#reverse auction script

[auctionsoft]

Top Features of Effective Reverse Auction Software

In today’s fast-paced business landscape, organizations are increasingly turning to reverse auction software to streamline procurement processes and enhance cost efficiency. Unlike traditional auctions where sellers compete to offer goods or services, reverse auctions flip the script: buyers invite suppliers to bid against each other, driving prices down. This innovative approach not only fosters competition but also allows buyers to source high-quality products and services at lower costs.

To leverage the full potential of reverse auction software, it's essential to choose a solution equipped with the right features. Here are the top features of effective reverse auction software that can help organizations maximize their procurement strategies.

User-Friendly Interface

One of the most critical features of effective reverse auction software is a user-friendly interface. A simple and intuitive design ensures that all users, regardless of their technical expertise, can navigate the platform with ease. Look for software that offers clear navigation, easy access to essential tools, and a visually appealing layout. A user-friendly interface reduces training time and enhances user engagement, making the procurement process smoother and more efficient.

Customizable Auction Settings

Every procurement project is unique, and effective reverse auction software should allow users to customize auction settings to meet specific needs. This includes defining auction parameters such as bid increments, auction duration, and eligibility criteria for suppliers. Customizable settings ensure that the auction aligns with your organization’s objectives and helps create a competitive environment tailored to your requirements.

Real-Time Bidding and Analytics

To make informed decisions, buyers need access to real-time data during the bidding process. Effective reverse auction software provides real-time bidding capabilities, allowing users to monitor supplier bids as they happen. Additionally, robust analytics tools offer insights into bidding trends, supplier performance, and cost savings. This information is invaluable for making data-driven procurement decisions and optimizing future auctions.

Supplier Management Tools

A successful reverse auction relies on a robust supplier base. Effective software should include supplier management features that allow users to easily invite, assess, and communicate with potential suppliers. Look for functionalities such as supplier registration, qualification checks, and performance tracking. These tools not only streamline the supplier onboarding process but also help build long-term relationships with reliable vendors.

Comprehensive Reporting Features

Reporting is crucial in evaluating the success of reverse auctions. Effective software should offer comprehensive reporting features that allow users to generate detailed reports on auction outcomes, supplier performance, and cost savings achieved. These reports are essential for analyzing the effectiveness of your procurement strategy and for making improvements in future auctions.

Security and Compliance Features

With increasing concerns over data security and compliance, effective reverse auction software must prioritize these aspects. Look for solutions that offer secure bidding environments, data encryption, and compliance with industry regulations. Security features protect sensitive information and ensure that the bidding process is fair and transparent for all parties involved.

Integration Capabilities

To maximize efficiency, reverse auction software should easily integrate with existing systems, such as Enterprise Resource Planning (ERP) and Customer Relationship Management (CRM) software. Integration capabilities allow for seamless data exchange and provide a holistic view of the procurement process. This not only saves time but also enhances collaboration across departments.

Mobile Accessibility

In a world where remote work is becoming increasingly common, mobile accessibility is a vital feature of effective reverse auction software. A mobile-friendly platform enables users to participate in auctions, monitor bids, and manage supplier communications from their smartphones or tablets. This flexibility allows procurement teams to remain engaged and responsive, regardless of their location.

Bid Management Features

Efficient bid management is at the heart of successful reverse auctions. Effective software should include tools that allow users to track and manage bids effortlessly. Features such as bid alerts, automatic notifications, and bid comparison tools enhance the bidding experience for both buyers and suppliers. These capabilities ensure that users can make timely decisions based on the latest bid information.

Customer Support and Training

Finally, the availability of robust customer support and training resources is crucial for maximizing the benefits of reverse auction software. Look for vendors that offer comprehensive training programs, tutorials, and responsive customer service. Having access to expert support can significantly enhance user experience and ensure that your organization effectively utilizes the software’s features.

Conclusion

Choosing the right reverse auction software is critical for organizations looking to optimize their procurement processes. By focusing on features such as a user-friendly interface, customizable auction settings, real-time bidding and analytics, supplier management tools, comprehensive reporting, security and compliance, integration capabilities, mobile accessibility, bid management features, and customer support, you can ensure that your organization reaps the full benefits of reverse auctions.

Investing in effective reverse auction software not only reduces costs but also enhances supplier relationships and streamlines procurement processes. Start exploring your options today to transform your procurement strategy and drive greater efficiency in your organization.

Original Source: https://auctionsoft.blogspot.com/2024/10/top-features-of-effective-reverse.html

[spnscripthunt-inactive]

I sent this as a private post but since you published it publicly I am replying publicly:

No, we won't be able to find another copy: nothing from season 6 has been available since 2020 (the 6.13 we bought that February) and the inventory has run dry on anything we don't own (mostly Dabb and late Carver era, nothing earlier).

Of the scripts we were refused, we were able to get 12.19 for the low, low price of $811.10 and 15.05 for $462 (x).

Over a third of our collection of 156 scripts from 141 episodes (including 3 director scripts, one of Jared's scripts and some of his season 8 sides, Thunderbird Dinwiddie's 5.16, and two Robbie Thompson donated to charity auctions) were donated to us from the fandom as well as most of the call sheets + sides, casting sides, and storyboards.

The vast majority of those pdfs were made using phone apps (around 15 min/script).

Of the ones that aren't pdfs* so far we've used 30 of 'em to raise over $6,800 for The Trevor Project and a few more were given to SPN Family Giving, helping to raise over $5,000 for Thinkery Austin, Attitudes in Reverse, Nova Ukraine, and it's probably safe to say, as of midnight tonight, $3,000 Random Acts (direct donations with more sure to be added from the auction).

*each envelope is an episode: bag on the left s1-12, bag on the right s13-15, stack in the front is all the scripts that have a cover page pulled and sent to cons for autographs (some are in europe, the rest of are in atlanta; pic on the right... left group is Out For Autographs, middle is s13-15, right is s1-12)

We posted the Very Convenient List of Links on the SuperWiki, because it's extremely well organized, stable, not supported by ad revenue (like that other wikia site) and has limited editing/is moderated/won't be borked or deleted. I host thecollection on an entirely separate drive and are they are only linked on SuperWiki because we made a page for that purpose there, so the most possible people who are searching for scripts will have an easy way to access all of them in one place.

@mittensmorgul and I both have backups of our backups of the entire collection in case anything goes wrong. But having the list of the full collection and links to each individual script on a secondary site (in this case, the SuperWiki) provides a legal buffer between the entire collection and the SuperWiki, and another legal buffer between the collection and US.

(if we posted the entire collection as its own web page, completely separate from the SuperWiki, we take on the risk that it will be served a C&D... we want them to remain freely available to everyone, and this is the best way for that)

I hope this gives at least some of our over 3,200 followers insight into why we don't have the script from your favorite episode: we can't buy them and the vast majority of those who have scripts who do actually reply say something like this (minus the SuperWiki commentary, that's a first in a noping).

(private) Hi, I'm one of the spnscripthunt admins + I was wondering if you would be willing to share a pdf of The Human Race documentary's Indiegogo perk SPN 6.09 "Clap Your Hands if You Believe" with us so we can add it to the pdf collection (full list of links is here → http://www.supernaturalwiki.com/Scripts_and_Casting_Side). Thank you.

I have the physical script, not a pdf. It’d be a fair bit if trouble to scan it in. Frankly, Superwiki was rather rude to me and I’m not inclined to take the trouble. Not to mention that the finale pissed me off so much I haven’t watched SPN since and don’t expect I ever will again. The script I have is Ben Edlund’s copy and I treasure it for that, because he’s an amazing writer- but I’m sure you’ll be able to find another copy of the script for your archives.

[itechscripts2]

Which front-end framework is the easiest?

Building a front-end application requires the combined use of HTML, which is responsible for the basic layout of the web page, CSS for visual formatting, and JavaScript for maintaining user interaction. Front-end frameworks are needed to make the work of web developers easier - these software packages generally offer ready-made / reusable code modules, standardized front-end technologies and ready-to-use interface blocks that allow developers to create a web faster and simpler applications and user interfaces.

There are many front-end frameworks on the web and most of them run on JavaScript as the source language. The developers are still arguing fiercely over which is the best. So, in choosing a framework that suits your needs, there are a few factors and tons of nuances to consider.

React is one of the most popular front-end frameworks on the market. It is a library based on JavaScript components with JSX syntax, developed by Facebook and first published in 2011. Later, in 2013, it became an open library. Source library, which makes it a little different from the classic definition of the framework.

React is popular with over 3 million active users and is supported by a large community - 80% of developers have had at least one positive experience with React in their projects and over 1.5 million websites have been created with its help.

40% of JS developers are using Vue.js and over 700,000 websites have been built with its help. Vue is not supported by major players like some other frameworks. It was first published in 2014 and created by Evan You, the person behind the development of another popular framework Angular.

Vue includes a virtual DOM, component-based architecture and two-way binding that underpin its high-speed performance - all of which make it easy to update related components and track data changes, which is desirable for any app. Developers who choose Vue.js can take advantage of its small size compared to React or other frameworks.

Also called Angular 2+, it is a modern TypeScript-based open source framework and one of the most popular software development tools today. Over 600,000 websites have been developed with its help.

Angular (released in 2016) is an upgraded edition of AngularJS with improved performance and many powerful additional features. Angular offers two-way data binding for instant synchronization between the model and the view, so that any changes in the view are immediately reflected in the model and vice versa. Angular Features Guidelines that allow developers to program special DOM behaviors that enable the creation of rich and dynamic HTML content.

jQuery is one of the oldest open source JavaScript front-end frameworks. Although it is a true veteran of this market, it can still be considered one of the best front-end frameworks of 2021 as it is almost relevant for modern development conditions with a few exceptions. JQuery development can be a pretty effective tool for building desktop-based JavaScript applications. JQuery's streamlined code logic, cross-browser support and streamlined approach to dynamic content are able to deliver perfect website interactivity even in 2021.

Ember, the open source MVVM JavaScript web framework, was released in 2011 and has since gained tremendous popularity. Around 14% of JavaScript professionals use it or have used it in their practice. With 30,000 websites developed, this framework is considered quite stable and works seamlessly for various needs.

Backbone.JS is a free and open source JavaScript library developed in 2010 by Jeremy Ashkenas, the author of CoffeeScript. About 7% of front-end developers have had positive experiences with Backbone.JS and it has been used during the development of 600,000 websites.

Backbone.js follows an MVC / MVP development concept. It encourages you to translate your data into models, DOM manipulations into views, and connect them together via events. In other words, it presents your data as templates that can be created, validated, deleted, and stored on the server.

Semantic UI is a relatively young player (2014) in the front-end frameworks market. Powered by LESS and jQuery, it is a framework for CSS that was developed by Jack Lukicthis, a full-stack developer, with the idea of building it based on organic language syntax. In no time, in 2015 and later, it became one of the top JavaScript projects on GitHub.

It has a sleek and flat design that provides a streamlined user experience. Semantic UI provides a set of tools to configure themes and CSS, JavaScript, font files and an intuitive inheritance system so you can share the code once you've created it with other applications.

[thebaileynina]

Websites to find freelance jobs.

2020 has brought profound changes across all industries. The biggest victim of Covid-19 is our wallet. The world has felt the effects of Covid-19 in a number of ways.

