text:
package me.zhouzhuo.zzpagerindicatordemo.utils;

import android.annotation.SuppressLint;
import android.content.Context;
import android.content.res.Resources;
import android.os.Build.VERSION;
import android.util.DisplayMetrics;
import android.util.TypedValue;
import android.view.View;
import android.view.View.MeasureSpec;
import android.view.ViewGroup;
import android.view.ViewGroup.MarginLayoutParams;
import android.widget.AbsListView;
import android.widget.GridView;
import android.widget.ListAdapter;
import android.widget.ListView;
import android.widget.TextView;

public class ViewUtil {
    public static final int INVALID = Integer.MIN_VALUE;

    public static void setAbsListViewHeight(AbsListView absListView, int lineNumber, int verticalSpace) {
        int totalHeight = getAbsListViewHeight(absListView, lineNumber, verticalSpace);
        ViewGroup.LayoutParams params = absListView.getLayoutParams();
        params.height = totalHeight;
        ((MarginLayoutParams) params).setMargins(0, 0, 0, 0);
        absListView.setLayoutParams(params);
    }

    public static int getAbsListViewHeight(AbsListView absListView, int lineNumber, int verticalSpace) {
        int totalHeight = 0;
        int w = MeasureSpec.makeMeasureSpec(0, MeasureSpec.UNSPECIFIED);
        int h = MeasureSpec.makeMeasureSpec(0, MeasureSpec.UNSPECIFIED);
        absListView.measure(w, h);
        ListAdapter mListAdapter = absListView.getAdapter();
        if (mListAdapter == null) {
            return totalHeight;
        }
        int count = mListAdapter.getCount();
        if (absListView instanceof ListView) {
            for (int i = 0; i < count; i++) {
                View listItem = mListAdapter.getView(i, null, absListView);
                listItem.measure(w, h);
                totalHeight += listItem.getMeasuredHeight();
            }
            if (count == 0) {
                totalHeight = verticalSpace;
            } else {
                totalHeight = totalHeight + (((ListView) absListView).getDividerHeight() * (count - 1));
            }
        } else if (absListView instanceof GridView) {
            int remain = count % lineNumber;
            if (remain > 0) {
                remain = 1;
            }
            if (mListAdapter.getCount() == 0) {
                totalHeight = verticalSpace;
            } else {
                View listItem = mListAdapter.getView(0, null, absListView);
                listItem.measure(w, h);
                int line = count / lineNumber + remain;
                totalHeight = line * listItem.getMeasuredHeight() + (line - 1) * verticalSpace;
            }
        }
        return totalHeight;
    }

    public static void measureView(View view) {
        ViewGroup.LayoutParams p = view.getLayoutParams();
        if (p == null) {
            p = new ViewGroup.LayoutParams(ViewGroup.LayoutParams.MATCH_PARENT,
                    ViewGroup.LayoutParams.WRAP_CONTENT);
        }
        int childWidthSpec = ViewGroup.getChildMeasureSpec(0, 0 + 0, p.width);
        int lpHeight = p.height;
        int childHeightSpec;
        if (lpHeight > 0) {
            childHeightSpec = MeasureSpec.makeMeasureSpec(lpHeight, MeasureSpec.EXACTLY);
        } else {
            childHeightSpec = MeasureSpec.makeMeasureSpec(0, MeasureSpec.UNSPECIFIED);
        }
        view.measure(childWidthSpec, childHeightSpec);
    }

