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Posts Tagged 'Todd Nelson'
Nebraska Coast Connection Salon Q&A with Alexander Payne: Filmmaker speaks candidly about "Nebraska," casting, screenwriting and craft
September 24, 2013 leoadambiga	6 comments
I was fortunate enough to be invited to the Sept. 9 monthly Hollywood Salon in Culver City, Calif. sponsored by the Nebraska Coast Connection, a networking group for Nebraskans working in the film and television industry. I was there to promote my book, Alexander Payne: His Journey in Film, which you can order via thisblog site. The salon's special guest that night was Oscar-winning filmmaker Alexander Payne, who spoke candidly about his new film Nebraska, casting, screenwriting and craft in a Q&A moderated by NCC founder Todd Nelson. The event was held at the classic Culver Hotel, where many film stars stayed back in the day. This is an edited transcript of part of Payne's remarks.
Nebraska Coast Connection Salon Q&A with Alexander Payne:
Filmmaker speaks candidly about "Nebraska," casting, screenwriting and craft
©Compiled by Leo Adam Biga
Excerpt of Alexander Payne in conversation with Nebraska Coast Connection founder Todd Nelson
AP: "Hello, good evening, thank you for coming…"
TN: "You have a little movie coming out. A little black and white number you threw together over a weekend or two."
AP: "No, longer than that. But it's a small movie. That doesn't mean it's not dramatically resonant, but it's a small movie."
(Then Payne addressed how the project came to him and the background of how its screenwriter Robert Nelson came to write it.)
AP: "Nine years ago I got a script from Albert Berger and Ron Yerxa, the team that had produced Election. They came to me nine or 10 years ago with a script called Nebraska and it was written by a guy named Bob Nelson out of Snohomish, Wash. but his parents were from Hartington (Neb.). And it was based on his memory of his father's and mother's families. He used to spend his summers out there in Hartington in northeast Neb. and he wrote this script based on his memories of those summers and it really rang hilariously true. It was a very austere screenplay. Those producers said they suspected it was going to be small for me, too dinky a film."
TN: "They thought you might know someone who…"
AP: "Yeah, 'Do you know a young Neb. filmmaker who might want to do this?' and I said, 'No, I think I want to do it.' They had wanted to make it for like $2 or $3 million, and I said, 'How about like $10 or $12?' I showed it not long afterwards to someone in attendance here tonight, John Jackson, my casting director, because I knew that this film would really live or die on his casting. I mean, all films do but even a couple percentage points more this one would because it's as much anthropological as it is cinematic. And he liked it and thought he wanted to cast it. He said he felt a very personal connection to it through his family, whom he describes as dirt farmers from Iowa. That's a bit of an exaggeration in a way with respect to the script but still it's suggestive…
"A lot of the movie was a road trip and I was just finishing Sideways. I didn't want to followup Sideways with another road trip film. It's a real drag to shoot in cars and I just couldn't do another car movie again after Sideways. Now The Descendants ended up having some stuff in cars too but anyway…the timing worked out and right after The Descendants I made it. They were nice enough to wait – the producers and the writer – and so it happened."
TN: "It has Bruce Dern and Will Forte. Tell us about bringing them on board."
AP: "Bruce Dern had first leapt to mind to play this part. All parts are tricky to cast in general but this one I think for John and me has been the trickiest. You know. I get praised sometimes for getting a certain controlled performance out of Jack Nicholson or that I get stars to create characters, that after 10 or 15 minutes of seeing a big star like George Clooney you can maybe, hopefully, of course it's my aspiration, forget it's a big star and just see the character…I never tailor a screenplay to fit the actor. I always demand the actor come to the script – even if it's Nicholson or Clooney, who have certain strengths that most directors and screenwriters would wish to exploit.
"Naw, this is a text and it's a part and yes you're a star but you're also an actor, so come to this and make it your own that way. This though I think has been the most specific lead part we've ever had to cast. Not anyone could play this guy Woody Grant. I looked back in film history and said, 'Well, Henry Fonda could have played it like the way he did On Golden Pond, or Walter Brennan, or for you film buffs out there Charley Grapewin, or possibly John Carradine or possibly Warren Oates had he lived. But all those people are unavailable. After thinking about Bruce Dern, the only other guy who maybe could have done it, Gene Hackman, but I couldn't get a meeting with Gene Hackman because he genuinely has retired. He won't even return a phone call or a query. So it just came down to Bruce Dern.
"We did our due diligence and met 50 other guys and any one of them who could have done it would still be a stretch. Like this one could maybe do it but he has trouble learning lines or this one could maybe do it but you'd have to get him to not do this schtick or this one could maybe have done it but it would have taken more work on my part and every actor requires work anyway. Bruce required work but less work than any of those other guys would have required to get it right, so Bruce Dern's the guy."
TN: "Will Forte?"
AP: "Never would have thought about him in a billion years but he auditioned well. So I know often in these salons we get actors or casting people and I'm always happy to say that John and I rely on auditions, the old fashioned way. Even actors who are well known I still need them to come in and read the text, with all respect. I mean, even if it's 10 words, say a few words, help me out, I have a pea brain, I don't want to screw it up, and I don't want to screw up and cast you in the wrong part and then it's not right. We all benefit if we're able to have a meeting. Well, what else are we going to talk about? Read the fucking script.
"And to good pros, the ones who won't audition, but they will deign to have a meeting, the good ones will either consciously or unconsciously find the time in the meeting to say, 'Oh, I loved the moment in your screenplay where he says…' and he'll do a little bit of it. That's the courteous thing to do, that's the polite thing to do because those actors who won't even do that don't get the job in my experience.
"Just about auditioning stuff I remember the actress Judy Greer, a super great old fashioned in the best way actor. She's in The Descendants. She plays the lover's wife. She calls herself an audition-only actress. She won't take an offer and if there's a meeting she insists on reading the script because she says it's only when I read the text in front of the director do I know if I'm right for the part. So the direct line of communication between actor and director is that text. That's just smart. What the hell else are we doing?
"June Squibb, she played the part of Jack Nicholson's wife in About Schmidt (and she plays Bruce Dern's wife in Nebraska)…I didn't offer her…She didn't occur to me, she sent in an audition. Even she had to audition. I had no idea she was going to be right for this part. It's the Geraldine Page part or the Marjorie Main part from Ma and Pa Kettle. Basically Nebraska's a glorified Ma and Pa Kettle film," he said, deadpanning and elicting laughs.
(Payne discussed some more actors he's worked with, why's he's particularly proud of the casting he and John Jackson did on Nebraska and how he tried to avoid certain pitfalls that come with mixing professional and nonprofessional actors on screen.)
"Tim Driscoll from Omaha, who had a small part in Citizen Ruth, came back for this one. And his sister (Delaney Driscoll) had a significant part in Election as Matthew Broderick's lover.
"Whatever achievements this film Nebraska may or may not have for me it's greatest achievement is its most significant marriage of professional and nonprofessional actors because to create that world it's dependent equally on production design and casting. That's what suggests that world is that flesh. We spent over a year doing it. The start date is here, the visual preproduction is here, the casting has to start here. You can't fuck up casting, you've got to get the right people in every part and of course the leads and the secondary, tertiary parts have to be exactly right. It's creating a world.
"I looked at a number of small town American films for this one. One of them in particular is an excellent film and it has professional actors but also people cast from that small town. But there's a great chasm between the acting styles of the two. It's like the faces of the real people lend what they're supposed to lend which is authenticity, versmisilitude and all that but they're not acting properly, even as versions of themselves. So I knew we had to spend time to get local people who could act as vividly as possible as versions of themselves but also to have the professional actors act flatter. They both had to meet in between. I like when professional actors act more flatly like people do in real life. People don't gesticulate, go into histrionics in real life, not Midwesterners anyway."
(Nelson and Payne then made a few comments before screening the trailer for Nebraska.)
TN: "It premiered at the Cannes Film Festival in May. A wild success I can witness – I was there. I saw a 15 minute standing ovation at the end of the film."
AP: "Yeah, I've seen turkeys get a standing ovation at Cannes. It played better at Telluride."
(Then, referring to the trailer, Payne said)-
AP: "This is a work in progress print."
(After the screening someone in the audience commented about the Spanish sounding music, which prompted Payne to describe it as a)-
AP: "More Mexican sounding trumpet piece."
YOU CAN READ THE REST IN THE NEW EDITION OF MY BOOK-
(The new edition encompasses the Oscar-winning filmmaker's work from the mid-1990s through Nebraska in 2013 and his new film Downsizing releasing in 2017 )
Now available at Barnes & Noble and other fine booktores nationwide as well as on Amazon and for Kindle. In Nebraska, you can find it at all Barnes & Noble stores, The Bookworm and Our Bookstore in Omaha, Indigo Bridge Books in Lincoln and in select gift shops statewide. You can also order signed copies through the author's blog leoadambiga.com or via http://www.facebook.com/LeoAdamBiga or by emailing leo32158@cox,net.
For more information. visit– https://www.facebook.com/pg/AlexanderPayneExpert/about/?ref=page_internal
When a Film Becomes a Film: The Shaping of Alexander Payne's 'Nebraska' (leoadambiga.wordpress.com)
Author Leo Adam Biga Joined Nebraska Coast Connection Salon Featuring Alexander Payne to Promote His Book About the Filmmaker, 'Alexander Payne: His Journey in Film' (leoadambiga.wordpress.com)
Bruce Dern Sets Out On A Long Trip In This Brand New Trailer For Alexander Payne's Nebraska (2013) (durnmoosemovies.wordpress.com)
Hell Yes! First Trailer for Alexander Payne's Nebraska (blackiswhiteblog.wordpress.com)
'Nebraska' directed by Alexander Payne | Official Film Trailer (soundcolourvibration.com)
Paramount Moves 'Terminator,' Alexander Payne's 'Nebraska' (thewrap.com)
Categories: Alexander Payne, Alexander Payne's "Nebraska", Alexander Payne: His Journey in Film, Books, Film, Leo Adam Biga, Nebraska Coast Connection, Nebraskans in Film, Screenwriting, Todd Nelson Tags: Alexander Payne, Alexander Payne: His Journey in Film, Authors, Books, Cinema, Film, Leo Adam Biga, Nebraska, Nebraska Coast Connection, Todd Nelson


