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Health Care Law Brings Tax Changes

Last year’s massive health care law included a bunch of tax changes. Very few are taxpayer-friendly. The good news is the most expensive ones won’t kick in until 2013 and beyond. But some of the changes take effect this year. Here’s the list:

No More Tax-Free Health care Account Withdrawals for Non-Prescription Medicines

If you participate in an employer-sponsored health care flexible spending arrangement (FSA) or health reimbursement arrangement (HRA) or have your own health savings account (HSA), you could previously take tax-free withdrawals to pay for non-prescription drugs like pain and allergy relief medications. Starting this year, tax-free withdrawals are only allowed for prescription drugs, insulin, and doctor-prescribed over-the-counter medications. In other words, you now need a doctor’s prescription—which probably means a doctor visit you’ll be charged for–to take a tax-free withdrawal to pay for aspirin. And they call that reform?

Stiffer Penalty on Non-qualified HSA Withdrawals

If you take money out of your HSA for any reason other than to cover qualified medical expenses, the pre-2011 rules said you owed federal income tax plus a 10% penalty tax. The health care legislation increased the penalty tax to 20% for non-qualified withdrawals that occur in 2011 and beyond.

New Tax on Drug Companies

The health care legislation imposed a new non-deductible fee (which I will call a tax) on manufacturers and importers of branded prescription drugs. Each targeted company must pay an allocable portion of the total annual fee, which is $2.5 billion for 2011. The fee is apportioned among targeted companies based on each company’s share of sales in 2010. I’m still waiting for an explanation of how this will improve our nation’s health care situation.

New Simplified Cafeteria Plans for Small Employers

This one is a taxpayer-friendly change. The health care legislation established a new and simpler type of cafeteria benefit plan for companies with 100 or fewer employees. Such plans allow workers to pay certain expenses (including eligible health care costs) with pre-tax dollars. That increases workers’ cash flow after considering taxes. These simplified cafeteria benefit plans will be deemed to automatically satisfy all applicable nondiscrimination rules if minimum standards for eligibility, participation, and contributions are met.

Employers Must Show Health Insurance Costs on Employees’ W-2s

Finally, the health care legislation requires employers to report the cost of company-paid heath insurance coverage on employees’ W-2s issued for 2011 and beyond. These amounts are not taxable (yet); they are for informational purposes only. However, the IRS has already suspended this requirement for 2011 because gathering the necessary information proved to be too difficult for many employers.

Readers, which of these will impact you most?


