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Matthew D. Sarrel DirecTV2PC beta If you already have a DirecTV DVR, this free application for streaming recorded shows to your PC is a fine addition. But it's not a reason to sign up for the service.
DirecTV2PC beta
By Matthew D. Sarrel
November 21, 2008 12:10AM EST
Free. Easy to install, use.
Can't program DVR or delete shows. User must set parental controls separately.
If you already have a DirecTV DVR, this free application for streaming recorded shows to your PC is a fine addition. But it's not a reason to sign up for the service.
If you're a DirecTV subscriber, get ready to watch your favorite shows on your PC—in high definition. The free DirecTV2PC beta software (supplied by CyberLink) lets you stream programs recorded on your DirecTV Plus HD DVR to your PC, where you can watch them in up to full HD resolution. It all happens via your home network, and the software does an excellent job of keeping the process simple. Despite a few minor glitches (it is beta software, after all), if you can operate your DVR, you can use DirecTV2PC.
DirecTV Plus HD DVR HR20-700
Slingbox PRO-HD
Slingbox SOLO
To install the software, you visit the DirecTV2PC Web page and click on the Download Now! button, which copies the DirecTV2PC Playback Advisor to your machine. When you run the program, it evaluates your system to determine if DirectTV2PC will run on it. After passing that test, I was directed to a Web page where I was instructed to enter my e-mail address and DirecTV username so that I could download the 32MB DirecTV2PC app and have an activation key e-mailed to me.
After connecting the DVR to my network via an 100 Base T Ethernet cable, I ran the software, which asked for the activation key, then scanned my network looking for DVRs. In the event that you have several, DirecTV2PC identifies them by name. I selected the only one I have and started streaming my shows from my DVR to my PC immediately. That's impressively simple.
Basically, the software allows you to watch shows on your PC that you've already recorded to your DVR. In case you live under a rock, a digital video recorder (DVR) supersedes a VCR because it easily records to and plays from an internal hard drive. You don't have to manage a bunch of tapes, and recording is usually built into your cable (or, in this case, satellite) box's interface, so it's easy to use. Similar DVR-to-PC functionality is available directly from TiVo using TiVo Desktop Software. The many out there who use a DVR packaged with their cable (or satellite) set-top box, however, must rely on their providers for this sort of added functionality. As far as I can tell, DirecTV has taken the lead by making the software available free to all customers.
Strangely—and with no explanation—when I tried to connect the next day, I couldn't. I had to go into the DVR system settings and manually configure the unit with my network settings (found under Menu, System Settings, Network). This seems to be more an issue of my DVR than of the DirecTV2PC software. Since then, everything has worked like a charm.
There is one caveat, though: DirecTV2PC doesn't read the parental controls you've set on your DVR and carry them over to your PC automatically. You'll have to configure the controls on your computer manually. That's not such a big deal for me, since I'm not particularly concerned about my cats seeing violence on TV. But for parents of non-furry, bipedal children, that can be a bit of a hassle.
Also, you can't delete a recording or set the DVR to record using DirecTV2PC. And when I tried to use the Microsoft Remote Desktop Protocol to access my desktop from another machine, DirecTV2PC gave me an error message about the video mode not being supported. On the other hand, this isn't surprising given that most video and photo-editing or viewing software doesn't run over RDP. One way in which the application's interface is better than the DVR's is that you can use your mouse to go to a specific location in a clip; on the DVR, you'd have to scan for the segment you want.
What DirectTV2PC isn't is a substitute for the Slingbox. You can watch only what's already been recorded to your DVR's hard drive. And you can use the software only to stream across your local network—you can't watch it remotely across the Internet. Furthermore, I was able to make the software work only via wired Ethernet. It might be possible to stream the signal wirelessly, but my DirectTV DVR isn't wirelessly equipped. I did a little investigating, but I couldn't find an Ethernet-to-wireless bridge compatible with both my wireless network and my DVR. One may exist, but finding it was beyond the scope of my review.
DirectTV2PC is a good solution if you want to watch TV and use your PC, but the computer is in a different room, and it also lets one person watch live TV while another watches a show recorded on a PC. If you have a media center PC connected to a big TV in another room, this application should provide a good experience. It's certainly enjoyable for me on my 22-inch monitor—right now I'm watching The Simpsons while writing this article and browsing the Web. Considering that DirecTV2PC beta costs nothing and is easy to install, I'd definitely recommend giving it a whirl.
More Photo, Video, and Graphics Software Reviews:
• Apple Final Cut Pro X
• Corel VideoStudio Ultimate
• Adobe InDesign CC
• ACDSee Photo Studio Professional
• DxO PhotoLab
Bottom Line: If you already have a DirecTV DVR, this free application for streaming recorded shows to your PC is a fine addition. But it's not a reason to sign up for the service.
Ustream.tv
Apple iLife '09
Matthew D. Sarrel
Matthew D. Sarrel, CISSP, is managing director for CMG, a worldwide organization of IT performance and scalability professionals. He is also a technical marketing consultant and technical writer. To read his opinions on games please browse http://games.mattsarrel.com and for more general information on Matt, please see http://www.mattsarrel.com
More From Matthew
Business Choice Awards 2017: Accounting Software and Services
Business Choice Awards 2016: Cloud Computing Services
Business Choice Awards 2016: Web Hosting
Business Choice Awards 2016: VoIP
Business Choice Awards 2016: Email Marketing Services

redpajama_set_name: RedPajamaCommonCrawl


I grew up Menno in Iowa, then I went to Goshen for a bit and now I live in Minneapolis. I work as a volunteer for Brethren Mennonite Council for Lesbian, Gay, Bisexual, and Transgender Interests. See me for all your Mennonite or Brethren related queer advocacy needs. I also love to get my cooking on and if I'm not stirring up shti in the Mennonite church, I can be found stirring up shti in the kitchen.
Eric, Tim, and I just realized that the three of us will be at the Mennonite Church USA Churchwide Convention in San Jose in July. We also figured that a few other contributors and readers might be as well. So, we want to have a little gathering with anyone that wants to show. We are leaning towards supper on Wednesday, July 4.
If you are going to be in San Jose for the MCUSA Convention, please leave a little comment here to tell us and we can work on plans for a gathering.
Also, you might consider coming to the Bay Area a few days early (if you haven't already gotten tickets) to attend a weekend conference in San Francisco. It is being planned by Brethren Mennonite Council for LGBT Interests' Supportive Communities Network in conjunction with First Mennonite Church of San Francisco and MennoNeighbors (a group that could fit the nickname OAR pretty well – don't be offended Lin if you are reading this). For more information on the conference check out the BMC website.
Faith: Nature or Nurture? Is it a choice? Can people change?
I was watching CNN today as I was eating my lunch (black beans and saffron rice with piccadillo and spinach salad – awesome) and they were playing a rerun of an Anderson Cooper special on Christianity and faith. One portion of the show touched on recent findings that a person's capacity for faith and spirituality may be genetically related. The story was based on the idea proposed by Dean Hamer in his book, The God Gene: How Faith is Hardwired Into Our Genes. I haven't read the book, and probably won't but I did check out a couple reviews of it (Scientific American and Washington Post).
It turns out that Hamer's science is a little dodgy as it is full of caveats and contradictions and has yet to stand up to the rigors of peer-review. Maybe he should have done a bit more work before publishing, but that's not really my point. Whether or not Hamer's work is grounded in what we like to think of as "reality," it brings up some interesting questions for discussion. And since the blog has been spookily quiet for about two days, I thought I might stir the pot a little (I'm sure you've all realized by now that I enjoy stirring it up). If you are game, follow me down this rabbit hole and we'll see where it comes out.
Who needs hate crimes protections?
The US House of Representatives just passed hate crimes legislation that would extend hate crimes protections to be based on sexual orientation and gender identity in addition to current protections for race, religion, color, and national origin. It still has to go through the Senate and then face veto by you know who.
The thing that really blows me away is that people are actually against this, and that those people happen to call themselves Chrisitians. Now, if folks have a problem with the idea of hate crimes protections in general, eh, I would be happy to discuss that. But the idea that some groups of people should get protections while other groups (groups which happen to experience a disproportionate amount of hate crimes) should not is completely ridiculous. As it happens, the religious right is coming out en force against hate crimes protections for lgbt people. I linked this article about this in an earlier post.
The term "the homosexual lifestyle" has appeared a number of times on this blog in the last few months. I continue to be perplexed every time I see it and hear it in the church or society. Along with all those other terms that are used against the lgbt community, it is a term that somehow carries enormous weight and meaning in our society despite the fact that it really should not be considered a valid term. My problem is that I don't often hear this term (or other similar language) challenged for what it is – bigotry. I'd really love it if this ridiculous language would stop, both on the blog, and in church and society.


