Another Blendifier test. Spotty I know from all the lights in the store, but I was interested to see the transparency of the overlaid blended image. Also, I find it extraordinary that I must presume my original jpg image, when used as a blender-image, is turned into a transparent png image, before saving the final one as a jpg again! How does it do that? And all within a tiny gadget like a smartphone. *Can you see someone, there, in the window?
Nique Pop Up store. Blendifier.
Windows abstract. PicturesLab. Three views.
Nothing can stop…Picture Perfect. *the originals. *This one closer to the actual colourings in life.
Found 'em…Here are the originals. For the moment, this is the final of my Window Advertising series as found in my local neighbourhood of South Melbourne. What's so interesting about these, you're wondering? Well, nothing really. I guess, as with the first post in this particular series (see tag: windows), just to show that one can redeem a not-so-good image by turning it into something else using creative image editing software (which have already been posted).


What is Call Session Control Function (CSCF)?
The Call Session Control Function (CSCF) in IMS comprises three distinct roles: the Proxy CSCF (P-CSCF), the Interrogating CSCF (I-CSCF), and the Serving CSCF (S-CSCF). The CSCF is implemented via servers using the SIP protocol to communicate with each other and application servers.
A system configured to receive, from a user device, traffic associated with a request to initiate a call session; detect a condition associated with the traffic; determine whether to establish the call session based on whether the condition, associated with the traffic, is a particular type of condition; send, to a server device, a notification to perform an operation to remedy the condition when the condition does not correspond to the particular type of condition, where sending the notification enables the server device to identify a type of condition, identify an operation that remedies the condition based on the type of condition, or initiate the operation to remedy the condition; and establish the call session when the type of condition corresponds to the particular type of condition, where establishing the call session enables a call, placed by the user device, to be processed as a normal call.


Personal information is gathered by 7:30 Apparel during the check out process. During the check out process, your name, address, e-mail address, telephone number, and payment information is collected. You also have the option to create your own account to store this personal information, at which time a username and password will be collected as well. In order to view the information in the My Account section of the site you must first log in using your username and password.
The security of your personal information is very important to us. You can be assured that all sensitive information will be handled with discretion. Your personal information is maintained through secure networks and is only accessible by a limited number of people who have been granted access rights and are required to keep the information confidential. In spite of the efforts made by 7:30 Apparel , no transmission of data over the Internet is guaranteed to be completely secure and such transmission is at your own risk.
ALL CONTENT OF OUR WEBSITE INCLUDING TEXT, GRAPHICS, LOGOS, BUTTON ICONS, & PHOTOGRAPHY IS PROPERTY OF 7:30 APPAREL AND IS PROTECTED BY ZIMBABWEAN AND INTERNATIONAL COPYRIGHT LAWS. YOU MAY COPY, FORWARD, AND PRINT HARD COPIES OF PAGES FROM THIS WEB SITE SOLELY FOR PERSONAL, NON-COMMERCIAL PURPOSES RELATED TO PLACING AN ORDER OR SHOPPING WITH 7:30 APPAREL ANY OTHER USE OF OUR WEB SITE, INCLUDING REPRODUCTION, IS STRICTLY PROHIBITED WITHOUT OUR PRIOR WRITTEN PERMISSION.


text:
Q-Bot moves into market at scale
Stephen Cousins
£2million plus investment will see the robot able to insulate thousands of properties at a time
The company behind Q-Bot, the insulation spraying robot, has unveiled plans to plough over £2 million of new investment into scaling up its operation to deliver thousands of energy efficiency upgrades to UK homes.
Q-Bot is a semi-autonomous robot, designed to enter under floor spaces in energy inefficient buildings, typically Victorian and Georgian-era solid walled properties with suspended timber floors, conduct surveys using a built-in camera, then spray insulation foam where required.
Parent company EcoMachines Ventures has secured £305,000 of investment from several angel groups, which comes on top of £2.13 million provided by the EU Commission's Horizon 2020 programme in late 2015.
The money will be used to build more robots and bring Q-Bot insulation to the market at scale, said Q-Bot co-founder and CEO Mathew Holloway, enabling the firm to improve thousands of homes at a time, as opposed to projects upgrading tens of homes at present.
He said: 'The funding will be used for product development, to refine the robotic technology, for accreditation and third-party validation, and to scale up the delivery side, including our own operations team and those of franchise partners, training their installation teams to use the robots.'
The business recently moved into a new office and workshop building, in preparation for expansion this year, where external contractors will be trained to deliver the insulation service.
Recent trials by Camden Council and CityWest Homes revealed significant efficiency improvements after Q-Bot was used on two properties. In Camden, the application of 150mm of insulation to the underside of a suspended timber ground floor resulted in an 86% improvement in U-value, reducing it from 1.25 W/m2.K to 0.19 W/m2.K, and a 40% improvement in air permeability, from 16.4 m3/hr.m2 to 9.8 m3/hr.m2.
In addition, the trial showed that Q-Bot under floor insulation was twice as cost-effective as solid wall insulation, achieving energy savings equivalent to £175 per year, compared to £142 for solid wall insulation and £57 for double glazing.
A second generation of more robust and powerful robots has been developed which can enter underfloor voids when inserted either through air vents or external openings, or through an access hatch created in floorboards inside a property.
'The new robots, which feature four independently controlled drive wheels, designed to navigate over obstacles, bricks, sand and mud, are powerful enough to pull a grown man across the floor,' said Holloway.
Where people live
In association with Oscar Acoustics
Above and beyond: how to create drama and light up top
In association with Zentia
Online tool lets architects unleash their creativity
In association with Wedi
Speed up installations with a prefabricated ready-to-fit shower module
A rooflight, picture window and sliding and pivoting doors pull light into the heart of a Victorian home

redpajama_set_name: RedPajamaCommonCrawl


For many years, I spent my days working as a full time musician and singer/songwriter. Music is in my soul and always will be, however, little did I know back then that a time would come when I would fall in love with the art of guitar making!
In 2011, I travelled to Southern Spain to attend a course at the European Institute of Guitar Making in Herradura, Granada, under the tuition of Master Luthier Stephen Hill and his highly skilled co-tutor Pablo Requena.
This experience changed my life because I discovered an insatible passion for builing guitars. Stephen recognised that glint in my eye and promptly took me on as his apprentice guitar maker, and for four brilliant years I learnt this special craft in Spain.
Now, I;m a full time professional luthier in my own right, basd in beautiful rural St. Lves, Cornwall lovingly constructing my own fine Flamenco and classical guitars in the Granada style of guitar making.
TWO Graham Emes guitars will soon be in our studio. Both a cedar and spruce example will be available to try and buy. Not long too wait until we are able to offer you the chance to play these superb guitar.....they are a pretty special pair and we are confident you'll love them.
Price reduced due to a crack repair made during making. No evidence can be seen and no effect to sound.


text:
Has your sun cream GONE OFF? Doctor reveals how to tell whether your SPF will still provide protection
Dr Mervyn Patterson has revealed that sunscreen can go out of date
Says that keeping an eye on storage can prevent it from going off
Recommends throwing it away if you notice a change in texture
By Martha Cliff for MailOnline
It is well known that sun cream is an essential part of any trip to the beach or summer BBQ.
However, if you have ever slathered yourself in factor 50 only to find your body burned to a crisp, you may find that your sun cream is no longer fit for use.
As with the majority of cosmetics, sunscreen also has an expiry date and a medical expert has revealed how to tell if yours is on the turn.
As we approach summer holiday season, Dr Mervyn Patterson has revealed what causes your sun cream to go off and how to prevent it from doing so
Cosmetic dermatologist, Dr Mervyn Patterson from Woodford Medical, has revealed to Cosmopolitan that there are several things that cause sun cream to go off - and how you can prevent it from happening.
Celebrity trainer known as the 'Figure Magician' reveals the... From 'capturing things' on her father's camera to shooting...
Stealing the show! Glastonbury ends on a political note as a...
Speaking to the magazine, he said: 'Most sunscreens do expire and because of this a lot should come with an expiry date stamped on the box.
'It is very important not to ignore this as the chemicals do degrade and may well lose their protective effect.'
THE TELL-TALE SIGNS YOUR SUN CREAM HAS GONE OFF
Most sun creams should last around a year - so if yours is any older than that, it may be time to throw it out and buy a new one
If your cream is out of date, it will start to separate
If the texture has changed from when you first bought it, it's likely out of date
The cream will also start to develop a strange odour
If your cream irritates your skin, it has likely gone off
Dr Patterson explained that storage is incredibly important when it comes to keeping sunscreen fresh.
He said: 'Leaving your sunscreen baking in the sun, whether it's on the beach, or in the back window of your car, may trigger degradation of the formula, and that renders the product useless.'
PICKING THE RIGHT SUNSCREEN: HOW TO DECODE THE LABEL
ONCE A DAY: Standard products degrade with sun exposure and rub off in around two hours. 'Once a day' products contain chemicals claimed to be more resistant, but even these should be reapplied if you've been sweating or been swimming and towel dried yourself, says Clare O'Connor of Boots. Which? said a number of 'once a day' sunscreens wear off quickly - over the course of a day an SPF30 could drop to SPF8.
WATERPROOF: This means the product keeps at least 50 per cent of its SPF protection after 40 minutes in water. So an SPF20 cream would have proved it's at least SPF 10 after 40 minutes, which is why you still need to reapply after swimming.
SAND- AND SWEAT-RESISTANT: These supposedly won't be so easily removed by these factors. However, creams cannot be entirely resistant, so if you need this protection, you'd be better off using a UV protective top, says dermatologist Dr Hextall.
SAFE FOR BABIES: These have been specially formulated but as everything should theoretically be safe for babies, says dermatologist Dr Anton Alexandroff. Physical sunscreens may be marginally better fas they're less likely to cause allergic contact dermatitis, he says.
HYPOALLERGENIC: This usually means the product doesn't contain known allergens. But there is no standard for what 'hypoallergenic' means, says Dr Hextall. Many studies suggest hypoallergenic products can still contain allergens.
APPLY TO WET SKIN: This is a new selling point. It contains chemicals that allow water on the skin to be absorbed into the product rather than diluting it. But Dr Hextall questions whether wet skin will reduce the potency of UV-protecting chemicals, or if these products will evaporate more quickly on wet skin.
How to tell if your sun cream has expired
Dr Mervyn Patterson reveals sunscreen can go out of date


