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Email Capture: Tools and Tips to Help You Get More Subscribers
21 June 2021 / marketing / 15 min read
Laura Wilson
Social media marketing is a bit like busking at a train station. There are plenty of people around, but they aren't specifically there to hear you.
In contrast, email marketing is like being invited over to someone's house. Your audience has invited you in, and is actually interested in hearing what you have to say.
Even in the golden age of social media, email is still king, offering a conversion rate around 40 times that of Facebook and Twitter combined (per McKinsey & Co.) It's one of the best tools you can use to grow your business.
But there's the little matter of collecting emails in the first place. People don't hand out their email addresses willy nilly. In this guide, we'll show you the best strategies you can use to capture emails and build your email list.
What Is Email Capture?
Email capture is the process of gathering email addresses through your website in order to grow your email list. You can then use this list to communicate with your subscribers (and you have their permission to do so).
If you're an eCommerce business for example, you might update them on sales or promotions, advertise new features or product updates, or send out a newsletter that's a combination of all of these things.
Why Is Email Capture Important?
By building an email list you can target people who have signed up specifically to hear about your services. You're also able to reach them straight in their inbox—a venue where they're more likely to engage with you.
With email you're not at the mercy of a social media algorithm that prioritises paid posts; or a Tweet from Beyoncé, or a new YouTube video from some thirteen-year-old playing Fortnite.
You're right there in people's inboxes. Nestled among the SubStack newsletters and emails from grandparents and the occasional shopping bill. It's intimate, personal, and most importantly, it's effective.
In their 2020 Email Report, Litmus surveyed 2,000 leading marketers and made a few findings that express just how important email is for businesses:
Email campaigns have an ROI of 3600% (yes, really.)
80% of respondents said they would rather give up social media than email
94% said email is in their top three marketing channels
On top of that, in the US alone, people spend an average of 143 minutes each week day—almost two and a half hours—checking email. So you can be sure if you send out an email, people are going to see it.
You don't need to be a mathematician to recognise they're some impressive numbers. But before you start celebrating and spending all that projected cash, there's another step: building your email list.
The Best Email Capture Methods
To build your email list you've got to capture emails. There are a number of ways to do this. Some of the most popular (and effective) methods include:
Sign-up/Registration pages
Surveys & quizzes
Pop-up and slide-in forms
Live chat/chatbots
Banners & floating bars (not the alcoholic type)
Sidebars & feature boxes
Landing pages are the first thing visitors visit on your site, especially when they find you via a search engine. They are set up with a specific goal in mind—whether it's to collect sign ups for a webinar, a new product release, or your brand new podcast.
The goal of any landing page is to turn a visitor into a customer. How do you achieve this? By offering something of value in return for visitor contact information. What that value is depends on your business.
For example, let's say you're a fitness instructor. You might set up a landing page that offers a free ebook guide with some exercise routines to entice visitors to share their data. Then you can use their emails to run marketing campaign in Mailchimp.
There are a few secrets to effective landing pages. Make sure the layout is intuitive, the copy is clear and easy to read, and that you have strong calls to action (CTAs) to draw the user's attention to a specific action (in this case, providing their email.)
📚 Read our guide to building one page websites with Paperform for more tips on how to build a landing page that converts.
If you've ever bought groceries or ordered the latest Blu-Rays on the internet, you've been prompted to make an account for the online store.
Email capture is often baked into the sales process. Customers pop in their details, check the relevant box, and opt in for communications about sales, promotions or product updates. Easy.
This capture strategy isn't just for stores. Prompting people to create an account in order to access your content, products or services, is a fantastic way to grow your email list organically.
It's a win-win. Email capture integrates nicely into the sign up process, and offering accounts allows you to better personalise your offerings. Just be sure to offer an easy to find opt-out button for folks who don't want to receive marketing messages.
Surveys and quizzes
Most email capture strategies come down to offering value. Surveys and quizzes do this in two ways—by offering an avenue for expression, or just a bit of fun.
There are two approaches you can take:
The practical route (e.g. a customer satisfaction survey) or;
The fun route (e.g. a general trivia quiz)
When done well, surveys and quizzes are especially effective tools. Particularly quizzes, as you can create engaging experiences that people genuinely enjoy—just make sure you tailor your content to your audience.
For example, if you're a personal trainer you could host a "What exercise will most benefit you" quiz on your website. It's relevant to your visitors and, when done well, offers an innovative way to collect sign-ups or capture leads.
No matter if you're running a feedback form or a Buzzfeed-style personality quiz, make sure to wait until the end of the quiz to ask for their email. Asking upfront—before you've even started—is a surefire route to survey abandonment.
Free stuff! We all want it. Giving away goodies is an excellent way to capture email subscribers, because how else are people going to receive their prize?
People intuitively understand how giveaways work. They're more than happy to share their details in return for the chance of winning a prize. And can give away almost anything:
Free products/access to your subscription service
Try to match the type of gift you're giving away to the type of subscriber you want to gain. For example, let's say you're trying to collect more sign ups for your new watch subscription business.
Most folks would be thrilled to win an iPad, but is it going to help reach your ideal audience? You'd be better off offering a free watch, or something else related to your business's niche.
Tip: It's a good idea to incentivise entrants into sharing the competition details to reach even more potential customers. Offering extra entries to people who share the details of your giveaway on social media is a simple way to do this.
Popups and slide-ins
Popups and slide-ins are boxes that appear on top of your website or slide in from the side to collect visitor email addresses. When used correctly, they're effective—but when used in the wrong manner they can quickly turn visitors off.
We all know what it's like to be accosted by annoying popups. Most of the time they tend to offer misleading information on the quantity and 'temperature' of singles in our area, and clicking on them is a shortcut to a computer virus.
For that reason popups get a bad rap. But when used tastefully, they're a great way to get a visitor's attention and boost your email subscription rate. You just need to find a balance between user experience and getting your point across.
Slide-ins are a better option. They're not as intrusive and less likely to have visitors angrily clicking away from your website. Just look at this example from Australian fashion site, The Iconic:
It's perfect. The slide-in doesn't interfere with the browsing experience, while still being visible to visitors. Plus it offers value through a discount and is a far cry from what people imagine when they think 'popup'.
If you plan on using popups or slide-ins, take a leaf out of The Iconic's book. Give users space to breath and don't inundate them with annoying windows. Also make sure the design matches your website and the messaging is clear.
Using popups that activate when a visitor is about to exit (exit-intent popups) can be a more effective method, as it doesn't interrupt the webpage. Clear opt-in and opt-out buttons can also help, as the viewer feels more in control of their experience.
Live chats and chatbots
A lot of companies, Paperform included, use live chatbots so users can get guidance in real-time. It's less pressure than a phone call, faster than email, and has become a vital tool in customer support.
It also offers a chance to capture customers emails. Check out the screenshot above. Customers can choose to leave an email instead of waiting to speak to a support rep, and we also follow up longer queries through email (which some people prefer).
If you're using a chatbot—which fulfils the same function with more beeps and boops—you can set simple dialogue to ask visitors to provide their email address. You can ask a short survey before beginning the conversation, or alternatively, ask visitors to opt-in once you've resolved their inquiry.
Banners and floating bars
As we've seen, one of the key goals for email capture is keeping efforts as unobtrusive as possible. Which is where banners and floating bars, otherwise known as "hello bars" come in.
These are technically a form of popup, except they stay at the top or bottom of your website. They're great because, while they immediately grab a visitors' attention, they don't disrupt the user experience or block any content.
Most often you'll see these widgets on eCommerce websites offering sales info at a glance (e.g. "40% off Women's clothing"), but they're effective for collecting emails too. Just look at the example of ActiveCampaign's website above.