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Joelma's daughter is convicted after failing to pay for a property in a luxury condominium Splash
Natália Sarraff, 32, daughter of singer Joelma, 48, has been ordered by the Goiás judiciary to pay a debt on a property in the luxury Aldeia do Vale residential complex in Goiânia.
According to the process, what happened:
The property was sold to Joelma in 2019 for BRL 3.7 million, but the contract was signed on Natália's behalf;
According to the authors, it was agreed to pay a deposit of R$ 120,000 in 11 monthly installments, which was not paid in full;
Furthermore, the ownership would have been abandoned and the plaintiffs proved that Natália failed to pay expenses such as IPTU, condominium, water and energy while in possession of the house;
Natália suggested paying R$100,000 in ten installments to complete the cancellation, claiming that she had not made any payments due to the pandemic;
The owners of the plot did not accept the proposal and filed a lawsuit against the singer's daughter.
Judge Patrícia Dias Bretas did not accept Natália's justification regarding the pandemic. The judge stressed that Natália stopped making payments in 2019 before the country's state of disaster was decreed in March 2020.
The judge ordered Natália to pay more than R$500,000 for the debt. The decision stipulates that Natália must pay a fine of 10% of the value of the property, i.e. R$375,000, plus compensation, which is also based on the value of the house, property damage, legal costs and attorney's fees.
There is no vocation. The decision dates from August last year and became final in September.
What Joelma's advice says: "We inform you that it is not a question of default in payment or nonperformance, but of a withdrawal from the contract due to a withdrawal from the purchase, which came about by mutual agreement between the parties. In this case, the procedure only relates to the analysis of contract cancellation clauses. It does not follow from this that there will be an enforcement, since the judgment still requires the liquidation of assets that have not yet been assessed," the singer said in a note.

redpajama_set_name: RedPajamaCommonCrawl


(f) In addition to the company in 1(c) above, is the discloser making disclosures in respect of any other party to the offer?
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(2) % of total issued share capital (excluding treasury shares).
Details of any securities borrowing and lending positions or financial collateral arrangements should be disclosed on a Supplemental Form 8 (SBL).
(1) Ordinary shares subject to award in the form of ADSs. One ADS is equivalent to three ordinary shares of 5p each.
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(3) Subscription price applicable to exercise of award in the form of ADSs.
(2) Subscription price applicable to exercise of award in the form of ADSs.
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This weekend I did the duathlon. It was empowering, tiring, and I didn't improve my time all that much over my last go at it a few years ago. But I did come in 34th out of 38 women. It was someone else's turn to be last, and I'm never going to look back. I now have a thing for this event, this course. And next year I'm going to attack it and come in way higher on the list.
In the meantime I learned something about the State of Larissa as of August 7, 2006. I am not ready. I have about 15 days left until my big relay race and I am, frankly, afraid.
No, it's not a physical fear. It's that I haven't done the mental training it's going to take to finish well and to have a good time. I want to wake up the morning of my first leg and feel excited, exhilarated, ready to warm up and then attack Leg 12 of the Hood to Coast. But I'm afraid it's going to be a different scenario: waking up with stomach pains that grip harder every time I think about letting down my team. It's the first time my slowness is not only going to affect me and my inner-three-year-old. This time two whole vans full of swift and lovely mamas are counting on me.
1. Practice mental training when I'm not running.
Realbuzz.com reports there are three areas in which mental relaxation can improve running — basically before, during, and after. The site advocates sitting down quietly and visualizing running relaxed and well, stopping to visualize each key part of the race. For me that means the start of each of my legs, the big hill on 39th Street right after Sarah's house, or the exciting hand-off of the sweaty wristband to Hau when I finish each section. I also plan to visualize easily falling asleep even if I'm in the van and excited.
2. Gather more tools for while I'm running.
Years ago I learned from dragon boat racing coach Stephanie Fedak to "change the channel" whenever I think I can't go on. She teaches sprint paddlers to focus on a single part of their stroke — say, the reach only, or the pull only — for a certain number of strokes. Next time I run I'm going to start thinking of ways I can apply this to running.
3. Be thankful I can run and enjoy the feeling.
I've read about this in so many places, there isn't just one link to share. I just need to remember to enjoy the feelings of my muscles working and revel in the fact that I can run, that I have no limits, and that I live in a body that can do this.
Just writing all this makes me feel less afraid. I've got some tools now. Woohoo.
The Road To Fitville 6.19: a challenge The Road to Fitville 7.24: it's the dog's fault The Road To Fitville 8.14: obese no more The Road to Fitville 9.12: me, an athlete?


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Jennifer Aniston mourns death of 'sweet papa' — but mom was source of haunting trauma
Jennifer Aniston is mourning the death of her "sweet papa," soap legend John Aniston, who passed away Friday at the age of 89.
The "Friends" star — who was famously fond of her father — took to Instagram to pay touching tribute to the man she affectionately described as "one of the most beautiful humans I ever knew."
But while she was incredibly close to her dad, Aniston had a far more fractious relationship with her mother, Nancy Dow, which was plagued by betrayal, mistrust and hurt.
Aniston and Dow were estranged for years, with the "Morning Show" actress delivering a less flattering tribute following her mom's death in 2016.
"It is with great sadness that my brother John and I announce the passing of our mother Nancy Dow. She was 79 years old and passed peacefully surrounded by family and friends after enduring a long illness," Aniston said in a comparatively terse statement at the time. "We ask that our family's privacy be respected as we grieve our loss."
For decades, Aniston and Dow's relationship had been rocky, with the actress reportedly left livid by her mom's decision to release a tell-all tome about their relationship, titled "From Mother and Daughter to Friends: A Memoir."
Aniston is pictured with her dad, John, in the late 1990s. At the time, she was barely speaking to her mother, Nancy Dow. "Sweet papa … John Anthony Aniston. You were one of the most beautiful humans I ever knew," the 53-year-old "Friends" alum wrote in the touching tribute. "I am so grateful that you went soaring into the heavens in peace – and without pain. And on 11/11 no less! Don't forget to visit 💫🤗❤."
Aniston eventually reconciled with her mother, but she has frequently spoken out about their complicated relationship and the trauma that she carries from their fallout.
"She was critical. She was very critical of me," the actress said of her mom in a 2015 interview with the Hollywood Reporter. "Because she was a model, she was gorgeous, stunning. I wasn't. I never was."
"She was also very unforgiving," Aniston continued. "She would hold grudges that I just found so petty."
Aniston is pictured with her mom in an undated photo. By the time Aniston started appearing on "Friends" in 1994, the pair were barely speaking.
Dow — a model and actress who appeared in "The Beverly Hillbillies" — married John Aniston in 1965, and they welcomed Jennifer, their only child together, four years later.
The couple divorced when Aniston was 9, with the relationship between her and her mom growing more complicated during her teenage years.
However, according to a 2000 article in the National Post, things seriously soured in the early 1990s after the pair attended a therapy session together, in which Dow believed she was being "blamed" for all of her daughter's problems.
As Aniston's career took off following the 1994 debut of "Friends," she was barely speaking to her mom, who then decided to publish the 1999 book about their relationship.
According to the publisher, the book was an attempt to "be helpful to those trying to overcome their own childhood trauma, fallout from divorce, single-parenting issues, and the 'dark hole of child/parent estrangement'" — but Aniston was said to be enraged by its publication.
Dow is pictured in 1999, the same year she released her tell-all book that further soured her relationship with her daughter.
According to the book description, the memoir was an attempt to "be helpful to those trying to overcome their own childhood trauma, fallout from divorce, single-parenting issues, and the 'dark hole of child/parent estrangement.'"
Dow was completely iced out of Aniston's life and left off the guest list from her star-studded 2000 wedding to Brad Pitt.
Aniston and Dow did not speak for six more years, until the actress' split from Pitt prompted her to re-evaluate the relationship.
"We've exchanged messages," the actress revealed in a 2006 Vanity Fair article after her highly publicized divorce. "Our doors are open. We're taking baby steps. It's a good thing."
"I feel pretty good about the choices I've made," she continued. "The choice of not speaking to Mom for a while — that's ours. Nobody else has to understand it … I wouldn't change my childhood, I wouldn't change my heartaches, I wouldn't change my successes."
While the pair managed to mend their relationship, it's believed they never became as close as Aniston was to her father.
In 2011, Dow suffered a series of strokes that left her unable to walk or talk. She died in Los Angeles in May 2016.
Aniston has continued to talk about her mother in the years following her passing, saying she has come to see her in a new light.
In a 2018 interview with Elle, she candidly admitted that her mom had left her with "deep wounds" — but conceded that they were unintentional.
"She was from this world of, 'Honey, take better care of yourself,' or 'Honey, put your face on,' or all of those odd sound bites that I can remember from my childhood," the "Picture Perfect" starlet said.
"[But now I realize] my mom said those things because she really loved me. It wasn't her trying to be a b–ch or knowing she would be making some deep wounds that I would then spend a lot of money to undo. She did it because that was what she grew up with."
Dow (pictured in 1999) suffered a series of strokes in 2011 and passed away in 2016.
And just last week, Aniston again mentioned her mom in a new sit-down with Allure, saying she has "forgiven" her any mistakes.
In the interview, Aniston also appeared to indicate that her beloved father may have also had his faults, which she has also come to terms with.
"I forgave my mom. I forgave my father. I've forgiven my family," she declared. "It's important. It's toxic to have that resentment, that anger. I learned that by watching my mom never let go of it. I remember saying, 'Thank you for showing me what never to be.'"
The Post reached out to the Aniston's reps for further comment about her father's death and was told her heartfelt Instagram post will be her only statement.


