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B2B Beat
Using Editorial to Spot Business Opportunities
Credit: Pixabay by mohamed_hassan
By Andy Kowl
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When I wrote about launching a paid newsletter recently, it was interesting, though unsurprising, that the idea came from an editor. Actually in this case it was a staffer who had moved from editorial to a business department, but clearly someone who still had the editorial eye.
I made that transition early. As co-editor of my college weekly I was recruited to take over as publisher and handle the business end, too. The then-publisher handing over the reins was my friend Larry Kramer, who was headed to media glory via such successes as founding MarketWatch and more recently, rescuing USA Today. At the time I joked I was "going over to the dark side."
Spotting editorial needs has always been the best starting point for publishing products. When I owned an ad-based trade magazine for headshops in the late 1970's and those stores came under attack by local laws everywhere, I started a biweekly newsletter called Legal Update. Hundreds of readers were eager to pay hundreds of dollars a year to get that critical information first.
Many years later, I learned a great takeaway on how to leverage your editors for sales as president of a division at UCG, then one of the largest five business information companies in the U.S. UCG would hold training sessions for editors from throughout the organization about how to recognize a new business opportunity. Editors are closest to the pulse of the market, or should be, and have valuable insights if they know how to recognize them. (Perhaps there is an idea for a webinar series, a conference, or a market report.) Most suggestions were not viable, as you'd expect. For those that were, the editor would receive a bonus, which encouraged others to keep a lookout. This was not a commission, which might have skewed the editor's priorities.
It is not news that editors and staff writers have far more expanded duties than when I was an editor in the halcyon days of magazine publishing. Now the skillset includes functions that range from knowing your way around CMS technology and analytics, SEO considerations, where to forage for copyright-free photography, versioning for newsletters and teaser copy, and crafting the perfect social media snippets that gain maximum sharing.
Do any of those additional skills violate the traditional wall between church and state? I think not. They reflect the wider playing field which editors are required to navigate. The need for healthy B2B publishing to accommodate sponsored content is part of this new reality as well. I have never allowed sponsors to tell me what to publish. Learning how to walk that line is just another of the expanded skillsets a good editor must be expert at.
How Adweek Has Evolved the Role of Editors
Adweek has been hiring editorial staff over the past year, which I always take as the sign of a healthy media enterprise. With a nod toward the skills referenced above, CEO Jeff Litvack sees the process of building a successful editorial department as constantly asking, "How can we be better at what we do?" That includes considering tasks that may not be editorially related. "It is part of a broader conversation to find win-wins for our business. We want to have a deeper relationship with our community. Everyone is getting aligned with that."
I know from my own B2B publishing that often industry leaders are the ones who have the resources to have researched important market information other companies cannot. Obvious, right? This same economic wherewithal also makes them prominent advertisers. Should we shun their valuable information because they pay our publication for ads? That is literally the old adage of biting off your nose to spite your face.
"The wall between editorial and business has become more translucent," Litvack explains. This is not about having editors selling or being coerced to write glowing copy about advertisers. For example, Adweek created a sponsored section called the Digital Transformation Playbook sponsored by Accenture. "Bright lines were agreed to from the start." The editors create strong content for their readers, some of which is based on insights and data from Accenture. Editors have the right to reject anything and to shape the content as they see fit. The result is valuable to the market, well-read and profitable to the enterprise.
Jeff Litvack says the editors view the bigger question as, "How do I support the business?" They see the results of this approach as a growing editorial department which can produce more and better work – and not incidentally, although unstated, support their own jobs.
Related story: Move Beyond Church & State to Realize the Full Power of the Publisher-Editor Relationship
E T Andy Kowl Author's page
Andy Kowl is a journalist and entrepreneurial publisher with more than 30 years developing, marketing and growing publishing companies. He is senior vice president of publishing strategy for ePublishing Inc., the leading enterprise publishing system (EPS) provider which manages content, audience data, workflow, newsletters and e-commerce for hundreds B2B online publications. He helps publishers increase reader engagement and response by integrating behavioral data with contextual content, and shows them direct ways to monetize the results. Andy writes the B2B Beat blog for Publishing Executive magazine. His background in B2B includes publishing, editing and/or owning magazines and information products covering specialty retail, horse breeding, real estate, credit unions, Wall Street compliance and wireless technology.
www.ePublishing.com
akowl@ePublishing.com
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Tetrapod Zoology
Ancient Marine Reptiles Had Absurd, Complex Nostrils
The event you've all been waiting for is here: Simbirskiasaurus and Pervushovisaurus have been resurrected, and we're all wondering what the hell's going on with their absurd, complex nostrils.
By Darren Naish on July 28, 2014
The event you've all been waiting for is here: Simbirskiasaurus and Pervushovisaurus have been resurrected, and we're all wondering what the hell's going on with their absurd, complex nostrils. Yes, welcome to another instalment in the long-running, slow-burning series of Tet Zoo articles on Cretaceous ichthyosaur diversity. In previous articles we've looked at the 2012 description of the ophthalmosaurid Acamptonectes – one of the first specimens to show that numerous ophthalmosaurid lineages survived across the Jurassic-Cretaceous boundary (Fischer et al. 2012) – and at the surprising discovery of Jurassic-style, Ichthyosaurus-like ichthyosaurs into the Early Cretaceous (Fischer et al. 2013a).
Today we look at another part of Cretaceous ichthyosaur research: it involves the dissolution of an ophthalmosaurid taxon that – supposedly – occurred worldwide during the Cretaceous, persisted (supposedly) for over 50 million years, and contained a very high number of species. The ichthyosaur concerned is Platypterygius. Here's what I said about the status of Platypterygius in a 2012 Tet Zoo article...
