Quite against the restrictions of copyright, anime distribution flourished underground throughout the 1980s and early 1990s to build a base for a nascent domestic industry. Even fansubbing in its earliest years turned more people into avid anime consumers, although its practice became increasingly harder to justify. That fans succeeded owes much to the apathy of foreign copyright holders. It is ironic, though, that perhaps the least “creative” of activities spawned a strong proselytization commons that would prove enormously creative, and profitable, for all involved.
It remains to be seen whether or not the rise of Japanese animation from the fandom represents an anomaly or a basic economic principle guiding media consumption. So much of this history, for example, seems to be mere fortune and happenstance than a reasoned and systematic development of a market. Considering the barrier that copyright presented to a complete understanding of American anime preferences, however, it is remarkable that the industrial base grew as rapidly as it did. When the Development Bank of Japan writes,
“Long ago, serious adult discussion about anime was unheard of, but now, even the economic media elite is giving serious attention to the issue. Long before the promotion of Japanese intellectual property became a big topic, copyright royalties for Japanese animated characters were already providing substantial contribution towards the lowering of Japan’s massive deficit in service income,”
it is worth considering why and how anime interest took off so rapidly after a multi-decade lull, and whether a media success story like it can happen again.
Our argument here is not against the whole of copyright. We argue against an incorrect inference: that progress of the arts and the development of culture require perfect control over copyright. When copyright is relaxed in a nascent market, development may be erratic, but it will definitely not injure the progress of the arts. In at least one case, it proved overwhelmingly successful.
Anime Convention Founder. Personal Correspondence. 16 August 2001.
Anime Producer. Lecture: “Japanese Animation Production Process.” 12 May 2003.
Anime Producer. Lecture: “Q&A.” 12 May 2003.
Anime Producer. Lecture: “Computers in the Anime Production Process.” 13 May 2003.
Abune Producer. Personal Correspondence. 14 May 2003.
Jenkins, Henry. Personal Interview. 28 August 2000.
Anime Studio President. Lecture: “Gainax and the Early History of Japanese Animation.” 29 September 2003.
Anime Studio President. Lecture: “Introduction to Otakuology.” 1 October 2003.
Anime Studio President. Personal Correspondence. 1 October 2003.
Gibaldi, Joseph et. al. MLA Style Manual: Second Edition. New York: Modern Language Association of America. 1999.
Harvard Law Review Staff. Uniform System of Citation: The Bluebook. Cambridge, MA: Harvard Law Review Association. July 1996.
Korea government survey, 2002.
Associated Press. Wall Street Journal. 17 Apr. 2003.
“The Hollowing Out of Japan’s Anime Industry.” Mainichi Interactive. 25 Feb. 2003. <http://mdn.mainichi.co.jp/news/archive/200302/25/20030225p2a00m0oa024000c.html> 8 May 2003.
“1975: Sony Betamax Combination TV/VCR Released in the U.S.” CED Magic: Pictorial History of Media Technology. <http://www.cedmagic.com/history/> 8 Dec. 2003.
Jenkins, Henry. Personal Interview. 28 August 2000.
Clements, Jonathan and Helen McCarthy. The Anime Encyclopedia. Berkeley: Stone Bridge Press, 2001. p. 283.
Astroboy 1. “Tape One: Birth of Astroboy; The Monster Machine.” Prod. Osamu Tezuka and Fred Ladd. Distr. The Right Stuf, Inc. 1963, NBC Films; 1991, The Right Stuf, Inc.
Kitano, Masayuki. “Miyazaki says Japan animation faces dead end.” Japan Today. 20 Feb. 2002. <http://www.japan-today.com/> 15 Mar 2002.
Omega, Ryan. Anime Trivia Quizbook, Episode 1. Berkeley: Stone Bridge Press, 1999.
Napier, Susan. Anime: From Akira to Princess Mononoke. Hampshire, England: Palgrave Press, 2001.
Magic Boy. Jpn Shōnen Sarutobi Sasuke. Dir. Taiji Yabushita, Akira Okuwara. US Distr. MGM. 15 Mar. 1961. Data source: Beck, Jerry. “Animated Features 1.” CartoonResearch.com. <http://www.cartoonresearch.com/feature.html> 4 Dec. 2003.
Although according to an interview by Harvey Deneroff, Tezuka himself was delighted with the name changes proposed by Ladd’s production team.
Deneroff, Harvey. “Fred Ladd: An Interview.” Animation World Network. 1996. <http://www.awn.com/mag/issue1.5/articles/deneroffladd1.5.html> 22 Feb. 2003.
Voltron. Jpn Hyakujuo Go-Lion, Kiko Kantai Dairugger XV. Dir. Katsuhiko Taguchi, Kazuyuki Okaseko, Kazushi Nomura, Hiroshi Sasakawa. Prod. Toei Animation, Tokyo 12 Channel. TV series, 125 episodes. 1981. Source: Celements, Jonathan and Helen McCarthy. The Anime Encyclopedia: A Guide to Japanese Animation since 1917. Berkeley: Stone Bridge Press, 2001.
Description of Future Boy Conan. Jpn Mirai Shōnen Konan. Dir. Hayao Miyazaki. Prod. Nippon Animation, NHK. Exec. Prod. Kouichi Motohashi. TV Series. 1978-1979.
Cyborg 009. Creator Shotaro Ishinomori. Prod. Toei Animation, Sunrise. TV series, 26 episodes (black and white). 1968. TV Series, 50 episodes (color). 1979. Source: Celements, Jonathan and Helen McCarthy. The Anime Encyclopedia: A Guide to Japanese Animation since 1917. Berkeley: Stone Bridge Press, 2001.
Galaxy Express 999. Creator Leiji Matsumoto. Dir. Nobutaka Nishizawa, Masayuki Akehi, Kunihiko Yuyama. Prod. Toei Animation, Fuji TV. TV Series, 114 episodes. 1978. Source: Ibid.
Captain Harlock. Jpn Uchū Kaizoku Captain Harlock. Creator Leiji Matsumoto. Dir. Rintaro, Kazumi Fukushima. Prod. Toei Animation, TV Asahi. TV series, 52 episodes. 1978. Source: Ibid.
Candy Candy. Creators Kyoko Mizuki, Yumiko Igarashi (disputed). Dir. Yugo Serikawa. Prod. Toei Animation, TV Asahi. TV series, 115 episodes. 1976. Source: Ibid.
Captain Future. Creator Leiji Matsumoto. Dir. Tomoharu Katsumata, Hideki Takayama, Noboru Ishiguro, Yasuo Hasegawa. Prod. Toei Animation, NHK. TV series, 52 episodes. 11 Jul. 1978-30 Oct. 1979. Source: Ibid., Anime News Network <http://www.animenewsnetwork.com/encyclopedia/anime.php?id=1237> 28 Nov. 2003.
See Williams, Leilani. Sea Prince and Fire Child. 2000. <http://www.kokololio.com/seaprince/> 30 Nov. 2003. See also Ettinger, Benjamin. Pelleas.net | Masami Hata Filmography. 2002. <http://www.pelleas.net/hm/> 30 Nov. 2003.
New World Pictures, although infamous, is also highly regarded among film scholars for its pioneering films—however low-budget they may have been—and its ability to turn profits while Corman ran it. Morris, Gary. “Notes toward a Lexicon of Roger Corman’s new World Pictures,” in Issue 27 of Bright Lights Film Journal. Jan. 2000. <http://www.brightlightsfilm.com/27/newworldpictures1.html> 30 Nov. 2003.
See “Company History” (Kaisha Enkaku) in GAGA COMMUNICATIONS INC. 2001. <http://www.gaga.co.jp/about/index.html> 30 Nov. 2003.
Schodt, Frederick L. Manga! Manga! The World of Japanese Comics. Japan: Kodansha. 1983 (reprinted 1998).
See “Frederick L. Schodt’s Evolving Bibliography.” Jai2: The World of Frederick L. Schodt. 2 Dec. 2003. <http://www.jai2.com/Mybiblio.htm#Film%20credits> 3 Dec. 2003.
Schodt, Frederick L. Manga! Manga! The World of Japanese Comics. Japan: Kodansha. 1983 (reprinted 1998). Pg. 10.
Ledoux, Trish, Doug Ranney and Fred Patten. The Complete Anime Guid: Japanese Animation Film Directory & Resource Guide. Tiger Mountain Press. 1997.
Original evidence confirmed from MIT Anime Club library.
Littardi, Cedric. “An Interview with Isao Takahata,” Issue #6, AnimeLand (a French anime fanzine). 1992. Translated from the French by Ken Elescor, October 1993, with editing by Steven Feldman. Posted to Nausicaa.Net. <http://www.nausicaa.net/miyazaki/interviews/t_corbeil.html> 8 Dec. 2003. See McCarthy, Helen. Hayao Miyazaki: Master of Japanese Animation. Berkeley: Stone Bridge Press. 1999. pgs. 78-79.
Tyree, Matt et. al. “FAQ.” He-man.org. 2 Jul. 2003. <http://www.he-man.org/site_sects/faq.shtml> 1 Dec. 2003.
See Schmall, Glenn and Kristyn. “An Interview with Carl Macek.” Anime Tourist. Jul. 2000. <http://anime-tourist.com/article.php?sid=154> 4 Dec. 2003.
See “Dallas: JR Erwings Shooting: ‘The World’s Most Famous Cliffhanger.’” Ultimate Dallas. 2003 (from TV episode aired 21 Mar. 1980). <http://www.ultimatedallas.com/episodeguide/shot.htm> 4 Dec. 2003.
“iA Wiki: Yochai Benkler.” infoAnarchy. 21 Oct. 2003. <http://www.infoanarchy.org/wiki/wiki.pl?Yochai_Benkler> 6 Dec. 2003.
Lessig, Lawrence. The Future of Ideas. New York: Vintage Books. 2002.
Date provided by Tatsugawa, Mike. “Re: Please help with anime fandom history!!” Online posting. 21 Jul. 1993. <news:rec.arts.anime> 1 Dec. 2003. Message-ID: <1993Jul21.firstname.lastname@example.org>.
Pinzone, Gerard. “Anime Enquirer.” Online posting. 31 Oct. 1990. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <9010310259.AA14987@cwns12.INS.CWRU.Edu>.
Lovely Angels Fanatic Cult, aka Craig. “Subtitled Nausicaa (Was: Re: Laputa, nausicaa).” Online posting. 20 Dec. 1989. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <8912200146.AA16296@jade.berkeley.edu>.
“Ca West.” Online posting. 20 Jan. 1990. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <00006@citasim.UUCP>.
“Re: BayCon ’90, Streamline, etc.” Online posting. 12 Jan. 1990. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <1990Jan12.email@example.com>.
Woodhead, Robert J. “MADOX-01 Subtitled SNEAK PREVIEW.” Online posting. 31 Aug. 1989. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <850@biar.UUCP>.
Woodhead, Robert J. “MADOX-01 SHIPS!!!” Online posting. 6 Apr. 1990. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <1048@biar.UUCP>. Also see MADOX-01 in MIT Anime Club master VHS library.
“History – About Us.” AnimEigo. 2002. <http://www.animeigo.com/About/HISTORY.t> 4 Dec. 2003.
Starbuck. “Help! I can’t speak Japanese (long) (was Re: Laputa, nausicaa).” Online posting. 18 Dec. 1989. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <Dec.firstname.lastname@example.org>.
10 Feb. 1990. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <email@example.com>.
28 Aug. 1991. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <1991Aug28.firstname.lastname@example.org>.
23 Jan. 1992. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <1992Jan24.email@example.com>.
Eng, Lawrence. “CJAS: Historical Information: 10th Anniversary.” Cornell Japanese Animation Society. 1988. <http://www.cjas.org/?page=history_tenth> 4 Dec. 2003.
Yang, Jeff. “ANIMEIGO HAS RANMA?!?!” Online posting. 4 Mar. 1993. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <C3CzA8.Frt@panix.com>. See especially his desperate epilogue, “Someone, please, make sense of this mad, mad world…”
Gelbart, Dave. “Anime, O.R. Sub, ’zines, scripts.” Online posting. 12 Nov. 1990. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <1PHJs2w163w@questor.wimsey.bc.ca>.
See Chow, William. “Arctic Animation Update.” Online posting. 24 Apr. 1991. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <o3NV13w164w@questor.wimsey.bc.ca>.
Tatsugawa, Mike et. al. “Editor’s Note.” Ä-ni-mé: The Berkeley Journal of Japanese Animation Vol. 1 Issue II. Berkeley: Cal-Animage. August 1991.
See Takashi, Alan. “AnimeCon postscript…” Online posting. 17 Sept. 1991. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <9540@ntmtv.UUCP>. From “Alan’s archive: Notes from Baycon and AnimeCon ’91.” <http://www.tcp.com/~doi/alan/webguide/postings/trek.91.baycon.html> 4 Dec. 2003.
See Lenna, Dmitri “Dmitheon.” “Soft.Sculp has Grenwood.” Online posting. 25 Mar. 1996. <news:rec.arts.anime> 4 Dec. 2003. See also “Here is Greenwood: Vol 1 (sub).” 1 Oct. 1996. <https://secure.centralparkmedia.com/cpmdb/cfcpm.cfm?Cat=SSVS_9610> 4 Dec. 2003.
See, for example, “MIT Anime Showing History.” MIT Anime Club. 9 Dec. 2003. <http://web.mit.edu/anime/www/Showings/past-showings.shtml> 10 Dec. 2003.
Chan, Jimmy. “Baycon (was Re: Cal-Animage).” Online posting. 4 Jul. 1990. <news:rec.arts.anime> 4 Dec. 2003. <Message-ID: <1990Jul4.firstname.lastname@example.org>.
Yang, Jeff. “here it is, the village voice article.” Online posting. 12 Nov. 1992. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <1992Nov12.email@example.com>.
See 12 Feb. 1995. Message-ID: <12FEB199514063544@uhcl2.cl.uh.edu>.
As in interview. According to Usenet posts, rumors were going around that AnimEigo was going to license Ranma ˝.
See “Fans, Fansubs, and J.A.I.L.E.D.” History of Anime in the U.S., Right Stuf International, Inc. 2002. <http://www.rightstuf.com/resource/us_fans.shtml> 4 Dec. 2003.
See 14 Jul. 1993. Message-ID: <1993Jul14.firstname.lastname@example.org>.
“Cinescape List Honors John Ledford During Company’s Tenth Anniversary.” 11 June 2002. <http://www.animenewsnetwork.com/article.php?id=4027> 4 Dec. 2003.
Ibid. See also “Ledford one of genre entertainment’s ‘most powerful.’” 11 Aug. 2003. <http://www.animenewsnetwork.com/article.php?discuss=4027> 4 Dec. 2003.
“History – About Us.” AnimEigo. 2002. <http://www.animeigo.com/About/HISTORY.t> 4 Dec. 2003.
Woodhead, Robert J. “MADOX-01 Subtitled SNEAK PREVIEW.” <news:rec.arts.anime> 31 Aug. 1989. Message-ID: <850@biar.UUCP>.
Chan, Jimmy. “Baycon (was Re: Cal-Animage).” <news:rec.arts.anime> 04 Jul. 1990. Message-ID: <1990Jul4.email@example.com>.
Schmall, Glenn and Kristyn. “An Interview with Carl Macek.” Anime Tourist. Jul. 2000. <http://anime-tourist.com/article.php?sid=154> 4 Dec. 2003.
Tatsugawa, Mike “Shogun.” “Growth in the Anime Industry.” Online Posting. 21 Apr. 1993. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <1993Apr21.firstname.lastname@example.org>.
“Pioneer’s Animation Division.” History of Anime in the U.S., Right Stuf International, Inc. 2002. <http://www.rightstuf.com/resource/us_pioneer.shtml> 4 Dec. 2003. Cross-referenced with MIT Anime Club Library.
Stude, Michael. “Pioneer News.” Fwd. of letter from Pioneer, November 17. Online posting. 27 Nov. 1993. <news:rec.arts.anime> 4 Dec. 2003. Message-ID: <-1331469918snx@izumi.DIALix.oz.au>.
“U.S. Copyright Law.” U.S. Copyright Office. June 2003. <http://www.copyright.gov/title17/> 6 Dec. 2003.
“Copyright Law of Japan.” Copyright Research and Information Center. Dec. 2003. <http://www.cric.or.jp/cric_e/> 6 Dec. 2003.
“Universal Copyright Convention as revised at Paris on 24 July 1971.” United Nations National, Scientific, and Cultural Organization. 20 June 2001. <http://www.unesco.org/culture/laws/copyright/html_eng/page1.shtml> 6 Dec. 2003.
“Berne Convention for the Protection of Literary and Artistic Works.” 2003. World Intellectual Property Organization. <http://www.wipo.org/treaties/ip/berne/> 6 Dec. 2003.
See Sugiyama, Keiji. “Japanese Copyright Law Development.” 19 Apr. 2001. <http://www.softic.or.jp/en/articles/fordham_sugiyama.html> 7 Dec. 2003.
See “U.S. Customs and APO Mail.” 7 Oct. 2003. <http://ima.korea.army.mil/Newcomer/US%20Customs%20and%20APO%20Mail.htm> 7 Dec. 2003.
Suncoast. Personal Correspondence. 14 Jan. 2003.
Yamato, Hiroaki. “Viewpoint: Content from Japan.” Development Bank of Japan, Monthly Economic Notes. May 2003. <http://www.dbj.go.jp/english/library/pdf/men/men_0305.pdf> 8 Dec. 2003.
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Expanded 'Clayton' takes 'Night' to court for top spot
EmptyEven the Amazing Kreskin would be loath to predict the outcome of a weekend like this one.
Three films are opening in wide release and another in moderate release, but it's an expanding release that is poised to take the top spot at the domestic boxoffice this weekend.
The George Clooney starrer "Michael Clayton" appears to be the favorite to land at the top of the domestic heap. Still, it will be a true coup if Warner Bros. can overcome such a crush of competition and claim the boxoffice flag with its platforming legal thriller.
"Clayton" grossed $855,340 from 15 theaters during last weekend's four-day holiday session, which included Monday's Columbus Day in the U.S. and Thanksgiving in Canada. Amounting to a mind-bending $57,022 per-screen average, the performance bodes well for the film's expansion into 2,400 locations Friday.
Older males are a key demo for "Clayton," which co-stars Tom Wilkinson and began buzz-building limited runs two weeks ago.
"I'm hoping the plan we launched Oct. 5 translates into a commercial success this weekend," Warners distribution president Dan Fellman said. "We have a very solid shot at (winning) the weekend, but it's certainly going to be a close race. I expect to be there at the finish line, but it's all up to the movie gods now."
Indeed, with Sony's "We Own the Night," starring Mark Wahlberg and Joaquin Phoenix, numbering among the weekend's rival openers, a photo finish could be in the offing. Set for 2,000 playdates, the R-rated cop thriller will compete for male moviegoers with "Clayton," with both films expect to reach at least the teen millions.
"We have a very solid adult drama that women and men both will really like, though it will probably skew a bit more male," Sony distribution president Rory Bruer said. "With that type of cast, you expect to deliver a good performance, (and) there is absolutely an audience that understands that."