Happy to " off the record."
Its a topic I'm well versed in I'm sad to say. They are a mess for a host of reasons.
Would you be willing to talk to a CNN investigative team about the multitude of fusion centers in Texas? You can be on or off the record, your choice. The anchor is Drew Griffin.


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newswire article creative portland metro 27.Mar.2006 13:35
Visualizing the Reach it Would Give Her
author: nathan lee smith e-mail: nathanleesmith@msn.com
After everything, after the white smear of headlights from the darting car, Madison's dad threw out the t-shirt with the blood on it, did so without hesitating as if he had somehow confused the trashcan for the laundry hamper. Lately he had been ducking out in the middle of the night to go on short walks, mostly just down to the water. There was something about silently easing back into the apartment and checking in on Madison. Afterwards he could usually sleep.
Last night he had been on such a walk when someone hurled a bottle from a passing car, striking him in the face. There was the slight whistle of the bottle as it rotated in the air, and the distinct ping of the glass as it bounced on the pavement. The pain was driving and concentrated at first—then grew into an unbearable, horrible pressure descending upon every square inch of his skull. He drew his hands up to his head but was unwilling to touch it. The right-angle where the apartment building met the sidewalk seemed inviting, and he fell to the ground and tried to wedge his shoulders in between the two surfaces—wishing he could pull the brickwork of the building over his body to form a barricade between the pain.
An hour later? he was situated on the kitchen floor when Madison's door opened. He felt guilty he was unable to check on her this time around. The young girl stuck her head out; blond bangs partially masking the look of sleep and concern on her face. The subdued light in the kitchen made it seem perfectly natural for her dad to be sitting on the floor without his shirt, a wet washcloth over his eye. With her stuffed elephant in tow she walked across the kitchen tile (wearing one of her dad's white t-shirts that cascaded just past her knees) and sat on his lap. The headache made it seem like he was inside a bulky space suit—made Madison feel like a mundane sack of flour and not his daughter, all knees and elbows and full of questions.
When the phone rang Madison stood up and answered it, simply saying: "wait please." She brought it to her father. With little hesitation he took up the phone and carefully removed the batteries. He set the allotment of parts on the floor and continued to try to regain his faculties with his back resting against the cupboards. For some god-awful reason someone had been trying to phone him at three in the morning. That was the second time in three weeks. Madison stood next to her incapacitated father for a few moments and then quietly marched off to the bathroom. Afterwards she paused in the hallway, unsure of what to do at such an odd hour of the night. Dressing herself seemed natural, and she returned to her room.
"Madness?" Her father said softly from the kitchen. "Madness, where are you?"
"Right here, daddy," she said into the large freestanding mirror in her bedroom. She turned to look out the open door leading to the kitchen and heard the light sound of dishes clanging against one another. She wandered back and found him leaning over the sink.
As he heard her approaching he held out his hand, even though he was still mostly sink-oriented. She walked over and grabbed it, and proceeded to drape the rest of his arm about her shoulders.
"Darling," he said, "I'm afraid I'm not particularly worth much at the moment."
"Do we get to call Dr. Carmichael?" With this she released herself and went over to the fridge. She retrieved the small red and white magnet with the doctor's contact information on it and waved it around for his viewing—although he did not look.
"Close sweetie, but no." He withdrew from the sink and took a moment to straighten the drawstrings on her hood.
"Why are you holding your head like that? Do you have my grain?" Now that the strings had some symmetry, she was free to return the magnet to the fridge.
"No darling." He contemplated it for a moment, and then removed the washcloth only to refold it and place a cooler portion back over his eye. Madison saw the wound and gasped, taking cover in the crook of her elbow. Her eyes welled up, and suddenly her father found himself with the task of wiping tears away with his thumb. "It's a little too early for tears, young lady. Besides," he said as he looked at the green digital clock on the microwave, "that bed of yours is calling."
"But I'm already dressed." She pulled away from him and continued to dab at the tears with her shirtsleeve.
"Well, this time around you'll have to sleep in your sweatshirt." She contemplated this in her head, the tears taking a back seat to the idea of sleeping in her clothes. The corduroy skirt she chose along with the hooded sweatshirt was too—she wasn't sure. Thick? Heavy? Her father opened a nearby drawer, and after some poking and prodding, found the items he was looking for. Madison stood behind him and pulled the hood down over her eyes. She slowly bent her arms in and flapped them around like a chicken in slow motion. She watched as her dad tilted his head in such a manner as to balance the washcloth over his eye, giving him the use of both hands. He then cut a snippet of twine from the tangled mass he'd found in the drawer with a pair of children's safety scissors. He looped it around his head and tied it, securing the washcloth and creating a makeshift eye patch. He then took a black Sharpie marker and gave himself an overstated handlebar mustache. He turned around very casually and said, "well kiddo, what do you say you and me hit the couch and get some shut—"
"Dad," she said, drawing out the word and bringing her chicken flapping to a halt, "you have Sharpie all over yourself."
"Sharpie? my dear, certainly you must be referring to my mustache," only he pronounced it like moo-staash. "Shut eye?" he said, "and then we'll watch some Saturday morning car—"
"Dad," she said again, drawing it out much longer, easing out of embarrassment into uncontrollable giggling—"you look weird." Before she could stop laughing he seized the opportunity to pick her up and sling her over his shoulder. He carried the bright-eyed girl over to the couch.
The clock on the microwave reads eight thirty-seven. Madison wakes up to her father tickling her ear with the trunk of her stuffed elephant. He's on the phone, and the couch looks as if it were at the bottom of a crater left by an explosion of blankets and pillows. She notices her shoes perched on the coffee table next to a green beer bottle. "Cartoons," her father says softly as he covers the end of the phone and hands her the remote control. He motions to the TV with a flick of his chin. After raking some hair out of her eyes, she presses the buttons on the remote very deliberately, sticking out her tongue in concentration. One, and then, two—channel twelve.
"I don't know why," her father says into the phone. "It was just some kid—" he pauses—"well, I don't know that either." He picks up the bottle and holds it up to the light as he listens. He tries to decipher what part of it struck him. "Recourse?" he says, setting the bottle back down and standing up to pace behind the couch—"there's no recourse. Some kid threw a bottle at me and that was it. I didn't exactly have time to get—" Madison's father mentions something she doesn't quite catch. She lifts up various blankets and pillows in search of her elephant. It catches her eye on the other side of her father, and upon reaching over his lap to retrieve it she promptly squishes it between herself and the armrest for safekeeping.
Before long Hailey is at the door. The two of them exit Madison's apartment in a manner deeming much purpose, as if they are carpooling to a pair of certified public accountant jobs on some upper avenue of the city.
"Does your dad feel sad about what happened?" Hailey asks Madison as they make their way to the pool.
"What do you mean?" Madison replies, stooping to pick up a small handful of stones from the inside of a wooden flowerpot.
"What do you mean, what do you mean?" Hailey stops just before the gate leading into the pool. "Didn't your dad tell you anything? The kids?" She pauses for a moment. "The kids that threw the bottle at him?"
"Oh—I don't know. I mean, he's hurt and everything." Madison seems to be speaking directly to the stones in her hand. "I saw his eye, it looks like a rotten tomato." Hailey unlatches the gate and files in behind Madison. The pool is empty, and the aging red tarpaulin covering everything up is drooping in the center from gallons and gallons of trapped rainwater.
"I can't believe you don't know what happened," Hailey says in the brisk tone she often utilizes to let everyone within ear shot know that she is three years older than Madison.
"He never really—"
"It's crazy, actually." Hailey doesn't make eye contact as she says this. There, lying on the ground alongside the large square net used for cleaning the pool, is an elongated pole with a lazy hook at the end—the type that's almost always on hand at private pools that don't employ lifeguards. Her eyes are drawn to it.
No one notices the girls and their fine blond hair being victimized by the wind sweeping in from the parking lot. Hailey picks up the hook; visualizing the reach it would give her. Madison picks up the remaining length of the pole in a manner that makes her stuffed elephant seem like it's skewered by the rod of aluminum. Both girls squint from the glare of the sun coming off the metal.
By now Madison's white hooded sweatshirt is grimy from spending the last two hours loitering in the various alcoves and entrances of the apartment building—each little corridor a working interpretation of what the inside of a vacuum cleaner must be like.
She feels comfortable tucked away in the corner of the courtyard, crouching behind a row of hedges. It's deceptively warm for February, but the naked bushes are still romancing December, are still fragile and stark and brittle. Even though she is quite visible, and in all reality, rather vulnerable, they still provide some sense of cover, and that's what attracts her to the spot. Her grey corduroy skirt feels oily from all the dirt, but still looks presentable. She's busy trying to crush the small pile of stones she collected earlier, trying to make them disintegrate in her hands.
"Nobody has their stupid window down," Hailey yells from the sidewalk. The wind has picked up and her dress is clinging to one side of her body.
"Look for the smokers," Madison replies over her shoulder. The stones need to submit and become diamonds. "Even when it's really cold outside my dad still rolls down his window when he's smoking." This late in the day there is a never-ending supply of cars clogging up Archer Boulevard. Madison crawls out from hiding just enough to observe Hailey as she watches the traffic passing by, as if she were a spectator at a tennis match and only one player was hitting balls quickly and repeatedly from the left.
Although she doesn't want to, Madison figures it's time to go join Hailey. On the way the wind attempts something inappropriate with her skirt, and she pauses for a moment to corral the grey corduroy. Hailey is standing between a pair of parked cars with the hook in her hands. After sliding in behind her, Madison sets the stuffed elephant on the hood of a black hatchback. The elephant's trunk has a small pouch that opens and closes with Velcro, and that's where, for now, she stashes the stones.
"So—okay, are you really?" Madison asks Hailey.
"Really," Hailey says, all business.
"Okay," Madison says. "Okay—good." Both girls are practically yelling at each other to overcome the relentless flow of traffic. Hailey stands up, clasping the pole firmly in her hands as a white sedan approaches in the near lane with its window down. Madison steps back to give her room, and tries to picture the anonymous person who threw the bottle at her father—tries to picture breaking the bottle on the curb and marring his face with it—but she can't.
homepage: http://www.portlandwriters.com
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text:
The oil tax initiative: Fair for whom?
By Roger Marks
The 800-mile Trans-Alaska pipeline snakes its way across the tundra north of Fairbanks. (AP Photo/Al Grillo, File)
Alaska's constitution provides for "utilization, development, and conservation of … resources … for the maximum benefit of the people." What is maximum benefit? Cash to the state? Short-term cash? Long-term? Jobs? Income? Environmental quality? Who knows?
Then there is the idea of the state getting its "fair share." What is fair? For eons, philosophers, theologians, lawyers, economist and countless others have pondered this. There is currently a ballot initiative to raise oil taxes called "The Fair Share Act."
Most economists would say fairness entails taxes being competitive; taxpayers should pay a similar amount to what they pay in other similar places. Otherwise investment will go elsewhere and production suffers. As measured by percentage of net pre-tax profits going to the state and federal government, the current system is competitive. (Including the "credits," which do not really function as credits, but rather provide progressivity to the system.)
Presently, the state alone is getting 45% of the net profits at current prices. It would get 64% under the initiative. (These calculations are mine, based on public data.)
On their website, the initiative sponsors call for gross revenues (market price less transportation cost) to be split one-third each to the state, the federal government and the taxpayers. Ascribing and measuring shares of gross revenues going to the three entities makes no sense. Currently, gross revenues are about $50 per barrel. Half of this are upstream development costs; this share of gross revenues go to no one, but is incurred by taxpayers. Per the sponsors' approach, if you spend $25 to develop oil and sell it for $50, you've made $50.
In an Aug. 2018 op-ed, the initiative sponsor lamented that between 2009–2015, taxes had declined from $12 per barrel to $2 per barrel even though oil prices had stayed similar. What was not mentioned was that between those years, upstream costs had increased from $17 per barrel to $40 per barrel. So even with the lower taxes, taxpayers' after-tax profits were $10 per barrel less.
Most moralists would agree that for something to be fair it needs to be fair to both sides. Generally in the world there is a basic risk/reward symmetry between how taxpayers and governments share downside price risk and upside potential. Either the taxpayers assume downside risk and realize upside potential, or the government does.
The initiative raises taxes at low prices, high prices, and in-between. At prices under $45 per barrel the taxpayers would lose money while the state makes several dollars per barrel. At high prices, the marginal tax rate would be 70%. The taxpayer assumes the downside risk and the state gets the upside potential. It is a classic "heads I win, tails you lose" scheme.
As easy as it is to be cynical about laws that are the outcome of the legislative process, they could be much worse. At least that process provides many checks and balances to the initial subjectivity of a single legislator that may be embedded in early drafts.
For a bill to become a law it will be reviewed by a number of legislators in the initial committee, be analyzed by experts, receive public input, go on to other committees, the body as a whole (House or Senate), and go through the same process in the other body. Along the way, there are exchanges of ideas and the proposition is modified.
In the end, it will be subject to a multiplicity of perspectives and information. The initial favoritism gets tempered. This ultimately results in decisions that are better than could have been made by any single member.
That is the problem with ballot initiatives. They are statutes drafted by a small number of like-minded sponsors. If passed, the Legislature cannot touch them for two years. It's "take-it-or-leave-it" lawmaking without the balanced review good legislation needs.
The initiative sponsors have not stated what is fair, how they justify it, how they measure it or how the initiative attains fairness. They better have some basis, because economically it is a mess.
Roger Marks is an economist in private practice in Anchorage. He formerly served as a petroleum economist with the Tax Division in the Alaska Department of Revenue.