"globally distributed, super-speciose Platypterygius ... is increasingly being regarded as a 'taxonomic wastebasket' that actually contains a higher diversity than previously supposed (e.g., Maxwell & Caldwell 2006, Fischer 2012). In other words, the many species currently included within Platypterygius are almost certainly not all close relatives, and Platypterygius is (I predict) eventually going to be found non-monophyletic. The outcome of such a conclusion will be its dissolution into several discrete 'genera' (several authors have already gone down this route, but their efforts to name new genera for the platypterygiine taxa concerned haven't been widely accepted)."
As hinted at in that quote, the problem with widespread, long-lived, supposedly homogenous genera like Platypterygius is that they become ever larger as people come to assume that new discoveries made elsewhere in the world simply 'must' belong to these widespread, long-lived, supposedly homogenous genera. We end up with a situation where distinct animals are referred to said widespread, long-lived, supposedly homogenous genera simply because this becomes the default thing to do, even though the taxon concerned ends up occupying a vast span of time (well beyond that considered normal for other taxa within its group) and a vast geographical range. Ichthyosaurs are particularly affected by this problem: partly, I think, because views on how genera should be distinguished have relied in large part on phenetic notions of overall proportional similarity, not on the recognition of special characters. I previously discussed this issue in terms of how it affects the Lower Jurassic temnodontosaurs.
Because it would be helpful to better understand the relationships between the many species included within Platypterygius, several authors have coded several Platypterygius species within phylogenetic analyses. The results? The species concerned do not form a clade (Druckenmiller & Maxwell 2010, Fischer et al. 2011a, 2014a, Fischer 2012), and the characters previously used to define Platypterygius (these include the presence of large humeral trochanters, quadrangular tooth roots and an extremely reduced extracondylar area on the basioccipital) instead appear to be synapomorphies of Platypterygiinae as a whole (Fischer 2012, Fischer et al. 2012).
In order to test how similar controversial platypterygiine species are to those taxa non-controversially regarded as part of Platypterygius, you need, of course, to go and look at them. Given that they're known from across Europe, Australia, the USA, Argentina, Colombia, Russia and elsewhere, you have you work cut out if you want to see them all. As part of a larger study of ophthalmosaurid diversity and phylogeny, my colleague Valentin Fischer of the Université de Liège (Liège, Belgium) and the Royal Belgian Institute of Natural Sciences (Brussels, Belgium) has recently been spending time in Russia (and elsewhere), looking at specimens that supposedly belong to Platypterygius.
And, as discussed here, his analysis of two of these animals – the Russian taxa Simbirskiasaurus and Pervushovisaurus – shows that good reasons for including them within Platypterygius are lacking: both are distinct, diagnosable taxa that are not especially closely related to the 'original' Platypterygius species. The paper concerned, co-authored with Maxim Arkhangelsky, myself, Ilya Stenshin, Gleb Uspensky and Pascal Godefroit, has just been published in Zoological Journal of the Linnean Society (Fischer et al. 2014a). Let's look at the (fairly obscure and unfamiliar) ichthyosaurs themselves before discussing some of the more interesting of their peculiarities and ramifications.
Simbirskiasaurus is not a nomen dubium
Simbirskiasaurus birjukovi was named in 1985 for a large, three-dimensional skull that's about 70 cm long and consists of everything except the jaw tips and postorbital region. It was found in Barremian sediments on the bank of the Volga River in the Ulyanovsk Region, Russia. Its teeth have elongate, pointed crowns and are typical of ichthyosaurs that belong to the 'generalist' feeding guild seen in some other ophthalmosaurids (e.g., Fischer et al. 2011b). Since its initial description, ichthyosaur workers haven't been kind to Simbirskiasaurus. Maisch & Matzke (2000) retained it as a valid species but argued that it should be subsumed into Platypterygius. McGowan & Motani (2003) also regarded it as similar enough to Platypterygius to be subsumed into its synonymy; they further argued that it lacked diagnostic features of its own and hence should be regarded as a nomen dubium.
In fact, Simbirskiasaurus has several weird, unique features of its own (we call unique, diagnostic features autapomorphies). A pillar-like bar of bone splits the nostril opening (properly termed the naris) in two (more on that in a moment) and the junction between the prefrontal and lacrimal bones involves a wavy, interdigitating suture. That last feature is a surprising one for an ophthalmosaurid, since it superficially recalls the condition present in the far more archaic temnodontosaurs (Fischer et al. 2014a). The exact configuration of bones around the nostril opening of Simbirskiasaurus is also unique. Accordingly, Simbirskiasaurus does not deserve to be dismissed as a nomen dubium or regarded as nondescript and undefinable: it is a valid taxon with unique features of its own.
Those who keep up with the ichthyosaur literature (it's proving increasing hard) might think of another ophthalmosaurid when hearing about Barremian Russia: Sveltonectes, described by Valentin and colleagues in 2011 and notable for its sharply-pointed teeth and tightly packed forelimb bones (Fischer et al. 2011a). Sveltonectes resembles Aegirosaurus and Maiaspondylus in lacking striated crowns and in the weird, semi-divided form of its naris; the most recent runs of the data-set find it to be a platypterygiine (e.g., Fischer et al. 2014a). Anyway, while Sveltonectes is a Barremian ophthalmosaurid, it's from the upper Barremian, not the lower Barremian like Simbirskiasaurus, so the two weren't contemporaneous.
The second animal discussed in our new paper (Fischer et al. 2014a) is Pervushovisaurus bannovkensis, named in 1998 for a complete rostrum found in the middle Cenomanian sediments of the Saratov Region in Russia (a skull roof was found as well, but it's since become lost). Again, it's pretty big – the rostrum alone is about 1 m long. This is one of the youngest ichthyosaurs known, and its Cenomanian age means that it's about 20 million years younger than the European type species for Platypterygius (Pl. platydactylus).
