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Assignment: Digital Narrative Final Project
The Digital Narratives Final Project is an opportunity for students to choose a tool, skill, or approach to narrative that they have explored or become curious about through this class. The idea of this project is to use the tools you have learned in the class, to push your own exploration of a narrative idea or concept. While this project is open-ended with regard to the subject matter explored and production techniques employed, students must develop a script or storyboard for their project, and employ high quality production and post-production tools and techniques.
Sunburnt Country
Greatest Film
Terribelle
Supermarket Pregnancy
In mid-2018, 100% of NSW, Australia was declared drought-affected. The price of feeding livestock is becoming unaffordable, rural neighbourhoods are shrinking, mental health concerns among farmers are soaring as the climate is becoming increasingly unpredictable. Sunburnt Country is a virtual reality documentary that explores the damaging impacts of a changing climate through the perspectives of three farmers in rural Australia. This video is a 2-minute clip from the short documentary.
–Dunja Karagic
Suspended Animation is an experimental short exploring loss, an individual's connection to their past and recollection of personal memories. It attempts to capture the idea of the things in life we can't return to.
—Peter Lombardo
Our initial premise was a simple, narrative-driven comedy piece set in a hospital. I produced two scripts based on this concept over the span of four days, and after discussion with Lesha, neither was deemed usable. The gags weren't landing, the characters lacked depth, and overall, they just wouldn't have made for very good films. Scheduling conflicts had prevented us from sitting down and plotting the sketch out together in any real detail before that point, and when we finally were able to meet, we agreed that we would have to have a finished script by the end of the night, no matter what. I lost faith in my ability to write that original concept, and we decided that – for the next two hours – I would write whatever came to mind, whatever might be usable for Lesha as a visual storytelling piece, and which would be fun for both of us to dedicate our remaining week to.
That's how we came up with the first draft of this version of the film – the issue with the first draft of this is that the characters barely had any lines or development, which made the lamp-shading element of the piece come off as forced and gimmicky. Over the next twenty-four hours I spent as much time as I could fleshing out the twisting narrative that formed the bulk of the final piece, which gave us insight into the mind of the narrator by proxy. This draft was also spent trying to incorporate as many interesting visual elements and mix-ups to the dynamic as possible, doing everything I could to fight the impulse to write a static/talking-heads scene.
Greatest Film Script
–Lesha Naresh Mansukhani & Roshan Singh Sambhi
Terribelle Script
-Lesha Naresh Mansukhani, Nicolas Kang, Cora Victoria Europa Ceipek
I read an article awhile back concerning this specific topic, a girl finds out she is pregnant because of a supermarket email and this intrigued me. How could a supermarket know someone is pregnant by just looking at data and not at any hormonal test results? Today technology and online platforms are more and more connected, sharing user data and search requests. This got me to wonder what had led up to the "pregnancy" email. What would someone who is pregnant have done unconsciously to lead an unconscious entity to make such an assumption?
What further inspired me to develop this story with technological means was my general interest in the boundaries of this technique. What could and couldn't I do, and furthermore; what can and can't technology achieve in the context of the plot. Furthermore, there is a lot of talk, online, amongst my friends and peers, about teen and young pregnancies.
Supermarket Pregnancy Script
–Gioia Sofiasole Stefanie Marzano
Games & Animation
Assignment: Create a Game or Animated Narrative
The idea of this project is to use the tools you have learned to push your own exploration of a narrative idea or concept through gaming and animation. You must develop a script and/or storyboard, and employ high quality production and post-production tools and techniques for your project. Consider the role of your audience as you write you scripts and develop the narrative.
Ellie Elephant Rider
Idle Time
Us, Cousins
Ellie is a little girl who is excited to ride a real elephant on her family holiday to Thailand. She drifts off on the plane and has a nightmare about the abuses elephants have to endure for the tourism industry. She wakes up with a changed perspective, and instead visits a wildlife sanctuary where Elephants roam free as animals, not entertainers
— Lauren Da Silva
"Heavy Rain is an interactive story driven game that was inspired by this philosophy of allowing multiple choices without ever feeling as if the player has made the 'wrong' choice. In this game, the player can choose to complete the main quest which is to simply get milk from the supermarket for the character's mother. The only two ways to get a 'Game Over' is refusing to do the main quest, or repeatedly talking to your mother which would hint at your disregard for engaging with the main quest. This was in line with the existentialist thought that the biggest failure one can place upon themselves is the refusal to engage with life and its chaos.
Other than those two ways, there is no way to play the game so wrong that one will result in a game over, or not be able to unlock the final scene. It was also important for me that choices would have impact on other choices such as running away from Cadet Greg would result in him getting fired and when the player calls the police to report Wilson for being a stalker, it would be his superior who answers instead. These moments were important in my game for players to feel that they have a significant impact on the game's outcome."
–Nicolas Kang
"Shower Head" is a short, flipbook-style, animated film that showcases the childlike imagination that is lost as I transition into adulthood and become more involved in the "real world". Often, I feel that the loss of such energy and creativity drains my life of meaning. Through this short film, I try to reconnect with my younger self and explore the colourful, whimsical, ridiculous daydreams."
–Qinyi Teo
For this project, interviews were conducted with people who identified themselves as survivors of sexual violence, and who had voluntarily contacted Sya through an organization she was working with at the time to share their experiences. They were then given the option to opt in or out of their stories also being used in our final project. It was difficult to find a common thread through all the interviews – people experience and respond to sexual violence in very different ways. One thing that stuck out to us was the responses people received when they tried to share their stories with others, and the feeling of helplessness and choice-lessness they sometimes experienced. We thus decided that some kind of interactive experience where the "player" decides whether or not to tell people about their experiences (and eventually is no longer given an option in some cases) would capture what seemed like a significant part of every story that had been shared.
–Syafiqah Nabilah Bte Shamsheralam & Nicolas Kang
Bare is an immersive installation that reproduces feelings of emotional vulnerability in a way that visitors may experience and relate to.
–Anisha Charan
"The concept I wanted to explore was the tension between an interior life of someone and the immediate external environment – how the two spheres relate and react. Integral to my interpretation on the concepts, was a sense of movement connecting each "interior" space that mind absently wander to. I did not want a clear protagonist or main character that is identifiable by the audience. I also wanted to inspire a sense of calmness and awe in the scenery I depict. To create a sense of directed movement without the presence of a narrator, I utilised light emerging from darkness (door opening scene, forest emerging scene), and traces of movement without an actor (footsteps.) Both imageries were established early within he first few scenes.
For the music I created a visual score (as recommended by Prof Chester) and attempted to score the animation according to emotional flavours I wanted the audience to taste at different points in the narrative."
–Numhom Jirasiri T.
My father was born in a small town named Pekan Nanas in Johor Bahru, Malaysia. Pekan Nanas translates to Pineapple Town in English and true to its name, it has a lot of pineapples and pineapple inspired street art. My father is the second son out of a family of three sons and growing up, he had very little in his small kampung home.
Breakfast was usually a bowl of rice with a fried egg on top. If my grandparents had a little more money that week, my father and uncles might see some minced meat. Otherwise, after the small meal, my father would hop on his second-hand bike and go to school.
At school, my father was popular. Athletic, smart and suave, he caught the attention of many and was seen to be destined for great things. However, due to financial problems at home, my father had to work part-time very early on to contribute to his family's income. He worked menial jobs, such as dishwashing and garbage disposal. When he was given a little bit of time to enjoy himself, he would join the other boys in the kampong to catch fighting fish in the nearby stream. Life was not easy but he pushed on.
In secondary school, he met my mother. According to her, my father was her senior and tutored her for a while after their initial meeting. Jokingly, she used to say that his grades for his pre-university examinations suffered because he was besotted with her. Nevertheless, he was accepted by a university in the neighbouring country, Singapore.
However, my grandparents paid little regard to this achievement. University meant fees, and fees meant less money for the family. They discouraged him from going but my father was insistent. He knew that a degree was his gateway to a better life for him and his family. With that in mind, he clocked longer hours in his part-time jobs and was finally able to raise enough money to enroll into university.
At that time, Singapore needed IT engineers for its burgeoning IT sector and knowing that, my father strived for top grades so that he could land a good job after graduation. Things went pretty smoothly from there. He got hired by an IT company after graduation and was awarded Best Employee a few years into the job. Money, for the first time in his life, was in excess. Not only was he able to afford a more comfortable life for himself and his parents, his future plans to have a family were falling into place. Finally, he could give his family something better than what he had experienced in his childhood.
The first few years as a father were trying. My sister and I barely saw him. New demands at work and his workaholic nature translated to higher levels of stress, and there were times when he snapped at us. He would apologise afterwards, and always looked so guilty for losing his temper. My grandfather's death, I believe, was when he seriously contemplated his life trajectory. When I was 15, he decided that he had enough of 1am emergency calls. He left his job and our dual-income family became single-income. My relatives gossiped then, but my mother was supportive of my father's decision to stay at home.
With his new lease on life, my father applied to be a cab driver and as per his studious nature, made sure he knew everything there was to know. He also spent more time exercising, dressing himself and turning our home into a miniature garden. To me, he felt like a completely different person. Although his stint as a cab driver did not work out, he is much happier now and spends the bulk of his time fussing over my sister and I. From someone who was hardly there, he became our primary caretaker.