This year, people’s resilience was tested, forcing people and professionals around the world to change the way they live and work on the go. We have seen that more than a million people have lost their jobs. Covid-19 first saw a lot of people working as freelancers. The term autonomous is not new, but it has grown steadily and rapidly in recent years. But being your own boss doesn’t mean constantly struggling for professional success.

There are so many freelance job boards out there that finding new opportunities is just a few clicks away. There is always enough workforce available during an economic downturn, but your talents will help you stand out. Here are the top 5 freelance websites for your career.

1. KIWI was launched in 2020 by entrepreneurial tech Imran Ladiwala and Mishu Ahluwalia. The startup helps people solve their problems in real time and the freelancers get their money in 60 minutes. The economy for odd jobs is growing dizzyingly, and COVID-19 has fueled that growth. With KIWI, customers hire an experienced freelancer to solve their exact problem immediately. After all, freelancers would spend more time developing their skills than preparing presentations or sales proposals..2. Upwork is perhaps one of the best freelance websites for finding a job no matter what type of freelance writer you are. Web development, graphic design, customer support and even freelance writing specialists will find that Upwork has a lot to offer. The seemingly endless stream of job vacancies is constantly updated. From small businesses to large corporations, there are many types of businesses looking to hire bloggers, freelance designers, and freelance writers through Upwork. 3. If you’re looking for creative inspiration, you’ve landed on Behance. With Behance, your work will capture an audience of like-minded creatives. And if your work deserves the coveted showcase project, you will get even more positive visibility. Who knows who might see it and want to hire you. Behance also works as a social network to connect with other designers. Expanding your contact list could open up new design possibilities.

4. 2021 is also the year women have to be competitive and stand up for themselves when it comes to competitive pricing. Otherwise we will see the wage balance deteriorate even further. Kool Kanya is an online community helping young Indian women develop successful and fulfilling careers. With Kool Kanya, you join a powerful career network that gives you access to career opportunities, community support and simple career advice. 5. Fiverr was founded in 2010 with the concept of buying and selling professional services worldwide for as little as $5. Having a presence in multiple independent locations will give you maximum exposure. It can be one of the best freelance websites to use if you’re willing to do the hard work it takes to be successful. Many designers offer their services on Fiverr, often cheaper and of questionable quality, but don’t let that put you off.

This article is shared by https://www.itechscripts.com/php/freelancer-script | A leading resource of inspired clone scripts. It offers hundreds of popular scripts that are used by thousands of small and medium enterprises.

[sparktober]

Sparktober Bingo 2021!

Back for a new generation: Sparktober Bingo!

Instead of coming up with an Atlantis-specific list of prompts, I compiled a bunch of 2021 -tober prompt lists into one google doc here. (Links to original prompt lists are on the google doc.) Add in a list of Atlantis episodes and...

How to play:

Choose a “flavor” from the prompt sets below the cut, then paste it into this fandom bingo card generator.

Adjust your browser size til it looks right and take a screenshot, or use the html script if you’re familiar with using html on tumblr. Tag @sparktober​ if you want us to reblog it so everyone knows you’re playing!

  Sparktober Bingo Rules:

Complete a row/column, corners, or a blackout of your card by November 1, or not! Update as you go.

All fan-works are allowed: art, edits, fic, meta... bonus points to anyone who picks the “sprinkles” flavor and goes full mid-aughts by filling their bingo cards with 100x100 pixel icons.

You are allowed to pull multiple cards until you get one that inspires you, and you can also go through the prompt list of your choice in advance to pull out squicks or things you absolutely won’t write. I recommend not googling unfamiliar words from your work computer.

Use the prompts liberally! Episode titles can be treated as the episode or as generic prompts (e.g. “Epiphany” can be for an episode-related fic or a prompt for an epiphany of your choice).

  Flavor descriptions:

VANILLA: Gen prompt lists from Fictober, Inktober, Trektober Gen, and Trektober Trek.

CHOCOLATE: Zesty prompt lists from Trektober NSFW, Kinktober, and Whumptober. The multiple-prompts-per-day from Kinktober and Whumptober have been broken into individual prompts.

CANDY CORN: Fall / holiday themed prompts from TUA-tober.

SPRINKLES: Atlantis episode list (in order, in case you only want to copy certain seasons), along with characters and a few Atlantis-specific prompts.

TWIST: All of the above! (You can also manually mix and match different flavors, of course.)

Text blocks to copy into the bingo card generator are below the cut. Enjoy!!

VANILLA

“I need you.”; “You have no proof.”; “I’ve waited for this.”; “Fine, I give up.”; “I’m not saying I told you so…”; “Didn’t we already have this conversation?”; “That could have gone better.”; “This is it, isn’t it?”; “There’s no right side to this.”; “It’s so quiet.”; “I swear, it’s not always like this.”; “You keep me safe.”; “The things you make me do…”; “Your information was wrong.”; “I like that in you.”; “Not this again.”; “I’m with you, you know that.”; “This was not part of the plan.”; “I feel strange.”; “That’s what I’m known for.”; “What did I say?”; “No promises.”; “This time, do what I say.”; “Is this supposed to impress me?”; “Do you know what time it is?”; “I’m sure this has never worked, ever.”; “You could have died!”; “I don’t have to explain myself.”; “Why are we whispering?”; “Don’t ruin this.”; “Take me with you.”; Crystal; Suit; Vessel; Knot; Raven; Spirit; Fan; Watch; Pressure; Pick; Sour; Stuck; Roof; Tick; Helmet; Compass; Collide; Moon; Loop; Sprout; Fuzzy; Open; Leak; Extinct; Splat; Connect; Spark; Crispy; Patch; Slither; Risk; Meet-Cute; Amnesia; Age Difference; Pining; Sick Fic; Fake Relationship; Accidental Meeting; Epistolary; Secret Identity; Historical AU; Nightmares; Monster Hunter; Reunion; Soulmates; At Pride; Angst; Seasons; Fix-It; Coffee Shop; Movie Plot AU; Kid Fic; Actor's Other Crossover Work; OT+; Getting Together; Only One Bed; Pirates; Making Up; Forbidden Relationship; Tattoos; Halloween; Prime Directive; Lower Decks / Background Characters; Away Mission; Ship's Bar; Aliens Made Them Do It; Observation Deck; Crew with Family; Holodeck; Science Crew; Character Survives; Headcanons; Diplomacy; Decontamination; Trek Crossover; Replicator; Worldbuilding; Redshirts; Sex / Love Potion; Medical Crew; Transporters; Medbay; Interspecies Relationship; Mirrorverse; Uniforms; Mutiny; Stranded on a Planet; Rec Room; Academy Era; Second Contact; Command Crew; Off-Duty

  CHOCOLATE

A/B/O; Soft; Anonymous Sex; Penetration with Object/s; Sleeping; Intercrural Sex; Restraints; In/Under Water; Group Sex; First Time; Possessive Behavior; Dry Humping / Grinding; Overstimulation; Roleplay; Rimming; Stretching / Fisting; Power Imbalance; Food Play; Fingering; Body Worship; Sex Work; Voyeurism / Exhibitionism; Safewords; Technology; Oral Sex; Omorashi / Wetting; Crying; Underwear / Lingerie; Friends with Benefits; Pain Kink; Dirty Talk; Trick or Treat; All trussed up and nowhere to go; Talking is overrated; Sticks and stones may break my bones...; Trust fall; I've got red in my ledger; Touch and go; My spidey-sense is tingling; Coughing up a lung; Rumors of my death are greatly exaggerated; Oops, I did it again; Just keep swimming; It'll be fun, they said; That's gonna leave a mark; Under pressure; Feed a cold, starve a fever; On a need-to-know basis; Field care 101; The doctor is in; Just a scratch; Lost & found; That's where the blood's supposed to be; They made me do it; You break it, you buy it; One down, two to go; Hide & Seek; You will go down with this ship; “I'm fine, I prom...”; It's (not) just in your head; All work and no play; Digging your grave; Hurt & Comfort; “You have to let go.”; Garotte; Taunting; “Do you trust me?”; Betrayal; Bruises; Helplessness; Pneumothorax; Presumed Dead; Hospital; Adrift; Torture; “This is gonna suck.”; Crush injuries; Delirium; Recovery; “Please don't move.”; “Now smile for the camera.”; Bitten; Trunk; Bleeding through bandages; Cursed; Auction; Self-induced injuries to escape; Escape; Fallen; Passing out; “Good, you're finally awake.”; “You're still not dead?”; Major character death; Disaster zone; Barbed Wire; Choking; Insults; Taken Hostage; Misunderstanding; Touch Starved; Numbness; Exotic Illness; (Blind) Rage; Flare-Up; Drowning; Made To Watch; Burns; Beaten; Fever Dreams; Scars; Hemorrhage; Doctor Visit; Bleeding; Trapped Under Water; Pressure; Demon; Ransom; Flashback; Flight; Waterfall; Vertigo; Nightmares; Too Weak To Move; Left For Dead; Trauma; Bound; Gagged; “Who Did This To You?”; Pushed; Broken Nose; Hunger; Blindness; “Definitely Just A Cold”; Tears; Ice Chips; Dehydration; Begging; Cauterization; Force; Bees; Aftermath; Dread; Cpr; Stabbing; Solitary Confinement; Blood-Matted Hair; Obsession; Pursuit; Revenge; Hiding; Trap Door; Collapse; Panic; Overworked; Ghosts; Prisoner; Losing Control; Threats; Caning; Mercy; Forgotten; Head Injury; Screaming; Comfort; Self-Sacrifice; Trapped; Near-Death Experience; Regret; Tragedy; Battlefield; Anxiety; Gore; Petplay; Bimbofication; Panties & Lingerie; Bondage; Double Penetration in 2 Holes; Breeding; Humiliation; NTR; Incest; Emeto; Omorashi; Free Use; Crossdressing; Public; Three (or more) some; Daddy & Mommy; Double Penetration in 1 Hole; Distention & Cockbulge; Xenophilia; Shotgunning; Watersports; Pregnancy; Lactation; Waxplay; Grooming; Human Furniture; Feet; Prostituion; MacroMicro; Spanking; Cockwarming; Glory Hole; Somnophilia; Body Modification; Temperature Play; Leather; Size Difference; Sounding; Stockings; Tentacles; Medical Play; Stripping; Orgasm Denial; Master & slave; Scissoring; Titfucking; Frottage; Knifeplay; Formal Wear; Breathplay; Fisting; Pegging; Scat; Beastiality; Fucking Machine; Tickling; Boot Worship; Bukkake; Collaring; Foodplay; Non or dubcon; Feederism; Sensory Deprivation; Oviposition; Clone & Selfcest; Exhibitionism & Voyeurism; Impact Play; Sadomasochism; Bloodplay; Praise Kink; Body Swap; Sweat; Branding; Massage; Role Reversal; Armpit; Masturbation; Inflation; Sex Toys; Burnplay; Menophilia; Stuck in Wall; Deepthroating & Facesitting; Dacryphilia; Hate Sex

  CANDY CORN

Birthday; Sick Day; Autumn; Candles; Plaid / Flannel; Leaf Piles; Sweaters; Baking; Cinnamon; Pumpkin Spice Latte; Carnival; Movie Night; Candy; Graveyard; Black Cats; Goosebumps; Pumpkin; Party; Monster; Ghosts; Witch; Vampire; Traditions; Magic; Mask; Haunted House; Trick; Treat; Costume; Monster Mash; Halloween