Pervushovisaurus was originally named as a 'subgenus' of Platypterygius but was eventually dismissed as a nomen dubium by McGowan & Motani (2003). Again, however, it clearly possesses several unusual features that support its reality as a distinct taxon: it has a suboval bony opening on the side of the premaxilla, anteroventral to the external naris, peculiar bony ridges on the side of the maxilla, and the form of the nasal and splenial bones are also distinctive. Again, the arrangement of bones around its naris is unique: new bone from the nasal bone substantially covers the naris, reducing it to a short, deep, semi-circular opening. On the basis of these features we argue that it warrants recognition as a distinct taxon that was never placed in Platypterygius for any especially good reason (Fischer et al. 2014a).
A brief aside about a non-credible source
There's something I want to say here which isn't especially relevant to platypterygiine ophthalmosaurids but which requires comment anyway. You'll see from the figures reproduced throughout this article that we've followed a system of 'colour coding' individual bones in order to aid the reader's interpretation. There's nothing new about this: many authors, past and present, have used similar systems of colouring bones such that they can be more easily distinguished from the surrounding ones.
Some of you will be familiar with the work of David Peters, a highly prolific and idiosyncratic researcher who promotes his novel interpretations of animal morphology and phylogeny via a website and blog. As I've explained before, his observations (and hence hypotheses and claims regarding phylogeny, functional morphology and palaeobiology) cannot be considered reliable, since he relies on a magic eye technique whereby vague and ambiguous structures observed on photos of fossils are interpreted as genuine anatomical features that can be identified with precision and confidence. Peters uses a technique that he calls DGS (= Digital Graphic Segregation) in finding these structures: it's a technique that involves tinkering with contrast and tones and tracing the perceived edges of structures in Photoshop. As is obvious from the reconstructions of animals he produces, this results in the picking up of all kinds of artefacts and misidentifications, and it has led Peters to make all kinds of incredible and flat-out false claims (that he has discovered the entire back end of Longsiquama, to mention just one example).
So, claims that colour-coded images like those you see in this article (and Fischer et al. 2014a, and Valentin's other papers) represent application of DGS are an outright lie [link here: be warned, it takes you to Pterosaur Heresies]. DGS (or DGS-like) techniques are not used by working palaeontologists because it's acknowledged in the real world that you can't reliably identify structures by tracing their outlines on a computer screen. But do working palaeontologists colour-code bones to aid visual representation? Sure, all the time.
Ok, back to the ichthyosaurs...
Those weird, weird nostrils
These Russian ichthyosaurs are interesting for two primary reasons. One is that they're morphologically weird, specifically with reference to their nostrils. In each nostril of Simbirskiasaurus, a vertical bony pillar descends from the nasal bone to divide the nostril opening into two distinct sections. There's a small, oval anterior part and (posterior to the pillar) a tall, vertical posterior part. This 'two-part' nostril configuration is not unique to Simbirskiasaurus: it's also present in Platypterygius australis from Australia and probably Pl. sachicarum from Colombia (Fischer et al. 2014a). Furthermore, what seems to be an antecedent condition (where a bony process descends from the nasal to reduce the depth of the naris at mid-length) is present in Ophthalmosaurus, Acamptonectes, Cryopterygius and Pl. americanus at least, with Sveltonectes possessing a ventrally descending bar that very nearly divides the naris in two.
Pervushovisaurus lacks a vertical bar, but its peculiar narial condition (a small, elongate foramen is present anteriorly, and a deep, narrow, subcircular naris is present posteriorly) seems to represent the 'end point' of a trend whereby the middle part of the naris was filled in by bone. The anterior foramen can therefore be regarded as a significantly reduced remnant of the original, anterior part of the naris (Fischer et al. 2014a).
Exactly what's going on here is unknown. Why evolve these weirdly shaped nostrils in the first place, why then go on to evolve bipartate nostrils of the sort seen in Simbirskiasaurus, and why end up with a condition whereby the anterior part of the naris is represented only by foramina, as seen in Pervushovisaurus? We don't know, of course, and further study would be needed to work out what's going on internally and what any of this might mean as goes breathing, airflow or olfaction. Asymmetry in ichthyosaur nostrils has been remarked on several times in the past, and teardrop-shaped, comma-shaped and kidney-shaped nostrils are present in assorted ichthyosaurs, including leptonectids, Stenopterygius and ophthalmosaurids.
Maybe different parts of the nostrils had different functions, making division of this sort advantageous. It's been suggested that ichthyosaurs had a flow-through nasal system like that also hypothesised for plesiosaurs (Cruickshank et al. 1991): supposedly, water entered the internal nostrils on the palate, flowed through the nasal chamber, and left the head via the external nostrils. Bipartate nostrils could mean that one section specifically functioned to release water while the other was used for breathing. Or maybe it was simply advantageous to roof over the anterior part of the naris? Or maybe the ichthyosaur nostril was always partially roofed by a valve or flap of some sort, and platypterygiines simply took to ossifying this flap?
Platypterygius: quo vadis?
The other big-picture thing about these ichthyosaurs concerns their implications for the fate of the name Platypterygius. The Platypterygius species do not group together in our analysis (nor in other versions of the same dataset: Fischer et al. 2012, 2013a, b; see also Druckenmiller & Maxwell 2010): Pl. hercynicus from Germany is some distance from Pl. australis (an extremely well known, well described species), with Caypullisaurus and Athabascasaurus grouping closer to Pl. australis than to Pl. hercynicus. The type species of Platypterygius – Pl. platydactylus – is of uncertain phylogenetic position.
As mentioned in the paper, we're still not sure what to do about this and there are competing opinions. Our preferred opinion (Fischer et al. 2014a) is to restrict the name Platypterygius to Pl. platydactylus and those species most closely related to it. However, this is not ideal, creates some other problems and – as we've found through consultation with colleagues – is unlikely to be accepted by everyone who works on ophthalmosaurids. For now, things are undecided and more work is needed.