    public static int scaleValue(Context context, float value) {
        DisplayMetrics mDisplayMetrics = getDisplayMetrics(context);
        int width = mDisplayMetrics.widthPixels;
        int height = mDisplayMetrics.heightPixels;
        if (width > height) {
            width = mDisplayMetrics.heightPixels;
            height = mDisplayMetrics.widthPixels;
        }
        if (mDisplayMetrics.scaledDensity >= AppConfig.UI_DENSITY) {
            if (width > AppConfig.UI_WIDTH) {
                value = value * (1.3f - 1.0f / mDisplayMetrics.scaledDensity);
            } else if (width < AppConfig.UI_WIDTH) {
                value = value * (1.0f - 1.0f / mDisplayMetrics.scaledDensity);
            }
        } else {
            float offset = AppConfig.UI_DENSITY - mDisplayMetrics.scaledDensity;
            if (offset > 0.5f) {
                value = value * 0.9f;
            } else {
                value = value * 0.95f;
            }
        }
        return scale(mDisplayMetrics.widthPixels, mDisplayMetrics.heightPixels, value);
    }

    public static DisplayMetrics getDisplayMetrics(Context context) {
        Resources mResources;
        if (context == null) {
            mResources = Resources.getSystem();
        } else {
            mResources = context.getResources();
        }
        DisplayMetrics mDisplayMetrics = mResources.getDisplayMetrics();
        return mDisplayMetrics;
    }

    public static int scaleTextValue(Context context, float value) {
        return scaleValue(context, value);
    }

    public static int scale(int displayWidth, int displayHeight, float pxValue) {
        if (pxValue == 0) {
            return 0;
        }
        float scale = 1;
        try {
            int width = displayWidth;
            int height = displayHeight;
            if (width > height) {
                width = displayHeight;
                height = displayWidth;
            }
            float scaleWidth = (float) width / AppConfig.UI_WIDTH;
            float scaleHeight = (float) height / AppConfig.UI_HEIGHT;
            scale = Math.min(scaleWidth, scaleHeight);
        } catch (Exception e) {
        }
        return Math.round(pxValue * scale + 0.5f);
    }

    public static float applyDimension(int unit, float value, DisplayMetrics metrics) {
        switch (unit) {
            case TypedValue.COMPLEX_UNIT_PX:
                return value;
            case TypedValue.COMPLEX_UNIT_DIP:
                return value * metrics.density;
            case TypedValue.COMPLEX_UNIT_SP:
                return value * metrics.scaledDensity;
            case TypedValue.COMPLEX_UNIT_PT:
                return value * metrics.xdpi * (1.0f / 72);
            case TypedValue.COMPLEX_UNIT_IN:
                return value * metrics.xdpi;
            case TypedValue.COMPLEX_UNIT_MM:
                return value * metrics.xdpi * (1.0f / 25.4f);
        }
        return 0;
    }

    public static void scaleContentView(ViewGroup contentView) {
        ViewUtil.scaleView(contentView);
        if (contentView.getChildCount() > 0) {
            for (int i = 0; i < contentView.getChildCount(); i++) {
                View view = contentView.getChildAt(i);
                if (view instanceof ViewGroup) {
                    scaleContentView((ViewGroup) (view));
                } else {
                    scaleView(contentView.getChildAt(i));
                }
            }
        }
    }

    @SuppressLint("NewApi")
    public static void scaleView(View view) {
        if (view instanceof TextView) {
            TextView textView = (TextView) view;
            setTextSize(textView, textView.getTextSize());
        }
        ViewGroup.LayoutParams params = (ViewGroup.LayoutParams) view.getLayoutParams();
        if (null != params) {
            int width = INVALID;
            int height = INVALID;
            if (params.width != ViewGroup.LayoutParams.WRAP_CONTENT
                    && params.width != ViewGroup.LayoutParams.MATCH_PARENT) {
                width = params.width;
            }
            if (params.height != ViewGroup.LayoutParams.WRAP_CONTENT
                    && params.height != ViewGroup.LayoutParams.MATCH_PARENT) {
                height = params.height;
            }
            setViewSize(view, width, height);
            setPadding(view, view.getPaddingLeft(), view.getPaddingTop(), view.getPaddingRight(), view.getPaddingBottom());
        }
        if (view.getLayoutParams() instanceof MarginLayoutParams) {
            MarginLayoutParams mMarginLayoutParams = (MarginLayoutParams) view.getLayoutParams();
            if (mMarginLayoutParams != null) {
                setMargin(view, mMarginLayoutParams.leftMargin, mMarginLayoutParams.topMargin, mMarginLayoutParams.rightMargin, mMarginLayoutParams.bottomMargin);
            }
        }
        if (VERSION.SDK_INT >= 16) {
            int minWidth = scaleValue(view.getContext(), view.getMinimumWidth());
            int minHeight = scaleValue(view.getContext(), view.getMinimumHeight());
            view.setMinimumWidth(minWidth);
            view.setMinimumHeight(minHeight);
        }
    }