text:
Anders Christensen Arrebo, né le  à Ærøskøbing et mort le  à Vordingborg, est un poète danois et évêque luthérien.

Biographie
Anders Arrebo a étudié la théologie à l'université de Copenhague, et déjà à l'âge de 21 ans, il était employé par la congrégation du château à Copenhague. Ses ambitions poétiques ont été exprimées dans des poèmes occasionnels au roi Christian IV. Il gagna ainsi rapidement les faveurs du roi.

Après une courte période en tant que pasteur de l'église Nicolai à Copenhague, Anders Arrebo devint évêque du Diocèse de Nidaros à Trondheim en Norvège en 1618, mais fut déposé en 1622 à cause d'un mode de vie altérée. A Malmö, il a travaillé sur une adaptation des Psaumes. Après sa réhabilitation en 1625, il devint vicaire à Vordingborg.

Sa principale contribution à la littérature est le poème Hexaëmeron.

Œuvres
Psautier d'Arrebo, 1623, réédité en 1627
Hexaëmeron, 1631-1637, publié à titre posthume en 1661
Le livre des psaumes suédois publié à titre posthume en 1695

Liens externes

Psaumes "O Seigneur, qui vivra"
Évêques luthériens
Biographie Anders Arrebo

Écrivain danois du XVIIe siècle
Poète danois du XVIIe siècle
Écrivain norvégien
Poète norvégien
Évêque de l'Église du Danemark
Pasteur luthérien
Évêque luthérien du XVIIe siècle
Personnalité norvégienne du XVIIe siècle
Personnalité norvégienne du protestantisme
Étudiant de l'université de Copenhague
Naissance en janvier 1587
Décès en mars 1637
Décès à 50 ans

redpajama_set_name: RedPajamaWikipedia


This service allows patients to book their own appointments, order their prescription and view their summary record online.
You will need to bring a photo ID (driving licence/passport) with you to the the surgery to complete the online registration process. You will then be given a pin number and a step by step guide explaining how to use the online service.
Once you have been registered with the online service log on to https://patient.emisaccess.co.uk and you will be able to gain access to patient summary record.


E.g. when you use the pencil, it will display color of the stroke, size of the stroke, type of the line, fill color, etc. The same is true for the color panel that we display in the lower right. The Flash CS6 drawing environment (designer workspace)... The Size section displays the current Stage size setting as 550 × 400 pixels (see Figure 4). The Stage background color swatch is set to white. You can change the color of the Stage by clicking the swatch and selecting a different color in the color picker that appears.
For situations where you need more control over the stroke though, there is a pretty darn powerful stroke editor that comes with Flash. To really start playing around with your strokes, click the edit icon next to the 'Style' list in the 'Properties' panel of a selected stroke.
That is nice to know but it doesn't change the text. :(– user3044394 Dec 7 '13 at 17:14 I'm starting to think the reason it isn't allowing me to change the text is because the text line I am writing to is static.
You're also able to change the stroke size itself when you resize the letter without expanding the stroke (Object > Expand) by selecting a larger stroke weight in the Strokes panel. Step 3 Finally, let's take a look at selecting Pressure for all three options for the Angled Flat Brush .


text:
Toivo Ahjopalo (2 June 1913 – 13 January 2000) was a Finnish sprinter. He competed in the men's 100 metres at the 1936 Summer Olympics.

References

External links

1913 births
2000 deaths
Athletes (track and field) at the 1936 Summer Olympics
Finnish male sprinters
Olympic athletes of Finland


Home » Telugu » News » Bigg Boss Telugu 2: This is how much Nani is charging per episode?
Bigg Boss Telugu 2: This is how much Nani is charging per episode?
Amid everything, reports are doing rounds that Nani is being paid very less than what Jr NTR was paid in the first season of the reality show, Bigg Boss.
The controversial reality show, Bigg Boss Telugu season 2 is all set to return to the television. The first episode would be telecast on Star Maa from June 10th. While there is a lot of curiosity around the list of contestants, the makers have made sure to reveal only a day before the launch of the reality show.
Amid everything, reports are doing rounds that Nani is being paid very less than what Jr NTR was paid in the first season of the reality show, Bigg Boss. Reportedly, Nani is being paid Rs 10 lakhs per episode which is quite less that Jr NTR, who was being paid Rs 50 Lakhs per episode. Now, this amount is less than what Jr NTR was being paid to host the first season of the reality show. However, there's no official confirmation on Nani's remuneration yet.
The reality show will kickstart from June 10 and will be telecast on Star Maa. Bigg Boss Telugu season 2 will be aired at 9:30 PM on weekdays and at 9:00 Pm on Saturday-Sunday. The controversial and dramatic house will have 16 celebrities locked for 100 days.
In the meantime, Nani is shooting for a multistarrer project with Nagarjuna Akkineni under the direction of Bhale Manchi Roju fame Sriram Aditya. He would start shooting for the pilot episodes in the second week of June.


