Founded by Malou Ko, THE CABINET is an international award-winning design studio based in Hong Kong. We specialised in executing creative ideas into actual solutions. We believe good design connects people. Every impressive design has attention to details and exquisite finishing. Other than that, effective research and analyses can bring accurate findings in exacting unique outcomes.
THE CABINET LIMITED ©2019 All rights reserved.
Details and accuracy always matter.
Thanks to our happy clients in keeping us moving.
"...Through hard work, sheer force of personality and passion your team contributed to turn a simple fundraiser into more than $76,000 USD for charity and from the very top of the organization, and throughout the Bank, everyone was just blown away by the amazing effort that made the event happen..."
"...I have been thinking about how to say thank you for what you helped me pull off... Every detail- from the purple colour, to the graphics on my decks, to the merchandising end to end process!..."
"...One thing that strikes me is that the report has many interesting visuals but NONE of them is a pure art or embellishment just to brighten the pages; every image is information in itself, contribution to what the report saying - I love this fact..."
"...Thanks to the can-do spirit and unwavering dedication of your team, we pulled it off!!!...Please definitely relay our thanks to your team! Their creativity and great work in beginning to dazzle folds beyond Engineering. Other departments are asking about this our website!!..."
"...You created an outstanding event for MINI... all of you were highly motivated and dedicated to realize a successful exhibition. I believe the cooperation project was beneficial and a great success for both sides and showed how productive such a partnership can be..."
"...I often think, at least 3 times a day, how much of a genius you are. We are so proud of the work we produce, we couldn't do it without you. You contribute so much to us, we couldn't imagine the project without you in it. Looking forward to learning from you every day and doing amazing work..."
"...Malou has an incredible amount of creative talent. She listens extremely well during the brief and produces high quality work, fast. Of all the creatives I have ever worked with, she ranks among the top. I highly recommend Malou..."
"...You've offered really great help to our project throughout the past two years, and there has been soooooo many praises about your nice designs. Even the government brings their guests to visit our exhibition at Maritime Museum. Thanks for making our project so successful!"
From creating a mindset change global campaign to a local dedicated branding project in Hong Kong, we have been creating positive impactful design.
"Whether a brand leaves a strong impression to people depends on its ability of communication in all channels. The key to giving people striking impact are uniqueness, finishing and consistency."


