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December 25, 2013 · 768,018 awesome subscribers NEWSLETTER ISSUE #100

Merry Christmas and Happy Holidays...

For those of you who celebrate it, we'd like to wish you a very Merry Christmas and Happy Holidays!! May your day and that of your loved ones be filled with joy and happiness.

What kind of Santa are you?

Think you're fit to be St. Nick? is a fun little quiz that will tell you what kind of Santa you would be. Just answer eight questions and you'll find out if you'd be a Hipster Santa, Commercial Santa, Office Santa, or one of the others. It's a fun, well-designed site that's a fun time-waster. Plus, you can print out paper dolls of each Santa!

Appareo: A vintage, weathered Typeface

The gorgeous Appareo font captures a vintage books feel through its distressed and worn appearance. This collection includes four different weights in 4 different styles. You also get more than 80 different graphic elements such as banners, borders, frames and other extras, all with the same slight texture and worn edges for a truly vintage feel. See the font

A prototyping toolkit for Quartz Composer

Origami, from Facebook, is a free design prototyping toolkit for Quartz Composer. It makes it easy to create interactive design prototypes that require no programming. It includes features for prototyping animations, transitions, interactions, buttons, and much more.

Some animated Christmas cheer

Christmas Gifs 2013 is an awesome collection of Christmas-themed animated gifs you can share. There's everything from animated gift boxes to animated ornaments, and even a few animated Santas. Regardless of what kind of holiday gif you're in the mood for, you're sure to find it here!

What did the world search for?

Google Zeitgeist 2013 rounds up the most popular search terms the world over for the past year. It's a great way to reminisce about the important events, people, and topics of the year, with various ways to browse. You can view a year-in-review video, see the top 100 searches, explore global trends, and more (particularly if you're a Google+ user).

What does "adaptive design" even mean?

The Many Faces of 'Adaptive Design', from Brad Frost, discusses the many meanings behind the term "adaptive design". It's a term that gets thrown around a lot, but can refer to a lot of different things, including progressive enhancement, responsive design, device detection, and many others.

Just how trendy are you?

Are you a trendy designer? is a fun test that will determine just how trendy you are. Just answer eight questions about your design habits and preferences, and you'll be told just how much of a hipster designer you really are.

A heartwarming holiday ad from Apple

Apple has gone above and beyond this year in their iPhone holiday ad. What appears to be an apathetic teenager too preoccupied with his phone to participate in family activities at Christmas time is really a thoughtful kid creating a very special Christmas gift for his relatives, one that's sure to bring tears to your eyes.

A long-overdue redesign idea

Dear Ticketmaster is a thoughtful article from Matthew Lew about how concert tickets from Ticketmaster should be redesigned to be more user-friendly. It discusses not only what changes would improve tickets (like getting rid of the monospaces, all-caps font that's been used since the 70s), but also why Ticketmaster should consider making them in the first place.

Planning your conference schedule? Check here

ConfCal is a simple web-based calendar for web and digital conferences happening throughout the year. You can browse by month and see all sorts of conferences from around the world (you can browse specifically in the UK, US & Canada, Europe, and the rest of the world). Click on the conference name and you're immediately taken to the conference website where you can get all the info.


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Is it time for companies to hire a Social Media Administrator?

Posted by David Meerman Scott 06:55 AM on September 11, 2009

ComputerdudeMy friend Jim Stewart just posted on the idea of a Social Media Administrator. Jim’s idea is that there is a need for this new role, much like in the late 1980s we developed the need for a System Administrator (Information Technology department people responsible for computer networks) and the 1990s brought Webmasters (responsible for company websites).

I agree and I’d like to expand on Jim's post

I see the Social Media Administrator not as someone who develops content and participates in discussions on social media (although they could certainly have a business related personal blog or twitter stream).

This is not the senior leadership role for social media in an organization but rather the coordination point for company activities. The role would be someone who manages and provides consistency with an organization’s social media presence. Of course, to be done well, the skill set of a Social Media Administrator would need to include deep knowledge of tools like YouTube, Facebook, Twitter and blogs.

In my travels, I meet many company executives who struggle with how to implement social media. I think that the consistency and leadership provided by the person in this role could help to reduce the fear that many people have of social media.

First cut at a Social Media Administrator job description

1. Be fully knowledgeable on the tools, techniques and philosophies of social media.

2. Maintain an accounting and provide consistency for company accounts on social media sites. This does not necessarily include personal accounts on sites like Facebook, YouTube and Twitter. However it does include corporate accounts on these sites. Ensure consistency in branding, update frequency, and permissions on these sites. Look for abandoned accounts and remove.

3. Watch for rogue sites springing up using company branding.

4. Analyze and provide advice on social media analysis and monitoring tools (services such as dna13 and Dow Jones Insight that organizations use to monitor social media). Work with those charged with monitoring to implement the tool(s) chosen.

5. Work with others to publish and distribute a set of social media guidelines for personal accounts on social media sites. While the Social Media Administrator may not actually write the document, the person should maintain it and ensure wide distribution. Examples of social media guidelines are IBM Social Computing Guidelines and New Media and the Air Force.

6. Maintain a list of work related personal blogs of employees and make it available to the public on the company Web site. IBM does this really well.

(There are probably many things I am missing here...)

Where does the Social Media Administrator report?

This is a tough one. I think it depends on the company. At IBM and the US Air Force, the social media guidelines were created and are maintained in the communications (public affairs) departments. There’s an argument that says this should be an IT role, but I think it best fits in the Public Relations or Marketing areas. No matter where it sits, the supervisor of the Social Media Administrator should have an understanding of social media.

What do you think?

Image: Piotr Marcinski / Shutterstock

David Meerman Scott

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Posts Tagged "career advise for beginners in digital marketing"

Careers in Digital Marketing in India for Beginners. Tips & Advice

Posted by on Nov 17, 2015 in Careers in Digital Marketing, Resources/Guides | 0 comments

Careers in Digital Marketing in India for Newbies Digital Distress survey conducted by Adobe in 2013 and “3 steps for closing the skills gap” done by Focus research and the marketing automation institute (Source: Adobe) 76% of marketers think that marketing has changed more in the past 2 years than in the past 50 65% of marketing professionals feel more pressured to show return on investment in marketing spend 48% of digital marketers feel highly unprepared in digital marketing 75% say that their skill gap has an impact on corporate revenue 64% of marketers expect that their role will change...

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Bug Bombs Can Also Harm Humans

Researchers Track More Than 400 Injuries From Total Release Foggers in 2001-2006

From the WebMD Archives

Oct. 16, 2008 -- Total release foggers (TRF) -- more commonly known as "bug bombs" -- are designed to kill bugs and pests, but they can also harm humans.

A new report published in the Morbidity and Mortality Weekly Report shows there were 466 TRF-related injuries or illnesses in the eight states that track this (Florida, California, New York, Louisiana, Michigan, Oregon, Texas, and Washington) between 2001 and 2006.

Eighty percent of the cases were classified as low severity, 18% were moderate severity, and 2% were high severity. There was one infant death that may be linked to a TRF: A 10-month-old slept in a home that had been treated with a TRF that day. The infant was found dead the next morning.

Illnesses usually followed one of the following scenarios: too many TRFs were used for the space; neighbors were not notified (such as in an apartment building where units shared a ventilation system); or people returned home too soon after using the TRFs or didn't leave home before the TRF discharged.

Most effects were to the respiratory system. Symptoms suffered by people in three cases detailed in the report included nausea, shortness of breath, leg cramps, burning eyes, coughing, irritation of upper airway, headache, and dizziness.

"The findings indicate that TRFs pose a risk for acute, usually temporary health effects among users and bystanders," the report states. "To reduce the risk for TRF-related health effects, integrated pest management control strategies that prevent pests' access to food, water, and shelter need to be promoted and adopted. In addition, awareness of the hazards and proper use of TRFs need to be better communicated on TRF labels and in public media campaigns."

WebMD Health News Reviewed by Louise Chang, MD on October 16, 2008

Wheeler, K. Morbidity and Mortality Weekly Report, Oct. 17, 2008; vol 57: pp 1125 and 1129.

© 2008 WebMD, LLC. All rights reserved.


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Police Academy Transfer Guides

Webster University has developed transfer guides for the police academies in the St. Louis and Kansas City metropolitan areas.  Graduates of the police academy may be eligible to receive transfer credit toward completion of their Webster degree.  Click the appropriate link below for more information.

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Webster is also pleased to offer the First Responder Program for eligible law enforcement personnel.  More information on this program is available here.


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Lavishly Linda Lou's Vintage Vignettes

I’m Coming Back…

July 3rd, 2014

Life got a hold of me like a Kansas Storm, but I am coming back. Writing is still my passion, and with my husband’s retirement, our life will shift again, and the plan is for me to write. As a mother of 7 and now a grandmother of 15, life is what I know best… […]

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Jubilee Vintage Shelf Paper ~ “Thank you, Grandma!”

February 7th, 2013

My Grandmother Mable Clark Stevens passed away in 1985. We started the long process of sorting and distributing a lifetime of treasures, memories and just stuff. Nostalgia, of course, dominated the time, along with memories of childhood we would exchange while sorting. Like so many houses from the war era and before, there lived a […]

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“This Kiss ~ This Kiss”

January 15th, 2013

Forty one years ago, today, marks the moment when “this kiss ~ this kiss” sealed our commitment to each other for a lifetime. In the current era, even though the words are spoken traditionally, many marriages dissolve before the blending has even begun. For me, Darrell IS MY ‘knight in shining armor’ but much more […]

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Archived posts: Posters

Olivetti – Beyond form and function

We nipped over to the ICA at the end of last week to catch their exhibition, Olivetti – Beyond Form and Function, showcasing the spatial and graphic design of typewriter manufacturer Olivetti during the post-war era.

