text:
Five - James Rhodes, piano
ID: SIGCD371
Bach, J S:
Partita No. 1 in B flat major, BWV825
Beethoven:
Piano Sonata No. 15 in D major, Op. 28 'Pastorale'
Chopin:
Ballade No. 3 in A flat major, Op. 47
Scherzo No. 2 in B flat minor, Op. 31
Schumann - Liszt:
Frühlingsnacht (after Schumann, Op. 39 No. 12), S568
Gluck - Sgambati:
Melodie from Gluck's 'Orfeo ed Euridice'
Five years on from his debut recording, James Rhodes has firmly established himself in the classical world as a pioneering figure - reaching out through concerts, recordings and television documentaries to create new classical music fans whilst remaining unabashedly dedicated to the core repertoire that he performs.
In his fifth recital album from his new label Instrumental Records, he returns with a sumptuous programme of works of Bach, Beethoven and Chopin, the Gluck-Sgambatti "Orfeo Melody", and Liszt's arrangement of Robert Schumann's "Frühlingsnacht".
Bax and Chung - Piano Duo - Music for Piano Four Hands - Stravinsky- Brahms- Piazzolla
Brahms:
Waltzes (16), Op. 39
Piazzólla: arr. Bax & Chung
Lo que vendra
Milonga del ángel
Tango No. 2
Libertango
Stravinsky:
The real life marriage of two great concert pianists, Alessio Bax and Lucille Chung, has led to one of the leading piano duos of their generation. To cite the UK magazine Music and Arts, "Theirs is a marriage of wondrous colours and dextrous aplomb, subtly balanced to make a musical performance sound as one."
Stavinsky's Pétrouchka was originally arranged for four-hands by the composer as a rehearsal score for the Ballet Russes production of the same name, but in this stripped-down it brings Stravinsky's melodic, rhythmic and harmonic inventiveness to the fore. Brahms's 16 Waltzes Op.39 are an enchanting collection of Romantic miniatures that simultaneously nod to the musical lineage of the composer's home in Vienna whilst asserting his own flair and individuality. The final four tangos by Piazzolla are a full of Argentine flair and vigour, and were arranged especially for this recording by Bax and Chung.
Rachmaninov - Transcriptions & Arrangements for Organ - Jeremy Filsell
1 Etude-Tableau, Op. 39 No. 9 [4.21]
2 Variations on a theme of Corelli, Op. 42 [20.26]
3 Fugue (1891) [3.30]
4 Prelude in B major, Op. 32 No. 11 [2.28]
5 Vocalise, Op. 34 No. 14 (transcribed by Nigel Potts) [6.11]
Symphonic Dances, Op. 45
6 I. Non allegro [13.15]
7 II. Andante con moto (Tempo di valse) [10.00]
8 III. Lento assai - Allegro vivace - Lento assai. [16.29]
Come prima - Allegro vivace
Total timings: [76.43]
Victor Merzhanov, piano - Bach - Chopin- Beethoven - Deluxe Edition
ID: SMCCD0158
E. Gilels, piano - S. Prokofiev- I.Stravinsky - J.S. Bach - S.Rachmaninov - Deluxe Edition
Live in Grand Hall of the Moscow Tchaikovsky Conservatory
S. Prokofiev
Piano Sonata No. 8 in B Flat major, Op 84
I.Stravinsky
Petrushka, Five Movements from the Ballet
Prelude No. 10 in E minor, BWV 855
(arr. By Alexander Siloti in B minor)
S.Rachmaninov
Prelude in G minor, Op. 23 No. 5
Hando Nahkur, piano - Waltzing Mepbisto by the Danube
ID: ERP8115
Hando Nahkur, born in Estonia, has distinguished himself as one of his country's most outstanding young artists. He has garnered top prizes in both national and international piano competitions, including top prizes in Estonia, Italy, Greece, Russia, USA and Canada. In recognition of his achievements, he was awarded a prestigious Golden Medal of Merit (Canada) in 2005, joining prominent musicians who have made unique contributions to Estonian music life in Toronto.
T. KORVITS - W.A. MOZART - J.N. HUMMEL - BASSOON CONCERTOS - Martin Kuuskmann, bassoon
Subcollection: Bassoon
Northwest Sinfonia / Tallinn Chamber Orchestra (4−9)
Conductors Barry Jekowsky (1−3) and Risto Joost (4−9)
1−3	Christopher Theofanidis	Bassoon Concerto	20:56
4−6	Johann Nepomuk Hummel	Bassoon Concerto in Fmajor, S 63 / WoO 23	20:59
7−9	Wolfgang Amadeus Mozart	Bassoon Concerto in B-flat major, KV 191	20:37
10	Tõnu Kõrvits	Encore: Puudutus / Touch	4:51
Sven van de Voorde - Messiaen - Quatuor Pour La Fin Du Temps
ID: ACDBR071-2
Subcollection: Clarinet
Debut album by Sven Van De Voorde and ensemble TetraGonist expected Soon!
Presentation Concert March 16 Conservatory Ghent.
January 15th 1941: The premiere of Messiaen's most performed work 'Quatuor pour la fin du Temps' in the theatre shed of Stelag
VIIa, a German work camp near the Polish border.
This work, which consists of 8 parts, centralizes the Apocalypse as it is portrayed in the Gospel of John. The musical language is essentially 'immatériel, spirituel et catholique'. Messiaen dubbed himself a 'compositeur- rythmicien' and, alongside his preoccupation with harmonic development reflected in his wayward use of several modes, he was mainly concerned about the auditor's listening experience. This concern was expressed , on the one hand, through added values and rhythmical palindromes, and on the other, through his often extremely low paces, always aiming to express the Christian mystical experience that results in eternity.
The 'Quator pour la fin du Timps' by O. Messiaen with its unique formation, is the central work around which the young TetraGonist Ensemble has taken shape…Which music, however, could function alongside this masterpiece
and maybe even shed a new light on it?
F.F. CHOPIN - M. RAVEL - Anamorfosi - Yannick Van de Velde
ID: ACDBN093-2
In Greek, the word signifies the reshaping (ana) of a form or image (Morfe). Since the Renaissance, artists have reshaped and experimented with perspectives on images. However, such reshaping can also occur in music, and this idea constitutes the concept of this album. The starting point of this album are compositions by Chopin (I) and Ravel (II), which are subsequently transformed into contemporary idiom and "perspective", in the Chopiniata by Clément Doucet (I/1) or Anamorfosi by Salvatore Sciarrino (II/1).
Piano Trio Impression - Gypsy
ID: ACDBA088-2
Subcollection: Piano Trio
Antonín Dvořák, Josef Suk and Bohuslav Martinů. Three big names in the world of classical music, three generations of Czech composers, from romanticism to modernism. But also three masterpieces lesser known to the larger audiences. Besides the most played repertoire for a piano trio, we see it as a challenge to try and find works that are played less often in public. This is how the program grew for this CD full of Bohemian colours, to which we added the famous 'Gypsy' trio by Haydn as a precursor from the classical period. We hope you can enjoy it as much while listening as we did during the recordings.


text:
Campaign Press Release - Trump Campaign Ramps Up TV Ads Focused on Economy
President Trump's re-election campaign today announced it has increased its television advertising buy by nearly 50 percent, ramping up its presence in key states with early voting and expanding its national cable buy. The ads in the eight-figure buy focus on the economy, which will be the defining issue of the race, and contrasts President Trump's strong economic record with Joe Biden's 47 years of failure. The ads airing on local television beginning Tuesday feature real people whose lives have been positively impacted by President Trump's policies, with different people featured in different states.
President Trump built the world's best economy once and is already doing it a second time. As vice president, Joe Biden oversaw the worst economic recovery since the Great Depression and today proposes to raise taxes by $4 trillion, killing the economic comeback underway. Biden voted for the job-killing NAFTA trade deal and has a history of arguing for China's interests, costing the United States 60,000 factories and 3.5 million jobs.
The ads will run on national cable, and local broadcast and cable in the following states: North Carolina, Florida, Georgia, Michigan, Minnesota, Wisconsin, Arizona, Pennsylvania, Nebraska (2nd Congressional District), and Maine (2nd Congressional District). The Trump campaign also announced it was expanding its existing urban radio buy to include Pennsylvania markets.
"This week's advertising continues our strategic plan to follow the dates on the calendar, the states that are voting early, the data that always guides our decision-making and our pathway to 270," said Trump 2020 campaign manager Bill Stepien.
National Ad – "Jobs President"
"Kim" – Ad representative of spots running in states
Donald J. Trump, Campaign Press Release - Trump Campaign Ramps Up TV Ads Focused on Economy Online by Gerhard Peters and John T. Woolley, The American Presidency Project https://www.presidency.ucsb.edu/node/345484
Elections and Transitions
Campaign Documents

redpajama_set_name: RedPajamaCommonCrawl


An 18-year-old Manitoba man is starting the weekend off by being a little lighter in the wallet department.
RCMP tweeted on Friday that the man was caught hurrying home from school travelling 174 km/h in a 100 km/h zone.
The officer clocked the man speeding in his 1999 Chevrolet Malibu and issued him a $1,019 fine. The driver will also have his licence reviewed with Manitoba Public Insurance.