text:
Mission: Impossible 7 (and Bond) questions
Posted on May 23, 2022 by The Spy Commander
The trailer for Mission: Impossible Dead Reckoning Part One is out. For understandable reasons, fans of the James Bond films are interested.
Naturally, the blog has questions.
Is Tom Cruise's M:I series ripping off Bond? You might not want to throw bricks from inside a glasshouse.
Live And Let Die evoked "Blaxploitation" films of the early 1970s. The Man With the Golden Gun evoked kung fu films from the same period. Moonraker evoked Star Wars and Close Encounters of the Third Kind (even using the same musical notes from John Williams' score from the latter movie). Moonraker also has similarities to the 1966 movie Kiss the Girls and Make Them Die.
So how would you phrase it?
It depends on how well the ideas are executed.
Movie audiences, generally, don't care about what ideas are borrowed from whom. They care about whether they like the movie or not.
What makes Tom Cruise's Mission: Impossible films different from the most recent Bond movies?
The most recent M:I movies (2011, 2015, 2018) are, for the most part, more fun than the Bond installments of the same period. According to Barbara Broccoli, No Time to Die was a "cinematic masterpiece" (source: No Time to Die official podcast).
No Time to Die enthusiasts would agree. Others may or may not say they had a better time viewing the three M:I films of the 2010s.
That's all a subject for debate. The seventh M:I film won't be out for more than a year. We'll see how it goes.
Filed under: James Bond Films, The Other Spies | Tagged: Barbara Broccoli, Eon Productions, Live and Let Die, Mission: Impossible Dead Reckoning Part One, Moonraker, Paramount, The Man with the Golden Gun, Tom Cruise | Leave a comment »
Neal Adams dies at 80
Neal Adams cover to The Deadly Hands of Kung Fu magazine containing an article savaging The Man With the Golden Gun
Neal Adams, one of the most influential comic book artists, has died at 80, The Hollywood Reporter reported.
Adams is credited, along with writer Denny O'Neil, with reviving Batman in the 1970s.
The artist died "of complications from sepsis," THR said, quoting his wife Marilyn Adams.
Adams' influence on comics cannot be underestimated. Besides his collaborations with O'Neil, Adams also worked on key stories at Marvel Comics, including stories involving the Avengers and Conan the Barbarian.
One of his major Marvel works was a cover painting for an issue of the magazine The Deadly Hands of Kung Fu. The issue contained a long critique of The Man With the Golden Gun (1974).
The O'Neil-Adams run on Batman returned the character to the tone of his earliest tales Those stories appeared after the end of the Batman campy television series starring with Adam West.
Here is an example of Adams' work on Batman
Cover to Batman 251 from the early 1970s
Filed under: Comic book movies | Tagged: Batman, Denny O'Neil, Neal Adams, The Man with the Golden Gun | Leave a comment »
Importance of score & editing (Bond edition)
The Academy of Motion Picture Arts and Sciences said this week several Oscars will be awarded before the Oscars telecast, including best score and editing.
Ben Mankiewicz, a TCM host, did a tongue-in-cheek tweet asking followers to name movies where score and editing made a difference. You can view it below.
I know people are upset, but name one movie where the music or the editing made a difference? https://t.co/LcfoutsDwM
— Ben Mankiewicz (@BenMank77) February 23, 2022
For the purposes of this post, we'll keep examples of James Bond movies only.
From Russia With Love: According to the documentary Inside From Russia With Love (available on some home video editions of the movie), editor Peter Hunt changed the order of early sequences. This, in effect, created the Bond tradition of the pre-title sequence.
The movie was also the first Bond film (out of 11 total) scored by John Barry. That helped establish the "Bond sound" of 007 movie film music. Barry's contributions have lasted beyond his death. No Time to Die's score incorporated Barry's instrumental theme for On Her Majesty's Secret Service.
Thunderball: Director Terence Young departed the project early before post-production was completed. That left editor Hunt by himself, with deadlines for a Christmas release coming down upon him.
What's more, things were hectic for Barry as well. The title song was changed late from Mr. Kiss Kiss, Bang Bang to Thunderball. "Barry worked overtime to incorporate the new theme into the score so it wouldn't look like the kind of pasted-on song he loathed," according to The Music of James Bond by Jon Burlingame.
You Only Live Twice: Originally, Peter Hunt was going to be the second unit director and not edit (see James Bond in the Cinema by John Brosnan). But early cuts of the movie were running long and Hunt ended up applying his editing talents as well. The film's running time ended up just under two hours.
The Man With the Golden Gun: John Barry, generally, scored Bond films on a tight schedule. According to Burlingame's book, even Barry felt the pressure. Barry only had three weeks to complete the entire score.
There are other examples, of course. In general, movies can be saved in post-production (1975's Jaws being a notable example).
Filed under: James Bond Films | Tagged: Academy of Motion Picture Arts and Sciences, Ben Mankiewicz, From Russia With Love, Jaws, John Barry, Oscars, Peter Hunt, The Man with the Golden Gun, Thunderball, You Only Live Twice | 1 Comment »
Dr. No's 60th anniversary Part I: The odd couple
Albert R. Broccoli and Harry Saltzman
By mid-1961, there had been multiple attempts to adapt Ian Fleming's James Bond to other media. A 1954 CBS adaptation of Casino Royale had become reality and was mostly forgotten. No film versions had yet gone before the cameras. That was about to change as American Albert R. Broccoli and Canadian Harry Saltzman agreed to team up. It'd be an eventful, and sometimes stormy, 14 years.
Each had something the other wanted: Saltzman had secured a six-month option on Fleming's novels other than Casino Royale (and a court settlement would take the 1961-published Thunderball out of that package). Broccoli had studio connections that Saltzman lacked. Broccoli wanted to buy the option from Saltzman, but the latter wanted to go into business with Broccoli.
Saltzman, by multiple accounts, provided a constant flow of ideas. The quality, reportedly, was erratic but when they were good, they were brilliant. (Let's have Bond "killed" at the start of From Russia With Love.) He could be volatile, almost killing off what would be two of the most popular title songs in the 007 series (Goldfinger and Diamonds Are Forever). Composer John Barry bemoaned in a 2006 U.K. television special that, "I could never deal with Harry and didn't."
Broccoli, by these accounts, was the steadier, more patient of the duo. He had wanted to do Bond for years before meeting Saltzman and was mostly content with 007, a large endeavor of its own. Saltzman, meanwhile, would launch a series based on Len Deighton's spy novels and pursue other non-Bond projects.
Eventually, the producers grew apart, with Live And Let Die primarily a Saltzman production (although there are shots of Broccoli visiting locations and sets) while The Man With the Golden Gun was primarily overseen by Broccoli. The partnership would end when Saltzman, in severe financial trouble, sold his half of the franchise to United Artists, the studio that released the 007 films.
During work on 1962's Dr. No, the producers managed to find a collaborative rhythm. James Bond probably would have come to the screen, but likely not in exactly the same form had Broccoli and Saltzman not joined forces.
For their work on Dr. No, the first 007 film, Broccoli and Saltzman received a producer's fee of $80,000 and 50 percent of the profits, according to the 1998 book Adrian Turner on Goldfinger. The film debuted on Oct. 5, 1962, in the U.K., reaching other countries the following year.
In 1965, the Canadian Broadcasting Corp. did an interview with Broccoli and Saltzman. At this point, Thunderball was about to be released.
Around 14 minutes into the interview, Saltzman had to take a call regarding a censorship issue with one of his non-007 movies. At the end, Saltzman works in a plug for his Harry Palmer films. Broccoli didn't appear pleased.
NEXT: The $40,000 man
Filed under: James Bond Films | Tagged: Adrian Turner on Goldfinger, Albert R. Broccoli, Dr. No, Dr. No's 60th anniversary, Harry Saltzman, James Bond Films, Len Deighton, Live and Let Die, The Man with the Golden Gun, United Artists | 1 Comment »
On 007's 60th, will Harry Saltzman be the forgotten man?
Cover to When Harry Met Cubby by Robert Sellers
The 60th anniversary of the first James Bond film, Dr. No, is gearing up. Metro-Goldwyn-Mayer has come out with an MGM logo noting the anniversary. No Time to Die is making a return to Imax theaters.
All of this is a reason to remind everyone about Harry Saltzman, the co-founder of Eon Productions, who played a key role in getting Agent 007 to the screen.
When Saltzman's name comes up today, the image is of a cranky, volatile man who almost axed the classic Goldfinger title song, ordered elephant shoes for a movie (The Man With the Golden Gun) that didn't have any elephants in it, etc., etc. At least one film historian, Adrian Turner, took a different view in his 1998 book, Adrian Turner on Goldfinger.
"To begin with, Saltzman took the responsibility for the scripts" of the early 007 films, Turner wrote. "Having worked with John Osborne, it's clear he thought that Richard Maibaum — Broccoli's man — was little more than a hack."
Obviously, that's hardly a unanimous opinion of Maibaum. Still, Maibaum is quoted on page 100 in author James Chapman's 2000 book Licence to Thrill as saying that Saltzman did bring in U.K. screenwriter Paul Dehn to do the later drafts of Goldfinger (the notes section of the book says the quote is from page 285 of a book called Backstory.)
Saltzman's contributions extended beyond being an eccentric crank.
The Broccoli-Saltzman partnership wasn't an easy one. Eventually, the pair largely alternated producing the films while both were listed as producers. Saltzman primarily responsible for Live And Let Die (though Broccoli did visit the set in Louisiana and posed for a photograph with Saltzman and star Roger Moore) while The Man With the Golden Gun was Broccoli's picture.
Saltzman had ambitions beyond the Bond films. He produced the Harry Palmer movies based on Len Deighton's novels. He also produced (with S. Benjamin Fisz) Battle of Britain, a big, sprawling movie about Britain's darkest hour. Saltzman's three Palmer films employed the services of Bond crew members including Ken Adam, John Barry, Guy Hamilton and Maurice Binder.
The Broccoli-Wilson clan, now headed by Michael Wilson and Barbara Broccoli, has supervised the 007 series since 1977's The Spy Who Loved Me. Nobody is suggesting that Cubby Broccoli wasn't a master showman, who deserves a lot of credit for launching Bond on the screen. Still, it would be a shame if Saltzman ends up being the forgotten man as fans look back on 60 years of 007 films.
Filed under: James Bond Films, The Other Spies | Tagged: 007.com, Adrian Turner, Adrian Turner on Goldfinger, Albert R. Broccoli, Barbara Broccoli, Dr. No, Harry Saltzman, James Bond Films, James Chapman, Licence to Thrill, Live and Let Die, Michael G. Wilson, Paul Dehn, Richard Maibaum, Robert Stellers, The Man with the Golden Gun, The Spy Who Loved Me | 2 Comments »
Bond 21-25 questions: Assessing the Craig era edition
Posted on July 29, 2021 by The Spy Commander
Daniel Craig in Quantum of Solace
The Daniel Craig era of the James Bond films is drawing to a close. A thoughtful reader drew my attention to an August 2020 article by the Screen Rant site assessing Craig's tenure.
Still, until No Time to Die comes out, there's only so far you can go. Or is that correct? Naturally, the blog has questions.
Was the Craig era really that different? Absolutely.
Ian Fleming's Bond novels referenced how his creation had relationships with married women. In the Eon film series, M lists "jealous husbands" as a possibility for hiring $1 million-a-hit-assassin Scaramanga in 1974's The Man With the Golden Gun. But 2006's Casino Royale was more explicit.
Anything else? The tone often was more violent, in particular a killing Bond performs early in 2008's Quantum of Solace.
Quantum also had a more political point of view courtesy of director Marc Forster.
Did the Craig era follow earlier Bond films in any way? Yes. The Craig films, like earlier Eon Bond entries, adapted to popular trends in cinema.
In the 1970s, Bond films followed blaxploitation movies (Live And Let Die), kung fu (The Man With the Golden Gun) and science fiction (Moonraker).
In the 21st century Craig movies, the series followed Jason Bourne films (Quantum, including hiring a Bourne second unit director), Christopher Nolan Batman movies (Skyfall) and the Marvel Cinematic Universe (SPECTRE, moving to tie all of the Craig adventures together).
Anything else? Some Bond fans argue Craig is the best film James Bond. No Time to Die (apparently) is the final chapter. No doubt there will be more debate once No Time to Die can be viewed.
Filed under: James Bond Films | Tagged: Bond 25, Casino Royale, Christopher Nolan, Daniel Craig, Eon Productions, Live and Let Die, Marc Forster, Marvel, Moonraker, No Time to Die, Quantum of Solace, Skyfall, SPECTRE, The Man with the Golden Gun | 2 Comments »