This is particularly interesting because ActiveCampaign integrate the hello bar into the main menu, which naturally draws your eye.
An alternative is to set your floating bar to travel down the page as visitors scroll, so it stays within sight as they navigate your website (without being too distracting). If you do this, make sure you keep any bars small and simple, otherwise they will block your content and defeat the purpose.
Sidebars and feature boxes
You can get that higher level of detail with sidebars and feature boxes. A sidebar can sit next to your content without disturbing it, so, like a floating bar, your visitor can enter in their email at any point on the page.
This means that if visitors are enjoying your content, at any point during their little browse of your site, they can easily subscribe to stay tuned to your updates. Sidebars are one of the most unobtrusive tools for email capturing.
Feature boxes are also pretty low-key. If you're writing a blog post, you might find the perfect opening to promote your product during the post.
If that's the case, you can add a feature box inline so that your reader is linked to your product, or invite readers to subscribe to your email list for more information.
Online forms are the ultimate email capture tool. From simple contact and email sign-up forms embedded on your website to full-scale landing pages and surveys, they're the golden ticket to growing your email list.
Every prior method on this list actually includes an online form, or a version of one. They're the key to collecting visitor information—you can't capture emails without them, unless you get out your pen and paper and start jotting them down yourself.
With online form builders like Paperform you can build your own online forms in a few minutes. Just choose a template based on your specific needs, then customise it to suit your brand.
You can host your form on its own dedicated webpage, or embed it anywhere on your website—in blog posts, on pages, in a popup, or tucked away neatly in a sidebar. Use WordPress? The process is easier than ever with our new plugin.
📚 Read more about Paperform's new WordPress plugin.
Tip: Remember when collecting email addresses that you need permission to send out any marketing and promotions. Include clear opt-in (and opt-out) options and be sure to respect your audience's inbox.
Email Capture Strategies And Best Practices
So we've looked at the best methods to capture email subscribers and you're ready to employ some of these strategies. But, no matter what capture methods you use, there are a few principles you should keep in mind.
Offer something worthwhile
Why should your visitor give you their email address? What are you offering that makes it worthwhile for subscribers to invite you into the inner sanctum of their email inboxes?
The marketing lingo for this is what's your 'lead magnet'?—i.e. the content or offer that encourage people (a.k.a. leads) to give you their contact details. You can't just expect people to do so out of the goodness of their hearts.
Maybe you offer an exclusive discounts for your eCommerce site. Or a free copy of an amazing eBook you wrote. Or a free consultation with you personally to discuss their deepest business desires and help them become an overnight millionaire.
Exactly what you offer will differ based on your business. For example, we're a SaaS business, so at Paperform it makes sense for us to offer a 14-day free trial.
If you're struggling to come up with something that feels right for your business, ask yourself: what makes you give a company your contact details?
Email capture prompts are like perfume—even the most tasteful strategy can be overwhelming if you use it too much.
It can be tempting to cover your website with sign up opportunities to try and scoop up the maximum number of emails possible. But remember: user experience needs to be pleasant to keep people on your page in the first place.
You need to find a balance between (a) making it easy for people to opt-in, while (b) not drowning them in popups and sidebars and forms of every shape and size. This also goes for sending out email campaigns.
Don't be one of those companies that floods people's inboxes relentlessly. Yes, you want to offer your services and marketing your products, but if you're annoying it'll just clutter their inbox and lead them to unsubscribe.
It can be a tricky balance, which is best found through a carefully planned marketing strategy. Use feedback and analytics to find a sweet spot.
Use multiple opt-ins
Having said that, there is a danger in being too gentle. You need your visitors to see your capture tool, which is where the idea of balance comes in.
Say the only way you capture emails is a subtle sidebar on your blog. Well this could be easily overlooked, plus it's only going to be seen by people reading your blog, not on the homepage or any other pages on your site.
It's best to use a couple of different strategies. For example, we use a few different email capture methods across Paperform's website.
On our homepage
Below each blog post
Above the footer on product pages
Through our live chat
The key is not to inundate a single page with multiple call to actions (CTAS). This confuses visitors and makes it more likely for them to abandon the page entirely. Integrate a few methods across your website instead.
Worried about how to find a balance? Don't be afraid to ask people—internally or externally—about how they find your user experience.
Use analytics to your advantage
Analytics tools allow you to make informed decisions based on cold, hard numbers.
They can help you figure out things like which questions are causing people to drop-off in a survey, what webpages aren't quite performing up to scratch, or how folks are finding your site in the first place.
You might find that your landing page converts well, but no one bothers to use your sidebar. Based on this data you could try A/B testing a new sidebar, or double down on your landing page.
Most platforms or WordPress plugins come with analytics. For example, Paperform's built-in survey analytics empowers you to get deeper insights into audience behaviour and optimise forms and landing pages for better performance.
Optimise for all browsers and devices
It's important to remember that your visitors are going to be coming to your website from different places—whether that's a different smartphone, tablet, browser or even operating system.
Ever tried sending an emoji to someone from an iPhone to an Android phone? Their appearance differs widely.🙁 The same goes for webpages or surveys.
Visit your website from multiple web browsers to ensure your pages look good on all of them. Double check your email capture tools display accurately on mobile too. The last thing you want is something to look great on desktop, but be a mess on mobile.
Tip: Luckily with Paperform you don't need to worry about this. All our forms and landing pages are automatically optimised for any browser and mobile device.
Target your audience
Every capture form contains a simple CTA. Want to capture email addresses to market your products to potential customers? Tell them that!
Let folks know what kind of emails you'll be sending and how frequently you'll be sending them. They're a lot more likely to sign up to a newsletter if they know:
What they can expect to receive
How often they will receive it
That they're not going to be inundated with irrelevant information.
Thankfully you can tailor this to different segments of your audience. For example, say you're a real estate agent. You can include options for people to check whether they are renters, buyers or sellers, then send them content relevant to their needs.
By appropriately targeting your audience, you'll increase your chances that the right visitors will provide their email.
Make your website as attractive as possible
We all know the old saying, "don't judge a book by its cover". We also guarantee that first time website visitors will judge your business based on the appearance of its website before anything else.
While lurid colours and giant fonts might work on billboards and social media posts (gotta stand out from the crowd after all), if that's what your webpage looks like, it'll be a big turn off for potential customers.
It's all about simplicity and an intuitive user experience that ensures your site is easy to navigate. This also has benefits for SEO, which helps potential customers find you through search engines. All the email capture strategies in the world won't help if they're not seen.
Most of the time companies (or their web devs) have website design down pat. The problems start to arise when trying to integrate bloated third-party email capture tools into their pre-existing websites.
These tools often can't match your existing branding, and can look clunky alongside your carefully curated website. With Paperform you can avoid this issue—we offer a dizzying array of customization options and allow you to build email capture forms that seamlessly fit into your site.
Email list building isn't something that happens overnight. Capturing emails is like capturing Pokémon—it takes patience, finesse and a good measure of luck and hard work.
But it's worth the effort. As we've seen, email is a vital marketing tool and one of the most efficient ways to turn leads into paying customers. With these strategies, you'll be on the path to turning your capture forms into lead generation machines.
Why not get started today? Whether you need a simple contact form or fully-customisable landing page for your product, Paperform makes email list building easy.
Laura is a Content Writer at Paperform. She writes from rural Australia with pets who really want to attend virtual meetings. She dreams of writing as fearlessly as the Fast and Furious writers do.


