Where melted sandwich perfection meets exceptional operations.
Melt Shop does more than create melted sandwich masterpieces, it creates a culinary experience unmatched in the fast-casual space. The way we see it, two pieces of bread serve as a perfect canvas to present delicious, high-quality ingredients in a more creative way than has ever been done before. Our food unlocks the feelings, memories and moments that bring people joy and we've been doing just that for more than six years.
The timing is right to bring our New York-born and meticulously refined franchise concept to the world market. We'll show you how and why our melted sandwiches possess the unique ability to be familiar yet remarkably unexpected in any market around the globe.
Be one of the first in line. Get the details here.
People development is at the forefront of Melt Shop's mission. Fittingly, our priority is to find the best people — franchisees and employees alike — and to provide them with excellent training, invest in their future, and empower them to reach new heights and success. We do this because business excellence is simply not possible without people excellence.
Guesswork has no place in our franchise. We have set the expectations, developed the standards and created the operational systems to hold ourselves, our employees, and our franchisees accountable. Most importantly, we deliver the tools needed for everyone to adhere to our standards, meet our expectations and ultimately succeed.
Uncompromising quality. Our bread is freshly-baked daily, our cheese is sourced from meticulously selected dairies, our fresh produce is prepped and sliced in-house, our delectable fried chicken recipe is proprietary to Melt Shop, as are each of our soups, toppings and sauces. And everything is always made to order.
Melt Shop is a part of Aurify Brands, a company equal parts hospitality group and restaurant incubator. Aurify Brands was founded by Andy Stern and John Rigos, who are Five Guys Burgers and Fries multi-unit franchisees, and former franchisees of Subway, Dunkin' Donuts, and Baskin-Robbins. Aurify Brands believes that one quality, more than any other, determines the success of a concept: the strength of the brand and its connection to guests. Melt Shop was built upon that premise.
In addition to our eight corporate restaurants — six in and around New York City, one in Philadelphia, and one in Minneapolis — Melt Shop has recently expanded into the Middle East. We expect to open seven restaurants in the region, with four of those opening in Kuwait by March 2018.
Melt Shop is seeking multi-unit franchisees with strong restaurant and hospitality experience and a shared dedication to operational excellence who have a strong knowledge of their market. The ideal franchisee is a proven multi-unit operator in the restaurant industry. At this time we are not offering sub-franchises.
We are open to Melt Shop expansion in most international markets, including Mexico, South America, Canada, Western Europe, Asia and the Middle East.
International investment figures will vary by country.
What makes Melt Shop qualified to begin franchising?
Melt Shop has spent the last six years tirelessly perfecting our brand and business model, and the timing is right to bring our New York-born franchise concept to market and to the world. Melted sandwiches possess the unique ability to be instantly recognizable and familiar in any market around the globe. Two pieces of bread serve as a perfect canvas to present delicious, high-quality ingredients in a more creative way than has ever been done before.
Who is our ideal franchise candidate?
Melt Shop is seeking well capitalized partners who are entrepreneurial and have a strong knowledge of their market. The ideal franchisee is a proven multi-unit operator in the restaurant industry. At this time we are not offering sub-franchises.
The estimated initial investment range for a single Melt Shop restaurant is $368,240 – $698,800 which includes the franchise fee of $35,000. These numbers are based on the Melt Shop Franchise Disclosure Document 2017.
Paying the franchise fee gives you the right to use the brand, signage, restaurant design, cooking manuals and operations manuals. It also covers the cost of your upfront training in New York City and support given by the home office in providing market entry assistance.
How much profit can I expect to make as a Melt Shop franchisee?
The Melt Shop Franchise is poised for excellent ROI with an estimated initial investment range of $368,240 – $698,800 (depending on size of floor plan) and an annual sales range of $1,016,984 - $1,640,406*. International investment figures will vary by country.
Absolutely. We are extremely – if not exclusively – interested in multi-unit franchisees with strong restaurant and hospitality experience and a shared dedication to operational excellence.
The length of time will depend largely on how quickly the business place and management meetings can be completed. Before opening your first restaurant, there are a number of factors including real estate, supply chain, training, design, and construction that may take anywhere from 6 to 18 months.
What training support is provided to franchisees?
Training will consist of a 4-week program in New York City for both corporate management and restaurant management. A further 2 weeks of training will be provided in your local market (1 week prior and 1 week following the opening of your first restaurant). Training tools and resources will also be provided on an ongoing basis in addition to regular operational support and guidance.
Will Melt Shop find my sites?
You will be able to leverage Melt Shop expertise to seek new sites, however, you will use your own market knowledge and judgment to select your initial site(s) which Melt Shop will approve. Ultimately, the franchisee is responsible for securing their own sites.
Who will build the initial restaurant?
Melt Shop will share its design specifications and assist you in finding local suppliers of materials, equipment and construction professionals to build your initial restaurant. The franchisee will be responsible for the full buildout.
Where will the ingredients be sourced?
Melt Shop will assist you in setting up a local supply chain, where possible, help improve costs and control whilst still maintaining quality and the Melt Shop standard.
Fill out the inquiry form at the top of this page and one of our franchise representatives will reach right out to you to get the conversation started. We appreciate your interest!
*Sale range based on Melt Shops' six corporate restaurants open over 12 months as of end of 2016, as referenced in Item 19 of the 2017 FDD.
Details on other numbers are based on Melt Shop Franchise Disclosure Document 2017.
This information is not intended as an offer to sell, or the solicitation of an offer to buy, a franchise. It is for information purposes only. Currently, the following countries and states regulate the offer and sale of franchises: The countries are Australia, Brazil, Belgium, Canada (provinces of Alberta, British Columbia, Manitoba, New Brunswick, Ontario and Prince Edward Island), China, France, Indonesia, Italy, Japan, Malaysia, Mexico, Russia, South Korea, Spain, and the United States of America; California, Hawaii, Illinois, Indiana, Maryland, Michigan, Minnesota, New York, North Dakota, Oregon, Rhode Island, South Dakota, Virginia, Washington, and Wisconsin. If you are a resident of or want to locate a franchise in one of these states, we will not offer you a franchise unless and until we have complied with applicable pre-sale registration and disclosure requirements in your state.


Emergency companies have raced to avoid wasting 15 males trapped in an unlawful coal mine in India. The lads have been trapped within the flooded mine within the nation's northeastern state of Meghalaya for 11 days, surviving in an air pocket in the principle shaft, the BBC reported.
Rescue staff try to empty the mine however have solely two pumps. They've reportedly requested extra sources, however time is working out.
The mine is named a "rat gap"—an unlawful operation through which a slim gap is dug into the bottom within the hope of discovering coal. Such mines had been frequent in Meghalaya, regardless of the hazard to those that go down into them, lots of whom are poor migrant staff from neighboring states.
A nationwide ban on the apply was launched in 2014, regardless of the opposition of many mine homeowners. Some have challenged the ban in courtroom and petitions in some instances had been nonetheless pending evaluation within the nation's Supreme Court docket.
The difficulty is controversial, largely as a result of many individuals rely both instantly or not directly on the mines for revenue. Final month, two activists had been reportedly attacked for accumulating proof of unlawful coal mining in Meghalaya's East Jaintia District—the place the flooded mine was situated.
Within the present case, the 370-foot deep mine is especially perilous due to its location near the Lytein River. This made the specter of flooding stronger than standard.
The Press Belief of India reported Monday that rescue efforts had been paused to await the arrival of extra highly effective pumps. The company quoted Singh, who stated the water stage within the mine shaft was nonetheless at round 70 toes.
Roughly 100 resuce personnel had been standing by to start a restoration operation as soon as the pumps cut back the water stage to round 30 toes, Singh defined. Then divers can enter the mine and attempt to attain these trapped, police superintendent Sylvester Nongtynger added.


If you're a fan of sheer formulas that give a hint of colour without the commitment of something too bold, you'll probably already be aware of the Clinique Chubby Stick formula which achieves just this. I like my lip colour to be a little more in your face, Stace! but I can appreciate that those of you wusses who still rely on stabilizers will probably come over all unecessary over the new shades. I've got one here called Oversized Orange (sounds like me after I've fake tanned) and it's actually a pretty nice way to wear a shade that I usually run away from.
It glides on smoothly and despite my attempts at laying it on an inch thick to build colour (old habits die hard), it builds pigmentation only moderately but impressively doesn't go all claggy or yukky on the lips. It feels moisturising enough and isn't remotely sticky.
It doesn't look like it's made much difference at all in the lip swatch (which is why I always advocate full face shots when it comes to lipsticks!)… because, it actually packs enough colour to finish and polish a look. At least, on my fairly unpigmented lips. Please excuse the fringe, I struggled badly at flattening my cow-lick today!
Clinique Chubby Sticks are available to buy on counter and online, priced at £16 each. The eight new shades (including Oversized Orange will be available from June).
Do you own any Clinique Chubby Sticks? Like a sheerer, more balmy lipstick?
I had to google it to make sure it wasn't a "cat-lick" or some word that I'd made up based on something I thought I'd heard a billion years ago!
Right, off to Boots on the weekend for this one! (See what I mean about your blog draining my bank account?!) What colour do you recommend for a natural colour lip? Don't do 'colours', need something that doesn't shout at you.
Oh god, these are the first time I've seen this in action and they're a bit bleh aren't they. I was expecting an Eyeko type chubby that gives a huge bang of color with a quick swipe when I saw the first picture. Know there's been loads of fuss and hype about them but they're not what I was expecting at all so no desire to lem, yay!
These are my makeup staples! I LOVE Clinique Chubby Sticks, and am so excited for the new shades to come out 😀 I have mine in Chunky Cherry, and it's the one and only red I can actually pull off. It is great, because you are so right when you said how these can pull together a look. How can you not love a lip balm with amazing colour, and that goes on so smooth and feels great on the lips.
No, you CAN pull off a brighter red, I refuse to believe you can't! (unless you are infact Ronald McDonald). You just haven't found it yet!
I have a cowlick in the left of my fringe. It.drives.me.mad.
The only way I can really get it to bog off (the cow lick) is to blow dry horizontally from one direction, then cross my fringe across the parting and blow dry from the other direction. At no point must I place the round brush UNDER my fringe and blow-dry, or else it's game over, hello fringe pouf in just one really obvious place!
That looks like a nice colour. Really though, I'm more impressed at how extremely pretty and flattering your newly lighter shade of hair is. Very nice. And brave. I'd be terrified to lighten my hair.
Thanks Krystal, I was/am! I've boguht another box dye though for next time (even though I know I shouldn't) and it's proper red, as in pale auburn, red. To think I've spent all these bloody years trying to kill the red tones!