Elsewhere, Universal/Working Title's period sequel "Elizabeth: The Golden Age," a PG-13 sequel to 1998's "Elizabeth," is tracking solidly, especially with older women, and first-choice interest overall is strong in prerelease surveys.
But as a period sequel, there's precious little historical evidence of how this "Elizabeth" might fare, and the original Cate Blanchett starrer platformed from limited runs to its eventual $30 million domestic haul. Certainly, Universal will be looking to make it into the double-digit millions.
Tyler Perry's "Why Did I Get Married?" a PG-13 laugher from Lionsgate, is tracking decently, but it remains to be seen how broadly the film will play.
Urban legend Perry's last film -- February's "Daddy's Little Girls" -- underperformed expectations with a $10.8 million opening weekend after bowing on a Valentine's Wednesday. Accumulating $31.2 million during its domestic run, consensus handicapping had Perry's absence from his usual starring role hurting the film's playability.
Perry is back front and center in "Married," and interest in the film is running high among prospective urban patrons. So something at least in the double-digit millions seems doable.
Yari Film Group has more modest expectations for its high school baseball film "The Final Season." Unspooling in about 1,000 locations, "Season" seeks to draft off of current interest in postseason baseball play, but game telecasts could prove tough competition -- for more than just the Sean Astin starrer.
Industryites also will be looking for evidence of a market rebound this weekend after recent dips in year-over-year comparisons.
" 'Michael Clayton' is the clear favorite, but the big question is whether the boxoffice slump we saw last weekend will extend to this weekend," said David Davis, an entertainment analyst with investment-research firm FMV Opinions. "If the slump from last weekend becomes a trend, it would put downward pressure on all the films in the marketplace a la a typical October swoon."
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Plant Breeding and Variety Selection
Limagrain conducts the largest plant breeding and variety selection programme in the UK. Investing over £3.5m in the UK each year as part of Limagrain’s £215m investment worldwide, we breed and test across nearly all agricultural and amenity species. The programmes are based at three main UK breeding stations and across 100s of hectares of trials on 66 sites nationally.
Limagrain’s wheat breeding is based at Woolpit in Suffolk. Ed Flatman, Simon Berry and Paul Rowe and the wheat breeding team manage the UK’s biggest wheat breeding programme, whose recent successful introductions include Crusoe, Zulu and LG Sundance.
For more than 60 years, the Rothwell based breeding station in Lincolnshire has produced market-leading winter and spring barley varieties. Today’s team, led by Mark Glew, are responsible for varieties such as Concerto, LG Opera and Westminster.
The market-leading range of maize varieties are selected and tested in the largest and most thorough trial site series in the UK. We have 6 sites with 10-12,000 plots. Our breeder Louis Vlaswinkel has introduced market leading varieties like Ambition, Glory and Fieldstar in recent years.
Vasilis Gegas and his colleagues breed oilseed rape varieties for the UK and Europe, as both conventional and hybrid types. Already with big success in Europe, the pipeline of new varieties for the UK shows strong potential with new introductions such as Anastasia and TuYV resistant breakthroughs, Amalie, Architect and Annalise.
Top varieties are selected through a rigorous UK trials programme managed by Richard Camplin based at Witham St Hughs in Lincolnshire. Our variety portfolio now includes grass and clover varieties that deliver not just yield but superior nutritional value. These top rated varieties form the basis of our high performance brands; Sinclair McGill, Monarch, and LGAN (LG Animal Nutrition) grass seed mixtures.
Roots and Fodder Crops
The Limagrain UK breeding programme is based at Witham St Hughs in Lincoln headed by Richard Camplin and Milika Buurman, who, together with partner breeders, are producing new varieties of forage rape, stubble turnips, kale and fodder beet.
Peas, Beans and Vining Peas
Milika Buurman leads the plant breeding team based at Docking in North Norfolk who breed and select varieties for vining and the pulse industries. Top varieties such as Oasis, Anubis and Terrain vining pea, Tundra winter bean, Babylon spring bean and Prophet blue pea are all products produced by this programme.
New varieties are selected and trialled at the STRI to ensure that they perform to the highest standards under both sports and lawngrass regimes. Comprehensive testing ensures that our MM branded mixtures for sports professionals are top performing and deliver the finish top sports clubs demand.
Following the intensive testing in the UK, Limagrain identifies and introduces high sugar yielding varieties from the breeder Betaseed, the No.1 sugar beet breeder in North America. Recent introductions include BTS 470 and BTS 860.
Limagrain is a leading producer of cereal, pea, beans, brassica and grass seeds within this country for both domestic requirements and export markets.
Working with you
We regard seed production as a two-way partnership between ourselves and the grower each looking after the interests of each other with the intention of achieving a mutually beneficial yield and quality from the contracted area.
We welcome enquiries from growers willing to go the extra mile required to produce seed crops to the highest possible quality standards. In return we offer highly competitive contract terms and market leading varieties capable of producing high seed yields. In addition we offer full support and agronomic advice.
If you have land available meeting the specific crop requirements, a professional attitude to quality seed production and facilities for conditioning and storing the seed post-harvest then we look forward to welcoming you as a Limagrain UK production partner.
Kate Armstrong, Field Production Manager
Meet the Team
Your Seed Production Team are Mark Haith, Megan Hicks, Nick Rodgers, Kate Armstrong and Richard Ogden.
Pictured here (left to right) are Nick, Kate and Richard.
Get in Touch - Yorkshire, NE & Scotland
Responsible for seed contracts in Yorkshire, Northern England and Scotland.
Please call me on 01472 370153
Kate Armstrong (out of hours 07580 849 759) or email:
Get in Touch - East & Sugar Beet
Responsible for seed contracts in the Eastern counties and sugar beet.
Please call me on 01472 371471
Nick Rodgers (out of hours 07889 015 062) or email:
Get in Touch - Central, Sth, West England
Responsible for herbage and forage seed contracts, also all seed contracts in Central, Southern and Western England.
Please call me on 01472 371471
Richard Ogden (out of hours 07801 245 230) or email:
We are a leading producer and exporter of forage brassica and fodder beet seeds. We currently supply customers in over 25 different countries with climates and agricultural practices as diverse as Iceland, Finland and Norway in the Northern Hemisphere through Africa and into Australia and New Zealand in the Southern Hemisphere.
Our team of production, technical and logistics personnel are fully conversant with the needs and requirements of customers overseas and we work closely with the UK Government Plant Health and Seeds Inspectorate and the Official Seed Testing Station for England and Wales (OSTS, Cambridge) to ensure that all the seed supplied meets the exacting standards for individual countries.
All export business is carried out under the Rules and Usages of the International Seed Trade Federation for the trade in seeds for sowing purposes. Where standards are laid down we supply seed as certified blue tag under the rules of either the European Union, or (for non-EU markets) the OECD Schemes.
As an initial point of enquiry for our products and services you are invited to contact us using the e-mail address below and Toby Green, our Exports Sales Manager will then provide you with a specific answer to your enquiry: firstname.lastname@example.org
Please note trial seed is only available for small plot trials for research or demonstration purposes and is not available to farmers. The forms are for use in the UK only. Enquiries from outside the UK should be addressed to their local Limagrain contact.
Unfortunately, the interactive PDF only works on Internet Explorer, if you are using any other browser you would need to download the PDF to your local files and open it from there in order for it to work. Sorry for any inconvenience.
Otherwise, please print and attach to email: email@example.com or fax in the form to 01472 371195. Any further problems please contact Glynis Jenkinson on 01472 370106.
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http://www.lgseeds.co.uk/services/
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BANGKOK (Thomson Reuters Foundation) - Two hundred senior Buddhist monks who have gathered in Yangon for a two-day convention have started drafting a law that would restrict Buddhist women marrying Muslim men, The Irrawaddy reported.
Highly revered in predominantly Buddhist Myanmar, the monks announced on the first day of the meeting on Thursday that “preventing interfaith marriage would help improve inter-communal relations” in Myanmar, and proceeded to discuss a 15-page draft law that would introduce the restriction, the Burmese news outlet said.
Wirathu, a monk best known for his fiery anti-Muslim rhetoric and a leader of the controversial 969 campaign that calls for a boycott of Muslim-run businesses, praised the latest effort.
“I have dreamed of this law for a long time. It is important to have this law to protect our Buddhist women’s freedom,” The Irrawaddy quoted him as saying.
According to The Irrawaddy, the law would require any Buddhist woman seeking to marry a Muslim man to first gain permission from her parents and local government officials, and any Muslim man who marries a Buddhist woman to convert to Buddhism.
Those who do not follow these rules could face up to 10 years in prison and have their property confiscated, it said, adding that the monks plan to collect signatures to pressure Parliament to adopt the law.
Myanmar, where Muslims make up about 5 percent of the 60 million people, has struggled with unrest since June last year when fighting between ethnic Rakhine Buddhists and Muslim Rohingya erupted in western Rakhine state.
Buddhist monks - often held up as icons of democracy in Myanmar - have played a central role in anti-Muslim unrest over the past decade.
Reuters’ investigations in two violence-hit areas showed nationalists and monks incited the violence, which was abetted at times by local security forces.
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http://news.trust.org/item/20130614074413-0qirx/
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Use pre-made dough or pizza base
Step 2: Garlic olive oil
1/3 cup extra virgin olive oil
2 cloves of garlic, peeled and left whole
1. Place olive oil in a small saucepan over medium-low heat.
2. Once warm, add the garlic and let it st. (Be careful not to burn the garlic.)
3. Set aside to cool.
Step 3: Roasted potatoes
1 medium Yukon gold potato
Extra virgin olive oil
Salt and pepper
1. Preheat oven to 400 degrees.
2. Slice potato into thin rounds, about 1/4-inch thick.
3. Spread potatoes on an even layer on a baking sheet. Sprinkle with olive oil, salt, and pepper, and toss to coat.
4. Bake for 15-20 minutes until potatoes are soft and golden brown. Set aside.
Step 4: Potato Pizza
4 balls of individual-sized pizza dough
2-3 cups low-moisture mozzarella cheese, shredded
1 small pasilla pepper, sliced thinly
1/4 cup shallots, sliced
1/3 cup crumbled feta cheese
Salt and pepper
1. Set your rack to the lowest part of the oven and if you have one, place your pizza stone on top. Preheat oven to 475 degrees.
2. Meanwhile, flour your work-surface and roll out one ball of pizza dough. Place dough on a piece of parchment paper.
3. Add mozzarella cheese, roasted potatoes, sliced peppers and shallots to your pizza.
4. Carefully slide pizza along with parchment paper directly onto the pizza stone (If you don’t have a stone, a sheet pan works just as well).
5. Bake pizza for 10-15 minutes or until dough is golden brown. As your pizza bakes, repeat above steps with remaining pizza dough.
6. Once pizza is golden brown, carefully pull it out of the oven to rest. Sprinkle feta cheese and cilantro and drizzle with garlic oil. Add pepper to taste. Slice and serve.
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http://markethq.blogspot.com/2013/05/recipe-roast-potato-pizza.html
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Communication k&-”myü-n&-’kA-sh&n, noun, 14th century: (1) a process or technique by which information is exchanged between individuals for expressing ideas effectively through an established system of symbols/signs, methodologies or behavior (2) establishment of personal rapport.
Communication is a core value.
Because we build long-term relationships with our candidates, we constantly strive to understand their career goals and aspirations. With that in mind, we customize our service offerings and solutions to meet your needs and long-term objectives.
Successful placement requires constant communication. Over time, our candidates come to look at us not just as a resource to their efforts, but a valued and trusted business partner and asset to their career. We are the one they keep coming back to to meet their professional plans.
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http://sequencestaffing.com/communication.html
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Fashion Week officially starts today, but designer Thakoon Panichgul snuck in early last week and presented his collection full of shirting options, cool skirts, and cuddly knits. As Fawnia mentioned, this polar vortex this isn't going anywhere, so let's look to Thakoon Addition for fresh ways to style a sweater. Take these outfit ideas and use them well, my friends!
Top a crewneck with a cardigan and cinch the waist: When it's especially cold outside, layer a merino wool sweater under your grandpa sweater and define your waist with a thin belt. Balance the volume up top with skinny trousers or a floaty midiskirt.
Belt a chunky knit over a skirt: Ordinarily, I am totally against arbitrarily belting tops, but I like the freshness of cinching the waistline of an oversize knit that is not a cardigan. Make like Thakoon and team it with a miniskirt (and tights of course) for a night out with the girls.
Layer a cropped one over a longer-hem shirt (or two!): Want to wear that cropped sweater to the office? Problem solved. Pair it with a button-down oxford (or two, for extra warmth) and add gray slacks. Ideal for a creative office.
__How are you gals sprucing up your sweater game this season? Word has it the East Coast is going to get slammed with snow again, so check out even more winter outfit ideas for every occasion. __
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https://www.glamour.com/story/3-fresh-ways-to-wear-a-sweater
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From Twilight to Chanel... It's official, after several rumors and great expectations here the first photos that shows Kristen Stewart as face of Chanel Métiers d'art Paris Dallas Collection 2014. The images show off the young actress struggling with a photoshoot characterized by a sophisticate native flavor, alternative and original that totally reflects Karl Lagerfeld's eclectic personality.
Fascinating and eye-catching behind kaiser Karl's lens, Kristen is the perfect testimonial a young, modern and polyhedral collection. After her experience at Balenciaga (Nicolas Ghesquière wanted her as the face of the fragrance Florabotanica), she scored a big hit, as new embassador of one of the most famous and iconic fashion brand in the world. Waiting to see her on the big screen with Camp X-Ray and Anesthesia, take a look to the video of the backstage. Check it out!
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http://ladyfairy-scloset.blogspot.com/2014/04/kristen-stewart-for-chanel.html
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Renewal Build-Design renovated this kitchen in Ansley Park, and we were honored to build this Emerson Trestle for their clients! This modern kitchen is beautiful and we think our classic, farm trestle table blends seamlessly with the style- The Emerson is in our Signature Dark stain, and compliments the gray tones throughout the kitchen perfectly. What do you think?
All pictures and designs are property of Renewal Design-Build
We love seeing a Rustic Trades table in its new home!
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http://rustictrades.com/ansley-park-kitchen-featuring-the-emerson-trestle/
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Specialist in Early Childhood Education Supplies
As Queensland’s only specialist in Early Childhood Education Supplies, Suppleyes offers a comprehensive range of consumable and equipment resources for your centre. As an industry specialist, we understand the products required to run your service, the level of quality you need and that you have budget constraints. Suppleyes can ensure your centre has everything it needs, at the right price and at the right time with our unique service offering. Call us today to find out how working with an industry supplier can take you out of Administration and back into Education!
Switch to Australia’s newest Early Education Supplier and enjoy the convenience of a one stop shop!
Preschool Furniture – Whether you need an individual piece or need to furnish and entire centre, Suppleyes has an extensive range of fashionable and practice furniture for your centre. Including Storage Units, Shelving, Indoor and Outdoor Tables & Chairs, Activity Tables, Room Dividers and Décor, Art Easels, Sleeping Furniture for Infants to Pre-schoolers and much more.
Indoor and Outdoor Toys – Suppleyes indoor and outdoor educational toys will get the children in your centre Climbing, Sliding, Tunnelling, Rocking, Splashing, Lounging, Riding, Creating, Imagining, Stepping, Jumping, Hoping, Building, Planting, Carrying, Pouring, Balancing, Digging, Pushing and Solving all without realising they are learning!
Enjoy the convenience of working with one supplier at really competitive prices!
Receive FREE next day delivery on orders over $50*, plus be rewarded with VIP discounts of up to 15% on our already competitively priced Toys and Furniture.
Use our convenient online ordering system featuring your own personal Wishlist to save all your most used items for easy ordering OR talk to us today about our highly successful Suppleyes Management System that takes you out of Administration and put’s you back into Education!
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http://suppleyes.com.au/
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South African born host of The Daily Show, Trevor Noah has won the ‘Best TV Host’ host award at the MTV Movie and TV Awards.
Although this was the 26th edition of the awards, it was the first time that work in television was honoured. In a previous article in DESTINY, it was reported that the viewer numbers for The Daily Show have increased by a significant 17% in 2017. According to the Nielsen audience measurement system, this is an additional 1,5 million viewers. According to Comedy Central, it has also become the only late night talk show to have grown by increasing viewership among adults between the ages of 18 and 49.
The awards were held last night in Los Angeles, California where Snoop Dogg and Martha Stewart presented Trevor with the award.
After accepting his trophy, Noah dedicated his achievement to his mother, Patricia Nombuyiselo Noah.
He said: “There is one person I aspire to be every single day, and that is my mum: a powerful, strong black woman who never listened when people told her she couldn’t be more.”
“Thank you to Donald J. Trump for the comedy. The J stands for Jesus‚ a lot of people don’t know that‚” he said.
His win was celebrated by international fans and celebs who took to social media to congrats Trevor on his achievements.
Earlier this year, Noah received two awards from the National Association for the Advancement of Colored People (NAACP) for Debut Author and Outstanding Literary Work for his memoir Born a Crime (Spiegel & Grau).
Noah recently trended on social media platforms after he bought a penthouse worth R130 million in New York.
“February was The Daily Show’s most-watched and highest-rated month ever among total viewers. It continues to dominate among Comedy Central’s core, key millennial audience, finishing February as the most watched and highest-rated daily late night talk show among all millennials,” Comedy Central said in a statement.
Author: Staff Writer
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http://makambaonline.com/index.php/2017/05/08/trevor-noah-wins-mtv-best-host-award/
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Coffee, cake & dreams... The emergence of café culture
Café culture has taken the country by storm, and whether you're ordering a flat white or a steaming mug of Earl Grey, your local café is quickly becoming just as important a neighbourhood feature as the local pub. We meet five café owners who have each banked years of dreams and experience to open their doors around the country - and welcome customers for coffee, cake and an extra dose of comfort
For Katie Gilroy (31), opening Urbun Cafe in 2011 was the result of years of daydreams, food writing for Totally Dublin, and weekend shifts in local cafés. She and her team have transformed a vacant space in Dublin's Cabinteely into a buzzing family-friendly café.
"When I should have been immersed in my books coming up to the Leaving Cert, I'd be scribbling ideas for restaurant names on the side of my Hamlet notes. I was a big daydreamer and while I was aiming for high points to study architecture, I couldn't help but think about what it would be like to own my own business. After graduating [with a degree in English and Sociology from UCD], I fell into food writing for Totally Dublin magazine and worked as a waitress at night for extra cash. That was the beginning of my real interest in food.
"We opened the doors in 2011 and to say that we were winging it is an understatement. The menu was scribbled on a blackboard, we hadn't hired enough staff and we didn't even have any trays! We were running around like headless chickens, not expecting such a crowd. We were very naïve back then but I don't think that was a bad thing.
"Five years ago in Dublin, there were very few places that did good coffee and even less that offered good coffee alongside a wholesome, homemade menu, so our mission was to bring the two together under one roof. We're lucky that we have such a great space - we can seat about 60, and our customers can spend hours in a corner with their laptops taking full advantage of the free Wi-Fi if they wish.