The show featured a mix of advertising posters, magazine adverts, and ephemera from Olivetti, courtesy of the Associazione Archivio Storico Olivetti. Many were designed by Giovanni Pintori, who worked in-house with Olivetti for over 30 years, eventually becoming the company’s Art Director.

It was interesting to see how photographs of the typewriters were kept quite small, if shown at all, letting simple abstracted graphics to do most of the work instead.

(You might recognise the image above from some adverts for The Guardian by Weiden + Kennedy back in 2007. This post from Simon I’Anson about the similarity between those ads sent us off to this fantastic Flickr album of graphic design work done for Olivetti.)

The show also featured some actual typewriters, including the beautiful lightweight and portable Lettera 22. We have one in the studio, and love it:

Here’s what the text from that looks like once it’s typed out:

We were wondering who designed letters themselves. Courier, the standard typewriter typeface, wasn’t designed until 1955, and the Lettera 22 dates from 1949. We’re guessing that quite a few similar typefaces were around at the time – but were wondering where the first one came from (do get in touch if you know). As you can see from the sample above, the characters are monospaced, so they each take up the same amount of space, allowing the creation of tabular information to be done really simply. (Read more about typewriter typefaces over on this Typographica page.)

The first commercially successful typewriter was the Sholes and Glidden Type-Writer, also known as the Remington No.1, which went on sale in 1874. It introduced the first QWERTY keyboard, which lingers on today, despite attempts to update it.

However the Remington was slightly limited because you couldn’t see what you were typing while you typed, and it only had uppercase letters.

Even on the lowercase and uppercase typewriters, some characters were still absent. If you look at the keyboard on our Lettera 22 above, you’ll see there’s no numeral 1, no exclamation mark, a dollar symbol but no cent symbol, and no maths symbols (addition, multiplication, division, equals).

Using a typewriter necessitated some clever tricks – here are just a few:

The dumb quotes we mention there are a massive bugbear of ours. They still linger on modern computer keyboards, when they were only created as a space saving device on typewriters. They should have disappeared years ago. (Read more about that on this old post about dumb quotes.)

If you’re looking for more Olivetti Lettera goodness, check out this Flickr album from Ed Cornish,  showcasing the machine’s instruction manual.

Lovely stuff.

Interrobang: an international showcase of letterpress print

The lovely people at St Jude’s Prints have just sent us the latest edition of their Random Spectacular journal, Interrobang, and it’s a corker.

It’s been published in collaboration with Ditchling Museum of Art + Craft, which is our new favourite place in the whole world.

The Sussex village of Ditchling was the home of letter-cutter Eric Gill (he’s the chap who designed Gill Sans) and calligrapher Edward Johnston (responsible for the famous Johnston typeface used by London Underground). The museum has collected together works from them, and from the artists and craftspeople who gathered around them.

We took a wander down that way a month or so ago. It made for a fantastic day out, starting with a stroll along the South Downs.

Here’s a sign post set, of course, in Gill Sans.

And an old National Trust sign, set in Albertus.

On the way from the Downs to the museum, you pass the home where Edward Johnston used to work and live. (We believe the security light is a more recent addition.)

The museum’s identity was designed by Phil Baines. And boy it looks great on a sunny spring day. Loving that arrow.

The current main exhibition at the museum is a history of the development of the Johnston typeface, and that alone makes it worth a visit. Just look at this lower case qu ligature. And the alternate versions of the g!

And check out this lovely set of Ws:

If you do one thing this year, go to Ditchling. Twice.

Anyway, we digress.

As part of their brilliant Village of Type events which run throughout May, the museum has put together Interrobang – an international showcase of letterpress print. The exhibition is an open submission, with pieces selected by a panel of typographers and designers.

The journal, designed by Kenneth Gray, and put together by St Jude’s in tandem with the show, features a selection of fantastic articles about the current state of letterpress printing, as well as all the work from the show.

It opens with Phil Baines writing about Hilary Pepler, who set up the local St Dominic’s Press in 1919.

Then there’s an insightful article by David Marshall and Elizabeth Ellis of The Counter Press about the state of letterpress. They rightly point out that letterpress printing is having a moment, with myriad new small presses joining the old hands who’ve been doing it for years. But they worry about whether letterpress printing is being valued purely for its old-world values: ‘it seems that more often than not, people struggle to leave the nostalgia and vintage charm of the aesthetic in the past.’ They warn of the danger of ‘pastiche and unimaginative reproduction’.

Coming from anyone else, this might sound like they’re just stirring the pot. But they’re one of the most exciting design teams working with letterpress at the moment. They specialise in what they call ‘traditional techniques with modern design thinking’. Here’s the cover of their recent publication Extra Condensed.

It is beautiful. And we do care.

This theme continues in Patrick Baglee’s wonderful interview with Alan Kitching: ‘He is a designer that is surrounded by and works with letterpress type and letterpress technology. But it is the ideas and deeper meaning that step forward… This sense of expressiveness, of freedom and joy is still what marks Kitching’s work out from much of what passes for letterpress – where it is the means of production that people believe we ought to care about – rather than the final idea as evidence of artistry, craft and simple, clear thinking.’

Here’s Kitching’s recent print for Monotype commemorating Paul Rand:

Later on in the journal, there’s an article about Adams of Rye, the printshop where Anthony Burrill creates his posters, including this recent one for the museum:

Another piece looks at the collaboration between Tilley Printing and poet Nick Alexander, creating posters which are flyposted in the local Tinsmith’s Alley in Ledbury, Herefordshire.

The bulk of the journal though is a showcase of the prints from the show. Here are just a few of those:

From Nicole Arnett Phillips in Brisbane, an analogue bitmap Q: ‘My intention with this series is to explore the space between analogue and digital type design and lettering. Each print translates form between analogue and digital instances. The letterforms start as pencil outlines. I then use physical type – either the face or the feet – (face being right way up type side of the sort, and feet being upside down backside of the physical piece of type) to typeset an analogue bitmap inside the pencil outlines.’

From BunkerType in Barcelona, a print (#6) from their ongoing project, The New Call, based on the work of Hendrik Nicolaas Werkman:

Artist Ruth Kirkby shows one of ‘a series of prints to represent the Western-imposed state borders and the effects they have had on the Middle East. The text in the prints is taken from recent Al Jazeera articles about the areas affected by the enforced borders.’

From New North Press in London, comes a print from their ‘A23D’ 3D-printed letterpress font, designed by A2-Type, fusing old and new technologies.

One Strong Arm in Dublin submitted a print featuring a quote from Rudolf Koch, but we couldn’t find a picture of it, so here’s one of their other pieces, with a quote from Roddy Doyle.

Tom Pigeon, the studio of Pete and Kirsty Thomas, show one of their ‘Cinematype’ prints. ‘Cinematype is an original sans-serif, geometric typeface designed by us and inspired by the typography of early 20th Century film. We’ve worked with British printmaker Thomas Mayo to create these exclusive Cinematype letterpress numbers prints.’

The next print is from The Print Project in Shipley. We’re rather in love with their fantastic posters for the gig night Golden Cabinet, printed using metal type and overprinted laser cut abstract shapes:

We’re also quite taken by this print from The Wireless Press in Brighton. It’s based on Parisian graffiti from the 1968 uprising (the text translates as ‘Stop clapping – the show is everywhere’).

All in all, the journal is a wonderful record of a brilliant show, giving a really thorough sense of what is being produced by the best designers and artists working with letterpress print today.

The exhibition is on until 30 May. In the meantime, you can (and should) buy the Interrobang journal from St Jude’s.

Potter prints

Yesterday, at one of the Clerkenwell Design Week events, we bumped into the very lovely Miraphora Mina and Eduardo Lima, who worked on the graphic design for all eight of the Harry Potter films. Collectively known as Minalima, they’ve recently launched The Printorium, an online market place for a series of lovely fine art prints based on their work for the films.

The prints come in two formats – limited editions of 1,000, embossed and signature stamped; and limited editions of 250, hand signed, which have additional hand-worked details like gold foiling. Where possible, they’re delivered by owl.

It’s really great to see this stuff living on after the movies, and heck, they’d make the most amazing gifts for Potterheads (we had to look that up).

The print below features some ads from from The Daily Prophet, the wizarding newspaper in the films.

Miraphora and Eduardo also have a selection of self-initiated prints available on the site, which are equally lovely.

There’ll be an exhibition of their work at The Conningsby Gallery in London from 17 to 28 June.

Poster Art 150

We dropped in to the London Transport Museum over the weekend to check out their truly fantastic new show, Poster Art 150.

Put on to celebrate the 150th birthday of the London Underground, the densely packed show is a collection of 150 of the best posters produced for the tube. It features a stack of brilliant designs from the big names in poster design, including Abram Games, Edward McKnight Kauffer, Frederick Charles Herrick, Tom Eckersley, Edward Bawden, Fougasse (above); as well as a few fine artists, including Man Ray and Howard Hodgkin.