Update window therapies. Do you choose customized blinds or Roman shades, bamboo distinctive rollers or present basic layered with curtains, window therapies have you love (and functioning) was enhancing detail that can make the area felt smoother. When choosing window therapies, choose a textile lining that is the same on all Windows for a constant look from the street.


text:
<?php
namespace Topxia\Service\Content\Impl;

use Topxia\Service\Common\BaseService;
use Topxia\Service\Content\BlockService;
use Topxia\Common\ArrayToolkit;

class BlockServiceImpl extends BaseService implements BlockService
{

    public function searchBlockCount($condition)
    {
        return $this->getBlockDao()->searchBlockCount($condition);
    }

    public function findBlockHistoryCountByBlockId($blockId)
    {
        return $this->getBlockHistoryDao()->findBlockHistoryCountByBlockId($blockId);
    }

    public function getLatestBlockHistory()
    {
        return  $this->getBlockHistoryDao()->getLatestBlockHistory();
    }

    public function getLatestBlockHistoriesByBlockIds($blockIds)
    {
        $blockHistories = array();
        foreach ($blockIds as $key => $blockId) {
            $blockHistories[] = $this->getBlockHistoryDao()->getLatestBlockHistoryByBlockId($blockId);
        }
        return ArrayToolkit::index($blockHistories, 'blockId');
    }

    public function getBlock($id)
    {
        $result = $this->getBlockDao()->getBlock($id);
        if(!$result){
            return null;
        } else{
            return $result;
        }
    }

    public function getBlockHistory($id)
    {
        return $this->getBlockHistoryDao()->getBlockHistory($id);
    }

    public function generateBlockTemplateItems($block)
    {

        preg_match_all("/\(\((.+?)\)\)/", $block['template'], $matches);
        while (list($key, $value) = each($matches[1])){
            $matches[1][$key] = trim($value);
        };

        $templateDatas = ($matches[1]) ? ($matches[1]) : '';
        $templateItems = array();

        if (empty($templateDatas)) {
            return $templateItems;
        } else {
            foreach ($templateDatas as &$item) {
                $item = explode(":", $item);
                $arr[] = array( 'title' => $item[0],'type' => $item[1] );
            }

            $templateItems = ArrayToolkit::index($arr, 'title');
            $templateItems = array_values($templateItems);
            return $templateItems;
        }
    }

    public function getBlockByCode($code)
    {

        $result = $this->getBlockDao()->getBlockByCode($code);
        if(!$result){
            return null;
        } else{
            return $result;
        }
    }

    public function searchBlocks($condition, $sort,$start, $limit)
    {
        return $this->getBlockDao()->findBlocks($condition, $sort, $start, $limit);
    }

    public function findBlockHistorysByBlockId($blockId, $start, $limit)
    {
        return $this->getBlockHistoryDao()->findBlockHistorysByBlockId($blockId, $start, $limit);
    }

    public function createBlock($block)
    {
        if (!ArrayToolkit::requireds($block, array('code', 'title'))) {
            throw $this->createServiceException("创建编辑区失败,缺少必要的字段");
        }

        $user = $this->getCurrentUser();
        $block['userId'] = $user['id'];
        $block['tips'] = empty($block['tips']) ? '' : $block['tips'];
        $block['createdTime'] = time();
        $block['updateTime'] = time();
        $createdBlock = $this->getBlockDao()->addBlock($block);

        $blockHistoryInfo = array(
            'blockId'=>$createdBlock['id'],
            'content'=>$createdBlock['content'],
            'userId'=>$createdBlock['userId'],
            'createdTime'=>time()
            );
        $this->getBlockHistoryDao()->addBlockHistory($blockHistoryInfo);
        return $createdBlock;
    }

    public function updateBlock($id, $fields)
    {
        $block = $this->getBlockDao()->getBlock($id);
        $user = $this->getCurrentUser();

        if (!$block) {
            throw $this->createServiceException("此编辑区不存在,更新失败!");
        }
        $fields['updateTime'] = time();
        $updatedBlock = $this->getBlockDao()->updateBlock($id, $fields);

        $blockHistoryInfo = array(
            'blockId'=>$updatedBlock['id'],
            'content'=>$updatedBlock['content'],
            'data' => $updatedBlock['data'],
            'templateData'=>$updatedBlock['templateData'],
            'userId'=>$user['id'],
            'createdTime'=>time()
        );
        $this->getBlockHistoryDao()->addBlockHistory($blockHistoryInfo);

        $this->getLogService()->info('block', 'update', "更新编辑区#{$id}", array('content' => $updatedBlock['content']));
        return $updatedBlock;
    }

    public function deleteBlock($id)
    {
        $block = $this->getBlockDao()->getBlock($id);
        $this->getBlockHistoryDao()->deleteBlockHistoryByBlockId($block['id']);
        return $this->getBlockDao()->deleteBlock($id);
    }

    public function getContentsByCodes(array $codes)
    {
        if(empty($codes)){
            throw $this->createServiceException("获取内容失败,不允许查询空编号所对应的内容!");
        }

        $cdn = $this->getSettingService()->get('cdn');
        $cdnUrl = empty($cdn['enabled']) ? '' : $cdn['url'];

        $contents = array();
        foreach ($codes as $key => $value) {
            $block = $this->getBlockDao()->getBlockByCode($value);
            if($block){
                if ($cdnUrl) {
                    $contents[$value] = preg_replace('/\<img(\s+)src=\"\/files\//', "<img src=\"{$cdnUrl}/files/", $block['content']);
                } else {
                    $contents[$value] = $block['content'];
                }
            } else {
                $contents[$value] = '';
            }
        }
        return $contents;
    }

    public function updateContent($id, $content)
    {
        $block = $this->getBlockDao()->getBlock($id);
        if (!$block) {
            throw $this->createServiceException("此编辑区不存在,更新失败!");
        }

        // $content = $this->purifyHtml($content);
        return $this->getBlockDao()->updateBlock($id, array(
            'content'=>$content,
            'updateTime' => time()
        ));
    }

    public function recovery($blockId, $history)
    {
        $block = $this->getBlockDao()->getBlock($blockId);
        if (!$block) {
            throw $this->createServiceException("此编辑区不存在,更新失败!");
        }

        if ($block['mode'] == 'template' && empty($history['data'])) {
            throw $this->createServiceException("此编辑区数据不存在,更新失败!");
        }

        // $content = $this->purifyHtml($content);
        return $this->getBlockDao()->updateBlock($blockId, array(
            'content' => $history['content'],
            'data' => $history['data']
        ));
    }

    protected function getBlockDao()
    {
        return $this->createDao('Content.BlockDao');
    }

    protected function getBlockHistoryDao()
    {
        return $this->createDao('Content.BlockHistoryDao');
    }

    protected function getLogService()
    {
        return $this->createService('System.LogService');
    }

    protected function getSettingService()
    {
        return $this->createService('System.SettingService');
    }
}

redpajama_set_name: RedPajamaGithub


U.S.-based oil company Hess Corporation has posted a deeper net loss for the fourth quarter of 2016 due to non-cash accounting charge, compared to a loss in the year-before period.
The company on Wednesday reported a net loss of $4.89 billion in the fourth quarter of 2016, including a non-cash accounting charge of $3.749 billion on deferred tax assets, compared with a net loss of $1.8 billion in the fourth quarter of 2015.
According to Hess, out of the $3.8 billion charge, $2.9 billion went to exploration & production and $829 million to corporate, interest and other.
Fourth quarter results also include an after-tax charge of $693 million to impair the Equus natural gas project development, offshore Australia, which the company recently postponed, and other after-tax charges totaling $145 million.
Excluding items affecting comparability between periods, fourth quarter 2016 net loss was $305 million, compared to a net loss of $396 million in the fourth quarter of 2015. The adjusted fourth quarter 2016 results reflect higher realized crude oil selling prices and improved total production unit costs.
The company's revenues for 4Q 2016 were $1.386 billion, compared to $1.387 billion.
Hess' oil and gas production was 311,000 barrels of oil equivalent per day (boepd) in 4Q 2016, compared to 368,000 boepd in the same period of 2015.
During the quarter, exploration and production capital and exploratory expenditures were $414 million, down 56 percent from $943 million in the prior-year quarter. The company's E&P capital and exploratory expenditures for 2017 are expected to be $2.25 billion, up from $1.9 billion in 2016, as recently reported by Offshore Energy Today.
Posted on January 25, 2017 with tags Hess.


Thanks to everyone who contacted me during the week, I always love hearing from you! This episode I'm wearing my Brise Cardigan by Hannah Fettig knit out of Skein Slinky MCN (our old base) in the colourway Dolce.
I talk about the recent gradient update.
Tea Leaves Cardigan by Melissa LaBarre using Skein DK in the Blue-Blooded colourway which I didn't show due to lack of progress.
I mentioned my H + T Studio box bag, thanks to Helena I will have one to give away next month!
I'm planning to knit the Scylla socks for Paul out of my beautiful skein of Into the Whirled Ulundi sock in the colourway End of Summer.
This week I talk briefly about my dyeing experiment with a long repeat colourway - let me know what you think!