"The café is industrial yet warm and cosy and the big timber communal tables are perfect for large parties. There's nothing too precious about the place and since there's loads of space for buggies, we get lots of mum and baby groups in for coffee and cake in the afternoon. The wide aisles between the tables were a bit of a happy design coincidence!
"The restaurant business is extremely challenging - you are heavily reliant on people and unfortunately people are not always so reliable! A good team is paramount to the daily operation. We have about 18 on the team and we're like a big family, literally. When one person leaves they usually send in a brother or sister to carry on the Urbun tradition and that makes it very special."
Old Bray Road, Cabinteely, Dublin 18, (01) 284-8872, urbuncafe.com
Chef Eoin Hurley (38), and his business partner and coffee-house regular, Ronan Power, combined their experience to open Alchemy in Cork city centre in December last year, giving locals a creative space to create, read and relax.
"Alchemy was really a bit of alchemy in the making! I had an idea to open a food stall, and Ronan, Alchemy's other brainchild, spent his days working from coffee shops and had been looking to open one for a while. It wasn't the first time that this idea had come up between us. I'm from a catering background and worked as a chef and Ronan has the business acumen, so it made sense to start something together. One day he sent me a picture of 123 Barrack Street. The area had just received a facelift and was full of character, we fell in love with it immediately. From that point onwards it was truly a creative whirlwind.
"We had a budget of zero and about a month to open before Christmas so we started with a few pallets and then scanned thrift shops, attics and even our own sitting rooms and sheds for the Alchemy style. I can't say our wives were too pleased when the coffee tables were being taken out the back door!
"We want our customers to feel like they are in an authentic space where they can create, write, read, be inspired and, of course, enjoy our coffee and homebakes. We aim to be original in everything that we bring to the café, including our interior which features decoupage of pages from 1950s and 1960s Cork Examiner and our floating table suspended in mid air. And then there's our homemade Keyser Rolls, named after the nearby Keyser Hill. We also host monthly exhibitions by both local and overseas artists so that our customers can be brought on a true café journey.
"Being a chef for the last 20 years I'm well familiar with the hospitality industry. This is, however, my first venture in front of house. I'm usually swearing out the back and singing along to the radio, so this is a big change for me. So far we've been lucky enough to find baristas that are true coffee lovers and are doing an amazing job for us. Their passion and enthusiasm is what keeps the café buzzing and makes our life easy."
123 Barrack Street, City Centre, Cork
Elaine Tohill (32), made the leap from a job in sales and marketing, to running Press Café, at the National Print Museum in Dublin's Beggar's Bush, quickly turning it into a local favourite. She stocks the café bookshelves with cookbooks, both for her customers to browse and for recipe reference, and relies on fiancé John for extra taste-testing duties.
"I always fancied having my own business, maybe because my dad has his own business. Observing him and being aware of how challenging yet satisfying he finds it, I was inspired to follow suit. However, my dad's business is in car parts, and this isn't exactly something I am passionate about! I've always been interested in cooking and food, though, so I finally decided I wanted to open my own café.
"While still working in sales and marketing, I took on a weekend shift in a café to ensure it was an environment I enjoyed. I then did the three-month Ballymaloe cookery course before working as a chef for a few years.
"One of the ways a dish is chosen is by selecting an ingredient I really love. I research interesting ways to cook it and different ingredients to combine with it until I feel excited and happy with the dish. A dish may also come about through experimentation, for example the banana bread French toast. When we realised how popular the homemade banana bread was we looked at numerous ways of creating a dish with it and when we finally got there it went down really well.
"New ideas are usually tried out as a daily special and if they are really popular we put them on the menu permanently. My boyfriend is also on hand for tasting and feedback.
"Food has always been my passion but I also feel the coffee, décor and customer service is equally as important. When I dreamed of having my own café I never thought the café would be in a conservatory but I did always feel wherever the café was I would embrace and use its surrounding.
"The conservatory encouraged me to grow my own herbs, chillies, tomatoes and plants to create a lush environment. I built some shelves to house them and they have now become one of the main features of the décor. These shelves also house our cookbooks and a curated selection of magazines. I have tonnes of cookbooks that we refer to regularly in work and I thought the customers might enjoy them."
National Print Museum, Beggar's Bush, Dublin 4, (01) 660-3770, presscafe.ie
Pedals and Boots
Jenny Murphy (43), and her husband, Killian, turned a quiet post office outpost in rural County Kerry into a bustling hub for tourists and locals alike, complete with bicycle hire and walking route advice. The homely café with an open kitchen and a cosy wood-burning stove to warm up on blustery days is the icing on the cake.
"We dreamed of opening a café here for about 10 years. We've been running the local post office, which we took over from Killian's parents, since 2004. As you can imagine a small, rural post office can be very quiet at times so we were looking for a business which we could run alongside it which would complement it and the other tourism businesses in the community. We live in a very scenic location overlooking the sea and people who stopped outside our post office to take photos said that we had an ideal location for a café. Since baking and cooking are also a passions of mine we felt that a café would be an ideal business to start.
"As well as a café, we provide bicycle hire and information on walking routes in the area - hence the name. People love the idea of coming here for lunch and then hiring bicycles and going off on a cycle to explore the countryside. We are blessed to have so many lovely, quiet roads off the main road that are ideal for cycling, especially with children. We also provide changing rooms and shower facilities for those who would like to freshen up after their cycle or hike.
"My vision is to have a café that people feel at home in, like popping into someone's house for a coffee and a chat. One of the first things we decided to put in the café was a wood-burning stove which makes the place feel lovely and welcoming when it is lit. Cyclists and walkers who have been out on a rainy day love to come in and sit by the fire whilst warming up with a soup or coffee. The kitchen is visible from the café so people can see their sandwiches being made, see the bread and scones coming out of the oven and get all the wonderful smells of food cooking, which makes the place feel very homely.
"We always have time for a chat with customers, we help out people who are looking for directions or places to walk or cycle in the area. I see us as a sort of informal tourist office for the area and The Wild Atlantic Way. The way in which we deal with our customers is as important as the coffee and food we serve."
Lauragh, Beara Peninsula, Co Kerry, (064) 668-3101, pedalsandboots.ie
Café veterans Jane Lamberth (37), and her husband Myles (40), met working in a hotel bistro and stored away advice and expertise from years of experience. They took over Shells Café in Strandhill, Sligo, in 2010, turning it from a local tea room into a destination for foodie visitors from miles around.
"Myles and I met working in a bistro part of a hotel, so work and food are at the centre of our relationship. We both love food and the outdoors, so we searched high and low for either a catered chalet in the Alps where we could snowboard and mountain bike, or a café by the surf. In hindsight I am so glad the surf won out!
"Sligo actually means Land of Shells and back in the 1980s our current landlords, the Taylor family, set up a tea shop and named it Shells. We loved the history of it and the connection and so kept it in place when we took over. Our number one goal is to exceed expectations. For us, Shells is an extension of who we are - a laid-back place to chill, with no pressure. We know 80pc of our customers and if I have been off, I miss the buzz.
"We both love the sea and surfing, and with Shells being right on the beach, a seaside theme was always going to feature. We sprayed a lot of the chairs marine colours and covered the tables. Myles' sister is an artist, and every year she designs a poster and graphics for us that we then use on the menu and cups, which gives a uniqueness to Shells and brings our style and personality to it. Of course, the big windows facing the ocean help, too! The views on a stormy day can really create a wonderful mood as much as a sunny day.
"The menu took a long time to put together. It started with food we love to eat, creating dishes using available ingredients from in and around Sligo. We do three specials every day, which is great for foodies and regulars who want a change, but it's also challenging for our team in the kitchen, allowing creative freedom to showcase different skills using seasonal products. Our fish and chips with our own lemon mayo can't be beaten. The view overlooking the waves and the sea air make it even more special."
Strandhill, Co Sligo, (071) 912-2938, shellscafe.com
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http://www.independent.ie/life/food-drink/food-news/coffee-cake-dreams-the-emergence-of-caf-culture-31462664.html
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In many fast-paced corporate environments, decorating the office might not be a primary concern. But in all likelihood, it probably should be. While art is often thought of as unnecessary, especially in the workplace, it can actually help inspire employees and make them feel more connected to their work and your organization. In addition, it can positively impact how potential customers perceive your business in a way that requires very little effort on your part, especially if you utilize corporate art consultants. Let’s take a closer look at why you should be using art consulting services to beautify your office environment.
- Art makes employees more creative and productive
For most businesses, productivity is a top priority. If you want your employees to be more efficient and imaginative, their environment needs to support that. Data shows that having art in corporate environments will increase communication, creativity, loyalty, and overall output. In fact, one study found that people who worked in enriched spaces decorated with art or plants were 17% more productive than workers in lean spaces. Corporate art consulting services can help ensure the pieces you display will suit your employees needs: do you want your workers to be stimulated by the art on the walls, or will a less stressful environment produce better results? It depends largely on your line of work, but art consulting firms can help you decide on the style that works best.
- Art sends a message
Whether you want to make a phenomenal first impression or you want to better communicate your brand’s values, adding art is often the best way to go about it. Your choice in corporate art will instantly tell clients about your business in a way that you may not otherwise be able to express as quickly. You can communicate just about anything through your choice in art: comfort, power, knowledge, beauty, joy, humor, and relaxation, just to name a few. You can easily position your company as a traditional leader in the industry or as a hip, millennial start-up with some well-placed art.
- Art displays won’t take up precious time
While the artists who create these pieces will undoubtedly have to work hard to do so, you won’t have to work hard to actually choose and display them. By working with corporate art consulting services, you won’t have to dedicate time and effort to picking them out and purchasing them yourself. Expert art consultants will not only choose beautiful pieces that fit your needs, but they’ll also install it and update your space on a regular basis to keep things fresh. That means you can focus on running your business without having to make any sacrifices in terms of appearance.
If your office could use a new look or you want your employees to be less stressed yet more creative, our art consulting services can help. For more information, contact Smart Art, Inc. today!
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http://smartartinc.com/3-reasons-add-art-corporate-environment/
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14873638
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Here's the chart/stats Hulu executives have been drooling over -- showing how much Hulu's traffic has jumped since its Super Bowl ad.
Leading up the Super Bowl, Web video site Hulu was streaming about 8 million to 9 million videos a day, according to comScore. The Monday after the game, it streamed about 18 million, or more than twice its normal amount. (Many, no doubt, the ad itself.) Since then, comScore says it's settled down to about 11 to 13 million streams a day -- still a roughly one-third jump in a matter of a week.
Assuming it holds for good, that's great news for Hulu, and a nice sales pitch for CBS, which will televise the 2010 game.
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http://www.businessinsider.com/hulu-traffic-still-up-big-after-super-bowl-spike-2009-3
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Thinking about sitting in your carport to enjoy the great spring weather?
Think twice about it.
The 91-year-old man, who has a medical condition that prevents him from speaking, was sitting in a chair in the carport of a North Fort Myers home when a stranger, later identified as Thomas Jack Trammell, stopped and then hugged him, reports WINK CBS News-11 in Fort Myers.
When the 22-year-old man left, the old man's necklace, which had the his deceased wife's engagement and wedding rings on it, was gone, according to reports.
The man and his daughter were later able to finger Trammel for the theft in a photo line-up.
Get the DUHtails at WINK CBS News-11 in Fort Myers.
Photo: Lee County Jail
Categories: West Coast of Florida (869)
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http://www.orlandosentinel.com/sfl-wedding-rings-20120320-story.html
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Greetings friends of the Grand Neighborhood Alliance,
Just a quick reminder that this Tuesday, August 2nd from 6pm to 8pm will be the GNA’s National Night Out event at the 5400 block of Grassy Trail Dr. (right at the corner of Grassy Trail Dr and Greenbrier Dr) We’re very much looking forward to seeing everyone and meeting new friends and neighbors, in addition to having the opportunity to chat with members of RPD, Councilman Mike Gardner, and other City of Riverside folks. We’ll have lots of chairs, tables, snacks and drinks. It’s our very own neighborhood block party! Please join us and show your support for our community.
*Please note that this event will serve as our August meeting and will replace the one originally scheduled for the first Thurs. of August.*
I’d also like to invite folks to join the Walk with the Mayor scheduled specifically for the Grand Area on August 13. These walks with Mayor Loveridge have taken place throughout Riverside and offer a unique opportunity to highlight the parks and neighborhoods of Riverside, and to meet the Mayor. Our very own Councilman Mike Gardner will also be in attendance to add to the conversations about our area’s history, landscape, and character. This walk will begin at 7:30 a.m. and will start at the corner of Jurupa and Grand Aves. Water will be provided. Be sure to wear good walking shoes and sunscreen.
Many of you know that the shopping center at Jurupa and Grand Aves. is in escrow with the Hopkins Group. (The escrow has taken longer than expected but is expected to close next month.) You can see more about them and their development history here: http://hopkinsgroup.com/index.cfm?fuseaction=dsp&page=development_history_key§ion=0 Once escrow closes, our subgroup of GNA members will be meeting with them. By all accounts, Hopkins is enthusiastic about meeting with the GNA and it is our hope to have them attend the last quarterly GNA meeting of the year on Thursday, November 3rd. Please mark it on your calendars.
As Mike Gardner mentioned at our last GNA meeting in May, the City of Riverside has taken over Martha McLean-Anza Narrows Park, a true natural gem of our area, from the County. Though I have not seen it yet myself since this transition, my park peeps tell me that it looks better than it has in a long, long time. There has been extensive clean-up and tree trimming. I met with Mike Gardner last week and he was kind enough to share with me the original plan for the park when it was very first developed. He hopes to work toward returning it to its original glory, restoring its ponds and other natural features. I also hope that the GNA will work to actively support improving this beautiful park in the upcoming year. (Perhaps we could schedule regular GNA member weekday morning walks through the park?) If you’re interested in being part of that effort, please let us know. You can read more about the City’s take over of the park here: http://www.pe.com/localnews/riverside/stories/PE_News_Local_D_wparks27.27c7bcd.html
Finally, I am pleased and proud to announce that the Grand Area is prominently featured in the June-July issue of Riverside Magazine. There is an AWESOME article about the wonderful and unique aspects of our area, with some great photos and highlights of individual properties we are all familiar with. You can link to the article here: http://www.riversidethemag.com/issues/june_july_11/ Just click onto the issue named City of Renewal and go to page 38. It’s a great piece and it’s totally worth the time to check it out. You will feel big feelings of love for our area after reading it, I promise! Really, go look at it right now.
See you Tuesday at National Night Out!
Grand Neighborhood Alliance
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https://grandareariverside.wordpress.com/2011/07/28/august-reminders-and-news/
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14873641
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A downloadable game for Windows
WHY PROGETTO USTICA?
Progetto Ustica is a serious game that aims at keeping alive the memory of one of the most tragic events in recent Italian history. It is an interactive experience, created for PC and MAC and supporting Oculus Rift VR and HTC VIVE.
Progetto Ustica recreates the main events of the 50 minutes flight of the ITAVIA DC9 shot down from the sky over the Tyrrhenian Sea at 8:58 PM on June 27, 1980.
The exact chain of events was never confirmed. The facts are still highly controversial but what we know with a fair amount of certainty from legal and technical evaluations is that the DC9 was shot down by a military missile that killed 77 passengers and 4 crew members. Several military aircrafts were most likely involved: one or two Libyan Mig23; two Italian F104 that crossed the DC9 course a few minutes before it started plummeting; two unidentified aircrafts that engaged in a military operation and shot down the DC9 by mistake.
Progetto Ustica puts the player inside the DC9 shortly after its take off, from a first person point of view. The player explores its cabin, interacts with objects and people, and finds several objects that unlock additional features:
- new points of view, freely selectable by the player, that show what is happening from the perspective of the military aircrafts, a radar vision that encompasses the whole scenario, a lone nocturnal fisherman watching the sky, and more;
- audio transcripts of that night radio communications, both between the DC9 and the control towers contacted during the flight and between military aircrafts and their control centers;
- contextual information on the military activity in the Tyrrhenian Sea, new hints on events of that night and on what followed: investigations, cover-ups, suspicious deaths, and more.
The player retraces the events of that night through multiple points of view, each one contributing to build a different path among several possible cameras.
Progetto Ustica is not intended as a scientifically accurate recreation of facts, or as an investigative game that aims at discovering the truth.
Progetto Ustica is a game for memory. some details of the scenario are true, others are plausible. we leave the player the task to further research and not to forget.
The game is now in development. It will be published in summer 2017.
Realized in collaboration with Associazione Parenti Vittime della Strage di Ustica.
Follow us on www.facebook.com/progettoustica
Read our dev diary - in Italian for now - on www.progettoustica.it
*** VOTE US ON GREENLIGHT ***
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https://iv-productions.itch.io/progetto-ustica
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14873642
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Twisted Spoilers From Avan Jogia *VIDEO INTERVIEW*!
Here’s the Spoilers on Twisted from EW’s The Spoiler Room For August 1st, 2013.
Anything on Twisted? It’s become one of my new favorite summer shows! – Anna
With just four episodes of Twisted to go until the end of the first part of the season, Avan Jogia teased that we’ll be seeing Danny reaching “his lowest point” in the last new episode of 2013. And while he confirmed that we will not know if Danny murdered Regina anytime soon, he says he doesn’t know the actual answer to the big mystery. “They have not told me,” he says. “We have an opportunity to make a very interesting, challenging show and that’s all I care about. I want to hold my opinion on whether I want him to be a murderer or not. There are other ways that you can be a bad guy that have nothing to do with murder and that’s what I would like to explore … of course, he may still end up being a psychopath.”
Avan Jogia Hints ‘Twisted’ Final Episode Details!
Twisted returns with episode 1×09 The Truth Will Out on Tuesday Aug. 6th, 2013 9/8c on ABC Family.
Will Once Upon a Time's Evil Queen and Robin Hood Ever Get It Together? Here’s the spoilers...
What Will Don Be Up To When Mad Men Returns? Here’s the spoilers for Mad Men from TV Guide’...
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http://tvspoilernews.com/twisted-spoilers-from-avan-jogiavideo/
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14873643
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Even Vegas, known for flashy billboards and shock-tactic stunts, wasn't ready for two billboards from the Occupy Vegas movement from which two dummies hang by nooses under the messages "Hope You're Happy Wall St." and "Dying For Work."
Police switchboards began to light up as the sun rose Wednesday with calls from concerned commuters driving down Interstate 15, where one of the hanging "men" was displayed.
Lamar Advertising Co. and Clear Channel Outdoor, owners of the two signs, condemn the stunt as an act of vandalism.
Jim Cullinan, Vice President of Communications at Clear Channel Outdoor, released the following statement:
"Clear Channel Outdoor understands today's challenging economy and the need for this country to create more jobs. Our billboards in Las Vegas and around the country are the most affordable and effective means for small businesses to promote their brands, products and services which in turn creates jobs. We condemn the destructive behavior against one of our billboards because it is illegal and punishes our advertisers. The damage was fixed immediately, and we will work with law enforcement and the legal system to punish people who engage in this destructive behavior. This is not an innocent protest, but it is illegal and dangerous behavior that Clear Channel Outdoor and the industry will not accept."