And that where we'll end for now. Since the description of the new platypterygiine Sisteronia seeleyi and the resurrection of Cetarthrosaurus walkeri – both from the Cambridge Greensand of England (Fischer et al. 2014b) – we're now in a position whereby Cretaceous ichthyosaur diversity has surpassed that of the Jurassic. The old idea that ichthyosaurs had their heyday in the Late Triassic or Early Jurassic and only had the most tenuous, low-diversity existence in Cretaceous times is now officially dead. Actually, they were thriving at reasonably high diversity from Berriasian times all the way until the Cenomanian. Notably, however, the Cretaceous ichthyosaurs are more 'samey' than those of the Jurassic – that is, they belong predominantly to two rather homogenous evolutionary radiations (Ophthalmosaurinae and Platypterygiinae). Regardless, these are (here comes that clichéd phrase again!) very interesting times to be interested in ichthyosaurs...
More from the world of ophthalmosaurid ichthyosaurs some time soon!
For previous Tet Zoo articles on ichthyosaurs, see…
Ichthyosaur wars and marvellous mixosaurs
Life in the Oxford Clay sea
A life secretly devoted to fish-lizards
The skin of ichthyosaurs
Sea Dragons of Avalon, an Arthurian adventure (part I)
An Arthurian adventure, part II: more fossil marine reptiles than are good for your health
Dinosaurs at SVPCA – no Mesozoic non-avialan theropods, thank you very much – and what about those marine reptiles?
'Rigid Swimmer' and the Cretaceous Ichthyosaur Revolution (part I)
Malawania from Iraq and the Cretaceous Ichthyosaur Revolution (part II)
Can't get me enough of that sweet, sweet Temnodontosaurus
Refs - -
Cruickshank, A. R. I., Small, P. G. & Taylor, M. A. 1991. Dorsal nostrils and hydrodynamically driven underwater olfaction in plesiosaurs. Nature 352, 62-64.
Druckenmiller, P. S. & Maxwell, E. E. 2010. A new Lower Cretaceous (lower Albian) ichthyosaur genus from the Clearwater Formation, Alberta, Canada. Canadian Journal of Earth Sciences 47, 1037-1053.
Fischer V. 2012. New data on the ichthyosaur Platypterygius hercynicus and its implications for the validity of the genus. Acta Palaeontologica Polonica 57, 123-134.
- ., Appleby, R. M., Naish, D., Liston, J., Riding, J. B., Brindley, S. & Godefroit, P. 2013a. A basal thunnosaurian from Iraq reveals disparate phylogenetic origins for Cretaceous ichthyosaurs. Biology Letters 9 (4) 20130021
- ., Arkangelsky, M. S., Naish, D., Stenshin, I. M., Uspensky, G. N. & & Godefroit, P. 2014a. Simbirskiasaurus and Pervushovisaurus reassessed: implications for the taxonomy and cranial osteology of Cretaceous platypterygiine ichthyosaurs. Zoological Journal of the Linnean Society 171, 822-841.
- ., Arkhangelsky, M. S., Uspensky, G. N., Stenshin, I. M. & Godefroit. 2013b. A new Lower Cretaceous ichthyosaur from Russia reveals skull shape conservatism within Ophthalmosaurinae. Geological Magazine doi: 10.1017/S0016756812000994
- ., Bardet, N., Guiomar, M. & Godefroit, P. 2014b. High diversity in Cretaceous ichthyosaurs from Europe prior to their extinction. PLoS ONE 9(1): e84709. doi:10.1371/journal.pone.0084709
- ., Clément, A., Guiomar, M., & Godefroit, P. 2011b. The first definite record of a Valanginian ichthyosaur and its implication for the evolution of post-Liassic Ichthyosauria. Cretaceous Research, 32, 155-163.
- ., Maisch, M. W., Naish, D., Kosma, R., Liston, J., Joger, U., Krüger, F. J., Pérez, J. P., Tainsh, J. & Appleby, R. M. 2012. New ophthalmosaurid ichthyosaurs from the European Lower Cretaceous demonstrate extensive ichthyosaur survival across the Jurassic-Cretaceous boundary. PLoS ONE 7(1): e29234. doi:10.1371/journal.pone.0029234
- ., Masure, E., Arkhangelsky, M. S. & Godefroit, P. 2011a. A new Barremian (Early Cretaceous) ichthyosaur from western Russia. Journal of Vertebrate Paleontology 31, 1010-1025.
Maisch, M. W. & Matzke, A. T. 2000. The Ichthyosauria. Stuttgarter Beiträge zur Naturkunde Serie B (Geologie und Paläontologie) 298, 1-159.
Maxwell, E. E. & Caldwell, M. W. 2006. Evidence for a second species of the ichthyosaur Platypterygius in North America: a new record from the Loon River Formation (Lower Cretaceous) of northwestern Canada. Canadian Journal of Earth Sciences 43, 1291-1295.
McGowan, C. & Motani, R. 2003. Handbook of Paleoherpetology Part 8 Ichthyopterygia. Verlag Dr. Friedrich Pfeil (München).
Wade, M. 1990. A review of the Australian Cretaceous longipinnate ichthyosaur Platypterygius, (Ichthyosauria, Ichthyopterygia). Memoirs of the Queensland Museum 28, 115-137.
Darren Naish
Darren Naish is a science writer, technical editor and palaeozoologist (affiliated with the University of Southampton, UK). He mostly works on Cretaceous dinosaurs and pterosaurs but has an avid interest in all things tetrapod. His publications can be downloaded at darrennaish.wordpress.com. He has been blogging at Tetrapod Zoology since 2006. Check out the Tet Zoo podcast at tetzoo.com!
