text:
namespace google {
namespace protobuf {
namespace internal {
class InternalMetadata;           // metadata_lite.h
class WireFormat;                 // wire_format.h
class MessageSetFieldSkipperUsingCord;
// extension_set_heavy.cc
}  // namespace internal

class Message;       // message.h
class UnknownField;  // below

// An UnknownFieldSet contains fields that were encountered while parsing a
// message but were not defined by its type.  Keeping track of these can be
// useful, especially in that they may be written if the message is serialized
// again without being cleared in between.  This means that software which
// simply receives messages and forwards them to other servers does not need
// to be updated every time a new field is added to the message definition.
//
// To get the UnknownFieldSet attached to any message, call
// Reflection::GetUnknownFields().
//
// This class is necessarily tied to the protocol buffer wire format, unlike
// the Reflection interface which is independent of any serialization scheme.
class PROTOBUF_EXPORT UnknownFieldSet {
 public:
  UnknownFieldSet();
  ~UnknownFieldSet();

  // Remove all fields.
  inline void Clear();

  // Remove all fields and deallocate internal data objects
  void ClearAndFreeMemory();

  // Is this set empty?
  inline bool empty() const;

  // Merge the contents of some other UnknownFieldSet with this one.
  void MergeFrom(const UnknownFieldSet& other);

  // Similar to above, but this function will destroy the contents of other.
  void MergeFromAndDestroy(UnknownFieldSet* other);

  // Merge the contents an UnknownFieldSet with the UnknownFieldSet in
  // *metadata, if there is one.  If *metadata doesn't have an UnknownFieldSet
  // then add one to it and make it be a copy of the first arg.
  static void MergeToInternalMetadata(const UnknownFieldSet& other,
                                      internal::InternalMetadata* metadata);

  // Swaps the contents of some other UnknownFieldSet with this one.
  inline void Swap(UnknownFieldSet* x);

  // Computes (an estimate of) the total number of bytes currently used for
  // storing the unknown fields in memory. Does NOT include
  // sizeof(*this) in the calculation.
  size_t SpaceUsedExcludingSelfLong() const;

  int SpaceUsedExcludingSelf() const {
    return internal::ToIntSize(SpaceUsedExcludingSelfLong());
  }

  // Version of SpaceUsed() including sizeof(*this).
  size_t SpaceUsedLong() const;

  int SpaceUsed() const { return internal::ToIntSize(SpaceUsedLong()); }

  // Returns the number of fields present in the UnknownFieldSet.
  inline int field_count() const;
  // Get a field in the set, where 0 <= index < field_count().  The fields
  // appear in the order in which they were added.
  inline const UnknownField& field(int index) const;
  // Get a mutable pointer to a field in the set, where
  // 0 <= index < field_count().  The fields appear in the order in which
  // they were added.
  inline UnknownField* mutable_field(int index);

  // Adding fields ---------------------------------------------------

  void AddVarint(int number, uint64_t value);
  void AddFixed32(int number, uint32_t value);
  void AddFixed64(int number, uint64_t value);
  void AddLengthDelimited(int number, const std::string& value);
  std::string* AddLengthDelimited(int number);
  UnknownFieldSet* AddGroup(int number);

  // Adds an unknown field from another set.
  void AddField(const UnknownField& field);

  // Delete fields with indices in the range [start .. start+num-1].
  // Caution: implementation moves all fields with indices [start+num .. ].
  void DeleteSubrange(int start, int num);

  // Delete all fields with a specific field number. The order of left fields
  // is preserved.
  // Caution: implementation moves all fields after the first deleted field.
  void DeleteByNumber(int number);

  // Parsing helpers -------------------------------------------------
  // These work exactly like the similarly-named methods of Message.

  bool MergeFromCodedStream(io::CodedInputStream* input);
  bool ParseFromCodedStream(io::CodedInputStream* input);
  bool ParseFromZeroCopyStream(io::ZeroCopyInputStream* input);
  bool ParseFromArray(const void* data, int size);
  inline bool ParseFromString(const std::string& data) {
    return ParseFromArray(data.data(), static_cast<int>(data.size()));
  }

  // Merges this message's unknown field data (if any).  This works whether
  // the message is a lite or full proto (for legacy reasons, lite and full
  // return different types for MessageType::unknown_fields()).
  template <typename MessageType>
  bool MergeFromMessage(const MessageType& message);

  static const UnknownFieldSet& default_instance();

 private:
  // For InternalMergeFrom
  friend class UnknownField;
  // Merges from other UnknownFieldSet. This method assumes, that this object
  // is newly created and has no fields.
  void InternalMergeFrom(const UnknownFieldSet& other);
  void ClearFallback();

  template <typename MessageType,
            typename std::enable_if<
                std::is_base_of<Message, MessageType>::value, int>::type = 0>
  bool InternalMergeFromMessage(const MessageType& message) {
    MergeFrom(message.GetReflection()->GetUnknownFields(message));
    return true;
  }

  template <typename MessageType,
            typename std::enable_if<
                std::is_base_of<MessageLite, MessageType>::value &&
                    !std::is_base_of<Message, MessageType>::value,
                int>::type = 0>
  bool InternalMergeFromMessage(const MessageType& message) {
    const auto& unknown_fields = message.unknown_fields();
    io::ArrayInputStream array_stream(unknown_fields.data(),
                                      unknown_fields.size());
    io::CodedInputStream coded_stream(&array_stream);
    return MergeFromCodedStream(&coded_stream);
  }

  std::vector<UnknownField> fields_;
  GOOGLE_DISALLOW_EVIL_CONSTRUCTORS(UnknownFieldSet);
};

namespace internal {

inline void WriteVarint(uint32_t num, uint64_t val, UnknownFieldSet* unknown) {
  unknown->AddVarint(num, val);
}
inline void WriteLengthDelimited(uint32_t num, StringPiece val,
                                 UnknownFieldSet* unknown) {
  unknown->AddLengthDelimited(num)->assign(val.data(), val.size());
}

PROTOBUF_EXPORT
const char* UnknownGroupParse(UnknownFieldSet* unknown, const char* ptr,
                              ParseContext* ctx);
PROTOBUF_EXPORT
const char* UnknownFieldParse(uint64_t tag, UnknownFieldSet* unknown,
                              const char* ptr, ParseContext* ctx);

}  // namespace internal

// Represents one field in an UnknownFieldSet.
class PROTOBUF_EXPORT UnknownField {
 public:
  enum Type {
    TYPE_VARINT,
    TYPE_FIXED32,
    TYPE_FIXED64,
    TYPE_LENGTH_DELIMITED,
    TYPE_GROUP
  };

  // The field's field number, as seen on the wire.
  inline int number() const;

  // The field type.
  inline Type type() const;

  // Accessors -------------------------------------------------------
  // Each method works only for UnknownFields of the corresponding type.

  inline uint64_t varint() const;
  inline uint32_t fixed32() const;
  inline uint64_t fixed64() const;
  inline const std::string& length_delimited() const;
  inline const UnknownFieldSet& group() const;

  inline void set_varint(uint64_t value);
  inline void set_fixed32(uint32_t value);
  inline void set_fixed64(uint64_t value);
  inline void set_length_delimited(const std::string& value);
  inline std::string* mutable_length_delimited();
  inline UnknownFieldSet* mutable_group();

  // Serialization API.
  // These methods can take advantage of the underlying implementation and may
  // archieve a better performance than using getters to retrieve the data and
  // do the serialization yourself.
  void SerializeLengthDelimitedNoTag(io::CodedOutputStream* output) const {
    output->SetCur(InternalSerializeLengthDelimitedNoTag(output->Cur(),
                                                         output->EpsCopy()));
  }

  inline size_t GetLengthDelimitedSize() const;
  uint8_t* InternalSerializeLengthDelimitedNoTag(
      uint8_t* target, io::EpsCopyOutputStream* stream) const;

  // If this UnknownField contains a pointer, delete it.
  void Delete();

  // Make a deep copy of any pointers in this UnknownField.
  void DeepCopy(const UnknownField& other);

  // Set the wire type of this UnknownField. Should only be used when this
  // UnknownField is being created.
  inline void SetType(Type type);

  union LengthDelimited {
    std::string* string_value;
  };

  uint32_t number_;
  uint32_t type_;
  union {
    uint64_t varint_;
    uint32_t fixed32_;
    uint64_t fixed64_;
    mutable union LengthDelimited length_delimited_;
    UnknownFieldSet* group_;
  } data_;
};