While the Occupy Las Vegas movement hasn't taken credit, here's their stance on the "street art":Occupy Las Vegas Screen Grab
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http://www.businessinsider.com/people-are-calling-the-cops-over-this-graphic-occupy-billboard-2012-8
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14873644
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In the latest predictable salvo in the never-ending patent wars, Samsung has added the iPad mini to the list of product infringements it alleges Apple has committed.
The iPad mini and the fourth-generation iPad now join the iPod touch, the iPhone 5 and the iPad among the technologies Samsung is alleging Apple has infringed. Apple revealed the iPad mini and the fourth-generation iPad in California in October.
In September, Apple won a major US$1bn judgment against Samsung.
Now it is Samsung’s turn to go on the offensive in a case that will be heard in March 2013.
According to FOSS patents, Samsung’s motion is certain to be granted with respect to the two iPads Apple unveiled last month.
In related news, a US judge has told Apple it has to provide Samsung with the full details of its recent licensing agreement with HTC, which ended patent hostilities between Apple and HTC.
Apple originally agreed to hand over the information, but with the information on how much it would be charging HTC over the course of the 10-year licence blacked out.
US court judge Paul Grewal instructed Apple to give Samsung the information on the entire deal with nothing blacked out for lawyers’ eyes only.
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https://www.siliconrepublic.com/discovery/samsung-adds-ipad-mini-and-ipad-4-to-patents-battle-against-apple
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14873645
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Definition of the word Coquet, Meaning of Coquet word :
v. t. - To attempt to attract the notice, admiration, or love of, to treat with a show of tenderness or regard, with a view to deceive and disappoint.
There are total 6 letters in Coquet, Starting with C and ending with T.
Total 15 words created by multiple letters combination of Coquet in English Dictionary.
There are some words list based on poppularity created by adding extra letters to Coquet, These may helps in word games like scrabble and word puzzle.
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http://wordcreation.info/how-many-words-made-out-of-coquet.html
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14873646
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Surely the creation of knowledge for use is a simple and noble endeavour that just needs a little help in translating the key information between two different audiences! How can the complex issues of power and politics influence this? This question has been troubling me recently as I see so much evidence of knowledge being manipulated, withheld and even actively avoided. I don’t want to indulge in paranoid thinking or conspiracy theories.
Therefore, I have turned back to what I know best – the theoretical literature – to try and understand some of the underlying challenges. I think it comes down to conceptualising knowledge. Knowledge is differentially defined by its creators and users. In academic worlds, evidence-based knowledge refers to the ability to distinguish effective interventions from those that are useless or at worst, harmful. In healthcare management worlds, knowledge is often about organising efficient and quality services and ensuring positive performance at many different levels. For healthcare clinicians, it is often about providing the best care you can at the time, in the system you are in, for the patient in front of you. For patients, it is often about knowing enough of the potential benefits and harms of possible interventions to make a shared decision with the healthcare professional. Further, these process of creating knowledge assume different hierarchies of knowledge, where certain types of knowledge are seen as more powerful because they are more rigorous, applicable, or important.
Therefore, the metaphor of simply packaging or translating knowledge for use by another is insufficient. We need to better understand the underlying hierarchies and processes of knowledge creation and utilisation. The systematic creation and organisation of knowledge is not just the business of academics, but rather it is core business for most professionals. However, the type of knowledge, its context and the system of storage and access are inevitably different. Further, most individuals will use whatever sources of knowledge are easily accessible and make sense for them. Over time, hierarchies are established and aspects of power are attributed to ‘successful’ sources.
Further the way in which knowledge is used is often more than just its instrumental use, of enacting what should be done. Knowledge can also influence our attitudes and ultimately organisational cultures. There are often questions about why and how knowledge is required and whether there are the appropriate resources in the physical environment, appropriately trained staff, supportive organisational cultures and appropriate management. Where knowledge is perceived as more powerful, barriers may be better managed and its use may be actively facilitated.
Therefore, the challenge of making research knowledge accessible and easy to use is truly interactive and multi-faceted. While the way in which research evidence influences the knowledge, attitudes and behaviour of managers, policy makers, clinicians, patients is being investigated, we need reliable and resilient explanations, alongside an understanding of the power of knowledge hierarchies.
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https://knowledgetranslationoxfordblog.wordpress.com/2013/07/31/the-power-of-knowledge/
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14873647
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Hello guys! I honestly miss you guys😍…sorry for the delay of posts on the blog… i did some creative looks but lost all the pictures on my phone and have not had time to do more creative looks cause of work…currently at my station we are faced with pressure as a result of the deadline, so have been busy with lots of computations and im part of a team…so we have to be as accurate as possible;)
…lets get right to it
Dolls, my work starts by 8am so its not easy to wake up early and get that picture perfect look…not to worry,That’s the very reason i created this look😱
So basically i used neutral colours for the eyes and lips and nude lips. This
Picture from pinterest would explain what i did better
I used three different shades of brown In this case and blended it out.
In taking these pictures, i worked while working (If there’s anything like that.lol)
P.S my work with at clementophotography is yet to be out…apparently clem wants to make sure the pictures are perfect and he also has a lot on his plate.
What would be your workflow go to makeup? Do share
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https://thecreativebukei.wordpress.com/2015/05/22/workflow/
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14873648
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I just realized something.
Space Dandy and his crew didn't mess up the space time continuum this episode.
Sure, they eradicated all "life" as we know it, but they didn't do anything particularly cosmic.
who gives a shit? In 3 of the 4 episodes at least one character is dead by the end, the show clearly doesn't care about continuity (and is made better by it tbh)
Go crazy, Space Dandy!
I'd say getting the entire universe killed is pretty huge.
and I think the main thing about the show is going to be that rope they pulled in the first episode, that ended up splitting everything into a series of alternate realities. I'm pretty sure everything after that was just to advance the plot in it's own particular episode.
that still doesn't explain why the empire was chasing Dandy before all that happened
Keepers of Time
The narrator turning into a zombie and moaning over the closing seconds of the episode was legitimately creepy.
He probably caught an awesome, god-tier alien at some point in his career, before letting it go out of pity. That, or he came really, really, close in capturing it.
The Gogol Empire want to use that alien's powers to win the war and think that Dandy can capture it a second time.
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https://yuki.la/a/101242566
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14873649
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Reprieve for Sydney Circular Quay chapel
The AMP Society, which has provided space on the ground floor of one of its properties for the Marist Chapel, rent-free for 17 years, has reversed its decision to discontinue the arrangement.
The Catholic Weekly reports that worshippers fighting to prevent the closure of the mass centre near Sydney Harbour's main ferry terminal were excited to learn that it had been granted a reprieve.
"I prayed so hard, and God has answered my prayers. It is so exciting, I just want to cry," said Mrs Josephine Misfud, a chapel regular for more than 40 years. "I want to say thank you a hundred thousand times."
Now the people who signed a petition to keep the chapel open are putting their names to a 'thank you' note.
After Easter the parish priest at St Patricks' Church Hill, Fr Peter McMurrich, announced that the AMP Society, which had been giving the Marist Fathers' rent-free occupancy for 17 years, wanted to reclaim the space.
The last Mass was to have been on Sunday, 1 May. Now AMP has removed the deadline and the chapel has an indefinite extension of time on a month-to-month basis.
AMP had planned to use the chapel space to accomodate the expansion of the other tenant of the Young St building, the EF International Language School.
Chapel worshippers immediately signed a petition and approached the media. One woman even offered to pay a year's rent to AMP to maintain the chapel.
The Marist Fathers were simply grateful that they have been given the space rent-free for so long. But even with this reprieve they cannot guarantee the long-term availability of a priest to say Masses there.
Reprieve for chapel in the city (Catholic Weekly 24/4/05)
LINKS (not necessarily endorsed by Church Resources)
St Patrick's Church Hill | Marist Chapel | Map
Mass Times - Church Hill, Sydney (Archdiocese of Sydney)
22 Apr 2005
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http://cathnews.acu.edu.au/504/131.php
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14873650
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KNOX COUNTY, Tenn. (WVLT) - Synthetic drugs a growing problem among teens and tonight, parents got a chance to learn about the dangers.
The Knox County PTA hosted a program called "The Synthetic Scare" at Hardin Valley Academy.
Parents heard from experts and watched videos on how to detect the use of synthetic drugs.
Organizers say the best way to keep your kids from using drugs is know the warning signs.
"There are kids out there who are getting involved in synthetic drugs and parents are just kind of totally unaware of what they look like, what they do. Just the dangerous nature of them," said Sandra Rowcliffe, the President of Knox County PTA.
Parents at the program also had a chance to pick up free drug testing kits.
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http://www.local8now.com/home/headlines/Parents-concerned-about-synthetic-drugs-204397311.html?site=mobile
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14873651
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Kings Point junior quarterback Alex Coviello and senior kicker Richard Grennan were honored by the Liberty League for their roles in the 34-27 win over Worcester Polytechnic Institute last Saturday.
Coviello, who ran for a career-best 243 yards and two touchdowns, was named the Liberty offensive player of the week.
Grennan, who kicked two fields and two extra points, was selected as the league's special teams' player of the week.
The Port Jefferson, N.Y. product connected on field goals of 29 and 34 yards. Grennan's field goals were the Merchant Marine's first and last scores of the afternoon. His 34-yarder with 1:20 left extended the lead to seven points. He also kicked a pair of extra points, accounting for eight points.
Coviello ran 27 times. His second TD, a six-yard run that capped an 11-play, 81-yard drive gave Kings Point a 31-27 lead it would not relinquish with 10:16 remaining in the fourth quarter. Coviello also threw a TD pass, a one-yard toss to Michael Mitchell, which gave the Mariners a 24-20 halftime lead.
The Mariners (2-4-, 1-1) host the University of Rochester in another Liberty League game in its Homecoming Game at Tomb Field at 2 p.m. on Saturday.
Photo: Richard Grennan kicked two field goals and two extra points in the win at WPI. Photo by Shawn Antonelli
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http://www.usmmasports.com/sports/fball/2011-12/releases/20111011wwyp03
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14873652
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Panelist asks question of wannabe children’s book author:
–Want to guess how many times my second novel got rejected?
Yep. Nothing is easy. Not in screenplays, poetry, or children’s book authoring. I went to a children’s book writers conference this weekend. Interestingly, it was all women. Wish I had known this when I was single. Well, not all women… only about 97%. They were friendly, welcoming to a newbie, and they could write.
Here’s my thought, that I gleaned from the panelists as well as the writers I got to know. You have to be open to criticism. You have to. Just because you wrote it, doesn’t mean it’s perfect. I’ve been writing screenplays for forever, but I’ve never written a children’s book. Of course, I thought mine was perfect… it wasn’t.
If you ask for criticism, be ready to listen. Otherwise, don’t waste the other guy’s time.
The organization, the Society of Children’s Book Writers and Illustrators, or SCBWI, helps you find a critique group… you read their work, they read yours. Do this if you’re a screenwriter. Form a group. Meet regularly. Help each other out. Finding the flaws in someone else’s work is easy, but it also teaches you to find the ones in yours. And, other people’s opinions will help you work. Guaranteed.
I have kept only two New Year’s Resolutions. “Walk out of the movie the first time you think you should” and “If you ask for advice, take it.” You are asking someone who knows more than you do for their opinion on your work. Why would you then suddenly decide you know more than they do, and ignore the advice they have taken the time to formulate for you?
If I’m paid to crit a screenplay, I don’t care if the writers listen or not. It’s their money and they bought my time… but if you ask someone to read your stuff for free… listen!
Don’t resist the critique you have asked for. Don’t bristle when they say it’s not perfect… They won’t want to help you a second time. Know it’s normal, however, to WANT to stand up and shout that they don’t understand the genius you have laid upon the world… just don’t do it. Resist the temptation to raise your hackles. Breathe deep and imagine they are NOT swinging a great Conan-size bloody battle axe at your head… take notes and become a better writer.
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https://yourscreenplaysucks.wordpress.com/2009/09/28/accept-the-body-blow/
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14873653
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Numerical Analysis of Some Innovation-Adoption Models with State-Dependent Lags
In this paper, we introduce adoption/gestation lags in some standard growth models with a vintage capital structure. The diffusion of innovations is not immediate, and this can be modeled using adoption lags. Adoption lags are specified according to Nelson and Phelps (1966), AER. In particular, adoption lags are taken state-dependent: they are indeed modeled as functions of some proxies of the aggregate human capital of the economies under consideration. We show that the modified models can be written as systems of delay differential equations or integro-delay differential equations. By construction, the delays are state-dependent. To solve the models, we use a version of the methods of steps. Concretely, we use the ARCHI code written by Paul for state-dependent delays systems. Particular attention has been paid to the ability of this code to handle non-differentiabilities in the solution paths, a feature inherent to vintage capital models.
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|Date of creation:||01 Mar 1999|
|Contact details of provider:|| Postal: CEF99, Boston College, Department of Economics, Chestnut Hill MA 02467 USA|
Web page: http://fmwww.bc.edu/CEF99/
More information through EDIRC
When requesting a correction, please mention this item's handle: RePEc:sce:scecf9:1222. See general information about how to correct material in RePEc.
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If references are entirely missing, you can add them using this form.
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https://ideas.repec.org/p/sce/scecf9/1222.html
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14873654
|
Please note that the address for this place is approximate. Upon booking a stay, the rental owner will provide an exact address. Enjoy the amazing view of the ocean and listen to the sounds of the sea from this Caribbean slice of heaven! Stay in this newly renovated, beautiful tropical oceanfront king room with canopy bed! It doesn’t get any better than this. From the mome... Dining, Dining Area, Game Room, Satellite / Cable, Television, Air Conditioning, Clothes Dryer, Elevator, Garage, Hair Dryer, Heating, Internet, Iron & Board, Linens Provided, Parking, Towels Provided, Washing Machine, Coffee Maker, Dishes & Utensils, Kitchen, Microwave, Refrigerator, Toaster, Concierge, Massage, Balcony, Deck / Patio, Golf, Lanai / Gazebo, Communal Pool, Indoor Pool, Sauna, Minimum Age Limit for Renters, limited accessibility, non smoking only, not suitable for children, pets not allowed, Adventure, Away From It All, Romantic, Tourist Attractions, Guests provide their own meals, condo, churches, cinemas, festivals, health/beauty spa, live theater, museums, restaurants, theme parks, water parks, beachcombing, bird watching, boating, miniature golf, outlet shopping, photography, shelling, shopping, walking, wildlife viewing, Beachfront, Oceanfront, Resort, Waterfront, ATM/bank, fitness center, groceries, hospital, laundromat, massage therapist, medical services, cycling, deepsea fishing, fishing, golf, parasailing, pier fishing, surf fishing, surfing, swimming
Be the first to add a review to the "Caribbean Paradise"~Gorgeous Oceanfront King Room with Canopy Bed!.
"Caribbean Paradise"~Gorgeous Oceanfront King Room with Canopy Bed!
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https://roadtrippers.com/us/myrtle-beach-sc/vacation-rentals/ha-vacation-rental-vrbo-694046-1241984
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14873655
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Summer Dog Clothes Cat Dog Waistcoat School Uniform Vest
●Lovey breathable pet vest, makes your dog cute and cool in summer.
●Made of cotton, soft, silky and comfortable for your little pet.
●School uniform design with a red scarf and stripes, it’s fashion and lovely.
Color: Blue / Red
Size: XS / S / M / L / XL
Please check the size before you place an order.
If you need help, please click PET SIZING GUIDE .
Or contact Cservice@banggood.com.
1 x Lovely Cat Dog Vest
you can track your packages after an order has shipped.
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http://blogpower.cl/summer-dog-clothes-cat-dog-waistcoat-school-uniform-puppy-dog-vest/
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14873656
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I'm scheming to acquire a SW Companion pass for (hopefully) early in 2018. So my planning starts NOW, as we turn into 2017. I'm studying the nights+flights thing that Marriott offers. Being well over the 5/24 ratio with Chase, I doubt I can score a SW card of any kind. I'm willing to try, but want to work on a plan that doesn't require this. Wife and I have accounts to play with. We have NO Marriott points to speak of, having used them up recently (wasn't much there anyway). I'm also assuming I can score a Marriott BIZ card and 80k. I can perhaps MS on that a bit, but I'm looking at the 3x transfer factor available for SPG points at the moment. Have a good start and can generate a few more. I have 20k SPG points but no longer have a card. My wife has 25k+ with an active card ... so she's the likely source for 15k more points via spending. Here's the question. My plan was for ME to get the Marriott Biz and generate the bonus. I might try right after that try for an SW card (reducing the Marriott point requirements a bit), but chances are slim. Transferring my 20k to Marriott and then a predicted 40k from my wife ... I get 260k Marriott points and we are within striking distance of a 7 day Marriott based trip and the SW companion pass. But ... can my wife transfer her SPG points to MY Marriott account, or visa-versa? Alternatively, can you book the nights+flights deal like you can with a normal award night, where we can combine points from a married couple as long as we're redeeming them? This would have to work to get SW miles out of the deal all in one of our accounts. If this will prove difficult (transferring and combining), SHE may be the one at the center of this idea (use her accounts instead of mine). Sorry for the length. This is all just a scheme right now, but I should get to executing soon if this ends up being my plan. Then I'll hope the rules don't change during the year to come. Unfortunately, I did NOT win the work raffle for 500k Marriott points a couple of weeks ago . In hindsight, I should have bought MORE tickets, as the odds are always better than any public raffle. I may invest more next year, depending on how close this plan comes .
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https://saverocity.com/forum/threads/spg-marriott-transfer-question.659869/
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14873657
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OWASCO | Just a couple of days after a fierce snowstorm hit central New York may not seem like the appropriate time to be talking about flowers.
Under a bright blue sky, the fields at Folls Flower Farm in Owasco were still covered in snow and the roads leading to the Harter Road farm were dotted with snow drifts a week before the official beginning of spring.
But Thea Folls was ready to talk about her flowers — the ones that she grows organically and with an environmental conscience and the ones that were recently featured in a book along with 25 other flower farms.
Folls Flower Farm is one of 26 farms across the country highlighted in “Fresh from the Field Wedding Flowers,” written by Lynn Byczynski and Erin Benzakein. The book is meant as a do-it-yourself guide for both established and novice growers alike and includes a 75-minute DVD of instruction from Benzakein, also a grower and designer.
“They chose 26 of us, and I was one of them. It’s quite an honor,” Folls said. “It’s a nice book. … I’m really happy to be in the book.”
The book also highlights what Folls said is called the “field-to-vase” movement, a cousin of the “farm-to-table” movement that encourages people to purchase and consume food and goods grown locally and organically.
As a member of the Association of Specialty Cut Flower Growers, Folls said more than 80 percent of flowers sold and bought in the United States were actually grown in South America.
As part of that, Folls said she grows her flowers organically, though her farm is not certified organic. She doesn’t use a greenhouse, and all of her flowers grow naturally outside in the field, though she starts some plants inside just before spring starts. Even then, she takes space and heat into consideration so that she’s using both wisely.
“I grow stuff out in the field, but I start a lot inside,” Folls said, noting that the growing season for her, at least outside, runs from June to mid-October. “We try to be as organic as possible.”
