In work environments that encourage health and wellness, surveys consistently show us that employees are far more satisfied with their jobs and positive about health benefit plans.
The most common "tactile" wellness programs are flu shots at work, discounts for external gym memberships or fitness classes, on-site fitness centre or gym and online health risk assessments.
Although wellness means different things to different people, especially across generations, more and more businesses are making the commitment to build wellness into their culture through various means, whether it be policies and practices or specific service offerings.
At Gary White Insurance we have found that our clients are receptive to targeted health information based on personal claims data and the biggest return on the wellness investment comes from those employees who have chronic disease or who might be at high risk of disease.
Wellness is a conversation worth having particularly in light of the high interest levels being shown today towards new wellness-oriented benefits.
If your group insurance premiums are increasing substantially year over year, call us for an in-depth analysis of your benefit plan and how wellness programs might positively impact that.


Why not dress up as one of your favourite TV or Film characters. We've everything from Austin Powers to Harry Potter to The Flintstones. TV and Film fancy dress costumes are very popular. Pick out a great costume and some accessories to complete the look.


Yikes! Sudden disaster doesn't sound like very much fun. Ruin doesn't either. God has much to say about avoiding both in today's passage. To get the full blessing of God's message it will be important to dial in to the context provided by this passage so we don't "over-apply" it and face disappointment as a result.
In this chapter of Proverbs, a father instructs his son in the seeking and application of wisdom. As a reader of this chapter today, you get to live vicariously through this father and son relationship. You can also understand that, at its core, the passage reflects the relationship your Heavenly Father longs to have with you. The preceding 24 verses instruct the son that Wisdom is found in God alone, and to vigorously seek after Him to attain true Wisdom. So our passage above relies heavily on this context. Therefore, if you seek after God for Wisdom, He will be, by definition, by your side. And if you have God by your side, He will keep your foot from being snared.
Think about snaring for a minute. When an animal gets its foot snared in a trap, there are usually deadly consequences. Even if the animal can somehow wriggle free, it escapes with significant injuries. In either case, disaster and ruin are good descriptors of the outcome. There are similar consequences for you, if you disregard God's Wisdom and pursue a path without it. God does not want this for you! He knows how devastating the consequences will be. He loves you so much and desperately wants you to avoid this disaster and ruin. He also wants you to live a life without the debilitating effects of fearing these things.
Seek after God for wisdom today, and fear not, for He will be at your side. Make today a "snare-free" day!
What are your gifts? Are you good at working with young children? Are you musically inclined? Are you good with tools and building projects? Do you feel like you don't have any true gifts? I can assure you, that in God's economy, everyone has gifts and in those gifts, however small or insignificant they may seem at times, there is a great and glorious purpose.
There are some important things to remember about your gifts: you did not earn them and they do not belong to you! They are gifts, entrusted to you, and they belong to God. Adopting this understanding about your gifts goes a long way to understanding how to use them. Their use should be directed towards others and not just used for self-serving purposes.
Another thing to remember is that your gifts, and the countless gifts of others, are all various expressions of God's grace. God's grace and your gifts are wrapped up together in a great, big care package He has freely given to you. When you use your "grace gifts" to share God's love with others, you become part of God's wonderful grace delivery system.
So, be a grace gift deliverer today! Use whatever gift you have received to serve others.