    public static void setTextSize(TextView textView, float sizePixels) {
        float scaledSize = scaleTextValue(textView.getContext(), sizePixels);
        textView.setTextSize(TypedValue.COMPLEX_UNIT_PX, scaledSize);
    }

    public static void setViewSize(View view, int widthPixels, int heightPixels) {
        int scaledWidth = scaleValue(view.getContext(), widthPixels);
        int scaledHeight = scaleValue(view.getContext(), heightPixels);
        ViewGroup.LayoutParams params = view.getLayoutParams();
        if (params == null) {
            return;
        }
        if (widthPixels != INVALID) {
            params.width = scaledWidth;
        }
        if (heightPixels != INVALID && heightPixels != 1) {
            params.height = scaledHeight;
        }
        view.setLayoutParams(params);
    }

    public static void setPadding(View view, int left, int top, int right, int bottom) {
        int scaledLeft = scaleValue(view.getContext(), left);
        int scaledTop = scaleValue(view.getContext(), top);
        int scaledRight = scaleValue(view.getContext(), right);
        int scaledBottom = scaleValue(view.getContext(), bottom);
        view.setPadding(scaledLeft, scaledTop, scaledRight, scaledBottom);
    }

    public static void setMargin(View view, int left, int top, int right, int bottom) {
        int scaledLeft = scaleValue(view.getContext(), left);
        int scaledTop = scaleValue(view.getContext(), top);
        int scaledRight = scaleValue(view.getContext(), right);
        int scaledBottom = scaleValue(view.getContext(), bottom);
        if (view.getLayoutParams() instanceof MarginLayoutParams) {
            MarginLayoutParams mMarginLayoutParams = (MarginLayoutParams) view.getLayoutParams();
            if (mMarginLayoutParams != null) {
                if (left != INVALID) {
                    mMarginLayoutParams.leftMargin = scaledLeft;
                }
                if (right != INVALID) {
                    mMarginLayoutParams.rightMargin = scaledRight;
                }
                if (top != INVALID) {
                    mMarginLayoutParams.topMargin = scaledTop;
                }
                if (bottom != INVALID) {
                    mMarginLayoutParams.bottomMargin = scaledBottom;
                }
                view.setLayoutParams(mMarginLayoutParams);
            }
        }
    }

    public static int getViewMeasuredHeight(View view) {
        calcViewMeasure(view);
        return view.getMeasuredHeight();
    }

    public static int getViewMeasuredWidth(View view) {
        calcViewMeasure(view);
        return view.getMeasuredWidth();
    }

    public static void calcViewMeasure(View view) {
        int width = MeasureSpec.makeMeasureSpec(0, MeasureSpec.UNSPECIFIED);
        int expandSpec = MeasureSpec.makeMeasureSpec(Integer.MAX_VALUE >> 2, MeasureSpec.AT_MOST);
        view.measure(width, expandSpec);
    }