That includes not using fertilizer, even the organic kind. With three horses on the Folls’ farm, Folls said she uses their manure to boost the flowers. Along with that, populations of birds and bees live naturally among the flowers and assist during the growing season.
“Once the flowers are all in bloom, the birds are out there,” she said. “I have some bees that live out in the garden. … It’s really great to have the bees and the birds here.”
The birds eat the insects among the flowers, taking away the need for any kind of pesticide, and Folls added she plans to start raising honeybees to boost what is becoming an endangered species, since there is already a healthy population among her flowers.
And with a 100-acre farm, Folls said nothing is wasted but composted instead, including plant debris from when she makes her arrangements and pulled weeds from the garden and other byproducts of the farm.
A koi pond was dug out in front of the garden and is used to feed the flowers, instead of the well that brings water to the Folls’ home.
Folls used to be a teacher, but she and her husband, Hal, added the flower farm to their existing acres of crops and horses when his father became ill and moved in and she needed to be around to help out.
Their daughter and grandson also moved in, and their daughter, Heather, began helping her mother out with the business as it grew.
Someone had given Folls a book called “The Flower Farmer” — which ironically was also written by Byczynski — for Christmas, and she said that planted the seed for what has become a successful business and an enjoyable hobby.
“That’s why I became a flower farmer,” she said of the book, adding she keeps tabs on the author and Benzakein. “She’s [Benzakein] an inspiration to me. She’s a great grower.”
Folls and her daughter started out bringing their goods to farmers markets, attending seven each week, and also began a flower community-supported agriculture program in which people receive by pickup or delivery one bouquet a week for 10 to 12 weeks.
Those customers come largely from Skaneateles and Auburn, Folls said, and make up much of her list of 25 delivery customers through the CSA.
Now, Folls said, weddings are “the biggest part of what I do,” as she designs floral arrangements and bouquets for brides who want fresh, locally grown flowers to be a part of their big day.
But, she noted, the offerings for a wedding depend on what time of year the wedding is and what has grown and how much up to that point. Folls said she is willing to work with any wedding, as long as the participants are flexible with the colors and types of their weddings.
Springs has bloomed, and soon the flowers will too. Folls noted that she was an art major in college, so with her flower farm she still gets to use the skills she learned there – creating one-of-a-kind works of art with each arrangement or bouquet that she makes for a customer.
“Flowers are my media now,” she said. “I really love growing flowers. I love what I do.”
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http://flowersandcents.com/hobby-blooms-career-folls-flower-farm-owasco/
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ABOUT THIS TEMPLATE Pandora is an easy to use and useful magazine template for Adobe Indesign CS4 and later editions. It features a big variety of professional layouts where everything is carefully placed with paying attention to the small details. The typography and spaces have a great relevance on the design which is ideal for topics and subjects such as Fashion, Health, School, Photography, News, Entertainment, Women, Modeling, Clothes, Architecture, Design and more.
Pandora contains 19 pages including cover and a great variety of predefined styles with master pages allows to create fast. A lot of titles and paragraphs options were added for designers. The Magazine size is A4 format and print ready!
FEATURES – 19 Pages – Print Ready – Different Layouts – A4 Format – CMYK , 300 dpi – Paragraph styles – Master Pages
FONTS – Fonts used throughout the document are the free versions of Museo, Museo Sans .
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http://gfxmany.com/pandora-magazine-indesign-template.html
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LUMINOUS AIRPLANES, by Paul La Farge. (Picador, $15.) After the dot-com crash, the unnamed narrator of La Farge’s touching novel — a computer programmer unmoored by the crash and also by the death of his grandfather — returns to the upstate New York town where he spent childhood summers with his grandparents. Ostensibly, he’s there to sort out family possessions (among them a treasured 1894 book, “Progress in Flying Machines”); in reality, he’s sorting out his own past.
AMERICA AFLAME: How the Civil War Created a Nation, by David Goldfield. (Bloomsbury Press, $20.) Where other scholars have seen the Civil War as a triumph of freedom, Goldfield paints it as America’s greatest failure: a breakdown of the political system. The question implicit in this riveting history is whether the country might somehow have spared itself all the carnage.
THE OUTLAW ALBUM: Stories, by Daniel Woodrell. (Back Bay/Little, Brown, $14.99.) Woodrell’s first collection expands upon the bleak portrait of Ozark life drawn in his novels, including the much lauded “Winter’s Bone.” In one story, a Vietnam vet kills an intruder in his home, only to discover the man is another veteran from a more recent war suffering from post-traumatic stress disorder. “Woodrell writes about violence and dark deeds better than almost anyone in America today,” Donald Ray Pollock wrote here.
THE PUPPY DIARIES: Raising a Dog Named Scout, by Jill Abramson. (St. Martin’s Griffin, $14.99.) In this memoir of her dog’s first year, Abramson, The New York Times’s executive editor, shows how life with a boisterous puppy — every chair-chewing, face-licking, field-romping day — enriches middle age.
NANJING REQUIEM, by Ha Jin. (Vintage International, $15.95.) Ha Jin brings a spare documentary approach to this fictional account of the 1937 Japanese occupation of Nanjing, then the capital of China’s nationalist government. At the novel’s center is a real-life character: Minnie Vautrin, an American missionary and dean of a women’s college that became a refugee camp for thousands of women and children.
THE ECSTASY OF INFLUENCE: Nonfictions, Etc., by Jonathan Lethem. (Vintage, $16.95.) Lethem’s extraliterary enthusiasms are all over this remarkable miscellany, which includes essays on film, comics, music, Brooklyn and, of course, fiction. In the now famous title essay, a “collage text” that appeared in Harper’s Magazine, Lethem argues for the eager plundering of earlier art to make new art.
BLEED FOR ME, by Michael Robotham. (Mulholland/Little, Brown, $14.99.) Joe O’Loughlin, the Bath University psychologist and criminal profiler in Robotham’s thriller, attracts unsettling cases. This one involves 14-year-old Sienna Hegarty, a troubled friend of his daughter’s who turns up incoherent and covered in the blood of her slain father, a retired cop.Continue reading the main story
THE CONVERT: A Tale of Exile and Extremism, by Deborah Baker. (Graywolf, $15.) Baker, whose previous subjects have included the poet Laura Riding (“In Extremis”) and the Beats (“A Blue Hand”), explores how Margaret Marcus, a Jewish girl from Westchester County, N.Y., became Maryam Jameelah, a polemicist for radical Islam in Pakistan.Continue reading the main story
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http://www.nytimes.com/2012/11/04/books/review/paperback-row.html?ref=books&_r=0
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Democrats Ask Drug Policy Office to Do More to Combat Opioid Epidemic
Twenty Democratic senators are asking the Office of National Drug Control Policy to do more to combat the opioid epidemic, according to the Associated Press.
An experimental vaccine tested on mice appears to nullify the effects of cocaine addiction by keeping it from affecting the central nervous system, CNN Health reported Jan. 5.
According to the National Institute on Drug Abuse (NIDA), about 1.1 million Americans abused cocaine in any form in 2008. When smoked, injected, or snorted, the well-known addictive substance causes euphoria and a heightened sense of energy in users. It can also dangerously accelerate heart rate and increase blood pressure.
The new cocaine vaccine, developed by a team of researchers led by Dr. Ronald Crystal at Weil Cornell Medical College, is a combination of “an inactive common-cold virus with a chemical that imitates cocaine,” according to CNN Health. It works by stimulating the auto-immune system to create antibodies that prevent cocaine from “passing through the blood-brain barrier.”
In the study, vaccinated mice injected with cocaine showed no reaction. Unvaccinated mice “went crazy,” Crystal said, becoming agitated and hyperactive. He said the results were “very promising.”
Crystal hopes the vaccine can be tested on humans in about two years. He said that if the vaccine works on humans, it might be adapted for use with nicotine, heroin, and other addictive substances.
Additional testing of the cocaine vaccine will be needed on mice, rats, and donkeys before it can be tested on humans. “This looks terrific but humans are not big mice,” he said.
The study, “Cocaine Analog Coupled to Disrupted Adenovirus: A Vaccine Strategy to Evoke High-titer Immunity Against Addictive Drugs,” appeared in the Jan. 4, 2011 issue of Molecular Therapy.
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https://drugfree.org/learn/drug-and-alcohol-news/cocaine-vaccine-shows-promise-in-mice/
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What does a person do when most options have been exhausted? When you no longer feel like a part of the human race, how do you change? Everything has become a blur and very little is satisfying and rewarding. Progressively getting worse each day. If nobody wants to talk to you, then bottling up your emotions is one of two options that seem to work for me. The other, as of right now, is writing poems. I’m fully aware that writings aren’t very good. I’ve accepted that truth, but I always write things that I enjoy. When it comes down to it, you can only create things for yourself. I don’ believe you should force yourself to make something if you don’t FEEL it. Instead of becoming decent at something you dislike, there is NOTHING wrong with quitting. As far as anyone knows, this is the only life we have. We shouldn’t waste it by doing things that make us miserable. Whether it’s something small like listening to music for a while, or something big like wanting to move. Let’s take action to create a positive light in our lives. We should be the masters of ourselves, NOT someone else. I’ve written this before and I’m sure it will come up again, but we all should have happiness in our lives!
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https://wolfz1515site.wordpress.com/2017/01/16/what-to-do-blog-rambles-2/
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BioLite has released its latest Charge Series power banks: Charge 20 and Charge 10. Using water resistant design, the two power banks suit various outdoor adventures, but Charge 20 has a larger battery capacity to fit a longer trip.
The Charge 20 is a well-designed and practical portable charger that measures 0.82 x 1.5 x 3.98 inches (21 x 38 x 98mm) and weighs 5.8 oz (165g). As we can see from the images, the power bank features a sleek and smooth appearance design, and the orange cap adds some vivid aesthetics to the Charger.
Meanwhile, its portable form factor lets you effortlessly store it in your backpack for any outdoor activity. The steel stainless casing protects its internal components from shocks and bumps, and the durable ABS plastic cap features a silicone gasket that makes the power bank withstand spills and rain.
The water-resistant power bank comes equipped with 5200mAh rechargeable battery so it delivers enough battery capacity to charge a smartphone 2 times. BTW, Charge 10 has the almost same features, but it has a more compact body and 2600mAh battery capacity.
The Charge 20 power bank is priced at $39.95 USD, and the Charge 10 costs $24.95 USD. If you’re interested, jump to BioLite official site (Charge 10) for its more details. Additionally, don’t miss the SolarPanel 10+ portable solar charger and more related gadgets by following tags.
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http://gadgetsin.com/biolite-charge-20-water-resistant-power-bank.htm
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لقد انتهت صلاحية الإعلان، ولكن وجدنا إعلانات مشابهة في دي في دي وأنظمة مسرح منزلي .
Q Acoustics Media 4 - SOUNDBAR brand new purchased on 16th Nov 2016
تم إضافة الإعلان في 05:56, 19 ديسمبر 2016, رقم الإعلان: 101057067
Q Acoustics Media 4 - Purchased Price OMR 119 with bill [I BROUHGT ON DISCOUNTED PRICE -ORG PRICE OMR 189]
The multi-award winning Q Acoustics Media 4 soundbar is a high-performance active speaker, designed to deliver high fidelity music and high-quality audio from a TV, set top box, tablet or smartphone. Bluetooth technology allows you to wirelessly stream your favourite music from your phone or via services such as Spotify or Apple Music.
The Q Acoustics Media 4 soundbar features advanced ‘BMR’ (Balanced Mode Radiator) speaker drive units, which produce exceptionally wide sound dispersion. This not only creates clear room filling sound, but also means every listener will enjoy the same outstanding sound quality wherever they sit in the listening room.
The Media 4 soundbar's real bass is created by its acoustically matched, built-in, high-performance built-in subwoofer. You will enjoy a genuine ‘cinema’ audio experience with the Media 4 soundbar, compared with using your TV speakers alone.
Naturally, because the Media 4 is a ‘Hi-Fi’ Soundbar, it is designed to play music and movies with equal accomplishment.
With both analogue and optical inputs, the unit is, in reality, a complete one-box, standalone hi-fi system in its own right. It can also be used with a variety of other entertainment sources such as streaming services like Spotify, CD players, portable music players, computers and internet radio.
Extensive market research helped us design the M4. You told us you wanted a very discreet single box solution, eliminating the need for extra boxes (subwoofers) and cables.
The M4’s slim design and built-in subwoofer obviously overcomes the need for a separate subwoofer box and extra cables. When wall-mounted, using the included wall bracket, the distinctive flared shape of the M4 allows sufficient clearance behind the unit for the cable entry.
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https://olx.com.om/ad/q-acoustics-media-4-soundbar-brand-new-purchased-on-16th-nov-2016-ID6Q1yH.html
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Below is my review of the current exhibitions by Hanne Darboven and Raphael Hefti at Camden Arts Centre, an edited version of which is in the next issue of Frieze magazine here.
"Refusing the curatorial convention of the two-person show, Camden Arts Centre’s staging of simultaneous solo exhibitions nonetheless generates points of resonance and echo between artists paired. The recent coupling of the late German conceptual artist Hanne Darboven with the young Swiss artist Raphael Hefti was no exception, not least since (remarkably given Darboven’s almost half-century career) it was the first UK solo exhibition for both artists. An unlikely match at first glance, Darboven and Hefti’s work develops from sustained engagement with process, procedural techniques or methods repeated over time. Both adopt seemingly logical, technical, even routine means of production but then pressure these beyond their habitual limits until they fold or buckle, yield under the strain. Hefti’s is a nascent material investigation that attends to the potential of mistakes and misfires within commercial manufacturing processes, moments of productive error that result in material behaving unexpectedly, against intended function or utilitarian demands. Replaying the Mistake of a Broken Hammer (2011) repeated Hefti’s experience of accidentally interrupting the process of hardening steel, willfully rendering three large steel rods fragile as glass. Subtraction as Addition (2011) consisted of seven propped panels of toughened museum glass, treated (again and again) to a chemical process designed to limit undesirable reflection. Hefti’s over-application of this process inverts its original intention turning the glass mirrored and opaque, a palette of exquisite and ever-changing dawn and dusk hues. Within his work, standard factory methods are swerved towards aesthetic enquiry.
Darboven’s practice is one of adopting, yet somehow resisting the logic of various systems or structures. Whilst numbers figure within her work, mathematics itself is eschewed. Writing is undertaken as a form of not writing, her act of ‘writing writing’ preempts subsequent performing writing practices where as Della Pollock states, ‘writing as doing displaces writing as meaning’.[i] Darboven’s work has been described as marking or doing time performed through the act of daily writing. However, unlike other life-work projects (On Kawara, Roman Opalka) Darboven’s endeavour seems less about the chronological passage of life/time witnessed by and within practice, as a critical enquiry wherein time itself is considered material to be looped and folded, stretched and frayed. The exhibition presented a chronological sample of Darboven’s methods and working vocabulary, from her early mandala-like interventions on graph paper (Perforationen, 1966) and rehearsing of cursive script (O.T. [Endlosschriftschwünge – Studie zu "7Tafeln II"] 1972) to the acoustically pervasive 24 Gesänge opus 14,15 a, b (1984) in which she converted her numerical drawings into a musical score whose rhythmic variations were then played on an organ. Darboven often borrowed the calendrical form of diaries, year-books and work plans as a found template or grid through which she weaves the experience of multiple and conflicting temporalities. For example, Appointment Diary (1988/98) took an American Film Institute desk diary as its underpinning structure, its linear chronology already interrupted and punctured with film dates, the births (and deaths) of innumerable directors and actors. Darboven creates further slack and elasticity through her simultaneous filling and emptying of its time; its pages scored day after day with cursive handwriting, interpreted variously as the looping repetition of ‘I’ (of ‘present-ness’) or of ‘U’ (‘und’ – the accumulative promise of ‘and … and … and …’).
The experience of Darboven’s work can be overwhelming: even the moderate 305 drawings of 9 x 11 = 99 (1972) felt dizzying and impenetrable, a shimmering field of dense numerical calculations and indecipherable scrawl. The work tested out various permutational methods that would later come to characterize her work, including the formulation of the cryptic ‘K’ (Konstruktion) value, based on a cross-sum adding together a date’s constituent parts (e.g. 23.9.71 = 23 + 9 + 7 +1 = 40). The use of such organizing principles within Darboven’s practice does not generate a logic that can be rationally explained rather she produces a surplus of order that borders on the disorderly or irrational. Her example might well have provoked Sol LeWitt’s oft-cited sentence on conceptual art, ‘The logic of a piece or series of pieces is a device that is used at times, only to be ruined’.[ii] In some senses, the curators over-played the human endeavour of Darboven’s labour, presenting her drawing desk and writing implements as potential entry points into her very complex and involved (involuted) oeuvre. However, whilst the critical potency of Darboven’s practice rests in its resistant incomprehensibility or opacity – its refusal to be easily interpreted or explained – the deficit of engagement with her work in the UK perhaps suggests that some introduction of this kind might still be deemed necessary."
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http://not-yet-there.blogspot.com/2012/03/review-hanne-darboven-raphael-hefti.html
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Darrell Evans (born May 26, 1947 in Pasadena, California) is a former third baseman and first baseman in Major League Baseball who played from 1969 to 1989 with the Atlanta Braves (1969-76, 1989), San Francisco Giants (1976-83) and Detroit Tigers (1984-88). Overshadowed in his prime by fellow National League third baseman Mike Schmidt, he has been described by author Bill James as the most underrated player in baseball history, primarily because his defensive skill, home run power, and ability to draw walks in a long career were offset by a low career batting average of .248.
Evans became the first player to hit 40 home runs in both leagues, and at 38 became the oldest player ever to lead the league in home runs. Darrell hit over 20 homeruns in 10 different seasons and drew over 100 walks 5 times, with a career high 126 in 1974. In 1988 he hit his 400th home run, becoming the 22nd player to reach that milestone. He retired after having joined Reggie Jackson in becoming only the second player to hit 100 home runs with three different teams, and ranking in 10th place among all-time walks leaders. He later served as a coach with the New York Yankees in 1990.
A 2-time All-Star (1973 & 1983), Darrell was selected as the 3b on the 1973 Sporting News NL All-Star team. Evans gained unusual attention when he stated in 1984 that he and his wife had witnessed a UFO in 1982 at their home in Pleasanton, California.
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http://www.mysticgames.com/famouspeople/DarrellEvans.htm
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The INNER CITY PROTESTANT PARISH (ICPP) began in 1954 as an experimental, ecumenical, interdenominational, and evangelical group ministry to Cleveland's impoverished neighborhoods. Since African American churches received less aid than that provided to white churches belonging to more affluent denominations, the ICPP sought to establish churches and promote religious education and social reform in the Central area and near west side.
