Eurobridge Specializes In Value Add Property Investments In Central London Growth Areas.
The boundaries between companies in London's Square Mile and the tech start-ups of adjacent Shoreditch used to be clear. Not only were they geographically distinct but the two tribes were identifiable by their dress codes, office decor and architecture, and the commercial rent they paid per square foot.
Today, the lines are blurring as start-ups and technology companies press south towards the City of London, because of near parity in rents and an undersupply of space in Shoreditch. At the same time, law firms, banks and other traditional City businesses are adopting the office layouts and working styles of their new neighbours in the hope of fostering innovation, impressing clients and recruiting younger workers.
In the City's Finsbury Square, two new property developments have co-working spaces for start-ups. One, 10 Finsbury Square, is home to Runway East, a 13,000 sq ft open-plan space occupied by 17 start-ups and dominated by an indoor croquet lawn. Nearby, Huckletree is a co-working space for start-ups at Alphabeta, the newest development on Finsbury Square. It has not yet opened and is oversubscribed. "It's not just start-ups. A lot of City firms want to house their innovation teams there," says Huckletree co-founder Gabriela Hersham".
In 2012, the City of London offered reduced rates to bring co-working spaces such as Google's Campus London and Central Working to the City's fringe on Bonhill Street, but nothing influences tenants like scarcity of space and the emerging parity of rents.
"There's not a lot in it any more," says Juliette Morgan, of Cushman & Wakefield, a property consultancy. "There are buildings in Shoreditch at a lower £60 per sq ft and buildings in the City in the top £50s." If rent and office supply account for the tech companies pressing into the City, what accounts for City companies adopting the start-up aesthetic of their new neighbours?
As providers of co-working space such as TechHub and WeWork move into Moorgate and Bishopsgate the exposure of City workers to such environments has risen.
"Investment bankers see friends wearing jeans, working in laid-back offices with yoga studios and that's what they want," says Tushar Agarwal, who left an investment banking job at Greenhill & Co to set up office sharing company Hubble.
In a reverse of the southward flow of start-ups, City firms are moving closer to Shoreditch. Ms Morgan says one of the first occupants at Alphabeta was a law firm that wanted to project a slightly edgier image to clients and staff.
This desire has served the operators of co-working spaces well.
Fresh analysis of official data shows that in more than half of London's postcodes, the average property now costs in excess of £500,000.
This includes areas such as Peckham — the home of fictional sitcom family the Trotters — and the East End, until recently better known for its high unemployment rates than for its luxury homes.
"The wave is building outwards and eastwards," said Andrew Bridges, managing director of estate agent Stirling Ackroyd, which commissioned the research. London was "increasingly another country", he said.
While the prime London market has slowed following the changes to the stamp-duty system in late 2014, the new research shows how prices that would be considered top-end in most other parts of the country have spread to large swathes of the capital.
The average property in England and Wales costs less than £200,000, but of the 156 postcode areas where average prices are more than £500,000, 141 are in Greater London.
The figures are based on analysis of Land Registry data — which captures the actual selling prices for properties including those bought for cash — and then adjusted to be representative of an average property in each area.
The east and south-east postal areas, which include places such as Limehouse, are the only traditional inner London postcodes where average values remain below half a million pounds.
With the average London salary standing at approximately £34,000 a year, that means more and more areas are moving out of reach for ordinary workers: the average London home costs nine times the median income for a full-time worker.
Last year, Deloitte became the second big employer to help junior staff with the struggle of living in the capital, reserving flats to rent to more than 40 of its graduates at the former Olympic Village in Stratford, east London.
There is little cheer for would-be homebuyers in predictions for the coming year: the Royal Institution of Chartered Surveyors said its members expect house price growth of 5 per cent in the capital in 2016.
That represents a slower growth rate than last year's rate of almost 10 per cent, but rapid growth rates have also rippled out to commuter towns such as Reading.
House prices are expected to rise by 17% on average across the UK over the next five years – so long as mortgages rates do not rise above 4.5%, according to Savills.
The agent's latest residential forecast said the growth would be driven by a rise of 21.6% in the South East and 21% in the East of England, with the mainstream market in London expected to post a rise of 15.3%.
Cook said recent mortgage regulation, which had introduced stress testing for affordability, had capped the amount people could borrow relative to incomes and would rein in runaway price growth.
"That is likely to cap price rises, particularly in London, where house price to household income ratios are highest, thanks to growth seen over the past 10 years," he said.
The report also showed prime residential markets were set to enjoy solid price growth over the next five years, driven by a forecast increase of 24.5% in suburban London.
Savills said lower value outer London boroughs had greater capacity for house price growth than the higher-value parts of the capital, having grown in line with the South East and East of England, rather than London itself in recent years.
Walthamstow and Lewisham were expected to show the strongest growth, outperforming the mainstream submarkets of areas such as Hammersmith & Fulham and Richmond.
The UK must build a minimum of 220,000 homes a year between now and 2031 to keep up with household growth projections, according to the Town & Country Planning Association.
Current housebuilding levels deliver just over half that number, meaning further upward pressure on prices and rents if supply does not increase.
How Many Homes, a project commissioned by the TCPA, found that housing requirements are lower than expected – because young people can't afford to buy or rent on their own.
Even if the target number of houses are delivered, the research suggests that couples aged between 25 and 34 will be less able to live in their own home than their counterparts in 2011.
Kate Henderson, chief executive of the Town and Country Planning Association, said: "While it looks as if the projected number of needed homes has dropped, this is because many people now can't afford their own home – either to rent or buy – and are living with parents or other people longer than they would like to.
Financial services companies increased the amount of London office space they occupy by 85 per cent in the first half of 2015, a sharp acceleration that put more pressure on business rents.
Companies including Investec, Deutche Bank and the hedge fund Marshall Wace leased extra space for their growing London operations, according to research by Cushman & Wakefield, a property adviser.
Prime central London office rents had risen 10 per cent this year to a record £66.50 a square foot, exceeding pre-crisis highs, said C&W, which added that prices would keep rising in 2016.
More than 2m sq ft of additional office space is expected to become available in the City financial district by the end of 2017.
But much of this was pre-let, said Elaine Rossall, head of central London research at C&W, and so would do little to ease supply constraints.
Meanwhile vacancies in the West End have reached historical lows. This has prompted a "migration to the east", with about half of companies vacating West End offices moving to the City or further east.
Before the latest rapid expansion financial services increased office space by 46 per cent in 2014 after a 7 per cent decrease the previous year.
Expansion by financial groups in absolute terms exceeded even that by media and technology companies, whose combined office footprint grew 97 per cent in the first half.
Companies that were already in central London increased floor space by 56 per cent to 5.3m sq ft.
The average price of a London home has hit £500,000, according to the Land Registry, rising 10 per cent in the year to September.
In England and Wales the average selling price was £187,000, up 5 per cent on a year earlier, underlining the big and growing difference between London and the rest of the country.
The only area not to see a rise was the north-east, where prices fell 0.3 per cent to just under £100,000.
Increases have rippled out from the capital, with prices growing 9 per cent in the south-east and 8 per cent in the east of England.
"With the prospect of an interest rate rise likely to be pushed deeper into 2016 by [Tuesday's] underwhelming GDP data, house price inflation is unlikely to be checked by a rise in the cost of borrowing," said Jonathan Hopper of Garrington Property Finders.
With demand up and supply stagnant, London prices look set to keep rising. The capital's population hit a record high in the past year and is forecast to rise to 10m by 2030. Housebuilding at the rate of 50,000 is estimated to be required to meet this demand, but only about 19,500 a year have been built during the past decade.
Brandon Lewis, the housing minister, last month said he wanted to see 200,000 homes built each year by 2020. Last year just 140,000 were built.
The median salary of a London worker, as of April last year, was £33,800 or £650 a week, according to the Office for National Statistics. With a deposit of six months' gross earnings and a mortgage of four times income, the median worker would only be able to raise 30 per cent of the price of the average house.
At the top end of the market, the figures illustrated how higher stamp duty levied on sales of the most expensive homes has slowed down activity. There was a 22 per cent fall in sale volumes for homes worth more than £1.5m in July compared with a year earlier.
Stamp duty reforms introduced in December last year led to a reduction for all but the most expensive properties. The duty levied on a £2m home went from £100,000 to £153,750, leading to many buyers seeking lower prices that sellers have been reluctant to accede to.
"There has been nothing less than a shakedown at the super-prime end of the property market," said Rob Weaver of crowdfunding platform Property Partner.
House prices would rise 6 per cent next year, IHS Global Insight forecast, helped by "very low mortgage interest rates, strengthening earnings growth, high employment and elevated consumer confidence".
East London's 'Silicon Roundabout' is home to a greater density of technology firms than any other location in the UK, from Manchester to Glasgow – and hosts 70 times the density of tech firms in Cambridge's world-renowned hub.
Hosting 3,228 tech firms per km2, it is little surprise Silicon Roundabout wears the tech crown with London only hosting 58 per km2 across the capital on average. Even its closest competitor nationally, the Manchester Mill tech postcode, has 412 per km2, and its nearest rival in London is only the other side of the roundabout in the EC2A postcode at 1,580 per km2.
Andrew Bridges, managing director of Stirling Ackroyd, comments, "At the bright heart of Britain's technology industry, there's an entrepreneurial startup spirit to the Old Street area that's creating its own gravitational force. Social media is the Bloomberg of the 21st century, HTML is our new lingua franca, and Shoreditch is fast becoming the Canary Wharf of the 2020s.
These Londoners who have made their home in the East have benefited from a comparative affordability of these tech hub areas. An average residential price-tag of £846,000 for a WC postcode stands 20% higher than the equivalent in East Central (EC) postcodes.
