Adults like to have cool places to live in, but what about the kids in our lives? My Space from designer Liya Mairson is a folding playhouse for kids that is not only a blast to play in – it’s also small-space-friendly.

The playhouse was inspired by pop-up books, which are almost universally beloved by both kids and adults. When closed, it resembles a giant cardboard book.

When opened up, it forms a minimal home that offers plenty of opportunity for creativity and modification. The house can be folded in many different ways, changed up and added to however the miniature residents see fit.

But the thing that really sets My Space apart from other playhouses is the fact that it can be folded back up into its book configuration and stashed behind a door or under a bed when playtime is over. Parents get their clean, uncluttered living space back and kids know that their adorable pretend house will be waiting for them the next time they’re ready to play.

Keep Going - Check out this Great Related Dornob Article:

Posh Outdoor Playhouses: Ultramodern Plans for Little Kids


Make Room: Small Space-Saving & Flat-Pack Furniture ‘Mat’

ethiopienne:

perolyke:

this is literally the best post I’ve ever seen

hell fucking yes

Designed by Italic | Country: United States

“Daytrader is a really funny and educational game created by Samir Lyons. It’s a financial board game that brings you the thrills and chills of investing in the stock market but without real risk. It’s simple, educational and fun.

Italic was enlisted to give Daytrader a unique and playful look & feel.  The design draws inspiration from classic American business signage and simple currency-like illustrations as a tribute to the golden age of finance and Wall Street.  The Americana feel to the game adds a warm, approachable simplicity to the chaotic and complex world of economic affairs. Daytrader is designed so a wide range of people can enjoy the experience of playing, from families around the dinning room table, to finance gurus, students, board game geeks and beyond.”

Seattle's police force were very hot-to-trot for a pair of new surveillance drones, an issue that became a lightning rod for criticism of the scandal-haunted force. After public outcry, the city's mayor simply returned the UAVs to their manufacturer

Later this afternoon, Mayor Mike McGinn will announce that he is grounding the Seattle Police Department's controversial drone program and returning the two remotely controlled planes to the vendor, according to sources at City Hall who asked not to be named. "The mayor and chief had a conversation and agreed it was time to end the Unmanned Aerial Vehicle program," one of the sources tells us. "It had become a distraction to the two things the department is working hard on, general public safety and community-building work."

The news comes on the heels of—and largely in response to—an angry hearing yesterday held by Seattle City Council member Bruce Harrell, who was considering legislation to restrict the use of the drones for police investigations. The program has created a slowly burning outcry since 2010, when the city purchased the units for intelligence gathering with the help of a federal Homeland Security grant.

Crime Mayor Will Kill SPD's Drone Program [Dominic Holden/The Stranger]

(Thanks, Fipi Lele!)

cauldronandcross:

Courage, Anxiety and Despair Watching the Battle (detail)
James Sant
19th Century

On Friday, the city of Boston unveiled a webpage that allowed curious citizens to track the locations of snowplows all over the city. But the site interfered with the city’s public works monitoring system, a spokeswoman for the mayor said today. The site had soft runs during prior snow events this season, but yesterday was the first time the city promoted the site through social media, said Emilee Ellison, spokeswoman for the office of Mayor Thomas M. Menino, in a short interview this morning.

Towards the end of last year a friend of mine, who was working on a web-based typography tool, asked me for tips on how to pair typefaces. I know how I approach the task but I started to wondering if there were well defined techniques to share. Digging through typography books (old and new) I couldn't find much on the subject. One or two writers basically say, "Just don't do it!", advising you to stick to one font family. After all, that's why it's been designed as a family (well, one of the reasons). Interesting, good advice, but the urge to contrast typefaces is still there. Are there any more encouraging answers?

And, perhaps, now more than ever an encouraging answer would be helpful. Not least because of the whole new generation of graphic designers (whether they call themselves that or not) whose work manifests itself in some digitally-based form but whose journey has not taken the "conventional" route. They haven't got to where they are via a lengthy stay at the university of typographical hard knocks. But the desire to learn is great.

What would/do I do? The first and most obvious approach, I think, is to look to type designers who have produced a range of typefaces and see if sympathetic pairs can be identified from within their body of work.

It's not uncommon for type designers to use similar letter structures across different typefaces. Some are plainly obvious, Spiekermann's Meta goes with his Meta Serif; Sumner Stone's self-titled Sans sits nicely with it's Serif sister and Informal brother.