text:
Home » Movies » Feige and Derrickson Talk About Tripping Through Dimensions and the Rules of Magic for Doctor Strange!
Feige and Derrickson Talk About Tripping Through Dimensions and the Rules of Magic for Doctor Strange!
Posted by Matt Key | Sep 28, 2016 | Movies | 0
~Matt Key
So, we talked about the relics of Doctor Strange, the next big cinematic spectacle from Marvel, with those artifacts being the Eye of Agamotto and the Cloak of Levitation, but the purpose of those artifacts is to grant their wielder various magical powers and access to higher dimensions of reality.
But what the dimensions looks like, how magic works, how to get back and forth and a host of other considerations all have to be weighed and designed for a visual medium like film. In fact, it's even trickier because the Doctor Strange comics are trippy enough in and of themselves, so the filmmakers have to weigh all of their designs against what's come before, translating the artwork of artists like Steve Ditko into visual representations for the theatres.
The question of this look and cinematic translation was the center of a lot of talk during the set visit that a lot of reporters got to make earlier in the year and, apparently, the designs were all taken directly from the comics a lot more than any of us know.
Production Designer, Charles Wood, spoke with Comicbook.com admitting that they had a hard time with it initially, saying, "It was looking at how those other (alternate) dimensions are being portrayed in the comics. I looked at that stuff in the beginning and thought, 'Oh my god, how could that ever translate into film?'"
But, in the end, they pushed past their initial reactions, accepted the challenge and just went for it — "Ditko was a huge influence in all of that, and we took that as a starting point, and took it from there, to try and come up with something very different."
Yes. You read that correctly. Steve Ditko is their inspiration. The very same Steve Ditko who drew this…
In fact, that last one, Kevin Feige directly references in talking with /Film about director Scott Derrickson's inspiration for the film saying that particular panel "was turned into a blacklight poster that he (Derrickson) remembered having. And that has been so much of the visual inspiration of the movie." In fact, according to Mr. Feige, "…Steve Ditko and the art of Steve Ditko is a huge inspiration for us" and that "a lot of our interpretation of the multiverse and various dimensions come right out of all of the art of those early comics that Mr. Ditko did."
To understand what Feige is saying, take a look at this piece from Ditko…
And then take a look at this concept art released just about a month ago.
Feige went on to admit, "It's really weird. You don't want to turn away from that." He then went on to add, "It needs to be weird. It needs to be absolutely inspired from those images." Feige was also careful to give a bit more definition to their particular concept of "dimensions," as separate from "parallel realities," warning that, often times, when people hear those words, they assume "Earth 616 and Earth 617 and Earth 618," but that's not what they're doing.
As he describes it, these dimensions are –
"not just parallel realities … but there are the Dark Dimension where Dormammu inhabits; there are dimensions that are so mind-bending that you can barely perceive them; there are dimensions where a lot of the Ditko images come from; there are dimensions that are just mind trips that the human mind can barely fathom."
It's not all about Ditko though, as director Scott Derrickson admits to /Film. According to him, "the fantastical visual imagery of all the comics" fueled his vision for the film, "particularly the early Ditko stuff," as we've already discussed, but also, "Into Shamballa, The Oath, a lot of the images that I have picked are from those three sources. And then individual issues." Derrickson admits, however, that in the end, his goal was to "make the movie as weird, as visually weird in this day and age as the Ditko comics were at their time."
So, tripping through weird ass dimensions is one thing, but the big thing on a lot of people's minds is the magic. The sorcery. We all want to know how that will look, how it will act, what it's rules are and where it comes from when it's all said and done.
Derrickson starts off by saying admitting that he wanted "… to avoid having fighting be the casting of bolts of light." He added to this thought, "… we've been drawing on the Emperor in Star Wars for over 30 years, you know, we've gotta start doing this some other way. You know, the magic power, the utilization of magic power."
In the end, all of the fighting, as Derrickson says, was "… always within a context of something I think more fantastical and more surreal and more mind trippy than just the supernatural action of combat… fighting within a larger surreal canvas." Ultimately, as he concludes, this surreal context "… was the thing I always wanted to preserve so that we're never just watching fighting."
Papa Feige had a lot more to say about magic though, than the director. This is more than likely due to the fact that Mr. Feige knows exactly what he's allowed to talk about because, well, he is the one that decides that.
Again, as reported by /Film, Feige starts by addressing the nature of magic in the Marvel universe before Doctor Strange, mainly, in Thor, where magic was described more as super-advanced science that we did not yet understand. He says that they are more or less continuing on in that line of thought, reminding us that Doctor Strange is a man of hard facts, science and Western Medicine when he encounters The Ancient One, who then challenges him with Eastern Medicine, saying "it's the same thing. Whether you're looking at the ancient study of acupuncture pressure points or you're looking at an MRI — she's trying to say we're talking about the same things here."
Along those exact same lines, Derrickson says something almost completely antithetical to Feige, admitting that, "preserving the idea of magic was really important to me" and that "we didn't try to explain it (magic) away or root it all in something scientific that by definition is not magic to me." It seems, when you take both quotes in the context of the film, it's in the tension of those two visions that the concepts, explanations and visuals will find balance.
In other words, where Feige is looking to ground their explanations, as Doctor Strange would, Derrickson is more like The Ancient One, more willing to keep the mystery and allow the magic to remain somewhat inexplicable and mystifying.
Feige actually admits that the visualization of the magic was probably the toughest thing to crack on the film. As he says, "Scott was very smart in not wanting it to simply be: someone shoots a bolt of lightning, and someone blocks a ball of lightning, so someone throws another bolt of lightning…" and so on. Certainly, he says, "There are interpretations of that. But we wanted to do something different, and we wanted to tap into this notion of the multiverse, of dimensions right next to our own."
And, as he describes, the actual, full benefit of being those dimensions being so close is to "tap into those dimensions, and those other powers, and what could you do if you pulled aspects of those other dimensions into our realm." This, ultimately, as he says, was all "in the interest of creating a visual tapestry that is totally different in terms of an action scene we've seen in any other movies."
This is due to the fact that —
"We've seen light blast versus light blast before." And, while he says we'll certainly see some of that in this movie, "the four main action scenes have been structured around which power from which dimensions are they going to use to screw with our world now. So something that starts as a foot chase becomes totally unrecognizable. Something that starts as we've got to stop the clicking clock before it goes off is completely turned on its head. "
In other words, this magic, all the spells that they cast and sorcery they perform, is very literally them finding ways to open portals into other dimensions, channeling the energy of those dimensions into ours and then manipulating it to fit the situation. Put another way —
"By the Flames of the Faltine!" or "By the Crimson Bands of Cyttorak!" or "By the Shield of the Seraphim!"
Ultimately, all of this work, all of this toiling, the years and years of work that they've put into the script before really even bringing Scott Derrickson on board, was to give us a canvas "for an action scene totally different than anything we've ever done before."
I think we'll take it…
Follow Matt Key on twitter, here!
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Matt Key
Comic Book Contributor at Geek Girl Authority
Matt Key is a writer/producer/performer living in Los Angeles.
He has two cats and knows all things about Doctor Strange but little else.
Latest posts by Matt Key (see all)
AVENGERS: INFINITY WAR Trailer Infinity Stone Questions and More Answered (or at Least Speculated)! - December 1, 2017
New Trailer for THE RUNAWAYS Shows Off All the Powers and Tech - October 26, 2017
CAPTAIN MARVEL to Play an Important Role in Future of Marvel Cinematic Universe - October 24, 2017
PreviousMarvel's Agents of SHIELD Recap: (S04E02) Meet The New Director
NextEp 12 – "Which Sci Fi Characters Describe You" with Guests Paul Feldman and Brian Bradley
Matt Key is a writer/producer/performer living in Los Angeles. He has two cats and knows all things about Doctor Strange but little else.

