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Ski resorts Bulgaria Pamporovo

Ski resorts Bulgaria Pamporovo

Travel to famous ski resorts Bulgaria

Where to go for ski resorts Bulgaria?

Surely, Pamporovo. Pamporovo is a modern and one of the widely famous ski resorts Bulgaria, which makes it popular for ski holidays Bulgaria. It is not far from the city of Plovdiv, the second biggest in Bulgaria, after Sofia, – only 85 km away. (walking guided tours Sofia)It is considered the sunniest resort with more than 100 sunny days in winter and mild climate. This is due to the fact that the resort is located close to the Greek border. Pamporovo offers exceptional natural beauty and excellent conditions for recreation. It is one of the gorgeous places to visit in Bulgaria in winter. Pamporovo is in the foothills of the Rhodope Mountains. Then that will let you enjoy the beautiful scenery, tranquility as well as breathe the fresh air that the mountain offers. Ski resorts Bulgaria, Pamporovo is a good choice for Balkan holidays.

Pamporovo great Sky Resort Suitable for Beginners, ski resorts bulgaria, ski bulgaria resorts, ski resort bulgaria, bulgaria ski resort, bulgaria ski resorts, ski resort pamporovo, pamporovo ski resort

The ski season in Bulgaria is from mid-December till late April. The resort rises to 1650 m. above sea level and above it hangs a majestic Mount Snezhanka (Snow white) – 1926 m. There the main and more difficult trails start.

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Dionysian Prague

Prague is a city with a mind boggling number of beer pilgrimages.  Known as the city of a hundred spires, it could just as easily be called the city of a hundred breweries.  Prague is a city which can be enjoyed on many levels.  It has a rich history in, to name a few, the Habsburg empire, World War II, communism and the subject of this post… beer.  Czech beer and it’s beer culture are overshadowed in the west by it’s bigger neighbor Germany.  Both countries specialize in pilsners, the golden crisp low fermentation beers which characterize most of the commercial beers around the world.  The term pilsner comes from the city Plzen, which is in the Czech Republic.  But in Prague, the centerpiece beer in a drinking establishment is not the regional commercial blond pilsner, but the chocolate colored pilsner with a touch of coffee aftertaste.  The Czech dark lager.

When it comes to the best beer cities in the world, Prague may hold the title.  Cities like Munich and Krakow definitely are up there.  Belgium’s trio of Bruges, Antwerp, and Ghent also have rich beer cultures.  But Prague manages to separate itself from the pack.  Where else can you go to a Beer Spa, purchase cosmetics and hair products made from beer, or be lured into a shop with the promise of free beer?

The starting point to experiencing the beer culture in Prague is to understand where Praguers drink beer and the Czech beer terminology.

Welcome to the Pivovar

Beer in the Czech language is Pivo.  The Pivovar is a unique style of beer drinking establishment that exists in Prague.  In Belgium, you have the brown bars with are typically in quaint old-fashioned traditional brick buildings and usually have anywhere from 20-300 different beers.  Small meals or salami and cheese are usually possible.  In the UK and Ireland, you have pubs with cool names like Red Lion or Castle Arms.  They usually have a few beers on tap and are characterized by the elaborate wooden-handled taps.  Food is always ordered at the bar.  In Germany you have the festive beer halls and gothic-style pubs which generally have only a 2-3 choices in local beers.  Pretzels and traditional meals are also served.  Austria has something similar with the biesl, famous for their schnitzels.

By comparison, the pivovar is unique in that they brew their own beer.  While some pivovars can serve a handful of different types of beer, in many cases the pivovar serves only one type of beer (e.g. U Fleku).  Traditional meals are also served at pivovars.  Reservations are recommended but not necessary.  There are seating areas for walk-ins but they are usually much smaller than the reserved seating areas and long waits can be possible.  Additionally, be prepared for exposure to cigarette smoke.  Czech Republic has not caught up to Western Europe and the USA in banning smoking inside drinking establishments.

Before I get into some recommended pivovars and other beer pilgrimages in Prague, you must get the Czech beer lingo down.

Czech Beer Glossary

The common terms which will help interpret the difficult to understand beer labels and menus are:

  • Svetly – blond/pale
  • Polotmavé – amber
  • Tmavé – dark
  • Nefiltrovany – unfiltered
  • Černy – extra dark
  • Klášterní – Monastery
  • Lêźak – lager brewed at a higher temperature normal pilsners, more flavorful
  • Vyčepní – from the tap
  • Speciál – special lager brewed at highest temp

If you are lucky, you’ll catch the Prague Orchestra outside the Prague Castle

The below pivovars are only a fraction of the ones that exist in Prague.  The places listed here were enjoyed over a two-day, three-night visit.

U Fleku

Starting with the granddaddy of all pivovars, U Fleku claims to be the only brewery in continuous operation for 500 years in Central Europe.  It also claims to be the largest in all of Czech Republic.  One small room at the front left was available without reservation during my most recent visit.  Signature beer is a tasty dark lager called the Flekovsky Ležåk 13.  It is probably the most well-known and frequented by tourists.  U Fleku is a bit of a walk from the Old City, but within a short distance of the St. Cyril & Methodius Church, which is a must see for World War II buffs for being the site of the deaths of the rebels who assassinated SS Obergruppenführer Reinhard Heydrich.

U Fleku

Easy but repetitive job for the bartender.  One beer – the U Fleku dark (tmavé) lager.

U Medvídku

U Medvídku brewery was started in 1466 but interrupted for just over 100 years in 1989, due to competition with industrial breweries.  So therefore, it cannot claim the 500+ years of continuous operation like U Fleku.  But they can claim to have the world’s strongest pilsner X33, which contains 12,6% alcohol.  They only brew this once a month and during my two visits, it was not available.  I did enjoy the other two offerings, 1466 and Oldgott.

Klášterní Pivovar Strahov

This is the one pivovar in this post which is on the Prague Castle side of the river.  It sits up on a hill just opposite the beautiful Strahov Monastery.  Brewing on this site possibly goes back to the 13th century but the current brewery is only a few years old.  A handful of different beers are available.  Since I prefer the dark ones, I have had the Sv.Norbert Special Dark Beer (now called the Tmavé), the Chocolate Stout, and the Antidepressant Autumn Dark Ale.

Pivovar Strahov

Strahov Monastery

Sv. Norbert Chocolate Stout

U Trí Ruží

This pivovar is just a half-block away from the Prague Beer Museum.  They claim to have about 30 different beers available.  Of course, I chose the Tmavé Special.

U trí ruží

The Tmavé Special

Beer Bars, Shops, & Other Cool Places to Experience Czech Beer

Pivovarsky Klub

Located in the Karlin neighborhood which is a 10-15 minute walk from the Old City, Pivovarsky Klub is an Untappd apostle’s delight.  The website claims 240 different beers in the bottle and 6 on tap.  Looking around at the bottles lining the walls, it is enough to give a beer pilgrim brain freeze.  Don’t expect haut cuisine though.

Galerie Piva

On the Prague castle side of the river, a short left turn down Lázenská after passing through the gate tower of the Charles bridge is this small but bountiful beer shop.  For a beer pilgrim, this is a goldmine of special Czech beers and beer souvenirs to take back to the hotel or back home.  I picked up a Svijany beer glass and Kozel bottle opener.

It is always good marketing to put a sign out front that says “Beer For Free”.  Such is the invitation that led me to sample what the saleswoman described as the First Beer For Women.  The shop also sells arts and crafts from local artisans, but clearly the focus is on marketing the beer.  It is a delicate, champagne-style beer.  Agreed that it is not geared toward masculine tastes.

Beer Museum

Did not visit since I wanted the city’s pivovars to be my museum, but it looks to be quite interesting.  For a later time…

Peklo Restaurant

Behind the Strahov Monastery is a restaurant set into an underground cave.  Peklo apparently means Hell in the Czech language.  The restaurant is dimly lit by candlelight and would be a nice romantic dinner spot.  For me, it was a good place to have some goulash soup served in a bread bowl and a couple new beers.

Czech Beer Festival

Held for 17 days every May, this is the Czech Republic’s biggest beer festival.  I had the pleasure to visit in May 2013.  Not as wild and crazy as Oktoberfest, but it was my first experience with a one-liter beer.

If you managed to read thru this entire post, I think you’ll agree that for beer lovers, Prague must be top on the list of beer pilgrimages.  There are so many different ways to experience the beer culture here.  Pivovars, museums, cozy restaurants, and great beer shops.  And when you add in the amazing history and architecture, it is a city that beckons to be visited again and again.

Categories: Beer, Czech Beer, Czech Republic, Dionysian SeriesTags: , , , , , ,

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New for 2016 and only just released in the UK we have this fantastic wooden corner kitchen from Kidkraft.

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ITSMF and Accenture are excited to announce the launch of the Women’s Leadership Forum. The Forum aims to provide an intimate place to learn, share personal and professional experiences, seek advice and gain insights into advancing careers through peer-to-peer networking, mentorship, relationship building and leadership development.

The delivery format, designed to complement the ITSMF Quarterly Symposium series, will be an event series of workshops and webinars that will inform and prepare the current and next generation of female leaders for continuous advancement, while building a cohesive network among its participants.

Accenture is proud to support the ITSMF Women’s Leadership Forum.

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Design Council

The value of Design to the UK economy

Credit: alexander-filonchik (Unsplash)

Credit: alexander-filonchik (Unsplash)

What does the Design sector actually contribute to the UK economy? Much of the media only focuses on the headline grabbing big earners like the banking & finance sectors. While its true that the financial sector has seen staggering growth over the last 30 years the growth or value of other sectors goes largely ignored.