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Far From a Slam Dunk: Eyeing the Risks of the TPP for Vietnam
It is questionable if the Trans-Pacific Partnership will be beneficial for Vietnam.
By Dylan Chambers for The Diplomat
Credit: Woman's hands holding clothes label, via Shutterstock.com
After a decade of negotiations, the Trans-Pacific Partnership (TPP), signed in February this year, is now set to go to legislators among the twelve signatory states for ratification. And they have much to consider: the expected economic gains are disputed; protests have erupted in the USA, New Zealand, Peru, Malaysia, and elsewhere; and critics warn that the agreement – negotiated entirely behind closed doors – carries provisions catering to corporate elites to public detriment. Proponents of the agreement often claim that Vietnam, at least, will be an unambiguous winner. But even here, significant costs and risks have been overlooked.
The potential gains for Vietnam seem to be overwhelming at first glance: a study by Peter Petri and Michael Plummer at the Peterson for the Institute for International Economics estimated that exports will expand by nearly 40 percent by 2025 and in their follow-up study they predicted real income would grow 8.1 percent larger under the TPP by 2030 than under the baseline scenario. These results have been further supported by a 2016 World Bank report that predicts a 10 percent increase in national income linked to the TPP by 2030.
As a market-transition economy with high tariffs, Vietnam would benefit from a larger degree of trade opening under the TPP than any other member. In the U.S., tariffs on Vietnamese apparel and footwear (the country's key exports) reach nearly 20 percent and 50 percent, respectively, and will be reduced by one-third up-front and phased out completely over a decade (although many other tariffs have a phase-out period of up to 30 years). Vietnam's small size relative to other members also means market access will allow Vietnamese firms to scale up production, and foreign direct investment (FDI) is expected to increase along the lines of Mexico's experience with the 1993 North American Free Trade Agreement (NAFTA).
But a closer look suggests such benefits are by no means clear. As Harvard economist Dani Rodrik noted, the economic models used to estimate the effects are contested. In a rival model to Petri and Plummer's paper, Tufts University's Professor Jeronim Capaldo, Alex Izurieta of the United Nations Conference on Trade and Development, and former UN Assistant Secretary-General Jomo Kwame Sundaram recently estimated that national income gains would be relatively modest in Vietnam while employment losses and increased inequality would result from increased competition forcing businesses to drop wages and shed employees.
These outcomes would likely be partly due to losses of jobs and production in fisheries, livestock, and agriculture. And given that half of Vietnam's population still works in these sectors, this could lead to considerable hardship, as happened in Mexico in the decade following NAFTA, where economic growth and employment stagnated, wage inequality increased, and agricultural employment fell. In an appraisal of NAFTA's effect on employment and growth in Mexico, a 2009 Carnegie Endowment for International Peace report concluded it "failed to deliver what Mexico needs most." Vietnam risks falling victim to a similar outcome.
Mexico's experience also gives reason to be wary of NAFTA-style investment rules. While FDI inflows increased rapidly in post-NAFTA Mexico, economic growth stagnated at around 2 percent per annum as total investment fell: FDI crowded out domestic investment, domestic businesses went under, and public investment declined. Meanwhile, relaxed rules regarding profit repatriation meant that almost half of all returns by foreign-owned companies flowed out of the country between 1990 and 1998.
Under the TPP, Vietnam will need to hastily carry out significant economic, legal, and regulatory reforms, and this carries much uncertainty. New rules requiring Vietnam to sell off many state-owned enterprises and cut subsidies will be particularly challenging politically, cutting off government influence (and revenue) in large chunks of the economy. If successful, these reforms may bring accountability and efficiency gains, but rapid privatization also brings many risks, including of rent-seeking, corruption, and market distortions – as was the unfortunate outcome in many post-Soviet and Latin American market transitions.
With these reforms the Vietnamese government will also renounce policy tools that have played a crucial role in Vietnam's development. Export promotion, domestic-content requirements, subsidies, and investment regulations all helped Vietnam to develop higher-value industries in recent decades. But they are ruled out under the TPP, so the government's hands will be tied if it wishes to further direct its industrial development in coming years.
But moving up the global value chain may be crucial to Vietnam's long-term development prospects. In China, increasing value-added production has been central to its rapid economic rise and has largely been the result of strategic state interventions such as policies aimed to nurture production in electronics and other higher-end goods. Whereas while Vietnam may be better placed to scale up production in its current labor-intensive industries, the TPP may ultimately prevent it from gaining a foothold in markets for more sophisticated goods.
And if, on the other hand, Vietnam fails to complete these extensive reforms, it will miss out on the full benefits of market access under the TPP. Skepticism regarding Vietnam's capacity to make the changes so quickly lingers among TPP members – not least because of the civil service's poor governance issues – and has led to the creation of an independent commission to monitor the process for the first ten years after the agreement goes into effect.
The benefits of the deal will also be undermined by strict rules of origin, often requiring 30-60 percent of a product's value to be derived in the exporting country. In particular, the contentious "yarn forward" rule will require Vietnamese exporters to buy yarn (and other textile inputs) from TPP member states in order to access tariffs cuts in the United States. But since Vietnam sources most of its materials from non-TPP states (above all, China), it will not be able to fully benefit from tariff reductions in its key industries.
A final, crucial risk is that the investor-state dispute settlement mechanism will make the Vietnamese government beholden to private companies, being forced to compensate them when laws or regulations undermine expected profits – even when such rules are designed to protect the public from harm. Unlike in domestic legal courts, such mechanisms are not designed to be impartial and transparent. Rather, only private companies can bring cases against governments (while civil society cannot), proceedings take place beyond public scrutiny and can be so costly that governments find themselves unable to fund their legal defense without external support, and arbitrators can be appointed despite clear conflicts of interest.
Much uncertainty remains regarding the effects of the TPP on Vietnam, but a wary look at the deal highlights many risks: increased inequality and unemployment are likely, while the benefits may not stack up to expectations. But perhaps most worryingly, the Vietnamese government will lose autonomy in policymaking and regulation-setting by renouncing important policy tools, selling off state assets and submitting itself to the authority of powerful, unaccountable settlement courts.
If Vietnam represents our highest hopes for the TPP, then legislators around the Pacific scrutinizing this document for ratification would do well to reconsider how beneficial this trade agreement really is.
Dylan Chambers is a researcher at the Global Public Policy Institute in Berlin.
investor state dispute settlement
TPP rules
Vietnamese economy
Vietnamese exports
The CPTPP Trade Agreement Will Enter Into Force on December 30
With Australia's ratification, the CPTPP has met the threshold requirements to enter into force.
Should the Rest of Southeast Asia Join the TPP?
By Lili Yan Ing
Those countries that are not yet members should look very carefully at the fine print.
TPP: A Step Forward in Multilateral Cooperation
By Valbona Zeneli
The Trans-Pacific Partnership could be a building block for future multilateral cooperation.
Can the TPP Rescue Global Economy?
By Anthony Fensom
The deal comes at a time when global trade is slumping.