Even more locally, the Old Street and Shoreditch areas are much more affordable than even their closest neighbours. As of Q2 2015, property prices average £703,000 across the 'EC' area, including the City of London. But around the Silicon Roundabout, prices in Q2 started from a considerably more modest £508,000.
Only marginally further afield, purchase prices for a one-bed flat in 'E' postcodes of the wider East London area (comprising areas such as Hackney, Dalston, Clapton and Stratford) average just £373,000.
House prices in the capital are set to outpace earnings for the foreseeable future, despite government efforts to boost house building and affordability.
Average London asking prices have jumped to £613,922 – above £600,000 for the first time ever – according to Rightmove data published today.
It marks a rise of 5.8 per cent compared to a year ago and was helped on by high-end properties returning to the market after the General Election result quashed fears of a mansion tax.
"There is no doubt that London is woefully under-supplied, and this will prevent any significant price falls," Lucian Cook, a director at estate agent Savills, told City A.M..
Part of the reason may be a lack of house builders. "When the crisis struck, a lot of small and medium sized house builders went out of business," Dame Kate Barker, a former UK rate-setter and current board member of building giant Taylor Wimpey, said.
House building in London is on the climb after a torpid few years, says Neil Jefferson, a director at the National House Building Council – but not by enough to satisfy demand.
Another suspected constraint on building is the planning system.
"The biggest supply constraints are to do with the planning system – both within London and around it. Constraints within London include density and height restrictions, and are administered at the borough level; constraints around London are primarily caused by laws that protect the Green Belt from development," said Sam Bowman, deputy director of the Adam Smith Institute.
But price growth is unlikely to reach the sky-high, double-digit rates it reached last summer. Estate agents say that demand is being suppressed by strict mortgage regulations introduced last April, and December's stamp duty changes, which increased the tax on home sales over £1m.
Office availability in central London fell 3% in the first quarter of 2015, dropping to 10.8m sq ft for the first time in 14 years, according to CBRE.
A report from the agency found the start of 2015 has also seen the strongest first quarter take-up of office space for five years, with 3.1m sq ft transacted between the start of January and end of March.
Emma Crawford, managing director, central London office leasing at CBRE, said: "Demand for office space in central London has been strong, and when coupled with slimmed down supply, it's only natural that we've seen rental growth almost across the board.
Crossrail's high-speed rail service will not only provide millions with increased connectivity into the capital, but it will send house-prices along its route skyrocketing.
The £15.8bn Crossrail project has already had a profound effect on properties in London. The prices of those near the large-scale Tottenham Court Road development have increased 439 per cent in the last decade.
Houses in the same postcode as Crossrail stops in Burnham, Maidenhead, Taplow, Langley and Slough will jump 60 per cent in value, with prices expected to increase by up to £160,000 in the next four years.
For those on the hunt for a profitable investment, house prices on the opposite end of the Crossrail route, in north and south-east London, will be the most affordable in 2020.
The dark blue line running from east to west is the Crossrail 1 development, due to be completed in four years, while the yellow line running north to south is the proposed Crossrail 2 route which would not be completed until at least 2030 should it get approval.
Properties near the Southall, Chadwell Heath, Woolwich, Romford and Shenfield stations will be the best for those looking for an affordable property with a high-speed rail network on its doorstep.
"Demand for offices has not been above 3m sq ft since Q3 2000, and, at this level, is nearly double the long-term average of 1.7 m sq ft", "today there is a new optimism surrounding the office sector. Many employers want their staff to come into the office, so they interact with colleagues and generate ideas" Knight Frank.
The London suburbs outperformed the capital for the first time since the credit crunch, recording growth of 5.7% in the first six months of 2014, compared to the prime London average of 4.9% according to Savills prime index.
It amazes me how ironic life is at times. While out working on a documentary about the failure of economic regeneration in East London post Olympics, I bumped into a nice chap called Tomasz, from Soundings Office. He was as eager as a schoolboy with a new toy to explain to me what was happening in the vacant lot opposite Shoreditch High Street Station. Both killing my photography project and piquing my curiosity, Tomasz pointed out that the vacant site, now filled with football pitches, is currently being redefined with the help of local businesses and residents, an undertaking that will significantly alter the landscape of the Shoreditch area.
The Goodsyard, formerly known as the Bishopsgate Goods Yard, is nestled in the middle of Shoreditch, Banglatown and Spitalfields. It encompasses Shoreditch High Street Station and straddles the boroughs of Tower Hamlets and Hackney. Its development will significantly impact on its surroundings and could create a hub that redefines the area. The planning guidance is considering bringing up to 2000 new homes and 1.8 hectares of public open space to a site that is currently a 10 acre derelict void in the middle of one of the most bustling areas of East London.
Since the project is in its early stages of planning, the Soundings Office, a local sounding board facilitating the dialogue between community liaison groups and developers Hammerson and Ballymore Group, has scheduled several events to get local residents and traders more involved in determining how the space will be utilised. Pop up Events in the area will allow for a free exchange of ideas and for locals to gain an insight into the plans for the development. Events include Ideas Week (17th-22nd June), which will see workshops set up in a marquee opposite Shoreditch High Street Station.
To keep abreast of the development, and to join some of their upcoming events, contact the Soundings Office and become a part of the changing landscape of Shoreditch.
Grand plans to redevelop Shoreditch market have been submitted for consideration and could see redevelopment work start as early as next year.
The development proposal, named "Shoreditch Village" is being headed by London veteran property developer Dominic White whose family purchased the site in the 1970s.
Architects have worked closely with local councils which are said to be in full support of the project because of its allotment of more green and community space.
Looks like we should all keep our eyes on Shoreditch in 2014!
Retail Leasing agents acting for Shoreditch Village are RK RetailConsultancy.
The City Road is being transformed into an unlikely "starchitect canyon" with four of the world's top names, including Lord Foster and Sir Terry Farrell, designing towers there.
Property experts said it was unprecedented in the capital for so many prominent architects to be working on projects so close to each other.
The skyscrapers are being built along a 400-metre stretch of one of central London's least glamorous roads.
About £1 billion of investment will create a "mini-Manhattan" of towers in a new quarter around the City Road Basin on the Regent's Canal.
The first tower to offer flats for sale off-plan is the Canaletto building at 257 City Road where Knight Frank will be marketing studios from £500,000 and two-bed apartments from £810,000 at the launch this weekend.
The 196-metre tower at the north end of City Road was designed by the Amsterdam-based UNStudio, which was responsible for the Scotts Towers in Singapore and the Mercedes-Benz museum in Stuttgart.
Across the road from the Canaletto is the site for Berkeley's City Forum complex at 250 City Road.
It includes two towers and was designed by Foster + Partners, whose work includes the Gherkin, the Great Court at the British Museum and Wembley stadium. At 261 City Road, work has started on 36-storey tower The Lexicon, designed by US firm Skidmore, Owings & Merrill, which designed the Burj Khalifa in Dubai, the world's tallest building, and the Nato headquarters in Brussels.
Closer to the Old Street roundabout at 161 City Road is the art deco-inspired Eagle residential tower designed by Sir Terry's practice.
Bethnal Green starts only a few hundred yards east of the shiny, gleaming towers of the City and the arty cool of Shoreditch, but it is not long before the traveller down the Bethnal Green Road is transported to the bustling streets of Dhaka or Chittagong, and then with another shake of the kaleidoscope the journey ends in the Roman Road, where the heart of the old working-class East End still beats.
Today, Bethnal Green is a place of noisy ethnic colour and contrasts. Close to Shoreditch, it is where the young and fashionable come to share flats as close to London's hippest quarter as they can afford. Here, they live cheek by jowl with the capital's largest Bangladeshi community. It is where house hunters looking for affordable homes snap up the two- and three-bedroom flats on council estates, or sniff out two- and three-bedroom Georgian and Victorian cottages in one of the charming conservation areas.
Signs are, too, that life is looking up in Bethnal Green. Along Cambridge Heath Road, in what has been dubbed the "Civic Quarter", the fine old baroque town hall building has been turned into a boutique hotel with Nuno Mendes's restaurant Viajante, one of the capital's most fêted new restaurant openings. On the same street the long-established outpost of the V&A, the Museum of Childhood, had a well-deserved facelift five years ago when architects Caruso St John designed a new façade and entrance lobby.
Close by are Bethnal Green's library, the Sir John Soane-designed St John's Church — now undergoing repairs — and York Hall, a famous east London boxing venue which also has one of London's few council-owned spas with Turkish baths, steam treatments and a sauna.
Properties in Bethnal Green: the area offers a mix of Georgian houses along the main roads, warehouse conversions and ex-council flats. The real gems are found in the various conservation areas where there are two- and three- bedroom Victorian terrace houses and spacious converted flats in larger houses of the period.
Bethnal Green is popular with young renters working in the creative industries based in Shoreditch and Hoxton. Bargain hunters and buy-to-let investors purchase the ex-council flats. Young professionals aim for the pockets of Victorian houses.
This is a young person's area; couples often move out to the suburbs once they have children.
Postcode: E2 is the Bethnal Green postcode but it also includes Haggerston and parts of Shoreditch.
Best streets: there are pretty, flat-fronted, straight-off-the-street cottages in the Jesus Hospital Estate conservation area around the Columbia Road Sunday morning flower market which sell for between £450,000 and £600,000. In the Globe Road conservation area, to the east of Cambridge Heath Road, there are small terrace houses in Cyprus Street and Gawber Street which sell for between £500,000 and £575,000 and much larger houses in Approach Road, although most of these are divided in to flats.
The Old Bethnal Green Road conservation area contains the Denys Lasdun-designed Keeling Tower, which was sold by the council to a private developer in 1999, where flats sell for between £160,000 and £375,000. Nearby in the Winkley Estate there are three-storey terrace houses with workshops behind them where Bethnal Green's furniture industry once thrived. Houses here sell for around £500,000.
