SEO, PR, Social and Content often operate in silos rather than expressing an understanding that they are all critical parts of the marketing mix. They work best when each element considers the other and their common goals. At Distilled we're keen to see this change.
Kristina Halvorson (CEO, Brain Traffic) is widely recognized as one of the most important voices in content strategy. She is the author of Content Strategy for the Web; the founder of the Confab content strategy conference; the host of the podcast "Content Talks"; and a sought-after speaker for conferences all over the world.
Her agency Brain Traffic is home to a team of renowned content strategists, serving clients like Hewlett Packard, Coca-Cola, Merck, Amadeus, Best Buy, and Carnegie Mellon University.
Kristina lives in St. Paul, Minnesota with her two kids, who often get quoted on Twitter (@halvorson).
Mark: So as you know we contacted you after I spotted the post you'd written about 'SEO and the Dirty White Lie about Content Strategy'. We've a number of questions we'd like to ask you about content strategy and the crossover with SEO. Given the overlap with other marketing disciplines, who typically owns the content strategy?
Kristina: Yeah, typically nobody owns it. That's actually something we say pretty straight forwardly in the book, there's a whole page about marketing wants this, and the social media people want this and the legal people this, and technology wants this, and the subject matter experts want this, and the problem is that nobody owns it.
And that's a tremendous challenge and a tremendous issue, and I think there are a lot of different ways that organisations can get around that, but the first part is leadership - it all comes from leadership - because leadership has to be courageous enough to empower one person or a small team of people to say 'NO'.
Until you empower people to say 'No' to content requests or changes to site organisation or new taxonomies, it's not going to be aligned with other efforts. Somebody's got to be able to say 'No'.
So, where do I think it should live? There's been talk of the introduction of a new executive role called the 'Chief Content Officer', that acknowledges content is a business asset. I'm pretty sure Gerry McGovern first called it that (an asset) in 2007.
Just like technology, just like intellectual property, just like a brand - content is a business asset. And it deserves to be considered as such.
It requires strategic consideration, because otherwise it just piles up, the way that it has.
Part of that, again, is having a central content strategy. Now, who should own it? That's an enormously difficult question. The Chief Content Officer - if that can exist. I think it can live within web strategy - if there is a clear partnership with corporate communications to ensure there's consistency between the content that's being created both online and offline.
And when I say web strategy, I'm not just talking about the website, I'm talking about all the digital content. But again, I don't think many organisations have a web strategy team that's truly empowered. I think they're all answering to the Chief Marketing Officer, who is often more interested in what's happening with mobile, or what's happening with social media, and is not really looking at digital content efforts as one strategic initiative.
M: One of the things we focus on with our clients is how do we help them get things done, and make change happen in their organisation? We don't just want to deliver a report. We want to make sure things happen. What approaches do you take to do similar things for your clients?
What do you have internally that is supporting your content efforts, or is not?
Where is it that you want to be?
What is that gap between where you are now and where you want to be?
And what realistically are the resources that are going to help you get there?
If you can really take a hard look at that, and make strategic recommendations about implementation within that reality, then stuff gets done.
If you are not paying attention to how much resistance there is to change, or you're just hoping that that resistance will go away - if you are creating initiatives that are just going to take way more resources to both launch and sustain over time - all of that stuff is setting you up for failure.
And it's that up front work - getting people to take a close, realistic look at their world of content – what impacts it internally, what's driving it from external forces, that will then inform recommendations and a go-forward plan. That, in my opinion, is how things really get done.
M: Excellent. One of the things I see when people are talking about content strategy, they very often just present a list of techniques and a list of formats. I was wondering - what does it mean to really have a strategy?
K: I think what you're talking about is people jumping directly to tactics. And the battle between strategy and tactics wages on.
I try to tell people that a twitter strategy is not a strategy.
Twitter is one platform, and it is a tactic to execute on your central, core content strategy. Decide on that strategy and then you decide which platforms, which channels, which people, and purposes and audiences are going to map back to that content strategy which ultimately is being fuelled by your business objectives.
So, any initiative or project or program that is being put out there, we very clearly need to say, how it is helping us reach our business objectives. How is this either complimenting or competing with other program initiatives that we have? And understand very clearly that it does not live in a silo.
M: I don't know how much of an eye you keep on these things, but there have been a few significant updates in the Google algorithm recently, that are really pointing towards the need to build a solid content strategy – a lot of the old techniques are no longer working. There's no escaping it for much longer, I don't think. It needs to be integrated with the things that you're talking about.
K: Sadly, it is always easier for me to find companies that aren't doing it well.
I can find a LOT of companies who might be doing it well in one section of the website, but really falling down in another.
I might be able to find one Twitter platform, or one Twitter account that I think is really doing a good job of representing the organisation, but then when it links me to their blog, I think that the blog is poorly executed or isn't really targeting their user audiences.
So, that is difficult for me. I can think of a couple of organisations that I always point to. One of is mayoclinic.com. They have a very very clear content strategy about who they are, who they serve, the kind of content they're going to provide.
Some of it they create themselves, some of it they specifically curate, but it is not a webMD that's just aggregating tonnes of content from all over the place. So I admire the work they're doing because it's targeted, there is a solid consistency to what you find across their site.
Two other organisations that get a lot of attention are Mailchimp and Zappos. Mailchimp I particularly admire because of their level of consistency. They have created something that's really really break-through and they've put it online for everybody to share. And it's voiceandtone.com - where it very clearly designs the mailchimp voice and differentiates the different tones that should be used with that voice. It's an extraordinary case study and I think it's very very clearly informed by an outstanding content strategy.
Who else? I guess those are the ones, off of the top of my head, that I would name.
M: And the other way to answer that question... who are your peers online that you look to for inspiration and ideas?
K: I will say the people who have been talking about this for a long time. Anne Rockley, has been talking more about the technical side of content - how to create it in such a way that can be reused across multiple platforms, which is more relevant than ever right now.
Karen McGrane has also been telling a similar story and is a terrific speaker on the topic. And is currently writing a book called 'Content Strategy for Mobile' that I think is going to be really popular.
Katie Kiefer Lee. She's the one who did voiceandtone.com and she's a real leader and inspiration in the field.
There are so many. Lisa Welchman does work around web strategy, and has been doing it for 15 years. I think her work is really really critical to the success of content strategy.
Other people whose work has informed my work are Lou Rosenfeld, Ethan Marcotte, Luke Wroblewski, Steve Krug, Geoffrey Feldman - the usual list of players.
I think on the SEO and content marketing side, I really admire the work that Anne Handley has done. I'm not that familiar - so much of SEO gets such a bad rap. So, maybe you can send me your work and I can see if you guys are somebody I can look to as a real authority. And I know you guys have a great reputation. THAT I know.
M: Thank you. I actually put an email out to the company here and asked the team what questions they would like answered. And I got replies from almost every area of the company - from the blogger outreach team, the PR team, the SEO consultants, even the executive team. So it's definitely something that we are interested in.
One of the questions that came back was, how long does it take for a content strategy to reach a critical mass of traffic to their site? And the suggestion was that if people need it instantly then they would have to be looking at something like pay-per-click. And then if it was slightly longer-term, then we might be looking at things like SEO. I know it's probably a case of 'how long is a piece of string', but how long are we talking for a content strategy to reach that critical mass?
K: Well I think it depends on what you're trying to do. I mean, it depends on what problem you're trying to solve. The problem might be we have all these analytics for a website, we're just not sure whether or not our metrics of success are really strictly tied to our business objectives. Or we haven't really defined that. Well how are you going to do that and how will you overhaul your efforts in response to that?
Are you talking to your users?
Do you have specific user research? Are you using any kind of user personas? Are you going with keyword volume versus keyword quality? Is that you're initiative or is your initiative to pull SEO, social media, user experience design, visual design, and marketing communications all under one umbrella so that all of your efforts can be informing the other? Is it an organisational effort? Is it a content effort? Is it a website effort? It can just really really depend, but it all comes back to what problem, or what opportunity do you see? And what is the problem you need to solve to realise it?
M: So the lead-on question from that is how do you deal with clients that are very focussed on short-term wins?
K: You give them to them. I think you can build the case for a larger sustainable content strategy that pulls in and allows your SEO efforts to really support and be informed by other content initiatives.
But in my experience it all comes down from leadership. And leadership is often not well-informed about how things relate to one another. And they want to be able to search a certain product or search the company and see immediate results in Google. And why? This ability does not equal engagement.
M: Agreed. How do you go about scaling a content strategy? That's one thing a lot of our clients want to know. How do you start to get more results for your resources? For example, a lot of companies look to outsource a lot of their content production, because they can get more bang for their buck, in some respects. But I'm not sure that will serve all of the goals that we've been discussing on the call. So is there a way they can ramp up their content efforts for the resources that they have?
K: Again, I go back to why?
Why do you need all that content? What is it doing for your organisation?
Is it supporting and driving user engagement? Is it getting in people's way once they get to your website? Is it a topic that they are actually really interested in?Do they want that content from your organisation? How do you know that they want it?
You can react to content marketing. What they're preaching you is 'oh, we need to be an authority, we need to deliver content in a way that this company or that company is'. You're not Proctor and Gamble, you're not General Mills. And they have tonnes and tonnes and tonnes of user research that they are trying to get their arms around to deliver this content. But if you are a b-to-b software company, I'm sorry, but the people that are making decisions, they might want a white paper or two, but they don't want a huge library of content that they can spend time with. That is not how they're going to spend their time.
People are moving way too quickly. So I don't believe that more content equals more users.
I have yet to see a website outside of a media website, where all of their content does anything to engage or impress me. And that's something that makes me crazy about content marketing. It makes me crazy.
M: There was an interesting line there that I wanted to pick up on. You said, how do you know that they want it? And then you mentioned companies like Proctor and Gamble have a lot of user research.
The first thing that springs to mind as an SEO would be things like keyword research. What other ways can smaller companies that aren't Proctor and Gamble find out what content their users want?
K: Well, Lou Rosenfeld wrote a book called 'Site Search Analytics'. And it's such a no brainer for me.
It's so amazing how few companies capture this information. But if you have an internal site search engine, are you paying attention to what people are searching for?
If I know what people are searching for on the site, we can then work to identify if we have the right kinds of content to deliver to those search results. Is the content that's coming up from those search results even relevant to it?
I don't know how many times I've gone into a support forum, and typed 'reinstall software' and come up with, 'check out our new software installation product', that has nothing to do with my request.
Pay attention to what people are searching for once they get to your site in the first place.
The second thing is talk to your sales people. Talk to the people who are actually talking to the customers.
If you have a customer, before you get off the call, have two or three questions you can ask them. They will happily answer.
Or where did you find us?
Or was it your social media efforts?
Was it your search efforts?
M: The next question is something we get asked a lot. How do you approach a content strategy in a "boring industry".
K: Well, again, what are you trying to do? It doesn't matter if it's a boring industry. There is information that people in your industry are looking for to either support a decision or solve a problem.
Going out and trying to engage someone about plumbing parts - No, that's not what they want. They don't want content from you. If they do want anything they want a quick 'how to'. Or, they want a quick 'picking the right this or that'.
What is it that you want to do, and what is the problem that you're trying to solve?
I don't think that content marketing is relevant to every single organisation. I don't think social media is relevant to every sort of organisation.
I'm sure that I would get shot down for saying that.
In fact, yesterday I posted a tweet that said "social media, content marketing, SEO, blog, mobile - quit screwing around and fix your website".
And that, sometimes, is about getting all of that content out of the way. Focus on what people care about.
So, what is your business objective?
How is your content going to help you get that business objective and succeed at it?
What is it that your user needs or wants?
And how are you going to create a content strategy that bridges those two things?
M: Given that we are asking this in the context of SEO, one of the problems that people will be trying to solve is that they are not ranking as high as they want to in Google.
When people say content strategy they often pretty much mean a blog. And within the context of SEO this would often be for 'linkbait'. They want people to be sharing their stuff online. So they're not necessarily referring to their product pages and things like that, but they want their stuff to be shared online. What do you think people could do there if they feel they're in a boring industry? How do they get people to share stuff about them?
K: These questions are so hard, because they're all so tactical. What is it that they hope to accomplish by having people share their content? I understand where they coming from, I certainly do not mean to be marginalising them, it is just a question out of context of content strategy.
M: I think that this is perhaps one of the most interesting grey areas between SEO and content marketing.
With SEO, what people are often trying to achieve by producing content is that if it gets shared, their site becomes more valuable in the eyes of Google, and their whole site becomes stronger and rises up the ranks across the board, not just for that page. Then they get more visits for all the keywords that they're trying to attract visits from, that they know people are searching for.
And then, once they arrive at those product pages they would look at the conversion rate optimisation and the journey the client takes there. But the reason they want their content to be shared, primarily within SEO, is because of the power of links and social shares to help the whole site become more visible.
K: Got it. That gives me a lot of context, thank you.
Make sure you're serving up content that your audience want. That's the first thing. And that includes calls. It's talking to your sales people.
At the end of a sales close, 'what would have helped you make a decision more quickly?' Or how can we support you now that you're a customer. What else?
Obviously social media arose from a desire to connect and share content, frankly. And so, is there content that you can publish or share with an active audience, wherever they are?
If they're looking for you on Facebook - if you find them coming to you from Facebook, that's great. That is a great place to post content that is worth sharing.
What we've found at brain traffic is part of how we've established ourselves as leaders in the field is that we curate really great content from other people. So we do the sharing.
We say, "Hey look at this content. We think this is really great content, and we would like to share it with you". And then, if we can somehow capture that within our own blog or our own site, that will drive people back to our blog to read our commentary.
It's almost like double-dipping. But what that does is even though we are pointing to someone else's content, it still gives us authority.
M: Considering things like the Michelin star guide, where they're a tyre company but they're doing stuff about restaurants... Or where you've got things like Red Bull media which is covering all sorts of things, is that a viable option for someone in one of these "boring industries" to be creating slightly off-topic, slightly tangential content that is in some way related to what they do or the way they brand themselves, in order to share things?
K: Yes. There I guess I would point to brand, more than anything.
Is that something that your brand could support?
Or is it something that you want to help inform or create a new kind of brand?
M: I think the branding thing makes sense. Especially if it's not what you're customers are specifically looking for.
K: Or if it's not necessarily how you want your customers to feel about you. I guess I can point to our organisation again. Part of our brand is that not only are we authorities on the topic of content strategy, but we also are very practical and we also like to have fun.
So every once in a while we will post just a light-hearted post about something we think is funny. Or, I, as the leader of the organisation really like to use humour, whether it's to get the point across or just to crack people up. I love laughing.
So that's part of our brand. I use twitter to crack jokes - maybe I'm the only one that's laughing, but still. But if we are a serious content strategy firm, people thinking that we're always posting hilarious cat videos - that's not OK.
But we're able to strike a very nice balance that helps convey our personality. Whilst still protecting our authority on the topic.
M: Excellent. Ok I'll make this the final one. What makes the difference between good content and great content? Another thing we hear a lot of people at conferences saying is "I've got great content, but....". Basically, noboby's reading it or sharing it.
You cannot force people to value what it is that you're doing.That's where it becomes designing things around your customers. You have to identify what it is that they value and craft your story around that.
M: Excellent. That sounds like a good note to finish on. Thank you very much for your time. Is there anything in particular you're up to at the moment that you'd like to mention?
K: I think the main thing is that the second edition of 'Content Strategy for the Web' was released in March and it's got a lot of new material in it around process and methodology, and new tools and case studies.
What else? I don't know, we're just always helping clients fix their messy content problems. We are interested in working with more people who are focussing on custom publishing and content marketing, specifically because we feel strongly that SEO, social media, content marketing, and user experience considerations have all been undertaken in silos.
And if they can be pulled together with a core content strategy and core objectives, we see a real opportunity there. And we're really excited to start seeking out collaborations with clients who are ready to make that change.
We'd love to get this conversation rolling. What are your thoughts on SEO and Content Strategy?
Are SEOs thinking about content in the wrong way?
Is there more we can be doing to merge with the larger marketing mix?