Please Note that this list is up to date as at February 2019 - but is subject to constant change. Note that when items are sold it may not be possible to replace them, so buy now. Alternatively, they may be replaced by stock that we have bought in at a different price. Prices shown exclude VAT and Post & Packing.


text:
01744 20136 marie@silhouettedanceclub.co.uk
Adult Timetable
Junior Timetable
Pole Dancing Parties
Mem. U.K.A. Ballroom & Latin American, Mem. IDTA Ballroom, Mem. IDTA Latin, Lecturer and Championship, Adjudicator in Ballroom, Latin American, Free Style, Rock & Roll, Latin in Line Salsa and Cheerleading.
Former World Cabaret Challenge Winner Former North East of England Professional Ballroom and Latin Champion Finalists in the United Kingdom Open Professional Ten Dance Championships Finalists in United Kingdom closed Professional Ballroom and Latin Championships
Danielle Bibby
Throughout the week Danielle currently works as a Medical Records Clerk at Walton Hospital. As well as teaching various classes at Silhouette, Danielle also teaches dance and fitness classes across Merseyside.
She began her training at the age of 8 at The Elizabeth Hill School of Dance and Drama where she gained distinctions in all RAD and IDTA exams taken. Throughout her time at Elizabeth's she competed in many shows and competitions all over the UK and at the age of 14 she became the North West of England junior ballet champion.
In 2009 Danielle gained her place at Paul McCartney's Performing Arts University (LIPA) where she gained a 2:1 honours degree after completing the 3 years. In 2011 she toured around Great Yarmouth and Essex as part of a variety show which then went on to travel more parts of the UK.
Susie Richmond
Susie has over 20 years dance experience and is a qualified member of the IDTA.
She competed in ballroom and Latin American competitions before deciding to follow her love of teaching dance.
She is an experienced teacher in various forms of dance including freestyle, ballroom, Latin American, sequence, bellydancing, Latin in line and sumbasize.
She has choreographed many routines over the years including performances on the theatre and dances for wedding couples for their first dance.
Samantha Travis
Samantha is 20 and works as a Nursery Nurse throughout the week and as a trainee dance teacher at Silhouette by night. She has been dancing since she was three years old and has danced in a variety of competitions and taken dance exams. Samantha has taken all her rosette exams from the ages of four to eight years, taken her Free Style exams from beginners up to Star 1 and has taken cheerleading exams from rosettes to one dance.
Most her exams have been taken in ballroom and Latin. She started to assist teaching at the age of 16 and started to train for her teaching exams when she was 18. Samantha is still currently taking exams but is qualified in basic stunts and Level 3 cheerleading.
Samantha has danced in a wide range of competitions such as free style competitions competing in solos, doubles, rock and roll and disco teams. She has also competed and is still competing in the senior squad in cheerleading who compete in Blackpool twice a year (the competetion is held by Silhouette Dance Club).
Samantha has competed in Supadance from the age of 5 to 15 years. She attended the Blackpool competition in 2004 'Championships of Tomorrow' which is a huge competition in January and came 4th out of 20 couples. She has also attended the Supadance finals at Pontins and competed in other competitions.
Natalie Kipling
Natalie Kipling age 29 currently a trainee biomedical scientist at the royal Liverpool hospital, studying at John Moores University. Gymnast from the age of 5, I competed as a sports acrobat for Liverpool Park Road sports centre.
I have 7 years pole fit experience including pole dancing, pole acrobats and burlesque.
I perform my pole skills in themed shows in Liverpool.
I have been teaching pole acrobats for around 4 years and and I have just started teaching flexibility work shops which help with those advanced gymnast/pole acrobat moves.
Charlotte Evans
Charlotte started dancing at the age of 5, training in ballet and tap. At the age of 7, she went onto training as a gymnast, continuing onto Hip Hop and Cheerleading up until the age of 19. Charlotte competed in gymnastics, hip hop and cheerleading competitions for 12 years across the UK.
As well as training as a dancer herself, Charlotte has been a gymnastics coach for 2 years and a hip hop and cheerleading coach for a further 2, also teaching in schools.
Katie Roberts
Katie has trained since the age of 3 years old in Ballet, Tap, Jazz and Contemporary at a local dance school in St Helens, The Elizabeth Hill School of Dance and Drama. She has competed in competitions all over the UK with the dance school and gained distinctions in all RAD and ISTD exams taken. Katie has also gained qualifications in UKCA Level 3 Stunts and Cheer.
Katie began her professional dance career after graduating with a 2:1 BA Hons Dance Degree from The Liverpool Institute of Performing Arts in 2014. She then went onto perform in a 5* luxury resort in Greece for 6 months alongside her twin sister Emma. After getting the bug for travelling, in 2015 she performed onboard various luxury cruise lines which took her all over the world; Central America, Europe and Norway to name but a few. In between cruise contracts she performed in a UK Tour which allowed her time to teach in local dance schools and fall in love with teaching.
Emma began her training at The Elizabeth Hill School of Dance and Drama at the young age of 3 years old. She gained distinctions in all RAD and ISTD exams taken in Ballet, Tap, Jazz and Contemporary and she has competed in competitions all over the UK with the dance school. Emma has also gained qualifications in UKCA Level 3 Stunts and Cheer.
At the age of 18 Emma then went on to gain a place on the Dance degree course at the prestigious school The Liverpool Institute of Performing Arts. In 2014 she graduated with a 2:1 BA Hons Dance Degree. Not long after this, she started her professional dance career performing in a 5* luxury resort in Greece for 6 months. Emma then travelled around the world performing onboard various luxury cruise lines for 3 years. In between dance contracts she has taught in various primary and high schools as well as other private dance schools to continually develop her teaching skills.
Sophie Owen
Sophie's passion for dance developed from the age of three learning various dance styles including ballet, tap and modern. As a child she performed in various competitions, performances and festivals across the North West.
Sophie began her professional training at Centre Pointe, Manchester. Sophie trained in ISTD ballet, tap and modern. She also trained in contemporary, jazz, musical theatre and commercial dance styles and completed her A-Levels in Dance and Performance Studies. Sophie then moved to London to begin her studies at Middlesex University where she developed a love for choreography. She completed her undergraduate degree in 2017 with a BA (Honours) in Dance Studies (Choreography).
Since graduating Sophie has worked across the UK as a freelance dance teacher and choreographer delivering classes and workshops in various schools, colleges and universities. As a choreographer Sophie works as project assistant and company member of B-Hybrid Dance (London) alongside director Brian Gillespie on new worksperformed at Resolution 2018 and The Royal Vauxhall Tavern. Sophie founded SMG Dance Collective in 2017 where herself and company dancers perform new works across the North West, including The Walker Art Gallery, Constellations and Blackburne House, Liverpool. SMG Dance Collective is also supported by the Wayne McGregor FreeSpace programme.
Sophie began studying for her Masters degree at the University of Salford in Creative Dance Education in 2019 where she hopes to continue to develop her skills as a dance educator.
Jennifer Annaud
Hi my name is Jennifer Arnaud, I am fully qualified dance Teacher A.I.D.T.A and have a BA (Hons) and Masters degree in dance. I have worked for princess cruise lines and celebrity cruise lines and currently the choreographer and dance supervisor/captain for a uk and abroad touring show. I have over 18 years of teaching experience and so glad to be back working at silhouette dance club.