Sometime ago, when I was stressed out over schoolwork and decisions for my future, my father came to me and said he was proud of me. He said that as long as I tried my best, he would be content. "现在比较容易," he remarks, "记得享受".
And it hit me – all his life he laboured, and that labour was tied so closely with having enough money. Now that he can provide for me with his savings, he doesn't want me to go through his pain. And that, I think, is the quiet love of my father's.
–Lim Shi Cheng
–Nguyen Ngoc Luu Ly
Ethnographic Narratives
Assignment: Create a narrative based on ethnographic research conducted throughout the semester with a community
The idea of this project is to use your ethnographic research and the tools you have learned to push your own exploration of how creative practice can be used in conjunction with ethnographic research. Develop a project that is created in conjunction with the community in which you are conducting research.
Going Into Trance
Singapore Queens
The Lion Den
Sambal Sons
Batik Sons
This video is our team's attempt in capturing the notion of trance, and what how trance is practiced in Taoism. Our research thus far has been involved with this community through a singular temple that we have been spending several nights with. We've situated ourselves on a more documentary standpoint in this video, and tried to capture some of the complexity that comes from a tradition that we've seen growing up, but only having comprehensively dealt with it in detail now. More and more so, as we study the practice of religion- we link it to a greater idea of what it means for us all; even if we are not believers- and this is something that we attempt to reach by the end of the video too.
–Dave Lim Wei Jing, Kathy Poh, Adam Lau
This piece is a small look into the lives of two young drag queens in Singapore. I spent this past semester spending time in the drag community in Singapore for ethnographic research, and became closest to these two people. This video is my attempt to show the viewer a bit more about the human beings behind the act of drag, and to let the viewer in on a few less obvious aspects of the experience of being a drag queen.
–Fiona Freeman-Grundei
This ethnographic / ethnomusicological film is a continuation of Nathaniel's study of the Chee Seng Kong Lion Dance Troupe. In this film, we actively avoided using any interviews or voiceovers as we wanted to veer away from an educational video. Instead, we wanted the viewer to be immersed in the sensory experience of a lion dance rehearsal and to let the visual and audio elements tell the story of the troupe's camaraderie.
–Nathaniel Mah Ye-Chao & Rachel Quek Siew Yean
This ethnographic film focuses on a mee goreng stall located in the heart of Clementi. It tells the story of the stall owner, Mohaiyadeen, and his three sons, who run the store together. Our intention with this film was to explore the notion of generational succession, especially as Mohaiyadeen believed that his grandchildren would not continue the business. We wanted to capture the sights and sounds that are at risk of being lost when stalls such as Mohaiyadeen's are no more.
–Hunter Cumming Shaw, Rachel Quek Siew Yean, Nathaniel Ma Ye-Chao
Batik Sons follows Mr Eric around his shop as he explains about the history of batik fabrics, the influence of migration and politics on the batik designs, and his mission to preserve the Ang family's lineage through batik.
I grew up in Kuala Lumpur being surrounded by batik fabrics, and have always been fascinated by their patterns. When I was a little girl, my mother would dress me up in a batik cloth as she prepares a flower bath with the lime, bougainvillea and rose flowers picked from our garden. When I was studying in a boarding school, I would wash my clothes and bathe with my friends in our batik sarongs in the community bathroom. Whenever I see the uniforms of the Singapore Airlines and Malaysian Airlines stewardesses', I am reminded of my grandmother who once wore her kebaya with skirts made from batik fabrics.
Mr. Eric, the owner of Wellie Batik Fashion, mentioned that the batik fabrics in his store were imported from Indonesia. The local Indonesian batik was known for its earthy colors (i.e. brown, cream white, and indigo) with parang motifs, or slanting parallel rows of dagger. The parang patterns symbolize strength and power, and this motif was only worn by royalties in the past. He later shared that batik patterns evolved overtime to incorporate Chinese and Dutch influences when colonization and migration from China to Indonesia took place. The Dutch colonizers introduced the blue and white porcelain patterns while Chinese princesses who arrived in Indonesia to marry Indonesian princes introduced colorful fabrics colors with the butterfly and flower motifs.
I was awed by how batik designs have been influenced by politics, culture, and migration.
–Rachel Quek Siew Yean
Photographic Narratives
Assignment: What are Photographic Narratives?
For this project you are being asked to create a narrative using still images and sound, and a storyboard that accompanies this narrative photography piece. You want to start off your pre-production process by choosing the subject matter for your story, this can be a person or place. You will want to conduct a preliminary interview with that person or visit that place, and gather information to help you write an interesting and compelling story. Take a few reference photographs and or sound record an interview with the person or place. Based on this preliminary work, develop the outline for a story/script that will become the backbone of your photographic narrative. The next step is to turn your story into a storyboard. You should use your script, questions, and corresponding storyboard to take photographs and record a soundscape, interview etc, for your photographic narrative. The final product should be a movie file.
Merlion Mythology
The Home We Make
Talking Cock
My expiry date is coming up soon. July 6th, 2018. That is the day in which, dressed in a toga and all we will stretch our arms one last time to reach for the sweet memories of those endless four years. But they aren't endless. We are like flowers. There is one very simple reason for it and that is that there will come a time when we won't be there anymore. You are not quite sure how the flowers disappeared, maybe your mother cleared them that morning, or your housemate decided it was time for them to go but they were supposed to go. Their time had come.
We are blooming as we walk the halls of our esteemed Universities. Sometimes studying, sometimes not. Our lives are here. Our hearts lie here. We are always never alone. We grow our roots deeper and deeper into the soil the institution so gracefully allots to us. In our residentials and dining halls, we nurture and we get nurtured. Singing to our favorite songs and complaining about the food even though we never learned how to properly cook. As we learn we grow, but we didn't just learn behind the shut doors of our seminar rooms, we learned outside. In the sun. That one time with the guitar, that one time sweating outside in summer. Or that one time during the fall when all your eyes could see were the orange colored leafs falling down to your feet.
My favorite flower is a Peony. When I die I would like part of me to return in a Peony seed and I want my flower buds to be gifted to my friends and family. In many ways I am like Peony, or at least, I like to think so. Layered, shut, until you give me enough water and light to bloom and I will bloom so hard I will fall apart in your hands. Like confetti on your birthday.
— Gioia Sofiasole Stefanie Marzano
The Playground in Jurong West Street 42
Moving to Singapore was tough, even more so for a shy child like me. I had transferred into the kindergarten in the middle of the school year, so my peers felt no incentive to reach out to me as they were already settled in their friend groups. Before my younger sister was born, I spent most of my after school hours on my own. While waiting for my mother to bring me home, I would stare at my kindergarten classmates have the time of their lives on the playground near school.
One by one, they would leave with their caretakers or parents, and I would be left staring at an empty playground. And that was when I would bolt towards it and take my rightful place. Not only was I the fearsome captain that steered S.S. Jurong with gusto, I was also the monkey bar (and admittedly, only) extraordinaire on the ship. Sea monsters were nothing but pesky obstacles in my path.
Of course, some events were a lot more trying than others. Crawling under bridges that threatened to collapse, and seeking shelter from horrendous storms! At the end of the day, a true hero might struggle tremendously but they would never fail! And in my make belief world, I emerged victorious every time.
Sometimes, I would pretend to sail to different parts of the region to collect new items, such as the mysterious Tamagotchi pets found in the land of capsule balls. I would disembark from my ship and walk confidently to the capsule machines nearby and with the single dollar from my parents, try my luck at getting the pink Tamagotchi device. I'm not sure if I ever got it.
However, sailing a ship is not always about heroic adventures! There were times when I had to sit in my ship patiently and wait for the time to while by. Cracking the ever present yellow tic-tac-toe puzzle was a daily routine at that point – I must find more ways to defeat my imaginary enemy!
"Hey ho! Let's set sail!" My eager self would announce to the empty playground.
For a while, my imagination was sufficient. I could sail my days away with just that.
However, I soon felt lonely on my big ship, but did not know how to reach out to others. Everyone else had their friends. I was just the sore thumb that stuck out awkwardly.
Looking back on it now, I'm uncertain if I ever made friends – a part of me says that I must have. There are photos of me surrounded by faces that I no longer remember tucked in the dusty shelves of my family home. But for some reason, the time spent alone with my imagination stuck with me all these years. I'm glad the ship of my childhood still exists till today.
–Kavya Gopal
Sonic Narratives
Assignment: What is a sonic narrative?
For this project I want you to create an exclusively sonic narrative that is no shorter than 2 minutes and no longer than 5 minutes. Please bring your own evolving definition of narrative to this project, as you consider how to communicate a story to an audience of listeners. Your objective should be to clearly communicate a narrative through sound. You can choose a narrative that has already been written or created, for example a book, a piece of music, a poem, or you can create your own narrative. This narrative must have a clear beginning and ending, and it should attempt to communicate a specific feeling, idea, moment, or concept to the listener. You can use visual and written elements in your process, as long as the final product is exclusively sonic.
For best results, listen with headphones.
My Favourite Sound
Dear V
Vectorspace
This is a piece called My Favourite Sound. It explores the idea of favourite sounds and the stories that accompany them. Taking the listener on a sonic journey from suburban Australia to Saudi Arabia and finally to Georgia in the Caucasus region of Eurasia.
–Nial Hosken
"Dear V is a piece about the relationship between my voice and me over time. I chose this focus because as an actress and singer, my voice has been a significant part of my life from a young age, but I have recently undergone changes that have made me re-evaluate this relationship; I have had a series of frightening times of losing my voice because of overuse (typically during tech week for musicals) and vocal coaches who have told me that I need to fundamentally change how I sing and treat my voice. This realization was quite an emotional one for me, and it has been on my mind a lot ever since my most recent vocal teacher told me that I was eroding my voice, and that if I continued using my voice the way I currently do I would not be able to sing in 5-10 years. Since singing is such a big part of my life, I was terrified about this realization and decided to use this sonic narrative to step back and reflect on my relationship with my voice. It also fits in with my evolving idea of my current personal narrative style, as I talked about in the reading response for Week 4, keeping vulnerable and personal "Me Stories" at the heart of the narratives I tell through my art. Technically, I also wanted to explore an a capella recording. I have only recorded a song once before, when I was in high school, and it was on Garageband with instrumentation. I enjoyed experimenting with spoken text and creating an ambiance of recordings of my voice (and using the Mixer to add automation for panning, volume, echoes, etc.) to make a sonic narrative using my voice but not being a singer songwriter-type song."