  SPRINKLES

Rising Part 1; Rising Part 2; Hide and Seek; Thirty-Eight Minutes; Suspicion; Childhood's End; Poisoning the Well; Underground; Home; The Storm; The Eye; The Defiant One; Hot Zone; Sanctuary; Before I Sleep; The Brotherhood; Letters from Pegasus; The Gift; The Siege Part 1; The Siege Part 2; The Siege Part 3; The Intruder; Runner; Duet; Condemned; Trinity; Instinct; Conversion; Aurora; The Lost Boys; The Hive; Epiphany; Critical Mass; Grace Under Pressure; The Tower; The Long Goodbye; Coup d'Etat; Michael; Inferno; Allies; No Man's Land; Misbegotten; Irresistible; Sateda; Progeny; The Real World; Common Ground; McKay and Mrs. Miller; Phantoms; The Return Part 1; The Return Part 2; Echoes; Irresponsible; Tao of Rodney; The Game; The Ark; Sunday; Submersion; Vengeance; First Strike; Adrift; Lifeline; Reunion; Doppelganger; Travelers; Tabula Rasa; Missing; The Seer; Miller's Crossing; This Mortal Coil; Be All My Sins Remember'd; Spoils of War; Quarantine; Harmony; Outcast; Trio; Midway; The Kindred Part 1; The Kindred Part 2; The Last Man; Search and Rescue; The Seed; Broken Ties; The Daedalus Variations; Ghost in the Machine; The Shrine; Whispers; The Queen; Tracker; First Contact; The Lost Tribe; Outsiders; Inquisition; The Prodigal; Remnants; Brain Storm; Infection; Identity; Vegas; Enemy at the Gate; Ronon Dex; Teyla Emmagan; John Sheppard; Carson Beckett; Elizabeth Weir; Rodney McKay; Jennifer Keller; Samantha Carter; Aiden Ford; Radek Zelenka; Kate Heightmeyer; Evan Lorne; Laura Cadman; Kolya; Chuck; Peter Grodin; Steven Caldwell; Lantea; Ocean; Ancient(s); Richard Woolsey; Athosians; Daedalus; Wraith; Nanites; Asurans; Genii; DHD; SGC; Stargate; Earth; Antarctica; Ascension

 TWIST

“I need you.”; “You have no proof.”; “I’ve waited for this.”; “Fine, I give up.”; “I’m not saying I told you so…”; “Didn’t we already have this conversation?”; “That could have gone better.”; “This is it, isn’t it?”; “There’s no right side to this.”; “It’s so quiet.”; “I swear, it’s not always like this.”; “You keep me safe.”; “The things you make me do…”; “Your information was wrong.”; “I like that in you.”; “Not this again.”; “I’m with you, you know that.”; “This was not part of the plan.”; “I feel strange.”; “That’s what I��m known for.”; “What did I say?”; “No promises.”; “This time, do what I say.”; “Is this supposed to impress me?”; “Do you know what time it is?”; “I’m sure this has never worked, ever.”; “You could have died!”; “I don’t have to explain myself.”; “Why are we whispering?”; “Don’t ruin this.”; “Take me with you.”; Crystal; Suit; Vessel; Knot; Raven; Spirit; Fan; Watch; Pressure; Pick; Sour; Stuck; Roof; Tick; Helmet; Compass; Collide; Moon; Loop; Sprout; Fuzzy; Open; Leak; Extinct; Splat; Connect; Spark; Crispy; Patch; Slither; Risk; Meet-Cute; Amnesia; Age Difference; Pining; Sick Fic; Fake Relationship; Accidental Meeting; Epistolary; Secret Identity; Historical AU; Nightmares; Monster Hunter; A/B/O; Reunion; Soulmates; At Pride; Angst; Seasons; Fix-It; Coffee Shop; Movie Plot AU; Kid Fic; Actor's Other Crossover Work; OT+; Getting Together; Only One Bed; Pirates; Making Up; Forbidden Relationship; Tattoos; Halloween; Prime Directive; Lower Decks / Background Characters; Away Mission; Ship's Bar; Aliens Made Them Do It; Observation Deck; Crew with Family; Holodeck; Science Crew; Character Survives; Headcanons; Diplomacy; Decontamination; Trek Crossover; Replicator; Worldbuilding; Redshirts; Sex / Love Potion; Medical Crew; Transporters; Medbay; Interspecies Relationship; Mirrorverse; Uniforms; Mutiny; Stranded on a Planet; Rec Room; Academy Era; Second Contact; Command Crew; Off-Duty; Soft; Anonymous Sex; Penetration with Object/s; Sleeping; Intercrural Sex; Restraints; In/Under Water; Group Sex; First Time; Possessive Behavior; Dry Humping / Grinding; Overstimulation; Roleplay; Rimming; Stretching / Fisting; Power Imbalance; Food Play; Fingering; Body Worship; Sex Work; Voyeurism / Exhibitionism; Safewords; Technology; Oral Sex; Omorashi / Wetting; Crying; Underwear / Lingerie; Friends with Benefits; Pain Kink; Dirty Talk; Trick or Treat; All trussed up and nowhere to go; Talking is overrated; Sticks and stones may break my bones...; Trust fall; I've got red in my ledger; Touch and go; My spidey-sense is tingling; Coughing up a lung; Rumors of my death are greatly exaggerated; Oops, I did it again; Just keep swimming; It'll be fun, they said; That's gonna leave a mark; Under pressure; Feed a cold, starve a fever; On a need-to-know basis; Field care 101; The doctor is in; Just a scratch; Lost & found; That's where the blood's supposed to be; They made me do it; You break it, you buy it; One down, two to go; You will go down with this ship; “I'm fine, I prom...”; It's (not) just in your head; All work and no play; Digging your grave; Hurt & Comfort; “You have to let go.”; Garotte; Taunting; “Do you trust me?”; Betrayal; Bruises; Helplessness; Pneumothorax; Presumed Dead; Hospital; Adrift; Torture; “This is gonna suck.”; Crush injuries; Delirium; Recovery; “Please don't move.”; “Now smile for the camera.”; Bitten; Trunk; Bleeding through bandages; Cursed; Auction; Self-induced injuries to escape; Escape; Fallen; Passing out; “Good, you're finally awake.”; “You're still not dead?”; Major character death; Disaster zone; Barbed Wire; Choking; Insults; Taken Hostage; Misunderstanding; Touch Starved; Numbness; Exotic Illness; (Blind) Rage; Flare-Up; Drowning; Made To Watch; Burns; Beaten; Fever Dreams; Scars; Hemorrhage; Doctor Visit; Bleeding; Trapped Under Water; Demon; Ransom; Flashback; Flight; Waterfall; Vertigo; Too Weak To Move; Left For Dead; Trauma; Bound; Gagged; “Who Did This To You?”; Pushed; Broken Nose; Hunger; Blindness; “Definitely Just A Cold”; Tears; Ice Chips; Dehydration; Begging; Cauterization; Force; Bees; Aftermath; Dread; Cpr; Stabbing; Solitary Confinement; Blood-Matted Hair; Obsession; Pursuit; Revenge; Hiding; Trap Door; Collapse; Panic; Overworked; Ghosts; Prisoner; Losing Control; Threats; Caning; Mercy; Forgotten; Head Injury; Screaming; Comfort; Self-Sacrifice; Trapped; Near-Death Experience; Regret; Tragedy; Battlefield; Anxiety; Gore; Petplay; Bimbofication; Panties & Lingerie; Bondage; Double Penetration in 2 Holes; Breeding; Humiliation; NTR; Incest; Emeto; Omorashi; Free Use; Crossdressing; Public; Three (or more) some; Daddy & Mommy; Double Penetration in 1 Hole; Distention & Cockbulge; Xenophilia; Shotgunning; Watersports; Pregnancy; Lactation; Waxplay; Grooming; Human Furniture; Feet; Prostituion; MacroMicro; Spanking; Cockwarming; Glory Hole; Somnophilia; Body Modification; Temperature Play; Leather; Size Difference; Sounding; Stockings; Tentacles; Medical Play; Stripping; Orgasm Denial; Master & slave; Scissoring; Titfucking; Frottage; Knifeplay; Formal Wear; Breathplay; Fisting; Pegging; Scat; Beastiality; Fucking Machine; Tickling; Boot Worship; Bukkake; Collaring; Foodplay; Non or dubcon; Feederism; Sensory Deprivation; Oviposition; Clone & Selfcest; Exhibitionism & Voyeurism; Impact Play; Sadomasochism; Bloodplay; Praise Kink; Body Swap; Sweat; Branding; Massage; Role Reversal; Armpit; Masturbation; Inflation; Sex Toys; Burnplay; Menophilia; Stuck in Wall; Deepthroating & Facesitting; Dacryphilia; Hate Sex; Birthday; Sick Day; Autumn; Candles; Plaid / Flannel; Leaf Piles; Sweaters; Baking; Cinnamon; Pumpkin Spice Latte; Carnival; Movie Night; Candy; Graveyard; Black Cats; Goosebumps; Pumpkin; Party; Monster; Witch; Vampire; Traditions; Magic; Mask; Haunted House; Trick; Treat; Costume; Monster Mash; Rising Part 1; Rising Part 2; Hide and Seek; Thirty-Eight Minutes; Suspicion; Childhood's End; Poisoning the Well; Underground; Home; The Storm; The Eye; The Defiant One; Hot Zone; Sanctuary; Before I Sleep; The Brotherhood; Letters from Pegasus; The Gift; The Siege Part 1; The Siege Part 2; The Siege Part 3; The Intruder; Runner; Duet; Condemned; Trinity; Instinct; Conversion; Aurora; The Lost Boys; The Hive; Epiphany; Critical Mass; Grace Under Pressure; The Tower; The Long Goodbye; Coup d'Etat; Michael; Inferno; Allies; No Man's Land; Misbegotten; Irresistible; Sateda; Progeny; The Real World; Common Ground; McKay and Mrs. Miller; Phantoms; The Return Part 1; The Return Part 2; Echoes; Irresponsible; Tao of Rodney; The Game; The Ark; Sunday; Submersion; Vengeance; First Strike; Lifeline; Doppelganger; Travelers; Tabula Rasa; Missing; The Seer; Miller's Crossing; This Mortal Coil; Be All My Sins Remember'd; Spoils of War; Quarantine; Harmony; Outcast; Trio; Midway; The Kindred Part 1; The Kindred Part 2; The Last Man; Search and Rescue; The Seed; Broken Ties; The Daedalus Variations; Ghost in the Machine; The Shrine; Whispers; The Queen; Tracker; First Contact; The Lost Tribe; Outsiders; Inquisition; The Prodigal; Remnants; Brain Storm; Infection; Identity; Vegas; Enemy at the Gate; Ronon Dex; Teyla Emmagan; John Sheppard; Carson Beckett; Elizabeth Weir; Rodney McKay; Jennifer Keller; Samantha Carter; Aiden Ford; Radek Zelenka; Kate Heightmeyer; Evan Lorne; Laura Cadman; Kolya; Chuck; Peter Grodin; Steven Caldwell; Lantea; Ocean; Ancient(s); Richard Woolsey; Athosians; Daedalus; Wraith; Nanites; Asurans; Genii; DHD; SGC; Stargate; Earth; Antarctica; Ascension

[confetti-cupcake]

Ohhh tell me about Thirty-Nine Days!

Ohh so glad you asked, I could talk about Thirty-Nine Days forever!