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Box Office Mojo by IMDbPro receives data from a variety of sources, including film studios, distributors, sales agents, and others from around the world.
"Domestic" refers to gross box-office revenue from North America (U.S., Canada, and Puerto Rico), unless otherwise noted. "International" covers the rest of the world.
In some cases, box office data is organized by region rather than for each country. If you are not seeing a specific country listed, this means the data was reported for the combined box office region.
Countries Included
Domestic US & Canada
Belgium Belgium and Luxembourg
New Zealand New Zealand and Fiji
Portugal Portugal and Angola
United Kingdom United Kingdom, Ireland, and Malta
France France, Algeria, Monaco, Morocco, and Tunisia
Central America Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, Panama and Paraguay
Central America+ Aruba, Belize, Bolivia, Bonaire, Costa Rica, Curaçao, and Dominican Republic
E/W Africa Ghana, Kenya, Nigeria, Tanzania, Zambia and Uganda
Lesser Antilles Antigua and Barbuda, Barbados, Dominica, Grenada, Guyana, St. Lucia, and St. Vincent
S/E/W Africa Southern, Eastern, and Western African
Baltic States Baltic States
Middle East Middle East
Middle East/UA Middle East including United Arab Emirates
Middle East Other Miscellaneous Middle Eastern
Click on "All Time" in the main navigation. Then use the dropdown to toggle from "Domestic" to "Worldwide". This will allow you see the overall all-time charts that are available with worldwide data, including the "Top Lifetime Grosses" chart. You can also access the chart directly here.
The "Top Lifetime Adjusted Grosses" chart adjusts for ticket price inflation using estimated number of tickets sold. This is a helpful tool for converting box office earnings into a standard unit of measurement to better judge a movie's popularity and compare it to other movies released years or decades apart.
Above the chart is a dropdown. Its default selection is "2019 Ticket Price," which means that the chart displays grosses in terms of 2019 dollars. You may select a different year to display the chart in that year's dollars. Selecting "Actuals" will display actual box office receipts (i.e., unadjusted dollars).
The chart also displays the estimated number of tickets sold for each movie by taking its box office gross and dividing it by the average ticket price at the time it was released. To adjust it for inflation (or see what it might have made in the past), the estimated number of tickets sold is multiplied by the average ticket price of the selected year.
In some cases, Box Office Mojo by IMDbPro is able to obtain the actual number of tickets sold. That figure is then used to calculate adjustments (aside from its reported gross). Usually this is the case with older movies, especially those released in the 1930s and 1940s.
Some movies have been released several times over the decades. In these cases, each release is adjusted according to the year it earned its money. Similarly, December releases may earn money in two separate years. For example, a movie's gross from its December opening until December 31 will be adjusted according to the average ticket price that year, then the remaining gross in the following year will be adjusted according to that year's ticket price.
Movies released from the 1980s to mid-1990s may not have extensive weekend box office data and many movies released prior to 1980 may not have weekend data at all, so the detailed timeline of when each movie made its money may not be available. In such cases (and where actual number of tickets sold is not available), adjustments may be made based on total earnings and the average ticket price for the year it was released. Still, this should be a good general guideline to gauge a movie's popularity and compare it to other movies released in different years or decades.
Adjusting for ticket price inflation is not an exact science and should be used for a general idea of what a movie might have made if released in a different year, assuming it sold the same number of tickets.
Since these figures are based on average ticket prices they cannot take into effect other factors that may affect a movie's overall popularity and success. Such factors include but are not limited to: increases or decreases in the population, the total number of movies in the marketplace at a given time, economic conditions that may help or hurt the entertainment industry as a whole (e.g. wars or depressions), the relative price of a movie ticket to other commodities in a given year, competition with other related media such as the invention and advancements of television, home entertainment, streaming media, etc. Overall, this method best compares "apples to apples" when examining the history of box office earnings.
Est. Avg. Price
$9.37 $9.01 $9.11 $8.97 $8.65 $8.43 $8.17 $8.13 $7.96 $7.93
Box Office Mojo by IMDbPro receives data, both domestic and international, for the films that are available on the website. Some companies do not report box office revenue for films that they distribute or represent.
In some cases we receive a final gross-to-date for a title release when the release has completed its theatrical window, and typically sometime after regular daily gross updates have stopped. We record this final gross-to-date as part of the lifetime gross, but there is no daily or weekly interval reported for these figures. Therefore, we do not present these final grosses in the detailed daily, weekend, or weekly views. Where possible, these final release grosses are incorporated into monthly, seasonal, quarterly, and yearly views.
We do not have an option to download data directly from the Box Office Mojo by IMDbPro website at this time. However, if you are interested in licensing data from Box Office Mojo by IMDbPro, you can find out further information on how to do this via our licensing page IMDb Developer.
Box Office Mojo by IMDbPro offers a free utility for those who want to publish box office information on their website(s), allowing you to place just one line of Javascript into your page. Please note that the "Single Movie Box Office Total" feed is no longer available. However, we do provide a "Weekend Top 5" feed.
To use this feed, paste the following code into the HTML of your Web page where you want the Weekend Top 5 chart to appear:
<script type="text/javascript" language="javascript" src="https://www.boxofficemojo.com/data/js/wknd5.php"></script>
More advanced publishers can customize the format of the chart using CSS by using the following code:
<script type="text/javascript" language="javascript" src="https://www.boxofficemojo.com/data/js/wknd5.php?h=myclass1&r=myclass2"></script>
You will need to replace "myclass1" and "myclass2" with your own class names. The first class defines the header row of the chart, while the second defines the rows containing the top five weekend box office results.
Box Office Mojo by IMDbPro provides the above service free of charge. By visiting Box Office Mojo by IMDbPro, you accept these conditions. Box Office Mojo by IMDbPro reserves the right to revoke the use of service without cause at any time for any reason and you agree to these terms.
Yes, but you will need to update the URL to https://www.boxofficemojo.com/data/rss/news/. Please note that the "Top Stories" and "Box Office Results" RSS feeds are no longer supported.
Box Office Mojo by IMDbPro provides RSS feeds free of charge. By visiting Box Office Mojo by IMDbPro, you accept these conditions. Box Office Mojo by IMDbPro reserves the right to revoke the use of our feed without cause at any time for any reason and you agree to these terms.
All content on Box Office Mojo by IMDbPro is copyrighted, and may not be reproduced in any form or matter without our express written consent.
Make sure you are on the "Title Summary" tab on the movie's title page by clicking the "Title Summary" tab below the image and plot summary, on the left. Then, scroll down and click on the "Cast and Crew" tab, just to the right of "Releases". There you'll see a list of key crew members and actors/actresses.
For movies where Box Office Mojo by IMDbPro tracks production budgets, you can find that data on the title or release page in the summary table in the "Budget" section. Please note that production budget is available only for certain movies.
Box office information for people (i.e. actors, actresses, and filmmakers) and companies (i.e. distributors) is now available exclusively on IMDbPro.
Box office charts for franchises, brands, and genre keywords are now available exclusively on IMDbPro.
Box office charts for theater counts are now available exclusively on IMDbPro.
Not at this time, but the new site is now optimized for mobile browsers and you can access it on any device. You can streamline the process by adding Box Office Mojo by IMDbPro as a bookmark in your home screen by following these instructions:
IOS Devices:
Launch the Safari browser on your iOS device and navigate to the page you want to bookmark. Tap on the share icon on the toolbar (rectangle with an arrow pointing upward). Tap on the "Add to Home Screen" button to create the bookmark. It will now appear on your home screen.
Android Devices:
Launch the Chrome browser on your Android device and navigate to the page you want to bookmark. Tap on the menu button on the browser (3 dots at the top right), and then "Add to Home Screen" to create the bookmark. It will now appear on your home screen.
To request an interview with our box office editor or for additional information about Box Office Mojo, please visit https://www.imdb.com/pressroom or email press@imdb.com. Please note: the press email alias is exclusively for use by journalists on deadline. Inquiries about other topics will not receive a response.
Press are welcome to quote small subsets (less than 20 names/titles) of filmography or title-related data on non-commercial websites, on message board systems, in magazine articles, etc. We do insist, however, that you make reference to the source of the data via the phrase: "Information courtesy of Box Office Mojo." For offline references please also include the URL https://www.boxofficemojo.com to compensate for the lack of a live link to the site.
If you can't find the answer to your question on this FAQ page, need to report an issue, or have a more detailed request, please visit the Contact Us page and select "Email" - a member of the support team should get back to you within 24 hours. Please make sure to include as much supporting information in your request as possible.
If you are interested in developing based on more advanced data feeds and widgets, you can find out further information on available tools from our licensing page at IMDb Developer.
IMDbPro member support
Contact support staff 7 days a week
Need more help? Email the customer service team with any question - receive a response within 24 hours
Questions about joining or former IMDbPro member with billing questions? Get help.


The development of the role and presence of the arts in communities leads to a stronger community as a whole. This program seeks to enhance all arts and non-arts groups that act as advocates for Tennessee community arts issues and arts programming.
The Tennessee Arts Commission provides information resources, referrals and funding assistance to established and emerging organizations that are community-minded and culturally democratic.


text:
<?xml version="1.0" encoding="utf-8"?>
<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:orientation="vertical"
    android:layout_width="match_parent"
    android:layout_height="match_parent">

    <WebView
        android:layout_alignParentTop="true"
        android:layout_width="match_parent"
        android:layout_height="match_parent"
        android:id="@+id/store_webview"></WebView>

</RelativeLayout>


text:
/// Assertion builder
var Assertion = Divhide.Assertion;

/// Create the custom Assert facility
var Assert = new Assertion({

    /**
     *
     * Tests if the string starts with the given value
     *
     * @param  {String} val
     * @param  {String} str
     * @return {String}
     */
    startsWith: function(val, str){

        if(val.indexOf(str) !== 0){
            throw new Error("Does not starts with " + str);
        }

    }

});

/// Test if the value is valid
var isValid = Assert
                .required()
                .string()
                .startsWith("Mary")
                .isValid("Mary and Peter");

expect(isValid)
    .toBe(true)

/// Assert value
var value = Assert
            .required()
            .string()
            .startsWith("Mary")
            .assert("Mary and Peter");

expect(value)
    .equals("Mary and Peter");