What's new: the Silk Gardens in Parmiter Street, east of Cambridge Heath Road and close to the town hall building, is a development of 63 three-, four- and five-bedroom homes with roof gardens and allotments, available through housing association Family Mosaic ( 020 7089 6340 ). Prices start at £127,250 for a 25 per cent share of a flat with a market value of £509,000.
Schools: Bethnal Green's schools serve their local community well, even though many middle-class families choose not to stay in the area. Bonner primary school in Stainsbury Street is judged "outstanding" by the government's education watchdog Ofsted. Globe in Gawber Street and St Elizabeth's RC in Bonner Road are both "good with outstanding features". The Gatehouse School in Sewardstone Road is a co-ed prep school for three to 11 year-olds.
Oaklands School and Morpeth are two small co-ed comprehensive schools which are judged to be "outstanding". Neither has a sixth form but the Cambridge Heath Sixth Form College opened in September last year and Lloyd's of London is sponsoring three students a year, with grants of £3,000 a year towards their university tuition fees.
What are known as "concept stores" reign at the Shoreditch end of Bethnal Green Road. A mini department store called 123 sells — among other things — clothes remade from vintage items; Type sells furniture and art; Labour and Wait is famous for its old-fashioned utilitarian-chic clothes and home accessories, and in nearby Cheshire Street — the Bethnal Green rather than the Shoreditch end — there is Beyond Retro, a huge warehouse and probably London's largest selling vintage clothing.
Columbia Road comes alive on Sunday when the flower market is one of the nicest places to go on a sunny morning. The shops which line the street are all independent. Worth seeking out are: Jones Dairy in Ezra Street, a deli and café; Campagnia Gastronomica, another deli and café but this time specialising in food from south-ern Italy; Treacle for English cakes, Café Columbia for that East End speciality — filled bagels. Ryan Town sells the work of paper cut-out artist Rob Ryan; Two Columbia Road is good for mid-century furniture; try B Southgate in Ezra Street for antique leather chairs, while Fred Bare sells hats from a rustic-chic interior.
Long-standing retailer Idonia Van Der Bijl is good for gifts, while Angela Flanders is one of the capital's best perfumers. Prick Your Finger is a charming knitting and crafts shop on interesting Globe Road. There is a large concentration of modern art galleries on Vyner Street and a good time to explore is on the first Thursday of the month when they stay open late.
The Victorian splendour of Victoria Park is a short walk across the canal on the northern edge of Bethnal Green, while Mile End Park in Bow is a linear park alongside the canal which runs between Limehouse and Old Ford Road. Weavers Field is where the annual Baishaki Mela Bangladeshi festival is held every May.
York Hall on Roman Road is the nearest council-owned swimming pool. The Rich Mix on Bethnal Green Road is the local arts centre which puts on theatre, film, dance and poetry events. The Aubin cinema in Redchurch Street, Shoreditch is located in the Aubin & Wills fashion store in an old warehouse building.
Located on the Central line, Bethnal Green is in Zone 2, one stop away from Liverpool Street, two stops from Bank and seven stops from Oxford Circus. Trains from Cambridge Heath and Bethnal Green railway stations take eight minutes and six minutes respectively to Liverpool Street. An annual travel card to Zone 1 costs £1,104.
Council: the local authority is Tower Hamlets (Labour controlled); Band D council tax for the 2011/2012 year is £1,195.34.


text:
Celebskart
Latest Photos for Celebrities, Bikini, Swimsuit, Awards & Events
Newfaces
Celebs A to Z
Home » Heidi Klum
American-German model
https://celebskart.com/heidi-klum
Copy Profile Link
Occupation:German-American model, television host, producer, and businesswoman
Born:1 June 1973 (47 years), Bergisch Gladbach, Germany
Height:5' 9"
Net Worth:$160 million
Spouse:Ric Pipino (m. 1997–2002), Seal (m. 2005–2014), Tom Kaulitz (m. 2019)
Children:Helene Boshoven Samuel (Daughter), Henry Günther Ademola Dashtu Samuel (Son), Lou Sulola Samuel (Daughter), Johan Riley Fyodor Taiwo Samuel (Son)
Siblings:Michael Klum (Brother)
Parents:Erna Klum (Mother), Günther Klum (Father)
Who is Heidi Klum?
Heidi Klum is a German-American model, television host, producer, and businesswoman. Heidi was born on 1 June 1973 in Bergisch Gladbach, Germany. Her nationality is a German and American and zodiac sign is Gemini. read more..
Heidi Klum's Family
Heidi married to Ric Pipino (m. 1997–2002), Seal (m. 2005–2014), Tom Kaulitz (m. 2019). She has children Helene Boshoven Samuel (Daughter), Henry Günther Ademola Dashtu Samuel (Son), Lou Sulola Samuel (Daughter), Johan Riley Fyodor Taiwo Samuel (Son). Heidi is a daughter of Erna Klum (Mother), Günther Klum (Father). She has siblings named Michael Klum (Brother).
Heidi Klum's Career
Heidi started her career in 1991 - Present. She is best known for first German model to become a Victoria's Secret Angel and her net worth is $160 million. hide..
Heidi Klum Instagram
Heidi Klum Out Apartment Hunting in Berlin 2020/10/22
American German Model Heidi Klum Out Shopping in Berlin 2020/10/24
Heidi Klum Out and About in Berlin 2020/10/25
American Music Awards Heidi Klum Tom Kaulitz
Heidi Klum and Tom Kaulitz attend 2019 American Music Awards at Microsoft Theater in Los Angeles 2019/11/24
American Music Awards Heidi Klum
Heidi Klum attends 2019 American Music Awards at Microsoft Theater in Los Angeles 2019/11/24
Halloween 2019 Heidi Klum
Heidi Klum poses Heidi Klum's 20th Annual Halloween Party in New York 2019/10/31
Heidi Klum attends Heidi Klum's 20th Annual Halloween Party in New York 2019/10/31
Heidi Klum in ripped jeans arrives at LAX Airport in Los Angeles 2019/06/17
Heidi Klum Out of a Los Angeles 2019/05/06
Heidi Klum Out Shopping in Beverly Hills 2019/05/01
© 2021	Celebskart

redpajama_set_name: RedPajamaCommonCrawl


text:
Video: A Few Minutes With... "Emily Owens, M.D." Co-Star Justin Hartley
By Jim Halterman (TFC)
The CW continues to roll out its new roster of returning and new series with "Emily Owens, M.D." premiering tonight after sophomore series, "Hart Of Dixie." Mamie Gummer stars as the titular character who juggles life as a first year intern at Denver Memorial Hospital with crushes, potential romances and rivalries with other interns, which gives the show a feeling of being akin to "Grey's Anatomy" with a touch of "Mean Girls."
During a recent Warner Brothers-sponsored trip to the Vancouver set of "Emily Owens, M.D." our Jim Halterman joined other reporters to talk to the cast about their characters, how high school never really ends and how quickly the "love-squared" romance between Emily (Gummer), Will (Justin Hartley), Michah (Michael Rady) and Emily's nemesis Cassandra (Aja Naomi King) will heat up while under the watchful eye of Dr. Gina Bendari (Necar Zadegan).
"Emily Owens, M.D." airs Tuesdays at 9:00/8:00c on The CW.
Also check out...
Video: A Few Minutes With... "Emily Owens, M.D." Co-Star Mamie Gummer
Video: A Few Minutes With... "Emily Owens, M.D." Co-Star Aja Naomi King
Video: A Few Minutes With... "Emily Owens, M.D." Co-Star Michael Rady
Video: A Few Minutes With... "Emily Owens, M.D." Co-Star Necar Zadegan
[october 2012]
· EMILY OWENS, MD (CW)
most recent video | view all posts
Video: IFC Drops a Brand Funk'n-New Trailer for "Sherman's Showcase"
Plus: preview a full scene from the new season featuring guest star Natasha Bedingfield and the resurgence of Owl City.
Video: "Sintonia" - Trailer - Netflix
Look for the streaming service's latest original on Friday, August 9.
Video: Trailer Debut - "The Great Hack" - Netflix - July 24
The documentary uncovers the dark world of data exploitation, offering astounding access to the personal journeys of key players in the explosive Cambridge Analytica/Facebook data scandal.
Video: Celebrate Motherhood - Watch the "Otherhood" Trailer Debut!
Angela Bassett, Patricia Arquette and Felicity Huffman star in the Netflix film, which premieres Friday, August 2.
Video: Trailer and Key Art Released for Award-Winning Hulu Documentary "Jawline"
The film premieres in select theaters and on Hulu Friday, August 23.
Video: Starz Releases First Footage of "Power" Season Six with Official Trailer Drop and Key Art Reveal
Created by Courtney A. Kemp, season six premieres Sunday, August 25 and culminates with the Final Betrayal played out across an extended 15-episode season.
Video: New Teaser Trailer for "Wu-Tang: An American Saga"
The first three episodes will premiere on Hulu Wednesday, September 4, with the remaining seven episodes streaming weekly.
Video: OWN Announces September 3 Season Premiere for Hit Megachurch Drama "Greenleaf" and Reveals Official Season Four Trailer
Last season, "Greenleaf" was Wednesday night's #1 original cable series for African-American women and total viewers and has averaged over 2 million viewers in each of its three seasons.
Video: AMC's "The Terror: Infamy" Releases Key Art and New Trailer
"The Terror: Infamy" centers on a series of bizarre deaths that haunt a Japanese American community, and a young man's journey to understand and combat the malevolent entity responsible.
Video: Netflix Trailer Debut - "Frankenstein's Monster's Monster, Frankenstein"
In this new mockumentary, join "Stranger Things" actor David Harbour as he uncovers lost footage from his father's televised stage play, Frankenstein's Monster's Monster, Frankenstein.