Waiting For Something To Happen 7"
"You know, it's really weird," opines Veronica Falls' honey-throated singer/guitarist/lynchpin Roxanne Clifford when asked about their media-conceived 'goth pop' tag. "Because when you start a band, and you start writing songs together, you never think anybody else is going to hear them. You're just kind of writing it for yourselves. Songs like 'Found Love in a Graveyard' and 'Beachy Head', we thought they were playful and not serious at all..."
Veronica Falls are used to wrong-footing easy assumptions. Initially grouped with the explosion of lo-fi bands associated with the fertile Brooklyn indie, the quartet of Clifford, drummer Patrick Doyle, fellow guitarist James Hoare and bassist Marion Herbain quietly released a series of limited edition, quickly sold out singles which gradually accrued them underground buzz and a cache of hopelessly devoted fans. Then they released a blinder of a debut LP in 2011, one which trumped all expectations and led to mountains of excellent reviews and two sold-out US tours. Casual listeners who just assumed that they just made pretty, pristine pop songs were forced to reevaluate their preconceptions when they examined the lyrics more closely – lurking beneath the glacial surfaces were lyrics about suicide and spectral love. Now, with their sophomore album, Veronica Falls look set to pull out the rug from under people's feet yet again.
Waiting For Something to Happen sees the band emerge as one of the most potent and affecting, fully-formed indie guitar pop acts we have around. Beautifully mature and poignant, this marvelously assured second record sees the band throw off the casually morbid references to elegantly distill the essence of an aimless twenty-something existence – the collective anxieties, tension and confusion of moving from adolescence into fully fledged adulthood – into a set of immaculately conceived, perfectly wrought pop songs.
"I'd say the word "wistful" really describes the mood of the album", Clifford muses. "We chose the album title because to me it captures what people our age are all going through". Indeed, the emotional through-line, from the title down, is one of slowly coming to terms with the process of growing up and eventually learning to face adult responsibility, of leaving behind the safe haven of "driving late at night, I'll let you listen to the music you like...everything's alright" (as they sing on the dreamy, dewy-eyed "Teenage"), and then searching for a "shooting star to point me in the right direction" ("Shooting Star"). Far from retreading the playful atmosphere of the debut, the band here mine a much more rich, emotionally resonant vein, be it weariness with dead end social scenes ("So Tired"), or the fear of your peers moving on with their lives before you're ready ("Everybody's Changing").
Musically too, this album sees the band evolve into a more poised and confident pop entity, the melodies bolder and songs more muscular. Recorded with Rory Attwell (who has worked with everyone from The Vaccines to Male Bonding), these are tracks which spin gorgeous, sun-kissed melodies across their tales of growing pains and romantic dysfunction. So there are deliciously askew pop belters in the form of "Buried Alive" and "Everybody's Changing", but there are also achingly tender moments present too, from the touching love song "Broken Toy" ("I am broken too, a broken toy like you") to the gentle reverie "Daniel", which strips the track to its barest essentials – shimmering guitar lines and perfectly harmonized vocals sighing, "nobody needs to know what we know, nobody needs to go where we go" to perfectly heart rending effect.
You may have had them tagged as goth-tinged pop fantasists, but with Waiting For Something to Happen, Veronica Falls easily shrug off any notions of a difficult second album to create something that is easily more polished, more affecting, and more enduring than their peers would dream of making, and stake their claim as one of the most gloriously unpredictable and invaluable bands on the scene right now. Clutch them close to your heart.


The OED (228) defines this as a sailor's perversion of midshipman. The latter is defined as "in the navy, the designation of a rank intermediate in the line of promotion between that of naval cadet and that of the lowest commissioned officer (i.e., in the British navy that of sub-lieutenant, in the U.S. navy that of ensign)." Another definition is "a diminutive midshipman" (115). As traditionally cast, the midshipmite is indeed a little mite of a lad –– a Gilbertian visual pun.


Click here to view menus for each venue / date before booking.
Caribbean Fusion is now at 4 different venues at different dates. Please ensure you select the correct venue, date and time when booking!
If your booking is for more than 15 people, please complete 2 booking forms!
As all of our food is freshly prepared and sourced locally using the finest and unusual ingredients we would appreciate you booking and telling us your menu choices at least 3 days before your sitting. £10 Deposit per head secures your booking.
If you wish to cancel or have any queries about your booking then please contact Caribbean Fusion by phone or email as soon as possible.


"There are 3 sections waiting for the delimitation in the Azerbaijani-Georgian border," Khalaf Khalafov, the Azerbaijani Deputy Foreign Minister, told Trend.
Today experts of the two countries held delimitation in the major section of border area, the Deputy FM said, the sections to be delimitated are in the border with Dagestan Republic of the Russian Federation. Preparatory work for the delimitation is currently underway. A recent meeting of the experts did concrete work on study of relief and scale of the territory.
During the next meeting of the Azerbaijani-Russian intergovernmental commission on delimitation, scheduled for autumn of 2005 will process the issues, the diplomat underscored.


Male and female coaches that are black belt and NCAS accredited.
Many are ex-international players and ex-state and national coaches.
All the coaches at Tiger-Do Martial Arts are Sho-Dan (1st degree black belt and above) and have Australian Government Accredited NCAS coaching recognition. Most have extensive experience and expertise at an International, National and State level – as a coach, athlete and manager. There are coaches with University qualifications in Sport and Exercise Science and Teaching.
We have both male and female coaches to ensure we cater for participants needs.
Please watch the video to see some of our coaches in action.
Please read below to find out more about our highly respected and trusted staff.
Terry is the Head Coach and founder of Tiger Do Martial Arts (TDMA). Terry is an IJF (International Judo Federation) 6th Dan Black Belt and a former Executive Member of the NSW Olympic Council and the Strategic Judo Planning Committee for the 2000 Olympics. Terry is a life member of Judo NSW. He has represented Australia and NSW as both an athlete, coach and manager. This includes being an official team training partner at the 2004 Olympics. In addition, Terry has coached teams at competitions including World and Junior World Championships and various tournaments and training camps throughout Europe, Asia, Oceania and the Pacific Rim.
Terry's role at TDMA is to oversee the design and implementation of the programs (martial arts, fitness, Women's self-defence forum, schools sports program). He also coordinates the voluntary community work TGMA is involved in. This includes work for the Cancer Council, Relay for Life, Dujon Zammit Transplant Foundation as examples. Terry holds a MLO (Member of the Order of Liverpool) and has been previously names Liverpool City Council's 'Volunteer Of The Year'. In 2009, he became the author of a Martial Arts and Philosophy book. Donations from sales were given to the Cancer Council.
Belinda is Tiger-Do Martial Art's most successful female athlete. Belinda represented Australia and NSW as an athlete across 13 years. Belinda was State and National Champion across the U/16, U/20 and Senior age categories and Oceania Champion numerous times. She participated in competitions including the World Championships, Junior World Championships, Commonwealth Championships in addition to many competitions across Europe, Asia, Oceania and the Pacific Rim.
Belinda has a extensive experience being NSW Girls (U/16 yrs) and Young Women's (U/20 yrs) State Coach, is a Ne-Dan black belt, holds a Bachelor of Sports Science (Exercise Science) degree and is currently a Co-Principal at Merrylands High School. Belinda's coaching at TDMA specialises in the female and school aged children.
Nigel represented NSW and Australia as an athlete across approximately 10 years. Nigel was State and National medallist across the U/16, U/20 and Senior age categories numerous times. He participated in competitions including Commonwealth Championships; British, French, Korean and U.S. Opens; Canada Cup in addition to numerous Oceania's.
Nigel has a extensive experience being NSW Boys (U/16 yrs) and Young Men's (U/20 yrs) State Coach, is a Ne-Dan black belt, holds a Bachelor of Secondary PDHPE Education degree and is currently a Deputy Principal at Yagoona Public School. Nigel coaches across both of Tiger-Do's do-jo's.
Heath is Tiger-Do Martial Art's most successful athlete. Heath represented Australia and NSW across 15 years. Within this time Heath won numerous Oceania, National and State Titles. He came 11th in the Athens Olympics and was a finalist in the Commonwealth Games, Pacific Rim Championships and the East Asian Games. He has participated in 3 World Championships, a Junior World Championships in addition to competitions across Europe, Asia, Oceania and America and Canada.
At Tiger-Do Martial Arts, Heath is a San-Dan black belt. He coordinates programs to meet the needs of our elite players. We currently have a squad of players who are State and National representatives. Heath also provides private tuitition for judo progression and also leads our MMA in Judo program.
Pawel is one of TDMA's Sho-Dan black belts. He provides technical advice at TDMA and leads the development of Kata progression for our senior players in addition to assisting with coaching during competitions and training.
Pawel is a Doctor and Surgeon and provides highly respected advice to TDMA members and supporters in this area.


Since the beginning of this semester, KNOL's Jorien is teaching at Wearable Senses, the department within Industrial Design at TU/e that focuses on smart wearables. The projects look at how these products fit the body and measure bodily parameters and behaviour. How can we combine: hard electronics with soft materials, craftsmanship with innovative technology and smart textiles, functionality with fashion, and sewing with soldering?
From June 2018, Studio KNOL continues as LONK and Jay Kay. This website is no longer maintained, but functions as an archive.


and self abuse all around.
like pressing a finger to a bleeding wound.
but we'll pluck a banjo from it's strings.
opens for us like a door.
to Chicago or St. Louis.
take our self doubt underground.
stairs leading 5 floors up.
to find it in another.
A quote and a song for this lovely Friday.