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MAKING PEACE: Craft a five-minute story about Making Peace: The laying down of arms, the olive branch, the surrender to the greater good or the fierce battle for an even playing ground. Stories of all manner of amity welcome: peace with a nation, a neighbor or a notion. Loving your enemies is a tall order, but how about you just make nice?


Chapter 1: Vanilla is NOT Plain!
Whenever I read or hear the term 'plain vanilla', I wince. Why do people accuse vanilla of the following myths: white, boring, and worst of all, plain? Vanilla is not a middle class suburbanite. The Latin name is vanilla planifolia and it's a rich, fragrant, and tropical flowering vine with beans that undergo a ten-month long maturation process to allow the scent to emanate from those luxurious dark brown beans. Vanilla comes from such places as Tahiti, Madagascar, Costa Rica, Mexico and Indonesia.
After cruising around online and reading reviews, I discovered a place where I could get a reasonably priced vanilla that would discolor my soap but the scent would be a rich, buttery vanilla that I would be tempted to eat. Well, that came close to happening a few times but it was when I realized that it was one thing to smell a scent but another thing to bite into a bar of soap because it would just foam in your mouth and take a lot of effort to get it out.


A man wants to cure his daughter of lycanthropy? The drivers of Outlaw in the first two games and Twisted Metal: Of course, as he points out, the Pirate's Code is for pirates. You can say "Well, I'm pretty sure there's not a flux capacitor in your car because I spent four years in Auto Shop class and work on cars as a hobby. For example, when Lambik wished for the genie to give them some allies that didn't have to be very tall, he instead gave their enemies three giants as allies.