–Cora Victoria Europa Ceipek
"'Family' was all recorded in one take to get the spatiality of what was occurring. I chose two distinct tracks to be playing in the back; the first was a Bruno mars song to denote my room space. The second was the track from the TV – the Hindi Serial Drama playing in the background. It symbolized my mother taking over my space, and displayed the cultural elements of my household. The other two sounds that I recorded were the sounds of me taking pills as well as the 'engaged' tone sound. Overall, I chose to have the listener assume the role of the person on the other end of the line because I wanted to immerse them in the world. I wanted them to feel like they had an active role in this narrative. Personally, I felt if I had recorded dialogue for a script, the audience would actively be thinking about the visuals of the piece as well. However in this case, the involvement of the audience would naturally place them in a context where they would not have expected visuals."
–Lesha Naresh Mansukhani
"This piece aims to show the repetitive nature of panic attacks. It hopes to combine the emotions and sounds that a person experiences in their head in the prelude, leading up to, during, and aftermath attack through sounds. By not using melodies, the sound convey a sense of confusion, anxiety, and chaos. The degree to which the narrative is chaotic changes throughout the piece, but it is always there in the background. Despite the state of the panic attack that the person is at, the anxiety remains.
To fully convey these emotions, I chose to use a purely sonic narrative. I chose to use purely sounds because what we hear in daily life is, from my perception, the sense that we're least aware of. I think that of all the senses, we are the least aware of how much impact sound – or the lack of it – can make in how we function on a daily basis. Because of this, a sonic narrative will be the best way to convey the feeling of experiencing a panic attack because it will not be adding any sensory elements that we have not experienced before. The listener will not have time to figure out what colours on a screen are supposed to mean or analyse structures and people in a photograph. This is because all the sounds that I have recorded for this piece have come from very quotidian events. The only difference is that when these sounds are put together in the context of a panic attack, they suddenly become a lot more intense and overwhelming."
–Nikki Chen
"This project started out as an idea pertaining to themes of sexual assault but has instead morphed into something much more personal in that it now portrays my emotional journey. I think I have been grappling with questions about how to portray the narratives of others. Instead, I think by focusing on myself and staying true to how I am feeling, I have done the initial idea and concern much more justice. I am hoping to convey the difficulty in being an empathetic listener—the fact that no matter how hard you try your resonance kicks in. At the end of the day, the translation from words to sounds is me acknowledging my reaction, my resonance of anger, and I am beginning to realise that perhaps that is not the most productive way forward. Perhaps for now, in breathing and being silent, I still have something to offer."
"I decided to do something of a whimsical nature for my final project – a space opera. I have a longstanding interest in the aesthetics of the 80s, particularly the look and feel of trailers for horror and sci-fi films from that era. I chose to work with sound as a medium, so that I could do things that would have been too expensive to do visually. I rewatched trailers and listened to a podcast titled Welcome To Night Vale to get sonic inspiration for my soundscape, before trying to reverse engineer the sounds using synth and percussion loops and plugins that I could find on GarageBand. For sound effects, I used a mixture of sound effects from sound libraries and deep bass plugins for explosions and the throbbing engine of a spacecraft."
-Dynn Othman
"Water closet stems from a personal curiosity as to how people are in their most private moments – where will their minds choose to wander, how do they feel when not obliged to satisfy a certain expectation that comes along with being in a public space. The next thought naturally follows: does the public toilet cubicle function as a place of refuge, in addition to literally taking our shit? It seems as though time comes to a standstill inside the toilet – there is no audience within the cubicle; we are free to be whoever we want, or are. Arguably, it is inside the cubicle that we are wholly ourselves. The cubicle is then both a sanctuary and a closet for those among us who, for whatever reason, are unable to be physically comfortable with presenting our own identities. Therein also lies the difference: when we leave the cubicle, we are not coming out of the closet. We are moving away, and fitting ourselves into prescribed identities. Who are we when we are least guarded, then? When stripped down to the most basic – relieving ourselves of bodily waste – who are we? We come up with all sorts of thoughts when we are in the toilet, in the shower. Some of us daydream, others take the chance to not think altogether. Water closet is a sonic narrative that follows a narrator's emotional arc as they enter the toilet.
In creating this sonic narrative, I plotted out my own emotional arc by being hyperaware of myself whenever I use the toilet. I then thought of the sounds that coincided, or would help elicit these emotions, and then experimented with a wide range of sounds. I first recorded the sounds in my suite's toilet, and eventually ventured out to the road side, walking around with the microphone facing the road to capture sounds of my footsteps. I also recorded the bubbling sounds using a large plastic container, placing the microphone into a ziplock bag and submerging it. Beer bottles were also used to create water sounds that are clearer and sharper, alongside metal beer bottle caps when spun on different surfaces. A variety of surfaces, such as metal, cloth, wood, were used to record water droplet sounds. The one eventually used in the final piece is that of the metal tin can, due to the cadence that metal affords."
–Teo Xiao-Ting
Vernacular Narratives
Assignment: Your goal for this project will be to tell a story to accompany a photograph from your family photo album.
The starting point for these stories should be an interview that you conduct with someone in your family, asking them to tell you about the photographs in question, the world around them at the time it was taken, and the things that were unique or inherent to that place in that time. You can interview multiple people, or one person about each photograph. You should document the interview, through a sound recording or video, if possible. Use the photograph and interview to develop a story to accompany each photograph. The stories may be written, drawn, or recorded, but at least one story must be written in prose.
Anni & Dezso
By Roshan Singh Sambhi
Your youth will fade, old man, as will your infatuation with the woman behind the camera. That receptionist at your clinic, on the other hand, seems a more attractive option by the minute. You will realize that, for a few fleeting Malaysian months, you need not even choose – why would you, when you could have both? You will start families at the expense of family, your career will arrive at stratospheric peaks, and you will have more than you will know what to do with.
You will round up what photos remain, and hold them under lock and key. You will refuse to discuss them, and your grandchildren will learn to stop asking. You will occasionally gesture towards things you have yet to do, but stop short of saying what exactly those things are. You will sigh deeply, and stare often at nothing in particular. You will be surrounded by people, and all of them will lay claim to your love.
You will have an ischemic stroke.
You will develop aphasia, which means language with trouble. You will be dressed by your house-maid, who you might recall you once loved. You will develop aphasia. You may find yourself caught by sudden bouts of depression, of anxiety brought on by some unseen, unknowable force that has wormed its way into your house, and the hearts of even your loved ones. You are not safe. You will soon die. You will die tonight – you will be certain of this, you will die tonight. You will have your second stroke.
A little girl with grey hair will visit, and you will offer her a tour of the house she grew up in.
She will take you up on this, and hold your outstretched hand in hers. She will feel it, wrinkles and all, and take in the roughness of it. As you lead the way, grinning, she will catch herself smiling as well. This time it will occur to her, but not to you, how little either of you has to smile about.
By Cora Victoria Europa Ceipek
I composed a piano piece telling the story of Anni Jörg (my great-grand aunt) and her husband Dezsö Csallány, with musical motifs reflecting their journey from their marriage in 1932 to their deaths in 1993 and 1977, respectively. It chronicles their escape from Hungary during the invasion of the Soviet Union, during which they brought a Hun treasure Dezsö had uncovered as an archeologist. Studying the Huns meant everything to Dezsö, and his life's ambition was to find the grave of Attila the Hun. Before passing away, Dezsö claimed to have found the grave, yet he never told anyone of its location. It is likely he was too old and sick and was imagining things. Attila's grave remains lost to this day.
I tell the story of my grandfather Gottfried using a series of photographs that I printed on tracing paper and layered on top of each other to tell various aspects of his life at this particular moment of time in Kindberg, Austria in 1941. Each piece is meant to tell more information about this moment, and the full story is not told without all pieces working together.
Writing & Art Intensives
These books compile student work, each from an experiential one-week intensive art and writing class.
These classes were designed by myself and my collaborator, Dr. Heidi Stalla, to focus on Art and Writing in a particular location, based on places where we conduct our own research. The intention of this LAB was to invite its participants to think about questions of culture and identity by exposing them to creative mediums that were unfamiliar to them. Our hope was that by the end of the experience participants would gain fresh perspective into their own lives and identities by filtering their experiences through the unfamiliar. The purpose of this workshop (and subsequent exercises during the LAB) was to help students develop a method for creation. We helped participants fuse our writing prompts, short intervals of introspective thought experiments, and longer intervals of exploration, fun, and adventure into one cohesive process of creation. The focus was never on perfection; instead this LAB was about a means of getting at authenticity—at problems in their purest form, and learning how to express ideas from many different angles.
Kerala, India LAB Book
Abu Dhabi, UAE LAB Book
The following tracks were composed, recorded, and produced by my students for projects in music technology and recorded sound classes. The students were working with non-recording studio setups and learning the fundamentals of microphone technique, recordings basics, and mixing.
Rock The Boat
Con Dos Que Tres Latinos


