SLOGANALYSIS IS HERE
Now you can send your slogan to the shrink.
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Is your advertising slogan suffering from delusions of grandeur?
Does it show signs of paranoia, schizophrenia or just plain insanity?
You can find out by using Sloganalysis®!
Sloganalysis® is a free diagnostic tool developed by AdSlogans.com that helps you check the effectiveness of a proposed line.
Measures any advertising slogan against 10 key benchmarks
Provides scoring system for easy comparison of different lines
Shows strengths and weaknesses of lines under consideration
Acts as a checklist for line development
Hard copy available for use offline
From AdSlogans.com, the world's favourite slogan resource.
Probably.
Anal is our middle name.
Using Sloganalysis® to measure a slogan's potential
You want your slogan to work well for you. But how can you tell if a slogan is good enough? You either like it or you don't. But what else? What if you have four suggested lines to choose from - all of them seemingly good?
There are certain key considerations that can affect a slogan's effectiveness. That's why we developed a tool to evaluate a line quickly, based on our article The Art & Science of the Advertising Slogan.
What it's for
Sloganalysis® is not intended as a device to make the definitive decision. Rather, think of it as an ingredient in the mix of resources you use to perfect a line - like a dictionary or thesaurus. It will help you understand the relative strengths and weaknesses of a line or group of lines, or you can use it as a checklist. In fact we've provided a printer-friendly version of the score sheet to use in brainstorming sessions.
Ready to try it out? Click here to continue.
August 4, 2009
SLOGANALYSIS IS HERE
What Gets Me Hot! Movie Trailer and Video - Watch What Gets Me Hot! @mrjyn @nichopoulouzo #hot @whatgetsmehot
What Gets Me Hot! Movie Trailer and Video - Watch What Gets Me Hot! Movie Clips Free Online | VideoSurf Video SearchWhat Gets Me Hot!
In the News
What Gets Me Hot! 'tracy [sic] lords what gets me hot ...'tracy [sic] lords what gets me hot' [MY FAVORITE SEARCH OF ... 'tracy [sic] lords what gets me hot'. What Gets Me Hot!
Heeb: HQ : Matisyahu Gets Naked For Judaismwhat gets me hot is when he winces and whines about the fish. submit. logo_icons2_129 Facebook · MySpace · YouTube · Twitter · RSS Feed · Bob Saget. COMMENTS RECENT POPULAR. DRubin commented on Round Up: The 9 Lamest Pieces of “Super ...
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DEAD WOMAN GIVES BIRTH IN COFFIN | Weekly World News @mrjyn @nichopoulouzo
DEAD WOMAN GIVES BIRTH IN COFFIN | Weekly World News
TORONTO – A woman amazingly gave birth to a 5-pound 2-ounce baby as her casket was being lowered into a grave – 23 hours after she died!
“I’ve been a doctor for 22 years and if this isn’t a miracle and a medical first, I don’t know what is,” said the physician who pronounced the woman dead after she suffered massive head and chest injuries in an automobile accident in Toronto last April.
“There is no possible way for this baby girl to have survived the automobile accident that killed its mother, much less cling to life for 23 hours without food and oxygen from her blood supply.
“But as God is my witness the baby did survive – and there’s not a doctor in the world who can explain it.”
The mind-numbing drama reportedly began when the pretty mother-to-be was rushed to a hospital after she lost control of her car and slammed into a tree.
An account of the incident that appeared in a major medical newsletter noted that the woman was 7 1/2 months pregnant at the time of the accident. And the emergency room physician who pronounced the woman and her baby dead was quoted as saying that every attempt to revive the mother and her unborn child – which was still in the womb – failed.
The mangled body was reportedly placed in a morgue cooler for 17 hours before it was taken to a funeral home to be prepared for burial. The newsletter went on to say the nude corpse was laid out in a coffin and covered with a simple burial shroud 20 hours after the accident.
Three hours later cemetary workers were lowering the coffin into a grave when they heard the cries of a newborn baby. An ambulance was called to rush the baby to a hospital.
And even though the little girl was 1 1/2 months premature, hungry and dehydrated, she gained strength while spending four weeks in an incubator and was released from the hospital in May.
The newsletter kept the names of the woman, doctor and funeral home workers secret to preserve her family’s privacy. It did say that the infant is now living with her father and should lead a normal life in spite of her incredibly rocky start.
“Things happen that defy explanation and this would certainly seem to be one of them,” said the doctor. “That baby was dead and now it is alive.
“It’s living proof that miracles really do happen.”
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UCL SECReT is the new £17m national centre for PhD training in security and crime science at University College London, the first centre of its kind in Europe. The Centre offers the most comprehensive integrated PhD programme for students wishing to pursue multidisciplinary security or crime-related research degrees.