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    • By WebOsPublisher

      War Porn War Punk
      WARPORN WARPUNK! Autonomous
      videopoiesis in wartime*
      Matteo Pasquinelli
      Grinning monkeys
      How do you think you can
      stop war without weapons? The anti-war public opinion that fills squares worldwide
      and the cosmetic democracy of International Courts stand powerless in front
      of the raging US military. Against the animal instincts of a superpower reason
      cannot prevail: a homicidal force can be arrested only by another, stronger
      force. Everyday we witness such a Darwinian show: history repeating itself through
      a cruel confrontation of forces, whilst freedom of speech is exercised only
      in private. Pacifists too are accomplices of instinctive forces, because animal
      aggressiveness is inside us all. How do we express that bestiality for which
      we condemn armies? Underneath the surface of the self-censorship belonging to
      the radical left (not only to the conformist majority), it should be admitted
      publicly that watching Abu Ghraib pictures of pornographic tortures does not
      scandalize us, on the contrary, it rather excites us, in exactly the same way
      as the obsessive voyeurism that draws us to videos of 9/11 videos. Through such
      images we feel the expression of repressed instincts, the pleasure rising again
      after narcotized by consumerism, technologies, goods and images. We show our
      teeth as monkeys do, when their aggressive grin looks dreadfully like the human
      smile. Contemporary thinkers like Baudrillard and Zizek acknowledge the dark
      side inside Western culture. If 9/11 has been a shock for Western consciousness,
      Baudrillard puts forward a more shocking thesis: we westerners were to desire
      9/11, as the death drive of a superpower that having reached its natural limits,
      knows and desires nothing more than self-destruction and war. The indignation
      is hypocrisy; there is always an animal talking behind a video screen.
      On the videowar
      Before pulling the monkey
      out of the TV set, we have to focus on the chessboard on which the media match
      is played. The more reality is an augmentation of mass, personal, and networked
      devices, the more wars become media wars, even if they take place in a desert.
      The First Global War started by live–broadcasting the 9/11 air disaster
      and continued with video-guerrilla episodes: everyday from the Iraqi front we
      received videos shot by invaders, militiamen, and journalists. Every action
      in such a media war is designed beforehand to fit its spectacular consequences.
      Terrorists have learnt all the rules of spectacular conflict while imperial
      propaganda, much more expert, has no qualms about playing with fakes and hoaxes
      (for instance the dossiers on weapons of mass destruction). Bureaucratic propaganda
      wars are a thing of the past. New media has generated guerrilla combat, opening
      up a molecular front of bottom-up resistance. Video cameras among civilians,
      weblogs updated by independent journalists, smart-phones used by American soldiers
      in the Abu Ghraib prison: each represents an uncontrollable variable that can
      subvert the propaganda apparatus. Video imagery produced by television is now
      interlaced with the anarchic self-organized infrastructure of digital networked
      media that has become a formidable means of distribution (evidenced recently
      by the capillary diffusion of the video of the beheading of Nick Berg). Today’s
      propaganda is used to manage a connective imagery rather than a collective spectacle,
      and the intelligence services set up simulacra of the truth based on networking
      The videoclash of civilizations
      Alongside the techno-conflict
      between horizontal and vertical media, two secular cultures of image face each
      other on the international mediascape. The United States embodies the last stage
      of videocracy, an oligarchic technocracy based on hypertrophic advertising and
      infotainment, and the colonization of the worldwide imagery through Hollywood
      and CNN. Nineteenth century ideologies such as Nazism and Stalinism were intimately
      linked to the fetishism of the idea-image (as all of western thought is heir
      to Platonic idealism). Islamic culture on the contrary is traditionally iconoclast:
      it is forbidden to represent images of God and the Prophet, and usually of any
      living creature whatsoever. Only Allah is Al Mussawir, he who gives rise to
      forms: imitating his gesture of creation is a sin (even if such a precept never
      appears in the Koran). Islam, unlike Christianity, has no sacred iconographic
      centre. In mosques the Kiblah is an empty niche. Its power comes not from the
      refusal of the image but from the refusal of its centralizing role, developing
      in this way a material, anti-spectacular, and horizontal cult. Indeed, on Doomsday,
      painters are meant to suffer more than other sinners. Even if modernization
      proceeds through television and cinema (paradoxically they did not treat painting
      in the same way), iconoclastic ground remains active and breaks out against
      western symbols, as happened in the case of the World Trade Centre. To strike
      at western idolatry, pseudo-Islamic terrorism becomes videoclasm, preparing
      attacks designed for live broadcasting and using satellite channels as a resonant