Developers are increasingly besieged by the big data deluge. Business units want to find the actionable information buried in all that data, and dev teams are more frequently turning to Python to deliver the answers business users are seeking.
But there's one big drawback: Interpreted Python code just doesn't have the speed of compiled code, forcing many developers to consider re-writing their big data and machine learning applications in C.
First, number crunching packages like NumPy, SciPy, and scikit-learn are all executed natively, rather than being interpreted. That's one huge speed boost.
On top of that, daal4py, provides screamingly fast machine learning algorithms like K-Means Clustering, Random Forest, Logistic Regression, KNN, SVM and many more, further speeding processing for data analytics code, enabling analysis in near-real time of all kinds of feeds.
Why does Intel give this away? Because they want coders to get the very most out of their hardware, plain and simple. Built-in vectorization, multithreading, and parallelization let you take advantage of all the cores in each server – or in multiple servers in a cluster. Automagically.
What kind of performance improvements can you expect? Intel has demonstrated one to two orders of magnitude speed increases – over 200x in some cases. That in itself should have every Python developer running to download IDP.
Yes, it works with Numba and Cython, yes, it works with Intel® Threading Building Blocks (Intel® TBB) library, and yes, it's developed from open-source Python, so your existing Python code will just work faster right out of the box.
Every machine learning developer, every data scientist, every analyst who uses Python, every numerical and scientific computer developer who just wants to accelerate compute intensive Python packages like NumPy and mpi4py, every HPC developer looking to unlock the power of modern hardware – actually anyone using Python in production needs Intel's Distribution for Python.
Why wait, it's free. Visit Intel® Developer Zone, and while you're there check out the other free tools Intel provides to help make your job easier.
Download Intel® Distribution for Python* here.


text:
Can humans be allergic to beagles?
The research showed that the Beagle is not a hypoallergenic dog and in fact, has one of the highest levels of dander production among small breeds which could be problematic for people with pet allergies or sensitivities.
Do great danes cause allergies in humans?
We call this skin allergy "atopy", and Danes often have it. Commonly, the feet, belly, folds of the skin, and ears are most affected. Symptoms typically start between the ages of one and three and can get worse every year. Licking the paws, rubbing the face, and frequent ear infections are the most common signs.
How much do f1 aussiedoodles shed?
Although Aussiedoodles are very low to non-shedding pups and often referred to as hypoallergenic, there's no such thing as a 100% hypoallergenic dog.
How rare is the coton de tulear?
The Coton de Tulear remains a rare breed and is in danger of extinction in its native Madagascar. Madagascar residents are proud of the breed and featured a tri-colored Coton de Tulear on a postage stamp that was issued in 1974.
Is an australian mountain doodle hypoallergenic?
Aussiedoodles are typically hypoallergenic but not non-allergenic. Hypoallergenic means having a decreased tendency to provoke an allergic response. There are NO non-allergenic dogs (meaning a dog that does not produce an allergi cresponse).
What is an f1b saint berdoodle?
F1 stands for first generation. Even in the same litter, each dog will be unique! F1b Saint Berdoodles result when an F1 Saint Berdoodle and a Poodle or a Saint Bernard have been crossed. With this generation, it is easier to predict how the puppy will turn out.
What is the price of a coton de tulear?
The average Coton de Tulear cost is about $300. However, when getting these dogs from breeders, you will likely pay between $2,000 to $4,000. There will be the costs of food, veterinarian appointments, and other dog needs, as well.
Are saint berdoodles good dogs?
The Saint Berdoodle is a mixed breed dog — a cross between the Saint Bernard and Poodle dog breeds. Friendly, intelligent, and loyal, Saint Berdoodles are great family dogs.
Are saint berdoodles good guard dogs?
The Saint Berdoodle might just be the perfect dog for you. These delightful mixes are the perfect cuddle buddy, guard dog, and baby-sitter all packaged into one. This pup makes the perfect addition to any type of household.
Are standard schnauzer good guard dog?
They Are Versatile Dogs They guarded the livestock, hunted vermin, and protected their owners as they went to and from the market. The Standard Schnauzer was the perfect size because he was small enough to fit in the farmer's cart, but big enough to serve as a guard dog.
Are standard schnauzers lap dogs?
The once aggressive and loud guard dog will turn into a cuddling lap-dog through training. Without training, Schnauzers will only attach themselves to their family and fear strangers. Schnauzers insist on being included and love to exercise with their humans.
Can a kangal bite break a bone?
Generally, it takes 899 PSI to break a bone from force alone. This amount is clearly higher than the Kangal's bite force, showing that simply biting someone is not likely to break a bone. That said, if a Kangal were to latch on and hang on, they are more likely to break a bone by shaking their heads.
Can a standard schnauzer protect you?
They guarded the livestock, hunted vermin, and protected their owners as they went to and from the market. The Standard Schnauzer was the perfect size because he was small enough to fit in the farmer's cart, but big enough to serve as a guard dog.
What does f1 st. berdoodle mean?
The F1 St. Berdoodle is a hybrid cross between a purebred St. Bernard and a purebred Poodle, which creates a first-generation F1 St. Berdoodle that is typically 50% St. Bernard and 50% Poodle. In other words, an F1 St. Berdoodle will be half Poodle and half St. Bernard.
What is an f1 st. berdoodle?
Are st berdoodles hypoallergenic?
Saint Bernards have long been associated with protectors of the family. Traditionally the breed served as guardians of the hospice. They protected lonely monks who brought these dogs on long pilgrimages in the wilderness. In the 20th century, the Saint Bernard was portrayed as a family-friendly dog in films. While Saint Berdoodles can be loving dogs, you should never leave any dog alone with children. Their sheer size mean they can inadvertently cause injury to small children if left unsupervised.
Is a border collie poodle mix hypoallergenic?
Although there is no such thing as a dog that is completely hypoallergenic, Bordoodles are considered a hypoallergenic dog breed. With a Poodle as a parent, Bordoodles have a good chance of having a low-shedding coat. The curls in the coat can trap dander to prevent a potential allergic reaction.
Is a saint bernard and poodle mix hypoallergenic?
They have very minimal shedding and are often considered hypoallergenic. However, the curly or corded coats need to be trimmed or clipped on a regular basis. They also should be brushed each day. A St Bernard Poodle mix could have the coat of either parent breed or a mixture of the two.
Is the jack russell terrier hypoallergenic?
The Jack Russell terrier dog breed is not considered hypoallergenic because they have high dander levels, which causes allergic reactions in people with asthma or hay fever.
Are st berdoodles aggressive?
Temperament: English Bulldogs are known for their docile, outgoing, and willful personality. They are a calm, people-oriented breed that's loyal and intelligent, and also great with children. Bulldogs are very devoted to their families and make excellent watchdogs because of their courageous nature. Most English Bulldogs are friendly toward strangers and get along well with other pets, but some can be assertive with strange dogs, particularly those of the same sex. Like all dogs, the Bulldog should be properly socialized during puppyhood to ensure that they grow up to be well-rounded and easygoing. Training an English Bulldog isn't difficult, but the breed is known to have a stubborn nature on occasion.
How much are saint berdoodle puppies?
Both Saint Bernards and Poodles are not cheap dogs, with puppies going for an average of $2,000 or more for both breeds. With these parent breeds, Berdoodle puppies will not be cheap either, and you can expect to pay at least $1,500 for a puppy depending on the breeder, availability, and the pedigree of the parent breeds. Pups with show-quality parents can go for up to $2,500 in some cases.
Are st berdoodles good dogs?
Are there miniature doodles?
The Miniature Goldendoodle is a cross of a purebred Golden Retriever and a purebred miniature or small Poodle, also known as Mini Goldendoodle. It's a small dog breed at about 13 to 20 inches tall, weighing between 40 to 50 pounds. The lifespan of the Miniature Goldendoodle is around 10 to 15 years.
Are there red poodles?
Red poodles are rare and are of a faded gene. When they are produced, the pups usually come from dogs with apricot lines, which can be confusing to many since of course red is a much darker and deeper color.
Where is chien ming wang now?
Why do ants keep coming back in my room?
How do leopards breathe?
Who invented the ollie?


litmus live Archives – Litmus Software, Inc.
Litmus published more than 130 posts on the Litmus blog in 2018—that's a lot of tips and resources! Not sure where to get started? We asked some members of the Litmus Marketing to share their favorite blog resources of the year. Here's what they said.


text:
package spring.workshop.oauth.client;

import org.springframework.beans.factory.annotation.Autowired;
import org.springframework.boot.SpringApplication;
import org.springframework.boot.autoconfigure.SpringBootApplication;
import org.springframework.context.annotation.Bean;
import org.springframework.security.oauth2.client.OAuth2ClientContext;
import org.springframework.security.oauth2.client.OAuth2RestTemplate;
import org.springframework.security.oauth2.client.resource.OAuth2ProtectedResourceDetails;
import org.springframework.security.oauth2.config.annotation.web.configuration.EnableOAuth2Client;
import org.springframework.web.bind.annotation.RequestMapping;
import org.springframework.web.bind.annotation.RestController;

@RestController
@EnableOAuth2Client
@SpringBootApplication
public class OAuthClientLabApplication {

    private OAuth2ProtectedResourceDetails resourceDetails;

    private OAuth2ClientContext clientContext;

	public static void main(String[] args) {
		SpringApplication.run(OAuthClientLabApplication.class, args);
	}

    @RequestMapping(path = "/")
    public String index() {
        return restTemplate().getForObject("http://localhost:9094/resource/protected", String.class);
    }

    @Bean
    public OAuth2RestTemplate restTemplate() {
        return new OAuth2RestTemplate(resourceDetails, clientContext);
    }

    @Autowired
    public void setResourceDetails(OAuth2ProtectedResourceDetails resourceDetails) {
        this.resourceDetails = resourceDetails;
    }