The media largely chooses to dumb down its content to a repeatable sound-bite, you could say almost a tweet. Proper detail is skimmed over in a flimsy and patronising way. It might be easy to be sucked in to believing that its only the banks that are driving our economy these days. That simply isn't true and as someone that has worked in manufacturing and design sectors over the last 20 years I am always proud of the contributions I have made to the GDP through creating designs to be made and sold - even better - to be exported. Manufacturing and agriculture still contribute a significant income for the UK despite the spin pointing us to finance, banking & service sectors.

To counter the spin it was refreshing to read through the Design Council report detailing the contribution of the design sector to the UK economy. The report was first published in October 2015 (see a link to it lower down) and in its 80 pages it contains some very encouraging statistics for those working in the multitude of disciplines that make up the UK design sector. Now the cynic in you might say "Well, isn't this just spin & hype of a different kind? The Design Council blowing its own trumpet." Yes, indeed you could. However the report isn't just a series of attention grabbing stats, no media style tweets, there's a lot of depth and research behind the figures. In fact there is a separate section on the Design Council website on how the figures were collated if stats & numbers are your bag. (

As a Product Designer I was pleased to read that the Design (product & industrial) category has grown between 2009-2013, increasing by 17.1%. It falls some way behind the boom in the Design (digital) sector but it is growth non the less. This is all despite a contraction in the number of firms operating in the Design (product & industrial) sector. This has shrunk by -18.8% between 2010-2014. Worrying circumstances for a freelance Product Designer you might think? No, I don't see it that way. What I read is positive - although the number of firms in the sector has contracted in the space of 4 years the value of the contribution to the UK economy has grown. In other words there might be fewer of us but our "value-added" is greater. This is great news and mirrors the aim of my own consultancy - helping clients to generate revenue for their business by bringing products to market. You can learn more about how this is done by reading about the Development Partnerships available.

Credit: Design Council

Credit: Design Council

Other stats which made for pleasing and encouraging reading included:

  • The design economy generated £71.7bn in gross value added (GVA), equivalent to 7.2% of total GVA.

  • Between 2009 -2013 the design economy GVA grew at a faster rate than the UK average.

  • Workers with a design element to their work were 41% more productive than the average. Each delivers £47,400 in output (GVA per worker) compared with £33,600 across the rest of the economy.

The report also went on to state:

  • The design economy is concentrated in London and, to a lesser extent, the South East of England. More than one in five design workers, and one in four design intensive firms (where 30% or more of the workforce were employed in design occupations), are found in London.

I am pleased to report (based on my own experience) that new creative design led businesses are growing in the South East. In fact outside of London the South East is the next largest concentration of design businesses, above the national average. Looking at page 65 you can see that Hastings has jumped a colossal 166 places to become ranked as the second biggest concentration of design businesses.

The growth of creative & design sector jobs in the South East will (hopefully) continue to grow. New events like the upcoming Huddle conference in Eastbourne will help to sustain and nurture the growth in the region.

Get involved with your design community

Get involved with your design community

On the whole (without getting too sucked in by the spin or trumpet blowing) I think the UK Design sector has reason to be pleased with itself and I for one am looking forward to continue to be part of that growth for many years to come.

If you want to read the report in full you can download it from the Design Council website:

The Design Council video gives a succinct overview in under 2 minutes if you haven't got time to read the report.


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Creating a Better Health Care System for Veterans

If there’s any group that deserves first-rate medical care, it’s America’s veterans who have served our country.  That’s why it’s so unconscionable that our Department of Veterans Affairs continues to provide lackluster service—and worse.  IWV’s Hadley Heath explained in the New York Post that our veterans would be better off if Disney was their services provider, rather than unaccountable bureaucrats at the VA.  Yesterday, IWF’s Patrice Onwuka warned that the situation has been getting worse, not better, for veterans, as more and more veterans have to wait, sometimes for months, for care.

The good news is that some policymakers, like Rep. Cathy McMorris Rodgers, are working to create a better system for America’s veterans.  Take a look at the discussion draft, and we’d welcome your feedback on how to improve upon this draft bill, so we can share that information with our friends on the Hill.  Email us at [email protected]

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People have been asking me, ‘How’s it going with the #PicturesMeanBusiness campaign?’

I’ve heard some good feedback that it’s starting to make a difference, that people in publishing are more aware of the impact they can make on illustrators’ careers by crediting them for their work. But important lists of illustrated books keep popping up with illustrators’ names omitted, from book-loving people you’d think would know better, and they usually assign the blame to incomplete or faulty digital data.

So how’s it going with the whole metadata issue? Are we any closer to sorting out the problems?

On Wednesday, I met up with Jo McCrum and Nicola Solomon from Society of Authors, Loretta Schauer from Society of Children’s Book Writers & Illustrators, journalist Charlotte Eyre from The Bookseller magazine and Andre Breedt from Nielsen, the company which compiles and provides the majority of book data. Andre Breedt was incredibly helpful and supportive of the campaign, and explained to us some of the bare bones of how the book data system works, and spent time thinking with us about ways we could try to improve the situation for illustrators (and translators). Here are some of the things I learned, and some conclusions we drew from the meeting, about what we all need to do to make things work better:

* Illustrators and illustrator agents: you need to be more attentive with CONTRACTS. The best way for a illustrator to get his or her name on the front cover of a book is to get that promise in writing. Illustrators, you or your agents need to HAVE THIS DISCUSSION with your publisher. (This is particularly important if you're illustrating educational material, so-called 'middle-grade fiction' or 'illustrated chapter books'.)

Don’t wait until you’ve finished illustrating half the book to finalise this stuff. Don’t work on the promise of a contract. Get it before you begin working or it may be too late; you may get a nasty surprise when the book comes out uncredited to you.

A phrase recommended in your contract by the Society of Authors lawyer at the meeting was ‘front cover credit with due prominence’. You can haggle with how big the lettering needs to be, but at least your name will be on the front cover. If you’ve done a lot of illustrations and the publisher refuses to put you on the front cover, this is a big deal, a blow to your branding, and may mean you have a harder time getting festival appearances and paid author visits. In that case, you need to decide (with your agent, if you have one):

1. If the publisher insists on not crediting you at all, will the publisher pay you a significant extra amount of money to compensate for this?

2. If you can come to another arrangement (say, your name on the title page, back cover, etc), are you happy with the pay and do you think the credit accurately reflects the amount of work you’ve contributed to the overall book?

3. After negotiating this, is the job still worth it, or should you turn it down?

The most important thing is that you’re clear about this important negotiation point from the beginning and the decision isn’t some sales team afterthought.

* Book charities and organisations, people who run award schemes, booksellers, journalists: assess your own practice. You may be in a rush, but don’t blindly accept what you’re given when you cut and paste data. If you’re making the effort to single out the books for recognition, take the time to make sure you’re correctly crediting the people who made them.

You may need to look at an actual copy of the book.

* Publishers: assess how your data works. To get illustrator data right, we need you to do three things:

1. Be sure you're using standardised data (more about this in a moment).

2. Be sure you (or your intern) fill out the box that asks for the illustrator's name (or 'populate the field' in data-speak).

3. When you request data, be sure to ask for the field that includes the illustrator data. If you don't ask for it, Nielsen won't force it on you.

Let me unpack those a bit.

1. Be sure you're using standardised data. The reason we keep having problems is that no one has a brand-new system. Almost everyone has what data people call 'legacy systems', which were designed for a certain purpose, years ago. As the book trade evolved, people made little additions and repairs along the way, instead of getting brand-new system.

For example, a lot of systems were designed for warehouse use, to help people shift around big boxes of books. For the purpose of moving boxes, all they needed to know was if the right books were in the right boxes, how much they'd weigh, and how they'd fit onto a lorry. So there was no reason they would pay to add extra information about an illustrator to the system; it genuinely didn't matter for those purposes.

As time went on, these warehouse systems evolved into what customers used to order books, online shop front (or in data-speak, 'front-end facing') systems. So the same system that dealt with box weight was gradually being asked to deal with customer reviews, star ratings, interesting details about the authors, other book recommendations, etc. And some systems made the transition better than others; transitions costs money. Some companies would get the illustrator data from Nielsen, but their own software wasn't detailed enough for all the data to make the transition to their website, and they could only make manual changes if they wanted to include illustrators for their customers. (Hive Books have been good about adding illustrators when asked, but they're working on improving their overall system.)

For awhile I thought Nielsen didn't actually have a data field for the illustrator. Like most illustrators, I don't have access to their system since I'm not a subscriber, so I couldn't check. But Nielsen DO have this field. Here's the information the Nielsen rep pulled up for my picture book, Dinosaur Police. (And we were both pleased to see Scholastic UK had been filling out all the right data.)

At the meeting with the Nielsen rep, I learned a lot of behind-the-scenes things. If you're trying to understand how it all works, it's important that you understand the roles of these groups:

Nielsen BookData is a business. Nielsen provide a lot of services that help the book trade run effectively behind the scenes. They provide ISBNs for all books published in the UK and Ireland. They collect information on books from publishers, and sent it out to booksellers and libraries, arranged how they want it. They provide electronic ordering services to enable booksellers to order the books for their shops, and they provide the sales and market information, including the bestseller charts. Nielsen data can easily be accessed in standard formats, but if you want a bespoke service, it will take a little longer and cost a little more.

They have two main systems: a bibliographic system and a sales system. So if you're a librarian and want to know all the details about a book, you'll use their bibliographic system. If you're an editor at The Bookseller and want to know whose books are selling best, you'll use the sales system. You can find out which writers' books are selling best, but unfortunately you can only get illustrator information from the bibliographic system. So if you want to know bestselling illustrators, they can get that information, but they have to do it manually. People don't request that information often enough for it to be worth the money they'd need to spend putting illustrator data into the sales system.