      means for its propaganda. Al-Jazeera broadcasts images of shot-dead Iraqi civilians,
      whilst western mass media removes these bodies in favour of the military show.
      An asymmetrical imagery is developing between East and West, and it will be
      followed by an asymmetrical rage, that will break out with backlashes for generations
      to come. In such a clash between videocracy and videoclasm, a third actor, the
      global movement, tries to open a breach and develop therein an autonomous videopoiesis.
      The making of an alternative imagery is not only based on self-organizing independent
      media, but also on winning back the dimension of myth and the body. Videopoiesis
      should speak– at the same time – to the belly and to the brain of
      the monkeys.
      Global video-brain
      Western media and awareness
      was woken up by the physical force of live-broadcasted images not by the news
      of tortures at the Abu Ghraib prison or of Nick Berg’s beheading. Television
      is the medium that taught the masses a Pavlovian reaction to images. It is also
      the medium that produced the globalisation of the collective mind (something
      more complex than the idea of public opinion). The feelings of the masses have
      been always reptilian: what media proliferation established is a video mutation
      of feelings, a becoming-video of the collective brain and of collective narration.
      The global video-brain functions through images whereas our brains think out
      of images. This is not about crafting a theory, but recognising the natural
      extension of our faculties. Electronic and economic developments move at too
      high a speed for the collective mind to have time to communicate and elaborate
      messages in speech, there is only time for reacting to visual stimuli. A collective
      imagery arises when a media infrastructure casts and repeats the same images
      in a million copies, producing a common sense; a consensual hallucination around
      the same object (that afterwards becomes word-mouth or the movie industry).
      In the case of the TV medium such a serial communication of a million images
      is much more lethal, because it is instantaneous. On the other hand, the networked
      imagery works in an interactive and non-instantaneous way, this is why we call
      it connective imagery. Imagery is a collective serial broadcasting of the same
      image across different media. According to Goebbels, it is a lie repeated a
      million times that becomes public discourse, part of everyday conversations,
      and then accepted truth. Collective imagery is the place where media and desire
      meet each other, where the same repeated image modifies millions of bodies simultaneously
      and inscribes pleasure, hope and fear. Communication and desire, mediasphere
      and psychosphere, are the two axis that describe the war to the global mass,
      the way in which the war reaches our bodies far from the real conflict and the
      way image inscribes itself into the flesh.
      Animal narrations
      Why does reality exist only
      when framed by a powerful TV network? Why is the course of events affected by
      the evening news? Collective imagery is not affected by the video evolution
      of mass technologies only, but also by the natural instincts of human kind.
      As a political and social animal, the human being is inclined to set up collective
      narratives, that represent the belonging instinct to its own kind. Let’s call
      them animal narratives. For this reason television is a "natural"
      medium, because it responds to the need of creating one narrative for millions
      of people, a single animal narrative for entire nations, similarly to what other
      narrative genres, like the epic, the myth, the Bible and the Koran, did and
      still do. Television represents, above all else, the ancestral feeling to belong
      to one Kind, that is the meta-organism we all belong to. Each geopolitical area
      has its own video macro-attractor (CNN, BBC, etc.), which the rest of the media
      relate to. Beside the macro-attractors, there are meta-attractors, featuring
      the role of critical consciousness against them, a function often held by press
      and web media (the Guardian, for instance). Of course the model is much more
      complex: the list could continue and end with blogs, which we can define as
      group micro-attractors, the smallest in scale, but suffice it to say here that
      the audience and power of the main attractor are ensured by the natural animal
      instinct. This definition of mass media might seem strange, because they are
      no longer push media that communicate in unidirectional ways (one-to-many),
      but pull media that attract and group together, media in which we invest our
      desires (many-to-one). Paraphrasing Reich’s remark on fascism, we can say that
      rather than the masses being brainwashed by the media establishment, the latter
      is sustained and desired by the perversion of the desire to belong.
      Digital anarchy. A videophone vs. Empire
      Traditional media war incorporates
      the internet and the networked imagery with television, internet, mobile phones
      and digital cameras and turns into a battle ground: personal media such as digital
      cameras bring the cruelty of war directly into the living room, for the first