The show is split into six thematic areas, which neatly sidesteps the possible problem that might have occurred had the exhibition been chronological – namely that the more recent designs just aren’t as good. Partly this is due to the rose-tinted nature of nostalgia, but it’s not just that – the earlier designs have an energy, simplicity and wit that seems to have faded away from most of the contemporary designs we see now on the tube. Hopefully this show might serve as an inspiration though, both to the commissioners at the tube, and also to designers.

And you know, it’s interesting to stop there and linger on that word ‘designers’.

It feels like most of the contemporary commissions on the underground are given over to fine artists rather than designers. Witness the Olympic and Paralympic Posters for London 2012, Mark Wallinger’s Labyrinth, and The Roundel: 100 Artists Remake a London icon – all commissioned through the Art on the Underground programme. Where are the commissions for designers? Surely a show like this demonstrates just how brilliant a tradition of design London Transport has – it’d be great to see them embracing that by commissioning more contemporary designers, rather than just fine artists.

Anyway, here are some of our picks from the exhibition:

‘A train every 90 seconds’, the first poster Abram Games designed for London Underground, in 1937.

‘Behind the seen’, one half of a pair poster by James Fitton from 1948.

‘The lure of the Underground’, by Alfred Leete (the chap behind the Britons: Lord Kitchener Wants You poster) from 1927. This is a glorious poster – a fantastic economy of line, with wonderful characterisation, as you can see in the detail below:

Austin Cooper’s poster advertising the V&A’s first major poster show in 1931, and depicting Mercury, the winged messenger of the gods.

One of the highlights of the show is the fantastic array of different and frequently bonkers typographic styles. Here are some lovely ligatures from Frederick Charles Herrick’s ‘The lap of luxury’ poster from 1925:

And two Os getting up close and personal in Charles Paine’s ‘Boat Race’ poster from 1921:

And Alan Rogers’ lovely styling of the word Underground from his 1930 ‘Speed Underground’ poster:

Tasty stuff.

‘For the Zoo’, from 1933, by Maurice A. Miles, one of many posters for London Zoo featured in the show.

‘Away from it all’ by M.E.M. Law in 1932 – has a tube train ever looked so dynamic?

And finally, ‘Cup final’ by Eric George Fraser in 1928, which puts you right in the heart of the action.

The show runs until 27 October, and is really outstanding – do get along if you can.

Being for the Benefit of Mr Kite!

So this is rather fine. A facsimile version of the playbill poster that inspired John Lennon to write Being for the Benefit of Mr Kite! from Sgt Pepper’s Lonely Hearts Club Band, printed by the lovely folks at New North Press, with wood engravings by Andy English.

Here are the lyrics:

For the benefit of Mr. Kite
There will be a show tonight on trampoline
The Hendersons will all be there
Late of Pablo Fanques’ fair, what a scene.

Over men and horses hoops and garters
Lastly through a hogshead of real fire
In this way Mr. K will challenge the world.

The celebrated Mr. K
Performs his feats on Saturday at Bishopsgate.
The Hendersons will dance and sing
As Mr. Kite flies through the ring, don’t be late.

Messrs K. and H. assure the public
Their production will be second to none.
And of course Henry the Horse dances the waltz.

The band begins at ten to six
When Mr. K performs his tricks without a sound,
And Mr. H will demonstrate
Ten somersets he’ll undertake on solid ground.

Having been some days in preparation
A splendid time is guaranteed for all
And tonight Mr. Kite is topping the bill.

Lovely stuff.

British Design 1948–2012

We nipped along this morning to the big new show at the V&A, British Design 1948-2012, a retrospective of the creative industries in Britain since the end of the Second World War. Timed to make the most of the Olympic hordes who’ll be hitting the capital this summer (the show ends the same day as the Olympic closing ceremony), it’s a clear attempt to grab back some of the glory from the sporting crowd. Which is no bad thing.

This is the first big exhibition of post-war design that the V&A has staged, and it covers fashion, furniture, fine art, graphic design, photography, ceramics, architecture and industrial products. It’s good to have all of that creative output lumped together, even if it does mean that you can only have a few key pieces from each discipline. Pleasingly there’s rather more graphic design than we’d anticipated, particularly from the period just after the war, with work from Abram Games, Edward Bawden, Reginald Mount, and David Gentleman.

The show is grouped into three main areas, Tradition & Modernity; Subversion; and Innovation and Creativity, which run more or less chronologically from 1948 to the present day. The three groupings don’t necessarily help, creating rather forced divisions between periods and styles. But there’s lots of great stuff on display, including four hand-painted maquettes for British road signs by Jock Kinneir and Margaret Calvert; and a page from Design Research Unit’s British Rail Design Manual.

The second section, Subversion, deals mainly with the rise of the art school and a more youth oriented period of design – so you get Jamie Reid’s Sex Pistols posters, Vivienne Westwood’s punk clothing designs, some Beatles album covers, and of course Peter Saville, Barney Bubbles and Neville Brody. Which is all well and good, but unfortunately this part of the exhibition is designed with a rather clichéd underground vibe – lots of black walls and industrial fittings, which really cheapens the work on display, making it feel like we’re walking through some sort of gaudy themed tourist attraction.

The third section focuses more on manufacturing industries, technology and architecture. Somehow the curators have managed to use Apple’s iMac as a pioneering example of British technology design (Jonathan Ive, the iMac’s designer is from these shores, sure, but come on…). Elsewhere there’s a model of Concorde, an E-Type Jag, a Topper sailing boat, and Kenneth Grange’s Brownie Vecta camera.

Meanwhile, graphic design in this section is represented by Wolff Olins’ hideous London 2012 logo (it just doesn’t get any better does it?); their Orange logo from 1994, and Alan Fletcher’s lovely V&A logo from 1989 (rather happily referencing Ian Dennis’s National Theatre logo, which is shown earlier in the exhibition).

Our favourite exhibit though was these Globoots from 1969:

They were unique at the time of their production, being double dip-moulded in two different plastics, so that the translucent uppers and opaque soles were made in one piece, without seams. And crikey, don’t they look like a certain coloured computer designed in the USA by a British bloke called Jonny?

Our only real gripe is that it features way too much art. The show is British Design 1948-2012, not British Art & Design 1948-2012, but we’re treated to work from Henry Moore, Eduardo Paolozzi, Allen Jones, David Hockney and Damien Hirst. Obviously there’s crossover between the disciplines, and many of those artists worked in design as well as art, but the pieces shown are their artworks rather than their design pieces. So for example, we get Hockney’s We Two Boys Together Clinging painting rather than any of his fantastic stage designs. This seems like a real shame, given how much great design has had to be left out to make room for the art.

Overall though, it’s a great show, and anyone interested in design should get along quick smart.

The show opens on Saturday 31 March, and runs until 12 August.

Picture credit for top image: Children crossing sign, by Margaret Calvert and Jock Kinneir for the Ministry of Transport, 1964 © Margaret Calvert

Aldwych Underground Station

Last week we got the chance to take a trip down into one of the many hidden parts of London, courtesy of the London Transport Museum’s Station Open Day at the now-closed Aldwych underground station. The station, on a little branch line off the Piccadilly line, has been closed since the early 90s. It originally opened in 1907 (though it was then named Strand station, being renamed Aldwych in 1915), and right from the start is was rather underused. So underused in fact, that the eastern platform wasn’t used at all for train services from 1914 onwards.

Though it, and the other platform, did operate as air raid shelters for the citizens of London during both wars, and also, during the First World War, for 300 paintings from the National Gallery. In the Second World War, the British Museum even used the station to store the Elgin Marbles. After the war the Eastern platform was used by London Transport to create full scale mock-ups of proposed station designs, and more recently the entire station has been used for film and TV productions, as well for Emergency Response Unit training sessions.

Because of all the film and TV work, it’s rather tricky to work out which bits of existing signage and advertising are real, and which are bits left over from various film art departments.

This roundel, which was leaning against one of the walls, looked fairly authentic though. It features Edward Johnston’s iconic Johnston Sans typeface, (and the roundel itself is Johnston’s design – read more about the roundel’s history), interestingly with the alternate version of the W. Possibly from around the mid 1930s?

There were also some genuine posters from the early 70s on one of the walls – check out the mind-expanding Planetarium poster:

Lovely stuff.

Wim Crouwel at Woodbridge & Rees

We nipped downstairs last week to catch the opening of the second instalment of the Wim Crouwel poster show at Woodbridge and Rees.

This second part of the show features twenty-three original posters, all of them for sale, from Crouwel’s time at the Stedelijk Museum in Amsterdam – they’re all from a collection owned by the fantastic Nijhof&Lee bookshop in Amsterdam.

The show is open from 12pm to 6pm daily (from 1pm on Saturdays, closed Sundays), and runs until 27 April. Well worth a look.

Reverting to Type

We nipped across to the private view of the fantastic new letterpress show Reverting to Type at the Standpoint Gallery in Hoxton last week. The private view was rammed, so we popped back the following day for a proper look, and to take some pictures.

The show has been curated our friends by Graham Bignell of New North Press (with whom we made the posters for the Twickenham Carnival), and Richard Ardagh of Elephant’s Graveyard (we worked with him on the London Design Guide). It features contemporary letterpress work from studios right across the world, as well as a selection of UK letterpress folk including Justin Knopp of Typoretum (that’s his Rustic Fete poster above), Hand & Eye Letterpress, The Hi-Artz Press, Flowers & Fleurons, and Mr Smith’s Letterpress Workshop (that’s his Damaged Letterpress print below; check out Creative Review’s film of their visit to his studio).