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Q: How does back pressure property work in Spark Streaming? I have a CustomReceiver which receives a single event(String).The received single event is used during spark application's run time to read data from nosql and to apply transformations.When the processing time for each batch was observed to be greater than batch interval I set this property.
spark.streaming.backpressure.enabled=true
After which I expected the CustomReceiver to not trigger and receive the event when a batch is processing longer than batch window, which didn't happen and still a backlog of batches were being added. Am I missing something here?

A: Try to check this and this articles.

redpajama_set_name: RedPajamaStackExchange


YORK, Pennsylvania – November 1, 2016 – Glatfelter (NYSE: GLT) today reported third quarter of 2016 net income of $19.6 million, or $0.44 per diluted share compared with $13.5 million, or $0.31 per diluted share in the third quarter of 2015. Adjusted earnings for the third quarter of 2016 were $24.0 million, or $0.54 per diluted share compared with $20.8 million, or $0.47 per diluted share, for the same period a year ago. Adjusted earnings is a non-GAAP measure for which a reconciliation is provided within this release.
Consolidated net sales totaled $405.3 million and $420.0 million in the third quarters of 2016 and 2015, respectively. Lower selling prices unfavorably impacted the year-over-year comparison by $6.3 million and shipping volumes declined 2.1%.
"Our third quarter results reflect the continuation of challenging conditions in several of our markets," said Dante C. Parrini, Chairman and Chief Executive Officer. "While Specialty Papers continued to improve its operating performance driving a 7% increase in operating profit, a soft demand environment in the broader uncoated freesheet market impacted shipping volume and limited the realization of price increases announced earlier this year. In Composite Fibers, shipping volumes fell short of our expectations as demand for wall cover products was softer than expected. The weakness in these businesses outweighed the steady performance of our Advanced Airlaid Materials business. Demand in our airlaid markets remains robust and our wipes volume was up significantly on both a year-over-year and sequential-quarter basis."
Mr. Parrini continued, "Given the weak global economic environment, we remain focused on aligning our cost structure to most efficiently meet our customers' needs, deploying new products, optimizing asset utilization and delivering on our operational excellence initiatives. We will continue to balance these initiatives with targeted investments to grow our business, such as expanding our Advanced Airlaid Materials business by building out our new Fort Smith, Arkansas facility, which we expect to be on-line in early 2018."


Welcome to a new section of my website dedicated to censorship in its modern form. This page will evolve as I create and curate additional content related to this subject.
The photos on this page are from a recent photo shoot with the team over at Little Skull Photography here in Sarasota Florida. I feel it is just as important now as it has ever been to defend our freedom of speech and the freedom of the press. To that end, these images will be featured throughout the website as well as related content as we ramp up for the public release of our new social publishing suite.
The rise of authoritarian thinking and behavior from both sides of the political spectrum should give us cause for alarm. Instead of lashing out at each other on social media, we should all look back through history in an attempt to understand the parallels between what we have seen in the past and some of the decisions we are making as a society today. Sure technology is a new variable, but human behavior is not, and if we do not heed the warnings of history, we run the risk of repeating some of society's biggest mistakes.
Enjoy the photos and check back for updates over the next few months.


David E. Cobrinik, MD, PhD, of The Vision Center at Children's Hospital Los Angeles (CHLA) has been awarded a four-year grant totaling $1.665 million from the National Eye Institute of the National Institutes of Health. The grant will support his study seeking to improve understanding of how cone photoreceptors develop.
"This research is expected to reveal features specific to human cone development, which is important in understanding what goes wrong in cone-related diseases, such as retinoblastoma," says Cobrinik, who also an investigator with The Saban Research Institute of CHLA and associate professor of Ophthalmology at the USC Gayle and Edward Roski Eye Institute at Keck School of Medicine at the University of Southern California.
Retinal diseases like retinoblastoma -- a childhood retinal tumor usually affecting children one to two years of age -- can lead to devastating vision loss. Although rare, retinoblastoma is the most common malignant tumor of the eye in children.
In a paper published in the journal Nature in 2014, Cobrinik and colleagues reported that retinoblastomas originate in cone photoreceptor precursors, immature cone cells that have not fully differentiated. Cone cells, or cones, are one of the two types of photoreceptor cells in the retina, and are responsible for color vision.
Retinal diseases are often modeled in animals, and more recently in human embryonic stem cell (hESC)-derived retina, in efforts to improve understanding of the origins of the diseases and to develop novel therapies.
"However, human retinal development differs from that of animal and hESC-derived retina models in important yet poorly understood ways," Cobrinik explains. Defining such differences could reveal previously unrecognized human-specific features, enabling more accurate modeling of retinal diseases both in animals and in the hESC-derived retina system.
This study also aims to define the differentiation states of a human retinal cell type in unprecedented detail, using single-cell RNA sequencing to identify all the cellular states of developing cones in the human, mouse and hESC-derived retinas. The approach will be used to identify the signaling pathways that underlie their differences so that the model systems can be made to better represent human retinal disease.
Ultimately, the hope is that such models could lead to improved approaches to produce stem cell-derived cone precursors for use in cell replacement therapies.
This research is based on preliminary studies at Children's Hospital Los Angeles by Hardeep Singh, Dominic Shayler and Jennifer Aparicio. It is supported by NIH grant 1 R01 EY026661-01.


The ongoing story involving Russia and the Trump campaign has now ensnared the president's son-in-law, Jared Kushner. What were his motivations in suggesting back-channel communications with Moscow?
President Trump has decided to withdraw from the Paris agreement on climate change. How much of an impact will this have on climate change?
German Chancellor Angela Merkel made headlines when she suggested that the U.S. is no longer a reliable partner to Europe. Was she right? If so, is this a good thing?
Gregory Clay of GDClay.com, Leif Larson of Craft DC, and Daniel Marans of the Huffington Post discuss these issues and more.


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Home Florida Good News for Buc Fans
Good News for Buc Fans
In an effort to spur attendance in one of the NFL's most depressed markets, the Bucs announced sweeping changes Wednesday in the pricing and structure of the team's 2012 season tickets.
Prices on 80 percent of the seats at Raymond James Stadium will be reduced next season while others will remain flat for a fourth consecutive season, according to the team.
The team, citing feedback from fans, is taking steps to increase attendance at their home venue, where sales have been sluggish during the past several seasons. The team said fans requested more affordable prices in desirable seating locations.
General admission tickets for kids that currently sell for $17.50 will be reduced to $15, and some adult general admission tickets that currently cost $35 will be reduced to $30.
Discounts for season tickets versus individual games will be larger, in some cases as much as 45 percent (taking into account Ticketmaster processing fees). For instance, a family of four sitting in Section 310 — located in the upper deck and on the 50-yard line — would save nearly $1,500 by purchasing season tickets rather than buying single-game tickets.
Some lower-level end zone seats, which currently cost $89, will be reduced to $75 per game.
The team said it wanted to set a tone of inclusion, making the game-day experience seem less out-of-reach.
"Listening to our fans, the overwhelming recommendation they made is more value and more options between the most affordable seats and the most exclusive," Bucs co-chairman Ed Glazer said in a press release.
"For 2012, we sought to make lower-level seats more accessible to a greater number of people while also giving more fans than ever the chance to become season-pass members through a completely overhauled pricing system intended to offer something for everyone."
In addition to the reduced prices, there will be perks the team hopes will appeal to fans, including meet-and-greets with players, free wireless Internet access and exclusive events limited to club-seat purchasers.
The food and beverage discount offered to season-ticket holders will increase to 15 percent from 10 percent, and the 10-month payment plan returns for a second straight year.
It remains to be seen what the impact of the price reductions will be.
Chris Munzo of New Tampa, who attends several games per season, was encouraged by the news but doesn't view it as a cure-all for a team that hasn't won a playoff game since Super Bowl XXXVII in January 2003.
"The economy is tough all over," he said. "If other teams were experiencing these same problems (with attendance), then I think you could say that prices are the (only) problem. I mean, is the Pittsburgh area any bigger than Tampa?
"But cheaper ticket prices won't hurt. I'm glad they're making the effort. I'd also like to see them put the money into a couple of free agents, though."
The Bucs are in the midst of a season during which just two of nine home games (including the preseason) are expected to sell out.
That means local fans have been largely unable to watch home games because of the NFL's local television blackout policy, which prohibits home games from being televised in the local market when not sold out 72 hours before kickoff.
Tampa Bay was the only team to have all of its home games blacked out in 2010. This season, only October's Monday Night Football game against the Colts and the Dec. 17 game against the Cowboys have sold out.
Attendance at Raymond James Stadium dipped as low as 46,995 for a Sept. 25 game against the Falcons. The stadium has a capacity of 65,000.