John Logan provides a peek behind the 007 film curtain
John Logan
John Logan, co-screenwriter of Skyfall and SPECTRE, provided a glimpse behind the James Bond film curtain in a guest essay for The New York Times.
Logan's article primarily is a plea for Amazon, which last week agreed to acquire Metro-Goldwyn-Mayer (the $8.45 billion deal is subject to regulatory review) to leave the cinematic Bond alone. MGM is Bond's home studio but it only has half of the Bond franchise, with the Broccoli-Wilson family having the other half.
Where Logan raises the curtain (some) is in describing how the making of Bond films works. One example:
Barbara Broccoli and Michael Wilson are the champions of James Bond. They keep the corporate and commercial pressures outside the door. Nor are they motivated by them. That's why we don't have a mammoth Bond Cinematic Universe, with endless anemic variations of 007 sprouting up on TV or streaming or in spinoff movies. The Bond movies are truly the most bespoke and handmade films I've ever worked on.
Logan's specific example concerns Skyfall where Bond finally meets Silva, the film's villain.
Sam Mendes, the director, and I marched into Barbara and Michael's office, sat at the family table and pitched the first scene between Bond and the villain, Raoul Silva. Now, the moment 007 first encounters his archnemesis is often the iconic moment in a Bond movie, the scene around which you build a lot of the narrative and cinematic rhythms. (Think about Bond first meeting Dr. No or Goldfinger or Blofeld, all classic scenes in the franchise.) Well, Sam and I boldly announced we wanted to do this pivotal scene as a homoerotic seduction. Barbara and Michael didn't need to poll a focus group. They didn't need to vet this radical idea with any studio or corporation — they loved it instantly. They knew it was fresh and new, provocative in a way that keeps the franchise contemporary.
Now, this is an opinion piece and Logan is certainly entitled to his opinion. But the scribe overlooks a few things.
When Skyfall began production, Mendes declared the movie was not connected to Casino Royale and Quantum of Solace, the first two films starring Daniel Craig.
That didn't last long. SPECTRE, where Logan was the first screenwriter, decided that Silva wasn't an independent menace but rather was a part of Quantum/SPECTRE. And SPECTRE, after the fact, opted to make all of the Craig films one big arch.
In short, Bond was following the Marvel Cinematic Universe route that Logan appears to decry in his New York Times essay. And Barbara Broccoli and Michael G. Wilson have doubled down on Marvel-style continuity that with No Time to Die, directed and co-written by Cary Fukunaga.
What's more, it's not like Bond has ignored popular trends prior to this. Albert R. Broccoli (father of Barbara Broccoli and stepfather of Michael G. Wilson) was involved with 007 films that referenced blaxploitation films (Live And Let Die), kung fu movies (The Man With the Golden Gun) and Star Wars and science fiction (Moonraker).
And it was under Cubby Broccoli's watch that Johnny Weissmuller's Tarzan yell (originally recorded for a 1930s Tarzan movie) showed up in Octopussy.
Logan's essay is worth reading for Bond fans. But it should be read amid a larger context.
Filed under: James Bond Films | Tagged: Albert R. Broccoli, Amazon, Barbara Broccoli, Bond 25, Cary Fukunaga, Daniel Craig, John Logan, Live and Let Die, Metro-Goldwyn-Mayer, Michael G. Wilson, Moonraker, No Time to Die, Octopussy, The Man with the Golden Gun | 1 Comment »
About that 'James Bond knockoff' thing
Posted on March 9, 2021 by The Spy Commander
A James Bond Jr. character with a pencil communicator that looks a lot like The Man From U.N.C.L.E. pen communicator
A James Bond friend of mine misses much spy entertainment as examples of "James Bond knockoffs."
OK. But the James Bond film franchise has, more than once, borrowed from others. A few examples:
From Russia With Love: Ian Fleming's fifth novel didn't include a sequence where Bond dodges a helicopter. This was something the filmmakers added to the movie to add visual excitement. Clearly, it's an "homage" to North by Northwest where a crop-duster plane goes after Cary Grant.
More broadly, the Bond series owes a lot to North by Northwest. NxNW has a delicate balance of drama and humor. Director Alfred Hitchcock and screenwriter Ernest Lehman practically provide a blueprint for the Bond series that Eon Productions would go on to make.
Live And Let Die: The eighth Eon Bond film is based on Fleming's second novel. But its popularity also owes much to the early 1970s "blaxplotation" craze. Essentially director Guy Hamilton and screenwriter Tom Mankiewicz drop Bond into the middle of a blaxplotation movie. Mankiewicz wanted to cast Diana Ross as Solitaire but Eon wouldn't go that far.
The Man With The Golden Gun: The ninth Eon Bond film sought to take advantage of the popularity of 1970s kung fu movies. You'd see stories (ahead of the film's release) about how Roger Moore was training furiously to credibly do martial arts.
Moonraker: In 1966, there was an Italian-based spy movie called Kiss the Girls and Make Them Die. It shares Brazilian locations with 1979's Moonraker. Heck, you could easily argue the 1966 movie makes better use of Brazil, including Rio's massive Jesus statue. Also, there are sequences of the 1966 movie that would practically be repeated in Moonraker.
In addition to all that, in Moonraker, we hear a key tune from Close Encounters of the Third Kind.
Licence to Kill: Bond has a gun with attachments (site, extended barrel, extended magazine, rifle stock) that looks an awfully lot like the U.N.C.L.E. special. In Licence to Kill, the base gun looks like a camera but all the attachments look like the attachments of the U.N.C.L.E. Special.
James Bond Jr.: Many fans disavow this early 1990s cartoon series. But it was officially sanctioned by Eon and Michael G. Wilson shares a "developed by" credit. In episode 9, "The Eiffel Missile," a character has a pencil communicator that appears copied from U.N.C.L.E.'s pen communicator that debuted in the second season of that series.
Filed under: James Bond Films, The Other Spies | Tagged: Alfred Hitchcock, Close Encounter of the Third Kind, Ernest Lehman, From Russia With Love, Guy Hamilton, James Bond Jr., Kiss the Girls and Make Them Die, Licence to Kill, Live and Let Die, Michael G. Wilson, Moonraker, North by Northwest, The Man with the Golden Gun, Tom Mankiewicz | 2 Comments »
When great composers resort to the slide whistle
The end of the car jump of The Man With the Golden Gun
Sometimes, great minds just think alike.
So it is with the slide whistle. One of the most controversial James Bond music choices was when John Barry (1933-2011) opted to use a slide whistle in The Man With the Golden Gun (1974).
Bond (Roger Moore), desperate to catch up with villain Scaramanga (Christopher Lee), sends his car across a narrow Thailand waterway. The car completes one full rotation in mid-air before landing on its wheels.
In reality, it was a carefully planned stunt. Such jumps had already been performed at shows. The stunt originally was designed on a computer. Barry utilized a slide whistle for the scene. Many Bond film fans have never forgiven him since.
The thing is, another legendary film composer had used a slide whistle just several years before.
Jerry Goldsmith (1929-2004) scored the two Derek Flint films, Our Man Flint and In Like Flint. With the latter, a 1967 release, Goldsmith also opted to use a slide whistle. It was part of an action sequence. You can see (and hear) use of the slide whistle around the 1:40 mark of the video below:
That's show business.
UPDATE: On social media, I encountered someone who is claiming John Barry had absolutely nothing to do with The Man With the Golden Gun's slide whistle.
In the book The Music of James Bond, Barry told a different story. "I just took the liberty of poking fun at it," Barry is quoted by author Jon Burlingame in the chapter about Golden Gun (it's on page 121 of the edition I own) specifically about the slide whistle. "It made a mockery of Bond, looking back on it. Even Cubby (Broccoli) didn't like that. But it was me getting to the end of it."
I know there's a dispute about how much Barry contributed, or didn't contribute to the Monty Norman-credited James Bond Theme. But people rarely seek credit for a lesser moment like Golden Gun's slide whistle. With For Your Eyes Only, Richard Maibaum made sure everybody knew he didn't write the line, "I'll buy you a delicatessen in stainless steel!"
Filed under: James Bond Films, The Other Spies | Tagged: In Like Flint, Jerry Goldsmith, John Barry, slide whistle, The Man with the Golden Gun | 1 Comment »
About those Bond film series gaps
Image for the official James Bond feed on Twitter
Last week saw another delay announced for No Time to Die. That has prompted some entertainment news websites to look back at how the gap between SPECTRE and No Time to Die ranks among Bond films.
With that in mind, here's the blog's own list.
You Only Live Twice (1967) to On Her Majesty's Secret Service (1969): This isn't getting the attention as the others.
But You Only Live Twice came out in June of 1967 while On Her Majesty's Secret Service debuted in December 1969. That was about two-and-a-half years. Today? No big deal. But at the time, the Bond series delivered entries in one- or two-year intervals.
This period included the first re-casting of the Bond role, with George Lazenby taking over from Sean Connery. Also, Majesty's was an epic shoot.
The Man With the Golden Gun (1974) to The Spy Who Loved Me (1977): This period often is written up as the first big delay in the series made by Eon Productions.
It's easy to understand why. The partnership between Eon founders Albert R. Broccoli and Harry Saltzman broke up. There were delays in beginning a new Bond film. Guy Hamilton originally was signed to direct but exited, with Lewis Gilbert eventually taking over. Many scripts were written. And Eon and United Arists were coming off with a financial disappointment with Golden Gun.
Still, Golden Gun premiered in December 1974 while Spy came along in July 1977. That's not much longer than the Twice-Majesty's gap. For all the turmoil that occurred in the pre-production of Spy, it's amazing the gap wasn't longer.
Licence to Kill (1989) to GoldenEye (1995): This is the big one. Licence came out in June 1989 (it didn't make it to the U.S. until July) while GoldenEye didn't make it to theater screens until November 1995.
In the interim, there was a legal battle between Danjaq (Eon's parent company) and Metro-Goldwyn-Mayer, Bond's home studio, which had acquired UA in 1981. MGM had been sold, went into financial trouble, and was taken over by a French bank. The legal issues were sorted out in 1993 and efforts to start a new Bond film could begin in earnest.
This period also saw the Bond role recast, with Pierce Brosnan coming in while Timothy Dalton exited. In all, almost six-and-a-half years passed between Bond film adventures.
Die Another Day (2002) to Casino Royale (2006): After the release of Die Another Day, a large, bombastic Bond adventure, Eon did a major reappraisal of the series.
Eventually, Eon's Barbara Broccoli and Michael G. Wilson decided on major changes. Eon now had the rights to Casino Royale, Ian Fleming's first Bond novel. So the duo opted to start the series over with a new actor, Daniel Craig and a more down-to-earth approach.
Quantum of Solace (2008) to Skyfall (2012): MGM had another financial setback with a 2010 bankruptcy. That delayed development of a new Bond film. Sam Mendes initially was a "consultant" because MGM's approval was needed before he officially was named director.
Still, the gap was only four years (which today seems like nothing) from Quantum's debt in late October 2008 to Skyfall's debut in October 2012.
SPECTRE (2015) to No Time to Die (?): Recent delays are due to the COVID-19 pandemic. But pre-production got off to a slow start below that.
MGM spent much of 2016 trying to sell itself to Chinese investors but a deal fell through. Daniel Craig wanted a break from Bond. So did Eon's Barbara Broccoli, pursuing small independent-style movies such as Film Stars Don't Die in Liverpool and Nancy, as well as a medium-sized spy movie The Rhythm Section.
Reportedly, a script for a Bond movie didn't start until around March 2017 with the hiring (yet again) of Neal Purvis and Robert Wade. The hiring was confirmed in summer 2017. Craig later in summer of 2017 said he was coming back.
Of course, one director (Danny Boyle) was hired only to depart later. Cary Fukunaga was hired to replace him. More writers (Phoebe Waller-Bridge and Scott Z. Burns) arrived. The movie finally was shot in 2019.
Then, when 2020 arrived, the pandemic hit. No Time to Die currently has an October 2021 release date. We'll see how that goes.
Filed under: James Bond Films | Tagged: Albert R. Broccoli, Barbara Broccoli, Bond 25, Cary Joji Fukunaga, Casino Royale, COVID-19, Daniel Craig, Danjaq LLC, Danny Boyle, Die Another Day, Eon Productions, Film Stars Don't Die in Liverpool, George Lazenby, Goldeneye, Harry Saltzman, Licence to Kill, Metro-Goldwyn-Mayer, Michael G. Wilson, Nancy, Neal Purvis, No Time to Die, On Her Majesty's Secret Service, Pierce Brosnan, Quantum of Solace, Robert Wade, Scott Z. Burns, Sean Connery, Skyfall, SPECTRE, The Man with the Golden Gun, The Spy Who Loved Me, You Only Live Twice | 1 Comment »