The ICPP was modeled after a similar ministry called the East Harlem Protestant Parish in New York City. Three members of the Harlem group ministry (including the Rev. Donald L. Benedict, ICPP executive director, 1954-60, and the Rev. William R. Voelkel, exec. dir. 1960-63) met with ministers, laymen, and denominational executives concerned about inner city Protestant flight to organize the ICPP in Cleveland. Governed by a Board of Trustees, the ICPP's Group Ministry operated under a set of religious, economic, vocational, and political "disciplines" providing a central worship experience, vocational commitment, and sharing of economic sacrifice. The ICPP organized its first two congregations in 1955. By 1961 4 more churches became ICPP affiliates and 1,469 families benefited from programs offering free medical and dental care, educational scholarship, a credit union and Friendly Town. Foundations, corporations, churches and individuals provided funding. By 1967 denominations sponsoring the ICPP included American Baptist, Episcopal, Lutheran, and United Presbyterian. By 1969 the ICPP was headquartered at 2230 Euclid Ave. In 1980 the ICPP became the INNER CITY RENEWAL SOCIETY. The Rev. Milan C. Brenkus was executive director from 1963-81.
Inner City Protestant Parish Records, WRHS.
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https://case.edu/ech/articles/i/inner-city-protestant-parish-icpp/
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Essex - 13 Bedroom / 12 Bathroom + 1 Half / Requires 60' Lot / 6,430 Sq.Ft / 597 Sq.M.
With more than 6,400 square feet of living space, the 13-bedroom Essex is our largest home, and features a gourmet kitchen, dining room, spacious great room, 12 full baths and one half bath, a media room and covered lanai. All thirteen bedroom homes feature striking, Florida-inspired architecture with open floor plans, a private in-ground pool, a two-car garage and plenty of outdoor spaces.
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If you are interested in owning a vacation home that you can use to create great memories, while renting it out when not using it, contact us today at The Walmsley Team - We can help make your dreams become reality!
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http://www.orlandoresortproperties.com/the-encore-club-essex
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It is getting lighter earlier now. I know this intimately because I get up most days just after four am to run with different groups. To get up that early, some weeks it is a grind, other weeks a delight. But after a workout? That is a different story. All these years of running, 16 years in total, I still get that rush of endorphins after a good run. And I continue to learn about myself as I face new challenges.
This morning, I ran with a group called the Jam Dammers, which is the oldest running group in Kingston. They called themselves this because they originally started running at the Mona Reservoir, which is a 2.6 kilometre loop around a reservoir in a valley in the neighbourhood near the university.
Today, we ran up a one-mile hill called Russell Heights. This was the second time I did it. The first time, I felt intimidated, so much so that I was certain I could not accompany the rest of the group the three times they regularly run up this stretch of road. But I did it. Step by step, I made it up three times.
And that changed my perspective fundamentally about myself and my limitations. I was convinced this challenge was beyond my abilities and was envisioning telling the group to go on. But whenever I feel this way, this is a cue for me to try anyway, to prove myself wrong. And I did.
I found myself under the sky that was lightening from black to royal blue, under the stars and the crescent moon, completing the third run up this mile-long, steep hill. I found myself cresting the top of the hill, breathing in the unbelievably sweet air, perfumed by the flowers planted by the wealthy residents of this neighbourhood called Cherry Gardens. It seems even the pitbulls and German Shephards pacing behind the iron-gated homes were cheering me on with their vicious snarls and barks.
And this seemingly innocuous workout has shifted my perspective about myself. I told myself I had a certain limitation, that I could not accomplish something I wanted to. And I changed the reality I had expected. There is nothing like this feeling, coupled with those powerful chemicals that swirl around after a challenging workout, to shift one’s perspective. To make one believe that more is possible than you can perceive. I am grateful today.
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https://jamaican-journal.com/2014/03/13/russell-heights-running/
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Punctuated with rose-gold tone rhodium corners, Alexander Wang's black iPad case is a practical piece with an ever-cool edge. With plenty of card slots and slit pockets, this sleek black accessory is a one-stop solution for your everyday essentials. For a seriously fashion-forward approach, make like the style set and carry yours as an oversized clutch.
- Black textured-leather (Calf)
- Rose-gold tone rhodium hardware, screw-detailed corners
- Interior: elasticated iPad frame corners, five card slots, three slit pockets, designer stamp
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https://www.net-a-porter.com/us/en/product/178385?cm_sp=we_recommend-_-178385-_-slot2
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Indian, Fennville softball teams suffer losses in district semi-finals
By Leo Martonosi
GOBLES—The Saugatuck softball team saw its season come to an end with a 12-2 loss to Hopkins in a Division 3 semifinal game at Gobles on Saturday, June 3.
“That’s a good team we lost to today,” Saugatuck coach Matt Diaz said of the Vikings.
Saugatuck was forced to play several games—including this one—without his No. 1 pitcher, Emma Harry, due to an injury. That necessitated moving a couple of key players to different positions.
That included moving starting shortstop Melody Antel to pitcher and regular first baseman Alexa Phillips to shortstop.
“They did a good job,” said Diaz. “I can’t fault our effort. These kids played their hearts out.”
Kathryn Shanahan laced two hits for Saugatuck against Hopkins.
Fennville fell to Gobles in another district semifinal tilt, 9-1. That ended the Blackhawks’ season with 11 wins after dropping its first 12 games of the campaign.
“We’ll be back,” Fennville coach Tony Pena said. “We started to peak at the right time.”
Pena was disappointed his team didn’t beat Gobles.
“They had a slow pitcher and were one of the worst teams we’ve played all year,” he said. “Plus we wanted another shot at Hopkins, but we needed to get by Gobles first.”
Contact Leo Martonosi at firstname.lastname@example.org.
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http://www.thecommercialrecord.com/indian-fennville-softball-teams-suffer-losses-in-district-semi-finals/
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I am feeling really nostalgic these days.
This feeling has been intensified by this song that I was introduced to yesterday and which I have pretty much been listening to, on repeat, since (you know, on and off with “Teenage Dreams…”).
This song just feels like nostalgia to me. I can’t describe it.
I mentioned the other day that I went through all of my old facebook photos and ended up untagging a good deal of them. While I was getting rid of them, in a sense, I also enjoyed being reminded of how many amazing people I have in my life and how fortunate I am to have had such wonderful experiences. Facebook only goes so far back in my life, but my trip down memory lane included half of college, my semester abroad in London (which, of course, included many mini-trips throughout Europe), my years in grad school, my first year being a “real adult,” and all of the incredible people I’ve met along the way.
Studying abroad in London:
The three of us were inseparable when we were abroad. That’s Dana, Nicole (who just got engaged!!! Congrats, Nicole!), and me back in… 2005? Eesh. When did I get old?
That’s (part of) Katri with an overly-tanned Will (my best friend, living currently across the country from me in NY 😦 )
And that’s Michelle, in a picture that almost too-perfectly represents who she is.
I was in an a cappella group in college… and I cannot even express how formative that experience was for me. This picture is from my favorite night with those people and, honestly, one of my favorite nights in all of college. It’s blurry, but honestly… that’s appropriate. 🙂
Moon Over Buffalo and Rumors:
Would you believe I used to consider myself a theater director? I directed a bunch of plays throughout my time in college, but two of them – Moon Over Buffalo and Rumors – were life-changing for me. I still consider them to be two of my biggest (and favorite) accomplishments to date. These pictures are from our favorite warm-up.
Senior year in college:
These are the girls I lived with during my senior year of college: Elizabeth (who just got married to another of my friends, Bailey, whom she met that year!), Ally and Whitney. This was during our campus’ annual Olympics-type event.
This is part of the group of friends with whom I spent most of my time and whom I consider to represent college for me. We’re playing one of my favorite games here, flip cup. 😉
This are from my 23rd birthday party (and 23 was a hugely wonderful and life-changing year). This is also very indicative of everyone’s personalities.
And this is from a night at the beach, which was the first night I really knew I was going to enjoy living in California.
With “my girls”at a Disney-themed party (can you guess who I was?)…
My friend Mike (who looks so much like my brother!) and me at a bowling party…
… posing with Jeff after my very first race. 🙂
Oh, and landing a job in my industry, complete with a new best friend! (Hi, Lauren.)
Not too shabby.
No food in this post (there you go, Grandpa). What a change of pace! I hope you enjoyed that trip down memory lane.
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https://kaitlinwithhoney.wordpress.com/2010/08/26/nostalgia-a-trip-down-memory-lane/
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I love KJ Charles. I’m just putting that out there. I didn’t set out to love her. As I’ve said before, I don’t tend to go for historical fiction, but she has won me over. Two of her books were soft fives, but every other one, they’ve been strong fives for me, and that includes the latest one, An Unnatural Vice, part two in the Sins of the Cities trilogy.
If you haven’t read An Unseen Attraction, you should, not only because it’s wonderful, but because it sets up the mystery that continues, that is actually the crux of the relationship, between our two MCs in Vice, Justin and Nathaniel. Whereas in Charles’ previous series, A Society of Gentlemen, each book was linked, it was still a series of standalones, Sins of the Cities is a truer trilogy. Our MCs from Attraction are secondary characters in Vice, and the other secondary characters from Attraction are here as well, and one will be featured in the next book, An Unsuitable Heir, as one of the MCs. Each couple gets their HEA at the end of their featured book. All of this is like a standalone series. But the mystery of lost heirs, arson, torture, and murder continues in Attraction as the middle book of a trilogy. And, we’ll have to read, and will willingly read, Heir, in order to get it all wrapped up.
Now that the housekeeping is out of the way, let’s get into the book, An Unnatural Vice. We meet the sexy scoundrel, Justin Lazarus, as he’s doing something particularly horrible: stealing money, and the only picture she has of her family, from a dirt poor woman who has come to him as a last ditch effort to find her twins, who’ve run away. Why him? Because he’s the Seer of London, a spiritualist, a medium, of course, and she believes that he can look “beyond the veil” to find them. He can’t, obviously, because he’s a fraud, a skilled one, a brilliant one, but a fraud nonetheless. He does offer her hope that the twins are alive, but even that has a selfish motive–he always goes with the answer that will produce the highest payment, the most return costumers (dupes). True, most of his customers are rich, can spare the money, and if they’re stupid enough to believe him, well, then, he’s happy to take whatever shilling or guinea they’re willing to part with as they’re fooled by parlor tricks and platitudes. Justin does a lot of rationalization to get through his days.
I also want to note (and as this is my review, I’m allowed) that this is why Charles gets me to read her historical fiction–her plots are deeply dependent on the time period, it’s not just a fancy backdrop. I’m thrust into Victorian England. I can taste, see, and feel the toxic fog of 1873. I picture the seance room so clearly by her description, that I feel like I’m an attendee. I sense how difficult life is for London’s poor just as deeply as if I were reading Dickens. I feel afraid for all the men who frequent the Jack and Knave because it’s illegal to have any form of sex with those of the same gender, and I appreciate how they all look out for one another. I’m amused by their use of the newly invented petroleum jelly as the best lube ever. But, having to hunt down the legitimate heir to an earldom, having boarding houses and ‘rooms’, having taxidermists and spiritualists, having letters with faded ink, and having a lack of official records of births, and only church registers for marriages, all these things are of the time, and are crucial to the story. In Society of Gentlemen, the Regency period is a living entity; in Sins of the Cities, it’s the Victorian era that breathes (or wheezes, as it’s a polluted mess).
Our second MC is Nathaniel Roy, the non-practicing lawyer, practicing journalist, who’s been assigned to bring down a particular spiritualist who’s interfering in the lives of his editor and the editor’s wife. In order to flesh it all out, Roy, posing as Royston, decides to circle around his final target, and finds his very logical, atheist, bitter self at Lazarus’ seance. Immediately, he loathes Lazarus, and wants to bed him, well, have sex with him, over the back of a couch (settle) or the seance table itself. Roy is duped by Lazarus, and he knows that he’s been duped, yet he can’t figure out how he was duped, and that angers him. It also scares him to death how much he wants Justin Lazarus, the first man that he’s wanted since his long-time lover’s death, nearly six years earlier. Although Roy hates what Lazarus does, he’s attracted by his brain, his humor, his strength, and mesmerizing eyes.
Needless to say, danger is brought to each man’s door and they somehow instinctively know that they can trust one another to fight this threat. They escape together to Scotland, where, away from the fog, the hustle and bustle of the city, and the danger, they are able to form a deep connection, not easily, but, despite all the lies from their first meetings, truthfully and sincerely. The tension is palpable. The sex is hot. The feelings run deep. I hoped that each could unstick himself from his past, and see his way to a shared future. Obviously, that happens, but it’s absolutely worth the read to find out how.
Yes, I love KJ Charles. I loved An Unnatural Vice. I can’t wait to read the conclusion to the mystery and witness the love of Pen and Mark in An Unsuitable Heir.
5 out of 5 stars.
I received an ARC via NetGalley and LoveSwept. I voluntarily wrote this review.
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https://whateverthewomanwantstoread.wordpress.com/2017/06/11/an-unnatural-vice-sins-of-the-cities-by-kj-charles/
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Waffor Retail Solutions Pvt Ltd
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Waffor | STEP UP
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https://www.startlocal.in/wholesale/pointofsaleprod/tamilnadu/Waffor_Retail_Solutions_Pvt_Ltd_3348631.html
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650 West Main Street
Commute to Downtown Carrboro
Some errands can be accomplished on foot.
650 West Main Street has a Walk Score of 60 out of 100. This location is Somewhat Walkable so some errands can be accomplished on foot.
This location is in the Hillsborough Road neighborhood in Carrboro. Nearby parks include Wilson Park, Henry Baldwin Park and Hargraves Park.
Explore how far you can travel by car, bus, bike and foot from 650 West Main Street.
cw CHT - Carrboro/Weaver Street
f CHT - Colony Woods/Franklin Street/McDougle School
View all Hillsborough Road apartments on a map.
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https://www.walkscore.com/score/650-w-main-st-carrboro-nc-27510
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Singing All Day-Jethro Tull MP3
This is the song "Singing All Day", a bonus track off of Jethro Tull's album Benefit. Originally appeared on Living In The Past. Lyrics: Singing all day, singing 'bout ...
JETHRO TULL - LIVING IN THE PAST - Singing All Day MP3
American single-disc reissue. Bass [Uncredited], Backing Vocals [Uncredited] – Jeffrey Hammond-Hammond (tracks: 16 to 19) Bass [Uncredited], Organ ...
Jethro Tull - Singing All Day MP3
JETHRO TULL \ SINGING ALL DAY MP3
JETHRO TULL 1972, Living in the past. No copyright infringement intended. All rights go to their original copyright owners! Go out and buy the album for a ...
Singing All Day (2001 Remastered Version) MP3
Provided to YouTube by Warner Music Group Singing All Day (2001 Remastered Version) · Jethro Tull Benefit ℗ 2001 Chrysalis Records Ltd, a Warner Music ...
Walk Around Heaven All Day MP3
Callie Day singing the gospel classic WALK AROUND HEAVEN!!!! auntie Callie Day DIDN'T PLAY WITH THIS WORSHIP!! follow me on instagram ...
Singing Hallelujah All Day - Messiah Baptist Church, Jonathan Berryman MP3
2nd Annual Community Choral Festival - March 6, 2011 - Greater Bridgeport AGO - United Congregational Church - benefit for the Norma F. Pfriem Urban ...
Game of Thrones: The Musical – Peter Dinklage Teaser | Red Nose Day MP3
Game of Thrones: The Musical. For Red Nose Day on NBC, Coldplay and Peter Dinklage join forces for the band's most important project yet: a musical for ...
"I've Been Singing Hallelujah All Day" Arthur Wynn Macedonia Mass Choir Watch Night 2003 (FLASHBACK) MP3
Cody Simpson singing "All Day" at the KCA's 7.10.11 MP3
Cody Simpson at the Nickelodeon Australian Kids Choice Awards (:
Rev. Clay Evans-All Night, All Day MP3
82 years young, singing that ole hymn of the church.
Singing All Day MP3
2015 Mid-Michigan All-Day Sacred Harp Singing MP3
All-day singing from "The Sacred Harp" held on May 9, 2015 in Okemos, Michigan. time page title 2:25 171 Exhortation 4:11 34b Saint Thomas 6:50 299 New ...
ინოლა გურგულია - Singing All Day ( Inola Gurgulia ) MP3
Jethro Tull - Living In The Past (1972) 08. Singing All Day MP3
Jethro Tull - Living In The Past (1972) 08. Singing All Day Track : 8 Singing All Day (3:07) 0:00 Release date: 23. June 1972 (UK) and 31. October 1972 (USA) ...
All Day Sunday Singing MP3
Brailettes - All Day Long My Heart Keeps Singing MP3
From 1968, the Brailettes, "All Day Long My Heart Keeps Singing"
Cody Simpson singing All Day at Crabtree Valley Mall in Raleigh NC MP3
Cody Simpson singing All Day at Crabtree Valley Mall in Raleigh, NC on July 25th.
ALL DAY VLOG, Work, Singing, Cats, Shopping - Ken's Vlog #292 MP3
Ken's Vlog #292 - Hey Youtubers, these are my vlogs. Anything and everything you wanted to know about my life. Let's see how long we can keep these going ...
NYRB Viking Army singing "All Day" at RBA 2013 MP3
Viking army supporters singing in 102 at Red Bull Arena.
All Day Long My Heart Keeps Singing MP3
Mona Faye Lewis Second Baptist Church Festus, Mo February 8, 2015.
Will-O - Singing All Day ft. Miskreet MP3
Singing All Day MP3
Provided to YouTube by Warner Music Group Singing All Day · Jethro Tull Living In The Past ℗ 1972 Chrysalis Records Ltd, a Warner Music Group Company ...
Norwich All Day Sacred Harp Singing 2014, 269 MP3
269 Bear Creek.
Norwich All Day Sacred Harp Singing, 215 MP3
215 New Topia.
Kalamazoo All-Day Singing MP3
Sacred Harp. Clarissa Fetrow and Martha Beverly lead 304 Morgan at the Kalamazoo All-Day Singing. July 20, 2014.
Norwich All Day Sacred Harp Singing 2014, 445 MP3
445 Passing Away.
Me during rehearsal singing an acoustic "All Day Long" MP3
This song was written by Ne-Yo himself! What a talented musician he is... I loved loved loved the lyrics and melody, so we decided to do an acoustic cover and ...
Jesse Prather singing All Night All Day MP3
Mr. Jesse Prather an anointed blessed singer and musician singing All Night All Day.
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http://globalbestpop.info/sound_singing_all_day.html
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Breakfast At Tiffany's
Sign In to Fanpop
Breakfast at Tiffany's - Behind The Scenes. Behind the scenes on Breakfast at Tiffany's. HD Wallpaper and background images in the Breakfast At Tiffany's club tagged: breakfast at tiffany's audrey hepburn george peppard icon livejournal.
Submitted by amandalouden96
Keyword: breakfast at tiffany's, audrey hepburn, george peppard, , icon, livejournal
This Breakfast At Tiffany's photo contains business suit.
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http://www.fanpop.com/clubs/breakfast-at-tiffanys/images/23179919/title/breakfast-tiffanys-behind-scenes-photo
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Diamond Brokers of Memphis is the area's leading engagement ring store. We have one of the largest selections of settings in the Mid-South and you are sure to find something that fits your dreams and your budget.
Diamond Brokers of Memphis offers all diamonds at just 10% over cost and we price all engagement settings 50% off retail every day. Our knowledgeable staff will help you pick out the best ring for you. Come in today and see for yourself why Diamond Brokers of Memphis is one of the leading engagement ring stores in the Mid-South.