Applications now open – 11 fully-funded EPSRC scholarships available – third round deadline 31 July 2009 To keep updated please register for our MAILING LIST
Industry and Public Sector partners - Contact us to contribute to, and benefit from, our agenda Vision
Crime and terrorism are constantly evolving threats. National infrastructures such as transport, power and communications need to remain protected, and identity theft and credit card fraud continue to have a devastating impact on everyday life. UCL SECReT will produce the next generation of security scientists who will be ready for these challenges.
“UCL’s Security Science DTC will train and shape a generation of thought leaders in integrated and socially sensitive security; this will encompass not only future academics but also the policy makers and industrialists with whom they interact during and after their training. We aim to transform the way security is done.” [Professor Gloria Laycock OBE, UCL SECReT Director]
Un Chien Andy Loo: Pisse Warhol l'arte
Un chien andalou is a sixteen minute silent surrealist film produced in France by the Aragonian director Luis Buñuel and the Catalonian artist Salvador Dalí. Its title means "An Andalusian Dog", but it is normally released under its original French title in the English-speaking world. It was Buñuel's first film and was initially released in 1929 to a limited showing in Paris, but became popular and ran for eight months.[1] It is one of the best-known surrealist films of the avant-garde movement of the 1920s.
The film has no plot, in the conventional sense of the word. The chronology of the film is disjointed, jumping from the initial "once upon a time" to "eight years later" without the events or characters changing very much. It uses dream logic in narrative flow that can be described in terms of then-popular Freudian free association, presenting a series of tenuously related scenes.
Simone Mareuil's eye being held open by Luis Buñuel in the opening scene.The film opens with a title card reading "Once upon a time". What may be the film's conclusion unfolds; a middle-aged man, the "husband" (played by Buñuel), sharpens his razor at his balcony door and tests the razor on his thumb. He then opens the door, and idly fingers the razor while gazing at the moon, about to be engulfed by a thin cloud, from his balcony. There is a cut to a close-up of a younger woman, the "wife" (Simone Mareuil), being held by the "husband" as she calmly stares straight ahead. Another cut occurs to the moon being overcome by the cloud as the "husband" slits the "wife"'s eye with the razor.
The subsequent title card reads "eight years later". A slim younger man, the "lover" (Pierre Batcheff), bicycles down a calm urban street wearing what appears to be a nun's habit and a locked box with a strap around his neck. A cut occurs to the "wife", who has been reading anxiously in a sparingly-furnished upstairs apartment, and she hears the "lover" approaching on his bicycle. She promptly throws aside the book she was reading to look out the window. She emerges from the building and attempts to revive the "lover" after witnessing him collapse.
Pierre Batcheff bicycling in nun's clothing.Later, the "wife" assembles pieces of the "lover"'s clothing on a bed in the upstairs room, and seemingly through concentrating on the clothing causes the "lover" to appear near the door. The "lover" and the "wife" analyze his hand, which has a hole in the palm from which ants emerge. A slow transition occurs focusing on the armpit hair of an unknown figure and a sea urchin at a sandy location. An androgynous, seemingly blind figure, the "detective", appears in the street below the apartment, poking at a severed hand with a cane while surrounded by an angry crowd and police.
Jaime Miravilles and Salvador Dalí as the confused priests.The crowd clears when the police place the hand in the "lover"'s box, and the "detective" stands contemplating something happily in the middle of the now busy street while clutching the box, subsequently being run down by a car. The "lover" and the "wife" watch these events unfold from the apartment window. The "lover" seems to take sadistic pleasure in the blind figure's danger and subsequent death, and as he gestures at the shocked "wife", he leers at her and grasps her bosom. The "wife" resists him at first, but then allows him to touch her as he imagines her nude from the front and the rear. The "wife" pushes him away as he drifts off and attempts to escape by running to the other side of the room. The "lover" corners her as she reaches for a racket in self-defense, but he suddenly picks up two ropes and drags two grand pianos containing dead and rotting donkeys, stone tablets containing the Ten Commandments, and two rather bewildered priests (played by Jaime Miravilles and Salvador Dalí) who are attached by ropes. As he is unable to move, the "wife" escapes the apartment.
The subsequent title card reads "around three in the morning". The "lover" is roused from his sleep in a different apartment's bed by the sound of a doorbell (represented visually by a martini shaker being shaken by a set of arms through two holes in a wall). The "lover's" "father" (also played by Pierre Batcheff) angrily arrives in the apartment, possibly to punish him for his lecherous actions against the "wife"'s "husband", and a chase around the apartment ensues. The "lover" eventually shoots his "father" with two books that seemingly fascinated the "father". The "father" picks these up and gives to the "lover". The books then abruptly turn into pistols; the "wife" comes into the apartment to possibly confront the "lover" and is shocked by what has happened. The "lover" wipes his mouth off his face with his hand; this is followed by a cut to a death's head moth on the wall. Subsequently the "lover" makes the "wife"'s armpit hair attach itself to where his mouth would be on his face through gestures. The "wife" looks at the "lover" with disgust, and leaves the apartment sticking her tongue out at him.