// ===================================================================
// inline implementations

inline UnknownFieldSet::UnknownFieldSet() {}

inline UnknownFieldSet::~UnknownFieldSet() { Clear(); }

inline void UnknownFieldSet::ClearAndFreeMemory() { Clear(); }

inline void UnknownFieldSet::Clear() {
  if (!fields_.empty()) {
    ClearFallback();
  }
}

inline bool UnknownFieldSet::empty() const { return fields_.empty(); }

inline void UnknownFieldSet::Swap(UnknownFieldSet* x) {
  fields_.swap(x->fields_);
}

inline int UnknownFieldSet::field_count() const {
  return static_cast<int>(fields_.size());
}
inline const UnknownField& UnknownFieldSet::field(int index) const {
  return (fields_)[static_cast<size_t>(index)];
}
inline UnknownField* UnknownFieldSet::mutable_field(int index) {
  return &(fields_)[static_cast<size_t>(index)];
}

inline void UnknownFieldSet::AddLengthDelimited(int number,
                                                const std::string& value) {
  AddLengthDelimited(number)->assign(value);
}

inline int UnknownField::number() const { return static_cast<int>(number_); }
inline UnknownField::Type UnknownField::type() const {
  return static_cast<Type>(type_);
}

inline uint64_t UnknownField::varint() const {
  assert(type() == TYPE_VARINT);
  return data_.varint_;
}
inline uint32_t UnknownField::fixed32() const {
  assert(type() == TYPE_FIXED32);
  return data_.fixed32_;
}
inline uint64_t UnknownField::fixed64() const {
  assert(type() == TYPE_FIXED64);
  return data_.fixed64_;
}
inline const std::string& UnknownField::length_delimited() const {
  assert(type() == TYPE_LENGTH_DELIMITED);
  return *data_.length_delimited_.string_value;
}
inline const UnknownFieldSet& UnknownField::group() const {
  assert(type() == TYPE_GROUP);
  return *data_.group_;
}

inline void UnknownField::set_varint(uint64_t value) {
  assert(type() == TYPE_VARINT);
  data_.varint_ = value;
}
inline void UnknownField::set_fixed32(uint32_t value) {
  assert(type() == TYPE_FIXED32);
  data_.fixed32_ = value;
}
inline void UnknownField::set_fixed64(uint64_t value) {
  assert(type() == TYPE_FIXED64);
  data_.fixed64_ = value;
}
inline void UnknownField::set_length_delimited(const std::string& value) {
  assert(type() == TYPE_LENGTH_DELIMITED);
  data_.length_delimited_.string_value->assign(value);
}
inline std::string* UnknownField::mutable_length_delimited() {
  assert(type() == TYPE_LENGTH_DELIMITED);
  return data_.length_delimited_.string_value;
}
inline UnknownFieldSet* UnknownField::mutable_group() {
  assert(type() == TYPE_GROUP);
  return data_.group_;
}
template <typename MessageType>
bool UnknownFieldSet::MergeFromMessage(const MessageType& message) {
  // SFINAE will route to the right version.
  return InternalMergeFromMessage(message);
}

inline size_t UnknownField::GetLengthDelimitedSize() const {
  GOOGLE_DCHECK_EQ(TYPE_LENGTH_DELIMITED, type());
  return data_.length_delimited_.string_value->size();
}

inline void UnknownField::SetType(Type type) {
  type_ = type;
}

}  // namespace protobuf
}  // namespace google

#include <google/protobuf/port_undef.inc>
#endif  // GOOGLE_PROTOBUF_UNKNOWN_FIELD_SET_H__

redpajama_set_name: RedPajamaGithub


text:
package nl.knaw.dans.easy.multideposit.actions

import java.nio.file.FileSystemException
import java.nio.file.attribute.{ PosixFilePermission, UserPrincipalNotFoundException }

import nl.knaw.dans.easy.multideposit.{ ActionError, DepositPermissions, TestSupportFixture }
import org.scalatest.BeforeAndAfterEach

import scala.util.Properties

class SetDepositPermissionsSpec extends TestSupportFixture with BeforeAndAfterEach {

  private val (user, userGroup, unrelatedGroup) = {
    import scala.sys.process._

    // don't hardcode users and groups, since we don't know what we have on travis
    val user = Properties.userName
    val allGroups = "cut -d: -f1 /etc/group".!!.split("\n").filterNot(_ startsWith "#").toList
    val userGroups = s"id -Gn $user".!!.split(" ").toList

    (userGroups, allGroups.diff(userGroups)) match {
      case (ug :: _, diff :: _) => (user, ug, diff)
      case (Nil, _) => throw new AssertionError("no suitable user group found")
      case (_, Nil) => throw new AssertionError("no suitable unrelated group found")
    }
  }

  private val depositId = "ruimtereis01"

  private val base = stagingDir(depositId)
  private val folder1 = base / "folder1"
  private val folder2 = base / "folder2"
  private val file1 = base / "file1.txt"
  private val file2 = folder1 / "file2.txt"
  private val file3 = folder1 / "file3.txt"
  private val file4 = folder2 / "file4.txt"
  private val filesAndFolders = List(base, folder1, folder2, file1, file2, file3, file4)

  override def beforeEach(): Unit = {
    base.createDirectories()
    folder1.createDirectories()
    folder2.createDirectories()

    file1.write("abcdef")
    file2.write("defghi")
    file3.write("ghijkl")
    file4.write("jklmno")

    for (file <- filesAndFolders) {
      file.toJava shouldBe readable
      file.toJava shouldBe writable
    }
  }

  "setFilePermissions" should "set the permissions of each of the files and folders to the correct permissions" in {
    assume(user != "travis",
      "this test does not work on travis, because we don't know the group that we can use for this")

    val action = new SetDepositPermissions(DepositPermissions("rwxrwx---", userGroup))

    action.setDepositPermissions(depositId) shouldBe right[Unit]

    for (file <- filesAndFolders) {
      file.permissions should {
        have size 6 and contain only(
          PosixFilePermission.OWNER_READ,
          PosixFilePermission.OWNER_WRITE,
          PosixFilePermission.OWNER_EXECUTE,
          PosixFilePermission.GROUP_READ,
          PosixFilePermission.GROUP_WRITE,
          PosixFilePermission.GROUP_EXECUTE
        ) and contain noneOf(
          PosixFilePermission.OTHERS_READ,
          PosixFilePermission.OTHERS_WRITE,
          PosixFilePermission.OTHERS_EXECUTE
        )
      }

      file.group.getName shouldBe userGroup
    }
  }

  it should "fail if the group name does not exist" in {
    val action = new SetDepositPermissions(DepositPermissions("rwxrwx---", "non-existing-group-name"))

    inside(action.setDepositPermissions(depositId).leftValue) {
      case ActionError(msg, Some(_: UserPrincipalNotFoundException)) =>
        msg shouldBe "Group non-existing-group-name could not be found"
    }
  }

  it should "fail if the access permissions are invalid" in {
    val action = new SetDepositPermissions(DepositPermissions("abcdefghi", "admin"))

    inside(action.setDepositPermissions(depositId).leftValue) {
      case ActionError(msg, Some(_: IllegalArgumentException)) =>
        msg shouldBe "Invalid privileges (abcdefghi)"
    }
  }

  it should "fail if the user is not part of the given group" in {
    val action = new SetDepositPermissions(DepositPermissions("rwxrwx---", unrelatedGroup))

    inside(action.setDepositPermissions(depositId).leftValue) {
      case ActionError(msg, Some(_: FileSystemException)) =>
        msg should include(s"Not able to set the group to $unrelatedGroup")
    }
  }
}


text:
BY Madelynne Cornish | 22-Jan-2019
Bogong Centre for Sound Culture [B–CSC] is excited by the upcoming performances of Polar Force, which features the environmental recordings of B–CSC's artistic director Philip Samartzis. Imagine being on the Antarctic ice shelf, housed inside a temporary shelter on the coldest, windiest, and driest continent on earth. Polar Force is a hyper-realistic sound adventure to the Antarctic presented in an inflatable performance installation. Season runs until January 24 at PICA - Perth Institute of Contemporary Arts. @PICA_Perth #PICAARTS #PolarForce #Sound #Music #Perth #bogongsound @bogongsound
Venue: PICA - Perth Institute of Contemporary Arts
Address: 51 James St, Northbridge, WA, 6003
Date: January 21 to 24, 2019
Ticket: $22.50 to $32.00
Buy / Ticket: https://bit.ly/2FQBM7P
Web: http://pica.org.au/show/polar-force/
: https://www.facebook.com/events/696520840748386/
: http://bogongsound.com.au/
: https://www.facebook.com/bogongsound/
Image: Bryony Jackson
Polar Force by Speak Percussion
After a sold-out premiere season at Arts Centre Melbourne, Polar Force has travelled to Perth. Presented by PICA - Perth Institute of Contemporary Arts and Tura New Music in Fringe World Festival, the season runs until January 24.
Polar Force evokes the beauty and infinite complexity of Antarctica through an immersive and multi-sensorial performance work presented in an inflatable performance space. Imagine being on the Antarctic ice shelf, housed inside a temporary shelter where you are intimately observing aural experiments using the raw polar energies collected from outside. In an investigation of extreme wind and ice, pristine Antarctic field recordings combine with live industrial percussion to envelope the audience in a visceral performance work.
Polar Force emerged from a conversation Philip Samartzis and Eugene Ughetti had in 2015 about the musical nature of the Antarctic soundscape. During his first trip to the ice, Samartzis noticed that the built environment of Davis Station often sounded like a monumental piece of 20th century avant-garde music due to structural stress and fatigue caused by the extreme conditions. For his second trip in 2016, Samartzis strategically applied his recording technology as if his subject matter was Speak Percussion, focusing on the acoustic, material and spatial characteristics of Casey Station as it responded to the withering effects of cold, and the powerful forces of katabatic wind. His intention was to blur the relationship between the performed and the recorded to afford immersive, visceral experiences of the Antarctic continent through the aperture of a remote research station.
Expanding on Samartzis's work presented in Polar Force is the Bogong Centre for Sound Culture [B-CSC] winter masterclass titled The Art of Field Recording, which focuses on deep field sound recording techniques in cold climates. The masterclass will draw on the ground breaking work of Douglas Quin and Philip Samartzis who will draw on the work they have produced in the Arctic and Antarctic to demonstrate technical and creative processes used to register and exhibit the transformative effects of extreme climates.
For more information about the mastercalass go to http://bogongsound.com.au/projects/winter-masterclass-2019
The Art of Demolition
Have you ever wondered what it would be like to step inside an artist's mind to witness the creative result of transforming the insides of a building into a series of site-specific sculptures and art installations? @BallaratFoto #BallaratFoto
Call for entries: Footscray Art Prize
The biennial Footscray Art Prize is now open for entries, giving artists from across Australia the opportunity to showcase their art in the thriving creative hub of Footscray, and share in $17,500 worth of prizes.