It seems that every week brings new scientific research underscoring the disturbing increase in the numbers of overweight children and the related health disorders they face.
In the last 30 years, childhood obesity rates have doubled. In California, nearly one-third of our young people are overweight. As a society, we cannot afford to ignore this.
While our schools should be doing all they can to create an environment that supports healthy habits, most of them are contributing to the problem in the name of fund-raising. In nutrition classes, students learn about balanced diets and good food choices. Then the lunch bell rings and they walk into a sea of potato chips, chili-cheese fries, soda and candy.
SB 19 sets sensible standards for foods sold at school. Food items with more than 35% of their calories from fat or more than 35% sugar should not be a dietary staple for anyone. Twenty years ago, teenage boys drank more than twice as much milk as soft drinks and girls drank 50% more. By 1996, both boys and girls were drinking twice as much soda as milk. Not only are young people forgoing calcium in favor of empty calories, but by leeching calcium from the bones, carbonated beverages are contributing to an increase in broken bones and osteoporosis.
We know that schools sell these high-fat, high-sugar items and sodas because they create a never-ending cash flow for extracurricular programs. However, with an outpouring of support for this bill, parents, teachers and public health advocates are asking schools to give our young people's health priority over fund-raising. They are asking that activity directors and teams find more responsible ways of earning money.
There are still scores of kid-friendly food items that could be sold under SB 19. Cookies, pretzels, popcorn, frozen desserts, granola bars, sports drinks and fruit juice-based beverages are just a few examples.
Moreover, it's time that our schools explore more socially responsible avenues for fund-raising. Corporate sponsorships, community events and club carnivals are just a few ways of breaking schools' financial dependence on junk food consumption. In my own Senate district, one school earned $8,000 in one day by organizing a jog-a-thon. We may just find that involving parents and communities in fund-raising events like these pays off in ways that a soda and a bag of cheese curls never will.


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Milwaukee Brewers active Kolten Wong, option Pablo Reyes
Ryan Weber was also lost on waivers after being DFA'd.
By Kyle Lesniewski@Kyle_Lesniewski Jul 17, 2021, 10:00am CDT
Share All sharing options for: Milwaukee Brewers active Kolten Wong, option Pablo Reyes
Kareem Elgazzar via Imagn Content Services, LLC
The Milwaukee Brewers made a highly-anticipated roster move before last night's game against the Cincinnati Reds to start the second half of the MLB regular season. Kolten Wong was activated off the 10-day Injured List, where he had been since July 2nd while dealing with a calf issue. To make room on the active roster, Pablo Reyes was optioned back to Triple-A Nashville.
2B Kolten Wong reinstated from the 10-day injured list. INF/OF Pablo Reyes optioned to Triple-A Nashville. pic.twitter.com/XD0iJBiuE6
— Milwaukee Brewers (@Brewers) July 16, 2021
Wong has been a dynamic addition atop the lineup for the Brew Crew this year, going 3-for-5 with and RBI and a couple runs scored last night to boost his season-long batting line to .299/.352/.488 with seven home runs and six steals for a career-best 125 OPS+. But he's been limited to just 54 games so far because of multiple IL stints with calf and oblique issues. A healthy Wong would make a significant difference to the lineup over the last couple months of the season.
Reyes appeared in 6 games and took five plate appearances during his most recent stop in the big leagues with the Brewers, drawing a pair of walks. For the year, he's hit .212/.255/.250 in 55 plate appearances.
Additionally, the club announced that right-hander Ryan Weber has been claimed off waivers by the Mariners:
RHP Ryan Weber has been claimed off waivers by Seattle. pic.twitter.com/3AwBmau5qK
The Brewers claimed Weber off waivers from Boston on June 16th, but his time with the organization lasted only a month. He made one MLB appearance, throwing a scoreless inning of relief. For Triple-A Nashville, Weber logged 8.0 innings in two starts while allowing six earned runs. He was designated for assignment four days ago when Kyle Lobstein was picked up from the Nationals.
Statistics courtesy of Baseball-Reference