The Silvermane Exemplar, a racial paragon class balanced for play alongside your adventuring companions, designed for use by player characters at every level of play.
In the Company of Unicorns!
On creating the supplement and samples from it.


text:
Tag: DVD News
News: 101 Films to release 'Renegades' on digital later this month, and DVD from February 2023
From 101 Films, the ensemble action – Renegades – is coming to digital on 30th January, then DVD a week later on 6th February. Here's what they had to say
News: Warner Bros. UK to release 'Don't Worry Darling' on 4K, Blu-ray and DVD this December
From Warner Bros. UK, the thrilling – Don't Worry Darling – will be released on physical media in the UK from 5th December. Here's what they had to say
News: Lionsgate UK to release Kevin Smith's 'Clerks III' on digital this November, and on Blu-ray & DVD this December
From Lionsgate UK, Clerks III – Kevin Smith's comedic sequel and conclusion in the trilogy – will have a digital release on 14th November, followed by Blu-ray and DVD releases later on 26th December. Here's what they had to say
News: Acorn Media International to release 'Mad God' – a Shudder original – this December on Blu-ray, DVD and Digital
From Acorn Media International, the accalimed hit – Mad God – is having both physical and digital releases on 5th December. Here's what they had to say:
News: Acorn Media International to release 'The Twin' – a Shudder original – this October on Blu-ray, DVD & Digital
From Acorn Media International, the psychological horror – The Twin – is having both physical and digital releases on 3rd October. Here's what they had to say
News: Signature Entertainment to release 'The Ledge' on digital and DVD this March
From Signature Entertainment, the climbing horror/thriller – The Ledge – will have releases on digital platforms and DVD in March. Here's what they had to say:
News: Signature Entertainment to release Bruce Willis vehicle, 'Fortress', on digital and DVD
From Signature Entertainment, the latest Bruce Willis action film - Fortress - will have releases on digital platforms and DVD in the coming months. Here's what they had to say
News: 101 Films to release 'No Man of God' following its European Premiere at this year's FrightFest
After its European premiere at FrightFest in August, the darkly disturbing No Man of God is set for a digital release on 13th September, followed by releases on both DVD and Blu-ray on 25th October, all courtesy of 101 Films. Here's what they had to say:
News: 101 Films to release 'Wired Shut' this August
From 101 Films, the slasher epic - Wired Shut - is coming to DVD and digital on 30th August. Here's what they had to say:
News: 101 Films to release 'The Last Job' this August
From 101 Films, The Last Job - an action film featuring veteran actor Richard Dreyfuss - is set for a UK DVD and digital release on 30th August. Here's what they had to say:
News: Acorn Media International to release 'Random Acts of Violence' on digital, DVD and Blu-ray this August
From Acorn Media International, the terrifying Random Acts of Violence will be released on digital, DVD and Blu-ray all on 23rd August. Here's what they had to say:
News: Lionsgate UK to release Oscar-winning, 'The Father', on Digital Download, DVD and Blu-ray this August
From Lionsgate UK, The Father - featuring an Oscar-winning performance from Anthony Hopkins - will be released on Digital Download, 27th August, and then its physical releases (DVD and Blu-ray) a few days later on 30th August. Here's what they had to say:

redpajama_set_name: RedPajamaCommonCrawl


The Columbus Water Works hired GDP to expand the recreational amenities and to improve the access to its 1,600 acre Oxbow Meadows Environmental Park on the Chattahoochee River. GDP constructed a 2,250 lf extension of a river walk pathway that required a series of bridge crossings. A new boat dock, fishing pier, and parking lot capable of handling boat trailers was added adjacent to a scenic lake. GDP installed a 34,900 sf grasspave parking lot along with a 9,800 sf concrete parking paver lot to accommodate additional visitors. A new decorative stone column and entry gate were also erected which give a new sense of welcome to this environmentally sensitive area.


Our world needs us to be awake and active now more than ever.
This half-day symposium provides dynamic group interactions, leading-edge information, and inspiring multimedia to empower participants to respond to humanity's current situation with informed, grounded optimism and clear-headed action plans for the future.
Don't miss this FREE opportunity to feel connected with other change-makers in local and global community and be empowered to help accelerate the emergence of an environmentally sustainable, spiritually fulfilling, and socially just human presence on this planet.


The management of hyperleukocytosis in 2017: Do we still need leukapheresis?
Hyperleukocytosis is defined as a white blood cell count greater than 100.000/L in patients affected by acute or chronic leukemias. Hyperleukocytosis is more common in acute leukemias than in chronic leukemias. Risk factors include younger age, acute myeloid leukemia, the microgranular variant of acute promyelocytic leukemia, acute lymphoblastic leukemia and some cytogenetic abnormalities. Although it can affect any organ system, symptoms usually arise from involvement of the cerebral, pulmonary and renal microvasculature. The term "leukostasis" refers to 'symptomatic hyperleukocytosis' which is a med ical emergency that needs prompt recognition and initiation of therapy to prevent renal and respiratory failure or intracranial haemorrhage. The underlying mechanisms of hyperleukocytosis and leukostasis are poorly understood. The management of hyperleukocytosis and leukostasis involves supportive measures and reducing the number of circulating leukemic blast cells by induction chemotherapy, hydroxyurea, low-dose chemotherapy, and leukapheresis. The measures such as hydroxyurea, low-dose chemother apy, and leukapheresis shouldn't be considered to correct the laboratory abnormalities in patients with hyperleukocytosis who have no signs or symptoms. Also, neither hydroxyurea nore leukapheresis is able to show benefit on short and long term outcomes in patients with symptomatic hyperleukocytosis. The optimal management of symptomatic hyperleukocytosis is still uncertain, and there are no random ized studies demonstrating one is superior to each other. Therefore, it is recommended that intensive chemotherapy should be implemented as quickly as possible in treatment-eligible patients, in parallel with supportive measures for DIC and TLS.


text:
Q: Gradle and library issues while importing a project into Android Studio. I am importing an old project into android studio, getting gradle and library issues.
Project imported.
After solving gradle issue am getting below error message
 Error:Execution failed for task ':mergeDebugResources'.

[declare-styleable/CircularImageView] /home/appristine/Aks_Projct/Bazaaralosra/res/values/attrs.xml   [declare-styleable/CircularImageView] /home/appristine/Aks_Projct/Bazaaralosra/res/values/styles.xml: Error: Duplicate resources

redpajama_set_name: RedPajamaStackExchange


So, do I get the gig?
Bob Newhart in his autobiography tells this exact same joke except the point (and protagonist) was self absorbed comedians.
Now THAT'S a work of art! Haven't laughed so hard in a while. Pass it on.
From The Tao of Willie (may be slightly rephrased) - The definition of perfect pitch: tossing a banjo in the trash and hitting an accordion.


Welcome to the website of Genesee Medical Group.
We have developed this website to assist you in accessing care. By using this site and the links provided within, you expressly agree to be bound by this agreement. Please read this agreement in its entirety and with care before accessing this web site.
The website of Genesee Medical Group does not attempt to practice medicine.
While the site attempts to be as accurate as possible, we do not claim it to be comprehensive or error-free. We reserve the right to change or modify the content of this site without notice.