Not only are we known for our excellent selection of engagement rings, but we also carry a large selection of wedding bands, diamond stud earrings, pendants, fashion rings, necklaces and vintage and pre-owned Rolex watches.
Some of the other designer brands that you will find at Diamond Brokers of Memphis include: Ritani, Coast, Saturn, C Gonshor, Sylvie Collection, Divine, Infinity, EFune, ArtCarved, Benchmark, Kurtulan, Tony Maccabi, MJ Wilman, Nelson, and Triton. Once you visit Diamond Brokers of Memphis, you will understand why so many have made us their jewelry store of choice.
We do complete service on all Rolex watches. All Rolex Servicing is done by a Century 21 CW Certified Watchmaker with more than 40 years of Rolex experience. Our watchmaker uses all Genuine Rolex parts and is an independent Rolex materials account holder. All of our Rolex Servicing is backed by a 2 year warranty. All of the above mentioned combined with our "broker" pricing assures you the absolute best Rolex Service at the absolute best price.
Monday: Closed (Open during November and December)
Tuesday - Friday: 10:30 a.m. - 6:00 p.m.
Saturday: 10:00 a.m. - 5:00 p.m.
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http://diamondbrokersofmemphis.com/
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I'll be posting photos of food that we had on our recent short trip to Ho Chi Minh City in the next few posts for keepsake!
We stayed at District 2, which was lovely because it was faraway from the maddening crowd that is District 1. District 2 is a residential suburban area which is filled with skyscraper-like residential towers, mostly newly constructed condos, and it has a few malls and many street food shops/ stalls.
We ate at this pho place near where we stayed at and the pho was pretty yummy so we went there for two mornings in a row!
On the third morning, we decided to try something different so we walked a little more and found this street food stall! To be frank, it was my first time ever eating at such a local streetfood stall and I must admit I was slightly apprehensive. But I decided to just go with the flow since the bubs loves street food, and we had our breakfast there! The old auntie's iced coffee was da bomb - super thick and sweet, just the way Vietnamese iced coffee should be! (: Guess my first experience of authentic street food wasn't that bad, though I must confess that I am still apprehensive about trying other street food stalls! Heh we'll just take a step at a time I guess?
On an unrelated note, I'm really thankful that we are having a longer weekend this week cos I need the time to catch up on work and to rest! Will try to update again soon! (:
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http://janlovestoeat.blogspot.com/2016/03/hcmc-eats-street-food.html
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Greenwood, Sarah (Field)] 1809-1889 :The Grange, the residence of Dr Greenwood 1879
Reference Number: E-305-q-055
A paddock in the foreground and hills in the background. In the middle distance is the two-storied house in Motueka, surrounded by a garden with mature trees.
1 image, categorised under Watercolours, related to E A C Thomas, John Danforth Greenwood, Sarah Greenwood, The Grange (House, Wellington), Motueka, Dwellings - New Zealand - Tasman Region and Gardens - New Zealand - Tasman Region.
Thomas, E A C fl 1870s :[Album of a visit to the Motueka area and North Canterbury, Nov. 1878-April 1879], Reference Number E-305-q (11 digitised items)
Extent: 1 watercolour(s)Watercolour 179 x 254 mm. Single art work
Conditions governing access to original: Partial restriction - Use photographic copies in preference to original.
Other copies available: File PrintIn Drawings & Prints under Artist/Title (DFP-009017)
Inscriptions: Inscribed - Recto - bottom right: Signed: S.G.; Recto - beneath image: The grange, the residence of Dr Greenwood, sent to me at parting April 15th 1879
Usage: You can search, browse, print and download items from this website for research and personal study. You are welcome to reproduce the above image(s) on your blog or another website, but please maintain the integrity of the image (i.e. don't crop, recolour or overprint it), reproduce the image's caption information and link back to here (http://mp.natlib.govt.nz/detail/?id=23675). If you would like to use the above image(s) in a different way (e.g. in a print publication), or use the transcription or translation, permission must be obtained. More information about copyright and usage can be found on the Copyright and Usage page of the NLNZ web site.
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http://mp.natlib.govt.nz/detail/?id=23675&l=en
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Bring back our cubicles.
There’s a change in the air of workplaces around the world.
The open-plan office, once a symbol of digital businesses tearing down corporate hierarchies, is today viewed by with disdain.
While open-plan was supposed to foster the cross-pollination of ideas, leading to more colourful, creative businesses, in fact the latest research shows the opposite may be true.
One 2014 study found we’re 15% less productive in open-plan workspaces, we have more trouble concentrating and we’re twice as likely to get sick with no walls to stop the spread of coughs and illness.
“We perceived offices as having hierarchy, the boss had a better office, but in fact the truth is that offices, cubicles and little spaces were far better for our productivity and for getting your job done,” Twitter’s vice president of Europe, Bruce Daisley, told The Memo at Neo@Ogilvy‘s Spring Breakfast Briefing.
Ask anyone who’s spent some time working in an open-plan office and you’ll hear the same complaints about coughs, office chatter and endless distractions.
It’s a topic Daisley is exploring in his new podcast Eat Sleep Work Repeat which tackles happiness and work culture.
“The arrival of interruptions is the most destructive thing in our working lives, but open-plan offices are just full of interruptions.”
So if we accept that open-plan offices are the scourge of productivity, what’s one to do?
It’s a huge problem facing hundreds of businesses of all sizes who today find themselves with little choice as colourful co-working, open-plan offices spaces have taken over our cities.
And indeed many businesses are willing to accept the productivity hit, because of the other advantage that open-plan offers them.
“There are two reasons why offices are open plan, one is that we ripped down the walls of hierarchy, but two is because it’s a lot cheaper. We can fit lots more people in open plan,” says Daisley.
And, sadly, that’s the reason why open-plan is here to stay.
It may have been mis-sold as a boon for productivity, but it’ll be kept for reasons of cost-saving.
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https://www.thememo.com/2017/03/15/twitter-vp-of-europe-bruce-daisley-the-glorious-open-plan-office-dream-is-dead/
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You have probably been told to drink a minimum of eight glasses of water each day. But do you know why you need that much water? Is that number even accurate? And are you actually drinking enough?
Your body relies on water to function properly. In fact, with water comprising 50-60% of your total body weight, there isn’t a single organ in the body that doesn’t contain some amount of water. Water carries nutrients to your cells and flushes out toxins. It also helps to regulate body temperature, lubricate your joints and prevent muscle fatigue.
In addition to maintaining proper body functions, water plays a role in weight gain and loss. When you are adequately hydrated, your liver can properly metabolize fat. The better hydrated you are, the faster your fat metabolism. Consequently, when you are dehydrated, your fat metabolism slows down and the amount of fat stored by your body increases. As your fat stores increase, the number on the scale also increases.
Your body loses water through breathing, sweating, urinating and having bowel movements. The more active you are or the hotter the climate, the more water you lose. To maintain proper bodily functions, the amount of water lost each day must be equal to the amount of water consumed. When the amount lost is greater than the amount consumed, you become dehydrated. Even mild dehydration can interrupt normal body functions, resulting in decreased energy levels, joint and muscle pain, headaches and constipation. If you are thirsty, you are already mildly dehydrated.
But how do you determine how much water you should drink each day? Unfortunately, there is no simple way to determine exactly how much water you need. But the amount can be estimated by taking your weight (in pounds) and dividing it by two. For example, if you weigh 140 pounds, you should aim to consume at least 70 ounces of water each day. If you eat a healthy diet, about 20% of the water you need comes from the food you eat. The remaining 80% comes from the beverages you drink. Any beverage can be counted towards this amount since they contain some amount of water. Keep in mind that alcohol and caffeinated beverages, such as coffee and soda, are diuretics and may cause your body to lose more water.
The commonly known guideline of consuming eight eight-ounce glasses of fluid each day is a good goal for most people. This “8 by 8” rule is fairly easy to remember and maintain a daily tally. It is important to space out your beverages throughout the day so that your body can more easily absorb the water.
On the days you exercise, you should increase the amount of water you drink to compensate for the increase in perspiration. Plan to drink water before, during and after you exercise. Aim to drink 1-2 cups of water at least 30 minutes prior to exercising. Drink ½-1 cup of water every 20 minutes during your workout. After you have finished your workout, keep drinking water even if you no longer feel thirsty. To determine the amount of water you lost to sweat, weigh yourself prior to starting your workout, then again after your workout. The amount of weight you “lost” is the amount you perspired during your workout. To replenish your body, drink 2 ½ cups of water for every pound lost.
Not everyone will have the desire to keep track of his or her daily water intake. If this sounds like you, then pay attention to the color of your urine instead. If it is colorless to pale yellow for a majority of the day, then your water intake is most likely adequate. If you are concerned about your water intake, schedule an appointment to speak with your doctor or a registered dietitian. He or she can help to determine the right amount of water for you.
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http://choeshapkidocumming.blogspot.com/2013/07/kickboxing-johns-creek-suwanee.html
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Saturday, September 15, 2012
When God moves, as He points out to us in Isaiah 43:19a:--"Behold, I do a new thing"--there is no sense sittiing around moping and wishing. It's time to get up and move on with Jesus, into one's new stage of life. The vegetables above are the last fruit of my 2012 garden. They will be tasty and full of organic nutrients, but don't have the brilliant color or size that their predecessors had last month and the month before.The summer gardening season, at least at my house, is just about at an end. The next stage will be clearing out, chopping and composting the stalks, leaves and roots in preparation for next year.
After 31 years of marriage, the Lord has allowed me to be alone in Steve's and my home of 24 years. As I told friends Laurie and Cara yesterday, I'm still not sure how I feel about this, even after a week. Evenings are almost like normal, because they find me blogging, with only my dog (now two) inside for company, because Steve used to go to bed thoroughly sleepy by 7:00 p.m. Steve and I would spend time in the early evening after dinner relaxing on the couch. Missing that time made my visit with him last night just before his bedtime very nice as we rocked on the porch swing together.
It's definitely a new season of my life, but the line is somewhat blurry. I'm not a widow, but I have very limited time with my husband because of the late stage of his dementia. I no longer cook for him or do his laundry, nor do I feed and care for him as I had to do for the last several months, until that night and day care regimen became physically impossible for me to continue. And the cost of 24-hour private home care is exorbitant, and nowhere near as effective in any way as the Raincross dementia program, with individually tailored activities and group socialization. The more physically able residents like Steve can go about and visit others, but the more verbally and mentally capable ones keep the conversation going during meals and take the lead in table games. I find Steve, at any time of the day, well groomed and cheerful. And more important, he doesn't rush for the door when I need to leave. That's the evidence that I need that he's content and adjusting well!
As for me, God fills my days at home with manually watering all of the stations of the sprinkler system in this 100 degree+ weather; dog care and cleanup; all house and yard work; setting out the dumpsters, and keeping the property in order. (I miss Steve's caregivers in that regard, because as their duties as CNAs included housekeeping and yard work as needed, as part of keeping Steve actively occupied). And I'm still paying the bills, maintaining the Jeep and running my business. Helping my very ill father occupies part of each week as well. Certainly, there's no time to sit staring into space!
Regarding this trial, my selection today from Charles Spurgeon's Morning & Evening said very powerfully,
If you give way to fear when you hear of evil tidings, you will be unable to meet the trouble with that calm composure that nerves for duty and sustains under adversity. How can you glorify God if you play the coward? Saints have often sung God's high praises in the fires, but will your doubting and desponding, as if you had none to help you, magnify the Most High? Then take courage, and relying in sure confidence upon the faithfulness of your covenant God, [Jesus said, John 14:28] "let not your heart be troubled, neither let it be afraid."
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http://krucke4jc.blogspot.com/2012/09/repurposed.html
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Finger millet grains being high in nutrients, I ensure to add this to most of the meals. This recipe is specifically good for growing children and women. Most often the ‘Ragi Kozhukattai’ is made as a sweet dish for festivals or even as an evening snack. Kozhukattai by itself is a common dish in the South, but this is a variant which can be had for breakfast or brunch. Savour it with sambhar/ coconut chutney or any sauce. Here I have added pepper powder for the spice as it was prepared for my child, alternatively finely chopped green chillies can be added.
- 2 cups finger millet/Ragi flour
- ¼ tsp bishop’s weed /ajwain seeds
- 1 onion finely chopped
- Few mint leaves finely cut
- 1 tomato finely chopped
- ½ inch ginger grated
- ½ cup grated coconut
- ½ tsp pepper powder
- Salt to taste
- 2 cups water
- Boil the water in a vessel.
- Take a deep bowl and add in it the Ragi flour, ajwain seeds, salt to taste and stir a little so as to mix the salt well.
- Add the boiling water slowly and stir it with the rear end of a ladle or a long spoon. Care should be taken not to add too much water. Close it with a lid to trap the steam.
- When the dough is cool enough to put the hand into it, add all the other ingredients and knead the dough well. If too watery add a little more Ragi flour. All precautions should be taken too avoid this situation.
- Make equal balls of the dough and roll it neatly by rubbing a little oil on the palms.
- Steam the balls for 10 minutes and it will be done.
- Open the lid and allow to cool.
- Serve with sambhar, chutney or any of the sauces, the ragi balls can be garnished with onions(optional) and mint leaves.
Preparation Time: 30 minutes
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http://www.slurrpy.com/sunday-brunch-ideas/ragi-kozhukattai-%E2%80%93-finger-millet-snack%E2%80%A6/
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Let’s talk windows. Windows can be draped, covered, shaded, or frosted. Windows give a room character, light, functionality, or a view. Windows come in all colors, shapes, sizes and styles too! There were a lot of wonderful windows in a recent pre-sold home built by the Curtis Homes crew. The windows benefit the new homeowner by bringing in cross-breezes, natural light and added character to each room.
In a new home or remodel think about what a new window will do for the room. There are A LOT of window choices, but try to narrow down the options by thinking through what the room needs. For example, does the room need more natural light? Is the exterior of the home lacking a little character? Would a sunset or sunrise be missed without a window in the room?
Once you know what benefits from a window the room will have, think about what you’ll see on the other side of that window, such as neighbors, mountain view, trees or a backyard. Add a skylight, dormer window, picture window, bay window (the list goes on-and-on) based on what makes sense for the space and it’s surroundings.
The Curtis Homes’ preference is to include lots of windows, as it makes sense of course, because we are building homes in Hood River, Oregon, the most beautiful place in the world. Hilltop or mountain views makes us want to add a window. Possibility of natural light in a master bedroom’s walk-in closest makes us want to add a window. Ask yourself what makes you want to add a window?
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http://www.curtishomesllc.com/2014/01/20/why-windows/
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Silver Plated Candle Stick, Meriden B. Co.
Currently priced at
Silver plated candle stick with very ornate patterns. It is marked Meriden B. Co., quadruple plate #169, U.S.A. It is just beautiful with the weighted bottom so that it does not topple over as it is so tall. It is 8 3/4 inches high and 4 3/4 inches wide. Larger than most and more lovely. Sold just...
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Squirrel Haven's Antiques and Collectibles
17 Cross StreetRoute 78, corner of Cross StHighgate Center, VT 05459United States
Updated Friday, July 21 2017Product descriptions copyrightę 2017 Squirrel Haven's Antiques and CollectiblesAll else copyrightę 1995-2017 TIAS.com All rights reserved.
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http://www.tias.com/cgi-bin/item-question.cgi?askForm=1&itemKey=3924015186&store=/stores/squirrel
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14873686
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Happy day! Our daughter, Elizabeth graduated from high school today and is now, God help us, an undergraduate! She has a wonderful life ahead of her--majoring in biology.
The ceremony, in the Hilltop High School football field, was an American classic--a grand civic ritual with local politicians, speechifying, awards, brass band playing the Star Spangled Banner, and bleachers full of relatives with cameras, flowers and helium balloons. It was glorious!
After the graduation we went to the Tango Grill, Elizabeth's choice and the best restaurant in town. I don't want to eat for at least 3 days. And when we got back the house was in order--the dog hadn't eaten any books. Good.
Truly, this is as good as it gets!
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http://theenlightenmentproject.blogspot.com/2005/06/congratulations-elizabeth-happy-day.html
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14873687
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White reflects all the the wavelengths of light and therefore has the ability to keep you cool under the hot sun as opposed to black, which absorbs light and heat readily.
Vintage white maxi dress (similar here)
Corda Life rope sandals (similar here)
Chunky earrings (similar here)
Photography by Hee Teck Lye
I have a love hate relationship with the weather in sunny, tropical Singapore, due to the fact that it seems to be perpetually either too hot or too wet and rainy to move about in comfort outdoors. Both weather conditions are unbearable to most like myself, unless you are a girl that enjoys traipsing around in raincoats and waterproof sneakers round the clock. Sometimes this makes dressing for the outdoors rather inconvenient, especially as I tend towards elegant and chic looks instead of a more casual street style of shorts and a tank top.
Needless to say, when my mother found this beautiful white vintage dress she had long outgrown at the bottom of her closet one day, I gleefully claimed it as mine and proposed doing an outdoor shoot in it. In tune with the dress’s gorgeous femininity, I decided to create an almost all-white look by pairing it with an additional pretty white handbag with intricate details. The white maxi dress is perfect for the hot, summery, and sometimes rainy weather of Singapore due to its lightweight nature and color. White reflects all the the wavelengths of light and therefore has the ability to keep you cool under the hot sun as opposed to black, which absorbs light and heat readily. Its endlessly loose fit also allows me room to breathe and with a perfectly modest skirt length and pretty scalloped edges, this dress is appropriate for most social events or outings.
In addition to lightweight maxi dresses or midi-skirts, you’ll also rarely find me in anything other than my Corda Life rope sandals these days, as I love natural materials and this pair is so unique and easy to slip into. I highly recommend rope sandals for those perfect summer days as there is nothing like the natural, slightly rough texture of rope against the bare soles of your feet.
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http://velveteencockroach.com/2015/06/vintage-maxi/
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14873688
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Burda 5461; ca. 1989; Misses' Skirt. High waisted skirts with shaped yoke, pockets, front band button closing. Views A and B: shaped hem and side slits and varied length. View C: above knee length.
Links to reviews/blog postsEdit
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http://vintagepatterns.wikia.com/wiki/Burda_5461
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14873689
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Jim Gaffigan - Dad Is Fat - SOLD OUT
At the Coolidge Corner Theatre - Tickets required - SOLD OUT
Jim Gaffigan has written a hilarious book about parenting, being fat, and the overlapping middle of their Venn Diagram. No guarantees he’ll sign your Hot Pockets, though.
--Tickets for this event have sold out. At 5:30pm, a standby line will form at the Coolidge for unclaimed seats. Standby tickets may be purchased with cash only ($5 each).--
--Posed photos will not be allowed in the signing line, but photography will be allowed. Jim will not be signing memorabilia, he will only be signing copies of Dad is Fat.--
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http://www.brooklinebooksmith-shop.com/event/jim-gaffigan-dad-fat
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14873690
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BUFFY NOT BACK FOR ANGEL FINALE
Its official ? Sarah Michelle Gellar will not be reprising her role as Buffy for the series finale of ?Angel?.