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V.F. Archive Collection
Demi's Big Moment
Everything's happening at once for Demi Moore. She's expecting her second child with husband Bruce Willis—and nudging his mega-star bucks with her own $2.5 million fee. And while he's licking his Hudson Hawk wounds, everyone's waiting to see if her new movie, The Butcher's Wife, will make her more than the one-hit wonder of Ghost. (This story originally appeared in the August 1991 issue of Vanity Fair.)
By Nancy Collins
"Pregnancy agrees with me," Moore says. "I feel comfortable."Photograph by Annie Leibovitz.
"I don't think I'm a big-time movie star," says Demi Moore. "My career's been very slow. I've certainly not jumped into the [superstar] crowd, the flavor of the month. I don't know if that'll ever happen. It's nice that Ghost did well, but it's a fleeting moment. I want to have enough going on in my life—the real stuff—so I can roll with the ups and downs."
These days, the twenty-eight-year-old actress's real life revolves around the birth of her second child, which is expected at the end of August. Moore sits splay-legged on the kitchen banquette of her trailer, patting her protruding stomach through the filmy pink charmeuse nightgown she is wearing to play a romantic southern clairvoyant in her latest movie, The Butcher's Wife. "Pregnancy agrees with me," she says, beaming. "I feel comfortable."
She also feels it provides "perspective," something she can use a healthy dose of at this nail-biting time in her life. The Butcher's Wife, her pivotal follow-up to last summer's runaway hit Ghost, is being released in late August, and critics are still slicing up Bruce Willis's $65 million mega-flop, Hudson Hawk.
Moore says she hasn't read any reviews of her husband's movie, and she sounds remarkably detached about its sensational flameout: "I'm aware of the basic periphery of what it hasn't done . . . that the reviews have been so incredibly malicious. But in truth it hasn't absorbed into anything going on for me. Obviously, I have compassion for my partner and would prefer the response to him and his efforts of great passion to be more positive. Other than that, I'm not that involved with it."
Moore is wary when commenting on her husband's career, and smoothly professional when talking about her own, but she is unreservedly passionate when the conversation turns to motherhood, family, and her daughter, Rumer, who will have her third birthday in August. "I didn't go back to work until Rumer was five months old," Moore recalls with a smile. "I wasn't interested in having someone else come in the middle of the night to do stuff I'd been waiting to do. Rumer slept in our bed until very recently, every night. That's a philosophy. There's just a closeness and a security that you're there. I didn't care that I was awakened two to three times a night and still had to get up at six o'clock in the morning and go to work.
"I nursed Rumer until she was two years old," adds Moore. "She came with me to the set in the morning and stayed until I left. I nursed her all day."
Though Moore likes to claim that she and Willis are "floundering and learning just like everybody else," trying to figure out how to be parents, she recognizes that celebrity children start out with a strange slant on things. "Rumer and I were sitting on the couch and I was flipping through the channels," she remembers. "We were looking for Sesame Street or something. There was an interview with Kevin Costner, and they flashed a cover of an US magazine that I was also on. And she goes, 'Oh, look! There's Mommy!' And I said to Bruce, 'That's so strange.' I mean, I don't think she has any concept that everybody's Mommy and Daddy aren't on TV.
"There's got to be a certain point where she's got to understand where her roots are," Moore emphasizes. "We want to be able to have a foundation that's outside of this life."
Moore's own life has been anything but steady and secure. She has overcome a string of setbacks—an unhappy childhood, a failed first marriage, a reckless streak of drug and alcohol use, near nuptials with Emilio Estevez, and one of the worst outfits in the history of the Academy Awards (the bizarre combo of bicycle shorts, bustier, and bustle skirt she wore two years ago)—to become the female half of what People magazine has dubbed "Hollywood's Hottest Couple."
It is a title she claims not to be altogether thrilled with. "We don't sit around thinking, 'Hey, honey, do you believe it? We're the hottest couple in town!'" In fact, Moore says she has never gotten comfortable with her celebrity. "I always felt that if I ever was involved in what you would consider Hollywood, that I would be visiting. You know? I got to come and visit."
Moore says she has more serious concerns on her mind anyway. "I'm coming up to a time when it's going to be really important that I find out what I can give back," she says without a trace of self-consciousness. "My desires connect in some way with helping children. Finding a way to nurture that part of our world. I think I need to find a charity."
Moore's foggy altruism is interrupted by a knock on the trailer door announcing the arrival of Rumer's nanny, carrying the sleeping toddler, who is outfitted in a pink tutu and white stockings decorated with navy-blue cows. Demi takes her daughter and lays her on the couch across from the makeup mirror to finish her nap. "With children, you don't have any reason not to trust them," she observes as she turns back, "because they'll truly tell you like it is. They'll say 'I love you,' they'll say 'Don't touch me,' they'll say 'I don't want you.' You always know where you stand."
Exactly where Demi Moore stands in Hollywood is a matter of some debate. There is a marked division between those who think she has reached the acting and box-office heights of Julia Roberts, Geena Davis, Jodie Foster, Meg Ryan, and Michelle Pfeiffer, and those who think she has had more good fortune than talent. "She was damned lucky to get into Ghost," says one top producer. "It wasn't like she was Geena Davis, someone who's put in some wonderful performances. Demi hasn't done that—she was lucky and married well. And the success of Ghost and the fact that she's Mrs. Bruce Willis all went to her head at the same moment, swelling it unmercifully."
Others criticize what they call "the entourage factor." On the set of The Butcher's Wife Moore was catered to by an assistant, a dialogue coach, a masseuse, a psychic consultant, Rumer's nanny, and a bodyguard (while shooting in New York)—in addition to the standard-issue hairdresser, makeup person, and stand-in. She arrived for each morning's shoot in a limo and insisted on flying between locations by private plane.
"It's her face," says Willis. "I fell in love with her before I even talked to her. . . . The girl you saw in Ghost is what I fell in love with."
"Demi is very much a movie star," says Ezra Litwak, one of the screenwriters on The Butcher's Wife. "Everything revolves around that fact. She knows what she wants and how to get it. She had a strong conception of her role that wasn't up for discussion. She's a very focused woman."
"I'm sure there are a lot of people who think I'm a bitch," says Moore. "I ask for what I want and there are times I say, 'I don't like this. I don't want this. It doesn't work for me.' I don't fear to speak my mind. If it means changing everything that's there, I'll do it."
She takes another bite of the steamed vegetables that have been delivered from the Ivy to her trailer on the Paramount lot. She doesn't seem angry about the Industry dish accusing her of becoming an instant prima donna, just a tad defensive. "From my perspective I've got a very professional reputation," she shrugs. "I'm strong and opinionated, but I'm not difficult in the sense that 'Is my motor home big enough?' It doesn't bother me. Time will outweigh the moment. Besides, if you're a woman and ask for what you want, you're treated differently than if you're a man. . . . It's a lot more interesting to write about me being a bitch than being a nice woman."
Moore's defenders predict she will be around a long time, pointing out that she is a finalist for the female lead in the high-profile Jack Nicholson-Tom Cruise-Rob Reiner project based on the Broadway hit A Few Good Men. "That's a major star vehicle," says one of Hollywood's most powerful agents. "It's a great role with great stars and a great director, which would take a lot of pressure off of the performance of Butcher's Wife."
"I knew from the very, very beginning Demi was going to be a movie star," says another true believer, Craig Baumgarten, the Twentieth Century Fox executive on Die Hard who cast Moore in 1984's No Small Affair. "I knew it when I saw dailies on No Small Affair. When she was in pain, you just wanted to make her feel better. She can rip your heart out, make you care. That's a rare quality and part of what makes a star."
"She's sexy and feminine, but also tough," agrees Lisa Weinstein, the producer of Ghost. "Plus, she's got this great voice. And she's like Madonna. The camera's in love with the two of them. No matter where you put them, it comes out great.
"I don't think she's difficult," continues Weinstein. "She's somebody who has very strong opinions. People think that actors who ask a lot of questions and demand the time to give their best performance are difficult. Those are the only two things Demi ever did. She takes her work very seriously. Someone who wants to do good work demands good work from others."
"Demi has this accessible vulnerability that makes her attractive," says Denise DeClue, one of the screenwriters of Moore's 1986 film About Last Night. . . . "She's like the prettiest girl in your class. She's perfectly suited to the roles she gets. The best women's roles aren't complicated—they're very simple, two- or three-note roles. If you can do that well, focus and not be confused, you've got a lot going for you. This is the nineties. This is the lottery-ticket deal. Do you need years of formal training? Do you need an intellectual understanding of the role or do you just have to be at the right place at the right time?"
