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Twitter restructures relationships with agencies and ad-tech partners
Stephanie Prager, head of global agency and platform solutions, tells Ad Age why the social platform is merging its agency and tech teams
By Garett Sloane. Published on July 31, 2019.
Stephanie Prager, head of global agency and platform solutions, Twitter.
Credit: Courtesy Twitter
Twitter is evolving its relationship with advertisers in a move that combines the social platform's two ad-industry-serving teams: the agency development team that maintains relations with Madison Avenue's top firms; and the platforms solutions department, which handles relationships with the marketing technology companies like 4C Insights, Amobee and SocialCodemarketing. Twitter announced the changes on Wednesday.
Stephanie Prager, formerly head of global agency development at Twitter, will oversee both teams under a new title, head of global agency and platform solutions.
The marketing technology companies work directly with agencies and brands to execute automated ad campaigns on platforms like Twitter, Facebook, Snapchat and Pinterest. They develop unique ad-buying technology that connects to the platforms through APIs—application programming interfaces—and they analyze data from the conversations on Twitter and apply that to targeting ads.
One executive at a marketing technology firm that works with Twitter says that the partners typically prefer a dedicated team, devoted solely to their issues, but it makes sense from an efficiency standpoint to combine the two. The executive spoke on condition of anonymity because of a close relationship with Twitter.
Twitter declined to say how many people work on the agency development and platforms teams, but there won't be any staff reductions, according to a Twitter spokeswoman. Nick Bennett will remain the head of platforms solutions and report to Prager, says the spokeswoman.
Last year, Prager rose to head of global agency development at Twitter from her previous role as leader of U.S. agency development. Twitter is coming off a hot second quarter, ending in June, when it generated $727 million in ad revenue, up 21 percent year over year. It grew to 139 million daily users, a year-over-year increase of 14 percent. The company said it streamlined its ad products in the past year, becoming more focused on "higher performing, better formats," said Ned Segal, Twitter's chief financial officer during an earnings call last week.
On Wednesday, Prager talked with AdAge about how the new structure helps the team unify a message to advertisers that was increasingly becoming entangled anyway. Here is what Prager had to say about what's changing and why:
What is changing?
What we decided to do, with how we go to market with agencies and how we go to market with the ads API team, was to bring these two teams together. It's a merger of teams.
The agencies and our API partners, called platform solutions, are two businesses that we are prioritizing. They are the engines that efficiently scale the business all around the world.
Why is now the right time to combine ads API and agency relations?
Look at what's happening with ad agencies' buying-data providers. The acquisitions ... IPG buying Acxiom, Publicis buying Epsilon, Dentsu Aegis Networks has Merkle ... they are putting data at the core of all they do. This is how we can respond, knowing it's a huge priority for them. The ads API has the potential to translate big data into smart executions on behalf of marketers.
You've led the global agency development team for a year and a half. What has been your strategy to get advertisers more invested in the platform?
One of the programs that we put into place is called Innovators—agency education events that are running globally. We don't really like creating things in a vacuum so agency relations is important, and anything we're bringing to market we do with them by our side. We want to have their input.
But a lot of Twitter rivals have educational sessions and meetings with agencies. What have you done differently?
What you typically see when doing events inside agencies, often the presentation is provided for a mass audience. With Innovators, we actually bring specialists. It's not one-size-fits-all across agency account teams. We have product showcases with specific agency accounts teams.
How does folding in marketing technology partners help?
The ads API team, given how data-driven they are, makes for much more compelling opportunities for agencies and brands. Advertisers can ingest that data so that planning and insights become much more dynamic in real time. So it's influencing how they can go to market.
Now, by pairing the two teams between agencies and the ads API team with expertise in campaign management and data insight extraction, it allows us to go back into agencies with the blueprint on how to launch products and connect with what's happening on Twitter.
With this move, Twitter gets to talk more about its data. It has a public stream of data. Is that an advantage at a time when rivals are having to rethink their own data, which can be considered more private, while Twitter is built to broadcast as widely as possible?
Twitter is a public platform, so that is unique. It's a strategic advantage. These conversations that happen on the platform are incredibly insightful. It's giving marketers cues on what consumers think about, what they talk about how they feel about things.


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By the terms of the new deal made, American businessmen and tourists traveling to China – and Chinese visitors of the U.S. - can apply for visas that will be valid for up ten years. Before the issuance of the new policy, business visa and tourist visas were for durations of six months and one year.
For American students who want to study in China and Chinese students who are going to schools in the U.S., visa duration is five years. This saves the students the trouble of renewing their visa on a yearly basis. During the valid period of a visa, a visitor can make multiple entries of a foreign country.
U.S. President Obama announced the visa agreement in Beijing, where he was to attend the APEC summit this year. The new policy goes into effect on November 12.
Statistics released by the China's National Tourism Administration show that in 2013 about one million Americans visited China. According to U.S. officials, in 2013 a total of 1.8 million Chinese visited the United States.
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Don't miss out on earning your credit and/or attendance; however, Attendance Recovery is available only for CR students on specific Saturday dates. Be sure to attend in room E-125, 8 a.m. to noon. You'll need to enter through the gym entrance. For date information, click here, or call 398-1383.
Don't miss out on meeting your student's teachers, finding out how to stay connected with them, and learn some course details at Brennan's annual Open House, Sept. 20, beginning at 6:30 p.m. in the auditorium. Please make sure to attend.
This letter is to inform you that there will be a service animal on our school campus. This service animal is trained to complete a task for a student assigned to your child's class. The student's right to have a service animal is protected under civil rights legislation and the Americans with Disabilities Act. To read more, please click here.
Assistant Principals Jacob Salinas, Michelle Craig, Academic Dean Margaret Greff, Principal John Trimble, Vice Principal Robert Martinez, Assistant Principals Eric Franco and Regina Prewitt-Campbell look forward to another successful year and to welcoming back all the Brennan Bears.
To download the Off-Campus Lunch application, click here. For the 2017-2018 Student Parking application, click here.
Pep Squad is the first step in becoming a member of the Golden Pride Spirit Organization at Brennan where you are eligible to tryout for Dance, Drill, or Cheer. Pep Squad helps students network in a positive group. For more information, click here.
Make plans to attend Prep Days Aug. 15-16 for freshmen, sophomores, juniors, and seniors, to get your schedule, parking permits, off-campus stickers, clubs' information and much more. For more information, click here.
Only two defeats in a record-setting season kept the Lady Bears from a state championship. Zero defeats would have been better.
Yes, Brennan softball has made a mark, announced they are here and will once more make a state run in the upcoming year – because their historic season, first time to reach this far into the playoff season, was achieved with a squad of 14 underclasswomen, mostly sophomores and juniors. Click to read more.
Make plans to attend Brennan Cub Camp, for incoming freshmen, and Brennan Bear Camp for new sophomores, juniors, and seniors, to learn what makes our campus great. For more information, click here.
Paw Print staff completed the senior issue featuring cover art by Katlin Foster, a letter from the editor-in-chief and articles on the Lady Bears Varsity Volleyball team season ending,the 2017 Homecoming, Fall Dates, the 2017 Leadership Conference, a Congressional Service Award, a new librarian with big plans, Bear FantasticNews shorts, and a Glance Around Campus photos. To view the November 2017 issue, click here.