}


text:
www.fedec.eu/en/members/82-national-centre-for-circus-arts---ncca
Members/Full member
National Centre for Circus Arts - NCCA
Formerly Circus Space
National Centre for Circus Arts
The National Centre for Circus Arts involves thousands of people in the creation and performance of circus arts each year. As part of the Conservatoire of Dance and Drama, it offers world-leading artistic and technical development for circus artists.
At the heart of its programme is three years of full-time study in circus: a two-year Foundation Degree course, with the opportunity to apply for a further top-up year to complete a BA (Hons) Degree.
With two large training halls and a range of smaller studios, including acrobatic, aerial, sound and lighting equipment, plus a library, the National Centre for Circus Arts is very well resourced.
It also has strong links with universities, and runs a range of other programmes, including professional support for performers and progressive youth circus training.
Curriculum offered
BTEC in Performing Arts (Circus) (Level 3*): 2 years (more info)
Foundation Degree in Circus Arts (Level 5*): 2 years (more info)
BA (Hons) Degree in Circus Arts (Level 6*): 1 year (more info)
*Level descriptors as per the UK Regulated Qualifications Framework
Applicants to our Higher Education programmes will be required to demonstrate a proficiency in both written and verbal English language, we usually require an IELTS (International English Language Testing System) score of 6.5 or higher from applicants whose first language is not English.
Further and Higher Education programmes
Applications to the Further and Higher Education programmes are assessed by application, interview and audition.
Applicants to the Foundation and BA (Hons) Degrees must be 18 or over on entry and should demonstrate their intent to pursue professional employment in circus arts. Entry to the Foundation Degree is based on physical capability and artistic potential, rather than circus experience. Potential BA (Hons) students should have an appropriate qualification from one of the recognised circus schools listed on the National Centre website.
BETC
The BTEC is aimed at those with some experience in performing arts, although students are accepted on the basis of future potential.
Aerial cradle - Korean cradle
Bascule/Teeterboard/Teeterboard
Equilibristics
Floor acrobatics
German wheel/Cyr wheel
Hand to Hand - Acrobalance
Juggling - Object manipulation
Russian bar
Slackrope
Static trapeze
Swinging trapeze - Cloud swing
CEO: Kate White
Director of Higher Education: Adrian Porter
Director of Training: Glen Stewart
From mid-September to late July.
TEACHING LANGUAGE
English (standard)
Coronet Street,
London, N1 6HD
degrees.admissions@nationalcircus.org.uk
Inside the National Centre for Circus Arts
© Anton Vayvod
National Centre for Circus Arts - © Anton Vayvod

redpajama_set_name: RedPajamaCommonCrawl


PRS and commercial residential developer Red Door Ventures has appointed Patrick Shaw as its new Finance Director.
Jason Regis, the site manager who built Nelson Street Cottages in East Ham, E6, was so impressed by the properties that he moved into one himself.
Read the latest newsletter from Red Door Ventures.