Though being Mrs. Bruce Willis couldn't hurt a girl in Hollywood (at least until Hudson Hawk), Moore takes umbrage at the notion that her three-and-a-half-year superstar marriage jacked up her career. "I don't think being Bruce's wife has helped my career. I didn't get an agent or a publicist because of Bruce. Did my life become higher-profile because of him? Yes. Does that give somebody a job or a hit movie?
"Do I think that since I've been with Bruce I've grown and that made my work better? Has Bruce affected me as a human being and contributed to my work? I'd say yes." But did Ghost work, Moore asks pointedly, "because I'm Bruce Willis's wife?"
If anything, those tables may well have spun. Willis's hot streak seems to have screeched to a stop with his last two starring roles, in The Bonfire of the Vanities and Hudson Hawk. His wife, on the other hand, is heating up. Does she think they are headed in the same direction as Melanie Griffith and Don Johnson? "I think Hudson Hawk is one movie," Moore says dismissively. "It seems the nature of things that you're allowed three [flops] . . . and even then that doesn't mean everything. I really liked the movie and thought there were a lot of innovative things in it. Unfortunately, it became about baggage attached to the film—they've taken some unnecessary personal stabs at the people involved. What they did with Ishtar. It didn't matter what the film was, it becomes a matter of how much it cost. But isn't that the nature of the press? They find people, build them up, and then slowly chip away. That's how it is for everybody."
Many Hollywood insiders are not surprised at the backlash aimed at Willis. "He was getting pretty smug," says a well-known producer. "Hudson Hawk goes to show you can't let actors take over a production. He took it over, directed it, it was his thing, he was in bed with [producer] Joel Silver. Everybody's happy Hudson Hawk failed. It'll chasten Bruce. Actually, I think the public is turning off on both of them. A lot depends on The Butcher's Wife for her."
"Demi and Bruce are like Kate and Petruchio," says a producer who knows the Willises well. "They're the last two of their kind and they found each other. Both come from blue-collar, difficult, troubled backgrounds. They've both been through a lot of personal mistakes. I don't think they wake up in the morning being assholes, although she is more capable of it than he. She's more nervous. She's got that ego—not a reckless runaway ego, but she is a girl who is asserting herself, not just to be a producer, but to be a star."
Bruce Willis is stretched out on a banquette in the ornate restaurant of the Century Plaza Hotel in Los Angeles. He has just finished a press junket, a day of flacking for Hudson Hawk, and has agreed to grant twenty minutes to talk about Demi Moore—a rare largess from Willis, who customarily refuses to discuss his wife. Dressed in jeans and a white T-shirt, he is laid-back, polite but cautious. "It's her face," he says, recalling the first time he set eyes on Moore. "I fell in love before I even talked to her. She's just a very charming girl. The girl you saw in Ghost is what I fell in love with. She's so open and honest and not afraid to be vulnerable."
Willis sees their "bond" as having gotten stronger, "more intimate." But he says, "It's certainly not a storybook marriage. We have problems. We argue, but we both understand marriage takes care and nurturing, and we're both still prepared to do that."
The union of Willis and Moore surprised everyone from her best friends ("I never would've thought to put them together," admits actress Dolly Fox) to the tabloid writers, who gleefully leapt into harassing the new couple. When the two said hello at the screening of Stakeout, a movie starring her ex-fiancé, Emilio Estevez, sparks didn't fly. That happened later when everyone converged on the same restaurant and Willis invited Moore to cut out to the Improvisation, a Hollywood comedy club. "He was a perfect gentleman," Moore recalls.
Fittingly, the Willises gave birth on film—the couple had three video cameras taping the big event.
Moore, who'd seen "maybe a part" of an episode of Moonlighting, didn't know anything about Willis or his party-boy image. "When I told my grandmother I was going out with him, she said, 'Oh, I've read all about him in the National Enquirer. He's really wild.' . . . But I never saw that. I've never seen Bruce drunk. Ever."
Instead, Moore thought Willis "was so sweet, nice, and funny, an open person. Most men, I found, played games, like 'I'm not going to let you know I like you, babe.' But he was straight out about who he was. . . . I needed to be loved and embraced. Bruce wanted to nurture me as much as I wanted to nurture him." Still, it was Willis who was the pursuer. "When I pushed him away he said, 'O.K., I'll wait.' I thought, Wow. This is a really different kind of person I'm dealing with."
Willis, meanwhile, concedes he'd never been as "open with anyone as I was with her. I was at a place in my life where I was able to lose some of the fear I had about what was happening to me," he says, referring to his near-overnight success in Moonlighting. "I was trying to shape and hold on to something that was completely out of my control." He laughs. "It wasn't like we were looking for a mate. Neither of us wanted to get married."
Yet, just four months after they met, they were standing in front of a justice of the peace. "We'd gone to see a boxing match in Vegas," remembers Moore. "The whole trip we joked about getting married. Finally, he said, 'Well, what do you think?' I panicked and then I just said, 'O.K.' But first I went up and fixed my hair."
Moore says that the biggest change marriage has caused for her "has a lot to do with being settled in. Bruce has afforded me a life-style that is, obviously, much greater than I would have had on my own. . . . We have luxuries. That's a fact. But we're not extremely social. Being apart is the only difficult thing. Two weeks we can get by. Anything more than that, he misses the baby and me and I miss him. There's only so much you can hold on to on the phone."
The biggest surprise about living with Moore, Willis says with a laugh, is that "we're still doing it. My track record isn't very good; neither is hers. But we both still care about doing the work it takes to tend this little garden. We learned how to be each other's best friend. At times that's more important than being someone's husband or wife . . . to give each other the respect that most of the time goes out the window in a marriage."
Willis, who has accused the tabloids of trying to break up his marriage, smolders over any suggestion that the relationship is troubled. As for the tabs' ongoing battle to link Willis with other women, Moore is unfazed. "Do I get jealous? Sure. But he doesn't do anything to provoke it, so if I do feel that way, it's something going on in my own head."
Does she trust her husband? "Do I trust anybody?" she asks after a long pause. "That's the question. Along the way I've been shown it's O.K. to trust, so I usually go ahead and take the chance. But deep down do I really trust? I don't think so." Moore says she trusts her husband "probably more than I do anybody. But the only person I really trust is my child."
"Do I trust her?" asks Willis. "Yeah, but this is getting into an area I don't think belongs in a magazine. I feel like I'm making it cheaper by talking about it."
He is willing to say, on the subject of two-movie-star families, that "it's difficult, but we've found a way to be with each other almost every day. If I'm away, she comes to see me; if she's away, I go to her. And one of us is with Rumer every day. She gets that stability."
Though she was never a woman who necessarily wanted children, Moore says all that changed when she met Willis. "We were actually trying to get pregnant before we got married," she says. "Meeting Bruce instilled me with enough confidence to take the risk. All the reasons we came together had to do with having a family as a priority. That's what I wanted, and I wanted that person in my life."
Rumer Glenn Willis was born in 1988 in Paducah, Kentucky, where Willis was filming In Country. Moore, who had to switch to a local doctor three weeks before giving birth, came to her daughter's delivery well armed. Prior to Rumer's birth, backing up nervous husbands, she'd "coached" two friends through labor. "I was with one girl for fifteen hours," she recalls. "I went home, slept, got a call that evening, and spent the whole next night with the other girl. They thought I was going to pass out, but I'm the perfect coach. I got very clear on how I wanted my birth to be. I saw you needed more than one person, that your mate couldn't do it all."
Enlightened by her on-the-job training, Moore marched into her doctor's office three weeks before delivering, toting a list of "things I wanted and didn't want. I said, 'This is how I want it to be. Do you have a problem?'" The "sweet country doctor" didn't.
Moore began labor at a local cinema. She went home and that night took a shower and got ready. By the time they got to the hospital Moore had moved into transition. "I wanted to feel it all," she says, explaining why she refused drugs. "Feeling my body open up to allow a human being to pass through is the blessing, the gift. Having drugs would cheat me out of that."
Fittingly, the Willises gave birth on film. In addition to an audience of six friends, the couple had three video cameras taping the big event. The guests included their massage therapist, Moore's personal assistant, Bruce's best friend, Carmine, Moore's girlfriend Patsy, and, of course, Randy, the video operator.
Willis was a rugged Lamaze warrior. "Bruce never left me in the entire fifteen hours of labor," Moore says proudly, "except to go to the bathroom once. He was so available, not afraid. I never had to take care of him. The doctor was there, but Bruce's hands were in me pulling Rumer out. We have it all on video. I stayed very calm. I had the baby's head out of me, I'm touching her ear, and I said to Randy, 'Are you getting this?' I wanted to make sure he was in focus.