More recently we've seen the term "Super Families" become more visible, describing sets of typefaces, some with incredibly extensive variations. Super Families hand us sympathetic font pairs on a plate and that's very helpful; not least for the fledgling typographic designer.

But what if you want to freestyle? Go off-typedesigner or off-superfamily in search of a pairing with greater contrast or all of your own making. How do you start?

I can think of two ways (there's probably more):

The easiest way is to cheat. You go looking for examples that work and you copy the same pairing. It's not stealing; it's not a terrible way to approach it really. Except that you're not going to learn much. It's a bit like the old, clichéd "Give a man a fish…" cliché.

A better way to approach the challenge is to get closer to the type; intimate in fact. Get under the skin of type design, analyse the characteristics of typefaces to discern what one (say, serif) face has in common with a different (say, sans) face. Learn about its historical and, even, its geographical contexts.

Enter, stage left, Stephen Coles' new book The Geometry of Type (or if you're Stateside, The Anatomy of Type). A timely publication, given the still fairly new but ferocious interest in typography from the designers and builders of the digital realm; Stephen's book, I think, couldn't have come at a better time. It presents just what those new to designing with type need to know.

The Geometry of Type leads you through the classification of typefaces, their historical background and reveals their distinguishing characteristics. Armed with a detailed grasp of this knowledge, the designer can see that, for example, a particular typeface that falls into the Humanist Serif category may well work well with another face that could be described as a Humanist Sans. Or how a Geometric Sans might work well with a Rational Serif (more traditionally known as a Modern). Of course, with any one single volume only a limited collection of typefaces can be included. Perhaps the most important lesson that the book teaches is to look closer at whatever typeface we're using. It teaches what to look for; where the critical details can be gleamed.

I think this is a book that could, and probably should, become a staple for a generation of typographic designers. From talking to a few people who are coming to typographic design with a digital background, our time feels not unlike that period when design studios were just installing Macs for the first time. When graphic designers were getting their hands on type which they'd previously relied on others to control (typesetters).

It's a little different but it's similar because there are designers using type with very little proper understanding of its intricacies. I was like that way back then and what I had to do was learn lots of stuff. I can wholeheartedly relate to the plight of these designers; that's just what I was like. And what I needed back then was a nudge here and there to set me on the right track. Stephen's book is one of those very helpful nudges.

Related: Ellen Lupton's article on Thinking With Type.

Super Families: At fontshop.com and fonts.com

laurennmcc:

I like to think that this is how all sword fighters practice. 

rahzzah:

intense focus followed by adorable happy-dance

Ele pode não ser um mutante com poderes regenerativos de cura, sentidos animais, agilidade sobre-humana ou esqueleto e garras de Adamantium. Ele pode até não ser um especialista em artes marciais nem falar japonês fluentemente, mas Ricardo Fuentes, 22, é um herói como o Wolverine. Em vez de fugir em pânico, ele ajudou as pessoas durante a mortífera explosão da semana passada na sede da Pemex, na Cidade do México.

A explosão aconteceu na quinta-feira, 31 de janeiro, no edifício principal da sede da Pemex, conglomerado estatal mexicano de petróleo. Fuentes estava trabalhando em um edifício anexo pouco antes da explosão. Depois que ele saiu para levar alguns documentos até a torre principal, a detonação enorme empurrou-o para o chão.

Mas, em vez de fugir como a maioria das pessoas, o petroleiro correu em direção à torre que desmoronava:

Saí tarde do escritório (…) Eu senti a vibração, caí e vi outros colegas caídos no chão também. Eu acho que, assim como todo mundo, você fica atordoado em uma situação assim. Mas depois, quando as pessoas começam a correr, eu me perguntei: o que eu faço? Corro ou volto para ajudar?

Eu não estava preparado para isso, mas todos os meus colegas são pessoas muito boas, são pessoas de grande valor humano, sempre tivemos a visão de que ninguém pode ser deixado para trás: ou saímos todos ou não sai ninguém. Esta é a maior bênção de um petroleiro.

Infelizmente, 37 pessoas não conseguiram sair. Segundo o advogado-geral do México, Jesús Murillo, a explosão e o subsequente colapso do edifício foram causados pelo acúmulo de metano no subsolo. Murillo disse que não havia explosivos e que a detonação “causou um defeito na estrutura do chão, que primeiro foi empurrada para cima, e em seguida caiu”.