redpajama_set_name: RedPajamaCommonCrawl


text:
Newman, Alakija, Emuwa, others get awards
By The Nation On Jul 10, 2019
Many distinguished Nigerian women, among them, the Managing Director of the Financial Institutions Training Centre (FITC), Dr. Lucy Newman, Vice Chairman, Fanfa Oil Limited, Mrs. Folorusho Alakija and Chairman, Punch Newspapers, Mrs. Angela Emuwa, received awards at the Great Place To Work (GPTW) Annual Awards Ceremony & Dinner and Maiden Edition of the Women Leaders Awards that held in Lagos.
Others, including the Chairman, FirstBank of Nigeria, Mrs. Ibukun Awosika, Managing Director, Cadbury, Mrs. Oyeyimika Adeboye and Halima Dangote, daughter of Africa's richest businessman and President of the Dangote Group, Alhaji Aliko Dangote, also received the Distinguished Women Leaders Awards at the event.
Two categories of women leaders, namely the Distinguished Women Leaders and the Exceptional Women Leaders, were recognised. The Distinguished Women Leaders are honorary awards reserved for notable women who have demonstrated, through their life and work, their leadership in corporate Nigeria and the society.
Foreign investors rouse Nigerian equities to N417b gain
'Nigeria made 17.67m barrels of oil in 2021'
LIRS to employers: File your tax returns
These women have become incredible role models for their countries, the womenfolk, girls and as well as the boys too. They have created the game-changer for gender equality and women's empowerment as they have made significant contributions to the society. These awardees are eminent women who have broken glass ceilings, have pushed the frontiers of women leadership and paved the path for other women and girls to follow in their footsteps and become future leaders.
On the other hand, the Exceptional Women Leaders Awards recognised professional women from across different sectors and industries who emerged leaders in their field based on submissions by their Chief Executive Officers.
As leaders, these inspiring women have distinguished themselves in Vision & Leadership, Mentorship and Influence, Community involvement, Educational accomplishment and corporate performance. They have made a difference in their organisations and their immediate communities and have forged paths for others to follow.
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Do your employees drive company vehicles?
Do your employees start early to meet deadlines?
Of course they do, that's a credit to you as a manager. Long days, late nights, big meetings we expect a lot from our employees it's all part of being successful – but being successful shouldn't cost lives.
How can you minimise the risk? Encourage your employees to manage their time, appointments and trips effectively and ensure you have a safe driving policy in place.
Check out our latest resource for company fleet managers, by clicking on the Company Vehicles tab at the top of this page. It will provide information on how to put together a policy that works.


What conditions does Hytrin Tablet treat?
List Hytrin Tablet side effects by likelihood and severity.
What should I know regarding pregnancy, nursing and administering Hytrin Tablet to children or the elderly?
Does Hytrin Tablet interact with other medications?
Are you taking Hytrin Tablet?
Are you considering switching to Hytrin Tablet?
How long have you been taking Hytrin Tablet?


We don't get that much rain here in San Diego county, but it only takes a little bit of sitting water to attract mosquitoes. County mosquito expert Chris Conlan shows you what kind of items you might have in your backyard that mosquitoes can easily breed in.
Voting is about making everyone's voice mean something. That's why the San Diego County Public Defender Youth Council has been out doing non-partisan voter outreach at their high schools and in their communities this month.
The number of influenza deaths in San Diego rose to 341 after two new deaths were reported last week, the County Health and Human Services Agency announced today.
Sixty percent of San Diegans have used permanent disposal boxes or take back days to get rid of their unwanted prescription drugs.