text:
Photo by courtesy of/courtoisie de Janal Bechthold
Janal Bechthold scores new virtual reality documentary, The Choice
Story by Mary Dickie | Tuesday March 8th, 2022
As a composer of music for multiple screens, Janal Bechthold is used to adapting her considerable talents to the different requirements of each film, TV show, or videogame she scores. And they are truly different, encompassing everything from a feature-length horror movie to a children's animated web series and a slew of documentaries and games. But her latest project presented a whole new challenge.
The Choice is a documentary series about women's reproductive health being made by director Joanne Popinska and producer Tom C. Hall. They're using the virtual reality format, so instead of watching it in a theatre or on a laptop, viewers wear a headset that appears to bring them right into the action, creating a more immediate and intense way of experiencing both the visuals and the music.
"It's very different watching a documentary in VR," says Bechthold, "and the music fits differently. Joanne and Tom created new technology to capture the interviews, and it really looks like the person is sitting in front of you. It's such an intimate experience, and I didn't want the music to be too loud, or big, or manipulative. That was something I really had to watch for. My role was to help set the tone and guide the audience through their experience."
Still, Bechthold says her process is pretty similar for every project. "There's a period of going back and forth with the creator, to get a sense of what the story is and pick the right tone and palette with the musical tools," she says. "And I'll choose the instrument or the musical language to go along with it.
"One of the things I love about interactive projects is that I'm brought in earlier and have more opportunity to affect the final experience," she adds. "For The Choice, we did a spotting session, where the director and the composer sit down together and go through the entire film to figure out where the music will go and what it's going to say. In this case, what I was doing had to work well with the sound design, and having the team in communication was important to make sure we were supporting each other."
"We've got a long way to go, but I think there's more opportunity now than there was five years ago"
Bechthold's musical style defies characterization, as she draws on radically different genres and instruments for each score, but its dazzling range might be partly explained by her musical background. She grew up in Saskatchewan, playing '50s and '60s pop, polkas, tangos, and Latin tunes on electronic organ before branching out into classical and jazz. She played flute in a high school marching band. and later joined a rock band for awhile, before earning a degree in music therapy at Wilfrid Laurier University.
"I didn't think seriously about film composition until after university," she says. "I'd taken some composition classes that really opened my eyes to what music is and how we define it, but I didn't see how anyone could make a living from it. I was studying music therapy, and for me it was all about music and emotion, and how music can be a communication tool. So it felt natural to shift over to telling stories with music."
She points out that instruments can trigger emotions because of the collective musical experiences we've had with them. "Sometimes it's hard to hear a bassoon without thinking of 'The Sorceror's Apprentice' in Fantasia, or a mournful violin without evoking sadness," she says. "Even though I'm an organist, I rarely use organ because it has so many connotations, whether religious or hockey-related. But I like to find new ways of exploring how certain instruments make sounds, or new ways of presenting them."
Bechthold's music has been screened by networks and festivals around the world, and in 2021 she was nominated for three Canadian Screen Awards. Her music is mostly self-published, and she credits a stint working at SOCAN for helping her learn how to navigate the system. "Because of my time at SOCAN, I know a lot about music copyright and music rights," she says. "If you retain your rights, it's knowing how to make sure you're getting paid for broadcasts."
Through her positions as a board member of the Screen Composers Guild of Canada and chair of the Women Composers Advisory Council, Bechthold also works to promote gender equality in her field, where women still lag far behind men.
"We've got a long way to go, but I think there's more opportunity now than there was five years ago," she says. "I'm really excited that this year's Canadian Screen Award nominations for best original score for non-fiction are all women. That's thrilling, considering that when I spearheaded a research report in 2018, women were getting only five per cent of publicly funded opportunities. But there's still a lot of work to be done. This is the second year in a row when no women were even entered in the best original score for animation. I have no idea why, but hopefully next year we'll see some women in that category. It's all about providing opportunity, and creating a community."
The Choice has its North American premiere March 13, 2022, at SXSW in Austin, Texas.
Collaboration Feature Stories – Artists Film & TV Music Industry Music Industry/Entrepreneurs Songwriting/Composing
Québec Cinéma Gala: Four SOCAN Members Nominated
Their work, in three questions
Twenty-three SOCAN members earn Canadian Screen Awards 2021 noms
Eight of them are multiple nominees
Lesley Barber: Articulating the unspoken
One of SOCAN's most successful #ComposersWhoScore
Photo by Naskademini
TiKA: Fighting for representation in the realm of screen composing
Story by Philippe Renaud | Wednesday March 9th, 2022
TiKA is a woman of many talents, and entrepreneurship isn't the least of them. Released in February 2020 on Next Door Records, her first album Anywhere But Here established her as a voice to be reckoned with on Canada's soul and R&B scene. In parallel to that career, the singer-songwriter took her first steps into the world of screen composing and co-founded StereoVisual, a non-profit organization aimed at fostering the integration of BIPOC musicians into an industry that, even today, leaves them very little space for expression.
Her latest obsession: NFTs, or non-fungible tokens. Nearly two months ago, TiKA Simone and rapper Allan Kingdom auctioned a song, "Yebo Life," via the Etherium protocol, whose token eventually fetched 4.4ETH, the equivalent of just over $14,000 at the time of the transaction. Tika has since followed up by offering tokens of songs from her recent album, limited editions of the .wav files, in this case, while retaining her publishing rights.
"I'm super-stoked by the potential of NFTs," says TiKA on the phone from Toronto, where she spends her time when she's not in Montréal. "I find the concept to be a source of progress, especially for artists who are under-served by the music industry." In other words, they're a way to generate new, autonomous revenue for artists who often work without the support of established structures or record labels.
These revenues count for a lot in the process, admits Tika, but "they're also a way to build a community of fans around your project. A major part of the process is posting it on socials or, in other words, being self-confident enough in your own work to actively promote it. You can truly build a community that will, down the line, allow you to rely of a stable source of income. A lot of artists are going through rough times right now because they couldn't tour. I believe NFTs can allow artists to make ends meet during this rough patch."
And during said rough patch, TiKA added a new string to her bow: screen composer. Co-written with Casey Manierka-Quaile for Thyrone Tommy's feature film Learn to Swim, her song "And Then They Won't" is currently up for Best Original Song at the Canadian Screen Awards Gala on April 8, 2022.
"Composing for a film is a much more intimate and private experience than when I'm creating for my own projects," says TiKA. "There's a whole world of difference between composing a song for myself and watching a film, or a scene, to imagine what music would best underscore it, and deciding what instrument best fits that emotion; that's why I find that process a lot more intuitive. It was especially true with this project, since the director hadn't finished his movie when I started working on it. That meant we had to communicate a lot about the film's message, and the emotions the song needed to express. I composed a song based on our conversations, so it's like I channelled the director's energy to be able to flesh out the music he was imagining."
It was also an opportunity for TiKA to take measure of the hurdles she's had to overcome to gain a foothold in the world of screen composing. It's a world, she believes, that's not conducive to the integration of people of colour, who are still very much a minority. As a result, she helped create StereoVisual, an organization that equips that minority to enter the business.
"This project was born out of a strong desire to help this industry change," says TiKA, who enrolled in a screen composition program at the Slaight Music Residency of the Canadian Film Centre. "It was an awesome experience, but I was also told stuff like, 'You know, TiKA, if you want to become a screen composer, you must learn to play a string instrument.' OK, fair enough. But what about all those who don't get the financial means, or the opportunity, to get such training? Why should they be excluded from that realm, especially since many marginalized people don't have access to such training, and must learn to use music software on their computer, since that's all they can afford. It's the accessibility to that training that sparks a conversation, because if you're told that to compose for film you have to know music theory, that excludes a whole category of artists who are very often people of colour."
That's what the people behind StereoVisual are working on, building bridges between musicians from cultural communities and the "very white and very male" world of film and television. "The whole movie industry needs to change, not just the screen composing segment," TiKA firmly believes.
Feature Stories – Artists Film & TV Quebec R&B/Soul Singer-Songwriter Songwriting/Composing
A short guide to non-fungible tokens (NFTs)
How the new medium works
In the Spotlight: TiKA the Creator
Transcending trauma with music
Photo by Kevin Jones. From the series /de la série Emergents I "Possible Worlds", featuring / avec Skin Tone + Stephanie Castonguay, Dec. 15 décembre 2021
L2P Profile: The Music Gallery
Story by Chaka V. Grier | Thursday March 3rd, 2022
For 45 years, The Music Gallery has played an influential part in Canada's evolving experimental music scene, including the creation of its own label, Music Gallery Editions (1977-1981); launching MusicWorks magazine, now separately run; programming a series of "guerilla location" events around Toronto; and eventually, settling into its current home at 918 Bathurst St., a few blocks North of Bloor St. Today, the independent venue can add "programming through a pandemic" to that list.
For its new Artistic Director, Sanjeet Takhar, programming in the COVID era meant accepting its unpredictable nature from day one. "In the first year, I don't think I was surviving!" says Takhar. "We basically had three plans for each event that we mapped out with each artist: a 50-percent-capacity performance, a livestream at the venue, or a pre-recorded performance. It was exhausting, and required navigating an ever-shifting calendar."
David Dacks
David Dacks, the Music Gallery's former decade-long Artistic Director, now Executive Director, commiserates, adding that watching the music community try to endure has been challenging. "A lot of artists have been taking stock of their lives, their practices, and other big questions," says Dacks. "Some have left town; some haven't felt motivated to make art, and struggle with mental health; others, especially now, have gotten sick. So plans have changed constantly.
"We've been fortunate to access COVID relief [including SOCAN Foundation support] and keep up a pretty good pace of programming in order to keep paying artists and arts workers, but the fact is that a pandemic is disruptive. We need to listen to our artists and audiences about what they need, now more than ever."
One way that The Music Gallery gives artists what they need is by being Licensed to Play with SOCAN. "For songwriters or composers whose work we're presenting, we make sure they're credited and/or compensated with the help of SOCAN," says Takhar. "To music creators that aren't SOCAN members, and/or come from outside Canada, or are no longer alive, we look into clearing all rights, paying attention to use, and compensating their estate if relevant."
Another way is by being open to change. "Probably the biggest change was when we stopped programming in musical genre-based streams," says Dacks. "It was too problematic to divide complex artistic ideas into jazz, classical, pop or world music – ugh – streams. In doing so, we were able to take on and help foster unique projects such as David Virelles' Afro-Cuban chamber jazz project Gnosis, which was later recorded and released on ECM Records, to worldwide acclaim…
"Another was including artists as curators of other events, which is something that's been increasingly a part of our programming in recent years. The most prominent example was Bear Witness of the Halluci Nation [formerly A Tribe Called Red] programming our flagship X Avant Festival in 2018. He was able to try out programming ideas, and work on the 'Halluci Nation' concept further, including in a live-band format, which subsequently ended up touring and recording."
Sanjeet Takhar
In spite of their new roles and unprecedented hurdles, Dacks and Takhar found working as a team a natural fit. "It was clear that Sanjeet was the best choice for Artistic Director," says Dacks, recalling what made them stand out. "We chose them for their worldview, their empathy, their work ethic, their perspective on what experimentation in music could and does look like, and their attitude towards plugging into the Music Gallery's history and community, while guiding it forward. Like me, they didn't have an academic background in music to relate to that aspect of our history, but as a DJ, they have wide-ranging tastes and an innate disposition for programming."
For Takhar, transitioning from independent artist to Artistic Director required much thought. "Moving from DIY to an arts institution made me really nervous," they say. "With a massive political shift due to the murder of George Floyd, for months I witnessed IBPOC community members being consumed by institutions that weren't ready for change. It led to harm, it led to them having to leave. Before accepting my role, I spent about two weeks consulting people with close relationships to the Music Gallery… While I expected the 'same old story,' it actually was a huge source of comfort. People praised the space, praised David Dacks, and told me of formative experiences they had participating in events there… It has such a strong foundation for social change, they've been working on inclusive policies and practices for years, not weeks."
Takhar says that as The Music Gallery envisions its future, it's keeping artists at the forefront: "We're currently planning our 2022-23 programming year to adjust to these changing times. Programming into the future the same way we did in the past is like putting a square peg in a round hole. It just doesn't make sense. We're currently having in-depth conversations with our Board [of Directors], artists, advisory councils, and internally with staff, about new initiatives that will shift our perspective from a concert hall that is limited to livestreams, to a hub for experimentation, where artists can grow."
Music for All: Sanjeet Takhar on making the Gallery more inclusive
Money matters: "For development and for requested performances at the Music Gallery, review CARFAC (Canadian Artists' Representation/Le Front des artistes canadiens) and musicians' union rates to match or exceed them. If we've worked with artists before, we consider prior rates with inflation. Most importantly, we talk to artists. Money is a sticky subject in the arts, there is so much taboo around it. We try really hard to have candid conversations of what's in our budget and how we can make something work. We ask artists what would make them feel comfortable and what would be representative of the work they put in."
Open calls for submissions: "To create equity for emerging artists and those who receive less government funding, we run open calls for submissions to present their work in our concert halls. We cover all fees, knowing the barrier to entry isn't the same for all performers."
Invest in artists: "We invest in all of our artists. There's always high-end photography, and in recent years, high end video footage to add to their portfolio."
Licensed to Play Profiles Music Industry Music Industry/Entrepreneurs
SOCAN mourns the loss of music supervisor David Hayman
As do our members, whom he championed and mentored
Words and Pictures: Songwriters Who Paint
Channeling artistic expression in different ways

redpajama_set_name: RedPajamaCommonCrawl


We all are almost getting used to the fact that Ramadan has approached this year in the heaty summers, starting from the end of May and continuing throughout the blazing month of June. Most of us are kind of scared of how things would work out since for some even colleges and workplaces aren't off. But at the end, you hear everyone say yaar bas Khuda per chorr dia hai wohi sabarr dega. So how can you on your part make sure that you stay energized this summer during Ramadan? Without feeling fatigued, with the constant need to sleep in an air-conditioned room throughout your fast. Here are some tips from Team Nutright for your Ramadan lifestyle this year. For personalized iftar and suhoor meal plans for those on a diet, consult us and leave us a message.
How can we desi families get rid of all the fried stuff for Ramadan? How can we say no to all those pakoras and parathas? Fried eatables that are 'swimming' in ghee are an integral part of our food culture, it's hence not truly our fault. Similarly, they cannot be truly eliminated from our tables. What you can do, however, is go easy on them. Samosas can also be baked instead of fried in oil, did you know? Also, when you break your fast, try not to just start off with the fried goodies. Start with fruit chaat instead.
If you aren't habitual of taking care of your diet during the rest of the year, please be a little kind to yourself during Ramadan. It's when you are depriving your body of fuel for almost the entire day, you need to know what you are putting into it as soon the maghrib ki azaan goes off. Refrain from having bread at suhoor time, if you cannot afford a paratha each day (we don't suggest you do that if you are weight conscious) go for a few chapaatis instead. But not white bread or rice that is low in nutritional value.
Did you know that salty foods tend to make you thirsty? Opt for foods that are low in salt especially during suhoor. Canned and preserved foods are a big NO. Same goes for spices, they too make your insides burn making you crave for a drink sooner than you would usually start feeling that roza lagna shuru hogaya hai.
There's a reason why mother nature has devised the night time as the time to sleep. Almost all Your body needs its ample amount of sleep if you plan on spending the rest of your day in some quality praying and house chores. Sleep early after dinner and then you can take a nap later on in the daytime to avoid feeling completely drained out.
Is there really a need to emphasize on how much your body needs to stay extra hydrated during Ramadan? Especially if the Ramadan is during summers! Take fruits that are rich in water content, not only as a part of your fruit chaat in iftaar but also for suhoor. Watermelons and melons in general are such a great option! Take salads that have lots and lots of cucumbers. And of course, drink loads of water.