text:
October 31, 2013 A&E » Film
Former Whistlerite selected for film festival Feature Project Lab
Six Winners will meet industry experts and focus on new projects at Whistler Film Festival in December
By Cathryn Atkinson
Photo by Erin Simkin
The Producers Six Canadian movie producers will work with industry experts in Feature Project Lab. One of those selected, Toronto filmmaker Peter Harvey, grew up in Whistler. Harvey is on the set of his current feature Pretend We're Kissing, now shooting in Toronto.
Filmmaker Peter Harvey may live and work in Toronto now, but he remembers clearly how he became drawn into movies while at Whistler Secondary School.
"When I was in Grade 8 and 9 I would try to convince the teacher of the Grade 11 media class to let me in. She said I had to wait," Harvey recalls.
So he waited, sort of.
"Instead, I would help the older kids on their movie projects."
Even at the age of 11 Harvey was the kid behind the camera making films with his buddies, rather than the talent in front of the lens.
The early passion and perseverance has borne fruit. Now 29, he is one of six Canadian producers who will take part in the Whistler Film Festival's (WFF) first-ever Feature Project Lab.
The lab is an intense four-day program to support Canadian filmmaking by immersing producers in how the business works and the role of the movie marketplace. It takes place over the festival, from Dec. 3 to 6.
Harvey's eponymous company, Peter Harvey Films, was selected for coming-of-age drama "Talk Like a White Boy," written by Toronto screenwriter Natty Zavitz.
"I've never done anything like this lab before, so it is quite an honour. Man, I hoped I would get this because I knew it would definitely help," Harvey said.
Harvey has previous success at the WFF. His film Picture Day won the Borsos award in 2012. As well as the lab, he has two movies showing, including Cas & Dylan, which is the opening gala film on Dec. 4.
Participants in the Feature Project Lab work on their current features with the aim of getting them from script to the screen, "by facilitating feedback as well as collaboration on and investment in film projects that have U.S. and international appeal," said a film festival release.
The other five producers and their projects are:
- Daniel Domachowski, Domogeneous Creative Film (B.C.) with hockey drama Hello, Destroyer written by Kevan Funk;
- Geordie Sabbagh, Geordie Sabbagh Productions Inc. (Ontario) with alien comedy Two Guys written by Randall Lobb;
- Jordana Aarons, Cedar Avenue Productions Inc. (Ontario) with crime thriller Needles written by Riel Stone;
- Josh Epstein, Motion 58 Entertainment Inc. (B.C.) with coming-of-age comedy "Public Schooled" written by Josh Epstein and Kyle Rideout;
- Laura Perlmutter, First Love Films (Ontario) with the crime drama, Tenzin written by Joshua Reichmann and David Young.
Angie Nolan, WFF's programming manager, said film producers — the people who support the whole operation behind getting a film completed, whether it be funding decisions or choosing the team to make it — are not necessarily neglected in this country.
"But Canadian producers are used to following a certain format for looking for funding for their films. We're lucky in one way, where have Telefilm and The Harold Greenberg Fund and all those great resources for producers in Canada," she said.
"But part of it, too, is there can be limitations with the final product, as well. A lot of independent filmmakers cannot go to some of the bigger markets all the time, because of budget (constraints)."
Some go to the Toronto Film Festival, which is a great market, Nolan said, "but you're drowning in the market there, trying to get your project pitched to people, or meetings.
"The great thing about (the WFF producer lab) program is that we pick six producers and we put them for three-and-a-half days in front of people they might not normally be able to get to."
Industry experts participating in the 2013 Feature Project Lab include Ellen Pittleman, president of Hybrid Entertainment; Mimi Steinbauer, president of Radiant Films International; Ariel Veneziano, president of Recreation Media; and Jon Gerrans, co-president of Strand Releasing.Marketplace analysts and facilitators include Peter Wetherell of Magus Entertainment and Tim Brown of Joker Films.
Support for the new lab has come from Telefilm Canada, which is also sponsored by The Harold Greenberg Fund, Creative BC, the Canadian Media Production Association – BC, and the Westin Resort and Spa Whistler.
WFF's Summit industry schedule is now available at www.whistlerfilmfestival.com.
Tags: Film
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Whistler Film Festival series kicks off on Aug. 12 More...
Whistler avalanche dog makes star turn in new IMAX film
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It doesn't seem that long ago that offering CD duplication—in addition to recording—was a prime example of a diversified service. Today, it's a completely different story. With technology as accessible as it is, many studios are going way outside the box and developing much more intricate add-on niches.
It doesn't seem that long ago that offering CD duplication—in addition to recording—was a prime example of a diversified service. Today, it's a completely different story. With technology as accessible as it is, many studios are going way outside the box and developing much more intricate add-on niches. In many cases, these additional services require additional space. At the very least, they demand a thoughtfully designed space that can effectively accommodate multiple functions, whether the services take place at the recording facility or in a second location. This month, we take a look at three studios that are managing multiple recording-centered businesses and reveal how they are transforming what could be chaos into success.
Jim Callahan, owner of busy St. Louis recording facility Jupiter Studios, is knee-deep in the development of a new live music venue. The Jupiter Club is being designed as a House of Blues–esque establishment that can accommodate up to 1,000 people. Located in a historic church building, the multipurpose complex will feature a restaurant and bar, and will serve as a dual-purpose private event space and live entertainment venue that will host national recording artists and shows. "The project has been a 'ginormous' undertaking so far," admits Callahan. "In addition to the 20 hours per week that are devoted to running the studio, another 30 are spent in meetings about the club, but most of the pieces are in place and we're looking forward to the launch next March." Callahan says that beyond merely serving as a place where touring acts can perform, the Jupiter Club will also offer Web broadcast, live recording and video recording capabilities, which will be an added draw.
For Durham, N.C.'s Sound Pure Studios, a guitar shop and pro audio sales business have been great at drawing in an additional client base. Now, the company has taken its efforts one step further by adding a video production wing. In a short amount of time, this companion service has grown considerably. "Video has really become the face of the pro audio business in many ways, and so far it's been a productive use of our time and energy," says studio owner Todd Atlas. Of course, it wasn't even as easy as buying a few cameras, shooting, editing and delivering a project. Atlas wound up converting office space into video editing suites and hiring additional staff. "Over the next few years, I wouldn't be surprised if our video billable hours exceed our audio billable hours, so making the investment and reconfiguring the space will have been well worth it," says Atlas.
However, having a larger space is only one part of the equation. It's how the space is organized that can make or break a business. The 3,000-square-foot facility in which Jupiter operates its recording studio is, according to Callahan, a space in which every square foot counts. Everything on the first floor of the tall, thin building where the studio resides centers around a hallway that is flanked by active rooms. The first section is dedicated to corporate, voice-over and singer/songwriter work, and contains the studio's media department, with a video production area, as well as Studio B, which contains a small vocal booth.
Yoder has gone to great lengths to make sure his space is not only a place where clients like to work, but also a place that clients—and anyone walking through it, for that matter—can fully experience. The 7,000-square-foot facility is designed so that visitors, whether they're students there to take a lesson or clients who are there to record, get a glimpse into all of the activity taking place. "Everyone who comes in for a lesson has to walk by the control room or, as we like to call it, the candy store, in addition to the live room that contains a grand piano, mics and other instruments," says Yoder. "It's a promotional thing." And it doesn't stop there. The section in which bands record is separated by glass walls that enable musicians to see each other, as well as anyone walking down the hall that splits these spaces. According to Yoder, this setup creates an indescribable energy that is contagious. "It's a showcase atmosphere that really seems to work well," says Yoder.
Yoder's eye for design hasn't been limited to his own endeavors. He has been called upon to design studios for celebrities like R Kelly, Last Laugh Productions and other midrange studios in Chicago.
Of course, no amount of money can compensate for disorganization, no matter how sophisticated or accommodating an interior space may be. Callahan's secret weapon is a staff member: studio manager/receptionist Jodie Whitworth. It's Whitworth's strong organizational skills that help keep Callahan and other staff on track. "She coordinates and assigns all of the sessions that go on within the studio and lets staff and myself know where we need to be and what we need to do, which, in turn, makes us look good to our clients," says Callahan.
Just as studio owners can no longer afford to be complacent when it comes to the services they offer, neither can they afford to be complacent about the space that their facilities occupy or how that space is used. "One-trick ponies just don't pay anymore in our business," says Atlas. "As studio owners, we've got to come to grips with the fact that we have to expand our portfolios and our offerings if we're going to compete, and that often means we have to get creative with the space we have to make that happen."
Studio Unknown is full-service audio post production facility and recording studio that specializes in helping clients discover creative sound for film, video, web, gaming, and artist projects. For more information, visit www.studiounknown.com.


text:
<?php

declare(strict_types=1);

namespace App\Behat\Context\Ui\Backend;

use Behat\Behat\Context\Context;
use App\Behat\Page\Backend\Customer\IndexPage;
use App\Behat\Page\Backend\Customer\UpdatePage;
use App\Behat\Service\Resolver\CurrentPageResolverInterface;
use Sylius\Component\Customer\Model\CustomerInterface;
use Webmozart\Assert\Assert;

final class ManagingCustomersContext implements Context
{
    /**
     * @var IndexPage
     */
    private $indexPage;

    /**
     * @var UpdatePage
     */
    private $updatePage;

    /**
     * @var CurrentPageResolverInterface
     */
    private $currentPageResolver;

    /**
     * @param IndexPage                    $indexPage
     * @param UpdatePage                   $updatePage
     * @param CurrentPageResolverInterface $currentPageResolver
     */
    public function __construct(
        IndexPage $indexPage,
        UpdatePage $updatePage,
        CurrentPageResolverInterface $currentPageResolver
    ) {
        $this->indexPage = $indexPage;
        $this->updatePage = $updatePage;
        $this->currentPageResolver = $currentPageResolver;
    }

    /**
     * @When I change their email to :email
     * @When I remove its email
     */
    public function iChangeTheirEmailTo(?string $email = null): void
    {
        $this->updatePage->changeEmail($email);
    }

    /**
     * @Then the customer :customer should appear in the store
     * @Then the customer :customer should still have this email
     */
    public function theCustomerShould(CustomerInterface $customer)
    {
        $this->indexPage->open();

        Assert::true($this->indexPage->isSingleResourceOnPage(['email' => $customer->getEmail()]));
    }

    /**
     * @When /^I want to edit (this customer)$/
     */
    public function iWantToEditThisCustomer(CustomerInterface $customer)
    {
        $this->updatePage->open(['id' => $customer->getId()]);
    }

    /**
     * @When I save my changes
     * @When I try to save my changes
     */
    public function iSaveMyChanges()
    {
        $this->updatePage->saveChanges();
    }

    /**
     * @Then /^(this customer) with email "([^"]*)" should appear in the store$/
     */
    public function theCustomerWithEmailShouldAppearInTheRegistry(CustomerInterface $customer, $email)
    {
        $this->updatePage->open(['id' => $customer->getId()]);

        Assert::same($this->updatePage->getEmail(), $email);
    }

    /**
     * @When I want to browse customers
     */
    public function iWantToBrowseCustomers()
    {
        $this->indexPage->open();
    }

    /**
     * @Then /^I should see (\d+) customers in the list$/
     */
    public function iShouldSeeCustomersInTheList($amountOfCustomers)
    {
        Assert::same($this->indexPage->countItems(), (int) $amountOfCustomers);
    }

    /**
     * @Then I should see the customer :email in the list
     */
    public function iShouldSeeTheCustomerInTheList($email)
    {
        Assert::true($this->indexPage->isSingleResourceOnPage(['email' => $email]));
    }

    /**
     * @Then /^I should be notified that ([^"]+) should be ([^"]+)$/
     */
    public function iShouldBeNotifiedThatTheElementShouldBe($elementName, $validationMessage)
    {
        Assert::same(
            $this->updatePage->getValidationMessage($elementName),
            sprintf('%s must be %s.', ucfirst($elementName), $validationMessage)
        );
    }

    /**
     * @Then the customer with email :email should not appear in the store
     */
    public function theCustomerShouldNotAppearInTheStore($email)
    {
        $this->indexPage->open();

        Assert::false($this->indexPage->isSingleResourceOnPage(['email' => $email]));
    }

    /**
     * @Then there should still be only one customer with email :email
     */
    public function thereShouldStillBeOnlyOneCustomerWithEmail($email)
    {
        $this->indexPage->open();

        Assert::true($this->indexPage->isSingleResourceOnPage(['email' => $email]));
    }

    /**
     * @Given I want to enable :customer
     * @Given I want to disable :customer
     */
    public function iWantToChangeStatusOf(CustomerInterface $customer)
    {
        $this->updatePage->open(['id' => $customer->getId()]);
    }