text:
'Fuck Them': Fox 10's Kari Lake Blasts Phoenix New Times, Her Own Bosses
A New Times Art Critic Reconnects with Underground Comic Icon Joyce Farmer, the Person Who First Inspired Her to Be One
Kathleen Vanesian
Kathleen Vanesian | February 10, 2011 | 4:00am
California artist and fabled '70s underground cartoonist Joyce Farmer was using raw meat to make a statement decades before Lady Gaga ever dreamed of showing up at a music awards show in a designer gown made of the smelly stuff.
More than 40 years ago, the artist got tired of her alcoholic second husband, Gordon Brown, passing out every evening after swilling a pint of vodka before he came through the door. One evening, Brown brought home several well-marbled steaks and a bag full of fresh mushrooms for dinner, predictably blacking out before Joyce could get any of it on the table. Hubby finally woke up to a kitchen decorated with a 12-foot macramé string of carefully cut-up uncooked meat and mushrooms, his wife nowhere in sight.
For previously untold reasons, Joyce Farmer was a critically important figure in my early adulthood. She'll deny it, but if I had never met and befriended her, I never would have acquired the background — or the balls — to become an art critic.
Notoriously slow when it comes to checking my mailbox at the New Times building, I finally got around to opening a Christmas card, in early December 2010, that was sent to me a year ago. It was a cartoon from Joyce Farmer, a very old friend of mine, featuring distraught polar bears floating on melting ice floes in an azure sea, with an igloo bearing a red "Chez Palin" flag on one of them. Also in the card were her phone number and a note to call her.
Shamefaced, I picked up the phone. That's when I found out that a new graphic novel Farmer had finished, Special Exits, was about to hit bookstores. The 200-page book, rendered in Lilliputian black-and-white detail, took her about 13 years to complete, under more than stressful conditions. It's received glowing critical acclaim from Publishers Weekly, the Los Angeles Times, New York Times Review of Books, The Huffington Post, and a raft of small Southern California news publications proud to claim one of their own.
Joyce also is one of Phoenix's very own, having spent years ferrying back and forth between here and Los Angeles to visit and live with grandparents and an aunt, uncle, and cousins on her mother's side, not to mention her first husband. And given the fact that I've known Joyce for over four decades, she's personally one of my own as well, though we spent close to 28 years split apart by misunderstanding.
There is no misunderstanding when it comes to her book. But don't just trust me. Along with the media accolades is the fact that Robert Crumb, reigning king of the alternative comics world and creator of Zap Comix, has given Joyce's graphic novel his overt imprimatur on the cover of her ambitious project. Per Crumb, Farmer's book is "[o]ne of the best long-narrative comics I've ever read, right up there with Maus [by Art Spiegelman] . . . I actually found myself moved to tears."
Special Exits is a profoundly poignant, no-holds-barred cartoon treatment of Farmer's often funny, often unbearable, and exhausting experiences in caring for her father and stepmother, Roy and Esther Farmer, in their run-down South Los Angeles home during their physical and mental deterioration and eventual deaths.
With real-life characters renamed, the book chronicles even the most unsavory aspects of her parents' aging and infirmity — denial, anger, physical burdens, mental decline and, yes, the physical pain, bedsores, and bodily fluids involved. The book was fueled by Farmer's personal outrage at the unacceptable treatment of her elderly parents at the hands of medical and nursing home establishments. And she'll pooh-pooh the idea that making the book was psychological therapy of any sort.
"It was in no way cathartic. It was really, really depressing," she told me any number of times.
This is classic Joyce Farmer, drawing, writing, and satirizing taboo and socially risky subjects. She breaks down communication barriers on untouchable issues that have been pushed into murky corners and avoided like the plague by the politically correct. Joyce, in partnership with writer and sculptor Lyn Chevli, is a creator of Tits & Clits, the first underground comic completely produced and published by women during the heady days of women's liberation and feminist activism in the early 1970s. (For the picayune, It Ain't Me Babe, an all-female comic published by Ron Turner of Last Gasp in 1970, doesn't count, since the publisher was male.)
In 1972, Joyce and Lyn each came up with $600 to print 20,000 copies of the first issue of their comic under the name of Nanny Goat Productions. "We're both Capricorns," Joyce says, "and it was the era when astrological signs were very important."
I love the fact that both the Los Angeles Times and New York Review of Books delicately avoided using the comic's title in recent reviews of Special Exits, saying the name couldn't be printed in their articles. So much for liberation.
I was 21, when I met Joyce, then about 30 and known as Joyce Farmer Brown, in a first-year Latin class at UC-Irvine in 1969. Joyce had taken her second husband's last name and had entered college later in life. She was a classics major, studying Greek and Latin. That becomes evident when you read her book, which has more than one reference to the ancient Greek mythological character Charon, the ferryman of the underworld who rows the newly departed across the River Styx. Early on, for a couple of semesters, she had attended Art Center College of Design, the long-established art school dedicated to teaching industrial design, photography, illustration, and advertising, when it was still on Third Street in midtown L.A., near Fairfax Avenue.
I was an English lit major who chose Latin as a language requirement because I had studied four years of it in an all-girls Catholic high school and figured it would come in handy if, serendipitously, I was ever granted an audience with the Pope.
We entertained ourselves by looking for the dirty parts in Petronius' Satyricon and Catullus' erotic love poems.
There is absolutely no question that Joyce and I were certified geeks even before that word was coined. Since she was prematurely salt-and-pepper in college, Joyce projected infinitely more gravitas than I did with my long hippie hair and Navy-surplus bellbottoms. If you didn't know her, she could be intimidating. She became a member of Mensa, an exclusive society of intellectuals, after acing an IQ test. Though she encouraged me to join, I was not up for the abject humiliation of possibly flunking Mensa's entrance exam. Through the years, it was Joyce who dragged me to folk dancing when all things ethnic were in vogue, even though she recognized I was not exactly fairy-footed. It was Joyce who took me to a women's meeting (which, in retrospect, was a consciousness-raising group) in Laguna. It was Joyce who introduced me to antique treasures from far-flung cultures by taking me to Ancient Arts, an antique shop owned by artist and antiquarian Leonard Kaplan, who would become her live-in boyfriend for a number of years. And it was Joyce who would drive Leonard and me in her VW bug to L.A. to cruise the cutting-edge contemporary art galleries and antique shops that flourished on La Cienega Boulevard in the 1970s.
For both Joyce and me, Leonard Kaplan was a pivotal influence in our learning about art, art history, and antiques. A Laguna Beach institution originally from the Lower East Side of New York, Leonard was well-known by art and antique collectors across the country, including actors Vincent Price, Tab Hunter, and Peter O'Toole, not only because of his incredible eye, impeccable taste, and endless knowledge of art and cultural history, but for his own surrealistic, collaged watercolors in which he used cut-up imagery from original 18th- and 19th-century prints. No matter what Leonard sold — pre-Columbian tomb figures, Ming Dynasty ceramics, 16th-century choir book pages, antique Chinese Buddhas and Quan Yins, Middle Eastern tribal jewelry — you could be certain that it would be something very special.
After we graduated, Joyce wanted to go to law school, but the pressures of single motherhood and everyday life forced her into the workplace as a paper-pusher for an insurance agency located next to Fahrenheit 451, the legendary countercultural literary haven on the Pacific Coast Highway in Laguna. A bit later, she became a pager-toting bail bondsman working for Ronald Kaufman, one of the founders of Laguna Beach's Free Clinic, in 1970. I was the one who ended up going to law school at night, in 1972. While she was bailing suspects out of jail, I was learning how to defend them in a criminal law class taught by then-district attorney of Orange County Cecil Hicks, who happened to have a great sense of humor. But what his office did at one point to Joyce and Lyn Chevli was not so funny to me.
Fahrenheit 451 was Southern California's answer to San Francisco's City Lights Bookstore. It was open in 1968 by Lyn Chevli and her British husband, Dennis Madison (and, yes, Ray Bradbury had given them permission to use the name). Lyn would end up selling the shop in 1972 after she divorced Madison. She would also end up working as my housecleaner for several years in Orange County to supplement her income, given that writers and cartoonists are generally grossly overworked and underpaid.
In August 1972, Joyce Farmer (Joyce Sutton at the time) and Lyn Chevli published their first issue of Tits & Clits, a raunchy but hilarious, for-adults-only comic that dealt head-on with unspeakable girl stuff, like sex, menstruation, birth control, and abortion — not to mention social and economic discrimination. T&C was the duo's reaction to the portrayals of women in underground comics, which, though satiric, were overtly sexual — sometimes bordering on the depraved — and often very violent. Fahrenheit 451 stocked the now-collectible comic, as well as classic underground comics by a group in San Francisco (spearheaded by R. Crumb) responsible for Zap Comix.
One of Cecil Hicks' minions during this time was deputy D.A. Oretta Sears, who was still smarting from losing a case in the U.S. Supreme Court that would change obscenity standards from "utterly without redeeming social value" to a rigorous three-pronged test involving community standards. In November 1973, Sears would try to prosecute Joyce and her partner on obscenity charges stemming from the first issue of Tits & Clits.