redpajama_set_name: RedPajamaCommonCrawl


text:
Model Interviews
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Where to find DA MAN magazine
DA MAN Magazine - Make Your Own Style! > Celebrities > Exclusive Feature: Will Yun Lee
Exclusive Feature: Will Yun Lee
WAY OF THE WARRIOR. Will Yun Lee takes on The Wolverine this summer, playing one of the superhero's greatest foes, the Silver Samurai. The accomplished actor and martial artist, who was once named "One of the Sexiest Men Alive" talks to DA MAN about getting ready to fight, the challenges and opportunities for Asians in Hollywood, and his next big challenge, fatherhood
Suit, shirt, and tie by Prada, belt by Michael Kors
Growing up as the son of a taekwondo grandmaster, Will Yun Lee has been learning to fight since a very young age. As an accomplished martial arts competitor, he earned an athletic scholarship to the University of California at Berkley and fought on their championship taekwondo team. It was also around that time that he caught the acting bug and decided to move to LA to pursue his career. He soon starting doing guest star roles on shows such as Profiler and VIP before landing regular gigs on Witchblade, Bionic Woman and Hawaii Five-0. He has also been in a number of notable films, including Die Another Day, Total Recall and Red Dawn. This summer, he takes on one of his big role's ever opposite Hugh Jackman in The Wolverine, a sure-to-be summer blockbuster in which he plays one of the clawed Canadian's most iconic enemies, the Silver Samurai.
DA MAN: You've played a lot of villains in your career, but you've said you always try to find some way to humanize them. Without giving away too much, would you say the Silver Samurai has a pretty good reason for wanting to kill Logan?
Will Yun Lee: Without giving too much away, all I can say about the character I play (Harada) is that he is involved in some complex relationships that put a lot of weight on his mission, sense of honor and morality.
DA MAN: Can you give us some idea how much work goes into filming a big fight scene in a movie like The Wolverine, in terms of the hours spent training, working out the choreography, filming it etc?
Will Lee: Having known 87eleven, the fight design team behind The Wolverine for several years, I have come to appreciate and respect all the work that goes into their craft. They do most of the heavy lifting, in terms of designing the fight, telling a story within the choreography, and keeping actors safe. When it's time for actors to come into the process, they create the optimal environment to learn and execute the fight. With The Wolverine specifically, they designed some spectacular fights…one of my favorites was Hugh Jackman fighting ninjas on motorcycles.
In terms of myself and training…. The Wolverine was definitely challenging because in practice 87eleven made me stick to a very traditional Japanese style of fighting stances and weapons work…I felt like I was back with my father hitting me with his bamboo sword when I would do something wrong (half kidding… but not really). All I know, is that I was sore almost every day prepping the action of this movie.
DA MAN: Your father is a taekwondo grandmaster and you've been training in martial arts since you were three years old. When you were young, did you see yourself following in his footsteps, or did you already have some inkling of wanting to be an actor?
Will Lee: Growing up, my father would drill into me that I would become a doctor or lawyer. It was funny because, number one, I was not book smart (horrible at math) and number two, when I would test for my next taekwondo belt under my dad, I was the only student not allowed to break boards or bricks with my hands because my father was 100% convinced I was going to medical school…he couldn't have been more wrong…sorry, Dad.
Suit and shirt by Prada, tie by Burberry London, belt by Calvin Klein Collection
DA MAN: What did your parents think of your decision to become an actor at the time, and how do they feel about it now?
Will Lee: At the time, my parents could not understand why I was packing up and moving to LA to become an actor. I think they were worried about me and thought I lost my mind… but now they are happy I pursued my passion even though I still haven't "retired" them with a new house and car like I promised them 14 years ago yelling out my jeep as I drove off to LA…. I promise I am still working my butt off to make good on the promise!
DA MAN: You said that you avoided taking on martial arts roles early in your acting career because you wanted to at least earn your "yellow belt in acting" first. What acting "belt" are you now, and which movie or TV show do you think best shows off those chops?
Will Lee: I still feel like I'm a beginner in so many ways…especially when working with people like Hugh Jackman and Hiro Sanada, but maybe all these years just make me feel like a confident beginner. It's hard to say which movie or TV show gives the best glimpse into my work…but I think I am most fulfilled after doing indie films with passionate directors because there is nothing like giving everything you got when the movie has no money, no trailer but a damn good script!
DA MAN: You've talked about the difficulties of being an Asian actor in Hollywood. Are there certain roles you chose to avoid or had to turn down because you felt it could be harmful to the image of Asians or Asian-Americans?
Will Lee: I think being an actor is hard enough itself…and being Asian American doesn't make it any easier, that's for sure. "Turning down" roles is a fine line for an actor, because what doesn't work for someone might turn into something special for someone else. I remember when NBC's Heroes was auditioning and I saw the audition scene for the character that eventually went to Masi Oka. I couldn't see it in my head and really couldn't see how to execute the character in the audition. Then I saw the show, and thought that Masi Oka did something very special with that character and contributed the progress of Asian actors in Hollywood with that role.
I know amongst the Asian American community, a big topic is "does the character have an accent or not?" When I first came to LA, I remember turning down every audition with characters with accents. Over the years, I realized that people like my parents (who have accents) have the richest stories and who was I as an "actor" to judge whether my accent was better than someone else's or that someone's story was better because of the way they "sounded". Someone once told me that Caucasian actors are rewarded and praised when they can do an American, British, Scottish accent, but if you are Asian, you should "just be able to do them all"…that's frustrating.
Sweater by Prada
DA MAN: You've also got a recurring role on Hawaii 5-0. What's your favorite part about working on that show?
Will Lee: My favorite part of Hawaii 5-0 are the people there…they truly make you feel at home there. I think the other part I enjoy is that I get to play a character with so few boundaries and he has a lot to play with in terms of humor. I learn my lines, head to set and then have no idea what is going to come out from take to take…that's fun.
DA MAN: You've done quite a bit of voiceover roles in video games, including playing the main character in the hit game Sleeping Dogs. As an actor, do you approach voiceover work in the same way as film, or is it a different process?
Will Lee: Sleeping Dogs was truly one of my favorite experiences as an actor. I love that many games now are made like movies, when it comes to creating the narrative of the game. I treated Sleeping Dogs like every TV show or movie I've done in terms of homework and preparation. It doesn't hurt that you know going into work, that I would be acting opposite Emma Stone or Tom Wilkinson's video game character. Pretty cool.
DA MAN: You were named one of the "Most Beautiful People in the World" and as one of the "Sexiest Men Alive." What did it mean to you personally to receive that kind of recognition?
Will Lee: My friends always joke that they must have run out of options that day. And my mom would say that I look like I haven't been eating enough… comments like that are priceless.
Shirt by Burberry London, pants and belt by Calvin Klein Collection
DA MAN: What is your workout regimen like when you are not training for a specific role? Do you find you have to work out a lot harder now that you are older?
Will Lee: Being far from my "competition" days of taekwondo, I have to work a lot harder, stretch a lot longer and do a lot more core training so that I don't get hurt. I still put in 5 day weeks, whether it's lifting, sparring or bag work. My training is one of my few places I get to re-center and re-focus in this crazy town.
DA MAN: You are getting ready to celebrate the birth of your first child. How prepared do you feel to be a dad? What was the best piece of advice your father ever gave you?
Will Lee: Definitely excited on the birth of my first child. I have no idea what awaits me. I can only hope that I am half the father my dad was to me. It isn't so much the "advice" my dad has given me, but more of watching him over the years of who he "is" and how he "acts" that has given me my life's best lessons in trying to be a good person. Hopefully I can measure up.
Photography: Mitchell Nguyen McCormack
Styling: Juliet Vo
TAGGED IN: Burberry London, Calvin Klein Collection, celebrity, Die Another Day, Hollywood, interview, juliet vo, Michael Kors, Mitchell Nguyen McCormack, Prada, The Silver Samurai, Will Yun Lee, Wolverine
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Greek mathematician, physicist, astronomer, engineer and general all-round inventor.
Perfected the method of exhaustion.
Considered by many (with some justification) to be the greatest mathematician, inventor and physicist of the ancient world.
He was killed trying to surrender to the Romans, and a soldier killed him to plunder his mathematical instruments, which the soldier thought were valuable.
Results named for Archimedes of Syracuse can be found here.
Definitions of concepts named for Archimedes of Syracuse can be found here.
Give me a place to stand on, and I can move the earth.
I do not want to be thought to have uttered vain words, but equally because I am persuaded that it will be of no little service to mathematics; for I apprehend that some, either of my contemporaries or of my successors, will, by means of the method when once established, be able to discover other theorems in addition, which have not yet occurred to me.
From this day forth Archimedes is to be believed in everything he says.
The death of Archimedes at the hands of a Roman soldier is symbolic of a world change of the first magnitude. The Romans were a great race, but they were cursed by the sterility which waits upon practicality. They were not dreamers enough to arrive at new points of view, which could give more fundamental control over the forces of nature. No Roman lost his life because he was absorbed in the contemplation of a mathematical diagram.
The treatises are, without exception, monuments of mathematical exposition; the gradual revelation of the plan of attack, the masterly ordering of the propositions, the stern elimination of everything not immediately relevant to the purpose, the finish of the whole, are so impressive in their perfection as to create a feeling akin to awe in the mind of the reader. ... There is at the same time a certain mystery veiling the way in which he arrived at his results. For it is clear that they were not discovered by the steps which lead up to them in the finished treatises.
... only praise is due Archimedes for not appreciating the old-maidishness of Plato's rigidly corseted description of what the muse of geometry should be.
Archimedes has been given a number of soubriquets throughout the ages, for example: the old man, the wise one, the master, the great geometer.