Deceased estates and probate property settlements are often the cause of disputes between beneficiaries. An independent property valuation can be used for sale purposes or to transfer assets between family members.
A Probate Valuation from McLennan Steege Smith (McSS) provides an independent appraisal of a property that can be used to ensure property is sold or exchanged in a fair and timely manner.
We have extensive experience providing accurate Probate Valuation Reports to lawyers and beneficiaries, accountants and executors of Wills. A Probate Valuation can be either current or retrospective and it ensures fair market value at a specific date.
Using technical assessment methods, this information is then combined with information about recent comparable sales in the same locality as well as current market conditions to arrive at the 'true' value of the property.
McSS is the expert on all valuation types and can provide the appropriate probate valuation for you, either current or retrospective.
Contact us now for more information or to obtain an obligation-free quote.


text:
Multiplayer Sandbox Game Myth Of Empires Is Holding A Global Alpha Test April 15th
Joseph Bradford Posted: Apr 7, 2021 5:05 PM
Myth of Empires is an in-development multiplayer sandbox game slated to hit early access on Steam. The team announced today that an upcoming global alpha test is being planned for April 15th through April 23rd, inching them closer to that goal.
The alpha test is closed, so the team behind the multiplayer sandbox game stress that those added to the test will be limited. However, there will be no NDA on those who get invited, so you'll be able to check out the game in action through streams and videos during the course of the testing. Developer Angela Game announced the alpha on Steam, thanking players who join in the PVP game as the team describes Myth of Empires as a "major passion project" for them.
"We are very excited to finally be sharing Myth of Empires with players. This game is a major passion project for us, and we're looking forward to your feedback. Thank you for all the love and support you've shown so far!"
The test will run starting on April 16th at 2am GMT (so April 15th 10PM ET for those us in North America) and is currently planned to run through April 23rd, though no exact closing time is given. The team also stresses that if players don't get in initially not to panic as they will be letting more players in as the test goes on throughout the week and into the weekend.
You can sign up to partcipate in the test using a Google Form created by the Angela Game team. No exact date has been listed for Myth of Empires to release, but the game looks to be in the vein of ARK meets Mount & Blade in its style. You'll gather resources and build large bases all in the hopes of taking out rival player empires through seige warfare and mounted combat. You can see the game in action in the trailer the team released to celebrate the upcoming beta, embedded below.
alpha test
myth of empires
mmo sandbox
open pvp
Joseph Bradford
Joseph has been writing or podcasting about games in some form since about 2012. Having written for multiple major outlets such as IGN, Playboy, and more, Joseph started writing for MMORPG in 2015. When he's not writing or talking about games, you can typically find him hanging out with his 10-year old or playing Magic: The Gathering with his family. Also, don't get him started on why Balrogs *don't* have wings. You can find him on Twitter @LotrLore


text:
TRAINING LOGIN HELP
Clinical Reference
Pharmacy & Pharmacology
Titles A-Z
Doody's Reviews
About TDS Health
Rook's Textbook of Dermatology
2016 © John Wiley & Sons Ltd
Christopher E. M. Griffiths MD, FRCP, FMedSci; Daniel Creamer MD, FRCP; Jonathan Barker MD, FRCP, FRCPath; Robert Chalmers FRCP; Tanya Bleiker FRCP
ISBN-10: 1-118-44119-2 / ISBN-13: 978-1-118-44119-0
eISBN-10: 1-118-44117-6 / eISBN-10: 1-118-44118-4 / eISBN-13: 978-1-118-44117-6 / eISBN-13: 978-1-118-44118-3
Dermatology, Physician Assistant
Rook's Textbook of Dermatology, Ninth Edition is the complete dermatology reference work. More comprehensive than ever, with more images, more disorders covered and faster, more dynamic and wider digital search functionality. It is an essential resource for the modern day dermatologist, whether experienced or at the beginning of a career in dermatology.
Universally respected, Rook's Textbook of Dermatology is the most comprehensive, definitive and best-illustrated reference work for dermatologists of all levels worldwide and has been at the forefront of international dermatology publishing since first appearing in 1968.
The Ninth Edition has been radically re-engineered to match the modern day challenges faced by dermatologists. Once again it has been published as a combined digital and print resource, but with a new online platform enabling easier and faster navigation.
A common structure to describe and discuss each disorder has been adopted throughout, whilst maintaining the depth of information for which Rook is renowned. A high priority has been placed on the ease of extracting key information quickly: diagnostic algorithms and management ladders help the reader choose appropriate treatment strategies. More images than ever – over 5000 in total – aid diagnosis by displaying variations in disease manifestations according to body location, skin type and severity. The section on aesthetic dermatology has been greatly expanded with more coverage of procedures in this rapidly developing field.
Rook's Textbook of Dermatology, Ninth Edition provides you with:
• The very best content from the number one brand in dermatology – an essential consultation tool for all dermatologists
• An outstanding combined digital/print resource, exhaustively covering every dermatological disorder
• A complete overhaul of its content – each disorder now follows a consistent templated approach
• A fresh approach to the classification of disorders and organization of chapters, of which there are now 160 instead of 80, all organised into 14 logical sections
• A newly designed sophisticated online platform with a fast and powerful digital search functionality – search by keyword, disorder or chapter or consult the online image database and get expert clinical advice more quickly than ever
• Lavishly illustrated chapters with over 5000 colour images showing variation in disease patterns by body location, skin type and severity
• Comprehensive coverage of medical, surgical and aesthetic dermatology, as well as the basic science underpinning the field
• An experienced British editorial team working with distinguished international authors and associate editors
• Greater emphasis than before on clinical studies/trials, society guidelines and the latest ICD codes
• While key references remain in the printed version, thousands more are cited in the book and can be accessed online, where each is hyperlinked to the relevant text
Quotes, Reviews or Testimonials
"Rook's Textbook of Dermatology is a 'must have' for those in training or practicing dermatology and should be close at hand in the clinic."
-- British Journal of Dermatology
"...one of the towering academic and clinical achievements of twentieth century dermatology...no self-respecting dermatologist should even think of practicing our specialty without a copy of this book close at hand...a delight to hold, a delight to browse, and a delight to read...As usual, Blackwell's designers have done a beautiful job."
-- Journal of the American Academy of Dermatology
"...continues the tradition of excellence for which the previous editions were justly acclaimed...it is difficult to imagine practicing dermatology without ready access to this book and harder to imagine why one would try."
-- JAMA
Written primarily for practicing dermatologists or dermatology residents. It would also serve as a useful resource for internists or general practitioners who see patients with skin disease in their practice.
Dermatology for the Advanced Practice Nurse (2015)
Evidence-based Dermatology - 3rd Ed. (2014)
Mulliken & Young's Vascular Anomalies: Hemangiomas and Malformations - 2nd Ed. (2013)
125 South King St.
Jackson, WY, 83001
TDS Health provides the leading healthcare database and innovative e-learning products through a simple, intuitive platform.
Teton Data Systems © |


text:
Home » TV » Love Island's Amy Hart to return to screens in bid to find love again
Love Island's Amy Hart to return to screens in bid to find love again
She might have been brutally pied by Curtis Pritchard in the Love Island villa, but Amy Hart has been given another chance to find love again on screen.
The former beauty queen, 27, bravely walked out of the villa to allow her former beau to crack on with other girls.
Amy struggled to cope when pal Maura admitted her own interest in Curtis after their relationship fell apart.
But it looks like she might get her fairy tale ending as she joins the next series of E4's Celebs Go Dating.
A source told The Sun that that producers loved her bubbly personality and are keen to "cash in" while her story is still fresh.
Amy became the nation's sweetheart after 'half-boyfriend' Curtis tried it on with other girls when she was sent off to Casa Amor.
While Amy stayed faithful, Curtis admitted to new Islander Jourdan that he would couple up with her – but she turned him down.
Curtis and Amy were later reunited at the recoupling, but it wasn't joyous for long as Curtis came clean.
Amy had been willing to give him another chance, but Curtis brutally said that he wasn't sure they were right for one another.
Days later, Amy decided to leave the villa and left the rest of the Islanders in floods of tears.
She returned to the show last night as she was interviewed by Caroline Flack on Aftersun.
But viewers weren't best pleased when she was shown footage of Curtis' antics while she was in Casa Amor.
As the clip aired, Amy's pained expression could be seen at the bottom of the screen, and afterwards she told Caroline Flack that the clip had knocked her.
"I've been in such a good place this week and then stuff like that throws me back a few paces," she said as she reflected on what she had just seen.
"I don't have to watch anything now I'm out here, but watching that does make me feel [pulls sick face]."
*Love Island airs every day at 9pm on ITV2
« Michael Keaton Calls for End of Bear Cubs Exploitation in New PETA Campaign
Seth Rogen Shows Off Weight Loss While Promoting 'The Lion King': Before & After Pics »


text:
Q: How to bind a WPF hyperlink in a richtextbox to a command? With the MVVM pattern, how does one go about dynamically binding
an ICommand to the click event of a hyperlink inside of a
RichTextBox?