It all started when one of Joyce's friends, married to an Orange County fireman, made the mistake of showing the comic to her husband, who passed it around to his firefighter and police buddies. Laguna cops raided Fahrenheit 451 and arrested its fairly new owners, Gordon Wilson, an English professor teaching at a college in Riverside, and his wife, Evie, who was not only an ex-Carmelite nun, but pregnant to boot at the time she was arrested for selling allegedly obscene underground comics.
Joyce recalls that the law-abiding Wilsons were "the absolutely perfect defendants for an obscenity case."
After a lot of saber-rattling and feather-fluffing, the D.A.'s office backed down from the prosecution, mainly because the representative from the D.A.'s office who bought the offending mag happened to purchase the last copy in stock and the ACLU had become involved. That left only San Francisco-based publishers, like Don Donahue (the printer/publisher of Zap Comix #1 and other Crumb comics), retailers like Gary Arlington, founder of San Francisco Comic Book Company, and cartoonists like Crumb and his cohorts to pursue, and the D.A.'s office knew that was a tough row to hoe.
In keeping with the spirit of the times, Joyce and Lyn kept on truckin', sporadically publishing nine issues of T&C between 1972 and 1987. After dealing with the threat of prosecution for obscenity, they put out two T&C comics with different titles, Pandora's Box and Abortion Eve, mainly to assuage consumers — and cops. Joyce would get to meet and mix with a number of important underground cartoonists who contributed to Zap Comix at the first comics convention, mounted by Clay Geerdes (later to become famous for his photos of The Cockettes and star of John Waters films Divine) in Berkeley in April 1973.
They included Robert Crumb (Mr. Natural, Devil Girl, Fritz the Cat), with whom Joyce has corresponded for a number of years; S. Clay Wilson (The Checkered Demon); Gilbert Shelton (The Fabulous Furry Freak Brothers); Rick Griffin (born-again Christian surfer artist responsible for The Man from Utopia); and New York's Art Spiegelman of Pulitzer Prize-winning Maus fame, and the man who gave the world Garbage Can-dy.
Farmer and Wilson became good friends. Joyce also met pioneering female cartoonists outside of the no-chicks-allowed comics club, like Trina Robbins (It Ain't Me Babe and Wimmin's Comix) and Lee Marrs (Pudge, Girl Blimp). She even remembers meeting Leonardo DiCaprio — he was about 2 — when she visited with George DiCaprio, comics publisher and creator of Cocaine Comix, in L.A. during the '70s.
Though the early '70s were a party-hearty time of sex, drugs, and rock 'n' roll, Joyce and Lyn "were not the kind of people who they offered drugs to — I had my bail bonds license to worry about and we had to drive home."
By 1986, Joyce stopped working for Ronald Kaufman and started her very own bail bonds agency, which, she recalls, took off with a vengeance. Within that 15-year time frame, I had practiced law as a personal injury defense attorney, hated the grind, left truth for beauty, and bought into a contemporary art gallery in Tustin, eventually leaving that behind as well.
Joyce and Leonard Kaplan were no longer a couple after an outwardly acrimonious split on April Fools Day 1982, though in truth they loved one another dearly. She couldn't take the lack of privacy that came with living with Leonard, who continually held court in the living room/studio in back of his shop, hosting a mélange of celebrities, artists, actors, pickers, collectors, and sundry ne'er-do-wells. (I remember being introduced to a Russian Orthodox archbishop one time and that, at one point, Lenny let a toothless, homeless guy live in a tent in his backyard for weeks.)
For his part, Lenny wasn't happy with the fact that Joyce would retreat to her beloved Greece for two months at a time, her way of escaping Leonard's artistic three-ring circus. Unbeknowst to me, since Lenny never mentioned it to me even in passing, Joyce and Lenny remained good friends until Lenny's death, with Joyce taking him to doctors' appointments as he battled lung cancer.
Leonard, an inveterate gossip and master at manipulating people, had a way of making you feel disloyal if you consorted with "the enemy" — or so I was led to believe. After Joyce and Leonard officially split in 1982, I rarely saw Joyce, though she wanted to keep our friendship going. Before responding to her Christmas card, the last time I had seen and spoken with her was at Leonard Kaplan's standing-room-only memorial at Laguna Art Museum in 2008. It took Leonard's death to free us from the invisible ropes with which he had psychologically hog-tied us — mostly me, if truth be told.
Almost 28 years later, we've re-entered each other's lives. I had completely forgotten about Joyce's close ties to Phoenix, the place I would move to in 1992 and where my career as an art critic really began. Had I stayed in Southern California, I never would have had the opportunity to write for New Times on and off for 17 years or for other art publications, both national and international, to which I've been privileged to contribute.
But Joyce's artistic career really didn't begin until after she left Arizona for good.
Joyce Farmer's connections to Phoenix run wide and deep. And when you know her history, you aren't surprised that she embraced feminism with a passion in its formative days. Three marriages ending in divorce (though she's been married to fourth husband Palma Goulet for almost 20 years), a rape, a stalker, and a whole lot of instances of someone telling her she couldn't do something because she was a "girl" made her a prime candidate for female liberation.
Her real mother, Cordelia Freeman Farmer, who appears in Special Exits in flashbacks, died in the Goodyear ranch house of Joyce's maternal grandparents, Roy Lawrence Freeman and Myrtle Brooke Freeman. Cordelia died at the age of 37 of congestive heart failure caused by having contracted diphtheria as a child. Joyce, her only child, was 11.
"I think my grandparents went to Phoenix in the teens, but they didn't stay because my grandfather moved around," Joyce told me. He was a manager for Kress five-and-dime stores, whose job was to open a new store, get it running, then move on to starting another store. Luckily, before the stock market crash of 1929 came along, her grandfather sold off his Kress stock, for which, according to family legend, he was summarily fired.
By that time, the Freemans had purchased a 160-acre parcel of land 41/2 miles west of Goodyear from its original homesteader owner and had a place to go after Roy became unemployed. Roy and Myrtle built a house on their cotton ranch, using river stone they foraged from the Gila River.
It was a well-known ranch house to the Goodyear and Avondale communities, according to Joyce, because they had a swastika, an ancient Hindu, Buddhist, and Navajo symbol, on the chimney. Her grandmother was an artist and into Indian philosophy, Eastern and Western. During World War II, that swastika stuck in the craw of her grandparents' neighbors, but her grandmother steadfastly refused to get rid of it.
Joyce also has vivid recollections of playing with her two older cousins in the irrigation ditch that supplied the ranch with agricultural water, a pastime in the mid-1940s that would give most present-day parents panic attacks. "We were warned the pump was dangerous. The oldest, 11, was in charge of our safety. Playing in the catch basin where the 12-inch pump pipe discharged its waters was a common activity for kids back then."
After Joyce's grandparents sold the ranch in 1952, they lived in the Palmcroft district near downtown Phoenix. The old ranch house was finally pulled down only four or five years ago to make way for residential tract housing.
Before her father Roy's remarriage to second wife Esther (Lars and Rachel in the novel) in Los Angeles, Joyce was shipped off to live with her maternal aunt and uncle, who enrolled her in eighth grade in Avondale. She went back to L.A. to Samuel Gompers Middle School for ninth grade, where she vividly remembers an incident at school: "In junior high, they wanted you to choose what your career would be. I wanted to be a draftsman like my father; I was told I couldn't because I was a girl."
After high school, she met her first husband, Don VanderLinden, at Art Center, married him in 1958, and produced a son, Paul. The fledging family moved to Phoenix in June 1961 when Don got a job as an industrial designer for General Electric.
"It was either that or Detroit," she says.
"We bought a house right away with a hundred dollars down and the G.I. Bill in Moon Valley for $13,500 and then we got an air conditioner, so it made it $14,500 . . . We were the tops in our tract.
"We paid extra to get cork-looking floors — it was still asbestos tile. I didn't have to clean mine much because it was the same color as the dirt outside. I was never a big housekeeper," she says.
Joyce couldn't drive a car when she first came to town, mainly because her husband "told me I was mentally unfit to drive because I was too nervous and high-strung. I thought otherwise because there are lots of drivers out there that were as nuts as I was.
"I was a stay-at-home mom, doing crossword puzzles and reading Agatha Christie until there weren't any more at the grocery store that I hadn't read. Then I realized I was totally bored." That's when she began reading Boris Pasternak's Doctor Zhivago, Dostoyevsky's The Idiot, and Tolstoy's War and Peace.
"I started to realize there was life after Phoenix beyond the Black Canyon Highway, which was about as far as I could get on foot."
Joyce secretly appropriated money out of her weekly grocery allowance to pay for driving lessons and eventually got her license. When she proudly presented it to her husband one day, he responded, "You're not going to need me anymore," she recalls. "And that turned out to be quite true, but I hadn't thought of it before."
Several months later, she left him and moved into an apartment at the Turney Twilighter on Seventh Street, taking her 5-year-old son with her, and got a job as a file clerk at an insurance agency. By that time, Joyce was unabashedly displaying that wacky sense of humor that would characterize her art later on. "I had a copy of Mein Kampf on my desk at work and was finally asked to put it away," she says. "I never read it and only had it there to see people's reactions."
On the first day of the Watts riots in 1965, an event that is immortalized in Special Exits, Joyce Farmer returned to Los Angeles, not sure her parents, who lived in the riot zone, were even alive.