The show is really extensive, the walls packed with fine examples of work, ranging from seasoned professionals to students from local art colleges; and there are also a series of prints that have been created specifically for the show. Nearly all the work is for sale, either as one-off originals, or limited edition prints; both framed and unframed.

There’s also a range of cards and artists-books on sale, including the stunning The Travelling Bar Maid by Lisa Rahman, printed by Graham Bignell.

Take a look at all our shots from the show on Alistair’s Flickr set. The show is open daily from 10-6, running from now until 24 December, then re-opening from 4 to 22 January 2011.

We trundled over to Great Eastern Street yesterday to have a chat to the folks at Nobrow about a rather exciting project we’re working on (more on that mighty soon), and to check out their lovely shop, which opened in the summer.

Nobrow has fingers in various tasty pies: there’s Nobrow Press, the small independent publishing company which specialises in low edition illustrated books; Nobrow Small Press which creates extremely limited edition screenprinted books; a magazine (called Nobrow, naturally enough); and now the shop, which stocks all their publications, as well as a range of delicious silk-screened prints.

We particularly like Jack Teagle’s Jeff: Job Hunter, the story of a man who’s forced to retrieve the skull of the half-man half-beast from the dungeon of terror, just so that he can claim his job-seeker’s allowance.

Lovely stuff.


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Place:Ahlten, Hannover, Niedersachsen, Germany

Located inHannover, Niedersachsen, Germany

the text in this section is copied from an article in Wikipedia

Ahlten is a village in northern Germany with a population of around 5400. It belongs to the administrative district of the city of Lehrte, five kilometres east. Both towns are part of the multitown region "Region Hanover" with its own administration.

Ahlten is 10 km east of the City of Hannover which is the capital town of the federal state "Niedersachsen" (Lower Saxony).

Ahlten is since the 1920s the site of a large substation. From this substation in 1944 an experimental HVDC power line to Misburg was built (Lehrte-Misburg HVDC).

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Place:Groton, Middlesex, Massachusetts, United States

Alt namesGroton Centresource: USGS, GNIS Digital Gazetteer (1994) GNIS25003970
Coordinates42.6°N 71.567°W
Located inMiddlesex, Massachusetts, United States
Contained Places
Old Burying Ground
source: Getty Thesaurus of Geographic Names
source: Family History Library Catalog

the text in this section is copied from an article in Wikipedia

Groton is a town in northwestern Middlesex County, Massachusetts, United States. The population was 10,873 at the 2012 town census. It is home to two prep schools: Groton School, founded in 1884, and Lawrence Academy at Groton, founded in 1792. The historic town was a battlefield in King Philip's War and Queen Anne's War,[1] experienced incidents of insurrection during Shays's Rebellion, and was the birthplace of William Prescott, who commanded the colonial forces at the Battle of Bunker Hill.

the text in this section is copied from an article in Wikipedia

The area surrounding modern day Groton has, for thousands of years, been the territory of various cultures of indigenous peoples. They settled along the rivers for fishing and transportation. Historic tribes were Algonquian-speaking Nipmuc and Nashaway Indians.

The Anglo-American Groton started with the trading post of John Tinker, who conducted business there with the Nashaway at the confluence of Nod Brook and the Nashua River. The Nashaway called the area Petapawag, meaning "swampy land." Other pioneers followed the Algonquian trails from Massachusetts Bay, as Tinker had. They found the region productive for fishing and farming.[2]

The town was officially settled and incorporated in 1655, named for Groton in Suffolk, England. Called The Plantation of Groton, it included all of present-day Groton and Ayer, almost all of Pepperell and Shirley, large parts of Dunstable, Littleton, and Tyngsborough plus smaller parts of Harvard and Westford, as well as Nashua, New Hampshire and Hollis, New Hampshire.[2]

During King Philip's War, on March 13, 1676, Indians burned all buildings except for four Groton garrisons. One of those killed was John Nutting, a Selectman at Groton. Survivors fled to Concord and other safe havens, but two years later returned to rebuild.[2] Native Americans attacked the town again during the Raid on Groton in 1694 (King William's War).

In 1704 during Queen Anne's War, a French-Abenaki raid captured three Tarbell children among others, taking them to Kahnewake near Montreal for ransom, which was a thriving business between these opposing colonies. The two younger boys, John and Zachary, were adopted by Mohawk families and became fully assimilated, later marrying into the tribe and becoming chiefs. They were among the founders of Akwesasne, further upriver. Their sister Sarah was ransomed by a French family, converted to Catholicism and joined a Catholic order in Montreal. There are Tarbell-named descendants among Mohawk of Kahnewake in the 21st century.

In 1775, the common in front of the First Parish Church was an assembly area for Minutemen who fought in the Battle of Lexington and Concord.[2]

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Place:Lomas de Zamora, Buenos Aires, Argentina

NameLomas de Zamora
Coordinates34.767°S 58.4°W
Located inBuenos Aires, Argentina     (1550 - )
source: Getty Thesaurus of Geographic Names
source: Family History Library Catalog

the text in this section is copied from an article in Wikipedia

Lomas de Zamora is a city in the province of Buenos Aires, Argentina, located south of the City of Buenos Aires and within the metropolitan area of Greater Buenos Aires. It is the capital of Lomas de Zamora Partido and has a population of 111,897.

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All Chiseled Face shaving soaps are tallow-based and provide an exceptionally close, smooth, moisturized wet shaving experience. They are further loaded with tons of hydrating ingredients: aloe vera, coconut oil, castor oil, glycerin, mango butter, avocado butter, and silk powder. They whip up easily into a frothy lather with admirable staying power, so you can get the passes you need without additional lathering.

This grooming essential comes packaged in a plastic tub with lots of extra space for creating your foam. Lather right in the tub so you don't lose any precious lubricant.

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text:
A judicial review it was hoped would stall health board plans to remove a number for services for women and children from Withybush Hospital has failed.

Justice Hickinbottom, who heard the four day judicial review last month into the processes carried out by Hywel Dda Health Board in its preparation of plans for service centralisation at Glangwili, handed down his verdict this morning.

He had also heard arguments relating to Llanelli’s Prince Philip Hospital as well as examining the Health Minister’s role in the changes.

Lead campaigner Dr Chris Overton, chairman of SWAT, said: “We must remember that this is not an endorsement of the Health Board and Health Ministers plans for service change. It was simply a legal argument on whether the Health Board followed the rules and on the powers of the Health Minister.”

He is encouraging residents to now start writing to the Human Rights and Equality Commission.


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Blood of Dragons

The 'A Song of Ice and Fire' MUSH

Application for Restricted CGed Characters

This is the application form for Restricted and CGed characters for Blood of Dragons MUSH. The completed application should be emailed to .(JavaScript must be enabled to view this email address) from the email address with which you wish to be registered on the game. The subject of the email should be Application: <Name of Character> <DBNUM of Character>.

1) Questions

  • How much MU*ing experience do you have? Please note what games you have played on, any characters you have played for a significant amount of time on said games, and what type of codebase (MUSH, MUX, MOO, MUD, etc) these games use. At least 1 year of MU*ing experience is required, and MUDing experience will generally not be considered enough on its own.
  • Which books in the A Song of Ice and Fire series have you read? You should have read at least the first three novels and preferably more. In particular, certain concepts may require that the player has read the whole series.
  • While there are no specific requirements in terms of hours of play per week that we expect from Restricted characters, we do expect more regular activity from those than from Open characters. We also expect players of Restricted characters to show more initiative in terms of creating roleplay and proposing plots and we expect them to be good examples for other players. Do you feel comfortable with these requirements?

2) Concept

Please provide a reasonably detailed write-up of your view of and your plans for the character, based off the information already in the +CDB, by answering the questions below and adding any other relevant information. For Restricted characters the Admin are particularly keen to see ideas that can generate roleplay for other players and that allow the player of the Restricted character to set a good example and be a roleplay leader.

  • Why did you choose this character?
  • How would you describe what this character is like?
  • What do you think you want to do with this character?

3) Logs

  • Please include two logs of prior role-play with this application. Please include these as separate plain-texts attachments to the email. If you do not have any logs available alternative solutions can be arranged by contacting the Admin at .(JavaScript must be enabled to view this email address).


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Just Outside My Door 03/15/12

March 21, 2012

Hi folks, I hope you are having a good day today. I never know what the day will be like weather wise when you get this paper, because I usually write this column a week ahead....

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Training the Next Generation of
Christian Leaders to God’s Glory

Technology is an exciting, integrative learning experience for each child at Weston Christian. Our computer technologies enhance the learning experience, increase personal prod uctivity, improve logical thinking skills, encourage collaborative skills, develop research skills, organize thoughts, sharpen problem-solving skills, promote personal accountability and assist in the production of high quality, aesthetically pleasing portfolios and presentations. WCA is committed to using technology in developing academically strong God- honoring students.

As a portion of our integrative technology in the classroom, Weston Christia n has created a digital opportunity for each middle school student to be assigned a Chromebook with wireless capability. Students have the ability to engage in interactive curricul um, perform virtual lab experiments, and go paperless for many assignments. They can create an essay, design a project or take an assessment, and send the results directly to the teacher, who, in turn, can make recom mendations or grade the assignment, and send it back to the students. Several of our textbooks are available on the Chromebooks as interactive curriculum which enhances student learning opportunities. Cloud-based technology means the student may access curriculu m and assignments at home or elsewhere from any device - from smartph  nes to tablets to home computers.