So a little about the origin story of the fic — Survivor is one of my all-time favorite TV shows, and whenever I watch a scripted show, I always think about how the characters would do if they were all on Survivor (yes, I'm a weirdo 😂). When I started watching 9-1-1, I went through the same thought exercise and was like, "Wait, hold on, a lot of them would probably actually be really good at Survivor." So I started thinking of different scenarios and what a potential boot order would look like, and after a while, I just couldn't not write it. I started writing it when COVID lockdowns first started, and was writing through that whole summer, but then started having doubts that anyone would actually read it, and took a break. But I recently got re-inspired, and am intent on seeing it through!

Obviously there will be a lot of Buddie in the fic — it's basically a long slow burn of the two of them falling for each other over the course of the experience. But it's not only about Buddie. My favorite part about 9-1-1 is the characters and their development, so the fic is really one big love letter to the characters of both OG 9-1-1 and Lone Star. Everyone in the cast will have their moment in the sun, regardless of when they're voted out, and my goal is to have a fulfilling and satisfying story arc for each contestant. Which will probably make the fic very long, but the hope is that it'll be worth it!

As for the game itself, I made the season be my ideal version of Survivor: minimal idols/advantages, character-driven stories, emphasis on the relationships between the contestants, and a Final 2! The winner has already been decided and the finale scene has been written — fun fact, I actually had a different winner in mind when I first started writing, but then recently decided to change it, and I am much happier with the new ending.

Another fun fact: I started out writing the story in order, but then got stuck in a couple of places, then began writing in reverse order. But there was one scene that got me so excited that I had to jump to the middle and just write the whole thing in one go, and that was the auction scene! That's right — against Jeff's Probst's better judgment, there is an auction in this story, and it is very dramatic. 👀 But it is without a doubt my favorite scene that I've written so far, and I'm really excited for you all to finally get to read it.

You can find my video trailer of the cast here, and an unedited snippet from Buck's POV here. Depending on how much time I have in the next few days, I might clean up Eddie's first scene and post that as well.

Ask me about my other WIPs!

[noosphe-re]

LOT 49 - AN ISLAMIC OTTOMAN TALISMANIC SHIRT

A shirt (jama) covered with text written in Naskh scripts, in assorted colors, arranged in numerous panels, roundels, cartouches, cypress tree forms. The inscriptions include quotations from the Qur'an, invocations to God, attributes of God and prayers. They are written in Naskh of different sizes in different shapes, patterns, mirrored form and reserved against text and in colors of black, red, green, and gold. To the reverse different panels enclosing the names of Allah and different surahs of the Quran, surround by gilt lotus, flowers and foliage. (via Oriental Art Auctions)

[twentiethcenturymoviesandtv]

Movie Cars: 1968 Ford Mustang GT (Bullitt, 1968)

Starting off our series on the best of movie vehicles is the 1968 Ford Mustang GT from Peter Yates’s film Bullitt, starring Steve McQueen in the titular role.  While the film itself is a worthy one, with lots of good action and a thought-provoking crime story that solidified Steve McQueen as one of the most iconic action heroes from the 1960s, it also made history by having the first real car chase put on film.

What do I mean by that?

Simple.  By 1968, there had been ‘car chases’ in film before, achieved by speeding up footage.  In the case of Bullitt, however, for the first time, a car chase was filmed at full speed, with McQueen as the driver in many scenes during it.  McQueen loved racing, and drew upon that for the scenes in the film in which he is behind the wheel (most notably a cut where he missed a turn and reverse-burned out in order to adjust).  With that said, approximately half of the driving for the ten minute and fifty-three second long sequence was completed by stunt drivers Loren Janes, Bud Ekins and Carey Loftin.  In 2003, film critic Emanuel Levy said about it: ‘Bullitt contains one of the most exciting car chases in film history, a sequence that revolutionized Hollywood's standards.’

The chase scene, contextualized, makes perfect sense, and for modern viewers, it’s completely natural.  At the time, the scene, thanks to its originality and realism, was game-changing, and became the main draw of the film.  The scene follows Lt. Frank Bullitt, driving his Ford Mustang, noticing two hitmen following him in a Dodge Charger, leading to a pursuit that moves from San Francisco to Brisbane (geographically impossible in that amount of time, even though the cars were clocked at sometimes reaching up to 110 miles an hour), ending with the Charger exploding after crashing, killing both occupants.  In a modern film, it’d seem pretty standard, but at the time, this was the action centerpiece of the entire film.  Not only were the cars sharp and fast, but the action was good, the editing made it exciting, and the film never tries to take your eyes off of it for a second, going so far as including the new innovation of mounting small, remote cameras inside the car during the scene.

The chase took three weeks to film, and the final product is likely what won editor Frank P. Keller the Oscar for the ‘Academy Award for Best Film Editing’ of 1968.  Multiple takes were spliced into the final scene, resulting in a few errors: notably heavy damage on the passenger side of Bullitt's car occurring much earlier than the incident that caused it.  The Charger loses five wheel covers in the chase, with different ones missing from shot to shot.  The method of shooting the sequence from multiple angles simultaneously allowed the editors to create a montage, giving the illusion of different streets, which did increase the tension, but also led to the unfortunate ‘goof’ of showing the cars passing the same cars multiple times.  At one point, the Charger crashes into the camera, leaving a dent in the fender that is obvious for several other shots.  

As masterfully crafted as the scene is, it was not without its problems.  

Film editor Ralph Rosenblum said about shooting: 

“Those who care about such things may know that during the filming of the climactic chase scene in Bullitt, an out-of-control car filled with dummies tripped a wire which prematurely sent a costly set up in flames, and that editor Frank Keller salvaged the near-catastrophe with a clever and unusual juxtaposition of images that made the explosion appear to go off on time.”

As to the chase’s conception, it’s difficult to pin down whose idea exactly it was. 

In an article written by Mike Magda for Motor Trend, this topic and disagreement over the chase’s idea was discussed:

McQueen and Yates have different versions of the chase's inception. In numerous interviews at the time, including talks with Motor Trend, McQueen stressed that the chase was his idea and he instructed the writer to include it in the script. Writing for TV Guide in 1973, Yates said, "The chase didn't exist in the script," and noted that, after numerous rewrites, D'Antoni suggested "there had to be a car chase somewhere in 'Bullitt' " because of McQueen's driving ability. Even today, Yates maintains that the car chase was never in any Trustman script, but Flaxman confirms that the chase was in the first draft he read.

So, we know the car, down to it’s make and model, we know the scene...so, what made it memorable?

Like I said before, this was a first for cinema action.  The idea of watching a real-speed car chase, feeling like you’re practically in the cars, had not been done before, and it’s telling that it’s been done almost exclusively since.  The reason this particular chase is so memorable, as it is with most films, is not easily boiled down into one item.  There are multiple reasons, such as:

The rest of the movie is excellent.

The remainder of Bullitt, from it’s gritty action to it’s more three-dimensional, dark characters is a stellar action/crime film.  Steve McQueen’s Frank Bullitt is cold, callous, and at the end, conflicted about his own reaction to tragedy.  The audience recognizes his flaws, for sure, but they also want him to win, to get the bad guys, and so that raises the stakes of the chase considerably, simply because we care about him.

There are other reasons, though.  I previously mentioned the technological advancements used to create an exhilarating ten-minute action sequence, the likes of which hadn’t been seen at the time, and a partial result of that is that, while chase scenes have been copying Bullitt’s style for decades, that does not mean that the original is less special.  The fact is, it’s a darn good sequence.  It’s exciting, and fast, and puts the audience on the edge of their seat, which is the point.  But in the end, apart from Bullitt being a great movie and the chase scene being that good, there is the chief reason that does put this sequence, and as a result, this car, apart:

In the end, the reason that this scene receives so much acclaim, and it does boil down to being because it’s the first real car chase in movie history.  As good as it is, if the film had been released ten years later, it wouldn’t have been nearly as remarkable.  As it is, the movie’s claim to film history makes it a curiosity, something to check out that happily turns out to be as good as it’s reputation.  This scene, this movie, and this car, are legendary, so much so that the Ford Mustang from this film is now auctioned off at somewhere around $3.7 million.

All of these reasons come together to paint a picture of, really, America’s first ‘car heavy’ movie.  Thanks to a good story, interesting characters, exciting action, and technological innovation, Bullitt produced one of the most iconic car-chase sequences in movie history by being first, and by being great, and would go on to inspire countless movies after it.

And the car is cool, to boot.

Thanks so much for reading, I hope to see you in the next article.

[auctionsoft]

Revolutionize Your Auction Experience with Reverse Auction Software

Revolutionizing the auction experience, particularly in the realm of procurement and sourcing, is now more achievable than ever with the advent of advanced Reverse Auction Software provided by Auction Software. This innovative technology offers a strategic approach to procurement by flipping the traditional auction model on its head. In this article, we delve into the transformative power of Reverse Auction Software, exploring its benefits, key features, and real-world applications. Join us as we explore how this cutting-edge tool can enhance efficiency, drive cost savings, and optimize the auction process for businesses of all sizes.

Understanding the Concept of Reverse Auctions

Imagine auctions in reverse—where sellers compete to win over buyers. That’s the magic of reverse auctions, flipping the script for a fresh approach to procurement.

Evolution of Auction Software in the Digital Age

Gone are the days of paddle-waving bids in dusty halls. Say hello to digital auction software, transforming the game with efficiency and ease in the virtual realm.

Benefits of Using Reverse Auction Software

Cost Savings and Efficiency Improvements

Who doesn’t love a good deal? Reverse auction software slashes costs and ramps up efficiency, making every penny count in your procurement adventures.

Enhanced Transparency and Competition

Transparency is the name of the game. With reverse auction software, witness fair play and fierce competition unfold, pushing suppliers to bring their A-game.

Key Features of Auction Software’s Reverse Auction Platform

Real-time Bidding and Dynamic Pricing

Buckle up for a real-time thrill ride! Dynamic pricing and live bidding keep you on your toes, ensuring you snag the best deals without breaking a sweat.

Supplier Management and Evaluation Tools

Keep your suppliers in check with robust management tools. Evaluate, compare, and choose the cream of the crop effortlessly with auction software at your fingertips.

How Reverse Auction Software Enhances Efficiency and Cost Savings

Streamlining Procurement Processes

Bid goodbye to manual woes! Reverse auction software streamlines procurement, giving you the gift of time and efficiency to focus on what truly matters.

Automating Supplier Selection and Negotiations

Let technology do the heavy lifting. With automated supplier selection and negotiations, sit back, relax, and watch as the best deals come knocking at your virtual door.

Factors to Consider When Choosing a Reverse Auction Software Provider

Scalability and Customization Options

When it comes to reverse auction software, one size does not fit all. Look for a provider that offers more flexibility than a yoga instructor at a Cirque du Soleil show. Scalability and customization are key – think of it as getting a software tailored suit, but for your auction needs.

Integration Capabilities with Existing Systems

You wouldn’t want your new reverse auction software to be the awkward third wheel at the integration party. Make sure it can mingle seamlessly with your existing systems like a social butterfly at a networking event. Smooth integration means less headache and more time for the important stuff, like actually running your auctions.

Tips for Maximizing the Benefits of Reverse Auction Software

Training and Adoption Strategies for Users

Just like teaching your grandma to use emojis, training and adoption are crucial for getting the most out of reverse auction software. Invest time and resources in educating your team on how to make the most of the software. Trust us, a well-trained team can wield reverse auction software like a magic wand, turning bids into savings.