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John Burnham Schwartz has written 11 work(s)
displaying 1 to 11 | at end
By John Burnham Schwartz
9781780331980 | Gardners Books, April 19, 2012, cover price $21.95
9781780338675 | Gardners Books, September 20, 2012, cover price $14.65
9780812980516 | Reprint edition (Random House Inc, July 10, 2012), cover price $15.00
9781780338231 | Constable & Robinson Ltd, April 19, 2012, cover price $21.00
9781611731750 | Large print edition (Center Point Pub, September 1, 2011), cover price $34.95
Northwest Corner: A Novel
9781400068456 | Random House Inc, July 26, 2011, cover price $26.00
The Commoner
Diagramed instructions for a wide variety of games tailored to all grade levels for the development of the basic skills and strategies needed for nine standard team sports
9781400096053 | Reprint edition (Vintage Books, January 6, 2009), cover price $15.95 | also contains The Commoner
9780135270288, titled "Lead-Up Games to Team Sports" | Prentice Hall, June 1, 1964, cover price $34.45 | also contains Lead-Up Games to Team Sports, The Commoner | About this edition: Diagramed instructions for a wide variety of games tailored to all grade levels for the development of the basic skills and strategies needed for nine standard team sports
CD/Spoken Word:
9780739358733 | Abridged edition (Random House, January 22, 2008), cover price $29.95 | About this edition: In 1959, Haruko marries the Crown Prince of Japan, becoming the first commoner to enter the mysterious and reclusive world of Japanese royalty, confronting the cruelty and suspicions of the court, until, three decades later, she helps arrange the marriage of her son, in a novel inspired by the real-life stories of the reigning empress and crown princess of Japan.
9781602852211 | Large print edition (Center Point Pub, July 1, 2008), cover price $33.95 | also contains The Commoner
In 1959, Haruko marries the Crown Prince of Japan, becoming the first commoner to enter the mysterious and reclusive world of Japanese royalty, confronting the cruelty and suspicions of the court, until, three decades later, she helps arrange the marriage of her son.
9780385515719 | Nan a Talese, January 22, 2008, cover price $24.95 | About this edition: In 1959, Haruko marries the Crown Prince of Japan, becoming the first commoner to enter the mysterious and reclusive world of Japanese royalty, confronting the cruelty and suspicions of the court, until, three decades later, she helps arrange the marriage of her son.
Reservation Road: Movie-tie-in
A hit-and-run accident that claims the life of ten-year-old Josh Learner leads to a chilling confrontation between the driver responsible for the death and Ethan Learner, Josh's father, who embarks on a deadly pursuit of the unknown man who had killed his son. Reissue. (A Random House Films/Focus Features movie, directed by Terry George, releasing Fall 2007, starring Joaquin Phoenix, Mark Ruffalo, Jennifer Connolly, & Mira Sorvino) (General Fiction)
9780307388322 | Reissue edition (Vintage Books, September 25, 2007), cover price $7.99 | About this edition: A hit-and-run accident that claims the life of ten-year-old Josh Learner leads to a chilling confrontation between the driver responsible for the death and Ethan Learner, Josh's father, who embarks on a deadly pursuit of the unknown man who had killed his son.
Reservation Road
9780786217403 | Large print edition (Thorndike Pr, March 1, 1999), cover price $28.95 | About this edition: A hit-and-run accident that claims the life of ten-year-old Josh Learner leads to a chilling confrontation between the driver responsible for the death and Ethan Learner, Josh's father
9780375402630 | Alfred a Knopf Inc, September 1, 1998, cover price $24.00 | About this edition: A hit-and-run accident that claims the life of ten-year-old Josh Learner leads to a chilling confrontation between the driver responsible for the death and Ethan Learner, Josh's father, who embarks on a deadly pursuit of the unknown man who killed his son
9780307387165 | Reissue edition (Vintage Books, September 18, 2007), cover price $13.95 | About this edition: A hit-and-run accident that claims the life of ten-year-old Josh Learner leads to a chilling confrontation between the driver responsible for the death and Ethan Learner, Josh's father, who embarks on a deadly pursuit of the unknown man who had killed his son.
9780375702730 | Vintage Books, October 1, 1999, cover price $15.00 | About this edition: A hit-and-run accident that claims the life of ten-year-old Josh Learner leads to a chilling confrontation between the driver responsible for the death and Josh's father, who embarks on a deadly pursuit of the man who killed his son.
Cassette/Spoken Word:
9780375403101 | Abridged edition (Random House, September 1, 1998), cover price $18.00 | About this edition: A hit-and-run accident that claims the life of ten-year-old Josh Learner ultimately leads to a chilling confrontation between the driver responsible for the death and Ethan Learner, the boy's vengeful father.
A hit-and-run accident that claims the life of ten-year-old Josh Learner leads to a chilling confrontation between the driver responsible for the death and Ethan Learner, Josh's father, who embarks on a deadly pursuit of the unknown man who had killed his son. Simultaneous. (A Random House Films/Focus Features movie, directed by Terry George, releasing Fall 2007, starring Joaquin Phoenix, Mark Ruffalo, Jennifer Connolly, & Mira Sorvino) (General Fiction)
By John Burnham Schwartz, John Shea (narrator), Stanley Tucci (narrator) and Anne Twomey (narrator)
9780739358122 | Abridged edition (Random House, September 25, 2007), cover price $14.99 | About this edition: A hit-and-run accident that claims the life of ten-year-old Josh Learner ultimately leads to a chilling confrontation between the driver responsible for the death and Ethan Learner, the boy's vengeful father.
Claire Marvel
Over the course of some fifteen years, beginning in graduate school, Claire Marvel has a profound effect on Julian Rose, as they enjoy a two-year romance, break up, marry others, and build separate lives for themselves, before a chance encounter and Claire's death, an apparent suicide, forces Julian to reexamine both their lives. By the author of Reservation Road. Reprint. 35,000 first printing.
9780385503440 | Doubleday, February 1, 2002, cover price $25.00 | About this edition: Over the course of fifteen years, beginning in graduate school, Claire Marvel has a profound effect on Julian Rose, but a chance encounter and Claire's death, an apparent suicide, forces Julian to reexamine both their lives.
9780375719158 | Reprint edition (Vintage Books, March 1, 2003), cover price $15.95 | About this edition: Over the course of some fifteen years, beginning in graduate school, Claire Marvel has a profound effect on Julian Rose, as they enjoy a two-year romance, break up, marry others, and build separate lives for themselves, before a chance encounter and Claire's death, an apparent suicide, forces Julian to reexamine both their lives.
Claire Marvel: A Novel
Over the course of fifteen years, beginning in graduate school, Claire Marvel has a profound effect on Julian Rose, but a chance encounter and Claire's death, an apparent suicide, forces Julian to reexamine both their lives.
9781587242021 | Large print edition (Wheeler Pub Inc, April 1, 2002), cover price $28.95 | About this edition: Over the course of fifteen years, beginning in graduate school, Claire Marvel has a profound effect on Julian Rose, but a chance encounter and Claire's death, an apparent suicide, forces Julian to reexamine both their lives.
Reservation Road: Open Market Edition
9780375707032 | Vintage Books, September 1, 1999, cover price $7.99 | also contains The Death Penalty: A Worldwide Perspective
Bicycle Days: A Novel
Alec Stern's successful new life in Japan forces him to reflect on the memories of his family and life back in the United States (view table of contents)
9780671666002 | Summit Books, May 1, 1989, cover price $18.95
9780375702754 | Vintage Books, May 1, 1999, cover price $15.00 | About this edition: Alec Stern's successful new life in Japan forces him to reflect on the memories of his family and life back in the United States
9780452264212 | Plume, May 1, 1990, cover price $8.95


Stock clipart image of a eye ball cartoon character standing beside a Halloween pumpkin with a smile. This clip art image is also available as part of a 30 image collection. These images can be used as a brand mascot for your business and can also be used in many different forms of promotion.


text:
Q: Creating and destroying elements as opposed to showing and hiding I have a dynamic page that involves moving elements from one place to another. At the moment I am removing the elements from their source location and then creating them at their destination using a bunch of document.createElement() and document.appendChild() calls. These elements have a bunch of event listeners, which I have to then re-assign every time I modify the DOM in this way.
For performance reasons I am starting to think it would be best to have the elements stay right where they are and just be hidden and shown as they are 'moved'. I can't use jQuery's appendTo() method for other reasons.