John Augustin Daly, playwright and for three decades one of America's foremost theatrical producers and managers, was born in Plymouth, N.C. His father, Captain Denis Daly, in the shipping and lumber business, was born in Ireland and later sought his fortune trading along the American coast and in the West Indies. It was there he met Elizabeth Duffey, daughter of Englishman Lieutenant John Duffey. After a voyage north, they were married in New York in 1834 and eventually came to North Carolina from Norfolk, Va., in 1838. Their oldest child, Catherine, died young. After the captain died in 1841 in Ocracoke from a fever contracted at sea, the widow moved with sons Augustin and Joseph Francis (1840–1916) to Norfolk and then in 1849 to New York. There, with little formal education, Joseph rose from office boy to managing clerk and to successor in an outstanding law firm, served as justice on various benches, including the New York Supreme Court, then returned to law and literature as his brother's very active collaborator and biographer.
Augustin, too, had brief formal schooling; he entered the mercantile business as a clerk, went to night school, and chased the star glimpsed early when as a child he went to the Avon Theater and produced plays in a wood house in Norfolk. He joined New York amateur dramatic societies, such as the Murdock, Burton, and John R. Scott associations, but from the beginning it was clear that he had no interest in, nor aptitude for, acting. He was manager-director born, which the rapidity of his rise and the respect of his peers proved.
Between 1854 and 1858, Daly wrote at least four plays. In 1856 he began his career as manager by hiring a hall and offering without financial backing a variety of productions, and in 1859 he became the drama critic for the New York Sunday Courier. At one point during the eight years he held the latter post, he was also drama critic for four other newspapers—the Express, Sun, Times, and Weekly Citizen. He gradually resigned these jobs as he became more involved in the theater itself. His first great success was Leah, the Forsaken, an adaptation of a German play, first performed in Boston in December 1862 (and in New York in January 1863), with Kate Bateman as the Jewess. From that moment until his death, the art of theater was his passion.
Although the late nineteenth-century theater is often dismissed as melodramatic and imported fare, Arthur Hobson Quinn says that "Modern American drama begins with Augustin Daly." It is not simply that he wrote or adapted more than ninety plays for the stage which earns that accolade. He managed theaters—at one point three concurrently. On 17 Sept. 1879 the splendid Daly's Theater at Broadway and Thirtieth opened and for twenty years housed Daly's company, called by one contemporary "Maison de Molière." Daly gathered into a true stock company some of the finest actors and actresses of the day, among them Fanny Davenport, Sara Jewett, John Drew, James Lewis, Otis Skinner, Edwin Booth, Mrs. Gilbert, and especially Ada Rehan. Many he introduced to the American stage, and he provided training and opportunities for countless careers. He elevated the tone of the theater by exacting strict standards of artistic excellence and of discipline on and off stage.
Daly encouraged American playwrights by producing their plays and calling in print and correspondence for even better plays; of Bronson Howard's first four plays, Daly produced three—Saratoga (1870), Diamonds (1872), and Moorcraft (1874). He also encouraged contemporary literary figures such as Bret Harte, Mark Twain, Howells, and James to write plays for production. Daly's own plays broke new ground. Among the best or most influential were Under the Gaslight (1867), a "realistic" melodrama that provided the imitated last-minute rescue from the railroad track; Horizon (1871), an innovative western drama; and Divorce (1871) and Pique (1875), domestic dramas of manners. Adaptations were his forte, especially from French and German plays, from fiction, and even from poetry. Popular among theatergoers were Frou-Frou (1870) and The Lottery of Love (1888) from French; Needles and Pins (1880), The Passing Regiment (1881), and Seven-Twenty-Eight (1883) from German; Griffith Gaunt (1866), Pickwick Papers (1868), and Man and Wife (1870) from fiction; and Daly's version of The Foresters (1891) by Tennyson, who requested that Ada Rehan play Maid Marian. Particularly fine were Daly's productions of Shakespeare and English comedy, as well as classical and modern English plays.
Daly was the first to take an American company on successful tours to England, Germany, and France, or to establish a theater abroad—Daly's Theatre, which opened in Leicester Square on 12 Mar. 1893, with a cast of sixty-one and Ada Rehan as Katharina in The Taming of the Shrew and to an ode of welcome written by Daly's English counterpart, Sir Henry Irving.
On 9 Jan. 1869 Daly married Mary Duff, daughter of theater proprietor John A. Duff. They lived most of their lives at 214 West Twenty-fifth Street where their two sons, Leonard and Francis Augustin (Austin), were born in 1870 and 1873; both children died of diphtheria on 5 Jan. 1885. Apparently weakened by pneumonia on the voyage from America to England during a business trip, Daly died at the Hotel Continental in Paris with his wife and Ada Rehan at his side. Daly was a Roman Catholic and member of the Catholic Club. His funeral was at St. Patrick's Cathedral on 19 June 1899, and he was buried in the Daly Vault, Calvary Cemetery, New York.
Daly's nondramatic writing includes "The American Dramatist," North American Review (May 1886); "American Playwrights on the American Drama," Harper's Weekly, 2 Feb. 1889; and Woofington, a Tribute to the Actress and the Woman (1888, 2nd ed. 1890).
W. W. Austin and Matthew White, Jr., "A Famous American Manager: The Late Augustin Daly, His Position," Munsey's Magazine (August 1899).
A. I. duP. Coleman, "Augustin Daly: An Appreciation," The Critic (August 1899).
Francis Daly, The Life of Augustin Daly (1917).
E. A. Dithmar, Memories of Daly's Theaters (1896), Memories of One Theater with Passing Recollections of Many Others (1891).
Marvin Felheim, "The Career of Augustin Daly" (Ph.D. diss., Harvard, 1948), The Theater of Augustin Daly: An Account of the Late Nineteenth Century American Stage (1956).
D. Forbes-Winslow, Daly's: The Biography of a Theatre (1944).
John P. Jackson, "New York's 'Maison de Molière,'" The Curio (January–February 1888).
Gustav Kobbé, "Augustin Daly and His Life-Work," Century Magazine (August 1899).
New York Times, 8, 9, 11, 17, 18, 19, 20 June 1899.
New York Times Illustrated Magazine, 18 June 1899.
Arthur Hobson Quinn, A History of the American Drama (1964).
Adelaide Louise Samson, "Augustine Daly: America's Foremost Play Producer," Metropolitan Magazine (August 1898).
Ernest Short and Arthur Compton-Rickett, Ring Up the Curtain (1938).
J. Rankin Towse and George Parsons Lathrop, "An American School of Dramatic Art," Century Magazine (June 1898).
Deshler Welch, "Augustin Daly—Dramatic Dictator," The Booklovers Magazine (April 1904).
Daly, Augustin. Leah, the forsaken; A play, in five acts. London, S. French. 1862. http://archive.org/details/cu31924022007854 (accessed May 2, 2013).
Daly, Joseph Francis. The life of Augustin Daly. New York : The Macmillan Co. 1917. http://archive.org/details/lifeofaugustinda00daly (accessed May 2, 2013).
"Augustin Daly." N.C. Highway Historical Marker B-13, N.C. Office of Archives & History. http://www.ncmarkers.com/Markers.aspx?sp=Markers&k=Markers&sv=B-13 (accessed May 2, 2013).