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text:
Home World News US News French officer who swapped places with a hostage in terror attack dies
French officer who swapped places with a hostage in terror attack dies
French gendarmes block the access to Trebes, where a man took hostages at a supermarket on March 23, 2018 in Trebes, southwest France. At least two people were killed after a gunman claiming allegiance to the Islamic State group opened fire and took hostages at a supermarket in southwest France. / AFP PHOTO / ERIC CABANIS (Photo credit should read ERIC CABANIS/AFP/Getty Images)
He 'gave his life for the freedom of the hostages'
Illustrious career as officer
How the rampage unfolded
Two others detained
Macron: 'We've paid the price'
A police officer who swapped places with a female hostage during an attack by an ISIS supporter on a supermarket in southern France has died of his wounds, French authorities said.
Lt. Col. Arnaud Beltrame, 45, was shot in the neck Friday after offering to take the place of a woman during a gunman's assault on the Super U supermarket in Trèbes.
Police found two unexploded homemade bombs, a 7.65 mm pistol and a hunting knife when they searched the market after the attack, a French judicial source told CNN.
Lt. Col. Arnaud Beltrame, here in 2013, was hailed as a hero by authorities.
The attacker, Radouane Lakdim, 26, a Moroccan-born French national, was a petty criminal already on the radar of French police for his links to radical Salafist networks, authorities said.
When he burst into the supermarket Friday, he shouted he was a soldier from ISIS, witnesses said, before opening fire and killing a worker and a customer. He was shot dead by police on the scene.
"Lt. Col. Arnaud Beltrame died in the service of the nation to which he had already contributed so much," French President Emmanuel Macron said in a statement. "By giving his life to end the murderous escapade of a jihadist terrorist, he died a hero."
Interior Minister Gérard Collomb announced the officer's death Saturday, which raised the number of victims in the gunman's rampage to four.
The attacker killed two other people and wounded more than a dozen others in the supermarket raid. Before then, he had killed another person Friday while stealing a car.
"France will never forget his heroism, his bravery, his sacrifice," Collomb said on Twitter.
As Friday's attack was underway, Beltrame offered to exchange himself for one of the female hostages held inside the Super U supermarket, Collomb said. He was shot while entering the market.
Beltrame had left his phone on so police could hear his interactions with the gunman, Collomb said.
As soon as they heard gunfire, police went in and killed the gunman.
Police respond to the hostage situation Friday in the southern French town of Trèbes.
Beltrame died Friday night, police said.
"I bow to the courage, the sense of sacrifice and the exemplary nature of this officer who gave his life for the freedom of the hostages," the French National Police said on Twitter.
Married with no children, Beltrame had served in the French military police and received a number of awards for bravery.
He served in Iraq in 2005, and was given an award for bravery in 2007, Macron said. For four years, he was a commander in the Republican Guard, which provides security at the Élysée Palace, home of the French president.
In 2012, he was knighted in France's prestigious Legion of Honor. Beltrame also was secretary-general in the Ecology Ministry for four years.
Last year Beltrame was appointed deputy commander of the anti-terror police in the Aude region.
According to the newspaper La Dépêche du Midi, Beltrame led a simulated terror attack in December on a supermarket for training purposes, similar to the one Friday in which he lost his life.
"His leadership skills, his willingness, his unfailing commitment were appreciated by everyone, especially in the development of counterterrorism capacity in the Aude police force," Macron said.
Before the supermarket, the gunman stole a car, killing one person in the vehicle and wounding another, the interior minister said.
The gunman then shot at four National Police officers who were jogging in Carcassonne. The driver tried to run the officers down. One of them was wounded, but he was not in serious condition.
French police block access to Trèbes as they respond to the hostage situation Friday.
"People were absolutely calm before and never thought that there could be an attack in a town like this," Collomb told reporters, adding that the risk of terrorism in France remained "very high."
On Friday, police detained a woman who was "very close" to the gunman Lakdim and "shared his life," prosecutor François Molins said.
A second person was arrested Saturday, the Paris prosecutor's office told CNN. The unidentified male, born in 2000, was described as a friend of Lakdim's.
More than 230 people have died in a series of Islamist-inspired terror attacks in France over the past three years, including 17 in a mass shooting at the satirical magazine Charlie Hebdo in Paris in January 2015 and 130 in the Paris attacks the following November. In 2016, 86 people died in Nice when a truck rammed into crowds during Bastille Day celebrations. There have also been a string of "lone wolf" ISIS-inspired attacks, including the killings of a priest and rabbi.
France remained under a state of emergency for about two years after the Paris attacks. It was lifted late last year.
"Our country has suffered an Islamist terrorist attack," Macron told reporters Friday. "We've paid the price of the danger of the terrorist threat in blood for several years."
Macron said the investigation will answer several questions — when and how the gunman was radicalized, and where he got a weapon.
The ISIS-affiliated Amaq News Agency described the gunman Friday as a "soldier" of the militant group but offered no evidence ISIS had any contact with him.
"This attack has been claimed by ISIS, and it is currently being analyzed," Macron said.
President Donald Trump condemned the French attack in a tweet Saturday. "Our thoughts and prayers are with the victims of the horrible attack in France yesterday, and we grieve the nation's loss," the US leader said.
attack dies
French officer who
in terror
swapped places
with a hostage
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ISLAMABAD - A high-level meeting of National Database and Registration Authority was held in Islamabad today (Friday) presided over by its Chairman Usman Mobeen.
The meeting took decisions regarding on time printing of National Identity Cards and their delivery before 25th July, to continue printing process 24 hours a day and opening of all NADRA offices across the country.
The offices will remain open on Saturday and Sunday and even on Election Day till 2 p.m.
The meeting decided to print all ID Cards including those of normal category on urgent basis in view of the upcoming elections on 25th July.
All applications for new ID Cards received before 16th of this month are being processed expeditiously, whereas, NADRA is not confiscating the old ID Cards of the applicants since July 16.
All expired ID cards are also eligible for voting.
The Authority has directed Courier Company concerned to ensure the dispatch of ID cards on weekends too.


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Naturally, when times are tough, failure to get capital to pay everyday operating expenses frequently becomes a source of concern, stress and anxiety and distraction for small business owners.
Unfortunately, most of huge city and village conventional lenders have rigid and stringent requirements that their customers must satisfy.
Businesses have a separate credit ranking from business owner. Even if the business owner has a high credit history, the business may not have a recognized credit report (especially if freshly established). For that reason, potential loan providers have to offer solutions with that take business owner's personal credit into factor to consider and that accepts candidates with less than ideal credit.
Usually, traditional lending institutions only service businesses doing 20k or more in monthly profits. This disqualifies smaller sized organisations doing 10k-15k in month-to-month income.


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If you're on vSphere Essentials, where no backup product is present, I would suggest going with Veeam Backup and Replication, or if you're really small shop than you can also try Trilead VM Explorer, which is very easy and simple to use. Both products also supports latest Hyper-V, and both products provides replication capability as well.
01. Do a reboot of the VMware VDP appliance VM.
02. When the appliance starts to boot, stop the grub.
03. Choose e for edit. You'll be able to enter some text.
You're prompted for new root password.
07. After reboot, you can change back to your desired password by entering this command :change-passwords.
VMware vSphere Data Protection is included when you purchase vSphere Essentials Plus and higher.
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Thanks for the kind words, Derek. I'm excited to continue working together to achieve your overall vision for your fantastic home.
Liz has helped us through the entire life cycle of home ownership: getting our house ready to be listed for sale (declutter and organize), the getting ready to leave your sold house (packing up and labeling, and making the hard decisions to keep, sell, donate, or trash), and the set-up of the new place.
Liz has been fantastic and saved us countless hours of work with her efficient, methodical, and flexible work ethic.
Beehive Organizing is our first call for any changes we are trying to accomplish in our home that doesn't involve the trades.
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thanks, Lia. It was a great experience working with you and your family. I'm glad I could inspire action to keep your space tidy!
Liz managed to help me reduce my 'stuff' so that I could relinquish 2 of my storage units I now no longer need! She works very fast (unless you need her to slow down) and gets a lot done in a short amount of time. Why didn't I do this sooner...is my only other thought!
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Moving is so stressful and it's no better when all you can do is go around in circles in your own house.. moving nothing into a packing box. Liz was a saviour. She pointed me in the right direction, gave me some great packing tips and packed the entire kitchen while I was busy fussing with old photos. She is focused, professional and a real pro. Her tips are worth it alone but she does the hard work too, like move boxes and unwieldy shaped furniture. She was a great partner for the move.
Packing, when done properly makes a huge difference and saves a lot of time when arriving in your new home to unpack. I'm glad I was able to support your moving process!
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Thanks Julia. It's always a pleasure working with you!
Working with Liz was a pleasure from start to finish.
I was fortunate to have Liz help me with several moves. The dedication and enthusiasm she brings to her craft turn what many see as a dreaded chore into an enjoyable activity. With her help and guidance, gleaned from years of experience moving is actually fun making many tasks that could take a family or individual mover months to complete minutes .
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We have been working with Liz for about two weeks now and I have nothing but complements for her work. She helped us move and organize our office at the same time. We had to move the office to a much smaller space so we can free the room for our soon to come baby. She also developed a system so that we can keep it organized. I like that she care about creating systems that can be maintained. She also is very cognizant of being productive and using time well. Sometimes we will be done with a project five minutes early, but she will not leave early. Instead she will go get started on the next project so that she is being productive until the last minute. She even stays a few minutes extra.
She also organized our shed and we couldn't believe the results. I used to think we needed more space than the shed could provide but now we realized we actually have a lot of extra space. I feel she is very easy to talk to. I feel very comfortable giving her direction or asking her to do things differently. She listens well. Sometimes I convince her and sometimes she convinces me. I find that for the most part she requires very little supervision.
Also I like that she is not pushy yet she has a gentle way of presenting me with an alternative way of looking at the problem. We are doing the garage now and we will be using her to do the closets and the rest of our home in the next few weeks.
Sarah, I've learned so much from your way of doing things and am glad that in turn I've been able to help guide the process of creating spaces that function well for you and your family.
Beehive Organizing has not added any photos.
Beehive Organizing offers residential and commercial professional organizing services, move-management, office organizing and occupied home staging services in Toronto the GTA.