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Netflix sets release date for documentary on Fuyao plant
by: WDTN.com Staff
DAYTON, Ohio (WDTN) – A documentary made by local filmmakers will soon be coming to Netflix.
"American Factory" will be released globally on Netflix and in select theaters on August 21.
The film, by award-winning directors Steve Bognar and Julia Reichert, tells the story of the clash of cultures when Chinese-based Fuyao moved into the old GM plant in Moraine.
This is also the first title to be released by Higher Ground Productions, formed by former President and First Lady Barack and Michelle Obama.
"We are honored and thrilled that Netflix and Higher Ground are teaming up to bring 'American Factory' to the world. Their energy and enthusiasm is infectious. We're excited about the national and global conversations we believe this film can spark," said Director Julia Reichert and Director/Producer Steven Bognar.
Netflix acquired "American Factory" from Participant Media out of the 2019 Sundance Film Festival, where it won the Directing Award: U.S. Documentary.


Uber is a leading transportation app that gained huge popularity for its niche services in transportation, where the user can book a ride by adding pickup and drop locations furthermore its completely cashless service. In some countries like India, China it completely modernized the taxi booking system and changes in the industry as a result of it referred to as Uber Ride -Uberisation.
At the time of app design, we should think or design in such a way it will provide the best service to the customer by fulfilling the requirement and give tough competition to its rivals.
Hence, in the developing countries, there is more business potential for this kind of transportation services to meet its increased population and betters services at the niche.
Above analysis gives clear cut for new entrants to focus on which areas to gain competitive by offering different from others. If you are considering to build an app like Uber, introducing an on-demand business model in your business, contact us now.


It's almost Easter Bank Holiday Monday which can mean there can be only one place for the Family to go ....Foxhall Heath Stadium, Ipswich for another action packed race meeting in the 'Foxhall Bowl'.
As is traditional, the Whip St Motors Bangers are in Town, joined by the elite oval race cars that are the National Hot Rods and the single –seater rockets that are the Grand Prix Midgets which makes for a very appealing fixture.
The Bangers return for another high speed, all crashing - action meeting following their recent outings here. It will be all to race for as they race around the ¼ mile oval smashing, bashing and spinning each other out of the way as every driver is doing their best to be the first to the finish line and take the trophy! Bank Holiday Banger racing at Foxhall Heath Stadium is legendary, always full of action and drama and this meeting should be no exception!
The National Hot Rods return to Foxhall for the first time in 2019. It's 2018/19 World Championship round eleven for the Drivers and Teams so not only it's a point scoring opportunity, it is also a chance for some track time at Foxhall in their build up to the big race again this year which is staged over the annual Spedeweekend of 6th and 7th July.
At close of press, Newmarket's three time World Champion, Chris Haird leads the World Series Points with Scotland's Rob McDonald second and current World Champion, Billy Wood third. Only a handful of points separate the top of the chart so it's all to race for. Before Foxhall's Round, there is a Round at Skegness on Good Friday so the points from this weekend are crucial to World Championship Qualification.
The Grand Prix Midgets always enjoy a visit to Foxhall where they really get the chance to unleash all their horsepower on the big oval. These cars are small, colourful fast and spectacular. If you have never seen these cars before, they are a sight to behold as they are single seater engineering masterpieces!
If you haven't been to our Foxhall Heath Stadium before then this meeting is well worth a trip not just for the racing but to see the superb facilities which have available. We have two fully seated grandstands along the back straight which can hold several thousand people and offer excellent elevated views of the racing. Wherever you choose to sit in the grandstands you can see all the action around the Ipswich Raceway. We have a covered Grandstand on the Home Straight and we have a grandstand for those who are disabled or have special needs on the Kent Cams bend and our renowned catering facilities, - which offer some of the best Stadium food in the country, - are accredited with a five star Hygiene Rating. Our toilet blocks include baby changing and disabled facilities.
Foxhall this Bank Holiday Monday is 'The' place to be with the family, see the incredible race action and soak up the atmosphere on the terraces. Set the TV to record and let Spedeworth/Incarace Motorsports give you a spectacular afternoon of racing action and facilities at Foxhall Stadium!
Please also visit the 'Dave's Graphics and Chris Berry Photography' Trackshop Superstore, where you can purchase your Souvenir Full Colour Programmes of the event, plus copy of the brand new issue of the Full colour Wheelspin Magazine. There's Spedeworth / Incarace Merchandise and the amazing all action photos to choose from. Come and join us and let Spedeworth / Incarace Motorsports present to you a racing spectacle that will be a showcase in the memory for many years to come!
Turnstiles open at 12.30pm with racing commencing at 2:00pm.


April 9, 2018, New York - Just in time for summer, Bud Light is expanding the brand's citrus portfolio with a refreshed Bud Light Lime and the addition of Bud Light Orange. Both light lagers are brewed with real lime and orange peels, and deliver a clean and crisp taste that highlights natural citrus flavors in every sip.
Bud Light brewmasters take pride in knowing they make the hardest style of beer to brew – light lager. In a continued commitment to quality it was only natural to incorporate real citrus peels into the brewing process and as always, consistently check quality and taste every step of the way. Both beers are brewed for summer and are perfect for summer drinking occasions.
To build on this exciting announcement, Bud Light's new commercials — titled "Earth" and "Taste It" — feature Bud Light Lime and new Bud Light Orange, highlighting how both are brewed with real citrus peels for perfect summertime refreshment. The colorful new packs for Bud Light Lime and new Bud Light Orange feature bright orange and lime details, with accents of real citrus peels. Together these beers form the ultimate citrus combo for a taste that's unmistakably summer.
Bud Light Lime is available nationwide and Bud Light Orange is available nationwide from April through September. For more information about Bud Light Lime and Bud Light Orange please contact media@anheuser-busch.com and be sure to follow @BudLight on Twitter, Instagram and Facebook.


This is a free, fast and secure service offered by Granville Health System that allows you to pay your hospital bill online.
By enrolling, you will gain online access to a simple, up-to-date listing of your accounts, useful resources that answer your billing questions, and an easy way to conveniently pay your hospital bills online. Or, if you prefer, you can simply pay your bills without enrolling.
Credit Cards accepted include: Visa®, MasterCard® and Discover®. We can also accept payments from your savings or checking account. Please have your patient statement and bank account or credit card information ready.
If you have any questions, feel free to click here and contact us.
Or call us at 919.690.3254 Monday through Friday, 8:00 a.m. – 5:00 p.m.


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[Computer Security] Adobe Reader and Acrobat need patching. Attacks now underway.
A nice wife and ending my light addiction ?


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From time to time in the process of developing software engineers come across various mathematical issues. Usually those issues are easy fixes and can be resolved applying elementary mathematics, but sometimes we are facing complex and intriguing task. Please, see below a case study, I hope you find it interesting.
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The final step is to find point coordinates for each iteration and to make reverse transformation.