Apesar do perigo, Ricardo correu para o prédio e, usando uma cadeira de escritório, ajudou a resgatar um casal de feridos do local da explosão. Alguém tirou a foto acima e postou online. Ela se tornou viral poucos minutos depois.

Ricardo diz que todos os seus amigos o chamam de Logan – o nome real do personagem da Marvel – desde que ele frequentava a escola. Quando ele viu a foto e os comentários no Facebook e no Twitter, ele não conseguia parar de rir, e dizia que não é herói – é um cara normal.

Bem, Ricardo, qualquer cara que corre para uma explosão a fim de ajudar pessoas é um herói. [El Diario]

Em tempo: Juan Castillo, um comentarista do Gizmodo US no Facebook, postou isso. Muito bom.

Georgia O'Keeffe lemons show up with surprising frequency

In a major grocery store, whether it's Safeway, Ralph's, Tesco, or Albert Heijn, you're apt to find beautiful fruit on offer. Oranges so immaculate and perfectly spherical they could be ornaments. Eureka and Lisbon lemons so hefty, so perfect, that they each could stand as the very definition of "lemon." Down the line: perfect fruits and vegetables. Well, perfect to the eye, anyway. Relatively high prices reflect  culling of the oddballs, the defects, the grotesque, the undersized, and the unevenly ripened. Limes for 69¢ each, individual lemons for 89¢.

In a pinch, sure, I'll buy just enough at those prices to eek through whatever citrus shortage drove me to that particular store. But at the rate we burn through fruit — especially citrus for cocktails — I'd be a damn fool paying retail prices for perfectly formed specimens.

Enter the second-tier grocer. You may not know about them in your community, but even many small towns (and I've lived in a few) have markets that serve immigrant communities. I'm not talking about high-end specialty stores that cater to well-heeled world travelers (though those are nice, too). Rather I mean the small stores with ingredients imported from "back home"or made locally in a familiar style that less affluent shoppers nonetheless crave; curry blends, certain cheeses, particular breads, teas, syrups, sugars, sweets, pickles, etc. In Philadelphia, there's the 9th Street Italian market. In San Diego, my go-to place for such things is North Park Produce. The store clearly buys a lot of seconds — those fruit and vegetables that aren't quite up to snuff for display at the major chains, the ones that were culled. These are the fruits I tend to buy for cocktail and cooking.

Limes with a bit of wind blemish, oranges with a blush of green on one side, and lemons that can be, frankly, bizarre are what I'm after. Most of them are actually fine, just undersized. And the prices? Well, they fluctuate, but a single dollar will typically get me 4-5 pounds of oranges (pounds, mind you, not single oranges), 7-10 lemons, or anywhere from 8 to 20 limes. At those prices, we're almost never without the ingredients to crank out any one of hundreds of cocktails.

Of course, if drinkers or eaters will see the fruit as part of serving or prearing it, more seemly specimens may be in order. A big bowl of defects and seconds on the bar is not going to get you top dollar for your cocktails. But a hybrid approach is fine. Serving fresh lemonade from a huge see-though dispenser? Juice the cheap ones, but buy a bag of big perfect beauties to cut in half, ream, and float in the mix.

Customers, after all, do pay a premium for pretty food.

Goes well with:

• Bitter oranges. The season is drawing to a close, but I scored a bunch at North Park Produce (3551 El Cajon Blvd, San Diego, CA) for $1.39/lb and used most of the batch for making vin d'orange. The rest is going into a cake later today.

Lost in space

A rare thing,    . . . a decent BBC whisky documentary

When it was confirmed that Willow Smith had aged out of the role of Annie, too overcome by the existential angst of encroaching adolescence to be some rich daddy’s dancing little doll any longer, Will Smith and Jay-Z began their search for a new lead and possibly a new, more compliant daughter to star in their remake that is now only marginally less of a vanity project. Then, as Entertainment Weekly confirms, they did what everyone just assumed they would and began talking to Quvenzhané Wallis, who’s still young, adorable, and unconsumed by ennui enough to make crushing poverty seem like a lot of fun, just as she did in Beasts Of The Southern Wild. Talks between Wallis, director Will Gluck, and whomever Jay-Z sends to these meetings are still in the early stages, of course, but she’s no doubt somewhere in the lead, perhaps second only ...