redpajama_set_name: RedPajamaCommonCrawl


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FashionNews
Joe Namath net worth 2020
GMSeptember 2, 20200 Comment0173
Biography of Joe Namath
The sun of steelworker Joe Namath, nickname Broadway Joe was born on May 31, 1943, in Beaver Falls, Pennsylvania. Joe Namath is a famous American professional football player who was a quarterback the American Football league (AFL) and National Football league (NFL) during the 1960s and 1970s. Joe Namath valiant before Super Bowl III made him a Super legend in the global of professional football. Joe Namath is an icon of the strong man and a great celebrity in the rest of the world. There are some athletes in America who have political views Joe Namath has a great political view such as Muhammad Ali. Let's discuss Joe Namath's net worth in the following.
Career Debut and Awards
Joe Namath debut and leads the high school team in 1960 in undefeated seasons. Joe appeared and made international debut in 1965 and called a Rookie of the year. In 1967 Joe made an unbreakable single-season passing record 4,007 yards. In 1968 leads the Jets to an AFL championship and also leads the Jets to Super Bowl III victory, and awarded by the player of the year in 1968 and 1969. And retired in 1977 with this award as, Super Bowl III Most Valuable Player, AFL Player of the Year, Wins George Halas's most courageous pro player award, Named All-Pro. Read more
Joe as an Actor
Joe is a famous actor and hosts a T.V show his famous movies are C.C and Company, The last Rebel, going under, and famous T.V shows are The Joe Namath Show, The Simpsons, The hero made in the U.S.A.
Joe net worth and income sources
Joe has a net worth is $25 million US dollars. Joe drafted with both clubs St. Louis Cardinals and NFL and Joe wanted &200,000 dollars with brand new Lincoln Continental. And after a breakup with this club Joe joined a Jet club, Jet club paid $427,000 with 3 years contract. In 1975 Joe signed a record break deal with Jet club &900,000 US dollars. This income value is today almost &4.3 million US dollars.
Brand Endorsements
Joe Namath is a famous and well known as brand endorsements over the last 40 years, appearing in commercials for brands like Ovaltine, Noxzema, and Hanes. In 1975 Joe was a highest-paid celebrity and charged &1 million for various brands deal .which meant he was earning the inflation equivalent of $7 million per year in salary and endorsements.
Real Estate Assets
In 2016, Joe Namath purchased a property on the Upper West Side of New York City for about $1 million.
In 2019, it was reported that Namath was selling this property with a listed price of $1.195 million.
Joe Cars collection
Joe Namath is a car lover and also part of the world's most exclusive car club. Joe's first car was a lincoln continental. Joe Namath B5 blue Dodge Charger R/T. And at this time Joe has a brand new INDY 500.
Joe Namath quotes:
"What I do is prepare myself until I know I can do what I have to do."
"To be a leader, you have to make people want to follow you, and nobody wants to follow someone who doesn't know where he is going."
how old is joe nomath
Joe Namath net worth
joe nomath
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Newsletters ·Broadsheet
Bronze is the new gold
BYKristen Bellstrom and Emma Hinchliffe
August 6, 2021, 12:49 PM UTC
Tobin Heath of the United States and Megan Rapinoe of the United States celebrate victory during the Tokyo 2020 Olympic Womens Football Tournament Bronze Medal match between Australia and United States at Ibaraki Kashima Stadium on August 5, 2021 in Kashima, Japan.
Pablo Morano—BSR Agency/Getty Images
Good morning, Broadsheet readers! Levi's acquires Beyond Yoga, the Gotham Awards go gender-neutral, and this may be the Olympics that convinces the U.S. to get over gold medal mania. Have a great weekend.
– Bronze is the new gold? The 2020 Olympics conclude on Sunday and—whew!—have they been strange. So, how will we remember them? As the pandemic Games, certainly. And very likely as the ones that finally put issues of athlete mental health front and center.
Here in the U.S., I wonder if we might also look at the 2020 Games as the point when we finally got over our all-consuming obsession with winning gold.
I don't want to overstate things—we're still celebrating those who finish first. But consider the look of joy on the face of Simone Biles at the conclusion of her third-place finish on the balance beam. Or read the stirring story of American wrestler Helen Maroulis winning her bronze in the wake of injuries and PTSD. The U.S. women didn't even medal in skateboarding, but that didn't do anything to dull our excitement for the (very) young women who did.
Then there's the U.S. Women's Soccer team. World Cup victors and heroes to those of us who believe in equal pay, they came into the Olympics on a quest for gold—but yesterday found themselves in a fight for third place. But rather than sulk through their final match, the players embraced the moment. As team captain Becky Sauerbrunn describes it in the New York Times: "Obviously we wanted to get a gold medal. Everyone wants to get a gold medal, Americans love golds. The fact is we potentially didn't deserve to get a gold medal…We had to change the goal, and it became, 'Let's get that bronze.'"
And they did, winning 4-3 victory against Australia and seemingly finding some of the joy that had been missing from their play earlier in the Games.
"Yeah, it's not a gold," Sauerbrunn said, "but that bronze means a lot."
Kristen Bellstrom
kristen.bellstrom@fortune.com
@kayelbee
The Broadsheet, Fortune's newsletter for and about the world's most powerful women, is coauthored by Kristen Bellstrom, Emma Hinchliffe, and Claire Zillman. Today's edition was curated by Emma Hinchliffe.
ALSO IN THE HEADLINES
- Billionaires' club. Forbes released its annual ranking of the U.S.'s richest self-made women. Many saw their fortunes soar in 2020 and 2021 thanks to the stock market boom. Now there are 26 female self-made billionaires, from Rihanna to 23andMe founder Anne Wojcicki. Forbes
- Gotham goes gender-neutral. The Gotham Awards are doing away with "best actor" and "best actress" in favor of a single "outstanding lead performance category." Many in entertainment support getting rid of gendered awards categories, but some argue that to do so would risk most of the prizes going to men. New York Times
- Beyond denim. Levi Strauss & Co. will acquire Beyond Yoga, the brand led by cofounder and CEO Michelle Wahler, for an undisclosed sum. The deal marks the legacy denim brand's entry into activewear. Wahler will stay on as CEO of the brand. CNBC
- A day at the beach. Okay, so gold isn't totally passé: new partners Alix Klineman and April Ross won the Olympic beach volleyball final. This is Ross's third medal—she used to play with Kerri Walsh Jennings. Meanwhile, Klineman didn't even pick up the sport until 2017. New York Times
MOVERS AND SHAKERS: Julie Johnson joined tax and audit firm Mazars as CMO. A.I. company Conversica named IBM alum Terrie Banuelos VP of global sales. Deloitte's Erica Volini joins ServiceNow as SVP of global alliances and channel ecosystem and go-to-market operations. Blockchain.com hired Dropbox's Mimi Brady as VP of customer success.
- Brandless is back. The SoftBank-backed ecommerce business Brandless, formerly led by Tina Sharkey, closed up shop in early 2020. Now a new iteration of the company is back with $118 million in funding to enter the creator economy and "ecommerce roll-ups." The business is now backed by Clarke Capital Partners and led by CEO Cydni Tetro. Fortune
- Record-setting? Angela Bassett will reportedly be paid more than $450,000 an episode for the Fox drama 9-1-1, said to be the most a Black woman has ever earned for a broadcast drama series. But why did it take so long for a Black actress to command this kind of payday, which is relatively common for big-name white actors? Vanity Fair
- Patient testimony. Former patients will be permitted to testify at the Theranos fraud trial, a judge ruled this week. Lawyers for founder Elizabeth Holmes had tried to block the jury from hearing patients' testimony. Wall Street Journal
Artistic swimming gets dark: 'Why do you seem so scared?' WSJ
What we ask of women when affordable health insurance is tied to full-time work LitHub
Inside Disney's search to replace Zenia Mucha: Does a new era demand a new kind of communications chief? The Wrap
Hinge's new initiative offers 'stimulus' payments to last remaining lesbian bars AdWeek
"If I can understand people can grow past their worst moments, I think the rest of us can too."
- Game developer-turned-political activist Brianna Wu on forgiving GamerGaters who are now apologizing after sending her death threats
Subscribe to Fortune Daily to get essential business stories straight to your inbox each morning.


text:
Q: Openserver SMTP сервер Добрый день, можно как то на ходу в php менять логин и пароль для смтп авторизации ?
может ini_set или....
UPD
 ini_set('auth_username');
 ini_set('auth_password');
 ini_set("SMTP");
 ini_set("smtp_port");
 ini_set("sendmail_from");

Не имеют влияния .
Более того нельзя даже поставить свои настройки в php.ini т.к с каждым перезапуском open server перезаписывает блок [mail]


text:
Oceania Football Confederation > Fiji Football Association
Fiji Football Association
Fiji was among the founding members of OFC along with Australia, New Zealand and Papua New Guinea.
The nation of around 880,000 people has traditionally been one of Oceania's best performers and the Fiji Football Association (FFA) nurtures hopes of one day being OFC Nations Cup champions.
Football has a huge following in Fiji but competes with rugby and rugby league.
Futsal has also grown in popularity in Fiji and since 2017, with the assistance of the FIFA Forward Development Programme, the FFA have continued to invest in this discipline.
The main focus is on youth development and providing young athletes with the opportunity to take part in futsal as a way to improve their overall football ability.
The FFA's ambitious plan involves upskilling coaches who will deliver grassroots training programmes as part of a wider strategic plan.
FFA President Rajesh Patel and General Secretary Bob Kumar have channelled that enthusiasm to also continue developing football at all levels. Patel was elected to the FIFA Council in 2019.
Fiji regularly holds coach education and referee courses to upskill locals involved in the game.
Most of these are staged at the National Football Academy in Ba which was completed in 2003 through the FIFA Goal Programme.
The large complex includes football pitches as well as accommodation and training facilities for players and course participants.
Another important step in the development of Fiji football took place in June 2012 when FFA moved in to its new National Headquarters and Regional Technical Centre in Suva.
Fiji FA successfully hosted major Oceania events when they delivered the OFC U-20 Men's Championship 2013, and the OFC U-20 Men's Championship and the OFC Champions League in 2014. They also hosted the OFC Futsal Nations Cup in 2016.
Fiji enjoyed a unique milestone in its history when their U-20 men's team won the OFC U-19 Championship to qualify for the FIFA U-20 World Cup in New Zealand in 2015. This marked the first time a Fijian international side made it to the final stages of a FIFA event at any level.
They went on to cause one of the upsets of the tournament when they beat Honduras 3-0 in pool play but were unable to advance to the knockout stages.
On the professional scene, striker Roy Krishna has flown the Fijian flag with aplomb given his goal-scoring exploits in the A-League with the Wellington Phoenix and more recently with ATK in the Indian Super League.
Lot 1, Taramati Street
Bhindi Subdivision
Vatuwaqa, Suva
Website: www.fijifootball.com.fj
Shirt: White
Short: Black
Socks: White
Affiliated 1963
Fiji News Stories
LIVESTREAM | OFC U-17 CHAMPIONSHIP 2022 | GROUP A | FIJI v SAMOA
LIVESTREAM | OFC WOMEN'S NATIONS CUP 2022 | GROUP C | FIJI v NEW CALEDONIA
Jul 17, 2022, 10:14 AM
LIVESTREAM | OFC WOMEN'S NATIONS CUP 2022 | GROUP C | SOLOMON ISLANDS v FIJI