Another organisation worth knowing about is BIC, the Book Industry Communications Group.

BIC is an independent body set up to promote standards in the UK book trade. For instance, the ISBN is a standard, and it’s hard to imagine how the book trade could possibly work without it now. Standards help all the players in the industry, and all the different systems, communicate with each other more clearly. BIC’s website statement reads:

BIC is an independent organisation set up and sponsored by the Publishers Association, Booksellers Association, the Chartered Institute of Library and Information Professionals and the British Library to promote supply chain efficiency in all sectors of the book world through e-commerce and the application of standard processes and procedures.

But BIC just deal with UK standardising. (Its director is Karina Luke.) There’s another group that deals with standardising in other countries, particularly European countries, called EDItEUR. (Its director is Graham Bell.)

All these countries doing things differently sounds very complicated, doesn't it? They think so, too. So EDItEUR are trying to set up a huge overarching global classification system for books, called Thema. (The chair of this is Howard Willows, from Nielsen.)

But how do publishers get their data to Nielsen(so they can put it all together in one place and make it useful)? Lots of different ways, apparently. In the old days, they used to send Nielsen actual books, but they get hundreds of thousands every year, so they had to stop doing that. The way they most prefer publishers to submit data is by using a system called ONIX.

ONIX is the system BIC and Nielsen says really works, and ONIX is regularly updated to meet modern publishing needs. You can see it in the recent additions they've made for entering comics data, including colourists, inkers, letterers, etc:

In Nielsen's ideal world, everyone would use ONIX. But the problem is that not all outdated publisher systems can handle ONIX. So BIC have also created a bare-bones system called BIC Basic, and well, if major publishers can't handle the basic data they need for to submit for that, they're really failing us.

But faulty systems aren't all that's happening. Which brings us to the second point about how we need you to fill in all the data fields. Some publishers (or their badly trained interns) aren't filling in even the most basic things, including illustrator name. Fiona Noble at The Bookseller has been noticing this:

Publishers! To support #PicturesMeanBusiness, you **need** to have a meeting with your marketing and publicity people - particularly the young, clueless newbies - and let them know that press releases and Advance Information sheets without illustrator information are Not Good Enough. Fiona will back me up on this, and she's one of the people you're trying to impress. For us to pull out good data, you need to put IN good data.

No, I am not saying Nielsen is a series of tubes.

And that brings us to the third point, about requesting illustrator data. If your 'legacy system' is still stuck in warehouse mode, illustration won't be one of the fields you will have requested when you ask for data from Nielsen. The way the system works is you put in data, then you pull out the data you want. If no one wants to pull out illustrator sales data, then Nielsen has no financial incentive to link up their bibliographic illustrator data with their sales illustrator data. They'll make a one-off chart for you for a small fee, but that information won't be easily accessible on a regular basis.

Another reason Nielsen isn't very focused on illustration is because illustrated children’s books are only a tiny part of the books Nielsen deals with. The majority are works of academic non-fiction, and these often have many, and all sorts of, contributors.

Why do so few people want this illustrator sales information? If our economic value can't be assessed, we'll be forgotten by business people and written off as not contributing anything to the economy. Not even The Bookseller credited illustrators in sales charts until March of this year. You could see that Julia Donaldson was ruling the picture book sales charts, but you had no idea how The Gruffalo's illustrator Axel Scheffler's books were doing. In fact, if you entered his names into the Nielsen sales charts, he came out as quite a low moneymaker, since only the books he's written himself were calculated.

This omission plays out in real business decisions: certain airport bookshops ONLY stock books by Julia Donaldson because she's a sure-fire hit with buyers. But who's to say that these sure-fire hits aren't her books with Axel Scheffler? If Axel illustrated books with other writers, might these books sell just as well? They would have that recognisable look of Axel's that makes customers pick them up. The Bookseller have made huge strides recently in supporting illustrators and including them in their magazine. In the 15 May issue, jouralist Charlotte Eyre even commissioned a manually-compiled illustrator sales chart from Nielsen:

But this isn't the case in most media. Children's book coverage is getting smaller and smaller amounts of space in printed newspapers, and if someone wants a sales chart, they have a very limited budget and almost no space to put it in, so they're not going to go out of their way to add space for illustrator names.

When the illustrators get left out of their data, the newspapers forget illustrators have anything to do with books at all. You'll start to notice it now, mentions and reviews of picture books and highly illustrated fiction that only mention the writer's names. It trickles into the wider culture and schools only invite writers to give talks to their children, not realising how inspiring illustrators can be to getting their children reading, writing and drawing, all at the same time. (And many illustrators only survive in business with the supplement of school visit payments.)

So how do we prove our economic value? I don't know. We're not the sort of people who generally go on strike, and we don't have a union. (The Society of Authors is the closest thing we have to a union.) The thought of shelves and shelves of books without illustrations or cover art probably frightens illustrators more than it does publishers:

If we went on strike, books probably wouldn't all go blank. Publishers could probably stumble on for a couple years using in-house designers to do everything, using pre-bought typefaces, clip art and stock images. It would be ugly and start a counter-wave of self-published indie stuff, but their efforts would go on longer than illustrators could afford to sit out unemployed.

We need the help of people who know about metadata. Is that you? #PicturesMeanBusiness isn't an organised team, just a bunch of concerned people; if you're on Twitter, that's the easiest way to jump in, using the #PicturesMeanBusiness hashtag. From what I gather, Nosy Crow publishers are very up to date with digital technology, Usborne are good at crediting everyone, Glen Mehn of The Kitschies Awards has data experience, Georgina Atwell of Toppsta gave a talk on metadata at The Bookseller conference, Sara O'Conner has programming experience.

We may have a hard time solving this data problem. But we can make huge inroads into the cultural problem of illustrators not being credited, and the faster, the better. We need you book people, helping to promote illustration, where you can, right now. And it’s not only because you’re warm-hearted book lovers, it’s because you know that in this culture which relies on images more than ever, it’s our pictures that are selling your books, and you don’t want to miss any tricks: you want to sell more books. It’s business. Support our careers and help us stay in work making your books sell.

( 2 comments — Leave a comment )
Jul. 3rd, 2015 07:29 am (UTC)
Hi Sarah,

I'm sure Neilsen have thought of this, but why not make 'illustrator name' a required field, unless a box is ticked saying that the book isn't illustrated? We do this for loads of data and it works wonders...
Jul. 3rd, 2015 04:19 pm (UTC)
Re: Database
But most of, or a very large number of, the books that Nielsen deal with will not be illustrated. A change like this would either make a whole load of automated data loads fall over, or (more likely) mean people just tick the 'not-illustrated' box by default and then you're back where you where. Better to raise awareness of good data and its importance, I think. Of course if Nielsen overwhelmingly dealt with illustrated books then yes, fair enough, reasonable proposal.
( 2 comments — Leave a comment )

Sarah McIntyre

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July 2019
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September entry for Drawing Challenge

And this is my entry for September’s drawing challenge. My pick this round – The Imp, Tyrion Lannister.

Drawn and coloured in Photoshop. I only wish I made him uglier.

This entry was posted in Illustrations and tagged , , , , , . Bookmark the permalink. Both comments and trackbacks are currently closed.


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Tuesday, December 30, 2008

Merry Christmas!

Before going to Florida for Christmas, we went to a friend's house for dinner & cookie baking. We all had a great time. Next year I'll have to remember to use MaryKay's idea of paintbrushes for decorating cookies. The kids had quite the dance party after dinner which helped everyone go to sleep quick that night. Friday we enjoyed the good weather with Fun Fridays at the park and then had lunch at a friend's house. It was wonderful to get to know a friend better while enjoying fresh coffee, grilled cheese sandwiches, & lunch with an adult. Saturday morning we headed down to Florida- I didn't pick books on CD as well at the library but we made it okay and even had time to play outside & go to Bibb park.

Sunday morning, we paid our taxes (canned goods) to the tax collectors and saw a Roman centurion on a horse. The boys loved the music in church then played in a Sunday School room while another centurion gave the sermon. During our short time in Madison, we did have time for the locking monster strike to again- it's a good thing C is pretty cute especially since it's really to find replacement keys for the ones that are supposed to be on top of the doors.

We headed down to Tampa after church. My parents rented a house in Tampa- the neighborhood was beautiful with a park right down the street & a nice lodge, pool, & hot tub, and lake a couple miles away. We spent lots of time at the parks & pool. (The cranes didn't follow the crane crossing signs so these birds nearly became Christmas dinner.)
Monday afternoon we went to see Ty & Anna at the VA hospital. I am so thankful that Ty is improving. When I got to his room, Anna was helping another family- so touching to see her helping others while they're going through hard times. Then we went to Curt & Michelle's house. The kids sure have grown over the two years since we'd last seen them. After dinner, we headed to the aquarirum which the kids (and adults) all loved. We even got a picture of the 5 kids with Santa.

Tuesday we went to the beach on MacDill AFB- I do think MacDill might edge out Fort Bragg for prettiest post :) The kids had a blast running around the beach, digging sand, flying kites, scaring away fishermen. A great afternoon.
Wednesday we enjoyed a wonderful Christmas Eve dinner at Curt & Michelle's and then went to their church for the Christmas Eve service. The boys got to be part of their first Christmas Eve program- K & Cousin W were wisemen, Cousin K was a sheep, & C was the littlest angel. Very cute! That night Santa made an appearance at Curt & Michelle's house- I wish I could have taken a picture of the look on K's face as Santa came in the door.The boys woke up so excited Christmas morning. We spent the morning opening stockings, baking Christmas cookies, decorating a gingerbread house, opening presents, & falling/ jumping into the pool in the backyard. (C falling/ me jumping- thankfully my phone was the only thing hurt.) The Hubbards came over and we enjoyed yummy Christmas brunch, opened more presents, then spent the afternoon at the park & pool- a beautiful 80 degree Christmas day.K said he was tired & went to bed before dinner- we saw him the next morning in time to go to Sea World. I did get a little teary during the Salute to the military before the Shamu show- really made me wish James was there with us. The boys all loved Shamu. They've been doing whale shows ever since & say they are going to grow up to be whale trainers (except K wants T to be a builder so he can build houses for all of them.) We had a great day at Sea World- neat shows, great animals, yummy BBQ, right price. We said goodbye to the Hubbards and ended the neat with ice cream for dinner & kids falling asleep on the way home!