WCA elementary and preschool students have access to the award-winning Learn Pad android tablet as an interactive, wireless yet safe learning component. Each student has a Learn Pad to use as the teacher directs learning opportunities with interactive lessons, videos, and assessments. The tablet has a "lock in" feature to keep the student on task and safe from web surfing. The teacher may see from her control device what each student is viewing on the LearnPad and send encouraging or corrective individ ual messages as the student progresses through the assigned lesson. Virtual labs and digital lessons advance the learning experience for each child. Realizing that "one size does not fit all," the teacher may select and assign resources suitable to the student's level of understandi ng which boosts learning for the average student while keeping the advanced student appropriately challenged.

The preschool has one set of LearnPads that is shared. Grades KS through 3rd each has a set of shared Learn Pads per grade level while each student in grades 4th and 5th has his or her own individual Learn Pad. A set of Learn Pads is also available in the school library.

Weston Christian has placed an LCD projector, digital presenter, interactive white board with student responders and DVD player in each classroom. The teachers are trained in the use of each of these devices and use them in lesson formation. These technologies complement the interactive possibilities with student Chromebooks and LearnPads . WCA desires to keep abreast on the best means to communicate knowledge and information to each student while developi ng age-appropriate critical thinking skill opportunities and analysis.

In addition to classroom technologies, Weston Christian has a dedicated state of the art touch screen computer laboratory where K3 through 5th grade students receive weekly guided instruction covering computer basic applications,  word processing, spreadsheets, graphics, slide show presentations, research, Internet use, and computer ethics. The upper elementary and middle school have concentrated practice on proper keyboarding to build student "words per minute" typing in preparation for future high school essay and research writing.

A high school course is provided for all middle school 6th and 7th graders. Sixth grade takes a one semester Computer Applications course which develops in-depth skills in Microsoft Windows and Office  Suite. The course continues building keyboarding skills  and covers hardware, software, operations, and troubleshooting. This course earns a high school half credit and fulfils most high school entry level technology requirements. Seventh graders enroll in our Web Design class, a one semester course that teaches how to build a web page using Adobe Creative Suite, HTML and Google applications. Keyboarding skill-building continues. This course is accepted as a half credit technology elective at most high schools.

Middle school students have the elective option of a Multimedia Technology course offering guided practical application and formal instruction . A popular class, students learn the technical coordination of school chapels, assemblies, and special events. They gain amazing hands-on experience in managing sound speakers, microphones, mixing board, cabling, wiring, spotlighting, stage lighting, camera operations, technical troubleshooting and production preparations. In the formal instructional time, students learn MediaShout and Microsoft Office PowerPoint softwares. They are able to create dynamic and powerful visual presentations for chapels and events. Students also learn both digital photogra phy and videography techniques and editing.

Freedom Run 5K


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Now Showing

Clyfford Still. For the opening of the Clyfford Still Museum, founding director Dean Sobel has installed a career survey of the great artist. Clyfford Still: Inaugural Exhibition starts with the artist's realist self-portrait and features his remarkable post-impressionist works from the 1920s. Next are Still's works from the '30s, with some odd takes on regionalism and some figurative surrealist paintings. Sobel saw a seed for Still's abstract expressionism in the line following the shoulders of the figures in these works that appears throughout the artist's career. Then there's his first great leap forward as the representational surrealist works give way to abstract ones. Still makes his big break in the early 1940s, becoming the first artist to arrive at abstract expressionism. Seeing so many classic Stills at once is an indescribable experience. Looking at the work dating from the '40s and '50s, it's easy to see why Still is regarded as one of the great masters of American art. Sobel has also done a survey of Still's career in miniature using the artist's works on paper. Through March 31 at the Clyfford Still Museum, 1250 Bannock Street, 720-354-4880, Reviewed November 10.

Colorado Abstract Expressionism. Presenting an exhibit on abstraction in Colorado at the Kirkland makes a lot of sense, since the museum's namesake, Vance Kirkland, was the first local abstract painter to have elicited notice. Plus, director Hugh Grant has done more to champion the region's art history than anyone else. The show Grant conceived is really four interrelated exhibits. First is the Kirkland solo, with Grant installing the main exhibition room with the artist's work, as well as putting pieces on display in the old studio. Then, in the smaller exhibition room, there's the work of Kirkland's contemporaries. Scattered throughout are the two other legs of this sprawling show — the abstract sculptures and later abstraction in painting — separated from the permanent displays only by the colored strips on the identifying labels. The abstract-sculpture group includes pieces by both historic and contemporary artists, as does the later-abstraction section. There are so many marvelous things in Colorado Abstract Expressionism, its amorphousness winds up being a minor complaint. Through April 1 at the Kirkland Museum, 1311 Pearl Street, 303-832-8576, Reviewed December 8.

Irene Delka McCray and Barbara Groh. Sandra Phillips has stocked her namesake gallery with the work of solid talents. The current show, Threads: Irene Delka McCray and Barbara Groh, is a case in point, putting together pieces by an important Denver artist (McCray) and those of an artist who used to live here (Groh). McCray, whose work falls into the contemporary-realist category, is an influential teacher who has spawned a virtual school of followers. In these latest paintings and drawings, she essentially abandons the figure — her former signature subject — and replaces it with elaborate and breathtakingly detailed depictions of drapery. Groh's work, mostly in the form of drawings, is completely abstract, but somehow works well with the McCrays. A set of mixed-media pieces that use clay as though it were watercolor are gorgeous. Also interesting are the fragments from an installation she did some years ago at MCA Denver, in which automatist lines in graphite were applied to paper. Through February 25 at the Sandra Phillips Gallery, 744 Santa Fe Drive, 303-573-5969,

Katie Caron and Martha Russo; Jerry Morris. An over-the-top installation anchors Oxytocin: Katie Caron and Martha Russo, the title of which refers to a hormone associated with childbirth. Though both artists have established reputations in ceramics, this installation falls into the mixed-media category, as clay is just one of several materials used. And it's clearly part of the same series with "Apoptosis," which was displayed at the Denver Art Museum last year. Caron and Russo, both from northern Colorado, have each enhanced — annotated? — the main work by including their individual works, the ideas of which were brought together in this singular collaborative piece, which is fabulous. Also on view are the two installations that make up Pendent Tendencies: Jerry Morris. Taking on big issues such as wisdom and politics, Morris uses hanging Plexiglas and ceramic and plastic elements to abstractly lay out his ideas, which are heavily influenced by Eastern philosophy. Morris, a relatively new member of this up-and-coming co-op, is an emerging artist who lives and works in Colorado Springs. Through January 28 at Ice Cube Gallery, 3320 Walnut Street, 303-292-1822, Reviewed January 19.

Upcoming Events

Robert Mangold, et al. This sprawling exhibit begins on the grounds of the Arvada Center and continues through the half-dozen exhibition spaces on the lower level inside — and it has to be considered the most important exhibit of the season. Robert Mangold Retrospective: Works From 1955 to Present lays out the Denver artist's career in rough chronological order, though sometimes pieces of vastly different dates are shown together if they are from the same series. Mangold's concern is movement, either actual or conceptual references to it. The exhibit was put together by Collin Parson, who is rapidly distinguishing himself as one of the city's top curators, even if his official role at the center is as exhibition designer. Parson has also put together two other significant shows on the upper level. First is Homare Ikeda/Monroe Hodder, which pairs the organic abstractions by Ikeda with the post-minimal expressionist paintings by Hodder. In the Theater Gallery is Lost and Found: A North Sea Collaboration, featuring sculptures by Carl Reed and Thomas Claesson. These shows are not to be missed. Through April 1 at the Arvada Center, 6901 Wadsworth Boulevard, 720-898-7200,

West of Center. Rambling over the three levels of MCA Denver, this exhibit is part of an informal national trend that aims to upwardly reappraise the place of the American West in the art world. The show, the full title of which is West of Center: Art and the Counterculture Experiment in America, 1965-1977, was organized by director Adam Lerner and his wife and co-curator, Elissa Auther; they also co-edited a scholarly catalogue on the subject, the scope of which is far broader than that of this exhibit. The displays are not sequential, but rather a series of completely autonomous presentations, each devoted to a different part of the topic. The curators have cast a wide net, in the process deconstructing standard ideas about art in the West from that time, typically seen as being dominated by psychedelic posters — which aren't even included here. Instead they present the Cockettes drag-queen group, Black Panther broadsides and the utopian Ant Farm Collective. The show's crescendo centers on Colorado's own Drop City. Through February 19 at MCA Denver, 1485 Delgany Street, 303-298-7554, Reviewed December 22.

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Makeover Assistant
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Hairstyles Finder 2014 - Find Your Perfect Haircut
Avon’s latest fragrance collaborations: Fergie and Lacroix

Christian Lacroix Absynthe for Avon

The scent is full of sexy floral notes and rich wood. Absinthe extract, Golden Freesia and Green Anise provide the top notes.

The mid note medley is Orchid, Saffron, and Narcissus Nector and underlying tones hint at Antique Wood, Ebony Musk, Myrrh, Amber - how could you fail to be seduced?

Like the first two Christian Lacroix fragrances for Avon - Christian Lacroix Rouge and Christian Lacroix Noir - Absynthe is captured in a bottle inspired by an intricate bull-fighting cape that Lacroix famously transformed into a couture gown.