    /**
     * @When I enable their account
     */
    public function iEnableIt()
    {
        $this->updatePage->enable();
    }

    /**
     * @When I disable their account
     */
    public function iDisableIt()
    {
        $this->updatePage->disable();
    }

    /**
     * @Then /^(this customer) should be enabled$/
     */
    public function thisCustomerShouldBeEnabled(CustomerInterface $customer)
    {
        $this->indexPage->open();

        Assert::eq($this->indexPage->getCustomerAccountStatus($customer), 'Enabled');
    }

    /**
     * @Then /^(this customer) should be disabled$/
     */
    public function thisCustomerShouldBeDisabled(CustomerInterface $customer)
    {
        $this->indexPage->open();

        Assert::eq($this->indexPage->getCustomerAccountStatus($customer), 'Disabled');
    }

    /**
     * @Then the customer :customer should have an account created
     * @Then /^(this customer) should have an account created$/
     */
    public function theyShouldHaveAnAccountCreated(CustomerInterface $customer)
    {
        Assert::notNull(
            $customer->getUser()->getPassword(),
            'Customer should have an account, but they do not.'
        );
    }

    /**
     * @When I change the password of user :customer to :newPassword
     */
    public function iChangeThePasswordOfUserTo(CustomerInterface $customer, $newPassword)
    {
        $this->updatePage->open(['id' => $customer->getId()]);
        $this->updatePage->changePassword($newPassword);
        $this->updatePage->saveChanges();
    }

    /**
     * @When I do not specify any information
     */
    public function iDoNotSpecifyAnyInformation()
    {
        // Intentionally left blank.
    }

    /**
     * @When I do not choose create account option
     */
    public function iDoNotChooseCreateAccountOption()
    {
        // Intentionally left blank.
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: Как исправить ошибки компиляции? gradle После того, как перешел с Unity 2017 на 2020, исправил все ошибки и подтянул новые SDK, NDK, JDK и gradle, пытаюсь собрать свой проект и встречаюсь сразу с несколькими ошибками, ума которым дать не могу. Для начал - выходит вот такое окошко,

а потом в консоли появляются эти ошибки:
ВО ПЕРВЫХ:

Configure project :launcher
WARNING: The option setting 'android.enableR8=false' is deprecated.
It will be removed in version 5.0 of the Android Gradle plugin.
You will no longer be able to disable R8
Build-tool 32.0.0 is missing DX at D:\AndroidSDK\build-tools\32.0.0\dx.bat
Mapping new ns http://schemas.android.com/repository/android/common/02 to old ns http://schemas.android.com/repository/android/common/01
--- много похожих друг на друга строк ---
Mapping new ns http://schemas.android.com/sdk/android/repo/sys-img2/02 to old ns http://schemas.android.com/sdk/android/repo/sys-img2/01
Mapping new ns http://schemas.android.com/repository/android/common/02 to old ns http://schemas.android.com/repository/android/common/01
Mapping new ns http://schemas.android

ВО ВТОРЫХ:
Picked up JAVA_TOOL_OPTIONS: -Dfile.encoding=UTF-8
Warning: Mapping new ns http://schemas.android.com/repository/android/common/02 to old ns http://schemas.android.com/repository/android/common/01
Warning: Mapping new ns http://schemas.android.com/repository/android/generic/02 to old ns http://schemas.android.com/repository/android/generic/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/addon2/02 to old ns http://schemas.android.com/sdk/android/repo/addon2/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/repository2/02 to old ns http://schemas.android.com/sdk/android/repo/repository2/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/sys-img2/02 to old ns http://schemas.android.com/sdk/android/repo/sys-img2/01
Warning: Mapping new ns http://schemas.android.com/repository/android/common/02 to old ns http://schemas.android.com/repository/android/common/01
Warning: Mapping new ns http://schemas.android.com/repository/android/generic/02 to old ns http://schemas.android.com/repository/android/generic/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/addon2/02 to old ns http://schemas.android.com/sdk/android/repo/addon2/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/repository2/02 to old ns http://schemas.android.com/sdk/android/repo/repository2/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/sys-img2/02 to old ns http://schemas.android.com/sdk/android/repo/sys-img2/01
FAILURE: Build failed with an exception.

*

*What went wrong:
Could not determine the dependencies of task ':launcher:bundleReleaseResources'.

Installed Build Tools revision 32.0.0 is corrupted. Remove and install again using the SDK Manager.

*

*Try:

Run with --stacktrace option to get the stack trace.
Run with --info or --debug option to get more log output.
Run with --scan to get full insights.

*

*Get more help at https://help.gradle.org
BUILD FAILED in 3s
UnityEngine.GUIUtility:ProcessEvent (int,intptr,bool&)
В-ТРЕТЬИХ:
CommandInvokationFailure: Gradle build failed.
C:\Program Files\Java\jdk1.8.0_311\bin\java.exe -classpath "C:\Program Files\Unity\Hub\Editor\2020.3.26f1\Editor\Data\PlaybackEngines\AndroidPlayer\Tools\gradle\gradle-7.3.3\lib\gradle-launcher-7.3.3.jar" org.gradle.launcher.GradleMain "-Dorg.gradle.jvmargs=-Xmx4096m" "bundleRelease"
stderr[
Picked up JAVA_TOOL_OPTIONS: -Dfile.encoding=UTF-8
Warning: Mapping new ns http://schemas.android.com/repository/android/common/02 to old ns http://schemas.android.com/repository/android/common/01
Warning: Mapping new ns http://schemas.android.com/repository/android/generic/02 to old ns http://schemas.android.com/repository/android/generic/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/addon2/02 to old ns http://schemas.android.com/sdk/android/repo/addon2/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/repository2/02 to old ns http://schemas.android.com/sdk/android/repo/repository2/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/sys-img2/02 to old ns http://schemas.android.com/sdk/android/repo/sys-img2/01
Warning: Mapping new ns http://schemas.android.com/repository/android/common/02 to old ns http://schemas.android.com/repository/android/common/01
Warning: Mapping new ns http://schemas.android.com/repository/android/generic/02 to old ns http://schemas.android.com/repository/android/generic/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/addon2/02 to old ns http://schemas.android.com/sdk/android/repo/addon2/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/repository2/02 to old ns http://schemas.android.com/sdk/android/repo/repository2/01
Warning: Mapping new ns http://schemas.android.com/sdk/android/repo/sys-img2/02 to old ns http://schemas.android.com/sdk/android/repo/sys-img2/01
FAILURE: Build failed with an exception.

*

*What went wrong:
Could not determine the dependencies of task ':launcher:bundleReleaseResources'.

Installed Build Tools revision 32.0.0 is corrupted. Remove and install again using the SDK Manager.

*

*Try:

Run with --stacktrace option to get the stack trace.
Run with --info or --debug option to get more log output.
Run with --scan to get full insights.

*

*Get more help at https://help.gradle.org
BUILD FAILED in 3s
]
stdout[

Configure project :launcher
WARNING: The option setting 'android.enableR8=false' is deprecated.
It will be removed in version 5.0 of the Android Gradle plugin.
You will no longer be able to disable R8
Mapping new ns http://schemas.android.com/repository/android/common/02 to old ns http://schemas.android.com/repository/android/common/01
--- МНОГО ПОХОЖИХ ДРУГ НА ДРУГА СТРОК ---
Mapping new ns http://schemas.android.com/sdk/android/repo/sys-img2/02 to old ns http://schemas.android.com/sd

В-ЧЕТВЕРТЫХ:
Build completed with a result of 'Failed' in 59 seconds (59038 ms)
UnityEngine.GUIUtility:ProcessEvent (int,intptr,bool&)
Кучу постов уже просмотрел, но решения так и не нашел. Как быть, ребят?

A: Согласен с отрицательной оценкой вопроса. Достаточно было ПОЛНОСТЬЮ снести всё, что связано с Unity старой версии. Все файлы NDK, JDK, SDK! Саму версию, при этом, раз уж зацепили настройки и новую версию, ее тоже пришлось полностью снести. И только после этого необходимо установить новый UnityHub, который установит саму программу и предоставит возможность дополнить ее необходимыми инструментами.


UtiliPAC 410 Windows based Software for operational setup and configuration backup.
Communicating with your PC via RS232 interface, this simple-to-use Windows®-based software includes many popular functions of previous Daytronic "SofPACs"
ISSUE ANY STANDARD MNEMONIC COMMANDS to a 4000 Series - 4500 Series or System 10 instrument. By this means, you can completely set up your data acquisition system, interrogate for setup and data values, and initiate standard run-time operations. System responses (if any) will automatically appear in the "TERMINAL" window.
LOG DATA for a list of selected channels at a sampling rate from 0.5 second to 2 hours. Logged data can be displayed and printed as a DATA TABLE or XY PLOT with independently scalable axes. Logging can be turned on and off by a prespecified system trigger bit, if desired.
Xlogger Windows based software integrates your communications to the Series 4000 with the computer's Excel application for simple data logging needs.
LOG DATA for a list of selected 4000 Series - 4500 Series or System 10 channels at a sampling rate from 0.5 second to 2 hours. Logging can be turned on and off by a prespecified system trigger bit, if desired.
You can specify the "depth" (total number of data records) to be entered in the spreadsheet. After the number of logged records equals the specified "depth," logging will automatically begin to cycle—that is, each subsequently logged data record will overwrite the earliest one in the spreadsheet.


Design as an Extension of Art Practice was a round-table discussion organized by independent curator Helen Varola and moderated by Muistardeaux Collective during Art Los Angeles in 2010. Panelists were Peter Zellner, Christopher Mount, and Justin Beal.
Transcripts of the discussion were published in the Italian design journal Klat Magazine.
^ Zellner, Peter. "Design as an Extension of Art Practice." Klat Magazine. 6 Mar. 2011. Web. .
This page was last edited on 11 March 2019, at 11:27 (UTC).