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redpajama_set_name: RedPajamaCommonCrawl


How To Find People With Common Interest & Field In Google+ ?
Group.As is a Google+ Directory where you can find interesting people with common interests, fields etc. You can add yourself there so that others can find you easily, you can browse people classified into various groups etc etc.
How To Add Yourself To Group.As Google+ Directory ?
Enter the groups you like to get added to in this directory like Blogger, Entrepreneur etc.
Now click ADD GROUPEE button.
How To Find New Google+ People With Common Interests ?
Visit its home page and start browsing the groups. You can browse all its groups by following this link: http://www.group.as/groups/. All groups page shows a big tag cloud but still you can make your search easy by using old Ctrl + F (browser's find) technique.


text:
By Patrick Shields
The Importance of Music in Video Games
The rush of storming the lair of evil doers, the crescendo of enacting that perfect heist, the emotional loss of a beloved character, through it all we take in the breathtaking graphics, admire the impeccable lighting, and enjoy the tight controls that engage us with the latest masterpiece of gaming.…
The Psychology of Grinding in Video Games
Many moons ago I set off on an adventure unlike any I had ever experienced. It took place across a huge world, sprawling several continents and oceans. There were kings and princesses, magical towns, caverns filled with timeless treasures, and fierce monsters traversing every nook and cranny. I had never…
Square Releases the Main Theme for Final Fantasy 7 Remake
The anticipation for Final Fantasy 7 Remake continues to build and Square is amping up the hype this morning with the release of the game's main theme. Titled "Hollow", the track is composed by Nobuo Uematsu and sung by Yosh (Survive Said The Prophet). Enjoy! https://youtu.be/2ZKR9slSECg Our Take Final Fantasy…
X019 : Full Summary / Recap of Announcements and Game Trailers
The special episode of Inside Xbox for X019 has wrapped up and with it, an impressive show with quite a few announcements. Below you can find a full summary of the show! Everwild is a new IP from Rare. https://www.youtube.com/watch?v=jWpcUH-tKEU Grounded is a new IP from Obsidian that arrives in…
TGS : Final Fantasy VII Remake Trailer
Expect to see a lot from the highly anticipated game this week as TGS will showcase a lot more details for Final Fantasy 7 Remake. https://youtu.be/GBpq_Jq7yn0 Our Take The more details that come out for this game the more excited we get!
Final Fantasy Director, Hajime Tabata, Establishes New Studio
Hajime Tabata, Director of Final Fantasy 15 and prior Studio Head of Square-Enix's Luminous Productions, has established his new studio JP Games. No specific information was given other than a brief statement from Tabata: "Right now, we are preparing for a target January 2019 launch. And to everyone who has…
Square Enix Announces E3 Showcase Event
For the first time in 3 years, Square Enix will be holding a dedicated E3 showcase event. On June 11th at 10am PST / 1pm EST / 6pm BST, they will present a video presentation of what to expect from the publisher over the next few years. You'll be able…


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corner 2d and Alder. Phona Main 1301.
BICK. PEOPLE. Dr. McMahon, Macleay bldg.
adjustments. S15; seven. 15. Making good.
CRANE LETTER CO., 610 N. W. bldg. Mar.
6e22. lou letters multigraphed. 1.50.
NETH & CO.. Worcester bldg. Main 1796.
No collections, no charge; established 1900.
class Thurs.. Sat, eve. 7-8:30. Bdwy. 2160.
class Hon., Tues. eve., 8 to 10. 10t 2d St..
Phone East 6113. H 1813.
SCHOOL OF MUSIC Staff of teachers. O.
C. M 345 Washington St., Portland, Or.
month. Ph. Main 3803. Modern methods.
DUBRUILLB BUGGY TOP CO.. 9th and Oak.
Baggage & Omnibus Transfer, Park & Davis.
M. H. HOUSER, Board of Trade Bldg.
WADHAMS CO.. 63-75 Front St.
THANHOUPER HAT CO., 83-55 Front St.
KAHN BROS.. 191 Front St.
W. P. FULLER CO., 12th and Davis sts.
RASMUSSEN A CO.. 2d and Taylor.
PIPE. PIPE FITTINGS AND VALVES.
M. L. KLINE, 84-86 Front St.
M. L. KLINE". 84-86 Front St.
duced to sea level) 6 P. M., S0.22 Inches.
Relative humidity at noon, 94 per cent.
Valdezt 40 54 O.02I . . I . . ..
Winnipeg 5l . . . 10 . 001 . .
t A. M. today. P. M. report of preceding day.
from 5 to 15 degrees above the normal.
Oregon Pair: gentle easterly wtnds.
nlan. Main 7070. A 6095.
For Kent Room Private Families.
Board and Kooms Private Families.
centn a line each Insertion.
struction. 612-13 Eilers bldg. Main 6641.
MKS. EDITH M. SMVTUE, piano studio.
The Ellsworth, opposite The Mallory.
Sevclk. 207 Fliednar bldg. Bdwy. 162M.
PS A SAVING from 30 to 60 Pct.
man. optometrist. 20y Morrison. aAm A--m.
R. G. WRIGHT 22 years' experience, U. S.
and foreign patents. 601 Dekum oiag.
K-EYSTONE PRESS J. E. Gantenbeln. Mgr.
Printing and linotyping. 100 V Front su.
corner stark. Main or A 1418.
S82 Stark at. Broauway 403. A 4088.
CARL R. JONES. 404 Wilcox bldg.
NORTHWEST RUG CO.. established 1U03.
Fluff rugs and rag ruga woven, all sizes.
East 8th and Taylor. East 35S0. B. 12BU.
special freight rates to all points.
C. O. PICK TRANSFER & STORAGE CO..
2d and Pine sts. Broadway 696. A 19U6.
lowest insurance rates In the city.