      time in history at the speed of an internet download and out of any governmental
      control. This networked imagery cannot be stopped, and neither can technological
      evolution. Absolute transparency is an inevitable fate for all of us. The video
      phone era seriously undermines privacy, as well as any kind of secrecy, state
      secrecy included. Rumsfeld’s vented outrage in front of US Senate Committee
      on Armed Services about the scandal at Abu Ghraib is extremely grotesque: "We’re
      functioning… with peacetime constraints, with legal requirements, in a wartime
      situation, in the Information Age, where people are running around with digital
      cameras and taking these unbelievable photographs and then passing them off,
      against the law, to the media, to our surprise, when they had – they had not
      even arrived in the Pentagon". A few days later Rumsfeld prohibited the
      use of any kind of camera or videophone to the American soldiers in Iraq. Rumsfeld
      himself was the ‘victim’ of the internet broadcasting of a famous
      video that shows him politely shacking hands with Saddam Hussein in 1983. New
      digital media seem to have created an unpredictable digital anarchy, where a
      video phone can fight against Empire. The images of torture at Abu Ghraib are
      the internal nemesis of a civilization of machines that is running out of control
      of its creators and demiurges. There is a machine nemesis but also an image
      nemesis: as Baudrillard notes, the Empire of the Spectacle is now submitted
      to the hypertrophy of the Spectacle itself, to its own greed for images, to
      an auto-erotic pornography. The infinitely repeatable character of digital technology
      allowed for the demise of the copyright culture through P2P networks, but also
      for the proliferation of digital spam and the white noise of contents on the
      web. Video phones have created a networked mega-camera, a super-light panopticon,
      a horizontal Big Brother. The White House was trapped in this web. Digital repetition
      no longer delivers us to the game of mirrors of Postmodern weak thought –
      to the image as self-referential simulacrum – but rather to an interlinked
      universe where videopoiesis can connect the farthest points and cause fatal
      short circuits.
      War porn
      Indeed, what came to light
      with the Abu Ghraib media scandal was not a casual short-circuit, but the implosion
      into a deadly vortex of war, media, technology, body, desire. Philosophers,
      journalists and commentators from all sides rushed to deliver different perspectives
      for a new framework of analysis. The novelty of the images of Abu Ghraib and
      Nick Berg (whether fictional or not is not the point) consists in the fact that
      they forged a new narrative genre of collective imagery. For the first time,
      a snuff movie was projected onto the screen of global imagery and internet subcultures,
      used to such images, suddenly came out of the closet: finally reached
      the masses. Rather than making sense of a traumatic experience, newspapers and
      weblogs worldwide are engaged in drawing out the political, cultural, social
      and aesthetic repercussions of a new genre of image that forces us to upgrade
      our immunity system and communicative strategies. As Seymour Hersh noted, Rumsfeld
      provided the world with an good excuse to ignore the Geneva Convention from
      now on, whilst lowering the level of civility of the visible, thus forcing us
      to accept cohabitation with the horror. English-speaking journalism defines
      as war porn the popular tabloids and government talk-shows fascination with
      super-sized weapons and well-polished uniforms, hi-tech tanks and infrared-controlled
      bombs, a panoplia of images that some define as the aseptic substitute of pornography
      proper. Ridley Scott’s Black Hawk Down is war hardcore, to name one. The
      cover of Time, where the American soldier was chosen as Person of the Year,
      was defined pure war porn by Adbusters: "Three American Soldiers standing
      proudly, half-smiles playing on their faces, rifles cradled in their arms".
      War porn is also a sub-genre of trash porn – still relatively unknown,
      coming from the dark side of the net. It simulates violent sex scenes between
      soldiers or the rape of civilians (pseudo-amateur movies usually shot in Eastern
      Europe and often passed as real). War porn is freed from its status of net subculture:
      its morbid interest and fetish for war imagery become political weapons, voyeurism
      and the nightmares of the masses. Is it a coincidence that war porn emerges
      from the Iraqi marshes right at this time?
      Digital-body rejection
      The metaphorical association
      of war with sex that underpins much Anglo-American journalism points to something
      deeper that was never before made so explicit: a libido that, alienated by wealth,
      awaits war to give free reign to its ancestral instincts. War is as old as the
      human species: natural aggressiveness is historically embodied in collective
      and institutional forms, but several layers of technology have separated today’s
      war from its animal substratum. We needed Abu Ghraib pictures to bring to the
      surface the obscene background of animal energy that lied underneath a democratic
      make-up. Did this historic resurfacing of the repressed occur today simply because