We spent our last afternoon in Tampa at the park/ pool with Curt, Glenn, and kids. T loves the water, K had a blast jumping in and kicking around the pool, and C loved the splash pad. The end of a good trip. The next morning Nana took the boys to the park while Dad & I packed. T became quite the slide- he's trying hard to keep up with big brothers. We headed back to Madison, had lunch out, & back to my parents' house. That night we had a first celebration of C's upcoming birthday- he was very excited about singing, his cupcake, & his present. Now he sometimes says he's 3 (since he blew out candles) and sometimes says he's 2 (when he doesn't like what 3 year olds do.)

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Limited edition print of Sharp Edge

Sharp Edge

James Bywood Landscape Prints

Regular price £60.00 Sale

3 colour screen print of Sharp Edge.  Printed as an edition of 20 on 300gsm Canaletto.

The image is is roughly 300x210mm on a sheet of paper 420x297mm.  The print is signed, editioned and monogrammed.

Sharp Edge is an prominent landmark in the Lake District.  Used as probably the main way up or down from Blencathra, the edge is defined by the exposure you feel as you balance your way along from one end to the other.  Having walked along the edge on multiple occasions I can vouch for the fact it's not for the faint hearted and is a very well named.  Sharp indeed!

Each print is produced by hand, therefore there may be some slight variation in layout and colour within the edition.

The print is delivered flat in a reinforced card envelope.  Postage is free within the UK.

Please enquire if you have any questions about this print.


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Poverty – Part 2: What can I do?

Jesus is the one who gives us forgiveness, salvation and eternal life.  As we respond to the richness of his gifts with a desire to share them with others, there are several things we can do to help the poor:

Children lining up for lunch
Children lining up for lunch in the village of Sicachique, Chihuahua, Mexico
  • pray, pray, pray – Pray for the poor in your personal devotions, your family devotions and, if you have an opportunity to suggest prayer petitions, in the divine service as well.
  • personal lifestyle changes – intentionally turning away from the idolatry of consumerism (“buy this and you will live”), being a good steward of all that God has entrusted to you and living a frugal lifestyle so that you will be able to generously share with those in need.  This may include making different choices about what you buy, like choosing to buy products from companies that pay the farmers a fair price for their product (ie. Fair Trade products).
  • support Christian organizations that help the poor – There are some agencies such as Canadian Lutheran World Relief, Canadian Foodgrains Bank, Compassion Canada, and World Vision Canada and others that are very clear in their Christian witness as they serve to improve the lives of poor people here and abroad.  But it is important to check this out.  For example, Habitat for Humanity was started by Christians wanting to help those with sub-standard housing, but this organization now identifies itself as “faith-based” instead of Christian.
  • get involved with the social ministry efforts of your church – Find out what your church is already doing to help the less fortunate of your community and support it with your time, talent and treasure.  Or if you see a need in your community that is not being met, approach the leadership of your church with a proposal to start something new.
  • grow extra food – and donate it to your local food bank or, if you are a grain farmer, the Canadian Foodgrains Bank.
  • the New Monasticism – It is not for everyone, but Christian individuals, couples and families are intentionally living in community with one another–in one house or individual houses close together–in an under-resourced neighbourhood, praying together, sharing expenses and working together to be a blessing to their neighbours.  This may include offering short-term accommodation for a homeless person, growing food for the community in a back or front-yard garden, being a house of prayer and engaging their neighbours in spiritual conversations about this God who loves them so much.
  • the New Friars – Again this is not for everyone, but some individuals have chosen to live with the poor in some of the most destitute neighbourhoods in the world.  Living in such conditions, they become personally aware of the needs of their poor neighbours and they do what they can to change things for the better in Jesus name.
  • other ways of helping the poor – There are numerous other ways of reaching out to the poor with the love of Jesus.  To find out what might be most effective in your situation, doing the following things may be helpful:
    • pray – a lot
    • connect – with the poor
    • educate – yourself regarding what the poor need and what you can do
    • partner – with other like-minded people
    • give – some of the resources that God has given you to help meet that need
    • share Jesus– when opportunities arise, share about your Motivation for helping.

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Sunday, April 14, 2019

War and Peace

The obvious greatness of this book notwithstanding, what did Tolstoy have against historians?

I just finished this marvelous book, all 15 books plus 2 epilogues, all 1082 pages not counting notes and comments, and despite the wonderful story of Natasha and Pierre, Nicholas and Mary, Prince Andrew, the completely weird Kuragin family, the completely lovable Rostov family, Dolokov and Denisov, and the comet of 1812, Tolstoy choose to end his tome with a diatribe on how “modern” historians are completely wrong with their view of history as a chronicle of how “great men” (notable example being Napoleon) actually have very little or nothing to do with how events actually unfold.

It seems that Tolstoy got completely fed up with the conventional wisdom that Napoleon was a great leader and a military genius and that the Russian winter was the only thing that could defeat him (prior to Waterloo). The result of that rage against Napoleon became War and Peace, in which Tolstoy vindicates the Russian military leadership (at least Kutusov) and shows how the occupation of Moscow by the French was but a momentary setback and not a capitulation of Russia.

Like the vast majority of readers of War and Peace, I much preferred the story part, even the battle scenes, over the philosophical ramblings. There are a vast choice of topics to cover, but what struck me near the end is that Natasha can be seen to represent Tolstoy's view of Russia, she's Mother Russia. I think this can be illustrated by the men in her life.

Note - I am using the names as they were presented/translated in the version I read. It seems that there are lots of variations on the names in various editions and film versions.

*****Spoilers ahead*****

The first time we meet the Rostov family is on the occasion of the name day of Natasha and mother--she is young, full of spirit, and irrepressible. She loves life and loves the idea of being in love, and fancies herself in love with Boris Drubetskoy, son of a social climbing, ambitious mother who in turn ruthlessly pursues wealth and social standing. At the beginning of the 19th century (the story begins in 1805), Russian society was undergoing shifts as was most of the rest of European society--Boris and his mother seem to be distantly related to everyone and have to clutch and grab to keep from slipping into oblivion.

The Rostovs are an old titled family with old money that Natasha's father has managed to squander by living beyond his means and being generous to a fault. The Russian aristocracy is on shaky ground.

Next, Natasha captivates and falls in love with Prince Andrew Bolkonski, son and heir of an old tyrant. He is a born leader of men and loves being in the army, but can be cold and unforgiving. Because his father dislikes the match, Natasha and Andrew must wait a year before they can marry, during which time Natasha becomes infatuated with Anatole Kuragin--a worthless pretty boy who is only out to seduce Natasha and doesn't have a ruble to his name. When she learns that he is already married, she tries to commit suicide and spends much of the rest of the novel atoning for her sin of being faithless to Andrew.

When the French invade Russia in 1812, Andrew is mortally wounded, and is reconciled with Natasha, who nurses him until he dies.

Finally, Natasha falls in love with and marries Pierre Bezukov, Andrew's best friend, whose story is too long and complicated to tell here, but Pierre sees in Natasha a purpose for his own life. She becomes his guiding light and together they form a union that is fruitful, positive, and joyful.

Natasha evolves from lively and spirited to self-destructive to repentant to motherly. Married to Pierre, she finds her real identity as a mother, nursing her babies when a woman of her station in life at the time would never do this. The narrator says that "she lets herself go," meaning that she no longer cares about fashion and beauty and fun for herself. She is finally content with her role as mother and in her relationship with Pierre.

Through Natasha's story, Tolstoy tells the story of the Russia that he loves--Russia as exuberant but naive; Russia enthralled by the French and lulled into thinking they could be French, sacrificing their country and heritage for a culture they deem more civilized than their own; Russia committed to fighting and glorifying their army; Russia abandoning Moscow but never surrendering; Russia embracing itself and nurturing its people and their own vigor and life force.

  1. Congratulations on finishing this one! That's quite the accomplishment. I've never even wanted to try and make my way through it, it's so long and intimidating. So I am very impressed. :)

  2. Congratulations on finishing this. I must give it a go sooner rather then later. I usually like philosophical musings in a book. With that, I thought that Tolstoy’s attempts at this fell a little short in Anna Kariana Thus I think that I know what you mean with your observation thaf you liked the story better then the other stuff.

  3. Voila, Jane! So glad to hear of your accomplishment finishing this grand tome, which is such a great book. When I read it age 17, I must admit I skimmed the battle scenes, and that's because I was doing it for a school project and had only 10 days to complete it. I can remember lying on my bed reading 100 pages a night, and to hell with the rest of my homework! W&P was much, much more fascinating.
    I'm long overdue for a re-read, and have the Pevear and Volokhonsky translation at hand, so I'd be very interested to know which translation you chose.

  4. Hi Jane, Congratulations on finishing War and Peace. You inspire me to tackle this great work. Interesting as you point out that in telling Natasha's story Tolstoy is telling the story of Russia. There does seem to have been in the 19th century a great deal of turmoil in Russia about which way forward and a dilemna about Europe, embrace Paris, London, Berlin or turn more inward seems to have been the question the great writers Tolstoy, Dostoyevsky, Turgenev grappled with.