Continuous Monitoring and Evaluation for Optimization

Set it and forget it? Not quite. To truly milk the benefits of reverse auction software, keep a watchful eye like a hawk. Continuous monitoring and evaluation help you spot opportunities for improvement faster than a Black Friday shopper spotting a discount. Stay vigilant and optimize, because in the world of auctions, every penny counts.

In conclusion, the adoption of Reverse Auction Software from Auction Software presents a groundbreaking opportunity for businesses to revolutionize their procurement practices and elevate their auction experiences. By leveraging the benefits, key features, and best practices outlined in this article, organizations can unlock new levels of efficiency, transparency, and cost savings in their sourcing efforts. Embrace the power of technology to streamline your procurement processes and stay ahead in today’s competitive market landscape.

Original Link: https://bestauctionsoft.wordpress.com/2024/07/04/revolutionize-your-auction-experience-with-reverse-auction-software/

[curious-minx]

Denis Leary is making an animated vignette series based on Dogs Playing Poker and 10 Other Pieces of Kitsch Art That Should Be Turned Into TV

KITSCH auction house tremors and stampedes.

Dennis Leary basically discovered sex, drugs and rock n’ roll with his 2015 two season FX series Sex & Drugs & Rock & Roll. Leary’s always been one of those guys that can’t be beaten down  in spite of how dopey and cynical his edgy working class personal brand is. He’s got an entire deal set up with Fox, the flailing broadcasting company has placed all of their chips on a Denis with only one lousy  “N” in his name. I can’t even with this fake Irish Bostonian droid. Relish in the delicate thought process of Leary and leftover former Daily Show producer, Jim Margolis,  bringing up a Pinterest screen grab of the Dogs Playing Poker by Grand Master of Kitsch Cassius Marcellus Coolidge and money signs popping out of both of their heads. Here is a dramatic retelling of this thought process:

“Yo, get this Big D,” salivates the recently fired from Netflix Jim Margolis to Leary over a Zoom, “Fox got this Bento Box Animation Studio sitting around doing nothing but churning out animated interstitials for the Masked Singer, Paradise PD, The Prince, The Blues Brothers animated series, animated Harold And Kumar, Housebroken, The Great North, and ugh..um..Hoops..”

“I fuckin love Hoops, Jimmy! Why aren’t we pitching this on Netflix again?”

“Because Dogs Playing Poker is going to work so much better as pregame filler for live Sporting Events...on Fox.”

“Oh yeah. All of those rotten good for nothing grease monkey and lunch pail people will probably be giving each other Budweiser flavored Covid at the local saloon with these damn dog pictures hanging up. It’s like when old drunks would stay out late and watch the Flinstones at the bar, did you know that actual human male adults would sit in a town like Boston and waste away in a bar watching Flintsones. Can you believe that Johny?”

“My name is Jimmy, err Jim, but yeah Denis we’ll send you the scripts over. Any idea who we should cast?”

“Get me the hot blonde from Inspector Gadget 2, God dammit I miss Louie..are we sure we can’t get Louie back on air?”

“Afraid after Patton Oswalt dognapped his role from him in Secret Life of Pets, Louie CK has been banned from ever appearing as a talking dog again.”

“So bogus. Bobby Kelly will have to do.” Denis gets a text. “Dammit, Adam is getting all thirsty for this juicy  delicious bone. Gotta throw a  big bone to my dog Ferrera. Who else?”

“Ok. I’ll get one of those sad Daily Show losers. Um picking one at random, Roy Wood Jr. They’ll pretty much jump into anything, because John Oliver was in Love Guru they start thinking they can fail their way up.”

“I said no politics at the table! Paws off the table! This is going to be so fucking lit!”

////

Kitsch Art deserves so much more. George Lucas, retired American filmmaker, robber baron of childhoods and all around  mensch has been heavily invested in the kitsch art of Norman Rockwell. There are a bounty of stories to tell. Too many of them are far too white and basic, but there are rich narratives to be found in his out of date even for his own time romanticism of The Old Masters. Hopelessly out of date could have been a failing of Rockwell, but his politics grew progressive as his career went on and fought against the system. Cassius Marcellus Coolidge is the man that operated the first bank in Antwerp, New York  had the astronaut-like grace to wonder, “what if dogs played poker like people played poker?” A painting that dates back to 1894 used as means to sell cigars. What strikes me most about this painting is that they aren’t wearing clothes, but I bet when you try to imagine the painting you imagine these dogs fully decked out in some sort of work coat. There is a further anthropromized version of the ad called “His Station and Four Aces” that depicts a glimpse at a look at an entire canine furry society. His ideas of putting an animal in clothes remains to this day one of the most novel and surefire commercially friendly means of artistic expression. The original cynical man laughing all the way to the bank, his own bank that he founded to boot.

Seen above: An example of a Comic Foreground that also demonstrates the failings of having too few people in your party to properly partake in the comic foreground experience. 

“Cash” Cassius wasn’t the first man to imagine a domestic pet in people clothes, but he’s probably one of the few to do so with such commercial finesse. The man also at one point filed the patent on the “Comic Foregrounds,” which is the technical name of one of those carnival boards with holes to stick your head in. In post Covid times how many more heads will be salivating and rushing towards those holes to pop their heads in to create a lasting memory, if only for a second. So when I start learning more about this remarkable weirdo Cassius Coolidge, a man according to his official website dogsplayingpoker.com’s Biography: “Trying to chase mischievous boys from an abandoned house, he fell from a window and hurt his knee, leaving him injured for the rest of his life.”

Flash forward back to 2021 and Denis Leary and his career a man with a wikipedia with fun entries about all the accusations of plagiarism and hate speech against autism I start to worry about the legacy of more Kitsch art falling into the hands of other greedy and desperate TV executives. That being said if you are a greedy TV executive who happens to be a maniac that likes reading rando’s tumblr pages do I have a list for you!

TOP TEN PIECES OF KITSCH ART THAT SHOULD BE TURNED INTO SOME KIND OF SOMETHING

“We Are Having a Heavenly Time” Columbian Bike Monkey and Parakeet by, once again, Cassius Coolidge

Coolidge’s anthropomorphic foresight strikes again! This time he effortlessly establishes a captivating duo that could be easily voiced by an endless combination of celebrity voice actors. PAUL RUDD as “Monkey” and ISSA RAE as “Parakeet” present “We Are Having a Heavenly Time” present a travel show. You could basically use whatever leftover footage you have lying around from the many Conan O’Brien segments and plug Monkey and Parakeet and their trusty bicycle anywhere for an irreverent glimpse into the foreign World around us.

2. “Clown and The Girl” by Haddon Sundblom  

Now I know what you’re thinking, that title is miserable! I agree, but with a little  reverse engineering you get The Girl and Clown, which could be a whole new addition to the Girl on a Train, Girl with a Dragon Tattoo, Girl with a Dangly Earpiece, the Girl-Verse! The girl appears to be quite fearless of this clown, which is good because we need someone to be brave for when the clown takes off his mask.

Sundblom is also the original artist for the Coke a cola Santa Claus and how is it that we have gone this many rotations around the sun without a single Coke a cola Santa Claus special is the real reason why Christmas will always be the saddest time of year.

3. “Clean Your Fornasetti” based around the artistic Plate collection of Pierro Fornasetti 

Muk bangs, videos of people eating are a huge cyber traffic boom. People love watching people eat. Why not add the element of surprise by what kind of playful Fornasetti chanteuse is hiding underneath this plate full of gruel? Fornasetti is an artist with over 11,000 items created in his name and over 500 of them are based around a variety of expressions of a single woman. Clean Your Fornasetti is a deep and poetic rumination of the romance between the act of someone cleaning their plate and the reveal that the plate contained a visual feast all its own.

4. “Mickey’s Kinkade Playhouse” by the one and only Thomas Kinkade

The Kinkade Studios features over 63 “narrative panoramas” featuring Disney characters, but largely Mickey and Minnie, simply vibing. It’s time we stop pretending that small children like Mickey Mouse and market him for wistful older audiences that want to radiate in a nice long warm bath of color and sound. I am not sure I am even pitching an actual series but more of a Narrative Panoply. One thing that is missing from Disney Plus, and streaming services in general, is a severe lack of programming frills and flourishing. The iconic Adult Swim bumps are something completely lost to the dustbins of programming history left to remain in youtube compilations. Thomas Kinkade is a lot like Enya. Art critics treated him like a comedic punching bag for so long, but I doubt there’s an artist that grasps the kind of sterile enchantment people want after a long day of opioid benders. We’re all trapped inside doing puzzles why not do the bare minimum of slightly animating a pleasant scene of Mickey and Minnie roasting marshmallows or enjoying a breath of fresh Alpine air?

5. “Dust Lickers” by Odd Nerdrum

Quick! Get me Trash Humpers’ Harmony Korine on the Line Show him Shit Rock! The world of Odd Nerdrum is a harsh and primeval one that would make for an astonishing animated landscape. Odd Nerdrum himself feels like a worthy subject of some kind of documentary based around his imagery and insistence on making his art in the most arcane and old fashioned methods possible. Once again, maybe the visual world of Odd Nerdrum may not make for a full on narrative series, but once again would make for one hell of an animated segment.

6. “Homemade Pasta” by John Currin 

A cozy Queer slice of life cooking drama based around the two charming fellows of John Currin’s Homemade Pasta scene. A series of vignettes based around the completely unfabulous and domestic version of bliss that was denied many people as a result of the AIDS crisis. You can’t tell me you don’t see those two nice guys getting cozy and making pasta together and you aren’t dying to see how they go about rolling out their own focaccia bread.

7. “The Velvet Elvis” by the Collective Conscious 

David Lynch at one point in time was trying to crack into making his own Elvis biopic. I think it’s pretty safe to say that the age of a public wanting a David Lynch directed Elvis biopic has probably passed, but that does not stop Velvet art enthusiasts. TheVelvetStore.com is featuring a remarkable promo that could really bump up what a David Lynch Elvis movie could be like and the horror of having one’s soul trapped inside of a Velvet Elvis rendition painting seems like a pretty fertile place to begin a proper story about Elvis in America. 

8. “Big Eye Bunch” by Margaret Keane 

Yes, it was only a matter of time before Ms. Big Eyes herself, Queen of Kitsch, Margaret Keane would come up on a list like this. Tim Burton tried and sort of kind of captured what it so endearing about Keane’s work, but I think a fully animated dive into an orphanage full of sad Big Eye kids that time travel and meet other Big Eyed children version of historical figures is a Big Idea that could make a whole new generation keen on Keane.

9. “Banality” by Jeff Koons

An animated series based around the artistic sensibilities of Jeff Koons would be a tricky affair, but just the kind of gaudy whimsy that someone like Michel Gondrey could use to proper effect. A series based around someone trying to steal the fifteen million dollar Michael Jackson statue would also be appropriate.

10. “Groovenians reboot” by Kenny Scharf

Scharf is the only artist on this list that actually was a kitsch artist that caught the attention of early aughts adult swim. A tv show that only features the artistic sensibilities of Scharf but also a voice acting cast that consisted of Paul Reubens, Rupaul, Vincent Gallo, and Dennis Hopper. There’s also a theme song performed by the B-52s and musical direction by Devo’s Mark Mothersbaugh. One of the only known published reviews of the pilot describe the show as needing mind altering substances to enjoy and that it is essentially like “watching a cartoon reflected off of a funhouse mirror. This is basically a description of the modern tik tok addled twitchy type content that makes a killing on the Internet for millenial and zoomer types. Basically the whole aesthetic of a warped and broken looking cartoon is the exact sort of thing weirdos deep diving at youtube at four in the morning are looking for and seeing that this gets a failed pilot and Denis Leary’s Dog Poker vignettes get greenlit is exactly what’s wrong with the world.