Want to say a special thankyou to a Foxes fan but struggling to find the most unique Leicester City gifts? Looking for something practical but stylish to show your loyalty to the club? Why don't you take a look at our range of Leicester City personalised car mats - we think they're just the ticket!
As official Leicester City merchandise suppliers, we have exclusive rights to distribute our premium quality, perfect fit mats to fans across the country - you can't buy them anywhere else. Each set, engineered to fit perfectly in your car, van, SUV or MPV, is made right here in the UK from the very best materials and comes complete with the appropriate fixings to ensure that they do not move or slip even when used heavily. Quality checking our precision, machine embroidery on every order you can be guaranteed that the club badge, your choice of piping and your name or slogan looks the business on both driver and passenger mats. Our customers tell us that these are the best Leicester City gifts you can buy!
Creating your very own design really couldn't be more straightforward. Select your vehicle make, model and year and then choose the type and colour of mats to complement your vehicles interior. All you have to do now, alongside the club's badge, is choose names or maybe a slogan for both passenger and driver sides and our online tool will show you how it looks in the flesh. Why not play around with a few different choices before you place your final order - we promise you'll be amazed at how good they look!
So for the best Leicester City gifts for you, your family or your friends, why not take a test drive of our easy to use online design tool and see how amazing your personalised, perfect fit car mats will look - Order TODAY for FREE UK delivery & our latest SPECIAL PRICES!


Meet us on all important trade shows and exhibitions of the pro audio world.
Sales specialists, product manager and developers presenting the current RME product line, latest developments and showing practical application.
American distributor Synthax Inc. presented the latest devices of the brands RME, Ferrofish and myMix.
Impressions from the NAMM-Show 2018 in Anaheim.
Audio AG showed products of RME, Ferrofish and myMix for 'integrated system' solutions at the ISE 2017.
Impressions from the ISE 2017 in Amsterdam.
Impressions from the NAMM-Show 2017 in Anaheim.
Audio AG presented in cooperation with BeNeLux distributor Amptec the latest products of RME, Ferrofish and myMix.
Impressions from the IBC 2016 in Amsterdam.
Synthax China presented the latest devices of RME and Ferrofish at BIRTV.
Synthax Inc. presented the latest devices of RME and Ferrofish at NAB 2016.
RME celebrated its 20 anniversary at the Musikmesse with a lot of new stunning products.
Audio AG showed products of RME, Ferrofish and myMix at the CABSAT 2016.
RME and the American distributor Synthax Inc. showed all the new products of RME in Anaheim.
Audio AG presented RME devices at Europe's largest broadcast show, the IBC in Amsterdam.
Synthax Inc. the American RME distributor presented PRO und PREMIUM LINE devices.
Audio AG, the worldwide distributor of RME presented RME PRO and PREMIUM LINE products and the brand new Babyface Pro.
RME at the CABSAT 2015 in Dubai showing products especially for broadcasting.
Audio AG presented the whole RME product portfolio in Moscow, Russia.
Audio AG presented RME devices - especially the new MADI routers and converters - at Europe's largest broadcast show, the IBC in Amsterdam.
RME and the chinese distributer Synthax China presented the whole range of RME products including the new Fireface 802 and of course the new 'Premium Line' MADI devices.
Synthax Inc. the american RME distributor presented PRO und PREMIUM LINE devices and - of course - the brand new Fireface 802.
Audio AG, the worldwide distributor of RME presented brand new and well known products of the RME PRO and PREMIUM LINE portfolio.
Audio AG presented RME devices on this show for integrated systems in the Netherlands.
RME and the japanese distributer Synthax Japan presented the brand new MADI interfaces of the 'Premium Line' as well as other devices.
RME and the chinese distributer Synthax China presented the whole range of RME products and of course the new 'Premium Line' MADI devices.
Impressions of the KOBA Show in Seoul in cooperation with GearLounge, the local distributor for RME products.
Pictures of the workshop in Israel in cooperation with DandD, the local distributor for RME products.
Pictures of the three-day event, presented by Audio AG - including workshop, Mezzoforte live-show and studio session.
RME at the CABSAT 2013 in Dubai with an 'after fair seminar' about RME products.
RME and Synthax Inc. were presenting the new MADI Router & Converters for the first time.
Pictures of the workshop with specialists from Audio AG and dealers from Poland.
RME and the international distributor Audio AG presented new and well known RME products with focus on 'broadcasting' in Amsterdam.
RME and the chinese distributor Synthax Beijing presented in august 2011 the complete RME product line. Among them the outstanding new product HDSPe MADI FX with 194 inputs and 196 outputs and the Advanced Remote Control for the Fireface UFX/UCX.
RME, the german distributor Synthax and the international distributor Audio AG presented on the Musikmesse 2012 in Frankfurt the complete RME product line. Among them outstanding new products: the HDSPe MADI FX with 194 inputs and 196 outputs and the Advanced Remote Control for the Fireface UFX/UCX. The Fireface series won the Keys readers award as "Best Audio Interface".
Like every year in Frankfurt the best RME distributors were awarded. Among them France, Finland, Switzerland and Italy.
RME and the chinese distributor Synthax Beijing presented in august 2011 the complete RME product line. Among them the new Ladyface, the Babyface, the award-winning Fireface UFX and of course the complete MADI line. RME presented themselves with a new booth with multiple learning desks and a team of sound engineers to bring RME technology closer to a broad audience and received great response from both existing customers and interested professionals.
BIRTV is China's top-notch exhibition in the industry of radio, film & TV, which has been well received by the broadcasting industry at home and abroad. The large number of high caliber products exhibited, the sustained participation of top exhibitors and manufacturers and the huge numbers of professionals and interested visitors make this event different from others. As the compelling market of China continues to grow, this exhibition establishes an inspiring platform for all the brightest minds with finest products in the industry to gather and interact with each other.
RME, the german distributor Synthax and international distributor Audio AG presented in april 2010 the complete RME product line. Among them new products: RME BOB-16, the Remote Control for the Fireface UFX, the Ladyface and of course the Direct USB Recording of the Fireface UFX.
The Fireface UFX wins again. One of the most prestigious awards - the mipa Musikmesse International Press Award 2011 for the best recording hardware - goes to RME´s flagship. The mipa is established as the "Grammy" of the Musical Instrument/Pro Audio industry. More than 100 magazines from all over the world voted for the best musical instruments and audio equipment of 2010/2011 in more than 40 categories.
The awards was presented to the winners at a special ceremony held during the Musikmesse/Prolight+Sound on Thursday, April 7th, 2011. The RME developers proudly received the award.
RME and the chinese distributor Synthax Beijing presented in august 2010 the complete RME product line. Among them the new Babyface and of course the complete MADI line. Visitors were very interested especially in the DMC-842 - a MADI frontend and AES42 controller for digital microphones.
RME was presenting well-known and new products on the NAB in Vegas. Among them the new Babyface, three new i64 Slot Modules and the ADI-6432R BNC with 2 x 64 channel AES-3id support.
The japanese RME distributor Synthax Japan was presenting well-known and new products. Among them the new high-end converters of the M series and the Fireface UC on the international exhibition for audio, video and communication InterBEE (International Broadcast Equipment Exhibition).
RME was presenting well-known and new products on the NAB in Vegas. Among them the new M converter series and the Fireface UC.
RME was presenting well-known and new products. Among them the new M converter series and the Fireface UC.
RME was presenting well-known and new products. Among them the new HDSPe series for the PCI Express Bus and the MADIface.
Many customers - from individual home studio to the big opera house - were very impressed from RME MADI/AES systems. A single optical cable transports 64 channels in both directions - at long distances. RME offers not only high-end devices for any format, but all devices are complete remote controllable from the workstation.
Like every year, RME presents itself on the biggest american music fair, the famous NAMM Show in Anaheim - California.
This year RME presented the new PCI Express product line and the DMC-842.
RME was present on the prolight + sound, which took place at the Shanghai New International Expo Centre along with the Music CHINA. The RME team shows new products, like the DMC-842, the new professional 8-Channel interface for digital microphones, the HDSPe series and provides countless individual demonstrations to interested visitors.
One of the countless individual demonstrations.
RME developer with Keys Readers Award 2007.
Synthax/RME booth with mit several demo stations.
Fireface800 / OctaMic - Station.
Demo station with five displays. Remote control of QS and Micstasy.
On top the new PCI Express cards.
HDSPe MADI and HDSP PCIe card.
Micstasy. The High-End Preamp is praised by customers and press.
Members of RME´s MADI/AES/EBU series.
ADI-192 DD, Fireface 800, OctaMic and BOB-32.
High-End to touch: Micstasy and the new ADI-8 QS.
Of course all backsites were shown.
For the first time: Synthax Distributor awards.