MADISON ST. DOCK AND WAREHOUSE.
and forwarding agents. Phone Main 7691.
SECL'KITY STORAGE Ac TRANSFER CO.
105 Park st. Main 6195. A 1051.
GUE,N AND iitti aLAlUv'uoD, blockwood.
Panama Fuel Co.. East 72. B 2889.
DDIMTIlir- F. W. BALTES & COMPANY.
rnlilllilU 1st and Oak sts. Main 165. A 1165.
KVEHDI NG & FAKKELU 140 Front street.
bought. Write Ruby & Co.. 169 Front st.
RAG RUGS AND FLUFF RUGS.
rugs, all sizes; mail orders prompt; booklet.
WESTERN FLUFF KUG CO., .
B4-B6 Union Ave. N. East 8161, B 1475.
Portland Cordage Co.. 14th and Northrup.
W. P. FULLER tt CO.. 12th and Davis sts.
No hoops, no nails, antl-freeze garages.
Bllo Co.. 702 Rothchild bldg.
MORGAN WALL PAPER CO.. 230 2d st.
affect the value of the advertisement.
noon for other aay publication before 8:30.
advertiser is t. subscriber of either phone.
bill will be rendered the following day.
order of the W. M.
EMBLEM Jewelry, buttons, charms, plus.
Mew designs. Jaeger Broa, 131-3 Sixth st.
case pins and medals. 310 Washington st.
Brand, aged 75 years, husband of Mary A.
BAMBO At Salem. Or., September 12, 1917.
gold, mother of Leonard Blngold and Mrs.
Mary Gardiner, of Portland; sister of Mrs.
loved son of Mr. and Mrs. Joseph Gotelli.
are at the parlors of Miller Tracey.
mook street. September 13. Matilda E.
Dillon, of Chicago. Notice of funeral later.
for all occasions artistically srranged.
CLARKE BROS.. Florists. 287 Morrison st.
Main or A 1805. Fin. flow.rt and flora.
St.. bet. 4th and 6th. Main 6102. A 1161.
Nera 4k Sons for memorials.
THIRD ST.. CORNER OF SALMON.
Wash, at Ellas ot.. IseL 2oth snd 21st.
Main 2bUl. A 7880. West bide.
14. Lady Assistant. C 31 do.
J. P. FINLET A SON.
12th and Morrison sts. Main 6133. A 2235.
neral service. 1973 E. Glisan. Tabor 4313.
DUNNING & M'ENTEE. funeral directors.
way 430. A 455S. Lady attendant.
THE GOLD K.N RULE UNDERTAKERS.
414 East Alder atreet. East 52. B 2525.
P. L. LERCH, East 11th and Clay streets.
Lady attendant. East 781. B 1888.
A T? r711-, r-. 5U2 Williams Ave.
snd Clay. M'n 4152. A 2321. Lady attendant.
place for yourself and family.
permanent title and eudowtnenc. $2o0 up.
3tt rittock Block, 1'hooe Broadway 351.
OU ice. Koom lo3 Courtboute, 6th St.
2o5. Night call after oiiit-e hours. Main 70.
stoca, as we look after all impounding.
LA lit. K LOANS Sl'KUlAl, RATES.
217-219' .N'orthnralrrn II auk llulldlns.
5 Of OX llLSIMiSS PUOPEKTY.
PACIFIC '1I1J.E '1 11 L ST CO.
SOI WILCOX BLDf;. Main 702. A 3702.
architects. North western Bank bids;.
Falrport Add n, i lots on Patton ave..
cor., 1 block from Lombard at., each.
Owner, 3U-! Oak at. Broadway 3t44.
corner; lawn, fruit trees, flowers. $2600.
Archer Place station, partly furnished.
land. LAUKELHUKST COH Z0 btarlt sc.
chickenhouse, close to carllne and school.
lawn district. Price only $1900.
THE BHu.VG CO.. 267 Va Oak St.
very eajiy terms. Owner, Broadway 1658.
sired. J. DELAHl'XTY. Main 1700.
trees. 2 blks. from car. Phone Bay. 1300.
relhurst Park. Phone I 1512.
and hard-surface street; price $1100.
terms. Phone evenings. Main 9451.


With just three days remaining now until the start of the "Greatest Race on Earth", the report from our correspondent on Houx campsite is that it is starting to rapidly fill up with TVRs. We are pleased to report that all of the Club's charity cyclists made it to Le Mans in one piece having cycled from Corfe Muullen to Poole and then from Cherbourg to the circuit itself. They are once again raising money for Hearing Dogs for Deaf People.
If you haven't yet left for Le Mans but are travelling tomorrow or friday, have a safe journey. And don't forget to give Daviel Nash in the 1962 Le Mans Grantura a big cheer in the legends race on Saturday morning.


In the project Baku White City, RETEMS GROUP participate as logistic partner.
Baku White City will be one of the biggest modern projects of the world, which is realized in ecologically regenerable industrial zone.
Baku White City will cover 221 ha of land, exceeding territory of Monaco and more than Old City in 11 times, moulding this space into the most enormous project in Caucasus region.
Today we witness the realization of this project, which is highly publicized in the world and in professional environment; it gained the title of "the hugest city construction project" justifiably.
In this project, we participate as logistic partner on cargoes transportation and custom clearance of cargoes. Only from October 2013 to August 2014,we have transported more than 5000 tons of loads by automobile, marine and air transports from different parts of the world: especially Middle Asia, Europe and CIS countries.


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Summer In Hind Sight 20/20
A Look at the Library Kickoff Event
A Peek Inside the Patron Party
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The West 18th Street Fashion Show mints a Gilded Summer
West 18th Street Fashion Show organizers were a few hours and drinks deep into a conversation when their focus turned to wealth distribution. "We began speaking about how most of the money in America is in the hands of just a few families," says Peregrine Honig, the event's artistic director.