Despite its current popularity, the graphic novel has been around for centuries. Basically, the term "graphic novel" is just a fancy name for a long narrative, whether fictional or factual, illustrated with drawings and/or paintings and text. Medieval scribes created minutely detailed illuminated manuscripts that told tales from both Old and New Testaments. Pre-Columbian Aztecs produced bark paper codices with both pictures and text tracing their tribal history and social customs. Well before late-20th-century manga hit the comic book scene, the Japanese were using ink-painted images with text on scrolls back in the 12th century. William Hogarth's A Rake's Progress (1735), a portfolio of printed engravings based on paintings that feature the moral fall of a young man into the abyss of drink, prostitution and gambling, ending with his incarceration in an insane asylum, could be considered an early graphic novel.
According to Stan Tychinski in A Brief History of the Graphic Novel, the title of the first modern graphic novel might be awarded to a book containing The Yellow Kid comic strips, put out by the Hearst newspaper syndicate in 1897. In the United States, the 1920s and '30s saw the rise of cheap, but lavishly illustrated, pulp paperbacks based on war stories, Westerns, and science fiction. In 1933, M.C. Gaines created his own comic book, New Funnies, a compilation of daily newspaper comic strips. Later that year, Detective Dan, the first completely original comic book, was published by Humor Publications.
In the late '30s and '40s, the public was introduced to its first superhero comics, while the late 1940s and '50s would usher in the era of crime and horror comics, as well as luridly graphic romance potboilers. Underground comics came to the fore in the mid-1960s, reaching an apex in the '70s; they capitalized on sex, youth culture, drugs, and violence, together with contentious social and political issues that had divided the country, including civil rights and the Vietnam War,
The 1980s seemed to be the time when eminently serious subject matter became fodder for graphic novels. Art Spiegelman's Maus: A Survivor's Tale (1986, 1991), the story of Spiegelman's father, a Polish Jew and Holocaust survivor, is a classic graphic novel of great import, both historically and personally. Lately, graphic novels have taken on a number of equally heavy biographical subjects. For example, Fun Home: A Family Tragicomic, by Alison Bechdel, deals head on with a father's homosexuality, pedophilia, and suicide and a daughter's coming of age as a lesbian. Persepolis, by Marjane Satrapi, is a gripping memoir of a girl's youth in Iran during the Iranian Revolution, while The Ride Together, by siblings Paul and Judy Karasik, grapples with the lasting effect of severe autism on a family. And in a major turnabout, Robert Crumb's recent Book of Genesis includes elaborate illustrations to accompany every word of the first book of the Bible.
Joyce Farmer's Special Exits, which documents her personal experiences with the ravages of aging, debilitation, dying, and death, as well as relationship dynamics and family history, carries on in this vein. Though Joyce expected her target audience to be 45 and older, she was surprised to find out the book already has a following in the 19- to 25-year-old range.
"It turns out the target audience is more 20-somethings [who] are very interested in their grandparents, and even their parents, and the problems their parents have to face," she says.
Maybe the rise in popularity of graphic novels in the past few decades is the inevitable result of technological advances that have pushed people into getting overwhelming amounts of information in small, manageable chunks, which is reflected in the very format of comics and graphic novels. In addition, the Internet age has unquestionably fostered an expectation of and demand for flashy visuals with text.
Whatever the reasons, Gayle Shanks, co-founder of Changing Hands Bookstore in Tempe, says the form has really taken hold. "In and of itself, the graphic novel has now become a genre that many authors are writing in and nothing else," she notes. "You have authors who are experimenting with this new model . . . and they're starting a following.
"I think the thing that's most exciting for me and for us at the store is that the graphic novels are attracting a younger audience — that audience that might be reading on electronic devices rather than from real books. [They're discovering] it's much more fun to hold that book in your hand and look at those pictures in real life than it is on the computer."
And, she adds, "Teachers are using them as a way of getting reluctant readers to read. And that's been the case with comic books. I remember learning that if you can get kids to read comic books, you might get them to read a novel."
Krysten Schoville, the young ASU student in charge of the graphic novel section at Shanks' bookstore, adds that the art in a good graphic novel is just plain mesmerizing: "These authors are not only telling you a personal story, but they display their art so vividly that you become involved with their ideas and emotions, not just what you're imagining when you're reading a 'regular' novel."
On an overcast Friday in December, I drive from north Phoenix to Orange County for Joyce's first book-signing, at Latitude 33 in Laguna, two days before Special Exits is officially released. The next day, we take Amtrak to downtown L.A.'s Union Station (another first provided to me by Joyce, the child of a railroad man). I'm along to provide moral support and potential bodyguard services.
During the train ride from Irvine to L.A, Joyce and I take inventory of body parts that have betrayed us. On the list are broken bones and breast cancer (she had two breasts removed, while I opted for reconstruction after a unilateral mastectomy). She had lost both parents by 1994, while I lost my father in 2003 and, the following year, my middle sister.
My sister, Janet Wright, died after a long, painful struggle with breast cancer, which had spread into her bones. My mother, youngest sister, and I tag-teamed in home hospice for several months, so I know all about the hospice experience covered in the last part of Special Exits.
As my dad was fond of saying, no one gets out of here alive.
Probably the worst thing that had happened to Joyce since I had seen her, physically speaking, was wet macular degeneration, which hit just as she finished drawing and had not yet inked Special Exits. Macular degeneration is an eye condition, usually affecting older adults, that results in the loss of vision in the center of the visual field. Surgery failed to correct the problem and, in fact, caused scarring, then cataracts, so Joyce was forced to wear an eye patch, working about eight inches from the paper on which she was drawing or inking with an old-fashioned pen nib.
That had to be especially grueling when she decided to re-draw and re-ink the first 35 pages of the book, each of which featured a different composition and obscenely small detail in every frame.
"I redid them because the artwork was black, dense, and unfocused. It just wasn't suitable. I tend to draw in great detail," she says. Added to this is the fact that she can't draw or ink with the radio or TV on, "or any distraction whatsoever; if my husband comes through the door, I have to wash up the ink and stop," she notes. "I cannot be interrupted, because this is a flow and I am thinking every second of what the next line should be and how funny I can make it."
Joyce's interviewer in Santa Monica, Richard Metzger, is founder and former creative director of The Disinformation Company, a publishing house and its website, and was the host of Disinformation, a British talk show. His latest foray into subcultural matters is his website, dangerousminds.net. He chauffeurs us to a taping room at Mahalo.com, located in a strip mall on Colorado Avenue. I sit four feet outside the room, looking up at a gigantic monitor displaying the interview. Before they begin talking, I overhear Joyce asking Metzger whether or not she could swear on camera; Metzger gives her a thumbs-up.
During the interview, Joyce charms Metzger with a story about the first time she met R. Crumb in San Francisco, a tête-à-tête during which he, without warning, jumped on her back for a piggyback ride, straight out of Zap Comix.
It's then I realize, with particular clarity, that I would never have been introduced to the world of art or the art of speaking one's mind fearlessly about art, had I not befriended Joyce Farmer back in first-year Latin class. Joyce is one of those people who always will be a constant in my universe, remaining essentially unchanged, despite everything life, or I, might pitch at her.
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About half of these patents belong to the US while Japan, South Korea and Taiwan possess the next ranks. A sum total of 2,970 nanotechnology patents have been published in European Patent Office (EPO) in 2015.
USPTO and EPO are known as two important patent offices in the world. Statistics obtained from Orbit Database showed that 19,544 nanotechnology patents have been published in USPTO in 2015, among which 8,588 are granted patents and 10,956 are published patent applications.
According to the new definition of StatNano based on ISO/TS 18110, nanotechnology patents should either have at least one claim related to nanotechnology or have a classification code related to nanotechnology such as B82 according to the International Patent Classification (IPC). Based on this definition, a number of 2,970 patents have been published in the field of nanotechnology in EPO in 2015, about 15% of the total number of nanotechnology patents published in USPTO. A number of 1,415 patents are granted while 1,555 are published patent applications.
Table 1 shows top 10 countries in granted nanotechnology patents in USPTO and EPO in 2015. The countries have been ranked according to the number of USPTO granted patents due to the importance of this office.
The United States possesses the first rank by having a share of 51% of all nanotechnology granted patents in USPTO. Japan and South Korea possess the second and third ranks with a big distance from the United States.
Table 2 lists the number of published nanotechnology patent applications for top 10 countries. The United States, South Korea and Japan possess the three first ranks. The statistics suggest that South Korea will have higher number of granted patents in the field of nanotechnology than Japan in the future.
The number of granted patents and published patent applications in USPTO in the field of nanotechnology in 2015 has a growth of 8.8% in comparison with 2014. The growth of this indicator in 2015 in comparison with 2014 is 7.88% in EPO.
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text:
Gagrellula ferruginea is een hooiwagen uit de familie Sclerosomatidae.