"It was never crazy. I pushed a little and she came slithering out. Bruce and the doctor cleared her mouth, and Bruce put her on my chest. Then everyone left us alone for a half-hour. We have all that on film, which we've seen over and over." (In fact, friends tell of the Willises trotting out the birth videos as if they were slides from Yellowstone.)
By all accounts Demi Moore's childhood was a painful time, overshadowed by constant moving and the specter of alcohol. Born in Roswell, New Mexico, Moore comes from "small-town, very simple people." Her parents, childhood sweethearts, married and divorced each other twice. Danny Guynes, an advertising man for Scripps Howard, was "a charmer, a gambling con with a great sense of humor. He was also very self-destructive, a person who couldn't allow good things to happen."
Virginia Guynes found a name for her daughter "in a beauty magazine," says Moore. "I don't know if it was the name of a hair product or a makeup." As a child, her pretty name was almost all Moore had going for her. She was an unusually skinny little girl afflicted with a cantankerous right eye, at first crossed and later walleyed, which required two operations to straighten out. "When I was little my eye went in, so they pulled it out, and then it slowly floated out [to the other corner]. I must have been so pitiful-looking," she laughs now, recalling that she occasionally wore "a patch over one eye, blue cat-eye glasses, and I was so skinny. Pathetic."
Professionally ambitious, Guynes moved his family whenever "he had a chance for a promotion." As a result, Moore and her younger brother, Morgan, jumped in and out of schools, often as frequently as every six months. "I had an essence in my life that I was nothing . . . pitiful me," she remembers. "When you move every six months of your life, you are kind of a nothing who becomes each place you go. 'I'm living in your town, so I see how you behave and that helps me be somebody.' I had no concept of what it means to be someone. The only frame of reference I had was looking at people in the most unsophisticated way through magazines, TV, movies. Those people seemed to have something, seemed to be important. People looked at them and responded."
Asked if part of her problem was that her father suffered from alcohol abuse, Moore replies in a strained voice. "He may have." But she hurries to say that her mother, Virginia, "always desired the best for us. She always told me to 'buy the best thing, the highest quality.' Even through osmosis she indicated there were better things out there. She saw for me what she could never have and be. There were options."
Moore's mother exercised one of her own options even before her daughter was born. She left Demi's biological father, hooking up with Dan Guynes. Somewhat reluctantly, Demi explains her genealogy. "My dad is Dan Guynes. He raised me. There is a man who would be considered my biological father who I don't really have a relationship with." He is, Moore says, still alive, "as far as I know."
Moore didn't find out about him, however, until she was thirteen. "A snoopy kid," one day she found her parents' marriage certificate. "I saw my parents were married in February 1963. I was born in '62. When I asked my mother, she said, 'Oh, that's a mistake.' I knew she'd been married before, but I didn't know anything else.
"One day, when my mother and I were driving, I told somebody we were in the car with the story of her being married before. Then I turned to my mother out of nowhere and said, 'Is he my real father?' I don't even know why I said it. She said, 'Why do you ask?' I said, 'Just answer me.' She said yes."
Two weeks later Moore visited an aunt in Texas, to whom she confided her revelation. "At that time this Charles—that was his name—lived in Texas, so my aunt called him. He'd always wanted to meet me but was forbidden; he'd never even seen a photograph. He came [to the aunt's] and stayed. It was a bizarre experience," she recalls, though she doesn't have a clear memory of "what it was like—it's more of a blur."
Moore pauses, letting her attention be caught by a passing car. We are sitting outside on the gray flagstone patio of a yogurt store in the mini-mall near her comfortable Malibu beach house. The actress arrived with Rumer, who has since been spirited away in a black Porsche by her nanny.
"I was never supposed to know he existed," she continues after a few moments. "He was never involved in my life. My mother left this man before I was born. . .while she was pregnant. When I was born, Danny was there. That's why, for me, he's my father."
Asked if she felt any anger over her mother's subterfuge, she finally replies, "It's a tremendous betrayal, especially when you find out everybody—like your cousins—knew. It's almost like being a bastard child. But Danny was always there for me. There was never any question he was my dad. He was there the day I was born. I've put away ever seeing the other guy again."
If Moore confronted her mother, she doesn't recall. "I'm sure I did, but I don't have any real strong memories about being upset. I don't respond that way. I just accepted it. 'O.K., this is what it is. I can handle.'" (Asked about her relationship with her mother today, Moore is again hesitant. "I really don't want to talk about her," she says firmly. "I feel protective. She's alive, and she's got a long way to go.")
Moore managed her complicated childhood by reversing the parental roles. "Caretaker became the basic hat I wore," she explains. "I thought, I can't have a problem, because I'll be too much of a burden. I couldn't afford it; they couldn't afford it. Their emotional fragility was beyond them. We have different armors we put on to get our needs met. That was my basic function. 'Let me take care of you, because then, if you're taken care of, I'll be O.K.'"
Despite her matter-of-fact recounting, Moore admits she was damaged by her childhood environment. "To grow to puberty and not to have anybody pay attention to me meant my feelings were unimportant, nonexistent. So I just shut off. Otherwise, I would've been overwhelmed by my own emotion. A survival mode took over."
When Moore turned fifteen her mother split for the final time from Dan Guynes and took Demi to West Hollywood, where Virginia worked for a magazine-distribution company. Two years later, Dan Guynes committed suicide.
"I lived on my own then, so I was very distant, but I had to deal with it," she recalls. "A lot of my family doesn't want to deal with the fact he committed suicide." She pauses. "I feel this man chose the best way for himself. He was in so much pain. I accept and love him for whatever he needed to do. I strongly believe that some of us have to die for others to live."
Moore attended Fairfax High School in West Los Angeles, but "school was a wash for me," she says. Finally, at sixteen, she dropped out. "It didn't matter" to Moore or her mother. "I've always had so much strength that she couldn't tell me what to do—even as a child. Since school wasn't good for her, she never impressed its importance on me. Reaching my goal as fast as possible was more important."
Thanks to a neighbor, Moore made a "concrete decision" to become an actress. "I met a very beautiful woman who was two years older," she recounts. "She was a seventeen-year-old German actress brought to this country with her mother. We lived in the same apartment building, our mothers were both divorced. Anyway, here was this creature I thought had everything. It's not that she lived in a grand apartment, it's that people liked and were interested in her. She knew where she was going and I said, That's what I want.
"She didn't read English very well, so she'd have me read scripts for her. She was getting ready to work. It wasn't like reading about somebody; I saw someone close enough to my age that I realized acting could be a reality.
"And there was another important thing: she had a real strong sense of who she was. She liked who she was, made statements about what she liked and didn't. That's never how it was for me. If someone were to challenge me and say, 'Are you good at this?' I'd panic. 'Can you do this? Can you do anything?' I wanted to drink in. I wanted to learn what it was she had.
"That girl was Nastassia Kinski," Moore adds, almost as an afterthought. "After she moved, I never saw her again. She probably doesn't even remember."
Though Moore started acting classes, she didn't finish. "I was too painfully fearful. The idea of a class, being judged and failing, was overwhelming. I would rather fail at getting a job, because at least, if it worked, it'd be worth something. I had no sense of what I could do, I didn't know if I could act, but I learned how to get the job. I knew I'd never get there if I studied. It's only later I thought, Oh, my God. What do I do? I completely faked it."
Supporting herself with secretarial jobs, Moore met a girl who suggested she try modeling. She did, finally landing on the cover of Oui magazine, showing, she says, "a little cleavage." When she was eighteen, she acted in two low-budget films, "a ridiculous 3-D horror movie and one for cable TV. I did O.K., but I wasn't very good."
A year earlier, just shy of her seventeenth birthday, she saw guitarist Freddy Moore at an L.A. club. "I met him and liked what I saw." The fact that her new boyfriend was married didn't even slow her down. "I wanted him," she shrugs. "As anybody who's had a relationship with a married man knows, there's a great adrenaline rush with it. I didn't think about the consequences. I was a different person," she says deliberately. "I messed with people's lives. I feel bad if I hurt them, but I was just trying to figure it all out myself."
After Freddy's divorce, they were married. Four rocky years later, their relationship ended in divorce. "It was the partnership that was nice," she says now. "He didn't make any money. All along I made more money than he did."