That night last fall, the team landed on 2013's show theme: Gilded Summer. It's a play on the Gilded Age — the label that writers Mark Twain and Charles Dudley Warner gave to the late 1800s and early 1900s in their The Gilded Age: A Tale of Today. The authors' satire paints the post–Civil War era — a time marked by booming wealth and the subsequent growing disparity between rich and poor — as a time of grave social problems veiled in gold.
"In a way," Honig says, "we are now living in a Gilded Age."
Beyond economic issues, though, Honig points out that it was an era when World's Fairs captivated the nation, seeing a movie at a nickelodeon was novel, and artisanal industry thrived.
And whereas last year's Triple Crown Summer theme resulted in a show that was largely feminine, Honig says, the upcoming show lends itself to masculinity. And the timing is good, with buzz still surrounding Baz Luhrmann's movie adaptation of The Great Gatsby, which is a Gilded Age unto itself. "We had no idea this movie was coming out when we came up with the theme," Honig says. "It's nice when something comes out in pop culture that makes our idea relevant."
The annual show, set for Saturday, June 8, once again transforms 18th Street in Kansas City's Crossroads into an outdoor couture showcase at dusk. Organizers have narrowed down dozens of designer applicants to 18 collection designers and eight accessories designers, with the goal of showcasing emerging talent. Here's a preview of five designers new to the show who help make the lineup, as Honig says, one of the most sophisticated yet.
Silvia Patricia isn't out to make models look pretty.
The Johnson County Community College fashion-design student brings what she calls "the raw, the ugly, and the brutal truth of severe workmanship." This means she'll use upholstery fabric, restricted and crisp looks, and raw metal (she's working closely with a welder) to tell a story she views as a harsh reality.
Her collection seeks to link today's social issues with those from the turn of the 19th century. You'll see: an elegantly dressed woman with a cage piece around her neck, an expression of upper-class decadence; a middle-class woman donning a well-tailored look; and a haggard man who represents what Patricia calls "the new American slave." You'll also see a woman with a wired-shut mouth, a reflection of how Patricia sees the typical American. "We like to think that with each generation, the world is a better place," she says. "But we're still not free to speak our minds. If you say the wrong thing in the workplace, you'll be terminated."
Patricia, who moved here from Chihuahua, Mexico, when she was 5 years old, has always had a flair for the avant-garde. After JCCC, she hopes to attend fashion school out of state. She has her eye on Cornish College of the Arts in Seattle.
She aspires to dress movie casts. Working with Tim Burton, especially if it meant Johnny Depp and outlandish characters like Edward Scissorhands and the Mad Hatter, would be a dream come true. "I'm all about taking a character and going to great lengths to express that individual," she says.
When Lyndsey Helling made the designer cut, she headed to TCBY and asked for the trash. She prefers recycled materials and was craving the ice cream cups' cheerful colors and shapes.
The store handed over two heaping bags, and Helling began researching the late 1800s. "It was this period of reinvention, so I'm taking fashion elements from that time, combining them with these used items and am inventing something new," she says.
The cup pieces drive a bright, vintage-meets-modern summer dress with a Gilded Age–inspired detail: a high neck. She's also using vertical buttons and structured looks to honor the period.
Pairing used materials with new concepts, she's seeking to play on the show's theme by linking rich and poor. Her designs incorporate recycled materials (aside from the ice cream cups), including a bustle made of a burlap coffee sack. (Each piece in her collection has a lightweight, muslin underlay.)
She moved from Bloomington, Indiana, to the Kansas City area in spring 2012 and attended the West 18th Street show soon after. "I want to be a part of this," she told her husband during the show.
Her fashion-design path hasn't been traditional. She graduated from Indiana University Bloomington with a degree in studio art but didn't consider entering fashion shows until one that encouraged the use of recycled materials happened to catch her eye. That was the Indianapolis Museum of Art's 2010 Project IMA: Fashion Unbound, where she presented a party dress made from grocery-store ads and other mailers. The next year, her work was featured in Bloomington's Trashion Refashion Show.
"In high school, I would make these tube tops out of pillow cases and run shoelaces up the backs," she says. Her interest in finding a second life for materials hasn't waned since then. "I take these materials I love and make the finished product up as I go. It's so surprising and exciting."
K. Clemence Lawson pictures the colorful drapes in her West African childhood home, the fabric dancing in the breeze. Elodie Auvray longs to see an electric-blue front door on a house with red windows — a common sight in her homeland of French Caribbean, Guadeloupe.
The two JCCC fashion-design students have teamed up to present a collection inspired by their roots. "We want to make this feel like home," Lawson says.
Expect bold primary colors, cotton with sheer layering, and plenty of movement in their pieces. Gold — a nod to their heritage as well as to the show's theme — accents their work.
"Our cultures are pretty loud, so our presentation will be really energetic," Lawson says.
The women have bonded through their similarities: Both speak French and love spicy dishes. And their style differences — Lawson steers classic; Auvray leans playful — strengthen their joint work.
Lawson moved overseas to the Kansas City area with her family when she was 12 and has been drawn to fashion design as long as she can remember. Her grandmother, a talented seamstress, helped pique her interest, as have many classic designers.
"I'm drawn to designs that stay the same through time," she says. "I fell in love with ethnic designers that incorporate timeless prints."
Moods and weather heavily influence her work. She fights the gloom of winter with lace and pastels, and embraces summer with vibrant prints. Through the various looks, she stays focused on motion.
She dreams of opening a boutique in New York City. "My biggest goal is that I would want people to walk in and say, 'Wow, this is one of a kind,' " she says.