Welcome back to the Doctor Who 2018 World Cup! Voting has been completed on the first two qualifying rounds, and we have our first six episodes destined for the group stages. Now it's time for the third qualifier, for Series 3.
The poll will be open until Sunday 28th January. The World Cup will continue tomorrow with the Series 4 qualifying round – see you there!


text:
Lady Gaga live!
ilentertainer | January 13, 2010
Rosemont Theatre, Rosemont
It was a good indication of the energy inside the Rosemont Theatre Friday night, when a pre-show video PSA, featuring Lady Gaga speaking out about the trials of abused and homeless gay and lesbian teens, was met with frenzied cheers from a barely teenage crowd oblivious to the gravity of the message. Another stage-side monitor, meanwhile, posted messages like "We tried to dress like Gaga but ended up looking like tranny hookers" and "Lady Gaga is a fierceatron!", texted in by the same eager audience, all of whom anxiously awaited the diva's onstage arrival.
Out in the venue's plush and carpeted lobby, true believers struck their best Gaga-inspired poses in corporate-sponsored photo-op areas, alongside and even inside Gaga-related props like a globe of interconnected rings. Before the first act even hit, the opening night of the singer's three dates at the Rosemont Theatre had already become a glam-infused house of mirrors.
Of course, such an event would need a proper opener to not only set the tone for the evening but amp up the nasty, both of which Semi Precious Weapons accomplished in spades with moments like frontman Justin Tranter declaring his intent to get the crowd, filled with junior-high girls, "wet." While Gaga would later in the evening claim herself as "beautiful and dirty rich," Tranter officially kicked off the night by showily declaring "I can't pay my rent but I'm fucking gorgeous!" The contrast highlighted the difference between the evening's first and last acts, with SPW's glam-rock decidedly rawer and rougher than Gaga's extravagant and consistently electro-tinged and glam-coated pop.
Yet the two artists held more in common than it might appear, as both Gaga and Semi Precious Weapons' music and personas thrived in absolute decadence, with Tranter sharing his champagne with the audience and stripping down to so much nothing for an onstage wardrobe change. Tranter dominated the hall's attention with his fierce and fabulous flaunting during selections like the sing-songy "Put A Diamond In It," wherein the flamboyant frontman repeatedly asked the hall "Who, who, who wants my baby?" It was a trashy thrash affair that proved the perfect fit for Gaga's sensory-overload circus.
And what a circus it was. Performing behind 2008's breakout The Fame (Cherrytree) and this past fall's mini-album The Fame Monster, Gaga's Monster Ball Tour delivered a production that proved nothing short of a spectacle, with the singer's Haus Of Gaga aesthetic in full, amplified effect. A constant whirlwind of costume changes and stage props accompanied practically every song, from the Gozer The Gozerian by way of Marvel Comics' Dazzler look of "Just Dance," which found the singer in a lit-up skin-colored suit playing a sparkling keytar, to Gaga sporting full metallic Egyptian cat garb for "The Fame." Oftentimes one song's fuller, more elaborate costume gave way to something skimpier and more revealing for the next, as was the case with the pop star's crowned ice-queen look for "Love Game" hiding a slight silver dress for "Alejandro," itself featuring especially sensual choreography among the show's stunning dancers. Not every look was a hit, however, like with "Eh, Eh," during which the singer sported a baffling metallic blouse with a sequin pillow growing out of the back in addition to a pointed cone bra. (Because no blonde pop star ever pulled that look off before.) But moments like the slinky cabaret nightclub funk of "Teeth" broke the night's predominantly pop mold and proved memorable, capped by Gaga heatedly demanding the crowd show her their teeth as she and her fiercest dancers put on their meanest faces, all shooting daggers and evil sneers. And smash hit "Poker Face," with Gaga's red outfit and her dancers' black costumes echoing the surrounding checkerboard video backgrounds, proved particularly heavy, courtesy of the track's pounding beat. Likewise, show closer and radio juggernaut "Bad Romance" was nothing short of a massive and pummeling electro banger, culminating with Gaga and her dancers striking a dramatic pose upon a raised platform as the track reached its instantly recognizable and lyrically nonsensical climax.
Not every selection fared as well, however. A brief, piano-led portion of the night came off uneven at best, feeling like a breather between more elaborate productions than anything else. And while the stripped-down version of "Poker Face" worked well as a short sample in last year's Kid Cudi's "Make Her Say" collaboration with Kanye West and Common, in concert the drawn out performance became more trying than even novel. Surprisingly more intriguing were a series of brief video interludes with accompanying audio tracks that broke up the set's acts, ranging from clips of Gaga sporting various (and strangely Slipknot-esque) masks, to more ominous footage of a crow flapping its wings against slow and heavy electro.
Musically, backing tracks did a fair share of the night's heavy lifting, with the musicians who did perform often doing so just out of sight, yielding valuable space to stage-adorning sets and writhing, impossibly chiseled dancers. Between songs and even during, Gaga interacted with an enamored crowd, returning the love by addressing the audience as her "little monsters" and playing to the room by calling them "sexy" and "so fucking famous." As the evening progressed, the banter only became more exaggerated. While lying on the stage, she informed that, not unlike Tinkerbell, she runs the risk of expiring without applause. "Do you want me to die?!" she screeched, before launching into "So Happy I Could Die." And later, during a bondage-inspired performance of "Paparazzi" that recalled something out of Saw, in which the singer's onstage eye candy moved her by a bar connected to rings roped through her hair, Gaga dramatically declared "I have to go, the fame is killing me!" before being rushed offstage by a nearby dancer. It was a ridiculous claim that the entire night defied, as Lady Gaga's unstoppable ascent over the last year has only stepped up her game, apparent in The Monster Ball's every aspect: from the night's consistent stream of hooks to the unpredictable and extravagant theatrical productions. On a night fueled by limitless flash and glamor, the fame claimed only credit, not victims.
— Jaime de'Medici
Tags: Lady Gaga, Semi Precious Weapons
Category: Live Reviews, Weekly
Lady Gaga Monster Ball (Night One) Live Review At Illinois Entertainer « CHICAGOVERSEUNITED: Chicago Scene Salvation | January 16, 2010
Vito Luescher says:
lady gaga is one of the best singers in the world but she does bad things too …
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Carter Moss' 2009 »


text:
Program Manager, Clinical Research Policy
Program Officer, Behavioral and Cognitive Neuroscience Branch
Program Official/Project Scientist
Supervisory Health Scientist Administrator
Program Manager, HBCD Study
Program Officer, Chemistry Pharmacology Physiology Branch
Data Science (Neuroinformatics) Program Officer
Clinical Director of Intramural Research
Director, Division of Therapeutics and Medical Consequences (DTMC)
Work/Life and Benefits
Division/Office:
The National Institute on Drug Abuse (NIDA) is committed to advancing the science on drug use and addiction and applying that knowledge to improve individual and public health. To achieve this goal, the Division of Extramural Research (DER) within NIDA provides management and oversight on the development, implementation, and coordination of NIDA's extramural programs, policies, reviews, and operations planning. DER is seeking exceptional candidates for multiple positions, including:
Program Manager, Clinical Research Policy | GS 12/13/14 (HSPA or HSA PO or SRO)
The NIH Clinical Trials policies that went into effect in 2016 require Institute wide oversight and coordination of resources, standard operating procedures (SOPs), and guidance on the sound conduct and management of clinical research. These efforts have been led by the Deputy Director, DER. This is a new position to provide support for updating and maintaining Clinical Trials SOPs, subject matter expertise for NIDA staff and the extramural research community, work with NIDA IT staff to identify and implement technological solutions to support these efforts and develop a database for tracking and reporting compliance. In addition, the incumbent will help develop briefings, resources, education, and training materials to assist NIDA staff overseeing clinical research-related projects with a focus on clinical trials. The candidate should have expertise and experience in clinical research and clinical trials including human subject research regulations, NIH Clinical Trial Stewardship policies, and have strong collaborative, organizational, and communication skills. Experience in conducting or managing clinical trials, as well as a solid working knowledge of the NIH grants system and the roles of NIH staff in the process is beneficial.
For more information and how to apply, contact Katia Howlett: katia.delrahim-howlett@nih.gov.
Apply to the appropriate USAJOBS vacancy announcement:
Delegated Examining (Open to the Public): GS-12/13/14 Health Scientist Administrator (Program Officer/Scientist Review Officer)
Merit Promotion (Open to Status Candidates): GS-12/13/14 Health Scientist Administrator (Program Officer/Scientific Review Officer)