text:
June 16, 2020 - 3:42 pm	| by	Michael Coate
"Psycho should be remembered as the gold standard of psychological horror thrillers because it respects the audience by paying as much attention to delivering memorable, relatable characters, smart dialogue, a gripping plot, and emotional punch as well as jump scares." — Stephen Rebello, author of Alfred Hitchcock and the Making of Psycho
The Digital Bits and History, Legacy & Showmanship are pleased to present this retrospective commemorating the 60th anniversary of the release of Psycho, Alfred Hitchcock's popular psychological horror film starring Anthony Perkins as Norman Bates, owner-manager of the Bates Motel.
Psycho, which also starred Vera Miles, John Gavin, Martin Balsam, John McIntire, and Janet Leigh as Marion Crane, was released sixty years ago this month. For the occasion The Bits features a package of statistics and box-office data that places the movie's performance in context, along with passages from vintage film reviews, a reference/historical listing of the movie's major-market first-run presentations, and, finally, an interview segment with a film historian who reflects on the film six decades after its debut. [Read on here...]
And, lastly, before we begin… in case you missed it or desire a refresher read, this column's other Alfred Hitchcock retrospectives include To Catch a Thief 60th anniversary.
PSYCHO NUMBER$
1 = Rank among top-earning movies directed by Hitchcock
2 = Number of theaters playing the movie during opening week
2 = Rank among top-earning films of 1960 (calendar year)
3 = Rank among top-earning films of 1960 (retroactive / legacy / lifetime earnings)
4 = Number of Academy Award nominations
5 = Rank among Paramount's all-time top-earning films at close of original run
21 = Peak all-time box-office chart position
55 = Rank among top-earning movies of the 1960s (earnings from 1/1/60 - 12/31/70)
$806,947 = Production cost
$6.9 million = Production cost (adjusted for inflation)
$9.2 million = Box-office rental (domestic, through 12/31/60)
$11.2 million = Box-office rental (domestic, through 12/31/69)
$32.0 million = Box-office gross (domestic, first-run + re-releases)
$95.9 million = Box-office rental (domestic, adjusted for inflation)
$277.2 million = Box-office gross (domestic, adjusted for inflation)
A SAMPLING OF PASSAGES FROM REVIEWS
"A music score of weird reticence was contributed by the well-known Bernard Herrmann. In a word: Unexpected apparitions and surprise chord crashes on the sound track can scare even a policeman." — John Rosenfield, The Dallas Morning News
"If the movie theater business has any ills, according to 'Doctor' Alfred Hitchcock's diagnosis, they can be cured promptly by some blood-letting horrors, a healthy shot of mystery juice and a chilling bath in bizarre melodrama." — Glenn C. Pullen, The (Cleveland) Plain Dealer
"Alfred Hitchcock has manufactured another film chiller for the goose-pimple set. It's called Psycho and it's drawing like free beer." — Louis R. Guzzo, The Seattle Times
"Gee, whiz, Mr. Hitchcock! Stick to making pictures like North by Northwest, instead of one like Psycho, will you, huh?" — Helen Bower, Detroit Free Press
"You had better have a pretty strong stomach and be prepared for a couple of grisly shocks when you go see Alfred Hitchcock's Psycho, which a great many people are sure to do. For Mr. Hitchcock, an old hand at frightening people, comes at you with a club in this frankly intended blood-curdler." — Bosley Crowther, The New York Times
"Alfred Hitchcock, who I understand felt piqued when H.G. Clouzot beat him to Diabolique, has had his revenge. His Psycho is even more diabolique." — Philip K. Scheuer, Los Angeles Times
"Mixing his movie and TV styles, emphasizing horror over suspense, Alfred Hitchcock has come up with a sometimes effective, sometimes questionable little shocker." — Mildred Martin, The Philadelphia Inquirer
"Psycho is socko Hitchcock." — Bill Pope, The Atlanta Constitution
"After a fast, albeit inauspicious beginning, the film gathers momentum until it arrives at one of the most petrifying climaxes ever to raise the collective hair of a movie audience." — Martin Russell, San Francisco Examiner
"Psycho is a good enough picture, but by no means up to the best of Hitchcock." — Frederick Yeiser, The Cincinnati Enquirer
"Mr. Hitchcock's edict that no one be admitted after the film starts, is another example of his shrewd showmanship." — Mae Tinee, Chicago Tribune
"Psycho is far more macabre and mysterious than any of [Hitchcock's] previous full-length features. However, the settings are dreary and lack those magnificent backgrounds which Hitchcock employed so effectively in North by Northwest, Vertigo and To Catch a Thief. Perhaps the old mystery master has been more influenced in Psycho by his television programs than by his own classics such as 39 Steps and Notorious. However, he gives the audience its money's worth. You see two murders committed, with accompanying gore and grisly details. There are so many shocks the theater might be connected to an electric battery." — Marjory Adams, The Boston Globe
"[A]n unusual, good entertainment, indelibly Hitchcock, and on the right kind of boxoffice beam. The campaign backing is fitting and potent. The edict against seating customers after opening curtain if respected may add to the intrigue. All adds up to success." — Variety
THE ORIGINAL THEATRICAL ENGAGEMENTS
To give a sense of Psycho's rollout and the distribution model utilized, what follows are the film's theatrical first-run openings in the 50 largest North American markets
Opening date YYYY-MM-DD … City — Cinema (duration in weeks)
1960-06-16 … New York — Baronet (15)
1960-06-16 … New York — DeMille (16)
1960-06-22 … Boston — Paramount (12)
1960-06-22 … Chicago — Woods (5)
1960-06-22 … Philadelphia — Arcadia (16)
1960-07-15 … Omaha — Orpheum (4)
1960-07-20 … Baltimore — Aurora (17)
1960-07-22 … Minneapolis — State (5)
1960-07-27 … Hartford — Allyn (5)
1960-07-27 … Jacksonville — St. Johns (4+)
1960-07-27 … Miami — Paramount (3)
1960-07-27 … Miami (Coral Gables) — Trail (10)
1960-07-27 … Miami (Miami Beach) — Colony (3)
1960-07-27 … Tampa — Britton (4)
1960-07-27 … Washington — Town (14)
1960-07-28 … Detroit — Palms (10)
1960-07-29 … Cincinnati — Grand (12)
1960-07-29 … Fort Lauderdale — Gateway (3)
1960-07-29 … Fort Lauderdale (Hollywood) — Hollywood (3)
1960-08-03 … Buffalo — Paramount (7)
1960-08-03 … Des Moines — Orpheum (4)
1960-08-03 … New Haven — Paramount (5)
1960-08-04 … Cleveland — Stillman (11)
1960-08-04 … Columbus — Ohio (4)
1960-08-04 … Houston — Metropolitan (4)
1960-08-04 … Kansas City — Missouri (5)
1960-08-04 … Toledo — Princess (6)
1960-08-05 … Rochester — Paramount (4)
1960-08-05 … Salt Lake City — Motor-Vu Drive-In (5)
1960-08-05 … Salt Lake City — Utah (4)
1960-08-05 … Tucson — Catalina (5)
1960-08-08 … Toronto — Hollywood North (11)
1960-08-08 … Toronto — Hollywood South (11)
1960-08-10 … Los Angeles (Bakersfield) — Fox (3)
1960-08-10 … Los Angeles (Burbank) — California (3)
1960-08-10 … Los Angeles (Burbank) — San Val Drive-In (2)
1960-08-10 … Los Angeles (Cathedral City) — Sunair Drive-In (1)
1960-08-10 … Los Angeles (Compton) — Tower (3)
1960-08-10 … Los Angeles (Downtown) — Stanley-Warner (4)
1960-08-10 … Los Angeles (East Los Angeles) — Golden Gate (3)
1960-08-10 … Los Angeles (El Monte) — El Monte Drive-In (2)
1960-08-10 … Los Angeles (El Monte) — Starlite Drive-In (2)
1960-08-10 … Los Angeles (Fontana) — Belair Drive-In (2)
1960-08-10 … Los Angeles (Glendale) — Capitol (3)
1960-08-10 … Los Angeles (Hollywood) — Iris (6)
1960-08-10 … Los Angeles (Inglewood) — Century Drive-In (3)
1960-08-10 … Los Angeles (Inglewood) — United Artists (3)
1960-08-10 … Los Angeles (Long Beach) — Circle Drive-In (2)
1960-08-10 … Los Angeles (Long Beach) — West Coast (1)
1960-08-10 … Los Angeles (Mid-Wilshire) — El Rey (1)
1960-08-10 … Los Angeles (Montclair) — Valley Drive-In (2)
1960-08-10 … Los Angeles (Newport Beach) — Lido (1)
1960-08-10 … Los Angeles (Oxnard) — Oxnard (1)
1960-08-10 … Los Angeles (Pasadena) — United Artists (3)
1960-08-10 … Los Angeles (Pico Rivera) — Whittier Drive-In (3)
1960-08-10 … Los Angeles (Pomona) — United Artists (2)
1960-08-10 … Los Angeles (Riverside) — De Anza (3)
1960-08-10 … Los Angeles (San Bernardino) — Crest (3)
1960-08-10 … Los Angeles (San Pedro) — San Pedro Drive-In (2)
1960-08-10 … Los Angeles (Santa Ana) — Broadway (1)
1960-08-10 … Los Angeles (Santa Monica) — Wilshire (7)
1960-08-10 … Los Angeles (South Gate) — South Gate Drive-In (2)
1960-08-10 … Los Angeles (Van Nuys) — Fox (3)
1960-08-10 … Los Angeles (Van Nuys) — Sepulveda Drive-In (2)
1960-08-10 … Los Angeles (Ventura) — 101 Drive-In (2)
1960-08-10 … Los Angeles (West Los Angeles) — Picwood (3)
1960-08-10 … Los Angeles (Westminster) — Hi-way 39 Drive-In (1)
1960-08-10 … Portland — 82nd Street Drive-In (1)
1960-08-10 … Portland — Broadway (8)
1960-08-10 … Portland (Tigard) — Family Drive-In (1)
1960-08-10 … San Francisco — Golden Gate (11)
1960-08-10 … San Jose — cinema (?)
1960-08-11 … Indianapolis — Circle (5)
1960-08-12 … Phoenix — Indian Drive-In (3)
1960-08-12 … Phoenix — Paramount (2)
1960-08-17 … Denver — Orpheum (9)
1960-08-17 … Memphis — Palace (6)
1960-08-17 … Milwaukee — Riverside (6)
1960-08-17 … San Diego — California (8)
1960-08-18 … Dallas — Majestic (4)
1960-08-18 … Edmonton — Paramount (5)
1960-08-19 … Ottawa — Capitol (3)
1960-08-19 … Pittsburgh — Penn (6)
1960-08-19 … Sacramento — Alhambra (6)
1960-08-19 … Sacramento — Crest (4)
1960-08-19 … Vancouver — Strand (11)
1960-08-19 … Winnipeg — Metropolitan (5)
1960-08-21 … Charlotte — Carolina (2)
1960-08-24 … Calgary — Capitol (3)
1960-08-24 … San Antonio — Majestic (3)
1960-08-24 … Seattle — Paramount (11)
1960-08-26 … Atlanta — Fox (4)
1960-08-26 … St. Louis — St. Louis (7)
1960-08-31 … Honolulu — King (2)
1960-08-31 … Honolulu — Palace (2)
1960-08-31 … Honolulu — Waialae Drive-In (2)
1960-08-31 … Oklahoma City — Midwest (4)
1960-09-01 … Louisville — Kentucky (7)
1960-09-03 … Las Vegas — El Portal (3)
1960-09-23 … New Orleans — Saenger (3)
1960-11-04 … Montreal — Loew's (4)
[On to Page 2]
[Back to Page 1]
THE Q&A