Video: Showtime(R) Debuts Trailer and Official Poster for the Final Season of "The Affair"
Season five will chronicle the aftermath of last season's horrific events and find the characters coming to terms with the consequences of their choices - as they make the realization that if they really want to change their futures, they must first face the past.
Video: Trailer Debut - "Comedians in Cars Getting Coffee" Returns to Netflix on July 19
This season's guests include Eddie Murphy, Seth Rogen, Ricky Gervais, Matthew Broderick, Jamie Foxx, Sebastian Maniscalco, Martin Short and more!
Video: "This Is Football" - Official Trailer - Prime Video
The series, due on August 2, unpacks the unique phenomenon that grips and unifies billions of people from every corner of the globe.
more video >>


10L/11QT Cooler Box is a wonderful High-performance Roto-molded Cooler keep ice for more than 1.5 days and features heavy-duty, seamless, one-piece construction that is virtually unbreakable and built to last.
It is very practical in everyday life,can be use for camping, catering service and fishing outdoor activity.
Logo Customized, silk screen, printing, label sticker, heat transfer etc.
Usage: Picnics, Camping, Hunting,BBQ,Exploration,travelling etc.
2.Durable: Having good impact resistance,It's not easy to break up when hit and health to use.
3.Seamless:Seamless is one of the most important consideration When you are choosing the Cooler Box. Excellent Seamless is the necessary condition for storaging food.
4.Inviroment Protected: Adopting the LLDPE material, non-toxic and tasteless, UV resistent and not easy to fade.
5.PE thckness: 2.5mm, High strength, good thoughness and long service life.
1.The portable Cooler Box has a strong nylon rope handle on both sides. It can also be easily moved by one person, and two people can carry the rope on both sides, respectively.
2.No power supply, with high heat insulation, constant temperature effect of the mobile thermal insulation box.
3.good impact resistance, not afraid of lost touch, and the long-term storage of ice.
4.Very extensive, can be used for vehicle Cooler Box, cold storage, refrigerated box, GSP pharmaceutical drug transport refrigeration box, reagent refrigeration, camping, hunting, fishing and other outdoor activities.
5.The bottom is equipped with rubber anti slip wheel, which is non-toxic, tasteless, UV resistant and easy to discolor. It is easy to clean and has good insulation effect. It can be used for life. Ice bags are placed in -20 C freezer for 24 hours to cool up.
6. According to the standard, the temperature in the refrigerator can be kept below 8 centigrade for more than 80 hours, and it can be applied to all kinds of medium and low temperature drug transportation.
1. High tech environmental protection materials, through food grade certification.
2. It is easy to clean.
3. The structure design of the cover protruding platform can prevent the dust accumulation surface and easy to clean.
5. The design of the compartment in the box is that the product can separate the different kinds of objects in the space.
6. The design of the unique rope holes on both sides of the box also makes the box more easily and firmly fixed on the car, avoiding the effects of the bump on the body in the transit.
If you need the samples, you will charge for the sample shipping cost, which can be refundable after order confirmation when your quantity of the order is more about the MOQ.


text:
The Master of Suspense: 50 Years of Hitchcock
TCM Programs
Daily Dose #12: Why Do You Care How I Feel? (Early Scene from Notorious)
#Notorious
#Hitchcock50
By Dr. Rich Edwards,
July 13, 2017 in The Master of Suspense: 50 Years of Hitchcock
BillieDawn
LocationBoulder, CO
I must confess, I love this film so much that it makes me feel jealous to see other people even talking about it!
1. Hitchcock touches.
-We see Alicia in a facedown one-eyed view. This is similar to Lombard in Mr& Mrs. Smith and Janet Leigh in psycho. That single eye is iconic. Could even be an echo of Norman looking through
the peephole. Reminds me of Magritte painting.
-Shadows on the wall are complex and echo the moral complexities the characters face.
-Alicia's blouse is a stripe which perfectly posits her as a "convict" (convict stripes) to Cary Grant's "copper" dapperness. (It's interesting to me that Bergman also wears a striped blouse in Casablanca, which in that movie, evokes a concentration camp uniform to me)
-Cary Grant is shown in shadow. His sleek suited silhouette evokes Olivier wearing his hat right before killing himself. Both images evoke Magritte for me. Hitchcock often inspired by surrealists.
-Obviously the full camera swivel of Cary Grant creates a fun house surreal moment which not only
works narratively for the moment but informs the dizzy, sickening feel of a hangover. Also tells us that we don't know if Cary is good or bad and perhaps he will change from one to the other.
-I love the use of a record player! So many of the early movies showed phonograph players and this is another and very different but effective use of one.
-The "drink" at the beginning is another use of foodstuffs for Hitchcock & perfectly foreshadows Alicia's future struggles-alcholism and then poisoning.
-Irony is seen in that Grant is the one telling her to drink when he later condemns her drinking and also puts her in a position where others will tell her to drink poison in the guise of curative.
-One of Hitchcock's themes is exploitation. Here we see Grant attempting to exploit Alicia's weak, depressed, hungover state in order to get her to do what he wants. He's completely vertical, sober, powerful, handsome and supplied with audio proof. She's hungover, her fake hair falls off, her clothes are a mess, she's cranky, etc.
-The erotic whiff is totally present. She says "there's only one thing you think I could be good for" As a viewer, I immediately think "prostitution?" but she clarifies "stool pigeon" which is a relief to me but a false one because in fact they mean to use her for a type of prostitution.
-Doorways! Cary Grant appears framed in a doorway and while they're listening to the record player they're both framed in the doorway because they are on the precipice of entering into a compact with each other. The doorway represents transformation.
-The rolling pan of the camera to show "realization or revelation" when Alicia is listening to herself.
2. I think I sort of answered this one in previous answer.
3. I think the scene totally conforms to and enhances their star personas!
Cary Grant.
-iconic for suits. He was notoriously exacting about them.
-iconic for tall dark and handsome. His framing in the doorway is almost a comic book level visual.
-iconic for coming from an acrobat background. The camera tilt might be a reference to Grant's
well known acrobatic skills. He does flips and somersaults in Holiday. Also Hitchcock ALWAYS
makes sure to show Grant walking completely across a room or down a hallway. IT's as though
he loves to showcase Grant's physical grace in his gait.
-I also think Hitchcock capitalized on Grant's poise and self containment and used it to create
moments of moral ambiguity for the audience. He's not an "open" presence, he's sleek and
mysterious as a cat. He might be good, he might be evil. Who knows? But he's gorgeous.
-I think the scene consciously references her work in Casablanca although I really have no idea if this film was made after or before. I already mentioned the striped shirt and I'd also like to mention the way Hitchcock shows her "listening" to herself on the record. That evokes her STELLAR scene in Casablanca where she's listening to Sam play "As Time Goes By"
-Ingrid Bergman is, I think, very earthy, natural, beauty. By showing her with her fake hairpiece torn off and no makeup is actually showing her to her best advantage. She looks best windblown, carefree and messy. This very earthiness helps you not to see her as cheap or slutty no matter what she does.
-Her passion is a great contrast to Grant's self containment. She can emote to a very strong degree and not seem overdone. AT the same time she can crush your soul just by staring and listening.
-This role perfectly exploits her "foreignness" and plays upon her Casablanca "fighting for good" role.
-I love the way she's forced to be dishonest and deceptive when her character is clearly shown to be very honest, open, impulsive. Grant's character would have been so much better at hiding his feelings and manipulating people.
Yay! What a great movie.
IraH
In this opening scene from Notorious, Hitchcock uses the close up of Ingrid Bergman, and the spiraling POV shot to convey the state of mind of her character. She is just waking, with a hangover, in the clothes she wore the night before. Cary Grant stands in shadow in the doorway as she wakes and as he emerges into the light and her view of him spirals, I like that the conversation flows to, "What is your angle?"
The difference in lighting and dress place Cary Grant's character Devlin as in control, while Ingrid Bergman's Alicia is at a disadvantage. Devlin is impeccably dressed in a dark suit and Alicia is a bit disheveled. When they are framed together by the doorway, the contrast is quite apparent.
I can't really say if this scene challenges their star personas. Cary Grant certainly is the has control of the scene, but Ingrid Bergman appears be a strong match for him, even while her character is vulnerable.
Knuckleheads Return
LocationKansas
What Hitchcock "touches" do you see in this early scene from the movie?
 As pointed out in the lecture, we see Hitchcock's use of very tight close-ups particularly of Ingrid Bergman in this scene. We also see his "crazy" use of the camera in giving the upside down shot of Cary Grant. We learned from Dr. Edwards that Hitchcock had used this technic in the British film Downhill. He also uses some POV shots as if we are looking through Alicia's eyes to include seeing upside down.
How does Hitchcock choose to light, frame, and photograph his two stars in this scene? What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography?
We see Hitchcock film the early shots of Cary Grant in less light almost in darkness with him wearing a dark business suit. We see Hitchcock film Ingrid Bergman in light with extreme close up shots and wearing the clothes she had worn the night before. The backgrounds in this scene are out of focus, again emphasizing that we as the audience should be focused on Grant, or on Bergman or both but shouldn't be concerned with the background set. We see Cary Grant as standing perpendicular in this scene and for most of it we see Bergman horizontal. Are we to view this as Grant being dominant and Bergman being vulnerable or subservient?
Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas?
As discussed in some of the class materials Ingrid Bergman was the most popular star in Hollywood in 1946. She never played a "bad" woman before so this casting by Hitchcock challenges her well-known star persona. Being a "party girl" with drunken hangovers is not her style. Cary Grant is viewed as the sophisticated gentlemen yet in this film he is he is cast has the "heartless" spy master. This is also against his usual persona. I am of the opinion that big stars enjoyed leaving their usual persona to work for Hitchcock and to in essence be challenged.