  5. Cheers for celebrating this reading milestone with your readers! Thanks for your frank take on the book--how the characters, story, and history musings struck you. You are so right about the lovable Rostovs and disturbing Kuragins! For me, the concluding digression into philosophy of history was welcome enough, after experiencing such a sweeping tale covering the defining events for Europe in the first part of the 19th century. Napoleon as a personality and a problem--a conqueror and empire builder--dominated the political psyche until two World Wars brought other figures to replace him. I think Tolstoy wanted to make the case for a multitude of factors causing the Napoleonic wars, beyong the prevailing personality cult. The novel made the point dramatically, but as author, he couldn't help explaining it and arguing directly to the reader! I can easily see how this might be annoying. However, when my husband first recommended War and Peace to me, he enthused about that long philosophy section, which fascinated him and set him on the trail of history research as a hobby. Of course, he also loved the story, and he praised the 1972 British miniseries starring Anthony Hopkins as Pierre and Morag Hood as Natasha.

  6. Congratulations, Jane. This is quite an accomplishment! I've read the first 50 or 100 pages twice over the last decade or so, always deciding that I didn't have time to devote to such a long book. The time excuse doesn't work as well now, but I don't have the same sense of urgency to read it either. We'll see...

  7. Well done! I skipped most of your post because I still want to read it someday. I will come back and read it then. Silly because I would probably forget it but then, but maybe not!

  8. Congratulations on finishing! Someday, I will pick it up again. I didn't read all the way through because of the spoilers, but I did like your observations on Tolstoy. I will keep that in mind when I dive back in again.

  9. Congrats on finishing this incredible tome! I have not read it but you give a neat review of it here. Natasha surely falls in love quite a few times. I guess I didn't realize how enthralled by the French Russia once was. I'd like story parts too over philosophical ramblings.

  10. I love that concept of Natasha as Mother Russia. I might be showing my age, but during that section where she chafed at having to wait a year for her marriage, I was thinking how fast a year seems to fly, haha. I do appreciate how she 'let herself go.' Tolstoy knew about the specific beauty of a loving wife and mother.

    1. Lol - yes, a year seems like forever when you're young and so short now!


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The Rainbow Stories, Part 3: A Clueless Collie

writer, poet, narrator, artist

The Rainbow Stories, Part 3: A Clueless Collie

“Lucy! No!” Her scream echoes across the street as I run into the road. The car about to attack Lizzie is coming straight for us and I have to protect her. I crouch down in front of the monster and stare it down as she runs after me. A leash with my broken collar dangles from her hand.

The car monster stops right in front of me, as I expected it to, and a man steps out. “Are you all right, Miss? Thank God I heard you in time to stop.” He walks towards us, wringing his hands, wide-eyed and smelling frightened, just like Lizzie.

I don’t understand why she cries. The scent of her tears mixes with that of the rain. “It’s OK, Lizzie. I protected you.” I place my paws on her leg, trying to comfort her.

“Come on, Lucy. Let’s go home.” She picks me up and starts to walk back to my new home. I wiggle and fidget, trying to get back down. How can I protect her when she carries me? “No, Lucy-Girl. I’m not taking any more chances with you today.”

Lizzie is my new human. I love her but she is strange. She asks me to do things but I don’t know how. I want to, though.

Today was our first walk together. I didn’t know what a walk was. We went out into the world but it’s strange and scary. At least I protected Lizzie today.

I loved my first human, but she didn’t understand me. She never went on walks with me. We always stayed at home where it was safe. She brought me to Lizzie’s house and left me there. I was scared at first, but Lizzie is nice. She always has treats.

Lizzie opens my crate and lets me out of the car, but this is a new place. There are so many scents here. It’s scary. I smell pee and dog and more dog. Humans, cars. And there are treats everywhere. It’s just too much! I pull back on the leash, curl my tail against my belly and crouch down, whimpering. “Please let me go back in the car. I’ll wait for you there…”

“It’s no use, Liz. She doesn’t want to go.” The human I have to share Lizzie with came along today. He never has treats. He smells annoyed as he wrinkles his forehead at us.

She wants to take me closer to where many dogs run and play. They look like they’re having fun, but it’s too scary, too new here. I drop to my belly and quiver when she tries to get me to walk. My new collar wraps around my chest, so I can’t pull free.

She picks me up and carries me into the swarm of dogs.

He makes a noisy breath. “You’re not doing her any favours by spoiling her like that, you know.”

The strange smells are everywhere. “Let go of me, Lizzie, I’ll organise these animals for you.” I can do this. Herding things makes it less scary.

“Ssshh, Lucy. Pay attention.” Lizzie looks down at me and tries to distract me but I need to pay attention. The herd will get away if I don’t. I try my best to ignore her, I really do, but I’m so hungry. And she has treats… No! Have to pay attention. Watch the herd. Focus. Can’t let them get away.

A woman walks up to us and she smiles. I look at her from behind Lizzie’s legs. She smells like treats and toys and grass but she’s still a stranger. I duck when the woman leans over me and touches my head. Scary.

Lizzie’s man makes another noisy breath, but she looks at him and he stops.

Lizzie hands him my leash. “Could you hold her for me? I’ll be right back but I really need to pee.”

“Lizzie!” Oh no! She’s going away! I try to follow but the leash is too short. “Don’t leave me! Lizzie!” What is she doing!? “Lizzie, don’t go! Please come back! Lizzie!”

He pulls me back. “Sshh. She’ll be right back. Just stop it.”

“Lizzie!” I drop to my belly, quivering. “Please come back!” I pull back, trying to free myself but he’s too strong.

There she is. Oh, my Lizzie is back. She didn’t leave me like my other human. “Please don’t leave me again, Lizzie.” I sit on her foot and lean against her leg so she can’t get away.

She crouches down and hugs me. “It’s OK, Lucy-girl. I’m here. I always come back, you know.”

“That is the dumbest Border Collie I’ve ever seen.” Lizzie’s man wrinkles his forehead at me again as he talks to Lizzie. I don’t like him and I don’t think he likes me. He never plays with me. I step back, crouching behind Lizzie and keeping my eyes on the herd for her.

“That’s not fair. She’s not dumb. How well would you have gotten along in life without anyone to teach you to wipe your ass? She was not taught a single thing for three damn years and it’s not her fault.” Lizzie smells angry. Her shoulders are tight and her hands grip my leash so tightly it pulls at my collar.

Did I do something wrong? I sit next to her, lean into her leg and lick her hand. Please don’t be mad at me.

She looks down at me and her smile comes back. “Oh Lucy-Girl, it’s OK, sweetie. I’m not mad at you.”

Love you, Lizzie.

Lizzie takes me out of the car and I’ve never been here. I don’t like new. It’s scary. I put my nose in the air, trying to find out what kind of place this is. I smell trees and field and pee.

Oh wow. There’s a scent… There it is! I don’t know it but I can’t resist, scared or not. I smell wool and poop. I hear bleating noises. From many, many animals. “Let’s go, let’s go.” Lizzie doesn’t know the way so I show her.

I run forward as far as the leash will let me. Lizzie stays behind so I circle around her and give her a nudge in the right direction. She turns to face me. “Lucy, No!”

I run ahead again, towards the smell and Lizzie finally follows. We need to go faster, faster.

Lizzie and I watch the bleating animals. My leash is still in her hand but I have to go. Have to get behind them. Bring them to my Lizzie. “Let me go!”

The smells of the herd pull at me but she holds me back. “Ssshhh, Lucy. You’ll spook the sheep. We need to wait for our turn.”

The other dogs leave the field and we are finally doing something I understand. We walk towards the sheep but I’m still on the leash. “Let me go.” I know this. I have to get them. Bring them to my Lizzie. She lets me go and I run. They fly away from me in every direction and I want to bring them back but I don’t know where to look first. I look back at Lizzie. She’ll tell me what to do.

Is she… Why is she crying? I run back to her.

“Oh Lucy, I’m sorry. I really thought this would be good for you. I don’t know what to do anymore…” Her tears smell salty as they run down her cheeks.

I lick her hand. Please don’t be sad. I’ll try harder.

I wake up and it’s dark. Something is wrong. Should I warn Lizzie and her human? They’re sleeping. They won’t like it if I wake them up in the dark.

I get out of my bed and check the house. I walk past the street door and I hear something… Something is very wrong. We need to go see!

“Lizzie! Wake up!” There’s something outside. We have to go see.

“Sshh, Lucy. Go back to sleep.” Lizzie’s voice sounds muffled and she turns over. Her man puts his arm over her. I smell him. He smells like Lizzie and something else. She curls up against him and pulls the blanket over her shoulders.

I grab the blanket between my teeth and pull it off them. They need to come. “Come on!”

“Fuck, Liz! Shut that dog up.” He smells angry.

“Sorry. Ssshh honey, it’s OK, go to sleep.” She turns back to me, stroking my head.

“No it’s not.” She needs to get up. “Let’s go!”

“She probably needs to go out.” Lizzie rolls onto her back and rubs at her eyes. Are they hurting?

“Yes! Go out! Let’s go go go!”

Lizzie walks downstairs and heads to the yard door. The safe one. “Wrong way! This way, this way!” I take her hand in my mouth and pull her the other way. To the street door. The scary door. “Let’s go!”

She looks confused. “Lucy, what are you doing?”

I jump up against the scary door, but it won’t open for me. “Open it!”

She follows me and opens the door to look outside. I run past her, into the street where so many monsters are, but we have to go. No time to be scared. There is a car-monster but it’s sleeping. Next to it, a man is lying on the ground. “Look, Lizzie! A man! A man!” Is he sleeping too? He’s not making any sleepy sounds. “Wake up, Mister! Wake up! It’s too cold to lie on the ground!”

