Q: For PayPal and Venmo accounts, you will need to sign in using the email and password associated with your account.  For a credit or debit card, you will need to enter your card number, expiration date, and the CVV security code on the back.  Then tap Next.  Then you will need to enter your street address and tap Submit.  This saves your card to your account.
A: Enter your payment method information.

Q: If you switch back and forth between Desktop and Modern (the UI that Windows 8 uses), you may want to pin your most used Modern apps to your Desktop's taskbar. This will let you easily open them while in Desktop mode. You can pin any of your Live Tiles, or move down to the All Apps screen and pin any of the apps listed. This will add a shortcut to the app on your Desktop taskbar. This is especially useful if you want to get rid of the Store button that appears on the taskbar after updating to 8.1.
A: Open the Start screen. Right-click on the app you want to pin. Select "Pin to taskbar". Right-click on pinned apps and select "Unpin this program from the taskbar" to remove it.

Q: Cardiac arrest is one of the most common reasons for a person to collapse and become unresponsive for no other obvious reason, such as due to a car accident. Providing CPR (if necessary) while waiting for the arrival of paramedics can double or even triple a person’s chance of survival in the event of cardiac arrest. Find out if anyone in the immediate vicinity is CPR certified. If the person isn’t breathing or has stopped breathing, then the first step is to check his airway. Place one hand on his forehead and the other underneath his jaw. With the forehead hand, slide his head backward and tilt his jaw with the other. Watch for any signs of his chest beginning to rise and fall. Place your ear over his mouth and feel for any breath on your face.  If you can easily see something in his airway when you look into his mouth, then try to remove it, but only if the object is loose. If the object is clearly lodged, then do not try to remove it from his throat since you may inadvertently push the object farther down his airway.  The reason we check the airway first is that if there is a blockage (or an obstruction, such as often happens in choking victims), and if we can easily remove it, our problem is solved. However, if there is not, check for a pulse and, if there is no pulse (or if you cannot find one and are in doubt), immediately begin chest compressions. Head-tilt chin-lifts should not be done on skull, spine, neck injuries. Instead, use the jaw-thrust method, in which you kneel above the person's head and place your hands on either side of his head. Place your middle and index finger along his jaw bone and gently push it upward so that the jaw is jutting forward, as though he has an underbite. Current CPR standards place the emphasis on chest compressions with a ratio of thirty compressions for every two rescue breaths. Begin chest compressions by:  Placing the heel of your hand on the person’s breastbone directly between his nipples Placing the heel of your opposite hand over the top of the first Positioning your body mass directly over your positioned hands Compressing hard and fast downward approximately two inches into his chest Allowing his chest to rise completely Repeating to a count of thirty At this point, add in the two rescue breaths if you are trained in CPR. If you are not, continue with compressions and ignore the breaths as they are much less important. You can stop performing CPR as soon as the person shows signs of breathing on his own. Watch for the rise and fall of the person’s chest and place your ear near his mouth to check if he’s breathing on his own. If the person continues to show no signs of consciousness or breathing on his own, then keep performing CPR at a rate of two rescue breaths to every thirty chest compressions until emergency responders arrive.
A: Ask if anyone around knows CPR. Check the person’s airway. Perform chest compressions. Check for signs of breathing again (reassess the person for breathing approximately every two minutes). Continue CPR until paramedics arrive.

Q: Don’t be content with simply landing a job in the publicity field—avail yourself of every resource available to you to hone your craft and continue advancing. Accept challenging projects graciously, form beneficial connections with as many industry heavy-hitters as you can and always look for new ways to make your work stand out. Where you end up depends entirely on how willing you are to keep learning new things. Periodically attending workshops and seminars can give you fresh ideas and motivation to stay at the top of your game. When engaged in public relations work, you need to know how to present compelling addresses and written materials that frame your client in the best possible light. This falls under the heading of rhetoric (the art of being convincing through language) and it is arguably the most essential skill any publicist or marketing specialist should possess. Even when you’re not actively trying to convince the public of any one particular fact, every strategy should be formulated as though you were making a logically-supported, directed appeal. Your credibility as a public relations expert will be assured with an understanding of the central tenets of rhetorical discourse.  Use the “rhetorical triangle” model to structure your statements and press releases: understand the relationship between yourself (the presenter), the audience and the context of an argument. This will help ensure that argument takes hold in the minds of your audience.  Always have a clear goal in mind whenever you begin a project, no matter how minor or routine. The language of your press materials should be centered around this goal. A good deal of public relations work involves taking negative or confusing circumstances and recasting them in a positive light. This requires you to be able to call upon your creative faculties and make them a well-worn tool in your arsenal. Study the habits of creative people, take notice of even the smallest details and learn to improvise. The better you are at thinking up ways to elevate your client in the public eye, the more status you’ll gain in your profession.  Try incorporating brief creative mental exercises into your daily routine, such as concocting fictional histories for people and places you’ve never seen before, or highlighting one word per line in a newspaper column to tell a short story. The term “spin” deals with changing the appearance of circumstantial details to preserve one’s reputation, not fabricating those details. You should never lie or alter the facts in order to make your client look better. As a publicist, you haven’t done your job unless you’ve enhanced the visibility, demand and public approval of your client. For this reason, how well you yourself do is primarily a matter of what you’re able to accomplish for the people you serve. Though you may sometimes be called upon to speak on behalf of your client or act as a mouthpiece for a publicity campaign, much of your work will be done behind the scenes and will help inform the actions of your clientele. Every evolving situation, good or bad, should be viewed as an opportunity to improve your client’s standing. Work closely with the client or their manager or agent to devise guided and effective PR strategies.
A:
Constantly improve your skills. Become adept at rhetorical arguments. Practice creative exercises. Have the best interest of the client in mind.