text:
12 Industrials Stocks Moving In Tuesday's Intraday Session
Collectors Universe (NASDAQ:CLCT) shares increased by 20.43% to $69.79 during Tuesday's regular session. Trading volume for this security as of 12:31 EST is 287.0K, which is 244.74% of its average full-day volume over the last 100 days. The market value of their outstanding shares is at $646.9 million. As per the press release, Q1 earnings came out yesterday.
Infrastructure and Energy (NASDAQ:IEA) shares rose 17.97% to $8.4. Trading volume for Infrastructure and Energy's stock is 876.1K as of 12:31 EST. This is 162.07% of its average full-day volume over the last 100 days. The market value of their outstanding shares is at $189.0 million.
Bloom Energy (NYSE:BE) shares moved upwards by 13.82% to $14.78. As of 12:31 EST, Bloom Energy's stock is trading at a volume of 6.0 million, which is 107.49% of its average full-day volume over the last 100 days. The market value of their outstanding shares is at $1.8 billion. As per the news, the Q3 earnings report came out 3 days ago.
Ameresco (NYSE:AMRC) shares increased by 11.53% to $42.94. The current volume of 347.9K shares is 112.77% of Ameresco's average full-day volume over the last 100 days (last updated at 12:31 EST). The market value of their outstanding shares is at $2.0 billion. As per the press release, Q3 earnings came out yesterday.
Dirtt Environmental Solns (NASDAQ:DRTT) stock moved upwards by 11.51% to $1.55. The current volume of 81.3K shares is 34.11% of Dirtt Environmental Solns's average full-day volume over the last 100 days (last updated at 12:31 EST). The company's market cap stands at $131.2 million.
EuroDry (NASDAQ:EDRY) stock moved upwards by 10.27% to $4.08. Trading volume for EuroDry's stock is 44.9K as of 12:31 EST. This is 68.04% of its average full-day volume over the last 100 days. The company's market cap stands at $9.4 million.
YRC Worldwide (NASDAQ:YRCW) shares decreased by 8.34% to $3.85 during Tuesday's regular session. YRC Worldwide's stock is trading at a volume of 1.1 million shares as of 12:31 EST. This is 70.68% of its average full-day volume over the last 100 days. The company's market cap stands at $143.0 million. As per the press release, Q3 earnings came out yesterday.
Kennametal (NYSE:KMT) stock fell 7.22% to $30.23. Trading volume for this security as of 12:31 EST is 1.1 million, which is 188.9% of its average full-day volume over the last 100 days. The market value of their outstanding shares is at $2.5 billion. As per the news, the Q1 earnings report came out yesterday.
JELD-WEN Holding (NYSE:JELD) shares fell 7.08% to $21.03. JELD-WEN Holding's stock is trading at a volume of 209.7K shares as of 12:31 EST. This is 37.26% of its average full-day volume over the last 100 days. The company's market cap stands at $2.1 billion. As per the news, the Q3 earnings report came out today.
Masonite International (NYSE:DOOR) stock declined by 7.07% to $87.42. As of 12:31 EST, Masonite International's stock is trading at a volume of 121.6K, which is 77.62% of its average full-day volume over the last 100 days. The market value of their outstanding shares is at $2.1 billion. The company's, Q3 earnings came out yesterday.
Sterling Construction Co (NASDAQ:STRL) shares declined by 6.21% to $14.43. Sterling Construction Co's stock is trading at a volume of 369.6K shares as of 12:31 EST. This is 168.43% of its average full-day volume over the last 100 days. The market value of their outstanding shares is at $403.5 million. As per the news, the Q3 earnings report came out yesterday.
VerifyMe (NASDAQ:VRME) shares declined by 5.91% to $2.55. Trading volume for VerifyMe's stock is 39.0K as of 12:31 EST. This is 20.77% of its average full-day volume over the last 100 days. The company's market cap stands at $292.0 million.
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hi, friends Bolt has released new and final ver 1.5 of bolt free browser with new and advanced features like ability to stream videos of any length, a dedicated search bar, a download manager that downloads files directly from BOLT, improved navigation and text rendering, and a caching feature that enables browsing back to a previously visited page without waiting to reload.
A note from Bolt Officials: Thanks to the contributions of over two million beta testers like you, we are proud to announce that we're officially dropping the beta tag with today's release of BOLT 1.5.
You will be automatically prompted to upgrade the next time you launch BOLT.
Many of the most significant upgrades occur "under the hood," but you are sure to notice the results - v1.5 is the most reliable, fastest browser we have ever released - more than 15% faster than Beta3.
This would have never happened so quickly without the feedback and vocal support of our beta testers. BOLT 1.5 is easy enough for anyone to use, so please pass this along to anyone you know who would enjoy a super-fast, feature-rich mobile browsing experience.
Finally, to stay up to date on all things BOLT, please be sure to follow us on Facebook and Twitter!
@phaipunk attach here with zip file please?


text:
Q: CSS gradient: define width in pixels Please take a look at this fiddle: http://jsfiddle.net/jpftqc26/
A CSS gradient, starts black from left, turns into red, then back to black again. Really simple.
Is there any way I can make the red part 500px wide and the black parts fill the screen, whatever the resolution? With red in the middle, just like in the fiddle.
Is there a way do define a width in pixels, between color stops, in a CSS gradient?
Code:
.test_gradient {
background:
linear-gradient(
      to right,
      #000000,
      #000000 20%,
      #ff0000 20%,
      #ff0000 80%,
      #000000 80%
    );

A: Another way to do it, without using calc(), is to use 2 different gradients
.test_gradient {
background-image:
linear-gradient( to left,  #ff0000 0px,  #ff0000 250px,  #000000 100px), linear-gradient( to right,   red 0px,  #ff0000 250px,  #000000 100px);

background-size: 50.1% 1000px;
background-position: top left, top right;
background-repeat: no-repeat;
}

One goes to the right, the other to the left, and each one has half the total width
fiddle

A: Yes. you can do this with hard pixels points and the use of the calc function.
Just set them as such:
http://jsfiddle.net/jpftqc26/9/
CSS:
.test_gradient {
background:
linear-gradient(
      to right,
      #000000 0px, /* Starting point */
      #000000 calc(50% - 250px), /* End black point */
      #ff0000 calc(50% - 250px), /* Starting red point */
      #ff0000 calc(50% + 250px), /* End red point */
      #000000 calc(50% + 250px), /* Starting black point */
      #000000 100% /* End black point */
    );

A: At the moment I can't think of how to do it with only CSS gradients and a single element.
Given your example, and assuming an extra div is ok, then here's an alternative approach without gradients (http://jsfiddle.net/jpftqc26/2/):
HTML
<body class="background">
    <div class="foreground"/>
</body>

CSS
html, body {
    width: 100%;
    height: 100%;
}

.background {
    background-color: #000000;
}
.foreground {
    background-color: #ff0000;
    width: 100%;
    max-width: 500px;
    height: 100%;
    margin-left: auto;
    margin-right: auto;
}

This produces the same effect, uses one additional element, and provides a red foreground that will grow to a max of 500px wide--beyond that it is all black on both sides.  If you want the red to always be 500px wide then just remove the max-width rule and change width to 500px.

A: I think that the best solution, without adding any html element, is to use an image as background:
.test_gradient {
    background: url('http://s14.postimg.org/zf0kd84lt/redline.jpg') repeat-y #000 center top;
}

http://jsfiddle.net/Monteduro/jpftqc26/3/

A: If you want that black part was flexible and red part was fixed you could use something like this:
html{height:100%;}
.test_gradient {
    background: #000000;
    position:relative;
    margin:0;
    height:100%;
}
.test_gradient:after{
    content:'';
    position:absolute;
    top:0;
    height:100%;
    width:500px;
    left:50%;
    margin-left:-250px;
    background:#f00;
}

DEMO

redpajama_set_name: RedPajamaStackExchange


text:
Вытянутый  — топоним в России.

Чукотский автономный округ
 Вытянутый — ручей, правый приток р. Кывэквин, координаты 68°56' с.ш. 178°56' в.д., код ГКГН 767911.
 Вытянутый — хребет, севернее Олойского хребта, координаты 66°29' с.ш. 162°32' в.д., код ГКГН 784079.