“Oh God.” Lizzie takes three large steps inside and calls up to her man. “James! Call an ambulance! There’s a man lying in the street!”

She runs back to me and the man. She rolls him over and puts her head against his mouth. Is he whispering to her? I don’t hear anything. Maybe he’s not sleeping. She puts her ear to his chest. “Good girl, Lucy. You did good.”

I did good? “Yay!” She starts pushing his chest and I hop around. “Come see! Come see! I did good!” I keep calling out and more doors open. More people come out, smelling sleepy.

A loud whining noise comes and hurts my ears so I go back to our house to wait for Lizzie. She’ll come when she’s done helping the sleepy man.

Lizzie’s man walks over and stands next to me as flashing lights turn the darkness into a strange almost-day. His hand strokes my head and I look up at him. “Good girl, Lucy.” He smiles at me. I smile back.

People walk over to Lizzie and the man and they start pushing his chest too.

Lizzie talks to some of them before walking to us, her eyes full of tears again. Oh no, did I do it wrong again? Why is she crying? I jump up at her and she hugs me. “Oh honey, you did so good. You saved that man’s life.”

Her man hugs Lizzie and me. I finally did good.

This story is very different from my other rainbow stories. Lucy, too, is a rescue. However, her tale is not that of a dog loved too little but of a dog loved too much. When she appeared to be frightened by the outside world, her owner allowed her to avoid her fears and allowed them to grow stronger and stronger. While it is not exactly abuse, a dog, especially a high energy working dog like Lucy would not thrive in such an environment.

She shows us her true mettle though, by facing her fears in the end, when it truly matters.

This story, too, is based on a real-life acquaintance with a dog. My very own Lucie (yes, that’s us in the photo, right after we ran our very first clear round at an agility trial) has a very similar story. She doesn’t cope with life the way other dogs do, because she never learned. She never will now. It’s too late. But with help, she’s overcome a lot of the circumstances holding her back.

And we love her enough to make up for the rest.

Dear reader, as always, Lucie and I would like to thank you for sharing this with us.

Follow me on social media to stay tuned for more!

A penny for your thoughts...

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Monday, 27 November 2017

Britains Next Top Model Finalist 2017 Jenifer Malengele in "A Very Colour Full Affair" for ROUGH Global.

Binaural in quality, the audio selected blocks out external distractions inspiring total focus to give your brand the spotlight it deserves

Jenifer Malengele fresh from Britain's Next Top Model (Profile Models) brings her A game to this production, striking strong poses mixed with more gentle always engaging movement, filmed in London.

Thursday, 23 November 2017

Back In The Ends featuring Abdulaye Niang

abdulaye niang portrait session by photographer jason harry

London-based photographer and director Jason Harry turns his attention to AMCK model up and comer Abdulaye Niang.for a portrait session.

Exploring the Urban Capital, captured in signature Black and White.

Abdulaye has been very busy since appearing on the scene working with the likes Gucci and other great brands, walking in 13 shows this year.

Follow Abdulaye here https://models.com/models/abdulaye-niang

New York - Red Model Management
Paris - Marilyn Agency
Milan - I LOVE Models Management
London - AMCK Models


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Tuesday, July 9, 2019

I had to remove a couple optimizations, so the speed is just over 9%.  Some of that can be gained back, but I'm hunting down another bug that has been around for a while.  The expression evaluator hasn't been changed, but it appears to be malfunctioning at times.  This is likely to be something in the math library, or s related to switching from a line number to a line pointer.  It could take some time to track down.

Sunday, July 7, 2019

Invert, and multiply optimization

On several occasions I'm mentioned using "invert, and multiply" to speed up the MC-10 interpreter.
Instead of dividing by a constant, the updated ROM now multiplies by 1/constant.
When combined with the fast hardware multiply function, it results in significantly faster functions, including SIN, and COS.

For example, if a formula calls for dividing a number by the constant PI (3.14...), you recalculate the constant as 1/PI, and then multiply by it.   This also works in your BASIC code, if you have to do a lot of division by a constant, you can speed up the program by multiplying with 1/constant, and that can be calculated at the top of your program.

Anyway, the reason for bringing it up again, is because I ran across this article that explains the concept, and why it works.

Saturday, July 6, 2019

And we have 10%!!!!

Okay, it's not always 10%, but this program is bottlenecked due to the design.

...and another enhancement...

Here is something I've shown before that doesn't require a lot of math.
This indicates over a 10% speedup, but it will take a longer comparison to be sure.

let the programming resume

After taking some time away from personal projects for "life", I've started working on some projects again including the updated BASIC interpreter for the MC-10.

After tracking down a significant bug, this is where things are at.  Around an 8% speedup for most code, and much more for math intensive stuff... with more on the way.
This is about 44% faster:

Friday, May 31, 2019

Quake inverse square root, an explanation

It's been months since I last posted because, well, I'm not really into the whole blogging thing.  But after baking under the hot sun while siding a house, my brain may have skipped a cog because I find myself in the mood to post.

So... I've been sitting on a post explaining the  Quake inverse square root formula.  I wasn't sure if I wanted to reveal how it works, but this video explains the easy part, so there is no point in not sharing that much of it.  It wasn't that difficult to figure out once I actually saw the original formula for calculating the inverse square root.

Since this doesn't explain the "magic number" part, I'll include a hint in what it actually is.
Without further adieu... what does it replace?
The range of possible answers to that is limited to what the regular formula calculates... sort of.

Sunday, February 17, 2019

Coleco ADAM IDE, Multi-Cart.Boot Code

This is the code I created in 2013 to auto boot the Coleco Adam IDE interface via a game cart.  After seeing the IDE driver had to be loaded from tape, or with a ROM plugged into a parallel board, I asked if there was a version that loaded from a multi-cart.  There wasn't so I volunteered to write it.

More time was spent reading documentation on the ADAM, and disassembling the existing ROM than on creating the loader code.  It simply changes the ADAM memory map settings, copies the driver into low RAM, then it jumps to that code which sets the final memory map, and copies the driver to it's proper address.

The actual driver code data is left out since I don't own the copyright.  I thought it was worth sharing because someone could use this as a starting point to copy other programs from cart to RAM.  Source for the lower RAM code that copies the driver to it's final address had to be assembled separately, and it is also missing, but you can see the first few lines of code in the data starting at LOWRAMCODE.
The <snip> indicates where the driver data was removed.  This code was assembled using the TASM assembler, which requires the #defines at the start, and interrupts are re-enabled once the driver is in place.   The code may have been shared on a forum previously.

;* IDE Boot Cart.asm
;* Loads the MICRO-INNOVATIONS boot EPROM from a game cart
;* and launches it from intrinsic RAM.
; define standard assembler directives to work with TASM
#define org .org
#define end .end
#define byte .byte
#define word .word

#define DCB  .byte
#define dcb  .byte

#define DCW  .word
#define dcw  .word

;* test cart header
 org $8000 ; start of cart memory
 DCB $55,$AA ; test cart ID
 DCB 00,00,00,00,00,00,00,00 ; filler, we don't use this
; org 800AH  ; location of cart start address
 DCW CARTSTART ; cart start address, used to execute cart code

;* the first code executed in the cart

 di   ; interrupts would be bad during this process

 ld a,%00001101   ; 32K lower intrinsic RAM + cartridge ROM
 out ($7F),a    ; set memory map

 ld hl,$45ed   ; interrupt handler
 ld ($0066),hl   ; set interrupt vector
 ; copy code from cart into 32K intrinsic RAM
 ld hl,LOWRAMCODE   ; start
 ld de,$0100    ; destination... low RAM
 ld bc,ENDCODE - LOWRAMCODE ; length

 jp $0100     ; call code in 24K intrinsic RAM

; start of the eprom data
; we duplicate what this does but from cart ROM so we skip it
; dcb  $66,$99,$F3,$3E,$05,$D3,$7F,$21,$ED,$45,$22,$66,$00,$21,$1B,$80
; dcb  $11,$00,$01,$01,$7B,$06,$ED,$B0,$C3,$00,$01

 dcb  $3E,$01  ; ld a,$01
 dcb  $D3,$7F  ; out ($7f),a
 dcb  $21,$12,$01 ; ld hl,$0112
 dcb  $11,$00,$80,$01,$69,$06,$ED,$B0,$C3,$00,$80,$ED,$4B,$43


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Social Media Branding; Why You Need More Than One Instagram Account

ZAPPOSA little while ago, a friend who has a very popular blog and a massive Facebook page asked me what was the purpose of having many social media accounts when I was going to be sharing the same message essentially on each one.

I told her then that because my brand was still growing, and relied on new entrants and readers for growth, I had to go where various sub-segments congregate. Not everyone is on Facebook. If I wanted a younger demo, I’d definitely have to go get them on Snapchat or Instagram or Muscial.ly app.

The same can be said for the reason a brand should have more than one Instagram account. It’s all about being specific and catering to sub-market of customers or different audiences. It’s all about audience segmentation. I talk about it here:

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Jeneba “JJ Ghatt”,is editor at Jenebapeaks.com, an online hub where she helps social media butterfly who empowers digital entrepreneurs and professionals to create great things online at her online learning platform Digital Publishing Academy.  She is an editor of tech blog Techyaya.com and founded the annual 200 Black Women to Follow On Twitter List. Read her bio, then get all of her online & digital biz startup advice and tools in one spot here!

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For Consumers

A warranty is an undertaking given to a purchaser by a seller that a product is reliable and free from defects. The seller further undertakes that he will, without charge, repair or replace defective parts or replace the entire product if the product turns out to be defective within a given period. Certain specified conditions may have to be met before the warranty is enforceable.