A: It's a few steps to get there, but you can do it.

*

*You have to use a bindable rich text box, rather than the one that comes with WPF which is not something you can bind.  Details here: http://michaelsync.net/2009/06/09/bindable-wpf-richtext-editor-with-xamlhtml-convertor

*Once you have that, you'll have a Rich Text Editor that you can bind to a FlowDocument in your ViewModel.

*When your FlowDocument is created, hookup a handler for the Hyperlink.ClickEvent in your ViewModel:
Here's the call that adds the handler to the FlowDoc
TheDocument.AddHandler(Hyperlink.ClickEvent,
    new RoutedEventHandler(HandleHyperlinkClick));

//Here's the handler definition
private void HandleHyperlinkClick(object sender, RoutedEventArgs args)
{
    Hyperlink link = args.Source as Hyperlink;
    //...
}

This is the only thing I've ever seen done.  FlowDocuments are a little strange because they are sort of a data type and sort of a visual element so in some sense it feels wrong to have it reside in your ViewModel, but this is the way to go.

A: You find a lot scenarios where it is not possible to use wpf data binding. In these scenarios you can create a new control (e.g. inherit from RichTextBox) and provide the missing dependency properties so you can use data binding.
However, creating a new control to handle simple scenarios is inefficient. It's not forbidden to implement code in the View's code behind file and this makes often more sense than creating a new control.
A concrete example how this can be done is shown in the ViewModel sample of the project:
WPF Application Framework (WAF)
http://waf.codeplex.com

redpajama_set_name: RedPajamaStackExchange


text:
Articles and Writing
ACC Top Ten Questions Surrounding Amendment to the FCPA
Amendment to the FCPA 2012- Another Perspective
California Business Law Practitioner FCPA Article Parts 1 and 2, 2012
Commentary on Mukasey written testimony
Commentary on Written Testimony of Shana-Tara Regon
Top Ten Basics of Foreign Corrupt Practices Act Compliance for the Small Legal Department
Top Ten Dos and Dont's for US Companies Doing Business Internationally
UK Bribery Act - Not a Mystery
Stephen Clayton
370 Wildwood Avenue Piedmont, California 94611
Email: stephen@stephenclaytonlaw.com
Senior Lawyer with a high level of experience and expertise in Foreign Corrupt Practices Act compliance, international business law and international transactions.
My background in international business law and setting up and managing the legal aspects of international distribution networks makes me unusually qualified to work in the field of FCPA Compliance. I am effective in working with business people to establishing compliance programs and conduct investigations.
Broad legal experience working on transactions and compliance in the USA, Asia and Europe.
Responsible for international Sales, Service, Engineering, Operations, Intellectual Property and Compliance legal work at Sun Microsystems, Inc., a Fortune 150 US company which had over 35,000 staff around the world and did roughly 60% of its business outside the USA.
Managed lawyers and staff in groups up to 20. Successfully hired and developed employees.
I have given presentations on many aspects of Foreign Corrupt Practices Act compliance at more than 20 conferences and programs in the USA and other countries for organizations including ACI, ACC, Legal IQ, Beacon, SCCE, Economist Conferences, Marcus Evans, PLI, the 7th Annual General Counsel Conference, and Dow Jones. I have also published several articles on the FCPA. These are on my web site.
Law Office of Stephen Clayton (2010-Present)
Legal practice focused on international anti-corruption/Foreign Corrupt Practices Act consulting and services. For a list of services see www.stephenclaytonlaw.com
Sun Microsystems, Inc. Santa Clara, CA. (1988 – 2010)
Senior Director, Anti-Corruption Compliance (2005 – 2010)
Responsible for Sun's worldwide Anti-Corruption Compliance Program.
Wrote and put in place anti-corruption policies. Monitored and adjusted the program based on business reality and changes in the law. Worked with Internal Audit, Legal, International Sales management, Data Privacy, Security, Finance and other corporate functions to ensure the program was practical to run and effective in deterring violations of the FCPA.
Developed, wrote and presented training materials and conducted or supervised training for employees, partners, and train-the-trainer sessions.
Conducted investigations of allegations of violations in South America, Africa, Western and Eastern Europe, the Middle East and Asia. Countries in which I conducted investigations include Brazil, India, China, Korea, Venezuela, Saudi Arabia and Russia among others.
Developed and put in place a risk-based, worldwide business partner due diligence program, the first and most substantial business partner due diligence program in the computer industry. Worked with investigation companies around the world.
Senior Director Legal, Global Business Services (2004 –2005)
Responsible for all legal services for Sun's outsourcing, offshoring and alternative sourcing projects. Member of the GBS (new in 2004) and Product Technology Law Group management teams. Planned legal support, advised business group management team, set up processes and standards, managed in-house and outside counsel, drafted and negotiated very large, complex outsourcing projects.
Senior Director, Products and Technology Law Group (PTL) (2002 - 2005)
On a team of 6 directors reporting to VP PTL, co-managed a 50-person Legal Department that provided complete legal services to one of the world's largest and most varied R&D groups.
Primary responsibility for legal services and business partner first for Network Storage Product Group, then Global Business Services. Managed other Sun lawyers on storage and outsourcing work.
Co-managed 40+ PTL employees, implemented changes in which 7 vertical legal departments were merged into one team, increasing service to clients and enhancing employee job satisfaction.
Network Storage Division General Counsel (1998 - 2002)
Managed all Legal services and processes for Sun's then $1.8B Network Storage Group.
Developed "virtual" legal department which utilized the skills and services of 20 Sun lawyers.
Performed intellectual property and distribution due diligence on several acquisitions.
Secured profit for Sun by proposing and implementing the tactic of negotiating grants of warrants for shares from companies from which the division was procuring OEM products. In two transactions I handled, this innovation gained Sun over $10M profit.
·Reviewed details of an earlier acquisition and negotiated $10M payment from escrow to Sun.
Managed staff of 2 lawyers and supported their career development.
Director, European Legal Department (1996-1998, resident in the UK)
Directed and expanded Sun's legal services in Europe, Africa and the Middle East.
Managed a group of 12 lawyers (20 total staff) in 7 countries. Site managed Export Compliance team.
Established and ran Sun's European Works Council to comply with new EU law.
Supervised major EU Competition law issues - avoided litigation.
Worked with French counsel to reorganize the sales channels structure of Sun France to achieve business needs and avoid potential competition law exposure.
Terminated and replaced head lawyer in Sun France,
Frequently represented Sun in Brussels and Geneva on intellectual property and other policy matters with officials of the EU, WIPO and AEA.
Personally handled major customer and reseller contracts (Ericson, Solomon Bros., etc.)
Director, Asian Legal Department (1993-1996, resident in Japan)
Intercontinental Division Counsel (1988-1992, Japan, AsiaPac, Canada, Latin America)
Established Sun's legal presence in Asia, set up subsidiaries and branch offices.
Established and enforced legal department policies and processes.
Negotiated Sparc Microprocessor and Sun Operating System license/OEM deals in Japan, Taiwan, Korea.
Negotiated the end of "exclusive" distribution agreements in Japan, Korea and other countries and established legal framework for multi-channel distribution networks.
Developed innovative, easy to negotiate channel contracts for Latin America and Canada.
Supported Operations business and expansion in the Icon Region.
Hired legal staff and managed outside counsel and dispute resolution for the region.
Lobbied governments of Japan, Korea, Thailand, Singapore and Australia on Sun copyright policy.
Wrote training materials and gave training on FCPA to Sun Sales management and teams for Icon territories.Provided training on sales and channel contracts and other legal topics.
Worked closely with Sun's export licensing team to avoid problems as business expanded.
International Corporate Counsel, ComputerLand Corporation, Oakland, CA. (1984-1988)
Associate, Helm and Purcell, Oakland, CA. (ComputerLand's outsourced firm)
Handled product procurement agreements with US and Asian vendors, foreign franchise agreements, OEM agreements, trademarks worldwide, export licensing and FCPA, sales of foreign subsidiaries.
Associate Attorney, Yuasa and Hara International Law and Patent Office, Tokyo, Japan (1982-1984 )
Wide ranging practice in international commercial, intellectual property, corporate, tax and litigation at one of Japan's oldest and largest law firms. Won an ICC arbitration case involving international bribery.
Associate Attorney, Law Offices of James A. Clayton, Sacramento, CA. (1977-1980)
Full range California corporate and commercial practice. Extensive litigation and trial experience.
LL.M. (Asian Law) University of Washington, 1985. (Asian Law, emphasis on Japanese Law).
J. D. McGeorge School of Law, Sacramento, CA, 1977.
B.A. (International Studies) University of the Pacific, 1974. Overseas study, one year each in Bangalore, India and Tokyo, Japan.
Languages: Japanese (conversational at this point)
PROFESSIONAL LICENSES AND ASSOCIATIONS:
California State Bar 1977; Washington State Bar 1980
American Arbitration Association trained arbitrator. Served as arbitrator of several cases.
Co-chair, ACC Bay Area International Law Committee 2007 – present
First runner-up, Best International Lawyer, First Annual Bay Area Corporate Counsel Awards (2010)
Play electric bass and sing in blues and rock bands.