Read more

Wired reports that the 3-D printed AR-15 magazine from Defense Distributed we mentioned a few weeks back has been improved through design, and is now robust enough to last through firing (at least) several hundred rounds, rather than fewer than a hundred as in the previous iteration. CNET says the video demonstration on YouTube was first yanked, then restored, but as of now seems to have been yanked again.

Read more of this story at Slashdot.

I made a joke about this on twitter like two years ago, and now it has re-emerged as an insane scrawl.

If you're unfamiliar with what we're talking about here, educate yourself about Janet:


Janet Jackson - Nasty by trashfan

Ms. Jackson, if you're nasty.

I just finished a cover of a book from a series you've probably read! Shh a secret for now.

These sketch comics just keep getting longer and longer, and they don't show up on people's iphones. I donno!

nevver:

Why bother

doctorwho:

themusicalbaconangel:

#angel #crying #depression #gentle #gif #nature #sad #sculpture #statue

Really. Really.

We’re playing a game called ‘Hipster Tumblr Post or Doctor Who?’

justeatthedamncake:

callingoutsexists:

jeseca:

nocttis:

housewitch:

www.now.org
www.rawa.org
www.womenslaw.org
www.amnestyusa.org
www.globalissues.org
www.globalfundforwomen.org

To the men who have told me that I’m overreacting and “it’s the 21st century women are equal now”

Ditto.

Note that the “women make only 77.5 cents for every dollar that men earn” statistic applies only to white women. Women of color make significantly less.

• Black women make about $0.68 to a man’s dollar.
• Latina women make about $0.58 to a man’s dollar.

Source

I am honestly baffled by the number of men who have said to me, “but women earn less because they work fewer hours/work in generally lower-paid occupations/because you never know they might go and get pregnant and leave work and the employer has to cover for that” as if that were somehow a valid argument.

Women often work fewer hours because flexible schedules are only offered to them (on the assumption that they’re the ones that need to go pick up the kids from school, amirite?). And if someone does have to pick up the kids from school or do other non-work-related activities, well, might as well be the one with the flexible schedule, right? So they work fewer hours and, as a result, pay is lower.

Many employers are averse to training female workers on the assumption that they will, at some point, get pregnant and leave the workforce. The fact that some of them leave the workforce when they get become mothers has a lot to do with the fact that maternity leave in most cases is much longer than paternity leave. Women are put in a position where it’s very hard for them not to be the ones who take time off, and then this is used as an excuse to not offer the same training opportunities, which limits their human capital and thus their salaries. Not to mention that when one does take time out of the work place, human capital declines and it becomes much harder to reenter at the same level (or reenter at all). And when they do, they can expect a salary job vs. non-mothers of 4% for the first child in the States and Canada. (Source)

As regards women generally congregating in lower-paid jobs? That’s an effect known as crowding, where women are less likely to be hired in higher-paid jobs, or are funneled towards the lower-paid jobs (see: the bias towards teachers or nurses being female). There have also been studies that have indicated that jobs actually become lower-paid when women gain more representation in them. (Source)

It is a vicious, vicious circle out there.

And even when all these effects are taken into account – differences in human capital, in unobserved heterogeneity, in type of employment, etc. – there is still an unexplained effect of gender on wages. (Source)

TV is replacing movies as elite entertainment, because players like Netflix, HBO, and AMC are in an arms race for lush, high-quality shows

Reuters

"The goal is to become HBO faster than HBO can become us."

And there was Netflix's strategy, in one sentence, as revealed to GQ by Ted Sarandos, chief content officer, on the eve of the company's new exclusive series, House of Cards. It sounds like a straightforward threat to the entire pay-TV model: The streaming upstart taking on the premium cable darling in the hopes of convincing millions of subscribers that you don't need a set-top box to get great original television; you just need an Internet connection and a few bucks a month for Netflix.

Netflix's original-programming move is competition for cable. Our attention is finite, as is time. The more time we spend with Netflix, the less time we spend on cable, the less valuable cable is, blah blah blah, this argument is familiar to all of you. But for now, don't consider the Netflix Effect -- and, in particular, its foray into exclusive shows -- a turning point in cord-cutting wars. Consider it instead simply a great moment for great television. The market for super-deluxe-high-quality TV programming is getting deeper.*

WELCOME TO THE GOLDEN AGE (OF TV. NOT FILM.)

To explain why Netflix's new obsession with original programming is great for lovers of great TV, we have to go on a brief detour. In 2010, when Netflix streaming was still in its infancy, Edward Jay Epstein, the excellent chronicler of the business of Hollywood, wrote a little column answering a big question: Why is TV replacing movies as elite entertainment?