Stephen Rebello is the author of Alfred Hitchcock and the Making of Psycho (Dembner, 1990). His other books include Reel Art: Great Posters from the Golden Age of the Silver Screen (Abbeville, 1988), Bad Movies We Love (Plume, 1993), The Art of Pocahontas (Hyperion, 1995), The Art of the Hunchback of Notre Dame (Hyperion, 1996), The Art of Hercules: The Chaos of Creation (Hyperion, 1997), and Dolls! Dolls! Dolls! Deep Inside Valley of the Dolls—The Most Beloved Bad Book and Movie of All Time (Penguin, 2020). He has also written for Cinefantastique, Cosmopolitan, GQ, Los Angeles Times, and Playboy.
Rebello kindly spoke to The Bits about Psycho's appeal and legacy.
Michael Coate (The Digital Bits): How do you think Alfred Hitchcock's Psycho should be remembered on its 60th anniversary?
Stephen Rebello: On the 60th anniversary of Psycho — its White Diamond anniversary — it should be remembered as the first truly modern thriller, the one that showed us that no movie ghost, wolfman, vampire, zombie is as terrifying, cruel or relentless as a human mind unhinged. It should be remembered as the film that forever changed how Americans went to the movies. That is: at the start of the movie not whenever they felt like dropping in, as was the case before Psycho. It should be remembered as a film that took critics decades to fully appreciate, but only after it became a box-office sensation with audiences. We should remember it as An Event Movie because that's what Hitchcock's and Paramount's iconic promotional campaign turned it into. It should be remembered as the gold standard of psychological horror thrillers because it respects the audience by paying as much attention to delivering memorable, relatable characters, smart dialogue, a gripping plot, and emotional punch as well as jump scares. It should be remembered and celebrated as a movie made by experts who know that what we don't see but are made to imagine is much scarier than showing everything. It should be remembered and celebrated as a film that has inspired countless imitations, homages, remakes and sequels — official and unofficial — and helped inspire a generation of writers, directors and other moviemakers. It also should be remembered as one hell of a tight, smart, scary, highly entertaining, once in a lifetime classic.
Coate: What do you recall about the first time seeing Psycho?
Rebello: I took a bus downtown after school and sneaked off alone to see Psycho at the Durfee Theater in Fall River, Massachusetts. I wasn't supposed to do that, so that made the trip all the more forbidden and exciting. In those days, my idea of scary was watching classic old Universal horror movies on TV with my dad or catching up on William Castle, American-International and Mario Bava movies. My parents loved going to the movies and, to them — and to the whole moviegoing world — the name Hitchcock was synonymous with movies that delivered thrills, suspense, intrigue, style, class, high adventure, gorgeous movie stars, Technicolor. The stuff of Rear Window, The Man Who Knew Too Much, To Catch a Thief, North by Northwest. Then, there was Hitchcock's weekly television show with its droll, macabre humor and, sometimes, edgier, twisty plots.
Psycho announced itself as a whole other thing. Its advertising, from the movie trailers to the posters, was stark, sexy, bold, hinting at horror, darkness, something much darker than the usual Hitchcock film. So my parents weren't about to let me see that movie. Everybody was talking about, whispering about Psycho. I remember pretending to be asleep as my mom drove home Betty, one of her close friends, after they'd seen some glossy Lana Turner or Susan Hayward movie. I guess they'd seen a trailer for Psycho that night and when my mother asked Betty what Psycho was about, she whispered, It's about a queer! (Wrong but whatever.)
Of course I had to see what the whispering was all about but I knew my parents wouldn't take me, so I took myself to the movies — on the sly. I remember a long line of buzzing, chattering, raucous people outside the theater. It was like people sound when they're about to ride a scary roller coaster. There was a life-size cardboard poster of Hitchcock and tape recorded messages warning no one will be admitted into the theater once Psycho has begun. This was a first.
The Durfee was a showplace, a true movie palace with marble floors, chandeliers, and a fish pond in the lobby, but just slightly past its prime and a little seedy. The audience was mostly grownups, people I'd see in grocery stores, in bowling alleys, shopping downtown, even one of my schoolteachers. For some reason, the sound of Psycho made a big impression. It didn't sound like any movie I'd heard before — so clear, quiet, intimate, except for that jittery, driving, edge-of-the-seat musical score. The audience was spellbound, very quiet. When Janet Leigh reached the Bates Motel, met Norman Bates in the form of Anthony Perkins, went back to her cabin, tore up a piece of paper and flushed it down the toilet, you could hear nervous giggle. You could also feel dread. Anything could happen in a movie that broke the rules
Once the shower scene began, all hell broke loose. People screamed, they were groaning. The lady a few seats away from me covered her mouth with both hands and went running up the aisle toward the exit. I saw my schoolteacher do the same thing. Psycho was a whole other thing. I'm not going to lie. I loved seeing grownups reduced to acting like scared kids. But when I went back and saw the movie for a second time and the audience was much smaller, I loved the movie. It packed a punch and had such power.
Coate: In what way is Psycho a significant motion picture?
Rebello: [In addition to some of the points I made in answering your first question], it was also significant for shifting Hitchcock's reputation from smooth, suave, expert thriller-maker to the man who outdid everyone else when it came to horror. He never fully recovered. Every movie he made after it lived or died not by whether that movie was as good as, say, Notorious or Strangers on a Train but also whether it was as scary as Psycho. Talk about a double-whammy for an artist who wanted to keep growing, changing, innovating with the times. In some ways, Psycho paralyzed him as much as it liberated him.
Coate: Where do you think Psycho ranks among Alfred Hitchcock's body of work?
Rebello: I'd put Psycho among the Hitchcock's five best that also include Notorious, Rear Window, Strangers on a Train, and Vertigo, followed by The Birds, Shadow of a Doubt, North by Northwest, The 39 Steps, and The Lady Vanishes.
Coate: Can you discuss Hitchcock's choice in producing Psycho in black-and-white after doing several films in color and the previous few in VistaVision?
Rebello: It wasn't a choice. The bosses at Paramount thought Hitchcock had been spending far too much money on Rear Window, To Catch a Thief and The Man Who Knew Too Much and wanted to curb him, especially when both The Trouble With Harry and Vertigo underwhelmed at the box-office. They told him point blank that they didn't like the Psycho project and refused to give anywhere near his usual production budget. Hitchcock himself was nervous about the picture and decided to do Psycho quickly, inexpensively, in black-and-white but with all his usual meticulous planning. He shot it with his Alfred Hitchcock Presents crew, kept the budget low and even considered, at one point, cutting it and playing it off as a special one-hour TV show. We all know how it turned out, of course, but according to many of Hitchcock's colleagues, when he said that he chose black-and-white for Psycho so he wouldn't have to show blood? Not quite true.
Coate: What is the legacy of Psycho?
Rebello: Psycho blew wide so many censorship barriers, created so many iconic moments, reinvented so many tropes of the genre and left such a mark on audiences, let alone filmmakers, that it opened the floodgates for artists who truly understood what a milestone it was and built on its foundation — like Roman Polanski with, say, Repulsion, Nicolas Roeg with Don't Look Now, William Friedkin and The Exorcist, Christopher Nolan's Insomnia, Bong Joon-Ho's Mother, stuff by George Romero and many more. It also paved the way for ambulance chasers and much lesser talents who only prove that imitations may be fun and flashy but at the end of the day, they're too derivative to become legendary.
The movie has become so ingrained in the collective conscious and unconscious that it's impossible for many to hear the name "Norman Bates," to hear shrieking violins, to spot an old Victorian-style house, to step into a shower — let alone a shower in roadside motel — without thinking of Psycho. Today, the shocks and twists of the movie may be seem tame and refined in comparison to some of the cinematic bloodbaths we've had since. But its characters, performances and famous set-piece scenes are indelible and its legacy is indelible. How many other films still haunt our dreams 60 years later?
Coate: Thank you, Stephen, for sharing your thoughts about Psycho on the occasion of its 60th anniversary.
Selected images copyright/courtesy New York Daily News, Paramount Pictures, Shamley Productions. Universal Studios, Universal Studios Home Entertainment.
SOURCES/REFERENCES
The primary references for this project were regional newspaper coverage and trade reports published in Billboard, Boxoffice, The Hollywood Reporter, and Variety.
All figures and data included in this article pertain to the United States and Canada except where stated otherwise.
Don Beelik, Mark Lensenmayer, Stephen Rebello.
George Tomasini (Editor), 1909-1964
John L. Russell (Director of Photography), 1905-1967
Bernard Herrmann (Composer), 1911-1975
Alfred Hitchcock (Producer-Director), 1899-1980
Joseph Hurley (Art Director), 1914-1982
George Milo (Set Decorator), 1909-1984
John McIntire ("Sheriff Al Chambers"), 1907-1991
Robert Clatworthy (Art Director),1911-1992
Anthony Perkins ("Norman Bates"), 1932-1992
Robert Bloch (Novel), 1917-1994
Martin Balsam ("Det. Milton Arbogast"), 1919-1996
Saul Bass (Title Designer),1920-1996
Janet Leigh ("Marion Crane"), 1927-2004
Joseph Stefano (Screenplay), 1922-2006
John Gavin ("Sam Loomis"), 1931-2018
-Michael Coate
Vera Miles
Stephen Rebello
Hitchcock and the Making of Psycho