      of the mass spreading of digital cameras and video phones? Or is there a deeper
      connection between the body and technology bound to prove to be deadly sooner
      or later? As the mass media are filled with tragic and morbid news, the framing
      of digital media seems to be missing something from its inception. This could
      be that passion of the real (Alain Badiou) which, exiled onto the screen, explodes
      out of control. New personal media are directly connected to the psychopathology
      of everyday living, we might say that they create a new format for it and a
      new genre of communication, but above all, they establish a relation with the
      body that television never had. War porn seems to signal the rejection of technology
      by subconscious forces that express themselves through the same medium that
      represses them: this rejection might point to the ongoing adaptation of the
      body to the digital. Proliferation of digital prosthesis is not as rational,
      aseptic and immaterial as it seems. Electronic media seemed to have introduced
      technological rationality and coolness into human relations, yet the shadows
      of the digital increasingly re-surface. There comes a point when technology
      physically unbridles its opposite. The internet is the best example: behind
      the surface of the immaterial and disembodied technology lies a traffic of porn
      content that takes up half of its daily band-width. At the same time, the Orwellian
      proliferation of video cameras, far from producing and Apollonian world of transparency,
      is ridden with violence, blood and sex. The next Endenmol Big Brother will resemble
      the movie Battle Royal, where Takeshi Kitano forces a class of students on an
      island and into a game of death where the winner is the last survivor. We have
      always considered the media as a prosthesis of human rationality, and technology
      as the new embodiment of the logos. But new media also embody the dark side
      of the Western world. In war porn we found this Siamese body made up of libido
      and media, desire and image. Two radical movements that are the same movement:
      war reinvests the alienated libido, personal media are filled by the desperate
      libido they alienated. The subconscious can not lie, the skeletons sooner or
      later start knocking on the closets door.
      Imagery reset
      War results from the inability
      to dream, from the depletion of all libidinal energy in an outflow of prosthesis,
      commodities, images. War violence forces us to believe again in images of everyday
      life, images of the body as well as images of advertising. War is an imagery
      reset. War brings the attention and excitement for advertising back to a zero
      degree, where advertising can start afresh. War saves advertising from the final
      annihilation of the orgasm, from the nirvana of consumption, the inflation and
      indifference of values. War brings the new economy back to the old economy ,
      to traditional and consolidated commodities, it gets rid of immaterial commodities
      that risk dissolving the economy into a big potlatch and into the anti-economy
      of the gift that the internet represents. War has the "positive" effect
      of redelivering us to ‘radical’ thought, to the political responsibility
      of representation, against the interpretative flights of "weak thought",
      of semiotics and postmodernism (where postmodernism is the western image looking
      for an alibi to its own impotence). The pornographic images of war, as we said,
      are the reflux of the animal instinct that our economic and social structure
      has repressed. But rather than a psychoanalysis that reactively justifies new
      customs and fashions, we seek to carry out a ‘physical’ analysis
      of libidinal energy. In wartime we see images re-emerge with a new autonomous
      and autopoietic force. There are different kinds of image: war porn images are
      not representations, they speak directly to the body, they are a cruel, lucid
      and affirmative force, like Artaud’s theatre, they are re-magnetised images
      that do not provoke incredulity, they are ‘neural icons running on the
      spinal motorways’, as Ballard would put it. Radical images redeliver the
      body to us, radical images are bodies, not simulacra. Their effect is first
      physical then cognitive. The movement-image and the flux-matter are rigorously
      one and the same thing (Deleuze). The damned tradition of the image is back,
      with the psychic and contagious power of Artaud’s theatre, a machinic
      image that joins together the material and the immaterial, body and dream. Fiction
      is a branch of neurology (Ballard). In a libidinal explosion, war porn liberates
      the animal energies of Western society like a bomb. Such energies can be expressed
      through fascist reactions as well as liberating revolts. Radical images are
      images that are still capable of being political, in the strong sense of the
      word, and they can have an impact on the masses that is simultaneously political,
      aesthetic and carnal.
      Videopoiesis: the body-image
      How can we make an intelligent
      use of television? The first intelligent reaction is to switch it off. Activists
      collective such as (Canada) and (Italy) organize yearly
      TV strikes, promoting a day or a week’s abstinence from television. Can
      Western society think without television? It cannot. Even if we were to stop