[dustedmagazine]

Why Brecht Now? Vol. II: Nina Simone sings “Pirate Jenny”

Lotte Lenya’s terrific performance of “Pirate Jenny” in G.W. Pabst’s 1931 film version of The Threepenny Opera might be the most enduring version of the song. Brecht abandoned the movie project halfway through the shoot, suspicious of Pabst’s aestheticism and tired of arguing over changes to the narrative scenario and the stage play’s script. One wonders what Brecht might have made of Nina Simone’s rendition of “Pirate Jenny,” which he co-wrote with Kurt Weill in the late 1920s. Simone makes the song her own, not just in the idiosyncrasies of her performance, but in her substantive alterations to the song’s setting, to its title character and to its politics. Simone’s version is found on her 1964 LP Nina Simone in Concert. Below I present the lyrics to her performance, then, in brackets, Brecht’s original German. Following that are my thoughts on the song.

You people can watch while I’m scrubbing these floors And I’m scrubbing the floors while you’re gawking Maybe once you tip me, and it makes you feel swell In this crummy southern town, in this crummy old hotel But you’ll never guess to who you’re talking No, you could never guess to who you’re talking Then one night, there’s a scream in the night And you wonder, who could that have been? And you see me kind of grinning while I’m scrubbing And you say, “What’s she got to grin?” I’ll tell you

There’s a ship The black freighter With a skull on its masthead, will be coming in

You gentlemen can say, “Hey gal, finish them floors! Get upstairs! What’s wrong with you? Earn your keep here!” And you toss me your tips and look out to the ships But I’m counting your heads as I’m making the beds Cuz there’s nobody gonna sleep here, tonight Nobody’s gonna sleep here, honey Nobody Nobody Then one night, there’s a scream in the night And you say, “Who’s that kicking up a row?” And you see me kind of staring out the window And you say, “What’s she got to stare at now?” I’ll tell you

There’s a ship The black freighter Turns around in the harbor, shooting guns from her bow

Now, you gentlemen can wipe off that smile off your face Cuz every building in town is a flat one This whole fricking place will be down to the ground Only this old, cheap hotel standing up, safe and sound And you yell, “Why do they spare that one?” Yes, that’s what you say: “Why do they spare that one?” All the night through, through the noise and to-do You wonder, who is that person that lives up there And you see me stepping out in the morning Looking nice, with a ribbon in my hair

And the ship The black freighter Runs a flag up its masthead and a cheer rings the air!

By noontime the dock is aswarming with men Coming out from the ghostly freighter They move in the shadows where no one can see And they’re chaining up people and they’re bringing ‘em to me Asking me, “Kill them now or later?” Asking me, “Kill them now or later?” Noon by the clock, and so still at the dock You can hear a foghorn miles away And in the quiet of death, I’ll say, “Right now. Right now!” And they pile up the bodies, and I’ll say, “That’ll learn ya!”

And the ship The black freighter Disappears out to sea, and on it is me Ha!

 [Meine Herren, heute sehen Sie mich Gläser abwaschen Und ich mache das Bett für jeden Und Sie geben mir einen Penny und ich bedanke mich schnell Und Sie sehen meine Lumpen und dies lumpige Hotel Und Sie wissen nicht, mit wem Sie reden Und Sie wissen nicht, mit wem Sie reden Aber eines Tags wird ein Geschrei sein ma Hafen Und man fragt: Was ist das für ein Geschrei? Und man wird mich lächeln sehn bei meinen Gläsern Und man fragt: Was lächelt die dabei?

Und ein Schiff mit acht Segeln Und mit fünfzig Kanonen Wird liegen am Kai

Man sagt, geh, wisch deine Gläser, mein Kind Und man reicht mir den Penny hin Und der Penny wird genommen Und das Bett wird gemacht Es wird keiner mehr drin schlafen in dieser Nacht Und die wissen immer noch nicht, wer ich bin Und die wissen immer noch nicht, wer ich bin Und in dieser Nacht wird ein Getös sein am Hafen Und man fragt: Was ist das für ein Getös? Und man wich mich stehen sehen hinterm Fenster Und man fragt: Was lächelt die so bös?

Und ein Schiff mit acht Segein Und mit fünfzig Kanonen Wird bescheissen die Stadt

Meine Herren, da wird wohl ihr Lachen aufhörn Den die Mauern warden fallen hin Und am dritten Tage ist die Stadt dem Erdboden gleich Nur ein lumpiges Hotel wird veschont von jedem Streich Und man fragt: Wer wont Besonderer darin? Und man fragt: Wer wont Besonderer darin? Und in dieser Nacht wird ein Geschrei um das Hotel sien Und man fragt: Warum wird  das Hotel verschont? Und man sieht mich treten aus der Tür gegen Morgen Und man sagt: Die hat darin gewohnt?

Und ein Schiff mit acht Segein Und mit fünfzig Kanonen Wird beflaggen den Mast

Und es werden kommen hundert gen Mittag an Land Und werden in den Schatten treten Und fangen einen jeglichen aus jeglicher Tür Und legen ihn in Ketten und bringen ihn mir Und mich fragen: Welchen sollen wir töten? Und mich fragen: Welchen sollen wir töten? Und am diesem Mittag wird es still sein am Hafen Wenn man fragt, wer wohl sterben muss Und da warden Sie mich sagen hören: Alle! Und wenn dann der Kopf fällt, sage ich: Hoppla!

Und ein Schiff mit acht Segein Und mit fünfzig Kanonen Wird enschwinden mit mir]

In Pabst’s film, Jenny sings soon after learning that her erstwhile lover and pimp Mackie Messer has married Polly Peachum — and immediately after accepting a bribe from Polly’s mother, Mrs. Peachum, to betray Mackie to the London cops. Jenny takes the money, tips off the cops and sings. It seems like a desperate, nihilistic moment: an abject woman, amid turbid emotional and ethical crises, articulates a violent fantasy of absolute power. Whose side is Jenny on? Her own, of course, but operating at such an alienated distance from the social is never a good thing in Brecht.  

Simone’s performance feeds off Jenny’s anger and abjection, but the social politics of Simone’s revision are more emphatic, even didactic. In that way, she participates in Brecht’s artistic ethos: Walter Benjamin once noted that Brecht kept a statuette of a donkey in his apartment, and around the donkey’s neck was a sign that read, “Even I must understand it.”  

The import of Simone’s relocation of the song — from The Threepenny Opera’s Victorian London, to “this crummy southern town, in this crummy old hotel” — wouldn’t have been obscure to anyone in the Carnegie Hall audiences in front of whom she recorded Nina Simone in Concert, in March and April of 1964. The American south was then embroiled in civil rights struggle and mounting violence: Medgar Evers had been executed in his Mississippi driveway in June of 1963, and just a few months later, Addie Mae Collins, Carol Denise McNair, Carole Robertson and Cynthia Wesley were murdered in the 16th Street Baptist Church bombing in Birmingham, AL. Collins, Robertson and Wesley were 14 years old; McNair was 11.  

Simone addressed that violence in another, more famous song on Nina Simone in Concert, “Mississippi Goddam”: “Alabama’s got me so upset / Tennessee made me lose my rest / And everybody knows about Mississippi, goddam!” It’s rightly noted to be a watershed song, signaling Simone’s forceful transformation into protest singer, activist and cultural radical. Her version of “Pirate Jenny” may lack the referential specificity of that other, more storied song (and “Mississippi Goddam” gets pretty direct; at one point in the song, she intones, “Oh, but this whole country is full of lies / You’re all gonna die, and die like flies / I don’t trust you anymore” — in Carnegie Hall). But “Pirate Jenny” is a lively complement to the indignation of “Mississippi Goddam,” and tonally it’s even more bitter, even more violent.  

You can hear that implicit violence in the horrific cackle Simone produces at the 3:27 mark, immediately after the infantilizing image of the ribbon in Jenny’s hair. It’s a stirring contrast: the feminine innocent become vengeful fury. You can hear the bitterness in the final “Ha!” that bursts from her throat as she imagines herself disappearing over the horizon line with the ship. You can feel it in one of Simone’s other revisions to the song. In The Threepenny Opera, the song climaxes with Jenny’s shocking order that all the men in London (“Alle!”) should be killed for her pleasure. In Simone’s version, there’s never any doubt that all of her prisoners should be killed, it’s only a matter of how quickly. She hisses, rapaciously, “Right now / Right now!”  

In another notable change, Simone’s Jenny isn’t a prostitute, but a maid, cleaning up after “you people” in the aforementioned “crummy hotel.” Jenny is still marginalized, but there’s nothing subterranean or metaphorical about the economic environment she moves through. It’s all culturally sanctioned. Her oppression is a transparent element of her southern lifeworld, and she is thus sharply conscious of the manifest power of those transactions: “Maybe once you tip me, and it makes you feel swell.” It’s an important change to Brecht’s original lyrics, focusing on a set of economic relations that indicate Jenny’s racially charged plight. She’s a maid in a southern hotel, a laboring black woman, who’s made recognizable as such precisely because of the larger Jim Crow-period matrix of law and social practice that determined who did what work for whom.  

That economic register makes some of the song’s subsequent images even more resonant. The people on the receiving end of Jenny’s rage are “chained up” on the “dock.” The spectacle of terrified, chained bodies by the seaside evokes the slave auction block, even as the image wants to invert the slave economy’s racialized logic, of white oppressing black. And Simone repeatedly calls the ship in the harbor a “black freighter.” Black freight. It’s another marker for the slave trade, and perhaps Jenny is trying to run the film in reverse. Perhaps she wants to board the vessel, to sail all the slave ships back across the Atlantic, to neutralize the horror of the Middle Passage. That sounds like a utopian desire, a triumphal image that the song’s tone cannot sustain, or even create in the first place. Too much misery and violence has already happened. American history has already insisted that blackness and capital are inextricably bound. Utopian longing is beside the point. What’s needed is critique, sharpened by righteous rage.  

The historical period that we call “the Sixties” ground on for another ten years after Simone’s 1964 Carnegie Hall gigs. She became increasingly militant in her public rhetoric and performative style. She claimed once to have looked Martin Luther King in the face and said, “I am not non-violent.” Her voice throughout “Pirate Jenny” is a sort of corroborating evidence for that assertion.  

Simone’s assertiveness continues to reverberate today, as many of the most insistent leftist voices in American institutional politics come from women’s bodies, bodies that are black and ethnically Middle Eastern and Latinx. Why are the reactionaries so obsessed with AOC, with Rashida Tlaib, with Ilhan Omar? Because those women say stuff like “permanent war economy” in public? Because they eschew the rhetoric of moderation? Because they call themselves socialist and don’t seem in the least bit tentative about it? Maybe it’s because they refuse to wait. They want justice. Right now. They want an end to economic exploitation. Right now. They, and the constituencies they represent, have no time to waste on political nicety or policy based on half-measure. They insist that they will be heard. Right now.  