text:
The Red Dress Of Itatí Cantoral Very Flattering For Your Body
Like a true soap opera diva, Itatí Cantoral celebrated her nominations for the TVyNovelas awards with a spectacular red dress
At 45, one of the best actresses on Mexican television is undoubtedly Itatí Cantoral , who has played great roles being an excellent villain, but has also ventured into comedy.
Endowed with great beauty and a spectacular silhouette, Itatí cantoral shows a red dress which is very flattering for all body types since it hides those areas that make women uncomfortable and the color is fascinating.
The red dress is bright with one shoulder, in red and with pleats that come together at the waist and that result in a very flattering visual image, not only does Itatí look good but you will want it in your closet.
It may interest you: Aislinn Derbez faces a painful divorce with a change of look
It was on her Instagram account where she shared this photograph where we see her elegant and even though she was at home she dressed to thank for the nominations in TVyNovelas awards, resulting in an actress in a drama series for her role in Silvia Pinal, in front of you.
Thanks to @benitosantosoficial and all the beautiful people who supported my career !! For you it is the prize. #tvnovelas
A shared publication of Itatí Cantoral (@itatic_oficial) on Oct 31, 2020 at 10:17 am PDT
Itatí received dozens of compliments, thanked all those who have supported his career over the years, and also stated that this spectacular red dress was a design by the talented Mexican Benito Santos who recently dressed Ninel Conde at her wedding.
Also read: Yanet García Has A Love Trip With Her Boyfriend In Turkey
The Mexican and the Güero, is his most recent work on television which has been very well accepted and it was thanks to this that he dressed as a bride again, although the telenovela will just conclude, he showed this look announcing the end of the recordings.
A couple of months ago, the actress suffered one of the most painful losses, her mother died with whom she was very close and more so because she was the smallest of the family, she left because of complications after catching Covid-19.
But this virus also touched her, some infected people appeared on television, she being one of those listed, although it was a topic that they took in a hermetic way, she was asymptomatic but that does not stop worrying too.
"Of course I was very scared, I was very lucky that I am well, that I no longer have the virus. I did not have any complications, because apart from the result, the result was doubted, until it was confirmed, and as thank God I was asymptomatic, then it was more difficult to know, "said Itatí Cantoral.
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In the title to her latest book, To The Dogs, we have classic Gould turning a conditioned phrase on its head, investing us with new, disparate contexts. A series of photos throughout the book further enhances the many spontaneous and unaffected moods of our four legged friends and displays a wide array of vision and perspective. Often deceptively subtle, this is an important book with important messages.
Roberta Gould knows the minutiae of discrepancies and how we interrupt our own joy with preconceived notions, imagined grudges, misplaced assertions. In "Best Friend," the title tells us how she feels about her dog, yet she hesitates to share a piece of her food. Finally relinquishing it and, realizing the irony of the conflict, she states, "I do it grudgingly/confusing myself with the truly hungry." In this simple gesture she questions the meaning of generosity and our perceptions of need and greed. Then in the last line, "gone to the dogs," she re-invests the phrase with homespun, wry humor: we realize this going to the dogs can be a good thing.
In "Scanning" she examines our persistence for inconsequential things and what we miss in those stubborn pursuits. Similarly, in "Compensations," a newly blind person can overlook his disability with the dedication of his guide dog and the beguilement of accepting the help of an 'elegant black woman's arm." There is much that is missed by diversions of the more superficial elements of life, our ego gratifications that allow the reader to ponder the importance of what they may not see. "Stray Dog" emphasizes the narrator's heart-wrenching inability to aid a homeless, starving dog, the helplessness summoned up in the final line: "Doing or not doing won't help." She supplies no remedy, simply acknowledging the stark realities of such situations.
Gould proclaims admiration of her dog outright in the lovely "Epiphany." Reflecting on our misplaced energies, she describes her companion as, "You who harm no one/patient in your infinite love." And remembering the loss of a former dog in "Delilah," she speaks to being challenged "with your persistent nudging and love." She moves through a symphony of sound and visual stimulation that seizes emotions through the simple routines of the animal world and its ability to awaken us to life's treasures. The elementary act of walking with animals, unaffected in the moment of a day, abounds in "Morning Walks." Diverse images jar our senses when "new shoots sprout like dense cathedrals" and subsequently "cognition gives way/to the ground under our feet." This examination of perceptions continues in "Her Cat" where we wonder who is inside looking out and outside looking in? What do we really know in a landscape of change, "this night that begins to start," when we are done with things and doing. Left alone, the poet observes, "The world small as a jail/…the voice of the wind/was enough to assure my silence." These are Gould's "Little Things" that give the feel and ambiance of life as one person, in a view from a city apartment, notices leaking faucets, stray gloves, "No grand scheme." These are the imponderables "of the human heart" as she tells us in "Viet Nam," a poem that questions the survival of a genocidal pilot in the wreckage of war.
In "Valiantly" she again confirms her mastery of the contrasting understatement, comparing such divergent analogies as her aging dog's growing inabilities to the failing health of Saint Therese known as The Little Flower. "Unable to travel far, to Bethlehem, in illness/or the tree a mile away, in her nineteenth year/they affirm life's existence/valiantly." By depicting these dueling images, Gould shows us how to notice life's inherent connections and illusive similarities. Herein resides the very heart of poetry and poetic expression. It engenders true compassion for all life as exemplified further in "Kitchen Moth," whereby she emphasizes our ability for benevolence despite inescapable inevitabilities—the unavoidable losses of a "…spider washed down the drain/or the June bug battered after the rain." Yet she manages to rescue a moth avoiding another "kitchen death." These are small but imminently important actions by which we enhance our humanity in the aggregate.
Gould includes, as an addendum, Lord Byron's poem, "epitaph to a Dog," in which he eloquently lauds his own dog, Boatswain, as purer than people, given our vanities and supposed patents on souls and salvation. This is a fitting inclusion in To The Dogs, verses inscribed on Botswain's tomb being larger than Byron's own, an apt deference that Gould convinces us is entirely just.