Warranties on vehicles are dependent on the Expressed Warranty given to the consumer. Ministry Paper (19) set out by the Ministry of Industry, Commerce and Technology stipulates that the warranty period of a used vehicle should be 90 days (3 months) or 5500 km, depending on which occurs first. Warranties on new cars, however, are for at least a year, but may be more, depending on the dealer.

Under the Act, the manufacturer’s warranty supercedes. Section 37 (4) of the Act states that where a representation on an article offered for sale is made by a person outside of Jamaica, the representation shall be deemed to be made by the person who imported the article. Therefore if a manufacturer makes a representation in the warranty on an article, it becomes the importer’s duty to honour the manufacturer’s warranty.

Under the Sale of Goods Act a merchant must provide a refund, or a replacement when it is clear that the item cannot be repaired. However, the number of times allowed for repairs before the item should be replaced is determined on a case by case basis. It may be possible that the merchant might have missed the real problem in attempting to repair the item on previous attempts, but shows proof that he will be able to make the necessary repairs to the satisfaction of the customer, if a further opportunity to do so is allowed. Whether or not the merchant would be allowed to make that attempt is based on the facts of each case.

A refund policy should include the following information:

  • Length of time within which a claim for refund must be made;
  • Whether refund will be in cash or credit notes;
  • Whether a claim must be accompanied by a receipt or any other proof of purchase;
  • Whether any amounts will be deducted and why.

The Law relating to the Sale of Goods stipulates that all goods which are offered for sale must be of a merchantable quality. This means that the quality must be of an acceptable standard. If the consumer purchases goods that fail to meet this standard, he is entitled, in certain circumstances, to reject the goods and demand full refund. A merchant’s refund policy must therefore be established in accordance with the said Law, and any Policy which states “No Refund” without more, is by its very nature, in breach of the Sale of Goods Act.

The Act does not specify the form that a refund should take. As such, the answer to all the questions above is determined solely by the refund policy of the merchant at the store from which the item was bought. The decision on what is deemed suitable for returns as well as the type of refund to be given (for example. cash or credit note) is not specified by the Act. Each individual merchant will have his own policy, which might or might not be similar to another merchant’s policy and it is this policy which is applicable to purchases, returns and refunds. In accordance to Section 37(1), however, the merchant must make this information known to consumers. A merchants refund policy should therefore be placed prominently in the store, where consumers are able to access the information before making his purchase.

For their own protection, consumers should ensure they get a receipt. It is the best and safest way by which a consumer can provide proof of purchase, as well as date of purchase. Goods that can be bought in stores are not usually exclusive to any particular store. Identical items can be found in a number of stores. The consumer will therefore need to prove that a particular item was bought in a particular store. Further, some refund policies stipulate the amount of time within which the merchants are willing to take products back. They will need to ascertain relevant information from a receipt. It is important to have tangible proof, rather than to have a battle about whether or not you did make your purchase from a particular store on a particular date.

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Tag Archives: Pisa

Day trip to Pisa

One of the sights in Italy that was a must see is the Leaning Tower of Pisa. I’m not sure if it’s just some curiosity of my childhood or what it was but, for me, it was a non-negotiable. Thankfully, it’s located only an hours train journey direct from central Florence. I had a critical decision to make. Spend a day exploring the museums I had skipped over – The Accademia and the Uffizi – or take the one hour train journey to Pisa to see the leaning tower. Sorry museums, I was boarding that train.

The train ride was enjoyable and the September weather fantastic – an hour well spent staring out the carriage window at the rolling hills of central Italy.

Now, I will offer this warning. Pisa is a bit of a one-trick pony. Allocating a half day was plenty to see the main sights while not feeling too rushed.

Expert tip: Pisa is on the regionale train line and lies between Genoa /Cinque Terre and Florence. You can easily make it a few hour pit stop if you are traveling through.

So let’s get to it!

On arrival in Pisa, you are led to Piazza Vittoria Emmanuel II which has been a meeting place for as long as it’s been there. It’s home to many market stalls and fresh food vendors with their iconic red tents. The train station flanks one side and the other is filled with restaurants, bars, cafes, and (of course), gelato shops. It’s in pristine condition as it was reconstructed after extensive bombing in WW2. A nice entry point to the city.

Following the main path leads you to the main shopping area of Pisa, the Borgo Stretto. If overpriced chain stores are your thing, spend some time here. If not, continue the roughly 20 minute walk to the main tower area.

I would recommend a leisurely stroll to check out the many places and piazzas around the city.

You get a very homey feel once off the main shopping streets – piazzas lined with trees and locals hanging out in the park

The main river which winds through the city

After crossing the river it’s only a few minutes to the main show.

But hey, that doesn’t look like a leaning tower…

There, that’s better…

Now, for a bit of history.Tower construction began in 1173 and continued in three stages over 199 years. In 1178, while only on level two the tower began to lean due to having an inadequate foundation and the soil being too soft. Over the remaining years many architects tried to correct the tilt by adding weights to the non leaning side and even constructing some of the floors in a curved manner – taller on one side than the other. None of these worked and the tower leans to this day. While modern methods could fix the lean, they have decided not to as to retain the natural history of the site – and to ensure tourism dollars keep coming through.

If you want to climb the tower you can, but be aware tickets need to be booked far in advance and even with the tickets booked you may have to wait up to an hour in line as they only allow a certain number in the tower at one time.

Taking my turn for the cheeky pose selfie

As you can see – others were in for the cheeky poses too…

The tower complex actually has a few more remarkable buildings to explore including the domed belfry and the large cathedral. Both of which were actually more interesting to explore than the tower itself.

The massive belfry

The equally massive cathedral

One last shot of the tower…

The last thing I would recommend is to take your time back to the train and enjoy some of the amazing gelato on offer. A perfect end to a nice day out.

If you have any questions about things to do in Pisa, feel free to drop me a line.

Please keep in touch by following me on the various links to the right or just email me at jarrett.jeppesen@gmail.com . I love hearing from you.


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Engineered Injection Molding Materials

J&L Plastic Molding specializes in processing highly engineered injection molding materials with high performing mechanical and thermal properties. J&L Plastic Molding has vast experience with these engineered materials:

PPSU – Polyphenylsulfone

PPSU offers excellent impact and chemical resistance. The high heat resistance and excellent hydrolytic stability of PPSU make it an excellent choice for medical devices requiring repeated steam sterilization. PPSU can withstand more than 1,000 cycles of steam sterilization with significant loss of properties.

Request a Quote!

PPSU is inherently flame retardant. It is transparent and may be colored.

Click on the PPSU brand name for more information: RADEL

PEI – Polyetherimide

PEI offers elevated thermal resistance, high strength and stiffness, and broad chemical resistance. It is available in transparent and opaque custom colors. PEI is dimensionally stable over a wide temperature range. It is inherently flame retardant.

Click on the PEI brand names for more information: ULTEM

PEEK – Polyetheretherketone

PEEK is resistant to harsh chemicals with high strength, stiffness and long term creep properties in demanding conditions. PEEK offers low moisture absorption and high wear resistance. It will perform at high temperatures and offers consistent properties across a range of frequencies.

Click on the PEEK brand name for more information: VICTREX PEEK

PPS – Polyphenylene Sulfide

PPS offers thermal stability and resistance at elevated temperatures. PPS maintains dimensional stability in a harsh chemical environment. It is inherently flame retardant. Dielectric and insulating properties are stable over a wide range of conditions.

Click on the PPS brand name for more information: RYTON

Request a Quote!

LCP – Liquid Crystal Polymer

LCP provides high-temperature performance in thin-wall applications with precise and stable dimensions. LCP is inherently flame-resistant with good resistance to chemical and oxidation. It has high tensile strength and tensile modulus.

Click on the LCP brand name for more information: VECTRA

TPU – Thermoplastic Polyurethanes

TPU material bridges the gap between rubber and plastics. TPU is available in grades from the very soft and flexible to very rigid. Many types of TPU comply with FDA food-contact regulations and several meet the biocompatibility tests. TPU resins will bond to a variety of substrates to provide a soft-touch feel.

TPUs have high wear resistance and maintain flexibility over a wide range of temperatures. TPUs have excellent resistance to weathering, oils and greases.

TPE – Thermoplastic Elastomers

TPEs behave like thermoset materials but being processed as a thermoplastic injection molding materials offers a wide design range. The design range of TPEs allows it to be used in many industries and in many ways. It is often used to overmold. TPEs are a mix of Plastic Properties and Elastomeric Properties

TPE Plastic properties:
  • Continuous use temperature
  • Tensile strength
  • Tear strength
  • Chemical and fluid resistance
  • Over-molding substrates
TPE Elastomeric properties:
  • Lower service temperature limits
  • Hardness
  • Flexibility
  • Compression set and tensile set

The combining of Plastic & Elastomeric properties allow for many grades of TPEs to offer solutions to a wide variety of design specifications.

Request a Quote!

PC – Polycarbonate

PC offers outstanding mechanical, clarity, electrical and thermal properties. PC allows for design versatility. Different options include scratch resistance, toughness, heat resistance, weatherability, biocompatibility and compliance with FDA and USP requirements. Additives allow PC to be flame retardant.

ABS – Acrylonitrile Butadiene Styrene

ABS is a versatile material offering outstanding aesthetics, flow, toughness, dimensional stability, and high temperature resistance. A wide array of ABS grades offer high heat and medical compatibility. There are flame retardant options meeting regulatory standards.

J&L Plastic Molding specializes in Plastic Injection Molding for Medical Devices Customers and other industries.

Contact Us

Get in touch with us!

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Please fill out this form or request a quote to get in touch with us. We’d love to discuss the plastic molding solutions we can provide to meet your needs.