См. также
 Вытянутая
 Вытянутое
 Вытянутые

redpajama_set_name: RedPajamaWikipedia


After crocheting for month after month I seem to have a paper period for quite some time now. I folded lamps, bunny heads and tea light holders, made X-mas cards, cut paper X-mas decorations and after that I made a lot of paper birthday items and did some Valentine projects. And this week I made some paper diamonds. Just for decoration.
You can find a cutting and folding pattern here.
These are cute. I am a teacher and the kids would love making these.
My kids made some, too! They loved to make them.
love these and can totally understand your love for paper folding, have been wanting to make some geometric shapes too! but can't quite put aside the crocheting just yet! thanks for sharing on craft schooling Sunday!
Haha, I can't put away the crochet either, but the paper projects are all small projects, so finished in just an hour or something. Have a nice weekend!
They do look great. I must give them a try.
Thanks! Mine were flat in a couple of days, too, and my kids aren't even toddlers anymore, haha!
These look like so much fun! Thank you for sharing on Show Me Saturday!
These are so cute! I love the colors you chose. Thanks so much for sharing with us at Talented Tuesdays I hope you join us again tomorrow.
These are so neat! What fun decor items!
We are so glad you shared with us at the Merry Monday party! We can't wait to see what you've been up to at our next party!


BRISTOL, Conn.--(BUSINESS WIRE)-- Barnes Group Inc. (NYSE: B), a global provider of highly engineered products and differentiated industrial technologies, today reported financial results for the third quarter 2018. Net sales of $370 million were up 4% from $357 million in the prior year period driven by organic sales growth (1) of 4%. Acquisition sales added 1% while unfavorable foreign exchange had a negative impact of 1%. Net income for the third quarter was $39.1 million, or $0.75 per diluted share, compared to net income of $35.3 million, or $0.65 per diluted share, a year ago. On an adjusted basis, net income was $0.78 per diluted share, up 18% from $0.66 last year. Third quarter 2018 adjusted diluted net income excludes $0.02 of Industrial Gas Springs (IGS) short-term purchase accounting adjustments and $0.01 of acquisition transaction costs in our Industrial Segment. Adjusted diluted net income per share in the third quarter of 2017 excludes $0.01 of FOBOHA short-term purchase accounting, also in our Industrial Segment.
A table reconciling 2018 and 2017 non-GAAP adjusted results presented in this release to the Company's GAAP results is included at the end of this press release.
"Barnes Group's third quarter was another quarter of strong operating results, along with key steps taken toward our continued portfolio transformation," said Patrick J. Dempsey, President and Chief Executive Officer of Barnes Group Inc. "Year over year operating profit and margins were up impressively in both our Aerospace and Industrial businesses. While certain markets we operate in have introduced heightened uncertainty, we remain positioned to deliver our full year outlook within prior ranges. Moreover, our recent acquisitions expand our offerings of leading edge industrial technologies while providing us further end market diversification," added Dempsey.
Third quarter 2018 sales were $244.1 million, up 2% from $240.4 million in the prior year period. Driven by strength in the Molding Solutions business, Industrial organic sales increased by 2%. Unfavorable foreign exchange decreased sales by $4.1 million, or 2%, while acquisition revenues contributed $2.9 million, or 1%.
Operating profit in the third quarter was $33.3 million, up 10% from $30.3 million in the prior year period. The increase was driven by the profit impact of positive organic sales volume and improved cost productivity. Excluding IGS short-term purchase accounting adjustments and acquisition transaction costs this year, and FOBOHA short-term purchase accounting adjustments and restructuring expenses last year, adjusted operating profit of $34.9 million was up 12% from an adjusted $31.1 million a year ago. Adjusted operating margin was 14.3%, up 140 bps.
Third quarter 2018 sales were $125.7 million, up 8% from $116.8 million in the same period last year. Aerospace original equipment manufacturing ("OEM") sales increased 3% while aftermarket sales increased 19% from sustained growth in maintenance, repair and overhaul, and spare parts sales.
Operating profit was $25.7 million for the third quarter of 2018, up 39% as compared to $18.6 million in the prior year period, reflecting the profit impact from higher sales volumes and productivity improvements, offset in part by scheduled price deflation. Operating margin of 20.5% was up 460 bps from 15.9% a year ago, benefiting from the higher aftermarket contribution.
Aerospace OEM backlog ended the third quarter 2018 at $807 million, up 14% compared to a year ago, and down slightly from the second quarter of 2018. The Company expects to ship approximately 45% of this backlog over the next 12 months.
Third quarter interest expense increased $0.3 million to $4.1 million as a result of higher average borrowings, partially offset by a lower average interest rate.
Other expense, net for the quarter was $2.4 million versus $1.5 million in the prior year period.
The Company's effective tax rate was 25.6% in the third quarter of 2018 compared with 19.1% in the third quarter of 2017. The primary driver of last year's lower tax rate was the settlement of tax audits along with the closure of tax years for various tax jurisdictions. For the full year 2017, the Company's effective tax rate was 69.6%. Excluding the impact of discrete tax expense related to the Tax Cuts and Jobs Act, the effective tax rate for 2017 would have been 20.2%.
Barnes Group now expects 2018 total revenue growth of 4% to 5%, with organic sales growth of 2% to 3%. Foreign exchange and acquisition revenues are each anticipated to benefit revenues by approximately 1% for the year. Adjusted operating margins are forecasted to be approximately 16.4%. Adjusted earnings from continuing operations are expected to be in the range of $3.21 to $3.26 per diluted share, up 11% to 13% from 2017's adjusted diluted earnings per share of $2.88. Further, the Company anticipates capital expenditures in the range of $60 to $65 million and cash conversion of approximately 100% of net income. Based upon our forecasted geographic mix of earnings, the effective tax rate for 2018 is expected to be approximately 23.5%, excluding tax adjustments related to IGS short-term purchase accounting and acquisition transaction costs and the second quarter U.S. tax reform adjustment.
Our updated 2018 outlook excludes any impact from the Gimatic acquisition which we expect to close in the near term.
Barnes Group Inc. will conduct a conference call with investors to discuss third quarter 2018 results at 8:30 a.m. ET today, October 26, 2018. The public may access the conference through a live audio webcast available on the Investor Relations section of Barnes Group's website at www.BGInc.com. The conference is also available by direct dial at (844) 884-8225 in the U.S. or (647) 689-4194 outside of the U.S.; Conference ID 6288677. Supplemental materials will be posted to the Investor Relations section of the Company's website prior to the conference call.
In addition, the call will be recorded and available for playback from 12:00 p.m. (ET) on Friday, October 26, 2018 until 11:59 p.m. (ET) on Friday, November 2, 2018, by dialing (416) 621-4642; Conference ID 6288677.
(1) Organic sales growth represents the total reported sales increase within the Company's ongoing businesses less the impact of foreign currency translation and acquisition and divestitures completed in the preceding twelve months.
Barnes Group Inc. (NYSE: B) is a global provider of highly engineered products, differentiated industrial technologies, and innovative solutions, serving a wide range of end markets and customers. Its specialized products and services are used in far-reaching applications including aerospace, transportation, manufacturing, healthcare, and packaging. Barnes Group's skilled and dedicated employees around the globe are committed to the highest performance standards and achieving consistent, sustainable profitable growth. For more information, visit www.BGInc.com.
This press release contains forward-looking statements as defined in the Private Securities Litigation Reform Act of 1995. Forward-looking statements often address our expected future operating and financial performance and financial condition, and often contain words such as "anticipate," "believe," "expect," "plan," "estimate," "project," and similar terms. These forward-looking statements do not constitute guarantees of future performance and are subject to a variety of risks and uncertainties that may cause actual results to differ materially from those expressed in the forward-looking statements. These include, among others: difficulty maintaining relationships with employees, including unionized employees, customers, distributors, suppliers, business partners or governmental entities; failure to successfully negotiate collective bargaining agreements or potential strikes, work stoppages or other similar events; difficulties leveraging market opportunities; changes in market demand for our products and services; rapid technological and market change; the ability to protect intellectual property rights; introduction or development of new products or transfer of work; higher risks in global operations and markets; the impact of intense competition; acts of terrorism, cybersecurity attacks or intrusions that could adversely impact our businesses; uncertainties relating to conditions in financial markets; currency fluctuations and foreign currency exposure; future financial performance of the industries or customers that we serve; our dependence upon revenues and earnings from a small number of significant customers; a major loss of customers; inability to realize expected sales or profits from existing backlog due to a range of factors, including changes in customer sourcing decisions, material changes, production schedules and volumes of specific programs; the impact of government budget and funding decisions; the impact of new or revised tax laws and regulations; changes in raw material or product prices and availability; integration of acquired businesses; restructuring costs or savings; the continuing impact of prior acquisitions and divestitures; and any other future strategic actions, including acquisitions, divestitures, restructurings, or strategic business realignments, and our ability to achieve the financial and operational targets set in connection with any such actions; the outcome of pending and future legal, governmental, or regulatory proceedings and contingencies and uninsured claims; product liabilities; future repurchases of common stock; future levels of indebtedness; and numerous other matters of a global, regional or national scale, including those of a political, economic, business, competitive, environmental, regulatory and public health nature; government tariffs, trade agreements and trade policies; and other risks and uncertainties described in documents filed with or furnished to the Securities and Exchange Commission ("SEC") by the Company, including, among others, those in the Management's Discussion and Analysis of Financial Condition and Results of Operations and Risk Factors sections of the Company's filings. The Company assumes no obligation to update its forward-looking statements.
(1) Results for 2017 have been adjusted on a retrospective basis to reflect the impact of the adoption of revised guidance for the presentation of pension and other postretirement benefit costs in the first quarter of 2018.
Industrial 13.7 % 12.6 % 110 bps. 14.1 % 13.2 % 90 bps.
Aerospace 20.5 % 15.9 % 460 bps. 20.3 % 17.7 % 260 bps.
Total operating margin 16.0 % 13.7 % 230 bps. 16.2 % 14.7 % 150 bps.
(1) The Company defines free cash flow as net cash provided by operating activities less capital expenditures. The Company believes that the free cash flow metric is useful to investors and management as a measure of cash generated by business operations that can be used to invest in future growth, pay dividends, repurchase stock and reduce debt. This metric can also be used to evaluate the Company's ability to generate cash flow from business operations and the impact that this cash flow has on the Company's liquidity.
Operating Margin - Industrial Segment (GAAP) 13.7 % 12.6 % 110 bps. 14.1 % 13.2 % 90 bps.
Operating Margin - Industrial Segment as adjusted (Non-GAAP) (1) 14.3 % 12.9 % 140 bps. 14.3 % 14.4 % (10 ) bps.
Operating Margin (GAAP) 16.0 % 13.7 % 230 bps. 16.2 % 14.7 % 150 bps.
Operating Margin as adjusted (Non-GAAP) (1) 16.4 % 13.9 % 250 bps. 16.3 % 15.4 % 90 bps.
(1) The Company has excluded the following from its "as adjusted" financial measurements for 2018: 1) $1,522 of adjustments made in the second quarter of 2018 to reduce the tax expense recorded in December 2017 related to the U.S. tax reform (commonly referred to as the Tax Cuts and Jobs Act), 2) short-term purchase accounting adjustments related to its Industrial Gas Springs (IGS) acquisition and 3) transaction costs related primarily to the IGS acquisition. The Company has excluded the following from its "as adjusted" financial measurements for 2017: 1) the effects of U.S. tax reform ($96,700), 2) short-term purchase accounting adjustments related to its FOBOHA acquisition, 3) charges from restructuring actions related to the closure and consolidation of two manufacturing facilities within the Industrial segment and 4) the related pension curtailment and settlement gains included in non-operating income. The tax effects of these items, excluding the effects of U.S. tax reform which impacted tax expense directly, were calculated based on the respective tax jurisdiction of each item. In 2018, the tax effect on the acquisition transaction costs is 0% as these costs are not expected to be deductible. The remaining items include tax effects that range from approximately 21% to 37%. Management believes that these adjustments provide the Company and its investors with an indication of our baseline performance excluding items that are not considered to be reflective of our ongoing results. Management does not intend results excluding the adjustments to represent results as defined by GAAP, and the reader should not consider it as an alternative measurement calculated in accordance with GAAP, or as an indicator of the Company's performance. Accordingly, the measurements have limitations depending on their use.
(2) Results for 2017 have been adjusted on a retrospective basis to reflect the impact of the adoption of revised guidance for the presentation of pension and other postretirement benefit costs in the first quarter of 2018.
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Nigerian Identity
Scoopinions
Scoop for us
The ScoopNG
ECOWAS announces 2020 unveil for common currency – don't be shocked if it's postponed again
The wonders of Nigeria
African poverty and the Illusion of victimhood
Jonathan is wrong – there are three culprits to blame for non-implementation of national conference report
Adeosun and Buratai now on same rank, but Chief of Army Staff has not been replaced
Adedoyin Adejimi
13 presidents from the 15 West African countries assembled last week for the 55th Summit of the Economic Community of West African States (ECOWAS) in Abuja while Cape Verde and Senegal sent representatives. The summit saw an end to President Buhari's term as ECOWAS chairman as he stepped down and handed over to president Issofou Mahamadou of Niger Republic.
The big announcement: At the summit, the name for the long promised ECOWAS common currency was announced as 'ECO'.
ECO is expected to be unveiled in January 2020. The original plan was for it to be launched in 2000.
Proponents of the common currency believe that it could spur trade and economic development in the region. Residents of the region could move across different countries without current concerns around exchange rates.
Caution: There is no evidence that most of the issues that led to the several postponements in adopting and launching the country have been solved. For example, the monetary and fiscal policies of the different countries are not integrated. This could make implementing a uniform currency difficult. Consequently, it is possible that another postponement may be on the cards.
Related Topics:Buhari, Eco, ECOWAS, naira, poverty, Trade
New twist in EFCC-Saraki tussle; Atiku backs former senate president
Patience Jonathan vows to fight for 'her' money
Buhari has failed to change military chiefs in five years. Why we might have a problem
TheScoop Explains: Buhari and Osinbajo's cold war
Buhari's Economic Advisory Council – what to know
South African President Ramaphosa's apology to Nigeria – what it means
Copyright © 2019 TheScoopng.com