His old-school answer: Follow the money.

Hollywood is technically in the story-telling business. But it's really in the franchise-building business. The top 40 movies of all time are practically all sequels, adaptations, and reboots. Most of them have fight scenes and explosions. In a global industry where the top-grossing films make about two-thirds of their revenue outside of the U.S., and marketing budgets stretch into the tens of millions, the surest way to build profit for a studio is to make or buy a franchise. Then you sell sequels and merchandise and TV rights and never ever stop until you can go home after watching Fast and the Furious 6 at the multiplex to lay on your Fast and the Furious bed sheets, and play with your 2 Fast 2 Furious action figures while watching Five Fast on TNT ... in Beijing.

As Hollywood has gone global and mass-mass-market, different incentives for select television networks have helped to fill the void in quality entertainment. Here is Epstein explaining the rise of HBO as an original programming powerhouse:

HBO executives [created their] own original programming designed to appeal to the head of the house. Here it had several advantages over Hollywood. It did not need to produce a huge audience since it carries no advertising and gets paid the same fee whether or not subscribers tune in. Nor did it have to restrict edgier content to get films approved by a ratings board (there is no censorship of Pay-TV). And it did not have to structure the movie to maximize foreign sales since, unlike Hollywood, its earnings come mainly from America. As a result, HBO and the two other pay-channels, Showtime and Starz, were able to create sophisticated character-driven series such as The Wire, Sex and the City, The L Word, and The Sopranos. As this only succeeded in retaining subscribers and also achieved critical acclaim, advertising-supported cable and over-the-air network had little choice but to follow suit to avoid losing market share. The result of this competitive race to the top is the elevation of television.

Now consider "Mad Men" and "Breaking Bad." Neither is making AMC a billion dollars in Asia, but both helped the network find an even more dependable money-hose: cable. AMC used these shows with small but clingy followings to demand that cable providers carry their network and pay 40 cents a month for each subscriber. Today, both have audiences in the low single-digit millions. If they were movies, they would be flops. Instead, they make AMC a cable staple for tens of millions of pay-TV households who indirectly pay AMC more than $360 million a year in cable fees.

Networks love the cable bundle for the same reason that viewers hate it: It's a relentless (i.e. dependable) transfer of money from households to networks, regardless of what television or how much television we watch. "Basic-cable channels have to broadcast shows that are so good that audiences will go nuts when denied them," Adam Davidson wrote in the New York Times. "Pay-TV channels, which kick-started this economic model, are compelled to make shows that are even better." Thus, television has seen a race to the top while Hollywood has experienced an ostensible race to the middle-bottom.

Back to Netflix. The company's business decision to chase exclusive TV rights was not an act of charity for TV fans; it was a business decision. Netflix has two things going for it: its deep library and its wonderful streaming technology. Keeping the library of quality titles deep is getting very expensive very quickly. And Showtime and HBO can compete with Netflix on streaming tech, even if they're also tethered to the cable bundle. So, Netflix needs to increase its value in the eyes of the 120 million households who aren't Netflix subscribers. Following in the footsteps of HBO and Showtime by going after original titles is the smart next step.

And it means there's even more money in the market for lavish television. For every "House of Cards" auction, there is another bidder. For every auteur, there is another hand shaking money in her face. Yes, programming costs will continue to rise, and yes, you might have to get used to paying a little bit more for Netflix as it turns into an independently-owned HBO. But the good news is that the golden age of television was built by a group of niche networks chasing TV fanatics with programming that was better than we knew to expect from TV. And that group is getting bigger.
____

*Even if you think "House of Cards" is occasionally over-the-top, as I do, it's not controversial to say the production values and talent roster are clearly of a cinematic quality. Both lead actors, Kevin Spacey and Robin Wright, have been nominated for Oscars (Spacey has won), and the cinematography has that same shadowy, lacquered quality of David Fincher's best movies.

“Hello, this is man. Joe, kurdit Tony with an important storm update as of Saturday morning. The City of some’ll snow emergency will remain in effect until further notice. The Governor’s travel been is also still and the fact. And any drive on the road will be subject action by local or state police, snowing high winds are predicted for several hours, I would DPW cruise will continue to clear Roadways throughout the weekend. I will talk to the curve to insure access to all public safety vehicles, due to poor visibility created by high winds. It’s no address. We urge all residence, especially small children testing out the road until further notice. We will continue to provide updates as necessary and you can also visit the city facebook page, and twitter speech. Or call 311 with any non emergency questions. Thank you for your continued assistance as we work to make a city, state and accessible.”