Note to viewers: Watch for Hitchcock's cameo in Notorious.  Hint: Party guest at the champagne table
noirkitty
The Hitchcock touch that I see is the camera movement that shows Bergman's view of Cary Grant as upside down and out of focus. The way he photographs Grant in shadow at the entrance to the bedroom and the closeup on Ingrid waking up with a hangover.
I think Hitchcock was contrasting Grant suave sophisticate persona with Ingrid Bergman party girl who had too much to drink and dressed in last evening outfit.
Grant comes of as usual sophisticated but on the dark side.
Ingrid Bergman is believable as a vulnerable girl who likes to party.
agebha2
What Hitchcock "touches" do you see in this early scene from the movie?
An immediate "touch" is the POV shot. When Ingrid Bergman looks up at Cary Grant, we see him at an angle, which is probably how she would have seen him, and then rotates as he comes closer to the room until he's upside down.
Another touch is the ordinary person being brought into extraordinary situations. Bergman seems like a typical society woman, but here is Grant bringing her an opportunity to help in a sort of spy scheme.
How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography?
When the audience first sees Cary Grant in the scene, it is on an angle, such that they can feel they too are looking up at him from the bed. By putting the audience in Ingrid Bergman's point of view, it draws them into the scene. He continues this by almost spinning the camera to follow Grant as he gets closer to the bed.
Another contrast that he makes is in the costumes of the two actors. Grant, a law-enforcement agent, wears a simple black suit and tie, while Bergman stuns, even just wearing a sparkly striped shirt/dress.
Also, whenever the two are standing near one another, the camera seems to tighten and focus entirely on them. It seems that all the room is just made of them.
For Grant, I feel like it conforms more towards his younger (so still at that time) star persona. He is bossy but caring, and his distance makes him sexy. He also plays a man with good intentions but is forced to put up a front in order to do his job. There is also the element of humor that, while not always obvious, is so subtly used in his dialogue. And we can't forget the sense of self-satisfaction each of his characters seems to find.
For Bergman, on the other hand, I feel like the persona is challenged a bit. As mentioned in the note, she typically plays the consummate lady, but real ladies don't get hangovers. She is also quite rude to Grant. However, there is the passion we often see in her characters in the recording Grant plays.
DrNickatNite
Close-ups zooming into the faces of the characters to provide an extra layer of information, using the "ordinary girl" who finds herself in an extraordinary situation, and the disorienting camera angles are all obvious Hitchcock touches.
Bergman's character is in emotional turmoil; disheveled and troubled as revealed in her "morning after" state – Devlin has it all together, as demonstrated by his professional demeanor, smart dress, cold and precise logic, and even prepared audio prompts.
This scene plays to the strengths and personas of Bergman as emotionally complex and deep, and Grant as suave and sophisticated.
ADSeattle
What Hitchcock "touches" do you see in this early scene from the movie? front and center a glass that has a glow to it. Like that famous glass of milk that Cary Grant had carried up the stairs in Suspicion
Ingrid Bergman is far from glamorous here. Her hairpiece has fallen out and her makeup is all smeared. The camera turns around, giving us Alicias' perspective. She is no cool blonde with the tight hair bun like HC films later on. There isn't the focus on the glamorous Grant, his voice is mainly off-screen. The focus is on Alicia and what a hot-mess she is. Towards the end, they are standing shoulder-to-shoulder, equals.
Both actors were well-cast here. She as an understated, naturally beautiful women with a foreign accent. He as a cool, suave, romantic man.
I have to disagree with a few points made in the lecture notes. Ingrid Bergman has played "a bad girl" before; in 1941's, "Dr Jekyll and Mr Hyde" with Spencer Tracy and Lana Turner. She played a barmaid/prostitute who is physically and emotionally tortured by Tracys' Mr. Hyde.
I also don't see Nortorious as a love story. Love is another McGuffin in the movie. 95% of the movie is Cary Grant treating Ingrid Bergman as a "party girl". The last scene, she whispers to him that the uranium is in the "Inez Mountains", completing her mission to the end. He does rescue her but up until that point he wasn't that conflicted about her prostituting herself for her adopted country.
ChrisSturhann
LocationSan Diego
The most obvious one is the subjective shot of Cary Grant as he approaches the bed. I can also see the Hitchcock touch in the way Ingrid Bergman is shot. She is hungover. I'm sure her brain is fuzzy, so she is obscured, by the blankets, by her mussed-up hair, and by the hangover remedy (glass) in front of her. She is upside-down almost falling off the bed. Cary Grant is upside down too, but that is from her perspective. Even when she starts to get up, she doesn't stay up long and has to lie back down. Another touch is giving you information about the characters visually. In bed, she looks down and realizes she is still dressed in the same clothes she had been wearing the night before.
When I took a Hitchcock class in college, the professor pointed out a chess motif in Notorious. I think it is significant. In chess, the most powerful piece is the only female, Queen, and the most important male piece in chess, the King, has virtually no power on its own. In Notorious, Ingrid Bergman as the Queen drives every aspect of the plot. Her counterpart on the opposing side, Leopoldine Konstantin, the only other important female character, drives much of the plot from the other side. Looking at this chess analogy in the Daily Dose, when we first see Cary Grant, he is shown in silhouette his arms folded not unlike a chess piece. Other chess imagery, the diamond shapes on the headboard similar to a chessboard when viewed from an angle. The shadows from the window and a glass-doored cabinet cast grid patterns, also reminiscent of a chessboard. There is a wall sconce that to me looks vaguely like a chess piece. On the closeup of the record player, one of the knobs looks like a pawn.
One of the most obvious motifs is color. Cary Grant is dressed in a black suit (probably navy blue, but comes off as black). Pinstripes were very big in men's suits at the time, but they chose to clothe Cary Grant in solid black. Ingrid Bergman is dressed in black and white stripes. Is she a good character or a bad one? In many respects, she has aspects of both. I think it's significant that the focus is on the characters, and the backgrounds are blurry. Hitchcock tends to favor a large depth of focus. He wants you to see what is in the background and what it reveals about the characters. Here he wants you to focus on the characters themselves. Through most of the scene, Ingrid Bergman is shown with her head at odd angles. We see Cary Grant at odd angles too, but this is from Ingrid Bergman's perspective.
Both stars come into the film with theirs personas intact, but I do think Notorious does challenge what they are known for. I have seen Notorious at least 20 times, but I hadn't seen it in a couple of years, before I rewatched it a week or so ago. I was very surprised how dark Cary Grant comes off. Cary Grant often has a bit of a dark edge to his persona, but normally it is a lovable scamp, a mischievous boy. That is part of his charm. In Notorious, there is a danger about him that is borderline unsettling.
For Ingrid Bergman, in other films, Casablanca, Gaslight, and others, I think of her as innocent and vulnerable but with a strength of will that comes out when she is pushed. In Notorious, she is definitely vulnerable, innocent, not so much. Though not a prostitute, she definitely sleeps around. This is not something we had seen from her before. The strength of will is there, but it come out from spite, when she is spurned by Cary Grant. It's an incredibly complicated performance. She's a drunk and a party girl, but she's also a patriot and a hero. She's a woman in love and the woman scorned all at the same time.
JazzGuyy
Grant, as in his earlier work for Hitchcock in Suspicion, is playing against type to a great extent. Grant was really most known at this point in his career as a comic and romantic lead. But in this film, while still suave and sophisticated, he is a darker, tougher character than the public usually expected him to play. There is not a hint of comedy here and rather than being debonair to a woman, he is playing tough with Bergman's character. He is asking (practically forcing) her to do things she doesn't want to do. The romantic Grant of many of his earlier films would have been more into sophisticated banter and romantic language. Here his dialogue is all no-nonsense and very direct. I think this is an example of Hitchcock deliberately choosing actors who would play against type for most if not all of the film.
jamesrspencer
LocationLong Beach
The opening scene is reminiscent of the screwball comedy Mr. and Mrs. Smtih though this is a suspense movie. We seem the similar disarray of the room, as well as the heroine in bed with a hangover hiding from Cary Grant's character. We have similar Hitch touches of the upside down shots and angles on Cary Grant entering the room. We have extreme close ups and props creating tension for the character. The bicarbonate or juice that Ingrid's character can barely get down. The focus on the drink is similar to the focus of the milk in the movie Suspicion. Ingrid is shot well lit maybe to show her fraility and vulnerability. Cary's in shadow to show his darkness. This sets up character development. The camera shots mimick how a drunk feels with a hangover. it is dizzy at ties. The costuming is brilliant Ingrid is in bed still her bold striped gown from the following evening. Strips suggest jail stripes... like she is trapped and confined in her own web. Devin is always in dark suits.. dark as his character with business aloof precision. Costuming is important in this movie. and also show signature styles of the established stars. Cary dark and debonair. Ingrid a softer blonde, natural, vulnerable wearing her heart on her sleeve so to speak.
Casting: Some of Hitch's best casting. Ingrid is so good at playing the melancholy undercurrent.. the WWII malaise but still with elegance and glamour and vulnerability. We see the same amazing vulnerability in Claude Rains performance. Cary is sexy, cool and debonair but calculated. Cary is good at creating ambiivalence. Cary was huge box office. and people root for him despite the fact he is cool and calculated .
I have to admit Notorious is one of the few Hitchcock's I have not seen all the way through. I will look forward to further examination.