As she exits her apartment, the street is replaced by a coastal beach, where the "wife" meets the "husband". They seem to walk away clutching each other happily in a long tracking shot. However, the film abruptly cuts to the final shot with a title card reading "In Spring," showing the couple buried in sand up to their shoulders, presumably dead after the unknown events of the opening scene, possibly bringing the film full-circle.
- Simone Mareuil — Young girl (as Simonne Mareuil)
- Pierre Batcheff — Man (as Pierre Batchef)
- Luis Buñuel — Man in prologue (uncredited)
- Salvador Dalí — Seminarist (uncredited)
- Robert Hommet — Young man (uncredited)
- Marval (actor) — Seminarist (uncredited)
- Fano Messan — Hermaphrodite (uncredited)
- Jaime Miravilles — Fat seminarist (uncredited)
The idea for the film actually began when Buñuel was working as an assistant director for Jean Epstein in France. Buñuel told Dalí at a restaurant one day about a dream in which a cloud sliced the moon in half "like a razor blade slicing through an eye". Dalí responded that he'd dreamed about a hand crawling with ants. They were fascinated by what the psyche could create, and decided to write a script based on the concept of suppressed human emotions.
The legendary shot of the cow's eye being slit by Luis Buñuel.The eye that was actually sliced in the opening scene was that of a dead calf. Through intense lighting, Buñuel attempted to make the furred face of the animal appear as human skin. During the bicycle scene, the woman who is sitting on a chair, reading, throws the book aside when she notices the man who has fallen. The image it shows when it lays open is a reproduction of a painting by Vermeer, whom Dalí greatly admired and referenced often in his own paintings. In Buñuel's original script, the last shot was to feature the corpses "consumed by swarms of flies". However, this special effect was left out due to budget limitations.
Given the general distaste for surrealism among the French public, Buñuel and Dalí carried sacks of rocks in their pockets on opening night as self-defense, expecting a negative response from the audience. They were disappointed when the audience enjoyed the film, making the evening "less exciting", according to Dalí.
The movie contains several thematic references to Federico García Lorca (who was in love with Dalí) and other writers of that time. For example, the rotting donkeys are a reference to the popular children's novel Platero y yo by Juan Ramón Jiménez, which Buñuel and Dalí hated.
Both of the leading actors of the film eventually committed suicide: Batcheff overdosed on Veronal on April 13, 1932 in a hotel in Paris, and Mareuil committed self-immolation on October 24, 1954 by dousing herself in gasoline and burning herself to death in a public square in Perigueux, Dordogne.
Modern prints of the film feature a soundtrack consisting of excerpts from Richard Wagner's Liebestod, the concert version of the finale to his opera Tristan und Isolde, and a recording of the Argentinian tango "Ole guapa". This is the same soundtrack that Buñuel chose and played live on a phonograph during the original 1929 screening in Paris. They were first added to a print of the film in 1960 under Buñuel's supervision.[2]
In spite of varying interpretations made since the film originated, Buñuel made clear throughout his writings that, between Dalí and himself, the only rule for the writing of the script was that "no idea or image that might lend itself to a rational explanation of any kind would be accepted."[3] Moreover, he stated that, "Nothing, in the film, symbolizes anything. The only method of investigation of the symbols would be, perhaps, psychoanalysis."[4]
[edit] Legacy
Lists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (January 2009) Film scholar Ken Dancyger has argued that Un chien andalou might be the genesis of the filmmaking style present in the modern music video.[5] Roger Ebert has called it the inspiration for low budget independent films.[6] Premiere ranked the opening scene as 10th out of "The 25 Most Shocking Moments in Movie History".[7]
David Bowie had this movie opening for his 1976 World Tour for each concert rather than a warm up act. Bowie said that the movie was used in order to "set the tone for the evening."
Un chien andalou was mentioned in the book How To Become Famous and Influence People, by Adam Selzer. The movie serves as inspiration for the main character, Leon Harris.
Un chien andalou is referred to in the Pixies song "Debaser", and is cited by Frank Black as being a major influence on the band's work.
The band Murnau released an EP that was their idea of an updated soundtrack to Un chien andalou.
The opening scene was parodied in The Simpsons episode "Yokel Chords".
The eye cutting scene was referenced on the cover of Mr. Oizo's 2008 album Lambs Anger.
[edit] Notes
- ^ "Un Chien Andalou". http://www.filmreference.com/Films-Ca-Chr/Un-Chien-Andalou.html. Retrieved on 2008-07-08.