text:
Anywhere in Sydney
In Eastern Suburbs
In Greater Western Sydney
In Inner West
In North Shore
In Northern Beaches
In Northern Suburbs
In Southern Sydney
In Sydney CBD
Potts Point Is Getting a New 20-Seater Ramen Bar with an Ex-Rising Sun Chef at the Helm
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Five Top Notch (and Not Boring) Sydney Date Ideas for This Week
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Five Next-Level Operas You Can Catch in Sydney If You're a Bit of a Culture Vulture
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Five Common Beer Myths Busted
All your beery queries, answered.
By Tom Glasson
There are many great evils in this world, be they buses that drive through big puddles, the industrial war complex or that guy who invented that frog ringtone back in the early '00s. But let's be clear: beer — that beautiful, hoppy liquid of gods — isn't one of them.
It's understandable if you're a little bit sceptical though. Recent consumer research has revealed that a whopping 87 percent of Aussies don't actually know what goes into beer, and 73 percent want to know more about what goes into the drink. So what exactly is beer made of? Is it all wheat and sugar? What about preservatives and other ingredients we can't pronounce? There are a lot of persistent (and downright wrong) beer myths floating around giving beer a bad rap, and we're jumping on board to debunk five of the big ones.
MYTH #1: BEER IS FULL OF CARBS
Let's level the playing field. Beer isn't some sort of carb outlier. To put it in perspective a bottle of Little Creatures Original Pilsner has 8.6 grams of carbs, which isn't huge. The reason for the persistent beer = carbs myth is that beer is brewed with starch (i.e. barley or wheat) and sugar, which are both carbohydrates. But when the brewing process begins, the starch actually breaks down into sugar — and once the yeast is added during fermentation, almost all of that sugar is then converted to alcohol and carbon dioxide, thus getting rid of most of the sugar and turning the liquid into beer.
MYTH #2: BEER IS HIGH IN SUGAR
We know what you're thinking: if the beer's 'low carb', they must just add in artificial sweeteners to keep that sweet, nommy aftertaste. Well, you'd be wrong on that one (although, you're not alone — 94 percent of Aussies overestimate the amount of sugar in beer). For example, James Boag's Premium and Hahn SuperDry are both on average 99.9 percent sugar free. The sweetness you taste in some beers — those toasty notes of caramel, chocolate and toffee — is not the result of added sugar, but rather the consequence of the natural malts and hops and the way they're broken down. Add to that the occasional inclusion of fruits in the process like banana, apple, pear and — more recently — adventurous options like coconut (and even bacon), and you begin to understand how and why beer can taste sweet without the addition of sugar.
Nick Graham
MYTH #3: ALL BEERS HAVE ADDED PRESERVATIVES
They don't, and for one very simple reason: beer doesn't need them. First of all, two of beer's key components, hops and alcohol, keep beer more fresh longer — meaning they not only contribute to the flavour of the drink, but also help prolong its overall shelf life. Secondly, the hygienic quality assured by modern brewing methods and packaging systems prevents bacterial contamination and mitigates the need for added preservatives. In short: today's beers — including beers as wide-ranging as James Squire One Fifty Lashes Pale Ale to XXXX Gold — are made exceptionally well and can comfortably look after themselves on the shelves or in your fridge without any additions.
Paweł Kadysz
MYTH #4: BEER NEEDS TO BE ICE-COLD