I have personally always had mixed feelings about Ingrid Bergman. She has a vulnerable but European elegance.. She is brilliant actress but sometimes makes me feel protective. It is an amazing feat she creates. She doesn't have sex appeal of Janet or Grace or the glamour. To me she is not the typical Hitchcock Blonde. But Ingrid is the perfect casting for the 1940s war years. She holds the underlying fear the country was feeling as well as a desperation for love and acceptance, and a self sacrificing nature. Her characters to me seem though at times so vulnerable. It is like you want to say "Wake up.. you idiot you are being poisoned and put in danger... don't be a bird brain think for yourself... don't be manipulated.. She is "butterfly" crushed. Fascinating ...
I prefer Spellbound though. I love the more bizarre Dali esque effects and Rosza score. Notorious is great though too but really has the WWII stamp. like Casablanca. (Where I also find Ingrid's character in that so mousy and vulnerable.
judith46
LocationOhio
Ahh, Notorious! The Hitchcock touches I notice are: the entry of the male main character in back profile; the intimate disarray of the room, the malingering melancholy of Bergman, The POV shots on angles, and the extreme closeups.
Hitchcock accents the contrast between the two main characters by setting her in the decadent, upper class bungalow, while he seems more grounded and average in his appearance. She is dressed well but understated, while her character seems wild. He is a "regular guy" who has no time for frivolity, is contemptuous of it. The closeups emphasize these two different characters: she is just waking, non-committal, and vulnerable while he is stone-faced but focused The black and white is in very high contrast (I like). He uses the point of view shots to enter into her confused state.
The casting always seemed a bit off to me (though I adore both stars) because I just couldn't see Cary Grant as this hard-boiled, selfish character. yes, selfish, because he seems to feel sorry for himself more than her! I have seen him in other crusty rolls, but always with a touch of cynical humor. Ingrid seems right on target, with her blend of strength vs. panic. She was a terrific actor, plain and simple.
Incidently, anyone who has seen Sandra Bullock's THE NET may have noticed the homage to Notorious in the lead male character being named Devlin, and the way Sandra ties the kerchief around her waist.
Thanks for that chess imagery!
LocationGreater Boston area
1. What Hitchcock "touches" do you see in this early scene from the movie?
Here are the ones I noticed: the extreme close-up of Ingrid Bergman; the movement of the camera as it puts Cary Grant into odd angles in the frame, the shadows over Grant, the way Grant moves into the background to make his point with the record player.
2. How does Hitchcock choose to light, frame, and photograph his two stars in this scene? What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography?
Bergman is in full light and close up. Does this mean viewers can trust her more? Grant is in shadow, and he is tilted this way and that in the frame. Is he thus unreliable? He is the more stylish of the two in this scene, however. Bergman looks a bit frumpy, and it doesn't help when part of her hair extension drops off in her bed! Maybe viewers can't be sure who to trust. ("What's your angle"? "What angle?" I'm in an off-center shot in a Hitchcock film: That's my angle!) I especially like the shot of Grant moving into the frame, his back to the camera, and establishing himself next to Bergman, and the two of them reacting with eye movements and facial expressions only, to the recording they are listening to.
3. Based on this scene, reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas?
I don't know enough about Grant's and Berman's star personas, I suppose. And it's been so long since I have seen the entire film. I just know that both stars are riveting, and I expect to enjoy seeing Notorious again.
ESei
Such a complex film, morally and emotionally. The things we most prize--love on the personal and patriotic levels--are the things that twist and hurt the main characters in Notorious. Today's scene has many recognizable Hitchcock touches, but the level of pain has so much more power and depth. I don't think it could have happened with different actors.
Cary Grant is portrayed as a figure of darkness. We first see him in shadow and even as the light increases, he is revealed an wearing a starkly black suit. His slickly dark hair and his crisp, almost bullying manner of speaking underline what his name tells us--there is a touch of the devil in Devlin and yet he is the representative of the good guys.
We see this scene mostly from Ingrid Bergman's point of view as she lies in bed, disheveled and trying to deal with the light that is so unwelcome to someone with a hangover. She literally can't see straight as we see from the distorted image of Grant. Some of the shots resemble the opening shots of Carole Lombard in Mr. and Mrs. Smith, but where Lombard looks more like Ginger Rogers framed like a nymph in her satiny bower, Bergman looks terrible. We feel her pain. Her voice is slurred and she turns away from Grant who has invaded her private space. As the scene progresses, she gets to her feet and, as she listens to the recording of her conversation with her father, we see that her dress is both black and white, sporty and yet spangled. She is as beautiful as Grant in a softer more sensuous way, but these incredible beings are not, in the words of many midwestern grandmothers, "as beautiful inside as they are outside." They are morally soiled and things are going to get worse. Yet, their star personae tell us they belong together.
Grant has a tough and believably mean side that Hitchcock uses in Suspicion. He is seldom as cruel as he is in this film. In North by Northwest, he objects to the way Eva Marie Saint is being used by the U.S. government with no regard for her dignity or safety. Here he is willing to throw Bergman into a degrading situation. The question is what is going on beneath his frozen facade. As the film progresses, How much is it hurting him to hurt her? I still can't decide. Bergman's sensual lips and wounded eyes and rich voice seem to bring something to Hitchcock that he can't do on his own. There is a kind of depth and intensity that I don't see elsewhere in his films.
Claude Rains is not in this scene, but he is certainly the most evil character in terms of his Nazi connections. But no one really feels that he is evil. He is so completely in love. On a moral scale, the ability to love deeply may make his political choices even worse. I wonder what it says about me that I give him a pass even though I hate what he stands for. I see a connection to Vertigo in the way Hitchcock completely corrupts his viewers by making us complicit in behavior that we could not possibly approve of in the clarity of daylight outside the theater. Often when I read French critics, I think they are over-intellectualizing, but when it comes to Notorious, I am glad to have their insights. No simple answers!
ameliajc
What a great comment! I agree - Love as the MacGuffin hits the nail on the head in terms of Cary Grant's dark character and his willingness to use her feelings (of love, of patriotism). Black and white contrast so beautifully in this scene, Bergman's stripes looking very jail-bird (among other associations), the view of Grant in negative silhouette. Supposedly these questions of loyalty and love are also "black and white", but of course they're not. I think what makes Claude Rains such a humane villain is that you sense that his patriotism is equally natural and justifiable to himself, whereas you get the feeling that Grant / Devlin just likes playing the spy game.
Pjdamon
1. The Hitchcock touch is very evident in this scene, starting with Cary Grant standing in the light doorway. At that point you can't tell it's him and it give a dark impression of him. Once again the technique is used on the closeup of Ingrid Bergman. This is at least the third movie that I know of that this is used. The POV shots looking up at Grant as he moves about the room. Even though the recording is of Bergman and her father, it's similar to a person's thoughts in other movies.
2. The difference in lighting portrays Grant as a dark and possibly sinister character. The lighting with Bergman is much softer and not harsh. Even though she slept in her clothes, they were a bit formal for the morning. With her clothes wrinkled and her hair messy she gives the impression of being vulnerable. Grant is impeccably dressed in a dark suit and speaks with authority.
3. This scene and the movie fits their persona. Grant had become a serious actor by this time by playing in more dramas tha comedies. I've seen a lot of his movies from the 30s and 40s and you can see the growth. As always he comes of a sauve and debonair. Bergman in this movie reminds me of her role in Gaslight. In both roles she is elegant, somewhat worldly yet vulnerable.
brunafp
I love this scene, when I think in a Hitchcock's signature scene I always think in this one. The close-ups, the wonderful artistic work done through the POV shot, put all this together with the noir lighting and cinematography and great actors and you have this marvellous result. And I actually think their personas are being challenged here, for instance we have this big Hollywood star very drunk, putting aside this image of glamour and showing herself more human, and Cary Grant carries this dangerous air, appearing almost threatening, and he's an actor that usually played more light-hearted roles. I think all this would be unusual for big stars at that time.
moviequeen2
The shot that really sticks with me especially in the context of a noir film is when Bergman's character is looking at Grant's character but we see him from her point of view which is upside down and in shadow. That shot almost made me nauseous so I can imagine how Bergman's character was feeling since she is certainly hung-over.
barkerjuliea
What Hitchcock "touches" do you see in this early scene from the movie? Light and shadows, upside down shots.
How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? For a protagonist, Devlin certainly isn't sweetness and light. He's full of shadow, as shown in the opening shot of this scene. He's debonair, while Bergman is dressed somewhat patriotically in stripes...only she still has on her clothes from the night before. She's not the nature girl, but the party girl....shown as sullied.
Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas? Challenged, I'd say. We are not seeing the funny Cary Grant, nor the good girl Ingrid Bergman.
Heather Mary
Hitchcock is brilliant it is directing lighting and framing of these characters to show the initial vulnerability in Bergman and the superiority in Cary Grant. Besides the details in the camera shots, the details of course in her clothes her hair her this shoveled look after a night of drinking. And I am always Florida and moved by these two great actors. Ingrid Bergman in particular. I don't know if these two great actors conform to the scene in the movie. I just know they stand out. With acting and great looks… That they won't hurt. They bring this great story to life. And they are great together. Chemistry.
yelowros
LocationFlagstaff, AZ
The use of the camera and "literal" POV frames. How the camera shows us exactly what Alicia is looking at and from her angle. This is genius!
Hitchcock uses light to tell us how Alicia is feeling as she experiences her hangover and shadows Dev to keep him mysterious (and handsome). He frames and photographs each character in a way that subtlety describes their reluctant chemistry that is soon revealed once they reach Rio. The scene is slow, but gives us an idea of who each character is and what their purpose in the story is.
The pairing of Grant and Bergman is perfection. Their chemistry is genuine, but at time painful. His heartless approach to her and her pleasing way that leaves her in danger resonates on the screen. The scene actually challenges more than conforms each actor. Cary Grant in particular is well-known for his comedy, but in this film he is serious and hardly cracks a smile. Ingrid Bergman reveals more of her melancholy nature that can be seen in her later films.