Her money came from an ongoing role on General Hospital she had landed at eighteen. Still, she had grander fantasies. "The image I carried was not specific, but it was big. It was 'the World.' It was O.K., even when I was flat broke, even when I was driving a Volkswagen with a cracked windshield, even when I was thinking, Am I going to make rent?
"I certainly didn't come from money, and I spent a lot of years with none. Even when I was very ill [with acute nephritis, a kidney ailment that recurred at eighteen], I was down there on the old medical line to get taken care of. What I had wasn't enough to hold on to, so everything seemed like a great possibility."
Moore wasn't the only one who saw her own potential. Wally Nicita, one of Hollywood's most successful casting agents and producer of The Butcher's Wife, gave Demi one of her first feature roles, in 1984's Blame It on Rio, the much-hyped bomb from which only Moore and Michael Caine emerged unscathed. "The mark of a movie star is that you don't get tired of looking at them," says Nicita. "I've cast over sixty-five movies; everybody has passed through my portals, and certain people emerge from the pack because they're different. The first time Kevin Costner breezed in, I said, 'That's a movie star.' I kept my eye on Demi since she was a beginning actress because she has star quality—the camera loves her. She's a wonderful actress and has a distinctive speaking voice that made her different from the other starlets in Hollywood."
Following Blame It on Rio, director Joel Schumacher cast Moore in St. Elmo's Fire, the quintessential Brat Pack movie, which co-starred Rob Lowe, Emilio Estevez, Ally Sheedy, and Judd Nelson. "I was walking from one office to another in Universal," recalls Schumacher, "and I saw this flash running down the stairs—she had long black hair down to the waist, she was incredible-looking, like a young Arabian racehorse. I told my assistant to follow that girl and see if she's an actress. It was Demi Moore, and I called her agent and got her in to read for the movie.
"She was a wild, reckless, fascinating girl," says Schumacher. "She rode a motorcycle, and, of course, she wore no helmet. She raced around like the wind with hair streaming out behind her—a beautiful biker. I was scared for her. I put in the contract that she couldn't ride her motorcycle. I was afraid her hair was going to get caught in the wheels."
By the time she was twenty-two, Moore had earned a reputation as a voracious consumer of alcohol and drugs. Columbia Pictures stipulated that in order to get the Elmo's part Moore had to clean up her act. "In twenty-four hours this young woman turned her life around," says Schumacher. "It was an extraordinary, mature step in a very fragile life. And she's also helped many others. A lot of people have told me how Demi has really been there for them when they flipped. She walked away from St. Elmo's Fire with a new life." (About her husband, who credits Moore with getting him off booze, she shrugs: "If I, by the way I chose to live my life, which was a clean way, inspired him, then I feel grateful I could pass something along.")
Moore refuses to elaborate on her wild period. "I hate stories about people who did drugs and don't anymore," she says. "When I read about people talking about themselves in programs, it infuriates me. I've seen too many people use it to make themselves look good. It's such a trend."
She will allow, however, that she racked up a lot of party mileage before bottoming out. "I needed to hit my head against the wall a lot before I wanted to make a change. I do things in a very zealous, passionate, all-or-nothing way. It's feast or famine."
Still, she adds, her Lost Weekend period has been exaggerated. "I look at what I did as a healthy outlet, appropriate for the time. There was a moment in this town when drugs and alcohol were very socially acceptable. I got to live, explore, try. I don't need to take the edge off reality anymore. I don't always like reality, it isn't always comfortable for me—sometimes I'd like a buffer—but there isn't one that's not mind-altering."
During the making of St. Elmo's Fire, Moore fell in love with a charter member of the Brat Pack, Emilio Estevez, "truly, my first love." Moore and Estevez met at the screen test for the movie. "A lot of people had been saying, 'You ought to meet Emilio,' and there was a definite connection right away."
Their relationship lasted three years, nearly making it to the altar. In fact, wedding invitations had already been mailed out when Moore called off the nuptials. "Emilio and I were at two different junctures in our internal lives," she explains. "Emilio's focus was more work-oriented. There were certain things that he, at his age, wasn't interested in. Ending it was not saying 'You're a real asshole, that's why I'm leaving.' It was 'Wow, I really love you so much, but it's not right, is it?' It was the most mature step I could've made. But I couldn't love him and be that close anymore." (Estevez was reportedly devastated over Moore's decision, although the two remain friendly.)
Still, the relationship with Estevez, whose family is hip Hollywood royalty, provided Moore with a secure harbor in an uncertain town. "It definitely gave me a safe place to view [the Industry] from," says Moore. "I had their experience to protect me."
It was during this manless lull that Moore spent a lot of time with Dolly Fox, an actress who had split up with Estevez's brother Charlie Sheen. "Since we were dating brothers, we became like sisters," recalls Fox. "When I broke up with Charlie, Demi was a backbone for me. She'd been clean for about two years and was going to meetings of Adult Children of Alcoholics. Demi is a great girlfriend. I admire her more than anybody. She's always evolving as a human, an actor, a woman, a spirit."
Demi Moore is sitting at a back table at the Ivy at the Shore, Santa Monica's open-air watering hole for the well heeled and well known. Mariel Hemingway and her husband, Steve Crisman, are sipping champagne two tables away while Moore spoons up vegetable soup from an oversize cup. Tonight, her new blond hair is standing straight up, spiked like a too long crew cut gone awry—a look she exacerbates by continually running her hand through her hair.
She is enthusiastic as she talks about upcoming projects she is developing through her production company, Rufglen. There's a cable-TV movie and a feature called Citykids, about a New York social worker involved in an interracial relationship, which she plans to star in. Though she says she enjoyed bringing a project from paper to screen, "I wouldn't want to do it every time," because her family suffers. During the filming of her recent film, Mortal Thoughts, "I left my house at six in the morning and wasn't getting home until eleven at night. The dilemma is to be in the room with your kid and not really be there for her."
Terry Hughes, the attractive silver-haired Brit who directed The Butcher's Wife, found that Moore's intense involvement with the process was constructive. "With Demi, nothing is left to happenstance," he says. "Sometimes the material, the moment, particularly in a romantic comedy like this one, may not have borne the kind of analysis she wanted to bring it—sometimes a cigar is just a cigar. But I couldn't glibly say that and expect to get away with it with Demi. She really wants to nail everything down.
"I've seen an extraordinary marshaling of forces with Demi," continues Hughes. "Her talent, drive, ambition, clout, the power she now has . . . she's got all her ducks in a row and is attacking the business in a big way on all fronts: the movie she co-produced, working at the top of the Industry, being offered major roles—that's the league she's playing in. It's not enough for her to act and go away; she wants to be hands-on in everything. She knows who she wants to be, where she wants to be, and how to get there. She's earned a great deal of respect in the Industry and is working to maintain it."
"I'm very ambitious and very driven," Moore concedes. "I want [stardom]. I'm not, like, 'Oh, yes, well, if it happens, it happens.' I really want this." Moore says it's more important for her to have longevity than immediate success. "Most of the things I've done have been with newer directors. I'd like to work with more established directors, because I want to learn more. I want to be a great actress.
"I will seek out whatever it takes to make my life better," she says resolutely. "That's how I deal with my life on all levels—whatever you need to educate yourself, expand, explore.
"I definitely feel vulnerable and inadequate," she continues with some difficulty. "There's so much I missed [in school]. I don't think I'm a stupid person. Philosophically, and in regards to living life, I'm very smart; I'm never embarrassed I didn't finish high school. But, intellectually, there's so much I missed."
Moore reaches for her cup of cappuccino as she talks about her early "fake it till you make it" philosophy. "I didn't want anybody to know I didn't know something. I was able to behave in very mature ways that gave the appearance of being much more experienced and knowledgeable. I mean, I never had anybody say to me, 'Don't you read?' But when I'm with people who had all these books they read as children, well, I don't remember books at all. I don't have books I could say that really supported me, stirred me up. . . . My insecurity is almost to the point that I'm afraid to actually go and buy a book because I don't want to buy the wrong book. So what I do is ask a lot of people to give me books."
Still, Moore feels her lack of education hasn't hindered her. "The basic elements of life are very simple. If you want to complicate it, fuck it up, you can do that," Moore says. "You can't ever underestimate the power of simplicity. The people who have the most difficult time making themselves happy are the people who are just too smart to get it. They overintellectualize and overanalyze, instead of just letting things be.
"Life isn't always easy," concludes Moore, leaning across the dining table for emphasis, "but it's simple."
See Unretouched Portraits of Uma Thurman, Nicole Kidman, and More in the 2017 Pirelli Calendar
Photograph by Peter Lindbergh.