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Accessibility isn't just a compliance or regulatory issue. It is the human element that touches every part of your product. It is the path to engaging users of all ability levels with your products and services.
Accessibility is a business decision. People with disabilities are one of the largest and fastest growing minority groups. One out of every five Americans has at least one disability. They have roughly $220 billion in discretionary income, and it is a relatively untapped, unnoticed market.
Through collaboration with our clients, our team of accessibility gurus work with you to help your technological devices reach users of all abilities. Our dedicated approach to accessibility can increase the viability, usability, and marketability of your products in remarkable ways.
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For years, Accessibility Partners has been committed to advancing accessibility knowledge through constructive relationships with our clients. Our top-tier testing and auditing services aren't just about helping you satisfy industry requirements. We are about helping you build a longstanding relationship with your customers for years to come.
Our team has audited thousands of products for a range of accessibility regulations, including Section 508 of the Rehabilitation Act, the Web Content Accessibility Guidelines (WCAG) 1.0 and 2.0 (Levels A, AA, and AAA), as well as the 21st Century Communications and Video Accessibility Act (CVAA), Common Look and Feel Standard, and more.
Accessibility influences products and services everywhere. Whether you represent a Federal or State agency, a non-profit organization, a private business, or anything in between, our testing and auditing can be tailored to fit your specific accessibility needs.
Unsure of which accessibility guidelines and regulations fit with your product or service? Or, have you been told which standard you must comply with but are unsure how to get there? This is the perfect moment to reach out to Accessibility Partners! Whichever stage you currently find yourself, your next move should factor in accessibility.
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Accessibility Partners has over sixty combined years of experience and expertise in helping organizations just like yours with their accessibility testing and auditing needs. Our team of forward thinkers provides in-depth analysis and actionable recommendations that are tailored to your specific needs.
Follow the architecture and all other policies and procedures of the government entity.
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The Accessibility Partners team is full of expert knowledge when it comes to testing and remediation for accessibility in a wide range of document formats. Our team scopes, remediates, and reports with rapid turnaround times, helping to ensure that your deadlines are met.
There is no such thing as a document too big or too small when it comes to accessibility. No matter the page or word count, our experts treat every part of your documents with the utmost care and attention.
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text:
Will Covid kill our toxic work addiction?
Surely our ludicrous work-till-you-drop culture can't survive the pandemic
BY Polly Mackenzie
Benylin's mucus monster just wants you to go to bed. Credit: YouTube
Polly Mackenzie is Director of Demos, a leading cross-party think tank. She served as Director of Policy to the Deputy Prime Minister from 2010-2015.
pollymackenzie
COVID-19Dido HardingNadhim ZahawiOverworkRobin SharmaTest and trace
I crossed the threshold of Downing Street for the first time about eight minutes before Nick Clegg. We wanted to make sure there were some friendly faces to greet him on the inside of that famous door. I'd been working 18 to 20 hours a day since the election, five days earlier, helping to negotiate and write the coalition agreement. We were all running on fumes: a heady combination of adrenalin, caffeine and novelty that kept us upright but did little to prevent unforced errors of judgement.
Later today, I'll give evidence to Parliament's Public Administration Committee on the operations of Number 10. It will focus on the usual controversies and challenges faced in that poky building. But as I reflect on my five years there I can't help but conclude that the worst thing about Downing Street is its addictive power.
Politics and elections are bad enough: I was once told by a campaign organiser that blisters on my feet weren't a reason to sit down. I should only stop delivering leaflets if they started to bleed, and only then in order to apply plasters. But once you're working for the Prime Minister, fatigue becomes a badge of honour.
How I learned the Tories weren't evil
You don't need to look far to see leaders boasting about their inhuman resilience. Margaret Thatcher claimed to only need four hours sleep. Donald Trump has done the same. When Dominic Cummings advertised for new special advisers, he made clear they'd not see their friends or daylight if they took the job. Boris Johnson claimed for two weeks he was working through his Covid symptoms, because sickness — like sleep — is for wimps. It was only once he was admitted to intensive care that they admitted someone else might need to take the tiller of government for a couple of days.
Did they learn from that? Of course not. A couple of weeks ago, minister Nadhim Zahawi was challenged on Sky News about the performance of Dido Harding, the beleaguered boss of the beleaguered test and trace system. He leapt to her defence and claimed she is working 19 hours a day, seven days a week. We can only hope he's mistaken, because if this is true she might as well be running the place drunk.
The impact of chronic sleep deprivation on cognitive performance is profound. The scientific literature shows people think slower, and — if pressed for time — make more mistakes. Their memory gets foggier. They learn less easily. And they have "difficulty determining the scope of a problem due to changing or distracting information", a phrase which sounds like it came from a public inquiry report into the Test and Trace shambles.
The AA estimates that up to 25% of fatal accidents are caused by motorists falling asleep at the wheel. If you're driving an organisation, rather than a car, you're running the same risk. "Working 19 hours a day" is a sure fire way to make yourself worse at your job. But what's madder: doing it, or seeing someone else do it and being impressed? Zahawi clearly thought he was complimenting his fellow minister for her dedication and self-discipline. He — and most of the nation, it seems — has fallen prey to a collective delusion that working yourself to exhaustion is the way to look tough. It's a rotten mix of machismo and masochism.
How the experts messed up on Covid
By Michael Story and Stuart Ritchie
It's not just politics. Step into the swamp of LinkedIn and you'll find endless "hack your body" mentors instructing you to get up at 4am. This is wakefulness inflation: 20 years ago Robin Sharma created the "5am club", advocating people get up at this ungodly hour for 20 minutes learning, 20 minutes planning, and 20 minutes exercise before anyone else woke up. But once 5am was popular, you had to be in the 4.30am club to be special. And then 4am. Soon you'll have to get up before you go to bed in order to keep up with the business influencers.
The absurdity of this is that it's not about what you're achieving. It's about showing that you're working more than other people. You want to be the first in the office and the last to leave because it looks good. The most depressing part is that it often works to help individuals get ahead. So many bosses are rubbish at measuring performance, so they measure who's there instead. Men end up working more hours than women, because they're less likely to have caring responsibilities. They're more likely to be able to put their hands up for the overtime. And that drives the gender pay gap even wider.
Why did Boris Johnson survive?
By James Kirkup
But if our work addiction is toxic when it comes to overtime, it's even worse when it comes to sick leave. If you want proof of our cultish delusion, spend half an hour watching adverts for cold and flu remedies on YouTube.
You know the routine. Person feels ill. Person drinks medicine. Person gives a brilliant presentation / performs brilliantly on stage / plays enthusiastically with their children at a crowded activity centre. The message is obvious: take our pills and you can carry on with your life, regardless of how far you spread your disease by doing so. There was even a postie coughing all over the letters and parcels before he delivered them. After all, nothing says hard work like pushing disease vectors through people's front doors.
In fact, a decade ago when Benylin launched an advert encouraging people to stay at home when sick the Federation of Small Businesses reacted with horror and disgust. "These terms make a mockery of how serious it is not to turn up to work," said the boss of the FSB. "If people have real flu then of course they should take the day off, but if it is just a cold then they should not."
Are they stupid? It's completely counterproductive to tell people to come to work while infectious, even with a cold: you'll just end up with the whole team falling ill. And yet the official representative body of small business says that's precisely what we should do.
The work-til-you-drop culture is reflected in our ludicrous sick pay system, which only requires your employer to pay you if you've been off for more than three days. Even then, it's less than £100 a week. So — unless your employer is more generous — you basically have to show up for work unless you physically can't. Which means people trek their viruses and bacteria to work and we end up losing more — instead of fewer — days to ill health. And that's before you even count the productivity loss of wooly-headed snifflers trying and failing to do their jobs when they should be at home with Netflix and a duvet.
Are special advisers just gossiping grifters?
If Covid-19 has taught us anything, surely it has taught us to change these rules? And change the culture that underpins them. When you're sick, you should stay at home. When you're tired, you should sleep. Sick people and exhausted people are bad managers, they're bad leaders, and they're bad colleagues.
In the early days of the pandemic, the money guru Martin Lewis was presenting a live TV show about how to manage your finances during the crisis. At one point, he had to cough. He shocked his audience by observing that it was suddenly less socially acceptable to cough on live TV public than to fart. But I've realised this is a social stigma we should stick with. I'm no particular fan of flatulence, but what harm does it do? It's coughs that spread disease. We shouldn't be shaming people for staying in bed to cough and sneeze. We should be shaming them for taking their coughs and sneezes out with them to the office, the shop, the factory, and the bus. Freedom for farts. Stigma for sneezes. It's the way forward.
It's been more than 200 years since Welsh mill owner and labour rights activist Robert Owen argued that what we need each day is simple: eight hours labour, eight hours recreation and eight hours rest. Those 200 years haven't changed human nature. If you're working more than Owen prescribed, chances are you're not being a strong and powerful leader. You're taking work away from others who need it and undermining your own performance.
Being at work is not a virtue in and of itself. Being productive is what matters. When we see a crisis of bad management like Test, Trace and Isolate, we shouldn't ask why the team aren't working harder. We should ask why they are working so much. You cannot run a marathon at a sprinter's pace. Whether it's senior management or a junior worker, in public services or private enterprise, we will get more from our people if we ask them for a little less.
nick harman
Me too, as a freelance advertising copywriter I used to enjoy going in occasionally for some laughs and a drink, but both of those things have apparently been outlawed. As to working with a modern 'art director', fat chance getting one to remove their headphones long enough to get a layout pad and... Read more
In France I noticed, couldn't fail to really, colleagues ignoring their ringing desk phone for ages. I was told it was bad form to answer too quickly as it gave the impression you weren't busy. The same rule applied also to emails. Read more
I do hate 'passion; in job ads. Passionate people are by definition unlikely to stop and think, but instead plough on heedlessly driven by emotion. Is that what one really wants in an employee? Read more
Tagged COVID-19, Dido Harding, Nadhim Zahawi, Overwork, Robin Sharma, Test and trace