redpajama_set_name: RedPajamaStackExchange


Heineken Malaysia Berhad has always been one of the brands offering its loyal consumers a Chinese New Year campaign packed full of opportunities to win. With wishes for a great year overflowing with prosperity and togetherness, Tiger Beer has unveiled its campaign this year with a grand launch.
Starting the year "full" by stocking up on supplies will symbolise a year filled with good vibes, fortune and prosperity. This is one of the beliefs in Chinese culture that the way we start the year will set the tone for the rest of the year.
I daresay Tiger Beer has outdone themselves this year with their grand launch event graced by a stunning lion dance performance to bring out the festive feeling amongst the guests.
While the God of Prosperity engaged with the crowd by giving away Mandarin oranges and fortune cookies, guests had the opportunity to participate in a Yee Sang tossing ceremony, gleefully wishing for a bountiful year ahead that will overflow with prosperity and togetherness.
"This festive season, HEINEKEN Malaysia wants to gift its loyal consumers a memorable Chinese New Year experience. As this is a time when families and friends gather for a reunion, we want to ensure that their celebrations will overflow with prosperity and togetherness. Hence, our campaign this year is packed with full of opportunities for our loyal consumers to win with the range of brews in our portfolio." Hans Essaadi, Managing Director of HEINEKEN Malaysia.
During this delightful season, consumers who fill their glasses with Tiger Beer and other HEINEKEN Malaysia products at participating coffee shops, food courts and Chinese restaurants, can instantly redeem a pack of limited-edition Tiger Beer playing cards while also having the opportunity to take home prizes such as cash ang-pows worth RM99 or cans of Apple Fox Cider". Consumers can also keep an eye on the new packaging for Tiger Beer and Guinness during this festive period, designed to make the Chinese New Year celebrations merrier this year.
Exclusive Tiger Beer Mahjong sets are on offer at participating stores too. Consumers can own a set at RM99 only, while stocks last when they purchase one 24-can pack of Apple Fox Cider and two 24-can packs of any other HEINEKEN Malaysia products. I have seen the Mahjong set, and I can tell you that it is a very beautiful set, one that you should get your hands on as soon as possible!
On top of that, shoppers at selected Tesco outlets in Peninsular Malaysia who purchase HEINEKEN Malaysia products worth RM200 and above will be able to play a game and win even more prizes. Three consumers will also score themselves an opportunity to sprint around a Tesco store to fill their carts with items that will be paid for by Tiger Beer. Time to head out to those Tesco stores to try my luck!!!
May the God of Prosperity shine down on you this festive season and bestow upon you lots and lots and lots of money!!!
For more information on this campaign and the abundance of promotions, as well as the dates and locations of outlet events, please visit https://www.facebook.com/TigerBeerMY. These promotions are only open to non-Muslims who are 21 years old and above.
Have a very Happy Chinese New Year everyone!


text:
#ifndef OVERKIZ_SHARED_H_
#define OVERKIZ_SHARED_H_

#include <assert.h>
#include <utility>
#include <typeinfo>
#include <type_traits>
#include <stdio.h>

#include <kizbox/framework/core/Exception.h>

namespace Overkiz
{

  namespace Shared
  {

    namespace Exception
    {

      class Nil: public Overkiz::Exception
      {
      public:

        virtual ~Nil()
        {
        }

        const char * getId() const
        {
          return "com.overkiz.Framework.Core.Shared.Nil";
        }

      };

      class InvalidCast: public Overkiz::Exception
      {
      public:

        InvalidCast(const char * typeName) :
          typeName(typeName)
        {
        }

        virtual ~InvalidCast()
        {
        }

        const char * getTypeName() const
        {
          return typeName;
        }

        const char * getId() const
        {
          return "com.overkiz.Framework.Core.Shared.InvalidCast";
        }

      protected:

        const char * typeName;

      };

    }

    class Counter
    {
    public:
      Counter() :
        count(1)
      {
      }

      virtual ~Counter()
      {
      }

    protected:
      int count;

      template<typename A> friend class Pointer;
    };

    template<typename T>
    class Pointer
    {
    public:
      class Factory;
      class Self;

    private:
      class SelfWrapper;

      class SelfReference
      {
      public:
        SelfReference() :
          container(NULL)
        {
        }
        SelfReference(SelfWrapper *cont) :
          container(cont)
        {
        }
        SelfReference(const SelfReference& src) :
          container(NULL)
        {
        }
        virtual ~SelfReference()
        {
        }

        SelfReference& operator = (const SelfReference& val)
        {
          return *this;
        }

        operator Shared::Pointer<T>()
        {
          Shared::Pointer<T> ret;

          if(container)
          {
            container->count++;
            ret.counter = container;
            ret.value = & (container->value);
          }

          return ret;
        }

        operator Shared::Pointer<const T>() const
        {
          Shared::Pointer<const T> ret;

          if(container)
          {
            container->count++;
            ret.counter = container;
            ret.value = & (container->value);
          }

          return ret;
        }

        template<typename T1>
        operator Shared::Pointer<T1>()
        {
          return Shared::Pointer<T> (*this);
        }

        template<typename T1>
        operator Shared::Pointer<const T1>() const
        {
          return Shared::Pointer<const T> (*this);
        }

      protected:
        SelfWrapper *container;
      };

      class SelfInitializer: public virtual SelfReference
      {
      public:
        virtual ~SelfInitializer()
        {
        }

      };

      class SelfCleaner: public virtual SelfReference
      {
      public:
        virtual ~SelfCleaner()
        {
          SelfReference::container = NULL;
        }

      };

      class SelfWrapper: public Shared::Counter
      {
      public:
        class Container: public SelfInitializer, public T, public SelfCleaner
        {
        public:
          template<typename ...P>
          Container(SelfWrapper *count, P&&... params) :
            SelfReference(count), SelfInitializer(), T(
              std::forward<P> (params)...)
          {
          }
          virtual ~Container()
          {
          }
        private:
        };

        template<typename ...P>
        SelfWrapper(P&&... params) :
          value(this, std::forward<P> (params)...)
        {
        }
        virtual ~SelfWrapper()
        {
        }

      private:
        Container value;

        friend class Factory;
        friend class SelfReference;
      };

      class Wrapper: public Shared::Counter
      {
      public:
        template<typename ...P>
        Wrapper(P&&... params) :
          value(std::forward<P> (params)...)
        {
        }

        virtual ~Wrapper()
        {
        }

      protected:
        T value;

        friend class Factory;
        friend class Self;
      };

    public:

      class Self: public virtual SelfReference
      {
      public:
        virtual ~Self()
        {
        }
      };

      class Factory
      {
      public:
        template<typename ...P>
        static Pointer create(P&&... params)
        {
          Pointer ret;

          if(!std::is_base_of<Self, T>::value)
          {
            Wrapper *w = new Wrapper(std::forward<P> (params)...);
            ret.counter = w;
            ret.value = & (w->value);
          }
          else
          {
            SelfWrapper *w = new SelfWrapper(std::forward<P> (params)...);
            ret.counter = w;
            ret.value = & (w->value);
          }

          return ret;
        }

      };