text:
Luke Arnott
Culturenautica Blog
Doctoral Dissertation
Epic and Genre: Beyond the Boundaries of Media
Mapping Metroid: Narrative, Space, and Other M
Arkham Epic: Batman Video Games as Totalizing Texts
B'More Epic: Cognitive Maps and Urban Space in The Wire
Unravelling Braid: Puzzle Games and Storytelling in the Imperative Mood
Blam! The Literal Architecture of Sin City
Hogtown: A Satire of Rob Ford's Toronto
Art & Graphic Design
Stan Lee at Comic-Con (Again)! Plenty of Others #NotAtComicCon!
As he was last year, Marvel's most luminary alum, Stan Lee – see, I'm starting to write like him – will be at Comic-Con International 2010.
And good luck getting anywhere near him, true believers! From one of the many Marvel press releases I get around here:
"As soon as the convention floor opens to the public on July 22nd, head to the Marvel Booth [#2329] for a chance (no purchase necessary) to receive a special ticket which will allow you to meet Stan Lee later that day. If you are one of the lucky fans to receive one of the limited tickets, you will have the opportunity to meet Stan and have one item signed during his appearance at the Marvel booth from 3:00-3:30 that afternoon."
So if you're in San Diego, and have one of the long-since sold-out passes for the start of Comic-Con (and don't have to work this Thursday), you can fight it out with the other fanboys for the chance to press the flesh with Stan the Man.
With those odds, it's no surprise that there's some demand for an alternative to Comic-Con. Dark Horse thinks it has the answer with #NotAtComicCon, a bunch of parties at various comics shops across North America. It seems to have potential, though early descriptions make it sound like a marketing gimmick. We shall see.
Business Management link
i thoroughly enjoy to read this post. it's awesome dear. Thanks for sharing it.
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text:
Marlboro Maker Altria Forecasts Higher 2020 Earnings
Published on Jul 29 2020 5:50 AM in A-Brands tagged: Trending Posts / marlboro / Altria Group
Marlboro maker Altria Group Inc said on Tuesday it expected full-year earnings to rise as much as 4% from last year and announced plans to make its IQOS heated-tobacco devices available in more market...
Marlboro maker Altria Group Inc said on Tuesday it expected full-year earnings to rise as much as 4% from last year and announced plans to make its IQOS heated-tobacco devices available in more markets across the United States.
The company also increased its annual dividend by 2.4%, saying it had more clarity on the COVID-19 pandemic's effects on consumer demand.
Altria said it would expand IQOS to four additional US markets and partner with retailers to make the devices more broadly available over the next 18 months.
In July, IQOS received US Food and Drug Administration approval to be marketed as a modified risk tobacco product.
Altria is among the first US companies to reinstate earnings forecasts and said it expects full-year adjusted earnings of $4.21 to $4.38 per share, compared with a profit of $4.21 per share in 2019.
However, that was still lower than the company's prior outlook, before it was withdrawn due to the uncertainties around the pandemic's economic impact.
Analysts on average expect 2020 earnings of $4.29, according to IBES data from Refinitiv.
The company's revenues net of excise taxes fell 2.5% to $5.06 billion (€4.32 billion) in the second quarter, beating analysts' estimates of $5.04 billion (€4.30 billion).
Excluding items, Altria earned $1.09 per share in the quarter, above analysts' estimates of $1.06 per share.
News by Reuters edited by Checkout. Click subscribe to sign up for the Checkout print edition.
Pictured is Guinness zero emission vehicle which is being used in a trial this week to transport bulk beer in the Guinness tankers from St James's Gate to Dublin Port. Picture Andres Poveda
Five Things We Learnt From UK Retailers' Christmas Updates
Some of the biggest names in British retail have published Christmas trading updates over the past few days.
Big Brands Call For Global Pact To Cut Plastic Production
International brands including Coca Cola and PepsiCo called on Monday for a global pact to combat plastic pollution.
China 2021 Meat Imports Fall 5.4%, Surge In Domestic Pork Supply Weighs
China's imports of meat fell 5.4% in 2021 from the year before.
Maersk on Friday posted better than expected fourth-quarter revenue and earnings.
Latest in A-Brands
Unilever Signals Pursuit Of GSK Consumer Arm
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Lidl Ireland Extends Vegan Range
Tereos To Issue New €300m Bond To Repay Some Debt


text:
Review: DxO FilmPack 3
DxO FilmPack 3 is the latest iteration of DxO's film emulating software that processes digital images to look like they were taken with a particular brand of photographic film. The software comes as a stand-alone version as well as a plug-in for Lightroom and Photoshop, and is able to emulate a couple dozen different color slide, color negative and black-and-white films. In this review, we take a look at what the software has to offer, and compare it to similar products from other developers.
If you're interested in a quick and easy solution to give your pictures a unique look, without the need of extensive knowledge in post-processing, then read on after the jump.
If you think this stuff is only for hipsters and show-offs, then please skip this article and go directly ahead to Is The Film Revival Just Another Fad?
Why Emulate The Look Of Film In Digital Captures?
There are some among us who just cannot accept that progress happens, and who cling to the old times like a baby orangutan to its mother. People that won't accept the fact that digital has won over film a long time ago. These are mainly elderly people, and some poor misled creatures called, "hipsters". These people believe that things from the past are better than things from the present, and thus strive to bring back the, "good old days". What usually happens when people from the present try reviving the past, is that they cannot really detach from their acquired modern lifestyle.
So, instead of using actual old-school film cameras and running actual old-school film through them (yeah, you can still buy that crazy stuff!), they try to mimic the look of film in their digital captures. Crazy, isn't it? It's like taking the innards of a modern-day Ferrari and dressing it in the bodywork of a Model T. Or like wearing clothes from the 70's. Who does that?
Brooklyn, New York. DxO FilmPack 3 @ Generic Velvia 100. This is one of the presets where they seem to have nailed it.
But let's be serious. Film has something magical to it. It can give a very special, unique look to an image. And there are (well, used to be, anyway) so many different varieties of positive and negative, color and black-and-white films, and each one of them has its own distinct signature, its own distinct look. While some films are more suited to portraiture, others work better for landscape photography. In this day and age of digital photography, however, pictures taken with one-and-the-same camera tend to look all the same. Heck, sometimes it seems all digital photographs look the same. Hence the desire to give your pictures a more unique look. But since not everybody enjoys the fact that each roll of film has to be paid for separately, that each roll has to be processed and that each picture needs to be printed properly in order to convey its full potential, what we do instead is giving our digital pictures a unique look by processing them with filters that try to emulate that "wonderful aesthetic look that film of all types can lend to an image" (Jonathan Eastland). And this is where softwares like DxO FilmPack come in.
The Problem With Digital Filters
What DxO FilmPack is, is essentially a collection of algorithms that will emulate the look of a specific positive or negative film in a digital image. Basically, what you do is that you open a picture (the software supports JPEG and TIFF files), select a film base that you would like to be emulated, let the software do the calculations and then you'll be presented with a picture that looks like it was taken on film. Or at least that's the idea. However, there's kind of a drawback to it — and this is that each camera's output already has a distinct signature that is a combination of the properties of the lens used (you have that with film, too) and the sensor. So while camera A might render especially nice greens and yellows, camera B might render stronger reds and purples. Since DxO applies its filters to the data it is fed, the result is always a mix of the inherent properties of the image plus DxO's added algorithms. Thus, it's not necessarily anything close to the look of the film you tried to emulate.
Manhattan, New York. DxO FilmPack 3 @ Fuji Superia 200.
The other thing is that the look of a film depends to a certain degree on the way it is processed. You can push film if you deliberately underexposed it, but it will become grainier. Color film will develop a different color signature. You can pull film if you deliberately overexposed it, but it will make the pictures less contrasty, and the colors might look different again. Then, not every batch of film is exactly the same, and when you store it for too long, it will look different from a roll fresh from the factory. Then, there's the question of which developing chemicals to use, or whether to have it processed in a lab or not… there are a thousand ways how one particular type of film can look totally different on two differently exposed and differently developed rolls. So, what do you base your conversion algorithms on? The fact that different companies have different ways to proceed in this matter became quite obvious to me when I compared DxO FilmPack 3 to Nik ColorEfex Pro 3 and SilverEfex 2. The results I got with the same preset chosen in each software sometimes were lightyears apart.
A Closer Look At DxO FilmPack 3
But first, let's concentrate on the software at hand, which is DxO FilmPack 3. The software's interface is pretty straightforward, and the only difference between the stand-alone version and the plug-in version is the lack of a menu bar in the latter. On the main screen, you can choose to show or hide a toolbar on the right hand side, showing everything DxO has to offer. Here you will find a histogram and extensive controls for color and b&w processing. (Click each image to show a full-size version.)
By default, however, DxO FilmPack 3 starts with a different view, where the toolbar is hidden and a film preset preview bar is displayed at the bottom of the window. Personally, I found this preview bar to be of no particular use, but your mileage may vary. I preferred the layout with the toolbar on the right, which is similar to that of Nik ColorEfex (which I also use.)
When working on an image, you can choose to preview either the full image, zoom into the image, or show a before/after display with either one image (with a slider in the middle to quickly extend the before or after version) or two images side-by-side.
Before/After view in one image with slider.
Before/After view with two images side-by-side, zoomed in. Notice the emulated grain of the Fuji Provia 100F preset.
The toolbar on the right hand side has a number of different collapsible menus with a lot of options to choose from. In the "Color Rendering" menu, you choose the film type you would like to emulate. The "Intensity" slider lets you choose how strongly the filter should be applied to your picture.
The "Basic Settings" menu has sliders for contrast, saturation and exposure correction, which can come in handy if you're using the stand-alone version and do not wish to further manipulate the image in another application.
The "Hue – Saturation – Lightness" menu shows exactly that: sliders for hue, saturation and lightness. Each of these values can be tweaked individually for six different color channels. Neat!
The "Noise Removal" menu is pretty self-explanatory I guess. Here you can choose to reduce any residual chroma and luminance noise. I never used this menu as I do my noise reduction in Lightroom.
The "Film Grain" menu lets you select a grain pattern to be added to the picture. You can choose to either use the pattern of the currently selected film type, or that of a different type of film. You can also tweak the intensity of the grain as well as a film size to emulate: 35mm (24×36), medium format, large format or a custom format.
Finally, the "Creative Vignetting" lets you add either a light vignette or a dark vignette, with pretty much the same options you will find in Lightroom.
In b&w mode, similar menus will appear, only with options for b&w processing. Additional menus that are not present in the color mode are the following:
The "Filter" menu lets you select a color filter that adds an effect similar to what you would get with actually placing a colored filter in front of your lens when using b&w film (or b&w mode in digital photography).
The menu, "Toning" lets you color tone the image. The toning has no direct effect on the b&w conversion, but rather displays the monochrome image with colored hues instead of hues of gray. If you like the sepia look of old b&w prints, this is where you can add such an effect.
Finally, in the "Channel Mixer" you can selectively brighten or darken different color channels to directly manipulate the way different colors are converted into shades of grey. For example, by brightening the yellows and greens and darkening the blues and reds (as I did in the example above), you can add a more dramatic and more contrasty look to your image.
Using The Film Presets: Are They Any Good?
Now that we have established the scope of functions implemented in DxO FilmPack 3, it is time to see what the film presets look like when applied to actual digital captures. As I already mentioned in the beginning, the problem with digital emulations of analog films is that there are thousands of scenarios that can lead to one and the same film emulsion looking entirely different in two different applications. This means of course that the makers of DxO had to select one scenario (or a mean value of a number of scenarios) when they created the presets.
While my general impression was that the overall look of the presets comes pretty close to the look of the actual film emulsions, at least considering the emulsions that I have actually used and/or seen myself, when comparing the results to those I get with Nik ColorEfex and SilverEfex, the differences become pretty obvious.
Let's take one the photography world's most iconic (and probably most used) films ever, the Kodachrome 64 color slide film. DxO FilmPack 3 offers two KC64 presets, and here already the differences are pretty strong.
Brooklyn, New York. DxO FilmPack 3 @ Kodachrome 64.
The color rendering with this preset is pretty muted and on the reddish side. From what I have seen so far, this seems to be more characteristic of Kodachrome 25. Now compare this to the preset that DxO call "Generic Kodachrome 64", which looks entirely different:
Brooklyn, New York. DxO FilmPack 3 @ Generic Kodachrome 64
This presets renders colors much more vivid. Also, the overall color balance is much more neutral, if not a bit on the greenish side. Finally, this is how Nik ColorEfex Pro 3 renders Kodachrome 64:
Brooklyn, New York. Nik ColorEfex Pro 3 @ Kodachrome 64.
The Nik software renders the colors totally different than either of the DxO filters. In this version, the colors are much more vivid, and the overall color balance is shifted toward bright yellows and greens and dark reds. I have never used Kodachrome 64 myself (I only started using film seriously when KC64 was already discontinued), but I believe this is much closer to what well-exposed and well-processed pictures taken with this film looked liked (please correct me if I'm wrong.) I wonder especially how DxO came to the two entirely different renderings in their Kodachrome 64 and Generic Kodachrome 64 presets. But as I stated in the beginning, treating one and the same emulsion differently can lead to different results, and KC64 had an especially complex developing process that was much more prone to variation than most modern processes. So maybe DxO simply based their emulations on differently processed KC64 slides than Nik did.
A film where I feel that DxO came pretty close to the actual look is their emulation of Fujifilm Provia 100. Again, this is a very popular slide film, and being a modern E6 film which is processed in the same way everywhere, there is not as much leeway for variation as with Kodachrome. Still, their presets called "Provia 100F" and "Generic Provia 100" are — again — entirely different looking. However, from my own experience and comparing to the results from Nik ColorEfex Pro 3, I believe that the "Generic" presets comes much closer to the actual thing.
Union Square, Manhattan, New York. DxO FilmPack 3 @ Generic Provia 100.
Union Square, Manhattan, New York. Nik ColorEfex Pro 3 @ Fuji Provia 100.
The color rendering of the these two Provia 100 filters is quite different, but what both softwares manage is to emulate the slightly saturated and contrasty look of Provia. Which version is more accurate I can't tell. Also, in this case I have no clear favorite as both version look pretty accurate and pretty nice.
DxO FilmPack 3 In Black&White Mode
Finally, I compared the results of DxO FilmPack 3's black-and-white presets with the results I would get with Nik SilverEfex 2. Here once more I found the differences to be … in lack of a better term, crass. The most glaring difference I found in the way the two softwares emulate Fuji Neopan 1600, which was a very popular high-speed b&w film while it was still produced. Sadly, Fujifilm discontinued the emulsion. However, I was able to obtain a few rolls, so I have some experience with it. Neopan 1600 has rather strong contrast when exposed and developed at 1600 ISO, and while its grain is obvious, it is not too rough or disturbing. This is what Neopan 1600 looks like according to DxO FilmPack 3:
On the Roosevelt Island tram, Manhattan, New York. DxO FilmPack 3 @ Fuji Neopan 1600.
The above conversion is very contrasty, and the darker parts of the image are entirely black. This is pretty close to what Neopan 1600 actually looks like. However, it lacks the grain. Now the version processed with Nik SilverEfex Pro 2:
On the Roosevelt Island tram, Manhattan, New York. Nik SilverEfex Pro 2 @ Fuji Neopan 1600.
The Nik-processed version of this picture shows much more pronounced grain than the DxO version, which comes closer to what I can observe in my pictures shot on Neopan 1600. However, the SilverEfex 2 filter lacks the strong contrast of the film. In this case, it's a draw: DxO comes closer in terms of overall contrast, whereas Nik comes closer in terms of grain.
Manhattan, New York. DxO FilmPack 3 @ Kodak Tri-X 400.
Finally, I compared the two software's interpretations of another all-time iconic film, namely Kodak Tri-X 400. This particular emulsion has been the choice of all kinds photographers and has been around for many decades. It still has many fans, and is considered to be the high-speed b&w film per se. I have only used it once, and here again I have to note that the way the film is exposed and processed will lead to entirely different results. Inhowfar the two softwares are accurate or not in their rendering of Tri-X I cannot really comment on. However, they do no seem to be too far apart from each other.
Objectively, DxO's rendering of this particular image looks a bit flat, while the Nik-processed version has much more defintion — which is due to the different color balance of the two presets. Also, SilverEfex's slightly stronger grain seems to come closer to the actual look of Tri-X — if exposed and developed at 400 ISO under the correct conditions. So while the Nik version is my personal favorite here, I leave it to the experts to judge which software does a better job — or if they do any job at all.
Manhattan, New York. Nik SilverEfex Pro 2 @ Kodak Tri-X 400.
So, what is my final verdict on DxO FilmPack 3? Well, despite all the obvious differences to its counterparts from Nik, one has to keep in mind that FilmPack is much more affordable. The Expert Edition, which comes with all the filters and the complete functionality, offers a number of different color and black-and-white film presets for just about a hundred bucks. For approximately the same amount of film simulations, you need to buy two products from Nik Software that will both set you back about $ 160 — which makes $ 320 total, and $ 240 still when you buy them bundled. Then again, the Nik softwares do offer a lot more extended functionality than just film simulations.
Anyway, for what it is, DxO FilmPack 3 is a fun software that does a great job at giving your pictures a unique look — if that's what you're looking for. I, for my part, enjoyed using it very much. The interface is pretty straightforward, and there are a lot of options for fine-tuning the various film presets and for further enhancing the look of the processed image.
Verdict: A nice product that is fun to use and delivers enjoyable results. Compared to the more advanced contenders in this software genre, it does lag behind a bit, though.
Purchase DxO FilmPack 3 from B&H Photo
Purchase Nik Creative Efex Collection from B&H Photo
Felix Esser
The Rokinon 8mm f2.8 Fisheye We Reviewed A While Ago Will Soon Be Available
Quick Review: A7 Original Black Leather Camera Strap