text:
GA Depot for Multiple Sclerosis
Last updated June 17, 2022, by Marisa Wexler, MS
✅ Fact-checked by Ines Martins, PhD
On This Page: How GA Depot works | Administration | Clinical trials | Side effects | FAQs
What is GA Depot for MS?
GA Depot is a long-acting formulation of glatiramer acetate that is under clinical investigation for relapsing forms of multiple sclerosis (MS) and primary progressive MS (PPMS).
The active ingredient in this medication is already approved for relapsing MS under the brand name Copaxone, as well as in generic formulations. These available forms of glatiramer acetate are injected under the skin, either daily or three times per week.
Mapi Pharma, which is developing GA Depot, designed its therapy to be injected into the muscle instead, once per month. The slow-release formulation would mean less frequent dosing for MS patients.
Therapy Snapshot
Treatment Name: GA Depot
Administration: Being tested in MS in intramuscular injection formulation
Clinical Testing: In Phase 3 trials for relapsing forms of MS and Phase 2 trials for PPMS
How does GA Depot work in MS?
Glatiramer acetate, the active agent in GA Depot, is a synthetic (man-made) small protein that's designed to mimic a piece of myelin, the fat-rich substance that covers nerve cells. Myelin is attacked by the immune system in MS, leading to progressive neurodegeneration.
The compound in GA Depot was initially discovered in the 1970s when researchers were working on a new animal model of MS.
Scientists expected glatiramer acetate would promote MS-like disease, but they found that it actually prevented the disorder from developing. This unexpected discovery paved the way for the molecule's development as a treatment for MS.
It is precise mechanism remains incompletely understood, but glatiramer acetate is broadly thought to modulate the immune system to reduce the inflammatory attack that drives MS.
GA Depot is a newer formulation made of microspheres that slowly release glatiramer acetate molecules into circulation over about 30 days, enabling less frequent dosing. The medication was found equivalent to the older formulations in delaying disease onset and severity in mouse models of MS.
How will GA Depot be administered in MS?
GA Depot is designed to be given once per month via an intramuscular (into-the-muscle) injection.
The medication has been tested in clinical trials at doses of 40 or 80 mg once per month in relapsing MS patients. The 40 mg dose was better tolerated, and is being further studied in relapsing MS in a Phase 3 trial. An ongoing Phase 2 study in PPMS is testing doses of 25 or 40 mg once per month.
Other experimental therapies in clinical trials for multiple sclerosis
ATL1102
CNM-Au8
Evobrutinib
Fenebrutinib
Ibudilast
Masitinib
Nabiximols
Remibrutinib
Temelimab
Tolebrutinib
Vidofludimus calcium
GA Depot in MS clinical trials
A Phase 1/2 study (NCT02212886) investigated GA Depot in 25 people with relapsing-remitting MS (RRMS) who had been on Copaxone for at least one year before the trial. During the study, participants switched to treatment with GA Depot at doses of either 40 or 80 mg, given once every four weeks, for about a year.
Results showed that the 40 mg dosage had a better safety and tolerability profile. The most common side effects associated with treatment were reactions at the injection site, most commonly pain, hardened skin, swelling, and redness; most of these reactions were mild and temporary.
There was one relapse recorded during the study, as compared with two in the prior year, when participants had been treated with Copaxone. The vast majority of participants (84.6%) had no evidence of disease activity throughout the study, defined as no relapses, no new MRI lesions, and no sustained disability worsening.
Participants who completed the one-year trial were then able to enter an optional extension period, designed to track the long-term effects of the medication. In the extension, all are receiving the 40 mg dose, given every four weeks for up to eight years.
Early results, after five years, showed that 90% of participants continued to show no evidence of disease activity. This extension part is due to conclude in late 2024.
Phase 3 trial in relapsing MS
In collaboration with Viatris, Mapi launched a Phase 3 clinical trial (NCT04121221) to test GA Depot in people with relapsing forms of MS, including RRMS and active secondary progressive MS (SPMS).
The study ultimately enrolled just over 1,000 adults, ages 18 to 55, who were randomly assigned to monthly injections of 40 mg of GA Depot, or a placebo, for about one year.
Its main goal is the annualized relapse rate, or the number of relapses per year. Secondary measures include changes in the number and volume of brain lesions on MRI scans.
Participants who complete the one-year trial will be invited to join an open-label extension study, and receive monthly injections of 40 mg GA Depot for about one more year.
Phase 2 trial in PPMS
An ongoing Phase 2 study (NCT03362294) also is investigating whether GA Depot can slow disability accumulation in people with PPMS. In all, the 30 adults in this trial will be given GA Depot for 148 weeks. The participants, ages 18 to 65, are receiving monthly doses of 25 or 40 mg.
The study's main goal is to assess the therapy's safety in this patient population. Treatment efficacy will be determined as the time to confirmed disability progression — an increase in the Expanded Disability Status Scale (EDSS) scores sustained for at least three months — as well as changes in brain volume. The EDSS measures how much patients are affected by their MS.
An interim analysis of 16 trial participants treated for up to 144 weeks revealed no unexpected safety-related findings. The analysis indicated that assessments of disability, dexterity, and walking ability were stable over time while on treatment. After one year, 69.9% of patients also had no evidence of disease progression.
Common side effects of GA Depot
The most common side effects of GA Depot reported in MS clinical trials included:
injection site reactions, such as swelling, pain, redness, or hardening of the skin
general weakness
More Information: Click on the links below to learn more about multiple sclerosis.
Check out our collection of Expert Voices, where we ask an expert your questions on a variety of topics.
FAQs about GA Depot in MS
How does GA Depot help with multiple sclerosis?
The active ingredient in GA Depot, known fully as glatiramer acetate, is already approved for the treatment of multiple sclerosis. Glatiramer acetate is thought to modulate the immune system to reduce the inflammatory attack that drives MS. This experimental therapy, now in clinical trials, is designed to be administered once per month via injection into muscle. A slow-release formulation, it would allow less frequent dosing than the currently approved therapies, marketed as Copaxone and generics, which are given once daily or several times per week as an under-the-skin (subcutaneous) treatment.
When will the FDA approve GA Depot?
Mapi, the company developing GA Depot, is running a Phase 3 clinical trial that is testing the therapy in people with relapsing forms of multiple sclerosis. Pending positive results, the trial is expected to support an application to the U.S. Food and Drug Administration (FDA) requesting the treatment's approval. However, it is too early to say if or when GA Depot might be approved.
Can I take GA Depot while pregnant?
Clinical trials testing GA Depot have not enrolled participants who were pregnant or breastfeeding. It is therefore unknown whether the experimental medication is safe for use in these situations. Other formulations of glatiramer acetate also have not been rigorously studied in pregnant people.
How long should I wait to see the results of GA Depot?
In an early clinical trial that enrolled patients who had been on stable Copaxone treatment for their multiple sclerosis, most who switched to GA Depot showed no signs of disease activity — including no relapses, disability worsening, or new MRI lesions — after one year of treatment.
Does GA Depot cause hair loss or weight gain?
Hair loss and weight gain have not been reported as side effects of GA Depot in clinical trials. Studies testing other formulations of glatiramer acetate also have not reported these side effects. Patients who experience unexpected reactions after starting a new medication are advised to consult their healthcare team.
Multiple Sclerosis News Today is strictly a news and information website about the disease. It does not provide medical advice, diagnosis, or treatment. This content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this website.
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October 8, 2021 by BioNews Staff
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text:
Portrait of the forefront person to preserve and develop traditional craft
(langnghevietnam.vn) Known as chairman of Hanoi embroidery, Director of Bao Chau Crafts Co.Ltd., Mr. Mai Van Huong had successes in the preservation and promotion of traditional craft such as training employees, innovating techniques, building the collective brand, improving product design to meet the growing tastes of customers and to contribute to the economic development of villages.
Build its own brand in the strong common brand
We went to his house on a drizzly morning, in a spacious three-floors house that is behind the old communal house. Here, the reporter group of media committee of Viet Nam craft village association talk about training, the support policies for the trainer and village development- orientation with Mr. Mai Van Huong, chairman of Hanoi embroidery.
He said: "I have not built an own personal brand yet because I wanted to spend time with other workers to create a strong common brand. Currently, the village has a collective brand, but all members do not really understand and devote their best to a common home "
Artisan Mai Van Huong
In recent years, when human life is raising, the demand for arts and culture become more diverse and stricter. Besides the preserving elite of craft, it is necessary to innovating technical, creating design, promoting products to customers ... those are directions to ensure the income for employees and to keep village developing. Found that the export of hand embroidered products is small, unstable, poor competitiveness. That's the concern of artisans Mai Van Huong - the Chairman of Hanoi City embroidery. "I want to build its own brand in general strong brand," he said.
As the Chairman of Hanoi City embroidery - Executive Commissioner of Vietnam Craft Village Association, Mr. Mai Van Huong has significant contribution to the stable development of embroidery in the current economic climate. He deserves as one of the first generation in keeping the traditional craft villages'elite. Besides, he is a successful entrepreneur in the field of art production. Mr Huong, the former director of Bao Chau Co. Ltd, said: " Bac Van Embroidery Cooperative Group is the predecessor of Bao Chau Co. Ltd, that specializes in production and trading of embroidery since the 1990s. The product: blankets, sheets, clothes, pillows, bags…in many different fabrics, different textures meet the demands of customer and is sold on domestic and foreign markets such as France, Germany, Spain, Italy, Belgium etc. The abundant labor is mainly farmers at the resting after harvest.
The new directions of the enthusiastic director is a new cognitive change in market research, approaching deeper tastes of the customer, spending the time to collect new models,understanding the culture of each country. From which having new creativity to match their demands. Trade promotion in a variety of ways aims to find a common outlet for handicrafts as well as to propose solutions for craft villages to access to bank credit funds. Besides, he also boosts skills training for workers. Speacially, he has the ability to utilize and synthesize distinct characteristics of many villages to create flawless handicraft products.
Some images of Bao Chau production process:


It would be possible to automatically generate binary indicator variables for factor variables before running elastic net regression. LR already handles factor variables in this way.
Done in #745 with r15023?
If so this ticket should be closed as duplicate.


Our dry fruit sweets are specially made to order. They are made from the best quality dry fruits. Every sweet is made with different ingredients.
Rose Ball sweet is made by combining dry fruits in kesar flavor and then covering them profusely with dried rose petals. They are so delicious that having one will not be enough.
You will feel the difference between a store bought version and the one from our store, as the sweets from our store are made only a day prior to your order and hence you will feel the freshness in each bite. Dry fruit sweets have a shelf life of 5 – 7 days and since our sweets are not kept in the store they will last longer after they are delivered to you.
Unlike the sweets bought from a store, we provide the sweets in net weight which does not include the weight of the box.
Note: To ensure freshness, quality and taste, sweets are made after your order is placed. Sweets ordered before 8:00 PM today will be delivered the next day. Sweets ordered after 8:00 PM today will be delivered the second day.