      Pointer() :
        value(NULL), counter(NULL)
      {
      }

      Pointer(const Pointer& val) :
        value(NULL), counter(NULL)
      {
        counter = val.counter;

        if(counter)
        {
          (counter->count)++;
          value = val.value;
        }
      }

      template<typename T1>
      Pointer(const Pointer<T1>& val) :
        value(NULL), counter(NULL)
      {
        if(val.value)
        {
          value = dynamic_cast<T *>(val.value);

          if(value)
          {
            counter = val.counter;
            (counter->count)++;
          }
          else
          {
            throw Exception::InvalidCast(typeid(value).name());
          }
        }
      }

      virtual ~Pointer()
      {
        if(value)
        {
          value = NULL;
          (counter->count)--;

          if(counter->count < 1)
          {
            delete counter;
          }

          counter = NULL;
        }
      }

      T *operator ->() const
      {
        if(!value)
        {
          throw Exception::Nil();
        }

        return value;
      }

      T& operator *() const
      {
        if(!value)
        {
          throw Exception::Nil();
        }

        return *value;
      }

      Pointer& operator = (const Pointer& val)
      {
        if(this != &val)
        {
          if(value)
          {
            value = NULL;
            (counter->count)--;

            if(counter->count < 1)
            {
              delete counter;
            }

            counter = NULL;
          }

          value = val.value;

          if(value)
          {
            counter = val.counter;
            (counter->count)++;
          }
        }

        return *this;
      }

      template<typename T1>
      Pointer& operator = (const Pointer<T1>& val)
      {
        T *tmp = dynamic_cast<T *>(val.value);

        if(val.value && !tmp)
        {
          throw Exception::InvalidCast(typeid(value).name());
        }

        if(value != tmp)
        {
          if(value)
          {
            value = NULL;
            (counter->count)--;

            if(counter->count < 1)
            {
              delete counter;
            }

            counter = NULL;
          }

          if(tmp)
          {
            value = tmp;
            counter = val.counter;
            (counter->count)++;
          }
        }

        return *this;
      }

      bool empty() const
      {
        return (value == NULL);
      }

      bool operator == (const Pointer& val) const
      {
        return val.value == value;
      }

      template<typename T1>
      bool operator == (const Pointer<T1>& val) const
      {
        T *tmp = dynamic_cast<T *>(val.value);
        return tmp == value;
      }

      bool operator == (const T *val) const
      {
        return val == value;
      }

      template<typename T1>
      bool operator == (const T1 *val) const
      {
        T *tmp = dynamic_cast<T *>(val);
        return tmp == value;
      }

      bool operator != (const Pointer& val) const
      {
        return !(val.value == value);
      }

      template<typename T1>
      bool operator != (const Pointer<T1>& val) const
      {
        return !(val.value == value);
      }

      bool operator != (const T *val) const
      {
        return !(val == value);
      }

      template<typename T1>
      bool operator != (const T1 *val) const
      {
        T *tmp = dynamic_cast<T *>(val);
        return !(tmp == value);
      }

      template<typename ...P>
      static Pointer create(P&&... params)
      {
        Pointer ret = Factory::create(std::forward<P> (params)...);
        return ret;
      }

    protected:
      T *value;
      Shared::Counter *counter;

      template<typename A> friend class Pointer;
      friend class Self;
    };

  }

}

#endif /* OVERKIZ_SHARED_H_ */

redpajama_set_name: RedPajamaGithub


Out of the corner of my eye I see them. By rote, my feet steer to the table housing the red, brown, green and gold painted balsa wood configurations. I walk directly up to the festive card table in the middle of the green house filled with Poinsettias. I know people are milling. I see no one.
Bending down, I bring myself eye to eye with the miniscule faces, Christmas trees, stars, nativity animals and assorted Weihnachtliche scenes. The outdoor scenes leap out at me. Diminutive sheep and deer hand painted in white and brown graze on the tiny spikes of green wooden grass. Their eyes are the size of the dot on a manuscript, marked with a .7 pen. I see the brown and black hands of the painters, on the work benches in small German villages. It suddenly smells of Lebkuchen spices cinnamon, allspice, cloves and nutmeg. Half sized electric lights glow behind the balsa warming the cold noses and hooves.
The Christmas market stalls are stuffed with holiday items you can only find this time of year in these places. The Stuttgart market is one of the largest in Southern Germany. My grandmother and I travel via bus, streetcar and foot to arrive there in the late afternoon. The light evaporates leaving a moment of emptiness, making space for the rooftop stall lights to scallop across the December night sky. We pick an aisle and begin. Momentarily, walking past the balsa wood advent houses, we land at the Gebrannte Mandeln hut. The smells of cinnamon, vanilla and allspice saturate the arising steam. The man inside the hut holds out his woolen moss green handwarmers and hands us a paper cone of warm almonds from the heated display. Sechs Euro bitte. I bite down on the warm, crisp exterior, delivery to a softened sweet inside.


text:
import { window } from 'ssr-window';
import Utils from '../../utils/utils';

const keyPrefix = 'f7storage-';
const Storage = {
  get(key) {
    return Utils.promise((resolve, reject) => {
      try {
        const value = JSON.parse(window.localStorage.getItem(`${keyPrefix}${key}`));
        resolve(value);
      } catch (e) {
        reject(e);
      }
    });
  },
  set(key, value) {
    return Utils.promise((resolve, reject) => {
      try {
        window.localStorage.setItem(`${keyPrefix}${key}`, JSON.stringify(value));
        resolve();
      } catch (e) {
        reject(e);
      }
    });
  },
  remove(key) {
    return Utils.promise((resolve, reject) => {
      try {
        window.localStorage.removeItem(`${keyPrefix}${key}`);
        resolve();
      } catch (e) {
        reject(e);
      }
    });
  },
  clear() {