text:
Дми́трий Серге́евич Гончаро́в (15 апреля 1975, Белиц, ГДР) — российский футболист, вратарь.

Карьера
Родился в армейском госпитале в Белице, ГДР, где служил его отец, генерал Сергей Фёдорович Гончаров. По состоянию на 2014 год отец возглавлял Всероссийский центр медицины катастроф. С 1982 года семья жила Москве, в первый класс Дмитрий пошёл в Ташкенте.

С 1992 по 1997 выступал за резервистов ЦСКА, всего сыграл за это время 98 матчей. В 1996 году провёл 2 игры (пропустил 3 гола) за основной состав ЦСКА в чемпионате России и ещё 1 встречу в Кубке УЕФА.

Сезон 1997 года провёл в смоленском «Кристалле», сыграл в 21 встрече. В 1998 году выступал за нижегородский «Локомотив», провёл 42 игры. В 1999 году вернулся в ЦСКА, в составе которого сыграл 18 матчей (пропустил 18 голов) в чемпионате, провёл 2 встречи в квалификационном раунде Лиги чемпионов и стал бронзовым призёром чемпионата. По завершении сезона был выставлен на трансфер.

С 2000 по 2001 год играл за воронежский «Факел», в 47 играх чемпионата пропустил 74 мяча, и ещё в 1 встрече Кубка России пропустил 2 гола. Сезон 2002 года начал в другом московском клубе — «Спартаке» (хотя имел предложения и от других команд), после 6 туров чемпионата был вызван Олегом Романцевым на сбор национальной сборной России для подготовки в товарищескому матчу со сборной Франции (17 апреля), однако на поле так и не появился. В том же году перешёл в «Аланию», где выступал до 2003 года, сыграв 14 встреч и пропустив 30 мячей в чемпионате, а также 1 матч (пропустил 2 гола) провёл в Кубке.

Сезон 2004 года провёл в «Кубани», в 6 матчах чемпионата пропустил 10 голов, и ещё сыграл 1 встречу (пропустил 1 мяч) в Кубке. С 2005 по 2006 год играл за «Терек», провёл 21 матч в лиге (пропустил 26 мячей) и 2 игры (пропустил 8 голов) в Кубке России.

Закончил выступления в 31 год из-за межпозвоночной грыжи. Вместе с Андреем Ткачуком в Приморско-Ахтарске владеет гостиницей, пунктом прокатом для сёрфинга, кафе.

В 2014 году выступал со сборной России на Кубке Легенд.

Достижения
 Бронзовый призёр чемпионате России: 1999 (ЦСКА)
 Серебряный призёр первого дивизиона: 1998 («Локомотив» НН)

Примечания

Футболисты России
Игроки ФК ЦСКА Москва
Игроки ФК ЦСКА-2 Москва (1986)
Игроки ФК ЦСКА-2 Москва
Игроки ФК «Кристалл» Смоленск
Игроки ФК «Локомотив-НН»
Игроки ФК «Спартак» Москва
Игроки ФК «Факел» Воронеж
Игроки ФК «Алания»
Игроки ФК «Кубань»
Игроки ФК «Ахмат»