A complete reconstruction of the Vista Hotel was completed in 2010 and it is, at present, a business economy hotel. The Hotel offers 55 apartments with above-standard furnishing and 65 3-star double bedrooms. The Hotel has a very good location, only 10 minutes from the city centre in the Brno?Medlanky area. Easy connection to the motorway system in the direction of Svitavy, and access to the BVV Fairgrounds is also good, only about 15 minutes.


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Delilah Dirk and the Pillars of Hercules
by Tony Cliff
First Second, $17.99, 256pp
Published: August 2018
It's been a couple of years since I read the last Delilah Dirk graphic novel by Tony Cliff, but it was a lot of fun: an old school adventure romp with a dynamic female lead without any tolerance for the sexist mores of the day and an engaging sidekick in the Turkish lieutenant of the first book, Erdemoglu Selim. That book, 'Delilah Dirk and the King's Shilling' was the second in the series and this is the third, which is even truer to its obvious influences than previous volumes.
The primary influence is surely Indiana Jones, because this is archaeology as adventure, very much in the pulp mould without any of the finesse that has gradually entered the science over the last century or two. Of course, there are some overt differences, not least that this is set in 1812 and our lead is female, but the tone feels right. This has all the exotic locations, physical danger and magnificent discoveries that we know and love from Indy, with a similar dab of humour to keep things lively and a hefty dose of cliffhangers to keep us all wide-eyed.
The background story here revolves around a search for the Third Pillar of Hercules, a mythical lost city which is prominently mentioned in the tomb which Delilah and Selim explore in Turkey. They're not alone this time, as a Dutch journalist by the name of Laurens van Hassel, who sparked the journey to begin with, joins them on it. It has to be said that he's a mysterious sort, but we can't be sure what kind of trouble he is. Is he just going to be an ongoing embarrassment to Delilah by documenting her adventures in detail and sending them off for publication in the 'Weekly Observer'? Or is there something else going on? Sometimes just asking a question answers it too.
I liked this dynamic, as van Hassel brings mystery to the book far beyond the object that they're seeking. He has character too, being an older gentleman who's nonetheless still able to keep up with his younger cohorts, though I have to add that he's far from the loyal companion that Selim is. The only other character of any worth is Jason Merrick, Delilah's nemesis, who shows back up here and dances through the book with suitably villainous flair.
The story is a bundle of fun, more so than the last book, because this one has more coherence and consistency. That one focused more on Delilah's background to build her character; Cliff saw little need to continue that in this book, so there's more room for action. They traipse around the Mediterranean, from site to site, racking up the miles. Today they're in Turkey, tomorrow Algeria and wherever the path leads them by the weekend. Each of these sites follows the Indiana Jones model: an ancient monument of some description which has remained in place over the centuries to impart the right clue to our heroes at the right time to move them onto the next stage. Where they end up is suitably epic, though I won't spoil it. Suffice it to say that this particular mythical lost city isn't only a mythical lost city and the final act is glorious.
As with the last book, with its weaker story, the art is impossible to ignore. I realise that art is important in any graphic novel, but many tell stories with art backing it up, whereas the art in 'Delilah Dirk' is just as prominent as the story and sometimes more so. I wish this had been published in a larger format than it was because, after reading the thing, I'd like to flick back through and enjoy the artwork on its own merits, but it's often too small to appreciate properly. It sometimes feels like watching a particularly visual movie on a laptop instead of a big screen TV and that's a rare instance of me complaining about an editorial choice by First Second.
The flaw more applicable to the creator is his habit of adding enhancements to action panels. This is sometimes cute but more often distracting. I can see that this is a punch and that's a hug and that's a leap, or that this man is puzzled and that woman is shocked. I really don't need any enhancements in the form of punctuation or sound effects to accompany the action like a redundant commentator. Cliff is incredibly good at drawing action but he doesn't always seem to trust in his artwork and I don't get that.
There's a magnificent double page spread about halfway through the book that serves as a great example: Selim sights Merrick escaping from their rooms and he and Delilah battle the snakes that he left for them. It's comprised of twelve panels, which contain two words of dialogue and six instances of this sort of enhanced commentary. The artwork is exquisite here and the entire spread really only needed one word of dialogue to get its point across, a shout from Selim of 'Merrick!' to serve as a warning. Everything else is pointless and, to my mind, damages the impact this magnificent art has. I don't need the 'wap' and the 'clunf' and the 'shlunk'. I don't even need hissing from the snakes.
With that exception, which is annoying but not an impediment, most of the praise goes to Tony Cliff, who once again wrote and illustrated the entire book himself. However, I should give a shout out to the other artists who assisted with some of the colouring, because colour is a huge plus on the 'Delilah Dirk' books. It's so pervasive that sections feel like they've been coded, in the way that silent movies often tinted sections different colours to obtain different effects. It isn't as simple as the desert scenes being yellow and the sea scenes being blue. There is much effect imparted by the fantastic use of colour here and it's lush.
If you've ever wanted to see a period action hero leap into the fray in the form of a tempestuous lady in layers of skirts, Delilah Dirk ought to be top of your shopping list. She's very much her own woman at a time when that wasn't deemed appropriate and she really doesn't care. I like that and I'm already looking forward to book four! ~~ Hal C F Astell
For more titles by Tony Cliff click here


text:
<?php

namespace app\modules\aux_planejamento\models\solicitacoes;

use Yii;

/**
 * This is the model class for table "materialcopias_justificativas".
 *
 * @property integer $id
 * @property string $descricao
 * @property string $usuario
 * @property integer $id_materialcopias
 *
 * @property MaterialcopiasMatc $idMaterialcopias
 */
class MaterialCopiasJustificativas extends \yii\db\ActiveRecord
{
    /**
     * @inheritdoc
     */
    public static function tableName()
    {
        return 'materialcopias_justificativas';
    }

    /**
     * @return \yii\db\Connection the database connection used by this AR class.
     */
    public static function getDb()
    {
        return Yii::$app->get('db_apl');
    }

    /**
     * @inheritdoc
     */
    public function rules()
    {
        return [
            [['descricao', 'usuario', 'id_materialcopias'], 'required'],
            [['data'], 'safe'],
            [['id_materialcopias'], 'integer'],
            [['descricao', 'usuario'], 'string', 'max' => 100],
            [['id_materialcopias'], 'exist', 'skipOnError' => true, 'targetClass' => MaterialCopias::className(), 'targetAttribute' => ['id_materialcopias' => 'matc_id']],
        ];
    }

    /**
     * @inheritdoc
     */
    public function attributeLabels()
    {
        return [
            'id' => 'ID',
            'descricao' => 'Descrição',
            'usuario' => 'Usuário',
            'data' => 'Data',
            'id_materialcopias' => 'Código da Solicitação',
        ];
    }

    /**
     * @return \yii\db\ActiveQuery
     */
    public function getMaterialcopias()
    {
        return $this->hasOne(Materialcopias::className(), ['matc_id' => 'id_materialcopias']);
    }
}

redpajama_set_name: RedPajamaGithub


Olive Guest House – Hospitality is the watch word.
Olive guest house is situated in the heart of town. It is located in a highly reserved area of the city with high security and well equipped with current and classic amenities. There are a lot of site seeing places around to go for fun.
We provide you a very serene and relaxing environment. Our passionate front desk team is ever ready to give you that special warm welcome. Our rooms are contemporarily decorated to suit your taste. Relaxing chairs are provided for your relaxation and time away from your usual environment.
We serve complimentary breakfast to our registered customers.
We are committed to ensure that our guests enjoy their stay in good health. Our housekeeping team is constantly on ground to give you that fresh and clean environment for your comfort.
Our poolside is perfectly designed to entertain our guests, allow them to hangout, relax and vibe to some beautiful music.
We provide you with quality services and facilities to make your stay pleasant and comfortable. As our guest, you can be sure that your pleasure and enjoyment is guaranteed throughout your stay.