TVGuide.com reports today that Gellar won?t be in any of the season ending episodes. She was asked to pop up in the second last episode of the season ? not the finale ? and at that time was working on ?The Grudge? in Tokyo, so couldn?t do it. She was available to do the season finale however, but Joss Whedon decided against it, because he didn?t want Angel?s bon voyage to 'revolve around a guest star,' he says simply. 'We will deal with the issue of Buffy and how much she means to Angel and Spike, but I want to end the show with the people who?ve been in the trenches together, the characters who have lived - and occasionally died - together... the regulars.'
Whedon?s Angel partner, Jeffrey Bell, adds that the idea of building the finale around the long-running Angel/Buffy/Spike love triangle 'seemed to undermine the bigger picture. [So Gellar was left off the roster] in the same way that David Boreanaz wasn?t involved in the series finale of Buffy.' (Boreanaz did, however, appear in Buffy?s penultimate episode.)
Apparently by the time Gellar said she could do the season finale, it was too late anyway. 'We had already written and shot the episode [for which we originally wanted her] which emotionally dealt with [the romantic rivalry],' Bell says. 'So, to go [back] and force her into the very last episode to retread stuff that we already dealt with didn?t make any sense. 'By the time it became a possibility,' he goes on, 'the ship had sort of sailed.'
So what will happen? 'Angel and Spike arrive at an understanding - that?s all I?ll say about that,' Bell teases. 'And without her being involved, Buffy?s character has come to some sort of understanding, too.' And, 'We?re gonna get to the bottom of why we?ve been in Wolfman & Hart this whole time and what we?re gonna do about it,' hints Bell. And, though he refuses to drop any clues as to who will be 'left standing at the end,' he does promise this: 'It?s gonna be big!'
Meantime, Whedonesque and Variety are reporting that Sarah Michelle might be doing a musical soon. Writer-director Richard Kelly, who made his feature debut with indie pic 'Donnie Darko,' has written and will direct the comedy-musical thriller 'Southland Tales' for Cherry Road Films. The film, which takes place in 2008 during a three-day Los Angeles heat wave leading up to a massive July 4 holiday celebration, looks set to star Seann William Scott. Gellar, Jason Lee, Janeane Garofalo, Tim Blake Nelson, Amy Poehler, Kevin Smith and Ali Larter are also in negotiations to join the cast.
The filmmakers are in discussions with Moby to contribute new music to the pic.
'This will only be a musical in a post-modern sense of the word in that it is a hybrid of several genres,' said Kelly. 'There will be some dancing and singing, but it will be incorporated into the story in very logical scenarios as well as fantasy dream environments.'
Courtesy of MovieHole
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http://www.horror-asylum.com/news/article.asp?item=2411
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14873691
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|247° to 254°C|
|107° to 110°C|
Safety and Handling
GHS H Statement
Causes skin irritation.
Causes serious eye irritation.
May cause respiratory irritation.
GHS P Statement
Avoid breathing dust/fume/gas/mist/vapors/spray.
Wear protective gloves/protective clothing/eye protection/face protection.
IF IN EYES: Rinse cautiously with water for several minutes. Remove contact lenses, if present and easy to do. Continue rinsing.
IF INHALED: Remove to fresh air and keep at rest in a position comfortable for breathing.
Store locked up.
Dispose of contents/container in accordance with local/regional/national/international regulations.
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https://www.fishersci.ca/shop/products/2-trifluoromethyl-benzoic-acid-98-3/p-7023046
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14873692
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Illustrateur : Jason Chan
Numéro de collection : 31/145
Date de sortie : 05/02/2010
Autorisations en tournois :
: Look at the top card of target player's library. You may put that card on the bottom of that player's library.
: Draw three cards, then put two cards from your hand on top of your library in any order.
: Return target creature to its owner's hand.
: Exile all cards from target player's library, then that player suffles his or her hand into his or her library.
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http://smfcorp.net/mtg-carte-71234-jace-le-sculpteur-de-l-esprit.html
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14873693
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Robin dazzles us with humour
Knock knock, who's there? Damian's funny performance.
A fresh take on the cliches of Chinese parenting, in a show that had plenty of great material, and a few wobbles
While poking fun at Paisley's picture-covered shops or highlighting the devastation the highland clearances caused Gaelic culture, Steel accurately debunks ancient theories and modern-day abominations.
Ellis impresses as he isn't afraid to make a fool of himself during his torturous downward-spiral as he makes a mockery of his own self-worth.
We announce, in no particular order, the best shows from our time at the Edinburgh Festival Fringe 2016. The cream of the crop, only the best.
The mind-bending, astonishing ingenuity of Colin Cloud is back for another sell-out Fringe run.
Voice talks to dancer, choreographer, and Artistic Director of 201 Dance Company about Smother, his early inspirations, and how to enter the industry!
A fun, entertaining show that will enchant children and entertain adults.
A clever and well-structured comedy show with a futuristic and sci-fi theme.
A hilarious show full of ridiculous challenges that are guaranteed to make you laugh.
This brave and endearing newbie to comedy might not make you laugh out loud, but she's certainly inspiring.
The middle-class, Turkish-Englishman has a lot more than just his culture to credit his humour to: all his character flaws are more than enough.
A show by a comedian who is also a junior doctor will obviously make for wonderfully graphic material.
Something that British stand-up comedy mostly fails to do is actively address the comedians' important issues. Otway's honest routine bucks the trend.
Flyerers pitched Police Cops to me four times. When another show cancelled, I chose Police Cops to replace it and gladly so.
The audience is startled when we realise that, whilst we take our seats, Roberts is sat hiding behind his own cape already on stage.
After his debut show, Jordan comes back with a full hour of hilarious gags and ridiculous faces
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https://www.voicemag.uk/tag/edfringe16
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14873694
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Audi have released a teaser image and a sketch of the upcoming Audi A5 Sportback, a 4-door version of the A4/A5 with a coupe-like roofline. This brings Audi’s C-segment contender body style count up to a total of 5 – sedan and touring for the A4, and coupe, convertible and now this new 4-door sportsback for the A5.
Being Audi's interpretation of a 4-door coupe , it differs from the A4 by having a roofline that is lower by 36mm & frameless doors. Surprisingly the Sportback has the ability to swallow 480 liters of luggage with is just 10 liters less than the A4 Avant's 490 liters. This capacity can be further increase to 980 liters with the rear seatbacks down.
At launch time there 5 engines available with 3 of them being Audi's TDI range of engines. They are:
- 2.0 TFSI putting out 211hp and 350Nm (with Audi's valvelift)
- 3.2 liter V6 with quattro putting out 265hp(with Audi's valvelift)
- 2.0 TDI
- 2.7 TDI V6
- Flagship 3.0 TDI V6 which churns out 500Nm of Torque with max power of 240 horses
Treat your eyes to these pictures in the meantime :)
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http://theautoalert.blogspot.com/2009/06/autoalert-audi-a5-sportback.html
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14873695
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Navjot Kaur Sidhu not resigning from BJP, says her Husband quit BJP :- Punjab MLA and Wife of Navjot Singh Sidhu, Navjot Kaur Sidhu has come out to clarify their position, after a day when Navjot Singh Sidhu who was a BJP member of the Rajya Sabha resigned from his post.
On Monday, Navjot Singh Sidhu had resigned from the Rajya Sabha. He has been nominated by BJP in April on the first day of Parliament’s Monsoon Session.
Navjot Kaur Said that I have not resigned from BJP, but it’s understood that Navjot Singh Sidhu has resigned. She also added that When Navjot Sidhu has resigned from Rajya Sabha, it only has one meaning that he has resigned from BJP party as well.
Kaur explained the move of her husband by saying that Navjot Singh Sidhu has a clear vision to serve the Punjab. She also said that Navjot Singh Sidhu was not ready for any other option besides Punjab.
A reporter asked her, if Navjot singh Sidhu will join the Aam Aadmi Party after the resignation from the member of Rajya Sabha nomitted by the BJP. She replied that he will decide on this matter and it is good when he tells himself about his decision.
According to reports, Navjot Singh Sidhu and his wife Navjot Kaur Sidhu were disappointed with BJP forming an alliance with Akali Dal in Punjab State.
She said that in my opinion, BJP-Akali Dal’s government is not performing well in Punjab. They have failed in fulfilled the promis. She also added that AAP is another alternative in the state Punjab.
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http://www.dekhnews.com/navjot-kaur-sidhu-not-resigning-from-bjp-says-her-husband-quit-bjp/
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14873696
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Sparks of Genius: Pirates, Peg Legs and US Workers' Compensation Insurance
Workers’ compensation programs appear in one form or another in all industrialized countries. One of the earliest appeared around 2050 B.C. It was the law of Ur-Nammu which required the king of the city-state of UR to provide compensation for specific injuries to workers. Ancient Greek, Roman, Arab and Chinese law has had compensation schedules with precise payments for the loss of a body part. In the Middle Ages, however, everything changes. Workers’ compensation programs were replaced by the arbitrary “benevolence” of the feudal lord and became bound up in the doctrine of noblesse oblige: “an honorable lord would care for his injured serf”.
In the 1700s, workers’ compensation programs returned in a surprising way. The story is that pirates - Captain Morgan or Black Bart (Bartholomew Roberts or John Roberts) - created a workers’ compensation system called the pirate code. It was a written agreement that everyone on the pirate ship swore on a Bible to uphold.
The pirate code spelled out how shares of treasure would be distributed, when lights and candles had to be put out for the night, and required all pirates to keep their cutlasses and pistols clean and ready for action. One of the most interesting clauses in the pirate code addressed pirate compensation for injuries: “recompense and reward each one ought to have that is either wounded or maimed in his body, suffering the loss of any limb, by that voyage.”
Pirates were not only compensated for their injuries, they also received a guarantee of life-time employment on the ship - if they survived their injuries. According to Christopher J. Boggs, writing in MyNewMarkets.com, “injured crew members were allowed to remain on board and offered less strenuous duty … creating the first return-to-work program.” The catch? There was no compensation for death.
In an article on “The Economics of Piracy”, Stephen J. Dubner, author at the Freakonomics website, said that the pirate compensation system compared rather well with the 2007 State of Connecticut’s system1:
|Loss||Pirate Code||State of Connecticut|
|Right arm||600 pieces of eight||208 weeks of pay|
|Left arm||500||194 weeks|
|Right leg||500||155 weeks
( there is no distinction
between the right and
|Finger||100||36 weeks for the
Some pirate ships even awarded damages for the loss of a peg leg. Peg legs were so hard to come by in the West Indies that a good wooden leg was worth as much as a real one.
Father of the modern workers’ compensation system
In the late 1800s, Otto Von Bismarck (the “Iron Chancellor”) united the various German states into a single empire, similar to today’s Germany. At the time, Germany was in the midst of an Industrial Revolution and German workers were immigrating to the US where they could get higher wages. Otto von Bismarck decided to create a social program that would stimulate economic growth and keep German workers in Germany.
In 1871, Bismarck passed the Employers’ Liability Law, which provided limited social protection to workers in quarries, railroads and mines. In 1884, he pushed through a “Workers’ Accident Insurance” bill, creating the first modern system of workers’ compensation in industrialized Europe. It soon became a model for workers’ compensation programs in Europe and eventually migrated to America.
America and workers’ compensation
It wasn’t until well into the 1900s that the US would enact a workers’ compensation program. Before workers’ comp became the law in the US, civil lawsuits were the only way for an employee to seek compensation for on the job accidents. The trouble with this system was that laws heavily favored employers. The system was jokingly known as the “unholy trinity of defenses.”
- Contributory negligence – if the worker was in any way responsible for his or her injury (i.e., tripping and falling), the employer was not at fault
- The “assumption of risk” – employees agreeing to work obviously understand the potential hazards of their duties. Employers formalized these risks into contracts referred to as “death contracts” or “worker’s right to die” clauses
- The Fellow Servant Rule – Like contributory negligence, this rule relieved the employer of any liability if a fellow employee was involved in any part of the negligence that resulted in an accident
Sarah Kinsley’s Arm and the Triangle Shirtwaist Factory Fire
In 1909, just after Theodore Roosevelt ended his presidency, he wrote an article about a female factory worker by the name of Sarah Kinsley2. Sarah lost her hand when it was crushed in a cogwheel accident while working in a factory. She brought suit against the company for negligence to recover medical bills and lost wages. Despite warning the foreman about the dangers and lack of safety features of the machine she worked with, the courts ruled in the favor of the employer under the “assumption of risk defense”, leaving her and her family with nothing. President Roosevelt’s article was a turning point in awareness of the need for workers’ compensation in the US. Shortly after the article, many states took notice and began drafting worker’s compensation legislation to reduce the toll of industrial accidents on the workers and their families.
The first worker’s compensation law was enacted in America in Wisconsin in 1911. On March 25, 1911, the Triangle Shirtwaist Factory fire occurred in New York City. This fire was so horrendous that is cited as the defining moment in labor history, modern industrial safety and progressive insurance legislation in the US.
The Triangle Shirtwaist Factory tragedy remains one of the most deadly workplace accidents in North America – 146 workers died and many were injured, an on-the-job death toll only eclipsed by the 9/11 World Trade Center terrorist attack.
While major fires in the early 20th century killed hundreds of people, the horror of the Triangle fire still resonates. Those who died in the fire were mostly young, vibrant women and men. On that fateful Saturday afternoon, the factory had a high concentration of flammables, narrow aisles and locked exits. The building was designed to withstand fire, but lacked adequate fire escapes. Further, rescue ladders couldn’t reach beyond six or seven stories forcing people to face the fire or jump. The owners of the factory were tried for the workers’ deaths, but they were acquitted of manslaughter. Eventually, they paid the families $75 per victim.
Three years after the fire, public opinion and political wrangling led to an amended New York State Constitution and acceptance of the concept of a no-fault insurance system for injured workers, paving the way for the 1914 Workmen’s Compensation Law in New York and the New York State Insurance Fund.
Over 100 years of state-run workers’ compensation
Today, the US workers’ compensation system is a highly specialized industry. Laws and regulations vary greatly state-by-state. Currently, 49 states (all but Texas) require companies of three or more employees to carry workers’ compensation insurance. Seven states have 100% state-run insurance monopolies; eleven have a combined state and private competitive system; while the remaining 32 states leave workers’ compensation to private insurance companies.
The benefits of the US workers’ compensation system are clear. It provides the employer with tort relief; the employee gets a relatively quick, equitable and predictable no-fault compensation system; and the system creates an incentive toward rehabilitation of the injured worker. Sounds a bit like the pirate code, although America’s workers’ compensation system isn’t as simple.
About the author
Maryanne Sherman is President of Sherman Think Tank, a marketing communications consulting firm specializing in writing about re/insurers.
1 The Economics of Piracy (the Real Kind, With Peglegs and Pieces of Eight) by Stephen J. Dubner, September 17, 2007
2 The Rich History of Workers Compensation by Pam Clark, Business Insurance, August 2014
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http://xlcatlin.com/fast-fast-forward/articles/sparks-of-genius_pirates-peg-legs-and-us-workers-compensation-insurance
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14873697
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In a way I suppose it isn’t a bad thing that I’ve been absent from this site for a few days. I’ve been busy riding, recovering, and riding some more! Some days it is hard to find time to sit down and write a blog post. I know, not a real excuse but this is where I’ve been for the past few days.
I definitely have got in some great rides these past few days. On Friday I hit up Kanata Lakes on my trusty mountain bike. The rocks and trails were a bit slippery and there were some definite muddy sections – but this is why I’m out there to get used to the more challenging conditions. I had a great ride, rode on some “new-to-me” trails and I think I found some newish trails as well. I did have one crash that sent me off to buy leg armour in the evening. I decided that landing knee first on a rock was not the best…. There is something about riding in the woods that just makes me feel like a kid. Zipping along with the birds chirping and being surrounded by nature – really makes me appreciate the freedom of the bike.
This weekend was all about the road bike. Pretty standard weekend rides. Got out early on Saturday as my parents were coming into the city for lunch and then we were off to a World Cyclo-Cross Championships party. Many thanks to Marc’s parents for hosting the party and bringing everyone together. It was awesome to see everyone and especially to watch the video that Marc’s mom made (looking into getting this video posted online). Today was my longest ride ever. Five hours and 15 minutes of saddle time. I hooked up with Paul and Sally D. and their friends for a great ride. We hit up Pakenham, Arnprior, Carp, and finally back to Barrhaven. A most excellent ride. I must say the peanut butter cookies and date squares at the Pakenham General Store are very very good.
Ah, Shaun just hooked up the laptop to the television and I’m now listening to the sweet sounds of Phil and Paul announcing the Tour of California. Pretty cool to watch this race live.
Well, tomorrow is going to be a big day as well. I’m off to Creative Wheel for some expert mountain bike instruction.
Feeling some forward progress. Feeling the miles I’ve put into my legs starting to pay off. Fitness is coming around. Head is feeling good. With each pedal stroke my confidence is growing. Loving getting out on my mountain bike – I feel I’m further ahead technically now already. Soon enough I’ll get out my ‘cross bike an start doing some drill work with flags and barriers. And yes, the running shoes will be making an appearance soon. Never a dull moment. Life is good and I’m feeling the rewards of another solid training block.
Monday kicks off a rest week and Friday I’ve got another “power wattage zone test”. Will be interesting to see how things have changed – in the legs, lungs, heart, brain and soul.
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https://ottawa.cx/2010/05/16/still-here-2/
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14873698
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You can import only 512-bit key (low grade) digital certificates into Internet Explorer.
Additional InformationWARNING: If you use Registry Editor incorrectly, you may cause serious problems that may require you to reinstall your operating system. Microsoft cannot guarantee that you can solve problems that result from using Registry Editor incorrectly. Use Registry Editor at your own risk.
Note that this behavior can also occur if a previously exported 1024-bit key (high-grade) is improperly imported into a different system.
When this occurs, the 128-bit Cryptographic Service Provider (CSP) is not registered as the default provider. When you try to import the 1024-bit certificate onto a 1024-bit system, it does not work because it is trying to make a call to the default 512-bit base (exportable) provider, which does not accept strong cryptographic key sizes (>512 bit).
To correct this problem, change the following registry key:
Name = "Microsoft Base Cryptographic Provider v1.0"
Name = "Microsoft Enhanced Cryptographic Provider v1.0"
This behavior can also occur if the user key for the certificate you are trying to import already exists in the following registry key:
Article ID: 182054 - Last Review: Jun 22, 2014 - Revision: 1
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https://support.microsoft.com/en-us/help/182054/internet-explorer-was-unable-to-import-this-certificate
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14873699
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Paul Morelli Silver & Gemstone Meditation Bell Drop Earrings
Meditation bell 2-drop earrings in sterling silver, accented by peridot, pink rhodolite and madeira citrine. Hallmarked clapper tag with "PM." 12mm at widest point of bell. Post backs with friction backs. Handcrafted in Philadelphia. Designed by Paul Morelli. 1.55" length (40mm).
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https://www.betteridge.com/paul-morelli-silver-gem-set-meditation-bell-drop-earrings/p/8447/
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