    @Autowired
    public void setClientContext(OAuth2ClientContext clientContext) {
        this.clientContext = clientContext;
    }
}


text:
Echelon Data Centres recieve planning consent for Arklow development
Echelon Data Centres confirms that it has been granted planning permission for its planned 45,000m² (484,000 sqft) facility in Arklow. The new data centre represents an investment of €500 million, will have a capacity of up to 100MW and will create 540 jobs – 450 in construction and 90 operational positions.
The granting of planning allows Echelon to begin the design process and the on-site enablement works for the project.
Graeme McWilliams, COO of Echelon Data Centres said: "We are looking forward to seeing activity on a site that has been underutilised for so many years. We are fully committed to this substantial investment and want to start the project as soon as possible. The effect of this development on the Wicklow economy will be felt not only during the construction phase but also through the 90 permanent positions that will be created on site when works are completed."
"It is my firm belief that the presence of this ultra-modern facility will also help the process of rejuvenating the Avoca Business Park, which in turn will attract new companies and enterprises and place Wicklow firmly on the map as a place to do business."
The development is located on the former Irish Fertilisers Industries site, next to the M11 in Arklow, Co Wicklow. The initial development phase of the project will be funded by the company and the first 35Mw of capacity (Phase 1 Stage 1) will be available from Q1 2021.
Work has already commenced on its sister site in Clondalkin Dublin which has enabled Echelon Data Centres to begin marketing both locations to potential customers operating in ecommerce, cloud computing, digital broadcasting, social media, telecommunications and the internet of things.
Graeme Mc Williams said: "The requirement for data centres is growing and Ireland is uniquely placed to become one of the main hubs for multinationals locating in Europe who need access to these facilities. There is significant grid power available for our sites and we also expect a substantial growth in the renewable energy sector which will come on stream as facilities like ours help create a sustainable and constant demand for green power."
Echelon is investing over €1 billion between its two existing sites and has advanced plans to expand into the UK and other European locations.
Related Topics: Arklow, Echelon Data Centres, M11
Pillow Queens make US TV debut
Sylvester(Vestie) Bourke Killiniskyduff House, Love Lane, Arklow
Arklow RNLI launch to assist adrift fishing vessel
Arklow Makers Craft Fair now open for Christmas


Windycon is an annual science fiction convention held at the Westin Lombard, in Lombard, Illinois. We are soliciting ads for our program book which is distributed to each registered attendee upon arrival. The convention averages around 1,200 attendees each year.
The deadline for reserving ad space in the Program Guide is September 15, 2019. Ad copy and payment will be due on September 30, 2019. Please remember that no ad will run without prepayment.
If you have any questions, please contact marketing at windycon dot org.


How to Select the Finest Printing Company.
Having to print or photocopy documents happens once a month to most people. Resident cyber cafes offer these services to people. Almost every day businesses have to do some printing on a large number of documents. For the few printing services some business have their printers to print the documents. When the enterprises need banners, card, flyer, stationery printing, brand names to be printed on their equipment, they end up hiring a printing company. Losses are faced when enterprises hire the unexperienced printing firms. thus you should only hire the qualified companies to avoid losses. Mostly the business and the hired printing company develop a long-term bond for the services.
You should be able to identify the services you need of from the printing firm. The services you requisite should be offered by the firm. The services that you might require from the company in future should also be considered. The printing services offered by the company should be many. It is good because once you hire them, you will just be giving them the work. Each time you want printing services you don't have to do the selection of another company. The documents you require are easily accessible.
You should consider the reputation of the company. If you don't want bad printed papers for your enterprise you should be able to make a enquiries about the company you are about to give the job. Good quality services are the results of the upright reputation. The best printing services are offered by the reputable name hence the reliability.
You should consider their cost price. You should be able to afford the best company. The prices depend with the required services. Compare the pricing of the services with your budget for the services and choose the one that you know you will be able to pay for the services. People derive quality of the services with the expensiveness of the firm such that when expensive then the services are of quality. There are companies which provide quality services at reasonable charges which does not go along with the thinking mode of people.
The location of a company is well measured. Sometimes for your documents to get to you they have to be shipped by the companies. The method might force you to encounter extra costs through shipping and then transporting them to the business' location. There are home-grown companies who charge reasonably while their services are of quality.
The quality of the end products of their services should be know, whether they are of good quality or bad. You can get samples from the companies or even people who have hired the companies for the services. Quality materials for your business will show the face of it.


Todd Solondz's eighth film "Wiener-Dog" follows a single wiener dog on a life journey as he enters four separate domestic traps rife with dysfunctional and chaos: An uptight mother (Julie Delpy) and her fragile nine-year-old son (Keaton Nigel Cooke), the return of Dawn Weiner (now played by Greta Gerwig) and her classmate Brandon (played by Kiernan Culkin), a disgruntled film school professor (Danny DeVito), and a grumpy old grandmother (Ellen Burstyn) and her spoiled granddaughter (Zosia Mamet).
All of these stories explore Solondz's recurring themes involving the futility of existence, the pain of suburban life, and the double punch of loneliness and regret. Watch an exclusive clip from the film below featuring Delpy's character Dina teaching her son about spaying their new dog.
"Wiener-Dog" will be released in theaters this Friday, June 24.


text:
FOREX TRADING STRATEGY AUG 3 - THE BEGINNING
August has come. Let's check out the latest news at the beginning of the month to know what forex trading strategies we should prepare.
Not only TikTok
US Secretary of State Michael Pompeo said the Trump administration would briefly announce countermeasures against a range of Chinese-owned software that were deemed to pose a national security risk. Comments suggest that the United States is likely to extend measures not just to TikTok - the music-video application owned by ByteDance - one of China's largest technology companies.
On Friday, President Donald Trump told reporters he intended to ban Tiktok from the United States, but his decision was not made public. The move implies that Microsoft is learning about app acquisition from ByteDance. Discussions about the acquisition were limping over the weekend. The South China Morning Post reported on Sunday: "ByteDance would rather turn away from video sharing than sell it to Microsoft."
Market in August
The US dollar was mixed in early Asia on Monday and the Australian dollar was lower. Stock market futures showed a quiet start to the session amidst a complicated complication of the Covid-19 epidemic. Futures on the S&P 500 index rose as the Asian session opened. The infection is recurring in some US states; a senior Federal Reserve official on Sunday called Congress to act to support Americans who were sacked by the pandemic and proposed a blockade. On Friday, US stocks extended gains from July amid rising technology stock prices and talked about a bailout package. Treasury bonds rose. Oil changed little and gold price went up.
The United States' major portfolio of 60% equity and 40% fixed income (bonds) has proved stable this year, but strategists are currently looking at alternatives to Government debt after some of the bond yields hit a historic low. Sanford C. Bernstein proposes to take more risks by backing stocks and gold, and argues that the negative correlation between stocks and bonds is likely to be broken. Morgan Stanley said corporate bonds could be the best replacement for government bonds to curb portfolio volatility and also provide an income level. A mix of stocks and bonds to balance the risk and reward ratio has been a key investment for decades, currently being tested by extremely low yields. Yields on 5-year Treasury notes fell to a record after the Fed launched a moderate policy of support for the US economy affected by coronavirus last week.
Another lockdown
On Sunday, Australia's government in Australia declared a disaster after the coronavirus epidemic showed no sign of declining, three weeks after Melbourne's 5 million residents were ordered to stay home. The blockade will now take place across Australia's second most populous state and city residents will be subject to a curfew between 8pm and 5am. The new restrictions will take effect in six weeks and Australian Treasury Secretary Josh Frydenberg said the national economy is facing another important push.
In Asia, the Philippines is conducting a blockade in Manila and Indian Interior Minister Amit Shah said he tested positive for the virus. In the United States, infections in California have increased more than the 14-day average and the rate of infection in New Jersey has increased even further.


Located 4 miles from the Kentucky Horse Park, this Lexington hotel features an outdoor pool and a daily continental breakfast. Free Wi-Fi is available throughout the hotel. A flat-screen cable TV is available in every guest room at the La Quinta Inn Lexington. The rooms also have a coffee machine and a private bathroom with a hairdryer. Guests can use the on-site laundry facilities at the Lexington La Quinta. Free parking is also provided for convenience. The Cracker Barrel Restaurant is directly across from the hotel, and other dining options like the Waffle House, are within easy walking distance. The Keeneland Race Track is a 15 minute drive from the La Quinta. The University of Kentucky at Lexington is 6 miles away.