Old house and land is situated from 500m from Panadura-Rathnarupra High way. 3.5 Km to Bandaragama town. Proposed Matara-Colombo High way is on 100m away. Valuable trees are there. Very peaceful and good area for the residence. 20 feet wide road. One owner and clear title.


text:
Fishing for our freedom
Posted Thursday, July 4, 2019 10:21 pm
By Bill Howard Special to the Times
As we celebrate Independence Day weekend, it may be a good time to discuss a few ways in which our country survived due to the outdoorsmanship of our founding fathers and early settlers.
Without this ability, our United States would not have made it through the early wars with England, or on its own afterwards.
Most of us will remember from history class the episode of Valley Forge, in which our first President, George Washington, commandeered his army and was on the verge of death.
It was a brutal winter, so much so that outside help was not possible, and food became scarce. Washington had warned that without obtaining rations, his men were soon going to starve, disperse or dissolve.
The outlook was very bleak. The winter took its toll, killing nearly 1,500 horses that would be used to navigate the supply trails. Without the supplies, nearly 2,000 soldiers perished from disease, which many historians attribute to malnutrition which caused the soldiers to be in a weakened state. Approximately one-fifth of Washington's winter settlement died.
Then, further east, an unexpected "false spring" occurred, with several weeks of nicer weather. This false spring caused an early spawning of hickory and American shad. For those unfamiliar with the shad spawn, the fish leave the coastal waters and swim upstream amongst rivers as far as they can in order to lay eggs.
Valley Forge is set along Valley Creek and Schuylkill River. The early spawn caused an overflow of the shad on the main rivers, in which the fish began to seek opportunities amongst tributaries and branches from the main. The Schuylkill River was one of those branches.
Where the Schuylkill borders Valley Forge, the river is only about knee deep. As the fish gathered there, it became easy to catch and the soldiers were able to take thousands of pounds of the fish, even salting the excess down for the coming months.
Without the early shad run during the false spring, Washington's army would have likely disbanded or perished and Philadelphia would have been lost to the Brits for good.
After the end of the Revolutionary War, America still needed to find a stage amongst the world. The United States was far from the civilized world at the time, and imports were expensive, and exports were not as in demand due to the cost of shipping across the Atlantic.
While many of our founding fathers were merchants, one particular resource from America resonated with Europe. The fur trade had officially begun, and the U.S. had plenty of in-demand furs. America had officially found the need of world trade.
By having a resource that the rest of the world wanted, trade became more affordable. As ships brought in imports from Europe, they could now return with full exports from America, cheapening the costs of shipping for both parties, thereby reducing the overall costs and making both more affordable and more in demand.
The fur trade could be argued as one of the key experiments of an open economy that set the United States on its path of becoming a world leader. The influx of foreign money from the fur demand bought the United States its early station upon the world stage, allowing the country to survive and prosper.
Our independence was more than just a battle for sovereignty from England. It relied heavily upon so many other factors as well.
Bill Howard is an avid bowhunter and outdoorsman. He teaches hunter education (IHEA) and bowhunter education (IBEP) in North Carolina. He is a member of North Carolina Bowhunters Association and Pope & Young, and is an official measurer for both.


FOR IMMEDIATE RELEASE: Baton Rouge, LA (February 28, 2018) – The Louisiana Association of Business and Industry (LABI) today announced it has hired political communications consultant Marie DesOrmeaux Centanni as Director of Public Affairs.
Hiring Centanni is the latest move in a series of changes at LABI designed to put free enterprise in the best position with an eye towards the 2019 election cycle. She will coordinate with Political Director John Diez in cultivating candidates and growing capacity for LABI's Political Action Committees, and sharpening the organization's general communication.
Centanni is a former journalist who has run a political communications consulting company for the past nine years, working with elected officials, economic development groups, nonprofits, corporations and candidates for public office. She previously served as Communications Director for Governor Kathleen Blanco, and covered the Capitol for WAFB-TV in Baton Rouge.
Centanni began her career in 2000 at KLFY TV in Lafayette, where she worked as general assignments reporter and weekend anchor. She moved to Washington, DC to pursue a Master's Degree in Legislative Affairs at George Washington's Graduate School of Political Management, and during that time served as Communications Director to Arkansas Congressman Mike Ross and the USA Rice Federation. She returned to Louisiana in 2004 and worked at WAFB, joining the Blanco administration in the aftermath of Hurricanes Katrina and Rita. In 2009, she founded Centanni Communications, helping clients like the Council for A Better Louisiana, The Chamber SWLA, One Acadiana, the Louisiana Industrial Development Executives Association and others achieve their goals through targeted messaging and legislative strategy.


Looks like now that every other day movie studios and rental services such as Netflix, Redbox, and others are fighting over content rights, or making new agreements, etc. Add this to the list if you will. Disney has Redbox and Netflix in its sights, wanting to make a 28 day delay agreement with the two to provide content. Despite the studio saying that the studio hasn't seen an impact in overall DVD sales, CEO Bob Iger pointed to a 16 percent drop in quarterly revenue compared to 2010 as the motivation.


It can be both, but chłopiec is used more as a diminutive from boy, more for small kids let's say, and chłopak is more used to refer a more grown boy, also as a bf, but my gf rarely use it as a -boyfriend-. Polish crew correct me if I'm wrong.
It's not exactly the diminutive form, it would be: chłopiec -> chłopczyk and chłopak -> chłopaczek. But in general it's used as you've described.
And yes, chłopak is also usually used as boyfriend (and dziewczyna as girlfriend), not chłopiec and dziewczynka (which is the diminutive of dziewczyna). I can imagine my grandmother saying mój chłopiec jest silny (my boyfriend is strong) when she was young (even about 20) - but nowadays a girl would say mój chłopak jest silny.
Wouldn't it be "Chłopczek" instead of chłopaczek??
'chłopaczek' is actually pretty derogatory, that's why it's not often used.
"Chłopiec" implies that the boy is rather little – think about kindergarten or primary school children.
"Chłopak" usually means an older boy, but is sometimes also be used to refer to children. It can also mean "boyfriend", depending on the context.
I am confused. If Chlopak is used to describe older boy then why is it used in a sentence that states "The Little boy..."?
Well, that sounds rather like an oxymoron, I don't think it should be.


Meet you sweet new friends who will help keep you organized with Note Pals Sticky Tabs. Enjoy adorning your school, work and daily papers and what-not with super cute donut and cupcake inspired sticky notes. They're little sticky tabs to help you keep tabs on all the things in your busy life.


MEDFORD, Ore.— Police and firefighters from Medford squared off in a friendly game of soccer all to raise awareness for an important cause.
Held at the U.S. Cellular Community Park, the event was meant to raise awareness about domestic abuse and sexual assault as part of Sexual Assault Awareness Month. The game was put together by partners of the Jackson County Council Against Domestic and Sexual Violence.
While first responders normally are the ones to engage with the victims, the council wanted to bring the community's attention to this as well.
Organizers hope to keep bringing this event back again in future years to keep raising awareness.


text:
Q: Neocomplete conflict with auto line-breaking in vim I've found a conflict between automatic line breaks in vim and the neocomplete Vundle plugin. When neocomplete is off, then my set textwidth=80 option works correctly, i.e. a line break is inserted automatically when I type past the 80 character limit.
However, when neocomplete is activated, it doesn't work as I'd expect. When I type past 80 characters, the line doesn't automatically break, and I keep typing beyond that limit. Then, when I hit Enter, the hard line breaks are inserted where they should've been automatically been inserted previously, and my cursor ends up one line below all of the newly formatted text.
I went through my .vimrc and changed the different options I had set for neocomplete but found that none of them seemed to cause the issue. Merely turning neocomplete on results in this behavior.
I'm running arch-linux, which I just switched to a little over a week ago. I was running Xbuntu before that, and I had neocomplete working with no such issues. Here's my .vimrc: http://pastebin.com/A4H9E0SA
Can anyone replicate this issue with neocomplete and/or have any ideas as to how to fix this without completely removing the plugin?

redpajama_set_name: RedPajamaStackExchange


This happend when I was about 14 years old.
I went to a local amusement park with my girlfriend and she asked if I ever get sick on rides, I assured her I never throw up, ever. Well, it was about 5 spinning rides later when I started feeling sick and we started walking back to the car and sha asked what I would like to eat, I had just enough time to turn away from her and lean over the rail to puke..
What did I say when I turned around? "I think I'll have a ham sandwich!"
Come on in...Have a Seat!