Sclerosomatidae

redpajama_set_name: RedPajamaWikipedia


text:
Gabriela Mistral was the first Latin American writer to receive the Nobel Prize for literature
Oct 27, 2017 Tijana Radeska
Gabriela Mistral vividly illustrated the lives of the poor, abandoned, and everyone who was in an unenviable position. In her words, one can hear the voice of thirst in a jealous lover, while in another, the loneliness of an abandoned woman.
Mistral's writing also carries her voice, passionate about the freedoms of democracy during times of political dictatorships, and hers was always a voice that defended the politically and economically weak through her poems–women, children, Native Americans, poor people, workers, and war victims. They all found a place in Mistral's poetry, or in her articles, and later in her speeches and actions when she worked in international organizations as a Chilean representative.
Although she openly wrote about everything that excited her, including friendships, relationships, politics, and marginalized groups of people who were mistreated, Mistral kept her emotional world a secret, and for many years, other authors tried to dig into the truth through her writings. But ultimately, they could derive only speculations about this introverted writer.
Gabriela Mistral, Nobel Laureate
What is known is that her life was followed by misfortune. She was born Lucila Godoy Alcayaga in the village of Vicuna, Chile, in 1889. Her father abandoned the family when she was three years old, after which Gabriela moved to the Andean village of Montegrande with her mother and sister. Unfortunately, her mother's health was fragile, which forced Gabriela to start working at the age of 15. However, since she was always dedicated to reading, studying, and writing, Gabriela found pleasure in taking a position as a teacher's assistant.
Gabriela Mistral during her youth
When she was 17, Gabriela met a railroad worker, Romeo Ureta, and fell in love with him. After three years, Ureta committed suicide. His death left a lifelong mark on Mistral's life and her writings. And yet, the tragedies weren't over. Later in her life, one of Mistral's nephews also committed suicide.
Mistral dedicated her life to her career as a teacher and to her writing. She was already a known advocate for liberalizing education for women and all social classes. She had written many articles in the newspapers in which she opposed the educational system and the politics in all. Mistral had quite the right to speak out about the necessary changes in education, as she herself had lacked formal education in her adolescence due to her social status.
Mistral in 1924
However, she was still capable of becoming a teacher, and she did so. Not only was she a devoted teacher, but Mistral was rapidly changing posts from one town to another, and them from one city to another. In 1918, she was appointed by the Minister of Education, Pedro Aguirre Cerda (later president of Chile), to direct a Liceo (a type of high school) in Punta Arenas. In 1921, Mistral took a post as a director of the recently opened and most prestigious Chilean school for girls in Santiago. However, after a year of controversies and speculation over her nomination, Mistral moved to Mexico, where she worked with José Vasconcelos, the Minister of Education on reforms for the schools and libraries in Mexico.
Gabriela Mistral Early Childhood Center in Houston
She spent two years in Mexico before traveling to the United States. Her poetry became internationally famous, and Mistral also traveled to Europe, where she continued writing. She was appointed a representative of Latin America at the League of Nations and later a representative in Madrid, Lisbon, and Naples. Mistral was awarded honorary degrees from universities of Florence and Guatemala. She became an honorary member of various cultural societies in Chile, Spain, Cuba, and the United States. She taught Spanish literature at the University of Puerto Rico, and in the U.S. at Vassar College, Middlebury College, and at Columbia University. Mistral was among the first who recognized the extraordinary talent of another famous Chilean poet, Pablo Neruda.
Gabriela during the 1950s.
Unfortunately, while she was rising professionally, she suffered great pain in her personal life. Her nephew, Juan Miguel Godoy, whom she considered a son, committed a suicide at the age of 17. It happened in 1943 at the peak of World War II, which also profoundly affected the poet. She was doing well in her career and suffered quietly. In 1945, Mistral became the first Latin American to ever receive a Nobel Prize in Literature and only the fifth woman in history for that matter. Among the many honorary awards she was granted internationally, in 1951, Mistral was awarded the Chilean National Literature Prize.
Memorial to Gabriela Mistral in Vicuña. Author: . Yakoo CC BY-SA 3.0
Although busy with her appearances around the world, and writing poetry, Mistral always remained an advocate for the mistreated. She still cared profoundly and genuinely for marginalized people and mostly for the poor children. She remained a vocal advocate for the rights to education. Mistral died from pancreatic cancer in her home, in the town of Roslyn, New York, in 1957, at the age of 67. Her remains were transferred to Chile, where the government declared a national mourning for three days, during which hundreds of thousands of Chileans paid their respects.
Read another story from us: Alfred Nobel created the Nobel Prize as a false obituary declared him "The Merchant of Death"
Before her death, Mistral left everything that she possessed to the children from the villages in Valle del Elqui, including her birthplace, Vicuña, and the place where she grew up, Montegrande. She donated everything to the education of the children from these villages. Today, the whole area of Valle del Elqui is called the Route of Gabriela Mistral. There is almost no town in Chile where at least a street is not named after her, besides the numerous institutions and museums.
Tijana Radeska
Tijana Radeska is one of the authors writing for The Vintage News
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First, be advised that all of these VCD's are IN CHINESE ONLY . In our opinion that doesn't matter much because the instruction is clear and the quality of photography very good. But we will not accept returns just because people didn't read... IN CHINESE ONLY . Given that, these are really tremendous deals for the money. Each of these special VCD's can be played on a computer for full enjoyment. Made for PC's they are also Mac compatible by downloading Quick time (for free) and any similar VCD player program. Also playable on most DVD players. For less than $10.00? Wow!
There are over 100 styles of BaGua currently, not to mention hybrids such as BaGua/Tai Chi. Here are a few of these which may hold interest. One is a survey of the Sun style including BaGua and Xing Yi with the daughter of world-famous teacher, Sun Lu-Tang.
Click on pictures to see larger versions. Click to see a video on Tian Bagua style.
A surprisingly strong performance of a mixed set of Bagua by a national champion. This medium sized set is a solid compilation of many aspects of Bagua besides the Palm Changes. It also blends the Bagua Animals as well as some Old Palms positions. Additionally, kicking methods are shown within the form and capturing the flavor of the style. A good performance set for about intermediate level and one that is clean enough that whichever style you might practice this can be applied.
Though often less than 100 pages, these 'en face' books offer both simplified Chinese and English face to face. In addition, they include a VCD with the form in question demonstrated, often by top performers. The narration in both the Chinese and English is minimal, leaving it pretty much up to you to figure out how to move, but the photographs are quite clear and the English helpful. If you are interested in the form, it is a good value.
This is a double disk set devoted in the main to a wide representation of Bagua in China. Strictly a demonstration series this one shows literally dozen of practitioners performing what seems an infinite series of variations on the eight changing palms. Among the more famous players are Sha Guo Zheng, Ge Chun Yan and Lin Qiu Ping. The second disk shows instructors demonstrating Bagua walking , sword and saber. A really good survey for the money though it doesn't truly differentiate between contemporary WuShu and traditional Bagua. A Double Disk.
Wu Shi Jun is a popular teacher who, at one point, became the student of the famous Li Zi Ming. This is a set of short but very "twisty" Bagua changes. Not quite as simple as most "Old Eight Palms" these are somewhere between full one changes one is used to and the single action change most often associated with the mother palms. Wu is very flexible and light in his movements. There is not much application spoken here but the introductory section has a number of stance and twist training methods. A very pleasant rendition.
Jiang style "New" BaGua is also represented by Luo Jin Hua.
This is an interesting version that seems to combine the idea of the basic Eight Palms based on the animals into changing palm like transitions. Another way to put it is that this form has eight shapes based on the following animals: Swallow, Hawk, Bear, Monkey, Dragon, Snake, Tiger and Horse. Each of these palms is usually associated with a single, simple change but in this set each palm has a change pattern of about eight movements. A very interesting thought not primary set that combines some of the energies of Bagua with some of the directness of Xing Yi. To our knowledge not associated with a particular style. Wu Shi Jun is a professional and polished teacher.
This is the first representative VCD we have had of the style created by that famous martial artist Fu Zhen Song. Demonstrator Shou Kun is an agile and obviously practiced player. His movements are light and flexible as he demonstrates the 8 Changing Palms. Toward the end there is also a demonstrations with applications of some of the postures - short but instructive.
Fu Zhen Song creator of FU style BaGua.
This is our third version of Jiang Rong Jiao's BaGua we sell (Ted Mancuso's and Kang Ge Wu's version being the other two). The teacher here is the well known student of Sha Guo Zheng, Luo Jin Hua. Luo's movements are worth watching. A little tight (in the sense of smallness) than most his BaGua also has some nice elaboration. A very clear presentation of his movements. A strong, straight forward presentation. Luo has an active style and an alert mind. Click here to see his lineage.
See DVD version of this disk.
This is very nice "linked palm" set with tight changes and the so called "Swimming Dragon" flavor. Luo Jin Hua's movements are clear and precise with a relaxed but dynamic style. This set almost comes under the heading of "cascading palms" and is a nice combination of movements where palm changes and postures intermix . Click here to see his lineage.
BaGua Pian Shuan Dao with Hong Yin Xiang. This is a longish, involved set performed with the large BaGua saber. Well constructed set representative of the GAO branch of BaGua developed by Gao Ji Wu. Teacher Hong here shows the breakdown with the aid of a student. What is distinctive about this sat is the use of the left hand to momentarily treat the saber in a double handed fashion at points in the form. See more of this style.
SUN JIAN-YUN, the daughter of the very famous martial artist and writer, Sun Lu-Tang leads this demonstration tape of the Sun Style. Though the cover lists Sun T'ai Chi there is more here than that. This is not an instruction VCD but starts with a performance of Sun T'ai Chi by Sun Jian-Yun, herself an "old Shihfu". Other students and family members help demonstrate T'ai Chi, Sun Style Ba Gua Partner Sword practice, Sun Style Hsing Yi Fist Set, and a rather nice Sun style Xing Yi sword. Little talking but a lot about the Sun style for the interested student.
VCD #389 Tian BaGua Tian BaGua Basics Click to see a video on Tian Bagua style.
This first form, Basics, is nonetheless built on a circle and is an entire round of BaGua circling in itself. Teacher Tian has interesting and some may say even impressive timing with sudden wing flap motions that open his body considerably. A very expressive form of BaGua and worth a look. This introductory but not simple set contains the fundamental Single and Double Palms, the high stepping actions, the cross movement of the Twin Fish design, and other fundamentals to the style .
Demonstrator: Tian Ke Yuan, said to be tenth generation inheritor.
Tian style Yin Yang Bagua originated in the gnarling Cheng Mountain and Emei Mountain, Szechuan Province. The entire style is subdivided into 8 animal forms. Each animal form represents one of the Eight "Gua" or trigram from which BaGua theory and the Book of Changes is created. The Eight animals are said to be Boa, Lion, Tiger, Bear, Snake, Horse, Monkey, & Eagle. The style totals 192 Palm actions. An unusual style due to its timing, pauses, fa jing motions and almost stuttering moves mixed with fluid actions. High stepping, heel off the ground, many movements not associated with classical BaGua.
High stepping, heel off the ground, many movements not associated with classical BaGua. Teacher Tian has interesting and some may say even impressive timing with sudden wing flap motions that open his body considerably. A very expressive form of BaGua and worth a look. This particular VCD introduces another complete set in the style but of more complexity than that of the basic set. Once again an unusual mix of fluid actions and strangely stuttering and almost awkward motions (not necessary a bad sign, often more indicative of an indigenous authentic style). High emphasis on the Phoenix or Eagle position as the basic circling guard posture, faster more, smaller circles mixed with kicks and spins.
This VCD shows another complete set in the style but of more complexity than that of the basic set. Once again an unusual mix of fluid actions and strangely stuttering and almost awkward motions (not necessary a bad sign, often more indicative of an indigenous authentic style). High emphasis on the Phoenix or Eagle position as the basic circling guard posture, faster more, smaller circles mixed with kicks and spins .