BRON Team members take a fun shot after a long day.
Women from BRON, an international management company, visited schools to discuss opportunities in STEM. Female scientists highlight ways of overcoming gender challenges in the workplace.
All female team shares advice on comfortable work environments in careers not traditionally held by women.
An all-female contingent from BRON, a management and administration hub that supports a group of companies dealing in STEM-related industries, celebrated International Women's Day by visiting students of C.I. Gibson High School and Windsor High School.
The group consisting of Kelli Armstrong, Corey Cartwright, Elise Roberts, Desiree Smith, Crystal Hanna, Niketra Smith, Lakeisha Albury, Gabrielle Neely, and Patricia Roberts, spoke to students about working in engineering, environmental science, and technology - all male-dominated fields. In their discussions with senior students of C.I. Gibson Senior High and STEM program students from Windsor High School, the team, encouraged students never to let their gender be the reason not to pursue their dreams. They also explained the importance for senior students to seek jobs that are inclusive and promotes gender equality in and out of the workplace.
In one session on how discrimination can happen, Armstrong told students about being rejected for a job because she was a woman. She said, "I have had people tell me to my face that I couldn't get a job that I applied for because I'm a woman. According to them, they were protecting me because I was applying for supervisorial positions that required me to oversee groups of men and they believed that men wouldn't respect me in that position. My response was, 'how about you give me the job and let us find out.'" Armstrong has an Ivy League Master's from Columbia and is now an Environmental Scientist at Caribbean Coastal Services.
Students were fully engaged throughout the presentation and asked a variety of questions. One student asked pointedly if they are treated differently at work than their male colleagues. The group of women unanimously said no and praised BRON for promoting and advocating equity and equality within their working environment. They used the example of their absence from work on that particular day as evidence of BRON's support in and out of the office.
"We have to work to change the mindset of people," said Elise Roberts, Technical Director at Atametrics. "Many times when we, (myself and the surveyor), go to speak externally on a project we go together. It's like we are sharing the responsibility and that emphasizes the fact that we are both qualified, that we both have our place and that together we offer the services required for this project."
BRON team members with students from Windsor High School pose with a W to celebrate International Women's Day.
As a group of women who work predominantly with men, the female leaders of BRON also want to emphasise that equality is about partnership. They plan to continue to encourage young men to be advocates for women in such industries to promote confidence in young women who want to explore untraditional jobs by making visits to schools on International Women's Day an annual event and extending the celebration to reach more young Bahamians.
BRON is a management and administration hub that supports Caribbean Coastal Services (CCS), ENCO International (ENCO) and Atametrics. BRON offers engineering, environmental, surveying, and drilling services and more with offices in Nassau, Miami and Providenciales.


Capt. Neill's Seafood is located in Columbia, North Carolina.
In 1987, the owner, Phillip Carawan, designed and oversaw the building of the facility from ground-up. In 2015, he decided that it was time to expand to meet the growing demands of our market. Capt. Neill's Seafood more than doubled the size of the facility with the expansion. Our state of the art facility allows us to provide the highest quality of seafood to our customers. Maintaining a clean and safe facility is of upmost importance to us. With our expansion, we have the capability to produce high quality seafood and grow our product line. Be on the lookout for value added products coming soon!
Our 1200 square feet blast freezer allows us to freeze product quickly and efficiently.
We also have a large pasteurization machine that pasteurizes 2,000 lbs. of product at a time. Capt. Neill's has ample coolers to hold all of our products. We also have a nitrogen tunnel that freezes meat below 140 F in a matter of a few minutes. At Capt. Neill's we have the equipment to package the finished product to any customer's specifications.
In 2014 Capt. Neill's purchased a 30-slip marina to meet the needs of our crabbers.
This allows them to dock and deliver their catch at the same location. It has also allowed Capt. Neill's to expand the number of commercial fishermen who we purchase from on a daily basis.
Capt. Neill's Seafood also has a state of the art oyster processing plant.
We have the capability to supply large retail chains with fresh shucked or shell-stock oysters.
Our employees strive to maintain the cleanest working environment possible.
They take pride in their job and work hard to produce the highest quality products.


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In a musical show, I will be given a linear LTC Timecode signal, which beside Isadora, will be fed into the conductor's ear as well as the lighting board. What's the current state of using LTC Timecodes to switch a scene in Isadora? I understand that in the LTC Timecode, which is an audio signal, I could add my own tags (meaningful frequency patches). Then, theoretically, I could use a frequency watcher in Isadora, tuned for the inserted tags.
Is this the way to do it in Isadora?
the LTC is a digital timecode like mtc (Midi Timecode) but encoded in an audiostream. This makes it easy to transport and distribute it to different systems, as it just needs to be connected with standard audio hardware and can be added and synced to audio and video streams on an extra audio channel of the footage.
As far as I know, there is no possibility for adding cue signals directly into the timecode signal. Isadora (v2) it self doesn't recognise LTC anyways. As far as I understood the new v3 will support it.
Depending on your System (Windows/ OSX) there are software tools, recognising LTC and translating it to MTC. For OSX I like Lockstep https://figure53.com/lockstep/ .
MTC then can be recognised by isadoras MTC-reader actor. Combined with the timecode comparator you can do a MTC based trigger.
This would be a really bad idea, as SMPTE specific LTC Timecode is a digital signal and will hurt your ears badly! You should always be shure, not to mix this signal with a PA or any other open audio output with speakers or inears!
The conductor will probably be served with a 'click', wich is a rhythmic sound like a metronome, sometimes with two or more different pitches to separate the first note of the bar or the beginning of a new part. This will be played separately synced to the LTC feed. It would be very unsafe to use this for triggering anything in Isadora and I never heard of using it for triggering any system!
Attached you find a LTC wav with one minute TC. (Seems as I can't upload wav files!?) You can play this with any audio player, BUT be sure to lower the volume of your speakers to a minimum!!!
What we do normally when we are working with a conductor we use a Clicktrack. Basically a metronome that tells you the tempo of the file, it works quite well.
Great if you wish to connect multiple hardware solutions with eachother and keep them in sync, don't put it in people ears ! It will hurt them.
Isadora (2) doesn't has dedicated LTC support, like @DillTheKraut said use a convert app. You also have https://www.videotoolshed.com/... for windows / Mac for example that converts the LTC to MIDI Timecode that Isadora understands and work with.
Thanks, guys, @DillTheKraut and @Juriaan. I've got Lockstep running and an LTC Timecode example running off http://elteesee.pehrhovey.net/... I also set up MIDI input, which recognizes Lockstep. However, I see no output from the MTC reader. Any thoughts?
And yes, you were right about the conductor. He gets a synched Click signal, not raw LTC timecode.
Another possibility would be, to play the wav file from another device and connect the out to the audio input of the lockstep running device.
This would probably be the way to go when running your project setup, as the LTC signal will come from your audio department.
Be sure, to keep a propper but not to high level of the audio in volume. If it is to low, the LTC code might not be recognized. If to high, you might get drop outs because the audio will be scrambled.
@eight , this is specific to you since I know that you're in one of the Isadora 3 beta-testing groups, but if you're being fed LTC and using Lockstep to convert it to MTC anyway, you could try using the Isadora 3's built-in MTC features to trigger things with timecode. There are details on how to use it in the downloads thread of the private Isadora 3 Beta forum section (to which you should already have access).
@woland Thanks. I knew that LTC Timecode is supported by Isadora 3, but am not sure I could use it in the show that is going to be live in 2 weeks. What's the ETA for Isadora 3?
See Mark's answer here about the release date question. I didn't know your show was in two weeks, meaning the beta might not be a good option (though we do have two top-level beta-testers using the beta in a live environment, neither of them are using the MTC feature set for their work).
Regarding the stability of the current beta, it is okay. I had some minor issues while patching, during show it was stable. Personally I don't see why the Stable build is not good for now ? MTC Reader is also included in 2.6.1, and with a bit of clever patching you can patch around some stuff.
@Woland and @Juriaan thanks again. Just a bit more info on how I was able to test this setup: TimeCode Clock -> SoundFlower Bus -> LockStep -> Isadora.
Neat app! Thanks for sharing! Minus TimeCode Clock, that's the same workflow I use and suggest in my example files on the Beta Forum.
Personally I don't see why the Stable build is not good for now ?
Personally, I agree with you. I think the build is stable enough to run shows, but professionally I hesitate to recommend running a show on a beta build instead of a release build without adding the "do so at your own risk" disclaimer.
Although I can get the MTC into isadora through Lockstep, there is timing issue. The input source is at 30 fps, but it seems Lockstep outputs 29,97 fps. It would be OK, if the marked timecode values were different from the source, but still reproduce. However, I get different values each time the same LTC signal is sent to me through Lockstep. Lockstep does not have the controls for the output FPS.
The most simple way to solve this issue is to ask your Audio engineer / Source of the LTC to output 29.97 frames a second.
"LTC, perhaps surprisingly, does not include the framerate anywhere in its data stream. MTC, on the other hand does—to an extent. So Lockstep has to wait until it's received enough frames of LTC to be able to tell definitively what framerate is being received before it can safely start transmitting MTC. This can take as long as a full second, depending on where the timecode stream starts."
Please try the above mentioned LTC/MIDI reader. It can do 'true' 30 fps, either by auto-detect, or you can force set it.