text:
Who will be the new Arsenal captain after Aubameyang?
Pierre-Emerick Aubameyang lost the captain's armband this week, but the question remains over who will take it from him on a permanent basis.
LONDON, ENGLAND: Pierre-Emerick Aubameyang of Arsenal reacts as he goes off after being substituted during the Premier League match between Arsenal and Aston Villa at Emirates Stadium on October 22, 2021. (Photo by Richard Heathcote/Getty Images)
On Tuesday, Arsenal posted a club statement to confirm that after Pierre-Emerick Aubameyang's latest disciplinary breach last week, he'll no longer be the club captain.
A day later, Arsenal are yet to confirm who will be taking on the role for the long term.
For the short term, it looks like Alexandre Lacazette will default into the position.
The Athletic report that Lacazette is expected to wear the armband against West Ham United, with Aubameyang still absent from the squad.
Lacazette and Granit Xhaka were the two players mentioned by Mikel Arteta in Tuesday's press conference, and both are reportedly influential and well-liked at Arsenal.
Rob Holding is also part of the Arsenal leadership group, but less likely to take on the armband due to his lack of game time. The Athletic suggest Martin Odegaard – captain of Norway – could also become involved in the group.
For now, it seems Arsenal are biding their time, particularly whilst there's so much uncertainty around Lacazette's situation.
LONDON, ENGLAND: Alexandre Lacazette of Arsenal applauds the fans as he is substituted during the Premier League match between Arsenal and Southampton at Emirates Stadium on December 11, 2021. (Photo by Justin Setterfield/Getty Images)
Though Lacazette started and scored at the weekend, there are near-constant rumours about his future, with his current contract set to expire in the summer.
The striker may well take on the captain's armband by default only to leave in the summer and leave Arsenal needing to choose another replacement.
Alexandre Lacazette
Previous articleWhy did Aubameyang lose the Arsenal captaincy?
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Arsenal fan since a young age, now a season ticket holder who enjoys writing, tweeting and making videos about the Gunners.


looking for this warehouse of evil, you are stunned to see that, rather than being hidden, it is instead easily visible from the road; that it is, in fact, lit up with bright neon signs as though daring us to take note. Equally disturbing is the fact that in the very same strip mall is a gas station, restaurant, and clothing store–all open for business, all full of shoppers and drivers either unaware of, or indifferent to, the detention center in plain sight. And nothing but a little guard tower, through which employees enter and exit as though they were clocking in and out of an ordinary job, prevents a person of conscience from occupying the building in protest.
Just two miles down the same highway is the Casa El Presidente (President's House) "tender-age" detention center, which houses kids under 12, including a one-month old. This one was remarkable for its lack of remarkability: housed in a low-slung office building with minimal signage, it is easy to miss. A schlubby guard armed only with a walkie-talkie greets employees as they come and go–their heads down, eyes averted from me–but otherwise the facility is, like the other, vulnerable to nonviolent civil disobedience. Unfortunately, aside from Ashley, a young woman from New York, and her son, who have camped outside the facility, there are no signs of protest, no signs of resistance to this evil.
The phrase that comes to mind when I think about these two detention centers is that they are concentration camps in strip malls and office parks, the unabashed and blatant warehouses of human rights violations and bigotry enacted in policy.
Fortunately, I had the honor of participating in a 24-hour fast in honor of the separated families and meeting numerous activists working to fight this injustice: fellow fasters; groups of people delivering supplies to the detention centers and singing lullabies to the children; protestors dropping banners over highways; and folks engaging in nonviolent civil disobedience. For the greatest tool of the dictator is to stifle dissent and so overwhelm the conscience as to render people of goodwill too paralyzed to take action. Seen in this light, any form of resistance–from risking arrest to speaking out on social media, and everything in between–is important, as it withdraws consent and demonstrates resistance to the dictator. We must all, therefore, take what actions we can, no matter how small they may seem, in the interest of protecting our democracy, safeguarding the rights of the vulnerable, and fighting for a more just and verdant future for all.


QlikView Generating Year over Year Targets - beeye - no facts?!
From time to time you have to create budget figures upon a percentage change compared to the last year. This can be a little bit difficult, depending on the complexity of the KPI. The following example is build upon a pre-cleaned datamart and shows how you create the monthly figures for you budget.
As you can see the real magic here is done in the FOR-TO-Loop, here it shows a cumulated budget figure, but you can easily change to a mothly figure!


The head of an independent lay advisory panel has called for a broadening of the Charter on the Protection of Children and Young People to include bishops and urged U.S. bishops to improve transparency. The urging came November 13 as a report to the U.S. Conference of Catholic Bishops.
In an address to the bishops who have gathered in Baltimore for the annual fall general assembly, National Review Board Chairman Francesco Cesareo, Ph.D., outlined key reforms and urged action. The report calls for broadening the scope of the Charter on the Protection of Children and Young People to include bishops; the publication of complete lists of credibly accused clergy in all dioceses; improving the audit process; and enhancing accountability for bishops regarding cases of abuse.
Bishop Curtis Guillory, S.V.D., is attending that conference.


text:
De titel van Heer van Annandale was een vergeven sub-titel die beheerd werd in het zuiden van Schotland, Annandale, gestabiliseerd door David I van Schotland in 1124 voor Robert de Brus, voor diens grote bijdragen. Zijn opvolgers waren;

 Robert de Brus, 1e heer van Annandale ,1113 x 1124-1138
 Robert de Brus, 2e heer van Annandale ,1138x-1194
 Willem de Brus, 3e heer van Annandale ,1194-1211 x 1212
 Robert de Brus, 4e heer van Annandale ,1211 x 1212-1226 x 1233
 Robert de Brus, 5e heer van Annandale ,1226 x 1233-1295
 Robert de Brus, 6e heer van Annandale ,1295-1304
 Robert de Brus, 7e heer van Annandale, 1304-1312
Thomas Randolph, 8e heer van Annandale, 1312-32
 Thomas Randolph, 9e heer van Annandale, 1332
 John Randolph, 10e heer van Annandale, 1332-46
 Agnes Randolph, 11e vrouwe van Annandale, 1346-1369
 m. Patrick Dunbar, 9e baron van Dunbar
 George de Dunbar, 12e heer van Annandale, 1369-1401/9 ( althans onder gedeelde Engelse controle tot 1384; veroverd door Douglas in 1401 nadat Dunbar overstapte naar de Engelse; Douglas werd als beheerder geaccepteerd in 1409)
 Archibald Douglas, 13e heer van Annandale, 1401/9-24
 Archibald Douglas, 14e heer van Annandale, 1424-1439
 William Douglas, 15e heer van Annandale, 1439-40
Geannexeerd door de kroon
 Alexander Stewart, 16e heer van Annandale, 1455-1485
 John Stewart, 17e heer van Annandale ?, 1485-1536
Kroon

Referenties
 Barrow, G.W.S., 'Robert I (1274–1329)', Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 16 Nov 2006
 Duncan, A.A.M., 'Brus , Robert (I) de, lord of Annandale (d. 1142)', Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 16 Nov 2006
 Duncan, A.A.M., 'Brus , Robert (II) de, lord of Annandale (d. 1194?)', Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 16 Nov 2006
 Duncan, A.A.M., 'Brus , Robert (V) de , lord of Annandale (c.1220–1295)', Oxford Dictionary of National Biography, Oxford University Press, Sept 2004; online edn, Oct 2005 accessed 16 Nov 2006
 Duncan, A.A.M., 'Brus , Robert (VI) de, earl of Carrick and lord of Annandale (1243–1304)', Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 16 Nov 2006

 Lijst van heersers

redpajama_set_name: RedPajamaWikipedia


Xavier Lee was stolen from his family. The rare white wolf omega belongs to his future alpha husband.
When handsome werewolf John offers to help Xavier escape, his mission of one becomes a team up.
John Waterson has helped free wolves for years. None draws him like Xavier.
The primal wolf side of John wants to claim Xavier. He vows to protect the omega from the terrifying agents trying to capture him, but can't help also seducing him.
When Xavier winds up pregnant, both will have hard choices ahead. Can they make it to freedom before it's too late?