- ^ Buñuel, 1968
- ^ Buñuel, Luis (1983). My Last Sigh. Abigail Israel (trans). New York: Knopf. ISBN 0-394-52854-9.
Delicious Freshens Up With Twitter, Which Its Founder Hates - FOLLOW @mrjyn @twitter
DeliciousDelicious Freshens Up With Twitter, Which Its Founder Hateswas once one of the hottest social sites on the Internet. That’s why Yahoo bought it in 2005. But it’s weird now to even think about it as a social site, I get more of the utilitarian vibe from it these days. People still use it, but it’s more of a repository. Or, to put it another way, it’s where links go to die.
Contrast that with services like Twitter, Facebook and FriendFeed where people are sharing and re-sharing links all over the place, and having conversations about the content, making it feel alive. And that’s what Yahoo wants to tap into now, with another revamping of Delicious. And not surprisingly, this revamp is very Twitter-centric.
The biggest difference is that the main Delicious homepage is now an area called “Fresh Bookmarks.” Previously, the main page contained the most popular bookmarked pages on the site, but that is now relagated to the second tab. This redesign is all about freshness, which is to say real-time-ness. Delicious looks at and refreshes this list of links every minute or so based on what people are bookmarking and what they’re tweeting. This model, while flawed (I’ll get to that), does make the main page of Delicious more interesting.
“Design” is the most popular tag on Delicious, according to Yahoo, and that meant a “Popular Bookmarks” area that was dominated by things like “200+ Paper Brushes For Photoshop
One problem I see with this Fresh Bookmarks area is that the tweets it uses in its equation, often don’t have anything to do with the content being linked to. Yahoo did this on purpose, noting that some 81% of tweets don’t contain URLs, and they still wanted to use data from the most amount of tweets to populate this area. So instead they use keywords in tweets, but this often results in tweets populated below the shared content that have absolutely nothing to do with it.
And on top of this new Fresh Bookmarks area, when you bookmark things, Delicious now allows you to also tweet your links out at the same time. This should be useful to people who want to save stuff for later, but also want to let others know about it. You can also easily email links to people, and send them to your Delicious contacts. This is all done through the bookmarklet.
And the search aspect of Delcious has been completely revamped as well, making it easier for power users to dig through things they’ve bookmarked in the past. The new search area also features rich content, so if someone shares a YouTube video, you can play it inline. The same is true with Flickr images.
All of that is great, the problem is that it’s hard to teach an old dog new tricks. Delicious has long just been about saving links and not about sharing them like many of the new, more versatile social sharing services out there. If Yahoo wanted to tie the product into Twitter, it should have done that months ago, to get ahead of the curve, rather than at the back of it.
The problem now is that there are plenty of other services people are already using to share stuff on Twitter. Most people still just paste links right into the update box, and Twitter uses Bit.ly to shorten them. This is allowing Bit.ly to collect a huge amount of data about what people are sharing — something which it could use soon to take on Digg and Delicious.
And on the bookmarking side of things, the trend seems to be towards simple. Mike likes a service called Pinboard, I’ve long been a fan of Instapaper. Both require less effort to use than Delicious, and are quicker.
But you don’t have to take our word for the downsides of this new Twitterification of Delicious, just listen to its founder, Joshua Schachter
I can’t BELIEVE delicious delicious did integration with other social networks before finishing with its own. sigh
But later he completely rips
i hate the delicious twitter integration (sharing != saving) but i like the new search a great deal.
Well, at least he likes the new search, I guess.
Michael Jackson - Racing Grannies - 'Beat It' Toy
FOLLOW NICHOPOUOUZO @mrjyn http://www.twitter.com/mrjyn FOR MORE LIKE...Racing Grannies These two hi-octane speedsters are true competitors for a sidewalk showdown. Wind up these old ladies and watch them race at across your desk or kitchen table. Set of two. Plastic, 2 1/2 x 1 3/4 x 1 3/4". The Racing Grannies are two wise gals whizzing along on their journey of life, letting nothing stand in their way! They say you can't teach an old dog new tricks, but you sure can turn granny into something uncanny with the remarkable Racing Grannies! These cheeky race-makers have forgotten their pace-makers and are breakin' the law breakin' the law in every shocking sense! Rushing to meet the hot Racing Granddads? Who knows -- whatever goes with these radical Racing Grannies!
simmieoc
Bluw is the original design company making the coolest Gadgets and Gizmos!!!!
We are known as the guys who brought "Racing Grannies" into the world!!!
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Bluw are young funky product creators. We are an ideas factory and have the skills to take a product from concept to production. Everything on this website was dreamt up and turned into reality by us.
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Category: Comedy
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Rejected Tokyo 'N***** Family' Sitcom
FOLLOW NICHOPOULOUZO http://www.twitter.com/mrjyn FOR MORE BAD #michaeljackson #art @mrjyn @nichopoulouzo