Beer doesn't always have to be chilled to taste good. While there's probably nothing better than a cold brew on a stinking hot day, a pilsner actually tastes really good when consumed slightly below room temperature. When it's not 'ice cold' it's more aromatic and you'll be able to taste more flavours.
But here's the thing: temperature isn't the drink's number one villain. It's light. Just a few minutes of sunlight can 'skunk' a beer, making its taste go a little off. For that reason, brown bottles are best, as clear or green bottles are less adept at keeping the sun's rays at bay.
MYTH #5: DARK BEER HAS MORE CALORIES THAN LIGHT BEER
A common misconception in the world of beer drinking is that the darker a beer is, the heavier it is — and the more calories it contains. But that's not necessarily a given. The amount of alcohol content is a better indication on the amount of calories it could have, and has no bearing on the hoppy drink's hue. So if you're tossing up between a pale ale or a dark ale on the basis of energy content, don't — they both contain around the same number of calories.
For more details on nutritional information of the beer in the Lion portfolio, watch this video and visit beerthebeautifultruth.com.
Published on July 27, 2016 by Tom Glasson
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Shanghai Precise Industrial Co., Ltd.
Shanghai Precise Industrial Co., Ltd., professional in die-casting, formerly known as Shanghai Dongsheng Casting Co., Ltd., was established in 1993. The company dedicated to the design, development and manufacturing of dies. It specialized in die-casting, precise machining, and surface treatment. The Precise industrial has awarded ISO9001, ISO14001, TS16949, OHSAS18001 certification system. And now it becomes a Certified Die-casting Enterprise and the member of Shanghai Die Casting Association. The company has been successively granted as "One of the Top Ten Private Enterprises in Jinshan" by Local Government; "An Advanced Private Enterprise" by Jinshan industrial Administration; and "A Private Commerce Enterprise in Jinshan". As "East China University of Science & Technology research base", it creates clean working environment, provides precise machinery and equipment , offers outstanding technical team and broad prospects. The professionals supplied by university provide shanghai Precise more opportunities to reserve.
The Shanghai Precise Industrial Co., Ltd. is a professional manufacturer of die-casting for all zinc and aluminum alloy, covering a factory area of 35,000 square meters, equipped with complete molding and machining facilities, such as sixteen 88t-800t cool & hot-cavity die-casting machines. The company is capable to design and develop casting molds for different kinds of castings, according to customers' demands. It makes deep processing, finish machining, vibrating grinding, blasting, plastic spraying, plating and surface polishing. Furthermore, the Precise Industrial insures the quality of products by using the advanced testing equipments such as spectroscopy, X-ray nondestructive testing machine, three meter, tensile testing machine etc.
Nearly 1,000 kinds of products to be made, over 90% exported to Japan, Germany, United Kingdom, France, the United States, and Indonesia, etc. The applications are widely spread in rail transportation, medical equipment, electrical appliances, automobiles, lighting and other industries. To increase the market share in this competitive international environment, the company persists in the tenet of "growing by competition and surpassing by innovation".
By holding the business concept of "Aspiring Faith, Pursuing Excellence", the Shanghai Precise Industrial Co., Ltd is satisfy more domestic and overseas customers' needs with high quality products and superior service.