Two strands have been selected from work covering policy analysis and leadership/management. Both are based on input from front line professionals as well as senior staff; the managed as well as managers.
Ian McNay developed the matrix of four `cultures' in HEIs which plots control of policy development against control of policy delivery, within a Swiss international symposium funded by the Jean Monnet Foundation [3.1], and research focusing on enterprise [3.2]. McNay led research within an ESRC/SRHE funded seminar series [3.3], which reviewed shifts in cultural balance to corporate enterprise as predicted by the model and confirmed within an LFHE-funded project on leadership and organisation culture in a period of austerity [McNay, 2012, Jameson and McNay, 2013]. Loss of collegiality and a clash of perceived values were highlighted in a project funded by a private foundation [Bone and McNay, 2006; McNay, 2007, 2008]. This led to current concepts of stratified institutions with a `paperwork' university seen in documents (reports, policy statements, regulations) and a `professional' university reflecting the lived reality, closer to core activities.
The original model integrates work by Weick (1976), Handy (1976) and Clark (1983). It was tested with, and elaborated by, participants in successive management programmes and commissioned consultancies: an early form of crowd-sourcing. Participants showed, for example, that the contention of conflict across the diagonals of the matrix was not universal: collegiality and bureaucracy characterise different operations in the Open University, while staff in the London University external degrees office evidenced their role as entrepreneurial bureaucrats, selling exam administration globally.
Successive projects have confirmed the risk of corruption of values within each quadrant. Bureaucracy can move from equity of treatment to rigid standardisation, and from supporting the collegium to a surveillance service for the corporate centre. The enterprise can move from client service and sensitivity, to `selling' in a competitive climate. A key finding is the need to reduce corruption by moderation between adjacent quadrants: the collegium should recognise client needs eg in impact of research; knowledge transfer needs the quality output from the collegium as a source base [3.2, 3.3].
Work on processes for assessing research quality began when HEFCE commissioned an evaluation of the RAE's impact after unification of HE systems. This was published in 1997; projects since then have updated the findings through staff surveys and documentary and policy analysis. Recent work has developed comparative study of different national approaches and chronological studies relating procedural means to changing policy ends.
The failure of RAE processes to match the criteria set for the exercises, eg transparency, fairness etc [3.4, 3.6].
Staff in the squeezed middle of units of assessment experienced greater stress, in contrast to the `confident' at the top and `carefree' at the bottom [3.5].
The damaging effect the RAE had on teaching by privileging research.
The frequent failure to link research to teaching or, more recently, to enterprise, even where support for enterprise was structurally located with research support [3.5].
The limited success of corporate approaches to driving research, a collegial activity.
3.1 McNay, I. (1999). Changing cultures in UK higher education: The state as corporate market bureaucracy and the emergent academic enterprise. In D. Braun & F. Merrien (Eds.), Towards a new model of governance for universities: A comparative view (pp. 34-58). London: Jessica Kingsley.
3.2 McNay, I. (2003). The e-factors and organization cultures in British universities. In G. Williams (Ed.), The Enterprising University: reform, excellence and equity (pp. 20-28). Buckingham:Open University Press.
3.3 McNay, I. (2006). Managing universities in a mass HE system, in I. McNay (Ed.), Beyond Mass Higher Education: Building on experience (pp. 161-170). Maidenhead: Open University Press.
Google Scholar records 974 citations for work on Strand A, and 315 for Strand B. Well over a hundred citations for HEFCE  can be added to Strand B. [3.1] has 34, and [3.3], 22; on strand B, [3.4] has 72. Citations come from across the globe. Earlier outputs in both strands have over 400, and satisfy Adams' criterion for ranking in the top 5% of cited works worldwide.
Strand B work led to an invitation from UNESCO to write a framing paper for its policy development on research, and a commission to write the chapter on research assessment for the International Encyclopaedia of Higher Education. The report with Bone, Higher Education and Human Good was called in as evidence to the Parliamentary Select Committee considering the future of higher education.
In the 1980s and 1990s, UK HEIs were challenged by external trends including government pressure for accountability and research excellence, and the introduction of corporate structures led by managers rather than academics. They were also constrained by their own insularity, insufficient responsiveness to the needs of their markets, and resistance to corporate management even when it was enabling rather than authoritarian. Ian McNay developed a heuristic model of organisational cultures that enabled discussion of the strengths and weaknesses, opportunities and threats of each one in order to best manage change and achieve organisational goals. The model showed that each culture — of collegium, bureaucracy, corporation and enterprise — was needed but that internal and external forces could corrupt values and jeopardise the necessary balance and tension between them. McNay's research showed that the best institutions have a strong sense of identity/mission and a `collegial enterprise', market-facing culture. The model is used by HE professionals across the world to evaluate leadership, management and service provision, and introduce change.
The head of a devolved campus at the University of Southern Queensland, influenced by the model, set out to establish enterprise [with some collegiality] as defining the campus culture.
Yong-Tao Gan  claims that in the analysis of the impact of external factors on internal governance and decision-making, there is "inspiration in this model to promote the reformation and development of higher education in China".
Impact is enhanced by work with end users through consultancy and CPD. For example, City University Business School's official history records the effect of a commissioned CPD programme in changing the strategic focus and processes of the school, and enhancing quality. David Sweeney, HEFCE Director of Research, Innovation and Skills, claimed of his participation in CPD programme `Preparing for Strategic Leadership': "It changed my career direction; it is a major reason why I am in my present role." His predecessor was also a participant in several programmes.
McNay's first review of the impact of the RAE following unification of HE systems in 1992, published by HEFCE in 1997, had an immediate impact on policy in Australia: the Bourke Report  recommended against imitation of the UK model. That decision has been in place throughout the period since, despite several attempts to institute UK practice.
In the UK, McNay was a significant voice arguing for reform of the RAE in order to recognise and support research diversity, and research applied to the needs of society and integrated with teaching, and to discourage conservative, convergent conformity. The impact of his work within HEFCE was acknowledged by the then Chief Executive in a speech to an SRHE conference [Fender, 1997]. The critique of definitions used in gradings and the voice given to those researching smaller, applied projects in partnership with users, formed part of the pressure to change, eventually, to profiling output, and to strengthening relevance as an integral part of quality. Oancea  copied the methodology in her review of impact of the 2008 RAE on Education research, to which McNay was an advisor.
The decision by the Institute for Learning and Teaching to establish a group to review the teaching/learning nexus, led by Professor Roger Brown, was influenced by McNay's findings on the impact of the RAE on teaching. His findings continued to be validated by later work.
In recent years, the work has been cited in government policy papers in Canada and Germany. It underpinned an invited paper to UNESCO on possible policy initiatives.
Contacts have been provided from the University of Bath and University of Southern Queensland to comment on use of the research in professional policy making. A contact at Coventry University will comment on the wide recognition of the model and its influence on management thinking within HEIs.
A contact at Liverpool Hope University will comment on the work on research quality assessment, particularly the impact on teaching and policy on the research/teaching nexus. A contact at HEPI will comment on broader influence on policy.