To better reflect the whimsical world of absinthe, Lacroix modified this famous design for his perfume, which is featured in metallic gold ink on the bottle.

In a bold departure from Rouge and Noir, Absynthe is a brilliant shade of chartreuse -a statement color that Christian Lacroix cites as an inspiration that resonates with his designs.

Details of next year's collaboration with Black Eyed Peas singer Fergie are still secret. According to reports Fergie has has her hand in developing the fragrance, perfume bottle and packaging and is even coming up with the name.

Avon's previous partners have included include Reese Witherspoon, Patrick Dempsey and Courteney Cox Arquette. We can't wait to see what Fergie comes up with.

As you know, you cannot buy Avon products in store - so either wait for your local Avon lady to call or buy online at

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First Drive

2014 Lexus CT200h review

  • Lower list price and emissions
  • Revised suspension; CO2 from 82g/km
  • On sale now, priced from £20,995
Words ByVicky Parrott

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As is obvious from the brash new grille, the Lexus CT200h has been face-lifted for 2014.

The petrol-electric hybrid, that competes with the Audi A3 Sportback and BMW 1 Series, also gets revised suspension and – in base S trim with standard 15-inch wheels – even lower CO2 emissions of just 82g/km (down from 87g/km).

Only the S gets such angelic efficiency. Higher trim grades push emissions up to 94g/km, although all versions fall into the 10% band for company car tax (rising to 11% when the new brands are introduced in April).

List price has also been cut by between £1000 and £1500 depending on trim level, with prices now ranging from £20,995 up to £29,495. The only CT200h model that hasn’t had a reduction in price is the mid-spec Advance trim, which retains its £23,995 price tag but has been given substantial equipment upgrades, with front and rear parking sensors, heated front seats and sat-nav now standard.

Interior updates across the board include a new steering wheel (borrowed from the latest Lexus IS) and new 7.0-inch colour display.

What’s the 2014 Lexus CT200h like to drive?

In base S trim, complete with 15-inch wheels and new, softer suspension, the CT200h is more comfortable than ever, but unfortunately it still doesn't ride anywhere near as well as the class leaders. It's settled much of the time on the motorway, and at lower speeds it softens the edges of bumps and potholes reasonably well enough, but it’s still very choppy over rough town roads.

The 134bhp powertrain remains unchanged, so you get the eerie but enjoyable refinement of pure electric power at low speeds, in stark contrast with the buzzy 1.8-litre petrol motor, which kicks in regularly. As before, the CVT automatic gearbox is a frustration, allowing the petrol engine to rev into its harsh upper ranges even under moderate acceleration.

While the CT200h goes round corners perfectly well, the steering is slow and lacking even a remote sense of connection, and the brake pedal response is inconsistent and tricky to modulate for smooth stopping.

What’s the 2014 Lexus CT200h like inside?

The new colour screen that features on base versions is a big improvement. The majority of premium family cars now have high-tech infotainment systems, and the fact that there wasn't one in the CT was a big omission for a premium hatchback.

A high-set, clear display and rotary controller, not dissimilar to BMW’s iDrive, improves useability. The CT200h's standard system is also a lot easier to use than the fiddly mouse-controlled system that you get if you go for the £1995 Premium Navigation option.

A more basic £995 navigation system is another new addition for 2014, and it's both better value and easier to control as it utilises the standard rotary dial.

Otherwise, the Lexus remains unchanged, which means a comfortable driving position and a reasonably smart (if not class-leading) cabin.

As before, the rear seats are fine for children or shorter adults, but there is usefully more rear passenger legroom in plenty of rivals, including the Audi A3 Sportback and the cavernous Skoda Octavia.

It’s the same story in the Lexus’ boot, where the batteries required for the electric motor result in a high boot floor, and less overall space than you get in most rivals.

All models get a DAB radio, climate control, automatic wipers, two USB sockets and Bluetooth as standard.

Should I buy one?

The CT200h’s impressively low CO2 emissions make it one of the cheapest company car options in the class. As a 40% taxpayer, you'll pay just £70 a month (or £77 from April onwards when new tax bands are introduced). That is considerably less than it'd cost you to run an Audi A3 Sportback 1.6 TDI or a BMW 116d ED.

However, these low costs don't make up for the fact that the CT200h is a resolutely mediocre car, with neither the refinement, handling, practicality, nor the perceived cabin quality of key rivals. As a result, apart from a great reliability record and dealer service reputation, the CT200h remains very tricky to recommend as as a company car, let alone a private buy.

Efficiency aside, then, the Lexus CT still falls short in far too many areas.

What Car? says...

Audi A3 Sportback

Skoda Octavia

Lexus CT200h

Engine size 1.8-litre petrol plus electric motor

Price from £20,995

Power 134bhp (combined)

Electric motor torque 153lb ft

0-62mph 10.3 seconds

Top speed 112mph

Fuel economy 78.5mpg

CO2 82g/km


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Stranger Than Paradise DVD Review

Stranger Than Paradise

September 7, 2007

Director: Jim Jarmusch,
Starring: John Lurie, Richard Edson, Eszter Balint, Cecillia Stark, Danny Rosen,

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DVD Review

Stranger Than Paradise (1984) not only announced the arrival of an original filmmaker with Jim Jarmusch, but also signaled the arrival of a new wave of American independent cinema along with the Coen brothers’ Blood Simple (1984) and Spike Lee’s She’s Gotta Have It (1986). Jarmusch’s film came as a response to the impersonal commercial filmmaking of the Hollywood studios. His film was originally nothing more than a 30-minute short film shot from 40 minutes of extraneous film stock donated by German filmmaker Wim Wenders. Eventually, Jarmusch came into a small sum of money — $120,000 worth — and was able to complete the film.

Stranger is a road film that features two down-on-their-luck losers living in New York City: Willie (Lurie) and Eddie (Edson). Their mundane, go-nowhere existence is disrupted by the arrival of Willie’s cousin, Eva (Balint) from Hungary who stays at his place for a few days. He’s a lousy host, refusing to show her around the city and leaving her alone while he and Eddie go to the track to bet on the races. When he is around they spend their time together watching lots of television or long stretches where she watches him sleep. She finally gets sick of his lack of hospitality and goes to Cleveland to stay with their Aunt Lotte (Stark).

John Lurie plays a poor, disenfranchised hipster that lives in a run-down apartment in a desolate part of the city. Jarmusch makes it look even drabber with the grimy black and white cinematography by future director Tom DiCillo. Richard Edson is Willie’s nice if not slightly dim-witted best friend who develops a crush on Eva. The actor has a wonderfully expressive face and an infectious charm that is responsible for a large part of the film’s appeal. Jarmusch casts decidedly unglamourous actors that look like real people and not bland, perfect-looking movie stars. Lurie, Edson and Eszter Balint have interesting looking faces that tell their own story.

Described by Jarmusch as The Honeymooners by way of Ozu, Stranger introduced his trademark style: minimal sets and long, uninterrupted takes with very little camera movement that are punctuated by the occasional fade to black. It is a funky mix of deadpanned American humour and a European visual sensibility. Stranger was made during the dawn of MTV and its success seems rather odd considering that it was the antithesis of most films being made in America at the time. The rather slow, meandering pace of Stranger did not conform to the quick cut, music video style that was fashionable at the time. His characters also lacked any sort of real ambition which was a world apart from most mainstream films. His approach seems downright revolutionary now as people’s collective attention spans have gotten considerably shorter.

Stranger Than Paradise won the Camera d’or at the 1984 Cannes Film Festival and was soon heralded by many critics as a watershed film in American independent cinema. Much has been written about the film’s outsider view of America and to be fair, the sparse visuals and down-on-their-luck hipsters that populate this film certainly flies in the face of the materialism of the 1980s, making it just as unique and significant today as it was back then.

Special Features:

Fans of this film can finally toss the crappy, bare bones MGM DVD as Criterion has given Jarmusch’s film their deluxe treatment.

Perhaps the most substantial extra is the inclusion of Jarmusch’s feature film debut, Permanent Vacation (1980). It’s about the story of Ally Parker (Chris Parker), the prototypical Jarmusch protagonist – an alienated outsider. Like Willie in Stranger Than Paradise, Ally lives in a run-down, sparsely furnished apartment in New York City. Jarmusch’s stylistic approach is intact but with an even more non-sensical narrative that seems avant garde in nature.

“Kino ’84: Jim Jarmusch” was produced for German television in 1984 and features interviews with some of the cast and crew from Permanent Vacation and Stranger Than Paradise. They all look so young and were just starting out. It’s a nice snapshot of the times with the normally media-shy Sara Driver (Jarmusch’s significant other) recounting filming anecdotes.

“Some Days in January 1984” is a 14-minute, Super 8 behind-the-scenes silent film shot by Tom Jarmusch. It looks like home movies as we see cast and crew freezing in Cleveland.

“Location Scouting” is a collection of black and white photographs taken while Jarmusch was checking out locations to use in the film. Sadly, they don’t say where in Florida they were but these stills do look excellent.

Finally, there are U.S. and Japanese trailers for the film.