      watching TV because of a worldwide black-out or a nuclear war, our imagery,
      hopes and fears would carry on thinking within a televised frame of mind. This
      is not about addiction, the video is simply our primary collective language:
      once upon a time there were religion, mythology, epic and literature. We can
      repress the ritual (watching TV) but we cannot repress the myth. We can switch
      television off, but not our imagery. For this reason the idea of an autonomous
      videopoiesis is not about practicing of alternative information but about new
      mythical devices for the collective imagery. In its search for the perfect image
      – that is the image that is capable of stopping the War, subverting Empire and
      starting the Revolution – the global movement has theorised and practiced video
      activism (from Indymedia to street TVs) and mythopoiesis (from Luther Blissett
      to San Precario). However, it never tried to merge those strategies into a videopoiesis
      capable of challenging Bin Laden, Bush, Hollywood and the CNN at the level of
      myth, a videopoiesis for new icons and formats, like for instance the video
      sequences of William Gibson’s Patter recognition distributed on the net. Videopoiesis
      does not mean the proliferation of cameras in the hands of activists, but the
      creation of video narratives, a new design of genres and formats rather than
      alternative information. The challenge lies in the body-image. Through videopoiesis
      we have to welcome the repressed desires of the global movement and open the
      question of the body, buried under a para-catholic and third-worldist rhetoric.
      While Western imagery is being filled with the dismembered bodies of heroes,
      the global movement is still uneasy about its desires. War porn is a challenge
      for the movement not to equal the horror but to produce images that awaken and
      target the sleepy body. Throughout its history, television has always produced
      macro-bodies, mythical giant bodies magnified by media power, bodies as cumbersome
      as Ancient Gods. The television regime creates monsters, hypertrophic bodies
      such as the image of the President of Unites States, the Al-Qaeda brand and
      movie stars, while the net and personal media try to dismember them and produce
      new bodies out of their carcasses. Videopoiesis must eliminate the unconscious
      self-censorship that we find in the most liberal and radical sections of society,
      the self-censorship that, behind a crypto-catholic imagery, hides the grin of
      the monkey. Once crypto-religious self-censorship is eliminated, videopoiesis
      can begin its creative reassembly of dismembered bodies.
      Warpunk. I like to watch!
      Watching cruel images is
      good for you. What the Western world needs is to stare at its own shadows. In
      Ballard’s The Atrocity Exhibition war news and violent scenes improve adults’
      sexual activity and the condition of psychotic children. War lords are filling
      the collective imagery with brute force. Why leave them to do it in peace? If
      in the real world we are always victims of the blackmail of non-violence, in
      the realm of imagery and imagination we can feed our wet dreams at last. If
      American imagery is allowing a drift towards Nazism and is offering an apology
      and justification for any kind of violence, our response can only be an apology
      of resistance and action, that is warpunk. Warpunk is not a delirious subculture
      that embraces weapons in an aesthetic gesture. On the contrary it uses radical
      images as weapons of legitimate defense. To paraphrase a Japanese saying, warpunk
      steals from war and empire the art of embellishing death. Warpunk uses warporn
      in a tragic way, to overcome Western culture and the self-censorship of its
      counter-culture. Above all we are afraid of the hubris of the American war lords,
      of the way they face any obstacle stepping over all written and unwritten rules.
      What is the point of confronting this threat with the imagery of the victim,
      that holds up to the sky hands painted in white? Victimhood is a bad adviser:
      it is the definitive validation of Nazism, the sheep’s baa that makes
      the wolf even more indifferent. The global movement is quite a good example
      of "weak thought" and reactive culture. Perhaps this is because, unlike
      war lords and terrorists, it never developed a way of thinking about the tragic,
      war, violence and death. A tragic thought is the gaze that can dance on any
      image of the abyss. In Chris Korda’s I like to watch video (download available
      on porn scenes of oral sex and masturbation are
      mixed with those of football and baseball matches and with well-known NY911
      images. The phallic imagery reaches the climax: the Pentagon is hit by an ejaculation,
      multiple erections are turned into the NY911 skyline, the Twin Towers themselves
      become the object of an architectural fellatio. This video is the projection
      of the lowest instincts of American society, of the common ground that bind
      spectacle, war, pornography and sport. It is an orgy of images that shows to
      the West its real background. Warpunk is a squadron of B52s throwing libidinal
      bombs and radical images into the heart of the Western imagery.
      *translated by Matteo
      Edited by Arianna
      Bove and Erik Empson