redpajama_set_name: RedPajamaWikipedia


I recently spent time in China, learning about how contemporary marketing theory (created in Western, first-world markets) largely doesn't work in some of the rapidly evolving Asian markets. One of the reasons is because as a mobile first—not TV/PC-first—economy, the sophistication of an integrated experience all connected through the phone is farther ahead in China.
To better understand one important element of building a more connected, seamless consumer experience, I connected with Deon Newman, Chief Marketing Officer for IBM's Watson Internet of Things (IoT), responsible for brand strategy, digital transformation, digital marketing and demand generation. Below are Newman's thoughts on why IoT should be a priority for every marketer to understand and master.
Kimberly Whitler: In this year's CMO 2018 Predictions article, you spoke about the impact that IoT will have of on business. What exactly is IoT and why should it be on every marketer's agenda?
Deon Newman: The IoT is a broad term which, at its simplest, is the connection of all things to a network or the Internet. We see this today in cars, home appliances, wearables, store shelves, buildings, factory equipment, shipping containers, and, if you're looking to a fun holiday gift idea, more connected toys and electronic gadgets than we've ever seen before. It's a pretty safe bet to say that in the future, all things will be connected—generating massive volumes of all types of data in real time.
The IoT allows, for the first time in a century, manufacturers to have visibility into how, when and where customers are interacting with their products. For marketers, this presents a huge opportunity because they now have an always-on focus group, a conduit directly to their customers. Just imagine the types of insights they can gain access to—they can see what features a customer is using, how the product is performing, how usage patterns and performance are changing over time and what the implications are to future product design.
Taking it a step further, marketers can also see what's impacting a sale - weather, customer reviews, sentiment – and based on that they are able to alter their marketing strategies or conceive and deliver new digital services in real time.
Think of it as an endless stream of touchpoints—each interaction an opportunity to personalize an experience, offer an enhancement, proactively identify an issue, resolve a problem and even roll out a new service. And at the end of the day, the marketer's biggest reward is the opportunity to create deeper relationships with customers and drive loyalty to the brand.
Whitler: What makes the data coming from these connected devices so unique?
Newman: IoT data is real usage data. Compare this to surveys or focus groups marketers have counted on for so long. We used these techniques because they provided us with some helpful insights but there is nothing more powerful than the insights we can gain from IoT. Teams can see exactly how a customer is using a product, what specific features they are using and which they are not. Just pure facts without any bias or the risk of perception misguiding the feedback. And it's not only how they are using a product. Marketers can also identify design and performance issues, address them immediately and refine over time. Just imagine having a product that's constantly getting better rather than outdated by the next new gadget.
But that's not all, when marketers correlate this with other information about their products and customers, they can get a much more sophisticated understanding of the people using their products. You remember those fictitious one-size-fits-all personas that marketers are accustomed to using? Those will become a thing of the past.
Whitler: What new opportunities/models does this create for businesses moving forward? Do you have any examples you can share?
Newman: A great example of this is how companies can use IoT to cross-sell and up-sell through the products themselves. Consider your washing machine. These appliances don't just wash your clothes anymore. There is a new business model emerging. Thanks to IoT, this appliance can replenish its own detergent or offer the user an extended warranty. Or how about the ability to sell loads of laundry as a service, in lieu of a one-time appliance purchase?
Another interesting example comes from the work we are doing with companies dedicated to making buildings intelligent. Companies like KONE, one of the global leaders in the elevator and escalator industry. I'm sure you are wondering what an elevator has to do with marketing. Good question. Here's the connection. Today we are helping KONE deliver a smoother, safer and more personalized people flow experience for building users, including consumers. You wouldn't have to look too far into the future to imagine a consumer in the elevator at the mall, seeing holiday ads from retailers on the floor they are going to, with the ads customized based on the weather outside. On a snowy day in New York City, customers might see deals on winter coats while in rainy San Francisco they might see ads focused on umbrellas. All of that from an elevator!
Whitler: In your prediction, you also talk about how IoT will allow marketers to have greater impact within their businesses. Can you expand on that some?
Newman: We've observed for a while now that data is the basis of competitive differentiation for every company. CMOs can play a leadership role in making IoT data the means by which marketers can truly understand customers and products. But their influence can extend so much further. Marketers can join forces with the heads of engineering, research and development, sales, the CIO, CTO, and CDO, and use IoT data to create more customer-centric products, offer new services, and find and sustain new differentiation. That's the kind of impact I'm talking about. Thanks to IoT, being a marketer just got a lot more exciting!


J Antimicrob Chemother. 2016 Oct;71(10):2990-1. doi: 10.1093/jac/dkw233. Epub 2016 Jun 21.
Dulyayangkul P1, Charoenlap N2, Srijaruskul K3, Mongkolsuk S4, Vattanaviboon P5.
Program in Applied Biological Sciences: Environmental Health, Chulabhorn Graduate Institute, Bangkok 10210, Thailand.
Laboratory of Biotechnology, Chulabhorn Research Institute, Bangkok 10210, Thailand Center of Excellence on Medical Biotechnology, Bangkok, Thailand.
Program in Applied Biological Sciences: Environmental Health, Chulabhorn Graduate Institute, Bangkok 10210, Thailand Laboratory of Biotechnology, Chulabhorn Research Institute, Bangkok 10210, Thailand.
Program in Applied Biological Sciences: Environmental Health, Chulabhorn Graduate Institute, Bangkok 10210, Thailand Laboratory of Biotechnology, Chulabhorn Research Institute, Bangkok 10210, Thailand Center of Excellence on Medical Biotechnology, Bangkok, Thailand Department of Biotechnology and Center of Emerging Bacterial Infection, Faculty of Science, Mahidol University, Bangkok 10400, Thailand.
Program in Applied Biological Sciences: Environmental Health, Chulabhorn Graduate Institute, Bangkok 10210, Thailand Laboratory of Biotechnology, Chulabhorn Research Institute, Bangkok 10210, Thailand Center of Excellence on Medical Biotechnology, Bangkok, Thailand paiboon@cri.or.th.


Right from the time of Moses and Jesus Christ in the bible freedom never comes in a plater of gold.
Moses in the bible fought to liberate the Israelite from the wicked government. the experiences he had was terrible but at last his aims was achieved.
Jesus Christ also came and fought for the liberation of the earth from Satan the aims was achieved but it was a tough battle..
Kwame Nkrumah son of a goldsmith fought for the liberation of Ghanaians from the Britains the process was rough but at last the aims was achieved.
Nelson Mandela of South Africa was a consistent and trusted freedom fighter but he was called all sort of names by the government in power to the extent he was even imprisoned but at last justice prevail..
WHO IS A FREEDOM FIGHTER ?
My question is, are the ijaws and Niger deltans where Tompolo hails from not free ? IF YES, in wish way are they in slavery?
Tompolo stated in 2006 that the Niger delta that bear the golden egg is not having a fair share and the host communities of the oil companies are being treated wrongly.they don't have social amenities and their natural God given water is being polluted by the oil explorations across the Niger delta region.neither the oil companies nor the government is doing anything possitive about it..
The first thing I asked myself was are this claims by Tompolo true? IF YES.
Then any right thinking person will justify Tompolo earlier struggle for the emancipation of the Niger delta in the year 1997 to 2009..it is only a coward that can see his people on such devastating state and will refuse to do something about their liberation..
TOMPOLO WILL TRIUMPH just like the other freedom fighters aforementioned.
There are many way to fight for freedom and this time Tompolo is applying the non-violent methods to achieve his aims. A Niger Delta of our dream is here so let's come together as one body and speak in one voice. Victory is sure!
I remain ALAOWEI PROMISE LAWURU. President general Egbema brotherhood EBH.


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The heavy bombing raid comes just two days after the group claimed coordinated attacks in Paris that killed 128 people.
"The raid … including 10 fighter jets, was launched simultaneously from the United Arab Emirates and Jordan. Twenty bombs were dropped.
The revenge airstrikes in Syria comes as French police broadcast the name and image of Salah Abdeslam, a 26-year-old born in Brussels, across Europe, warning that he is very dangerous.