When talking about CD quality we usually mean original files used, be it the original master tape (RCA Living Stereo, Mercury), or AAD vs. DDD recordings, and/or mastering engineer: Steven Hoffman, Manfred Eicher, Doug Sax, "Prof" K.O.Johnson, etc, etc… Other-times companies make a name for themselves by paying special attention to CD mastering chain: Esoteric SACDs, JVC-XRCDs… Mobile Fidelity gold CDs became highly collectible because of the mastering quality but also because of the layer of Gold instead of Aluminum used during CD production. Wadia 781i revealed yet another step in CD production chain where things can go wrong: final CD pressing. This step takes place at some anonymous plants churning out CDs for the major and audiophile labels.
Complains from Wadia users about "unplayable" CDs are all over the net, and my Wadia 781i is no exception. It refuses to play badly pressed CDs. It plays CDRW and scratch-test CD (CD with 1mm black scratch across its diameter) without any problems, thus indicating that laser mechanism and digital circuitry work OK. Badly eccentric CDs (e.g. Stereophile Test CD3) or warped CDs (e.g. Schoenberg/Simon Rattle, EMI 4 57815 2) do not even get recognized as CDs by Wadia: "No Disc" message pops up.
Considering the amount of efforts hi-end companies and audiophiles put into isolating CD players from external vibrations, it makes sense not to use CDs which make the player vibrate from the inside. As explained by Steve Huntley here, Wadia designers chose not to compromise overall Wadia sound quality for the sake of 0.01% of badly pressed CDs. In my opinion, in actuality this was an unintentional glitch, it will be discussed later. Right now I want to present some data proving that Badly Pressed CDs do exist, and that it is quite easy to fix them.
CDs not playable by Wadia are easy to detect by playing them on a portable CD player while holding Discman in you hand. With bad CDs Discman vibrates like an unbalanced centrifuge! These last few months I was trying to find a way to make this test a bit more "objective". Help came from the drone/quad-copter aficionado: Bogdan R. of TankyDrone. He loaned me a few flight controllers, once attached to CD laser mechanism, chip accelerometer and gyroscope detect the level of vibration during CD play. Accelerometer in quadcopters is just an afterthought, but gyroscope is sensitive enough to provide meaningful and reproducible results on Discman vibration, or rather changes in Discman position when it is allowed to wobble.
Practically no vibration, max 5 deg/sec!
Vibration Graphs show the effects of CD edge trimming by Audio Desk CD Lathe followed by CD balancing using propeller balancer.
For the next CD original vibration reached 28 deg/sec! Edge trimming did not reduce vibration indicating that CD was perfectly circular and that there was some other reason why CD was badly unbalanced. Once Balanced, vibration dropped to 4 deg/sec.


text:
Interview with Manny Fried
MACK MAHONEY
I first met Manny Fried in the summer of 1962 when the Greensleave Coffee House, then at 719 Elmwood Ave., presented his one act play, The Peddler. Manny directed and played the lead.
At that time he was a vigorous, strong minded man in his early fifties, who looked fifteen years younger. He was earning his living as an insurance salesman, his successful career as a union organizer with the U.E. (United Electrical Radio and Machine Workers) having been interrupted by the duplicity of that complex period we simplify, and in some sense dismiss, by calling it the McCarthy Era.
His commitment to unionism and his interest in the fate of working men and women never diminished during the time of his forced exile from organized labor and indeed has remained intact in his plays and other works written over the past forty years.
Today, Manny is a vigorous, strong minded man of 73 who looks twenty years younger. He has earned a Ph.D. from the University of Buffalo, been a professor at Buffalo State College, had numerous, critically‑acclaimed productions of his plays in the United States and Canada, and is again an active voice in the labor community. Currently he is teaching a creative writing course at Buffalo State College, running a playwrighting workshop at the Allentown Community Center, and making weekly trips to New York City where a production of his play The Second Coming is running from November 24 through December 15 at the Writers Theater, 133 Second Avenue.
Manny's opinions and observations seem of particular interest at a time when both unions and the arts in general are struggling to exist in Buffalo. I met with and interviewed Manny in his Buffalo home in August of 1984.
A playwright's commitment to social and political goals need not detract from the esthetic quality of his craft, according to Manny. Not surprisingly, he has much to say on the question of extrinsic objectives versus intrinsic, artistic considerations.
Although most of his plays are "inherently political," he assumes he has "developed his craft sufficiently" to make them artistically viable. (An assumption that is supported by an array of good reviews from prestigious sources, including the New York Times.) "Unlike some playwrights," Manny says, "who get a political idea and then write a play to dramatize it, I work the other way around. I work along the lines of Strindberg, O'Neill, and a host of others, from personal experience, but then probe deeply enough to tap into political currents of the time so that the individual experience becomes a revelation, providing new insights into social and political events of the time.
"I have very consciously lived most of my life on the political firing line. My understanding of personal relationships was forged in the heat of innumerable political battles. I did not withdraw from life to write, nor could I ever sacrifice everything for writing. I am a political person, pro labor, based on my understanding of the political and economical situation and structures of the time. However, no matter what the current trend or style, pro‑ or anti-union, I am labor. I am union. That is my orientation. But that does not mean that I write only about union people. Therein lies the difference between me and many writers of what are essentially political tracts, agitational propaganda. I write about people based on my own experience with people and many times the context includes people who are not employees, not factory workers. My works have included employers, factory owners (imagine that, I write about factory owners!). And I don't treat them simplistically or shallowly. I treat them in a complex way—as people I know well and with whom I can empathize. But my insights and understanding of them is colored by my being a person familiar with the working class and unionism. I do not come up with a political idea or issue and create cardboard characters to serve my political message. That's crap!
"You've got to keep in mind that I came out of the theater of the thirties. I was a member of the Theater of Action, where I learned what not to write. The simplistic stuff they wrote! Every employer was an S.O.B. and every worker a hero. We know that's not so. It's much more complex than that. Having been a union organizer for 16 years, I know damn well the major battles were always fought within our own ranks. If we could solidify our own ranks, we had no trouble dealing with employers. Our problem was the conflict within our own ranks, getting everybody to work for the good of all."
We talked about the difficulty of empathy between the rich and the poor, the employee and the employer. Manny thinks there is some truth to the contention that it is easier to empathize down than up, that poor people find it difficult to believe that rich people have problems. "Poor people tend to think that if they had money they wouldn't have problems, but of course that's not true. There is, however, no problem equal to that of starving. No problem equals that one. It's only when you get the starving out of the way that you can afford to have other problems. You will have other problems at that point, however."
Our discussion of empathy led me to ask about a frequently voiced criticism of his plays—that plays about workers and unions were at best anachronistic and were no longer valid areas for artistic treatment because the world has left them behind.
Manny said, "That's nonsense," and backed up his disagreement with that criticism by pointing out the kind of reaction his play Drophammer, which played at Nietzsche's on Allen Street, had elicited. He told of a recent conversation with Arnie Stanton—an unemployed steel worker and member of the West Side Workers Repertory Theater Company, which produced the play—who had spoken of the fantastic response to Drophammer by union people who were in the play. Through their involvement they gained a tremendous sense of self-worth and of political importance. Manny mentioned that one man who was in the play said he found himself using lines from the play in dealing with some of the other workers in his union. What more could a pro‑union playwright ask?
In fact, Manny responds by suggesting that the charge of anachronism fits more properly those people who control most cultural media—by their penchant for continuing to not only underestimate working people's receptivity and sensitivity to art, but also by continuing their policy of deliberately stifling art forms that would give working people more insight into themselves and knowledge of the social and political realities that affect their lives. "Working people are not involved in culture in this country. In fact, they are taught by most cultural media to despise themselves. They avoid calling themselves working‑class. They say they are middle-class.
"They're giving working people the kind of stuff that keeps them from thinking, stuff that doesn't relate to their lives [shifting to the local theater scene and warming to the subject], the kind of stuff given by the Studio Arena that is deliberately kept sterile by at least two of its prominent board members who watch like hawks to see that nothing is done to disturb their control of culture in that particular area. I learned more about the class nature of culture from these two gentlemen than from any other source." Manny paused for a moment and said. "To avoid giving the impression that I'm making unsubstantiated generalizations, I think it necessary to be specific about my relationships with the two men who sit on that board.
"During the years after World War II, when I was embroiled in a tremendous fight between the I.U.E., a union set up with the assistance of the U.S. government (the F.B.I. was deeply involved) and the U.E. (of which I was the local international representative), one of these gentlemen and I and our families were close friends. We were buying a home then (our second daughter had just been born) and this gentleman was handling the legal work. I was under a great deal of pressure (this was in 1950), being smeared in the newspaper because of my position with the U.E. I had a call from this man, who said he had to talk to me right away, I went to see him and he told me, very bluntly, that I must resign from the U.E., give a public statement condemning my union and condemning the left, and that if I didn't, I would be prosecuted by the Federal Bureau of Investigation and eventually go to jail. For this reason the Veteran Administration would refuse to grant my mortgage because I would soon be in jail and therefore unable to make mortgage payments. I told that man that I didn't believe him, that the V.A. and the F.B.I. wouldn't have the nerve to say publicly that they were denying a veteran a guarantee on his G.I. mortgage because at sometime in the future he might be put in jail for his political views. I said it absolutely would not happen, that he could tell the F.B.I. to go to hell. He admitted then that it was a bluff, to go ahead and apply, that the loan would be granted. From that point on, for years, we didn't talk. I became persona non grata in the community. No one dared talk to me because of my position and my political views."
"That gentleman is a member of that board and he is inimical to everything I stand for."
"More important is another board member. I organized workers at his plant for the U.E. I led several strikes at his plant. This man joined the Studio Arena Board immediately after Mel Benstock, who was directing Hedda Gabler, cast me to play Judge Brack—a very brave gesture on Mel's part, and one I greatly appreciated. This man soon became a board member, and he remains so to this day."
In the1960's, the AFL‑CIO started a pilot project in four major cities including Buffalo, to involve union people more actively in the cultural life of those cities. "The project flopped," Manny said, "because instead of trying to create material that came out of working people's lives, they tried to use the unions to increase audiences for existing stuff. The union people were smart. They voted with their feet; they went to the corner gin mill, which was more exciting. The local head of the project feared that the program would be wiped out. So I suggested that we see Neal DuBrock about doing Dodo Bird. We did and Neal said, essentially, that he couldn't do it, that I was an unknown, the investment would be too much to risk. I reminded him of the rave reviews in the New York papers and said I thought it would do well locally. When he said that they couldn't possibly risk doing it, I asked him what the run would be, how many performances? I then talked to some union reps I knew, got assurances from them and went back to Neal and said, 'We can sell out your entire theater for the entire run, 100% before you begin rehearsals.' He said, 'Can't do it Manny, people on the board would resign, two on the board would resign.'''
"I tried to call the gentlemen in question but they kept ducking me. I persisted and finally one of them talked to me. He told me that the decision on whether or not to do Dodo Bird was DuBrock's. So I went back to Neal who made it quite clear, without mentioning names, that the problem was these two board members."
"Subsequent to that I spoke to two other board members who were AFL‑CIO members. One of them said, 'Manny, they will never do anything that enhances the image of labor.' So that's the story on the leadership of the Studio Arena. Incidentally, right now, the Dodo Bird is being considered by PBS for American Playhouse.''
Manny summarized his feelings, "I think it's time someone said this and you can quote me. These two men are not at the helm of the Studio Arena to advance the cultural and educational participation of this community, but rather to make sure that things aren't done with which they disagree. They prevent the theater from being what it should be, a medium through which challenging ideas are presented that stimulate questions—questions that lead to new insights and new answers to society's problems. That is the true role of the arts—to give insight into political and social problems so that people are able, non‑violently, to effect the changes that we so desperately need. Any questions? Have I left any holes?"
Manny, as always, makes his points clearly and confidently, dispassionately but intensely. In the few remaining minutes Manny had before getting on the phone to take care of some business with the director of The Second Coming, I garnered the following comments and opinions:
Manny believes that commitment to social, political, humanitarian goals and concepts are vital to the creation of art of any import or impact, and dismisses theater of the absurd as "establishment's safe alternative—a complete abdication of dealing with reality in our society." Manny is a structural traditionalist and cites Shakespeare, Balzac, O'Neill, and the early Odets, as writers whose content and structure inspired his idea of the artist as moralist and visionary.
Manny's comparison of Miller and Odets is revealing. He admires Miller's craft and praises him as probably America's greatest commercial playwright. "Miller has reached the ultimate of where one can go while maintaining a middle‑class perspective. Basically what Miller says is that we should not change things, but do them better. That we should all be honest within the existing structures; whereas Odets, with all his imperfections, said that we've got to change the structure of society."
Manny Fried is a man of courage and conviction. He had dedicated his life, his art, and his endless flow of energy to persuading people to re‑examine their social and political perceptions and their view of the playwright and his art.
SOURCE: Mahoney, Mike. "Interview with Manny Fried", Buffalo Arts Review [Irving Press Collective], vol. 2, no. 3, Winter 1984.
©2003 Emanuel Fried. All rights reserved.
The Emanuel Fried Center
Contact Mindy Fried for permission to produce Manny Fried's plays
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Uploaded 30 October 2003