A year and a half ago, Auvray had booked a flight to France. All her friends were going, and she planned to study interior design there. At the last minute, though, she decided she didn't want to follow the crowd and canceled her trip. Instead, she headed to Kansas City, where her brother lived. "I love discovering new things," she says.
In work that finds its inspiration in culture, Auvray has in the past created constricted, European styles made with African fabric and flirty, Asia-inspired looks.
After graduation, she hopes to travel, and attending a design school in Europe is back on the list of possibilities. Her work locally has already led her closer to one goal, though. "I want to represent my culture by being a Caribbean designer," she says. "I've realized that there isn't a designer in the Caribbean that represents other Caribbeans, and I want to fill that need."
Boxers were Gilded Age celebrities, evoking inspiration in hard times. Accessories designer Sarah Xeno channels this spirit with a collection she says defies gender stereotypes. "This is about guys beating the crap out of each other, and at the same time, I'm presenting metal that looks like lace," Xeno explains. "It's a feminine take on a masculine arena."
Her jewelry accentuates a collection from Honig and Danielle Meister, of Birdies Panties and Swim Boutique, that promotes a fresh perspective on boxing history. Xeno's pieces include a championship belt, boxing gloves and headgear. Expect metallic items with intricate craftsmanship.
The accessories collection represents a side of Xeno that gravitates toward lavish designs, created with organic, meditative pattern making. On the flip side, she digs geometric, structured looks. Ultimately, her influences — including art nouveau architecture, anatomy, zoology and florals — determine the style.
Xeno has spent six years designing and fabricating custom jewelry, and she began metalsmithing 10 years back with the assistance of courses through JCCC. She dabbles in other art forms and has taken painting and drawing classes at the Kansas City Art Institute, though designing accessories brings the greatest intrinsic rewards. "I think of it as wearable, sculptural art — on display for all to see," she says.
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Gilded Summer Giveaway with Donna's Dress Shop on Instagram!
The 14th Annual West 18th Street Fashion Show


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Kove, Baltimore winner 'Coors Light-Search for the Coldest' semifinals
Kimberly Brown | 7/26/2013, 12:13 a.m.
Kove, the winner of the Baltimore competition during his performance MeShenee Photography
BALTIMORE — In an industry many hip-hop artists are aspiring to conquer, The "Coors Light Search for the Coldest" competition offers individuals an opportunity to gain recognition in the music industry.
On Wednesday, July 10, 2013, the Coors Light sponsored event was held at the Baltimore Soundstage where two local hip hop artists, Kove and Aye Young Gunnah, both representing Baltimore competed on stage in front of a live audience for a chance to advance to the finals.
Although, Kove (pronounced "cuv") will not advance to the finals in New York City, he believes the opportunity offered him the platform to showcase his talents yet again in front of the judges and a growing fan base. This is the second time Kove has made it into the semi-finals in the competition.
"When I'm on stage I get a rush of excitement and the feeling that comes over me when I'm performing is indescribable," Kove said.
Celebrity judges included director/hip hop icon/actor Ice Cube, famed DJ/hip hop recording artist DJ Drama as well as former UKG rapper and public speaker Bun B.
When asked what led to his involvement with the competition, Bun B said, "I embraced this opportunity because I am able to witness first hand these aspiring artists grow into their own craft. It's amazing to see artists aspiring for better and their hopes and dreams will eventually become a reality. I want to look back five or 10 years from now
and smile knowing I was a part of when these artists performed on stage, got their time to shine and next they've evolved in the industry."
DJ Drama added, "I always feel very optimistic when we come to Baltimore every year for this event because it's a great energy and a lot of support from those who attend the event. I believe there is some really good talent not just in Baltimore, but the DMV as a whole."
The semi-finalists which consist of aspiring artists from across the U.S. are chosen via online votes by submitting their original music to the Coors Light Search for the Coldest MC submission website. After the semi-finalists are selected, the competition tour to various cities such as Philadelphia, Chicago and New Jersey where the selected artists compete.
To learn more about the Coors Light Search for the Coldest MC Competition visit: www.searchforthecoldest.com.
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Indie Soul: The Exchange 2
Baltimore rapper wins $5G in Jack'n for Beats contest
Baltimore hip-hop infused, alt-soul group releases debut album 'Soul Searching'
'Join the Movement' at America's largest FREE arts festival!


Cruise 27 nm to Pleasant Harbor. The pool and hot tub are open for relaxing or you can take a stroll in the area. Join your fellow cruisers at 5 PM in the Pleasant Harbor Restaurant & Gazeboand bring an appetizer. Between the restaurant and gazebo, there is plenty of seating. The gazebo patio is lovely, covered, and has heaters and a fireplace. All alcoholic beverages must be purchased at the restaurant; the well drink prices are very reasonable. Diane Coleman and her team will be assisting the group with docking.
Leave at your leisure for the 23 nm cruise to Alderbrook. As a marina guest, enjoy the pool and spa amenities. Any land cruisers arriving early have been invited to visit and mingle with the boaters at the dock. At 4 PM everyone is invited to the Pub for happy hour specials.
11 a.m. Shopping expedition; meet in the Hotel Lobby and walk a short distance to town. The Cameo Boutique will be offering some of their usual perks along with a discount on merchandise. There is also a nice photo op of a waterwheel along the way and an opportunity for lunch at the local deli.
5 p.m. Wine Taste/Book exchange in Hotel Lobby; bring books to exchange, a small appetizer, and your favorite wine to share. Napkins, plastic glasses, and plates provided. The Hotel has an excellent pub and fine dining restaurant. This is also a great opportunity to have friends for dinner aboard your boat.
Cruise 23 nm back to Pleasant Harbor. Meet at 5 PM in the Pleasant Harbor Restaurant Gazebofor pizza which is included in your cruise fee. All alcoholic beverages must be purchased at the restaurant.