J.D. is a freelance writer who is currently doing research for a book on the films of Michael Mann. He likes reading anything written by Jack Kerouac, James Ellroy, J.D. Salinger, Harlan Ellison or Thomas Pynchon. J.D. is currently addicted to the T.V. series 24 and enjoys drinking a lot of Sprite. This is not a blatant plug for the beverage but if they ever decided to give him a lifetime supply he certainly wouldn’t turn them down.
view all DVD reviews by JD Lafrance

Rating: 97%

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There's a moment at the end of the Donmar's King Lear when the lights come up a fraction and we hear the distant sound of birds. It's an elegiac, poetic touch perfectly in keeping with Derek Jacobi's minutely observed performance.

The other birdsong in the West End is that heard by the soldiers at the end of the carnage in the French trenches of the First World War in Trevor Nunn's brilliant production of Rachel Wagstaff's play based on Sebastian Faulks's remarkable 1993 novel.

Both Faulks and Wagstaff took to the Comedy stage yesterday -- between the matinee and evening performances of Birdsong -- to discuss their work in front of an audience of two hundred or so schoolchildren.

As chairman, I had very little to do apart from prompt the early enquiries about the birth of the project. And an unexpected bonus: Ben Barnes, so perfect as Faulks's hero Stephen Wraysford, joined in too, just for fun.

Barnes spoke charmingly, and modestly, about his involvement in one or two of the earlier Birdsong film projects that have never got off the ground. And the minute he heard that Trevor Nunn was on board as director, he'd made himself irresistibly available. This was his first stage role since taking over in The History Boys in the West End four years ago. He squirmed a bit when I asked him about the boy band he formed after leaving the National Youth Music Theatre; he's a big star now, not only in the Narnia films, but for this superb performance at the Comedy.

Faulks himself then revealed that he had suggested to Imogen Stubbs, Sir Trevor's wife, at a literary function where they met, and happened to be sitting together, that her husband might want to direct the play. And so it turned out.

I like this idea of big shows being arranged on such an informal basis, though I'm sure the agents all piled in behind them later on. The only real surprise to me is that Birdsong has not been much recognised in the awards so far. The West End has, after all, produced only two new plays of note and substance this year: The Little Dog Laughed (which was American) and Birdsong.

Wagstaff bubbled enthusiastically about why she had wanted to adapt the novel in the first place, and very interestingly about the choices she had made in doing so. Faulks admired her persistence in adopting what he thought was an impossible task, but has come round to both enjoy, and be proud of, the stage adaptation.

The other thing he has enjoyed about the whole process has been the company of actors and backstage folk, to such an extent that he is almost certain to write something himself now for the theatre.

This would be a major breakthrough. Once upon a time, novelists like Graham Greene and David Storey were always writing plays. But Faulks's peers and leading contemporaries -- such as Martin Amis, Ian McEwan and Jonathan Coe -- go straight to screen or cinema adaptation. You sense a mutinous hostility towards the theatre anyway in their work and public pronouncements.

We didn't have time to discuss this last night, but I wanted to ask Faulks about David Hare's submission that it's much harder to write a good play than it is to write a good novel. Perhaps once he's had a go, he will be able to either corroborate or refute this view.

I'm delighted to learn, meanwhile, that Rachel Wagstaff herself is busily writing away, both original material and a couple of adaptations that have come her way since Birdsong. For the moment, she was keeping mum about them, as contracts have to be finalised and signed.

But I hope the theatre community doesn't come to the end of the year thinking that the only promising new playwrights to emerge were those already over-lauded teenagers at the Royal Court.


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Most targeted cars, bakkies in SA

Crime stats reveal which vehicles are most targeted by criminals in South Africa. Your car or bakkie could be on the hit-list...

Toyota deserves more credit

2013-03-18 16:24

BETTER THAN YOU THINK: Did you know that Toyota was the first manufacturer to create the SUV on a car platform as well as successfully create a gas-electric vehicle?

Respect is a hard commodity to come by these days, more so for companies whose mishaps overshadow its accomplishments.

The Detroit News reported that in recent years, Toyota displaced General Motors from the perch it had occupied for decades as the world's largest automaker. But while the Japanese automaker's business acumen is held in high regard, their ability to build vehicles is derisively likened to that of an appliance manufacturer.

The company rarely gets the credit it deserves for innovation and influence.

Back in 1995 the automaker arguably created the compact SUV market with the launch of the first-generation RAV4. Three generations and 4.5-million sales later the RAV remains a runaway success for the Japanese automaker.

At the time, American automakers were cashing in building SUVs using full-size bakkie platforms. Given that GM and Ford each typically sold about 1-million of these annually, using these platforms to create SUVs reduced costs.

The automaker had a vehicle in this space: the 4Runner, a rugged truck, built atop their compact bakkie platform. While popular, neither the 4Runner, nor the bakkie platform it used, sold in the numbers seen by Detroit automakers.

Wanting to tap into this trend the automaker, which only produced car platforms, used this perceived disadvantage to their advantage.

It understood that while the increasing popularity of SUVs came from their rough, go-anywhere-lifestyle image, fewer than 5% of buyers ever took their SUVs off-road. Buyers increasingly used them as a replacement for mini-vans and station wagons.

By using a car platform, the automaker could still deliver all-wheel-drive capability along with a more refined driving experience.

According to the Detroit News the RAV4 was met with incredulous reviews when it debuted. But since then its competitors have followed with 45 different crossover models. Today, truck-based SUVs are the exception, not the rule thanks to Toyota.

It's a similar story with gas-electric hybrids, a long-abandoned engineering concept that automakers had unsuccessfully toyed with for a century. The Japanese giant dusted it off and perfected it, changing the face of fuel-efficient cars.

And let's not forget that the Japanese automaker pioneered the production system that all automakers now use to manufacture vehicles.

Critics often deride the company for its bland styling and/or unrewarding driving experience. The reality is this: Toyota has changed the nature of the automotive industry, just like GM once did.

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Garage fire ignited by a torch, ruled a total loss

Published: Saturday, January 12, 2013 @ 7:41 PM
Updated: Saturday, January 12, 2013 @ 7:41 PM

            Garage fire ignited by a torch, ruled a total loss

A garage located at 3873 Lawrenceville Drive is considered a total loss after it caught fire from flammable materials ignited by an acetylene torch Saturday afternoon just after 2 p.m.

German Township fire crews were able to respond within a minute of the call since the location was only five houses down from the agencies firehouse, officials said. In spite of the fast response, the garage was engulfed upon arrival.

Assistance from Pike Township was requested.

The main house was only four feet from the burning garage, but crews were able to beat back the fire, stopping it from spreading, officials said. Some siding on the main house and the neighboring residence melted from the heat of the flames.

The owner had been working with a torch in the garage, fire officals said. No one was injured.

New restaurants, retail shops coming to Oxford

Published: Friday, October 28, 2016 @ 2:25 PM
Updated: Saturday, October 29, 2016 @ 4:37 PM

New restaurants and retail shops are coming to a development on the former Walmart site in Oxford.

Bishop Square — a 50,000-square-foot mixed use development at 419 Locust Street that currently includes 272 units of student housing — is adding Marco’s Pizza, Tim Hortons, a Sprint retail store and a bank.

“The final stage is important because we’ll be building the outlots that sit along Locust, which will serve as the front door to the whole project,” said Josh Rothstein, of Blue Ash-based OnSite Retail Group, which is handling marketing and leasing for the project. “The retailers and restaurants are excited to open their locations here because being across from Kroger, TJ Maxx and Dollar Tree provides tremendous exposure, great visibility and easy access to the shoppers already passing through this part of town.

“It’s also easily in walking distance to not only the concentration of Miami’s campus, but also the off-campus housing population,” Rothstein said.

Two other storefronts on the site are being are in the process of being leased, he said.

Existing Bishop Square tenants include Oxford Lane Library, Mercy Health - Orthopaedics and Sports Rehabilitation, Great Clips and Cloud 9 Vapor Lounge. A second-floor above some of those tenants includes office space.

Alan Kyger, Oxford’s economic development director, said the community is excited to see the Bishop Square project moving into its final phases.

“In 2005, when Walmart moved away from this site, the abandoned building that was left behind was a large eyesore for the Tollgate Business District, as well as for the whole community,” Kyger said. “Developer Robert Fiorita is to be commended in providing such a good-looking redevelopment project.

“The addition of these merchants will provide the citizens of Oxford additional shopping options. I expect each of these new businesses to be very successful in this new development.”

Marco’s Pizza has 700 stores in 35 states, doubling in size over the last five years and on track to 1,000 stores by the end of 2017, according to the company. Area locations include Middletown, Monroe, Hamilton and Liberty Twp. in Butler County.

Tim Hortons has more than 4,400 locations in the United States, Canada and the Middle East. Area locations include Monroe, Springboro and Maineville in Warren County.

Mother, 25, sent to prison in infant’s death

Published: Thursday, September 20, 2012 @ 5:11 PM
Updated: Thursday, September 20, 2012 @ 7:06 PM

A 25-year-old mother convicted of involuntary manslaughter and child endangering in the 2009 death of her 6-month-old son was sentenced Thursday to three years in prison.

Amber Gipson was convicted on Sept. 4 on single counts of each crime, the Montgomery County Prosecutor’s Office said.

Her son was found dead July 29, 2009, in a laundry basket beside a bed in which she was sleeping, according to police. Toxicology tests found cocaine in the blood streams of Gipson, who was 23 at the time, and the baby.

The county coroner ruled the cause of death as positional asphyxia.

“This mother utterly failed to protect her child from harm,” Heck said. “Parents have a responsibility to care for their children and cannot do that when they are high on cocaine, as this mother was.”