text:
Potential Breast Cancer Susceptibility Gene Identified Through Network Approach
by Medindia Content Team on October 16, 2007 at 3:37 PM Cancer News
Scientists at the Dana-Farber Cancer Institute and an international group of collaborators have used data obtained from genes involved in inherited forms of breast cancer to identify a novel gene potentially linked to the disease.
Their approach, described in a study posted online by the journal Nature Genetics, used advanced laboratory techniques plus novel "data mining" approaches to discover new cancer-related genes. The technique may help researchers find genes associated with other forms of cancer as well, plus non-cancerous conditions that have a genetic basis, the authors state.
"More than 85 percent of breast cancer cases don't have a clear hereditary link. That is, they arise in women who haven't inherited an abnormal gene that increases their risk for the disease," says study co-author David E. Hill, PhD, of Dana-Farber's Center for Cancer Systems Biology (CCSB), where the research was based. "Science knows very little about which genes are involved in such cancers. Even among the 15 percent of breast cancers that do have a hereditary component, the responsible genes are known in only about three-quarters of cases.
"In this study," he continues, "We asked whether we could use the developing tools of network modeling [which probes the connections between genes and between proteins] and expression profiling [which focuses on patterns of gene activity] to guide us in finding candidate breast cancer genes."
Beginning with a list of four genes known to cause breast cancer when inherited in an abnormal form - BRCA1, BRCA2, ATM, and CHEK2 - the investigators gathered information from existing studies on connections between those "hub" genes and their gene partners. Those studies were of five kinds: expression profiles of genes whose activity mirrors that of the four hubs; surveys of gene activity when BRCA1 is shut down; published studies of biochemical interactions among proteins specified by the hub genes; expression profiles using yeast and worm versions of the hub genes; and the Dana-Farber team's own work in mapping protein-protein interactions.
"Although inherited and non-inherited (or 'somatic') breast cancers develop by markedly different mechanisms, it's likely that some of the same genes are involved," says study co-author Michael Cusick, PhD, of Dana-Farber. "We hope that by beginning with genes known to cause hereditary cases, we can derive clues to additional genes associated with hereditary disease as well as sporadic, non-inherited cases.
"The evidence we collected provides a 'global perspective' on the functions of breast cancer genes," he continues. "This technique enabled us to integrate existing data to find connections or patterns that others might have missed."
The approach enabled the researchers to narrow the list of candidate breast cancer-susceptibility genes from several thousand to about 150. Within that smaller group, they ranked the genes according how closely their activity resembled that of the four hubs, and therefore how likely they are to play a role in the disease. The highest-ranked gene that hadn't been previously investigated was one called HMMR.
Confirmation of the validity of the list came serendipitously, when researchers in the lab of Dana-Farber's David Livingston, MD, identified two genes as potentially related to breast cancer. Both were high on the team's list.
Surprisingly, one of these genes turned out to be the frog version of HMMR. Biochemical studies of both the human and frog proteins, carried out by the Livingston lab, confirmed the association of BRCA1 and HMMR.
More evidence came as a result of collaboration with scientists in New York and Michigan. Geneticists Stephen Gruber, MD, PhD, MPH, and Kenneth Offit, MD, at the University of Michigan and New York University, respectively, examined breast tumor samples from patients in Israel and New York and found that those with an error in HMMR were three to four times more likely to develop breast cancer than those without it. Interestingly the error didn't cause a faulty version of the HMMR protein to be made; rather it resulted in an over- or undersupply of the protein in breast cells.
"HMMR is a well-known gene; its job is to contribute to the function of the centrosome," a structure within cells that forms a "spindle" for chromosomes to align themselves during cell division, Cusick observes. Scientists have long known that cells with mutated BRCA1 often have abnormal spindles, but why this is so has been unclear. The fact that HMMR interacts strongly with BRCA1 on a functional level and is involved in spindle formation suggests a connection. Cells whose centrosomes assemble improperly often develop aneuploidy, a condition in which there is an extra or missing chromosome. That, in turn, can yield the kind of DNA mixups that result in cancer.
Study co-author Jeffrey Parvin, MD, PhD, of Brigham and and Women's Hospital provided additional evidence of a tie between HMMR and BRCA1. He showed that cells without either gene are apt to have problems with centrosome formation.
Hill and Cusick note that the newfound connection between HMMR abnormalities and breast cancer does not mean it is an inherited breast gene. It is likely to be, instead, a breast cancer susceptibility gene in which an abnormality may result - depending on conditions that aren't yet known - in an increased breast cancer risk.
The investigators also say that the technique used in this study can be applied to any form of cancer or other genetically based disease in which genes for some forms of the disease are known while others are not. "It enables us to search for new cancer genes in an unbiased way, with no preconceptions of which ones may turn out to be involved in the disease," Hill says. "By combining the results of multiple studies on gene networks, we can let the data lead us to the answers. It provides a new avenue of research with a high likelihood of success."
Source: Eurekalert
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Researchers Identify New Gene That may Raise the Risk of Breast Cancer
A multi-centre international team of researchers has uncovered a new gene that may raise a woman's likelihood of contracting breast cancer by more than a third.
Breast biopsy involves removing a sample of breast tissue to determine whether it is cancerous or benign.
Breasts - Structures and Types
Different stages of breast development in women and an in-depth look at the breast/bust and its structure.
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Pagets disease of the breast
A detailed description of the Paget's disease of the breast, characteristic signs and symptoms, detection methods and treatment modalities. Risk factors and FAQs are all included.
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I've been casually playing Mobile Strike for a while now, but I'm really tired of how compelled I feel to play the game in my spare time.
It isn't a very developed account, and I don't enjoy war games very much. It does have a decent number of speed-ups, 100k gold, and a lvl 12 HQ.
Rather than letting it rot, I thought I would see if anybody here was interested in playing it. I can change the account pin and e-mail to whatever they choose, and they'll have a decent starting point to get into the game.