text:
Home International Summer Universiade
Summer Universiade
Commonwealth Games Gold Medalist Targeting Success at Taipei 2017
Ben Treffers. Photo: Swimming Australia
Commonwealth Games gold medalist Benjamin Treffers of Australia is targeting adding more medals to his growing collection when he competes at next month's Summer Universiade in Taipei.
Treffers will aim to defend the 50 meter backstroke title he claimed at the 2013 Universiade in Kazan.
The 25-year-old, who sealed the gold medal in the 50m backstroke at Glasgow 2014, is part of what will be the biggest team Australia has sent to a Universiade.
Treffers is hoping to use the event in Taipei, which runs from August 19 to 30, as a stepping stone for Gold Coast 2018.
He competed in Kazan after narrowly missing out on selection for the 2012 Olympics and the 2013 World Championships in Barcelona.
"It really helped me to start enjoying my racing again and competing at that top level propelled me onto a great year following," Treffers said.
Australia have announced the teams in 14 of the sports they are due to take part in at the 2017 Universiade, including swimming, athletics and weightlifting.
Their squads in artistic gymnastics, rhythmic gymnastics, badminton, basketball, fencing, judo, table tennis, taekwondo, tennis, volleyball and wushu have also been revealed.
Two final team announcements are planned in the coming weeks.
Rhythmic gymnast Enid Sung, whose career has been littered with serious injury problems, is set to make her second Universiade appearance.
The 22-year-old was due to represent Australia at the 2015 event in Gwangju but tore her hamstring the day before she was due to fly out to the South Korean city.
"I'm really excited, I mean this time last year I was doing a Euro trip with my best friend and eating ice-cream three meals a day," she said.
"So I kind of came back to the sport seven months ago."
Events are scheduled to held in venues in Taipei, Keelung, New Taipei, Taoyuan and Hsinchu.
Around 10,000 athletes from 150 countries are expected to take part at the multi-sport university competition.
Australia have participated at every Summer Universiade since 1967 in Tokyo.
By Liam Morgan
Republished with permission from insidethegames.biz.
Previous articleRick Rush Presents Bubba Watson Painting to American Sport Art Museum & Archives
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Inside The Games
FISU Highlights Rich History at SportAccord Summit
Serbia Earns Final Gold of Taipei 2017, while Japan Tops Medal Table
Summer Universiade a 'Wonderful Advertisement' for Taipei, Says Matytsin