text:
/* Apache UIMA v3 - First created by JCasGen Wed Apr 17 13:42:16 BST 2019 */

package uk.gov.dstl.baleen.types.structure;

import org.apache.uima.cas.impl.CASImpl;
import org.apache.uima.cas.impl.TypeImpl;
import org.apache.uima.jcas.JCas;
import org.apache.uima.jcas.JCasRegistry;

/**
 * An item of an definition list which holds the description (eg expansion of an abbreviation).
 * Updated by JCasGen Wed Apr 17 13:42:16 BST 2019 XML source: types/structure_type_system.xml
 *
 * @generated
 */
public class DefinitionDescription extends Structure {

  /**
   * @generated
   * @ordered
   */
  @SuppressWarnings("hiding")
  public static final String _TypeName = "uk.gov.dstl.baleen.types.structure.DefinitionDescription";

  /**
   * @generated
   * @ordered
   */
  @SuppressWarnings("hiding")
  public static final int typeIndexID = JCasRegistry.register(DefinitionDescription.class);
  /**
   * @generated
   * @ordered
   */
  @SuppressWarnings("hiding")
  public static final int type = typeIndexID;
  /**
   * @generated
   * @return index of the type
   */
  @Override
  public int getTypeIndexID() {
    return typeIndexID;
  }

  /* *******************
   *   Feature Offsets *
   * *******************/

  /* Feature Adjusted Offsets */

  /**
   * Never called. Disable default constructor
   *
   * @generated
   */
  protected DefinitionDescription() {
    /* intentionally empty block */
  }

  /**
   * Internal - constructor used by generator
   *
   * @generated
   * @param casImpl the CAS this Feature Structure belongs to
   * @param type the type of this Feature Structure
   */
  public DefinitionDescription(TypeImpl type, CASImpl casImpl) {
    super(type, casImpl);
    readObject();
  }

  /**
   * @generated
   * @param jcas JCas to which this Feature Structure belongs
   */
  public DefinitionDescription(JCas jcas) {
    super(jcas);
    readObject();
  }

  /**
   * @generated
   * @param jcas JCas to which this Feature Structure belongs
   * @param begin offset to the begin spot in the SofA
   * @param end offset to the end spot in the SofA
   */
  public DefinitionDescription(JCas jcas, int begin, int end) {
    super(jcas);
    setBegin(begin);
    setEnd(end);
    readObject();
  }

  /**
   *
   * <!-- begin-user-doc -->
   * Write your own initialization here
   * <!-- end-user-doc -->
   *
   * @generated modifiable
   */
  private void readObject() {
    /*default - does nothing empty block */
  }
}


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eBiz Answers purely specialises in Oracle ERP and Oracle Fusion however we have partner companies who specialise in other key areas of Oracle.
4apps group can help you perform routine tasks like VAT declaration in a minimum of time and with maximum reliability. With VAT4apps, you gain immediate insight into the entire VAT process and maintain control over and have more time left for those other things you've been meaning to do.
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For more information please submit any questions to our online contact form.
Beezapps Products Ltd are specialists in building bespoke systems for small to medium sized businesses, to help improve the overall efficiency of the day to day running of your company. We use Oracle Apex to build tailor made, cost effective and quick to market solutions, we were awarded Silver Partner status in February 2013 in recognition of our expertise in Oracle Apex. Our solutions are cloud based, can be accessed from any web browser and work on both desktop and mobile devices. Our systems have been proven to increase productivity and as a result improved staff morale and increased revenues.
With a combined 30 years of Oracle experience, Beezapps can supply any type of Oracle resources, with a huge resource pool of some of the best analysts, functional specialists, developers and DBA's, Beezapps can supply all your Oracle needs.
ConfigSnapshot was developed by Rookery Software to enable organisations to execute comprehensive configuration management, analysis, governance, risk and control for their Oracle E-Business Suite systems without complicated, time consuming and expensive implementation costs.
Providing support for over 130 E-Business Suite modules, including functional and technical areas and covering all versions from 11.0.3 through to 12.2, ConfigSnapshot allows organisations to document, compare, analyse, track, plan / migrate E-Business Suite setup. This provides immediate return on investment by helping organisations to reduce time, errors, cost and risk whilst aiding audit, control and compliance throughout the full E-Business Suite life-cycle from implementing or extending applications, to performing support or undertaking patching and upgrades.
For the Oracle user community a key challenge when implementing, up-grading or enhancing an Oracle product is finding a suitable service provider or skilled resource to ensure a successful delivery and user adoption. It is critical to a project's success that the right skills, personalities, product, architectural and process knowledge are available and engaged.
Quite often Oracle's customers have limited resources available to identify experienced, vetted and recommended Service Providers or experts to assist them. To make this process of selection clearer Vertex Fusion has already vetted, referenced and handpicked expert Oracle Partners who believe in putting the customer first at all cost. Therefore, the Vertex Fusion Alliance is a solution that has been "fused" together by Tony Cook and his team by channelling their combined 60+ years Oracle market knowledge into developing niche alliance partnerships with the Oracle experts that our extensive industry knowledge tells us can best assist Oracle customers, no matter what the business need or complex technological challenge.
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Infuse Consulting (Infuse) is a pioneering provider of Quality Assurance and Software Testing. We offer many services spanning the broad envelope of software quality assurance and testing.
Infuse is a global IT services company with offices in the UK and partner delivery capability in Iberia and Latin America and India – meaning we can offer a 24/7 service, with the right approach and right technology, at the right price.
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Arcivate provides consultancy, implementation and support services around Oracle WebCenter and BPM products. The Company is based in Farnham with additional offices in Guildford with an offshore presence in India.
At Arcivate we understand how to manage and merge the structured and unstructured information that runs your business. This information is created by business applications such as Oracle EBS, JDE, PeopleSoft, Seibel and business processes within your Legal, Human Resources, Regulatory, Sales, marketing and Finance organisations.
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Our Company is founded on Oracle technologies. Whether your requirements are Strategic Business Consulting and Implementation, Technical Architecture or Application Support our team can help.
Clckwrk specialise in the deployment and migration of Oracle Enterprise software in the Amazon Web Services Cloud.
When an Oracle project begins there is a need for environments …. developers, testers, business analysts have this requirement and the traditional IT department struggles to respond. By placing the environments in the cloud the project begins more quickly, removes infrastructure risk and delivers business benefit sooner.
FXLoader automates loading currency exchange rates into your Oracle applications.
The Oracle E-Business Suite extension has been used by major international organisations for over 10 years. It is quick and simple to install, then sits in the background keeping your rates up to date.
The Oracle ERP Cloud integration is the first product to be featured on the Oracle Cloud Marketplace for Oracle Financials Cloud. It sits on an Oracle Platform as a Service (PaaS) and sends rates to customers' Oracle ERP Cloud (Fusion) application. It will soon also be able to send rates to JD Edwards and Peoplesoft.
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The 'Key Group' can best be described as a 'boutique' firm: a highly specialised and independent service provider. They focus on activities where Business Control, Information Technology and Indirect Tax come together. Significant amounts of money flow through this sharply delineated part of a company's operations. Their integrated services are aimed at the identification, implementation and enforcement of structural and often large opportunities for improvement within this area. A multidisciplinary partner for results in the short and the long term.


