Just wondering how does e-newsletter subscribe visitors for the newsletters. I do see there is a widget for it but wondering if I could get mailchimp integrated with it.
Appreciate your answer on this or I will appreciate if you could advise me on the best possible email subscription method using WPMU plugins. I want to use subscription form as popup.
The subscription form looks bare looking at the moment. It currently has nothing but an email address option. Could you please tell me, how do I customise this form? I would like to add first name and last name option with the email address.
You can ask full name in the form. To enable this field there is another shortcode parameter. You can use a shortcode like this.
Orders via Google checkout fail to record the coupon code/discount used by customers. This info doesn't appear in the exported tables from the Manage Orders page or in the order email sent to the admin address.
Is there a way to fix this? I plan to use coupon codes for tracking my different advertising methods.
Additionally, I have garbage text appearing for my coupon discount. It appears in PayPal, the admin order emails, and tables exported from the Manage Orders page. See this screenshot: coupon-issue.png
We've had reports of the bug with the coupons and are working on this right now. Will have an update out shortly. Thanks for reporting!
I installed the beta and made new test orders. There was no change from 2.6.2. Not a critical issue but it's on my wishlist.
Dan Burn and Josh Klein-Davies were handed their first starts for Prescot Cables in a much changed but strong starting line-up against the League Leaders and League Cup holders Bamber Bridge, Klein-Davies’ was rewarded for his tireless display up top with a goal, though the visitors ran out comfortable winners in the end.
Lloyd Dean returned to the starting line up and took the captains armband in the absence of James McCulloch, Brian Richardson also handed starts to Alan Burton, Reece McNally and Andy Scarisbrick.
It was largely defences on top until the the 30th minute when Reece McNally was adjudged to have body-checked Daniel Mooney and the visitors where awarded a penalty kick, Cables left frustrated with the award but it wasn’t the first major decision that would go against the hosts on the night. Much travelled Jamie Milligan confidently despatched the penalty into the bottom left hand corner.
Moments after the restart Bamber Bridge struck again, left back Adam Dodd playing a one-two with Alistair Waddecar before finishing emphatically leaving former Bamber Bridge keeper Marcus Burgess no chance and sending the visitors in at the break with a 2-0 advantage.
Cables started the second half strongly and their early pressure paid off on 51 minutes when Josh Klein-Davies latched onto Lloyd Dean’s wonderful through ball to finish low into the bottom corner and half the deficit. Within 60 seconds of the goal joy was to turn to despair for Prescot Cables, after a coming together in the penalty area the referee deemed that Harry Cain had dived, a decision which astonished many on lookers, as Cain had already been cautioned on the stroke of half time a second yellow card meant that Cables would have to see through the final 38 minutes with ten men.
Despite the adversity Cables continued to press and came close to an equaliser on a number of occasions, though Bamber Bridge always looked dangerous on the break, and having squandered a great opportunity moments before the visitors duly scored their third on 70 mins, Brad Carsley with a clinical finish from just inside the box.
The pattern remained throughout the duration of the game with Burgess staying big to deny Bamber Bridge in two one-on-one situations before substitute James Boyd finally completed the scoring for the visitors from close range on 88 mins.
Prescot Cables return to action this Saturday afternoon, 21st October hosting Clitheroe in the league, whilst next week cables visit Bootle in the Liverpool Senior Cup Tuesday 24th before a home fixture with Stalybridge Celtic in the FA Trophy the following Saturday 28th October.
A late goal from Josh Klein-Davies kept Prescot Cables in The FA Trophy, setting up a replay on Tuesday evening.
The game got off to a decent start for Cables and their first sight of goal arrived 8 minutes into the match, although the shot from Matty Hamilton went just wide for a goal kick.
Shortly afterwards, Reece Fishwick narrowly missed the target with a shot of his own and there was a good chance for Chris Almond on 13 minutes but he couldn’t connect with the ball and it ran wide of goal.
In the 28th minute, a clearance from James McCulloch found the foot of Sheffield’s Sam Wright who put the home side in front.
Prescot rallied and went close when Sheffield failed to clear a cross and the loose ball found McCulloch, whose shot was blocked.
Five minutes before half time, Cables equalised when home goalkeeper Adam Kelsey failed to hold a shor which was followed up by Jack Lenehan to level the scores.
The game came to life after an hour. Both teams had a ‘goal’ disallowed for offside, then in the 62nd minute a shot from Sheffield’s Ehsan Mohammed hit the crossbar.
A penalty was awarded to Sheffield on 65 minutes and Ben Barnes was booked for his challenge on the oncoming Sheffield player. Mitchell Dunne stepped up to take the spot-kick and made the score it 2-1 to Sheffield.
On 68 minutes, Stuart Ludlum was given a second yellow card for a challenge on Michael Monaghan , reducing the home side to 10 men. From the subsequent free kick. Matty Hamilton drilled in a low shot which hit the post.