Spiritual Healing uses divine energy for healing. The primary source of spiritual healing energy comes from God who is the source of all life. This form of spiritual energy is very potent and can heal a lot of ailments. The spiritual healing energy or divine healing energy then passes through higher beings like great angelic beings, great prophets or avatars, holy master, saints, great spiritual teachers, healing angels and others, then to the soul and etheric body of the healer. The healer can then passes on this spiritual energy to the patient's etheric body and physical body.
The healing energy can also be passed from the soul of the healer to the soul of the patient then to the patient's etheric and physical bodies. Different religions such as Christianity, Buddhism, Islam, Taoism, Baha'i, Judaism, Hinduism and others also practice Divine healing using Divine energy. Spiritual healing energy is an electric violet light or brilliant white light and it contains all the properties of color prana. Divine energy or spiritual energy is usually used for treating severe ailments and not simple ailments. Spiritual healing is used when the healer has to treat lots of patients with simple or severe ailments in a very short period of time.
Electric violet light has a consciousness of its own. It knows where to go and what to do. It spreads out to the affected area and heals it. If the divine energy is projected to the ajna chakra, it will go to the affected chakras and affected parts. Then the diseased energy will be expelled, all the over-activated chakras will be inhibited and all the under-activated chakras will be activated. Furthermore all the organs that are weak and inflamed will be strengthened and soothed.
Spiritual healing energy along with being very powerful is also extremely subtle. The patient has to be very receptive for rapid healing to occur. If the patient is not so receptive, then the healing will be slow. It will not be as effective as its potential. But if the patient is not receptive at all, then he or she will not be healed. If the patient is not receptive and does not want to get well, the healer may project a lot of brilliant electric violet light but this energy will not be absorbed by the healer. It is better option to use ordinary white prana or ordinary color pranas if the patient is not very receptive. But then it is possible to increase the receptivity of the patient by silently or verbally reciting an affirmation for receptivity.
Electric violet light can also be used for cleansing and energizing the affected chakras and parts directly. If energized directly, the lower chakras are not responsive to the electric violet light. The upper chakras in human body are more responsive to the electric violet energy than the lower chakras.


text:
Why Are Toys Such a Bad Business?
Plus! V-Shaped Recovery, Tech Sees Like a State in Indonesia, Clever Currency Games, more...
This is the once-a-week free edition of The Diff, the newsletter about inflections in finance and technology. The free edition goes out to 8,221 subscribers, up 211 week-over-week. This week's subscribers-only posts:
The UK as a Science Hub is an update on Boris Johnson's plan (or, if you prefer, Dominic Cumming's scheme) to make Britain a scientific powerhouse. The outlines of the plan aren't new, but the opportunity is.
The Equity Risk Premium at 0% Interest looks at the implications of low real rates for tech companies. In equilibrium, low rates are good for equities because they raise the present value of future cash flows. But another way of saying this is that, in financial terms, low rates mean the future happens all at once.
Globalization: A Toy Story) is a prequel to today's note, discussing the history of Hong Kong's toy industry. Hong Kong's toy industry was basically nonexistent in 1945, the biggest in the world by 1972, and consistently lost share to China from the 80s onward. It's a case study in how globalization works.
The Depressing Bull Thesis for Rocket Mortgage is a writeup of Rocket, the largest mortgage originator in the US, which recently filed to go public. Fewer red flags than expected, but it's partly driven by a dire financial bet.
V-Shaped Recovery is here… just not evenly distributed.
Tech Sees Like a State: Indonesia Edition
Clever Currency Games
Treasuries: Bad Deal, No Alternatives
China Equities Update
Video Games and Pricing Power
Early-stage investors sometimes use the heuristic that if a product gets derided as a toy, it's worth investing in. That model would have gotten you into PCs in the 70s, the Internet in the early 90s, social networks when the good ones were privately-held, cryptocurrencies, and drones. The risk is investing in actual toy companies, which is usually a terrible decision. Hasbro stock hasn't done anything for half a decade, and Mattel trades where it did in the early 90s. JAKKS Pacific has destroyed most of its shareholders' wealth, and Funko is working on the same.
This is not a new phenomenon, either. The biggest toy company in the US in the 50s was Louis Marx & Company, whose founder made the cover of Time. Sales declined slightly over the next decade, and faster after that; the company was bankrupt in 1980. Coleco rode the Cabbage Patch Kids trend in the mid-80s—in 1985, they had the highest return on equity of any company in the Fortune 500—but they were bankrupt by 1988.
The record is no better for retailers. Toys R Us is bankrupt, of course, and they followed FAO Shwarz, KB Toys, Right Start, and Zany Brainy.
The toy industry has not been kind to investors, at any level.
There are a few reasons, and a few relevant lessons.
First, the toy business operates on an annual cycle. Historically, about 40% of toy sales happen during the holiday season, and about half of those were in the two weeks before Christmas. (That's a dated statistic, from about twenty years ago. Discretionary retail sales in general have gotten spikier, since more shoppers are used to fast, free shipping. With Amazon Prime, the Christmas shopping season starts on December 22nd or so.) 84% of US toy sales come from China, transported by a mix of ships and air freight, so they need to be ordered months in advance.
And they have to be marketed: while cheap toys can compete on price, the higher-margin ones only get sold when there's an effective ad campaign. Mattel created this model (and overturned Louis Marx's price-first approach) when they spent their entire net worth on a one-year sponsorship of The Mickey Mouse Club in 1955.
TV ad campaigns, too, tend to be purchased in advance. About half of TV ad spending is allocated to the upfronts—booked March through May to be delivered by the end of the year.
This locks toy companies into a challenging bet. Every year, they have to a) predict trends, b) invent them, and c) commit capital to them. All without knowing how the rest of the year will turn out. Since toy trends exist, but don't last for very long, they have to invent new products every year—but the technological state of the art doesn't advance very fast. It has all the volatility of tech, without the progress.
A handful of companies have made serious money in toys, or, rather, in toy-like or toy-adjacent businesses. The video game industry has generally done well. Disney turns a profit. And Games Workshop has a nice little business. (I wrote up in The Diff in April—note that I've since sold the stock, just for valuation reasons) . Lego, too, is a great business, worth an estimated $15bn.
What these companies have in common is that they escape the demographic trap that toy manufacturers are locked into. Every year, there's a new cohort of six-year-olds, and they need something that a) didn't exist last year, but b) appeals to timeless six-year-old sensibilities. They don't have much brand loyalty, because a year later the same toy is a toy for little kids. Each of these successful companies beats that in a different way:
Video games' average age has trended older over time, so instead of marketing to more trend-sensitive young people, they're marketing to more dollar-insensitive not-so-young people.
Disney has a generational loop, of which toys are a small part. Movies and streaming video get kids hooked on Disney characters, which can be monetized at much higher dollar values through their parks. (See my writeup here for much more.)
Games Workshop and Lego have a very healthy product dynamic: the ones you already own are an economic complement to the ones you buy. And Lego clearly designs their marketing around hitting two generations, too: at the Lego Store, $30 Rise of Skywalker-themed Lego sets are at a kids' eye level. The $800 set based on the original trilogy is positioned at an adult's eye level.
These companies have something else in common: they own their core intellectual property. Video game publishers do make games based on superheroes and sports leagues, and Lego certainly has branded sets, but the core of each business is IP owned by the company itself; the licensed products are a lucrative side business: it's much easier for a video game company to re-skin characters than for a movie company to start a video game studio. As a case study, one popular game was originally intended to be set in the Game of Thrones universe, but ended up using in-house IP instead. Disney, of course, sells toys based on its own characters. And while some Lego sets are associated with outside brands at the point of purchase, they inevitably end up being fungible with other Legos.
Because it's a hit-driven industry, toy companies that succeed can be immensely profitable for a while. The problem is that the difference between a cultural landmark and a fad is visible after a decade or so, while the decision of how much to order and how much to spend on marketing has to happen every year regardless. So toy companies with a hit product in year N tend to be bankrupt companies writing down the value of their inventory to ~$0 in year N+3 or N+5.
You shouldn't have to take big risks to make big returns. So when data from Citibank shows that art has outperformed the S&P by 180% since 2000 with the least volatility of any major asset class—we're inclined to notice.
The ultra-wealthy have invested in art for centuries, to the tune of over $1.7 trillion in total value—so why can't the rest of us?
Masterworks lets anyone invest in paintings by some of the most successful artists in history like Banksy, Warhol, Basquiat, and more, in just a few clicks. The only catch? There's currently a backlog of over 25,000 of people applying for membership, but you can skip the waitlist by signing up today.*
* See disclaimer.
V-Shaped Recovery is Here…
… just not evenly distributed. And not likely to last. In Japan, Uniqlo expects Japanese sales to be up 25% Y/Y in their August quarter, after a 15% decline last quarter. Their regional estimates are very much virus-driven, with optimism in China and pessimism in countries seeing a second wave, or, in the US's case, a 1.5th wave. And worldwide PC shipments grew in Q2, mostly due to the one-time build-out of home offices and Zoom-based schools. In China, auto sales were up 10% in Q2 ($), and China's copper smelting is also rising ($).
Inventory restocking used to be a significant driver of GDP growth: when the economy slowed, companies had too much inventory on hand, and had to cut jobs to work through the excess. Once they ran out, they had to rehire fast. Now, supply and demand for manufacturing are located in different places (with different policies), and companies are more averse to holding inventory for long periods, so this model isn't as descriptive or predictive as it once was. When the people getting fired are the ones providing demand, it's easy for a recession to feed on itself, and easy for a recovery to bootstrap itself, too. When those groups are in different countries, and when the swings in inventory are more muted, it's less of a factor, leading to fewer recessions but much slower rebounds.
The Indonesion government is strapped for cash, and needs to spend heavily to mitigate the effects of Covid-19. But the government is not great at collecting taxes (taxes are 11-12% of GDP. For comparison, Mexico and the Netherlands have similar-sized economies, and collect 16% and 39%, respectively). But tech companies are great at collecting taxes on online commerce, and tend to charge close to the Laffer peak. So Indonesia is outsourcing taxation to them ($) by imposing a 10% value-added tax on large Internet companies. Google, Facebook, and Netflix have built their own "tax collection" apparatus, and are better at catching tax-evaders and charging the right amount. As it turns out, tax-farming wasn't a terrible idea, just a few centuries early
In other tax news, Chinese mainlanders working in Hong Kong suddenly owe the mainland's 45% tax rates rather than Hong Kong's 15%. China seems to alternate—on a daily basis—between wanting Hong Kong to be a financial center they control and wanting to use their control to end Hong Kong's status as a financial center.
The dollar, by virtue of being the world's most-used currency, is the currency that least represents how currencies work. Since it's a reserve currency, dollars are demanded by people who don't earn them or spend them, but who know they'll need them, so the US has less control over the value of its money than any other place. To paraphrase John Connally, it's everyone's currency but America's problem.
For example, there's no way the US could get away with this ($):
Africa's most populous nation has long maintained several exchange rates. In addition to the interbank and black-market rates, there are official rates for consumers wanting dollars for school and medical fees abroad, for Muslims making the pilgrimage to Saudi Arabia, and for people wishing to buy hard currency at exchange bureaux.
That's a very clever setup. Smaller countries can use a tiered exchange-rate system to moderately encourage or discourage certain behaviors, or to dole out favors to particular groups. Dollars are so liquid, and used in so many places, that the US has to take a more binary approach, of allowing or banning transactions; taxes get routed around.
Alpha Architect has a negative view on treasuries, arguing that they're not a good diversifier and that yields are too low to justify owning them. The piece goes into detail on how treasuries function as insurance (not always!), and how they're mostly owned by price-insensitive buyers like regulated insurance companies and central banks. All true. But the most important line in the piece is: "Okay, Treasuries Aren't Compelling: What Are My Alternatives? Answer: Nothing." Investments are always expressed in relative terms. In an aging world, we shouldn't expect anything to be cheap because there's so much demand for savings.
China Equity Update
Chinese CSI 300 index dropped 1.8% in the last session, and it's now up only 14% since late June. Bloomberg profiles the wild market, with plenty of pull quotes from new investors ("There's no way I can lose," sounds like a classic bull market line, but there's a tinge of desperation there). One company, QuantumCTek, rose 1,000% in its IPO ($).
2K games is trying to push video game prices above the de facto ceiling of $60/copy. Video game prices have been declining in real terms, in part because of cheaper manufacturing and distribution. As the video game industry gets more mature, predicting sales for any given title gets easier, which encourages publishers to invest more in production. So cost deflation in one part of the market is offset by cost inflation in another.