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text:
Râul Ugra poate avea următoarele semnificații:

Râuri în România

 Râul Ugra - afluent al râului Trotuș

Râuri în Rusia

 Râul Ugra - afluent al râului Oka

Dezambiguizare

redpajama_set_name: RedPajamaWikipedia


text:
https://www.stamfordadvocate.com/local/article/Woman-gets-prison-for-a-day-and-must-pay-back-14026289.php
Woman gets prison for a day and must pay back boss $75,000
By John Nickerson
Updated 5:19 pm EDT, Thursday, June 20, 2019
STAMFORD — A New York woman with a diagnosis for being a kleptomaniac, who admitted to stealing nearly $70,000 from her Stamford employer, was sentenced to 24 hours behind bars along with the requirement that she pay her former boss back.
In a tearful allocution, Jenna DiNapoli, 33, of the Bronx, N.Y, a former bookkeeper for Asbury Moulding and Millwork in Stamford said she was ashamed of stealing from her boss, who she said she loved like the father she never had and she misses him every day.
DiNapoli, who was facing up to a year in prison after pleading guilty to a felony first-degree larceny charge, stood beside her attorney Mickey Sherman and said she was now fighting the urges to steal and has applied for only those jobs where she is unable to take money, which she said she was very proud of.
With only a petty larceny arrest on her record before being arrested for the Asbury Moulding and Millwork case in May 2016, DiNapoli said she had $35,000 in cash to pay her boss Michael Simco back right away.
Judge Gary White told her that she had to pay the rest back after serving two years of her three year probation sentence. "There must be a plan to pay back, not just wishes and hopes," he told DiNapoli.
"This illness I have come to terms with and I have been seeking treatment for it and it is helping me," she said. "I live with this every day of my life. It is the regret and remorse, fear and embarrassment every day. I'm not proud of what I have done and I did this to the man who I loved more than my own father."
Sherman stressed to White that there were no allegations of violence in the case, a situation that he said should keep her out of prison.
When Simco got up to speak, he said that he treated DiNapoli like a daughter and could not believe the betrayal he felt, knowing that she was stealing from him week by week even as he invited her to his children's school recitals and treated her like family.
"She was like a daughter to me. She was my right hand," he said. "Yet every week she was stealing from me."
Simco told White that even though DiNapoli would be paying him back, he was still out all the money he had to spend on a company audit and his own time; as a result it was like giving DiNapoli an interest-free loan.
He told White that she needed a lesson and told him that even if it were only for 24 hours, he should put her behind bars.
White agreed, and he issued a stern warning for DiNapoli. "Just because she was diagnosed with kleptomania, that doesn't mean she has a license to steal into perpetuity," he said.
jnickerson@stamfordadvocate.com
Jennifer Dulos case: deadline set in divorce case, Fotis hires new attorney for mother-in-law's lawsuit


Criminal have been using fraudulent identities – including names of recently deceased people - to make mortgage applications and are also pretending to be solicitors to trick buyers into sending them large sums of money.
In order to impersonate the dead, criminals adopt the identity of people who have recently passed away but who owned a property. They then to take out a mortgage in that name and have someone pose as a fake solicitor to receive the funds.
But, according to the research, the bigger problem is the rising number of cases where cash is stolen from buyers in the middle of a property transaction; with databases being hacked or emails intercepted.


text:
/**
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *     http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package org.apache.aurora.scheduler.updater;

import java.util.Map;
import java.util.Set;

import com.google.common.base.Function;
import com.google.common.base.Optional;
import com.google.common.collect.BiMap;
import com.google.common.collect.ImmutableBiMap;
import com.google.common.collect.ImmutableMap;
import com.google.common.collect.ImmutableMultimap;
import com.google.common.collect.Multimap;
import com.google.common.collect.Sets;

import org.apache.aurora.gen.JobUpdateQuery;
import org.apache.aurora.gen.JobUpdateStatus;
import org.apache.aurora.scheduler.storage.entities.IJobUpdateQuery;

import static org.apache.aurora.gen.JobUpdateStatus.ABORTED;
import static org.apache.aurora.gen.JobUpdateStatus.ERROR;
import static org.apache.aurora.gen.JobUpdateStatus.FAILED;
import static org.apache.aurora.gen.JobUpdateStatus.ROLLED_BACK;
import static org.apache.aurora.gen.JobUpdateStatus.ROLLED_FORWARD;
import static org.apache.aurora.gen.JobUpdateStatus.ROLLING_BACK;
import static org.apache.aurora.gen.JobUpdateStatus.ROLLING_FORWARD;
import static org.apache.aurora.gen.JobUpdateStatus.ROLL_BACK_AWAITING_PULSE;
import static org.apache.aurora.gen.JobUpdateStatus.ROLL_BACK_PAUSED;
import static org.apache.aurora.gen.JobUpdateStatus.ROLL_FORWARD_AWAITING_PULSE;
import static org.apache.aurora.gen.JobUpdateStatus.ROLL_FORWARD_PAUSED;
import static org.apache.aurora.scheduler.updater.JobUpdateStateMachine.MonitorAction.ROLL_BACK;
import static org.apache.aurora.scheduler.updater.JobUpdateStateMachine.MonitorAction.ROLL_FORWARD;