Let's assume that you need to create a health and fitness site. Choose to develop your website with WordPress. There are so many amazing WordPress themes for fitness and health sites available these days. However, you must be very selective when it comes to choosing fitness and health WP themes. In reality, it can be difficult for you to pick a theme that fits your needs and budget. Below, we'll provide you with a collection of amazing WP themes for fitness and health sites. Hopefully, this will help you make the best possible choice fast and easy.
Just imagine how easy it is to develop and customize a fitness and health WordPress site with Fitness Zone theme. It's worth noting that the theme comes with 5 home page layouts, 5 different header designs, 12 easy to change skins, event calendar, workout page, mega menu and a large collection of shortcodes. Actually, the theme has everything that's needed to develop a powerful site for fitness and health business.
Life Fitness is a suitable WordPress theme for different types of fitness and health businesses. In fact, you can use this WP theme to create a website for a gym, a trainer, a yoga studio and a fitness center. You need to know that Life Fitness has plenty room for customization. The theme comes with 3 powerful demos, one click demo install, Visual Composer, premade layouts, premade pages, sliders, unlimited colors, unlimited headers, video backgrounds, multiple portfolio layouts, multiple blog layouts, custom widgets and a large collection of shortcode. You'll be able to integrate your fitness and health site with MailChimp, Contact Form 7 and other solutions.
Meridian Fitness is an extremely popular WordPress theme among yoga studios and fitness centers. The theme itself is fully responsive and SEO friendly. With Meridian Fitness, you'll find it easy to add a blog section to your website. The theme comes with 4 different blog layouts. Plus, you'll get custom widgets (custom Newsletter widget, custom Instagram widget, custom About Me widget as well as widget that makes it possible to show the latest posts above footer). Meridian Fitness allows you to add social media icons to site's header and footer.
Gym X is a flexible and highly customizable WordPress theme for fitness and health sites. The theme makes it possible for you to change almost everything on a website. You'll be able to change colors, typography as well as structure on a website. Gym X comes with unlimited colors, mega menu, Google Fonts, Google Maps integration and many other important features.
Fitness is a fully responsive fitness and health WP theme. That means that your website will look great on all types of desktop and mobile devices. Fitness comes with 6 awesome color styles, powerful mega menu and tons of shortcodes. Fitness makes a difference as a WordPress theme with the modern and trending design. The theme comes with Drag & Drop page builder, so you'll find it easy to customize your website for your needs. You'll be able to add a blog or gallery to your website.
Fitness Club is a highly customizable fitness and health WordPress theme. If you choose to develop your site with Fitness Club, you'll get the following: menus and headers, numerous footer layout options, over 500 Google fonts, events calendar, custom icons and many other great features. So, you'll be able to customize your site's layout fast and easy. This WordPress theme can be used for building sites for different types of fitness and health businesses – yoga studio, fitness center and health clubs.
Gym Edge is a feature-rich WordPress theme for developing fitness and health sites. The theme's key features include 12 home pages, WP logo showcase, Drag & Drop page builder, layer slider, Contact Form 7, powerful admin panel, unlimited color options, over 800 Google fonts, detailed documentation and more. Another important thing that you need to be aware of is that Gym Edge is a search engine friendly WordPress theme. That means that you'll find it easy to do onsite optimization of a website.
Thank you so much for reading this article. We've provided you with amazing health and fitness WordPress themes. Each of these WP themes is fully responsive, highly customizable and SEO friendly. Explore all your options carefully and make the perfect choice! Best of luck!


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JXP Search's Executive Search Division (non legal) assists corporations and government entities with acquiring talent at the executive and management level.
Law firms and corporate legal departments consist of more than attorneys, paralegals and support staff.Today, many law firms use a corporate business model for the management and administration of their firm, implementing a hierarchy of officers, directors and managers. Corporate legal departments have also been charged with much broader responsibilities such as compliance, regulatory, e-discovery, contract management and contract administration. JXP Search Legal Staffing assists clients with their legal executive and management hiring needs and works with legal executive and management candidates seeking career growth opportunities.
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JXP Search's direct hire paralegal and support division recruiters work with clients when they have a specific need or have strategic options they wish to explore. Our recruiters maintain a national network of contacts which they use to identify appropriate candidates for our clients.
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Visit the Movie Wave Store | Movie Wave Home | Reviews by Title | Reviews by Composer | Contact me
A modern classic gets a well-deserved deluxe release
A review by JAMES SOUTHALL
Music composed by
Performed by
THE HOLLYWOOD STUDIO SYMPHONY
led by
CLAYTON HASLOP
THEO LEBOW
ARMIN STEINER
LORI ESCHLER-FRYSTAK
JORDAN CORNGOLD
BENDA HEINS
Album running time
VARESE SARABANDE CD CLUB
VCL 0908 1081
Album cover copyright (c) 2008 Warner Bros. Entertainment Inc.; review copyright (c) 2008 James Southall.
One of the very few science fiction films which has found an audience far wider than the usual demographic, The Matrix was nothing short of a phenomenon upon its 1999 release, seemingly coming from nowhere to take $400m at the worldwide box office. Filmmakers Andy and Larry Wachowski put their hero (Keanu Reeves) into a world much like ours, which turns out to actually be an artificial reality in which humans are playthings controlled by androids. It's a decent film, with a few intelligent twists and turns, and it looks absolutely spectacular - and it sounds even better. If the reputation of the film itself has suffered enormously from its ill-advised, hideously bad sequels, fortunately the same is not true of its score, by Don Davis.
Davis was not particularly well-known at the time he scored this film - he had written numerous scores, but mostly for low-budget, little-seen films and for television - this was by far the biggest thing he had ever done. In every sense. At a time when seemingly every action movie was either scored by Hans Zimmer or someone doing an impression of Hans Zimmer, Davis went completely the opposite direction and instead of composing music which dumbed everything down, composed music which is challenging, enlightening and actually moves film music forward rather than back. While the influences are pretty obvious (from John Adams to Lutoslawski), a few experiments from Elliot Goldenthal aside, postmodern music like this just hadn't been used in film scoring beforehand, which alone would make it one of the landmark scores of modern times - the quality of the final product puts that beyond doubt.
From the now-famous fading brass chords of the opening title through the clustered brass in the action music to the pure human feeling of the sections for boy soprano, Davis doesn't waste a note here, serving up a perfectly-constructed, beautifully-presented feast of a film score. With hints of minimalism and frequent atonality, melody very much takes a back-seat here, but that should never be taken as a sign of the music being unlistenable - quite the reverse, this is rare for largely-dissonant music in that it sounds so organic and natural that it is extremely easy to listen to. The large orchestra is augmented by electronics and occasional choir, and perhaps most notable is the size of the brass section, which is undoubtedly the dominant force - and the action music, which is the most remarkable feature of a score which is not in any way short of remarkable features.
Varese Sarabande released an excellent score album at the time of the film's release, but union restrictions at the time meant it was only 30 minutes long. While that album was very well-done, it could never show just what intelligence went into the creation of this music and how large its scope really is. The same label's CD Club has now released this new 77-minute album - and I can think of few more deserving scores than The Matrix when it comes to expanded releases. From first moment to last, this is mind-bogglingly good, music to be cherished. It's so far ahead of any other action scores which have come since (with the exception of Davis's music for this film's two sequels) I can't believe that his career hasn't taken off more than it has. Apart from those two films, the only other film he has worked on with any degree of high profile was Jurassic Park III - a composer capable of writing music like this deserves as much time in the limelight as possible. I couldn't recommend it more highly.
Main Title / Trinity Infinity (3:52)
Neo on the Edge (3:24)
Unable to Speak (1:14)
Bait and Switch (3:17)
Switched for Life (3:36)
Switched at Birth (2:40)
Switch's Brew (2:25)
Cold Hearted Switch (1:39)
Nascent Nausedus Neo (2:07)
A Morpheus Moment (1:32)
Bow Whisk Orchestra (1:06)
Domo Showdown (1:15)
Switch or Break Show (1:04)
Shake, Borrow, Switch (:35)
Freeze Face (1:50)
Switch Woks Her Boa (2:05)
Switch Out (2:58)
Boon Spoy (1:08)
Oracle Cookies (1:28)
Threat Mix (5:26)
Exit Mr Hat (1:18)
On Your Knees, Switch (4:47)
Miux the Art (1:29)
Whoa, Switch Brokers (4:02)
No More Spoons (1:01)
Dodge This (1:08)
Ontological Shock (3:30)
That's Gotta Hurt (5:18)
Surprise! (4:06)
He's the One Alright (6:48)


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Q: Aerobi Stabilized Oxygen ( Answered, 0 Comments )
Subject: Aerobi Stabilized Oxygen
Asked by: jat-ga
List Price: $25.00 Posted: 21 Jul 2006 16:14 PDT
Looking to find the manufacturer (not distributors) for E.D. Goodloe's
Aerobic Stabilized Oxygen.  Used to be called "Aerobic 07" but there
is now apparently some kind of diffence, there was a falling out, or
something.  Thanks...
Subject: Re: Aerobi Stabilized Oxygen
Answered By: bobbie7-ga on 21 Jul 2006 17:31 PDT
Hello Jat,
The manufacturer of this product  is Aerobic Life Industries Inc.
Private Company,
23025 N 15th Ave. Ste. 106B,
Phoenix AZ 85027,
(623)434-9730,
Updated: 24-FEB-06
Primary SIC: Pharmaceutical Preparations, Primary NAICS:
Pharmaceutical Preparation Manufacturing
Description: Manufacturing: Manufactures organics: stabilized oxygen,
herbal and colon products, aloe vera juices and supplements
http://goliath.ecnext.com/coms2/product-compint-0000273356-page.html
An FDA Enforcement Report states that  Aerobic Life Industries, Inc.,
Phoenix, Arizona,  the manufacturer of Aerobic 07 recalled their
(b) 300X Injectable Concentrated Aerobic 07, in 50 ml and 100 ml
crimped, stoppered glass vials, stabilized oxygen intended to increase
oxygenation of the blood and enhance stamina.
Recall:        #D-135/136-3
CODE:          None
MANUFACTURER:  Aerobic Life Industries, Inc., Phoenix, Arizona.
RECALLED BY:   Manufacturer, by letter January 11, 1993.
Firm-initiated      recall ongoing.
DISTRIBUTION:  Arizona, California, Colorado, Florida, Illinois,
Michigan,  North Carolina, New Mexico, New York, Texas, Utah,
Washington state, Wisconsin.
QUANTITY:      Approximately (a) 174 bottles were distributed; (b) Unknown.
REASON:        Products were marketed without new drug approval.
http://www.fda.gov/bbs/topics/ENFORCE/ENF00206.html
From the United States Patent and Trademark Office:
Serial #: 73782002
Filing Dt: 02/21/1989
Reg #: 1600280
Reg. Dt: 06/12/1990
Registrant: AEROBIC LIFE PRODUCTS, INC.
Mark: AEROBIC 07
http://assignments.uspto.gov/assignments/q?db=tm&qt=sno&reel=&frame=&sno=73782002
Diagnostic  International,  Inc. was originally  incorporated  in
Delaware on August 20, 1990 as Aerobic Life Industries,  Inc.  It
became a public company on September 7, 1990 by merging into West
America Energy, Inc. On October 1, 1994, Aerobic Life Industries,
Inc.  re-domiciled in Nevada. On November 17, 1995,  the  Company
changed  its name to Diagnostic International, Inc. Its principal
place  of  business is located at 23025 N. 15th Ave., Suite  203,
Phoenix, AZ 85027.
The  Company  underwent a reorganization by filing  the  Debtor's
Plan  of Reorganization on October 13, 1997 in the United  States
Bankruptcy Court for the District of Arizona.
The  Company  currently operates under a D/B/A  as  Aerobic  Life
Industries, Inc.
http://sec.edgar-online.com/2002/04/16/0001084178-02-000072/Section2.asp
http://sec.edgar-online.com/2002/04/16/0001084178-02-000072/Section23.asp
Aerobic O7 is a trademark of Aerobic Life Industries, Inc.,
manufactured as a non-toxic bactericide.
http://www.nutrilife.net/aerobico7.htm
Aerobic Life Industries, Inc
Aerobic 07
Aerobic Stabilized Oxygen
I hope the information provided is helpful!
Bobbie7
Clarification of Answer by bobbie7-ga on 21 Jul 2006 17:34 PDT
"Aerobic07 was originally formulated in 1971. This oxygen supplement
is manufactured by Aerobic Life."
http://www.healthtreasures.com/aerobic-07.html