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Collection 381 Oral History Interview with Peter Deyneka, Jr.
Scope and Contents Oral history interview with Peter Simon Deyneka, Jr. (1931-2000) in which he describes his father, Peter Deyneka Sr; his own education at Wheaton College; and his early Christian work in Alaska, South America and Korea. Other topics discussed include: Deyneka's childhood in Chicago as the child of Russian immigrants, spiritual life on Wheaton College campus, decision to go into full-time ministry with the Slavic Gospel Association, working among the Aleut people in Alaska, refugee camps in...
Collection 517 Papers of Armin R. Gesswein
Scope and Contents Oral history interviews and photographs relating to the ministry of Armin R. Gesswein in which he discusses his childhood as the son of a Lutheran Church-Missouri Synod pastor, the characteristics of that denomination, his education, his conversion, the influence of Paul Rader upon him, his work at Concordia Seminary, his work with Walter Maier, his first pastorate and first experience of revival, his involvement in revival in Norway 1937-1938, friendship with Billy Graham, Charles Fuller, and...
Subject: Prayer X
Names: Rader, Paul, X


From mail order businesses to my local grocers, companies everywhere understand the value of offering a free sample or free trial of their products. It is a proven way to engage new customers.
The concept of the free trial is just as important online.
In fact, for many on-line technology companies the "Online Free Trial" is the only way a customer will sign up for their service.
The Online Free Trial is shown below as the gateway to acquiring paying customers.
We've shown 14 popular inbound marketing channels in the above diagram. Each channel will have its own strategy. characteristics and marketing goals.
However, it doesn't matter how successful an individual channel may be in delivering visitors to your Free Trial. The free trial must be optimised to convert visitors from all channels into leads and then into paying customers.
This makes the Online Free Trial the single most important part of your inbound marketing strategy.
Follow this blog as we take a tour through the world of the Online Free Trial.


Search for the latest flats for sale in Horsham and the surrounding areas using the search form below.
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The Atascadero Greyhounds women's soccer team hosted the San Luis Obispo Tigers on Wednesday in one of the biggest games of the season so far. The Tigers came into the game 6-0 while Atascadero was 7-1. Both teams are very familiar with each other — six of the girls on the SLO team play with many of the girls on Atascadero's team in the offseason for the SLO Storm G'00. The SLO Storm was undefeated this year and one of the top-ranked teams in California.
The game was tight from start to finish and actually needed extra time to be decided. However, The Tigers edged the Hounds 3-2 in overtime. Haley Pires scored first for the Hounds and Morgan Ramos scored the second.


I'm not aiming to, but I feel a kind of visceral offense when I see someone believing deeply woo things. Recently I came across someone on Twitter grumbling at their local state lottery commission for "running out" of some number they liked to bet on, and I poked fun at them for not understanding statistics. Twitter's great for a certain kind of citizen go-getter-ism, as we can usually respond to adverts and poke fun at a product, or a celebrity, or whatever. I hope this leads people to be less passive than the generations that were used to TV (which allowed but ignored participation, or at least restricted its impact to others itting next to you when you're watching whatever you're watching). There are dangers to this lessened passivity in that we don't know how to handle activism well and easily let extremists win arguments because we're too annoyed to argue, or don't know how. Anyhow, I'm not so bothered by people who believe in religion - religion is a little less slam-dunk to argue against, and significantly works in areas that science hasn't given us solid understanding of yet. Plus there' a lot of other stuff in religion - non-fact-claims or things that may look like fact claims but are difficult to imagine digging at with empiricism (and there are fuzzy thinkers like Sam Harris that dive into these topics and stumble at the first hill).
I'm a little weirded out at the visceral offense I feel at it. At the end of the day it's tempered by my general attitude of "but.. it's your choice", although at other ends of the same action I might be comfortable placing limits; I don't think the state should be running gambling (nor should it permit large-stakes gambling, and perhaps it should produce structural difficulties like making it hard in contract law to enforce the exchange of properties), and for things like homeopathy I am comfortable with at least banning advertising and perhaps banning the commercial part. Meaning we don't have to make the nonsense easy but don't have to restrict the consumer.
Although with that there are still issues; I recognise that there are plenty of cases where the state can not outright ban something but they can make it really hard, where that use of state power would bother me were it something I approve of. I'm not going to entirely avoid methods because I don't like how they could be applied, but I want to make sure I don't think of this as "it's done a certain way, therefore any limitations that come out of it are not things I need to justify" - the different means may change somewhat the degree of justification I need, but it can't be carte blanche.


I love this. Perfect example of putting on the garment of praise.
I love how we can change the atmosphere with truth! Sometimes when I'm in a grumpy, frustrated, impatient mood I just play praise music until my heart matches up!


STEP Singapore is pleased to invite members and others from the industry to join us for our second Mid-Autumn Festival Networking Celebrations!
Join our new Branch Committee 2018/2019 as they host this networking evening that features a professional tea-making demonstration, appreciation of a variety of teas, mooncake tasting and ending with a hearty buffet dinner!
Admire the full moon and soak in the ambience from the lovely rooftop terrace of a converted historical shop-house right in in the heart of town,conveniently located between Clarke Quay and Boat Quay,just a 3-minute walk from the Clarke Quay MRT station.
This is the ideal way to end your workday in style, catch up with old friends and new, and even bring your colleagues, partner or spouse to enjoy this delightful Chinese cultural experience!


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Pedro Miguel net worth and salary: Is Qatari central defender rich? Wife, children, biography
November 16, 2022 sweet Bio children education Net Worth Relationship Salary
A professional football player for Al Sadd SC and the Qatari national team, Pedro Miguel Carvalho Deus Correia can play either the right back position or the center defensive position. He is also known as Ró-Ró. The Qatar 2022 FIFA World Cup will take place there from November 20 to December 18. The competition's 22nd version will contain the first participant from the Arab world. On April 1, 2022, the World Cup group stage draw was conducted in Doha, Qatar, to prepare for the competition. He participated in the squads that competed in the 2019 Asian Cup, 2019 Copa América, and 2021 Gold Cup, where the first of those competitions was won. Scroll down to know more about Pedro Miguel net worth, salary, wife, children, height, nationality and more:
1 Where were Pedro Miguel's parents from? Family, siblings, education, height
2 Pedro Miguel net worth before FIFA 2022, salary, contract, earnings and all the way of boosting his wealth
3 Awards and achievement
4 Central defender Miguel wife: Who is she? Is the famous player in a relationship, engaged or married?? Their Children
5 His International career
6 How much will the 2022 World Cup champion receive?
Where were Pedro Miguel's parents from? Family, siblings, education, height
Ró-Ró was born in Algueirão–Mem Martins, Portugal, on August 6, 1990. He is a citizen of both Qatar and Cape Verde. His zodiac sign is Leo as well, according to his birth date. His parents and siblings' identities have been kept a mystery and have not yet been revealed. He completed his education from secondary college of Portugal.
A post shared by Pedro RóRó Correia (@pedrororocorreia22)
Ró-Ró is 1.88 meters (6 feet 2 inches) tall. His physical weight is 73 kg. He also has an athletic body type. His body is in good shape, but the current measures for his biceps, hips, waist, etc. are not available. His black hair contrasts with his dark brown eyes.
Read more: Akram Afif wife: How long were the pair in a relationship? Qatari left-winger net worth, salary, religion
Pedro Miguel net worth before FIFA 2022, salary, contract, earnings and all the way of boosting his wealth
Pedro Miguel net worth is in millions. Miguel's talent and hard work have earned him a lot of money and recognition as a footballer who plays as a Central defender for the Qatar national football team. Pedro Miguel net worth is more than $3 millions. The athlete has also been a star on the field for a long time and is one of his team's highest-paid and most successful players. His has a current market value of €325k. Pedro makes a good living from sponsorships and grants.
The Qatari club Al-Sadd stated on Tuesday that Pedro Miguel, a defender for the team's first squad and a native of Portugal, has had his contract extended until 2025. However, the club made no mention of the player's compensation.
Pedro Miguel signing contract until 2025 sources:Instagram
After moving to Qatar in January 2011, he played for Al Ahli and Al Sadd in the Qatar Stars League after playing lower-league football in Portugal. With the latter, he garnered numerous accolades, including two league crowns. At the international level, Ró-Ró represented Qatar. He participated in the squads that competed in the 2019 Asian Cup, 2019 Copa América, and 2021 Gold Cup, where the first of those competitions was won.
Awards and achievement
Also read: Ahmed Alaaeldin net worth in 2022: Is it over $5 million? Arabic Forward wife, salary, biography
Won the 2012-13 Qatari Second Division with Al Ahli.
Won the 2018-19, 2020-21 Qatar Stars League with Al Sadd.
Won 2017, 2020, 2021 Qatar Cup with Al Sadd.
Won 2017, 2020, 2021 Qatar Emir Cup with Al Sadd.
Won the 2017, 2019 Qatari Sheikh Jassim Cup with Al Sadd.
Won the 2019-20 Qatari Stars Cup with Al Sadd.
Won the 2019 AFC Asian Cup with Qatar.
Central defender Miguel wife: Who is she? Is the famous player in a relationship, engaged or married?? Their Children
Ro-Ro is a loving husband. Together, he and his devoted wife Luena Eugénio Correia reside. The adorable couple has been together for many years, and after dating for a while, Ro-Ro and Correia considered getting married.
Ro-Ro and Correia were married on June 3, 2022 as a result. In front of their family and friends, the couple exchanged vows in a private ceremony. Additionally, Ro-Ro posted several of their wedding-related moments to his Instagram page, where we may follow him as @pedrorororocorreia22.
Read more: Giovanni Reyna net worth: Meet American attacking midfielder family, girlfriend
On September 13, 2020 Ro-Ro captioned on his instagram:
Today is my wife's day, many congratulations my wife, my best friend, best mother in the world, May God bless you always my love, because you deserve all the good in this life my warrior ❤❤❤ I your son love you mos forever my love r, Thank you for everything love of my life ❤❤❤
The couple had children together before getting married. Leonardo and Alvaro, their two children, are their offspring.
His International career
On March 29, 2016, Ró-Ró started his first game for Qatar, which was a 2-0 loss to China on the road for the 2018 FIFA World Cup qualifiers. At the 23rd Arabian Gulf Cup in Kuwait, on December 23, 2017, he scored his first goal to cap a 4-0 victory over Yemen. However, his team was eliminated in the group stage. He participated in every game in the 2019 AFC Asian Cup, which saw his nation triumph in the United Arab Emirates.
Ró-Ró was also selected to represent the nation in special appearances at the 2019 Copa América and the 2021 CONCACAF Gold Cup, where he advanced to the semifinals. His season was cut short by an injury in the first half against Oman in the second group game of the inaugural FIFA Arab Cup, which Qatar finished third in that December on home soil.
How much will the 2022 World Cup champion receive?
Read more: Moise Kean girlfriend: Is Italian Forward engaged? His net worth, salary in 2022
On Monday, November 21, 2022, the Qatar FIFA World Cup 2022 will begin and end on December 18, 2022. Each team receives $2 million for practice and $10 million to enter the competition. The 2018 World Cup champion will then additionally collect $50 million. The winner will take home 62 million dollars in prize money alone. The money that FIFA pays clubs and national teams for each player's participation is then added.
To participate in the competition, FIFA pays the teams a total of $209 million for the players. Include an additional 134 million dollars in insurance benefits. The winner of the World Cup 2022 will also gain direct qualification to the next FIFA Confederations Cup in addition to the prize money and the coveted World Cup.
Tags: Pedro MiguelPedro Miguel agePedro Miguel bioPedro Miguel childrenPedro Miguel earningsPedro Miguel educationPedro Miguel ethnicityPedro Miguel fifa 2022Pedro Miguel heightPedro Miguel love lifePedro Miguel parentsPedro Miguel wife
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How to use Apollo Client with the view layer your application is developed in!
React Apollo allows you to fetch data from your GraphQL server and use it in building complex and reactive UIs using the React framework. React Apollo may be used in any context that React may be used. In the browser, in React Native, or in Node.js when you want to server side render.
A Vue.js integration is maintained by Guillaume Chau (@Akryum). See the Github repository for more details.
ember-apollo-client is maintained by Blake Gentry (@bgentry).
ember-apollo is maintained by Jeff Levy (@jlevycpa).
Polymer: A Polymer integration is maintained by Arun Kumar T K (@aruntk). See the Github repository for more details.
lit-apollo: A set of custom-element base classes that extend from LitElement which let you easily compose front-end apps in a framework-agnostic way. lit-apollo is maintained by Benny Powers (@bennypowers).