text:
About The Zu
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Dezine by Mauro
James Anderson · October 1, 2018
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James: Now you've been in photography for around 30 years.
Mauro: Yes, that is the case, but I am 21, so don't ask me how. So, yes it's just on 30 years this year.
James: And you're rated as one of the top five studios in Australia. You have a significant online presence as well, so it's all going well for you, but I want to go back to the beginning.
Mauro: Yes.
James: How did you get in to photography?
Mauro: Well it still feels like yesterday, actually. I still remember taking my first photograph ever, which was at the age of 14, and my high school gave me a camera and took this photograph of eggs, and I placed letters on them, and I called it Alphabetical Eggs. And in 1986 there was a competition called The Age Nikon Comp, and it was for students, and from the first photograph I ever took, I won an award for it. So-
James: The very first photograph?
Mauro: The very first photo I ever took.
Mauro: So, I don't know, I would call it a fluke, but it did well. It was good.
James: That's got to ignite your passion, doesn't it?
Mauro: It did. I think it really did for me, sort of maybe realize at a young age that if you put your mind to things you can really, really do really well.
James: What was the process back then?
Mauro: Film. Paper. I still remember, on my pushbike, buying my first 10 sheets of 8×10 Ilford paper, and it's got a distinctive smell when you pull it out of the … obviously in the darkness … it's got this beautiful distinctive smell which I miss now, because the darkroom's non-existent. I haven't been in a darkroom for many years.
Mauro: So yeah, that's how it basically started.
James: So as a teenager, you were doing the whole processing of the film as well.
Mauro: Correct. So-
James: You probably wouldn't do that these days, in the sterile environments that kids are growing up in.
Mauro: Very true, very true. In those days, you know, the good old red light like you'd see in the movies, and the film, and the paper developing through the developer, and it's a bit like the old-time movies, really.
Mauro: But it's something that I look back at and I'm very fond of, and amazing memories of it. I'm actually getting goosebumps while we talk about it. I really miss it, actually.
James: It's just cold in here, isn't it?
Mauro: Yeah, well you could say that.
James: Now do you think that whole process of developing film, and having the film cameras … do you think that photographers were more skilled back then?
Mauro: Look, nothing to take out … nothing to say anything bad about photographers today. I think it was a different skill to what it is today. Film definitely taught me to have a keen eye, or what we would call an eagle eye, which pretty much meant that once you take the photograph you've really got to pay really close attention to things, because you can't Photoshop anything. That's a [crosstalk 00:02:43]-
James: And you can't preview it straight away.
Mauro: Yes, you can't. But even when I bought my first digital camera, I even … I blocked the preview on my digital camera and just shot as if I was shooting film.
James: Do you think that's had a huge impact on the photography industry, the whole digital side of things?
Mauro: I think it revolutionized the industry, so I think that the word impact is even an understatement, I think.
Mauro: Digital has completely re-revolutionized the whole industry itself, for good things, and also for bad things as well. For the better and for the worse, I guess. A bit like married life, really, isn't it?
James: Well what are some of the bad?
Mauro: I guess it's a lot easier for people, just common people, to take photographs, and for them to think that they're photographers, and there's nothing wrong with that, because everyone's a great hobby photographer, but years ago we were magicians. Years ago we'd turn a latent image into a photograph, where now it's just easy to view, and easy to photograph.
Mauro: So that's one of the reasons. I also do believe that film in the old days as well, for me, created a different feel, a different mood that I still don't feel that digital has captured yet.
James: Do you still dabble in the old film photography and cameras?
Mauro: Look, I'd love to say, "Yes," but no, I don't any more. I wish I had the time for it, but I am happy to say that I was probably one of the last wedding and portrait photographers in Melbourne to stay in holding on to film 'til, what was it? 2009, I think it was.
James: Gee, it was good to hold on that long.
Mauro: Yeah, so I held on as long as possible, when all my friends were already switching to digital. I was still on film in 2009.
James: Do you still have any of those old cameras in nostalgic-
Mauro: Yeah. Yes, I do. I do. I look through them all the time. Look through them all the time. It's just fantastic.
James: Now you describe your style as morphing fashion, photo-journalistic, and wedding, all in to the one.
Mauro: Yes, all in to the one, on one day. I wouldn't say that it's all in the one photograph. I guess, as a photographer, I've sort of really observed the trends — the market, where it's going — and I've really never paid attention to it, to be honest. Especially the avant-garde style we do, where we incorporate props and tell the story with the bride and groom. That has really sort of sky-rocketed the studio into sort of really standing out, and I believe that that type of style has sort of really caught a lot of brides' and grooms' eyes.
Mauro: It is a niche market, there's no doubt about that. We're not for everybody. We don't want to be for everybody, either. That style's really helped the studio. In a wedding, I guess candid photography is really important, regardless of how you look at it. We sort of concentrate on candid photography in certain aspects of the day, especially during the morning ceremony, but obviously there's … if there's time between the ceremony and the reception, the good old avant-garde's going to come out, regardless. So, you know …
James: Yeah. So with the props, how do you manage in the lead-up to a wedding, to plan those props in advance with your clients?
Mauro: Very simple. It's always about the bride and groom, and this is where, maybe, our style is a little bit misunderstood, and obviously we talk to our brides and grooms and see what makes them tick, and what makes them special. One of my great photographs that I love is a photograph of the bride throwing confetti in the air, while there's a car full of rose petals falling out. It looks like a beautiful, picturesque shot, but people don't realize that that car was Grandad's car, that the bride had, and from a very young age she was promised that she'd be driven to her wedding in that car, and her grandad didn't make it, so those rose petals symbolized Grandad's spirit, and again, I'm getting shivers as I talk about it.
James: Yeah, it's beautiful.
Mauro: There's a lot of stories behind images, that I think people, if they take the time out to really have a look at the images they'll understand it, and that's why it is so special to each bride and groom.
James: How much time would you spend with a bride and groom in the lead-up to their wedding day, in terms of meetings?
Mauro: I've really streamlined it, to be honest. All I need is about an hour and a half with them, a month before the wedding, and obviously we have a good chit-chat, from then to the wedding day, about little props and all sorts of different things, and timings and so forth, but it'll take me a good hour and a half to chat with them prior to the wedding, and getting to know them when they first walk in, probably another hour and a half or so, so about three hours or so, yeah.
James: Now you're saying that your style's not for everybody. How important do you think it is for each photography business out there to find their distinct style?
Mauro: Exceptionally important, yeah. Styles come and go, and this is why I think photographers need to sort of be ahead of the 8-ball there, and really be themselves. Come up with a concept that's a little bit more different, that's a little bit more eye-catching. I think that's really important, so standing out is very, very important, as a photographer.
James: Well it's done well for you. You've got accolades and awards pouring in from all over the world.
Mauro: Ah, it's all smokescreen and mirrors. Don't believe everything that you hear.
James: I just walked in to your studio today, where we're recording this podcast, and you've got a bench as you walk in with all of these little trophies that you've won.
Mauro: Yes, yes.
James: It's quite impressive.
Mauro: Look, I think it's great winning awards, and I think it's great there's institutions out there that really reward photographers for hard work, and not just for photographers who have been around for 30 years, but even just photographers who've been photographing for a year. I really encourage any photographer, at whatever stage of their lives in photography that they're in, is to enter competitions, because it gives them a little bit of a gauge of where they're at. It allows them to speak to other fellow photographers, and if you keep obviously entering in competitions, year by year, you can sort of really see whether you're improving, where you're going wrong, where you're going right, and of course it's always a great little sales thing to add to your bottom line, where you can tell your clients that you're an award-winning photographer, and nothing's more beautiful than to mention to your bride and groom that their wedding photograph has won them an award.
James: Absolutely. How important is it to you to keep your skills current? Do you still find yourself doing further education and learning new things?
Mauro: Yes, very much so, although I must say when I look at my whole day in photography, only a very small portion of that is photographing. I think 80% of everything I do these days is business and marketing, and everything else that sort of goes in between, and sales, and that's really where most of my time goes, and as I've gotten older, I've sort of maybe spent a little bit more time in the other end, more so than the photography, but I am learning as I go, regardless. Every day there's always something new. Everything from a different little piece of lighting, or different technique, different pose, you name it.
Mauro: … a different pose, you name it. Different time of day to photograph. It's always finding something new.
James: How hands on are you in that editing process after you've taken the photos?
Mauro: Very minimal. I've got a trustworthy digital retoucher, Jason, who's been with me now for close to five years, and he's a master at what he does. He puts up with my creative criticism, but we work really well together, and because I am from the film days and film school, I know nothing about photo shop.
James: But that's great. You know how to take a fantastic photo and tell that story. And then to let go of the reins a little bit and let someone else in their expertise of retouching and touching up a photo. That allows you to free up your time for the business and marketing side of things.
Mauro: Look, definitely and I think for me as a photographer at any stage, I'd probably want to be out there photographing and maybe doing sales and marketing, than possibly being stuck in front of a computer. Nothing wrong with that I must say, because I guess it's quite therapeutic being in front of a computer and working on your images, which I do dabble in a little bit. But I guess I'd prefer to be out there and photographing more than anything else.
James: You mentioned before the photo that you love with the granddad's car and the rose petals. Would you say that that's one of your absolute favorite shoots, or have you got a few others in mind that you came up with?
Mauro: Look, I guess, as I've gotten older in the industry, and I've experienced life. As I've progressed in my wedding photography or any type of photography, is I've started to place a bit more of an importance on what the families are doing, and especially on a wedding day or even as a portrait. But moments where the father first walks in and sees his daughter. Or moments where, grandma is watching on where, she's by one stage she realizes that she's watching her granddaughter get married, the big milestones.
Mauro: So I guess experiencing life and experiencing loss myself, with my parents and so on. I think as a photographer I've become a lot more sentimental, and a lot of my work has got that real sentimental touch, which I think we need to portray on weddings because, it's important to also produce a wedding album that is not only gonna touch one generation but two.
Mauro: So you can imagine someone getting married today, where their children's children will be looking at their wedding album. So it's a pretty powerful thing. So, and they're things I take comfort in knowing that, every album or every wedding I do, my main objective is to encapsulate that for future generations.
James: Beautiful. Now your accolades. Let's go back on that.
James: You've got them from all over the world. Do you get overseas often for weddings?
Mauro: I do. I wish I could do a lot more of it. I guess as a photographer, if you do spend a good four, five weeks overseas, you'd want to know that you're busy in those four or five weeks. And as of what 2013 I spent quite a bit of time in New York, and affiliated myself with some great wedding coordinators. And then went on for probably about four or five years. But you know what, I miss Melbourne.
James: Home is where the heart is.
Mauro: So I still do quite a bit overseas, but I really love Melbourne, and at the end of the day we've sort of got to realize that, even especially for me, if I do go overseas and I guess this is how a lot of photographers should look at it. And it depends also at what stage of their lives they're at because, if I went back 20 years and a client said to me, Mauro, I'm getting married in Italy. I really can't afford much as a photographer, but I'll fly you up, and you can photograph my wedding. I'd jump at that opportunity.
Mauro: But just recently even, when was it last week, I had to take the decision on where I was asked to photograph a wedding in Florence, and it was on a Thursday, and I looked at the calendar, and it was gonna be a busy weekend because obviously in March it's always busy. So I had to decide, what was I going to do, charge triple my costs, or shoot the two weddings in Melbourne. So I had to take on the option of shooting the weddings in Melbourne.
James: I did a few weddings over in France and Italy a few years ago, but now I've got a three year old and an 18 month old. It makes it very difficult-
Mauro: It does.
James: … and life has changed so much. So every time I do have to go away, even if it's a regional wedding, I get the guilt. I feel guilty for leaving the family behind. There's the opportunity every now and then to go to Fiji and take them with me, but it's just different these days.
Mauro: It is. Look, it changes, but it changes for the better. So, I guess even as a photographer after having kids myself, two girls. And my girls are what, 13 and 16. There's stages that I'm caught daydreaming looking at moms and dads and thinking that, my goodness, that could be me in the next 10 years or so.
Mauro: So it's really changed me as a photographer looking at little flower girls and page boys. I've never took so many bloody great pageboy, flower girls photos in my whole life since I have in the past five years. Same goes for the parents. So you become a lot more sentimental. And I think it does nothing but, makes you become a better photographer.