/**
 * A state machine that determines which high-level actions should be performed in response to
 * a requested change in the status of a job update.
 */
final class JobUpdateStateMachine {

  private JobUpdateStateMachine() {
    // Utility class.
  }

  private static final Multimap<JobUpdateStatus, JobUpdateStatus> ALLOWED_TRANSITIONS =
      ImmutableMultimap.<JobUpdateStatus, JobUpdateStatus>builder()
          .putAll(ROLLING_FORWARD,
              ROLLING_BACK,
              ROLL_FORWARD_PAUSED,
              ROLL_FORWARD_AWAITING_PULSE,
              ROLLED_FORWARD,
              ABORTED,
              FAILED,
              ERROR)
          .putAll(ROLLING_BACK,
              ROLL_BACK_PAUSED,
              ROLL_BACK_AWAITING_PULSE,
              ROLLED_BACK,
              ABORTED,
              ERROR,
              FAILED)
          .putAll(ROLL_FORWARD_PAUSED,
              ROLLING_BACK,
              ROLLING_FORWARD,
              ROLL_FORWARD_AWAITING_PULSE,
              ABORTED,
              ERROR)
          .putAll(ROLL_BACK_PAUSED, ROLLING_BACK, ROLL_BACK_AWAITING_PULSE, ABORTED, ERROR)
          .putAll(ROLL_FORWARD_AWAITING_PULSE,
              ROLLING_BACK,
              ROLLING_FORWARD,
              ROLL_FORWARD_PAUSED,
              ABORTED,
              ERROR)
          .putAll(ROLL_BACK_AWAITING_PULSE, ROLLING_BACK, ROLL_BACK_PAUSED, ABORTED, ERROR)
          .build();

  private static final Map<JobUpdateStatus, MonitorAction> ACTIONS =
      ImmutableMap.<JobUpdateStatus, MonitorAction>builder()
          .put(ROLLING_FORWARD, ROLL_FORWARD)
          .put(ROLLING_BACK, ROLL_BACK)
          .build();

  private static final BiMap<JobUpdateStatus, JobUpdateStatus> ACTIVE_TO_PAUSED_STATES =
      ImmutableBiMap.of(
          ROLLING_FORWARD, ROLL_FORWARD_PAUSED,
          ROLLING_BACK, ROLL_BACK_PAUSED);

  private static final BiMap<JobUpdateStatus, JobUpdateStatus> ACTIVE_TO_BLOCKED_STATES =
      ImmutableBiMap.of(
          ROLLING_FORWARD, ROLL_FORWARD_AWAITING_PULSE,
          ROLLING_BACK, ROLL_BACK_AWAITING_PULSE);

  private static final BiMap<JobUpdateStatus, JobUpdateStatus> BLOCKED_TO_PAUSED_STATES =
      ImmutableBiMap.of(
          ROLL_FORWARD_AWAITING_PULSE, ROLL_FORWARD_PAUSED,
          ROLL_BACK_AWAITING_PULSE, ROLL_BACK_PAUSED);

  static final IJobUpdateQuery ACTIVE_QUERY = IJobUpdateQuery.build(
      new JobUpdateQuery().setUpdateStatuses(Updates.ACTIVE_JOB_UPDATE_STATES));

  static final Set<JobUpdateStatus> AUTO_RESUME_STATES =
      Sets.immutableEnumSet(ACTIVE_TO_PAUSED_STATES.keySet());

  private static final Map<JobUpdateStatus, JobUpdateStatus> PAUSE_BEHAVIOR =
      ImmutableMap.<JobUpdateStatus, JobUpdateStatus>builder()
          .putAll(ACTIVE_TO_PAUSED_STATES)
          .putAll(BLOCKED_TO_PAUSED_STATES)
          .put(ROLL_FORWARD_PAUSED, ROLL_FORWARD_PAUSED)
          .put(ROLL_BACK_PAUSED, ROLL_BACK_PAUSED)
          .build();

  private static final Map<JobUpdateStatus, JobUpdateStatus> BLOCK_BEHAVIOR =
      ImmutableMap.<JobUpdateStatus, JobUpdateStatus>builder()
          .putAll(ACTIVE_TO_BLOCKED_STATES)
          .put(ROLL_FORWARD_AWAITING_PULSE, ROLL_FORWARD_AWAITING_PULSE)
          .put(ROLL_BACK_AWAITING_PULSE, ROLL_BACK_AWAITING_PULSE)
          .build();

  private static final Map<JobUpdateStatus, JobUpdateStatus> UNBLOCK_BEHAVIOR =
      ImmutableMap.<JobUpdateStatus, JobUpdateStatus>builder()
          .putAll(ACTIVE_TO_BLOCKED_STATES.inverse())
          .put(ROLLING_FORWARD, ROLLING_FORWARD)
          .put(ROLLING_BACK, ROLLING_BACK)
          .put(ROLL_FORWARD_PAUSED, ROLL_FORWARD_PAUSED)
          .put(ROLL_BACK_PAUSED, ROLL_BACK_PAUSED)
          .build();

  static final Function<JobUpdateStatus, JobUpdateStatus> GET_PAUSE_STATE =
      PAUSE_BEHAVIOR::get;

  private static final Map<JobUpdateStatus, JobUpdateStatus> RESUME_ACTIVE_BEHAVIOR =
      ImmutableMap.<JobUpdateStatus, JobUpdateStatus>builder()
          .putAll(ACTIVE_TO_PAUSED_STATES.inverse())
          .put(ROLLING_FORWARD, ROLLING_FORWARD)
          .put(ROLLING_BACK, ROLLING_BACK)
          .build();

  private static final Map<JobUpdateStatus, JobUpdateStatus> RESUME_BLOCKED_BEHAVIOR =
      ImmutableMap.<JobUpdateStatus, JobUpdateStatus>builder()
          .putAll(BLOCKED_TO_PAUSED_STATES.inverse())
          .put(ROLL_FORWARD_AWAITING_PULSE, ROLL_FORWARD_AWAITING_PULSE)
          .put(ROLL_BACK_AWAITING_PULSE, ROLL_BACK_AWAITING_PULSE)
          .build();

  static final Function<JobUpdateStatus, JobUpdateStatus> GET_ACTIVE_RESUME_STATE =
      RESUME_ACTIVE_BEHAVIOR::get;

  static final Function<JobUpdateStatus, JobUpdateStatus> GET_BLOCKED_RESUME_STATE =
      RESUME_BLOCKED_BEHAVIOR::get;

  static final Function<JobUpdateStatus, JobUpdateStatus> GET_UNBLOCKED_STATE =
      UNBLOCK_BEHAVIOR::get;

  static JobUpdateStatus getBlockedState(JobUpdateStatus status) {
    return BLOCK_BEHAVIOR.get(status);
  }

  /**
   * Determines the action to take in response to a status change on a job update.
   *
   * @param from Starting state.
   * @param to Desired target state.
   * @throws UpdateStateException if the requested transition is not allowed.
   */
  static void assertTransitionAllowed(JobUpdateStatus from, JobUpdateStatus to)
      throws UpdateStateException {

    if (!ALLOWED_TRANSITIONS.containsEntry(from, to)) {
      throw new UpdateStateException("Cannot transition update from " + from + " to " + to);
    }
  }

  static MonitorAction getActionForStatus(JobUpdateStatus status) {
    return Optional.fromNullable(ACTIONS.get(status)).or(MonitorAction.STOP_WATCHING);
  }

  static boolean isActive(JobUpdateStatus status) {
    return ACTIVE_TO_PAUSED_STATES.keySet().contains(status);
  }

  static boolean isAwaitingPulse(JobUpdateStatus status) {
    return BLOCKED_TO_PAUSED_STATES.keySet().contains(status);
  }

  /**
   * An action to take in response to a state transition.
   */
  enum MonitorAction {
    /**
     * The update has moved to an inactive state and its tasks should no longer be monitored.
     */
    STOP_WATCHING,

    /**
     * Initiate an update of the job.
     */
    ROLL_FORWARD,

    /**
     * Initiate a revert of the job update to the previous configuration.
     */
    ROLL_BACK
  }
}


Prime Central Gem - More Than Meets The Eye!
This One Is ALL About Location And VIEWS!
Neat And Modern - Mortlake.
Neat as a Pin with Tenants for Life - what an investment opportunity!
Can you hear the ocean???
Great yard - AND AN OUTDOOR SPA!
PRIME SOUTH WARRNAMBOOL REAL ESTATE!
Searching for a French Provincial look?
Quality, Size, Location, Value - huge family home on double block.
BIG family home, GREAT value!


Store everything you need to know about your students, including their profile, progress, tests, lesson history and money.
Manage work and personal time, update student details and record lesson outcomes through one easy-to-use diary.
Record lesson income and track your expenses as they occur, giving you a clear picture of your finances and making tax returns painless.
The MyDriveTime Students module stores everything you need to know about your students. Instantly access their profile, learning progress, test attempts and lesson history. Effortlessly track money paid, lessons delivered and any pre-paid time remaining. Integration with Diary and Money ensures your full student record is always at your fingertips.
The MyDriveTime Diary module is perfect for ADI time management. It handles single and recurring bookings with ease, updating the Student record dynamically and prompting you to complete lesson records. The Diary includes both personal and work time, helping you manage your work-life balance in one place. Automatically send SMS lesson reminders to your students, to reduce no-shows and late cancellations.
The MyDriveTime Money module ensures you always have a clear picture of your finances. Record your lesson income and track your expenses as they occur. Combine the two for the preparation of your accounts, ensuring that your tax return is painless, accurate and complete.