This is my favorite film of all time and I'm excited to see it recognized. #TCM #Hitchcock50
"Dry your eyes, baby. It's out of character."
TonyCow
1.Hitchcock touches includes the close up on Alicia and the spinning POV shot of Devlin entering the room.
2..The Hitchcock touches seem to be the darkness or uncertainty surrounding the Devlin character and the light on the obviously hungover Alicia character. When Devlin, (name close to Devil) enters the room the camera spins him up side down to make us more confused as to what he is after.
3. I believe the main characters are challenging the personas of both Cary Grant and Ingrid Bergman. I always think of Cary Grant as the king of the screwball comedies and it is also hard to imagine Ilsa Lund with a hangover.
Moviemania
LocationLawrence, Kansas
1) The characters have an air of mystery. The scenario is quite open as it is being housed within one room. Alicia is a well developed character from the opening of this film. It was refreshing to have an opening of a Hitchcock film where it wasn't a crowd spectacle. Just like Mr. and Mrs. Smith the set was confined to one room, and the conflict is closed off to two different people. This was a nice change of pace as one character is inebriated and the other is a sober handsome man. No violence, golden curls, spectators, etc.
2) Hitchcock's use of light in this opening is truly remarkable. We get a sense of delirium from Alicia's angle. The turning over of Devlin with the camera angles making him wobbly and mysterious was truly amazing and inspiring to watch. Devlin is a very handsome man that cares about Alicia's drunken state. The scene was a slight slow burn and just between the interaction of Devlin and Alicia I am quite intrigued about the differences between the two characters: a party girl, and a handsome well dressed gentleman.
3) These roles are different for the respective actors. Cary Grant is apparently most well known for more comedic of roles and this is a rousing drama. While Ingrid Bergman is more well known as a good girl of sorts and in this she plays more of a bad girl/party goer.
sherry.johnson
What Hitchcock "touches" do you see in this early scene from the movie? The camera angle of Devlin. It made me feel a little queasy and light headed. The use of hazy lighting with Alicia and a little less hazy when the camera went to Devlin. The lighting is less hazy as the scene progresses and Alicia wakes up. The drink has an effervescent quality also. Devlin has "something on Alicia" and as the recording is played and the truth about her loving America and being upset with her father comes out - the two are in the shot together.
How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? The lighting for Alicia is hazy and as she wakes up it becomes clearer. The lighting on Devlin is less hazy and when they are in the same shot (when she stands up and brushes her hair) the lighting becomes clearer. I think Hitchcock is showing that Devlin is very serious and Alicia is a "party-girl." The way the scenes are done it reinforces Devlin is sober and Alicia is hungover.
Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas? Wow. This is a hard question for me because I find it difficult to sound knowledgable. I always view Cary Grant as being very elegant although in some movies he has a comedic touch. He is also light on his feet! Agile. In this movie he is very elegant and serious and in this scene he is true to his persona. Ingrid Bergman is usually very elegant and either scholarly or having knowledge (like an old-soul). She is waking up with a hangover so at first it is hard to really know the depth of the character. I think she does a convincing drunk and then hungover individual. (I find some actors don't always do a good drunk scene). Hitchcock quickly gives us proof that she is really much deeper than it appears but that she is - well not necessarily conflicted - but needing to drink to deal with life. Devlin is a much more serious character than some of Grant's other movies. It really hurts the way he treats Alicia. I thought about both of them - just tell the other character you love each other!
joant
LocationWoodstock NY
1 What Hitchcock "touches" do you see in this early scene from the movie?
The first "touch" i saw was the tight shot of Bergman and the lighting of the glass in front of her. What came to mind was the highlighted glass of milk in Suspicion (1941). There is the up-side-down shot, which he twisted round and round, from Downhill. I watched the movie again over the weekend and having just seen the silent film, the connection was blatant…Hitchcock reusing what he had learned early on. I have seen this movie dozens of times without having seen Downhill so it was something I've learned! The use of the record player, necessary here for the story not to show time passing. I have mentioned his closeups, camera angles, lighting but I have not stressed his use of editing and fades outs never let a scene or a closeup run a moment too long.
2 How does Hitchcock choose to light, frame, and photograph his two stars in this scene? What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography?
Hitch chooses to introduce Grant ominously, a dark anonymous figure. He remains stationary, which attracts Bergman to him (along with the fact she can see his face!). She is dressed in this scene in horizontal sequins suggesting she is imprisoned because of her relationship to her father. Her hair is gossamer. She is softness, angelic as she comes to from a night of heavy drinking. Grant, on the other hand is sturdy and stern. Tightly dressed in a suit not suitable for the tropics. He is shot and lit making his Devlin look like a man of power and importance. While Devlin (devil?) crosses Alicia's room (angel?), his shadow darkens her image for an instant; a sign of danger? (Much like the clouds cross the driveway to Manderley.) While she forces drunken giggles and tries to keep herself upright, Devlin is all business.
3 Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas?
Bergman is known as the heroine, the good woman, the innocent, trustworthy (who can forget her sacrifice in Casablanca?). But this role is very difficult for her as it would be for anyone. It is multidimensional. She had to portray a woman with a reputation as a party girl, women who are always cast as cheap, cold and nasty. Women like this are to be used and tossed aside. They are never to be brought home to meet mama. I mean this in terms of REAL LIFE (which is so unfair) and which movies are supposed to replicate. So to have someone carrying this kind of baggage portrayed with vulnerability and insecurity along with strength and fortitude was very unusual. And it makes me love Alicia so much more.
She's been cast as someone being gaslighted, someone who as Joan of Arc is burned alive, she's been a governess, a nun - and Mr. Hyde's victim. Along with her talent (she has won many awards including, three oscars and two emmys), her exquisite beauty has cameras falling in love with her. Within each role her soft vulnerability makes audiences care for her. As Alicia, Bergman does not challenge her persona, while at the same time, her public persona faced a very different challenge. She also faced that difficulty with dignity and grace.
As for Mr. Grant, he is cast time and time again as the smooth, suave, sophisticated leading man. Here he allows Deviln's self assurance to sidesaddle his sex appeal and reluctant determination. Grant's comic ability is locked away somewhere as Devlin, but his image remains safe.
They fit together like milk and honey.


Axé Martial Arts and Fitness | Get fit, have fun!
Established in 2011 near the Mississauga and Oakville border. Axé Martial Arts and Fitness is a hub for friends and families to train together and grow. Our vision is to create an environment where honing new skills and getting fit is a consequence of having fun.
We offer diverse programming for toddlers and kids as well advanced sparring and combat training for adults. Whether your a weekend warrior looking for a great workout, a martial arts fanatic that wants to train everyday or your looking to sign up your child to burn off some extra energy while learning something new, we have something for you.
Summer camp registration is here! Below you will find all the information regarding available dates, camp content, and fees. Program highlights: -Boxing and Capoeira -Strength and flexibility training -Acrobatics -Music -Advanced problem solving -Arts and crafts -Outdoor activities *weather permitting* -Swimming -Sushi Lunch on Friday at 168 sushi General info:Program runs from 9:00am-3:00pm 8:00am early drop-off and 5:00pm late pick-up is provided at no additional fee. Tuesday/Thursday kids are welcome to stay for the capoeira class at 5:30pm A large lunch with plenty of healthy snacks is recommendedNo previous experience or equipment is requiredParticipants are required to bring workout clothes and a bathing suit Ages 5+ Fees:Active member(s) – $200 + taxMultiple weeks – $200 + tax Single week – $230 + tax Sushi Lunch – $20 includes tax and tip Pool admission(s) included Field trips are not includedWeeks available: July 9th-13th July 16th-20th August 7th-10th (long weekend) August 13th-17th Registration: In order to register your child for camp, please provide us the week(s) you're interested in and complete the attached registration form (Waiver Registration AMAF 2018.docx.pdf), active members are not required to complete another registration form. For additional information regarding camps or to register please call us at 647-244-7570 or email us at axemartialarts@gmail.comWe are looking forward to another great summer!


SHANGHAI, Nov. 29 (SMM) - Zambia is considering imposing a 7.5% import tax on copper concentrate which will greatly hurt local smelters, wenhua.com reported.
Some Zambia's copper smelters have signed term contracts with Congo's copper concentrate suppliers based on fixed price. This means Congo's suppliers will not bear the increased cost. So, Zambia's smelters may bear higher import cost or default risk, Zambia Chamber of Mines President Talent Ng'andwe said.
Zambia is the second largest copper producing country in Africa with copper smelting capacity totaling 3.60 million tonne per year. Annual copper output is about 2.90 million tonnes. Local smelters import some 500,000 tonnes of copper concentrate from Congo each year.
Zambia's copper smelters are now suffering from power shortages.


Everyone has days when they feel like procrastinating. When it comes to achieving your goals or starting that personal business, procrastination can truly be your worst enemy.
Here are a few ways that can stop the procrastination and turn it into productivity. We hope that you will take these to heart and get busy achieving your goals and aspirations. After all, who is going to take care of you if you won't?
Most of the time when we say there is no time to do the things that we want to do, it is actually our faults. Think about it. You make the time for the things that you find most important. That date you want to go on, getting some delicious ice cream to enjoy on the beach; often when we aren't getting things done is because we would rather complain then admit to ourselves that these things are important or really not that important to us. If you want it, go get it! Make the time if it is important to you.
Okay, so you have decided that certain things are important to you after all but you still don't believe that you have the time. Set a schedule and see how much time you really have in a week. You might be surprised when you lay out the hours of the week on a spreadsheet, day planner, or scheduling app, just how much time you really have available. Don't just say you don't have the time for things. Put it on a paper or digitize your week and see what you really have to work with. We think that you might be surprised.