ReBoot is a Canadian CGI-animated action-adventure cartoon series that originally aired from 1994 to 2001. It was produced by Vancouver-based production company Mainframe Entertainment, Alliance Communications, BLT Productions and created by Gavin Blair, Ian Pearson, Phil Mitchell and John Grace, with the visuals designed by Brendan McCarthy after an initial attempt by Ian Gibson.

It was the first half-hour, completely computer-animated TV series

Laissez les bons temps rouler!

Stefani Pollack of the Cupcake Project always has a fun seasonal cupcake up her sleeve and her Gumbo Cupcakes for Mardi Gras are no exception. She prepared them starting with a roux, added andouille sausage and topped them with a shrimp and says that they “taste shockingly like gumbo!” (recipe).

submitted via Laughing Squid Tips

Modern Churches + Chickens via Architizer

Imagining a Drone-Proof City by Asher J. Kohn

“Architecture against drones is not just a science-fiction scenario but a contemporary imperative,” writes Asher J. Kohn.

Kohn, an American law student and editor of The Tuqay, a website covering “Central Asia and its hinterlands,” has recently put forth a theoretical proposal for a city built to passively shield its residents against this ultramodern tool of warfare — a drone-deflecting city. He created it for a class he was auditing in extreme architecture, and it has since been picked up for discussion by several websites.

Kohn’s envisioned drone-proof community, which he calls “Shura City,” is a thought experiment, a provocation (shura, Arabic for consultation, is a word associated with group decision-making in the Islamic world). It’s a self-contained environment with elaborate architectural devices designed to thwart robotic predators overhead. Minarets, along with the wind-catching cooling towers called badgirs, would obstruct the flight path of the drones. A latticed roof, extending over the entire community, would create shade patterns to make visual target identification difficult. A fully climate-controlled environment would confuse heat-seeking detection systems. He has not included any anti-aircraft weapons in this scenario.

Everybody’s got a thing

Much of the talk surrounding Community’s return centered on how it just wasn’t the same, and that’s true in at least one more respect: It got better ratings. Last night’s fourth season premiere brought in around 4 million viewers and a 1.8 rating in the 18-49 demo, up 6 percent from its last debut all the way back in September 2011 (when it didn’t have to face American Idol as well as Big Bang Theory), and up 38 percent from the third season finale. Community also outperformed 30 Rock’s ratings in that time slot by around 38 percent and—in a statistic that’s only meaningful once you factor in the schadenfreude of how heavily the latter was favored by the network—it doubled Smash’s dismal premiere ratings.

All in all, whether driven by new fans who used this long “summer break ...

Read more

After a historically awful premiere and a follow-up episode that proved that sometimes the second version of something is even worse—like, sometimes it smokes cigarettes and is sarcastic to people—Do No Harm has been canceled, officially ending TV’s attempt to turn Dr. Jekyll And Mr. Hyde into a show for at least this season. Last night’s episode pulled a dismal 0.7 rating, a 27-percent drop from its already all-time worst debut that led to Do No Harm joining the likes of The Paul Reiser Show, Lone Star, My Generation, and Emily’s Reasons Why Not in the pantheon of stillborn series. (Meanwhile, Do No Harm star Steve Pasqule joins My Own Worst Enemy’s Christian Slater and Shattered’s Callum Keith Rennie down at the shelter for TV characters with split-personalities, where they can brood meaningfully into cracked mirrors all day.) NBC is currently retooling ...

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“Hello, this is Mid joker. Tony with an important public safety reminder. We are about to experience the series. Whether a rental. As we continue to monitor the path constraint of the oncoming blizzard. Please take extra precautions in advance to prepare for potential power outages, associated with addictive high winds and heavy wet snow. Start enough food to medication for your family members of patch for three to five day period. Be sure you have batteries flashlights complacent about your home during colleges use caution by limiting use of candles and be sure to clear invention your home of snow and ice tried your cellphone. But keep their use to a minimum during power outages, during the storm. Please remember to check on how the we were just able to family members and neighbors, and call 911 If you have an emergency. A non emergency enquiries. Please call 311 We will continue to monitor the storm that will provide updates as necessary. You can also check on the city website facebook page and put a feature updated alerted information. Thank you, and please be safe.”