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The Skeleton Twins: A Review (Review #670)
Brothers and Sisters and Other Odd Pairings...
I never thought much of Kristen Wiig (being one of the few people who genuinely disliked Bridesmaids and thinking it a step back for women in film, not a step forward). I do think better of Bill Hader, who not only does a great job as host of Turner Classic Movies' Essentials, Jr. but whom I thought was one of the best cast members of recent Saturday Night Live. However, I don't think I gave full credit to either of them for the depths of their talents. The Skeleton Twins proves their is more to Wiig and Hader than their sketch comedy. I don't want to say that just because they played 'drama' they are now 'better'. It's more of an awakening, a chance to see how deep they can dig into characters and reach a higher level than most would have immediately given them credit for.
Milo and Maggie (Hader and Wiig) have had a tumultuous relationship, and it has been ten years since they have spoken to each other. If it weren't for Milo's attempted suicide they wouldn't be speaking still. It isn't because they had a major falling out. Rather, it is because they have drifted apart and grown too concerned with their own lives. Maggie, for example, was about to down an overdose of pills when she gets the call about Milo. In order to help Milo recover and perhaps to bond, Maggie has Milo come live with her and her chipper husband Lance (Luke Wilson). Lance is a guys guy, but he's perfectly cool with Milo's homosexuality.
Milo, for his part, now back in his hometown, wants to reconnect with Rich (Ty Burrell), his former English teacher who was his first love affair despite being 15 when he and Rich had their brief but passionate romance. Rich, who has a child and fiancée, doesn't really want to start up again but still succumbs to temptation. Rich is not above peddling his rom-com script to Milo, who has told him he has an acting career when he really doesn't. Lance, for his part, is enthusiastic about the possibility of being a father, unaware that Maggie has secretly been using birth control and has had affairs with all her continuing education instructors, the latest being Billy (Boyd Holbrook) the hot Australian scuba instructor.
Things appear to be going well for both of them. They are slowly bonding. Maggie feels conflicted about both the possibility of getting pregnant and her affairs, which she hasn't before. Milo is putting himself together with a job that Lance gets him (though he isn't enthusiastic about it). He and Lance are even bonding. However, all things start coming apart. Maggie is furious that Milo is seeing Rich, whom she calls a child molester for taking Milo's virginity. Milo in turn suggests to Lance that he isn't impotent, but that there's perhaps another reason Maggie hasn't gotten preggers. Eventually they break apart when Lance discovers from Maggie both of her birth control and infidelities. She now is about to kill herself by drowning in the pool where she's been taking the scuba lessons, but Milo comes in time to save her when she can't break the ties to the weights she put down. At the end, Maggie and Milo put their differences aside to attempt to live together, realizing they need each other more than the other is willing to admit.
Perhaps I'm getting soft in my old age, but rather than finding Milo and Maggie narcissistic and faux-hipster, I found them to be inflicting pain on themselves. The Skeleton Twins attempts to tie their own rather confused lives with their father, who committed suicide himself when they were young, and a brief visit by their hippie mother Judy (Joanna Gleason). Judy comes at Milo's request, though this clearly upsets Maggie. It makes things worse when we find that Judy came merely because she was nearby at some meditation-type retreat rather than to see her dysfunctional children.
As perhaps as Mark Heyman and director Craig Johnson's screenplay plays with what would be certain clichéd plot points (the 'I'm screwed up because my parents were' bit and the overt symbolism of the dead goldfish for the siblings tortured relationship for example), The Skeleton Twin's great saving grace is in the performances. At the top of the list of fantastic performances is Bill Hader's Milo.
In other hands, the gayness of Milo might have come off as stereotypical, but Hader made Milo into someone who straddled caricature with heart. Yes, Milo is gay, and at times he can come across as flamboyant, but Milo is also someone who has great wounds that are removed from his sexuality. Hader has a fantastic monologue where he talks about Justin, a high school bully. He tells Maggie that their father attempted to make Milo feel better by telling him that Justin would have only high school as his crowning achievement but that once he left school his life would be miserable, while Milo would rise. Milo goes on to tell his sister that he looked up Justin online and found that he had a relatively happy life post-school, and Milo now holds that it was MILO, not Justin, for whom high school was the highlight of his life.
It's a beautiful moment, and really shows that with good material, Bill Hader can be more than a funny impressionist, but a strong actor.
Hader really balances being silly and sincere, between gay stereotype and fully-formed human, and it is one of the best performances I've seen this year.
The same goes for Wiig, who makes Maggie into a vulnerable figure, one who believes she is unworthy of Lance's genuine love. Again, I'm not a fan of Wiig, but here she kept things believable and genuine. Luke Wilson's forte is the 'average-Joe', a good guy who is not always the brightest person. The Skeleton Twins was another in these roles, but Wilson is just so good in it that you do genuinely feel when he finds out that the woman he genuinely loves is betraying him in so many ways.
The relationship between Milo and Maggie is perhaps an exaggeration of most brothers and sisters, but it doesn't seem unbelievable. We see that these two have wounded each other and themselves, sometimes by their own actions, sometimes not. However, at the end of the day they are family, and they see that they do need each other. They have things only they share (such as their unofficial theme song, Starship's Nothing's Gonna Stop Us Now), and that no matter how they might not want to acknowledge it, they are bonded.
I found myself moved by the story and performances. It was as real as I've seen this year, and with three great performances I think The Skeleton Twins is a film for those who have felt the cords of family sometimes strangle, sometimes strengthen.
DECISION: A-
Posted by Rick at 5:44 AM
Labels: 2014, Comedies, Drama, Masterpieces, Review
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Home / Questions / ANITA LONSBOROUGH BECAME THE FIRST FEMALE TO WIN WHAT IN 1962 (SHE WON MEDALS AT THE OLYMPICS BUT WASNT THE FIRST)?
In 2003, who played the role of Captain Jack Sparrow in the film titled Pirates of the Caribbean: The Curse of the Black Pearl?
What well-known movie critic wrote the screenplay for the widely panned 1970 film Beyond the Valley of the Dolls?
WHICH IS THE ONLY ANIMAL THAT IS BORN WITH HORNS?