Jonathan Shaw

[phpscriptsmalluniverse-blog]

Auction Script and Reverse Auction Script helps to start your own Auction website

[pearl-nautilus]

The Mogul Mughal Emerald is one of the largest emeralds known. Auction house Christie's described it as:

The rectangular-cut emerald known as 'The Mogul Mughal' weighing 217.80 carats, the obverse engraved with Shi'a invocations in elegant naskh script, dated 1107 A.H., the reverse carved all over with foliate decoration, the central rosette flanked by single large poppy flowers, with a line of three smaller poppy flowers either side, the bevelled edges carved with cross pattern incisions and herringbone decoration, each of the four sides drilled for attachments, 2.06 by 1.56 by 1.56 inches (5.2 by 4.0 by 4.0 cm)

Originally mined in Colombia, it was sold in India, where emeralds were much desired by the rulers of the Mughal Empire. The Mogul Mughal is unique among Mughal emeralds in bearing a date - 1107 A.H. (1695-1696 AD) - which is within the reign of Aurangzeb, the sixth emperor. However, the Mughal rulers were Sunni, whereas the inscription is Shi'a, making it likely that it belonged not to Aurangzeb, but to one of his courtiers or officers.

It was sold on 27 September 2001 by Christie's for £1,543,750, including buyer's premium. As of 17 December 2008, it was in the possession of the Museum of Islamic Art, Doha, Qatar

[michaelandy101-blog]

How to Win in Competitive & Costly PPC Environments

New Post has been published on http://tiptopreview.com/how-to-win-in-competitive-costly-ppc-environments/

How to Win in Competitive & Costly PPC Environments

Working in different verticals will quickly teach you something about cost per click: it varies wildly.

A CPC for a pair of sneakers will be in a totally different ballpark than searches for exterminator services, for example.

In general, if what’s being advertised doesn’t cost much, the average CPC is lower.

It’s really a function of economics for retailers and services: each sale is only worth but so much, and costs that aren’t in line with that don’t make sense to spend.

So in other words, shoe retailers are all going to max out around the same ranges, because their margins aren’t drastically different from one another. This tends to set the price for a given vertical.

Still, this creates challenges for instances where CPCs are higher: every click matters, and it costs dearly.

Many retailers are willing to pay those costs, either because their product is worth that much, or they know they will make it back over time because of a customer’s lifetime value.

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I’ve worked with various clients competing in ridiculously high CPC environments, and currently work in-house doing it.

It’s like high stakes gambling some days, but positive ROI doesn’t have to be elusive.

There are a few steps you can take that will help your ROI when your costs might make some break into a sweat.

1. Have Proper Tracking in Place

Seems like a no-brainer, right?

It’s surprising when you work with high-cost client environments and find they still do not track phone calls generated from PPC campaigns.

A feature like call tracking used to seem too complicated for local businesses. It required coding, extra subscription fees, etc. and CPCs were relatively low back in the day, so it didn’t seem worth the hassle.

Nowadays, industries like HVAC or lawyers can routinely pay upwards of $100 per click, which means they could lose even more money if they don’t utilize a platform to track phone calls.

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These days, a simple sign up and a snippet on the website will give a bunch of insight on where those high-dollar leads are coming from.

This can help concentrate budget where it’s best spent, and free up funds from flailing campaigns.

2. Be Careful with Keyword Matching

The world of keyword matching has changed a lot since Google made Exact Match…well, not Exact.

When it comes to the search terms and how your keywords are matched to them, look at everything.

Just checking your broad or modified broad is no longer enough.

If you want to force search terms to match to a specific ad group, it takes more work than ever.

Google will take a lot of liberties with your matching these days, including substituting terms it thinks are equivalent to the ones you have.

Complicating this, Google stopped showing advertisers all the search terms they are matching for:

This means being as vigilant as possible about the data you do have is even more important.

3. Launch With Aggressive Negative Keyword Lists

While this was something usually reserved for Broad Match, the ore recent issues outlined in the previous section make this even more important.

With Exact Match taking more liberties than it used to, and a lack of transparency about how your keywords might be matched, establishing negatives out of the gate can help mitigate the impact of these.

One irrelevant click could cost you $100+.

So I use keyword research in the reverse: use it to find terms you don’t want.

This can be done using the Keyword Planner to see the related terms that it suggests.

You can also use Google’s suggestions when you search to see if it suggests any long-tail queries that you want to avoid.

For example, many accounts automatically exclude queries with “jobs,” because it’s an employment seeker, and not a potential customer.

Other examples are searches including “customer service numbers” or “logins,” indicating it’s a current customer looking for information.

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You can also infer people who are information seekers, or ones who may be competitors in your industry with references like “podcast” in the query.

4. Evaluate Device Relevance for Conversions

Users sometimes have behavioral differences on mobile devices versus desktop or tablet, but it isn’t consistent in a high-spend environment.

Let’s look at two examples of how this could be different.

Let’s say you live in Texas, and your air conditioning dies during August.

HVAC clicks are notoriously expensive, and it’s not hard to see why: the jobs are urgent, and worth a fair amount.

How do you think most of those users are searching?

They’re on their phones while they’re trying to get the A/C to work, not sitting at their desk doing careful research on their laptop.

In these cases, mobile users are highly valuable, especially because they’re likely to just click-to-call right from the ad and not necessarily go to a site.

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They need a fast fix!

Now let’s turn to an example in a completely different realm: business to business.

Many B2B verticals are also very expensive when it comes to CPC, but for different reasons: they’re very high-dollar deal amounts that can take months (or years!) to close.

They’re worth a lot, but for a different reason than our HVAC example.

Are these users researching something like high-dollar software solutions on their phone?

Probably not so much.

In this case, desktop users are probably more valuable than mobile ones.

Understanding where your conversion actions come from is important in your bid strategy.

Make sure you pay attention to the data not only in Google Ads, but also in any CRMs you might use to understand the full purchase cycle of users and their devices.

5. Use Remarketing to Help Drive Lower Click Costs

Using Remarketing Lists for Search Ads (RLSA) is a way to show your ads for those highly competitive keywords, but possibly for less money.

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Bidding on keywords in an open auction means you’re up against every competitor.

It also means there might be searches that indicate a possible future customer (i.e., information searches like “what is…” or “how do I….”), so a high CPC for where they are in their customer journey doesn’t make sense.

One way to stay present as people search without having to clamor for them on the open market is by using RLSA.

Just like display remarketing, you can apply a customer list of your choosing, and only show your ads to those users who search for those higher-competition keywords.

This keeps your brand persistently in front of users, but at a lower overall cost.

RLSA can be applied at the Campaign or Ad Group level:

Choose your remarketing audiences, and “Targeting” as the setting.

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This will ensure any keywords in that Ad Group only show to the users in those lists you’ve specified. You can set different bids for these users, based on what makes sense for your metrics.

6. Use Audiences to Bid Based on Relevance

This tactic is similar to RLSA, but instead of using your own customer lists, you use Google’s.

If, for example, you know your customer tends to be a Foodie, or into Home Remodeling, you can have only users in those groups see your ads when they search.

It works just like the RLSA function, but you can choose “Targeting” or “Observation.”

With “Targeting,” only the users who fall into those audiences will see your ads.

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With “Observation,” all searchers can still see the ad, but you can see specifically how users in those audiences behave.

You can also make bid adjustments to increase or decrease for those audiences based on the results you see over time.

Conclusion

Highly competitive bid environments are only going to remain that way, and every day we are seeing CPCs rise in nascent industries as they grow.

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Google Ads has been criticized for removing some of the control PPC practitioners used to enjoy, but there’s still maneuvering that can be done to get ahead to mitigate losses in these higher-stakes environments.

Applying marketing principles like user habits, interests, and existing relationships with your brand can help you better target and cut your costs.

Combatting the lack of transparency directly in an account can be fended off to a degree by using the research available in Google’s own tools.

Usually, the best results come from all of these efforts, to some degree.

Create a testing outline, and make sure to document your results along the way to find your winning combination!

More Resources:

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[petermorwood]

A sword pretending (badly) to be another sword entirely...

I was nosing through Pinterest looking for interesting pictures, as you do, and saw this sword, captioned “An interesting kaskara with inscriptions, Sudan, 19th century”.

Whereupon I went Wait, what? WTF? NFW! and numerous other abbreviations along the basic lines of I Don’t Think So.

I know what a kaskara looks like, and this wasn’t it by a very long chalk. I also know what this sword looks like in its original form. So I used Google Images to reverse search who was playing Silly Buggers, and when the trail led me to a page on vikingsword.com I got a bit of a surprise.

Back in 2012, it seems this sword was listed at auction, as follows…

A LONG SWORD IN THE NAME OF MUHAMMAD AL-MAHDI

SUDAN, 19TH CENTURY

With straight blade inscribed in loose naskh script with the Profession of Faith and the name of the Sudanese leader Muhammad al-Mahdi (La Illah allah Muhammad Rasul All Nasr min allah wa Fath Qarib Muhammad al-Mahdi Khalifa Rasul Allah "There is no god but Allah, Muhammad is his Prophet, help from Allah and present Victory"), one side engraved with a lion within a roundel and pseudo-calligraphic medallions, the hilt with an engraved lattice of quatrefoils, the leather sheath with cowry tassels

43¾in. (111cm.) long 

There’s no mention of any specific sword type, kaskara or otherwise, and that’s good, because the correct name is "fake”. “Forgery” implies far more effort to look like the original than this thing, and I wonder why the posters at Vikingsword were so reluctant to use either F-word.

A post at the bottom of the page suggests that this sword went for £12,000 Sterling (!!) (and it or another from the same source was back on sale in 2014 at a different auction house, with an much-reduced catalogue value of €1000-1500. Even the lower estimate is way too high.

I haven’t been able to track down either auction reference and I wonder about that sale, since people interested in unusual or ethnic weapons tend to know a great deal about them. I know very little about North African pointies in the wide world of shiny sharp things, but I know enough to have pegged instantly that This Is Wrong (just as you don’t need to be a petrolhead to see that putting fake fins on a modern car won’t transform it to a 1959 classic.)

Yet the Vikingsword discussion went well down the page before someone said out loud what I thought at first sight. Cutting a bit of slack is all very well, but there’s such a thing as cutting too much of it.

First, here’s a real 19th century Kaskara from Sudan.

Second, here’s a 19th century Takouba / Takoba from Morocco.

Third, here are a few 15th century Jineta swords from Moorish Spain.

Though all are “straight, cross-hilted swords from Islamic cultures” the shapes of guard and pommel are quite distinctive for each type.

Fourth, here’s the hilt of the sword from the auction and Pinterest. It’s not a kaskara, and the guard and pommel extensions are IMO an attempt to look like a Jineta.

But without those extensions it looks like this.

That’s a modern 20th-21st century reproduction Viking sword by Del Tin.

Here’s the original Viking sword which inspired it, from the National Museum in Copenhagen.

The DT 2102 is discontinued AFAIK (it’s no longer on the website catalogue) but you can still buy one from Kult of Athena.

The bits of scrap brass and a soldering iron to fake it as something it isn’t won’t cost much extra... :-P

[northcountryschool]

April 24, 2020

Photo: Farm intern Bri with a newborn lamb.

North Country School was founded in 1938 with a deep commitment to community—both within our own campus, as well as our larger global community. A respect for and responsibility to one another informs all that we do, from our daily barn chores and large-scale composting efforts to our collaborative artwork and social-justice themed theater productions. This past week has highlighted some of the ways we at NCS strive to support one another and connect to the larger world, and the ways we’ve had to adapt those goals since the distance between us has widened dramatically over the past few months. 