James: Let's move onto a bit of the marketing side of things for your business. And I'm gonna have a sip of beer.
Mauro: I'll join you there. It's great. It taste good.
James: It feels like a Friday.
Mauro: It does, doesn't it?
James: So let's move on to the marketing side of things about your business. You've got a huge following on social media. Obviously that takes time to build up, and Instagram is going crazy for you. Is this a critical tool in marketing your business these days?
Mauro: Look, I've always … I guess it's one of those things. It's sort of like, my theory with everything is, you either damned if you do or damned if you don't. Instagram is a great tool to get your word out or get your photographs out there, same as Facebook. Especially now the way Facebook and Instagram has really allowed people to advertise and expand, and I think that's a great tool to reach, large sums of people.
Mauro: I think it's also a great tool to also showcase your work to other international photographers. I actually had just accidentally went through my Instagram insight, the bit where you press a button that says insight, and I just had to look at where most of my followers are coming from, and I have more followers in New York than what I have in Sydney.
Mauro: I was pretty proud of that one. So I thought that's pretty good. And so you can really sort of reach the world there. I really can't say that, as a photographer, Instagram and Facebook has changed marketing for us, but it has definitely helped it quite a bit.
James: Were you one of the first ones to jump onto the social media side of things, when it first came out and you had the opportunity to directly target your audience. Were you right on that?
Mauro: Look, I can't say I was because, it's only maybe been the past five years that I've sort of really matured into the social media aspect of things. I can't say I really have to be honest. I think I've always let the photograph do the talking and word of mouth and referral.
Mauro: So, all photographers out there, all video people out there, anyone in any in industry, nothing really at the end of the day does beat word of mouth. That automatically qualifies your customer. And then that compounded together with your marketing, and everything else that goes with it is really what creates your business.
James: There is the downside to social media, and there's a lot of trolls out there. Have you ever come across the trolls and how do you deal with that?
Mauro: Look, I must've met … I guess I know that I'm ugly anyway, that's why I'm behind the camera. So, I don't really pay too much attention to that. I haven't had many trolls to be really honest. I guess, you can't say something too bad about a wedding photograph. So I haven't really come across that to be honest. I don't think I'm famous enough yet [inaudible 00:18:25]
James: Maybe we need to get the cameras on just to see our faces here.
Mauro: Definitely.
James: Now they say that failure is a chance to learn. Have you had any big failures in your photography and stuff that just didn't work?
Mauro: I'd probably have a list of a thousand failures when it comes to business especially, and even photography. As a photographer, the best thing you can do is learn from your mistakes. I'll look back at, the 30 years that I've been in the industry. I did make a lot more mistakes earlier on in my day, and I learned the hard way.
Mauro: I am from the school of hard knocks, because obviously when I started in, when was it, the early 1990s, there wasn't many seminars. There wasn't the internet where you could learn from other photographers around the world. Associations were just starting to establish themselves. So, the community of hanging around many photographers wasn't around either. So, I'm pretty much self taught. Everything that I know now is really from the eras that I've made in the past.
James: And what kind of eras would they have been? Like, give one of the biggest mistakes you think.
Mauro: Biggest mistakes, as a photographer for me when it comes to photographing, was taking things a lot more easier than I do now. I must admit, in my younger days, especially in my 20s and into close to my 30s, where I'd sort of really treat it more as a job, than what I would as really understanding the whole day in itself and capturing it properly. So …
Mauro: Standing the whole day in itself and capturing it properly. So it takes time to mature. As a younger photographer I do feel I was maybe a little bit too confident, which I shouldn't have been. I also feel that that was the stage where I could have really built the business even bigger where instead I decided to let my ego take over a bit.
James: Do you think it was that, or do you think your mind was thinking too much about the settings because we're sort of fresh in that business?
Mauro: Yeah, a lot of it is to do with that. I think as you're maturing as a photographer and learning, you're probably spending more time on photography than anything else. I'd probably say yes, I agree with you there.
James: Lots has happened in the industry over those 30 years. From plenty of photo studios out there, like this fantastic studio you've got her in Fitzroy North, but a lot of businesses are now closing up the studios and going to more of an online focus only. How do you feel about that?
Mauro: Really good. I think it's fantastic.
James: Fantastic for you because you stand out as the only studio around?
Mauro: Well, look. Firstly, I must say even if I went back 10 years there'd be 20 or 30 studios like mine and it's actually quite scary to sort of see them all drop off. Now I can understand how my father in law feels because he's getting on now and all his friends are moving on. I think that goes for me as well in the sense of my friends are no longer having the big studios and they're scaling down and all the above, so it's actually quite scary as a photographer. But, like I said, the internet has brought some great changes into the industry. At the end of the day, doesn't matter what platform or what you do, or how you're doing it, it's all about taking a pretty picture. At the end of the day, the client's got to like that pretty picture. I don't think that, there's nothing that can ever change that in photography. If you keep on that mindset, I don't think you can go too wrong.
James: Do you think it's a competitive landscape at the moment?
Mauro: It's probably about 20 times more competitive than what it was 10 years ago. It's difficult for everybody and I must say, I've stood my ground and I haven't changed any pricing structures or anything along those lines. I've, at the end of the day, 10 years ago, things were a lot cheaper than what it is now. Life gets expensive and you have to charge accordingly. That's probably one of the reasons why I'm still around is because you've got to charge accordingly.
James: It's sad to see all of those horror stories coming up on a Current Affair and all those tabloid TV shows that the businesses who are charging those dirt cheap prices are just in it for the money and they disappear and then the clients are left high and dry.
James: It is really important, and I'm glad you mentioned it, to charge accordingly. You've got to cover your expenses. You've got to put food on the table.
Mauro: Exactly.
James: Don't do it dirt cheap, just do your numbers.
Mauro: Well, that's the whole thing. I think if there's any business minded photographers out there, we all know much time and effort we spend having to deal with a customer and what we really need to do as photographers is really break down the hours that we spend, so if we did break it down in a basic format, the time that you're meeting up with a customer, the time that you're photographing the wedding, it doesn't stop there. It's the time that you're culling the images, it's the time that you're retouching the images. All that takes time.
Mauro: People don't actually realize if they calculated the amount of hours that they spend on a wedding at the end it could be 40 to 50 hours. If you multiply that by a minimum of $30 an hour or $40 an hour, that would be the ultimate minimum and that's not including any outgoings that you have, rent and wages and everything else that goes with it. It could be, I guess for a lot of photographers, it's hard to wrap their heads around, but it doesn't take long that after a year when you do your tax return and you've turned over $80,000 and your costs are $80,000, you learn pretty quick and if you haven't, then I suggest you give me a call.
James: Yeah. Totally agree with you on that one. You mentioned earlier about the physical albums that you pass down through generations.
James: A lot of photographers these days are moving to digital files. Digital delivery on the USB, online. How important for you as a business is to have that physical album to hand over to clients?
Mauro: I wouldn't leave home without it.
James: Do you offer digitals at all?
Mauro: Not at all.
James: No. It's all albums?
Mauro: Yes, it's all albums. Like I said, I guess I feel that my meaning in photography is to pass those images onto generations and I'm not saying that digital file photographers don't, but we've specialized in producing albums here at the studio and I have one lady here called Lena who's been with me for 15 years who produces the albums by hand and that hasn't changed for 15 years.
James: By hand.
Mauro: By hand. So we get the album shell from the album manufacturer and we print here. We produce by hand special albums that are real art pieces. I guess people who are doing digital, photographers that are offering digital files, good on them as well. If they think that that's where the market is for them and they're turning over a profit and they're happy doing that, I think by all means go for it because there's a market for that as well.
James: How do you feel when you see the faces of your clients and they open that first page?
Mauro: One out of three times it is tears.
James: For you?
Mauro: For me, actually also for the bride and groom. Not after I've told them what they've spent, but more so for the fact of them looking through the album, they're just in love with it. Walk out with a big smile. Funny enough, I had a really busy studio two weeks ago here and I had a client picking up her wedding album and three new inquiries where she turned the third page and she was just in awe of the album and if you had a look at all these new inquiries that were sort of looking at her and thinking, wow, look what an album can do to you. All those three clients booked on the spot.
James: Amazing. Do you bring that same client back every week now to do the sales.
Mauro: Yes, pay her $50 every week, yeah, not a problem. It just goes to show having an album is the way to go, I think anyway. I don't know any other way to be honest.
James: There are a lot of newcomers coming into this industry with all of the ease of technology at our fingertips.
James: How important is it to support all the newcomers coming into the industry?
Mauro: I think it's one of the most important things to do, to support the new and upcoming photographers. My advice to all the new and upcoming photographers is to associate yourself with an association, for instance, like the Australian Institute of Professional Photographers, where they are able to learn the skills of photography quicker than doing it by themselves or learning the hard way, like I did. If we can do that and improve the level of photography quicker, I think we'd have a lot better industry.
James: We're almost there. We're down to a speed round now, so I'm going to ask you some rapid fire questions.
Mauro: Okay, go for it.
James: What are two words that describe your style?
Mauro: Avant garde.
James: That's two words.
Mauro: There you go.
James: What is the perfect client for you?
Mauro: Someone who appreciates creative work.
James: What's the next big trend for the industry?
Mauro: That's a good question, that is a very good question. I'd have to think about that, can we come back to that one?
James: We'll come back, we'll give you one more chance for that one. All right, next one. How do you cut through all of the social media noise and distracted customers?
Mauro: Create beautiful images.
James: What's the hardest part about doing business?
Mauro: Trying to turn over a profit.
James: Where is the best place in the entire world that you've shot?
Mauro: Melbourne.
James: Really.
Mauro: Mm-hmm (affirmative).
James: Have you done any, you mention in your little bio that you sent through your exotic locations, one other exotic location, other than Melbourne that you really enjoyed shooting?
Mauro: Well, I must say I've photographed a lot of different countries around the world. I do love photographing overseas in Europe and Italy is probably, Rome is probably one of the most beautiful breath-taking cities in the world. I still stick to Melbourne, love Melbourne.
James: You're just tied to that Melbourne audience, aren't you. Where do you see your business in five years?
Mauro: I see the business diversifying. I also see the business also taking it to the next level in style. I think the studio has held on to the Avant Garde feel for a long time, I guess I don't want to say too much, but there is another style coming very soon.
James: Back to the question, what's the next trend for the industry.
Mauro: That's a loaded question.
James: I'm not gonna let you go until you answer it.
Mauro: I must say I think natural is on its way out. This is what I can say is the same way as vintage was in four years ago and the same way as natural was in a few more years earlier than that, it's a three to four year trend and it's just like the stock market, something new is coming and get ready for it guys.
James: All right, it was an absolute pleasure to talk to you today, thank you so much for your time.
Mauro: It's a pleasure to be here, thank you very much.
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Some times it is not easy to sit on the side of a stream to pump water, and a collapsible bucket is very useful. You can dip the bucket and move it to a safe place to pump, or you can let the water settle in the bucket to reduce the silt content. This really helps with filter life. We had one water source at Philmont that involved climbing down a 3 foot embankment, and this worked well there. On another trip to North Manitou Island in Lake Michigan, it worked very well for getting water from Lake Michigan as well as the inland lake. If you are hiking along a small stream it is not really necessary, but it is great when you are getting water from a lake.
I have a 1 gallon unit made of a PCV based material. It has a handle sewn into the top to make it easy to dip. We usually send in the youngest member of the trip to get the water from the lake.


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Taking a page from the business book. — If you've been an engineer for a while, you'll know the conflict between business and engineering. It always starts with a "harmless" comment from some junior manager. Some guy in a blazer and new loafers. Hint of a Boston accent from his MBA days. …
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With the Election looming the Leaders of each of the Parties all rolling out their platforms and in each there is a great emphasis on strengthening the Middle Class. This tells me two things. First, right and left wing are appendages of the same bird. Second, regardless who is elected policies will be enacted to ensure the average person remains average.