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The starting point of the toy producing firm ''Mankan'' is marked to be the year 1992. In June of the same year a toyshop was opened in the Trade center situated in Abovyan street 35/1. During the first five years the company actively cooperated with foreign toy-producing companies, implementing successful deals in the process of toy import and its consumption.
The working rich experience, the permanent desire to be improved, as well as the wish to create new working places became prior motives of "Mankan" LTD for establishing the private production of soft toys.
Thus. In 2000 the "Mankan" LTD produced its innovativelt with its own production of soft toys. At present, "Mankan" LTD is the first and exclusive producer of kids tender – filled toys which offers rich assortment of multicolored velvet toys in accordance with technical regulations of RA. We try completely to satisfy the customers' demands of the whole product, which allows to improve and increase the consumer market.
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text:
// Copyright 2011-2016 Google LLC
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
//
// http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
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package com.google.security.zynamics.binnavi.ZyGraph.Settings;

import com.google.security.zynamics.binnavi.debug.debugger.interfaces.IDebugger;

/**
 * Adapter class for display settings listeners.
 */
public class ZyGraphDisplaySettingsListenerAdapter implements IZyGraphDisplaySettingsListener {
  @Override
  public void changedFunctionNodeInformation(final boolean show) {
    // Empty default implementation
  }

  @Override
  public void changedGradientBackground(final boolean value) {
    // Empty default implementation
  }

  @Override
  public void changedShowMemoryAddresses(final IDebugger debugger, final boolean selected) {
    // Empty default implementation
  }

  @Override
  public void changedSimplifiedVariableAccess(final boolean value) {
    // Empty default implementation
  }
}