Josh Klein-Davies came on for Matty Hamilton and quickly an impact in the game. His introduction would prove vital in stoppage time; Lenehan and Southworth played some great football to create an opportunity for Klein-Davies, whose tidy finish made the score 2-2.
On March 12, The Philadelphia Museum of Art will present the first major American exhibition of phulkari textiles, exquisite embroideries made in Punjab, a region that comprises north central India and eastern Pakistan. This vibrant tradition, shaped by women and passed down through generations, has become a powerful symbol of Punjabi cultural identity. Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection celebrates the promised gift of their collection of these rare embroideries. Exhibited together with other examples from the Museum’s collection, these works span a period from the mid-nineteenth century until the Partition of India in 1947. The exhibition also includes contemporary fashion in which the creative use of phulkari embroideries suggests a powerful revival of this boldly designed and colorful textile art today.
Timothy Rub, The George D. Widener Director and CEO of the Philadelphia Museum of Art, said: “This exhibition, which examines the artistic, cultural, and political significance of phulkari, is long overdue and will certainly delight visitors who may be unfamiliar with this remarkable art form. Once again, our collection has been greatly enriched through Jill and Sheldon Bonovitz’s generosity. This promised gift has also enhanced the reputation of the institution as a premier destination for the study and appreciation of South Asia’s world-renowned textile traditions.”
The major focus of the exhibition will be on pre-Partition textiles handwoven in cotton and embroidered in lustrous Chinese silk. Some phulkaris feature animals and village scenes, while others are ornamented with elaborate geometric patterns in rich pink and gold conveying good fortune and social status. To demonstrate the continuing influence of these traditional textiles, contemporary couture created by one of India’s leading fashion designers, Manish Malhotra, will also be on display. Runway fashions from his 2013 collection celebrate the bright colors and intricate patterns found on traditional phulkaris, demonstrating their broad appeal on the international stage. In addition to high fashion, the show will include videos that examine the political and social upheaval created by the partition of the Indian subcontinent in 1947 and how it disrupted this textile tradition as well as the later revival of phulkari as a symbol of Punjabi pride.
Phulkari embroideries historically served as a significant symbol of a Punjabi woman’s material wealth and were deemed an important part of her wardrobe. They were typically worn as shawls draped over the head on special occasions such as marriages, births, and other rituals.
Dr. Cristin McKnight Sethi, co-curator of the exhibition, said: “These works serve as a way to map a family’s or a community’s history. They are canvases upon which a woman could express her desires and worldview through needle and thread. By looking closely, we can study just how deeply these makers valued their cloths and how they invested them with meaning.”
Dr. Darielle Mason, the Museum’s Stella Kramrisch Curator of Indian and Himalayan Art, notes: “Phulkari embroideries hold immense historic significance and emotional power for those of Punjabi heritage and members of the Sikh religious community who now live around the world. On a purely aesthetic level, with their almost neon colored silk threads set against deep earth toned rough cotton, phulkaris are among of the most visually stunning textile types ever created.”
Phulkari, which translates to “floral work” or “flower craft,” refers to embroideries using imported silk on a rough-weave naturally-dyed cotton ground. The names given to the many types of phulkari reference their visual qualities: thirma (meaning white) are embroidered on white cloth usually worn by older women; sainchi are any type featuring figural motifs including village and circus scenes as well as what are called darshan dwars (“doorway to the divine”) that depict large gateways or house fronts filled with figures. Most elaborate and labor intensive are bahgs (“gardens”). Taking several months or even years to complete, baghs are characterized by dense embroidery that covers the entire surface of the cloth in exquisite, usually geometric forms.
Before Partition, in which the Punjab was split between India and Pakistan, phulkari embroidery was deeply rooted in Punjabi life. Usually worn by women as large shawls, some were also made as blankets or as wrappers to cover sacred items in the household. They were stitched by women of many religious groups—Muslims, Hindus, and Sikhs (who consider the Punjab their holy land). The events of Partition led to the death and displacement of millions of people across what is today Pakistan, Bangladesh, and the northern half of India. This schism left in its wake fractured communities and enormous loss of heritage. Some phulkari were abandoned during the mutual flight across the new borders; many others were destroyed, leaving us only a small fraction of these once abundant historic textiles. Today, however, phulkaris are made and displayed around the world as a symbol of both Punjabi regional pride and Sikh religious pride.
Many phulkari and kantha works have hung in the Duane-Morris’s Philadelphia offices, in dialogue with other works from the Bonovitzes' collection of self-taught artists. A selection of phulkari from the Bonovitz Collection is on permanent exhibition at the Curtis Institute of Music in Philadelphia, in its Jill and Sheldon Bonovitz Concourse of Lenfest Hall.