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Azure AD Applications
Azure AD Application Basics
Azure AD Application Credentials
Azure AD Application Model
Risky Azure AD application permissions
Azure AD Device Join Guidance
Azure AD Roles
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When Should a New Azure AD Tenant Be Created?
Azure AD applications are an identity which allows software to take advantage of Azure AD capabilities.
Topics on this Page:
What Users Need to Know
Adding an app
Consenting to an app
What Developers Need to Know
Augment Your App
Admin Consent Apps
Microsoft Apps
Related pages you might be interested in:
Azure AD App Basics
Azure AD Application Object Model
Azure AD Application Request form
What you Might Need to Know as a User of an Azure AD Application
As a user of Azure AD, you might need an Azure AD application. These will typically be one of three types of scenarios:
You would like to use 3rd party software via Azure AD
You are a developer writing software and want to integrate via Azure AD
You would like to leverage an Azure AD capability for your existing software
Using 3rd party software via Azure AD
You've found a 3rd party software that needs to be integrated with the UW's identity system and possibly also integrated with other Azure AD applications. This may be a web application, a phone "native" app, or even an Office add-in which also has an installable download.
There are usually two steps:
Add the Azure AD application identity
Consent to the permissions the Azure AD application requires
Adding software as an Azure AD application
The details about how a user might self-provision an Azure AD application identity happen to differ greatly depending on the application (just as it does for integration with any other identity solution), and it isn't always obvious to users when Azure AD is involved.
Microsoft has a gallery/catalog of more than 3000 "pre-integrated" SaaS applications, where they've already done the hard work to connect whatever authentication that software uses to Azure AD authentication. This means the UW identity integration cost is minimal. In some cases, the Azure AD integration even handles user provisioning in the 3rd party web application's custom user system, meaning you don't have to do that work separately. Many of the 3rd party applications in that gallery require you to separately establish a customer relationship with the vendor and in such cases you many need to restrict user assignment of the applications to those you are willing to pay for. There are some additional costs associated with restricting assignment, so you are encouraged to first talk with UW-IT about that kind of scenario.
Other vendors may not be in Microsoft's gallery/catalog, but do enable you to create the necessary Azure AD application identity to enable UW use by clicking to enable/install them. The software which uses that identity may be on your local computer or on a web site. One innocuous example of this is an Office Add-on called FindTime. Not all of these kinds of 'click to enable' Azure AD application identities are located in the Office Store.
Some Azure AD applications require an admin to grant permissions before they can be created.
If you choose to add or consent to an Azure AD application provided by a third party, there is a risk that UW confidential data may intentionally or unintentionally be accessed, collected, or used by the third party. UW organizations are responsible for evaluating the risk and implementing controls for their unique technical deployments.
If you've evaluated the risk and decided to use a third party application, then it should meet the UW data security and privacy goals for contracting with vendors. This may include the need for a Data Security and Privacy Agreement or a Business Associate Agreement. Additional responsibilities may be required by UW Medicine for use of Azure AD applications with protected health information. If you'd like help analyzing third party applications or adding an Azure AD application, please contact UW-IT at help@uw.edu.
Consenting to the permissions an Azure AD application requires
When a user tries to access an Azure AD application identity that requires permissions to other Azure AD applications, a user consent prompt is presented. This prompt is provided by Microsoft, not the 3rd party.
The prompt contains a list of the permissions requested by the application, and the user can accept or decline. Acceptance results in permissions granted and recorded for that user. Declining blocks access to the Azure AD application.
Users working with confidential data are strongly encouraged to take care about consenting to permissions when the application you are granting access to lacks proper controls.
If you aren't sure, you should ask for help by contacting UW-IT at help@uw.edu.
Some example screen shots of this experience:
Developer integration via Azure AD
You are a developer writing software. You either need to leverage the API of an Azure AD application or you need to authenticate users and would like to use the modern protocols that Azure AD supports.
Microsoft's Integrating applications with Azure Active Directory is a good introductory resource for developers seeking to integrate using an Azure AD identity. Developers seeking to leverage Microsoft Graph or Office 365 APIs may find this TechNet article useful. There is now also a preview Azure AD PowerShell module which allows creation and manipulation of Azure AD applications.
Augment your existing software with Azure AD capabilities
You have some existing software which you'd like to benefit from one of the capabilities that Azure AD provides. The most likely capabilities you might want to leverage are: Azure AD Conditional Access, Azure MFA, Azure AD logging and security reporting, single sign-on for a scenario that allows an existing Integrated Windows Authentication web app (this capability is called Azure AD Application Proxy), or simply having your application listed in a user-focused application portal which has single sign-on like benefits.
For any of these scenarios, you should talk to UW-IT.
Azure AD application which require admin approval
Some Azure AD applications require permissions which other applications have defined to require an Azure AD tenant admin to explicitly approve. These applications can not be added by a user by themselves.
Additionally, there may be additional permissions which the UW decides are risky, even if vendors don't identify them. When we detect an Azure AD application which has those risky permissions, we will disable that Azure AD application and it will go through a risk evaluation & acceptance process like the one required for Azure AD applications that require a Azure AD tenant admin to explicitly approve them.
If you think you have such an Azure AD application, you can use the request form for that.
If you'd like to read more about what UW considers risky Azure AD permissions and how you might request a change to what we consider risky, please see our Risky Azure AD application permissions page.
Microsoft endorsed Azure AD applications
In addition to these scenarios, there is another type of Azure AD application, which is mostly commonly called a "first person" application. These are Azure AD applications that Microsoft provides, like Exchange Online. These Azure AD applications sometimes don't follow the guidelines noted above, and there may be extra limitations or per user licensing required.
Reference material:
https://docs.microsoft.com/en-us/azure/active-directory/develop/authentication-scenarios
https://docs.microsoft.com/en-us/azure/active-directory/develop/active-directory-how-applications-are-added
https://docs.microsoft.com/en-us/azure/
'Modern Authentication with Azure Active Directory for Web Applications' by Vittorio Bertocci


Steer clear if you have a fear of heights.
Glass sky bridges always test people's threshold for how much they can stand looking down at jaw-dropping heights, but one bridge — in Hebei, China — is really pushing it with panels of glass made to look like they're cracking under people's feet.
The glass bridge, on the eastern face of the Taihang Mountain, hangs 3,871 feet above sea level, which would probably be a thrilling (or terrifying) height even without novelty cracking glass.
But for some people, the possibility of near and imminent death is how you spell fun. Apparently. For tourists, not so much. In videos posted by visitors, some respond with excitement, while some respond with out-and-out terror.
Some of the panels also had shattered fragments of glass placed between the layers so that when you walk over them, the glass sounds and looks as if it's breaking. Not exactly the most welcome noise at 3,000 feet.
It doesn't help that in recent years there have been previous reports of China's popular glass bridges and walkways actually shattering.
Although the administration has apologized, there are no plans to replace the panels.
Many users on the Chinese social media site Weibo have been outraged by seeing people being frightened on the glass bridge. Some said that the effects could even trigger heart attacks, according to Mashable.