Thank you for your support of Ohio Farm Bureau. If you cannot find your answer below, please contact us today for additional assistance.
Q: Can I pay my Farm Bureau dues online?
Yes, please visit your profile or register an account to make payments or to update your address and contact information.
Ohio Farm Bureau memberships are non-refundable.
Q: Where can I find information on my local county Farm Bureau?
Please select your county for detailed information on your local county Farm Bureau including contact information, activities and more.
Q: What happens if I mistakenly double paid for my membership?
If you mistakenly double paid (i.e. paid twice in the same membership year), your overpayment will be returned upon request. If no request is made, your membership will be extended for an additional year. If you would like to request a return of your double payment, please contact your county Farm Bureau.
Q: Where do my membership dues go?
Your membership supports programs at the local, state and national levels that ensure the growth of food and farms, such as advocating for good government policy, developing opportunities for young farmers, providing student scholarships and grants, supporting local food efforts, creating food literacy programs for kids, and funding efforts to protect the environment, water quality and farmland preservation.
Q: How do I access my Member Benefits?
You can browse the Member Benefits overview page and then choose the offer(s) you would like to take advantage of. In order to keep the benefits exclusive to our members, you will be prompted to either log in to your Ohio Farm Bureau online account or create one.
Q: How do I access the Member Savings Advantage Program?
You can browse the Member Savings Advantage overview page or start saving now. To start saving you will be prompted to either log in to your Ohio Farm Bureau online account or create one.
Q: What is the Voluntary PAC Contribution?
Your county Farm Bureau board of trustees has approved asking each individual county Farm Bureau member for a voluntary contribution to the Ohio Farm Bureau Federation, Inc. Agriculture for Good Government Political Action Committee (OFBF-AGGPAC). Your voluntary contribution can be added to your check for membership dues and will be transmitted to OFBF-AGGPAC by your county Farm Bureau.
Contributions are strictly voluntary. Any guidelines for member contributions are merely suggestions, and a member is free to contribute more or less than the suggested amount. No member will be favored or disfavored by reason of the amount of his or her contribution or decision not to contribute. All OFBF-AGGPAC contributions are subject to the prohibitions and limitations of the Ohio and Federal Election Campaign Laws.
Contributions or gifts to OFBF-AGGPAC are not deductible for Federal Income Tax Purposes. OFBF-AGGPAC cannot use corporate money to support any candidate or party. Corporate contributions will be used for OFBF-AGGPAC's administrative expenses.
Q: Why do some counties have different rates?
Ohio Farm Bureau is organized at the local, state and national level. Individual families join their county Farm Bureau, and each of the 86 county Farm Bureaus have joined the Ohio Farm Bureau Federation. The county Farm Bureau has the authority to determine membership classification and dues amount, as is described in the Code of Regulations.
Q: I already paid. Why did I get another invoice?
If you have already submitted your payment, thank you and please ignore the notice. In some cases, we experience a delay in processing due to a large volume of memberships. Please wait up to 7 business days and then contact us with questions.


text:
Springfield Sees Sharp Drop In New COVID-19 Cases, But Remains At High Risk For Infection
WAMC Northeast Public Radio | By Paul Tuthill
Paul Tuthill
WAMC
As virus activity continues to decline in Massachusetts and more COVID-19 restrictions are lifted, Springfield lags behind.
Springfield is one of just 13 municipalities in Massachusetts that remain at high risk for coronavirus infection. Along with Chicopee these are the only two places in western Massachusetts that show up as red on the state health department's map, which is updated weekly and is based on COVID-19 incidence and test positivity rates.
There are encouraging signs however in the latest data, said the city's Health and Human Services Commissioner Helen Caulton-Harris. Springfield recorded 265 confirmed COVID-19 cases for the week of May 2nd – down by 160 from the week before. The city has seen new case totals decline for three straight weeks.
"While we are still in the red, it is important that we are heading in the right direction," Caulton-Harris said.
New cases of COVID-19 in Hampden County are falling at a slower rate than the state as a whole. Dr. Mark Keroack, president and CEO of Baystate Health, said this is because vaccinations in several municipalities, including Springfield, badly lag behind the rest of the state.
"There is direct link between new case rates each day and how many people are protected by vaccine," Keroack said.
While 56 percent of the adults in Massachusetts have now received one vaccine dose, just 34 percent of Springfield residents have had a shot. 22.7 percent of the city's adults are fully-vaccinated compared with 39 percent of the state's population.
There is now more vaccine supply than demand. With available appointments going begging the super vaccination site at the Eastfield Mall in Springfield began vaccinating walk-ins Monday.
Caulton-Harris said the city is reviewing its strategies for getting people vaccinated which has featured neighborhood-based pop-up vaccination sites.
"We need to think about how we relax some of the challenges people are having getting to our clinics," said Caulton-Harris.
She said some thought is being given to offering people an incentive – perhaps in the form of a gift card -- to be vaccinated.
"We have not brought closure to that at this point, but it is certainly something we are considering," Caulton-Harris said.
Massachusetts moved to a new step in its phased reopening plan Monday with arenas and stadiums allowed to double capacity to 25 percent. Amusement parks, such as Six Flags New England in Agawam, can open at 50 percent capacity. Road races, youth and adult sports tournaments are again permitted.
Later this month, bars and been gardens can reopen and capacity limits go up for both indoor and outdoor events.
August 1st is the current target date for lifting all pandemic-era restrictions, according to Gov. Charlie Baker.
But Springfield Mayor Domenic Sarno frets the city might not follow that timeline if vaccination rates don't go up and COVID-19 case counts don't rapidly fall.
"I want to get things open as soon as possible, but I want to do it in a safe smart way," Sarno said. "You jump the gun and instead of taking a step forward you take two steps back."
Sarno announced Monday that the city's public library buildings and its senior center are tentatively scheduled to reopen in August.
He also said the city has been in talks with the promotors of the annual Jazz and Roots Festival about plans for holding the downtown concert in August. It was held virtually last year.
New England News Springfield COVID-19Massachusetts COVID-19Vaccine Rollout
Paul Tuthill is WAMC's Pioneer Valley Bureau Chief. He's been covering news, everything from politics and government corruption to natural disasters and the arts, in western Massachusetts since 2007. Before joining WAMC, Paul was a reporter and anchor at WRKO in Boston. He was news director for more than a decade at WTAG in Worcester. Paul has won more than two dozen Associated Press Broadcast Awards. He won an Edward R. Murrow award for reporting on veterans' healthcare for WAMC in 2011. Born and raised in western New York, Paul did his first radio reporting while he was a student at the University of Rochester.
See stories by Paul Tuthill
Massachusetts Legislature Plans More Oversight Of Pandemic Response
With complaints rising about a slow and uneven rollout of the coronavirus vaccine in Massachusetts, the state legislature is planning to step up…
More Are Urged To Get Vaccinated As Springfield Remains At High Risk For Coronavirus Spread
Coronavirus infections are rising in Springfield, Massachusetts even as vaccines become more widely available. While COVID-19 cases have fallen statewide…
Springfield Officials Try To Combat COVID Vaccine Hesitancy
The city of Springfield is pushing to convince more young adults to get vaccinated against COVID-19. Springfield's health department this week will launch…
Massachusetts To Redirect Vaccination Efforts As Demand Softens
As Massachusetts approaches a goal set by Gov. Charlie Baker to have 4.1 million residents vaccinated against COVID-19 by June, the vaccination strategy…
Activists Score; Springfield To Reopen Basketball Courts
After public pressure, hoops will be going back up in public parks in the birthplace of basketball. The Springfield parks department will "tentatively"…


Look's first dedicated climbing bike was launched on top of its namesake mountain, Alpe d'Huez, just before the 2017 Tour De France. There was so much interest in it that the French brand ran out of demo bikes for foreign journalists to test and I instead grovelled up the 21 famous hairpins – twice – on a spare 765, Look's entry-level sportive bike, which weighed at least 2kg more than the 5.9kg 785 Huez RS.
However I did get to test the 785 in the UK later that year, and to make up for it I did multiple ascents of the Box Hill (which fortunately has only a seventh the number of hairpins) and relished every single one.
With its 730g frame, SRAM eTap groupset and Corima 32 MCC S+ wheels, it absolutely flew.
Now Look has reengineered the 785 for disc brakes – although the rim-brake bike is still in the range. Its rationale is that disc brakes will now enable you to perform safely on both slopes of the hill. With the frame and fork beefed up slightly and built up with SRAM Red eTap HRD groupset, the all-up figure has crept up to 7kg for this, the top-of-the-rand model.
Well, the ride quality is as sublime as before. It is incredibly comfortable and incredibly springy – as if potential energy has bene trapped between nano-layers of ultra-high modulus carbon, of which five different types are used.
Ok, it's not 5.9kg anymore but it still feels wonderfully light, especially for a disc brake bike. Giving it a nudge on another local uphill Strava segment, I got my fastest time out of 143 previous attempts.
Look aimed the 785 at everyday riders as well as the Fortuneo pro team it sponsored as the time of the launch, so with this is mind it has the classic 73 degree 'parallel' geometry (size medium) and supplies perfectly balanced handling on the downhills.
But disc brakes v rim brakes is cycling's Brexit debate and although I count myself as a rim-mainer, if you'll forgive the terrible pin, unlike Parliament I can still be persuaded by a good disc argument and I don't see one here. Other brands have aero bikes with discs that are closer to the UCI's weight limit – the 2019 S-Works Venge weighs 6.9kg for example – so since the 785 doesn't have any aero credentials at all, it needs to stay super-light and stake its claim as one of the world's best climbing bikes or risk irrelevance.
The 785 Huez RS Disc is wonderful, elegant bike that supplies a high-quality ride and the top model comes with arguably the best disc groupset there is. However, it is at its awesome best as a pure climbing bike in the original, lighter rim-brake version.


text:
Authors cuisine
Beer Restaurants
Buryat-Mongolian
Business Dining
Cafes and Bistros
Fast Food and Delivery
Siberian cuisine
Soviet Style
Summer veranda
Raffhouse
Double Click for Full Screen
Malaya Nikitskya, 25, Moscow
Directions to Raffhouse
Raff House brings together true connoisseurs of high watchmaking, jewelry and gastronomy, presenting collections of timepieces and jewelry items as well as an haute cuisine restaurant. Reputed watch brands with limited collections and unique pieces are presented in the house. It also hosts unique, innovative models made exclusively for this club in Moscow.
The mansion in Malaya Nikitskaya has more than 250 years of history. A Milanese architect Michele Mazzola,who was in charge of the restoration project, managed to recreate a house beyond compare due to the right mix of important ingredients – a historical building, a fine gastronomy restaurant, unique timepieces and jewelry, and custom-made furniture and interior design elements. One of the designers' unusual finds is "the diamond wall" in the corridor; spanning two floors, it consists of polished panels set at angles, creating a play of light like the reflection of a diamond. Noteworthy is a complicated work for restoration of the original stucco decor and the pseudo-Russian style murals faded with time. Today, these renovated rooms host the restaurant of Raff House.
The restaurant comprises the central hall, the Soft Room, the bright Conservatory, and the spacious Schreiner Room, which most prominent feature is a modern chandelier with a total of 140 kg of crystal drops. The kitchen deserves just as much admiration. Küppersbusch Company, a supplier of professional kitchen equipment, used all specifications to design a cooking island and the stations along the walls with meticulous attention to the geometry of the room and the complex shape of the vaulted ceiling. It resulted in a kitchen with all modern equipment required for haute cuisine and boasting efficient and ergonomic stations. The basement also houses a roomy wine cellar behind glass doors and one more dining hall.
Since February 2, 2015 the restaurant has been in a partnership with the chef Anatoly Komm, hence the restaurant's name - "Anatoly Komm for Raff House". He started his career in the 90-ies with a goal to open a restaurant for all its guests to enhance the gastronomic culture and to have incomparable taste sensations. Learning from the masters of contemporary author's cuisine and doing gastronomic experiments to create new textures, flavors and techniques – all favoured Anatoly Komm to start his own original cuisine which gained recognition far beyond Russia. Anatoly Komm has become one of the iconic figures of the Russian and international gastronomy.
In this context, the cooperation of Raff House and Anatoly Komm is very understandable. The concept of his author's cuisine and the ideology of Raff House are in complete coincidence, offering to customers and sophisticated lovers of high gastronomy unique and delicious dishes in the taste and supply of each one can clearly see the personality of the chef, Anatoly Komm. As a result, Raff House welcomes to a restaurant to daily enjoy breakfast, lunch and dinner where each meal is a pleasant surprise. As marked in one review, a visit to "Anatoly Komm for Raff House" is a leap into another dimension compared to the rest of catering.
Address: Malaya Nikitskya, 25 , Moscow
One more beer and wine
They say tastes differ, and that's true. Favourite food for each of us is dishes we love. One More Beer & Wine Bar's menu is a combination of offers to cater each...
A newcomer on Moscow's restaurant scene, Gastro Pub Chelsea brings a fresh breath to the city's pub culture. Named after London's elite Chelsea neighborhood, this exquisi
Novikov
Inspired by a great success of the first Novikov Restaurant & Bar in London, the famous restaurateur Arkady Novikov decided to open the second one in Moscow. T
The Tatler Club is a place where food and drinks and also time-spending are extremely enjoyable. An obvious achievement of the restaurant is its professional technical eq
Shakti Terrace
In autumn of 2014, a new star appeared in the sky of Moscow restaurants - Shakti Terrace. The name "Shakti" (power and strength in Sanskrit) was given to the restaurant o
Russian Geographic Society restaurant
Do you like travelling, visiting new places, learning about the traditions and customs of various peoples? Then the Russian Geographic Society restaurant (the Russian abb
'Quite simply the best place to be!' It is no surprise that exactly these seven words are used as Night Flight's slogan.............
Madam Wong
Madame Wong is a restaurant of modern Chinese cuisine which originates from Hong Kong. It refers to vast territories from southern regions of China to Malaysia, Singapore
Chicago Prime Steakhouse
Simply put, the Chicago Prime Steakhouse is all about bringing the best of Chicago right to the heart of Moscow. Classic American steaks are served with the impeccable ex
Boyarskiy
It has always been a tradition to celebrate in a big way in Russia. Restaurants need to be luxurious and yet cosy. The Boyarsky restaurant in Moscow offers exactly this.
Authors cuisine (4)
Beer Restaurants (9)
Buryat-Mongolian (2)
Business Dining (25)
Business Lunch (10)
Cafes and Bistros (9)
Caucasian (6)
Family Dining (30)
Fast Food and Delivery (1)
Romantic Dining (27)
Siberian cuisine (2)
Soviet Style (3)
Sport bars (1)
Summer veranda (12)
Wine restaurants (13)