  },
  length() {

  },
  keys() {
    return Utils.promise((resolve, reject) => {
      try {
        const keys = Object.keys(window.localStorage)
          .filter(keyName => keyName.indexOf(keyPrefix) === 0)
          .map(keyName => keyName.replace(keyPrefix, ''));
        resolve(keys);
      } catch (e) {
        reject(e);
      }
    });
  },
  forEach(callback) {
    return Utils.promise((resolve, reject) => {
      try {
        Object.keys(window.localStorage)
          .filter(keyName => keyName.indexOf(keyPrefix) === 0)
          .forEach((keyName, index) => {
            const key = keyName.replace(keyPrefix, '');
            Storage.get(key).then((value) => {
              callback(key, value, index);
            });
          });
        resolve();
      } catch (e) {
        reject(e);
      }
    });
  },
};

export default {
  name: 'storage',
  static: {
    Storage,
    storage: Storage,
  },
};


JOBY SAAD (Pronounced Sad) George Shapiro of Shapiro/West Management (Jerry Seinfeld's management) took notice of Joby's talents at a performance at the Ice House in Pasadena California. "George made calls, and the next thing I know I'm auditioning for network sitcoms, say's Joby". Joby's big break came from his starring role on an episode of the family friendly television series Bananas Comedy in 2005. Then in 2006 came the Warner brothers "Thou Shalt Laugh" starring Patricia Heaton from "Everybody loves Raymond". Featuring seven of the nations top clean comedians it went on to become the highest selling comedy DVD within its genre. From that Joby launched his own television series "Vidiots" "It's silent comedy. I love being able to tell a story and reach an audience of all ages and all languages. The humor is universal and continually reaching an international audience. Having been broadcast on cable, however its popularity on youtube is what has gotten Joby stopped and recognized on the streets of New York city. Known for his expressive, rubbery face. Makes sense that he's a big fan of physical comedians such as Steve Martin, Jim Carrey, and Tim Conway. His stand-up, like his films, involves a lot of physical comedy. He frequently closes his shows with an inspired bit where, in pantomime, he removes one pair of pants after another, becoming a new character each time. But everything he does is clean. Joby has had the honor of performing for our troops in Honduras, entertaining the children of 101stairborne, Fort Campbell Ky, The children and families of St. Jude Hospital, and Le Bonheur children's Hospital in Memphis is what I'm most proud. Five years on the stage at Lifest, the largest Christian music festival in Oshkosh Wisconsin.


ABC Law Centers Supports Beaumont Children's Hospital! ABC Law Centers Supports Beaumont Children's Hospital!
Reiter & Walsh Supports the Walk for Miracles and Beaumont Children's Hospital!
June 5, 2016 /0 Comments/in Disability /by Reiter & Walsh, P.C.
This past June, Reiter & Walsh employees and their children joined the Beaumont Pediatric Pedalers at the Detroit Zoo's Walk for Miracles to help raise money for the Children's Miracle Network at Beaumont Hospital.
The Walk for Miracles is a special event geared towards helping hospitals raise money for critical children's programs and services. The program helps more than 140,000 children a year get the emotional and medical support they need to get better.
The event, hosted at the Detroit Zoo, brings together families, patients, hospital staff and the community to raise money together. At the Walk, the participants are joined by popular costumed superheroes and a royal court of princesses. Fun activities included the Kid's Craft Corner, along with crafts, breakfast and exciting zoo exhibits like the new Polk Penguin Conservation Center! Children also had the opportunity to ask questions about vultures, rhinos, barn animals and reptiles to zookeepers stationed around the park, making the event charitable and highly educational, as well.
The Walk for Miracles fundraises to help support programs benefitting children at the Beaumont Children's Hospital, including their Pediatric Rehabilitation program. This program helps provide children with disabilities with adaptive bicycles in an event called Beaumont Bike Day.
Their program has been growing aggressively since its inception more than a decade ago, and they have allowed families who otherwise could not afford specialized bikes to obtain them for their child!
Children with disabilities can often need highly specialized care, which can be expensive over time. In many cases, therapeutic recreation (like the bikes provided by Beaumont Bike Day) have very concrete benefits for the child but are not covered by insurance, putting these key components of care out of the reach of those who need them most. In some cases, the pedaling motion of a bike can help children who have never been able to walk learn the motions of walking before they take their first steps. They can also provide the cardiovascular, muscular, and cardiac benefits of exercise to children who may not have been able to take advantage of more traditional forms of exercise before. These benefits are further enhanced by the psychosocial benefits of increased group activity participation and increased mobility.


Our exclusive range of Outdoor Bean Bags includes the Freaky Cousin, Big Boppa, Big Mama, Billy the Kid, Malibu Day Bed, Big Bob, Merlin, Media Lounge and Daddy Cool. These products are manufactured from a durable, high-quality PU coated 1680D Polyester, so they're not only tough but extremely comfortable. We also have a range of Outdoor Poufs and Ottomans to match. Unlike other beanbags, you can enjoy these indoors as well as outdoors, thanks to the soft feel of the polyester fabric.
Ideal for use in any outdoor environment, they are water-resistant, stain-resistant, fade-resistant, mold resistant and flame retardant. They look great around your pool, on your boat, patio, pontoon or around the garden. They are also useful in hospitals, nursing homes, child-minding centres, day care facilities, hostels, restaurants, cafes, schools, universities, resorts and for kids with autism.
Most of our outdoor beanbag product range can be heat transfer printed or screen printed with your logo, brand or message, making them an ideal addition to events, outdoor cinemas, or corporate promotions. Call today for bulk pricing and reseller opportunities! Everybody loves our bean bags!


text:
Q: Add Images in Magento Theme template file I want to add image like footer.png in
app/design/frontend/vendorname/themename/Magento_Theme/templates/html/footer.phtml
Here I am adding image using
<img src='<?php echo $this->getViewFileUrl('Company_Module::images/image-icon.png'); ?>' alt="image-icon" width="30" height="25"

Image In Magento_Theme/web/images folder

A: $this->getViewFileUrl('Company_Module::images/image-icon.png');