This week the ewes in our barnyard gave birth to the first newborn lambs of the year. What is usually an all-community activity has transformed into a long-distance celebration of the hard work and thoughtful care provided by our farm staff to our barnyard creatures. We also celebrated Earth Day together as a community, though the event looked different than it has in recent years. With the assistance of technology, we were able to join together with the extended NCS family to celebrate our shared earth, and discuss ways we can continue to care for the planet. We were encouraged to see similar events put on by thoughtful communities all around the globe, and are inspired by the creative ways people continue to come together despite the new hurdles we face throughout these times apart. 

Please keep sending us your photos, and we will add them to our NCS at Home: Spring 2020 photo library. Email photos to Becca Miller at bmiller@northcountryschool.org.

Note: Our campus is closed to all students for the remainder of the school year, with the exception of the international students who remained here during spring break, rather than returning to their home countries during the early stages of the outbreak. These 18 students, along with our houseparents and faculty, are staying on campus and enjoying outdoor adventures in the contiguous wilderness during this time. They have been and will continue to take appropriate safety and prevention measures.

CREATIVITY AND CONNECTION

Top: Larry teaches Earth Science class in winter gear. Middle 1: Larry’s daughter, NCS 8th-grader Ella, helps him film a glacier lab. Middle 2: 8th-grader Eliza does her glacier lab at home. Middle 3: Elie teaches Spanish class from the NCS library. Bottom: Elie uses NCS alum Autumn’s Spanish children’s book as an example for the class.

As we work our way through the spring term, NCS teachers are finding new ways to engage students in dynamic lessons. This week in Earth science class, Larry—along with some help from his daughter and NCS 8th-grader Ella—got outside to demonstrate a glacier lab to his class on Zoom. The students then participated in their own lab from their homes around the world, freezing bags of sediments, ice cubes and water (using other substances if they didn’t have access to those resources). They then pushed their "glacier" around in their yards to examine how the object’s movement affected the ground beneath it. Each student drew their observations, which included seeing grooves, striations, erratics, and broken chunks of ice destined to be kettle ponds. In Elie’s Spanish class, students are beginning an ongoing project where they will be writing a children’s book in Spanish that takes place in a country of their choice. To show the class what their end product could look like, Elie read through an example made by 2018 NCS graduate Autumn about a pair of best friends living in Guatemala.  

Top: Noni talks about NCS sustainability for Earth Day Town Meeting. Middle: Earth Day Town Meeting participants. Bottom: Buyerarchy of Needs screenshot from Earth Day presentation. Photo credit: Sarah Lazarovic.

Though we are currently separated by great distances, North Country School’s focus on community remains a crucial part of everyday life. This week we continued to adapt to the new structure of our lives by celebrating Earth Day together with the extended NCS family despite the space between us. In a morning Town Meeting event, faculty, staff,  students, and families joined together on Zoom to talk about the significance of Earth Day, and the many ways we can care for the world around us. The gathering (which was attended by over 100 members of our extended community) featured passionate talks and poignant readings by many NCS adults, including a history of NCS’s expansive sustainability efforts recounted by art teacher Noni—the granddaughter of NCS founders Walter and Leonora Clark—and some helpful ideas on how to appreciate more and waste less by English teacher Melissa. 

ART AND ADAPTATION

Top: NCS student work from the Lake Placid Center for the Arts’ Annual High School Art Show. Bottom: Tony practices piano for music class.

Like many aspects of life in this moment in time, art and creative expression looks a bit different for our NCS students than it did only months ago, but as the old adage goes, necessity is the mother of invention. Our need to express ourselves and create beauty remains unchanged, though the methods are ever-evolving both on the NCS campus and in our surrounding community. This past week we learned that many of our students had artwork accepted into the Lake Placid Center for the Arts Annual High School Art Show. Since visitors can’t view these works in person this year, the Center has changed the show into a digital exhibit that showcases the vibrant and powerful work created by talented students from around the North Country region. To see the NCS photographs, sculptures, paintings, drawings, and ceramic pieces that were selected for this annual show, click here.  

Our musical students have also been adapting alongside teacher Joey, working on their own individual skills and collaborative projects from their own homes and in The Walter Breeman Performing Arts Center (WallyPAC) on the NCS campus. This week, Tony spent time in the NCS music studio to continue to work on his section of a group piece that will be showcased later in the term.

Top: Courtney teaches theater class. Middle: Through the Looking Glass script. Bottom: Sally rehearses her lines with Courtney over Zoom.

Though students will not be returning to the North Country School campus for our annual spring production of Alice in Wonderland, the show must go on. This week theater teacher Courtney continued her classes with the actors in the show, working through dialogue with individuals and groups over Zoom. Students Sally and Jessica ran through some of their lines for their roles as the White Queen and Alice, respectively. The production, which features five different students playing the titular role of Alice, will be recorded in pieces in students’ homes and edited together into a full-length show that will be shown at the end of the academic year. 

A PLACE TO PLAY

Top: Cascade House plays badminton in the Pavilion. Middle 1: Koga plays in the Upper Field. Middle 2: Larry and Sierra host the Saturday Night Activity. Bottom: Saturday Night Activity participants show their work over Zoom.

Students and teachers on the North Country School campus found time for active play and lighthearted silliness this week. The students of Cascade House spent several out-times in the Pavilion playing some competitive ping pong, with sisters Jessica and Rebecca going head-to-head for several rounds, while the students living in Mountain House and Clark House played games of soccer, tennis, and Frisbee on the Upper Field by the Lake Hill. As temperatures continue to warm we hope to spend more time by the lake, paddling in canoes and relaxing at the boathouse. 

This week marked the third remote Saturday Night Activity—part of our Connecting to the Community series. Teachers Larry and Sierra hosted the Reverse Auction activity, with students and adults participating via Zoom from their on-campus and off-campus homes. The scavenger-hunt style event was a huge success, with the students of Cascade House—clearly the team to beat—winning for the third week in a row!

NCS AT HOME

Top: Sisters Dominica and Kalina practice with their ice skating team via Zoom. Middle: 7th-grader JT bikes. Bottom: 7th-grader Colton hikes Balanced Rocks.

We were excited to see more updates from our students at home this week. We’re especially glad to see all the creative ways our community members are staying active and healthy during this time, whether it be inside or outdoors. Competitive ice skaters Dominica and Kalina have been training remotely with their teammates and coaches in Los Angeles from inside their North Country home. Though they are not able to train on the ice, the girls have been working hard on their jumping, conditioning, strength, flexibility, and ballet skills in their garage studio. 7th-graders JT and Colton have also been staying active with their respective families, spending afternoons and weekends biking around their local wooded trails and hiking through the wilderness to beautiful vistas. 

Top: 9th-grader Jessica makes cream puffs. Middle 1: 8th-grader Hanna does her Earth science lab at home. Middle 2: 6th-grader Samantha attends class from home. Bottom: 6th-grader Will and his brother, Leo, make sticky buns from the “What’s Cooking at NCS and Camp Treetops?” blog. 

NCS students have also been practicing their hobbies and schoolwork from their homes around the world. The students living in Cascade House have been experimenting with baking under the guidance of their houseparent Meredith. This past week the group continued working on their tasty kitchen creations by baking up a batch of homemade cream puffs. Students in Larry’s Earth science class sent photo-updates of their glacier lab, while 6th-grader Samantha sent along a picture of her working alongside a furry friend. NCS 6th-grader Will, along with his brother and Camp Treetops camper Leo, spent some time this week preparing a recipe from the What’s Cooking at NCS and Camp Treetops? Blog. Their finished sticky buns, made using Head of Kitchen Paulette Peduzzi’s recipe—a favorite for campers and students alike—looked like the perfect sweet morning treat. 

SIGNS OF SPRING

Top: A rooster enjoys the warm weather. Middle 1: Horses in the sunshine. Middle 2: Newborn lamb twins with their mother. Middle 3: A newborn lamb. Bottom: Farm intern Nick with a newborn lamb.

Sunny skies have been drawing our farm animals into the outdoors lately, and Barn Manager Erica has been sending delightful updates from our different animal spaces throughout the week. Over in the chicken coop, the roosters and hens have been enjoying their time out in the yard, finding bugs and eating scratch, while the horses practiced social distancing while they posed for their group shot. 

The real news from the farm this week was the start of our much-anticipated, and always joyful, lambing season. Each spring, as the birds return back to our feeders and the frog pond becomes a riot of peeps and croaks, we welcomed the arrival of our lambs. Lambing season at North Country School has always been a community event, with students witnessing our ewes giving birth and groups there to receive and care for newborn creatures as they join the world. The start of lambing this year has been a bittersweet time, as we are not able to join together and help each other in the ways we’d hoped, but Barn Manager Erica, along with farm interns Nick and Bri, have been caring for our barnyard creatures and sending us joyful updates each day. So far we have five new lambs in our flock, and are eagerly awaiting signs of labor from the remaining seven pregnant ewes. While we miss being a part of this special season and lending a hand on the farm, we are grateful to the barn staff for their thoughtful care and tireless work on behalf of our many barnyard animals. 

Join us as we watch our flock live via Lamb Cam, streaming from our sheep barn throughout lambing season.

We hope that you and your loved ones are staying safe and healthy, and that your communities are caring for and supporting one another. We will continue to update you about our community throughout this time, and encourage you all to reach out to us as well.

CONNECTING WITH OUR COMMUNITY:

Mondays: Check our Facebook page every Monday for a video from our School Counselor, Lauren, on tips for getting through this challenging time.  

Tuesdays: Creature Query- Barn Manager Erica Burns will be answering questions about the animals on our farm using fun and educational videos. Last week Erica taught us how to prepare our sheep’s wool for spinning. Check it out on our Facebook page.

Wednesdays: What’s Cooking at NCS and Camp Treetops?- Edible Schoolyard instructor Elie Rabinowitz, along with other community members, will provide simple recipes and cooking resources you can use to prepare delicious meals at home with your families. This past week Head of Kitchen Paulette Pedizzi shared her much-loved sticky bun recipe. Check out all of the recipes on Facebook and on Tumblr.

Thursdays: Birding with Jack- 6th grade English teacher Jack Kiernan will offer the NCS community an opportunity to connect through the world of birds by providing the resources to become familiar with birds that our community is seeing around the globe. If you are out for a walk or sitting at home, looking out the window, take a moment to log the birds you see with the NCS eBird account. Last week Jack shared a video that featured a Song Sparrow at the pond on campus. Check it out on our Facebook page.

Fridays: Check our Facebook page every Friday for a video featuring a Japanese mini-lesson by teacher Meredith Hanson. Last week Meredith shared some wisdom from around the world as she read a passage from the "Dao De Jing" by Lao Tzu.

Saturdays: The NCS Saturday Night Activity- Every Saturday at 8 p.m., NCS teacher Larry Robjent, along with other NCS faculty, will be hosting fun activities similar to those typically held on campus with students. Participate live from home with your own families. Last week, Larry and Sierra ran a reverse auction, and this coming Saturday, April 25, will feature NCS/CTT Trivia!

For more information about the #ThisWeekAtNCS blog, contact Becca Miller at bmiller@northcountryschool.org.

For general school information, call 518-523-9329 or visit our website: www.northcountryschool.org