Max Payne 3 information is finally being released, with some snippets of information now available. Max Payne is now residing in São Paulo, Brazil - balding, hairy and fat. Max has retired from the police department and is now working for politicians and property moguls.
It's reported that Max Payne 3 will feature flashbacks to bridge the gap from the last two Max Payne games. Painkillers are still Max's requirement for health, but the comic book frames are not being featured, in their plac will be "an animated collage of action footage" - but Rockstar still maintains there will be a comic book approach.
MP3 is also meant to not play like a corridor-based shooter, it will instead focus on set pieces, bringing a frantic pace to the action.
Most importantly: Bullet time is still included, along with the bullet-cam providing punctuation for fight sequences and Max's ability to dive out of the way of slo-mo bullet tracers. Max is capable of carrying three weapons at once.
Rockstar's Vancouver-based studio is handling the game, with the same crew who worked on the console ports of the previous two games. Let's hope the game is handled with some superior amounts of finesse as Max was born and bred on PC.


77 The Hill hair salon have a night out for Christmas 2018!
A night out and other news!
As many of you know already, we have welcomed a new staff member into the salon.
Richard has been with us for a couple of weeks now and it already feels like he's been here for ages!
He has had quite a few bookings and is getting busier and busier with the run-up to Christmas. This week we celebrated his arrival with an evening out – a sort of pre-Christmas work do.
A good time was had by all, as you can see from the photos!
An evening out is great for team bonding. It gives everyone a chance to let their hair down a bit and not talk about work – although we often do end up talking about that very subject.
Reflecting on the past year, we have looked at our successes and importantly, where we could do better. 2019 promises to be bigger and better than before, with lots planned for the whole team. We have to keep moving and progressing, which sometimes, can be challenging. Change is inevitable if we are to improve and we are looking forward to our projects for the coming year.
Hannah has had a fantastic year with Schwarzkopf YAT, which will end in January. Her experience has taught her a lot about the hairdressing world as she continues to blossom and grow.
There are some photos of Hannah, doing hair with Tyler Johnston, a big name form Schwarzkopf – for the national hairdressing awards. Hannah had to do models for a catwalk show and assist Tyler during the event. Invaluable experience for her!
If you are looking for any last minute gifts, we have lots of nice goodies in stock, including some lovely products, good quality hairdryers and brushes to suit all hair types and styles.
Why not buy a gift voucher? These can be redeemed any time up to a year after the purchase date. The perfect solution for anyone that is difficult to buy for – everyone needs a haircut at some point!
There are just a few words to say to all of our clients past, present and future.
We would like to express our gratitude to all of you. Thank you for your continued custom and we hope to see you very soon at 77 The Hill.
On stage taking a bow!


text:
Editor's update
Meles Zenawi
Our recent coverage of Ethiopia
by The Economist online
ETHIOPIA'S prime minister, Meles Zenawi, died late on August 20th, following a long illness. After more than two decades in power, he had not been seen in public since mid-June, and uncertainty over his ill-health and possible successor had been causing jitters in the country's ruling circles. Ethiopia boasts one of Africa's fastest-growing non-oil economy, and it has been galloping ahead of late, developing its shipping and making its mark on the shoe industry among others. But the country's human-rights record paints a much grimmer picture—one in which young women are easy prey for human traffickers, and in which a journalist can be jailed for doing his job. As for Ethiopia's neighbours, there are fears that Mr Meles's death could herald further instability for the Horn of Africa region, possibly in Somalia, where Ethiopian troops are battling the al-Qaeda-linked Shabab militia, though more likely in Eritrea, where relations with Ethiopia have long been fraught with tension.
More from Baobab
Closing our Africa blog
A particularly sad farewell to Baobab
South Sudan nearly shoots itself in the foot
All foreigners out! Well, some of you
The Oscar Pistorius verdict
Blade runner, the judge's cut


Businesses, non-profit organizations, government agencies and colleges use this facility for retreats, staff planning sessions and workshops. Surrounded by hardwood forests, the retreat center creates an atmosphere that will enhance your groups' goals and objectives.
McKeever's Retreat Center consists of two houses, each equipped with five (5) semi-private bedrooms. Each bedroom has its own private bathroom. In addition, each house has a living room, meeting room and kitchenette. Houses can be rented individually or together.
Get costs and schedule a retreat!
$41 per person per night with a minimum of five people. Each house accommodates up to 10 individuals (two to a room). Houses can be rented individually or together.


The internet has dramatically changed the transactions between businesses and consumers. Today more information, activities, and services are available to consumers online. This has resulted in many websites being deemed a place of public accommodation, requiring ADA compliance for those with disabilities.