Your image should put under web folder in your custom module: app/code/Company/Module/view/frontend/web/images/image-icon.png


text:
/ Jay Allen / 4 am Wed, Feb 18 2015
Johnny Mnemonic and the perfect cyberpunk movie it wasn't
By Jay Allen
Before The Matrix, there was this, starring Beat Takeshi and Keanu Reeves. Cyberpunk's truest vision lurks not in gnostic fantasy but in the cheap mediocrity of corporate power.
Someone made an excellent cyberpunk movie once. It crowned a form of science fiction that emerged in the 1980s, defining our now-familiar discomforts with corporatization, internationalization, and the dehumanizing effects of being able to talk to anyone, anywhere, at any time. This forgotten film expertly exploited American anxieties about Japanese hegemony to shine a light on its own cultural imperialism, presenting a world in which Hollywood itself clumsily aped the cinematic styling of dominant foreigners. In this excellent and sadly hypothetical cyberpunk movie, Johnny Mnemonic is playing on the monitors in the background, a knowing semiotic joke.
Johnny Mnemonic is the story of hapless Americans (embodied by hapless American character actors) who flee the grasp of international Pharmakom, represented by bankable Japanese actor/director Beat Takeshi, and their Yakuza hirelings. Along the way, they get in poorly-staged firefights and exchange confusing expository dialog that never properly explains anything. At the end of the story, they run out of antagonists, so Pharmakom bursts into flame.
It's exactly the sort of movie a dystopic corporate hegemony would produce.
At every level, it bears the stamp of a Japanese world, long-feared but clearly not going to happen by its 1995 release date. The film projects stereotypically American depictions of Asian actors, and places, onto a western cast and locales. The only character with any emotional weight is corporate boss Takahashi, played by Takeshi. Everyone else is a walking echo of a better b-movie.
Each character is drawn thinly, as though meant to be stereotypical. Keanu Reeves' character even has no backstory beyond his name, Johnny, and his apparently American nationality. Joking about Americanisms ("Double-cheese, anchovies?") and his desire to live in a frictionless corporate bubble are all he has to his personality. Character actor Dina Meyer plays a wannabe bodyguard with "augments", presented as a barely-concealed metaphor for drug abuse. Henry Rollins plays a doctor-cum-babbling street person everyone seems to be taking seriously, for some reason. Ice-T is a future gangster. Dolph Lundgren is a murderous cyborg preacher, adding "JESUS!" to all of his one-liners.
The dialogue is awkward. Scenes are obviously rerecorded over the original soundtrack. It feels like a translation dub, even though it is clearly not. Characters grudgingly spout one-liners. Nobody is smug. Nobody is relaxed. Nobody is having fun. The movie is endured by its cast.
While Johnny Mnemonic was produced in the United States and filmed in Canada, it premiered in Japan. The Beijing of the movie is sleek and rich, but with a core of unrest. All we see of the United States, outside of corporate offices, is ruins and slums.
Consider how, in the 1980s and early 1990s, the idea of asian cultural and industrial dominance seeped out of science fiction to flavor thrillers, procedurals, and business dramas. It is a measure of Johnny Mnemonic's badness that, having stumbled its way to a place of insight into corporate hegemony, as illustrated by an ahistorical caricature of Japanese power, it then fails to comment on it at all.
Real brands that existed at the time, like AT&T, are freely intermixed with fictional brands like Infobahn and Sino-Logic. With greater self-awareness, this could have worked well. For example: the psychedelic view of cyberspace isn't computer hacking, it's product placement for CyberSpace Attack, available this Christmas as a launch title for the Sino-Logic 16 (with a prominent "As seen in Johnny Mnemonic" on the box). The gloves sold separately, of course. You didn't think they were actually going to teach people to hack computers, did you?
Instead, the result is bland, evoking product placements for things that don't exist more than world-building detail.
Taken as a metafictional product of a fictional cyberpunk dystopia, much of Johnny Mnemonic makes sense. By 1995, many of the predictions of cyberpunk were coming true. The internet was — and is — a place where people live and work and socialize. Liberalism slowly elevated corporate interests above national ones. We never did get the cybernetic arms or brain jacks, and nobody really wanted the virtual reality, but that's like mistaking Heinlein's classic The Moon is a Harsh Mistress for being about rocket ships or nuclear fusion. Science fiction is the fiction of ideas, and cyberpunk is fundamentally about how people come to terms with technological progress that has outpaced the ability of people to understand and morally adapt to it, in societies that feel as if they are "designed by a bored researcher who kept one thumb permanently on the fast-forward button."
In the same short story collection as "Johnny Mnemonic", the novella this film is based on, is another, less famous story by William Gibson: "Gernsback Continuum". This story, named for science fiction author Hugo Gernsback, is Gibson showing the full extent of Philip K. Dick's influence on his writing. The story is about a photographer whose pictures (of what appear to be the cynical present of the 1980s) trigger visions of the Gernsback continuum, an idealized, brushed-aluminum-and-glass ideal of what golden age science fiction writers imagined the world would be like. The protagonist struggles with visions of spacesuits and zeppelins and flying wings, and it's never clear if he's seeing into and photographing an alternate timeline, or if he's merely hallucinating. He can't escape it until he throws himself entirely into the ugliest and seediest parts of reality, and even then, the doubt lingers.
Johnny Mnemonic almost works in this way, as metafiction produced by an implied Gibson continuum, the 1995 of the world that would go on to produce cyborgs and cyberspace. It almost forces the viewer to observe the technological and corporatist progress of their own lives. The blatant branding for fictional brands, the odd casting, the reversal of cultural sway. All of these could combine together to criticize the corporate machine that produced this movie, to criticize the hegemony of Hollywood.
In practice, though, Johnny Mnemonic only has an odd feeling of kitsch, as though it were the earnestly bad product of an only slightly different present. While much about cyberpunk holds true today, especially the core idea of culture shock caused by technological progress making life unrecognizable, Johnny Mnemonic falls into the gap where dystopic ideal met with dystopic reality. In a 2007 interview, Gibson described his writing as no longer being about the future, but rather "speculative fiction of the very recent past." While Gibson caught up, and, in his own words used "a toolkit that was in large part provided by science fiction" to "a handle on the world today," Johnny Mnemonic fell just short. But somewhere inside that deeply mediocre movie is a vision of that Gibson continuum, just out of reach.
beat takeshi / cyberpunk / johnny mnemonic / keanu reeves / science fiction / william gibson