According to court records, Gipson has a long arrest record, including for prostitution-related offenses. In 2005, she served six months for grand theft auto. In 2006, she served six months for drug trafficking in crack cocaine.

Springfield stabbing suspect pleads not guilty

Published: Tuesday, July 17, 2012 @ 12:38 PM
Updated: Wednesday, July 18, 2012 @ 11:28 AM

A man accused of stabbing another man to death with a serving fork Tuesday morning plead not guilty to murder in a court appearance today.

Laune P. Dozier, Jr. also plead not guilty to an unrelated charge of aggravated robbery. His bond was set at $1 million.

Dozier was taken into custody by Springfield Special Operations Team officers Tuesday afternoon after a two-and-a-half hour standoff.

After firing several smoke devices into the building at 730 East St. and ordering a man to come outside, SOT officers escorted Dozier to a police van just after 2:30 p.m.

He was wanted in the fatal stabbing of Jason Wones early Tuesday morning at 338 Lincoln Park Circle. A warrant was issued for Dozier on a charge of murder Tuesday morning, according to Clark County Municipal Court records.

According to the warrant affidavit, Dozier, 19, was among a group of people drinking at the Lincoln Park address overnight. Witnesses reported that he began assaulting a female just before 7 a.m. and Wones attempted to intervene.

Dozier allegedly grabbed a two-prong serving fork from the kitchen and began stabbing Wones, who attempted to defend himself. At some point he was stabbed in the left side of his chest, according to the affidavit.

Dozier allegedly fled on foot before the witnesses called 911. Medics transported Wones to Springfield Regional Medical Center where he was pronounced dead.

SOT officers had been staged at the corner of East and Essex streets since about noon Tuesday. It is unclear what Dozier’s connection to that address is. His listed address on court documents is nearby on East Liberty Street.

East Street was shut down between Selma and Summer streets during the standoff.

Britanie Jackson lives on the other side of the duplex on East Street. She told News Center 7 she is not aware of any criminal activity going on there and that the building is “normally pretty peaceful.”

She said she was surprised earlier today when she attempted to walk home and found police had the street blocked and would not allow her to go to her house.

Man on scooter injured in Troy crash

Published: Tuesday, July 17, 2012 @ 11:53 AM
Updated: Tuesday, July 17, 2012 @ 11:53 AM

Police in Troy said a driver is expected to be cited in a crash that injured a man riding a motor scooter.

The crash happened on South Short and Race streets in Troy Tuesday morning, according to reports.  Robert Dunfee, 70, of Troy, lost control of his scooter while attempting to avoid a collision with a car making a left hand turn in front of  him.

Dunfee has only had the scooter since July 12. He was taken to Upper Valley Medical Center near Troy for treatment of road rash.

The driver of the car is expected to be cited for being left of center, police said.


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Le Toux - SKC
Photo by Bob Frid/Vancouver Whitecaps FC

Whitecaps FC suffer first home defeat of 2012 to Sporting Kansas City

VANCOUVER, BC - In the first of two home matches on Bell Pitch at BC Place this week, Vancouver Whitecaps FC (2W-2L-2D) suffered their first home defeat of the season after a 3-1 loss to Major League Soccer leaders Sporting Kansas City (7W-0L-0D) on Wednesday evening.

A first-half goal by Aurelien Collin set up the Eastern Conference leaders for a seventh straight win to start their 2012 MLS campaign, with the match winner coming as a result of a second-half own-goal from Whitecaps FC defender Martin Bonjour. Kei Kamara scored Kansas City’s third goal before Sebastien Le Toux struck a late consolation for the Blue and White.

“Congratulations to Kansas City, they put on a textbook road performance. They defended well and scored on set-plays and the counter-attack," said Whitecaps FC head coach Martin Rennie. "It wasn’t a lack of effort or desire, but there were a lot of technical breakdowns where it cost us goals, both for us and against us, so it’s disappointing from that perspective. Over the course of a season, you’re going to have games like that, but the most important thing for us is to see how much character we have in our team and you’re only going to find that out when you have disappointing results. I believe we do have good character and I’m excited to work on that over the next couple of days and see how much belief we have going into our game with Dallas.”

Rennie made one change to the side that started Vancouver’s defeat at San Jose Earthquakes earlier this month. Atiba Harris returned from suspension to play in midfield and in place of Jun Marques Davidson, with the home side set out in a 4-2-3-1 formation. Though they played versus Real Salt Lake on Saturday, Sporting KC head coach Peter Vermes kept faith with his in-form starting XI, having been forced into only one change. Paulo Nagamura replaced fellow Brazilian Julio Cesar, who was out with a hamstring injury.

Under the closed roof at BC Place, Wednesday’s match started out in a competitive and untidy fashion in front of a crowd of 15,382. In fact, the most eventful moments of the opening quarter were bookings to Whitecaps FC striker Eric Hassli and Kansas City defender Collin.

As luck tends to go with sides in form, Sporting KC opened the scoring on 24 minutes, as the ‘Caps failed to clear a Graham Zusi cross. The ball fell to Honduran international Roger Espinoza, whose shot took a couple of deflections and landed kindly to Collin in the ‘Caps six-yard box. With an open net to aim for, the French centre back scored his second goal in as many matches for the visitors.

The goal from the MLS leaders prompted a positive response from Vancouver, with Young-Pyo Lee getting forward down the left flank and playing some dangerous crosses into the Sporting KC box. The former South Korean international’s best effort was on 28 minutes, but Le Toux directed Lee’s fine delivery straight at Kansas City goalkeeper Jimmy Nielsen. A minute later, Gershon Koffie could not keep his first-time shot on target after Harris did well to cut the ball into the midfielder’s path in the Sporting KC box.

The first half ended with a couple more chances from Whitecaps FC, with Le Toux striking wide from close range, while Jordan Harvey just missed connecting with Hassli’s dangerous cross in front of the visitors’ goal. Sporting KC took a one-goal advantage into the break.

Whitecaps FC were keen to get back on level terms once the second half got underway, but those aspirations took a blow when Bonjour unfortunately chested Matt Besler’s throw into the Vancouver box past Whitecaps FC goalkeeper Joe Cannon to give Kansas City a two-goal lead on 51 minutes.

The second Sporting KC goal opened up the match, with good chances created at both ends. Then on 65 minutes, the American Midwest outfit ensured they would take all three points from Canada’s west coast, as Kamara played a give-and-go with Sporting KC right fullback Chance Myers before finishing past Cannon at the near post for his fourth goal of the season and a 3-0 Kansas City lead.

‘Caps fans remember well that Vancouver were three goals down to Sporting KC at Empire Field last year, and it was that same spirit to fight back that resulted in an eventful late stage of the match. Substitute Camilo Sanvezzo had two free-kick opportunities, while Hassli was unfortunate not to hit the target with a turn and strike from Lee’s forward ball. The home side would break through on 79 minutes, as Le Toux headed home his team-leading third goal of the season on the rebound after Camilo struck the Sporting KC crossbar with a powerful header from Omar Salgado’s cross, which came just seconds after the young striker had come into the match.

There was a late flourish from Whitecaps FC, as Nielsen had to make saves from Camilo, Hassli, and substitute Long Tan, but Sporting KC held on to maintain their 100 per cent record in what was their 500th MLS regular season match in club history. Whitecaps FC will look to bounce back quickly, as they host FC Dallas in an important Western Conference clash on Saturday night. As for undefeated Kansas City, they now travel down to Oregon to face another Pacific Northwest club in Portland Timbers on Saturday.

Budweiser Man of the Match: Gershon Koffie

Scoring Summary:
24' - SKC  Aurelien Collin
51' - SKC  Martin Bonjour (own-goal)
65' - SKC  Kei Kamara
79' - VAN  Sebastien Le Toux

Match Stats:
Shots: Vancouver 19 - Kansas City 8
Shots on Goal: Vancouver 7 - Kansas City 2
Saves: Vancouver 0 - Kansas City 7
Fouls: Vancouver 13 - Kansas City 14
Offsides: Vancouver 6 - Kansas City 3
Corners: Vancouver 5 - Kansas City 4

6' - VAN - Eric Hassli
18' - SKC- Aurelien Collin
38' - SKC  Paulo Nagamura
67' - VAN  Jay DeMerit
80' - SKC  Jimmy Nielsen

Vancouver Whitecaps FC
1.Joe Cannon; 12.Young-Pyo Lee, 15.Martin Bonjour (23.Long Tan 87'), 6.Jay DeMerit, 3.Jordan Harvey; 28.Gershon Koffie, 11.John Thorrington (37.Camilo Sanvezzo 60'); 9.Atiba Harris (17.Omar Salgado 79'), 7.Sebastien Le Toux, 20.Davide Chiumiento; 29.Eric Hassli

Substitutes not used: 18.Brad Knighton, 16.Matt Watson, 19.Carlyle Mitchell, 27.Jun Marques Davidson

Sporting Kansas City
1.Jimmy Nielsen; 7.Chance Myers, 78.Aurelien Collin, 5.Matt Besler, 16.Seth Sinovic; 6.Paulo Nagamura (13.Lawrence Olum 77'), 15.Roger Espinoza, 8.Graham Zusi; 23.Kei Kamara, 17.C.J. Sapong (9.Teal Bunbury 62'), 11.Bobby Convey (37.Jacob Peterson 52')

Substitutes not used: 21.Jon Kempin, 2.Michael Harrington , 22.Soony Saad, 32.Luke Sassano