Caroline turned one last week, and we celebrated this weekend with a berry sweet strawberry themed birthday party! It's so hard to believe that my little baby girl is already ONE. My goodness, time needs to slow down.
I'll have a source list at the end of this post in case you are looking for any of these strawberry themed birthday decorations.
I setup a little gift table in front of the fireplace, and decorated it with strawberries and flowers.
I scored that sweet little green chair from a friend of a friend for just $15.00! I used it for her birthday invitation photo shoot, which turned out perfectly for the party theme.
I have a feeling we will be seeing lots more of the green chair in the future.
The adult's cake was from a local bakery that makes THE best strawberry cakes in the wide world.
I added the little tissue poms and two strawberry suckers along with the birthday candle to decorate it.
My friend Jocie over at One Project Closer made THE cutest watercolor sketches for Caroline's birthday and sent them to me. I SQUEEEED when I first saw this pic on Jocie's facebook page, and I knew I needed these for her party. I asked her for a printable but she sent me the whole-shebang! I love Jocie so much.
How awesome is that? For real, THANK YOU, Jocie, for loving on my baby girl and sending her these perfect little watercolor paintings.
I hung them all around the room as part of the decorations. She even made me one that says "Sweet Caroline". Oh how I love it.
Instead of going all out with decor, I went to Costco and scored these bunches of pink gladiolas and hydrangea for just $8 a bunch. I wanted to keep it simple, and these pretty pink flowers packed a perfect punch.
I totally just busted out in rhyme right there. Sorry about that.
A strawberry piñata in an old enamelware bucket made for quick and easy decorating. This is like the epitome of the K.I.S.S. method right here.
For kid-friendly party favors I put animal crackers and dried strawberries inside these cute strawberry favor bags.
We also had a bouquet of strawberry suckers in a watering can for the kids to take home.
I found these watercolor strawberry paper plates on a website, and I spent WAY too much money on them, but they were so cute. I heart these.
And the rest of the decor consisted of a few tissue paper strawberries and a little garland. That's it! Super easy and fun.
The only decoration Caroline was interested in were the balloons. Here she is showing her great-granny how they bounce together. The menu was super simple, too. Most of it came from Costco! Chicken salad on croissants, Caesar salad, spinach dip, veggie tray, mixed berries and fresh whipped cream, coffee cakes and a strawberry shortcake that I made in place of a smash cake.
This strawberry shortcake was almost as good as the store-bought one. Almost. I made a plain old Betty Crocker vanilla cake mix with fresh whipped cream and strawberries. It was easy peasy.
Since the window of opportunity for a happy one-year-old between naps is mighty slim, the party went pretty fast. First lunch, then gifts, then cake smash. She had almost zero interest in opening gifts, but she did like posing in her little chair and crossing her ankles like a proper little lady. This girl, I swear she is not my kid. I have never been accused of being a proper little lady, but somehow I managed to give birth to one. Praise Jesus.
Garrett was more than happy to help his baby sister open all of her presents, though.
She ran around in circles while he ripped into the gifts.
And finally, the grand finale was the cake smash! I made the strawberry shortcake with a removable top layer so she could go to town on it.
We kept waiting and waiting for the big SMASH, but she just kinda nibbled daintily at it like the proper little lady that she is.
Finally she got in there and devoured some of the whipped cream.
But this was about as messy as she got during the entire cake smash. Unlike her big brother, who took his entire first birthday cake and shoved the whole thing in his face. I learned my lesson on having a first birthday party with greasy cake icing and went with whipped cream for her instead. I highly recommend the strawberry shortcake smash method!
Way less mess to wipe up.
After that, it was bath time and nap time for this sweet girl. Then, we all ate cake and told stories and had a great afternoon together with our families.
I'm so thankful for my sweet baby to give us one final reason to smash cakes around here. Happy birthday, Sweet Caroline!
What a precious party and Caroline is adorable!
Wow, that year went so fast! She is absolutely beautiful and you are so talented!
……good times never seemed so good. Cutest little berry picker I've ever seen.
She is the cutest little strawberry I've ever seen.
I am thinking about this theme for my daughter's birthday in July! Where did you get that adorable dress for your daughter? I love it!
Thanks! I got it at Target last year.


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My Name Is Lucy Barton Recorded by Laura Linney as an Audiobook
by Andy Lefkowitz • Jan 10, 2020
(Photo: Emilio Madrid for Broadway.com)
The new play My Name Is Lucy Barton, based on Elizabeth Strout's bestselling novel, has been recorded as an audiobook by Tony nominee Laura Linney, headliner of the current Broadway production. The audiobook will be released on February 4 by Penguin Random House Audio, which is a co-producer on the play.
Currently in previews at Manhattan Theatre Club's Samuel J. Friedman Theatre, the solo play, adapted by Rona Munro, follows the title character, who, unsteady after an operation, awakens to find her mother sitting at the foot of her bed. She hasn't seen her in years, and her visit brings Lucy back to her desperate rural childhood and her escape to New York. As she begins to find herself as a writer, she is still gripped by the urgent complexities of family life.
My Name Is Lucy Barton will officially open on January 15 and continue for a limited engagement through March 1.
My Name Is Lucy Barton
This production ended its run on March 1, 2020
Star Files
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What To Do (Without Broadway!): A Day-to-Day Schedule
Find Tickets by Date
Ticketing License
© 2021 Broadway.com
BROADWAY SHOWS SUSPENDED THROUGH MAY 30th. READ UPDATE