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Music Jun 21, 2007
Hiphop Ya Don't Stop
by Larry Mizell Jr.
Unfortunately, we have to start like this:
R.I.P. DJ PRZM. The DJ/producer and fixture of Columbus, Ohio's hiphop scene (perhaps you know him as the producer for Camu Tao's "Hold the Floor") has passed away from natural causes. Peace to his family and friends. During our brief meeting years ago, I found PRZM to be disarmingly cool and humble. Represent In Paradise.
Also, R.I.P. Stack Bundles. The perennially up-and-coming NYC mix-tape fixture was gunned down in his native Far Rockaway, Queens. Bundles, once associated with DJ Clue's Desert Storm crew, recently gained more notoriety by joining up with Jim Jones's Dipset-affiliated Byrdgang crew. Rest In Power.
The saddest part of Bundles's death—besides of course the brother's senseless murder and the loss to his family and crew—is the grim certainty (among hiphop news sources, fans, and anybody paying attention) that this will be another unsolved rapper murder. Instead of a special task force to follow rappers around and bust 'em, how about a special team commissioned to solve the many hiphop killings of the last 10 years? Jesus Tapdancing Christ, how many are we up to now?
Big cha-ching ups to Blue Scholars—recently "Back Home" (heh heh) from the Mass Line Tour—'cause the town's most talked about album, Bayani, is currently a top download on iTunes, clocking in at number nine last I checked. This follows some real love from the OkayPlayer site—and to be real I wouldn't be surprised if actual OKP status ain't far behind either. However anyone may feel about Seattle's biggest hiphop crew, or their newest record, you can't deny they're doing it big, in a real way. It's very simple, just ask the Lifesavas: "I Shine, you shine."
So Colin Johnson, former booker at Chop Suey, is now booker at Fremont's Nectar. My prediction: Fremont will (amazingly) officially become the go-to area for live hiphop music. Speaking of which, Friday, June 22, Nectar brings us a performance from Grieves (previewing tracks from his upcoming LP, Irreversible), Type, Rudy and the Rhetoric, DJ Swervewon, and the good folks of Project Mayhem.
One local release I've been banging lately (out of a few that you'll be reading about here in the next couple) is Boom Bap Project's tour CD, The Shakedown. I've been a fan of Boom Bap's since they were ubiquitous on local bills, and I banged Circumstance Dictates and Reprogram both. The Shakedown, however, might just be their best shit yet. Looser and more confident than previous releases, both Destro and Karim really stepped it up (as shown on their solo tracks), and guest spots from family friends like Vitamin D, the Cuf, and One Be Lo keep things lively. If you missed 'em on the Brother Ali tour, get it at www.superhappywax.com and don't tell 'em I sent you—that'll get you fuckin' nowhere.
hiphop@thestranger.com
The Union Is Fraying, But Unity Will Take Over the Airwaves on KEXP Sunday Night
by Gregory Scruggs
Refresh Playlist: New Music for the Week
by Jenni Moore
Art Mailbox: Judas and the Black Messiah, Intiman's New Managing Director, What's a Solar Utopia?
by Jasmyne Keimig


Daisy Yellow's Index Card a Day prompt was "camera."
I got myself an iPhone, which I love by the way.
custom made mosaics from digital images.
Here's one I just made online in about 10 seconds at Big Huge Labs.
Index Card a Day art challenge this summer.
I like Big Huge Lab's mosaic generator because you can use a Flickr photo set to get the pictures. I already had my index card art in a photo set, so all I had to do is paste in the URL at BHL.
The number of columns and rows is customizable.
Big Huge Labs think (thinks?) of everything!
BHL gives you the HTML code so that you can credit the origin of the photos. Awesome!
Perfect! You're so creative, Big Huge Labs!
I took this photo on a recent walk around the neighborhood.
It's Uncle Sam waving and riding a bicycle!
it all swivels back and forth. Fun yard art!
for reminding me that the twirling, whirly yard art Uncle Sam shown above is a whirligig.
That word takes me back to a time gone by. Thanks again, She Who Seeks!
blue acrylic painted index cards.
the crown leaves of a pineapple.
~Cheryl Gee once called Honolulu home. She knows why they call it Paradise, because it is.
The purple wedge labeled Create interests me the most! How about you?
Index Card a Day art challenge, year 3.
Images above look like posters tacked on a wall above a table to represent my take on Daisy Yellow Art Blog's Index Card a Day prompt: wall paper.
glued onto a 3"x5" index card.
~Cheryl Gee is definitely into wall "paper" but not so much wallpaper.
Here you see my response to the "faux stitching" prompt for Index Card a Day year 3 at Daisy Yellow art blog.
Faux stitching, or pen stitch, is a mimic of actual stitching of a pattern on paper instead of cloth.
I found the pattern of the topiary in the book The New Stencil Book by Simone Smart. This book has ultra-cool stencil patterns I would love to someday see around my home. I used a little portable light table to trace the stencil pattern from the book onto my index card with a pencil.
The faux stitching represented above are faux daisy stitch in forest green ultra-fine permanent marker for the foliage and faux running stitch in brown and black marker for the branches and planter.
For ICAD2 I did some actual stitching on an index card with embroidery thread, some decorative paper and a butterfly stencil. I recall a nice feeling of accomplishment when it was finished along with a couple of sore fingers from getting poked with a sharp needle. Ouch! I think faux stitching is much less hazardous to your finger tips!
~Cheryl Gee learned to stitch when she was a child and how to faux stitch as an adult. Life is so ironic yet profound sometimes when you are a creative like she is.
This paper collage of a sweet little girl is made even sweeter with cut outs from magazines of chocolate Whopper eyes, orange slice eye lashes, jelly bean cheeks and a lemon drop nose.
The background is a scrap of newsprint I painted with left over paint once upon a time when I was in the painting mood. I saved the scrap and placed it in my art journal fodder box just for fun occasion like this.
Candyland the game is explored here.
along with any food that wasn't on the list above.
Good riddance to not feeling well all the time.
I created a low carb food plan for myself that sometimes goes by the name Paleo diet.
~This link love is shared at Daisy Yellow art blog for the purpose of furthering the mission of spreading the word about awesome online places to go. Enjoy!


Linda Spraggins is an Executive Administrative Assistant with The Landes Group. She started her real estate career in 1997 with Grubb & Ellis Company in Dallas, Texas as an Accountant/Database Property Inventory Coordinator. Linda then continued her real estate career with The Staubach Company in 2000 where she assisted Brett Landes and three additional executives. In March 2006 she made the transition with Brett Landes to The Landes Group.