redpajama_set_name: RedPajamaGithub


Prague, Dec 18 (ČTK) — The political activities of former president Václav Havel have shrunk into a few exalting or critical clichés at home, political analyst Jiří Pehe writes in his essay "Havel's legacy in home politics" in daily Právotoday, on the third anniversary of Havel's death.
This situation has more to do with the state and orientation of current Czech politics rather than with Havel himself, he writes.
Pehe says the view of Havel will definitely change after some time when he will not be assessed by a generation of people who connected him with their own, often unrealistic, expectations of the development after the fall of the Czechoslovak communist regime in 1989.
In home politics, the most common clichés are Havel's alleged fancy for non-political politics, his alleged excessive backstage intriguing in support of his favorites or against those he did not like, Pehe writes.
Unfortunately, Havel's real failures are seldom analyzed and even if they are, the critics usually do not interpret the steps of the dissident turned into president in their contexts. Being a "revolution" president, Havel's real influence, whether he liked it or not and especially in the first years of his presidency, was much bigger than his officially defined powers, Pehe writes.
Both Havel's opponents and supporters therefore often projected all that they would like to have (not) done into him. For example, Havel should have pushed through a ban on the communist party. Or, he should not have allowed communist Marián Čalfa and economist Václav Klaus to occupy the highest political posts, Pehe writes.
Čalfa was Czechoslovak prime minister in 1989–92, Klaus was Czech prime minister from 1992 until 1998.
People also claim that Havel should have stopped Klaus and his people or at least correct some of their less successful economic reforms in the early 1990s. But most critics do not ask whether it was possible or desirable, Pehe writes.
If Havel had tried to do such a thing and if he had succeeded in the clash with the emerging parties, he would have been criticized for excessive interfering in party politics, Pehe adds.
When Havel stopped being loyal to Klaus's second government after a series of scandals and sharply criticized it in a public speech in 1997, he was accused of intriguing and inappropriate meddling in government politics, although he used true arguments, Pehe writes.
Like everybody in Czechoslovakia, Havel was learning how to do standard democratic politics step by step. Having lived in the intellectual dissident ghetto for many years, he acquired some stances that were useful in his criticism of the former communist regime but not always appropriate in everyday political life and opponents dismissed them as pointless moralizing, Pehe says.
However, Havel did not promote non-political politics and oppose the system of political parties after 1989. He accepted political parties as an integral part of functioning democracy, same as he changed some of is opinions on foreign policy and international security, Pehe writes.
He says Havel was right when he criticized Czech parties for their isolation, contempt for civic society and favoritism tendencies, which led to mafia capitalism.
In Czech home politics, only two failures seem to be really connected with Havel, one concerning Slovakia and the other respect for the constitution, Pehe writes.
Havel failed to understand the developments in Slovakia soon enough due to his rather Prague-centered perspective as well as contacts and friendly relations with Slovak dissidents who mostly supported the Czechoslovak federal state. As a result, then Czech and Slovak prime ministers, Klaus and Vladimír Mečiar, took control of the developments in the final stage of the disintegration of Czechoslovakia in 1992, Pehe writes.
Also due to his enormous influence of the president and founder of a democratic state, Havel did not always respect the spirit of the Czech constitution. Among others, he informally authorized a politician to form a government before officially appointing a new prime minister, Pehe writes.
After Klaus's coalition government fell in December 1997, Havel did not name Klaus, who then headed the strongest Civic Democrats (ODS), prime minister again, although this would have been the standard procedure. Havel was concerned about Klaus's possible inability to form a government after the ODS split, yet it may seem that he omitted Klaus in order to appoint a caretaker cabinet comprising his favorites, Pehe says.
The most problematic part of Havel's legacy appears to be his support for a 1998 agreement of political parties, according to which an early general election was organized based on a one-off constitutional amendment on the dissolution of the lower house of parliament, Pehe writes.
He says this trick that interpreted the constitution in a controversial way was a precedent for his successors, Klaus and Miloš Zeman. Havel's later efforts to use the Constitutional Court for a correct interpretation of the constitution were much more productive, he writes.
In general, Havel's performance in home politics was rather good, which can be seen well in comparison to his successors, Klaus and Zeman, who acted or still act in far less common ways, even though the political situation is getting more common, Pehe writes.


text:
Persian news link
(Persia Digest) – With the endeavors of the Kiarostami Foundation in association with French MK2 Films and US Janus Films/The Criterion Collection, the restoration of all works by this Iranian director, including all his short films made for the Institute for the Intellectual Development of Children and Young Adults, has been completed after two years.
The screening of these films will begin next month at IFC in New York and Berkeley Film Archive in California. These will be taken to Europe next year.
A commemoration ceremony will also be held for Abbas Kiarostami next April at the Centre Pompidou in Paris in association with the Kiarostami Foundation and MK2 Films. Not only will all his films be screened here, but his paintings, photographs, poetry, videos, and other works will also be displayed for his fans.
His last movie, '24 Frames', completed by the Foundation and shown at the Cannes Film Festival in 2017, was also released and distributed by The Criterion Collection on DVD and Blu-ray. The Criterion Collection will also release the Koker trilogy on DVD and Blu-ray next month.
Persia Digest (PD) reports that renowned Iranian director, Abbas Kiarostami, was hospitalized from March to April 2016 for a number of intestine operations. He returned to hospital on a number of occasions until he left for Paris for further treatment in July 2016, but passed away in this city on 5 July at the age of 76.
The third anniversary of his death will be held on Friday 5 July.
# Iran # Abbas Kiarostami # Iranian director # Iranian cinema # Persia Digest
SHORT LINK persiadigest.com/1001k3


text:
«Богатырша» — российский мультипликационный фильм режиссёра Ольги Лопато, вышедший в прокат в 1 января 2016 года. Снимался мультфильм в Ереване (Армения) на студии Touch FX Animation Studio.

Сюжет
Витязь Бориполк одерживает победу над Кощеем и один из волхвов предсказывает, что третий сын Бориполка станет великим героем. Но третьим ребёнком Бориполка становится девочка Роса, над которой многие начинают потешаться из-за пророчества волхва. Девочка несмотря ни на что старается оправдать пророчество и стать героем. И когда дружина не справляется со Змеем Горынычем, Роса притворяется парнем и отправляется покорять врага.

Роли озвучивания
 Анна Хилькевич — Роса
 Алексей Чумаков — средняя голова Змея Горыныча
 Гарик Харламов — правая голова Змея Горыныча
 Тимур Батрутдинов — левая голова Змея Горыныча
 Михаил Пореченков — Бориполк
 Алёна Бабенко — Рогнеда
 Дмитрий Филимонов — воевода
 Борис Щербаков — князь
 Мирослава Карпович — княжна
 Армен Джигарханян — дед Пихто
 Василиса Эльдарова — Роса в детстве

Критика
Мультфильм в целом получил негативные отзывы. В рецензии Бориса Иванова на film.ru отмечены недостатки с моралью и логикой произведения, а также не полностью раскрытыми темами. Положительно отмечен саундтрек к мультфильму. Также, фильм был раскритикован из-за низкополигональной графики и визуальной составляющей, например низкопроработанные текстуры и низкое качество рендеринга.

Примечания

Ссылки
 Богатырша на сайте Tlum.ru

Мультфильмы России 2016 года
Полнометражные мультфильмы России
Мультфильмы «Парадиз»

redpajama_set_name: RedPajamaWikipedia


text:
Mazda3 2.0 litre (2004-2009)
At the start of 2004, the all-new and stylish Mazda 3 replaced the popular but ageing 323.
Mazda 3 truly raised the bar for what a small car could offer a market whose ardour for large cars was cooling, and it's gone on to be a tearaway sales success.
The five-door hatch and four-door sedan model specifications comprise the entry level Neo, the mid-fielding Maxx, and the superior Maxx Sport. Neo standard offerings include air conditioning, dual airbags and CD. ABS, power windows and mirrors were Neo options, but included as standard on better specified versions.
An upgrade in July 2006 brought small engine output and fuel economy gains, and other worthwhile improvements across the range, plus standard ABS for Neo. Cruise control was a dealer 'add-on' prior to that and can be troublesome, so check operation carefully. Dynamic stability control also became an option for 2.0-litre models.
There was a makeover in April 2008 and a brand-new model in 2009. Look for the latest series car your budget allows.
The range includes a sportier 2.3 litre model, the SP23, and the scorching 3 MPS turbo hatch.
Mated to a five-speed manual or four-speed auto, the 2.0-litre petrol is one of the class's more sprightly performers, though its best work comes with higher revs. The six-speed manual-only 2.0-litre turbo-diesel, released in 2007, impresses for its beefy torque, drivability and fuel economy.
On the road the 3 is a class act offering driver enjoyment with good ride and top-shelf handling and steering. Tyre and road noise levels aren't as classy though. Inside there's plenty to like, including decent front seats, plus style and functionality. A spacesaver spare disappoints.
Running costs are higher than some competitors, but it's a well-built car with sound reliability credentials. Check for coolant leaks at the water pump and on series one cars expensive-to-fix dash pad cover cracking. Diesels had a recall for a loose engine mount bolt.
Under the pump
Mazda 3 will use between 7.2 and 10.5 litres of unleaded or 6.0 and 8.0 litres of diesel every 100km, depending on model and driving conditions.
For an indication of what you would pay for this vehicle please go to RACQ's online car price guide or contact our Motoring Advice Service on 07 3666 9148 or 1800 623 456 outside the Brisbane area.
3 2.0 litre