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Does Your Kink Affect Your Vote?
A new book explores the broader issues behind our political beliefs, including a survey into British people's perceptions about sex and politics. Apparently Ukippers are into dildos and Labour supporters like to experiment.
af Georgia Rose
Illustration by Chris Harward
If you're really into butt stuff, does that mean you're more likely to vote UKIP? How about if you'll vote Labour till you die? Does that mean you're more likely to love nipple clamps?
Phil Cowley and Rob Ford's new book Sex, Lies and the Ballot Box pulls together different experts in political research to discuss the broader issues surrounding our vote, including the British public's perceptions about sex and politics.
Joe Twyman, head of political and social research at YouGov and Bernadeta Wilk conducted a number of surveys asking a nationally representative sample of British adults about their views on the sexual behaviour of "normal" Brits, specific party supporters, and lastly their own.
The results found that Labour supporters are expected to be the best in bed; the public believe them to be "confident" and "long lasting", if a little "rough" at times. Labour activists themselves boast their bedroom antics to be "exciting", "varied" and "experimental".
UKIP are slightly less self-assured, admitting that they are "lazy" in bed and less likely to be exciting, although they go mad for a dildo.
While public opinion is that Lib Dems would be "boring", "submissive" and "gentle", the survey shows that they're relatively, well, liberal; "erotic massages", "orgies" and "sex with transexuals" all came out top on the Lib Dem list.
Although Conservatives say they have more frequent sex than most, they seem to be all quantity over quality. Consistently conventional, Conservative supporters say they have less imagination than the average Brit and are less likely to fantasise or take part in anything kinky.
So what do all these things reveal about the population and their relationship to politics? I went to YouGov's offices to chat to Joe Twyman about his findings.
Data from Sex, Lies and the Ballot Box
VICE: Why did you want to look into the relationship between sex and politics?
 Joe Twyman: Well, they're my two great loves and interests. I was interested as to how they interrelated and whether you could predict someone's voting intention by their sexual fantasies. So if somebody said, "I fantasise about this", could you then say, "right well there's a significantly increased chance that therefore you are Conservative"?
What did you find in your results about party supporters sex lives? UKIP supporters said their sex lives aren't great, right?
 We've already received a complaint letter from a UKIP supporter saying "there's nothing wrong with my sex life and you described it as unfulfilled", and we had to write back and say, "actually, no it was UKIP supporters who described it as unfulfilled". [Fantasy-wise] UKIP's all about the dildos, whereas Conservatives were into sex with a sports star - and that was their only fantasy. The fact that Conservative's fantasies are so few is interesting when contrasted with Labour and Lib Dems, who are racking them off: spanking, bondage, sex with a transexual, wearing sexy outfits, all sorts.
So what do you think this can tell us about politics?
 Actually not much. Sexual preferences and behaviours generally provide a very weak explanation for somebody's politics, except in the case of [having had] sex with an MP, in which case there is a significantly increased chance the person is a Conservative - but even then that may simply be a reflection of the current Conservative MPs.
So what can we learn from your survey?
 85 percent of the population supports a party, yet when you ask the public what they think about the sex lives of party supporters, the general reaction is that party partisans are deeply unusual by most measures compared to the "typical" Briton.
So we think people who support parties are weird?
 Let me turn it round. When you walked into the office, what did you think that I would look like? When most people come here they have a very specific idea of what a political pollster looks like. They think I'm going to turn up in tweed jackets with elbow pads and perhaps questionable personal hygiene. That's the same thing - it's reflective of the fact that the typical British person regards politics and everything that is associated with politics as being weird. They see it as being removed from their life.
This is a real problem. We've seen that there has been a drop off in turn out of elections going all the way back to the early 2000s, which is a huge issue for democracy, because the decisions are being made by people who get 30 or 40 percent of the vote on a 50 to 60 percent turn out. It's a real problem with younger people. Generally speaking, the younger you get, the more removed you are from politics.
Why do you think that is?
 Look at our political class. We have David Cameron and Ed Miliband who entered serious top-level politics in their early 30s. George Osborne was 33 when he became Chancellor of the Exchequer. Is that normal for a 33-year-old? Of course not, and 33-year-olds are not going to look at him and think, "hey, that's a person like me". There's no surprise that there has become a disconnection from the political class. Although this is obviously through the pryzm of a sex survey, I think that is what this is demonstrating.
Your research seems to show that parties can almost become caricatures, with stigmas and stereotypes attached to them. Do you think that ultimately the party's "personality" is more important than the policy?
 Well that's a question that political scientists have wrestled with for some time. Yes in certain cases it can be. The classic example is to look at David Cameron's increasingly desperate attempt to rebrand the Conservative party away from this idea of the "nasty" party. They are seen as aggressive and uncaring as a party by some and then this view is then transposed onto their supporters - even onto their sex lives. Labour on the other hand, are regarded as softer and more gentle so win out for many. Lib Dems are seen as largely ineffectual, both in coalition and in the bedroom.
These perceptions are important because most people don't actually care about specific policies. The two main parties, plus the other parties to a certain extent, are campaigning on essentially the same ideas. The way they go about it is different, but they have the same goal in mind. People don't understand the nuances of the specific policies, so instead it comes down to which party you trust the most to deliver, who will be the most effective in delivering and who will do it in the shortest amount of time. Then it comes down to personalities and party tropes.
@georgia_c_rose
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Tagged:SexPoliticsUnited KingdomConservative PartyUKIPdildostorieslabour partyVice Blogsexual attitudessexual fantasyLiberal Democrats


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If a parent or non-parent carer has not objected within 28 days (or 90 days if the parent or non-parent carer resides overseas in a reciprocating jurisdiction (1.5.1)) of the date they received the Registrar's notice of decision (other than care percentage decisions) they can lodge an objection and an application for an extension of time. If the decision is a care percentage decision for periods after 1 July 2010, different rules apply, see 4.1.8.
CSRC Act section 82, section 83, section 87, section 95B
AAT Act
Applying for an extension of time
If a parent does not lodge an objection within 28 days (or 90 days if the parent resides overseas in a reciprocating jurisdiction), they can apply for an extension of time to lodge their objection (CSRC Act section 82(1)). The application for an extension of time must be made in the manner specified by the Registrar (CSRC Act section 82(3)). The parent must explain why they did not lodge the objection within 28 days (or 90 days if they are a resident in a reciprocating jurisdiction) (CSRC Act section 82(2)). The extension of time application can be made with the objection or after the objection has been lodged.
Making a decision to grant or refuse an application for an extension of time
The Registrar has 60 days (or 90 days if the parent who applied is a resident of a reciprocating jurisdiction) to consider the application and make a decision to grant or refuse it (CSRC Act sections 83(1) and 83(1A)).
The Registrar is deemed to have refused an application for an extension of time if the Registrar fails to make a decision within the prescribed period (CSRC Act section 83(2)). The Registrar will still make a decision on those applications unless the parent applies to the AAT for review of the deemed refusal decision. If the parent has applied for a first review by the AAT, and the Registrar later decides to grant an application for an extension of time, the AAT will treat the application for review as if it were an application for review of the new decision (CSRC Act section 95B) (4.2).
The Registrar will make a decision on an application for an extension of time taking into account that Parliament intended that parents lodge an objection within time. This gives some certainty to parents who organise their arrangements around the Registrar's decisions. In determining whether to grant an extension of time, the Registrar must consider all of the factors listed below.
reasons for delay
the merits of the objection
any prejudice to the other parent
whether the parent rested on their rights, and
prejudice to the general public.
The Registrar will not grant an extension of time simply because a parent has made out any one of the above factors. All factors must be considered and given appropriate weight, with no single factor taken to be conclusive on its own.
The Registrar will consider whether the parent has an acceptable explanation for failing to lodge the objection within the prescribed period. Factors taken into account include issues such as illness, absence from home and any efforts the parent made to lodge the objection within time or as soon as possible outside of the time frame.
Although the reason for delay is important, the Registrar is not required to grant an application for an extension of time despite the parent having an acceptable explanation for their late objection. The Registrar will consider other relevant factors before granting an extension of time.
Merits of the objection
When considering the merits of the objection, the Registrar must decide whether, on face value, the parent has an arguable case. The Registrar will not make any judgment about information and evidence provided by the parent in support of their objection or decide whether the objection is likely to succeed.
Although the merits of an objection are an important consideration, the Registrar will not automatically grant an extension of time in all cases where the objection has merit. In some cases, the delay may be so long that the interests of justice would not be served by changing a decision on objection.
Prejudice to the other parent
The Registrar will consider whether the delay means that it would be difficult for the other parent to provide information relevant to the objection. For example, parents may not have kept receipts for child support payable to the other parent after a non-agency payment has been credited and the period for an objection has expired.
The Registrar will also consider whether the outcome of a successful objection would cause an overpayment or significant arrears of child support. This takes into account the other parent's right to rely on the decision after the period for an objection has expired.
Although the potential prejudice to the other parent is an important consideration, the Registrar will not automatically refuse an extension of time in all cases where the outcome of a successful objection would create an overpayment or arrears.
Parent resting on their rights
The Registrar will consider whether the parent rested on their rights or took action to make the Registrar aware that the decision was being contested. The Registrar will consider the length of the delay and whether any communications between the Registrar and the parent in the period after the decision was made indicate that the parent intended challenging the decision. The Registrar will also take into account whether the parent has raised their concerns in other ways, for example, a complaint to the department or the Ombudsman.
Prejudice to the general public
The Registrar will consider whether granting the request would cause prejudice to the general public.
General public prejudice is where the granting of an extension of time would mean that the applicant is being treated differently from others (i.e. the general public) or that established practices would be disrupted.
Other considerations include any possible effect that any proposed change would have on the child/ren or the other parent's entitlement to an income tested pension, allowance or benefit.
Procedural fairness
If the Registrar is considering granting an extension of time, the other parent of the application will be advised. The Registrar will give them an opportunity to respond to the information that is being taken into account.
The Registrar will not contact the other parent and advise them of the application unless considering granting the application for an extension of time.
Refusing to grant an extension of time
The Registrar must advise the parent who made the application if an extension of time is refused (CSRC Act section 83(3)). The Registrar's written notice must include reasons for the decision and advise the parent they can apply to the AAT for a review if they disagree with the decision (CSRC Act section 83(4)).
Granting an extension of time
If the Registrar decides to grant an extension of time, the same notice requirements apply as for a decision refusing to grant the application (CSRC Act section 83(3) and (4)). The Registrar will also notify the other parent if an extension of time is granted. If the Registrar grants the extension of time, the 60 day (120 days where one of the parents resides overseas in a reciprocating jurisdiction) period for the Registrar to consider the objection starts from the date the extension is granted (CSRC Act sections 83(6), 87(1) and 87(1A)).