text:
Prince William, Kate depart for UK after completing 5-day tour of Pakistan
Last Updated On 18 October,2019 09:07 pm
The royal couple were seen off at the Nur Khan airbase by British HC Thomas Drew and other officials
ISLAMABAD (Dunya News) – The British royal couple, Prince William and Kate Middleton, has left for the United Kingdom (UK) after a successful and historic five-day visit of Pakistan.
Duke and Duchess were seen off at the Nur Khan airbase by British High Commissioner Thomas Drew and other officials.
Prior to their departure, the royal couple visited Army Canine Centre in Islamabad. The Duke and Duchess of Cambridge joined dog handlers as they train dogs to recognize and scout out hidden explosive materials, before taking some of the puppies through their paces on an agility training course.
Britain's Duke and Duchess of Cambridge arrived back in Islamabad Friday after spending an unexpected night in Lahore when thunderstorms forced their pilot to abort two landing attempts in the capital, reporters travelling with them said.
Prince William and his wife Kate ended up staying the night at a hotel in Lahore, Pakistan's cultural capital, before finally flying back to Islamabad Friday morning, according to British royal correspondents on board their plane.
There has been no statement yet from Kensington Palace on Thursday's mid-air turmoil, which reportedly saw the Royal Air Force pilot circle for an hour during one of the fierce thunderstorms that periodically hit Islamabad in October, before finally abandoning the attempt and returning to Lahore.
It came after the royals spent a busy day in the eastern city of Lahore, during which they played cricket, visited a children's orphanage and Shaukat Khanum hospital, and toured the iconic Badshahi Mosque, one of the world's largest mosques.
Friday was their final day in Pakistan.
A planned trip to the famed Khyber Pass -- one of the two major border crossings in to Afghanistan -- was called off, however.
Kensington Palace had called the trip, the Cambridges' first official visit to Pakistan, as the royals seek to boost ties between Britain and Pakistan.
They have spent their five-day tour promoting causes such as girls' education, conservation and climate change awareness.
With input from AFP...
In Pictures: Prince William, Kate Middleton complete 5-day historic tour of Pakistan
Exclusive interview: Kate Middleton talks about her royal visit of Pakistan
Prince William, Kate Middleton reach Islamabad after successful Lahore tour
In Pictures: Prince William, Kate Middleton adore delightful Lahore tour
Young man shot dead in Karachi's Korangi
Punjab announces to hold LG polls on May 15...
Govt, opposition fail to agree on Punjab LG a...


1 World Trade Center was developed by the Durst Organization in conjunction with the Port Authority of New York and New Jersey. It measures at 1,776 feet in height, and is just a few meters away from the original building. Construction began back in 2006 but today, this impressive building – spanning 20 professional football fields – is ready to resume business.
Of course, those who perished will always be remembered. The new building is situated just a few steps away from the memorial that honors them.


text:
Books > Non-Fiction Books > Arts & Entertainment > Film > Specific Films
Story of a Shoot
By: Serge Toubiana, Eve Arnold, Henri Cartier-Bresson (Illustrator)
Paperback Published: 24th February 2011
Unable to Load Delivery Dates
Enter an Australian post code for delivery estimate
Please enter a valid post code
Earn 55 Qantas Points
This book tells the story in pictures and words of the making of the legendary film The Misfits (1961), directed by John Huston and starring Marilyn Monroe, Clark Gable and Montgomery Clift.
The film concerns an ex-stripper and recent divorcee, Roslyn Taber (Monroe) in Reno, Nevada, who falls in love with an aging cowboy, Gay Langland (Gable). Langland, a rugged individualist, teams up with a worn-out rodeo rider Perce Howland (Clift) to round up a herd of wild 'misfit' horses. Roslyn is shocked to learn that the horses will be slaughtered and made into dog food. She attempts to persuade Langland to call off the roundup. When he refuses, she successfully appeals to Perce to release the horses that have already been captured. This infuriates Langland, who recaptures the leader of the horses after a rough struggle. Proving that he is the boss, he then decides to let the horses go free. The roundup ends as a financial failiure, but from the ordeal Roslyn and Langland make a new start together.
The Misfits was made in notoriously difficult circumstances. Marilyn Monroe was suffering a mental breakdown and was drifting apart from her husband, the playwright Arthur Miller (who had written the film to help her realise her ambition to be a 'serious' actress); Clark Gable was seriously ill; Montgomery Clift was heavily dependent on drink and drugs. Shooting conditions in the Nevada desert were atrocious. The production nearly doubled in length and cost. Remarkably, however, the result was elegiac, moving film that became a fitting swansong for Gable and Monroe (neither made another film: he died a few days after shooting was completed; she overdosed a year later).
As part of the promotional strategy for the film, the Magnum photographic agency was given the exclusive right to take photographs during the shooting. (The Magnum connection even featured on one of the posters for the movie.) Nine of its most famous photographers (Eve Arnold, Cornell Capa, Bruce Davidson, Henri Cartier-Bresson, Elliott Erwitt, Erich Hartmann, Inge Morath, Dennis Stock and Ernest Haas) covered the production, both on and off the set. Their pictures are both a fascinating documentary of the making of a film and an intimate portrait of three of the most famous film stars of all time.
Two hundred of these pictures are reproduced in The Misfits book in rich duotone, including both those images that have become iconic - such as Eve Arnold's luminescently beautiful studies of Marilyn Monroe in the desert - and those that are rarely seen.
The photographs are accompanied by a 8,000-word essay by the editor-in-chief of the influential French film magazine Cahiers du cinéma, Serge Toubiana, in which he recounts the tragic and triumphant story of the film.
The book also includes an interview between Toubiana and Arthur Miller, who was present during the shooting of the film and appears in many of the photographs. Miller discusses the photographs in the book, revealing the circumstances under which they were taken, as well as offering an insight into origins of the film itself. Remarkably, he also candidly discusses his relationship with Marilyn Monroe during that period, a subject he has long been reluctant to talk about.
Arthur Miller was one of America's leading dramatist. His plays include Death of a Salesman (1940), The Crucible (1953) and A View From the Bridge (1955). He is also the author of a novel, Focus (1945), and several non-fiction works. Miller adapted the screenplay for The Misfits from his own short story. Serge Toubiana is Director General of La Cinematheque Francais . He is also the co-author of several books about the cinema, including the biography Truffaut (1999).
"A must for photography and Monroe fans alike."-British Journal of Photography
Published: 24th February 2011
Publisher: Phaidon Press Ltd
Country of Publication: GB
Dimensions (cm): 25.0 x 18.7 x 2.0
Weight (kg): 25.1
More Books in Specific Films See All
Beyond the Thirty-Nine Steps
Life of John Buchan
The Art of Godzilla
King of the Monsters
Blowing the Bloody Doors Off
And Other Lessons in Life
Wild Pork and Watercress
Mythic Structure for Writers : 3rd Edition
The Anatomy of Story
22 Steps to Becoming a Master Storyteller
A Lifetime With Carrie And Debbie
Substance, Structure, Style and the Principles ...
Women I've Undressed
The Fabulous Life and Times of a Legendary Holl...
The Hitchhiker's Guide to the Galaxy : Book 1
Harry Potter : Collectible Quidditch Set
Book with Other Items
The Animator's Survival Kit
A Manual of Methods, Principles and Formulas fo...
Marvel Studios Character Encyclopedia
Disney Pixar Toy Story 4
Ultimate Sticker Book
Sticker Book or Pack
The Art of Miyazaki's Spirited Away
Star Wars: Scum and Villainy
Case Files On The Galaxy's Most Notorious
The Art and Soul of Blade Runner 2049
Emeralds of Oz
Life Lessons From Over The Rainbow
Hollywood Black (Turner Classic Movies)
The Stars, the Films, the Filmmakers
Harry Potter Talking Dobby and Collectible Book
Novelty Book
Official Movie Novelization
Magizoologist's Discovery Case : Fantastic Beasts
The Art of the Movie
Booktopia Gift Guide » Everything Lavish » Phaidon Press » Film & Performing Arts
Non-Fiction » Arts & Entertainment » Film » Specific Films » Film Theory & Criticism
Non-Fiction » Arts & Entertainment » Photography & Photographs » Photographic Collections » Photographic Reportage
the penguin dictionary of architecture
the greatest showman book
the far side cartoons
movie the man who fell to earth
serge ramelli new york book
Item Added: The Misfits


text:
La chiesa di San Nicola di Bari è un luogo di culto cattolico situato in via Garibaldi, nel quartiere Sacca di Lanciano, in provincia di Chieti. Adiacente ad essa vi è la minuscola chiesa di San Rocco.