text:
package org.zstack.test;

import org.apache.catalina.LifecycleState;
import org.apache.catalina.connector.Connector;
import org.apache.catalina.startup.Tomcat;
import org.apache.commons.io.FileUtils;
import org.apache.coyote.http11.Http11NioProtocol;
import org.springframework.web.util.UriComponentsBuilder;
import org.zstack.appliancevm.ApplianceVmGlobalProperty;
import org.zstack.core.Platform;
import org.zstack.core.componentloader.ComponentLoader;
import org.zstack.header.exception.CloudRuntimeException;
import org.zstack.kvm.KVMGlobalProperty;
import org.zstack.network.service.virtualrouter.VirtualRouterGlobalProperty;
import org.zstack.storage.backup.sftp.SftpBackupStorageGlobalProperty;

import java.io.File;
import java.io.IOException;
import java.net.InetAddress;

public class WebBeanConstructor extends BeanConstructor {
    private Tomcat tomcat;
    private static final String BASE_DIR = "target/test-classes/tomcat";
    private static final String APP_NAME = "zstack";
    private int port = 8989;
    private UriComponentsBuilder ub;
    private String siteUrl;

    public WebBeanConstructor() {
        // initialize static block in Platform
        Platform.getUuid();
        KVMGlobalProperty.AGENT_PORT = port;
        VirtualRouterGlobalProperty.AGENT_PORT = port;
        SftpBackupStorageGlobalProperty.AGENT_PORT = port;
        ApplianceVmGlobalProperty.AGENT_PORT = port;
    }

    private void generateWarFile() {
        WarBuilder wbuilder = new WarBuilder();
        wbuilder.setSpringConfigPath(springConfigPath);
        wbuilder.setWarExportedToPath(BASE_DIR);
        wbuilder.build();
    }

    private void prepareTomcat() throws IOException {
        File dir = new File(BASE_DIR);
        FileUtils.deleteDirectory(dir);
        FileUtils.forceMkdir(dir);

        generateWarFile();
        tomcat = new Tomcat();
        tomcat.setPort(port);
        tomcat.setBaseDir(BASE_DIR);
        tomcat.getHost().setAppBase(BASE_DIR);
        tomcat.getHost().setAutoDeploy(true);
        tomcat.getHost().setDeployOnStartup(true);

        final Connector nioConnector = new Connector(Http11NioProtocol.class.getName());
        nioConnector.setPort(port);
        nioConnector.setSecure(false);
        nioConnector.setScheme("http");
        nioConnector.setProtocol("HTTP/1.1");
        try {
            nioConnector.setProperty("address", InetAddress.getByName("localhost").getHostAddress());
        } catch (Exception e) {
            throw new CloudRuntimeException(e);
        }
        tomcat.getService().removeConnector(tomcat.getConnector());
        tomcat.getService().addConnector(nioConnector);
        tomcat.setConnector(nioConnector);

        tomcat.addWebapp(tomcat.getHost(), "/", new File(BASE_DIR, APP_NAME + ".war").getAbsolutePath());

    }

    public void startTomcat() {
        try {
            prepareTomcat();
            tomcat.start();
        } catch (Exception e) {
            throw new CloudRuntimeException(e);
        }
    }

    public void stopTomcat() {
        try {
            if (tomcat != null && tomcat.getServer() != null && tomcat.getServer().getState() != LifecycleState.DESTROYED) {
                if (tomcat.getServer().getState() != LifecycleState.STOPPED) {
                    tomcat.stop();
                }
                tomcat.destroy();
            }
        } catch (Exception e) {
            throw new CloudRuntimeException(e);
        }
    }

    @Override
    public ComponentLoader build() {
        generateSpringConfig();
        startTomcat();
        return Platform.getComponentLoader();
    }

    public String getSiteUrl() {
        if (siteUrl == null) {
            ub = UriComponentsBuilder.fromHttpUrl("http://localhost");
            ub.port(getPort());
            siteUrl = ub.build().toUriString();
        }
        return siteUrl;
    }

    public int getPort() {
        return port;
    }

    public void setPort(int port) {
        this.port = port;
    }

    public String buildUrl(String...path) {
        UriComponentsBuilder ubb = UriComponentsBuilder.fromHttpUrl(getSiteUrl());
        for (String p : path) {
            ubb.path(p);
        }
        return ubb.build().toUriString();
    }
}

redpajama_set_name: RedPajamaGithub


text:
The 1958-59 French Rugby Union Championship was contested by 48 clubs divided in six pools of eight.

The five better of each pool and the two better 6th (for a sum of 32 clubs) were qualified to play a play-off phase.

The championship was won by Racing Paris that defeated Mont-de-Marsan in the final.

Context
The 1959 Five Nations Championship was won France .

The Challenge Yves du Manoir was won by Dax that beat Pau for 12-8.

Qualification round

In bold the qualified to "last 32" phase

"Last 32"

In bold the clubs qualified for the next round

"Last 16"

In bold the clubs qualified for the next round

Quarter of finals

In bold the clubs qualified for the next round

Semifinals

Final

François Moncla, Michel Crauste and Arnaud Marquesuzaa

External links
 Compte rendu finale de 1959 lnr.fr

1959
France 1959
Championship

redpajama_set_name: RedPajamaWikipedia


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IvvanaLolaIvvanaLolaClaireStarXSTEVENACOOK .UMeganBrightboyhotsex20SashaSophieExquisiteRuth .PrettyJeremytwistedoHandsomeactivAlexAndZara .FunnyBritneyasiasquirterExquisiteRuthScentOfLust .AUDREYbbIvvanaLolaAlexAndZarareallylove .ExquisiteRuthLovelySophieeelovetocum18boyhotsex20 .BigAssShakingSweetFabrizzioAlexAndZaraMsElleGabriel .SweetAdalynSweetAdalynAlexAndZaraHotSexySHOWGIRLS .HotSexySHOWGIRLS20Karina20AdelleAndersenClaireStarX .LailaKnowlesBOOTYM3DOWNsandrina800GayHunk .xLanaMilanaMrThugZilla2K15latinlukasplopMrThugZilla2K15 .


Our Human body requires body fat for storing energy, heat insulation, shock absorption and other important functions. But being overweight is going to bring health problems. On average, women tend to have more body fat than men. Genetic factor is one of the major contributory factors for being overweight. As our age advances, metabolic rate reduces and causes us to gain weight. This ayurvedic formulation checks conversion of extra carbohydrate to fat. It balances BMR, reduces BMI and provides gradual and sustainable weight loss. It has been developed through extensive research and clinical studies indicates no side effects.
Directions for use : 1-2 tablets twice a day with water after meals or as directed by the physician.


text:
Менди́виль () — испанская фамилия.

Известные носители
 Мендивиль, Исмаэль (19…—2015) — боливийский шахматист.
 Мендивиль, Мануэль (1935—2015) — мексиканский спортсмен-конник.
  (род. 1980) — мексиканский футболист.
 Сантьяго-и-Диас де Мендивиль, Фернандо де (1910—1994) — испанский политик.
 Хименес Мендивиль, Сорайя (1977—2013) — мексиканская тяжелоатлетка.

См. также
 Мендибиль