    • By WebOsPublisher

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Save your buttons in the HTML format. To do it click “Save HTML” button on the Toolbar or select “File/Save as HTML…” in the Main menu. 4.3. Insert your make link button for website into the existing HTML page. To do so, click “Page insert” button on the make link button for website Toolbar. “Build the Menu Into Your Page” dialog will appear. Buttons France Button For Web Navigation Choose a page you want to insert your buttons into. Then set the cursor to the line you want the Info Web Buttons code to be added to and click the “Insert Menu” button. The button’s code will be inserted into the page. Then you can either save the page or close the dialog without saving.WEB BUTTONS CONTACTPlease contact Customer Support at (please include ‘Web Buttons’ in the message title).FEEDBACKPlease make a dontation button (paypay or any) for I make a donation to you and support your wonderfull job.Wonderful web menu program, I am very new to web sites and this program is great. Helps a lot. Nice program. Is there a way to make dropdown sub-menu items?SEE ALSO how can i link a web site with a button – Flash Tutorials Friend · · Make It action script and flash discussion > Development > Newbies: how can i link a web site with a button YouTube – Make a Button and Link to a Website! -Flash NOTICE Links « Support Click the link button on the toolbar. In the popup that appears of the link (include at the start for external websites) Target Select if you want the link Free Button Generator Make Web Buttons for Free Use Hoover Web Design’s free online web button maker to make free web buttons for your website. Spam-Free FFA Links : Webmaster javascript button generator, how to make 3d website buttons Stand out from other websites by creating buttons using different shapes and colors. Select a button style, fill in the button text and link YouTube – Make a Button and Link to a Website! -Flash NOTICE YouTube – Make a Button and Link to a Website! -Flash 8 This tutorial shows you how to create a button, give it a rollover feature and make the button link to a website. Define where the webpage opens eg: getURL Free Website Buttons: custom HTML buttons, 3d buttons and Pirate t-shirts and buttons! Save this button to link to us! We offer free images and button sets for your Web site–in a variety shades of green so that you may make CSS to make form input submit button look like a regular HTML HTML $ Website Design; CSS; CSS to make form input submit button look like a regular HTML a href link to style your input as a link, as your button Making Menu Button Images Make Menu Button Images. By default, the menu links on the website are text. The Make Menu Button Images section allows you to make buttons for your text links. making web buttons webpage create button image of help button download buy now button for website css how to make rollover buttons button ease purchase now button images website button making programme create buttons images create gif buttons HTML Links YOUR FREE WEBSITE Free Flash Website Free Website Builder Free Web Design Links are found in nearly all Web pages. Links allow users to click their way from YouTube – Make a Button and Link to a Website! -Flash NOTICE Free Web Button Maker – and menus are COPYRIGHT © 2003-2007 You cannot offer the web buttons on your clipart or template website. You cannot resell the web buttons. Link back is Free Buttons for all your web site design needs. Free Buttons. Pick from our selection of free hand-made professional buttons. Outstanding web site templates and provided on this site, make sure to put a link – Free Animated Flash Buttons Menu Generator. Free tool to create nice animated web buttons. Easy and fast to create Navigation Menus ! Instantly add your Text and Links to any of the animated buttons below. Free Web Buttons – create great web buttons and menus with ease! Once installed youll be making buttons for your web site with no programming or drawing required size, color, font face, font style, shadow, glow, alignment, links HTML Links YOUR FREE WEBSITE Free Flash Website Free Website Builder Free Web Design Links are found in nearly all Web pages. Links allow users to click their way from Free Website Buttons: custom HTML buttons, 3d buttons and Pirate t-shirts and buttons! Save this button to link to us! We offer free images and button sets for your Web site–in a variety shades of green so that you may make How do you make a link button in HTML coding? – Yahoo! Answers Best Answer: <a href="URL HERE">Text for link</a> enjoy Links « Support Click the link button on the toolbar. In the popup that appears of the link (include at the start for external websites) Target Select if you want the link Copyright В©2010 – Web Buttons – Web Order Now Button Material Website Create Button | Build A Gif Button Help | Xp Style Buttons In Web Screenshot | Make Web Buttons Online Contact
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    • HSAs did not previously cover vitamins or aspirin (except the 81 mg aspirin prescribed as a blood thinner). Now the physician recommended Zantac which I take and is over-the counter will require a prescription. This is a nuisance and unlikely to cost me a co-pay but puts an added cost burden on the health care system. The issues which are raised in this column are just further examples of the poorly thought out legislation which produced this bill – a major missed opportunity to provide significant improvements in our health care system. Perhaps the biggest negative is the impact on our economy with the added cost burdens for employers.

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  • The Tax Blog brings together a team of award-winning tax journalists from the Dow Jones network and around the web to examine the tax issues, changes and legislation that affect families, investors and small business owners. Our contributors include Tax Report columnist Laura Saunders (WSJ), Tax Guy columnist Bill Bischoff and senior reporter Jilian Mincer (, retirement-focused reporter Anne Tergesen (WSJ), wealth management writer Arden Dale (Dow Jones Newswires), TaxWatch columnist Eva Rosenberg and personal finance reporter Andrea Coombes (MarketWatch), and reporter Alyssa Abkowitz (SmartMoney). They’ll provide the latest news and insight, mine the tax code for tips and loopholes, and answer your questions about tricky tax situations. Contact the The Tax Blog with ideas, suggestions or tax questions at