Storia
Sui resti dell'ormai distrutta chiesa di San Pellegrino, a causa di un incendio nel 1226, venne eretta la chiesa di San Nicola, i cui lavori terminarono secondo la tradizione nel 1242 o 1292, facendone una delle più antiche chiese del quartiere. Nel 1319 la chiesa divenne parrocchia. Al precedente luogo di culto appartiene probabilmente la statua di San Nicola. La chiesa fu ornata nello stile gotico italiano, e nel XVII secolo ci furono alcuni rimaneggiamenti barocchi che ne ampliarono la pianta originale, aggiungendo tre navate. Nel 1868 la chiesa versava in precario stato di conservazione, e fu restaurata da Filippo Sargiacomo in stile neoclassico; tale restauro però fu infelice perché coperse gli affreschi e gli stucchi impoverirono sostanzialmente tutta la struttura interna.Nel restauro degli anni '90 fu scoperto il mirabile ciclo di affreschi delle Storie della Vera Croce presso un vano nel campanile, visibile dall'interno.

Descrizione
La chiesa ha pianta rettangolare, con il prospetto che si affaccia sul corso Garibaldi. L'esterno conserva solo la parte di base in stile gotico, con il portale ogivale incorniciato da un timpano polistile sopra cui campeggia la statua di San Nicola, affiancato dallo stemma del comune di Lanciano, e lo stemma della famiglia Ricci che aveva il patronato su alcune cappelle. La parte alta della chiesa è di stampo chiaramente neoclassico. Presso l'ingresso originale, con una piccola porta con lunetta a tutto sesto, si trova il poderoso campanile quattrocentesco tardo gotico, ornato da finestre bifore, una finestra  è stata aperta completamente per inserire la campana maggiore. Anche l'ordine inferiore della torre era ornato a bifore, di cui se ne conserva solo una, essendo state le altre murate. La sommità ha quattro dentelli angolari. Accanto alla chiesa, scendendo in fondo, si trova la cappella di San Rocco.

L'interno è a tre navate, suddivisa in quattro campate regolari coperte da volta; lo stile è quello neoclassico del progetto di Filippo Sargiacomo, finanziato nel 1859 dall'arcivescovo Mons. De Vincentiis; l'altare maggiore fu completato nel 1910 per volere del parroco don Filippo De Cecco. Le navate laterali seguono in pianta la ripartizione della navata centrale, ma le coperture sono diverse: a crociera nella navata destra e a vela in quella di sinistra. Inoltre nella pianta si notano delle asimmetrie delle due navate, dato che le mura perimetrali seguono l'andamento orografico della collina; la navata sinistra è stretta dall'ingresso e si allarga verso il presbiterio, la navata destra si restringe dall'ingresso verso il presbiterio.

La copertura del presbiterio prevista a semi-cupola con lanternino sovrastante, è stata sostituita da una calotta su pennacchi sferici con decorazioni geometriche e floreali. L'altare maggiore è costituito da una nicchia ad edicola neoclassica, in cui è collocata la statua del santo Nicola che salva i bambini dall'annegamento, statue leccese, incorniciata da coppie di colonne.Presso il presbiterio si trovano il coro dei canonici, e due quadri di Innocenzo Giammaria romano, del 1936, che mostrano due miracoli della vita di San Nicola. La struttura di sostegno della navata centrale e degli archi comunicanti con i laterali, è composto da un articolato sistema murario poggiante su un unico basamento parallelepipedo, su cui si elevano coppie di paraste corinzie della navata centrale, e del presbiterio e coppie di colonne doriche per gli archi laterali; la navata centrale è priva di nicchie e di altari.

Gli altari laterali hanno le cappelle dedicate a San Giuseppe col Bambino, al Sacro Cuore, ai Sepolcri, e il capo-altare di sinistra dedicato all'icona della Madonna col Bambino, detta popolarmente "Mamma nostra", dal culto omonimo di Bivongi. Il quadro è una copia di un originale, andato rovinato irreparabilmente per incuria. La chiesa conserva un prezioso fonte battesimale ligneo ottagonale, con dipinto il Battesimo di Cristo; un fonte coevo è conservato nel Museo diocesano di Lanciano. Le vetrate policrome istoriate che abbelliscono la chiesa sono di Michele Cianfrone lancianese, realizzate nel 1999 per volere di Mons. Enzio d'Antonio per il Giubileo del 2000

Patrimonio del Museo parrocchiale
Il parroco don Leo Di Felice nel 2000 organizzò un museo parrocchiale nei locali sotterranei della chiesaTra le opere di maggior interesse un reliquiario a tempietto in argento dorato e smalti di Nicola De Franca, di scuola guardiese, che conserva la mandibola di San Biagio, due quadri copia di Francesco De Mura della Deposizione dalla Croce e della Pietà, un ricco corpus di paramenti sacri, calici, pissidi, corone della Madonna Immacolata, croci astili e dei frammenti della vecchia chiesa di San Pellegrino, come capitelli tardo-romanici fogliati in pietra della Majella, e una vasca del XVI secolo con mascheroni. Il patrimonio del museo attualmente è in deposito provvisorio presso il Museo diocesano di Lanciano.

Ciclo di affreschi della Vera Croce

La Legenda Aurea di Jacopo da Varagine a cui si ispirò il ciclo del XIV secolo, è una raccolta di 150 vite di santi e Padri della Chiesa, e 30 di questi capitoli sono dedicate alle feste cristologiche e mariane con degli aneddoti estranei ai Vangeli. Il ciclo è stato rinvenuto dal parroco don Leo Di Felice negli anni '90, durante dei lavori di restauro nella cantoria, scoprendo un vano posto sotto il campanile, usato in antico anche come cripta di sepoltura per i morti, essendo la cappellina di Santa Croce provvista di un ampio vano sotterraneo, con tracce dei ruderi dell'antica chiesa di San Pellegrino. Gli affreschi furono restaurati dalla Soprintendenza di L'Aquila.

Ecco le scene illustrate:
Morte di Adamo: Adamo ormai vecchio si abbandona alla morte, e dalla sua bocca cresce l'albero del peccato. Adamo prima di morire infatti chiede al figlio Seth di andare in Paradiso per ottenere da San Michele Arcangelo l'olio misericordioso come conforto per la sua dipartita. San Michele però dona un ramoscello del'Albero della Vita che dovrà essere collocato nella sua bocca dopo morto. Seth nell'affresco ammira l'albero che cresce, in maniera molto stilizzata, come uno stelo snello e procace. Il significato teologico della vicenda si può riassumere come Adamo fu segno di rottura dell'alleanza di Dio con gli uomini; e così Cristo in futuro sarà attraverso il proprio sacrificio, il segno di una nuova alleanza divina.
Salomone fa tagliare l'albero: viene raffigurato re Salomone che fa lavorare l'albero di Adamo, mentre sullo sfondo della scena è in costruzione un luogo sacro, sicuramente il tempio di Salomone, qui raffigurato come una chiesa cristiana. Nella storia Salomone voleva servirsi dell'albero nei cantieri, ma siccome il legno non riusciva ad essere adeguatamente modellato, il re fece gettare il tronco in un fiume. Nella scena lui è in posizione sopraelevata rispetto al gruppo di carpentieri, tuttavia con assenza totale di prospettiva e plasticità, mentre più lontano un uomo sega l'albero.
Regina di Saba e il sacro legno: la regina di Saba adora il sacro legno, contornata da dame di corte, mentre sta andando da re Salomone per ascoltare la sua sapienza. Nella leggenda la regina ha una visione post eventum, ossia la fabbricazione della croce per uccidere Gesù, che avverrà secoli dopo il presente. La regina è raffigurata non in abiti regali, ma semplicemente come una penitente, inginocchiata in adorazione del legno. L'artista inoltre trascura la storia del trasporto del sacro legno, mentre anticipa l'erezione del tempio di Venere, mostrato come una chiesa cristiana, sul luogo di sepoltura della Croce.
Battaglia di Ponte Milvio: nella scena sono raffigurati due momenti, la battaglia di Ponte Milvio dell'imperatore Costantino, e quella di Eraclio I di Persia dopo il trafugamento della croce nel 616 d.C.. L'artista fonde i due episodi sorvolando varie parti della Legenda Aurea, rappresentando la visione di Costantino e di sua moglie mentre si trova davanti all'esercito nemico. Costantino è in posizione orante verso il cielo, da cui appare la mano divina che lo guida verso la vittoria, con il simbolo della croce
Il supplizio dell'ebreo - Altri affreschi: altri affreschi a frammenti mostrano due ritratti: , in stile diverso da quello gotico del pittore del ciclo, poiché mostrano tratti più chiari e ricchi di particolari, quasi rinascimentali. La volta di sinistra della nicchia del campanile mostra un'interessante scena del "supplizio dell'ebreo". Elena, madre di Costantino, si reca a Gerusalemme per prendere le reliquie della croce di Cristo, ed entra in contatto con un ebreo che sa dove si trovano, ma non vuole parlare, ragion per cui è posto a tortura. L'artista sembra anteporre la tortura, concentrandosi direttamente sulla scena, anziché badare all'incontro tra lui e l'imperatrice. La scena è molto accentuata dal particolarismo della ricerca per il macabro e per l'orrido, mostrando con potenza espressiva il volto sofferente dell'ebreo. Alcuni hanno ipotizzato che l'affresco fosse stato realizzato come monito verso le popolazioni baltiche che popolavano parte dei rioni medievali di Lanciano.

Chiesa di San Rocco

Note

Bibliografia
 Vittorio Renzetti, Gli affreschi medievali nella Chiesa di San Nicola, Terra e Gente n 2/1999, Ed. Itinerari, Lanciano.

Altri progetti

Collegamenti esterni
Ulteriori informazioni sugli affreschi ed il deposito museale della chiesa

Nicola di Bari
Lanciano

redpajama_set_name: RedPajamaWikipedia


text:
Q: How to add new column to order I want to know how can I add new column order and make use of it in order details view in order view / my custom tab. I'm running magento 2.4.1 version. Lets call this field my_custom_field.
I have add new field tried adding db_schema.xml file with following content:
<schema xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="urn:magento:framework:Setup/Declaration/Schema/etc/schema.xsd">
<table name="sales_order" resource="sales" engine="innodb" comment="Sales Order">
    <column xsi:type="varchar" length="255" name="my_custom_field" nullable="true" comment="parcel number"/>

</table>

Then I upgraded setup.
Then I tried to set the value of that field for my order in my CustomTab -> execute method:
$order = $this->orderRepository->get($this->_coreRegistry->registry('current_order')->getId());
$order->setCustomAttribute('my_custom_field', 'test');
$this->orderRepository->save($order);

var_dump($order->getCustomAttribute('my_custom_field'));exit; # returns null

Could anyone point what am I doing wrong?

A: Try the following way:

$order->setMyCustomField('test');
$this->orderRepository->save($order);

var_dump($order->getMyCustomField());exit;

If you need to save one or some attribute then try the following way which is faster:

$order->setMyCustomField('test');
$this->orderResource->saveAttribute($order, ['my_custom_field']);

Where $this->orderResource is the instance of Magento\Sales\Model\ResourceModel\Order