Getting up just an hour earlier or going to bed just one hour later gives you 7 more hours of productivity in a week. That's almost a full working day! Yes, we are including weekends there, and you don't have to do that but how much does one hour of your Saturday or Sunday really bother you? You have things to accomplish. A little sacrifice now can lead to more leisure time and more choices in your future!
Television is another time-eater. Many times you are just filling time and not even paying attention to the shows. Why not use on-demand type services so that you are only watching the shows that are really important to you? If this is still eating too much of your time, you might even consider taking a week off from those shows. After all, you can always focus on your goals and list the important ones at the end of the month when you have accomplished what you were planning. The shows will wait but your success depends on what you do now!
Get yourself a large calendar and mark important deadlines with a large red 'X' so that if you are putting things off, you will at least know exactly how long you have before you will need to stop procrastinating and start getting busy! You might also find when you lay out your goals with a 28-31 day view, you can fill more time with them than you had anticipated previously. Make your goals visible and they are easier to achieve.
We hope that you will use these tips in order to maximize your productivity and to help ensure that you are getting things done at the pace that your future plans require. Remember that having 'no time to work for myself' is the biggest lie you can tell yourself. Follow these steps and you will believe!


Our premade fans eyelash extensions will give you luxuriously full, feathery-soft, fluffy, and glamorous, but natural looking voluminous sets of eyelashes.All of our products are handmade by experienced works, and it have larger bond area so it can last longer. We also can customized your logo according to you thoughts. We guarantee you will fall in love instantly with our Premade fans eyelash.
We have established our company for more than ten years.What we have always cared about is Good quality ,reasonable offer, Considerate service.Emeda is dedicate to creating and supplying good eyelash extensions.
Pre-made fans eyelash extensions are stronger and lasts longer because of the larger bond area . The Fans are applied together giving a simultaneous bond between the lash extensions and natural lash of you .With proper care, Fluffy Lashes Pre-made fanned Volume Lashes will last longer than classic eyelash extensions.
Fluffy Lashes Pre-fanned Volume Lashes are feathery-soft and extremely lightweight. Our lashes will not irritate or damage the natural lashes of your clients. Pre-fanned Volume Lashes are fluffier, lighter, stronger, and softer to the touch than classic eyelash extension lashes. Fluffy Lashes Pre-fanned Volume Lashes are more flexible and places less strain on the natural lash.
Our company can also supply other eyelashes extensions products.Such as Silk eyelash extensions,Mink eyelash extensions,Natural eyelash extensions and so on.
Thanks for good services and hospitality.Hope for a love relationship.Best regards.
If worth during business with Emeda trading,They are very patient in listening to the customers request and can promised to satisfy the customers demands.Loving doing bussiness with Jenny and Alany.Hope my customers appreciate me just did for guys.Thank very happy to Emeda.


Multiple elements can drive success to your SEO efforts, the most notable of which is the site's content. For SEO to work and ultimately have your website on the top spot of search engines, you need to have the right content, and you can do this by applying the best SEO copywriting practices.
But First, What Do These Two Words Mean?
SEO is a discipline in digital marketing wherein websites are optimized for search engines, so they can rank well when a user searches a keyword related to your brand's products or services. One of the ways to optimize is through copywriting—specifically, SEO copywriting—or producing content that uses your keywords with the goal of driving quality traffic to your website.
However, it shouldn't be just any piece of content with the keyword. Over the years, Google has improved its algorithm to recognize authoritative content, or one that adequately answers a user's questions. Your audience should identify that your content is relevant to them—something that educated, entertained, or enlightened them, so much so that they end up sharing it on social media platforms.
The title is the first thing users will see on the search engine, as the results are on a list format. So, it only makes sense to include your keyword in the title as much as possible. This tip comes in handy when other pages link to your content. To have the title fully visible on the list and increase the chance of a click-through, keep the length to under 72 characters.
A great tip from Conversion XL that you can apply is to use titles with numbers as both the readers and Google prefer that.
The meta description serves as a short excerpt of your content in 165 characters or fewer (so it will also appear in full on the search results). You also want your keyword here. Succinctly summarize the content as an assurance to the reader that they are in the right place.
Perhaps the most critical element, the material you put out should be relevant to your business and have the targeted keyword included naturally. The ideal length for optimized content is a minimum of 300 words, with substantial information, of course. Also, make sure that it is also unique and frequently updated.
The number of times your targeted keywords are used on a single piece of content (keyword frequency) can affect your ranking. But the only way to know if you're already guilty of keyword stuffing is to check the keyword density, as well, or the ratio of keywords to the rest of the content.
These two terms are often mistaken for one another, but they do go together. Place your keyword density at no more than 5% to avoid getting penalized by Google.
Links are essential to gain the authority that Google wants from content. Your page must be sufficiently connected with other sites because it will indicate your in-depth knowledge of the topic. It also showcases your research and facilitates additional reading for users. Include links to other relevant material or pages near the beginning of the body as well as every 120 words or so, but for obvious reasons, don't overdo it. You should also include links to your site's internal pages and add relevant anchor text.
This means paying attention to your keyword and using it as the basis for the information you'd like to share to solve a particular problem. Knowing the classifications of the keywords is the first step to determining users' intent and if they will convert or not.
Informational: Keywords that are usually how-to's in nature and are searched for by the audience to find useful information without having to pay for it. Write informative content with these keywords, but don't expect them to convert perfectly. Instead, focus on nurturing and engaging with prospects to build your brand.
Commercial: These keywords show an intent to buy, sign-up, or any action that determines conversion likelihood. The content should then provide information that's more focused on the product or service as well as its benefits and features.
According to Kzero, good storytelling had a positive effect on the growth of digital companies like Facebook, Netflix, and Zappos. Weave your brand's story into blog posts, articles, or videos to attract more attention and have a maximum impact on the reader, and eventually improve your organic ranking, traffic, and sales.
Humor is another element to include to your story. It keeps the readers engaged and can help simplify an uncomfortable or controversial topic.
An exciting article is one that's written persuasively, making the reader check the headline and move down to the body. Focus on a single idea or topic and address it as you write your piece of content. Here are some ways to make your purpose clearer.
Find out the topic you want to write.
Use "you" when addressing individual customers and "we" if you're targeting organizations.
Take a data-driven approach by researching accurate and relevant data.
Use bullet points to not only highlight essential ideas but also to push readers into action. Start with 3 to 4 points that you want to cover.
Anything that is written for publishing needs to be edited first to avoid grammatical and spelling errors. Cut out anything that is insignificant and re-read everything again and again. Improve awkward sentences, vague phrasing, and muddled paragraphs. Check for readability as well, or make sure that sentences aren't too long.
After editing, you should also ask for feedback, so you get the perspective of a person or reader other than you (as the editor) or the writer. With outside comments, you'd be able to proofread the post and see if the message is appropriately communicated based on the feedback from the audience.
Add a call-to-action, preferably at the end of your write-up, to increase engagement and attract more traffic to your site. Be direct with your CTA—tell the readers what you want them to do. You can also do this by asking them some questions, as it will allow you to exchange information with them or to keep engaged.
One of the biggest mistakes content creators are guilty of in SEO copywriting is emphasizing on algorithms too much. But your organized, well-written, accurate, unique, and valuable content is not for spiders—Google even said that "the single most important thing" to do is to provide high-quality content so that you're also providing readers "the information they're looking for".
Keep in mind that although some of these best practices don't directly improve your rankings, they do increase time on page and reduce bounce rates, which are strong ranking factors for search engines. That's why it's so important to understand your target audience and build search-optimized content that will addresses their problems. If you can accomplish this, you'll see the positive effects it can have on your website and business as a whole in no time!
Which of these best practices have you applied to your own website? Let us know in the comments!


..is not like English gardening. Americans are in their element with Neat and do it beautifully. Neat, Spaced Out Symmetrically and Lots and Lots of Mulch.
Another difference - the phenomenon of the Vast Manicured Lawn. So many Americans around our way love to be surrounded by lawn, lawn and precious little else. They don't use it for anything - golf, croquet, keeping horses or whatever, just, presumably for gazing at and anally mowing from dawn till dusk, thus making weekends a living hell for those of us who love peace and quiet. The newer and more sophisticated the mowers (the rider kind, obviously) the louder the noise. It's like being surrounded by an army of maddened mutant hornets. There is a theory for this - that possessing an enormous lawn which one doesn't actually have to grow stuff on, is a sign of having arrived. The one-time colonists can imagine themselves Lords of the Manor back in the old country, a sort of nose-thumb at George lll and the Downton Abbey lot. Hubby has another theory, that it's a subconscious leftover from the days when one had to worry about attacks from marauding enemy, Indians or otherwise. It's good to keep a clear view of your surroundings.
Then, there's the, possibly contradictory, phenomenon of No Fences. No sign of where your land ends and next door's starts. I mentioned to a few people on the Walk that I couldn't be doing with that and got some polite but puzzled smiles.
Another Americanism - what we would call a garden is not a garden but a yard, which hardly does it justice. A garden is what we would call a vegetable patch or a herbaceous border - or just a flower bed.
Back to the Garden Walk and below is a natty way of growing herbs.
Altogether the Garden Walk was great fun and it being a small town, a way to meet a lot of old acquaintances - and some new.
And what's more, it was actually a sunny day.


We pride ourselves on the quality of the coffee which we serve at MammaLina and with this gift you can experience our coffee in your own home. This would make a perfect housewarming gift or a present for the coffee addict in your life!
Freshly ground "Camardo" coffee 250g Superior quality selected and roasted coffee beans. From a supplier in Molise who has been using organic rather than chemical roasting methods since 1951.
Traditional Italian Caffettiera - Traditional "Bialetti" design Italian Caffettiera as found in all Italian homes!