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  • 368 North Cherry Street Ext

    Wallingford, CT 06492

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Sewing heaven in New York: Mood Fabrics

My family took our first vacation out of state; and we went to New York, which is quite a long trip for these Northern Californians.

It was a whirlwind tour of 5 1/2 days, ending (sadly enough) the day before Male Pattern Boldness Day. And I didn’t have time for the Charles James exhibit at the Metropolitan Museum of Art. Our wish list of to-dos was far longer than we could accommodate.

But I made sure I went to Mood Fabrics.

I’ve read about Mood on various sewing blogs, and one of the sewing magazines recently had an article on fabric shopping in New York and listed it as THE place to go if you only had time for one store. And it was just a few blocks south of our hotel near Times Square.

So I went.

The entrance to Mood is on the third floor of its building, accessible by an old-fashioned elevator. And by old-fashioned, I mean it required an operator, who was wearing a uniform with a hat. He closed the door, then the flexible brass gate, before using a brass lever to engage the mechanism that lifted us to the third floor. Cool.

Once leaving the elevator, I stepped across a hallway and into Mood. A friendly woman at the door checks large bags and backpacks (but not purses).

Mood is 40,000 square feet of fabrics on three floors. There is amazing fabric everywhere you look. The fabric is on long tubular bolts, mostly stacked horizontally, with the ends sticking out of racks upon racks of industrial shelving.

Thank goodness I went in with a game plan. Otherwise, I may have been too overwhelmed to buy anything. And I may have fainted in the Suitings section, which was enormous and, well, dreamy.

But my plan was to come home with three cotton prints (which I expected would be among the least expensive fabrics), so I was able to concentrate on just a few hundred bolts in one section. And that area did not include shirtings, which was across the aisle and down a bit. There were a few hundred of those as well.

The salespeople are only too happy to cut you a swatch or pull out a bolt that’s toward the bottom of a pile. In my case, I was looking at a blue and coral paisley (my go-to colors) when a salesperson suggested I look at the other colorways as well. He pulled out the same print in blue and green and said, “Feel this. It’s like butter.” And it is. Green is a little outside my usual color palette, so I thought I should go for it and buy 5 yards. That’s enough for a dress with a full skirt. Here it is:

Paisley from Mood Fabrics — 56 inches wide.

Paisley from Mood Fabrics — 56 inches wide.

There was also this pretty patchwork print that I immediately fell in love with:

Patchwork from Mood Fabrics, 50 inches wide.

Patchwork from Mood Fabrics, 50 inches wide.

I kept trying to walk away because I had no idea what I’d do with it, but it kept calling me back. It has a home dec look about it, but it’s dress weight. I bought 3 yards (50 inches wide).

The final fabric I purchased was this heavier brushed cotton:

Faded damask from Mood Fabrics, 58 inches wide.

Faded damask from Mood Fabrics, 58 inches wide.

I could see this as a dress with my tall riding boots, a great skirt-and-jacket suit, or a fantastic coat, so I got 5 yards of this also. Although I do think it would be smashing on (and heavy enough for) a chair slipcover.

As a memento of the trip, I bought this little ruler:

Ruler from Mood Fabrics.

I’ll keep this on my sewing desk with my seam gauge and seam ripper.

And they put my purchase into this:

Mood Fabrics shopping bag

They placed my fabric in a nice Mood plastic bag with handles, then put everything inside this really nice bag that’s stronger than a typical reusable grocery bag.  I’ll be keeping it forever as a badge of honor.

The fabrics I bought were all in the $12-$15-a-yard price range. Yes, it’s more than I’ll probably ever pay per yard at Jo-Ann’s, but how often will I get to go fabric shopping in New York? And, as an unexpected bonus, garment fabric (as well as clothing) is tax-free in New York City.

By the way, Mood has just opened a store in Los Angeles. I’ll be taking my daughter to Southern California next year to look at colleges, so I’ll have to see if I can sneak in a side trip.

I wanted to keep my focus on buying fabric, so I didn’t take photographs of the store; but this video is an excellent representation of what Mood Fabrics is all about.

I recommend a visit if you are ever in Manhattan.

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2 thoughts on “Sewing heaven in New York: Mood Fabrics

  1. Melissa August 22, 2014 at 8:10 am Reply

    We were right down the street from Mood and I didn’t even think to go. Dang. Mark wants to know if you saw Swatch.

    • Jeanne Marie August 22, 2014 at 8:27 am Reply

      Sorry, I didn’t see Swatch. I hadn’t even heard of him until another friend asked me the same thing!

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Consultant Haemato-pathologist/Haematologist

Leicester, Leicestershire
14 Jun 2019
08 Jul 2019
Career Level
Contract Type
Full Time

Applications are invited for a Consultant Haemato-pathologist/
Haematologist to join our committed forward-thinking team. The post is based predominantly within the regional Haematological Malignancy Diagnostic Links (HMDL) service, with additional outpatient clinical work.

The HMDL laboratory provides diagnostic services for haematological malignancies for patients within Leicestershire, Northamptonshire and Rutland. We are seeking a motivated and effective colleague, who will contribute to the HMDL reporting team, be involved in the implementation of the genomics strategy and play a role in the continuing development of the service. You would be working within a multi-disciplinary team of scientists and medical staff across Haematology, Cellular Pathology, Immunology and Cytogenetics, interfacing closely with clinical teams at multi-disciplinary team meetings. The laboratory has UKAS accreditation.

Clinical duties are out-patient based involving a new patient clinic and a specialist clinic combining the areas of interest of the appointee and needs of the department. You will also be involved in teaching, clinical audit and research and development.

The appointment is whole time. Any Consultant who is unable for personal reasons, to work whole time, will be eligible to be considered for the post. If such a person is appointed, modification of the job content will be discussed on a personal basis in consultation with Consultant colleagues.

Membership of the Royal College of Pathologists, full GMC registration with a license to practice, and inclusion on the Specialist Register (or equivalent) are requirements.

The University Hospitals of Leicester NHS Trust consists of three acute teaching hospitals serving the population of Leicestershire, and is fully committed to Continuing Medical Education for Consultants.

As this post is regulated by the Protection of Children Act 1999, The Criminal Justice Courts Act 2000 and/or the Care Standards Act 2000, an enhanced Disclosure & Barring Scheme check will be requested by the Trust in the event of a successful application.

Leicester is a cosmopolitan city situated in the heart of the UK, rich in arts, culture, sports and heritage, and surrounded by attractive countryside. There is much to see and do including visiting award winning venues such as the Curve theatre, High Cross shopping centre, National Space Centre and the King Richard III Visiting Centre. There are excellent transport links to all parts of the country including M1 and M69, London is only 75 minutes away by train and international airports, Nottingham East Midlands and Birmingham International, are both less than an hour away.

Applicants are encouraged to visit the department.

We will close vacancies prior to the published closing date if we receive a sufficient number of completed application forms.

UHL is an equal opportunities employer. We aim to employ a workforce that reflects the diverse communities we serve and where discrimination is outlawed, and staff and service users are equally valued and supported. We welcome applications from people from all backgrounds who match our job criteria.

We especially welcome applications from members of our black, Asian and minority ethnic (BAME) communities, as we have identified that UHL has an under-representation of BAME employees at band 7 and above.

Applicants who have a disability and meet the essential criteria for the job will be interviewed if you indicate you wish to be considered under the Guaranteed Interview Scheme. If you require a reasonable adjustment at any stage of the recruitment process please make the recruitment services team aware as soon as possible.

Appointments will be made on merit.

For further details/informal visits contact: Dr Linda Barton, Consultant Haematologist, Clinical Lead for HMDL, 0116 258 6532; Dr Kate Hodgson, Consultant Haematologist, Head of Service Haematology, 0116 258 6602.

To apply, please click the apply button.

Closing date: 8 July 2019.


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21 days ago

Sales Manager Switzerland & EMEA (80% - 100%)

Chain IQ Group AG

  • Work region
  • Sector
  • Employment type
  • Position

 Please refer to jobwinner.ch in your application

Sales Manager Switzerland & EMEA (80% - 100%)

Ihre Hauptaufgaben:

Create and develop procurement outsourcing opportunities in different industries and manage the entire sales process of an opportunity by collaborating with internal subject matter experts such as Category Managers, legal, leadership teams and others. In particular you will:

- Maintain/develop prospect relationships by presenting appropriate solutions as the key contact for senior executives in prospect organizations
- Create Procurement Outsourcing Opportunities with multinational organizations located in EMEA
- Build sales pipeline with new and existing clients
- Develop and deliver board level presentations to 'C' level executives.
- Develop and deliver proposals by interacting with different internal stakeholders
- Execute sales campaigns to prospects and clients
- Support the Global Sales Competence Center in preparing sales documents, marketing materials and other sales related materials
- Negotiate complex contracts with multiple stakeholders
- Delivery of revenue targets, activity reports and update all sales activity in CRM (salesforce.com) system.
- Collaborate with sales colleagues in other regions
- Communicate regularly with internal stakeholders to inform them of local market trends, opportunities, and issues to ensure that the strategy is correctly implemented
- Network effectively to generate additional opportunities

Was Sie mitbringen sollen:

- Experience working with multinational and matrix organizations.
- Proven successful sales experience to senior decision makers in multinational organizations, preferably in solutions-/services areas
- A true challenger, both internally and externally
- Strong analytical and presentation skills
- Hands-on, pragmatic and entrepreneurial attitude
- Team player, strong service-orientation and used to work under time pressure
- Procurement industry understanding and expertise (not a must)
- Excellent oral and written language skills in German and English
- Collaborative nature and ability to handle multiple work streams at once
- Profound knowledge of Microsoft products, mainly PowerPoint, Word, Excel and Outlook

Information for employment agencies: We only accept direct applications.