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30 Stefanos Tsitsipas Quotes Sharing His Inspirational Experiences
Stefanos Tsitsipas quotes are very inspiring as they are taken from interviews given to different media and also his wonderful experiences which he shared after different matches played by him. Sports quotes are frequently searched by sports lovers.
Tsitsipas was born on 12 august 1998. He is ranked youngest player in top 10 by Association of Tennis Professionals with a career rank of 4th in the world. Which makes him the highest ranked Greek player in history. He was introduced to the game of tennis from three years of age and started getting coaching from the age of six, as both of his parents are associated with tennis. Mother Julia was a professional player and father trained coach at a summer resort in Greece.
Nationality: GRE (Greece)
Birthplace: Athens, Greece
Residence: Athens, Greece
Turned Pro: Pro
Plays: Right-handed
Coach: Apostolos Tsitsipas
Nickname: "Stef"
Stefanos Tsitsipas Quotes – After Final I Roland-Garros 2021.
After his defeat against Novak Djokovic in the final of RolandGarros 2021. Expresses his experience about how he played the match.
Feeling out of Rhythm:
I think the momentum changed in the third set tiebreak, I found my rhythm, had a clearer mind on the court, didn't rush much. I think that played a crucial role in closing it at the end. – Stefanos Tsitsipas
I started playing really short, I felt like my rhythm was off. I really don't know why. It was very strange considering that I started finding my rhythm and my shots. My movement on the court was perfect and, suddenly, I just felt cold and out of it. It was difficult to re-adjust. – Stefanos Tsitsipas
Creator: Cameron Spencer, Cameron Spencer | Credit: Getty Images
Feeling Lost:
I felt like I lost my game a little bit. I really wish I could understand why things like this happen and evolve. I was trying to figure it out during my game, but it was difficult to come up with something. It's very unfortunate, very… very sad in the same way – Stefanos Tsitsipas
I kept the things that were working for me, but he left the court after two sets to love down, I don't know what happened, but he suddenly came back like a different player. I don't know, I have no idea. He played really well. He gave me no space. – Stefanos Tsitsipas
It was a good opportunity. I was playing well, I was feeling good and I lost an opportunity to do something better today. The physio came. I had a hip blockage and I thought maybe he could help me unblock my hip, but later it was all right, it went back to normal. What I learned today is that… no matter what, in order for the match to finish, you have to win three sets, and not two. – Stefanos Tsitsipas
Stefanos Tsitsipas comments on his final tournament in Estoril.
Fight:
I'm someone who fights. I was not willing to give up yet. I think I did a few things right that worked in my favor, it was a breath of fresh air, that first game. – Stefanos Tsitsipas
In the course of the fight, I was absolutely calm. "All I can think of is my roots, where I came from, he says, talking tsitsipas gets his fourth match point but Zverev saves again with another fine serve that the greek. – Stefanos Tsitsipas
stephanos tsitsipas quotes, Creator: CHRISTOPHE ARCHAMBAULT | Credit: AFP via Getty Images
Tsitsipas expressed his interest in promoting the sport of tennis in Greece. He commented
Tennis:
It was a breath of fresh air, that first game, I felt revitalized. – Stefanos Tsitsipas
I do n't know what to say. I obviously was n't expecting it to come so easy, i was surprised. – Stefanos Tsitsipas
"Tennis is not very popular." He further commented that his success was helping him achieve this goal. – Stefanos Tsitsipas, Stefanos Tsitsipas Quotes.
I understand that our tennis era is changing … and our top three are getting older and we are the ones that are coming up, Nadal, Djokovic and Federer have always been there and they will be there and what I have to do is go the extra mile and surpass them … that's my biggest challenge for next year. – Stefanos Tsitsipas
It's like a dream come true to be part of this incredible team, with Roger and Rafa (Nadal), who I've looked up to since I was a little kid, along with Dominic (Thiem), Sascha (Alexander Zverev) and Fabio (Fognini), in tennis we are always out on the court alone, it's such an individual sport. It's going to be a new experience for me to play on a team, especially this team of unbelievable champions. – Stefanos Tsitsipas
Tsitsipas Quotes
Better and Best:
I think the Grand Slam tournaments are events where you try and bring the best out of you. – Stefanos Tsitsipas
It keeps getting better and better, I really appreciate all the love that I receive here and tomorrow is an exciting day. – Stefanos Tsitsipas
tsitsipas tennis, Creator: Julian Finney | Credit: Getty Images
Concentration:
When it comes to concentration, when it comes to playing with energy, good footwork, being aggressive and being consistent point by point, a good start is always important, trying to conserve energy, trying to avoid playing long matches. I've been working on this mentally and technically, strategically, to avoid having difficulties in the early rounds. – Stefanos Tsitsipas
I think I learned a lot these three weeks, it's good to come into a Grand Slam knowing what you did well, what you did wrong, trying to concentrate on those things in order to avoid the same mistakes in the big events. – Stefanos Tsitsipas, Stefanos Tsitsipas Quotes
I am satisfied with my results since Estoril. I had a lot of matches on clay. I think that's important coming into a tournament like the French Open. – Stefanos Tsitsipas
I wanted to win but probably wasn't willing to die on the court for that, my main focus was doing well in the semi-finals, i did leave something in the tank. – Stefanos Tsitsipas
Future:
I guess you could say we are just getting started, we are the future of the ATP. – Stefanos Tsitsipas, Stefanos Tsitsipas Quotes
I had plenty of interviews that I did on big channels in Greece for big media centers. It got people's attention… It makes me motivated to do even better in the future, and become even more popular… I hope to inspire more people to play tennis in Greece. – Stefanos Tsitsipas
stefanos tsitsipas quotes, tsitsipas quotes, Creator: WILLIAM WEST | Credit: AFP via Getty Images
Motivational Tennis Quotes – Stefanos Tsitsipas – Sharing His Experience With Media
Well, it's not very pleasant when you have the umpire give you warnings and time violations and coaching violations during a match, it can affect your thinking. It can affect your decision-making. – Stefanos Tsitsipas
I feel like some of them have preferences when they are on the court. – Stefanos Tsitsipas
Bore of Repetation:
I feel like I'm doing the same thing over and over again, and my brain can't really take it anymore, I feel like I'm doing the same routines on the court, the same execution, the same — I mean, same strategies and everything. – Stefanos Tsitsipas
It's not very pleasant when you have the umpire give you warnings and time violations and coaching violations during a match. It can affect your thinking. It can affect your decision making, i don't know what this chair umpire has specifically against my team but he's been complaining and telling me that my team talks all the time when I'm out on the court playing. – Stefanos Tsitsipas
The chair umpire was very incorrect in what he was telling me during the match, I don't know what this chair umpire has specifically against my team, but hes been complaining and telling me that my team talks all of the time when I'm out on the court playing. He's very I don't know. I believe hes not right, because I never hear anything of what my team says from the outside. – Stefanos Tsitsipas
Beat:
Feels like a fairytale almost, I'm living a dream, living what I worked so hard for. I feel emotional but not much. – Stefanos Tsitsipas
That's a really difficult task to do for players, for us, for the young guys, it's all about time. I don't know. We will have to beat them or wait for them. – Stefanos Tsitsipas
stefano tsitsipas,Creator: ANNE-CHRISTINE POUJOULAT | Credit: AFP via Getty Images
He's the most difficult opponent I've ever faced, and I think it's going to take a couple of tries to beat him, i have to accept that he's better than me. – Stefanos Tsitsipas, Stefanos Tsitsipas Quotes
I think I deserved the match at the end. I was playing really well, feeling really comfortable on the court, when you feel like this, you can do miracles. – Stefanos Tsitsipas
Referred From Roland Garros Videos
Referred From FOX News
Referred From Reuters – Sports
Referred: EN.WIKIPEDIA.ORG
Source of Inspiration by Quotes.net
Categories Stefano Tsitsipas Tennis, Sports Quotes Tags stefano tsitsipas, stefanos tsitsipas girlfriend, stefanos tsitsipas quotes, stephanos tsitsipas quotes, tsitsipas girlfriend, tsitsipas quotes, tsitsipas tennis
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The fact that the "Lite" version is rated more highly than the full-featured version goes to show how utterly stupid people are. Oh wait, I know, this one is free.
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(March 25) – A simple solution to improve hospital care for Coloradans who depend on caregivers won overwhelming House approval this morning.
HB15-1242, sponsored by Rep. Jessie Danielson, D-Wheat Ridge, would allow patients to check in to a hospital with a caregiver, who would remain with the patient during the hospital stay and be present during the discharge instructions, where the patient is given information about what must be done following the hospital stay.
Discharge instructions have a history of being misunderstood in the healthcare world. When the caregiver is better informed, at-home care improves and the patient is less likely to be readmitted to the hospital, saving time, money and lives.
"This bill will result in better at-home care for patients and will give families and caregivers the support they need in what are often difficult times," Rep. Danielson said.
The House's 60-3 vote sends the bill to the Senate.


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2014 budget "based on realistic assumptions"
BELGRADE -- Finance Minister Lazar Krsti� says the 2014 budget has been created "based on realistic assumptions and responsibly."
Speaking at the National Budget Forum in Belgrade, Krsti� said that the 2014 budget is the first step towards consolidating the fiscal system and straightening public finances in Serbia.
Commenting on an opinion that the coming year calls for additional savings of about EUR 300 million, Krsti� stressed that the Fiscal Council made the assessment based on the assumption that plans for increased tax collection in 2014 will fall through.
The minister said that the process of restructuring public enterprises will be over in the next six to nine months and that problems involving large enterprises, such as the pharmaceutical company Galenika and the steelworks in Smederevo, will also be solved.
"We realize that it must be done, because if it does not happen in six to nine months from now, no savings will be made and it will be impossible to implement the budget," he said.
Krsti� said that the government is considering limiting employment in the public administration sector and other large systems, bearing in mind the growing number of employees in the public sector.
The budget system bill that will be discussed in the government on Thursday will with rules regarding employment of new people in the public administration, Krsti� said.
Krsti� said that it was not politically possible to go for more aggressive reforms in the pension system now.
Krsti� also announced on Wednesday that a technical mission of the International Monetary Fund (IMF) will come to Belgrade next week to discuss a package of measures for fiscal consolidation.
He told the reporters that the IMF will help Serbian authorities arrive at a better way of planning and collecting revenues, and planning and meeting budgetary expenditures.
Krsti� specified that a new arrangement with the IMF is still not being discussed, but it would be good for Serbia to have a precautionary arrangement with that institution, and not the one that implies any sort of loan.
Realistic plans, for a change, is something that we need the most. We don't need lies and promises, because we are not stupid anymore to believe in that.


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